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From: Marie Stewart <maricelt@gmail.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] re: Gores
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Hi folks... good discussion here... thanks,

> Just how many extant garments do we have to make that assumption on? I
> > would personally think that gores varied ... some pointy, some not.
> 
> I didn't say "no gores in the 13th century are sharp." I said it's a 
> mistake
> to assume, from the evidence we have, that sharpness of gores was
> considered an important workmanship issue, or that medieval methods would,
> if properly done, necessarily produce sharp gores.


Excellent point - and one on which many re-creators, re-enactors get stuck. 
It's a point where the modern aesthetic conflicts with the medieval 
evidence.

but I haven't seen evidence that they had any motivation to do this.


Let me look through my resources... it'll be an interesting thing to go look 
for. One area that is a bit later than medieval is the Tudor and Elizabethan 
shirt, in these we tend to see very precise stitching and setting in of 
gores and godets. 

My point is this: <snip> hallelujah!


Yes... it is true that many people assume that a flat or even tucked gore is 
wrong. And it is true that there are only a few of us out there that teach 
this alternative to the masses, but as you know education is a process... 
and I have faith that one day the balance will tip so that the "common 
wisdom" comes more in line with actual evidence. Until then, we keep 
teaching. 

But we have absolutely no reason to think that flat, sharp gore points were 
> valued, and what
> little data we have seems to suggest otherwise. 


This I would point out is arguable, mainly because we do have so little data 
to work with. We do know that longevity and wearability would be valued... 
so if someone was to use a non-flat topped gore, it would be to their 
benefit, and help the life of the garment to make that insertion to the best 
of their ability. 

but I typically hear the "razor-sharp gore point" presented as a quality of 
> accurate or well-made garb,


Well, it is a quality of well made clothing. If that is what you are going 
for. As to accuracy, I think we have a new question to investigate, just 
what type of gore/godet was used when?

I wouldn't be surprised, for instance, to find out that some judges at SCA 
> costume competitions would grade people down for gores with rounded tops or 
> slight pleats, under the assumption that it's badworkmanship. 


I agree with you, and again that would be the triumph of the modern 
aesthetic over the actual. But it could also be for a lack of knowledge... 
so we have another place to educate. 
Now this crosses over into a far broader topic... one that I've been 
starting to address at my lectures. The battle between the modern aesthetic 
and period construction. It's been an interesting area of research. 

> "this is good sewing technique" without realizing that the garments *of 
> the period they're teaching* show no evidence of those methods (e.g. 
> gathered sleeve caps, French seam finishing, stay-stitching, facings, 
> pattern matching -- and other techniques that were valued in some periods 
> but not in others).



In this instance, and in many others, ISTM that if you approach the 
> construction of a garment using the materials and techniques available to 
> the person of the period you're reconstructing and consistent with the known 
> evidence, you're likely to come to different conclusions about what
> makes sense and what works well than you would if you use modern 
> techniques and materials.


I'll take this one step further. Working with accurate methods and materials 
does indeed give you a better understanding of the process. I highly 
recommend it. BUT you also need to approach the process with an open mind 
and without preconceptions. For example with needle and thread I can produce 
"sharp" gores and I have also produced rounded gores (a chemise) and Flat 
topped gores (the infamous Kielbasa dress), and pleated gores (a different 
chemise). It's not only about familiarity with the media, but working 
towards mastery. 
 
On that line, I've been thinking about the small pleat in the top of the St. 
> Louis shirt gore. There's no question that the shirt is well-made by a 
> person highly skilled at sewing, so I would assume the pleat is intentional. 
> I wonder if that slight pleating would make the gore wear better and work 
> better, because it would allow you to spread the body of the shirt a little 
> wider before encountering resistance at the stress point. If the gore is 
> perfectly flat, you can't open the angle of the slash quite as far (unless 
> you make the bottom of the gore correspondingly wider). 


With a flat gore, if you need to allow for a sizable amount expansion over a 
> short vertical distance from waist to hip, you need to make a fairly wide 
> angle, which commits you to a certain degree of width at the bottom. Making 
> the top of the gore a little flatter and wider, and taking up that excess 
> width in a small pleat, lets you get the sides of the finished gore further 
> apart in those top few inches without as much stress, and without requiring 
> more width at the bottom.
> 
> Something else to try in an experiment...


Interesting thinking. I'll be interested to see the findings from your 
experiments. Please do let us know. Meanwhile I'll do a bit of looking into 
the gore/godet timeline. 

-- Mari / Bridgette
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Subject: [h-cost] Kimono styles (was: Sari ... Victorian)
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At 01:51 PM 8/31/2005, Kimiko wrote:
>>The shinto wedding kimono is pure white (shiromoku = pure white).

>When did Japanese wedding gowns become pure white? Or is it Shinto only? My
>mom was Buddhist, not Shinto.

When?  I dont know. Presently in Tokyo, some women do as many as 4
outfits for a wedding, uchikake or tomosode formal kimono with mon
(family crest), another in pure white for the shinto ceremony, a
western gown and a suit or dress for leaving the festivities.  That's
4, all for the same bride, same wedding. Zowie.

>My mother's wedding kimono is dark, almost black IIRC, both in her wedding
photos and what I remember when she wore it when I was a child for a
fashion show on wedding gowns. I have yet to go through all her kimono
stash in her house (I just found a pretty one for her funeral near the
top), but I will this fall as I inventory everything. She had two large
metal chests holding everything.

Sounds like the mostly black one is a formal tomosode. (B/W only, is
for attending funerals IIRC; mostly black w/ splash of color is for
other formal, yet serious events.) I hesitate to respond further given
that you've got the cultural & ethnic background. I do not. I merely
lived there.  My sympathies on your recent(?) loss.

--cin
Cynthia Barnes
CinBarnes@gmail.com

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Subject: [h-cost] Skirt question
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Status: RO

Hello all!

I'm wanting to make a skirt that looks like this one:
http://ursus.smugmug.com/photos/33402851-L.jpg
http://www.folkwear.com/120.html

but I'm thinking it's kinda silly to buy a pattern for something that is
essentially a series of strips of fabric, and I want mine to be much fuller
than most of the commercial patterns look, as this will be used for a dance
costume of the same style as the top picture.

What I am wondering is if there is a formula for construction, such as:
first strip is x long, second strip is double x, third strip is three or
four x. (if that makes sense?) Once I have that, then I can figure out my
yardage.

Any input is appreciated. :-)

Sheridan


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

Ogden Nash


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From: Marie Stewart <maricelt@gmail.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Skirt question
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Quick and dirty summary... Circle skirt with length to the bottom of your 
tush, waist opening "a little" larger than you need. Gather gently into a 
waistband... or elastic. Measure the bottom circumference of the first 
level. Multiply this by 2, 2.5, or 3 depending on how much gather you want. 
Write down this number for future reference, call it layer 2. Cut your strip 
for layer 2 to the length you need, gather it onto your first level. Use the 
number for Layer 2 multiply this by 2, 2.5, or 3 depending on how much 
gather you want. Repeat.... 


> I'm wanting to make a skirt that looks like this one:
> http://ursus.smugmug.com/photos/33402851-L.jpg
> http://www.folkwear.com/120.html
> 
>
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Date: Thu, 1 Sep 2005 10:49:00 -0700 (PDT)
Subject: Re: [h-cost] Skirt question
From: "Diana Habra" <dch@inreach.com>
To: "Historical Costume" <h-costume@indra.com>
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> Hello all!
>
> I'm wanting to make a skirt that looks like this one:
> http://ursus.smugmug.com/photos/33402851-L.jpg
> http://www.folkwear.com/120.html
>
> but I'm thinking it's kinda silly to buy a pattern for something that is
> essentially a series of strips of fabric, and I want mine to be much
> fuller
> than most of the commercial patterns look, as this will be used for a
> dance
> costume of the same style as the top picture.
>
> What I am wondering is if there is a formula for construction, such as:
> first strip is x long, second strip is double x, third strip is three or
> four x. (if that makes sense?) Once I have that, then I can figure out my
> yardage.
>
> Any input is appreciated. :-)
>
> Sheridan

Sheridan,

I don't have a formula for you, but you may want to invest in a gathering
or pleating foot for your machine.  I am a purist and never thought to get
a pleating foot or anything like that until my friend got a new version of
my machine and I saw her catalog of additional options.

Well, I went and bought a pleating foot and it is so awesome!!  Once you
learn how to thread it, it will make even pleats in a fraction of the time
(and frustration) it would normally take.  I assume a gathering foot would
be the same for your project!

Good luck!

Diana

www.RenaissanceFabrics.net
"Everything for the Costumer"

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From h-costume-bounces@indra.com  Thu Sep  1 13:52:08 2005
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From: "Jennifer / Guenievre" <generys@blazemail.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Skirt question
Date: Thu, 1 Sep 2005 13:48:15 -0400
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Status: RO

Hmm, now I'm thinking about making myself one of these for "normal" wear.
Sewing question, though - wouldn't it be easier to gather from the bottom
up? As in start with Tier 3 (or 4, depending on the skirt), gather that onto
the next tier up, which then gets gathered onto the next tier up - seems
like that way you wouldn't be trying to sew onto something that was already
trying to fall into ruffles/gathers...

Guenièvre 

> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
> Behalf Of Marie Stewart
> Sent: Thursday, September 01, 2005 1:41 PM
> To: Historical Costume
> Subject: Re: [h-cost] Skirt question
> 
> Quick and dirty summary... Circle skirt with length to the bottom of your
> tush, waist opening "a little" larger than you need. Gather gently into a
> waistband... or elastic. Measure the bottom circumference of the first
> level. Multiply this by 2, 2.5, or 3 depending on how much gather you
> want.
> Write down this number for future reference, call it layer 2. Cut your
> strip
> for layer 2 to the length you need, gather it onto your first level. Use
> the
> number for Layer 2 multiply this by 2, 2.5, or 3 depending on how much
> gather you want. Repeat....
> 
> 
> > I'm wanting to make a skirt that looks like this one:
> > http://ursus.smugmug.com/photos/33402851-L.jpg
> > http://www.folkwear.com/120.html
> >
> >
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume


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Subject: [h-cost] Great News!!!!!
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Status: RO

Thank you to ALL of your for your prayers, thoughts, and money sent to charities for the Hurricane victims.

I spent three days on the phone with no sleep. I finally slept yesterday for 10 hours and still going strong.  I have several great news to tell you but this one great part is so wonderful I am sending it in a message on its own.  Please feel free to pass this one along to others to let them know there is hope.

We thought my mom had lost her home because it was on the beach in 
Biloxi.  But read what we found out today.  Print off this message and then 
go to an image I put on the web at: www.costumegallery.com/momshouse.jpg  If 
you are in IE browser, go to the lower right corner and some arrows will 
appear.  Click on them.

Look at the photo and read the rest of my message.

We have been able to go on the NOAA's website www.noaa.gov .  They have 
excellent aerial photos of all the houses and streets. The photos have been 
taken since the hurricane hit the Mississippi Gulf Coast. Look at the photo 
on my website.  I downloaded it from the NOAA website and labeled it for 
you.  We found my mom's house which is located close it the beach in Biloxi 
on the photos and can see that it is still standing.  I drew a red circle 
around mom's house.  A very old large stone hotel that was a block wide on 
the beach stopped the water from coming up to my mom's house.  I drew a red 
square around hotel.  This hotel saved all but the first two houses on Mom's 
street from getting damaged.  It blocked the water.  Funny the hotel hasn't 
been used in years, until this hurricane.  Maybe they should use it in the 
levees in New Orleans.  My mom's house is (not was) just outside the main 
gate to Keesler Air Force base.  The Old Historic Biloxi Cemetery is just 
behind my Mom's house and 3/4 of it was not destroyed.  BTW, my mom's house 
is about a half mile east from where the apartments with all the bodies that 
was first announced on the news.

It is so funny, a man bought that old hotel and gutted one part of it, but 
left the part facing the beach in tack.  He ran out of money, and quit work 
on it.  The city wanted to tear it down.  But the coastal residents fussed 
so much that the city didn't tear it down.   A lot of memories were in that 
hotel from the Biloxi citizens.

The irony of the hotel... my husband and I went disco dancing in their 
ballroom when we were dating 30 years ago.  My sister met her first husband 
dancing in the hotel's ballroom.

Thanks again, for listening.  With all the bad news coming our of the 
Hurricane damaged areas, I thought you might wanted to hear some good news.

I have more good news that I will send it in another message.
 
Penny E. Ladnier
Owner,
The Costume Gallery, www.costumegallery.com
Costume Classroom, www.costumeclassroom.com
Costume Research Library, www.costumelibrary.com
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Subject: [h-cost] Broomstick skirts
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If anyone wants to _buy_ broomstick skirts (rather than make them) right 
now they are all over eBay for prices ranging from $10 to $40, the 
average being about $20.  A search for "boho* skirts" (the * is to pick 
up both "boho" and "bohemian"), "gypsy skirts," "hippie skirts," or even 
"broomstick skirts" yields dozens and dozens of listings.  I've been 
stocking up on them in all my favorite colors.  My favorites are the 
plain fabric ones with gradient/dip dye/ombre.  But there's a ton of 
calico print ones out there too (which I don't like, but lots of people do).

Fran
Lavolta Press
http://www.lavoltapress.com
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From: Marie Stewart <maricelt@gmail.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Great News!!!!!
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Dear Penny... This is surely one Blessing. I'm so happy for you. And I hope 
many more are coming in the days ahead. Sounds to me like that Hotel was put 
there for a reason... and maybe it's work isn't done yet. 

Thank you for sharing this joyous news with us. It helps. 
::hugs:: 
Mari / Bridgette

It is so funny, a man bought that old hotel and gutted one part of it, but
> left the part facing the beach in tack. He ran out of money, and quit work
> on it. The city wanted to tear it down. But the coastal residents fussed
> so much that the city didn't tear it down. A lot of memories were in that
> hotel from the Biloxi citizens.
> 
> The irony of the hotel... my husband and I went disco dancing in their
> ballroom when we were dating 30 years ago. My sister met her first husband
> dancing in the hotel's ballroom.
> 
>
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From: Irmgart <irmgart@gmail.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Skirt question
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Try this:
http://www.annabella.net/skirt.html

-Irmgart (they also have a *fabulous* choli top pattern...not H-cost, but 
it's *incredible* and is even supportive for my size 44DDD chest)

-Irmgart

On 9/1/05, Diana Habra <dch@inreach.com> wrote:
> 
> 
> > Hello all!
> >
> > I'm wanting to make a skirt that looks like this one:
> > http://ursus.smugmug.com/photos/33402851-L.jpg
> > http://www.folkwear.com/120.html
> >
> > but I'm thinking it's kinda silly to buy a pattern for something that is
> > essentially a series of strips of fabric, and I want mine to be much
> > fuller
> > than most of the commercial patterns look, as this will be used for a
> > dance
> > costume of the same style as the top picture.
> >
> > What I am wondering is if there is a formula for construction, such as:
> > first strip is x long, second strip is double x, third strip is three or
> > four x. (if that makes sense?) Once I have that, then I can figure out 
> my
> > yardage.
> >
> > Any input is appreciated. :-)
> >
> > Sheridan
> 
> Sheridan,
> 
> I don't have a formula for you, but you may want to invest in a gathering
> or pleating foot for your machine. I am a purist and never thought to get
> a pleating foot or anything like that until my friend got a new version of
> my machine and I saw her catalog of additional options.
> 
> Well, I went and bought a pleating foot and it is so awesome!! Once you
> learn how to thread it, it will make even pleats in a fraction of the time
> (and frustration) it would normally take. I assume a gathering foot would
> be the same for your project!
> 
> Good luck!
> 
> Diana
> 
> www.RenaissanceFabrics.net <http://www.RenaissanceFabrics.net>
> "Everything for the Costumer"
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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>
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From: Lynn Downward <lynndownward@gmail.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Skirt question
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I made several of these skirts in the 70s when they were first (?)
popular from a Vogue pattern. I don't know the formula for the
gatherings, but I DO remember that each tier was wider than the one
above it to give a nicer proportion - not by much, maybe 1-3" - but
definitely wider. Maybe tier 2 was +1", tier 3 was +2", tier 4 was
+3".... This would probably depend on how tall/round you are and how
much your fabric would drape.
LynnD

On 9/1/05, Jennifer / Guenievre <generys@blazemail.com> wrote:
> Hmm, now I'm thinking about making myself one of these for "normal" wear.
> Sewing question, though - wouldn't it be easier to gather from the bottom
> up? As in start with Tier 3 (or 4, depending on the skirt), gather that onto
> the next tier up, which then gets gathered onto the next tier up - seems
> like that way you wouldn't be trying to sew onto something that was already
> trying to fall into ruffles/gathers...
> 
> Guenièvre
> 
> > -----Original Message-----
> > From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
> > Behalf Of Marie Stewart
> > Sent: Thursday, September 01, 2005 1:41 PM
> > To: Historical Costume
> > Subject: Re: [h-cost] Skirt question
> >
> > Quick and dirty summary... Circle skirt with length to the bottom of your
> > tush, waist opening "a little" larger than you need. Gather gently into a
> > waistband... or elastic. Measure the bottom circumference of the first
> > level. Multiply this by 2, 2.5, or 3 depending on how much gather you
> > want.
> > Write down this number for future reference, call it layer 2. Cut your
> > strip
> > for layer 2 to the length you need, gather it onto your first level. Use
> > the
> > number for Layer 2 multiply this by 2, 2.5, or 3 depending on how much
> > gather you want. Repeat....
> >
> >
> > > I'm wanting to make a skirt that looks like this one:
> > > http://ursus.smugmug.com/photos/33402851-L.jpg
> > > http://www.folkwear.com/120.html
> > >
> > >
> > _______________________________________________
> > h-costume mailing list
> > h-costume@mail.indra.com
> > http://mail.indra.com/mailman/listinfo/h-costume
> 
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>

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From: Chris <emeraldepona@yahoo.com>
Subject: Re: [h-cost] Great News!!!!!
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Oh Penny that is WONDERFUL NEWS!!!  I am so happy for you and your family!  I will keep praying the rest of the news is as good.
 
ALL the best,
 
Chris G.

Penny Ladnier <penny@costumegallery.com> wrote:
Thank you to ALL of your for your prayers, thoughts, and money sent to charities for the Hurricane victims.

I spent three days on the phone with no sleep. I finally slept yesterday for 10 hours and still going strong. I have several great news to tell you but this one great part is so wonderful I am sending it in a message on its own. Please feel free to pass this one along to others to let them know there is hope.

We thought my mom had lost her home because it was on the beach in 
Biloxi. But read what we found out today. Print off this message and then 
go to an image I put on the web at: www.costumegallery.com/momshouse.jpg If 
you are in IE browser, go to the lower right corner and some arrows will 
appear. Click on them.

Look at the photo and read the rest of my message.

We have been able to go on the NOAA's website www.noaa.gov . They have 
excellent aerial photos of all the houses and streets. The photos have been 
taken since the hurricane hit the Mississippi Gulf Coast. 
__________________________________________________
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Actually from the look on the dancer on the left, the length of the circle
skirt is to the knee, then three tiers. But you need to think of your height
as to were the best placement of the hem of the circle skirt. Then add your
3 tiers. Marie's instructions for the tiers are good.
It is best to work top to bottom on your first skirt so that you can get the
proper length and division of bands for your height. If you are petite then
you want short to medium band widths. Tall, wide widths, etc. Exception is
if you are coordinating with a group, then a the best width that compliments
all of you.
Once you have the measurements and working pattern, it won't matter whether
you sew the pieces from the bottom up or top down.

De


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

Quick and dirty summary... Circle skirt with length to the bottom of your
tush,


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>From my understanding, the white outfit which is for the ceremony is symbol
for death. It symbolizes the end of one life (with biological family) and
the being of a new life (rebirth with husband) I believe that the white is
Shinto specific but I could be wrong.
I know that white for the ceremonial outfit goes back to at least the 1930s.

De

-----Original Message-----
At 01:51 PM 8/31/2005, Kimiko wrote:
>>The shinto wedding kimono is pure white (shiromoku = pure white).

>When did Japanese wedding gowns become pure white? Or is it Shinto only? My
>mom was Buddhist, not Shinto.

When?  I dont know. Presently in Tokyo, some women do as many as 4
outfits for a wedding, uchikake or tomosode formal kimono with mon
(family crest), another in pure white for the shinto ceremony, a
western gown and a suit or dress for leaving the festivities.  That's
4, all for the same bride, same wedding. Zowie.

Sounds like the mostly black one is a formal tomosode. (B/W only, is
for attending funerals IIRC; mostly black w/ splash of color is for
other formal, yet serious events.) I hesitate to respond further given
that you've got the cultural & ethnic background. I do not. I merely
lived there.  My sympathies on your recent(?) loss.

--cin
Cynthia Barnes
CinBarnes@gmail.com


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Shane & Sheridan wrote:


> What I am wondering is if there is a formula for construction, such as:
> first strip is x long, second strip is double x, third strip is three or
> four x. (if that makes sense?) Once I have that, then I can figure out my
> yardage.

I make these for people all the time. You can put as much fabric into 
them as you want, depending on how well the fabric gathers. Thinner 
fabric gets you more ruffles, but also takes more yardage because it 
gathers so well.

Start with your waist measurement, double that for the first tier. 
Double that for the 2nd, double that for the third. That will get you 
approximately what will fit in each tier, as it's going to vary 
according to how the fabric gathers. I make each tier from 12-15" 
depending on the height of the wearer. If the skirt sits on your hips 
you need much less length to dance with and not trip in it.

I use at minimum 3 yards (quilt cotton), up to 5 (gauze) or sometimes 
more depending on the fabric.  I have tried using a circle for the 
topmost tier and found that it stretched badly on the bias when 
completed, giving me a very uneven hem.

I second getting a ruffler. I cut and join strips and then feed them 
through by the mile in mere minutes.



Dawn


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Subject: [h-cost] Coastal news: Part 3
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My brother #3 who owns a business in Biloxi about a mile or so from my mother's house... we saw on the NOAA website, that the building for his business is still standing.  He has owned this business for about 25 years.  Unfortunately he can't work until electricity is restored in Biloxi.  That will be a good while.  His owns an appliance repair business.  When the lights come back on I am sure he will be swamped with business.  He lost his home... a condo directly on the beach in Pass Christian.  Thankfully he had evacuated to Pensacola to a friend's house.  

My mom heard from my sister with M.S. yesterday.  She was the one who told us Mom's house was standing and we all thought she was crazy until today when we looked at the NOAA website.  

Tonight, my brother #4 in Hattiesburg is taking my mother to the fire station where he works, and have her call me.  I am in charge of talking her to fly to Virginia and stay with me until the electricity comes back on at her home...probably three months.  I am the only one in the family that she will listen to when Mom's go off the deep end emotionally.  She wants to go back now to her house which is impossible.  She has health problems and can't take the heat and will need more heart and blood pressure meds soon.  So pray for strength for me when talking with her tonight.

My #1 brother in Mobile does have electricity and water again, but they do not have gas in the city.  He can't run his trucks for his business because of the gas shortage.  They are all running so short of money because the banks are not open.  Mobile will hopefully be opening the banks tomorrow.  He is going to give cash to Brothers #3 and #4.  Yesterday, all these brothers meet in Mobile.  My mom, brother #4 and his wife saw on TV the new shows about the condition of the coast.  Everyone had a big long cry.  Because this was the third tropical system to come into the area, and the other two were not that bad, noone took that much cash out of the banks in advance.

Brother #1 vacation house on Dauphin Island got flooded but it stood its ground.  He had just finished restoring it from Hurricane Ivan from last year and it was hit again.  I asked him the stupid question that the press asked, "Why do you keep living in an area where so many hurricanes hit?" I also told him that was the press' question not mine.  I know the reason.  Because the Coast is my home, I love the water, fishing, and swimming.  My family is here, it is home.  There is a blessing with this home... when you see the news footage of the island and see an oil rig that hit the island, my brother house is the one still standing next to the rig.  This brother was a Navy Seal.

Brother #2 made it in from Africa from the oil rigs, and my sister's husband made it in from the rigs in the Gulf of Mexico.  My brother and sister are married to a brother and sister.  The oil rigs guys are in Monroe, Louisiana and are coming to the Coast this weekend to pick up my M.S. sister and her children to go back to Monroe.

My husband's family in Bayou La Batre, Alabama house were all flooded.  But everyone is safe.  Our family joke, Bayou La Batre is where in the movie Forrest Gump went to start his shrimp boat business.  Our cousin Bubba did own a shrimp boat business in Bayou La Batre until Hurricane Frederick wiped the business out in the 1980s.  This whole community is a fishing community.

Susan, my asst. who is married to one of my husband's cousins, lives near Bayou La Batre.  She has phone service and water, but no electricity.  She went to Bayou La Batre and gave us a report.  

Our relatives in Slidell and Pearl River, Louisiana lost their homes.  But they are safe in Northern Mississippi.

I think I covered everyone in the family.  BTW, the MS Coast newspaper said that several of the antebellum homes in Pass Christian did survive. (The ones in my online photo collection.)  The new homes did not.  Some history of the Coast does live on!!!   

People have asked me what can they do to help.  Please keep praying for the people of this area of our country.  Volunteer for one of the charity agencies or donate money.  You can answer phones, pack kits, load trucks, etc.  Go by and say thank you to some of the corporations that are sending massive amounts of aid.  Some are Wal-Mart, Home Depot, Food Lion, etc.  Make a point to talk to the manager of the store and let him know that you appreciate their corporation's charity.  I went to Food Lion grocery this morning and personally thanked the manager and asked that he let the corporate offices know how much we appreciate their efforts.  The manager told me they hardly ever have people outside the affected areas tell them thank you.  Food Lion stores are not located in the Mississippi Gulf Coastal area.  But they were one of the first corporations to rush supplies to the Coast.  Thank the citizens of states like Alabama and Texas who are taking the children into their schools until Mississippi and Louisiana can rebuild their schools.  That is a lot of tax money to do put out.  Thank the family members of the police, search and rescue, military, electric and phone specialists, etc. from all over the U.S. who are going into the Coast. Their families need to hear thank you.  

I personally thank all of you for the hundreds of emails you have sent me.  I have read all of them and found them very comforting.  I have told all of our family members that you all have offered your prayers and support.  
 
Penny E. Ladnier
Owner,
The Costume Gallery, www.costumegallery.com
Costume Classroom, www.costumeclassroom.com
Costume Research Library, www.costumelibrary.com
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Subject: [h-cost] Literary fashion (humor)
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I found these amusing:

http://www.geist.com/comix/comix.php?id=15
http://www.geist.com/comix/comix.php?id=3

--Robin

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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Literary fashion (humor)
Date: Thu, 1 Sep 2005 23:32:42 -0400
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On Thursday 01 September 2005 8:20 pm, Robin Netherton wrote:
> I found these amusing:
>
> http://www.geist.com/comix/comix.php?id=15
> http://www.geist.com/comix/comix.php?id=3

I love it!  Better quality of information than (some) serious costume 
histories.  Thanks!


-- 
Cathy Raymond <cathy@thyrsus.com>

"So what if the universe is a pointless mass of hydrogen refuse powered by
entropy.  I'm spreading ketchup on a rubber duck, and after that I'm going
to brush its teeth.  So there."-- Rob Landley 
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From: "Elizabeth Walpole" <ewalpole@tpg.com.au>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] Re:storm prayers
Date: Fri, 2 Sep 2005 20:53:58 +1000
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----- Original Message ----- 
From: "Lynn Downward" <lynndownward@gmail.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, September 01, 2005 5:33 AM
Subject: Re: [h-cost] Re:storm prayers


> I agree, but I think we should wait a month or so until these
> communities get back on their feet and have places to live, let alone
> start a stash of fabric and such.
>
<SNIP> LynnD
>
> On 8/31/05, elena_o_tighearnaigh@comcast.net
> <elena_o_tighearnaigh@comcast.net> wrote:
> > Penny,
> >
> > I love the idea of helping with rebuilding stashes and such.  May I send
some as well?
<SNIP>

For those who would like to give their stash to SCA members a yahoo group
has been set up to help organise and coordinate donations of garb & gear
once our friends and family are ready to resume their SCA life:
http://groups.yahoo.com/group/SCA-BackToNormal/
Or if you'd rather give it to somebody who does a different time period or a
school (as Penny suggested) You'll have to do a web search.
Elizabeth
--------------------------------------------
Elizabeth Walpole
Canberra Australia
ewalpole[at]tpg.com.au
http://au.geocities.com/e_walpole/

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In a message dated 9/2/2005 7:01:56 A.M. Eastern Standard Time,  
ewalpole@tpg.com.au writes:

I agree,  but I think we should wait a month or so until these
> communities get  back on their feet and have places to live, let alone
> start a stash of  fabric and such.
>



Yes, the need right now, and for some time to come, is cash to pay for food  
and such, to the established organizations working in the region.
 
Ann Wass
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In a message dated 9/1/2005 1:51:29 PM Eastern Standard Time, 
generys@blazemail.com writes:

> gather that onto
> the next tier up, which then gets gathered onto the next tier up - seems
> like that way you wouldn't be trying to sew onto something that was already
> trying to fall into ruffles/gathers...
> 

Well, since the small bit of fabric under the presser foot is all you need to 
really worry about when sewing, I don't know that either way is easier. But 
starting at the bottom as you suggest does mean you're sewing shorter distances 
as bulk increases. This sounds good.
If you're slow and careful, you can skip gathering threads and such but 
carefully putting in little tucks as the ruffle goes under the presser foot. Keep 
it neat!

Have fun!
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Subject: [h-cost] fabric sale
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Among other things, Joann's has its muslin on sale for 50% off over the 
Labor Day holiday weekend.



Dawn


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Subject: Re: [h-cost] Re:storm prayers
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Here is a site if you can offer housing to displaced people:
http://www.hurricanehousing.org/

Also I'm on a museum list where they mentioned that people can volunteer
with the Red Cross.  It may be work such as collecting donations in one's
own area.

At some point, cultural institutions may need volunteers to assess damage
to collections, etc.  If anything is costume related, hopefully people
will post it to the list.

     -Carol


> Yes, the need right now, and for some time to come, is cash to pay for
> food and such, to the established organizations working in the region.
>
> Ann Wass


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Subject: Re: [h-cost] More  Coastal News
Date: Fri, 2 Sep 2005 12:42:13 -0500
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As of yesterday evening, I wasn't able to call north MS either (Oxford), so 
anyone trying to contact family further north might want to try the text 
message trick as well.

-E House

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From: Marie Stewart <maricelt@gmail.com>
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Subject: Re: [h-cost] More Coastal News
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Penny - Thank you for this information.  I've forwarded it to some
other lists.  Thanks again.  And congrats on finding your family.  ;> 
 Bridgette

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I am shocked down into my privacy and dont know how i can say this.
I thoaght America was such a rich comunity, you know big houses, dogs at 
least two cars and overweight people.
Now i see in the television that poor people lives in USA two.
Well Well what can a poor soul in Denmark do except say to you all:
Never, never again ellect such a poor president as Bushes..................
Hail Freedom  of America and all its poor inhabitants.
And may God be with you alllll.......................... 


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I actually did a radio interview for the Red Cross about this topic this morning.

As of yesterday at  6:00 pm, we had heard from all of our family members but my husband's brother and sister and their collective six children.  They decided to stayed in the Northern part of Gulfport during the hurricane.   We were watching the Weather Channel and giving them and my brother in Hattiesburg updates as to what part of the storm was coming at them every 30 minutes.  When their electricity went out in the early morning and they didn't know that the eye of the hurricane was coming at them.  They thought it was going to New Orleans.  The last we had heard from either of them was at 11:00 Monday just before the worse part of the hurricane hit.  Water was coming into my brother-in-law's garage at the times and they had lost nine trees at the time.

My brother-in-law who is in management at MCI, told us last night that you can text message people with cell phones in Mississippi, and ask them to call you. You don't have to have MCI service to do this.  Anyone with text message reception can do this.  We texted a message and my brother-in-law called us in minutes.  The Gulf Coast Mississippians can receive text messages but not phone calls.  BUT they can call out!!!  Most of the people in South Mississippi do not know they can phone out until you tell them.  They can't call the area code for South Mississippi, 228, but can call anywhere else in the country.  My brother-in-law and his family are safe in their home.  They have food and a neighbor with a well is giving them water.  My sister-in-law  who lives in downtown Gulfport went back to their home Wednesday.  We text messaged her and she called us in 10 minutes. Amazingly enough, her house was my husband's families home since 1920, is standing strong and took no damage.  This home was built by my husband's father and his grandfather.  The house is located about 8 blocks from the beach in Gulfport, where all the reporters are reporting from.  

We have now heard from ALL of our family members.  Some family members have lost their homes and/or jobs.  But they are not standing on standing on roof-tops waiting to be rescued.  What most people need on the Coast is water, gas, and ice.  They also need cash because the banks or either in rubble or don't have electricity.  Debit and check cards do not work because the electricity is out.   My diabetic sister-in-law in Gulfport paid $10 for a bag of ice to cool her insulin.  She said she couldn't stand in the lines @ 98 degree weather for hours to get a bag of ice at the free distribution centers.  They really need organization at these centers.  But they just don't have enough people to help.

Please let people know about the text messaging their family members in Mississippi.  It will relieve their minds when their family calls back.  It also give the people in Mississippi that we have not forgotten about them and that they are not cut off from the world.  Just before we found out about the text messaging, we were planning to drive to Mississippi to get our families to bring back to Virginia.  

Penny E. Ladnier
Owner,
The Costume Gallery, www.costumegallery.com
Costume Classroom, www.costumeclassroom.com
Costume Research Library, www.costumelibrary.com
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Bjarne, I think there are a lot of us who are as deeply shocked as you.  
I also think that Americans are a spoiled lot, myself included, and that 
many of us cannot fathom (again, myself included)  the reality of this 
kind of disaster.  We are all so used to just seeing it on TV and it is 
always "over there."  While I did not vote for President Bush, I don't 
think this has a whole lot to do with him.  Having run emergency drills 
on a MUCH smaller scale (on a navy ships and at  nuclear power plants) 
and seen how much can go awry   in even the smallest setting with much 
planning, it does not surprise me ,in the least, that America is still 
very unprepared for much of any kind of disaster.  This will be yet 
another hard lesson for us to absorb and respond to.  I am not suffering 
here in Arizona, so it is very easy for me to sit back and say "That 
which does not kill us makes us stronger," so I too, send out hope and 
prayers to those who are suffering so much.

Sg


Bjarne og Leif Drews wrote:

> I am shocked down into my privacy and dont know how i can say this.
> .............................
> And may God be with you alllll..........................
>
> _______________________________________________
>

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Subject: [h-cost] children's sizes
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I'm trying to make some simple Halloween costumes to sell on ebay to 
supplement my already too small income.  I know they need to be simple 
because people don't generally pay much on ebay, so I'm using up old 
fabric scraps.  I have run into a problem already with sizing.  i was 
using a Burda pattern and its sizes seem to be quite different than 
those of the big 3 American pattern companies.  It's been a long time 
since I had a young child so I was wondering if any of you with small 
girls or boys would mind giving me their chest, waist and hip 
measurements along with their height.  A measurement from waist to 
floor would help too.  And let me know their age and gender. I think I 
am going to make stuff for about ages 1-11.  If I get enough responses, 
I can figure out averages.

Thanking you all in advance,
Syrog (Sylvia Rognstad)

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From: Joan Jurancich <joanmj@surewest.net>
Subject: Re: [h-cost] children's sizes
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At 01:27 PM 9/2/2005, you wrote:
>I'm trying to make some simple Halloween costumes to sell on ebay to 
>supplement my already too small income.  I know they need to be 
>simple because people don't generally pay much on ebay, so I'm using 
>up old fabric scraps.  I have run into a problem already with 
>sizing.  i was using a Burda pattern and its sizes seem to be quite 
>different than those of the big 3 American pattern companies.  It's 
>been a long time since I had a young child so I was wondering if any 
>of you with small girls or boys would mind giving me their chest, 
>waist and hip measurements along with their height.  A measurement 
>from waist to floor would help too.  And let me know their age and 
>gender. I think I am going to make stuff for about ages 1-11.  If I 
>get enough responses, I can figure out averages.
>
>Thanking you all in advance,
>Syrog (Sylvia Rognstad)
  Sylvia,
Have you considered going to the web sites of the major pattern 
companies and checking their measurements?  That would give you a 
better way to let your buyers know about sizes since they are already 
accustomed to those.  Or you could check on the sites for some 
clothing companies, like L. L. Bean; they usually have charts showing 
measurements for sizing.


Joan Jurancich
joanmj@surewest.net 

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From: Sylvia Rognstad <sylvia@ntw.net>
Subject: Re: [h-cost] children's sizes
Date: Fri, 2 Sep 2005 16:00:11 -0600
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The problem is that I compared the sizes for a Burda pattern I have 
with one from one of the big 3 and they were totally different.  I want 
to use the Burda pattern but am confused by the discrepancies.

Sylrog

On Sep 2, 2005, at 3:07 PM, Joan Jurancich wrote:

> At 01:27 PM 9/2/2005, you wrote:
>> I'm trying to make some simple Halloween costumes to sell on ebay to 
>> supplement my already too small income.  I know they need to be 
>> simple because people don't generally pay much on ebay, so I'm using 
>> up old fabric scraps.  I have run into a problem already with sizing. 
>>  i was using a Burda pattern and its sizes seem to be quite different 
>> than those of the big 3 American pattern companies.  It's been a long 
>> time since I had a young child so I was wondering if any of you with 
>> small girls or boys would mind giving me their chest, waist and hip 
>> measurements along with their height.  A measurement from waist to 
>> floor would help too.  And let me know their age and gender. I think 
>> I am going to make stuff for about ages 1-11.  If I get enough 
>> responses, I can figure out averages.
>>
>> Thanking you all in advance,
>> Syrog (Sylvia Rognstad)
>  Sylvia,
> Have you considered going to the web sites of the major pattern 
> companies and checking their measurements?  That would give you a 
> better way to let your buyers know about sizes since they are already 
> accustomed to those.  Or you could check on the sites for some 
> clothing companies, like L. L. Bean; they usually have charts showing 
> measurements for sizing.
>
>
> Joan Jurancich
> joanmj@surewest.net
> _______________________________________________
> 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 - To the People of Gleann Abhann and the SCA
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Bjarne,  This might give you an even better idea of what the US is all
about, even when we are stripped down to the essentials.  The Coronation may
seem trivial, but the determination to make it happen isn't.  Sort of like
the Danish Crown not giving up when the Nazi's poured over your borders.
Not a natural disaster, but close enough for government work.

Regina
-----Original Message-----
From: SCA-Disaster@yahoogroups.com [mailto:SCA-Disaster@yahoogroups.com]On
Behalf Of Susan B. Farmer
Sent: Friday, September 02, 2005 3:02 PM
To: SCA-Disaster@yahoogroups.com
Subject: [SCA-Disaster] [VR] Fwd: [Gleann Abhann] To the People of Gleann
Abhann and theSCA



Greetings from Radu and Broinnfinn, Lord and Lady Heir of Gleann
Abhann,

First and foremost, we wish to offer our deepest thanks to the
overwhelming offers of aid to ourselves personally, to all of our
friends and family affected by this disaster, and to our Principality.
We have been touched to tears by the concerns of mere acquaintances
and total strangers.  We also offer profound thanks to Their Majesties
of Meridies and the Meridian Seneschal for coordinating relief efforts
to those members of the SCA in the affected areas.

As has been posted on our behalf, our ability to communicate has been
somewhat limited. We can call out by cell, but nobody can call in to
us.  We have internet access only by invading the houses of others.
We are grateful to the Principality Officers and the members of our
personal household who have taken our dropped reins and have been
coordinating our concerns.  If you do not receive quick responses to
our emails, please give us time.  Somebody WILL get back with you.  We
apologize that our situation has prevented us from being the kind of
Kingdom Leaders we wish to be.

We will briefly outline our situation.  One block from our home, which
we built less than four years ago, a neighbor was rescued by boat from
his second story. Our house took on over eight feet of water and is a
total loss.  Our truck, which was left behind in the evacuation,
cannot be seen at all on reconnaissance photos of the area.  The house
and all of our contents is a complete loss, and we, and our 2-month
old son are homeless.  Our places of employment are unable to function
for many months. We cannot get home to salvage what little we have
left because we have been unable to get gasoline in Jackson, MS.

We tell you this, not to be self-centered, but to put a face on this
enormous tragedy.  There are thousands of people just like us - they
have not only lost their homes, but their entire city and livelihood.
We have discovered, through this tragedy, our enormous good fortune.
Our lifelong involvement in the Society has given us a safety net of
people that we never truly appreciated until this moment.  There are
many of those thousands who are far worse off than us.  Please
remember these souls as well - we meet them at everyplace we go in
Jackson.  You may not know them, and they may know nothing of us, but
we are united in this tragedy.  Her Ladyship found herself comforting
a sobbing girl in Target as she bought soap because she had lost her
home and job, and she had nowhere to turn.

In the light of this devastation, SCA matters seem trivial. But this
is far from the case.  When all else has been lost, we cling to those
things we still have - the slivers of normalcy and a life beyond the
loss.  Things like Gleann Abhann's First Coronation ARE important.
Because, when all the banners, crowns and thrones are stripped away,
when we stop addressing each other with funny titles, and go past that
we dress in funny clothes, what is left is a community of the most
generous and caring people that has ever existed.  This is a community
that deserves to be celebrated and recognized and cherished for the
concern and brotherhood that we have shared.

We are in communication (in fact, currently in the house of) the
Gleann Abhann Seneschal Master Stephan of Durham.  We are determined
that Gleann Abhann Coronation WILL occur as soon as we can make
alternative arrangements.  As Her Ladyship says - we will do it
barefoot in our shifts in a parking lot if necessary.  We thank those
who have assured us it will be more dignified than that!

Please keep tuned in for the final announcement of the Coronation
plans.  And we hope that the rest of the Known World will still come
and join us in both celebration and thanksgiving.

Radu and Broinnfinn
Lord and Lady Heir of Gleann Abhann





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Susan Farmer
sfarmer@goldsword.com
University of Tennessee
Department of Ecology and Evolutionary Biology
http://www.goldsword.com/sfarmer/Trillium/



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      Vehicle history  Common sense


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This is probably the only time I have ever written ANY message like this 
online.  But that message hits me close to home and I have to respond. 
Please forgive me for taking my white gloves off, and speaking my mind.  But 
this must be said.

A message for Susan an h-costumer lurker who lives the Gulf Coast of 
Alabama:

Quote:
"In sitting right in the middle of the disater area of the Gulf Coast I 
appreciate Bjarne's thoughtful and compassionate political advice.  Too bad, 
you don't have any compassion for the victims. It has really helped me get 
water, ice, and electricity in for my home. BTW, George Bush didn't make the 
hurricane. Nature did." Unquote.

She made me promise to write that. She is VERY, VERY hurt by your comment.

>From Me:

That message is very upsetting to me, and I and the others involved in this 
disaster would appreciate you NOT trying to make this situation into a 
political platform. H-costume is not a political platform list.  First, very 
few people on this list have lived in this area of the U.S.  Most people 
watching on TV do not truly understand the situation in this area.   The 
news networks want you to think is 100% fact for ratings.  They can not even 
say the names of the locations half the time correct.  Footage they are 
showing is named incorrect, etc.  They are jump-cutting parts of the aerial 
footage out of areas undamaged, etc.  As my brother-in-law, who works for 
Neilson Ratings in marketing, pointed out last night, these news networks 
started Saturday pulling marketing information and getting top dollar for 
advertising because they thought this would be that their big story.  Do you 
seeing any of these news networks giving money to the Red Cross or other 
charities to help these people.  No!  The only real reports of the areas 
came from Robin Roberts who entire family lives on the Gulf Coast. 
Yesterday when they were showing footage of Pass Christian did you see ANY 
images of those nice antebellum homes that survived? No!  They jump-cut the 
aerial footage of the entire area of where my mother's home was.  I know the 
areas of Southern Louisiana, Mississippi, and Alabama as well as I know my 
children. I lived there 21 years and ALL of our families still live there 
but 4 members.  My family and Susan have informed me of the majority of the 
places that survived and how much damage there is.  According to the news 
90% of everything is destroyed.  More has survived.  There are areas of all 
three states that are very low land.  Generally this is the area where the 
lower income people live because it is the property is cheap. New Orleans 
has the same problems that almost every city in the most of the world has. 
The lower income people are the majority of our present day inner cities. 
In Richmond, Virginia the majority of the people in the city earn lower 
incomes.  Just like Chicago, LA, DC, Detroit, etc.  We all have a prosperous 
areas of the city and less prosperous areas of the city.  NYC has had this 
problem since immigrants came to the country 200 years ago.  We had this 
discussion previously on this list about that some people think the people 
in the U.S. as all rich people in big 10,000+ sq. foot homes.  If you choose 
to believe what you see on TV or in magazines it is your choice.  But you 
probably also believe from every home or office window in Paris that you can 
see the Eiffel Tower or in London you can see Big Ben from every window. 
Hollywood wants you to think so.  The majority of Americans do not believe 
that.

Historically, Mississippi, Alabama, Louisiana, and Arkansas are the lowest 
income states in the U.S.  They are agricultural, and seafood, and oil 
producing states.  That is the main reason we have an oil shortage this 
week. The majority of oil refineries in the Coastal areas are down.  New 
Orleans, Gulfport, and Biloxi depend heavily on the tourism industry. Biloxi 
also depends heavily on business from the local Air Force base. 
Hattiesburg, 60 miles inland, where my brother lives, is a college town and 
depends on the railroad and chemical industries.  I heard one reporter say 
when reporting from where the Grand Casino is in the middle of the highway 
in Gulfport, that this was a poor area of town. This is actually a middle 
class area.  Those house are a nice size inside.  Our families were livid 
about that reporter's comment. The only low income area of the Mississippi 
Gulf Coast is the Point in Biloxi... where the Biloxi bridge collapsed, and 
the area just North of downtown Gulfport before I-10.  The majority of 
people on the Gulf Coastal areas live in houses with 1,500 -2,000 square 
feet. They work on oil rigs, tourism (like the Casinos), military bases, 
shipyards, or the seafood industry.  The Gulf Coast States supplies the 
majority of the oil drilling & refining (as you at the gas pumps found out 
this week), seafood, shipbuilding & restoration, and crystal white beaches 
for those who take vacations.  The cost of living in this area of the 
country is by far less than the majority of the U.S.  Compare a nice 2,000 
sq. foot home, for $60 to $75,000 for a middle income person on the Coast to 
those in California, Chicago, or Washington DC metros.  Probably about three 
to four times higher or more.  The majority of these Coastal homes were 
built in the 1920s when the tourism industry took off.  60 miles inland from 
these coastal areas, the cost of living is even cheaper.  This is where the 
agricultural counties are.  These counties/parishes supply the WORLD with 
cotton, beef, pork, rice, lumber, etc.  Gulfport, Mobile, and New Orleans 
are the ports for import and export for goods worldwide. Mobile's port will 
be the only one functioning until the others recover. Yes, you can expect 
the prices of these items to rise.  All railroad running east and west on 
the Gulf Coast have to be rebuild.  Tracks needs repairing and the majority 
of major railroad bridges are out.  Mississippi has been supplying the 
majority of the world with cotton for over 100 years. It is their number one 
cash crop.  As for oil production, I don't know anyone from the Coastal area 
who does not have a family member who not in the oil industry, either 
refining or on oil rigs.  These people who work on the rigs are gone from 
their families every other month and sitting on a rig in an Ocean around the 
world.  My brother has been on rigs for the past 30 years all over the 
world.  He has spent the past 10 years off the Coast of Africa next to 
war-torn countries and my brother-in-law works on rigs off of the coast of 
South America  just to bring the World oil and support his families.  Next 
time you use these any of these products think about these people from this 
Gulf Coast of the U.S. who have spent half their life devoted to bring the 
world oil and goods.  If you think they live so much in poverty, just write 
out a second check to: Gulf Coast Poverty Fund everytime you purchase 
gasoline, or something made of cotton, or enjoy shrimp, fish, or oysters 
dinners.  I will be very happy to personally manage the fund to give it to 
them.  The people who take the oil out of the water, on those hot on shrimp 
boats, or in the hot fields of the cotton fields are proud people, but I 
will make sure they get your money.

As for the some people in New Orleans misbehavior and the slow speed of 
response with supplies to the Coast:

Not all 20,000+ people in New Orleans were out looting.  Gulfport had very 
like looting.  Honey the last thing in this world I would do is mess with a 
Mississippi policeman.  The press found the looters.  This was a despite 
situation, people were hungry and thirsty.  I wouldn't begrudge anyone 
taking food or water for their families, but ATVs, big screen TVs, yes, I do 
have a problem with that.  New Orleans has been known for years as for 
having a high crime rate, and have been rebuilding their police dept. after 
years of corruption.

Everyone who lives on the Gulf of Mexico and the Atlantic Coast knows we are 
prone to hurricanes.  We had eight tropical systems in Richmond, Virginia 
last year.  That is the most it has ever had.  We generally receive a 
tropical storm ever other year.  I live 100 miles from the Atlantic coast. 
We ALL know that we might have to go a week or so without electricity water, 
food.  When it is hurricane season, we all know we need to be prepared with 
water saved up, non-perishable food, and hurricane lamps & candles for at 
least a week of survival.  Just like Richmonders know that when it turns 
winter in I should have these same things in the winter in case we get 
snowed in or have ice storms.  On our Coastal regions we all know when to 
evacuate.  The difference with this storm is that it grew very powerful in 
one day and that it turned at the last minute.  Some other factors: The two 
weeks I was on the Coast, a tropical storm hit, (no evacuation ordered), and 
a minor hurricane was coming into the area (we were in 8 hrs of evacuation 
traffic for this the day before the storm).  People had evacuated and the 
storm turned. So when Katrina moved into the Gulf, people were hesitant. 
Katrina is one of four of the most devitasting hurricanes that has hit the 
U.S. since records have been keep. It is going to take some time to 
co-ordinate the rescue and recovery.  Just remember that it has been 35 
years since the last major hurricane hit this area.  Most of the people who 
coordinated that effort are now senior citizens or have passed on.  I can 
speak for this from personal experience... my father was one of the 
Camille's Civil Defense coordinators. I have been through so many hurricanes 
and tropical storms in my life I can't even remember all of their names. 
There have been over 30 something hurricanes when I last counted.  Only one 
time in all of these storms any of my family members lost their home and 
that was from Hurricane Camille. And as you have seen we have a very large 
family.  Today's count, three of our family members have lost their home 
from this hurricane.

I think the problem is that people outside of North America view the U.S. 
according as to what you see on TV or in films.  Just remember, that is 
Hollywood's version is not the real thing.  We do not have a great mass 
transit system like England.  Our country is very large.  We have two cars 
because my husband drives 45 minutes one way to go to work and needs a 
vehicle.  My car is used to transport my living-at-home children to go their 
jobs in the opposite direction.  The Richmond metro does not have mass 
transit outside of the actual city limits. The majority of mid-size U.S. 
cities with suburbs are this way.  Small towns generally do not have mass 
transit at all, except if you want to count a Greyhound bus station.  Trains 
for the most part are used for the transport of goods, like coal, lumbers, 
oil, etc.

As for the flooding problems in N.O.  When you build a city on a marsh, it 
will flood.  "N.O. floods almost every time it rains... that's why they bury 
people above the ground."  New Orleanians say that all the time.  What the 
Press is not showing you are the parts of the city that did not flood... the 
original part of the city!  Flooding is a fact of life in N.O., just like 
living in the flood zone of Richmond, the BIG ONE (flood) will come on day. 
The Big One happened in N.O. this week.  The Big One happened in Richmond 
last year from a tropical storm in 2 hours and 11 inches of rain.  It wiped 
out a whole business district when it happened.  Sometimes unforeseen things 
happen, like in Richmond's flood last year a dam almost broke and places 
downstream were severely flooded.  The people who live in the fault line of 
California know the Big One will happen one day.

So should we not use the products and services from these areas to encourage 
them to move.  We seem to like all those fruits and vegetables we receive 
from Florida and California. Do we say tough luck and not help these people. 
No!  We are humans and we try to help those in need as much as possible. 
Just like we try to help people when earthquakes happen, volcanoes erupt, 
massive wildfires, droughts, etc.

BTW, in case you didn't read my original message in July about the website 
with the antebellums homes, I made it very clear to point out, these homes 
were an exception in the South and are a declared historic district.  That's 
why I have them on my website... they are historic.  99% people in the South 
do not live have big columned Plantation houses and strolling yards.  A good 
many of the modern homes do have porches.  Even my home built in 1978 is an 
exception with a 3/4 wrap-around porch.  I looked for months to find a house 
to purchase with a wrap-around porch.  I wanted one because it reminded me 
of the houses that face the beach in Pass Christian. But my columns, if you 
would call them that, are 6" X 6" boards. My porch is not a status system 
like the plantation style home but as functional as another room in our 
house.

Please be careful when you stereo-type people and cultures.  Don't judge 
people by what you see on TV and the movies.  The reason I have always loved 
to travel and study costumes, is because I love to find out how others live. 
Education teaches us all to respect one another.  That is why I am in the 
business I am in.  But if you jump in and insult people or cultures, you end 
up causing conflict and hurt feeling. We all live differently because of our 
history, cultures, climate, income levels, etc.  That is what makes us all 
so unique as a world.

BTW, there is nothing wrong about not being a lot of having money. The 
majority of people live paycheck to paycheck.  I have know a lot of people 
who have little money who are happier than those who have a lot.  "Poor" is 
a state of mind not how much money you make or where you live.  You can have 
all the money in the world and not be happy.

I was always taught to not condemn a person, before you way a mile in their 
shoes.  Bjarne please come out of the bubble and please walk a mile in 
someone's others shoes before condemning their lifestyles.

Penny E. Ladnier
Owner,
The Costume Gallery, www.costumegallery.com
Costume Classroom, www.costumeclassroom.com
Costume Research Library, www.costumelibrary.com

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According to one of my favorite books, in the year 1700 Indian silk and chintz (called chints) were banned from the English market because they were hurting domestic manufacturers. I don't think that means Indian fabrics were unheard of in the following century, or that they died out after the Regency period..

Carol Mitchell



Carol Mitchell listowner Costumemidwest www.yahoogroups.com/group/costumemidwest
		
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Hi folks...  I'm sorry to see that Bjarne is being insensitive again. 
I did not see what he wrote, and I have no desire to  -  I made a
policy some time ago to send all his posts to the trash unread.  I
hope he hasn't hurt anyone with his words. The last thing we need is
more pain and distress.

Hang in there all.  
Much love 
Mari / Bridgette

On 9/2/05, Wanda Pease <wandap@hevanet.com> wrote:
> Bjarne,  This might give you an even better idea of what the US is all
> about, even when we are stripped down to the essentials.  The Coronation may
> seem trivial, but the determination to make it happen isn't.  Sort of like
> the Danish Crown not giving up when the Nazi's poured over your borders.
> Not a natural disaster, but close enough for government work.

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Date: Fri, 2 Sep 2005 21:34:43 -0400
To: Historical Costume <h-costume@indra.com>
From: Carol Kocian <aquazoo@patriot.net>
Subject: Re: [h-cost] Response to conditions in Coastal Areas
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Hi Penny and Susan,

      While Bjarne's comments were awkward, I read it as his 
expressing surprise, learning about the diversity of people in 
America.  The comments about Bush were not necessary, although there 
has been criticism with the slowness of the response.  I think it 
always will sting when someone from a different country criticizes 
something about another.

      That there were people who did not have means to evacuate is 
tragic.  Others decided to ride out the storm.  I lived in Metarie, 
Louisiana (just west of New Orleans) when Camille came through.  We 
boarded up the house and left, and fortunately our neighborhood was 
fine and we were back in a day.

      I find Penny's historic information interesting, the 
descriptions of the old houses are interesting and I hope to be able 
to enjoy the surviving historic buildings.

      I would like to ask listmembers to keep some things on private 
e-mail, however, and not argue (or discuss) non-historic, non-costume 
things!

      Costume content: It was in New Orleans that I first saw a lady 
in a lovely hoop-skirted gown (I think she was a tourguide).  Also it 
was in Jackson Square that I first saw a hippie in person. :-)

      -Carol
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To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
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>The people who live in the fault line of California know the Big One will 
>happen one day.

Next year is the 100th anniversary of the last Big One that happened in 
Northern California, the San Francisco Earthquake.  About half of the city 
burned, including the entire downtown and many homes, including everything 
from squalid tenements to fine mansions.  (Our 1989 earthquake was minor by 
comparison.)  The death toll soared, survivors lived in Army tents in 
public parks, food and water and medical supplies were scarce, charity 
poured in from all over the country, and the rebuilding took many 
years.  The characteristic historical architectural style of San Francisco 
dates from the period right after the quake, when whole neighborhoods were 
rebuilt within a few years.  By 1915 San Francisco hosted the Pan Pacific 
Exposition, celebrating, among other things, the phoenix-like rebirth of 
San Francisco from the ashes.

I do living history at the San Francisco Maritime National Historical 
Park.  In 2006 there will be many civic events in San Francisco 
commemorating this milestone in the city's history, and our living history 
program is making its plans already.  Many park Rangers and living history 
docents have begun researching what parts the various ships in our 
collection played in the reconstruction of the city, as well as where each 
of them was at 5:12am on April 18, 1906.  And I get to make a new outfit, 
since our program used to only do 1901 and now we'll be doing up to 1906.

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

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

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From: "Elizabeth Walpole" <ewalpole@tpg.com.au>
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----- Original Message ----- 
From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: <h-costume@indra.com>
Sent: Saturday, September 03, 2005 4:39 AM
Subject: [h-cost] coastal news


> I am shocked down into my privacy and dont know how i can say this.
> I thoaght America was such a rich comunity, you know big houses, dogs at
> least two cars and overweight people.
> Now i see in the television that poor people lives in USA two.
> Well Well what can a poor soul in Denmark do except say to you all:
> Never, never again ellect such a poor president as
Bushes..................
> Hail Freedom  of America and all its poor inhabitants.
> And may God be with you alllll..........................
>

Bjarne,
Please don't make this about politics right now, it's too late to complain
about what should have been done, right now it's important to concentrate on
helping those who have been caught by this disaster and leave the blame game
of who should have done what until later.

WARNING, the following contains comments which could be interpreted as
criticism of the USA, I hope people will not be offended by it I am trying
to keep my personal opinions out and give facts to help people understand a
bit more. If it is inaccurate please correct me. If you are offended by
these comments let me know why.

I agree that this has been mis-handled, having spoken with an ex New Orleans
resident (she moved to Australia about 5 years ago and still has family
there {thankfully all accounted for}) and watched the news it's clear that
many locals knew a storm of this magnitude would break the levees and given
the high poverty rate in the city it should have been clear that simply
telling people to evacuate was not enough, they needed to provide transport
to get people out. The 'rich' people (or those who could afford a car) have
mostly got out and it's the poor who are stranded in these evacuation
centres (like the superdome).
>From my studies of different countries' social welfare systems (admittedly
it was only a couple of weeks as part of a larger course) it's not really
accurate to compare wealth between the USA and Denmark (or most other
European countries) in Denmark there is a strong social security system and
very little gap between rich and poor, the USA has very little social
security or welfare (I can't recall which term is used over there) And the
minimum wage is very low (many people working full time on the minimum wage
find it very difficult to get by without assistance from charity). Therefore
there is a big gulf between the rich and the poor, the rich are very rich
and the poor are very poor.
And finally, don't judge wealth by house size the land prices in countries
like Australia and America are far lower than they are in Europe (as the
population is far less concentrated), therefore somebody on the same wage is
going to be able to afford a much larger house in America than they could in
Europe.
Elizabeth
--------------------------------------------
Elizabeth Walpole
Canberra Australia
ewalpole[at]tpg.com.au
http://au.geocities.com/e_walpole/

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Naturally I feel compassion for the hurricane victims.  In San 
Francisco, we've been waiting for the next Big One  (earthquake) for 
years. This is the Gulf Coast's Big One.

Having said that, the whole discussion is off topic here.  This is, 
after all, a costuming list.  I vote that everyone who feels for the 
victims go contribute what cash they can afford to the Red Cross, or 
some other organization doing useful relief work.

But here, let's get back to costume. 

I should add, that should the Big One (earthquake) occur here, I would 
not feel at all bad about h-costume not discussing it. Assuming I was 
even able to log on, I'd still have more urgent things to worry about.

And now, I'm off to make a contribution.

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


Penny Ladnier wrote:

> This is probably the only time I have ever written ANY message like 
> this online.  But that message hits me close to home and I have to 
> respond. Please forgive me for taking my white gloves off, and 
> speaking my mind.  But this must be said.
>
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To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Response to conditions in Coastal Areas
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>      Costume content: It was in New Orleans that I first saw a lady in a 
> lovely hoop-skirted gown (I think she was a tourguide).  Also it was in 
> Jackson Square that I first saw a hippie in person. :-)

I have to laugh.  A real Hippie, in person - like wow, man.  But then, I 
grew up in California.  I saw dozens of Hippies in person before I ever saw 
one in a hoop skirt.  I went to school with Hippies, many of my best 
friends were Hippies, I even was a Hippie.

The most important skill being a Hippie gave me was an appreciation for the 
fiber crafts, especially historical and ethnic.  These days my historical 
costumes are known for their handwork and their historical embroidery and 
needle-embellishment.  My non-historical 'costumes' are the style currently 
called "fiber art" or "wearable art", again using many fiber craft 
techniques I discovered as a Hippie.


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

              //// \\\
             ////-@@\\\
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             (((  <> ))))
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The whole modern wearable art movement is an outgrowth of DIY hippie 
crafts.  I'm hoping to see the DIY aspects, the loving-hands-at-home 
experiments, revived as a foundation for a new generation of fiber artists.

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


> My non-historical 'costumes' are the style currently called "fiber 
> art" or "wearable art", again using many fiber craft techniques I 
> discovered as a Hippie.
>
>
>       

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>I have to laugh.  A real Hippie, in person - like wow, man.

      Oh, yes!  It was around 1967.  And, of course, I was warned to 
stay away from them. :-)

>I saw dozens of Hippies in person before I ever saw one in a hoop skirt.

      Maybe because they were out of style by 1906?  :-)  It's 
interesting how an era is frozen into/associated with the identity of 
certain places.  There's a good question, other than hoops in the 
south, what other places are associated with historic dress?  Hmmm, 
Philadelphia 1776 comes to mind.  Plymouth and 17thC puritan dress.

      -Carol
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Gentle List

I made a donation to the American Red Cross this afternoon.  I agree with 
Fran that it may be far more productive to send money if this is weighing on 
one's conscience or heart, than for the list to discuss or decide whether or 
not the off topic comments that have been made by folks from other countries 
are deliberately insensitive or simply naievete manifesting itself in an 
unpleasant way.

I read the offending post, and honestly believe that Bjarne's shaky English 
is the culprit. It did not seem offensive to me.  I thought it sounded like 
he'd heard some news stories abroad blaming Bush or the Federal gov't for 
the "mishandling" (again not taking a position, just repeating the news' 
latest spin) and was only commiserating, not trying to stir the pot.   I 
genuinely thought he was trying to be kind, but he really doesn't have much 
command of the language.  That said, Fran's also right, this isnt' the place 
for this discussion. People's hearts are breaking and it is way, way too 
real a catastrophe for those of us here to be discussing in any meaningful 
way.  There's nothing we can do but send money or pray, or both.

My heart goes out to those who are living this nightmare.  Please let's not 
make this a place that is unpleasant by making it a political forum.  Again, 
you all in the Gulf Coast are in my prayers.  God speed.

Back to costume content discussion....

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: "Marie Stewart" <maricelt@gmail.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, September 02, 2005 5:51 PM
Subject: [h-cost] avoiding pain and distress, hang in there all


> Hi folks...  I'm sorry to see that Bjarne is being insensitive again.
> I did not see what he wrote, and I have no desire to  -  I made a
> policy some time ago to send all his posts to the trash unread.  I
> hope he hasn't hurt anyone with his words. The last thing we need is
> more pain and distress.
>
> Hang in there all.
> Much love
> Mari / Bridgette
>
> On 9/2/05, Wanda Pease <wandap@hevanet.com> wrote:
>> Bjarne,  This might give you an even better idea of what the US is all
>> about, even when we are stripped down to the essentials.  The Coronation 
>> may
>> seem trivial, but the determination to make it happen isn't.  Sort of 
>> like
>> the Danish Crown not giving up when the Nazi's poured over your borders.
>> Not a natural disaster, but close enough for government work.
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 


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>      Maybe because they were out of style by 1906?

Or maybe because there were so few wearers of hoop skirts in California, 
compared to in other parts of the country.

>   :-)  It's interesting how an era is frozen into/associated with the 
> identity of certain places.  There's a good question, other than hoops in 
> the south, what other places are associated with historic dress?  Hmmm, 
> Philadelphia 1776 comes to mind.  Plymouth and 17thC puritan dress.

Berkeley, CA, and the 1960s.  You see aging Hippies, and ones whose parents 
were barely born in the 1960s, on the streets in Berkeley, CA, even today.


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

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Subject: Re: [h-cost] coastal news
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This will be my last comment about the Coastal situation.... more wonderful 
news!  Susan got her electricity back on tonight!  YIPPEE!!  My brother in 
Mobile got his lights yesterday.  Southern Alabama is pulling up gradually. 
Also, today my sister went into my mom's house and everything is okay!  No 
lights or water and a lot of limbs in her yard of course, but her house is 
intact! Double YIPPEE!!

We really do appreciate all the love, support letters, the prayers, and 
donations to the charities.  I have read some of your letters to my family 
on the phone.  Being in a disaster makes people feel like they are not cut 
off from the world, and that the world has forgotten them.  I have been in 
aftermaths of hurricanes with all communication cut off, and it does feel 
that way.  Your letters have given them hope that people care.  Hope is one 
of the best things for them.

Thanks so much again,
Penny E. Ladnier
Owner,
The Costume Gallery, www.costumegallery.com
Costume Classroom, www.costumeclassroom.com
Costume Research Library, www.costumelibrary.com

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From: Sylvia Rognstad <sylvia@ntw.net>
Subject: Re: [h-cost] Hippie sightings...
Date: Fri, 2 Sep 2005 21:58:44 -0600
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I just have to laugh when you place Berkeley in the sixties with 
historic dress.  I was one of those Berkeley hippies of the '60s and I 
didn't realize I was considered historic!

Sylrog

On Sep 2, 2005, at 9:41 PM, Carolyn Kayta Barrows wrote:

>
>>      Maybe because they were out of style by 1906?
>
> Or maybe because there were so few wearers of hoop skirts in 
> California, compared to in other parts of the country.
>
>>   :-)  It's interesting how an era is frozen into/associated with the 
>> identity of certain places.  There's a good question, other than 
>> hoops in the south, what other places are associated with historic 
>> dress?  Hmmm, Philadelphia 1776 comes to mind.  Plymouth and 17thC 
>> puritan dress.
>
> Berkeley, CA, and the 1960s.  You see aging Hippies, and ones whose 
> parents were barely born in the 1960s, on the streets in Berkeley, CA, 
> even today.
>
>
>        CarolynKayta Barrows
> dollmaker, fibre artist, textillian
>          www.FunStuft.com
>
>              //// \\\
>             ////-@@\\\
>            ((((   7 )))
>             (((  <> ))))
>                )   ((((((
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>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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This is so wonderful!  I just received this message and please pass it on:

Midwestern State University, Wichita Falls, Texas, http://www.mwsu.edu/  is opening its doors to students who now have no university for the fall because of the hurricane.  If you know of university students who are in need of temporary (or permanent) university education because
their school has been closed for the fall semester, (or longer) due to Hurricane Katrina, they can contact Barbara Merkle at 1-800-842-1922 or 940-397-4328.  They will admit students late, and will charge in-state tuition.  We need to be contacted by September 13th.  Housing will be available.

They have a theater department.

Bless their hearts for being so thoughtful!  Texas sure does have a big heart and is a good neighbor!

Penny E. Ladnier
Owner,
The Costume Gallery, www.costumegallery.com
Costume Classroom, www.costumeclassroom.com
Costume Research Library, www.costumelibrary.com
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>I just have to laugh when you place Berkeley in the sixties with historic 
>dress.  I was one of those Berkeley hippies of the '60s and I didn't 
>realize I was considered historic!

Well, a friend of mine (same age) was speechless when her son was studying 
the Hippie period in school in history class.  One of my daughters asked me 
what it was like "back then".  I told her I got up in the morning, ate 
breakfast, etc.  She was not amused, but I got her a modern book about the 
period (nicely written and illustrated) so she could read about all the 
things I missed (nobody could have gone to all the concerts, met all the 
people, etc.)

So by now anything you and I wore in the 1960s is at least 'vintage'.  My 
other daughter discovered plaid polyester double-knit trousers at a thrift 
store and pronounced them the coolest thing she'd ever bought.  I did not 
share her enthusiasm...

Hippies were more varied than the media ever gave them credit for - 
everything from Timothy Leary to Charles Manson.  There were Christian 
Hippies, alternate religion Hippies, Eastern religion Hippies, Jewish 
Hippies, and atheist Hippies.  There were political activist Hippies and 
back to nature Hippies who pretty much dropped out of the world of politics 
to live on agricultural communes out in the country.  There were drug-using 
Hippies and drug-free Hippies.  There were gun-toting, bomb-building 
Hippies and anti-violence, Peace-and-Love Hippies.

And, of course, there were fiber craft Hippies and ethnic garment 
Hippies.  I was those two kinds of Hippie.  I still collect ethnic garments 
and needlework pieces, which, if they are made in traditional ways, are 
part of a living historical tradition.  And I learned, or at least dabbled 
in, every fiber technique that I could get my hands on.  I took up 
historical costuming in 1971 while I still dressed like a Hippie the rest 
of the time.


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

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Carol,

Williamsburg: Colonial dress (Goof-ball that is where I met you!  Remember 
my missing night-gown!)  I remember seeing you dressed to the T for a dance 
with patches on your bosom! And what a handsome dandy your husband was!  I 
always think of you two in costume as Mr. & Mrs. Williamsburg!

Jamestown: (400 years celebration soon)

All those Civil War Battlefields/Forts and the soldier reenactors.

Natchez, MS and Bellegrath Gardens (down the road from Susan"s home) Azalea 
Trail Maids. (I just see Albert Cat grit his teeth. I remember that very old 
thread on the list.)

Maymont and the Dooley Mansion in Richmond, Virginia.  The 1890s and early 
1900s Victorian Days.  Carol, remember the Victorian picnic on the mansion's 
lawn for Costume Society's National Symposium.  I loved the gentlemen and 
ladies playing croquet in their summer white costumes.

As for New Orleans, I loved the men in their Southern gentlemen attire who 
were driving the carriages around the French Quarter. Susan and I had the 
time of our life doing that one night.

Another New Orleans one, the groups dressed in costumes, all  black capes 
and in Goth makeup, doing the Vampires tours around the French Quarters are 
night.  What a hoot!

My all time favorite costumes at N.O. Mardi Gras, a brother and sister 
dressed as ghosts coming out of graves.  I have a photo of them that I have 
been searching for years for.  An honorable mention, Duck Hunt, I have a 
photo of him...
http://www.onlinecostumeball.com/1998/Guest5.htm  he is one the first row. 
How creative!  BTW, Robin you wrote me that your photo wasn't working on the 
online Ball just before I went on vacation.  Can you please tell me the Ball 
year and the page number.

Penny E. Ladnier
Owner,
The Costume Gallery, www.costumegallery.com
Costume Classroom, www.costumeclassroom.com
Costume Research Library, www.costumelibrary.com

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Subject: RE: [h-cost] One last important message
Date: Fri, 2 Sep 2005 23:56:50 -0500
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This was posted through the MU systems.

Dear University of Missouri family:

The news of the devastation in the Gulf Coast region is heartbreaking. We
extend our deepest sympathies to all the victims of Hurricane Katrina. We
are taking the swiftest measures possible to aid those whose lives have been
affected by this terrible tragedy.

The four University of Missouri campuses have multiple plans in place to
assist students who have been displaced by the hurricane and who wish to
enroll in classes.

University of Missouri Health Care is working with the Missouri Hospital
Association, which is coordinating hospital relief efforts with the U.S.
Department of Health and Human Services and the American Hospital
Association. Just some of the hospital system’s efforts include compiling
lists of health worker volunteers, coordinating ambulance availability,
making Columbia Regional and University Hospital beds available for victims,
and making available telehealth services to victims and videoconferencing
services to link families.

For further information on the University’s hurricane relief efforts, please
visit the following link: http://www.umsystem.edu/katrina

Our thoughts remain with the victims of this disaster, and we wish them
strength during this terrible time.


Sincerely,
Elson S. Floyd, Ph.D.
President



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From: "otsisto" <otsisto@socket.net>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] costuming and natural disasters
Date: Fri, 2 Sep 2005 23:56:49 -0500
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 St. Louis has the Missouri and Mississippi rivers that have flooded areas
in the past. I remember one year in school some students skipped school to
help sandbag the man made river DePare(sp?) The New Madrid fault which is
expected to have "the big one" sometime soon which will probably shift the
Mississippi bank lines and periodic tornados.
Most St. Louisians know that you need a house with a basement for the
tornados but understand that it can and does flood in your basement so store
in plastic emergency items.

De

-----Original Message-----
>The people who live in the fault line of California know the Big One will
>happen one day.



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Subject: RE: [h-cost] OT posts re storm
Date: Sat, 3 Sep 2005 00:15:05 -0500
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I agree the your statement with Bjarne.

The reason most are talking is because they/we are trying to make some sense
of it all and in some cases see what went wrong in hopes that if it happens
again then there will not be a repeat of the wrongs if possible. As well as
a "what if some disaster happened here in my area" what would happen? are we
prepared?"

And yes this "topic" needs to dissipate and get back to costumes.

De

-----Original Message-----
Gentle List

I made a donation to the American Red Cross this afternoon.  I agree with
Fran that it may be far more productive to send money if this is weighing on
one's conscience or heart, than for the list to discuss or decide whether or
not the off topic comments that have been made by folks from other countries
are deliberately insensitive or simply naievete manifesting itself in an
unpleasant way.

I read the offending post, and honestly believe that Bjarne's shaky English
is the culprit. It did not seem offensive to me.  I thought it sounded like
he'd heard some news stories abroad blaming Bush or the Federal gov't for
the "mishandling" (again not taking a position, just repeating the news'
latest spin) and was only commiserating, not trying to stir the pot.   I
genuinely thought he was trying to be kind, but he really doesn't have much
command of the language.  That said, Fran's also right, this isnt' the place
for this discussion. People's hearts are breaking and it is way, way too
real a catastrophe for those of us here to be discussing in any meaningful
way.  There's nothing we can do but send money or pray, or both.

My heart goes out to those who are living this nightmare.  Please let's not
make this a place that is unpleasant by making it a political forum.  Again,
you all in the Gulf Coast are in my prayers.  God speed.

Back to costume content discussion....

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


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To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] One last important message
Date: Sat, 3 Sep 2005 01:19:52 -0400
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This is the second message about different college's help since I posted 
that message.  I am going to make a webpage with listings of universities 
that will take college students from the affected areas and their message. 
Poor University of Southern Mississippi lost their college in Pass Christian 
and the Hattiesburg campus received a lot of damage.  Please get the word 
out that if a college is willing to accept these hurricane effected 
students, please let me know and I will post it to my website.  I will have 
a link on the front of my website for students to go to late tomorrow night. 
This is a wonderful thing these colleges are doing, especially since most 
colleges started the week before the hurricane hit.

Please make sure there is a website URL in message and a person to contact 
and their phone number.  These affected students don't need to run a 
telephone gambit to get back into college.

Penny E. Ladnier
Owner,
The Costume Gallery, www.costumegallery.com
Costume Classroom, www.costumeclassroom.com
Costume Research Library, www.costumelibrary.com

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Subject: [h-cost] New to me Eleonora of Toledo
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http://www.hermitagemuseum.org/fcgi-bin/db2www/descrPage.mac/descrPage?selLa
ng=English&indexClass=PICTURE_EN&PID=GJ-1586&numView=1&ID_NUM=2&thumbFile=%2
Ftmplobs%2FK1NDGRTTW_23_23OF3QT6.jpg&embViewVer=last&comeFrom=quick&sorting=
no&thumbId=6&numResults=2&tmCond=Allori+Alessandro&searchIndex=TAGFILEN&auth
or=Allori%2C%26%2332%3BAlessandro

Sorry for the cross post.

I was looking for a copy of the Wedding at Cana by Allesandro Allori to look
at Catherine de Medici's dress and found this instead.  Ever since I made my
first "Eleonora" dress from Janet Arnold's book I have found her
fascinating.  I know the above URL is ridiculously long but snipurl doesn't
want anything to do with it.  It is a portrait of Eleonora in the Hermitage
collection.  It is unlike any portrait of her that I've see, but Allori was
a fosterling of Bronzino so he might have had some sittings.  The dress is
fantastic!


Wanda Pease/Regina Romsey
Never attribute to malice what can as easily
be attributed to simple social ineptness

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From: Stephanie Smith <sismith42@yahoo.com>
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Subject: [h-cost] fiber arts and making vs buying clothes
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Fran wrote:
"The whole modern wearable art movement is an
outgrowth of DIY hippie crafts.  I'm hoping to see the
DIY aspects, the loving-hands-at-home experiments,
revived as a foundation for a new generation of fiber
artists."

I reply:
Huh.  My first encounters with fiber-arts came with my
grandmother (now 79); I doubt she'd enjoy being called
a hippie (but i won't tell) ;-)  

Good to know that's where/when/how working with
textiles and fiber went from something one did if you
were too poor to buy you clothes to something one did
as an artform :-)  When did "off the rack" clothes
become THE WAY to go, as opposed to just being what
people who couldn't afford to have clothes made for
them wore?

Stephanie


		
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Subject: Re: [h-cost] One last important message
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Penny,
Both CMU and PITT, in Pittsburgh, PA have also made the same offer. BOth have Theatre departments.
Wendy
Proud grad of the PITT theatre program

-----Original Message-----
From: Penny Ladnier <penny@costumegallery.com>
Sent: Sep 3, 2005 12:04 AM
To: h-costume <h-costume@indra.com>
Subject: [h-cost] One last important message

This is so wonderful!  I just received this message and please pass it on:

Midwestern State University, Wichita Falls, Texas, http://www.mwsu.edu/  is opening its doors to students who now have no university for the fall because of the hurricane.  If you know of university students who are in need of temporary (or permanent) university education because
their school has been closed for the fall semester, (or longer) due to Hurricane Katrina, they can contact Barbara Merkle at 1-800-842-1922 or 940-397-4328.  They will admit students late, and will charge in-state tuition.  We need to be contacted by September 13th.  Housing will be available.

They have a theater department.

Bless their hearts for being so thoughtful!  Texas sure does have a big heart and is a good neighbor!

Penny E. Ladnier
Owner,
The Costume Gallery, www.costumegallery.com
Costume Classroom, www.costumeclassroom.com
Costume Research Library, www.costumelibrary.com
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To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] fiber arts and making vs buying clothes
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>When did "off the rack" clothes
>become THE WAY to go, as opposed to just being what
>people who couldn't afford to have clothes made for
>them wore?

Probably as soon as they became plentiful and cheap.


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

              //// \\\
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                )   ((((((
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Another generous offer:  http://www.mercyhurst.edu/ne/college_news_detail.php?id=777&m=9&y=2005 
although I'm confused as to whether the tri-state area they are referring to is the tri-state area around Erie or the tri-state area hit by the hurricane.

Janet
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From: Dawn <dawn@reddawn.net>
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Subject: Re: [h-cost] fiber arts and making vs buying clothes
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Carolyn Kayta Barrows wrote:

> 
>> When did "off the rack" clothes
>> become THE WAY to go, as opposed to just being what
>> people who couldn't afford to have clothes made for
>> them wore?
> 
> 
> Probably as soon as they became plentiful and cheap.
> 

Store bought clothing and household goods became a sign of affluence 
after the Depression, and again after WW2. People hid quilts under Sears 
bedspreads and only wore flour sack underwear to school on days they 
didn't have to change for gym.

The 60's and 70's hippie movement spawned re-interest in those old 
crafts, and by the 80's it was being called "art".


Dawn



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Date: Sat, 3 Sep 2005 10:18:44 -0400
To: Historical Costume <h-costume@indra.com>
From: Carol Kocian <aquazoo@patriot.net>
Subject: Re: [h-cost] collages and hurricane relief
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      There are many colleges and universities offering to accept 
students from hurricane areas, so unless people are talking about 
schools with a costume/theatre/textile program, I don't think they 
all need to be sent to the list.

      -Carol
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Date: Sat, 3 Sep 2005 07:47:18 -0700 (PDT)
From: Lalah <lalahcatlady@netscape.com>
To: Historical Costume <h-costume@indra.com>
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Subject: [h-cost] Bjarne
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I  know  this  isn't  costume  related  and I am not one of the
popular   people  on  this  list,  but  I  just  couldn't  keep
quiet.  The  message  Bjarne  sent  sounded  like  he  was more
surprised  than  critical,  and  give the guy credit - he writes
better English than most of us do Danish.  I wish I could speak
any  other language as well as he does.  I know that many of us
have  family or  dear friends in the areas hit and are a bit on
edge right now, but it isn't fair to take it out on someone who
was  making  an  honest  mistake.   People the world over think
that we  in the United States are all rich - if you watch TV at
all  you will understand why.  I do believe he was trying to be
sympathetic  and now  he  is just being quiet while he is being
blasted.

I,  for  one,  admire his attempts at English and his wonderful
handwork and costuming.  I would sorely miss him if he left the
list.

Lalah, Never give up, Never surrender


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From: Carol Kocian <aquazoo@patriot.net>
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Subject: [h-cost] Eras and places (was hippies)
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Carolyn said,
>Berkeley, CA, and the 1960s.  You see aging Hippies, and ones whose 
>parents were barely born in the 1960s, on the streets in Berkeley, 
>CA, even today.

      I have an "ageing" hippie next door who just turned 40. :-)  Do 
you think, though, that the hippie styles in Berkeley are only due to 
the area, or because kids like the style again?  Maybe a bit of both? 
I agree, though that the hippie look says Berkeley or Haight Ashbury. 
(Is that in Berkeley?)  Or Woodstock, which is not close at all. :-)

      Goth styles are all over the place, particularly at night in 
cities.  Or game conventions where they play Vampire.

      Hoopskirts evoke many places in the south east US - New Orleans, 
Atlanta, Mobile.  I was thinking of the style that defines a specific 
city or area - black & white pilgrim/puritan is Massachussets and not 
anywhere else.  Except, of course, Dutch paintings.

      Bustle gowns make me think of the midwest, I suppose due to the 
amount of growth during that era and I've seen a few houses that have 
them in their collection.   But those era houses are all over the 
place.

      And to extend this discussion to the rest of the world, late 
1500s/early 1600s is London due to Elizabeth.

      -Carol
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From: Chris <emeraldepona@yahoo.com>
Subject: Re: [h-cost] Bjarne
To: Historical Costume <h-costume@indra.com>
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I second that and Thank You Lalah for wording it so much better than I would have/could have.  
 
I can NOT imagine Bjarne ever being rude and I realize we've never met nor probably ever will, but his whole demeanor online has always been respectful IMHO.
 
Christine Gallucci

Lalah <lalahcatlady@netscape.com> wrote:
I know this isn't costume related and I am not one of the
popular people on this list, but I just couldn't keep
quiet. The message Bjarne sent sounded like he was more
surprised than critical, and give the guy credit - he writes
better English than most of us do Danish. I wish I could speak
any other language as well as he does. I know that many of us
have family or dear friends in the areas hit and are a bit on
edge right now, but it isn't fair to take it out on someone who
was making an honest mistake. People the world over think
that we in the United States are all rich - if you watch TV at
all you will understand why. I do believe he was trying to be
sympathetic and now he is just being quiet while he is being
blasted.

I, for one, admire his attempts at English and his wonderful
handwork and costuming. I would sorely miss him if he left the
list.

Lalah, Never give up, Never surrender


_____________________________________________________________
Netscape. Just the Net You Need.
_______________________________________________
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Be who you are and say what you feel, because those who mind don't 
matter and those who matter don't mind.
          Dr. Seuss
 
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On the topic of the south and hoop skirts....  Were the hoop skirts 
popular later in the south then the north?  I mean, our (ok, mine and I 
am a typical yankee) picture of "THE SOUTH" is alweays with ladies in 
hoops, but I would assume that the north had just as many ladies wearing 
hoops at the same time.....

jordana


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From: "Carolann Schmitt" <cschmitt@genteelarts.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Eras and places (was hippies)
Date: Sat, 3 Sep 2005 11:50:00 -0400
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I did some extensive research on mid-19th century skirt supports (corded
petticoats, cage and covered crinolines, etc.) for a presentation last year.
Based on manufacturing and sales records, crinolines were widely available
and worn anywhere in the country, including the far west. This is amply
supported by original photographs, extant crinolines, and commentary in
period magazines, newspapers, letters and journals. The average retail price
for a crinoline c. 1855-1865 was $0.25-$2.00 each, depending on the overall
style and the number of steels. 

Documentation indicates that the style spread quite rapidly across the
country - within a few months at most.  

Carolann Schmitt
cschmitt@genteelarts.com
www.genteelarts.com
Ladies & Gentlemen of the 1860s Conference, March 2-5, 2006




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From: Carol Kocian <aquazoo@patriot.net>
Subject: Re: [h-cost] Eras and places (was hippies)
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Jordana said,
>On the topic of the south and hoop skirts....  Were the hoop skirts 
>popular later in the south then the north?  I mean, our (ok, mine 
>and I am a typical yankee) picture of "THE SOUTH" is alweays with 
>ladies in hoops, but I would assume that the north had just as many 
>ladies wearing hoops at the same time.....

      Perhaps we have Scarlett O'Hara to thank for the hoopskirts, 
especially the barer evening dress worn at the picnic. :-)

      The American Civil War marked a great change for the south, and 
therefore an era greatly identified with the region.

      When I think of the real daytime wear, the buttoned up hooped 
gowns in the sepia toned portraits, I think of Gettysburg, PA. 
That's probably because it's near me and I've done reenactments 
there, so it's strictly personal.

      But the fluffy pastel colored ballgowns - that's the south.

      -Carol
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From h-costume-bounces@indra.com  Sat Sep  3 12:13:00 2005
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From: "Carolann Schmitt" <cschmitt@genteelarts.com>
To: "'Historical Costume'" <h-costume@indra.com>
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Subject: [h-cost] regional crinoline fashions
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I disagree. For every extant pastel colored ballgown *documented* to the
South, I can show you one documented to the North, or the Midwest, or the
West, or Canada, or Europe. And I can do the same for every "buttoned up"
dress documented to the North or any other region of the country. There are
some regional differences in style, but they are minor elements of the
overall fashion and stem more frequently from local customs and availability
than a "if this is pale pink it must be Mississippi" trend.

One of the most stunning original dresses I've seen is in the collection of
the Cincinnati Art Museum: a bright sapphire blue silk taffeta woven a
disposition, originally from Gettysburg, PA. 

Carolann Schmitt, Life-long Gettysburgian
cschmitt@genteelarts.com
www.genteelarts.com
Ladies and Gentlemen of the 1860s Conference, March 2-5, 2006




<When I think of the real daytime wear, the buttoned up hooped 
gowns in the sepia toned portraits, I think of Gettysburg, PA. 
That's probably because it's near me and I've done reenactments 
there, so it's strictly personal.

But the fluffy pastel colored ballgowns - that's the south.

      -Carol
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From: Althea Turner <althea@alfalfapress.com>
Subject: Re: [h-cost] collages and hurricane relief
Date: Sat, 3 Sep 2005 09:13:17 -0700
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Oregon State University is also taking in hurricane displaced  
students.  We have both a theater and textiles program.  It's a great  
place to live, but I'm tremendously biased.  :D

Althea


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From: "Susan B. Farmer" <sfarmer@goldsword.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] collages and hurricane relief
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The University of Tennessee is as well -- and they also have a theatre
Department.  In fact, as of Tuesday, my department will have a Tulane
grad Student for at least the semester.

Susan
-----
Susan Farmer
sfarmer@goldsword.com
University of Tennessee
Department of Ecology and Evolutionary Biology
http://www.goldsword.com/sfarmer/Trillium/


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From: ruthanneb@mindspring.com
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Bjarne
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May I echo Chris and Lalah, and further suggest (in the great American tradition of free speech) that anyone who has shared hundreds of pieces of useful costume information and dozens of beautiful and inspiring pictures of finished costumes and works-in-progress can be considered to have earned the right to express one political opinion a year on this list.

I haven't earned that right yet, but would be delighted to discuss politics off-list any time!

Meanwhile, thank you, Bjarne, for your concern for the people in this country.

And my own deepest sympathy for those affected by this disaster, both those in Katrina's zone and their loved ones and associates.

Ruth Anne Baumgartner
gypsy scholar and amateur costumer

-----Original Message-----
From: Chris <emeraldepona@yahoo.com>
Sent: Sep 3, 2005 9:56 AM
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Bjarne

I second that and Thank You Lalah for wording it so much better than I would have/could have.  
 
I can NOT imagine Bjarne ever being rude and I realize we've never met nor probably ever will, but his whole demeanor online has always been respectful IMHO.
 
Christine Gallucci

Lalah <lalahcatlady@netscape.com> wrote:
I know this isn't costume related and I am not one of the
popular people on this list, but I just couldn't keep
quiet. The message Bjarne sent sounded like he was more
surprised than critical, and give the guy credit - he writes
better English than most of us do Danish. I wish I could speak
any other language as well as he does. I know that many of us
have family or dear friends in the areas hit and are a bit on
edge right now, but it isn't fair to take it out on someone who
was making an honest mistake. People the world over think
that we in the United States are all rich - if you watch TV at
all you will understand why. I do believe he was trying to be
sympathetic and now he is just being quiet while he is being
blasted.

I, for one, admire his attempts at English and his wonderful
handwork and costuming. I would sorely miss him if he left the
list.

Lalah, Never give up, Never surrender


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Be who you are and say what you feel, because those who mind don't 
matter and those who matter don't mind.
          Dr. Seuss
 
Our greatest glory is not in never failing, 
but in rising up every time we fail. 
Ralph Waldo Emerson




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From: "Susan B. Farmer" <sfarmer@goldsword.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Bjarne
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Quoting Chris <emeraldepona@yahoo.com>:

> I second that and Thank You Lalah for wording it so much better than 
> I would have/could have.
>
> I can NOT imagine Bjarne ever being rude and I realize we've never 
> met nor probably ever will, but his whole demeanor online has always 
> been respectful IMHO.
>

IWhile I normally don't like the "Me Too" posts, I have to add my "me
too" to this.  Often, Bjarne's work is a calm oasis in this hectic life
that we lead.

Susan who has heard similar comments from new foreign students this week
-- and nobody was being critical, just surprised.
-----
Susan Farmer
sfarmer@goldsword.com
University of Tennessee
Department of Ecology and Evolutionary Biology
http://www.goldsword.com/sfarmer/Trillium/


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Subject: Re: [h-cost] regional crinoline fashions
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      I was looking at the way certain eras of fashion are associated 
with an area, which is different than what people were actually 
wearing.  It's not the reality, it's what we perceive based on 
movies, popular culture, etc.

      Hippies were everywhere, but now identified with Berkeley. 
Black hats with buckles on them were not the fashion at Plymouth, 
Mass, but they're all over the souvenir shops.

      I'm imagining a "what city is this" sort of thing based on the 
historic costume icons.

      -Carol


>I disagree. For every extant pastel colored ballgown *documented* to 
>the South, I can show you one documented to the North, or the 
>Midwest, or the West, or Canada, or Europe. And I can do the same 
>for every "buttoned up" dress documented to the North or any other 
>region of the country. There are some regional differences in style, 
>but they are minor elements of the overall fashion and stem more 
>frequently from local customs and availability than a "if this is 
>pale pink it must be Mississippi" trend.
>
>One of the most stunning original dresses I've seen is in the 
>collection of the Cincinnati Art Museum: a bright sapphire blue silk 
>taffeta woven a disposition, originally from Gettysburg, PA.
>
>Carolann Schmitt, Life-long Gettysburgian
>cschmitt@genteelarts.com
>www.genteelarts.com
>Ladies and Gentlemen of the 1860s Conference, March 2-5, 2006
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Off-the-rack clothes became THE WAY to go in the 1920s.  Problem was, 
during the depression of the 1930s and the war rationing and shortages 
of the 1940s, a great many people had to home sew, restyle clothing, and 
think up ways to use things like flour sacks just to get something to 
wear.  While home dressmaking was associated with economy even in the 
19th century--the small amount one would spend on a low-end dressmaker 
was still worth saving if you had a small clothes budget--economy became 
its primary association.  1950s dressmaking manuals told women they 
could make clothes that would look just like RTW, so they didn't have to 
admit they home sewed.

Then, in the late 1960s and early 1970s, there was a "counterculture" 
reaction against things manufactured by the "establishment," including 
clothing, food, and many other things.  People took up not only home 
sewing (see _The Illustrated Hassle-Free Make Your Own Clothes Book_), 
but bread baking (see the _Tassajara Bread Book_), organic gardening, 
candle making, and lots of other crafts.  The emphasis was not only on 
doing it yourself, but on _not_ imitating "plastic" ready-made clothes, 
supermarket food, etc.  Many completely inexperienced people were 
experimenting with various crafts; and inexperience, as well as a "go 
with the flow" attitude, led to many original approaches.

And by the 1980s, some people had become very skilled, in fact 
professional, at patchwork, free-form crochet, and lots of other 
things.  (The Tassajara bakery morphed into the very expensive, 
sophisticated, gourmet vegetarian restaurant Greens.)  They published 
and taught about new approaches and techniques they'd developed. 
Companies like Folkwear were founded.  Banks bought enormous fiber art 
hangings for their lobbies.  It was very hip to study "fiber arts" in 
college (not usually sewing, but weaving, spinning, crochet, embroidery, 
and such). 

The modern reenactment movement (I'm excluding things like Victorian 
costume balls and jousts when I say "modern") also, I believe, got its 
start as part of the counterculture.  The SCA started as a bunch of 
hippies who enjoyed dressing in colorful clothes and evolved  into a 
much larger organization with much more complicated goals.

While I'm greatly enjoying the modern "boho" revival (especially gypsy 
skirts; I've accumulated a largish collection), as far as I can tell it 
focuses on people buying styles, not making them.  Yes, in the 1960s and 
1970s the RTW industry eagerly jumped on the counterculture bandwagon, 
manufacturing and selling "hippie" clothes.  Still, there was a lot of 
DIY, which I don't think I'm seeing currently as a mainstream movement.

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


>Good to know that's where/when/how working with
>textiles and fiber went from something one did if you
>were too poor to buy you clothes to something one did
>as an artform :-)  When did "off the rack" clothes
>become THE WAY to go, as opposed to just being what
>people who couldn't afford to have clothes made for
>them wore?
>
>Stephanie
>
>
>		
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Could someone walk me through the process of belting a houppelande just below the bustline?  How did they keep the belts there, without having it "walk" itself down to the natural waistline?  Was it tacked in places, and if so, wouldn't that interfere with the drape?  And how were they fastened in back -- buckled, tied, pinned?  This is for a stage costume, "accuracy" isn't the primary goal (don't hate me!) -- I want that look, but I'm not sure how best to achieve it.

Thank you --

KP

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Kathryn Parke wrote:

> Could someone walk me through the process of belting a houppelande
> just below the  bustline? How did they keep the belts there, without
 > having it "walk"itself down to the natural waistline? Was it tacked
 > in places, and if so, wouldn't that interfere with the drape? And
 > how were they fastened in back -- buckled, tied, pinned?

All excellent questions.  And all answers that we can only guess at, 
except for the last one.

There are some illustrations which show a buckle in the back, with a 
long tail hanging down from it.  Some may have had short tails in the back.

How were they kept up there?  This is all conjecture.  You could 
definitely tack it in place while the belt and houp are on the body -- 
which would allow a way to keep all those pleats even.  You could make 
belt loops -- that's what I've done for my husband's houp.  The men's 
houp belts often seem to be at the hip, and you *know* men's belts 
wouldn't magically stay put there!

I belt my own houps tightly under the bust, and because I'm squishy, 
that works for me.  But I am not sure it would work for everyone.

There's a marvelous illustration at the USA National Gallery which shows 
a closeup of the top of a houp from 1410, which I recommend to everyone 
because it's so fascinating.  Her belt seems to float magically over the 
top of her houp.

http://www.nga.gov/collection/gallery/gg39/gg39-31.0.html

-- 
Cynthia Virtue and/or Cynthia du Pre Argent

   "Such virtue hath my pen...."  -Shakespeare, Sonnet 81
        "I knew this wasn't _my_ pen!"  --Cynthia Virtue
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Fran wrote,
>1950s dressmaking manuals told women they could make clothes that 
>would look just like RTW, so they didn't have to admit they home 
>sewed.

      I worked in a clothing store in the early 1980s (got to look at 
a lot of ready-made), and also took sewing/tailoring/design classes 
in college.  The clothing we made was far better quality than most of 
the ready-to-wear available.  I would still hear "You made that?  I 
thought you bought it!", in the sense that people expected home-made 
to look bad.  When in fact, because we were learning how to fit, we 
could see that the self-sewn clothing looked a lot better!

      Also by then I found that home sewing was more expensive than 
store-bought just for the materials.  But I would have the fit and 
quality of clothing that was otherwise unavailable to me.

      This is also apparent for reenactment clothing.  In eras of 
fitted clothing, some items that are sold off-the-rack at events do 
not look as good as something custom-made (whether by one's self or 
someone else).

      -Carol
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BTW, my husband's answer to the question "What did hippies wear?"  is 
"dense clouds of smoke."

Fran

Carol Kocian wrote:

>
>      I was looking at the way certain eras of fashion are associated 
> with an area, which is different than what people were actually 
> wearing.  It's not the reality, it's what we perceive based on movies, 
> popular culture, etc.
>
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I'm wondering, though, if anyone on h-costume is making RTW clothes for 
the boho market, perhaps selling on eBay?  I'd think tiered crushed 
velvet gypsy skirts and tunics with bell sleeves might sell well this 
fall and winter.

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

>
>      This is also apparent for reenactment clothing.  In eras of 
> fitted clothing, some items that are sold off-the-rack at events do 
> not look as good as something custom-made (whether by one's self or 
> someone else).
>
>
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Penny,
 
I am so glad to hear of the wonderful progress being made in the areas your family is near. I cried as I read each post and showed my DH the photos you shared. I am still offering any help you feel is needed for your family personally, as I have donated for the general relief.A local quilt guild I am a member of was discussing how to help. We have decided to make quilts for those who will be relocating to Utah {I live in St.George; Utah's "Dixie"}as they will not be prepared for a Salt Lake City snowy winter.
 
Jodi  

		
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My apologies - I misunderstood what you were saying. :-)

Carolann Schmitt





On Behalf Of Carol Kocian

      I was looking at the way certain eras of fashion are associated 
with an area, which is different than what people were actually 
wearing.  It's not the reality, it's what we perceive based on 
movies, popular culture, etc.

      Hippies were everywhere, but now identified with Berkeley. 
Black hats with buckles on them were not the fashion at Plymouth, 
Mass, but they're all over the souvenir shops.

      I'm imagining a "what city is this" sort of thing based on the 
historic costume icons.

      -Carol




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Subject: Re: [h-cost] New to me Eleonora of Toledo
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>
> Sorry for the cross post.
>
> I was looking for a copy of the Wedding at Cana by Allesandro Allori to
> look
> at Catherine de Medici's dress and found this instead.  Ever since I made
> my
> first "Eleonora" dress from Janet Arnold's book I have found her
> fascinating.  I know the above URL is ridiculously long but snipurl
> doesn't
> want anything to do with it.  It is a portrait of Eleonora in the
> Hermitage
> collection.  It is unlike any portrait of her that I've see, but Allori
> was
> a fosterling of Bronzino so he might have had some sittings.  The dress is
> fantastic!

Wanda,

Could you give us a "how to get there" instead?  I can't use the URL but
if you said "go to the _____ website and hit the ____ button, etc" I could
navigate to it myself....

Thanks!

Diana


>
>
> Wanda Pease/Regina Romsey
> Never attribute to malice what can as easily
> be attributed to simple social ineptness
>
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www.RenaissanceFabrics.net
"Everything for the Costumer"

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Subject: [h-cost] 1968 SCA views of medieval clothing
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Hi H-Costume,

You may remember a few months back that I was in pursuit of a legendary
statement about how ugly real medieval clothes were said to be by folks 
teaching early SCAers how to dress.

The East Kingdom Historian was kind enough to give me a copy of:

*********************
"A Handbook of the Current Middle Ages" 1968, for Baycon -- this was the 
only demo at that time.

Some excerpts from the clothing section, which is about six pages long:

Please note that my tailoring instructions are not completely authentic. 
  If this offends you, there are many texts available for more accurate 
patterns. A truly authentic dress is likely to appear clumsy to the 
modern eye.

Old bedspreads, especially the sort with scalloped edges, frequently 
make fine dresses.  The ones with scalloped edges make hemming 
unnecessary and so save time in sewing.

Knit fabrics hang nicely in dresses, but tend to lose their shapes in 
banners.
**********************

Now, please note that one of the areas which has seen a HUGE amount of 
study in the past dozen years of the SCA has been in clothing.  I'm not 
trying to make rude fun of the writer, or the early SCA folks here, but 
it is interesting to see what was advised in those early days. Whatever 
the method, the pictures I've seen from those times (mostly courtesy of 
the West Kingdom History Project website) are charming and medieval-looking.

As far as I know, there were not any "texts available for more accurate 
patterns" despite what the writer had said -- at least, not by our 21st 
century standards -- but if some of you who were doing historical sewing 
in the 60s knew of any, please do post!

The amazing detail in the Museum of London books only came out some 
dozen years ago, propagated by devoted folks like Mistress Tangwystl 
(Heather Rose Jones) and Robin Netherton, and with it, an astonishing 
realization by the archeological community that there were re-enactment 
hobbyists who might want to buy their journals.

And then hobbyists draping fabric and trying to figure out the fabric 
tech of the Middle Ages -- not assuming that a set-in sleeve was of 
course what you did for a tunic, and so on. (Note that the writer of 
this section does say that darts and set-in sleeves are "recent" 
inventions, but the included patterns  include them anyway.)

A last detail: the writer calls a sideless surcoat a "cotehardie." These 
days, that's what we call the fitted gown which goes under a woman's 
sideless surcoat, unless we're being really precise, and then we 
clothing-wonks call it a Gothic Fitted Dress. 
<http://www.netherton.net/robin/>  (There was another site with 
pictures, but it's offline at the moment.)

-- 
Cynthia Virtue and/or Cynthia du Pre Argent

   "Such virtue hath my pen...."  -Shakespeare, Sonnet 81
        "I knew this wasn't _my_ pen!"  --Cynthia Virtue
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Jodi,

Thank you for your help.  This has been a sad, sad, situation.  But good 
things are occurring daily.

You might want to contact your local Red Cross.  They are coordinating the 
people moving into other areas of the country.  I talked with the chair of 
our local chapter and he said they can use all the local help they can get. 
They had a crash training course.  Please give your quilt guild our heart 
felt thanks.

Penny E. Ladnier
Owner,
The Costume Gallery, www.costumegallery.com
Costume Classroom, www.costumeclassroom.com
Costume Research Library, www.costumelibrary.com

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I am sorry, I thought I had sent that off-list.  My apologies.

Penny E. Ladnier
Owner,
The Costume Gallery, www.costumegallery.com
Costume Classroom, www.costumeclassroom.com
Costume Research Library, www.costumelibrary.com

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Subject: RE: [h-cost] collages and hurricane relief
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Well to cover my posting of Univ. of MO. Univ. of MO, Columbia has a textile
college (Human Environment Sciences) and a theatre college. Stephens College
near by which has a major enrollment and focus with costuming and textiles
may join the ranks of assistance to students.

De
-----Original Message-----
      There are many colleges and universities offering to accept
students from hurricane areas, so unless people are talking about
schools with a costume/theatre/textile program, I don't think they
all need to be sent to the list.

      -Carol


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I missed the first post.  What is RTW???

I used to never buy any clothing because I would always think..."I can 
make that."   But of course I rarely got around to it.  Then another 
sewing friend of mine set me straight. "Never make anything you can 
buy-only make those things that you can't buy."  Thats has been my new 
motto for several years now, and has suited me well since I spend most 
of my sewing time doing historic stuff! 

You were lucky that you learned how to fit and sew.  Most folks I know 
now only learned how to sew.  If they didn't have a pattern for it, 
forget it...and I was never taught how to adjust a pattern as a younster 
sewing.  I picked all that up much later.

Sg

Carol Kocian wrote:

>
> Fran wrote,
>
>> 1950s dressmaking manuals told women they could make clothes that 
>> would look just like RTW, so they didn't have to admit they home sewed.
>
>
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Subject: [h-cost] Woven a disposition?  was:  regional crinoline fashions
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What does this mean?
Sg

>
> One of the most stunning original dresses I've seen is in the 
> collection of the Cincinnati Art Museum: a bright sapphire blue silk 
> taffeta woven a disposition, originally from Gettysburg, PA

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http://www.hermitagemuseum.org

click on English
go to quick search and type in A.Alessandro, click on go
scroll down to the paintings, click on "next 5-16 matches"
click on "next 17 - 28 matches".
scroll down to #25
You probably have seen this. Someone has it on their website.
Eleanor has a high collared cream dress with a light teal sleeveless
overdress that has red and gold embroidery on it.
I like this site as you can zoom in much better. Her dress is pleated w/red
and green braid holding it in place w/matching pleated sleeves. Wonderful
details.

De


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Subject: RE: [h-cost] New to me Eleonora of Toledo
Date: Sat, 3 Sep 2005 15:18:52 -0500
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I'm not sure what happened but the number switched. It is now #22.

De




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From: "Wanda Pease" <wandap@hevanet.com>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] New to me Eleonora of Toledo
Date: Sat, 3 Sep 2005 13:28:26 -0700
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Pardon me if this looks patronizing.  It isn't. I am putting these down as I
try it out, hoping it works.  I should have done it this way in the first
place instead of plastering that ridiculous URL in my message (it was late -
hangs head)

Go to http://www.hermitagemuseum.org/html_En/index.html

go to Digital Collection
http://www.hermitagemuseum.org/fcgi-bin/db2www/browse.mac/category?selLang=E
nglish

Choose Paintings beside the search box. Then click Browse by Artist.  Go
down the list until you see Allori, Allesandro.  There are two pictures and
Eleonora is the lady in peacock blue with her hair very close to her head.
You can put in Allori in the Quick search box but that brings up a number of
works in other media that aren't necessarily relevant.

Regina Romsey
OL, OP, Drachenwald/East, Now Proud Resident of the Laurel Kingdom of AnTir
and the Pacific NorthWet

> Wanda,
>
> Could you give us a "how to get there" instead?  I can't use the URL but
> if you said "go to the _____ website and hit the ____ button, etc" I could
> navigate to it myself....
>
> Thanks!
>
> Diana
>
>
> >

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Date: Sat, 3 Sep 2005 13:21:36 -0700
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From: Heather Rose Jones <heather.jones@earthlink.net>
Subject: Re: [h-cost] belted houppelandes
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At 9:54 AM -0700 9/3/05, Kathryn Parke wrote:
>Could someone walk me through the process of belting a houppelande 
>just below the bustline?  How did they keep the belts there, without 
>having it "walk" itself down to the natural waistline?  Was it 
>tacked in places, and if so, wouldn't that interfere with the drape? 
>And how were they fastened in back -- buckled, tied, pinned?  This 
>is for a stage costume, "accuracy" isn't the primary goal (don't 
>hate me!) -- I want that look, but I'm not sure how best to achieve 
>it.

Although this isn't a style that I wear very often (except for the 
masculine version with the more natural belt-line), my experience has 
been that if your belt is wide and relatively stiff, e.g., made from 
oak-tan leather, then if you buckle it rather snugly just under the 
breasts, the lower edge will ride right around where your waist 
starts flaring to the hips.  (Women with a relatively long waist or 
narrow hips will have a different experience than me.)  If you 
remember that the fashionable silhouette of the time included a 
gently rounded belly, it seems plausible that this method may have 
been part of how it worked.

Another factor may be that if your gown fabric is relatively heavy 
(as seems to be the case from how it is depicted) and the gown is 
relatively flared (ditto), then the change in volume of fabric 
between the upper and lower edges of the belt may also help keep it 
from slipping downwards.

Heather

-- 
*****
Heather Rose Jones
heather.jones@earthlink.net
<http://heatherrosejones.com>
*****
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From: "Carolann Schmitt" <cschmitt@genteelarts.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Woven a disposition?  
Date: Sat, 3 Sep 2005 16:34:32 -0400
Organization: Genteel Arts
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Fabrics that are woven or printed "a disposition" are designed for a
particular use or particular area in a garment, frequently along one edge of
a flounce. (Our modern border prints are a distant cousin.) They were
particularly popular during the mid-late 1850s, when the technology was at
its peak. 

In addition to printed or woven designs, they were also made with trimmings
- braids or fringe - woven into the edge of the fabric; and were often sold
with matching or coordinating plain fabric and/or other trimmins. Some were
produced with the pattern along the lengthwise edge; others had the pattern
produced crosswise.  

Here are some links to just a few examples of dresses made from these
fabrics:

http://www.bowesmuseum.org.uk/collections/image.php3?Name=Woman%27s+Dress&im
age=1989-4-3-cst-2-793.jpg

http://www.zum.de/Faecher/G/BW/Landeskunde/schwaben/schloesser/ludwigsburg/m
ode/rundgang/krinolin01.htm

http://images.vam.ac.uk/images/photo/sch/20030207/high/1089-003.jpg

http://www.mfa.org/collections/search_art.asp?recview=true&id=458194&coll_ke
ywords=dress&coll_package=0&coll_start=561


Carolann Schmitt
cschmitt@genteelarts.com
www.genteelarts.com
Ladies & Gentlemen of the 1860s Conference, March 2-5, 2006



<Woven a disposition? was: regional crinoline fashions

What does this mean?
Sg





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Lavolta Press wrote:

> I'm wondering, though, if anyone on h-costume is making RTW clothes for 
> the boho market, perhaps selling on eBay?  I'd think tiered crushed 
> velvet gypsy skirts and tunics with bell sleeves might sell well this 
> fall and winter.


I can't compete with China, unfortunately. The RTW being imported is 
selling for less than my cost of materials.


Dawn


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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] making vs buying clothes
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RTW=Ready-to-wear.

I've pretty much quit making modern fashion clothes.  My motto is, as 
well as making what I can't buy, to only buy things that I find 
interesting, as a process, to make.  So I do almost exclusively historic 
clothes now . . . and, since I'm short, a lot of alterations of modern RTW.

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

WickedFrau wrote:

> I missed the first post.  What is RTW???
>
> I used to never buy any clothing because I would always think..."I can 
> make that."   But of course I rarely got around to it.  Then another 
> sewing friend of mine set me straight. "Never make anything you can 
> buy-only make those things that you can't buy."  Thats has been my new 
> motto for several years now, and has suited me well since I spend most 
> of my sewing time doing historic stuff!
>
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Subject: Re: [h-cost] Woven a disposition?  was:  regional crinoline fashions
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A disposition means with a pattern printed or woven in, to be arranged a 
certain way when making the garment.  For example, you can get modern 
"border" fabrics, with a special border intended to be used at the 
bottom of a skirt.

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


WickedFrau wrote:

> What does this mean?
> Sg
>
>>
>> One of the most stunning original dresses I've seen is in the 
>> collection of the Cincinnati Art Museum: a bright sapphire blue silk 
>> taffeta woven a disposition, originally from Gettysburg, PA
>
>
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It can be really amazing.  I've been buying cotton gauze skirts from a 
Thai seller whose eBay ID is aonneo.  He (or she? I can't figure out the 
gender from the name) sells them for as low as $8 apiece, never more 
than $15.  It depends on the skirt style and how well the auctions are 
going.  Shipping is very reasonable too, less than I've paid many eBay 
sellers for shipping within the US.  And fast, and efficient.

BUT, those are all thin cotton skirts . . . and I'm looking for velvet 
for fall/winter.

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

Dawn wrote:

> Lavolta Press wrote:
>
>> I'm wondering, though, if anyone on h-costume is making RTW clothes 
>> for the boho market, perhaps selling on eBay?  I'd think tiered 
>> crushed velvet gypsy skirts and tunics with bell sleeves might sell 
>> well this fall and winter.
>
>
>
> I can't compete with China, unfortunately. The RTW being imported is 
> selling for less than my cost of materials.
>
>
> Dawn
>
>
> _______________________________________________
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Date: Sat, 03 Sep 2005 13:54:37 -0700
To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] fiber arts and making vs buying clothes
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>1950s dressmaking manuals told women they could make clothes that would 
>look just like RTW, so they didn't have to admit they home sewed.

It was a big day in my brother's life when he stopped letting my mother sew 
his shirts for him.  That was about 1964.

>Then, in the late 1960s and early 1970s, there was a "counterculture" 
>reaction against things manufactured by the "establishment," including 
>clothing, food, and many other things.  People took up not only home 
>sewing (see _The Illustrated Hassle-Free Make Your Own Clothes Book_), but 
>bread baking (see the _Tassajara Bread Book_), organic gardening, candle 
>making, and lots of other crafts.  The emphasis was not only on doing it 
>yourself, but on _not_ imitating "plastic" ready-made clothes, supermarket 
>food, etc.  Many completely inexperienced people were experimenting with 
>various crafts; and inexperience, as well as a "go with the flow" 
>attitude, led to many original approaches.

That's when Hippies started embroidering their blue jeans and wearing 
ethnic garments.

>And by the 1980s, some people had become very skilled, in fact 
>professional, at patchwork, free-form crochet, and lots of other 
>things.  (The Tassajara bakery morphed into the very expensive, 
>sophisticated, gourmet vegetarian restaurant Greens.)  They published and 
>taught about new approaches and techniques they'd developed. Companies 
>like Folkwear were founded.  Banks bought enormous fiber art hangings for 
>their lobbies.  It was very hip to study "fiber arts" in college (not 
>usually sewing, but weaving, spinning, crochet, embroidery, and such).

You must live in Northern CA.

>The modern reenactment movement (I'm excluding things like Victorian 
>costume balls and jousts when I say "modern") also, I believe, got its 
>start as part of the counterculture.  The SCA started as a bunch of 
>hippies who enjoyed dressing in colorful clothes and evolved  into a much 
>larger organization with much more complicated goals.

Ren. Faires started in the early 1960s, and their founder coined the term 
"living history".

>Still, there was a lot of DIY, which I don't think I'm seeing currently as 
>a mainstream movement.

"Wearable art", while not being exactly mainstream is at least 
common.  Places like Michael's craft stores carry supplies for making 
wearable art, and a few kits for the same.


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

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To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: RE: [h-cost] Eras and places (was hippies)
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>I did some extensive research on mid-19th century skirt supports (corded
>petticoats, cage and covered crinolines, etc.) for a presentation last year.
>Based on manufacturing and sales records, crinolines were widely available
>and worn anywhere in the country, including the far west. This is amply
>supported by original photographs, extant crinolines, and commentary in
>period magazines, newspapers, letters and journals. The average retail price
>for a crinoline c. 1855-1865 was $0.25-$2.00 each, depending on the overall
>style and the number of steels.
>
>Documentation indicates that the style spread quite rapidly across the
>country - within a few months at most.

Our Gold Rush started in 1849.  In the circular-skirt-support period there 
were substantially fewer women in California, per capita, than in other 
parts of the country.  So fewer circular-skirt-supports were being 
worn.  (This includes Chinese and Hispanic women, who were also few and far 
between, and much less likely to wear circular-skirt-supports 
anyway.)  Circular-skirt-supports were less common because women were less 
common.  As the years went by more women arrived, increasing their 
percentage of the population.  But by like 1870 very few, if any, women 
were still wearing circular-skirt-supports.  My point being that women in 
hoop skirts never became part of the Gold Rush image.  Men wearing Levis 
did, to the extent that there's one on the California State Seal.

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

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Subject: Re: [h-cost] Eras and places (was hippies)
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>Kayta said,
>>Berkeley, CA, and the 1960s.  You see aging Hippies, and ones whose 
>>parents were barely born in the 1960s, on the streets in Berkeley, CA, 
>>even today.
>
>      I have an "ageing" hippie next door who just turned 40. :-)  Do you 
> think, though, that the hippie styles in Berkeley are only due to the 
> area, or because kids like the style again?  Maybe a bit of both? I 
> agree, though that the hippie look says Berkeley or Haight Ashbury. (Is 
> that in Berkeley?)  Or Woodstock, which is not close at all. :-)

Haight Ashbury (or "the Haight") is the name of the area around the 
intersection of Haight Street and Ashbury Street in San Francisco.  In my 
sartorial opinion, people today are more likely to wear Hippie clothes in 
Berkeley than in San Francisco, even people too young to have been Hippies 
the first time.  In the San Francisco Bay Area, Hippie clothes say Berkeley 
rather than San Francisco, to the locals.

The Haight Ashbury neighborhood has moved on beyond Hippie things, mostly, 
and is a mixture of gentrification and modern street kids.  A mile downhill 
on Haight Street ("the Lower Haight"), things are more Hippie-like and more 
young-artist driven.  Telegraph Avenue in Berkeley, a street dead-ending at 
the U.C.Berkeley campus, is another mix of gentrification and modern young 
people, but there's a daily street fair of sidewalk crafts booths that adds 
a distinct Hippie flavor to the area.  More than one of these booths sells 
tie-dye shirts and other tie-dye items.  A few sell bead jewelry.


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

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>As far as I know, there were not any "texts available for more accurate 
>patterns" despite what the writer had said -- at least, not by our 21st 
>century standards -- but if some of you who were doing historical sewing 
>in the 60s knew of any, please do post!

Hill and Bucknell's The Evolution of Fashion was published in 1969.  It was 
intended for theatrical use rather than strict historical recreation, but 
at least it came with patterns.  I joined the SCA in 1971 and was an 
anomaly because I already owned Davenport's costume book and tried to 
recreate costumes from in there.


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

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Norris's books were all under heavy pirated/photocopy circulation in the 
SCA for many years. Norah Waugh's books "start" a bit past SCA period 
but were all originally published from the mid 1960s to 1970. Janet 
Arnold's _/Patterns of Fashion 1: Englishwomen's Dresses and Their 
Construction 1660–1860_ also "starts" past SCA period but was published 
in the early 1970s. Despite the "late" dates, all Waugh's books and the 
Arnold one I mentioned were popular with "serious" SCA costumers from 
fairly early on. //Karl Kohler's _A History of Costume_ (with patterns) 
was first published in the 1920s and was reprinted by Dover as early as 
1963.

Whatever you think of the "authenticity" of these books, their intention 
is more "serious" than a brochure on constructing a beginning T-tunic 
just to look acceptable at events.

I've never been a member of the SCA, but I've known quite a lot of them.

Renaissance Faires, BTW, are another outgrowth of the "hippie" movement.

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

/

>
>
> As far as I know, there were not any "texts available for more 
> accurate patterns" despite what the writer had said -- at least, not 
> by our 21st century standards -- but if some of you who were doing 
> historical sewing in the 60s knew of any, please do post!
>
>
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My grandmother used to make hippie crocheted vests and such for my 
cousin Donna (who is some years older than I am).  Donna was obsessed 
with clothes, but never sewed (her mother made all her enormous 
wardrobe) or crocheted (my grandmother did that).

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

>I reply:
>Huh.  My first encounters with fiber-arts came with my
>grandmother (now 79); I doubt she'd enjoy being called
>a hippie (but i won't tell) ;-)  
>
>
>  
>
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From: Jacqueline Johnson <kristalori@gmail.com>
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Read To Wear. I make a lot of my own clothes. In fact I'm getting to make a 
wiggle dress. A lot of people in the goth and FrUiTs movement do their own 
clothes. DIY clothing is really making a heavy duty stand. I just wrote a 
really short blurb on it for my own zine I produce.

Bice

On 9/3/05, WickedFrau <wickedfrau@msn.com> wrote:
> 
> I missed the first post. What is RTW???
> 
> I used to never buy any clothing because I would always think..."I can
> make that." But of course I rarely got around to it. Then another
> sewing friend of mine set me straight. "Never make anything you can
> buy-only make those things that you can't buy." Thats has been my new
> motto for several years now, and has suited me well since I spend most
> of my sewing time doing historic stuff!
> 
> You were lucky that you learned how to fit and sew. Most folks I know
> now only learned how to sew. If they didn't have a pattern for it,
> forget it...and I was never taught how to adjust a pattern as a younster
> sewing. I picked all that up much later.
> 
> Sg
>
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Carol,

I am compiling a listing of college with theater and fashion related that 
are accepting students.  I am looking for the schools to fill in specific 
information that a student would need to know.  I will be posting the 
listing to my site early in the week.  I am asking each school listing to 
have a contact person who can co-ordinate the transfer. The last thing these 
students need is to play telephone tag and go through miles of red tape.

If you all sincerely want to help with this project, please contact me 
off-list.  The transferring students will need people to pick them up at 
airports, help find houses, etc.  We hope to be co-coordinating with the Red 
Cross.

Penny E. Ladnier
Owner,
The Costume Gallery, www.costumegallery.com
Costume Classroom, www.costumeclassroom.com
Costume Research Library, www.costumelibrary.com

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To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Eras and places (was hippies)
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>      Perhaps we have Scarlett O'Hara to thank for the hoopskirts, 
> especially the barer evening dress worn at the picnic. :-)

If you mean that ruffly short-sleeved white dress, I found the historical 
image they must have taken that costume from.  It was one of the hardest 
things I ever did, shifting gears in my head to accept that one as actually 
period.


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

              //// \\\
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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] belted houppelandes
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On Sat, 3 Sep 2005, Kathryn Parke wrote:

> Could someone walk me through the process of belting a houppelande
> just below the bustline?  How did they keep the belts there, without
> having it "walk" itself down to the natural waistline?

In addition to the good advice already given, I've found it's essential to
be wearing an underdress that provides the right lift to the bust (meaning
high, contained, and stable). That way you don't have the pressure from
the bust pressing down on the belt, and you don't get any unattractive
flop of the bust over the belt. The belt's job is not to raise the bust,
but simply to contain the folds of the houppelande. Alas, I've seen many
people who think that if the houppelande covers everything, they can get
away without the underdress. It's not a pretty sight.

--Robin

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Date: Sat, 03 Sep 2005 14:16:50 -0700
To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: RE: [h-cost] Woven a disposition?  
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>Fabrics that are woven or printed "a disposition" are designed for a
>particular use or particular area in a garment, frequently along one edge of
>a flounce. (Our modern border prints are a distant cousin.) They were
>particularly popular during the mid-late 1850s, when the technology was at
>its peak.

The modern equivalent of this is the "border print", printed with a design 
along one edge, for use in making skirts or curtains.  Then there are 
printed lengths of fabric intended for making things like vests or aprons, 
where all the pieces come printed on the fabric ready to cut out and 
sew.  Some Daisy Kingdom fabric is printed in such a way that you can make 
a cute little girl's dress with different parts of the printed design in 
different places.  And some saree fabric comes with an extra piece at one 
end, woven or printed to match, intended for making a choli (under-blouse).


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

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Date: Sat, 03 Sep 2005 14:20:50 -0700
To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] making vs buying clothes
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>BUT, those are all thin cotton skirts . . . and I'm looking for velvet for 
>fall/winter.

Does it make sense to layer one of these over what would amount to a 
petticoat underneath?  The underskirt would keep you warm and the over 
skirt would look nice for both of them.  I'm not usually a skirt-wearer, so 
I don't know.


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

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----- Original Message ----- 
From: <h-costume-request@indra.com>
To: <h-costume@mail.indra.com>
Sent: Saturday, September 03, 2005 12:51 PM
Subject: h-costume Digest, Vol 4, Issue 564


> Send h-costume mailing list submissions to
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--------------------------------------------------------------------------------


> Today's Topics:
>
>   1. Bjarne (Lalah)
>   2. Eras and places (was hippies) (Carol Kocian)
>   3. Re: Bjarne (Chris)
>   4. Re: Eras and places (was hippies) (J Schueller)
>   5. RE: Eras and places (was hippies) (Carolann Schmitt)
>   6. Re: Eras and places (was hippies) (Carol Kocian)
>   7. regional crinoline fashions (Carolann Schmitt)
>   8. Re: collages and hurricane relief (Althea Turner)
>   9. Re: collages and hurricane relief (Susan B. Farmer)
>  10. Re: Bjarne (ruthanneb@mindspring.com)
>  11. Re: Bjarne (Susan B. Farmer)
>  12. Re: regional crinoline fashions (Carol Kocian)
>  13. Re: fiber arts and making vs buying clothes (Lavolta Press)
>


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


> _______________________________________________
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] fiber arts and making vs buying clothes
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>
> Ren. Faires started in the early 1960s, and their founder coined the 
> term "living history".

Wasn't there some early connection with the SCA?


>
>> Still, there was a lot of DIY, which I don't think I'm seeing 
>> currently as a mainstream movement.
>
>
> "Wearable art", while not being exactly mainstream is at least 
> common.  Places like Michael's craft stores carry supplies for making 
> wearable art, and a few kits for the same.
>
>
But what do you call "wearable art"?  I'd say it's something more 
avant-garde, or arty, than a nice but  mainstream hand-knitted sweater.

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



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http://snipurl.com/hf4r
$8. You couldn't buy the fabric for that little, never mind the work 
involved.

http://snipurl.com/hf4t
$24. Still a steal.



Dawn


Lavolta Press wrote:

> 
> BUT, those are all thin cotton skirts . . . and I'm looking for velvet 
> for fall/winter.
> 
> Fran
> Lavolta Press
> http://www.lavoltapress.com
> 
> Dawn wrote:
> 
>> Lavolta Press wrote:
>>
>>> I'm wondering, though, if anyone on h-costume is making RTW clothes 
>>> for the boho market, perhaps selling on eBay?  I'd think tiered 
>>> crushed velvet gypsy skirts and tunics with bell sleeves might sell 
>>> well this fall and winter.
>>
>>
>>
>>
>> I can't compete with China, unfortunately. The RTW being imported is 
>> selling for less than my cost of materials.
>>
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Subject: Re: [h-cost] making vs buying clothes
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I've been thinking about layering the cotton ones, yes. 

Although, as you guessed, I live in northern CA--San Francisco.  I 
believe it's been established that it was not Mark Twain who said that 
"the coldest winter he ever spent was a summer in San Francisco," 
_somebody_ clearly did.

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


Carolyn Kayta Barrows wrote:

>
>> BUT, those are all thin cotton skirts . . . and I'm looking for 
>> velvet for fall/winter.
>
>
> Does it make sense to layer one of these over what would amount to a 
> petticoat underneath?  The underskirt would keep you warm and the over 
> skirt would look nice for both of them.  I'm not usually a 
> skirt-wearer, so I don't know.
>
>
>        CarolynKayta Barrows
> dollmaker, fibre artist, textillian
>          www.FunStuft.com
>
>              //// \\\
>             ////-@@\\\
>            ((((   7 )))
>             (((  <> ))))
>                )   ((((((
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> _______________________________________________
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Lavolta Press wrote:
> Whatever you think of the "authenticity" of these books, their intention 
> is more "serious" than a brochure on constructing a beginning T-tunic 
> just to look acceptable at events.

Right you are.  Thank you!

-- 
Cynthia Virtue and/or Cynthia du Pre Argent

   "Such virtue hath my pen...."  -Shakespeare, Sonnet 81
        "I knew this wasn't _my_ pen!"  --Cynthia Virtue
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From: Jacqueline Johnson <kristalori@gmail.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] fiber arts and making vs buying clothes
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Status: RO

I would agree. Define wearable art. The DIY movement is VERY strong and VERY 
mainstream. In particular among teenage girls. Just take a look at Etsy and 
you'll see the demographics.
http://www.etsy.com/
The most popular thing to make right now in the "reconstruct" part of DIY is 
t-shirts recounstructed to look like corsets. Some are really nice.

B.


> > "Wearable art", while not being exactly mainstream is at least
> > common. Places like Michael's craft stores carry supplies for making
> > wearable art, and a few kits for the same.
> >
> >
> But what do you call "wearable art"? I'd say it's something more
> avant-garde, or arty, than a nice but mainstream hand-knitted sweater.
> 
> Fran
> Lavolta Press
> http://www.lavoltapress.com
> 
> 
> 
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Status: RO

If you see any velvet gypsy skirts (unworn, new) that are earthtones 
rather than jewel tones, lemme know.

I agree about the price competition, but if it were something of higher 
quality (cotton velvet instead of rayon, or rayon/silk devore velvet), 
or different (interesting design and/or trimming), I personally would 
pay more.

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

Dawn wrote:

> http://snipurl.com/hf4r
> $8. You couldn't buy the fabric for that little, never mind the work 
> involved.
>
> http://snipurl.com/hf4t
> $24. Still a steal.
>
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While I know we were glad to get updates on people personally known on the  
Gulf Coast, I think this exchange just proves that politics doesn't belong on  
this list.  We went through this before, and it got kind of nasty.
 
Ann Wass
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Subject: Re: [h-cost] regional crinoline fashions
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In a message dated 9/3/2005 2:15:06 P.M. Eastern Standard Time,  
cschmitt@genteelarts.com writes:

I'm  imagining a "what city is this" sort of thing based on the 
historic  costume icons.



One of my most vivid memories of Mobile, Alabama, is the Azalea Trail  Maids, 
who wore "ante-bellum" gone wild--Big hoop-skirted dresses with rows of  tiny 
ruffles on the skirt, pantalets, big hats, parasols, and mitts, all in a  
matching color, like peach, lime green, or turquoise.  This was back in the  
early 1980s--don't know if they still dress that way. Even then, I think we all  
knew better.
 
Ann Wass
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] fiber arts and making vs buying clothes
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Status: RO

It's pretty easy to put lace-up trimming down the front of a tank top.  
BTW, that was a "hippie" style too.  It's certainly heavily done in 
ready-to-wear for the American "junior" market.  In shopping malls and 
online catalogs, I've seen a lot of ready-to-wear "decorated" T shirts 
and tank tops.  They're often quite charming.

I would guess Goths have to make most of their Goth clothes, although 
I've seen Goth clothing for sale on the net.  In fact I bought some 
skirts that I found out are by a Goth ready-to-wear manufacturer, at 
www.artfulwears.com.

Something else about "wearable art"--to my mind it has a kind of "wild 
and wooly" aspect.  It's not a well-made but conservative hand-knitted 
sweater.  I love hand-knitted sweaters, but I don't think they're all 
wearable art. It's not a commercial T-shirt with some lace trim and/or 
appliques sewn on.  Those can be very cute, but I don't think they're 
wearable art either.  It's also not ticky-tacky-craftsy, kits-and-kitsch. 

Wearable art may or may not be related to current fashion, but it's 
experimental, and "different."  That's what makes it art.

I agree that sewing an embroidered patch on your blue jeans, as many 
people did in the late 60s and early 70s, is not wearable art either.  
But some people went further, and were more "arty."

I should add that the modern vintage clothing market, or rather the 
modern perception of it, also dates from the "hippie" movement.  To the 
generation before that, buying used clothing was something you avoided 
if possible, for its connotations of not being able to afford new, and 
even catching parasites or diseases from the previous owner.  The 
"hippie" movement siezed on vintage clothing ("reconstructed" or not) as 
a way to both find different styles and to benefit the environment by 
recycling.

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


Jacqueline Johnson wrote:

>I would agree. Define wearable art. The DIY movement is VERY strong and VERY 
>mainstream. In particular among teenage girls. Just take a look at Etsy and 
>you'll see the demographics.
>http://www.etsy.com/
>The most popular thing to make right now in the "reconstruct" part of DIY is 
>t-shirts recounstructed to look like corsets. Some are really nice.
>
>B.
>
>
>  
>
>>>"Wearable art", while not being exactly mainstream is at least
>>>common. Places like Michael's craft stores carry supplies for making
>>>wearable art, and a few kits for the same.
>>>
>>>
>>>      
>>>
>>But what do you call "wearable art"? I'd say it's something more
>>avant-garde, or arty, than a nice but mainstream hand-knitted sweater.
>>
>>Fran
>>Lavolta Press
>>http://www.lavoltapress.com
>>
>>
>>
>>_______________________________________________
>>h-costume mailing list
>>h-costume@mail.indra.com
>>http://mail.indra.com/mailman/listinfo/h-costume
>>
>>    
>>
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
>http://mail.indra.com/mailman/listinfo/h-costume
>
>
>  
>
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Status: RO

I'm unsure if you've seen the corset t-shirts but what they are is 
essentially the body of the t-shirt intact with pieces of fabric added 
either on the front or back with grommets in. Then you lace just like a 
corset. Some are really wild others are the basic style. Also the old "add a 
skirt to the bottom of a t-shirt" is still standard. Heck I was doing that 
in HS (I was born in 72 if it says much) . Depending on what facet of goth 
you are doing you have a few great choices for clothing. If you do LBG or 
Lolita Rose and Thorn is amazing. 
http://www.angelfire.com/ab6/roseandthorn/
If you like cyber goth Lip Service has some nice pieces although I'm not 
real keen on the method of making them or their lastability.
The Gothic Lolita Bible is a must for anyone who studies modern costume or 
is in the Lolita or FrUiTs movement of clothing. Blue Period hosts scans of 
the book:
http://www.blue-period.fsnet.co.uk/egl.html
Goth Fashion Info gives simple circle skirt instruction:
http://gothfashion.info/circlepixie.html
I like Morbid Outlook's explanation of Japanese Lolita:
http://www.morbidoutlook.com/fashion/articles/2002_07_gothiclolita.html
Metamorphose Temps des Filles sells great clothes for those into GL:
http://www.metamorphose.gr.jp/english/index.html

I have more links of course. If anyone wants them just ask. To my mind if 
you've made it chances are its wearable art. Its handmade and its OOAK. You 
aren't going to run into Hot Topic or Kmart and grab it off the rack.

B~


On 9/3/05, Lavolta Press <fran@lavoltapress.com> wrote:
> 
> It's pretty easy to put lace-up trimming down the front of a tank top.
> BTW, that was a "hippie" style too. It's certainly heavily done in
> ready-to-wear for the American "junior" market. In shopping malls and
> online catalogs, I've seen a lot of ready-to-wear "decorated" T shirts
> and tank tops. They're often quite charming.
> 
> I would guess Goths have to make most of their Goth clothes, although
> I've seen Goth clothing for sale on the net. In fact I bought some
> skirts that I found out are by a Goth ready-to-wear manufacturer, at
> www.artfulwears.com <http://www.artfulwears.com>.
> 
> Something else about "wearable art"--to my mind it has a kind of "wild
> and wooly" aspect. It's not a well-made but conservative hand-knitted
> sweater. I love hand-knitted sweaters, but I don't think they're all
> wearable art. It's not a commercial T-shirt with some lace trim and/or
> appliques sewn on. Those can be very cute, but I don't think they're
> wearable art either. It's also not ticky-tacky-craftsy, kits-and-kitsch.
> 
> Wearable art may or may not be related to current fashion, but it's
> experimental, and "different." That's what makes it art.
> 
> I agree that sewing an embroidered patch on your blue jeans, as many
> people did in the late 60s and early 70s, is not wearable art either.
> But some people went further, and were more "arty."
> 
> I should add that the modern vintage clothing market, or rather the
> modern perception of it, also dates from the "hippie" movement. To the
> generation before that, buying used clothing was something you avoided
> if possible, for its connotations of not being able to afford new, and
> even catching parasites or diseases from the previous owner. The
> "hippie" movement siezed on vintage clothing ("reconstructed" or not) as
> a way to both find different styles and to benefit the environment by
> recycling.
> 
> 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] fiber arts and making vs buying clothes
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>>Ren. Faires started in the early 1960s, and their founder coined the term 
>>"living history".
>
>Wasn't there some early connection with the SCA?

Not really.  The same kind of people joined each one, but there wasn't as 
much crossover as you might think.  There's still some awkwardness to this 
day, because of different goals for the two different groups.

"Wearable art", while not being exactly mainstream is at least 
common.  Places like Michael's craft stores carry supplies for making 
wearable art, and a few kits for the same.


>But what do you call "wearable art"?  I'd say it's something more 
>avant-garde, or arty, than a nice but  mainstream hand-knitted sweater.

What I call wearable art and what Michael's craft stores call wearable art 
are rather different.  They call things like craft-decorated t-shirts by 
that name, when they're selling supplies for making same.  I have a little 
more highbrow definition, and would go with the more avant guarde and arty 
look.  Upscale art and wine festivals have more what I would call wearable 
art.  I also call it fiber art, which the craft stores pretty much don't.


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

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From: Lavolta Press <fran@lavoltapress.com>
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Subject: Re: [h-cost] fiber arts and making vs buying clothes
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I'd agree with your definition, except that I associate the term "fiber 
art" with textile arts other than sewing. Whereas, to me "wearable art" 
covers sewing, weaving, spinning, knitting, crochet, embroidery, the 
whole spectrum.  Oh, except a hanging or sculpture is fiber art, but not 
wearable. 

As for Goths, who I supect may be a rather large DIY crowd, I've never 
been tempted to become one because, as far as I can tell from the 
historic costumers I know who are also Goths, they hang out in clubs and 
listen to modern music. I can't stand modern music. Also, I look awful 
in black.  But some of the ideas on the net I've seen are really 
creative.  The Gothic Lolitas seem far too sweet and innocent to be real 
Goths though.  While, as far as I know, none of my passing Goth 
acquaintances actually drink blood, they seem pretty sophisticated.

Fran
Lavolta Press
http://www.lavoltapress

> What I call wearable art and what Michael's craft stores call wearable 
> art are rather different.  They call things like craft-decorated 
> t-shirts by that name, when they're selling supplies for making same.  
> I have a little more highbrow definition, and would go with the more 
> avant guarde and arty look.  Upscale art and wine festivals have more 
> what I would call wearable art.  I also call it fiber art, which the 
> craft stores pretty much don't.
>
>
>      

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Status: RO

I'm guessing you've never encountered the "perky goth" subset of goth then. 
A google search should give you more than a few areas to look. As for the 
Lolita's looking innocent and sweet that's the whole idea. Sweet evil and 
innocent *looking*. Then you have the harajuku girls of Gwen Stefani fame. 
Yet another division in the Goth clothing movement.
gothicauctions.com<http://gothicauctions.com>will show a number of
DIYers who sell to others. I see a lot of square dance
dresses adapted to Lolita (that's what I use for my clothes anyhow) and 
bustle skirts in any fabric is popular. Past Patterns #904 the polonaise 
dress is HUGE for Goth DIYers. I've made one version in PVC in fact. Right 
now I'm working on a black lolita nun dress.

B

On 9/3/05, Lavolta Press <fran@lavoltapress.com> wrote:
> 
> <snip>
> As for Goths, who I supect may be a rather large DIY crowd, I've never
> been tempted to become one because, as far as I can tell from the
> historic costumers I know who are also Goths, they hang out in clubs and
> listen to modern music. I can't stand modern music. Also, I look awful
> in black. But some of the ideas on the net I've seen are really
> creative. The Gothic Lolitas seem far too sweet and innocent to be real
> Goths though. While, as far as I know, none of my passing Goth
> acquaintances actually drink blood, they seem pretty sophisticated.
> 
> Fran
> Lavolta Press
>
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Date: Sat, 3 Sep 2005 16:36:48 -0700 (PDT)
Subject: RE: [h-cost] New to me Eleonora of Toledo
From: "Diana Habra" <dch@inreach.com>
To: "Historical Costume" <h-costume@indra.com>
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>
> http://www.hermitagemuseum.org
>
> click on English
> go to quick search and type in A.Alessandro, click on go
> scroll down to the paintings, click on "next 5-16 matches"
> click on "next 17 - 28 matches".
> scroll down to #25
> You probably have seen this. Someone has it on their website.
> Eleanor has a high collared cream dress with a light teal sleeveless
> overdress that has red and gold embroidery on it.
> I like this site as you can zoom in much better. Her dress is pleated
> w/red
> and green braid holding it in place w/matching pleated sleeves. Wonderful
> details.

I agree that the portrait is beautiful but I don't think it is Eleonora of
Toledo.

Firstly it doesn't really look like her and secondly, the new book that I
have entitled "Moda a Firenze 1540-1580: Lo stile di Eleonora di Toledo e
la sua influenza" has this portrait listed as "Portrait of a Woman" by
Alessandro Allori 1580-1590.  In a book about Eleonora of Toledo, I would
think that if the portrait were really of her, this book would say so.  It
is a lovely portait, though.

And there are many other portraits that I hadn't seen before that are in
the book I mention above.  It is very much worth the $100 for anyone who
is passionate about Italian Renn clothing!

Diana

www.RenaissanceFabrics.net
"Everything for the Costumer"

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Subject: Re: [h-cost] fiber arts and making vs buying clothes
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>I'd agree with your definition, except that I associate the term "fiber 
>art" with textile arts other than sewing.

I call it art using fiber as the medium, wearable or not.  This includes 
the hanging textile sculptures, wall pieces, and some garments.

>Whereas, to me "wearable art" covers sewing, weaving, spinning, knitting, 
>crochet, embroidery, the whole spectrum.

Fiber art with armholes ;)

BTW, some jewelry is like wearable sculpture, and is made of metal, stone, 
etc.  I would call that wearable art too.  Then there are cross-over folks 
like Arlene Fisch who, in the 1970s, was making knitted silver wire 
jewelry.  And the chain-mail-bikini crowd - wearable, but is it art?

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

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Subject: RE: [h-cost] New to me Eleonora of Toledo
Date: Sat, 3 Sep 2005 16:55:08 -0700
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It does look very different from the portraits that we are used to from
Bronzino.  The hairstyle is so tight to the head.  I just put it down to the
difference in artist's eyes.  Also, I thought that the eyes of the girl did
look much like those I'm familiar with.

I can't wait to get my hands on a copy of this book.  It's on order and I'm
waiting for them to send me the receipt to tell me how much to pay.  By the
way - how did you pay for your copy or did you get it in Italy?  I'm going
to England in two weeks and expect to get the Euro-check there.

Wanda


>
> I agree that the portrait is beautiful but I don't think it is Eleonora of
> Toledo.
>
> Firstly it doesn't really look like her and secondly, the new book that I
> have entitled "Moda a Firenze 1540-1580: Lo stile di Eleonora di Toledo e
> la sua influenza" has this portrait listed as "Portrait of a Woman" by
> Alessandro Allori 1580-1590.  In a book about Eleonora of Toledo, I would
> think that if the portrait were really of her, this book would say so.  It
> is a lovely portait, though.
>
> And there are many other portraits that I hadn't seen before that are in
> the book I mention above.  It is very much worth the $100 for anyone who
> is passionate about Italian Renn clothing!
>
> Diana
>
> www.RenaissanceFabrics.net
> "Everything for the Costumer"
>
> _______________________________________________
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Subject: Re: [h-cost] fiber arts and making vs buying clothes
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>
>
> BTW, some jewelry is like wearable sculpture, and is made of metal, 
> stone, etc.

True, and there is also fiber jewelry.

>   I would call that wearable art too.  Then there are cross-over folks 
> like Arlene Fisch who, in the 1970s, was making knitted silver wire 
> jewelry.  And the chain-mail-bikini crowd - wearable, but is it art?
>
>    


Dunno.  There's a sense in which, the first time someone makes it, it's 
art; but if a bunch of other people make pretty much the same thing, is 
it art anymore?

Fran
Lavolta Press
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Subject: Re: [h-cost] New to me Eleonora of Toledo
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----- Original Message ----- 
From: "Wanda Pease" <wandap@hevanet.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Saturday, September 03, 2005 4:28 PM
Subject: RE: [h-cost] New to me Eleonora of Toledo


> Pardon me if this looks patronizing.  It isn't. I am putting these down as 
> I
> try it out, hoping it works.  I should have done it this way in the first
> place instead of plastering that ridiculous URL in my message (it was 
> late -
> hangs head)
>
> Go to http://www.hermitagemuseum.org/html_En/index.html
>
> go to Digital Collection
> http://www.hermitagemuseum.org/fcgi-bin/db2www/browse.mac/category?selLang=E
> nglish
>
> Choose Paintings beside the search box. Then click Browse by Artist.  Go
> down the list until you see Allori, Allesandro.  There are two pictures 
> and
> Eleonora is the lady in peacock blue with her hair very close to her head.
> You can put in Allori in the Quick search box but that brings up a number 
> of
> works in other media that aren't necessarily relevant.>>

I found it easily by searching for "Eleanor".

Dianne

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I missed the first part of this thread but this caught my eye.
In saying

"Renaissance Faires, BTW, are another outgrowth of the "hippie" movement.
Fran"

I come to understand that you may be saying that SCA came out of the
"hippie" movement. If I am understanding correctly, I would like to say that
SCA was not an outgrowth of the hippie movement, it grew from a history club
at Berkley.
I will say that the clothing in the beginning and even today is a blend of
historic and current style. The current style usually comes from those who
are just getting started or couldn't care less about costuming and cared
more of whatever arts or sciences they be interested in.
In early SCA costuming information, books, pictures were few and far
between.
I remember when I joined in `81 a woman who had no costuming experience was
telling me that this
http://realmofvenus.renaissancewoman.net/wardrobe/VENETIANLADYDurer1495.jpg
was a fantasy dress. A Victorian drawing of what was thought to have been
worn.
Oh yeah, and I was told that pink wasn't period.:P

De
my .2





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Subject: Re: [h-cost] fiber arts and making vs buying clothes
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>>   I would call that wearable art too.  Then there are cross-over folks 
>> like Arlene Fisch who, in the 1970s, was making knitted silver wire 
>> jewelry.  And the chain-mail-bikini crowd - wearable, but is it art?

>Dunno.  There's a sense in which, the first time someone makes it, it's 
>art; but if a bunch of other people make pretty much the same thing, is it 
>art anymore?

Good question.  This brings to mind the question of whether or not a 
recreation of, say, a Worth gown is art.  Certainly it was art the first 
time, but is what we're doing also art?  And are we in the wrong century to 
be calling our work art if we're creating a gown of a new design in a 
decades-old, or centuries-old, style?  Interesting point you brought up.

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

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>
>I come to understand that you may be saying that SCA came out of the
>"hippie" movement. If I am understanding correctly, I would like to say that
>SCA was not an outgrowth of the hippie movement, it grew from a history club
>at Berkley.
>  
>
I thought the fantasy author Marion Zimmer Bradley was supposed to have 
started it.

Fran


>  
>
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To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] 1968 SCA views of medieval clothing
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The West Kingdom has a history page up. This link will take you to the
origins of the SCA. http://history.westkingdom.org/Year0/index.htm

There are numerous photos and such of the early days of the SCA available in
some of the sections for looking at. I browse this page every once in a
while.

Jenne




I thought the fantasy author Marion Zimmer Bradley was supposed to have
started it.

Fran


>


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> I thought the fantasy author Marion Zimmer Bradley was supposed to have 
> started it.

She was part of it.  The first SCA event was a goodbye party for someone 
going off to the Peace Corps(?), in Diana Listmaker's (Paxson, I think) 
back yard.  A few months later MZB came up with the name when asked for 
a name to put down on the park reservation form.

-- 
Cynthia Virtue and/or Cynthia du Pre Argent

   "Such virtue hath my pen...."  -Shakespeare, Sonnet 81
        "I knew this wasn't _my_ pen!"  --Cynthia Virtue
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>
> Good question.  This brings to mind the question of whether or not a 
> recreation of, say, a Worth gown is art.  Certainly it was art the 
> first time, but is what we're doing also art?

I'm not sure it was even art the first time.  Worth actually had a 
fairly large concern and churned out numbers of very similar garments.  
I don't see that couture is necessarily art.

> And are we in the wrong century to be calling our work art if we're 
> creating a gown of a new design in a decades-old, or centuries-old, 
> style?  Interesting point you brought up.
>
>      


If it's an attempt at an exact reproduction, I think not.  It may be 
beautiful, it may be well made, but that doesn't make it art. It's 
really an effort  not to be original.

When I was studying weaving and other texile arts (in parallel with 
studying clothing design in another department of the same university, 
and history in yet another department), the other students sneered at 
anything they called "yardage."  Making garments was not hip.  I was at 
variance with the general opinion because I've always wanted everything 
I made to be useful.  For example, my crochet class was taught by a 
visiting instructor, a fiber artist well known at the time.  We were all 
encouraged to attend an exhibit of her work.   I went, and was puzzled 
by her current phase, which consisted of enormous, much larger than life 
kimonos with crocheted pictures.  They were beautiful, but there was 
quite enough room on an ordinary-sized kimono for the same pictures at 
smaller scale.   But, she said, if they were wearable they wouldn't 
really be art.  Huh?

There was one student who presented, for a weaving class critique, a 
beautiful curtain, or as she called it a window hanging, in leno weave 
(which some people call "lace weave" even though it is not technically 
lace).  She said she planned to hang it in her living room window.  She 
received a lot of praise, which emboldened her to say that she actually 
had three windows in her living room and already had her loom strung to 
make two more hangings. Immediately the praise turned to condemnation.  
"Oh, that would be _yardage_."  I thought that was silly; if one piece 
is art is it really degraded by her making a mere two others?  On the 
other hand, I have to say that if she'd churned them out by the hundreds 
I might stop calling it art.

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

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It's a very counterculture idea for the mid 1960s.

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

Cynthia Virtue wrote:

>
>> I thought the fantasy author Marion Zimmer Bradley was supposed to 
>> have started it.
>
>
> She was part of it.  The first SCA event was a goodbye party for 
> someone going off to the Peace Corps(?), in Diana Listmaker's (Paxson, 
> I think) back yard.  A few months later MZB came up with the name when 
> asked for a name to put down on the park reservation form.
>
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Greetings--

>>I come to understand that you may be saying that SCA came out of the
>>"hippie" movement. If I am understanding correctly, I would like to say 
>>that
>>SCA was not an outgrowth of the hippie movement, it grew from a history 
>>club
>>at Berkley.
>>
> I thought the fantasy author Marion Zimmer Bradley was supposed to have 
> started it.

It's my understanding that a little of each of these last two are true.  (As 
for the hippie connection, there's often an assumption that anyone at 
Berkley in the late 60s must have been a hippie, but that's not necessarily 
true.  I suspect that hippie-ness, like most things, existed on a spectrum).

As I understand it, there was a group of friends at Berkley.  Some were into 
history, some into Tolkein, some into early music, and some into various 
combinations thereof.  So you had that interesting mix of ideas right from 
the beginning.   MZB was definitely part of the original group, but she 
didn't "start" it.  I don't think any one person can claim credit.

Susan 

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From: Carol Kocian <aquazoo@patriot.net>
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Subject: [h-cost] I don't know art but I know what I like
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>And the chain-mail-bikini crowd - wearable, but is it art?

      I was an early adaptor - does mine get to be art?  I think the 
idea of a chainmail bikini was around for a bit before somebody 
decided to try making one.

      So there's a crowd now?  My invitation must have gotten lost. :-(

      A few years back, some historic site or organization was trying 
to put together a directory of people who would make historic 
clothes.  I think it was for 18th century.  Anyway, on the 
questionaire, one of the questions was "Do you design historic 
clothing?"

      In my opinion, it's already designed, just needs to be 
researched and put together with the appropriate accessories.  But 
some people consider patternmaking to be designing.  If I copy a 
pattern out of Janet Arnold ad adapt it to fit, some would say that's 
designing, but I think it's adaptation.

      The wearing of a costume, attitude, posture and staying in 
character, is a performance art in itself.

      Here is another thought - if the outfit is upper class, in 
beautiful silk with the perfect trimming, people will say "art". 
What about the perfect lower-class outfit, with coarse fabric and the 
wear that comes with actual use - is that as much "art" as the upper 
class dress?

      -Carol
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Is the West Kingdom History website available for general viewing?  Anyone
have the address?

Anne

the method, the pictures I've seen from those times (mostly courtesy of 
the West Kingdom History Project website) are charming and medieval-looking.


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On Sep 3, 2005, at 7:06 PM, Susan Carroll-Clark wrote:

>
> It's my understanding that a little of each of these last two are 
> true.  (As for the hippie connection, there's often an assumption that 
> anyone at Berkley in the late 60s must have been a hippie, but that's 
> not necessarily true.  I suspect that hippie-ness, like most things, 
> existed on a spectrum).


>
> As someone who lived in Berkeley and went to UC back in the late 
> sixties, I can attest to the fact that not everyone there was or 
> dressed like a hippie, but it was probably a much higher percentage of 
> the population than existed in the mainstream US.  There certainly was 
> a spectrum.  I liked to dress like a hippie back then, but I don't 
> think I was a true hippie, if there really was such an animal.  I 
> lived pretty much on the fringes of both hippiedom and the radical 
> political movements that flourished in Berkeley.    Never the less, I 
> think it was my impression at the time that much more of the US lived 
> and believed as we did in Berkeley, since I am still surprised to this 
> day, when I meet contemporaries of mine who grew up in other areas of 
> the country, such as the midwest, and were totally even unaware of 
> what was going on in places like the CA Bay Area.

Sylrog

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Absolutely.  But the San Franciso Bay Area really was different from 
much of the rest of the country.  Many people considered to be 
"straight" there in the 1960s would have been considered hippies, and/or 
flaming political radicals, in much of the rest of the US.  In much of 
the rest of the US, all you had to do to be considered a "hippie" was 
wear frayed bellbottom jeans in public, and/or be a male with long hair 
and/or a beard.

Take my husband, who grew up in Berkeley and got his BA at UC Berkeley.  
He was a (punch) card-carrying nerd, computer geek, programmer-for-pay 
at 15 when hardly anyone was a programmer at that age (there were no 
personal computers).  Being a nerd was not "cool."  Nerds were always 
straight, pimply weedy guys facing what everyone else regarded as 
dismally dull futures at places like, horrors, IBM.  Just the same, he 
did the things straight teenagers and young adults were doing in 
Berkeley, which included the usual clouds of smoke in public places, 
political demonstrations on campus, enduring pepper gassing of same, 
growing a beard, and so on.

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

>
> It's my understanding that a little of each of these last two are 
> true.  (As for the hippie connection, there's often an assumption that 
> anyone at Berkley in the late 60s must have been a hippie, but that's 
> not necessarily true.  I suspect that hippie-ness, like most things, 
> existed on a spectrum).
>
>
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Subject: RE: [h-cost] New to me Eleonora of Toledo
From: "Diana Habra" <dch@inreach.com>
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> It does look very different from the portraits that we are used to from
> Bronzino.  The hairstyle is so tight to the head.  I just put it down to
> the
> difference in artist's eyes.  Also, I thought that the eyes of the girl
> did
> look much like those I'm familiar with.
>
> I can't wait to get my hands on a copy of this book.  It's on order and
> I'm
> waiting for them to send me the receipt to tell me how much to pay.  By
> the
> way - how did you pay for your copy or did you get it in Italy?  I'm going
> to England in two weeks and expect to get the Euro-check there.

Wanda,

I paid for it using a credit card when I ordered it through Abe Books. 
The cost was dependant on the exchange rate that day.  But with shipping I
paid about $100 for it.  And it did come from Italy....

Hope that helps,

Diana

www.RenaissanceFabrics.net
"Everything for the Costumer"

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Subject: Re: [h-cost] I don't know art but I know what I like
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>The wearing of a costume, attitude, posture and staying in character, is a 
>performance art in itself.

I totally forgot about performance art.

>      Here is another thought - if the outfit is upper class, in beautiful 
> silk with the perfect trimming, people will say "art". What about the 
> perfect lower-class outfit, with coarse fabric and the wear that comes 
> with actual use - is that as much "art" as the upper class dress?

If it's in an art museum then somebody must think it's art...

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

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>It's my understanding that a little of each of these last two are 
>true.  (As for the hippie connection, there's often an assumption that 
>anyone at Berkley in the late 60s must have been a hippie, but that's not 
>necessarily true.  I suspect that hippie-ness, like most things, existed 
>on a spectrum).

There's a Daughters of the American Revolution chapter in Berkeley, so I'm 
assuming a spectrum ;)


        CarolynKayta Barrows
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          www.FunStuft.com

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Status: RO

Yes, I'd say pattern drafting, enlarging and altering a pattern to fit, 
and designing are three (actually four) different tasks. 

>
>
>      In my opinion, it's already designed, just needs to be researched 
> and put together with the appropriate accessories.  But some people 
> consider patternmaking to be designing.  If I copy a pattern out of 
> Janet Arnold ad adapt it to fit, some would say that's designing, but 
> I think it's adaptation.
>
>      The wearing of a costume, attitude, posture and staying in 
> character, is a performance art in itself.

But a different issue from the costume itself  In fact, the physical 
attitude/posture and "staying in character" by saying the right things, 
are different tasks.

>
>      Here is another thought - if the outfit is upper class, in 
> beautiful silk with the perfect trimming, people will say "art". What 
> about the perfect lower-class outfit, with coarse fabric and the wear 
> that comes with actual use - is that as much "art" as the upper class 
> dress?
>
I'd say neither is necessarily art.  One is fashionable upper-class 
dress, the other is lower-class dress.

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

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Subject: Re: [h-cost] I don't know art but I know what I like
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>
> If it's in an art museum then somebody must think it's art...
>
>      


I think clothes of the past are regarded even by art museums as cultural 
and historical artifacts (as well as, or instead of being art). They are 
not necessarily chosen by the same criteria as modern artifacts.  Many 
art museums with any textile facilities would probably be delighted to 
accept any original medieval garment whatever.  Most would not be 
delighted to accept just any modern garment.  They might be delighted to 
accept a "beautiful" Victorian upper-class garment in excellent 
condition, but most would not be as happy to include a lovely, expensive 
modern upper-class garment of no historically important provenance.   
The scarcity of that type of item plays a part too.

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




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From: Ann Catelli <elvestoorder@yahoo.com>
Subject: Re: [h-cost] 1968 SCA views of medieval clothing
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'Sideless cotehardie' comes from Milia Davenport's
book.  
Noticed the error right before I bought the book,
because it is still one of the few books with that
many contemporary-to-the-style pictures available.

And at least some of the early fifteenth century
pictures are from re-drawings, but you have to be
wide-awake to recognize the sources.

Ann in CT

--- Cynthia Virtue wrote:
> 
> A last detail: the writer calls a sideless surcoat a
> "cotehardie." 
> 
> Cynthia Virtue and/or Cynthia du Pre Argent


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Subject: RE: [h-cost] I don't know art but I know what I like
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-----Original Message-----

>And the chain-mail-bikini crowd - wearable, but is it art?

            -Carol

Comment:
Sorry to bring up SCA again but this reminded me of SCA in the early
eighties when from time to time a woman showed up in a chainmail bikini and
called herself a barbarian. Most were late teens and a few older women.
Once, one of the older women  showed up to a winter event in `83(?) in a
chainmail bikini. The hall was chilly but the men found it quite warm when
she was around. To say the least the bikini was not lined, nor were the ends
of the links welded, so you could tell she was quite perky and every once in
a while snagged a hair or two or maybe three.
Having learned from experience or other people's experiences these women
started wearing the rabbit fur lined chainmail bikini.
Then when colored wire became available you got artistic patterns with the
chainmail bikini, sans the fur but lined.
Outside of the SCA I saw two men wearing  chainmail "loincloths" one was
really in good shape, the other....well...needed more chainmail so that
there was more to leave to the imagination. Both learned the hard way about
unlined, unwelded ends of links.

De
Back to the regular schedule programs.



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Subject: Re: [h-cost] 1968 SCA views of medieval clothing
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"Anne Moeller" <ladyanne@quik.com> writes:
>
> Is the West Kingdom History website available for general viewing?
> Anyone have the address?

Well, <http://history.westkingdom.org/> is a decent place to start...

For those not keeping score, the SCA is possibly the longest-running
costume party in history.  What it lacks in history it makes it makes up
in enthusiasm.  And the mead is incredible:-)

-- 
Robert Uhl <http://public.xdi.org/=ruhl>
In Africa, some of the native tribes have a custom of beating the ground
with clubs and uttering spine-chilling cries.  Anthropologists call this
a form of primitive self-expression.  In the West, we call it golf.

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Wendy,

Thank you for the information. I sent out a message to an email list for 
theater
professors  last night.  I have a form to be filled out to put on our
Gallery for the students.  Several have already responded and said they will
send the form back Tuesday.  Ironically, several had responded that this
year's enrollment was down because of gas prices.

Penny E. Ladnier
Owner,
The Costume Gallery, www.costumegallery.com
Costume Classroom, www.costumeclassroom.com
Costume Research Library, www.costumelibrary.com

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Subject: Re: [h-cost] fiber arts and making vs buying clothes
Date: Sun, 4 Sep 2005 09:04:24 -0400
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Re the time period of store bought clothing etc., I think that the
availability of items will be better dated by the long history of mail-order
companies which begins in the last quarter of the 19th C, and some items
were available before this. The effect of the Industrial Revolution on
mainstream life in general is probably the starting point.

Kathleen

----- Original Message ----- 
From: "Dawn" <dawn@reddawn.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Saturday, September 03, 2005 10:11 AM
Subject: Re: [h-cost] fiber arts and making vs buying clothes


> Carolyn Kayta Barrows wrote:
>
> >
> >> When did "off the rack" clothes
> >> become THE WAY to go, as opposed to just being what
> >> people who couldn't afford to have clothes made for
> >> them wore?
> >
> >
> > Probably as soon as they became plentiful and cheap.
> >
>
> Store bought clothing and household goods became a sign of affluence
> after the Depression, and again after WW2. People hid quilts under Sears
> bedspreads and only wore flour sack underwear to school on days they
> didn't have to change for gym.
>
> The 60's and 70's hippie movement spawned re-interest in those old
> crafts, and by the 80's it was being called "art".
>
>
> Dawn
>
>
>
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From h-costume-bounces@indra.com  Sun Sep  4 09:19:32 2005
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To: Historical Costume <h-costume@indra.com>
From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] fiber arts and making vs buying clothes
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Somehow I can't imagine most Goths, as I know them, sitting down doing 
anything as domesticated and constructive as making clothes.  Making 
jewellery, possibly embellishing clothes, yes, but actual dressmaking? 
You can build up a pretty wide wardrobe by just buying things that are 
available in black, and while they might take a bit more searching out 
in smaller places, in Edinburgh there are plenty of shops where you can 
buy the crushed velvet dresses and other "specialist items".

Jean


Lavolta Press <fran@lavoltapress.com> wrote
>I'd agree with your definition, except that I associate the term "fiber 
>art" with textile arts other than sewing. Whereas, to me "wearable art" 
>covers sewing, weaving, spinning, knitting, crochet, embroidery, the 
>whole spectrum.  Oh, except a hanging or sculpture is fiber art, but 
>not wearable.
>As for Goths, who I supect may be a rather large DIY crowd, I've never 
>been tempted to become one because, as far as I can tell from the 
>historic costumers I know who are also Goths, they hang out in clubs 
>and listen to modern music. I can't stand modern music. Also, I look 
>awful in black.  But some of the ideas on the net I've seen are really 
>creative.  The Gothic Lolitas seem far too sweet and innocent to be 
>real Goths though.  While, as far as I know, none of my passing Goth 
>acquaintances actually drink blood, they seem pretty sophisticated.
>
>Fran
>Lavolta Press
>http://www.lavoltapress
>
>> What I call wearable art and what Michael's craft stores call 
>>wearable art are rather different.  They call things like 
>>craft-decorated  t-shirts by that name, when they're selling supplies 
>>for making same.   I have a little more highbrow definition, and would 
>>go with the more  avant guarde and arty look.  Upscale art and wine 
>>festivals have more  what I would call wearable art.  I also call it 
>>fiber art, which the  craft stores pretty much don't.
>>
>>
>>
>
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-- 
Jean Waddie
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From h-costume-bounces@indra.com  Sun Sep  4 09:39:39 2005
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Subject: [h-cost] new Pride and Prejudice movie
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I was lucky enough to get a ticket to a free preview of the new Pride 
and Prejudice movie.  I enjoyed it very much - dialogue perhaps not very 
faithful to the book, but the characterisation was just right.  I 
couldn't comment on the accuracy of the costuming, but the coding of the 
costumes was fascinating.  It's set just a bit earlier than usual, so 
the older generation are still wearing the fashions of about the 1880s - 
Mrs Bennet and Lady Catherine de Burgh are both very solidly corseted, 
and the country squires in voluminous coats and embroidered waistcoats. 
For the rest, you can tell how fashionable a lady is by the height of 
her waistline!  I thought that was really well done, and everyone had 
plenty of different clothes to wear for different situations.

Go and enjoy!

Jean
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Date: Sun, 4 Sep 2005 10:41:00 -0400
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From: Carol Kocian <aquazoo@patriot.net>
Subject: RE: [h-cost] I don't know art but I know what I like
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Hi De,

      Please watch for who said what when you snip quotes - it was 
Carolyn who said that particular line!

>  >And the chain-mail-bikini crowd - wearable, but is it art?
>
>             -Carol


>Comment:
>Sorry to bring up SCA again but this reminded me of SCA in the early 
>eighties when from time to time a woman showed up in a chainmail 
>bikini and called herself a barbarian.

      Well, if she had to call herself something, I guess, but most 
people will agree that it's fantasy.

>Having learned from experience or other people's experiences these 
>women started wearing the rabbit fur lined chainmail bikini.

      I find it amusing that it took some experience.  Chainmail has 
been around medieval groups for a long time, and it's easy enough to 
understand how it feels against skin and those who make it discuss 
the importance of snipping the links without leaving burrs.  Not to 
mention the screams of the people who put on or take off their chain 
mail shirts without wearing a cap.  All that information tends to be 
passed along when someone teaches how to make mail.

      My impression is that some women wear unlined mail because it's 
sexier.  Someone at the Origins convention wears chain mail dresses, 
and I've heard it's unlined, although I did not look too closely 
myself.

>Then when colored wire became available you got artistic patterns 
>with the chainmail bikini, sans the fur but lined.

      I've also seen lighter weight wire, I guess aluminum.  Fighters 
would wear padded garments under their mail to distribute the weight. 
Even with properly butted links, the mail will dig into the shoulders.

      Also, twenty years ago I would see some mail shirts with brass 
rings used for borders and sometimes inserted as designs.  I'm not 
sure if that's historic or simply something people do because the 
structure lends itself to certain designs.

      Renaissance Faires also would have a booth selling chain 
mail/chain headdresses.  They range in size from cauls to long veils, 
a mix of chain mail, looped chains and jewels.  Old techniques, old 
shapes (veils), but the product is modern.

      The only time I've seen one worn outside a "historic" 
(Renfair/SCA/LARP) context was that Anne Rice wore one during a 
television interview.

      -Carol
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Date: Sun, 4 Sep 2005 10:57:23 -0400
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From: Carol Kocian <aquazoo@patriot.net>
Subject: Re: [h-cost] fiber arts and making vs buying clothes
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Jean said,
>Somehow I can't imagine most Goths, as I know them, sitting down 
>doing anything as domesticated and constructive as making clothes.

      That's the thing about costume groups, though.  When people are 
dressed up at an elegant event, the illusion is that they had an army 
of seamstresses serving them, even though many make the outfits 
themselves.

      It's the same fantasy for Goths, to have that cool appearance 
without showing the feet paddling madly underneath.  Then again, 
people I know of who are into Goth things, I know through costuming 
so it's a skewed idea.

      I caught a few episodes of R U the Girl, where the singing group 
TLC is auditioning for a new third person.  On one of them, they gave 
the young women jeans, T-shirts and bags of trimming, fabric paint, 
etc - and their task was to style themselves.  And while they were 
not making the clothes from yardgoods, it was definitely DIY!

      I see it as a continuum of skills.  Trimming can lead down that 
slippery slope, from making simple unstructured things to fitted 
garments.  From glue to needle and thread.  Is this where I add my 
evil laugh?  :-)

      -Carol
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Subject: Re: [h-cost] fiber arts and making vs buying clothes
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Status: RO

It's absolutely true that mail order "took off" in the US when the 
postal system was improved in, if I recall correctly, the 1870s.  For 
that matter, mail order of a sort has been around for as long as people 
have traveled.  Before efficient national postal systems, people 
routinely asked friends and relatives who lived elsewhere, or who were 
traveling elsewhere, to choose and send them items they wanted.  They 
also made arrangements with retailers to send them merchandise.

On the other hand, mail order is by no means the same thing as 
ready-to-wear.  Ready-to-wear garments, when available,  have always 
been available in stores, as well as (or instead of) by mail. 

Ready-to-wear also does not necessarily mean machine sewn. A certain 
amount of ready-to-wear has been around for a very long time.  Even the 
Elizabethans sold some ready-made embroidered shirts.  Men's 
eighteenth-century ready-mades were called "slops," because the fit was 
not very good.  They were produced for markets with few resources for 
making their own clothes.  In colonial America, these included slaves, 
Native Americans, and sailors.  Most slops were imported.  However, 
high-quality ready-to-wear leather breeches were produced in America, 
especially in Philadelphia.  During the French and Indian War and the 
American Revolution, some contracts were formed with local tailors and 
seamstresses to produce soldiers' clothes.  One of the first American 
clothing factories was the United States Army Clothing Establishment, 
set up to produce uniforms for the War of 1812, which operated till the 
end of the 19th century.

By the early 1830s many American tailors kept a large stock of 
ready-mades on hand. It was a good way to keep journeymen busy during 
slack seasons and to use up excess cloth from their stocks, and even 
remnants on things like vests.  In areas that served as supply-buying 
points for those emigrating westward, the RTW business thrived. 

Women's ready-to-wear took longer to become acceptable, partly because 
it was harder to produce a good fit, partly because the average woman 
had better sewing skills than the average man.  However, women's RTW 
cloaks and wraps were available by the 1830s.  In England, if I recall 
correctly, RTW women's lingerie outfits were available as early as the 
1840s, for those emigrating to a colony and those who wanted trousseaus 
in a hurry. 

The original question on this list, was when it became more usual for 
most people to purchase clothing ready-made, than to have it custom made 
by either themselves or a dressmaker. Or buy buying it second-hand, the 
second-hand market having long fulfilled many of the functions of RTW.  
That point is usually regarded as the 1920s, by which time a long 
availability of an increasing amount of RTW had accustomed more and more 
people to buying it.  Manufacturers had been improving sizing over the 
years, and the loose styles of many 1920s women's dresses made fit less 
of an issue.  And, perhaps, the relative affluence of the 1920s made 
more people dismissive of second-hand clothes.

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


Lloyd Mitchell wrote:

>Re the time period of store bought clothing etc., I think that the
>availability of items will be better dated by the long history of mail-order
>companies which begins in the last quarter of the 19th C, and some items
>were available before this. The effect of the Industrial Revolution on
>mainstream life in general is probably the starting point.
>
>Kathleen
>
>  
>
>  
>
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Subject: Re: [h-cost] 1968 SCA views of medieval clothing
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Status: RO

It's always seemed to me that the SCA was there "first," as an ongoing 
amateur reenactment organization.  At least first in the US.  Do you 
know what influence it's had on the formation of other reenactment 
groups, such as American Civil War, and American Revolution?

I've also thought Renaissance Faires may have influenced the above. 
Parks & Recs departments saying, "Hey, they've shown you can get a lot 
of people to historic theme events, it makes money, we've got a historic 
park to center one around, let's try it."

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

>
>For those not keeping score, the SCA is possibly the longest-running
>costume party in history.  What it lacks in history it makes it makes up
>in enthusiasm.  And the mead is incredible:-)
>
>  
>
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>It's always seemed to me that the SCA was there "first," as an 
>ongoing amateur reenactment organization.  At least first in the US. 
>Do you know what influence it's had on the formation of other 
>reenactment groups, such as American Civil War, and American 
>Revolution?

      I believe the Markland Medieval Mercenary Militia was formed in 
1966 to reenact the battle of Hastings (1066).  They began at the 
university of Maryland and eventually they and the SCA became 
acquainted.  Markland has been going as a separate organization since 
it began.

      Likewise, American Civil War reenactment probably got popular 
for its centennial, in the 1960s.  I had heard that veterans and 
enthusiasts got together before then.

      There are some "Revolutionary War" uniforms in collections that 
were made later for commemorations, perhaps 1876?  While not 
necessarily reenactments, people were dressing up.

      I think the SCA influenced dressing up (and costume 
competitions) at science fiction and fantasy conventions, and also 
Live Action Role Playing (LARP).  But the reenactment of American 
events grew on their own.

      Many of these events are held on or near property where the 
actual events occurred, and there is usually 21stC public visiting. 
This encouraged the idea of events as educational.

      Most SCA events are private - halls, parks and school property 
is rented for their use.

      American Revolution or Civil War groups will have private 
events, and generally each unit will have a meeting or party once or 
twice a year.

      My impression is that American Revolution or Civil War 
reenactment came to the west coast later, so the SCA was first in 
that area.  But in the east it was already going on.

      -Carol
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Status: RO

Well most Goths are also pretty self sufficent. You do have some that do 
cookie cutter Goth and buy everything at Lip Service and Hot Topic but they 
are IMHO the minority. Most Goths are working crappy jobs because of one 
reason or another and so can't afford to pay the prices that RTW Goth 
clothing costs. Which can get pricey. Up on Live Journal where I hang out 
most there are probably 800 groups dedicated to Goths who do their own 
clothes. There are probably another 600 where a few of them sell their 
talents to those who might sew and just want something OOAK or don't sew but 
want individual works. Yahoo is the same. There are MANY groups dedicated to 
Goth sewing. And don't even get me started on the millions of websites out 
there. I personally don't know any cookie cutter Goths they're rare here on 
the East coast.

B~



On 9/4/05, Jean Waddie <anne@montgomerie.demon.co.uk> wrote:
> 
> Somehow I can't imagine most Goths, as I know them, sitting down doing
> anything as domesticated and constructive as making clothes. Making
> jewellery, possibly embellishing clothes, yes, but actual dressmaking?
> You can build up a pretty wide wardrobe by just buying things that are
> available in black, and while they might take a bit more searching out
> in smaller places, in Edinburgh there are plenty of shops where you can
> buy the crushed velvet dresses and other "specialist items".
> 
> Jean
>
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Subject: Re: [h-cost] 1968 SCA views of medieval clothing
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>
>      I believe the Markland Medieval Mercenary Militia was formed in 
> 1966 to reenact the battle of Hastings (1066).  They began at the 
> university of Maryland and eventually they and the SCA became 
> acquainted.  Markland has been going as a separate organization since 
> it began.
>
>      Likewise, American Civil War reenactment probably got popular for 
> its centennial, in the 1960s.  I had heard that veterans and 
> enthusiasts got together before then.

It's interesting that these also started in that mid-1960s period, 
whether there was any influence from the SCA or not.

>
>      There are some "Revolutionary War" uniforms in collections that 
> were made later for commemorations, perhaps 1876?  While not 
> necessarily reenactments, people were dressing up.

True, but I was talking about the modern reenactment movement rather 
than, say, Victorian costume balls.

>
>      Most SCA events are private - halls, parks and school property is 
> rented for their use.

I wouldn't quite call that private . . . not like, say, a Victorian 
costume ball, or a modern party, where only friends are invited.  I'd 
call it organizational.  Anyone can join the SCA as far as I know. It 
used to be possible to attend events without being a member, but I don't 
know if that's still true.

>
>      My impression is that American Revolution or Civil War 
> reenactment came to the west coast later, so the SCA was first in that 
> area.  But in the east it was already going on.
>
>     


I believe there have never been as many events for those eras here, as 
back East. 

Fran
Lavolta Press
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Subject: [h-cost] More examples of "small" Elizabethan style gowns.
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Sorry for the cross-posts.

Have any of you come across any other images of size/style of gowns in 
POF on pages 12&13?  I am specifically looking for images like the more 
moderate sized drum farthingales on the effigies in pictures 61-64, 65, 
and 67.

Thanks!

Sg


>
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Subject: Re: [h-cost] 1968 SCA views of medieval clothing
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Well, at a re-enactment weekend at Bent's Old Fort National Historic Site (SE Colorado) last month, the re-enactors that I spoke to indicated that most of their fellows had dabbled in the SCA, but since left for more authentic pastures. It seems likely that the SCA has, at least, served to get many people initially involved in experiential archeology. 

Melanie in Denver


<snip>
> Do you 
> know what influence it's had on the formation of other reenactment 
> groups, such as American Civil War, and American Revolution?
> 
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Date: Sun, 4 Sep 2005 14:34:08 -0400
To: Historical Costume <h-costume@indra.com>
From: Carol Kocian <aquazoo@patriot.net>
Subject: Re: [h-cost] 1968 SCA views of medieval clothing
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Fran wrote,
>It's interesting that these also started in that mid-1960s period, 
>whether there was any influence from the SCA or not.

      A sign of the times, then - the beginning of more activity in 
hobbies that are intense and not mainstream, yet they gained a good 
number of participants.

>True, but I was talking about the modern reenactment movement rather 
>than, say, Victorian costume balls.

      I see the battle reenactments as being influenced by those, 
however, more than they were by the SCA.

>>
>>      Most SCA events are private - halls, parks and school property 
>>is rented for their use.
>
>I wouldn't quite call that private . . . not like, say, a Victorian 
>costume ball, or a modern party, where only friends are invited. 
>I'd call it organizational.  Anyone can join the SCA as far as I 
>know. It used to be possible to attend events without being a 
>member, but I don't know if that's still true.

      Private in the sense that everyone there is in costume as a 
participant.  While people don't need to pay their dues to the SCA in 
order to attend, a requirement is that they wear an attempt at period 
costume.

      Many battle reenactments have spectators/visitors who are not 
costumed participants, and I think of those as public.

      With vintage dances, the ones I know of are advertised - anyone 
may attend.  Often they are "costume admired but not required", and 
some dancers will attend in 21stC suit and tie or dress.  Some dance 
enthusiasts will throw a party that is truly private, as you 
describe, but then I don't think it would be considered reenactment 
at that point.

      I'm not sure of your meaning of Victorian costume balls - is it 
those held in the 19th century, or vintage dances now?

      -Carol
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Those held in the 19th century, which I see as the ancestors of some of 
today's "reenactments."  Many were truly private invitation-only events.

A few people throw private at-home Victorian or other costumed dances 
today, particularly for things like theme weddings (another spin-off of 
reenactment IMO).   But usually such events are public, buy-a-ticket, 
because they usually require renting a largish space.  And I agree, 
people are often allowed to wear modern evening dress, although for some 
the "attempt" at a period costume is stipulated. 

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


>
>      I'm not sure of your meaning of Victorian costume balls - is it 
> those held in the 19th century, or vintage dances now?
>
>      -Carol
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Muslin at JoAnn Fabrics (not)
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Lynn Downward wrote:

> At any rate, if you want good-quality muslin from JoAnn's go NOW. Or
> find a new supplier. I was really disappointed because I love the 200
> count bleached muslin I have bought there before. And for all I know,
> this is old news to most people.

Well, I confirmed Lynn's news today while shopping. One of my local 
stores now has the "Joann's" brand muslin in, and it is indeed more 
coarse (to my fingers, anyway) than the Roc-Lon brand they've been 
carrying. I noticed it is made by Springs. I've got mixed feelings about 
Springs, some of their quilt cotton is fine, but I've also returned some 
of their "100% cotton" fabric which failed a burn test.

I was fortunate enough to get 3 bolts of Roc-Lon at the 50% off sale 
that runs through Monday. I don't expect to see it at Joann's again. I'm 
tempted to write and tell them I think the new muslin is inferior in 
quality.


Dawn


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Subject: Subject: Re: [h-cost] fiber arts and making vs buying clothes
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Never was a goth myself, but had  lots of goth friends (and still have a 
few!).  Most of them wouldn't be caught dead making their own clothes - adapting 
maybe, but not actually making.

There was a healthy band of good cheap 'alternative' clothing shops in 
Newcastle and the surrounding area, and a few in Leeds, near where I went to 
college.

That said I always made my own clothes - and occasionally bits for friends - 
largely cos I couldn't afford to buy new clothes.  

Adapting stuff from charity shops was always popular though!

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From: "otsisto" <otsisto@socket.net>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] I don't know art but I know what I like
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Sorry for mis-snip.

-----Original Message-----
>Then when colored wire became available you got artistic patterns
>with the chainmail bikini, sans the fur but lined.

  (Snip) Also, twenty years ago I would see some mail shirts with brass
rings used for borders and sometimes inserted as designs.  I'm not
sure if that's historic or simply something people do because the
structure lends itself to certain designs.

De: There was some wire that had a solid color coating like reds, blues and
greens.
I know that there is such a thing as metal blackening so it is possible for
black chainmail. In the 1500s there was accent on the armour with either
brass or gold, don't know which, may be both.

<< Renaissance Faires also would have a booth selling chainmail/chain
headdresses.  They range in size from cauls to long veils, a mix of chain
mail, looped chains and jewels.  Old techniques, old
shapes (veils), but the product is modern.

De:I always believed they stem from the Edwardian view of the Middle Ages
and Camelot. But mostly I have seen the chainmail cauls in Erte's drawings.

 < The only time I've seen one worn outside a "historic" (Renfair/SCA/LARP)
context was that Anne Rice wore one during a television
view.      -Carol

De: I've seen them in plays and Halloween and one Goth. She had white blond
hair and the chainmail was black with red crystals.



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Subject: Re: [h-cost] 1968 SCA views of medieval clothing
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----- Original Message ----- 
From: "Carol Kocian" <aquazoo@patriot.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Sunday, September 04, 2005 12:13 PM
Subject: Re: [h-cost] 1968 SCA views of medieval clothing


>
>      Likewise, American Civil War reenactment probably got popular for its 
> centennial, in the 1960s.  I had heard that veterans and enthusiasts got 
> together before then.
>
>      There are some "Revolutionary War" uniforms in collections that were 
> made later for commemorations, perhaps 1876?  While not necessarily 
> reenactments, people were dressing up.


My very first encounter with any kind of costuming (other than Halloween) 
was when South Lyon Michigan celebrated its Centennial in 1973--so I would 
have been 9 years old. There was a big celebration, and everyone dressed up. 
My mom sewed "prairie dresses" and sunbonnets for herself and we three 
girls, and I'm sure she made something for my dad, but the only thing I 
remember is that he grew a magnificent beard for the "best beard contest" 
and then shaved it off two weeks prior to the contest because it itched! I 
wish I still had that sunbonnet, I loved it. I was very into the Little 
House books at the time, so it was really neat to have an outfit like 
Laura's!

I still have, somewhere, a pattern put out by one of the Big 3 for the 
Bicentennial--for a two-piece dress with a zipper! Ack!

Dianne 

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I've seen references to 17th century ancient Roman /16th century/fantasy 
reenactments. The Little Castle at Bolsover was designed for these sorts of 
parties. I'm hoping to hold one of these Roman reenactments myself sometime 
in the next couple of years. I envision many people in their normal 17th 
century clothing with a bedsheet draped around them as a toga, then there 
are many of us who also participate in Ancient reenactment, so it'll be easy 
for us (naturally, I expect my husband to wear his black hat with his purple 
edged toga!) And of course, anything from Pompeii is right out!

Glenda 

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Subject: Re: [h-cost] Early Reenactments
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What did they do for ancient Roman reenactment in the 17th century?

Fran

Glenda Robinson wrote:

> I've seen references to 17th century ancient Roman /16th 
> century/fantasy reenactments. The Little Castle at Bolsover was 
> designed for these sorts of parties.

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From: "Elizabeth Walpole" <ewalpole@tpg.com.au>
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Subject: Re: [h-cost] Early Reenactments
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----- Original Message ----- 
From: "Lavolta Press" <fran@lavoltapress.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Monday, September 05, 2005 12:13 PM
Subject: Re: [h-cost] Early Reenactments


> What did they do for ancient Roman reenactment in the 17th century?
>
> Fran
>
Aren't there a couple of books from around the turn of the 17th century that
feature drawings of costumes for a Masque (i.e. fancy dress balls/parties).
Aha, here's some examples http://costume.dm.net/masque/ and links to more
examples at the bottom of this page
http://costume.dm.net/wardrobe/masque.html. Or try a web search on Masque
costumes.
Elizabeth
--------------------------------------------
Elizabeth Walpole
Canberra Australia
ewalpole[at]tpg.com.au
http://au.geocities.com/e_walpole/

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From h-costume-bounces@indra.com  Mon Sep  5 03:46:02 2005
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From: "Glenda Robinson" <glendarob@exemail.com.au>
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Subject: Re: [h-cost] Early Reenactments
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I think they did a lot of fantasy - Inigo Jones has some fantasy ancients in 
his masque woodcuts. They also would have used 'modern' statues an paintings 
of ancient figures as ideals. It was a rich-people's hobby, so the stuff was 
very fancy - Gold paint, papier mache armour etc etc.

I wish I could live like that!  It would be so much more fun than being an 
upper-middle class part time computer nerd working mother! But then again, I 
suppose every lifestyle gets old after a few years.

Glenda.


----- Original Message ----- 
From: "Lavolta Press" <fran@lavoltapress.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Monday, September 05, 2005 12:13 PM
Subject: Re: [h-cost] Early Reenactments


> What did they do for ancient Roman reenactment in the 17th century?
>
> Fran
>
> Glenda Robinson wrote:
>
>> I've seen references to 17th century ancient Roman /16th century/fantasy 
>> reenactments. The Little Castle at Bolsover was designed for these sorts 
>> of parties.
>
> _______________________________________________
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> 

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To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Milia Davenport (was Re: [h-cost] 1968 SCA views of medieval clothing
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>'Sideless cotehardie' comes from Milia Davenport's
>book.
>Noticed the error right before I bought the book,
>because it is still one of the few books with that
>many contemporary-to-the-style pictures available.
>
>And at least some of the early fifteenth century
>pictures are from re-drawings, but you have to be
>wide-awake to recognize the sources.

Redrawings in Davenport?  Where?


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

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>      Please watch for who said what when you snip quotes - it was Carolyn 
> who said that particular line!
>
>>  >And the chain-mail-bikini crowd - wearable, but is it art?

I usually go by Kayta in person.  Only my mother calls me Carolyn anymore.

>>      My impression is that some women wear unlined mail because it's 
>> sexier.  Someone at the Origins convention wears chain mail dresses, and 
>> I've heard it's unlined, although I did not look too closely myself.

If you want real metal and real sexiness, try Whiting and Davis mesh.  It's 
slinky, comes in many colors, and doesn't weigh as much as SCA-weigh chain 
mail.  Whiting and Davis also makes chain mail, in Deco-purse weight and 
butcher's-glove weight.


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

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To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] 1968 SCA views of medieval clothing
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>It's always seemed to me that the SCA was there "first," as an ongoing 
>amateur reenactment organization.  At least first in the US.  Do you know 
>what influence it's had on the formation of other reenactment groups, such 
>as American Civil War, and American Revolution?

The SCA and the Patterson's version of Ren. Faire have been going around 
and around for years about which one was first.  (Phyllis Patterson 
invented Ren. Faires, and coined the term "living History".)  I participate 
in both because it's more chances to wear costumes.  And, because their 
goals are different I can do more different things while in costume.

IMHO, they are both outgrowths of the movement that also produced Hippies.

-snip-

>      There are some "Revolutionary War" uniforms in collections that were 
> made later for commemorations, perhaps 1876?  While not necessarily 
> reenactments, people were dressing up.

People have been dressing up since before America was "invented".  This 
includes Fancy Dress events where folks like Queen Victoria and Prince 
Consort Albert dressed up Medievally for a joust, and the Czar of Russia 
and many of the Russian Court dressed up in 'historical' Russian costumes.

-snip-

>It's interesting that these also started in that mid-1960s period, whether 
>there was any influence from the SCA or not.

Something happened in the 1960s, and all these things, and Hippies, came 
out of it.  They are only related by the fact that they were "invented" at 
about the same time.  (And the fact that they all show up at Science 
Fiction conventions...)

-snip-

>      Private in the sense that everyone there is in costume as a 
> participant.  While people don't need to pay their dues to the SCA in 
> order to attend, a requirement is that they wear an attempt at period costume.
>
>      Many battle reenactments have spectators/visitors who are not 
> costumed participants, and I think of those as public.

SCA events in public parks draw non-costumed spectators too.

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

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Subject: Re: [h-cost] fiber arts and making vs buying clothes
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>For that matter, mail order of a sort has been around for as long as 
>people have traveled.  Before efficient national postal systems, people 
>routinely asked friends and relatives who lived elsewhere, or who were 
>traveling elsewhere, to choose and send them items they wanted.

I'm thinking those "fashion babies"; dolls made/dressed in fashion centers 
like London, in the latest fashion, and sent/carried to the hinterlands to 
give the local seamstress ideas of what to make.

BTW, Jost Amman's book of Renaissance occupations shows many shopkeepers 
with ready-made items for sale.  Without the book in front of me I can 
think of a few examples - shoes, gloves, belts, and purses/pouches - but I 
think there are more in there.  The book was originally published in 1567, 
I think.

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

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Subject: Re: [h-cost] Early Reenactments
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>I wish I could live like that!  It would be so much more fun than being an 
>upper-middle class part time computer nerd working mother! But then again, 
>I suppose every lifestyle gets old after a few years.

Yeah, but if you had that much money you could afford to get into a new 
lifestyle whenever you wanted.


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

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Sigh! One can only dream. For a couple of minutes, then it's back to the
grind - dinner to cook and ironing to do...

I need to extend my ancient reenactment and buy a good slave (I think the
Roman slaves were treated so much better than the 18th and 19th century
slaves or servants - after all, they were a valuable, tradable commodity, so
you didn't let them get tired out and ill, and a well dressed slave
reflected on your own wealth). Now I'm dreaming again!

Glenda

>
>>I wish I could live like that!  It would be so much more fun than being an
>>upper-middle class part time computer nerd working mother! But then again,
>>I suppose every lifestyle gets old after a few years.
>
> Yeah, but if you had that much money you could afford to get into a new
> lifestyle whenever you wanted.
>
>
>        CarolynKayta Barrows
> dollmaker, fibre artist, textillian
>          www.FunStuft.com
>
>              //// \\\
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>            ((((   7 )))
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>

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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] 1968 SCA views of medieval clothing
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At 08:59 05/09/2005, you wrote:

>>It's always seemed to me that the SCA was there "first," as an 
>>ongoing amateur reenactment organization.  At least first in the 
>>US.  Do you know what influence it's had on the formation of other 
>>reenactment groups, such as American Civil War, and American Revolution?


<large snip>



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


I don't know who or which group started the Living History thing in 
England, or whether the term Living History came from the U.S. 
However, I do remember going to a huge open air event in 1953, where 
history was celebrated by people dressing up. I believe it was called 
a pageant, and was all amateur, although the team organising it 
*must* have been professional. These pageants have been happening in 
England since at least the Middle Ages, and some say are the origins 
of theatre in England.

In France they have "Son et Lumiere" performances in Puy de Fou that 
have been done for many, many years, and literally thousands take 
part. It tells the history of the village, and all the locals 
participate. (It lasts for over 4 hours!) There are of course many 
other forms of this kind of performance, and they have been in 
existence since before the '60's I am sure.

My mother and her sister were involved in a similar thing in 
Stratford on Avon, in the 30's when the new theatre was opened - they 
wore Shakespearean clothing and re-enacted the life of Shakespeare - 
of course it was not called re-enacting then. (They had "Elizabethan" 
dresses and I used to play with one as dressing up clothes - it got 
thrown away - merde!!)

I think it is difficult to determine what is "Re-enactment" and what 
is merely dressing up for an event or occasion.

Suzi


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-----Original Message-----
 .....(snip)....and butcher's-glove weight.

-----
I have a friend who use to make chainmail. he made the butcher's glove size
links and a wee bit smaller. He would call this "insanemail"

De



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Subject: RE: [h-cost] 1968 SCA views of medieval clothing
Date: Mon, 5 Sep 2005 06:16:09 -0500
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-----Original Message-----
SCA events in public parks draw non-costumed spectators too.

*************
Usually, these are refered to as demos, fighter practice or
"recruitment"(for lack of a better word).
"Events" are usually something on a much more grander scale and normally is
not posted to the regular public.

De


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Subject: Re: [h-cost] Early Reenactments
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A Masque was not quite the same as a fancy-dress ball in that it specifically entailed a theatrical presentation, with both professional actors and high-ranking personages portraying characters, though of course it was not open to the general public.
 
Kate Bunting
Librarian and 17th century reenactor

>>> ewalpole@tpg.com.au 05/09/2005 08:17 >>>


----- Original Message ----- 
>
Aren't there a couple of books from around the turn of the 17th century that
feature drawings of costumes for a Masque (i.e. fancy dress balls/parties).
Aha, here's some examples http://costume.dm.net/masque/ and links to more
examples at the bottom of this page
http://costume.dm.net/wardrobe/masque.html. Or try a web search on Masque
costumes.
Elizabeth
--------------------------------------------
Elizabeth Walpole
Canberra Australia
ewalpole[at]tpg.com.au
http://au.geocities.com/e_walpole/

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As far as I know the first reenactment group in the UK was the Sealed Knot, which started with an event staged in 1968 to publicise a book on the Battle of Edgehill by Brig. Peter Young. I first heard the term "living history" when the SK started demonstrating crafts etc. in a period encampment  in addition to the battle displays. I think this was in the early 80s.
 
Kate Bunting
Librarian and 17th century reenactor

>>> suzi@suziclarke.co.uk 05/09/2005 09:28 >>>

I don't know who or which group started the Living History thing in 
England, or whether the term Living History came from the U.S. 


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	Mon, 05 Sep 2005 07:10:19 PDT
Date: Mon, 5 Sep 2005 07:10:19 -0700 (PDT)
From: Ann Catelli <elvestoorder@yahoo.com>
Subject: Re: Milia Davenport (was Re: [h-cost] 1968 SCA views of medieval
	clothing
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Many of the brasses are not rubbings or photographs,
i.e., 585. 1347 A.D. English. (Brass of Flemish
workmanship.) (Elsing, Norfolk.)  [i] Sir Hugh
Hastings[/i];  586, 592,593,594, 595, 596, 597, 600. 
Number 654, "1377. German. (Neckerstinach Chapel.)
Brass.  Ritter Helle Landschaden and Lady" is
definately re-drawn.

Whereas 591, 598, 599, 650, 651, & 652 look much more
like actual rubbings of the brasses.

Number 669 & 670 are re-drawings of the painted
ceilings in the Alhambra; 668 is a photo of a painted
ceiling.

823--Incised slab XVc. c. 1445. Flemish--redrawn.

839-46. XVc. c. 1450. French. (Paris, Bibliotheque
Nationale, ms 6465.) [i]Grandes Chroniques de
France[/i] executed by [i]Jean Foquet[/i]
<--impeccable lineage there, but "From Foquet: 
[i]Grandes Chroniques de France.[/i] Paris, 1906.
Berthaud freres.
And 853-55. Paris, Bibl. Nat. ms. fr. 24378.:  From
Count A. Bastard d'Estang: [i]Costumes, moeurs et
uesages de la cour de Bourgogne,[/i] 1445-60.  Paris
1881.

Not exhaustive, just what I found this morning.

Ann in CT

--- Carolyn Kayta Barrows <kayta@frys.com> wrote:

> >'Sideless cotehardie' comes from Milia Davenport's
> >book.
> >
> >And at least some of the early fifteenth century
> >pictures are from re-drawings, but you have to be
> >wide-awake to recognize the sources.
> 
> Redrawings in Davenport?  Where?
> 
> 
>         CarolynKayta Barrows



	
		
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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: RE: [h-cost] 1968 SCA views of medieval clothing
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>SCA events in public parks draw non-costumed spectators too.
>
>*************
>Usually, these are refered to as demos, fighter practice or
>"recruitment"(for lack of a better word).
>"Events" are usually something on a much more grander scale and normally is
>not posted to the regular public.

I'm referring to actual tourneys, not the demos nor fighter practice (which 
also attract non-costumed spectators).  There are many smaller instances of 
the grand scale events I think you're referring to, often put on by some 
local chapter.  They are not intended as public demos nor even always as 
fighter events, and could be days of classes or banquet events.  ABut any 
SCA event held in a public park will attract the attention of other people 
who had come expecting to use that park for things like picnics or Frisbee 
throwing.

Smaller Ren. Faires often use public parks too, but, unlike the SCA, they 
fence off their events and charge admission.  Since the SCA does not fence 
off their events nor charge admission, non-costumed people do wander by to 
see what's going on with all the costumed people with tents.

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

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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] 1968 SCA views of medieval clothing
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>As far as I know the first reenactment group in the UK was the Sealed 
>Knot, which started with an event staged in 1968 to publicise a book on 
>the Battle of Edgehill by Brig. Peter Young. I first heard the term 
>"living history" when the SK started demonstrating crafts etc. in a period 
>encampment  in addition to the battle displays. I think this was in the 
>early 80s.

The Living History Center, a function of the original Ren. Faire here in 
California, had been going for a number of years by the early 80s.  In 1980 
I worked one of their Ren. Faires to get the money to move from Southern CA 
to Northern CA.


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

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From: "Susan B. Farmer" <sfarmer@goldsword.com>
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Subject: RE: [h-cost] 1968 SCA views of medieval clothing
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Quoting otsisto <otsisto@socket.net>:

> -----Original Message-----
> SCA events in public parks draw non-costumed spectators too.
>
> *************
> Usually, these are refered to as demos, fighter practice or
> "recruitment"(for lack of a better word).
> "Events" are usually something on a much more grander scale and normally is
> not posted to the regular public.
>

Our two big tourneys are held at the group came at a local state park --
which is very much a public site.  The spectators do watch the fighting
from a distance -- many ask questions and some stay and feast with us
(suitably garbed/tabarded of course).  One year, one of the park
rangers came, stayed and later joined.  Unless your event is held on
Private Property, if you at a visible part of State Park property
(which is where many of our events are held), you have spectators.

Jerusha
-----
Susan Farmer
sfarmer@goldsword.com
University of Tennessee
Department of Ecology and Evolutionary Biology
http://www.goldsword.com/sfarmer/Trillium/


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otsisto wrote:

> -----Original Message-----
> SCA events in public parks draw non-costumed spectators too.
> 
> *************
> Usually, these are refered to as demos, fighter practice or
> "recruitment"(for lack of a better word).
> "Events" are usually something on a much more grander scale and normally is
> not posted to the regular public.

Depends on where you live. I've been to events in various states that 
were not considered recruiting, but full-fledged feasts, tournaments or 
coronations and were held in large open public parks. Some of them 
stopped traffic and drew crowds. It was the public display of costumes 
that first attracted me, and I'm sure many others.


Dawn


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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Early Reenactments
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I know about masques, but was wondering if there was something closer to 
a modern reenactment.

Fran
http://www.lavoltapress.com

Elizabeth Walpole wrote:

>>    
>>
>Aren't there a couple of books from around the turn of the 17th century that
>feature drawings of costumes for a Masque (i.e. fancy dress balls/parties).
>Aha, here's some examples http://costume.dm.net/masque/ and links to more
>examples at the bottom of this page
>http://costume.dm.net/wardrobe/masque.html. Or try a web search on Masque
>costumes.
>
>  
>
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Subject: Re: [h-cost] 1968 SCA views of medieval clothing
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There's always been a significant overlap between science 
fiction/fantasy readers, and reenactors.  There are also a fair number 
of ex-hippies in the older reenactor generation.

I think "dressing up" is a very significant factor here.  In much of the 
US in the 1960s and early 1970s, things like miniskirts (which were not 
hippie clothing, but high-fashion "Mod"), scruffy jeans, and long hair 
for men, let alone offbeat real vintage or historically inpsired 
clothes--they were all shocking.  Startling.  Attention-getting on the 
street.  Getting disapproving columns in the newspapers, which referred 
to immorality and dangers to society.  Wearing anything really unusual 
was a social statement and a threat to the established order. 

 Now, whenever an extreme fad comes around, all most people who dislike 
it do, is to say, "Gee, I don't really care for 
artificial-scarlet-colored hair, belly button piercings, whatever."  
We've all gotten used to diversity.  It used to be that everyone knew 
what THE skirt length was, and being a half-inch too high or low was, 
not radical, but visible and dowdy.  These days, whenever I hem up a 
ready-to-wear skirt, I have trouble figuring out what the proper skirt 
length is, or even if there is one, which there doesn't seem to be right 
now.  (Which suits me, it saves me a fair amount of hemming. I often 
just wear the skirt longer.)

So what I'm getting to is that historic reenactment was a very offbeat 
activity in the mid1960s, and partly because it required wearing 
seriously offbeat clothes.  Furthermore, that it appealed to people who 
already liked wearing seriously offbeat clothes. 

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

>
> Something happened in the 1960s, and all these things, and Hippies, 
> came out of it.  They are only related by the fact that they were 
> "invented" at about the same time.  (And the fact that they all show 
> up at Science Fiction conventions...)
>
>
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I've seen a lot of websites for people who want slaves.  How's your 
black leather wardrobe?

Fran

>
>
> I need to extend my ancient reenactment and buy a good slave 

<snip>

>
>
> Glenda
>
>
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Perhaps, but if I were to describe a person involved in reenactment, I'd 
say that (a) they did it pretty regularly and (b) not as part of a 
theatrical performance.

Fran

>
>
> I think it is difficult to determine what is "Re-enactment" and what 
> is merely dressing up for an event or occasion.
>
> Suzi
>
>
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>From: eirenetz@comcast.net
>Well, at a re-enactment weekend at Bent's Old Fort National Historic Site 
>(SE Colorado) last month,
>the re-enactors that I spoke to indicated that most of their fellows had 
>dabbled in the SCA, but
>since left for more authentic pastures. It seems likely that the SCA has, 
>at least, served to get
>many people initially involved in experiential archeology.

I realize that you are probably speaking somewhat facetiously, but I should 
point out that re-enacting does not equal expermential archaeology.  It's an 
excellent outlet for it, but they aren't the same.  Experimental archaeology 
is a scientific concept that requires a certain rigor in materials, 
environment, test design, documentation, and such that is lacking in most 
cases.

Marc


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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: Milia Davenport (was Re: [h-cost] 1968 SCA views of medieval
	clothing
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On Mon, 5 Sep 2005, Ann Catelli wrote:

> Many of the brasses are not rubbings or photographs,

And it really makes a difference. One of the brass images in Davenport
(from King's Lynn, Norfolk -- either Braunche or Walsokne, I forget which
she shows) has a crucial error in the decoration that makes part of one
layer look like another. I thought it was an engraver error for years till
I saw a real rubbing and realized that the error was by the person who did
the drawing, not original to the brass.

--Robin

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Subject: Re: [h-cost] 1968 SCA views of medieval clothing
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Status: RO

Hi, All. Regarding the SCA, since it takes it's atmosphere and 
inspiration from the Victorian view of the Middle Ages, one can look 
back to the late Victorian period to see an event scheduled  by 
gentlemen of leisure for a tournament to be ridden using original and 
copied armor. IIRC, the event never happened due to rain, but I do have 
photos of an armored jousting tournament being held in the 30s here in 
the Atlantic City NJ area in the old Convention Hall. I assume that, due 
to the cost, it was some sort of traveling entertainment that came to 
this area temporarily. There are no closeup views of the folks involved, 
so I can't see clothing, but due to the popularity of the Hollywood 
Medieval genre, I'm sure there were some additional cast members around 
wearing some costumes. Not exactly reenactment, so i don't think it 
counts, but... Mike T.


>
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To: Historical Costume <h-costume@indra.com>
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Subject: Re: Subject: Re: [h-cost] fiber arts and making vs buying clothes
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Status: RO

Thanks Debs.  I was about to say, maybe it's a difference between US and 
UK - there is so much less sewing done here overall.  I still boggle at 
the memory of finding fabric by the yard in WalMart in Connecticut! 
Adapting and decorating I can believe, making accessories from scratch, 
but for most people actual dressmaking is so ... girly!

Jean


Debloughcostumes@aol.com wrote
>Never was a goth myself, but had  lots of goth friends (and still have a
>few!).  Most of them wouldn't be caught dead making their own clothes - 
>adapting
>maybe, but not actually making.
>
>There was a healthy band of good cheap 'alternative' clothing shops in
>Newcastle and the surrounding area, and a few in Leeds, near where I went to
>college.
>
>That said I always made my own clothes - and occasionally bits for friends -
>largely cos I couldn't afford to buy new clothes.
>
>Adapting stuff from charity shops was always popular though!
>
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-- 
Jean Waddie
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From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: [h-cost] pageants was 1968 SCA views of medieval clothing
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Suzi Clarke <suzi@suziclarke.co.uk> wrote
>
>
>I don't know who or which group started the Living History thing in 
>England, or whether the term Living History came from the U.S. However, 
>I do remember going to a huge open air event in 1953, where history was 
>celebrated by people dressing up. I believe it was called a pageant, 
>and was all amateur, although the team organising it *must* have been 
>professional. These pageants have been happening in England since at 
>least the Middle Ages, and some say are the origins of theatre in England.
>
>
<snip>
>Suzi
>
>
I was lucky enough one time to visit Benenden School  - a very 
exclusive, old established private girls' school - and see round their 
costume cupboard.  My mother got the invitation because she was an 
examiner
for needlework GCSE (public examinations).  They had real antique 
clothes, which had been donated by the girls' families for use in their 
annual pageant.  They were obviously just thought of as something out of 
the attic, but because of the kind of families these girls came from, 
great-grandma's Presentation dress had been put away and not worn, not 
re-used, and pulled out in 1910 or 1920 for young Jemima to wear as an 
attendant to the May Queen, or whatever.  Luckily at some point one of 
the teachers had realised what they had, and I think they got a grant to 
provide proper storage for them.  It's one of those collections which is 
valuable because the items have been altered and worn and damaged, so 
it's there for people to handle and look at the insides, rather than to 
be strictly preserved.

Jean
-- 
Jean Waddie
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Subject: Re: [h-cost] 1968 SCA views of medieval clothing/Victorian tournament
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At 17:33 05/09/2005, you wrote:
>Hi, All. Regarding the SCA, since it takes it's atmosphere and 
>inspiration from the Victorian view of the Middle Ages, one can look 
>back to the late Victorian period to see an event scheduled  by 
>gentlemen of leisure for a tournament to be ridden using original 
>and copied armor. IIRC, the event never happened due to rain, but I 
>do have photos of an armored jousting tournament being held in the 
>30s here in the Atlantic City NJ area in the old Convention Hall. I 
>assume that, due to the cost, it was some sort of traveling 
>entertainment that came to this area temporarily. There are no 
>closeup views of the folks involved, so I can't see clothing, but 
>due to the popularity of the Hollywood Medieval genre, I'm sure 
>there were some additional cast members around wearing some 
>costumes. Not exactly reenactment, so i don't think it counts, but... Mike T.


The tournament in Victorian times that Mike T. refers to is the 
"Eglington Tournament" which took place (or not!) in 1839. Albert, 
Queen Victoria's husband, was very interested in the medieval period, 
as were a number of people in England - hence all the Victorian 
Gothic architecture. If you want to read more about it, there is a 
book called "The Knight and the Umbrella". I have some original 
costume designs/fashion plates from the tournament.

Suzi


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At 9:28 AM +0100 9/5/05, Suzi Clarke wrote:
>I don't know who or which group started the Living History thing in 
>England, or whether the term Living History came from the U.S. 
>However, I do remember going to a huge open air event in 1953, where 
>history was celebrated by people dressing up. I believe it was 
>called a pageant, and was all amateur, although the team organising 
>it *must* have been professional. These pageants have been happening 
>in England since at least the Middle Ages, and some say are the 
>origins of theatre in England.

I found some delightful photos at Stafford Past Tracks:
http://www.search.staffspasttrack.org.uk/engine/theme/default.asp?theme=311&text=0
of their 1913 "Millennary" celebrations on the 1,000th anniversary of 
the town's establishment. There's a lady dressed up as the 1913 
vision of Aethelfleda, Lady of the Mercians, several pageant scenes 
and floats (including one commemorating Elizabeth I's visit in 1575 
-- not a very good picture, unfortunately).

At 12:59 AM -0700 9/5/05, Carolyn Kayta Barrows wrote:
>>      There are some "Revolutionary War" uniforms in collections 
>>that were made later for commemorations, perhaps 1876?  While not 
>>necessarily reenactments, people were dressing up.
>
>People have been dressing up since before America was "invented". 
>This includes Fancy Dress events where folks like Queen Victoria and 
>Prince Consort Albert dressed up Medievally for a joust, and the 
>Czar of Russia and many of the Russian Court dressed up in 
>'historical' Russian costumes.

I have an 1856 letter from our family papers that recounts a 
Washington's Birthday celebration in Philadelphia --

    "Yesterday was a fine warm day, and we had quite an extensive
     parade of military although the streets were in a terrible condition.
     One Company of the "Minute Men" Capt. Berry crossed the river
     on the ice accompanied with music, a feat done only scince Gen.
     Washington performed it."

Heck, they were doing Arthurian Revival tournaments in the 12th 
century, IIRC <g>.

-- 
____________________________________________________________

O    Chris Laning <claning@igc.org>  -   Davis, California
+     http://paternoster-row.org - http://paternosters.blogspot.com
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At 7:20 AM -0700 9/5/05, Carolyn Kayta Barrows wrote:
>>As far as I know the first reenactment group in the UK was the
>>Sealed Knot, which started with an event staged in 1968 to
>>publicise a book on the Battle of Edgehill by Brig. Peter Young. I
>>first heard the term "living history" when the SK started
>>demonstrating crafts etc. in a period encampment  in addition to
>>the battle displays. I think this was in the early 80s.
>
>The Living History Center, a function of the original Ren. Faire
>here in California, had been going for a number of years by the
>early 80s.  In 1980 I worked one of their Ren. Faires to get the
>money to move from Southern CA to Northern CA.

The Living History Centre (note spelling) was incorporated as a 
non-profit corporation in California in May 1968. I have so far found 
no earlier usage of the term "living history", though the Parks 
Service was using the term within a few years in a pamphlet 
discussing costumed interpretation.

(The first Patterson renaissance fair was in May 1963 in southern 
California, the first SCA party in May 1966, the first Patterson 
renaissance fair in northern California in 1967 -- it had SCA 
participation.)

Sharon
-- 
Sharon Krossa, skrossa-ml@MedievalScotland.org
Resources for Scottish history, names, clothing, language & more:
     Medieval Scotland - http://MedievalScotland.org/
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Subject: RE: [h-cost] 1968 SCA views of medieval clothing
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At 10:01 AM -0500 9/5/05, Susan B. Farmer wrote:
>Quoting otsisto <otsisto@socket.net>:
>
>>-----Original Message-----
>>SCA events in public parks draw non-costumed spectators too.
>>
>>*************
>>Usually, these are refered to as demos, fighter practice or
>>"recruitment"(for lack of a better word).
>>"Events" are usually something on a much more grander scale and normally is
>>not posted to the regular public.
>>
>
>Our two big tourneys are held at the group came at a local state park --
>which is very much a public site.  The spectators do watch the fighting
>from a distance -- many ask questions and some stay and feast with us
>(suitably garbed/tabarded of course).  One year, one of the park
>rangers came, stayed and later joined.  Unless your event is held on
>Private Property, if you at a visible part of State Park property
>(which is where many of our events are held), you have spectators.

Yes, but in the case of SCA events, these general public spectators 
are an unintended (and unavoidable) accident, not a primary, intended 
part of the plan.  SCA events are not put on for the 
benefit/entertainment of a non-participatory audience, while many 
other re-creation societies do put on their events purposefully for 
the benefit/entertainment of a non-participatory audience. (If the 
same SCA event that attracts an audience on public property were held 
on private property, there would be no audience -- while the civil 
war battle re-enactment will have an invited audience regardless of 
whether held on public or private property.)

In short, SCA events are not a performance for an audience. 
Renaissance fairs and nearly all battle re-enactment societies' 
events are. And this difference profoundly affects the nature of 
these events and re-creations.

Sharon
-- 
Sharon Krossa, skrossa-ml@MedievalScotland.org
Resources for Scottish history, names, clothing, language & more:
     Medieval Scotland - http://MedievalScotland.org/
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] 1968 SCA views of medieval clothing/Victorian tournament
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On Mon, 5 Sep 2005, Suzi Clarke wrote:

> "Eglington Tournament" which took place (or not!) in 1839. Albert,
> Queen Victoria's husband, was very interested in the medieval period,
> as were a number of people in England - hence all the Victorian Gothic
> architecture. If you want to read more about it, there is a book
> called "The Knight and the Umbrella". I have some original costume
> designs/fashion plates from the tournament.

Another good account is in Mark Girouard's "The Return to Camelot:
Chivalry and the English Gentleman," which devotes a highly entertaining
chapter to the Eglinton tournament. I frequently receommend the entire
book as essential reading for SCA members and other medieval re-enactors
-- it gives you a very good sense of just where many of our assumptions
and impressions of the medieval period really come from, and how such
disparate elements as the pre-Raphaelites, Victoria's costume balls,
Gothic Revival architecture, and the Boy Scouts all fit into the thinking
of the time.

The Eglinton Tournament was a multi-day event; the procession and joust
were to be open to the public, and this part is what got rained out. The
participants, who were mostly guests of Lord Eglinton, went inside for a
day or two to party, and then re-staged the tournament later (though most
of the spectators were long gone). The ball and other events went as
planned.

Victoria and Albert were not involved in the Eglinton tournament; their
Plantagent Costume Ball was a few years later. Girouard traces the various
influences and events in a very readable fashion.

--Robin


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Subject: Re: [h-cost] 1968 SCA views of medieval clothing
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The primary purpose of the Renaissance Faires I've been to, is to sell 
things.  They're big crafts fairs with exotic trimmings.  Granted, they 
tend to have a stage or two where people are performing.  Granted, many 
individual participants, particpate only  to dress up and do their acts, 
either on stage or in the "aisles," and have no interest in selling any 
material goods.  Still, the primary purpose of the fair, the primary use 
of space, is for booths selling crafts and of course, food.

I know many historic reenactment events also have booths where goods and 
food are sold.  But in a Renaissance Faire sales is the primary purpose 
of the event.

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

>
>
> In short, SCA events are not a performance for an audience. 
> Renaissance fairs and nearly all battle re-enactment societies' events 
> are. And this difference profoundly affects the nature of these events 
> and re-creations.
>
> Sharon

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From: Cin <cinbarnes@gmail.com>
To: h-cost <h-costume@indra.com>
Subject: Subject: RE: [h-cost] New to me Eleonora of Toledo
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Subject: RE: [h-cost] New to me Eleonora of Toledo
>> I can't wait to get my hands on a copy of this book.  ... By the
>> way - how did you pay for your copy or did you get it in Italy?
>I paid for it using a credit card when I ordered it through Abe Books.
>The cost was dependant on the exchange rate that day.  But with shipping I
>paid about $100 for it.  And it did come from Italy....

FWIW, I bought mine in July at the Pitti Palace (Florence, Italy)
about US$60. If you're there picking up the book, might as well dash
into the Gallerie di Costume & see EofT's gown up close. Actually, of
the 3 Medici outfits, Garzia's is most stunning.
--cin
Cynthia Barnes
CinBarnes@gmail.com

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Subject: Re: [h-cost] Experimental Archaeology (was 1968 SCA views of medieval
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Furthermore, I would think you'd have to be discovering something new 
(to modern eyes).  For example, when the 20th person makes an 1850 
chemise using original instructions and methods, and it's pretty much 
the same process for them as for the first 19 people, is it really 
experimental any more, regardless of the records kept?

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

> Experimental archaeology is a scientific concept that requires a 
> certain rigor in materials, environment, test design, documentation, 
> and such that is lacking in most cases.
>
> Marc
>
>
>
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From: eirenetz@comcast.net
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Experimental Archaeology (was 1968 SCA views of medieval
	clothing)
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To clarify, I refered to "experiential" archaeology - that is learning things about the past by doing them. "Experimental" archeology is, as you say, something somewhat different. 

Melanie in Denver
(Eirene, OP in the SCA)


> >From: eirenetz@comcast.net
> >Well, at a re-enactment weekend at Bent's Old Fort National Historic Site 
> >(SE Colorado) last month,
> >the re-enactors that I spoke to indicated that most of their fellows had 
> >dabbled in the SCA, but
> >since left for more authentic pastures. It seems likely that the SCA has, 
> >at least, served to get
> >many people initially involved in experiential archeology.
> 
> I realize that you are probably speaking somewhat facetiously, but I should 
> point out that re-enacting does not equal expermential archaeology.  It's an 
> excellent outlet for it, but they aren't the same.  Experimental archaeology 
> is a scientific concept that requires a certain rigor in materials, 
> environment, test design, documentation, and such that is lacking in most 
> cases.
> 
> Marc
> 
> 
> _______________________________________________
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What makes it archaeology, as opposed to just learning a task or craft, 
even if one of the past?

Fran


eirenetz@comcast.net wrote:

>To clarify, I refered to "experiential" archaeology - that is learning things about the past by doing them. "Experimental" archeology is, as you say, something somewhat different. 
>
>Melanie in Denver
>(Eirene, OP in the SCA)
>  
>
>  
>
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From: monica spence <monicaspence@optonline.net>
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Subject: [h-cost] more Eleonora of Toledo
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Hi All--

I'm new here and Eleonora of Toledo is one of my main interests (15 years of
research and 364 pages into a manuscript about her...).

AFAIK--That pic from the Hermitage, no matter what they say at the museum,
is a misidentification. It is NOT the wife of Duke Cosimo I de Medici. It
may be Virginia , who was Cosimo's daughter by Camilla Martelli, his 2nd
wife, or just some unknown lady.

I say this for several reasons... The dress is way too late for "our"
Eleonora, who died in 1562. The portrait is circa 1560 or later. The doublet
style is not in the inventory of her gowns. The person in the picture is not
anywhere near 40, which was Eleonora's age when she died. Compare this
portrait to the one(s) by Bronzino where she is so ill (TB complicated by
malaria is what killed her in Dec. 1562) Alorri painted Francesco's Studiolo
about 10 years after her death-- the permanently young and lovely Eleonora
is idealized in the roundel on one side of the room. She is also wearing a
style that is similar to the style that she always wore (the petticoat with
attached sleeves and a surcoat over it) However the hair is a style much
later than 1562, as it is drawn up and away from her face.

The book you mention is wonderful. Tons of info.

Best Regards--
Dame Catriona MacDuff




-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of Cin
Sent: Monday, September 05, 2005 7:07 PM
To: h-cost
Subject: Subject: RE: [h-cost] New to me Eleonora of Toledo


Subject: RE: [h-cost] New to me Eleonora of Toledo
>> I can't wait to get my hands on a copy of this book.  ... By the
>> way - how did you pay for your copy or did you get it in Italy?
>I paid for it using a credit card when I ordered it through Abe Books.
>The cost was dependant on the exchange rate that day.  But with shipping I
>paid about $100 for it.  And it did come from Italy....

FWIW, I bought mine in July at the Pitti Palace (Florence, Italy)
about US$60. If you're there picking up the book, might as well dash
into the Gallerie di Costume & see EofT's gown up close. Actually, of
the 3 Medici outfits, Garzia's is most stunning.
--cin
Cynthia Barnes
CinBarnes@gmail.com

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From: "otsisto" <otsisto@socket.net>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] 1968 SCA views of medieval clothing
Date: Mon, 5 Sep 2005 23:22:06 -0500
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The impression I had gotten from the email was that there were non-costumed
individuals participating in SCA event not passers by. Apologies for the
misunderstanding.

De

-----Original Message-----
> SCA events in public parks draw non-costumed spectators too.
>
Quoting otsisto <otsisto@socket.net>:
> *************
> Usually, these are refered to as demos, fighter practice or
> "recruitment"(for lack of a better word).
> "Events" are usually something on a much more grander scale and normally
is
> not posted to the regular public.
>

Our two big tourneys are held at the group came at a local state park --
which is very much a public site.  The spectators do watch the fighting
from a distance -- many ask questions and some stay and feast with us
(suitably garbed/tabarded of course).  One year, one of the park
rangers came, stayed and later joined.  Unless your event is held on
Private Property, if you at a visible part of State Park property
(which is where many of our events are held), you have spectators.

Jerusha
-----


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Subject: RE: [h-cost] 1968 SCA views of medieval clothing
Date: Mon, 5 Sep 2005 23:22:06 -0500
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Status: RO

Thank you Sharon, basically what I was trying to say.

De
Brain fogged

-----Original Message-----
>Our two big tourneys are held at the group came at a local state park --
>which is very much a public site.  The spectators do watch the fighting
>from a distance -- many ask questions and some stay and feast with us
>(suitably garbed/tabarded of course).  One year, one of the park
>rangers came, stayed and later joined.  Unless your event is held on
>Private Property, if you at a visible part of State Park property
>(which is where many of our events are held), you have spectators.

Yes, but in the case of SCA events, these general public spectators 
are an unintended (and unavoidable) accident, not a primary, intended 
part of the plan.  SCA events are not put on for the 
benefit/entertainment of a non-participatory audience, while many 
other re-creation societies do put on their events purposefully for 
the benefit/entertainment of a non-participatory audience. (If the 
same SCA event that attracts an audience on public property were held 
on private property, there would be no audience -- while the civil 
war battle re-enactment will have an invited audience regardless of 
whether held on public or private property.)

In short, SCA events are not a performance for an audience. 
Renaissance fairs and nearly all battle re-enactment societies' 
events are. And this difference profoundly affects the nature of 
these events and re-creations.

Sharon
-- 
Sharon Krossa, skrossa-ml@MedievalScotland.org
Resources for Scottish history, names, clothing, language & more:
     Medieval Scotland - http://MedievalScotland.org/
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Subject: [h-cost] RE:Experimental Archaeology (was 1968 SCA views of medieva
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>From: eirenetz@comcast.net
>To clarify, I refered to "experiential" archaeology - that is learning 
>things about the past by doing
>them. "Experimental" archeology is, as you say, something somewhat 
>different.

Looking back, I see that you are entirely correct.  I misread your message.  
I apologize.

(I'm used to seeing messages with people referring to re-enactment as 
experiment archaeology, and my expection added in the other letters)

Marc


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To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] more Eleonora of Toledo
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>
> Hi All--
>
> I'm new here and Eleonora of Toledo is one of my main interests
> (15 years of
> research and 364 pages into a manuscript about her...).
>
> AFAIK--That pic from the Hermitage, no matter what they say at the museum,
> is a misidentification. It is NOT the wife of Duke Cosimo I de Medici. It
> may be Virginia , who was Cosimo's daughter by Camilla Martelli, his 2nd
> wife, or just some unknown lady.
> snip<

> Best Regards--
> Dame Catriona MacDuff
>
Fascinating!  Manuscript about Eleonora of Toledo?  Do say more!  I would
love to know more about her if someone else would do the research!  Next:
Inventory of her gowns?  Has it been translated?  Where?  I've been
collecting inventories lately.

Wanda
>

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To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: Milia Davenport (was Re: [h-cost] 1968 SCA views of
	medieval clothing
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>Many of the brasses are not rubbings or photographs,

Thanks.  I'd forgotten about them.  Do you know if these were taken from 
actual rubbings?


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

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To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] 1968 SCA views of medieval clothing
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>The primary purpose of the Renaissance Faires I've been to, is to sell 
>things.  They're big crafts fairs with exotic trimmings.  Granted, they 
>tend to have a stage or two where people are performing.  Granted, many 
>individual participants, particpate only  to dress up and do their acts, 
>either on stage or in the "aisles,"

Referred to as "streets" by participants

>  and have no interest in selling any material goods.  Still, the primary 
> purpose of the fair, the primary use of space, is for booths selling 
> crafts and of course, food.
>
>I know many historic reenactment events also have booths where goods and 
>food are sold.  But in a Renaissance Faire sales is the primary purpose of 
>the event.

Yes.  A craft fair with stage shows and costumed participants and varying 
attempts at history thrown in.  Art and wine festivals, and the various 
street craft fairs, do the same things except for the costume and history 
parts.


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

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From h-costume-bounces@indra.com  Tue Sep  6 03:43:03 2005
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From: eirenetz@comcast.net
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Experimental Archaeology (was 1968 SCA views of medieval
	clothing)
Date: Tue, 06 Sep 2005 07:42:27 +0000
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I have to admit that I'm following a precedent set by others. I don't really make the distinction, but I suppose that one could. This is learning, but deeper than simple task or craft. An important part of the experience is to understand how it *felt* to be a person then and there. 

It's hard to pin a name on what we're all doing. "Re-creation", which is what the SCA is said to do, implies that we're just making it all up, which isn't inaccurate, but is a sweeping generalization. The fact is that there are a lot of folks in the SCA who are doing what the "re-enactment" community would call "serious" work. The "re-enactors" that I met at Bent's Old Fort - most certainly a small cross-section - seem to be re-creating in a SCA-like manner, albeit with greater restrictions on time, place, etc. My feeling is that "experiential archaeology" sums it up pretty well, and bundles groups doing related things into what should be a cooperative community. 

At Bent's, I was doing some casual surveys of how people were dealing with period clothing - wool over linen or cotton - in 100-degree heat. I'm currently working on worsted wool over linen for GFDs, and was seeing if their experience was similar to Robin's, who once opined that the combination was cooler at Lilies than other combinations of fibers. I detected a certain lack of credibility once I had to admit that my arena is the SCA.  Although I'm aware of those biases, I never fail to be dissapointed by them. 

BTW, the Mexican war-era military coats that the soldiers were wearing were woolen; one of the soldiers wore a linen shirt, one wore a cotton shirt. They said that they were very hot, but felt like they'd acclimatized somewhat after being on-site for 48 hours. They also felt like they'd lost a lot of weight - probably water. ;-) 

Melanie in Denver
(Eirene, OP in the SCA)


> What makes it archaeology, as opposed to just learning a task or craft, 
> even if one of the past?
> 
> Fran
> 
> 
> eirenetz@comcast.net wrote:
> 
> >To clarify, I refered to "experiential" archaeology - that is learning things 
> about the past by doing them. "Experimental" archeology is, as you say, 
> something somewhat different. 
> >
> >Melanie in Denver
> >(Eirene, OP in the SCA)
> >  
> >
> >  
> >
> _______________________________________________
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From: eirenetz@comcast.net
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] RE:Experimental Archaeology (was 1968 SCA views of
	medieva
Date: Tue, 06 Sep 2005 07:49:51 +0000
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No apologies required! In print, the two terms appear virtually identical. 

BTW, I'm going to be in Tulsa business-tripping for two weeks beginning on Sunday. Suggestions? I'm interested in SCA things, but anything having to do with historic/ethnic/tribal clothing has appeal. 

Melanie in Denver
(Eirene, OP in the SCA)


> >From: eirenetz@comcast.net
> >To clarify, I refered to "experiential" archaeology - that is learning 
> >things about the past by doing
> >them. "Experimental" archeology is, as you say, something somewhat 
> >different.
> 
> Looking back, I see that you are entirely correct.  I misread your message.  
> I apologize.
> 
> (I'm used to seeing messages with people referring to re-enactment as 
> experiment archaeology, and my expection added in the other letters)
> 
> Marc
> 
> 
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From: monica spence <monicaspence@optonline.net>
Subject: RE: [h-cost] more Eleonora of Toledo
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The manuscript is a heavily researched historical novel.... The inventory is
in the book previously mentioned.
Catriona
-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of Wanda Pease
Sent: Tuesday, September 06, 2005 1:06 AM
To: Historical Costume
Subject: RE: [h-cost] more Eleonora of Toledo


>
> Hi All--
>
> I'm new here and Eleonora of Toledo is one of my main interests
> (15 years of
> research and 364 pages into a manuscript about her...).
>
> AFAIK--That pic from the Hermitage, no matter what they say at the museum,
> is a misidentification. It is NOT the wife of Duke Cosimo I de Medici. It
> may be Virginia , who was Cosimo's daughter by Camilla Martelli, his 2nd
> wife, or just some unknown lady.
> snip<

> Best Regards--
> Dame Catriona MacDuff
>
Fascinating!  Manuscript about Eleonora of Toledo?  Do say more!  I would
love to know more about her if someone else would do the research!  Next:
Inventory of her gowns?  Has it been translated?  Where?  I've been
collecting inventories lately.

Wanda
>

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Date: Tue, 06 Sep 2005 09:06:00 -0400
From: purplkat@optonline.net
Subject: Re: [h-cost] RE:Experimental Archaeology
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I have a question regarding 'Experimental' archeology -

If - say- I am working on a pair of turnsole shoes and I 're-invent the wheel' - figure out something that many others have already figured out - but the info is new to me.

Is this 'Experimental' archeology? 

Katheryne

----- Original Message -----
From: Marc Carlson <marccarlson20@hotmail.com>
> >From: eirenetz@comcast.net
> >To clarify, I refered to "experiential" archaeology - that is learning things about the past by doing them. "Experimental" archeology is, as you say, something somewhat different.
> 
> Looking back, I see that you are entirely correct.  I misread your 
> message.  I apologize.
> Marc
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Subject: Subject: [h-cost] Early Reenactments
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And have you seen some of the pictures from Victoria and Alberts fancy dress 
parties??
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Subject: Re: [h-cost] RE: Tulsa
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eirenetz@comcast.net wrote:


> 
> BTW, I'm going to be in Tulsa business-tripping for two weeks beginning on Sunday. Suggestions? I'm interested in SCA things, but anything having to do with historic/ethnic/tribal clothing has appeal. 
> 

Go to the Woolaroc ranch one weekend. They have a fabulous collection of 
native american artifacts, including clothing and other textiles, in 
their 19th century museum. Lovely place to tour, too. It's about an hour 
out of town so you will need a car, and should plan most of the day for 
the trip.

There is a 'lace museum' downtown at one of the malls, more of an 
extended shop display. I haven't been yet, but I'm told it's worth an 
hour if you're into lace.


Dawn



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Subject: [h-cost] Re: belted houppelandes
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Another factor may be that if your gown fabric is relatively heavy 
(as seems to be the case from how it is depicted) and the gown is 
relatively flared (ditto), then the change in volume of fabric 
between the upper and lower edges of the belt may also help keep it 
from slipping downwards.

Heather
============================
This is what worked for me when I made a Houppy many years ago.  It has
a *very* full body and while the belt settled just a bit, it then stayed
put and never reached my waist.  The belt was snug, but not
uncomfortably so.   This houppy was a full circle and made from drapery
fabric.  The belt was stiffened with mundane belt blank material.

Hope that helps,
Catherine

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Subject: Re: [h-cost] Re: belted houppelandes
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In the book by Jean Hunnisett (sp?) - she shows that the belt is attached in place on the Houp.

As I am VERY hourglass-y shaped I have found that any kind of belt on my torso will 'fall' to my natural waist. (SIGH).

I guess I'll be sewing my belt in place - with an invisible 'buckle'.

Katheryne

----- Original Message -----
From: Catherine Kinsey <ckinsey@kumc.edu>
> Another factor may be that if your gown fabric is relatively heavy 
> (as seems to be the case from how it is depicted) and the gown is 
> relatively flared (ditto), then the change in volume of fabric 
> between the upper and lower edges of the belt may also help keep 
> it from slipping downwards.
> 
> Heather
> ============================
> This is what worked for me when I made a Houppy many years ago.  
> It has a *very* full body and while the belt settled just a bit, it then 
> stayedput and never reached my waist.  The belt was snug, but not
> uncomfortably so.   This houppy was a full circle and made from 
> draperyfabric.  The belt was stiffened with mundane belt blank 
> material.
> Catherine
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I'd like to thank Jacqueline Johnson for that post and links. You learn
something new every day! This is not a style of dressing that I'm familiar
with -- I'm sure my lifestyle and hours don't match up with those of people
who do. I have to say I find those outfits funny, although not in an
offended sort of way. Whatever! But I'd like to see some for myself. It
looks like it takes a lot of time and effort to look that way, and I'd love
to see it close up.

The look reminds me of a girl I saw when the Mobile Skatepark Series came to
town. She was selling Yoohoo, and she had hair that was a combination of
cherry red and flat black, a pierced lower lip, strangely pierced ears,
clunky black shoes, Egyptian-inspired black eye makeup, a tight-fitting
minidress... I don't know what you call it. Punk-goth-retro? I realized that
the only kind of person who would look good in that was a person who's
absolutely gorgeous to begin with, which this girl was.

Gail Finke


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I've read(think it was the Sept issue of Vogue)that although the novel
was published in the 1810's, Austen wrote it circa 1797(there are still
some subtle hints in the published version that history experts picked
up on that Austen choose not to change or missed that place it in 1797
or within a year or two), so the decision was made, costume-wise to set
this movie version in 1797-8. The costumers went for a homemade feel for
the costumes, especially for the Bennet sisters and the less affluent
locals. Older women, like Mrs. Bennet and Lady Catherine de Burgh, would
have questioned the propriety of the new high-waisted look(after over
150 years of stiff corsets and a relatively normal waist level, many
women were)and kept to their corsets and older fashions. For a long
time, girls had been brought up that loose or no corsets meant at least
laziness and more commonly loose morals, so older women would have clung
to older fashions much more than today. Even Mary Wollstonecraft, the
female rebel of all rebels at the time, owned and wore a very
traditional corset. So all those historical romance heroines rebelling
against their corsets and stays are definitely a modern conceit.

>From the few pics and online preview, I'm guessing though, as with Sense
and Sensibility, the costume designers were ordered to remove several
authentic underlayers (take a look at the fashion plates from
Heideloff's Gallery of Fashion to see what I mean), to make the more
fashionable female characters fall more in line with today's narrow
arrow aesthetic. Jenny Bevan, the costume designer for S&S complained
that she and her crew had to remove several underlayers of the female
characters costumes to meet today's aesthetic as some unnamed
powers-that-be, insisted the original authentic designs made the
actresses look too fat.

Northanger Abbey(a BBC production of almost 20 years ago)is another DVD
to check out for the fashions of the last few years of the 18th century.

A republication of at least some of the plates in color from Heideloff's
"Gallery of Fashion"(are you listening Dover Publications?)is long
overdue.

Cindy Abel



 

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The Brisbane Mediaeval Fayre here in Brisbane, Queensland, was started by the Queensland Folk Federation, and run by them for many years. I used to hang around with some of the 'folkies' for a while in the mid 80's, and there was a definite 'hippie' vibe around the folkies then.

Hippie mostly seems to have evolved into 'alternative' now, at least as far as Australia goes, AFAIK.

Joannah

--- Lavolta Press <fran@lavoltapress.com> wrote:

Renaissance Faires, BTW, are another outgrowth of the "hippie" movement.


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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] Re: belted houppelandes
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At 16:40 06/09/2005, you wrote:
>In the book by Jean Hunnisett (sp?) - she shows that the belt is 
>attached in place on the Houp.
>
>As I am VERY hourglass-y shaped I have found that any kind of belt 
>on my torso will 'fall' to my natural waist. (SIGH).
>
>I guess I'll be sewing my belt in place - with an invisible 'buckle'.


I made my houppelande from the Hunnisett pattern - it has an 8 yard 
hem, (but then I am fat.)  My belt slides through two tight "modern" 
belt loops the same colour as the belt, and sewn under the arms, so 
they don't show. My spare tyre helps to keep it in position, but it 
is quite heavy, as it is handwoven silk, with metal belt ends, and a 
purse looped over it. I think the belt loops do the most to keep it 
in place. On houppelandes I have made for others, the belt has a loop 
just under the buckle placing, where it doesn't show. Also I have 
caught the belt down just behind the buckle, again where it does not show.

Suzi


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Subject: Re: [h-cost] RE:Experimental Archaeology
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I'd say it's a personally rewarding and personally educational learning 
experience--but not archaeology.

Doing something, finding out how it feels to you, learning something, 
and even teaching it to others does not make it a science.  On the other 
hand, those are all very valid and rewarding activities.  There's no 
need to elevate them by sticking a fancy label on them.

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

purplkat@optonline.net wrote:

>I have a question regarding 'Experimental' archeology -
>
>If - say- I am working on a pair of turnsole shoes and I 're-invent the wheel' - figure out something that many others have already figured out - but the info is new to me.
>
>Is this 'Experimental' archeology? 
>
>Katheryne
>  
>
>  
>
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From: Lavolta Press <fran@lavoltapress.com>
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Experimental Archaeology (was 1968 SCA views of medieval
	clothing)
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I don't think that how you feel about a task in the here and now, is any 
guarantee of how someone else in another era felt about it.  Living 
without flush toilets is a different experience when you know in the 
back of your mind that you can return to  modern conveniences any time 
you want. 

I'd also argue that people clearly feel different ways about different 
things, physically and emotionally, even in the here and now.  (For 
example, take any discussion on whether modern brassieres are 
comfortable.)  You were talking about heat tolerance of woolen Mexican 
war era coats.  From my observation, individuals vary significantly in 
how well they tolerate heat.  Although, if I really wanted to research 
heat tolerance in modern people, I'd read some modern medical studies.  
If I wanted to study how the soldiers of the Mexican war felt about 
their uniforms, I'd research period written records.  For historic 
periods where most people were literate, as academic research into how 
they _felt_, that makes more sense.than imitating what they did.

I think historic recreation/reenactment is a fine activity, and that 
those are perfectly good terms for it.  What I see is that the 
recreation/reenactment community feels the professional communities of 
historians and archaeologists don't respect them enough.  So they're 
looking for fancier names for what they do.  However, that's not going 
to get any more respect from academics, probably less if they feel their 
terms are being misapplied. 

There's nothing wrong with having a personally rewarding and personally 
educational hobby.  There's no need to claim it's a science, or a 
profession, when it's not.  And there's no way for people in any given 
organization who view themselves as "serious" reenactors, to 
differentiate themselves to outsiders, from more casual participants. 

But  why worry about what other people think,  if what you do is 
rewarding to you?

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


> An important part of the experience is to understand how it *felt* to be a person then and there. 
>
>It's hard to pin a name on what we're all doing. "Re-creation", which is what the SCA is said to do, implies that we're just making it all up, which isn't inaccurate, but is a sweeping generalization. The fact is that there are a lot of folks in the SCA who are doing what the "re-enactment" community would call "serious" work. The "re-enactors" that I met at Bent's Old Fort - most certainly a small cross-section - seem to be re-creating in a SCA-like manner, albeit with greater restrictions on time, place, etc. My feeling is that "experiential archaeology" sums it up pretty well, and bundles groups doing related things into what should be a cooperative community. 
>
>At Bent's, I was doing some casual surveys of how people were dealing with period clothing - wool over linen or cotton - in 100-degree heat. I'm currently working on worsted wool over linen for GFDs, and was seeing if their experience was similar to Robin's, who once opined that the combination was cooler at Lilies than other combinations of fibers. I detected a certain lack of credibility once I had to admit that my arena is the SCA.  Although I'm aware of those biases, I never fail to be dissapointed by them. 
>
>BTW, the Mexican war-era military coats that the soldiers were wearing were woolen; one of the soldiers wore a linen shirt, one wore a cotton shirt. They said that they were very hot, but felt like they'd acclimatized somewhat after being on-site for 48 hours. They also felt like they'd lost a lot of weight - probably water. ;-) 
>
>Melanie in Denver
>(Eirene, OP in the SCA)
>
>  
>
>  
>
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To: Historical Costume <h-costume@indra.com>
From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] new Pride and Prejudice movie
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"Abel, Cynthia" <CynthiaAbel@creighton.edu> wrote

<snip>
>
>>From the few pics and online preview, I'm guessing though, as with Sense
>and Sensibility, the costume designers were ordered to remove several
>authentic underlayers (take a look at the fashion plates from
>Heideloff's Gallery of Fashion to see what I mean), to make the more
>fashionable female characters fall more in line with today's narrow
>arrow aesthetic. Jenny Bevan, the costume designer for S&S complained
>that she and her crew had to remove several underlayers of the female
>characters costumes to meet today's aesthetic as some unnamed
>powers-that-be, insisted the original authentic designs made the
>actresses look too fat.
>
>Northanger Abbey(a BBC production of almost 20 years ago)is another DVD
>to check out for the fashions of the last few years of the 18th century.
>
>A republication of at least some of the plates in color from Heideloff's
>"Gallery of Fashion"(are you listening Dover Publications?)is long
>overdue.
>
>Cindy Abel
>
>
Somewhere, the idea seems to have arisen that Empire line was slim, when 
in fact it's really quite puffy, compared with the corseted line that 
went before.  It's just that it's columnar.  I suspect the aesthetic of 
the day was as my husband once said about early medieval unbelted styles 
- "fits where it touches, and whether it's attractive or not depends on 
*where* it touches".  The column may be wide, but the point is not to 
have bulges.

Jean
-- 
Jean Waddie
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Subject: RE: [h-cost] more Eleonora of Toledo
>Fascinating!  Manuscript about Eleonora of Toledo?  Do say more!  I would
>love to know more about her if someone else would do the research!  

I'll take the 2nd Q: transcribed, correlated, & published, not
translated.  This latter is actually a feature not a bug as the
translation in the rest of the text was done by a non-native English
speaker.

>... Next:
>Inventory of her gowns?  Has it been translated?  Where?  I've been
>collecting inventories lately.
>Wanda

Check the h-cost archives.
--cin
Cynthia Barnes
CinBarnes@gmail.com

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Subject: [h-cost] RE: Experimental Archaeology
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>From: purplkat@optonline.net
>I have a question regarding 'Experimental' archeology -
>If - say- I am working on a pair of turnsole shoes and I 're-invent the 
>wheel' - figure out
>something that many others have already figured out - but the info is new 
>to me.
>Is this 'Experimental' archeology?

It may depend on what you've discovered.

For instance, one of the questions that keeps getting asked about medieval 
shoes is what are the welts for.  The usual answer is tohhelp make them 
watertight (probably since welts in certain water containers serve that 
purpose).  Anyone who's ever worn leather shoes will tell you that unless 
you add anachronistic chemicals, or a ludicrous amount of grease, they 
aren't going to be water "tight", which shoots a hole in an hypothesis.  The 
second hypothesis is that they are there to help protect the thread in the 
seam from "grinning", and they do that adequately, even with modern 
materials.

However, if you use the correct pit tanned leather for the sole, and welts, 
and on a period shaped last, you quickly discover that the purpose of the 
welt is to extend the sole to the footprint of the foot.  They are a part of 
the sole.  This is only apparent though if you are using leather that reacts 
in the same way as the medieval leather does (and modern leathers do not) - 
because medieval sole leather is stiffer (when dry) than the modern stuff.
When it's wet, however, that same sole material becomes flexible enough that 
some of the sewing techniques that go back to the Romans become possible, 
using the tools available.

It would be better, however, if this research was published someplace where 
people could actually access it, and make their own tests :)

Marc


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>From: eirenetz@comcast.net
>BTW, I'm going to be in Tulsa business-tripping for two weeks beginning on 
>Sunday. >Suggestions? I'm interested in SCA things, but anything having to 
>do with >historic/ethnic/tribal clothing has appeal.

As mentioned, Woolaroc is worth a visit (it's about an hour north of town 
near Bartlesville), and the the International Linen Registry Museum and Gift 
Shop, which is currently displaying "all sorts of really cool clothing from 
around the world" according to the lady I just spoke to on the phone (they 
normally have some sort of special display running, besides the regular 
linen stuff).  It's not huge, but it's interesting (it's at the Promenade 
Mall, 41st and Yale).

Gilcrease museum has a lot of ethnic stuff, but I'm not sure what they've 
got on display right now.

The Philbrook doesn't have much in the way of costumes aside from old 
paintings (currently their special is selected works of Whistler).

The only major SCA things going on for the next two weeks are fighter 
practices and a "needleworkers" (if you're interested in these, contact me 
off list).  There is an event fairly close on the 17th, close enough for a 
day trip (if you're interested in these, contact me off list).  The same day 
is the Tulsa Scottish Games.

I hope there's something interesting for you.

Marc


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Subject: [h-cost] fabric source(s) wanted
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Hi,

I am looking for a source to purchase some good quality black crepe 
(preferably crinkle and at a reasonable price) for a mourning veil. 
Or if there are other ideas for fabric to used as a mourning veil, I 
am certainly open to suggestions.

Also I am looking for a source for white cotton netting for a bonnet 
ruffle and lining the drape.  Doesn't seem to be readily carried 
around here.  With that said, if I wanted to special order their 
minimum required amount, I could, but that would be far more than 
what I would need.

Thanks in advance,
Ruth Williams
Rochester, NY
williams@ece.rochester.edu
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From: Marie Stewart <maricelt@gmail.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] fabric source(s) wanted
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I would suggest a silk organza, or organdy.  Very sheer, with nice
drape.  Contact Mulberry Silks in Chapel Hill, NC.   And then there is
on-line... Hancocks and Jo-Annes (generally won't have this,  but they
may have a synthetic)

Mari / Bridgette


> Hi,
> 
> I am looking for a source to purchase some good quality black crepe
> (preferably crinkle and at a reasonable price) for a mourning veil.
> Or if there are other ideas for fabric to used as a mourning veil, I
> am certainly open to suggestions.

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From: katherine sanders <katherinejsanders@yahoo.co.uk>
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Subject: [h-cost] effigy corset: reeds/bamboo for stiffening
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Hello all

I am attempting a reconstruction of the 'effigy'
corset and am toying with various types of stiffening.
Has anyone attempted to use the kind of 'bamboo' used
to make those cheap roll up blinds? I understand they
may have some kind of treatment but thought they would
be a cheap and relatively stiff type of modern reed
boning.

Thanks,
Katherine


		
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In a message dated 9/6/2005 1:32:01 P.M. Eastern Standard Time,  
anne@montgomerie.demon.co.uk writes:

Somewhere, the idea seems to have arisen that Empire line was slim,  when 
in fact it's really quite puffy, compared with the corseted line that  
went before. 


Of course many women still wore corsets...most I'd say. A corset will  always 
make one look slimmer from the front or back but not from the side.  
Fortunately one's arms are there to hide this fact. Girls with "good" figures  look 
good in any silhouette of course.
 
Anyway, a large girl can look quite nice in the Empire line....it's  the boob 
emphasis I suppose. And they don't have the little girl look you get  with 
this silhouette so often with skinny girls. The semi-hidden rest of the  figure, 
only revealed when the subject is moving or wind blown, is very sexy in  any 
size.
 
INHO....of course.
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Date: Tue, 06 Sep 2005 16:27:18 -0700
To: Historical Costume <h-costume@indra.com>
From: Joan Jurancich <joanmj@surewest.net>
Subject: Re: [h-cost] effigy corset: reeds/bamboo for stiffening
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At 03:27 PM 9/6/2005, you wrote:
>Hello all
>
>I am attempting a reconstruction of the 'effigy'
>corset and am toying with various types of stiffening.
>Has anyone attempted to use the kind of 'bamboo' used
>to make those cheap roll up blinds? I understand they
>may have some kind of treatment but thought they would
>be a cheap and relatively stiff type of modern reed
>boning.
>
>Thanks,
>Katherine

If the blinds are actually bamboo, you may not want to use 
them.  Bamboo when it breaks often is very sharp.  You would be much 
better off using the reed used for basketry.  You can buy it by the pound.


Joan Jurancich
joanmj@surewest.net 

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From: Stephanie Smith <sismith42@yahoo.com>
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Subject: [h-cost] Regency corsets was Pride & Prejudice
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Hi All,

I thought that women *did* wear corsets in the Regency
period, it's just that the look went from firm
natural-waist to a soft empire waist...?  Some
examples:
http://www.chs.org/textiles/found_acc.htm
http://www.manchestergalleries.org/costume/catalogue/Display.php?irn=13491&QueryPage=/costume/catalogue/index.php
http://www.heyerlist.org/garderobe/images/1819%20kyoto%20inst%20stays.jpg

(If these links are too long, scroll down on this
comercial site:
http://www.earthlydelights.com.au/regency.htm)

Stephanie


	
		
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Subject: Re: [h-cost] Regency corsets was Pride & Prejudice
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In a message dated 9/6/2005 7:51:20 P.M. Eastern Standard Time,  
sismith42@yahoo.com writes:

thought  that women *did* wear corsets in the Regency
period, it's just that the  look went from firm
natural-waist to a soft empire waist...?   Some
examples:



I think some wore more than others, and there were several transitional  
styles. I'm not convinced we know yet what all the early 19th century  options 
were.
 
Ann Wass
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] RE: Experimental Archaeology
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I don't think that discovering something is science, per se.

Fran

>
> For instance, one of the questions that keeps getting asked about 
> medieval shoes is what are the welts for. 

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Subject: RE: [h-cost] RE: Experimental Archaeology
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Science is all about discovery! (then classification, then explanation, then
testing, then verification.)
Pyro

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
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Sent: Tuesday, September 06, 2005 7:07 PM
To: Historical Costume
Subject: Re: [h-cost] RE: Experimental Archaeology

I don't think that discovering something is science, per se.

Fran

>
> For instance, one of the questions that keeps getting asked about 
> medieval shoes is what are the welts for. 

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From: "michaela" <thebruce@ihug.co.nz>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] effigy corset: reeds/bamboo for stiffening
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> I am attempting a reconstruction of the 'effigy'
> corset and am toying with various types of stiffening.
> Has anyone attempted to use the kind of 'bamboo' used
> to make those cheap roll up blinds? I understand they
> may have some kind of treatment but thought they would
> be a cheap and relatively stiff type of modern reed
> boning.

I would be leery of using reeds for this particular corset. There are reeds
in the Dorothea stays, but they are only at the front and do not go through
the tabs.

The effigy stays have tabs to help in preventing the stays from difgging
into the waist (and they do this very well) but you can wind up with a
rather deep curve from waist to hip, especially as this pair of stays
elongates the body so the distance from waist to hips is reduced.

My feeling on this is to use something with the same flexibility as the
original, even if it's not period correct.

And if you want reed/bamboo I would stop the boning before it reaches the
tabs or, not use the tabs. You'll likely wind up with the reeds being bent
to stress limit or not actually bending enough and making your waist
proportionally larger.

michaela de bruce
http://costumes.glittersweet.com
I really need photos of me in the stays ratehr than them just laid flat...



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To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] effigy corset: reeds/bamboo for stiffening
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>>Has anyone attempted to use the kind of 'bamboo' used
>>to make those cheap roll up blinds?

>>If the blinds are actually bamboo, you may not want to use them.  Bamboo 
>>when it breaks often is very sharp.

It makes little teensy splinters when it breaks, and these can poke into 
you and get infected really easily.  Bamboo is not a good idea.

>>You would be much better off using the reed used for basketry.  You can 
>>buy it by the pound.

Go to a cane-chair-seat supplier or a basket-weaving supplier.

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

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Subject: Re: [h-cost] RE: Experimental Archaeology
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Yes, but personal discovery is not necessarily science.

Fran

Betsy Marshal wrote:

>Science is all about discovery! (then classification, then explanation, then
>testing, then verification.)
>Pyro
>  
>
>  
>
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Subject: Re: [h-cost] effigy corset: reeds/bamboo for stiffening
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I use them in the Dorothea corset and find it very comfortable.
But I agree that it won't work for the tabs.
I made a 18th century corset with it.
The boning was al around.
But it made my waist a lot bigger!
And the reeds broke in the tabs.

For everyone who is as lucky as me that she doesn't need boning at the 
sides I would say the Dorothea Corset with reeds in front is the best.

Deredere

katherine sanders wrote:

>Hello all
>
>I am attempting a reconstruction of the 'effigy'
>corset and am toying with various types of stiffening.
>Has anyone attempted to use the kind of 'bamboo' used
>to make those cheap roll up blinds? I understand they
>may have some kind of treatment but thought they would
>be a cheap and relatively stiff type of modern reed
>boning.
>
>Thanks,
>Katherine
>
>
>		
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Subject: Re: [h-cost] Regency corsets was Pride & Prejudice
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To achieve a true Regency silhoutte, it is mandatory to wear stays (not a
corset). Regency stays were not or only lightly boned but the important
thing was the busk. It guarantees the straight posture, the lifted and
slightly separated bust and the flat stomach (i.e. not poking out) essential
for the correct shape.
They might have been more comfortable than in the decades before and after
and a lot more discreet but they were worn nonetheless.
The French "Mervielleuses" who wore the see-through shifts with virtually
nothing underneath  at the very end of the 1700's were short lived (in the
true sense of the word, pneumonia was the "rage" of the day) and were
considered very scandalous by the largest part of the population, even in
France.

I have worn Regency dresses with and without stays and the difference in
silhoutte is quite remarkable.

----- Original Message -----
From: <AnnBWass@aol.com>
To: <h-costume@indra.com>
Sent: Wednesday, September 07, 2005 1:55 AM
Subject: Re: [h-cost] Regency corsets was Pride & Prejudice


>
> In a message dated 9/6/2005 7:51:20 P.M. Eastern Standard Time,
> sismith42@yahoo.com writes:
>
> thought  that women *did* wear corsets in the Regency
> period, it's just that the  look went from firm
> natural-waist to a soft empire waist...?   Some
> examples:
>
>
>
> I think some wore more than others, and there were several transitional
> styles. I'm not convinced we know yet what all the early 19th century
options
> were.
>
> Ann Wass
> _______________________________________________
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Subject: Re: [h-cost] Regency corsets was Pride & Prejudice
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In a message dated 9/7/2005 3:10:51 A.M. Eastern Standard Time,  
feudtner@festefeiern-online.de writes:

To  achieve a true Regency silhouette, it is mandatory to wear stays (not  a
corset). Regency stays were not or only lightly boned but the  important
thing was the busk. It guarantees the straight posture, the  lifted and
slightly separated bust and the flat stomach (i.e. not poking  out) essential
for the correct shape.



What were called "stays" in England was "corset" in France.  Not sure  when 
the term "corset" became general in English, but sometime in the 19th  century. 
 As to everyone's wearing them, well, I think the flap linings in  dresses 
were sufficient for some of the young and not so fully endowed.   I've also seem 
some very flimsy, lightweight muslin garments that must have been  worn for 
just light bust support.  Upon reflection, I realized that one of  these would 
not have met in the back, so I think it was probably stitched or  pinned 
inside a dress--sort of like a modern shelf bra. Also, early  versions of what 
became the fully corded garment of the 1820s. 
 
I participated in a project several years ago where we pulled out a  great 
number of corsets/stays and lined them up, and I really think there was,  and 
is, a "missing link,"  likely several links, really.  This  led to my statement 
that I don't think we know all the alternatives that were  worn in the early 
19th century.  Short, long, boned, corded--of course,  these aren't pictured 
very often, and it can be very difficult to put a precise  date on extant 
garments. 
 
Ann Wass
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From: Joannah Hansen <Joannah@sluggy.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] effigy corset: reeds/bamboo for stiffening
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I have used the canes/bamboo/matchsticks from those sort of blinds to bone corsets, but I have never been game to use them in an effigy style corset - they are nicely rigid, ( and cheap!! ) but I don't think that they are at all flexible enough to take the moulding that occurs as the tabs spread out below the waist, particularly if the angle between waist and hips is sharp. 

Broomstraw ( like Drea used ) works *very* well - I used it in mine. Or you could try the reeds from this company - somebody on the web has written that they used them ( I can't remember who ) and the reed  worked very well.

https://www.grannd.com/Merchant2/merchant.mvc
Screen=CTGY&Category_Code=CCREEDS  
 
Joannah.

--- katherine sanders <katherinejsanders@yahoo.co.uk> wrote:

From: katherine sanders <katherinejsanders@yahoo.co.uk>
Date: Tue, 6 Sep 2005 23:27:36 +0100 (BST)
To: h-costume@mail.indra.com
Subject: [h-cost] effigy corset: reeds/bamboo for stiffening

Hello all

I am attempting a reconstruction of the 'effigy'
corset and am toying with various types of stiffening.
Has anyone attempted to use the kind of 'bamboo' used
to make those cheap roll up blinds? I understand they
may have some kind of treatment but thought they would
be a cheap and relatively stiff type of modern reed
boning.

Thanks,
Katherine


		
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From h-costume-bounces@indra.com  Wed Sep  7 07:41:42 2005
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Subject: Subject: Re: [h-cost] effigy corset: reeds/bamboo for stiffening
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I've never tried bamboo, and judging by how brittle my Nana's garden bamboos 
were I'd be loathe to try - could be v nasty.

That said, I have now made quite a few corsets (stayes) using reed boning - 
most people have said that it's far more comfortable than the corsets they're 
used to, whether that's steel or synthetic boning.

Indeed, my own latest corset is reed-boned (couple of years old now, and an 
effigy one), and is far more comfy than my old steel-boned one ever was.

I have never had any problems with the reeds bending where they shouldn't or 
anything like that, and I'm not exactly small!  (34" waist, g-cup.)  Of course 
I've got quite a thick wooden busk at the front (fascinates school kids when 
I'm doing talks!).  (But I should add that it's fine when I remove the busk.)

I make reed corsets from two layers of very strong heavy(ish) linen (with an 
extra fancy outer layer when requested).  I stitch the tubes (about half an 
inch wide or so), then push in literally as many 'bones' as I can without 
bursting the stitching (at first they're in bunches, then individually till no more 
will fit).  You do have to allow a little extra to the width to allow for the 
shrinkage in width of the tube - but you can work out how much by 
experimenting.

I normally use round reeds from grannd garb (sold by the pound).  (If I 
weren't so lazy I could probably find a thatcher here in the UK who'd sell me some 
but...!)

Debbie


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Subject: Re: [h-cost] fabric source(s) wanted
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Ruth, how big is your wanted veil?  I may have an extra one in my stash.

Kathleen


----- Original Message ----- 
From: "RuthAnn Williams" <williams@ece.rochester.edu>
To: <h-costume@mail.indra.com>
Sent: Tuesday, September 06, 2005 4:04 PM
Subject: [h-cost] fabric source(s) wanted


> Hi,
> 
> I am looking for a source to purchase some good quality black crepe 
> (preferably crinkle and at a reasonable price) for a mourning veil. 
> Or if there are other ideas for fabric to used as a mourning veil, I 
> am certainly open to suggestions.
> 
> Also I am looking for a source for white cotton netting for a bonnet 
> ruffle and lining the drape.  Doesn't seem to be readily carried 
> around here.  With that said, if I wanted to special order their 
> minimum required amount, I could, but that would be far more than 
> what I would need.
> 
> Thanks in advance,
> Ruth Williams
> Rochester, NY
> williams@ece.rochester.edu
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It isn't necessarily, or by definition, *not* science, either.
--sue

Lavolta Press wrote:

> Yes, but personal discovery is not necessarily science.
> 
> Fran
> 
> Betsy Marshal wrote:
> 
>> Science is all about discovery! (then classification, then 
>> explanation, then
>> testing, then verification.)
>> Pyro


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Funny this should come up.  I was just looking for more info on the 
corset itself and had asked Drea Leed about some particulars.  According 
to her, the effigy corset is boned with whalebone, not reed.

Sg

katherine sanders wrote:

>Hello all
>
>I am attempting a reconstruction of the 'effigy'
>corset and am toying with various types of stiffening.
>Has anyone attempted to use the kind of 'bamboo' used
>to make those cheap roll up blinds? I understand they
>may have some kind of treatment but thought they would
>be a cheap and relatively stiff type of modern reed
>boning.
>
>Thanks,
>Katherine
>
>
>		
>___________________________________________________________ 
>To help you stay safe and secure online, we've developed the all new Yahoo! Security Centre. http://uk.security.yahoo.com
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>Fran:
>I don't think that discovering something is science, per se.

I think it has to do with rigor and whether you are using the scientific 
method.

Examine the evidence, come up with a hypothesis and test it to failure.  
Revise and repeat until it ceases to fail, at which point you probably have 
a valid hypothesis.

Where the problem is has to do with whether people are trying to find 
evidence to support a hypothesis, or trying to find a way to break the 
hypothsis (one is not science, the other is).

Marc


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It is not neccessarily_ not_ science to try to find evidence to support 
a hyphothesis.  And unscientific efforts can be made to break one.  The 
important issue there is objectivity. 

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


Marc Carlson wrote:

>> Fran:
>> I don't think that discovering something is science, per se.
>
>
> I think it has to do with rigor and whether you are using the 
> scientific method.
>
> Examine the evidence, come up with a hypothesis and test it to 
> failure.  Revise and repeat until it ceases to fail, at which point 
> you probably have a valid hypothesis.
>
> Where the problem is has to do with whether people are trying to find 
> evidence to support a hypothesis, or trying to find a way to break the 
> hypothsis (one is not science, the other is).
>
> Marc
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>
>
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I should add that, the social climate amoung many reenactors makes a 
scientific attitude almost impossible.  The "possession" of knowledge 
gets tied to social status.  People who want to compete for status, do 
it by trying to prove the other person's "knowledge" wrong.  This is a 
personal attack often enough that many people, not unnaturally, start to 
view every disagreement with their views as a personal attack, whether 
it is intended that way or not.  If admitting they may be wrong, or even 
that something may be looked at in different ways, makes them vulnerable 
to attack, and exposure to shame and scorn from a group of others, they 
don't want to examine or test their theories.

People who don't want to expose themselves to any attack, attach 
themselves to someone whose social status currently proves their 
theories to be "correct," rather than thinking for themselves.  So it 
becomes an issues of "My clique says" versus "your clique says."

This routine  is totally different from real scientific discussion.

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



Marc Carlson wrote:

>> Fran:
>> I don't think that discovering something is science, per se.
>
>
> I think it has to do with rigor and whether you are using the 
> scientific method.
>
> Examine the evidence, come up with a hypothesis and test it to 
> failure.  Revise and repeat until it ceases to fail, at which point 
> you probably have a valid hypothesis.
>
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] RE: Experimental Archaeology
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Quoting Lavolta Press <fran@lavoltapress.com>:

*snippage*

>
> People who don't want to expose themselves to any attack, attach 
> themselves to someone whose social status currently proves their 
> theories to be "correct," rather than thinking for themselves.  So it 
> becomes an issues of "My clique says" versus "your clique says."
>
> This routine  is totally different from real scientific discussion.
>

ROTFL!  Not necessarily.  I can't tell you how many scientific
"discussions" (aka arguments) that I've witnessed that are of just that
very type.  "My data is better than your data;"  "Your model is wrong;" 
"this group [of researchers -- and They Know Best] says reality is
*this* ergo it must be."  yadda-yadda, ad nauseum.

Susan
-----
Susan Farmer
sfarmer@goldsword.com
University of Tennessee
Department of Ecology and Evolutionary Biology
http://www.goldsword.com/sfarmer/Trillium/


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But for social status reasons?  Not because, "All research to this point 
has shown that  . . . "  Or "I agree with Smith but that's because 
[advancing arguments]?

Fran


>
> ROTFL!  Not necessarily.  I can't tell you how many scientific
> "discussions" (aka arguments) that I've witnessed that are of just that
> very type.  "My data is better than your data;"  "Your model is 
> wrong;" "this group [of researchers -- and They Know Best] says 
> reality is
> *this* ergo it must be."  yadda-yadda, ad nauseum.
>
> Susan
> -----
> Susan Farmer
> sfarmer@goldsword.com
> University of Tennessee
> Department of Ecology and Evolutionary Biology
> http://www.goldsword.com/sfarmer/Trillium/
>
>
> _______________________________________________
> 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: Experimental Archaeology
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Status: RO

I should clarify and say that certainly scientific researchers disagree, 
agree, and argue with each other. But as far as I know, _this should be 
tied to personal relationships or social status_.  Researchers are 
supposed to emotionally distance themselves from such things as well as 
they possibly can.

It's one thing if someone says, "I disagree with you because I and 
others have found significantly different things than you have, and here 
they are."  It's another thing if someone says, "I disagree with you 
because you're not in my crowd and I don't like you." 

It's also another thing if someone says, "Prove yourself to me, I'm 
waiting.  And I'll push you to the wall with question after question."  
Generally, someone who wants to prove a scientific theory wrong,  has to 
provide some evidence to the contrary himself or herself.  

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

Lavolta Press wrote:

>
> But for social status reasons?  Not because, "All research to this 
> point has shown that  . . . "  Or "I agree with Smith but that's 
> because [advancing arguments]?
>
> Fran
>
>
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Subject: Re: [h-cost] RE: Experimental Archaeology
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Status: RO

Sorry, this is a typo for "this should not be tied." 

Fran
Lavolta Press wrote:

> I should clarify and say that certainly scientific researchers 
> disagree, agree, and argue with each other. But as far as I know, 
> _this should be tied to personal relationships or social status_.  
> Researchers are supposed to emotionally distance themselves from such 
> things as well as they possibly can.
>
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From: "Susan B. Farmer" <sfarmer@goldsword.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] RE: Experimental Archaeology
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Status: RO

Quoting Lavolta Press <fran@lavoltapress.com>:

>
> But for social status reasons?

You mean like "Lab XYZ is *the* place to be (rather like publishing in
*that* journal because it's number is higher), so I'm going to espouse
their philosophy in the hopes of getting a job there ...

I've heard of it done.

Susan
-----
Susan Farmer
sfarmer@goldsword.com
University of Tennessee
Department of Ecology and Evolutionary Biology
http://www.goldsword.com/sfarmer/Trillium/


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Subject: Re: [h-cost] RE: Experimental Archaeology
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Status: RO

Well, I haven't. And I've worked at a couple of prestigious research 
labs, and for one prestigious research journal.  For one thing, in my 
experience a research lab does not have only one project.  There are 
usually many, only very loosely related (or even unrelated) projects 
going on at one time.  In job interviews at such places,
certainly applicants say they are interested in the work that is going 
on in that project or group, and mention their qualifications for 
working on that project and in that group.  Also, at a higher level, 
their qualifications for starting new projects.  They may even have 
contacts within the company. However,  this is not competition for 
_social status_  It's competition for a job.  Furthermore, potential 
employees are still interviewed and screened, and still have to present 
adequate qualifications.

And a research journal usually publishes a variety of articles, which 
don't necessarily "agree" with each other by any means.  People don't 
tend to do scientific research just to write an article about it.  They 
write the article(s) to let other people know about what they have 
discovered, and/or interpreted, and/or theorized.  Yes, they also write 
to publicize themselves and the company they work for, which helps some 
in getting grants and perhaps, later on, jobs elsewhere for the 
researchers who worked on the project.  But again, this is not _social_ 
competition.  And again, articles undergo rigorous screening for 
scientific plausibility.

Not all competition is social, not everyone wants to or is allowed to BS 
to compete professionally, and not all screening is personally 
supportive or vindictive. 

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


>
> You mean like "Lab XYZ is *the* place to be (rather like publishing in
> *that* journal because it's number is higher), so I'm going to espouse
> their philosophy in the hopes of getting a job there ...
>
> I've heard of it done.
>
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Status: RO

> And how were they fastened in back -- buckled, tied, pinned?

The only question I can *sort of* answer.

I took a pic of the back of a statue in the Cluny Museum in Paris. 
Unfortunately, I couldn't move to the other side to actually SEE the buckle. 
The statue is from Stephani, called Female Donor, France 1463. The rest of 
the details are too fuzzy to read (no flash and no tripod, ugh!). Hope this 
helps somewhat!

http://www.geocities.com/audreybmorin/Varia/images/P7060176.JPG

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From: Cin <cinbarnes@gmail.com>
To: h-cost <h-costume@indra.com>
Subject: Re: [h-cost] effigy corset: reeds/bamboo for stiffening
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>Funny this should come up.  I was just looking for more info on the
>corset itself and had asked Drea Leed about some particulars.  According
>to her, the effigy corset is boned with whalebone, not reed.

Cant exactly buy them 'round here, tho, can we?  Guess most wil make
do with reed, "woode and wyre".  Now, Tokyo, whalebone's fair game.  I
can even recommend a shop.
--cin
Cynthia Barnes
CinBarnes@gmail.com

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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] effigy corset: reeds/bamboo for stiffening
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Clearly it is up to the user-make it with period materials that may not 
be "correct" or make it with materials which are imitations of the 
period materials actually used.  I am offering the information for 
people who may assume that it was originally "stuffed" with products 
other than whalebone.

Cin wrote:

>>Funny this should come up.  I was just looking for more info on the
>>corset itself and had asked Drea Leed about some particulars.  According
>>to her, the effigy corset is boned with whalebone, not reed.
>>    
>>
>
>Cant exactly buy them 'round here, tho, can we?  Guess most wil make
>do with reed, "woode and wyre".  Now, Tokyo, whalebone's fair game.  I
>can even recommend a shop.
>--cin
>Cynthia Barnes
>CinBarnes@gmail.com
>
>_______________________________________________
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>
>
>  
>
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From: "Elizabeth Walpole" <ewalpole@tpg.com.au>
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----- Original Message ----- 
From: "Cin" <cinbarnes@gmail.com>
To: "h-cost" <h-costume@indra.com>
Sent: Thursday, September 08, 2005 7:58 AM
Subject: Re: [h-cost] effigy corset: reeds/bamboo for stiffening


> >Funny this should come up.  I was just looking for more info on the
> >corset itself and had asked Drea Leed about some particulars.  According
> >to her, the effigy corset is boned with whalebone, not reed.
>
> Cant exactly buy them 'round here, tho, can we?  Guess most wil make
> do with reed, "woode and wyre".  Now, Tokyo, whalebone's fair game.  I
> can even recommend a shop.
> --cin
> Cynthia Barnes
> CinBarnes@gmail.com

Really? I was under the impression that baleen only came from the larger
whales, I thought Minky whales had proper teeth?
Elizabeth
--------------------------------------------
Elizabeth Walpole
Canberra Australia
ewalpole[at]tpg.com.au
http://au.geocities.com/e_walpole/

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From h-costume-bounces@indra.com  Wed Sep  7 19:54:23 2005
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To: h-costume@indra.com
From: lilinah@earthlink.net
Subject: Re: [h-cost] 1968 SCA views of medieval clothing
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Carol Kocian <aquazoo@patriot.net> wrote:
>  >>      Most SCA events are private - halls, parks and school property
>  >>is rented for their use.
>  >
>  >I wouldn't quite call that private . . . not like, say, a Victorian
>  >costume ball, or a modern party, where only friends are invited.
>  >I'd call it organizational.  Anyone can join the SCA as far as I
>  >know. It used to be possible to attend events without being a
>  >member, but I don't know if that's still true.
>
>       Private in the sense that everyone there is in costume as a
>participant.  While people don't need to pay their dues to the SCA in
>order to attend, a requirement is that they wear an attempt at period
>costume.

SCA events are not private. While we have to rent someone else's 
property, all SCA events are open to the public. Most events have an 
officer present (Chatelaine, Gold Key, Hospitaller, etc.). who has 
clean garb to loan for free.

Lilinah
who has been that officer at Principality and at Kingdom levels in the SCA
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Subject: Re: [h-cost] fiber arts and making vs buying clothes
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Debloughcostumes@aol.com wrote:
>Never was a goth myself, but had lots of goth friends (and still have a few!).
>Most of them wouldn't be caught dead making their own clothes - adapting
>maybe, but not actually making.

Here in Northern California there were and are groups and mailing 
lists for Goths who are making and adapting clothing. There's no 
stigma accruing to those who make their own. Someone who can make 
cool Gothwear is appreciated.

Lilinah
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"otsisto" <otsisto@socket.net> wrote:
><< Renaissance Faires also would have a booth selling chainmail/chain
>headdresses.  They range in size from cauls to long veils, a mix of chain
>mail, looped chains and jewels.  Old techniques, old shapes (veils), but the
>product is modern.
>
>De:I always believed they stem from the Edwardian view of the Middle Ages
>and Camelot. But mostly I have seen the chainmail cauls in Erte's drawings.
>
>  < The only time I've seen one worn outside a "historic" (Renfair/SCA/LARP)
>context was that Anne Rice wore one during a television
>view.      -Carol
>
>De: I've seen them in plays and Halloween and one Goth. She had white blond
>hair and the chainmail was black with red crystals.

They have also been used in films. More than one chain mail jewelry 
vendor proudly displayed photos (in a book of their work) of their 
headwear - and chain mail hand jewelry - as featured in movies. This 
was especially true in the 1980s.

They are also often worn at neoPagan rituals and festivals.

Lilinah
who has a matching head and hand set for festive wear
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To: Historical Costume <h-costume@indra.com>
From: Joan Jurancich <joanmj@surewest.net>
Subject: Re: [h-cost] effigy corset: reeds/bamboo for stiffening
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I made my corset using the 3/16-inch cable ties from the hardware 
store (package of 10, 34 inches long) which are easy to cut to size 
with sturdy craft scissors.  They actually flex a lot like whalebone 
and are a lot lighter than steel bones.
Joan

At 04:32 PM 9/7/2005, you wrote:
>Clearly it is up to the user-make it with period materials that may 
>not be "correct" or make it with materials which are imitations of 
>the period materials actually used.  I am offering the information 
>for people who may assume that it was originally "stuffed" with 
>products other than whalebone.
>
>Cin wrote:
>
>>>Funny this should come up.  I was just looking for more info on the
>>>corset itself and had asked Drea Leed about some particulars.  According
>>>to her, the effigy corset is boned with whalebone, not reed.
>>>
>>
>>Cant exactly buy them 'round here, tho, can we?  Guess most wil make
>>do with reed, "woode and wyre".  Now, Tokyo, whalebone's fair game.  I
>>can even recommend a shop.
>>--cin
>>Cynthia Barnes
>>CinBarnes@gmail.com

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From: Joannah Hansen <Joannah@sluggy.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] chainmail bikini
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Cerebus the Aardvark to Red Sophia -
"If you'd stop wearing that chainmail bikini, those would heal."
- Dave Sim ( I don't remember which volume of Cerebus it was. ;-> )

Joannah 

--- Carol Kocian <aquazoo@patriot.net> wrote:

      I was an early adaptor - does mine get to be art?  I think the 
idea of a chainmail bikini was around for a bit before somebody 
decided to try making one.

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I think the distinction people are trying to make is between "private" events intended for the participants' own pleasure, and "public" events intended to entertain and educate a non-costumed audience.
 
Kate Bunting
Librarian and 17th century reenactor

>>> lilinah@earthlink.net 08/09/2005 00:53 >>>

SCA events are not private. While we have to rent someone else's 
property, all SCA events are open to the public. Most events have an 
officer present (Chatelaine, Gold Key, Hospitaller, etc.). who has 
clean garb to loan for free.

Lilinah
who has been that officer at Principality and at Kingdom levels in the SCA
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Subject: Re: [h-cost] Regency corsets was Pride & Prejudice
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---- Original Message ----- 
From: "Michaela Feudtner" <feudtner@festefeiern-online.de>
> 
> I have worn Regency dresses with and without stays and the difference in
> silhoutte is quite remarkable.

Did you make the stays? Which pattern did you use?
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----- Original Message ----- 
From: "Marc Carlson" <marccarlson20@hotmail.com>



> It would be better, however, if this research was published someplace 
> where people could actually access it, and make their own tests :)
>
> Marc

That's exactly why I love the Internet and various mailing lists so much! 
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Date: Thu, 8 Sep 2005 17:32:54 +0100
To: Historical Costume <h-costume@indra.com>
From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] belted houppelandes
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Audrey Bergeron-Morin <audreybmorin2@hotmail.com> wrote
>> And how were they fastened in back -- buckled, tied, pinned?
>
>The only question I can *sort of* answer.
>
>I took a pic of the back of a statue in the Cluny Museum in Paris. 
>Unfortunately, I couldn't move to the other side to actually SEE the 
>buckle. The statue is from Stephani, called Female Donor, France 1463. 
>The rest of the details are too fuzzy to read (no flash and no tripod, 
>ugh!). Hope this helps somewhat!
>
>http://www.geocities.com/audreybmorin/Varia/images/P7060176.JPG
>
Good picture!  Is that trim sewn down to act as a belt loop, do you 
think, or just hanging over?  (and is she carrying a baby, or playing a 
bagpipe?!)

Jean
-- 
Jean Waddie
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Date: Thu, 08 Sep 2005 20:41:23 +0100
To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] re: effigy corset & whalebone
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At 20:23 08/09/2005, you wrote:
>Joan:
> >I made my corset using the 3/16-inch cable ties from the hardware
> >store (package of 10, 34 inches long) which are easy to cut to size
> >with sturdy craft scissors.  They actually flex a lot like whalebone
> >and are a lot lighter than steel bones.
>
>really? I've heard this claim a lot, about once a year on this list.
>I decided to test it. Thru the methods of experimental archaeology (a
>nod to Marc & Fran, et al here), I went off to test this claim.
>
>I held several  early 19thc whalebone handled sterling ladles (I'm and
>incurable silverware collector) and, with permission, flexed the
>handles. They barely moved.  I made a point of asking the proprietor
>about whalebone since he'd been head of the silver department at
>Sothebys (the shop was in Lechlade, UK -- not sure about the
>spelling). He said that these whalebones were typical of whalebones in
>old silver.
>
>Now, in real life, I'm a silicon valley s/w engineer, with all sizes
>of cable ties in my garage.  Not even the stiffest cable tie fails to
>bend.  If they did, they be pretty useless for tying cables.
>
>My point is that this common modern substitute, while available,
>cheap, workable, washable and all those other positive qualities,
>fails to act like real whalebone. It doesnt look right either, not
>that you'd see it in a corset. Totally the wrong color & texture.


I am sorry to disagree with you, but whalebone for corsets is totally 
flexible. I inherited a gross whalebones from a corsetiere - they are 
maybe from the 1940's or 50's. They flex like Rigilene. They are much 
finer that cable ties, and behave differently. I produce one when I 
do lectures on corsetry. No-one believes how whippy they are until 
they try for themselves - you can bend one in half without it 
breaking. (And they twist too - I can well see why it was used for corsets.)

I also own a reproduction mid 18th century, fully boned corset made 
before the banning of whalebone, and it is very firm, but flexible.

Suzi


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From: Cin <cinbarnes@gmail.com>
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Subject: Re: [h-cost] re: effigy corset & whalebone
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On 9/8/05, Suzi Clarke <suzi@suziclarke.co.uk> wrote:
> I am sorry to disagree with you, but whalebone for corsets is totally
> flexible. I inherited a gross whalebones from a corsetiere - they are
> maybe from the 1940's or 50's. 
Interesting.  What a completely different experience.  Wish you were
even in the same hemisphere so I could have a look.
How thick are the bones in the corset?  (Do they differ throughtout
the corset?) The various ladle handles were .75 to 1 square cm, too
thick for corsetry. I believe the Sothebys guy said they'd been heated
to meld them into decorative twists. Perhaps there is a processing
difference. Oh boy, another bit of curious minutia to track down. If I
had a nickel for every bit of minutia...
--cin
Cynthia Barnes
CinBarnes@gmail.com

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Date: Thu, 08 Sep 2005 21:14:46 +0100
To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] re: effigy corset & whalebone
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At 21:04 08/09/2005, you wrote:
>On 9/8/05, Suzi Clarke <suzi@suziclarke.co.uk> wrote:
> > I am sorry to disagree with you, but whalebone for corsets is totally
> > flexible. I inherited a gross whalebones from a corsetiere - they are
> > maybe from the 1940's or 50's.
>Interesting.  What a completely different experience.  Wish you were
>even in the same hemisphere so I could have a look.
>How thick are the bones in the corset?  (Do they differ throughtout
>the corset?) The various ladle handles were .75 to 1 square cm, too
>thick for corsetry. I believe the Sothebys guy said they'd been heated
>to meld them into decorative twists. Perhaps there is a processing
>difference. Oh boy, another bit of curious minutia to track down. If I
>had a nickel for every bit of minutia...


The loose bones and the corset bones are both roughly the same size 
and thickness as modern white-covered steel bones - the ones with the 
tips. They are not all identical in thickness, but it is millimetres 
if not micromillimetres in difference. It is quite clear that they 
have been "sliced" lengthways. (The corset is quite light by the way 
- far lighter than if it was boned with steel.)

Suzi


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Subject: Re: [h-cost] re: effigy corset & whalebone
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From: Cynthia Virtue <cvirtue+dated+1141762589.df27d9@thibault.org>
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Suzi Clarke wrote:
> The loose bones and the corset bones are both roughly the same size and 
> thickness as modern white-covered steel bones - the ones with the tips. 
> They are not all identical in thickness, but it is millimetres if not 
> micromillimetres in difference. It is quite clear that they have been 
> "sliced" lengthways. (The corset is quite light by the way - far lighter 
> than if it was boned with steel.)

Someone on the H-Cost list a while back had some whalebone and described 
it as "like a fingernail" but it was black.  IIRC, "whalebone" for 
corsets is the baleen, which are fairly regular in size, and thin, due 
to the job they do for the whale.  I could easily understand if 
different sections of the baleen have different properties, though, and 
maybe the ladle handles could have been made out of a thicker section, 
or actual bones?

-- 
Cynthia Virtue and/or Cynthia du Pre Argent

   "Such virtue hath my pen...."  -Shakespeare, Sonnet 81
        "I knew this wasn't _my_ pen!"  --Cynthia Virtue
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From: "Rhonda Donaldson" <rdonalds@wvu.edu>
To: <h-costume@indra.com>, <cabbagerose@sbcglobal.net>
Subject: Re: [h-cost] OT posts re storm
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I totally agree.  The humane society is currently taking donations for
the animals from Katrina.  Please help them too

Rhonda

Rhonda Donaldson
LTA II
e-Reserves Jr. Guru in Training
Circulation Department
Downtown Campus Library
P O Box 6069
Morgantown, WV
26506
293-4040 x4094
rhonda.donaldson@mail.wvu.edu

"Without change, something sleeps inside us, and seldom
awakens. The sleeper must awaken."
--Frank Herbert

"The future belongs to those who believe in the beauty of their
dreams."
- Eleanor Roosevelt



>>> cabbagerose@sbcglobal.net 9/2/2005 11:29:06 PM >>>
Gentle List

I made a donation to the American Red Cross this afternoon.  I agree
with 
Fran that it may be far more productive to send money if this is
weighing on 
one's conscience or heart, than for the list to discuss or decide
whether or 
not the off topic comments that have been made by folks from other
countries 
are deliberately insensitive or simply naievete manifesting itself in
an 
unpleasant way.

I read the offending post, and honestly believe that Bjarne's shaky
English 
is the culprit. It did not seem offensive to me.  I thought it sounded
like 
he'd heard some news stories abroad blaming Bush or the Federal gov't
for 
the "mishandling" (again not taking a position, just repeating the
news' 
latest spin) and was only commiserating, not trying to stir the pot.  
I 
genuinely thought he was trying to be kind, but he really doesn't have
much 
command of the language.  That said, Fran's also right, this isnt' the
place 
for this discussion. People's hearts are breaking and it is way, way
too 
real a catastrophe for those of us here to be discussing in any
meaningful 
way.  There's nothing we can do but send money or pray, or both.

My heart goes out to those who are living this nightmare.  Please let's
not 
make this a place that is unpleasant by making it a political forum. 
Again, 
you all in the Gulf Coast are in my prayers.  God speed.

Back to costume content discussion....

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: "Marie Stewart" <maricelt@gmail.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, September 02, 2005 5:51 PM
Subject: [h-cost] avoiding pain and distress, hang in there all


> Hi folks...  I'm sorry to see that Bjarne is being insensitive
again.
> I did not see what he wrote, and I have no desire to  -  I made a
> policy some time ago to send all his posts to the trash unread.  I
> hope he hasn't hurt anyone with his words. The last thing we need is
> more pain and distress.
>
> Hang in there all.
> Much love
> Mari / Bridgette
>
> On 9/2/05, Wanda Pease <wandap@hevanet.com> wrote:
>> Bjarne,  This might give you an even better idea of what the US is
all
>> about, even when we are stripped down to the essentials.  The
Coronation 
>> may
>> seem trivial, but the determination to make it happen isn't.  Sort
of 
>> like
>> the Danish Crown not giving up when the Nazi's poured over your
borders.
>> Not a natural disaster, but close enough for government work.
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com 
> http://mail.indra.com/mailman/listinfo/h-costume 
> 


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From: Cin <cinbarnes@gmail.com>
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Subject: Re: [h-cost] re: effigy corset & whalebone
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From: "Elizabeth Walpole" <ewalpole@tpg.com.au>
>> Cant exactly buy them 'round here, tho, can we?  Guess most wil make
>> do with reed, "woode and wyre".  Now, Tokyo, whalebone's fair game.  I
>> can even recommend a shop.
>Really? I was under the impression that baleen only came from the larger
>whales, I thought Minky whales had proper teeth?

Japanese whalers fish in international waters and are not restricted
to their own.  Outside the 250mi territorial limits established by
many treaties ships can fish, trawl, whale & launch satellites w/o
govt foldeerol.

My own "woode and wyre" comment was excessive paraphrasing intending
to point to Elizabethan commentators like these:

William Jones provided "xii Buskes of Whalebone and wyer covered with
sarceonet  quilted" . --Great Wardrobe Accounts, 1586, as cited in
Janet Arnold, QEWU.

"Fastidious men, as well as ladies, wore these 'whalebone bodyes for
the better grace.'"  --Channing M. Linthicum, Costume in the Drama of
Shakespeare and His Contemporaries (Oxford: Clarendon, 1936), p. 178.

"English burgher women usually wear … Instead of whalebone, they wear
a broad circular piece of wood over the breast to keep the body
straighted and more erect. English women of the nobility dress very
similarly to the French except for very long stomachers." --Thomas
Platter, Travels in England, 1599.

My point here was that the original poster who ask about reeds also
had some other options.
--cin
Cynthia Barnes
CinBarnes@gmail.com

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Subject: [h-cost] re: effigy corset & whalebone
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Joan:
>I made my corset using the 3/16-inch cable ties from the hardware
>store (package of 10, 34 inches long) which are easy to cut to size
>with sturdy craft scissors.  They actually flex a lot like whalebone
>and are a lot lighter than steel bones.

really? I've heard this claim a lot, about once a year on this list. 
I decided to test it. Thru the methods of experimental archaeology (a
nod to Marc & Fran, et al here), I went off to test this claim.

I held several  early 19thc whalebone handled sterling ladles (I'm and
incurable silverware collector) and, with permission, flexed the
handles. They barely moved.  I made a point of asking the proprietor
about whalebone since he'd been head of the silver department at
Sothebys (the shop was in Lechlade, UK -- not sure about the
spelling). He said that these whalebones were typical of whalebones in
old silver.

Now, in real life, I'm a silicon valley s/w engineer, with all sizes
of cable ties in my garage.  Not even the stiffest cable tie fails to
bend.  If they did, they be pretty useless for tying cables.

My point is that this common modern substitute, while available,
cheap, workable, washable and all those other positive qualities,
fails to act like real whalebone. It doesnt look right either, not
that you'd see it in a corset. Totally the wrong color & texture.
--cin
Cynthia Barnes
CinBarnes@gmail.com

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Wow, just a few days and my inbox is overflowing.
Three day weekend meant I wasn't able to get online
very much, but finally got through the discussions on
various topics - all interesting and educational, or
at least entertaining. ;-)

Most of the comments and observances I had have
already been made by others, however...


SCA - from my limited esperience the SCA has evolved
over time. There seem to be a larger percentage of
folks interested in historical accuracy than 20 years
ago. It seems that the parameters have changed as well
- when I first encountered the SCA it was
predominantly Western European based. Now I hear that
any culture within the 600 to 1600 period that had
some type of contact with Western Europe is
acceptable, which explains the wide variety of garb.

An excerpt from an SCA article states, "...describe
the SCA as recreating the Middle Ages "as they ought
to have been." ....A better description is that we
selectively recreate medieval culture, choosing
elements of the culture that interest and attract us."
(from http://www.sca.org/sca-intro.html)

And as Lilinah said, many events are open to the
public. An attempt to dress 'period' by visitors and
newcomers is appreciated and basic loaner garb is
provided. I took my niece to an event a couple of
weekends ago, and we found a wonderful "T" tunic type
dress for her to borrow that was quite accurate. (Was
also pleased that the little tom-boy commented the
dress was really comfortable!)

Hippies - 40 years old is an ageing hippie?! Anyone 40
is a little too young to be classified as an original
unless their parents were. - let alone be classified
as an ageing anything! ;-D

Most folks strive to establish their own identity by
living outside the mainstream in one way or another.
Some are just more extreme than others - and as
another person commented, things no longer shock as
they once did since we have become accustomed to
diversity.

That being said, when I see some of the "retro"
fashions that have been popular the last few years I
usually find myself thinking...ug, that was horrible
when we wore it the first time around! (re: polyester;
bellbottom hip-huggers; acid green anything; extremely
bright, lid to eyebrow eyeshadow; disco music;
etc...JMO.)

Anyway - glad to be back and love finding all the
resources mentioned.

Annette M


	
		
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Subject: [h-cost] Kilcommon Bog Jacket/Ionar
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I found the page on the Kilcommon Bog Jacket at
Reconstructing History. From the other info I found, I
would hazard a guess that this is the same thing as an
Ionar/Inar.

I can't get my FI to give up his kilt - even though he
swears he is Irish and not Scottish. I did get him
away from the modern Scottish kilt jacket/outfit by
showing him pictures and telling him the history
behind the Kilcommon Jacket and he said to make him
one. It is a later period than the dresses will be,
but at least it won't be 'modern'.

It will have to be a slightly modified version with a
very conservative leine, as I did show him the
pictures of the one Kimiko made,
http://www.kimiko1.com/dressdiaries/irishbard/index.html
and he wasn't too fond of the full 'skirt'.

I think this is more what he had in mind.
http://www.alcaigpipebandsupplies.com/index.php?cmd=viewproduct&id=118

I also like this one, but in a solid color.
http://www.lydia.org/~zaphod/sca/ionar.html

Are there any other sources of information - most of
the sites I found use the same woodcuts that Kimiko
found for examples.

Is reconstructing history the only pattern available?

It looks somewhat simple - what skill level might be
necessary to create a pattern? (for someone with a
high level of aptitude for that sort of thing)

I did find conflicting information on a couple of
things as well..

..what sort of decoration was on the jackets - either
embroidered, or braid that was sewn on?

..did the sleeves have ties only at the wrist or along
the full length, or were they only worn loose.

..how was it held closed in front - by belt, ties, or
a brooch?

..did it overlap like a bathrobe or like a jacket when
closed?

I realize the answers are subject to interpretation of
research and there are virtually no extant examples,
but any information is appreciated.

Thanks,
Annette M



	
		
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Subject: Re: [h-cost] belted houppelandes
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Status: RO

>>I took a pic of the back of a statue in the Cluny Museum in Paris. 
>>Unfortunately, I couldn't move to the other side to actually SEE the 
>>buckle. The statue is from Stephani, called Female Donor, France 1463. The 
>>rest of the details are too fuzzy to read (no flash and no tripod, ugh!). 
>>Hope this helps somewhat!
>>
>>http://www.geocities.com/audreybmorin/Varia/images/P7060176.JPG
>>
> Good picture!  Is that trim sewn down to act as a belt loop, do you think, 
> or just hanging over?  (and is she carrying a baby, or playing a 
> bagpipe?!)
>
> Jean

Wait! I'd totally forgotten that I'd taken a picture of the *front* too, I 
was so excited to be able to see the back!

Here it is!  http://www.geocities.com/audreybmorin/Varia/images/P7060179.JPG

She's praying, not holding anything, except some kind of cloth under her 
right arm.

As for the trim being sewn in place, somehown I think it's not, but it might 
be. At this point, your guess is as good as mine, unless someone else can 
help here :-) 
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Subject: [h-cost] History of colours
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Hi,

Those who are interested in the history of "modern" colours might like a 
look at the following

The Right Chemistry: Colors in Fashion, 1704-1918
http://dept.kent.edu/museum/exhibit/colors/main.htm

Enjoy!
 
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Date: Thu, 08 Sep 2005 20:55:27 -0700
To: Historical Costume <h-costume@indra.com>
From: Kimiko Small <kimiko@kimiko1.com>
Subject: Re: [h-cost] Kilcommon Bog Jacket/Ionar
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Hi Annette,

At 06:21 PM 9/8/2005, you wrote:
 > I also like this one, but in a solid color.
 > http://www.lydia.org/~zaphod/sca/ionar.html
<<snip>>
>Is reconstructing history the only pattern available?

As far as I've seen, yes at present. I understand there may be patterns in 
the works from another maker (not sure when), but I have seen written 
instructions from various booklets that are around that appear more like 
the ionar you liked above. I may have a couple in my files somewhere as 
well, mostly from Irish groups who give basic instructions to their members.

>It looks somewhat simple - what skill level might be
>necessary to create a pattern? (for someone with a
>high level of aptitude for that sort of thing)

It is very simple if you can make a jacket. In fact, my earlier ionars were 
modified men's jackets (some use a vest pattern and add the sleeves), cut 
above the waist to deal with the bunch of fabric at the waist often worn 
when a leine is hiked around the midsection, or the great kilt back-pleats. 
Make sure to measure the man while he is wearing actually wearing the kilt 
or leine. The skirting, which hangs over the leine or kilt, is a length of 
material knife pleated into place. The sleeves are modified modern sleeves 
(made thinner by about half) that tie to the ionar body, and don't actually 
get sewn into a real sleeve, but are allowed to remain open for the leine 
sleeves. Some people use a slender rectangle instead of a sleeve pattern.

>..what sort of decoration was on the jackets - either
>embroidered, or braid that was sewn on?

That depends on how historically accurate you want to be. Many people like 
the "celtic knots" and hence embroider their garments with them, 
historically accurate or otherwise. Others simply add trim or cords or 
fringe that follow the known woodcuts. With so few images and surviving 
garments from history, it's hard to make a real general idea of what they 
did or did not do to adorn their garments.

There is one woodcut image I have that shows the back views of four 
"scottish" ionar from Holinshed's Chronicle of 1577. One has something 
rather elaborate on the back of the ionar, kinda vine-like in motif on the 
ionar, with striped sleeves; one is plain; one has vertical stripes several 
inches apart both on ionar and sleeves; one has diagonal stripes several 
inches apart on ionar and sleeves. Their leine's appear more like the ones 
seen in the first image found here:
http://www.reconstructinghistory.com/irish/leine.html
And she has the Holinshed image at the bottom of the same page. I can scan 
a larger version of the image if you want.

And to add even more of a mess to the mix, various knowledgeable Irish 
re-enactors may or may not adhere to the theory that among the Irish, one's 
rank is seen by the number of colors worn in one's garment, up to seven 
colors, iirc, for the clan chief. How that many colors is shown on the 
garment is unclear. Maybe it was the colors woven into a multi-colored 
garment, or maybe it was the embroidery or trimmings added, or who really 
knows. This is supposedly based on Brehan (sp?) laws that I think actually 
date to an earlier time frame, but I do not claim any knowledge of those 
laws or how applicable they are to any given time frame.

>..did the sleeves have ties only at the wrist or along
>the full length, or were they only worn loose.

That's hard to say, if basing it on the woodcuts, as they are not clearly 
shown. I've found that ties on the wrist, the elbow, and the ties that 
attach sleeve to jacket are the only ones really needed to keep the sleeve 
in position. Some remove the one at the elbow, if their leine sleeves are 
full and down to their wrists.

>..how was it held closed in front - by belt, ties, or
>a brooch?

Depends on the woodcuts you base it on. The one I made for the Irish Bard 
was only held at the waist level with a decorative clasp. Most others 
appear to only close at the waist, but how exactly is unclear. One possible 
means is hook & eye hidden underneath. The Kilcommon jacket is a button 
with bound buttonhole.

>..did it overlap like a bathrobe or like a jacket when
>closed?

If based on the woodcuts, it appears to meet in the middle at the waist, 
not overlapping. Otherwise, the ionar is usually V-necked and can't really 
meet anywhere else. That does not apply to the more jacket style extant 
garments (Kilcommon or Dungiven), which overlap like a jacket.

>I realize the answers are subject to interpretation of
>research and there are virtually no extant examples,
>but any information is appreciated.
>
>Thanks,
>Annette M

I understand that as well. Kass' info is as clear, concise, and accurate as 
any other info I may have, and more so in many ways since she's actually 
worked with the surviving garments. We do differ a bit on interpretations 
of woodcuts, but that's ok. I think she gave enough clear info on the 
kilcommon jacket that you can use that info to recreate one of your own, 
either as is, or as a start.

Kimiko

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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] belted houppelandes
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On Thu, 8 Sep 2005, Audrey Bergeron-Morin wrote:

> >>I took a pic of the back of a statue in the Cluny Museum in Paris. 

Wow. I took at least 10 36-exposure rolls of film at the Cluny, and I
don't remember this statue at all. (But it might be somewhere in the
slides I haven't categorized.)

> > Good picture!  Is that trim sewn down to act as a belt loop, do you think, 
> > or just hanging over?  (and is she carrying a baby, or playing a 
> > bagpipe?!)

The trim is almost certainly the collar point hanging over. You see that
in pictures too.

I believe she is carrying a book wrapped in a cloth cover (a book
"chemise").

--Robin

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Subject: [h-cost] re:effigy corst: reeds/bamboo for stiffening
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Thank you all SO much - it's been very enlightening
and highlighted the possible false economy of using
overly pointy/stiff/scratchy boning. I had also
forgotten the effigy corset was boned with baleen -
and I think in terms of general experimentation I
could go for zip ties with a relatively clear
conscience. 

I'd rather use a non-period type of boning that won't
injure me and is easily removed in future than waste
my time on the bamboo. Let's face it, who has time to
waste on sewing that gets ruined by cheapola
materials? (Been there done that).

Thanks again, it's been very helpful,
Katherine


	
	
		
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At 3:58 PM -0700 9/8/05, Kahlara wrote:
>SCA - from my limited esperience the SCA has evolved
...
>An excerpt from an SCA article states, "...describe
>the SCA as recreating the Middle Ages "as they ought
>to have been." ....A better description is that we
>selectively recreate medieval culture, choosing
>elements of the culture that interest and attract us."
>(from http://www.sca.org/sca-intro.html)

"Selective recreation" is a much better description. The SCA is a 
place where each individual decides for themself what (if anything) 
they will re-create -- and to what (if any) level of historical 
accuracy.

>And as Lilinah said, many events are open to the
>public. An attempt to dress 'period' by visitors and
>newcomers is appreciated and basic loaner garb is
>provided. I took my niece to an event a couple of
>weekends ago, and we found a wonderful "T" tunic type
>dress for her to borrow that was quite accurate. (Was
>also pleased that the little tom-boy commented the
>dress was really comfortable!)

Incredibly low participation requirements is not the same as being 
open to the public. If you get invited to come to a private party 
(whether in advance or as you wander by), once you accept that 
invitation you aren't a member of the general public anymore but a 
participant in the private party -- one of the people entertaining 
yourselves. SCA events are private parties where participants often 
invite random strangers to join the private party.

This is very, very different from other historical re-creation groups 
& events such as renaissance fairs and many revolutionary, civil war, 
and other battle re-enactment societies. Usually at their events, 
there is one group of people who are participants and another, 
different group of people (the public) who are the audience, and one 
of the basic, intentional purposes of the event is for the 
participants to entertain the audience. Being solicited to come watch 
other people entertain you (as in a theater) is very different from 
being invited to join a private party and entertain yourself (with 
other likeminded people).

(BTW, note that at a renaissance fair, although yes a significant 
number of the participants whose role is to entertain the audience 
are merchants trying to sell things, there is still a functional 
divide between participants [merchants and actors] vs. [paying] 
audience.)

Another way to think of it is like this: at an SCA event, everybody 
at the event is expected to follow the same rules (e.g., with regard 
to dress, behavior, etc.). At other kinds of historical re-creation 
events, it is expected and there are different rules for participants 
than for the public/audience (with regard to dress, behavior, etc.). 
At such public events, members of the public are allowed to do things 
that participants are not allowed to do (e.g., wear entirely modern 
clothing, talk about modern things in modern language in front of the 
audience, and/or the like) and participants are allowed to do things 
that members of the public are not allowed to do (e.g., go back 
stage, go on stage, participate in the battle re-enactment itself, be 
on site before and after closing, and/or the like).

Sharon, who has participated in renaissance fairs, battle 
re-enactment societies, and the SCA...
-- 
Sharon Krossa, skrossa-ml@MedievalScotland.org
Resources for Scottish history, names, clothing, language & more:
     Medieval Scotland - http://MedievalScotland.org/
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Status: RO

When I was first starting back in the middle 90's and asking similar 
questions, Margo Anderson was very active on this list.  It was her 
opinion that there were very good modern boning materials specifically 
made for the purpose and not to waste a whole lot of effort on "jerry 
rigging".  (This BTW was before the corded corset "craze.")  I have not 
used zip ties myself and I know a very successful "off the rack" period 
clothes producer who does use them because he can get them from a 
construction buddy for almost free.  The biggest complaint I have heard 
about the cable ties is that if the ends are not properly treated (i.e. 
rounded off, melted or otherwise), they may still poke through.  (I have 
seen this on many other's garments) As you know once this happens, it is 
hard to render a repair that looks very nice.  I have long used both the 
enameled white bones and the spiral steel ones (still my favorite).  Yes 
they may be heavier, but I have never had one poke through, and from a 
cost perspective, I would bet my paycheck that they are no more 
expensive than the cable ties purchased retail.  I have a short 
pictorial tutorial on how to use the steel boning (putting the tips on, 
etc.) here:  http://www.saragrace.net/3E_4_QEW_Corset.html in case 
anyone is interested. 

Best of  luck!  If you do a comparison on bulk boning vs cable ties, I'd 
be curious to hear the cost comparison!

Sg

>  
>
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Subject: Re: [h-cost] belted houppelandes
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Quoting Robin Netherton <robin@shell.nightowl.net>:

>
> On Thu, 8 Sep 2005, *somebody* wrote:
>
>> > Good picture!  Is that trim sewn down to act as a belt loop, do you think,
>> > or just hanging over?  (and is she carrying a baby, or playing a
>> > bagpipe?!)
>
> The trim is almost certainly the collar point hanging over. You see that
> in pictures too.
>

I realize that we have *no* evidance whatsoever, but a great many of
these gowns (when you can see the back that is) have this long collar
point hanging over the belt -- it is *possible* that it was used as
some sort of belt loop?

Susan
-----
Susan Farmer
sfarmer@goldsword.com
University of Tennessee
Department of Ecology and Evolutionary Biology
http://www.goldsword.com/sfarmer/Trillium/


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Dear list,

I apologize if this was already mentioned on the list but....I was at my
local Half Price Books store and I bought the Kyoto Costume Institute
books (2 volumes) that covers 18th to 20th century and it was only $24.98!

I live in Concord, CA and am not sure if they have many other stores or a
website but if anyone really wants it and doesn't have access, I am
willing to buy it and ship it to you for cost+tax+shipping.  Contact me
off-list and I will help you out.

Cheers,

Diana

www.RenaissanceFabrics.net
"Everything for the Costumer"

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From h-costume-bounces@indra.com  Fri Sep  9 12:12:11 2005
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Subject: [h-cost] Wool crepe on sale
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Someone was looking for a source for black wool crepe.  FabricMart 
has gold-colored worsted wool crepe on sale for $3.99 per yard.
http://fabricmartfabrics.com/controller/this_weeks_special.php
Since it is listed as 100% wool, it should be dyeable.

Joan Jurancich
joanmj@surewest.net 

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My local Borders has the 2 volume set and also a smaller, less
inclusive(just highlights)for those that don't want to spring for the
original one volume, or new 2 volume, as part of the Fashion Icons
series of books for about $16. The Icons book would make a nice gift to
introduce someone to great pics of original costumes. The Japanese have
a real reverence for fashion history.

Cindy Abel

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
On Behalf Of Diana Habra
Sent: Friday, September 09, 2005 10:08 AM
To: Historical Costume
Subject: [h-cost] Kyoto Costume Book 18th-20th Century

Dear list,

I apologize if this was already mentioned on the list but....I was at my
local Half Price Books store and I bought the Kyoto Costume Institute
books (2 volumes) that covers 18th to 20th century and it was only
$24.98!

I live in Concord, CA and am not sure if they have many other stores or
a website but if anyone really wants it and doesn't have access, I am
willing to buy it and ship it to you for cost+tax+shipping.  Contact me
off-list and I will help you out.

Cheers,

Diana

www.RenaissanceFabrics.net
"Everything for the Costumer"

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From: Cin <cinbarnes@gmail.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] re: effigy corset & whalebone
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On 9/8/05, Cynthia Virtue <cvirtue+dated+1141762589.df27d9@thibault.org> wrote:
> Someone on the H-Cost list a while back had some whalebone and described
> it as "like a fingernail" but it was black.  IIRC, "whalebone" for
> corsets is the baleen, which are fairly regular in size, and thin, due
> to the job they do for the whale.  I could easily understand if
> different sections of the baleen have different properties, though, and
> maybe the ladle handles could have been made out of a thicker section,
> or actual bones?

Hey CV,

Whalebone is not bone, it's baleen.  Baleen comes from several
different species of whale.  Different species, different colors.  The
blue whale has the dark grey-black baleen in huge amounts.  Excessive
amounts of info can be found in books and on sites devoted to maritime
collectibles. I found alot while searching up busks in whalebone,
narwhal horn and other materials.  There are some good French and
Canadian maritime collectors' sites if you happen to read the
language.
After comments from Wanda, Suzi & others my current hypothesis is that
the thickness of the baleen matters greatly.  Seems like we're all
describing the same blue whale baleen. Your point about different
areas of the baleen is I suppose is reasonable supposition. I've never
seen any "in whole cloth" so to speak.
Hey, Kayta, you volunteer up at SF Maritime Museum. Do y'all have any
displays on baleen up there?  Are you demoing at Festival of the Sea
tomorrow?

--cin

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Cin wrote:

> Whalebone is not bone, it's baleen.

Right.  But whales have actual *bones* too - were these ever used for 
things?

-- 
Cynthia Virtue and/or Cynthia du Pre Argent

   "Such virtue hath my pen...."  -Shakespeare, Sonnet 81
        "I knew this wasn't _my_ pen!"  --Cynthia Virtue
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Subject: [h-cost] changing silk red to orange
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Hi All

I am adding to my doll collection with a lady I shall called "Lucretia"
based on the painting by Lotto of the same title.  This is that orange
and green pieced gown.

I have been trying to use fabrics in my stash or salvedged from old
clothing since I'm keeping to silk, wool and linen for the costume
elements.  The problem I have is that orange is not a color I have in
my stash or closet.  I have the green, red and black in china silk,
pretty lightweight stuff that I could use, that with proper lining will
be okay. 

I'm just not sure what I need to do to bring my red to orange or rust
color without killing the silk.

or would I be better off switching to a new color scheme, like the red
and black?  I can do that, I was just hoping to stay as close to the
original painting as possible.

any suggestions welcomed

alex
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Kyoto Costume Book 18th-20th Century
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I've seen it a couple places online as well, Taschen seems to have 
remaindered or closed out several of last year's editions and it's being 
discounted while it lasts. And my wonderful husband just presented me 
with a birthday copy. [WEG]


Dawn



Abel, Cynthia wrote:

> My local Borders has the 2 volume set and also a smaller, less
> inclusive(just highlights)for those that don't want to spring for the
> original one volume, or new 2 volume, as part of the Fashion Icons
> series of books for about $16. The Icons book would make a nice gift to
> introduce someone to great pics of original costumes. The Japanese have
> a real reverence for fashion history.
> 
>> I apologize if this was already mentioned on the list but....I was at my
>> local Half Price Books store and I bought the Kyoto Costume Institute
>> books (2 volumes) that covers 18th to 20th century and it was only
>> $24.98!
> 

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I have a chunk of baleen that a friend brought back from Alaska. This is a 
small 'tooth'. It is blue-black in color, 1" thick at the base, decreasing in 
thickness out to the long 'hairs' that protrude from the end. I learned from an 
associate who works with baleen stays that the 'bones' are cut with a baleen knife 
(yes, there is such an implement - it's wicked sharp), and the cuts are made along 
both grains of the larger piece; i.e. my chunk would be first cut into pieces 1/4" 
wide and 1" thick (at the base), then sliced again to make 'bones' 1/4" wide and 
1/16" or 1/8" thick, then cut to the finished length. 

The thick portion of my chunk is very solid; the baleen becomes progressively more 
flexible as it thins. The handles on the silverware mentioned in a previous post 
were probably carved from the thicker section of a piece of baleen. 

Carolann Schmitt
cschmitt@genteelarts.com
www.genteelarts.com
Ladies & Gentlemen of the 1860s Conference, March 2 -5, 2006



>After comments from Wanda, Suzi & others my current hypothesis is that
>the thickness of the baleen matters greatly.  Seems like we're all
>describing the same blue whale baleen. Your point about different
>areas of the baleen is I suppose is reasonable supposition. I've never
>seen any "in whole cloth" so to speak.
>
>--cin


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Date: Fri, 9 Sep 2005 12:22:24 -0700 (PDT)
Subject: Re: [h-cost] changing silk red to orange
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> I'm just not sure what I need to do to bring my red to orange or rust
> color without killing the silk.
>
> or would I be better off switching to a new color scheme, like the red
> and black?  I can do that, I was just hoping to stay as close to the
> original painting as possible.

I don't know if you work with Rit dye much but overdyeing your silk with
yellow dye should give you an orange.  Now if your red silk is very dark
red, you will not get the nice medium orange/rust that the painting shows.
 But if it is a basic red, you may have some luck just by adding the
yellow.

You could also try a natural yellow dye, too.  It would be much more
involved but it might be fun to try!

Hope that helps,

Diana

www.RenaissanceFabrics.net
"Everything for the Costumer"

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Naaaah, don't switch your scheme!  Overdying is easy, but you may only 
get a dark red rust rather than that deep pumpkin in the original.  I 
frequently use the "Bronze" color  Procion dye  from Dharma to tone 
colors down a bit.  It really depends on how deep your red is, but PR-33 
(rust brown)  might just do the trick.  
http://www.dharmatrading.com/html/eng/3796-AA.shtml  They have silk dyes 
too, but they are more expensive.  Even though the color charts for the 
Procion are for Cotton, Rayon and Linen, they seem to be very close for 
silk as well.

Also, for such small pieces you might be able to find a silk in your 
stash that you could start out from scratch with?  I often go to the 
thrift stores to buy silk and linen shirts for small projects.  You can 
often find just what you are looking for 3-5 bucks! 

Also, your basic chemicals like salt (I use solar panel salt-cheaper by 
the pound than regular salt) and soda ash (check the pool section at 
Waldo Mart)  can be purchased locally.  Synthropol is really the only 
thing you might want to buy from them besides the dye itself. Casoline 
oil is optional.

Sg

Alex Doyle wrote:

>Hi All
>
>I am adding to my doll collection with a lady I shall called "Lucretia"
>based on the painting by Lotto of the same title.  This is that orange
>and green pieced gown.
>
>I have been trying to use fabrics in my stash or salvedged from old
>clothing since I'm keeping to silk, wool and linen for the costume
>elements.  The problem I have is that orange is not a color I have in
>my stash or closet.  I have the green, red and black in china silk,
>pretty lightweight stuff that I could use, that with proper lining will
>be okay. 
>
>I'm just not sure what I need to do to bring my red to orange or rust
>color without killing the silk.
>
>or would I be better off switching to a new color scheme, like the red
>and black?  I can do that, I was just hoping to stay as close to the
>original painting as possible.
>
>any suggestions welcomed
>
>alex
>_______________________________________________
>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] changing silk red to orange
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In a message dated 9/9/2005 3:23:19 P.M. Eastern Standard Time,  
dch@inreach.com writes:

I don't  know if you work with Rit dye much but overdyeing your silk with
yellow dye  should give you an orange.


Yes, yellow and red make orange. [I can't understand why the color wheel is  
so confusing to people] but I would go with a dye made for silk...and for cold 
 water. See what Dharma Trading Co. has.
 
_http://www.dharmatrading.com/_ (http://www.dharmatrading.com/) 
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From: Cin <cinbarnes@gmail.com>
To: h-cost <h-costume@indra.com>
Subject: Re: [h-cost] re: effigy corset & whalebone
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>Right.  But whales have actual *bones* too - were these 
>ever used for things?
Ah sorry missed your point.  Dunno.  I'd check the nautical collectors
& books for scrim, certainly.  As for clothing, no idea. Never looked.
--cin
Cynthia Barnes
CinBarnes@gmail.com

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Subject: Re: [h-cost] re:effigy corst: reeds/bamboo for stiffening
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>  The biggest complaint I have heard
> about the cable ties is that if the ends are not properly treated (i.e.
> rounded off, melted or otherwise), they may still poke through.  (I have
> seen this on many other's garments) As you know once this happens, it is
> hard to render a repair that looks very nice.

Honestly it happens with any boning that isn't properly treated;) Regular
German Boning (ends rounded off), rigiline (end melted or taped some way),
Steel that hasn't been rounded, usually before you get them of course;) )
spiral steel without the ends... etc etc.

I prefer cable ties to regular boning because it's cheaper and easier to
cut. I can actually cut them in the first place!

I have long used both the
> enameled white bones and the spiral steel ones (still my favorite).  Yes
> they may be heavier, but I have never had one poke through, and from a
> cost perspective, I would bet my paycheck that they are no more
> expensive than the cable ties purchased retail.

I dunno...

I did my Effigy corset (120 odd bones, some cut from the same piece) at
around $NZ 30. $NZ 1 at the moment is hovering around the 70USc mark.

The most expensive I pay is $NZ 7 for a pack of 25 (368mm by 2.3mm) and I
can get a pack of 50 450mm by 2.5mm for $NZ 15. And cheaper wholesale
through a friend.

I also have to import steel bones into this country which makes them
obscenely expensive.

I have health reasons for prefering the softer plastic which en masse
creates good support without oppressing the ribs.

I am making an 1890s corset and will use cable ties everywhere except the
centre front and back. The front will use steel and the back will be
something I haven't quite decided on yet;) I just know it needs to be
heavier for the lacing. I've had issues with real buckling there before.

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



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I'm not having a lot of luck ordering this from the museum.  Someone
mentioned that they had gotten it through one of the on-line booksellers.
I've tried Bibiofind and bookfinder and no luck so I've probably remembered
it wrong.

Evil Katherine brought a copy to the Project night on Thursday and I really
have to have this book!

Wanda Pease/Regina Romsey
Never attribute to malice what can as easily
be attributed to simple social ineptness

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Subject: [h-cost] vintage costume
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Does anyone know how to post to the vintage mailing list at indra.com? When I tried to post a reminder about this weekend's vintage show in Elgin, IL, I got an error message. Does the list still exist?

Thanks

Carol Mitchell



Carol Mitchell listowner Costumemidwest www.yahoogroups.com/group/costumemidwest
		
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Subject: Re: [h-cost] Moda a Firenze
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Fred Struthers/Books on Cloth carries a lot of museum catalogs, and can 
sometimes be persuaded to special order.  His email address is 
fsbks@mcn.org.

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

Wanda Pease wrote:

>I'm not having a lot of luck ordering this from the museum.  Someone
>mentioned that they had gotten it through one of the on-line booksellers.
>I've tried Bibiofind and bookfinder and no luck so I've probably remembered
>it wrong.
>
>  
>
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From: Elizabeth Lear <eliz@indra.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] vintage costume
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The list is still there.  Send me a copy of the error you're receiving.

						...eliz

-- 
Children are made up of genetics, blind luck, and the stories you tell them.
 - The Flying Ks

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Date: Fri, 9 Sep 2005 19:31:26 -0700
To: Historical Costume <h-costume@indra.com>
From: "Sharon L. Krossa" <skrossa-ml@medievalscotland.org>
Subject: Re: [h-cost] Kilcommon Bog Jacket/Ionar
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At 8:55 PM -0700 9/8/05, Kimiko Small wrote:
>And to add even more of a mess to the mix, various knowledgeable
>Irish re-enactors may or may not adhere to the theory that among the
>Irish, one's rank is seen by the number of colors worn in one's
>garment, up to seven colors, iirc, for the clan chief. How that many
>colors is shown on the garment is unclear. Maybe it was the colors
>woven into a multi-colored garment, or maybe it was the embroidery
>or trimmings added, or who really knows. This is supposedly based on
>Brehan (sp?) laws that I think actually date to an earlier time
>frame, but I do not claim any knowledge of those laws or how
>applicable they are to any given time frame.

The color thing is a medieval legend about events thousands of years 
earlier -- in other words, about as relevant to late medieval Irish 
clothing as Old Testament stories are to late medieval Irish clothing.

Specifically, the number of colors = ranks theory among modern 
historical re-creators has its origins in entries in the Irish Annals 
of the Four Masters which claimed that Eochaidh Eadghadhach in the 
"year of the world 3664" -- that is, about 1530 *B.C.* -- "ordered 
that the colours of clothes worn should denote the wearer's rank in 
society: 'one colour in the clothes of slaves, two in the clothes of 
soldiers, three in the clothes of goodly heroes or young lords of 
territories, six in the clothes of ollavs [professional men], seven 
in the clothes of kings and queens.'" [Dunlevy, _Dress in Ireland_ p. 
16] However, this is purely legendary, recorded millennia after the 
events supposedly happened, and even if taken as historically 
accurate is talking about a time period about three _millennia_ 
before the era depicted in the woodcuts discussed above.

Sharon
-- 
Sharon Krossa, skrossa-ml@MedievalScotland.org
Resources for Scottish history, names, clothing, language & more:
     Medieval Scotland - http://MedievalScotland.org/
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Date: Fri, 9 Sep 2005 20:40:25 -0700 (PDT)
Subject: Re: [h-cost] Moda a Firenze
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> I'm not having a lot of luck ordering this from the museum.  Someone
> mentioned that they had gotten it through one of the on-line booksellers.
> I've tried Bibiofind and bookfinder and no luck so I've probably
> remembered
> it wrong.
>
> Evil Katherine brought a copy to the Project night on Thursday and I
> really
> have to have this book!

Yes you do!  It is really fabulous...

I got mine through Abe Books.  Give them a try.

Diana

www.RenaissanceFabrics.net
"Everything for the Costumer"

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Date: Fri, 09 Sep 2005 21:13:12 -0700
To: Historical Costume <h-costume@indra.com>
From: Kimiko Small <kimiko@kimiko1.com>
Subject: Re: [h-cost] Kilcommon Bog Jacket/Ionar
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Thank you Sharon for clarifying that for me. I never did know when it was, 
or even that I had a copy of it in my own book (really gotta read the 
earlier sections again). Now I know better, and hence, can do better.

Kimiko



At 07:31 PM 9/9/2005, you wrote:
>The color thing is a medieval legend about events thousands of years 
>earlier -- in other words, about as relevant to late medieval Irish 
>clothing as Old Testament stories are to late medieval Irish clothing.
>
>Specifically, the number of colors = ranks theory among modern historical 
>re-creators has its origins in entries in the Irish Annals of the Four 
>Masters which claimed that Eochaidh Eadghadhach in the "year of the world 
>3664" -- that is, about 1530 *B.C.* -- "ordered that the colours of 
>clothes worn should denote the wearer's rank in society: 'one colour in 
>the clothes of slaves, two in the clothes of soldiers, three in the 
>clothes of goodly heroes or young lords of territories, six in the clothes 
>of ollavs [professional men], seven in the clothes of kings and queens.'" 
>[Dunlevy, _Dress in Ireland_ p. 16] However, this is purely legendary, 
>recorded millennia after the events supposedly happened, and even if taken 
>as historically accurate is talking about a time period about three 
>_millennia_ before the era depicted in the woodcuts discussed above.
>
>Sharon
>--
>Sharon Krossa, skrossa-ml@MedievalScotland.org
>Resources for Scottish history, names, clothing, language & more:
>     Medieval Scotland - http://MedievalScotland.org/


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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Moda a Firenze 
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On Fri, 9 Sep 2005, Wanda Pease wrote:

> I'm not having a lot of luck ordering this from the museum.  Someone
> mentioned that they had gotten it through one of the on-line booksellers.
> I've tried Bibiofind and bookfinder and no luck so I've probably remembered
> it wrong.

Try here:

http://www.artbooks.com

Search on "Moda a Firenze".

Pricey, though.

--Robin

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From: "Wanda Pease" <wandap@hevanet.com>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] re: effigy corset & whalebone
Date: Fri, 9 Sep 2005 21:38:39 -0700
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I have a small baleen "frond" guaranteed to have been harvested pre-ban.
You can also buy it legally from Alaskan natives or those with the right to
harvest whales for survival.

The butt end of this frond is about 3/4" thick and it is fairly rigid there.
The whole thing reminds me of the descriptions of rhino horn in that it is
hair all stuck together.  The Baleen is like that.  The fibers run
lengthwise and are stuck together by something like your fingernail.  It
will strip along the grain fairly easily.  The grain also gives it strength
along with flexibility.

Regina (nuke the gay baby whales) Romsey
>
>
> Whalebone is not bone, it's baleen.  Baleen comes from several
> different species of whale.  Different species, different colors.  The
> blue whale has the dark grey-black baleen in huge amounts.  Excessive
> amounts of info can be found in books and on sites devoted to maritime
> collectibles. I found alot while searching up busks in whalebone,
> narwhal horn and other materials.  There are some good French and
> Canadian maritime collectors' sites if you happen to read the
> language.

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Subject: Re: [h-cost] re: effigy corset & whalebone
Date: Sat, 10 Sep 2005 08:58:49 -0400
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Am I really off the wall to be remembering that most/ much of traditional
scrimshaw was done with whalebone?  Especially the larger pieces?  The
whaling museum in New Bedford, Ma. might be a good site to answer this
question.

Kathleen

----- Original Message ----- 
From: "Cin" <cinbarnes@gmail.com>
To: "h-cost" <h-costume@indra.com>
Sent: Friday, September 09, 2005 5:37 PM
Subject: Re: [h-cost] re: effigy corset & whalebone


> >Right.  But whales have actual *bones* too - were these
> >ever used for things?
> Ah sorry missed your point.  Dunno.  I'd check the nautical collectors
> & books for scrim, certainly.  As for clothing, no idea. Never looked.
> --cin
> Cynthia Barnes
> CinBarnes@gmail.com
>
> _______________________________________________
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	<006101c5b59f$2355cbe0$0301010a@michaela>
Subject: Re: [h-cost] re:effigy corst: reeds/bamboo for stiffening
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Do you use any "dip-it" also found in the hardware store to "pad" the ends?
I used this (latex?) product with some good effect in preparing hoop wire
before inserting it in the channels.

Kathleen

----- Original Message ----- 
From: "michaela" <thebruce@ihug.co.nz>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, September 09, 2005 8:32 PM
Subject: Re: [h-cost] re:effigy corst: reeds/bamboo for stiffening


> >  The biggest complaint I have heard
> > about the cable ties is that if the ends are not properly treated (i.e.
> > rounded off, melted or otherwise), they may still poke through.  (I have
> > seen this on many other's garments) As you know once this happens, it is
> > hard to render a repair that looks very nice.
>
> Honestly it happens with any boning that isn't properly treated;) Regular
> German Boning (ends rounded off), rigiline (end melted or taped some way),
> Steel that hasn't been rounded, usually before you get them of course;) )
> spiral steel without the ends... etc etc.
>
> I prefer cable ties to regular boning because it's cheaper and easier to
> cut. I can actually cut them in the first place!
>
> I have long used both the
> > enameled white bones and the spiral steel ones (still my favorite).  Yes
> > they may be heavier, but I have never had one poke through, and from a
> > cost perspective, I would bet my paycheck that they are no more
> > expensive than the cable ties purchased retail.
>
> I dunno...
>
> I did my Effigy corset (120 odd bones, some cut from the same piece) at
> around $NZ 30. $NZ 1 at the moment is hovering around the 70USc mark.
>
> The most expensive I pay is $NZ 7 for a pack of 25 (368mm by 2.3mm) and I
> can get a pack of 50 450mm by 2.5mm for $NZ 15. And cheaper wholesale
> through a friend.
>
> I also have to import steel bones into this country which makes them
> obscenely expensive.
>
> I have health reasons for prefering the softer plastic which en masse
> creates good support without oppressing the ribs.
>
> I am making an 1890s corset and will use cable ties everywhere except the
> centre front and back. The front will use steel and the back will be
> something I haven't quite decided on yet;) I just know it needs to be
> heavier for the lacing. I've had issues with real buckling there before.
>
> micheala de bruce
> http://costumes.glittersweet.com
>
>
>
> -- 
> No virus found in this outgoing message.
> Checked by AVG Anti-Virus.
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Subject: Re: [h-cost] re:effigy corst: reeds/bamboo for stiffening
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At 14:10 10/09/2005, you wrote:
>Do you use any "dip-it" also found in the hardware store to "pad" the ends?
>I used this (latex?) product with some good effect in preparing hoop wire
>before inserting it in the channels.

Michaela wrote

> > >  The biggest complaint I have heard
> > > about the cable ties is that if the ends are not properly treated (i.e.
> > > rounded off, melted or otherwise), they may still poke through.  (I have
> > > seen this on many other's garments) As you know once this happens, it is
> > > hard to render a repair that looks very nice.
> >
> > Honestly it happens with any boning that isn't properly treated;) Regular
> > German Boning (ends rounded off), rigiline (end melted or taped some way),
> > Steel that hasn't been rounded, usually before you get them of course;) )
> > spiral steel without the ends... etc etc.

Huge snip

Can anyone give a brand name for this? It would be a godsend to me, 
as I have 5 farthingales to make in the next month or so, and 
"Farthingales" connectors - wouldn't you know - don't fit the steel I 
buy here in England. (Please don't suggest I buy steel from 
Farthingales - the postage costs and customs duty would be prohibitive.)

Suzi




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From: Ann Catelli <elvestoorder@yahoo.com>
Subject: Re: [h-cost] re: effigy corset & whalebone
To: Historical Costume <h-costume@indra.com>
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Whale teeth, from toothed whales, obviously, such at
the very desirable sperm whale, and ivory, from walrus
& other sources (also teeth, of course).

Surely on other surfaces, too, but those are the
materials I remember.

A brief "googling" turns up ivory--whale teeth &
walrus tusks--as a modern & nineteenth century medium
to put scrimshaw on.  
Modern scrimshaw'rs (??) also use fossil mammoth
ivory, vegetable 'ivory, and hippo tusks.

Not baleen, not bone.


I just was looking at some scrimshaw at Old Mystic
Seaport in Mystic, CT two weeks ago, but no
guarantees.

Ann in CT

--- Lloyd Mitchell <rmitchell@washjeff.edu> wrote:

> Am I really off the wall to be remembering that
> most/ much of traditional
> scrimshaw was done with whalebone?  Especially the
> larger pieces?  The
> whaling museum in New Bedford, Ma. might be a good
> site to answer this
> question.
> 
> Kathleen


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To: "Historical Costume" <h-costume@indra.com>
References: <20050910132110.18677.qmail@web51313.mail.yahoo.com>
Subject: Re: [h-cost] re: effigy corset & whalebone
Date: Sat, 10 Sep 2005 10:42:33 -0400
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In the New Bedford museum, I am remembering in particular, a hinged yarn
winder that had some pieces that were at least a foot long.  Were there
teeth this long?

Kathleen
----- Original Message ----- 
From: "Ann Catelli" <elvestoorder@yahoo.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Saturday, September 10, 2005 9:21 AM
Subject: Re: [h-cost] re: effigy corset & whalebone


>
> Whale teeth, from toothed whales, obviously, such at
> the very desirable sperm whale, and ivory, from walrus
> & other sources (also teeth, of course).
>
> Surely on other surfaces, too, but those are the
> materials I remember.
>
> A brief "googling" turns up ivory--whale teeth &
> walrus tusks--as a modern & nineteenth century medium
> to put scrimshaw on.
> Modern scrimshaw'rs (??) also use fossil mammoth
> ivory, vegetable 'ivory, and hippo tusks.
>
> Not baleen, not bone.
>
>
> I just was looking at some scrimshaw at Old Mystic
> Seaport in Mystic, CT two weeks ago, but no
> guarantees.
>
> Ann in CT
>
> --- Lloyd Mitchell <rmitchell@washjeff.edu> wrote:
>
> > Am I really off the wall to be remembering that
> > most/ much of traditional
> > scrimshaw was done with whalebone?  Especially the
> > larger pieces?  The
> > whaling museum in New Bedford, Ma. might be a good
> > site to answer this
> > question.
> >
> > Kathleen
>
>
> __________________________________________________
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> Tired of spam?  Yahoo! Mail has the best spam protection around
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] re:effigy corst: reeds/bamboo for stiffening
References: <20050909064754.16149.qmail@web25706.mail.ukl.yahoo.com><4321879B.3090004@msn.com>	<006101c5b59f$2355cbe0$0301010a@michaela>
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I've tried it on enamel boning after cutting it...not that great, but 
better than the bare bone.  I've never thought to use it on hoop wire.  
I usually put a metal tip on the end, but they are a booger to keep on, 
even with metal glue.  I understand now there are joiners.  I've seen 
them, but not used them personally.  I will be giving them a whirl here 
in the next few weeks.

Sg

Lloyd Mitchell wrote:

>Do you use any "dip-it" also found in the hardware store to "pad" the ends?
>I used this (latex?) product with some good effect in preparing hoop wire
>before inserting it in the channels.
>
>Kathleen
>
>  
>
>  
>
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] re:effigy corst: reeds/bamboo for stiffening
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    *Here is one:  http://tinyurl.com/7oglw  (Dip & Grip)*

    Greenberg & Hammer also offers some in a 1/2 pint.  I'd look it up
    for you, but their online store is down right now.  Ask at a
    hardware store for "tool dip".


    Curious, what kind of steel boning do you get "over there?"

    Sg



>
> Huge snip
>
> Can anyone give a brand name for this? It would be a godsend to me, as 
> I have 5 farthingales to make in the next month or so, and 
> "Farthingales" connectors - wouldn't you know - don't fit the steel I 
> buy here in England. (Please don't suggest I buy steel from 
> Farthingales - the postage costs and customs duty would be prohibitive.)
>
> Suzi
>
>
>
>
> _______________________________________________
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Subject: [h-cost] 16th Century Use of Leather
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I recently bought a big chunk of leather in a sort of silvery taupe
shade. While the smooth side is nice, the color takes on a truly gorgeous
quality on the suede side. Was the suede/flesh side of leather used in
16th century England, or was the smoother hair side preferred?

We are talking about using it for clothing, of course. I was thinking of
a nice doublet for a new hunting gown.......


Karen
Seamstrix
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From: "Lloyd Mitchell" <rmitchell@washjeff.edu>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] re:effigy corst: reeds/bamboo for stiffening
Date: Sat, 10 Sep 2005 12:20:55 -0400
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Suzi, the product I use is "Plasti Dip".  They can be found at
www.plastidip.com. I found it at Home Depot, which by your location would
probably not be a source.  The product advertises itself for "auto,home and
garden,RV.and marine, and for other power sports."  (Note, not for
costumers) But then, I don't suppose  commercial strapping is supposed to
take a costumer's eye, either.  But I would bet that a good hardware store
or specialty shops for some of the above users would be a able to off this
product...or whatever its equivelent is in the U.K.

Kathleen

----- Original Message ----- 
From: "Suzi Clarke" <suzi@suziclarke.co.uk>
To: "Historical Costume" <h-costume@indra.com>
Sent: Saturday, September 10, 2005 9:13 AM
Subject: Re: [h-cost] re:effigy corst: reeds/bamboo for stiffening


> At 14:10 10/09/2005, you wrote:
> >Do you use any "dip-it" also found in the hardware store to "pad" the
ends?
> >I used this (latex?) product with some good effect in preparing hoop wire
> >before inserting it in the channels.
>
> Michaela wrote
>
> > > >  The biggest complaint I have heard
> > > > about the cable ties is that if the ends are not properly treated
(i.e.
> > > > rounded off, melted or otherwise), they may still poke through.  (I
have
> > > > seen this on many other's garments) As you know once this happens,
it is
> > > > hard to render a repair that looks very nice.
> > >
> > > Honestly it happens with any boning that isn't properly treated;)
Regular
> > > German Boning (ends rounded off), rigiline (end melted or taped some
way),
> > > Steel that hasn't been rounded, usually before you get them of
course;) )
> > > spiral steel without the ends... etc etc.
>
> Huge snip
>
> Can anyone give a brand name for this? It would be a godsend to me,
> as I have 5 farthingales to make in the next month or so, and
> "Farthingales" connectors - wouldn't you know - don't fit the steel I
> buy here in England. (Please don't suggest I buy steel from
> Farthingales - the postage costs and customs duty would be prohibitive.)
>
> Suzi
>
>
>
>
> _______________________________________________
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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] re:effigy corst: reeds/bamboo for stiffening
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At 16:11 10/09/2005, you wrote:
>    *Here is one:  http://tinyurl.com/7oglw  (Dip & Grip)*
>
>    Greenberg & Hammer also offers some in a 1/2 pint.  I'd look it up
>    for you, but their online store is down right now.  Ask at a
>    hardware store for "tool dip".
>
>
>    Curious, what kind of steel boning do you get "over there?"
>
>    Sg


It's exactly the same as Farthingales sell, but a different gauge. It 
is a fraction of an inch narrower, so the connectors don't hold. In a 
cage hoop, which is what I originally wanted them for, this is a 
major problem. It might not be so much of a problem for a 
farthingale, and I may well buy some and try with glue of some kind.

Thanks for the info re. "Dip and Grip". Now to see if I can find 
anything similar in England - we are sooo behind with stuff like that 
it is ridiculous!

suzi


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From: "Wanda Pease" <wandap@hevanet.com>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] re: effigy corset & whalebone
Date: Sat, 10 Sep 2005 10:39:54 -0700
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I lived in Alaska for far too short a time:  1970-1972 but I happened to
fall in with a "crash pad" style household that included ivory and native
arts traders, a State Senator (occasionally), real estate salesman (wanna
buy a genuine piece of Alaska?), etc.  At that time I picked up a walrus
tusk (2 foot long).  That was the smallest of the ones he had.  Others
measured up to 4 feet.  The butt end of the tusk was hollow where it fit
over the root or bone or whatever they are fixed to in the animal's mouth.

I also have some scrimshaw on both walrus ivory, mammoth ivory, baleen, and
walrus skull bone.  I gave a pass to the vegetable ivory he had imported
from Taiwan which is where most of the currently available "new" scrimshaw
is coming from.  If you do want to buy this art be very careful of your
source since it can be neither old, nor ivory.

Regina Romsey

> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
> Behalf Of Lloyd Mitchell
> Sent: Saturday, September 10, 2005 7:43 AM
> To: Historical Costume
> Subject: Re: [h-cost] re: effigy corset & whalebone
>
>
> In the New Bedford museum, I am remembering in particular, a hinged yarn
> winder that had some pieces that were at least a foot long.  Were there
> teeth this long?
>
> Kathleen
>

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Suzi Clarke wrote:

> It's exactly the same as Farthingales sell, but a different gauge. It 
> is a fraction of an inch narrower, so the connectors don't hold. In a 
> cage hoop, which is what I originally wanted them for, this is a major 
> problem. It might not be so much of a problem for a farthingale, and I 
> may well buy some and try with glue of some kind.
>
Are we talking hoop boning, or corset boning?  In the former case, the 
steel hoop boning over here doesn't hold the tips well either.  I have 
found that the spiral steel corset boning holds the tips well if you use 
a particular method of attaching them....don't know if you saw the link 
to my tutorial earlier.  I have had less success with using the tips on 
the flat white enameled corset boning, but have managed to make them 
stay on.

Sg
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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] re:effigy corst: reeds/bamboo for stiffening
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Status: RO

At 18:39 10/09/2005, you wrote:

>Suzi Clarke wrote:
>
>>It's exactly the same as Farthingales sell, but a different gauge. 
>>It is a fraction of an inch narrower, so the connectors don't hold. 
>>In a cage hoop, which is what I originally wanted them for, this is 
>>a major problem. It might not be so much of a problem for a 
>>farthingale, and I may well buy some and try with glue of some kind.
>Are we talking hoop boning, or corset boning?  In the former case, 
>the steel hoop boning over here doesn't hold the tips well 
>either.  I have found that the spiral steel corset boning holds the 
>tips well if you use a particular method of attaching them....don't 
>know if you saw the link to my tutorial earlier.  I have had less 
>success with using the tips on the flat white enameled corset 
>boning, but have managed to make them stay on.


I'm talking about the connectors for hoop steel for crinolines and 
farthingales/pocket hoops/panniers. Spiral steel tips are not a 
problem any more since I taught myself to use two pairs of pliers, 
one in each hand!! (Before your tutorial - I wish I'd seen that first 
- would have saved hours of cussin' ) As for the enamelled steel 
corset bones, well, they come ready tipped here, so have not been a problem.

The whalebones have straight ends cut across the grain,  and are like 
that in the corset. One of them poked through, which is how I found 
out it was whalebone, but as I said, it was made before the ban on 
whalebone, early in 1970's I guess. (So it was available then.) On of 
my strips was analysed for a research programme being done by a 
professor, but try as I might I cannot find the copy of the analysis. 
If I ever find it, I will post the information to the list, as I am 
sure some people would be interested.

Suzi


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From: "Lloyd Mitchell" <rmitchell@washjeff.edu>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] re: effigy corset & whalebone
Date: Sat, 10 Sep 2005 14:30:34 -0400
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Status: RO

Like the 'feather trade' relating to the sale or trade of these products on
the endangered species lists, I thought that only Native Americans or First
Nation peoples were the only ones who have a legal right to collect and use
them for cultural preservation. Was the State Senator involved in this
trading!!?

Kathleen

----- Original Message ----- 
From: "Wanda Pease" <wandap@hevanet.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Saturday, September 10, 2005 1:39 PM
Subject: RE: [h-cost] re: effigy corset & whalebone


> I lived in Alaska for far too short a time:  1970-1972 but I happened to
> fall in with a "crash pad" style household that included ivory and native
> arts traders, a State Senator (occasionally), real estate salesman (wanna
> buy a genuine piece of Alaska?), etc.  At that time I picked up a walrus
> tusk (2 foot long).  That was the smallest of the ones he had.  Others
> measured up to 4 feet.  The butt end of the tusk was hollow where it fit
> over the root or bone or whatever they are fixed to in the animal's mouth.
>
> I also have some scrimshaw on both walrus ivory, mammoth ivory, baleen,
and
> walrus skull bone.  I gave a pass to the vegetable ivory he had imported
> from Taiwan which is where most of the currently available "new" scrimshaw
> is coming from.  If you do want to buy this art be very careful of your
> source since it can be neither old, nor ivory.
>
> Regina Romsey
>
> > -----Original Message-----
> > From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
> > Behalf Of Lloyd Mitchell
> > Sent: Saturday, September 10, 2005 7:43 AM
> > To: Historical Costume
> > Subject: Re: [h-cost] re: effigy corset & whalebone
> >
> >
> > In the New Bedford museum, I am remembering in particular, a hinged yarn
> > winder that had some pieces that were at least a foot long.  Were there
> > teeth this long?
> >
> > Kathleen
> >
>
> _______________________________________________
> 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: 16th Century Use of Leather
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>From: Karen R Bergquist <penhalion@juno.com>
>I recently bought a big chunk of leather in a sort of silvery taupe
>shade. While the smooth side is nice, the color takes on a truly gorgeous
>quality on the suede side. Was the suede/flesh side of leather used in
>16th century England, or was the smoother hair side preferred?
>We are talking about using it for clothing, of course. I was thinking of
>a nice doublet for a new hunting gown.......

Since I'm not sure that the color you describe was even possible for leather 
in that period, I'm not sure it matters much :)

However, with the limited evidence available, I believe that the grain side 
was preferred at that point.  Even on garments that were buffed for oil 
curing, the grain side was generally used on the outside (BTW, the 
frizzed/buffed up grain is how real suede was made, not the split junk 
leather that is often sold as "suede" today, so the flesh side isn't really 
the suede side.  I know, no one actually teaches this stuff... )

Marc


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From: "Wanda Pease" <wandap@hevanet.com>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] re: effigy corset & whalebone
Date: Sat, 10 Sep 2005 12:37:57 -0700
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According to the site that I bought my Baleen from recently, it is the
harvesting of baleen that is watched carefully.  What I bought came with a
certificate that it was "antique", pre-ban stuff.

The walrus ivory was supposed to go only to native carvers, but the you
could own it.  I had a small picture carved on the base and it's legal for a
whitie to own.

The State Senator (1971 here folks - Alaska had just put in its 100,000th
phone) was not a part of the trade.  He had settled a genuine Alaskan
homestead in 1946 and was a fabulous tale teller.  EZ (Easy Man) Marchant
did a fine business providing art and raw materials to his stable of
artisans.

As is common, people think because there are no walrus off their coast, the
animal must be pushing towards extinction.  Wasn't true in Alaska at all and
probably still isn't.  The natives still hunt them and use every bit rather
than just hacking off a fin and dumping the carcass back into the water.

Regina
>
> Like the 'feather trade' relating to the sale or trade of these
> products on
> the endangered species lists, I thought that only Native
> Americans or First
> Nation peoples were the only ones who have a legal right to
> collect and use
> them for cultural preservation. Was the State Senator involved in this
> trading!!?
>

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Subject: [h-cost] Does anybody know what boning this is?
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Hi,
I'm curious if anybody can tell me what material some boning I have is made 
from
When I inherited my Nana's sewing box, there was an odd type of boning in 
it. At least I'm presuming it's boning. Its two lengths of whatever the 
material is, "stitched" together with white thread. The material is 
slightly variable in width but overall measures 8mm-9mm wide. The colour of 
the material varies from light to dark brown. The material looks to be 
continuous like a roll of plastic but every so oftena new section of the 
material has to be added to make it continuous (by overlapping ends and 
wrapping thread areound the ends to make a longer length then using that 
length to make up the boning proper). It's reasonably flexible still.
I have two pictures at http://www.livejournal.com/users/de_meyham/5312.html 
to help.
Thanks
Sharon

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Subject: Re: [h-cost] Does anybody know what boning this is?
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Very cool!  I don't have the answer, but perhaps to assist others:  How 
old was your Nana? (or what time period was she alive [and actively 
sewing  might be better])  Where was she from? 

Thanks for sharing,
Sg


>
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To: Historical Costume <h-costume@indra.com>
From: koid gath <koid.gath@gmail.com>
Subject: Re: [h-cost] Does anybody know what boning this is?
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Nana born in 1914 in England (I think) but moved to Australia and married 
an Australian, a lot of sewing stuff in the (cantilever) sewing chest is 
from late thirties to early fities is my guess. My father and his siblings 
were born around the late thirties and forties and she did a lot of clothes 
sewing for them. So, yeah I'm guessing around that time, however she was 
very thrifty and hoarded/collected things (best example is a bowling bag 
full of buttons from op/charity stores) so it could be a completely random 
piece of haberdashery that she's picked up somewhere.

Sharon

At 10:27 PM 12/09/2005, you wrote:
>Very cool!  I don't have the answer, but perhaps to assist others:  How 
>old was your Nana? (or what time period was she alive [and actively 
>sewing  might be better])  Where was she from?
>Thanks for sharing,
>Sg

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Subject: Re: [h-cost] Does anybody know what boning this is?
Date: Mon, 12 Sep 2005 09:06:59 -0400
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What you are describing sounds like old fashioned feather boning.  it was
made by stripping the 'fronds' off the feather, the spine of which was then
encased with some fabric like cheesecloth or other light weight utility
fabric.  It was something you could make at home if you had a feather source
from chickens or ducks.  It was used on garments and hats where some
stiffening or shaping was required.

Kathleen

----- Original Message ----- 
From: "koid gath" <koid.gath@gmail.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Monday, September 12, 2005 8:52 AM
Subject: Re: [h-cost] Does anybody know what boning this is?


> Nana born in 1914 in England (I think) but moved to Australia and married
> an Australian, a lot of sewing stuff in the (cantilever) sewing chest is
> from late thirties to early fities is my guess. My father and his siblings
> were born around the late thirties and forties and she did a lot of
clothes
> sewing for them. So, yeah I'm guessing around that time, however she was
> very thrifty and hoarded/collected things (best example is a bowling bag
> full of buttons from op/charity stores) so it could be a completely random
> piece of haberdashery that she's picked up somewhere.
>
> Sharon
>
> At 10:27 PM 12/09/2005, you wrote:
> >Very cool!  I don't have the answer, but perhaps to assist others:  How
> >old was your Nana? (or what time period was she alive [and actively
> >sewing  might be better])  Where was she from?
> >Thanks for sharing,
> >Sg
>
> _______________________________________________
> 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] Does anybody know what boning this is?
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Looks like old feather boning too.

Debs

In a message dated 9/12/05 7:05:34 PM GMT Daylight Time, 
h-costume-request@indra.com writes:> 
> What you are describing sounds like old fashioned feather boning.  

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I'm curious, when you're lacing clothing --corsets, bodices, gowns, 
vests, whatever -- do you tie at the top or at the bottom?



Dawn

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Subject: Re: [h-cost] lacing
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----- Original Message ----- 
From: "Dawn" <dawn@reddawn.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Tuesday, September 13, 2005 11:20 AM
Subject: [h-cost] lacing


> I'm curious, when you're lacing clothing --corsets, bodices, gowns,
> vests, whatever -- do you tie at the top or at the bottom?
> Dawn

I always tie off my back lacing garments at the waist, as I usually lace my
own garments I can tie it at the waist but I couldn't tie it between my
shoulder blades, it's just too awkward. Plus there's the problem of what to
do with the leftover cord, it's much easier to tuck it into the skirt than
the fitted bodice. Then again I do the exact opposite on my front lacing
kirtle because it stops boob droop (the kirtle is boned to act as a corset
so by tightening it from the waist I push my breasts up not down) and once
I'm laced in it's easier to see what I'm doing at bust level than at waist
level (as I can't bend easily).
Elizabeth
--------------------------------------------
Elizabeth Walpole
Canberra Australia
ewalpole[at]tpg.com.au
http://au.geocities.com/e_walpole/

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I tend to tie at the bottom, since it's easier for me to reach back and 
undo the knot/whatever at the end of the day.  I'm only doing this on 3 
old ItalianRen dresses, though, since that's all I've got in my 
historical wardrobe until I get around to finally making something new. 
<g> When I did Elizabethan, I believe I generally also tied on the 
bottom, especially with the corset, because then I could wrap the extra 
corset cords around my waist, etc., and they didn't make some honkin' 
huge lump near my neck.  Ditto the lacing on my Eleanor-style bodices 
(the kind with the two, slanting lines of side/back lacing), so that the 
ties weren't dangling out of my armpits or something (actually ended 
closer to the shoulder blade area of the armscye, but I like the visual).
I should add that I use a non-historically accurate (for MY time period) 
cross-lacing, and not the spiral lacing, which I really do intend to try 
at some point.  Really. ;o)
--sue

Dawn wrote:

> I'm curious, when you're lacing clothing --corsets, bodices, gowns, 
> vests, whatever -- do you tie at the top or at the bottom?
> 
> 
> 
> Dawn
> 
> _______________________________________________
> h-costume mailing list
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From: "michaela" <thebruce@ihug.co.nz>
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> I'm curious, when you're lacing clothing --corsets, bodices, gowns,
> vests, whatever -- do you tie at the top or at the bottom?

It depends, though I usually go from bottom to the top. It helps in lifting
everything. Also it means you have a convenient place to put the ends.

With side lacing I go top to bottom purely for logistics. The top of the
lacing is already narrow because you usall have a sleeve just above it. Also
it's easier to tie off and pull at the laces at the waist.

For corsets thought it's really from middle to top and bottom. Or rather
pulling from the waist with adjustments to the top and bottom.

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



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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Kilcommon Bog Jacket/Ionar
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Hi. All of the currently known illos from the time in question can be 
found in either Dunlevy's book or in McClintock. I noticed at Pennsic 
that one bookseller, Poison Pen, I think, had digitized and copied 
McClintock onto CD.

>I did find conflicting information on a couple of
>things as well..
>
>..what sort of decoration was on the jackets - either
>embroidered, or braid that was sewn on?
>  
>
Depends on whether it is early or late 16th Cent. Differing illos show a 
change in the jacket decoration. The Kilcommon jacket had none, but 
then, it was the type seen in the 1580s illos, not the 1520s or later 
ones. The Irish chieftains (Ashmolean Museum) and DeHeers illos show 
decoration

>..did the sleeves have ties only at the wrist or along
>the full length, or were they only worn loose.
>
>  
>
It looks like only loose or attached at the wrist (maybe not tied at 
all...) Depends once again on which illo or which artifact and what 
period. McClintock talks about buttons at the cuff in his description of 
the Kilcommon jacket.

>..how was it held closed in front - by belt, ties, or
>a brooch?
>
>  
>
Looking at the 1540s one, (Ashmolean) it seems to be attached by a 
single button, tie or hook and eye, although none of these is evident in 
either the 1540s or de Heere (1670s, but purported to have been taken 
from the reign of Henry VIII) illos, except what might be a loop of 
something on one of the de Heere men. One of the later (1580s) illos 
(Derricke's) looks like there was a belt on one guy... but all of the 
rest, save the horseboy, seem to meet at the middle with no discernable 
attachment.

>..did it overlap like a bathrobe or like a jacket when
>closed? 
>  
>
It appears to have closed butted on both the earlier and later examples, 
although one image (the horseboy from a Derricke's engraving) looks 
overlapped.

>I realize the answers are subject to interpretation of
>research and there are virtually no extant examples,
>but any information is appreciated.
> 
>  
>
  The Kilcommon jacket looks very much like the Images of Ireland 
jackets (Derricke's). It lloks to me as if the "standing ruff" skirt 
evolved from the less stiff earlier version seen in the Ashmolean illo 
and the de Heere one. The folded back collar evokes a similar neckline 
seen at the end of the 15th/beginning of the 16th cents.  H.F. 
McClintock  Old Irish and Highland Dress  Dundalgan Press 1950
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Subject: [h-cost] serging knits help please!
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Greetings,

I've just found out my cousin is pregnant and have been trying to 
make some baby clothes for her.  Unfortunately, most of the patterns 
ask for knit fabrics (which I've always avoided like the plague) so I 
tried serging the edges of each piece.  By doing that the edge of 
each piece was really stretched in the process, even washing and 
drying didn't get it completely back because of the way the stitches 
are.  Does anyone have any suggestions for how to serge the wretched 
fabric without it being completely pulled out of shape?  I'm kind of 
at my wits end over this and about ready to defenestrate the wretched 
machine...

Cheers,
Danielle

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Date: Tue, 13 Sep 2005 01:47:39 -0700
To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] re: effigy corset & whalebone
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>Whalebone is not bone, it's baleen.

It's very much like fingernails, and made of about the same stuff.

>Hey, Kayta, you volunteer up at SF Maritime Museum. Do y'all have any
>displays on baleen up there?  Are you demoing at Festival of the Sea
>tomorrow?

Yes I was, and nice to see you there.  They had some grey whale baleen on 
display - thick, short, and light grey-ish/yellowish.

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

              //// \\\
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Subject: Re: [h-cost] lacing
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I lace only my Victorian corsets that way, since they're the only ones that go below the waist (not counting tabs), and if they're not securely laced in the middle (I.e. can't move), the lacing will tend to even itself out throughout the back and you lose waist definition.  I've learned to lace my other period corsets top to bottom, since I seldom have someone to help me dress---you just can't get good servants anymore!
  ----- Original Message ----- 
  From: michaela<mailto:thebruce@ihug.co.nz> 
  To: Historical Costume<mailto:h-costume@indra.com> 
  Sent: Monday, September 12, 2005 10:01 PM
  Subject: Re: [h-cost] lacing



  For corsets thought it's really from middle to top and bottom. Or rather
  pulling from the waist with adjustments to the top and bottom.

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


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Subject: Re: [h-cost] serging knits help please!
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Yeah! Another person who uses 'defenestrate' in regular conversation!  

Though maybe this is more common in historical circles...

Glenda.
----- Original Message ----- 
> Greetings,
> 
<snip>
  I'm kind of 
> at my wits end over this and about ready to defenestrate the wretched 
> machine...
> 
> Cheers,
> Danielle
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In a message dated 9/12/2005 9:58:52 P.M. Eastern Standard Time,  
mooncat@in-tch.com writes:

I should  add that I use a non-historically accurate (for MY time period)  
cross-lacing, and not the spiral lacing, which I really do intend to try  
at some point.  Really. ;o)



If someone would just explain exactly how to do this....
 
 
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Subject: RE: [h-cost] serging knits help please!
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Don't pull the garment as it goes under the  presser foot/ over the feed
dogs. It should help if there is no pressure on the piece. Also-- play with
a scrap and adjust the tension to accomodate the fabric.

Good luck !
Dame Catriona MacDuff

PS--One of the scrolls on my wall has "defenestrate" in the text-- it was a
challenge to the scribe to use the word.)


-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of Danielle Nunn-Weinberg
Sent: Tuesday, September 13, 2005 12:33 AM
To: Historical Costume
Subject: [h-cost] serging knits help please!


Greetings,

I've just found out my cousin is pregnant and have been trying to
make some baby clothes for her.  Unfortunately, most of the patterns
ask for knit fabrics (which I've always avoided like the plague) so I
tried serging the edges of each piece.  By doing that the edge of
each piece was really stretched in the process, even washing and
drying didn't get it completely back because of the way the stitches
are.  Does anyone have any suggestions for how to serge the wretched
fabric without it being completely pulled out of shape?  I'm kind of
at my wits end over this and about ready to defenestrate the wretched
machine...

Cheers,
Danielle

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From: Catrijn vanden Westhende <catrijn@gmail.com>
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Subject: Re: [h-cost] lacing
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On 9/13/05, AlbertCat@aol.com <AlbertCat@aol.com> wrote:
> 
>> In a message dated 9/12/2005 9:58:52 P.M. Eastern Standard Time,
>> mooncat@in-tch.com writes:
>> 
>> I should  add that I use a non-historically accurate (for MY time period)
>> cross-lacing, and not the spiral lacing, which I really do intend to try
>> at some point.  Really. ;o)
> 
> If someone would just explain exactly how to do this....
> 

Like this?
http://homepage.mac.com/festive_attyre/research/lacing/lacing.html

For front-lacing fitted gowns, I go bottom to top, spiral lacing.  I
usually just use a cotton crochet thread that I've worked into a cord
with either fingerloop braiding or plying.  I make rolled tip from
aluminum.

For Victorian corsets, top and bottom to the middle.  I do alternating
cross-lacing (not sure if there's an official term, I just made that
up), slightly different from the way I lace shoes.  One 'cross' is
totally on the outside, the next is totally on the inside.  Its
actually like double spiral lacing.  This way the laces never pass
_between_ the two edges - I find that it pinches less and is easier to
get tight closure.

Catrijn

Catrijn

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> In a message dated 9/12/2005 9:58:52 P.M. Eastern Standard Time,
> mooncat@in-tch.com writes:
>
> I should  add that I use a non-historically accurate (for MY time period)
> cross-lacing, and not the spiral lacing, which I really do intend to try
> at some point.  Really. ;o)
>
>
>
> If someone would just explain exactly how to do this....


Sure!

Here's a very helpful website I found some time ago just on that subject:

http://homepage.mac.com/festive_attyre/research/lacing/lacing.html

Sheridan


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	<002d01c5b807$19eb4ca0$0301010a@michaela>
Subject: Re: [h-cost] lacing
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On this subject of lacing corsets,there seems to be a myth out there that
you could identify a 'loose woman' by the way her corset or stays were tied.
It would seem to me that tying up or down might have indicated class,
maternity or economic status and not just sexual proclivity.  Any thoughts
or documentations?

Kathleen




----- Original Message ----- 
From: "michaela" <thebruce@ihug.co.nz>
To: "Historical Costume" <h-costume@indra.com>
Sent: Monday, September 12, 2005 10:01 PM
Subject: Re: [h-cost] lacing


> > I'm curious, when you're lacing clothing --corsets, bodices, gowns,
> > vests, whatever -- do you tie at the top or at the bottom?
>
> It depends, though I usually go from bottom to the top. It helps in
lifting
> everything. Also it means you have a convenient place to put the ends.
>
> With side lacing I go top to bottom purely for logistics. The top of the
> lacing is already narrow because you usall have a sleeve just above it.
Also
> it's easier to tie off and pull at the laces at the waist.
>
> For corsets thought it's really from middle to top and bottom. Or rather
> pulling from the waist with adjustments to the top and bottom.
>
> michaela de bruce
> http://costumes.glittersweet.com
>
>
>
> -- 
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Subject: Re: [h-cost] serging knits help please!
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When my husband has computer problems (which is every other day) I ask him if he wants to defenestrate the computer.

This usually calms him down and allows me to fix what went wrong.

Katheryne

----- Original Message -----
From: Glenda Robinson <glendarob@exemail.com.au>
> Yeah! Another person who uses 'defenestrate' in regular 
> conversation!  
> 
> Though maybe this is more common in historical circles...
> Glenda.
> ----- Original Message ----- 
> > Greetings,
> > 
> <snip>
>  I'm kind of at my wits end over this and about ready to defenestrate the 
> wretched machine...
> > Cheers,
> > Danielle
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From: Charlotte Johnson <mathilde@mathildegirlgenius.com>
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Subject: [h-cost] Re: lacing
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> I'm curious, when you're lacing clothing --corsets, bodices, gowns, 
> vests, whatever -- do you tie at the top or at the bottom?

I think it depends on what period.

For the 14th and 15th centuries, the images of Mary suckling Jesus all have the
opening at the top. These are front laced, non-boned, examples, and presumably
it's easier to nurse when you start the lace at the bottom.

Cheers,
Charlotte
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Subject: RE: [h-cost] serging knits help please!
Date: Tue, 13 Sep 2005 08:39:17 -0500
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Danielle--

There is a simple adjustment you can make to fix this.

Your serger has differential feed (unless it's VERY old), which means
there are 2 sets of feed dogs under the presser foot, and they can be
adjusted to go at different speeds. Depending on the fabric you are
serging, you will need to adjust the differential feed knob one
direction or the other.

Look in your manual--there should be illustrations of wavy edges (like
you got) or gathered edges, and how to adjust the differential feed to
correct each situation.

What I do is use a scrap of my fabric to test before I sew the actual
seam. Then is the edge is ruffling or stretching, I adjust the feed.

If you don't have the manual, check out serger books at the library or
book store, or just experiment with your knob on scrap fabrics. You will
be amazed at what a difference that differential feed makes.There is an
article in Threads Apr/May '00 issue titled "Make Sense of Your Serger's
Differential Feed" that should help.

Taunton published a very good how-to book for sergers, Serging Fine
Fabrics. I've seen it discounted at Hamilton Books.

Kim--who resisted learning to serge for many years before discovering
what a wonderful tool the darn thing is!


-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
On Behalf Of Danielle Nunn-Weinberg
Sent: Monday, September 12, 2005 11:33 PM
To: Historical Costume
Subject: [h-cost] serging knits help please!


Greetings,

I've just found out my cousin is pregnant and have been trying to 
make some baby clothes for her.  Unfortunately, most of the patterns 
ask for knit fabrics (which I've always avoided like the plague) so I 
tried serging the edges of each piece.  By doing that the edge of 
each piece was really stretched in the process, even washing and 
drying didn't get it completely back because of the way the stitches 
are.  Does anyone have any suggestions for how to serge the wretched 
fabric without it being completely pulled out of shape?  I'm kind of 
at my wits end over this and about ready to defenestrate the wretched 
machine...

Cheers,
Danielle

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Subject: Re: [h-cost] Re: lacing
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In a message dated 9/13/2005 9:39:18 A.M. Eastern Standard Time,  
mathilde@mathildegirlgenius.com writes:

> I'm  curious, when you're lacing clothing --corsets, bodices, gowns, 
>  vests, whatever -- do you tie at the top or at the bottom?

I think it  depends on what period.

For the 14th and 15th centuries, the images of  Mary suckling Jesus all have 
the
opening at the top. These are front laced,  non-boned, examples, and 
presumably
it's easier to nurse when you start the  lace at the bottom.
 
This could get very interesting.
 
Of course in any period you might want to lace bottom up for a decorative  
bow at the top. 
 
Then again...how about a decorative bow at the bottom of the  point. [like in 
some 1850s gowns]
 
But I do find this "language of lacing" idea fascinating.
 
 
Also...when working on the miniseries "Queen"...which starts in the 1830s  
and goes to the 1880s...we were lacing corsets with a very long lace. We would  
start at the top, go to the waist and there leave a long length of cord in a  
loop that went to the next grommet without crossing over to the other side, 
then  continued down to the bottom where the ends of cord were tied off. The  
lacing was then tightened down from the top to the waist, then tightened up  
from the bottom to the waist, then the loop [at the waist that doesn't  cross] 
was tied off to keep things tight.
 
Did that make any sense? It's a lot harder to describe that it actually is  
to do.




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Subject: Re: [h-cost] Kilcommon Bog Jacket/Ionar
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> I noticed at Pennsic 
> that one bookseller, Poison Pen, I think, had digitized and copied 
> McClintock onto CD.

See http://www.scotpress.com/catalog/product_info.php?products_id=93

also available at

http://giftshop.scottishtartans.org/books.htm

Glenn McDavid
gmcdavid@winternet.com
gmcdavid@comcast.net
http://www.winternet.com/~gmcdavid




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Danielle writes some great suggestions here.......my question is why you 
are serging the edges?  Perhaps I have misunderstood.  Unless you mean 
you are just pieces together....there shouldn't be any need to "finish" 
the fabric edges....

kim baird wrote:

>Danielle--
>
>There is a simple adjustment you can make to fix this.
>
>
>Cheers,
>Danielle
>
>
>
>
>  
>
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The spiral lacing or the cross lacing? The cross-lacing's just what I do 
on my tennie shoes. ;o)
I found info about spiral lacing on the internet, on the following 
website, although the internal links to the spiral lacing section don't 
seem to be working:
http://homepage.mac.com/festive_attyre/index.html
Awesome website.
--Sue


AlbertCat@aol.com wrote:
>  

> 
> If someone would just explain exactly how to do this....

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From: Irmgart <irmgart@gmail.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Re: lacing
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A really interesting page on lacing... it's really about *shoes* but has 
some nifty decorative lacing techniques:

http://www.fieggen.com/shoelace/lacingmethods.htm

almost none of these techniques are appropriate to historical costuming, 
though :(

-Irmgart

On 9/13/05, Charlotte Johnson <mathilde@mathildegirlgenius.com> wrote:
> 
> > I'm curious, when you're lacing clothing --corsets, bodices, gowns,
> > vests, whatever -- do you tie at the top or at the bottom?
> 
> I think it depends on what period.
> 
> For the 14th and 15th centuries, the images of Mary suckling Jesus all 
> have the
> opening at the top. These are front laced, non-boned, examples, and 
> presumably
> it's easier to nurse when you start the lace at the bottom.
> 
> Cheers,
> Charlotte
> _______________________________________________
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> h-costume@mail.indra.com
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Date: Tue, 13 Sep 2005 09:30:58 -0500
Subject: Re: [h-cost] Re: lacing
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That's how I lace my Victorian corset and that's how I was instructed to
do it by Laughing Moon. It's very effective and keeps the waist
compression where you want it. My laces are long enough that I can tie
them around the front to make things easy on myself.

Karen
Seamstrix


On Tue, 13 Sep 2005 09:50:35 EDT AlbertCat@aol.com writes:
> In a message dated 9/13/2005 9:39:18 A.M. Eastern Standard Time,  
> mathilde@mathildegirlgenius.com writes:
> 
> > I'm  curious, when you're lacing clothing --corsets, bodices, 
> gowns, 
> >  vests, whatever -- do you tie at the top or at the bottom?
> 
> I think it  depends on what period.
> 
> For the 14th and 15th centuries, the images of  Mary suckling Jesus 
> all have 
> the
> opening at the top. These are front laced,  non-boned, examples, and 
> 
> presumably
> it's easier to nurse when you start the  lace at the bottom.
>  
> This could get very interesting.
>  
> Of course in any period you might want to lace bottom up for a 
> decorative  
> bow at the top. 
>  
> Then again...how about a decorative bow at the bottom of the  point. 
> [like in 
> some 1850s gowns]
>  
> But I do find this "language of lacing" idea fascinating.
>  
>  
> Also...when working on the miniseries "Queen"...which starts in the 
> 1830s  
> and goes to the 1880s...we were lacing corsets with a very long 
> lace. We would  
> start at the top, go to the waist and there leave a long length of 
> cord in a  
> loop that went to the next grommet without crossing over to the 
> other side, 
> then  continued down to the bottom where the ends of cord were tied 
> off. The  
> lacing was then tightened down from the top to the waist, then 
> tightened up  
> from the bottom to the waist, then the loop [at the waist that 
> doesn't  cross] 
> was tied off to keep things tight.
>  
> Did that make any sense? It's a lot harder to describe that it 
> actually is  
> to do.
> 
> 
> 
> 
> _______________________________________________
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> h-costume@mail.indra.com
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> 
> 
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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] Re: lacing
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At 14:50 13/09/2005, you wrote:
>In a message dated 9/13/2005 9:39:18 A.M. Eastern Standard Time,
>mathilde@mathildegirlgenius.com writes:
>
> > I'm  curious, when you're lacing clothing --corsets, bodices, gowns,
> >  vests, whatever -- do you tie at the top or at the bottom?

When I used to work in the theatre it was considered bad luck to 
fasten any upper body garment from the top to the bottom. You always 
had to fasten it from bottom to top, so that the 
"actor/dancer/singer" could go from the bottom to the top too!!

Suzi 


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In a message dated 9/13/2005 10:53:29 A.M. Eastern Standard Time,  
suzi@suziclarke.co.uk writes:

When I  used to work in the theatre it was considered bad luck to 
fasten any upper  body garment from the top to the bottom. You always 
had to fasten it from  bottom to top, so that the 
"actor/dancer/singer" could go from the bottom  to the top too!!




When I worked for the local Shakespeare festival, we had an excellent  
British actress in the company who was serious about a number of silly , yet  
traditional theatre superstitions. I used to torment her, putting shoes on the  
counter instead of the floor, say "Macbeth" out loud in the theatre, wearing  
green and.... of course... lacing things top to bottom.
 
I know...I be bad!
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From: Ann Catelli <elvestoorder@yahoo.com>
Subject: Re: [h-cost] Re: lacing
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14th & 15th century illuminations of
1. V. Mary when pregnant and 
2. several pictures of adulterous women all show
looseness in the lacing and the end of the lace
hanging down.  

And I believe the night scene in Rene d'Anjou's  Book
of Love, where the allegorical women got soaked &
stripped down a layer, their underlayer was loosely
laced over the lower abdomen.

So it's not 100% even in the 14th & 15th c.

Ann in CT


--- Charlotte Johnson
<mathilde@mathildegirlgenius.com> wrote:

> > I'm curious, when you're lacing clothing
> --corsets, bodices, gowns, 
> > vests, whatever -- do you tie at the top or at the
> bottom?
> 
> I think it depends on what period.
> 
> For the 14th and 15th centuries, the images of Mary
> suckling Jesus all have the
> opening at the top. These are front laced,
> non-boned, examples, and presumably
> it's easier to nurse when you start the lace at the
> bottom.
> 
> Cheers,
> Charlotte
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 



		
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AlbertCat@aol.com wrote:

> When I worked for the local Shakespeare festival, we had an excellent  
> British actress in the company who was serious about a number of silly , yet  
> traditional theatre superstitions. I used to torment her, putting shoes on the  
> counter instead of the floor,

Hadn't heard that one before!

I ran into a superstition about hems flipping up at the edges somewhere 
in a book.  Have you ever heard of that one?  The character in the book 
had to spit on it before smoothing it down, if I recall correctly -- but 
it was more than 10 years ago that I read it.

-- 
Cynthia Virtue and/or Cynthia du Pre Argent

   "Such virtue hath my pen...."  -Shakespeare, Sonnet 81
        "I knew this wasn't _my_ pen!"  --Cynthia Virtue
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Subject: [h-cost] At Long Last- the QE2!
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Some of you may remember that I have been asked to play Queen Elizabeth
at the Stronghold Olde English Faire for the last few years. For last
year, I decided to make myself a new purple dress as Americans get
confused if the queen isn't wearing purple. Anyway, I started a dress
diary on it last September but didn't get beyond posting about the
under-sleeves before life and other stuff interrupted.

That has now been remedied! The complete QE2 Dress Diary is now up on my
web site. I've included a fairly detailed explanation on cartridge
pleating so there's some education to be had as well. 

And if you are going to be in the wilds of north central Illinois near
Oregon, Illinois the first weekend of October (Oct 1 & 2), please drop by
and say 'hi!', I'll be playing Great Bess yet again!


http://seamstrix.com/The%20QE%202.htm



Karen 
Seamstrix
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Karen R Bergquist wrote:


> 
> That has now been remedied! The complete QE2 Dress Diary is now up on my
> web site. I've included a fairly detailed explanation on cartridge
> pleating so there's some education to be had as well. 
> 
> http://seamstrix.com/The%20QE%202.htm


It looks great! I love the striped sleeves and the not-another-forepart 
look of the skirt. And I see it has the Cathair Stamp of Approval. :)



Dawn


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To: Historical Costume <h-costume@indra.com>
From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] serging knits help please!
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Does that mean "remove Microsquish operating system and replace with 
*grown-up* software" - as my husband would have it, every time he has a 
problem with basic wordprocessing or spreadsheet tasks?

Jean


purplkat@optonline.net wrote
>When my husband has computer problems (which is every other day) I ask 
>him if he wants to defenestrate the computer.
>
>This usually calms him down and allows me to fix what went wrong.
>
>Katheryne
>
>----- Original Message -----
>From: Glenda Robinson <glendarob@exemail.com.au>
>> Yeah! Another person who uses 'defenestrate' in regular
>> conversation!
>>
>> Though maybe this is more common in historical circles...
>> Glenda.
>> ----- Original Message -----
>> > Greetings,
>> >
>> <snip>
>>  I'm kind of at my wits end over this and about ready to defenestrate the
>> wretched machine...
>> > Cheers,
>> > Danielle
>_______________________________________________
>h-costume mailing list
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-- 
Jean Waddie
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Yes, very nicely done and love the Cathair stamp of approval comment!


>
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From: Pam Dotson <dotsontwo@yahoo.com>
Subject: Re: [h-cost] lacing
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Thank you!  I never understood this, until now!

Pam Dotson
Everett, WA  USA

> 
> If someone would just explain exactly how to do this....
> 

Like this?
http://homepage.mac.com/festive_attyre/research/lacing/lacing.html



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Subject: [h-cost] trousers vs. hose
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I would like your expert opinions on what the "official" difference is between trousers and leggings or hose.  Is it just that trousers aren't as fitted in the legs? Or are trousers one piece while leggings are two? 
 
Tea Rose
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At 03:37 PM 9/13/2005, you wrote:
>I would like your expert opinions on what the "official" difference 
>is between trousers and leggings or hose.  Is it just that trousers 
>aren't as fitted in the legs? Or are trousers one piece while 
>leggings are two?
>
>Tea Rose

Leggings (or hose) are just that, individually fastened coverings for 
the legs.  Trousers are one garment that covers both legs and the 
fork and up, historically, to the waist. How fitted the leg coverings 
are is a matter of fashion.


Joan Jurancich
joanmj@surewest.net 

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Subject: Re: [h-cost] Re: lacing and clothing superstitions
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AlbertCat@aol.com wrote:

> When I worked for the local Shakespeare festival, we had an excellent  
> British actress in the company who was serious about a number of silly , yet  
> traditional theatre superstitions. I used to torment her, putting shoes on the  
> counter instead of the floor...

A couple more:

(1) It's unlucky to baste anything with green thread. (Green is supposed to be a generally unlucky color anyway.) IIRC (and it was a LONG time ago) I think my grandmother actually told me this one.

(2) It's unlucky for anyone to sew or mend clothing while someone is actually wearing it. But the person wearing the clothing can avert evil consequences by holding a piece of thread between their teeth while the sewing is going on. (Can't remember where I saw this, but it was relatively recent.)


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|  <claning@igc.org>
+  Davis, California
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Subject: [h-cost] Dye question and unrelated dish recommendation
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I've been buying crochet items from china-usa on ebay, and I love their 
quality and service.  However, their main colors are white, "natural" 
off-white, and sometimes ecru.  And black, but I look awful in black.  
And there's only so much white, off-white, and natural I want in my 
wardrobe.

My husband (who refuses to wear the stuff but is definitely Getting in 
Touch with His Inner Chemist) and I have been at the Great T-Shirt 
Dyeing Project for several months (and, at one batch per week, have 
several more months to go).  We've gotten fairly good at telling how the 
dyes will look beforehand and getting most of the colors we want.  So, I 
thought about dyeing one or more of china-USA's skirts, specifically the 
style shown here:

http://cgi.ebay.com/VINTAGE-HAND-CROCHET-COTTON-SKIRT-WHITE-L_W0QQitemZ8334252631QQcategoryZ48894QQrdZ1QQcmdZViewItem

The item title is


  VINTAGE HAND CROCHET COTTON SKIRT WHITE L

I have one in my size in "natural" and it's gorgeous; but again, I want 
some colored skirts.

Does anyone here know if items made from modern crochet thread dye 
well?  (I think even their vintage items are old store stock from the 
1970s or later.)  Or does it have a coating or other chemical treatment 
that inhibits dye?  Would it be better to start with china-usa's white 
or their natural skirt, or does it matter?  And if the skirts will dye, 
will the crochet stand up to washer dyeing (about an hour of agitation 
for dark colors, plus washing afterward to get rid of excess dye)?  I 
bet not, but thought I'd ask. 

BTW, anyone who wants to buy a set of more or less Arts & Crafts styled 
dishes, check out the Mission Flower pattern at www.pfaltzgraff.com.  
No, it's not a museum-documented pattern or anything, but it works well 
with the decor and it's a lot less expensive.  They're having their big 
annual sale, and my husband and I just got an 8-person set for about 
$140.  If you don't like the modern mismatched look, they have a large 
selection of open stock pieces, and you can get a more matched set by 
buying those.  Their print catalog, BTW, is easier to navigate than 
their website.

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



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While working on Georgian period houses (here in Australia), renovators and 
restorers have found shoes and boots tucked up into chimneys.

The explanation is that witches could detect shapes of people in houses, 
particularly children (maybe witches have starship sensors on their brooms!), 
and would come for them. Footwear is the only item of clothing that retains the 
shape of a body part when not being worn so placing one above the fireplace 
would draw the witch to a place where they would be uncomfortable and, perhaps, 
even trapped,

-C.



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  www.ckrumlov.cz/uk/seznamy/t_obrzam.htm

Stumbled across this site while looking for something else. Appears to 
be a Czechoslovakian castle site with the most amazing collections of 
photos. Photos of the castle in excruciating detail, photos of the 17th 
century theatre and some extant costumes, photos of paintings from the 
castle gallery, photos of re-enactment events on the grounds, photos of 
state dinners in modern fancy dress, photos of I-don't -know-what...

And if you follow the links you can take virtual tours of the place.


Dawn



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To: Historical Costume <h-costume@indra.com>
From: Joan Jurancich <joanmj@surewest.net>
Subject: Re: [h-cost] Dye question and unrelated dish recommendation
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Very pretty skirt.  The "natural color" (a light tan/ecru) in cotton 
is dyed; most cotton is naturally white.  Have you considered just 
wearing the skirt over a colored petticoat?

I would not be too worried about the durability of the crochet 
work.  I'd put it in a lingerie bag to prevent excessive stretching 
during agitation, but don't think any other special treatment is 
needed except to dry it flat.

Joan Jurancich
crocheter & knitter, etc.

At 01:59 PM 9/13/2005, you wrote:
>I've been buying crochet items from china-usa on ebay, and I love 
>their quality and service.  However, their main colors are white, 
>"natural" off-white, and sometimes ecru.  And black, but I look 
>awful in black.
>And there's only so much white, off-white, and natural I want in my wardrobe.
>
>My husband (who refuses to wear the stuff but is definitely Getting 
>in Touch with His Inner Chemist) and I have been at the Great 
>T-Shirt Dyeing Project for several months (and, at one batch per 
>week, have several more months to go).  We've gotten fairly good at 
>telling how the dyes will look beforehand and getting most of the 
>colors we want.  So, I thought about dyeing one or more of 
>china-USA's skirts, specifically the style shown here:
>
>http://cgi.ebay.com/VINTAGE-HAND-CROCHET-COTTON-SKIRT-WHITE-L_W0QQitemZ8334252631QQcategoryZ48894QQrdZ1QQcmdZViewItem
>
>The item title is VINTAGE HAND CROCHET COTTON SKIRT WHITE L
>
>I have one in my size in "natural" and it's gorgeous; but again, I 
>want some colored skirts.
>
>Does anyone here know if items made from modern crochet thread dye 
>well?  (I think even their vintage items are old store stock from 
>the 1970s or later.)  Or does it have a coating or other chemical 
>treatment that inhibits dye?  Would it be better to start with 
>china-usa's white or their natural skirt, or does it matter?  And if 
>the skirts will dye, will the crochet stand up to washer dyeing 
>(about an hour of agitation for dark colors, plus washing afterward 
>to get rid of excess dye)?  I bet not, but thought I'd ask.
>[snip]
>Fran
>Lavolta Press
>http://www.lavoltapress.com

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True, and the white is probably bleached.  I think cotton is not 
naturally bright white.  Yes, I've considered wearing the skirt over a 
colored petticoat, I just have a hankering for a colored one too.

Thanks,

Fran

Joan Jurancich wrote:

> Very pretty skirt.  The "natural color" (a light tan/ecru) in cotton 
> is dyed; most cotton is naturally white.  Have you considered just 
> wearing the skirt over a colored petticoat?
>
>
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Date: Tue, 13 Sep 2005 20:03:06 -0700 (PDT)
From: Gytha Stonegrinder <gythaofnorthumbria@yahoo.com>
Subject: Re: [h-cost] Re: lacing and clothing superstitions
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I wonder if the green thread is related to the old use of green as the color of mourning (long before black)... because green grass grows on the grave.  Gytha

Chris Laning <claning@igc.org> wrote:AlbertCat@aol.com wrote:

> When I worked for the local Shakespeare festival, we had an excellent 
> British actress in the company who was serious about a number of silly , yet 
> traditional theatre superstitions. I used to torment her, putting shoes on the 
> counter instead of the floor...

A couple more:

(1) It's unlucky to baste anything with green thread. (Green is supposed to be a generally unlucky color anyway.) IIRC (and it was a LONG time ago) I think my grandmother actually told me this one.

(2) It's unlucky for anyone to sew or mend clothing while someone is actually wearing it. But the person wearing the clothing can avert evil consequences by holding a piece of thread between their teeth while the sewing is going on. (Can't remember where I saw this, but it was relatively recent.)


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Date: Tue, 13 Sep 2005 23:03:44 -0400
From: "RON CARNEGIE" <r.carnegie@verizon.net>
Subject: Re: [h-cost] trousers vs. hose
To: "Historical Costume" <h-costume@indra.com>
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     Actually in the 16th century, the term hose is often used to mean 
forked truncated garments that we would today call trousers.  There are a 
hole body of them referred to as "trunk hose". I am not aware of the word 
trousers being used at all in that period.  In the period I work in (18th 
century) you do sometimes see the term hose applied to what we may call 
trousers, though the only example I can think of (in english) is sailors 
trousers.  In german of course they still use it into at least the early 
19th century.  Lederhosen meanind quite simply "leather breeches". (At 
leasxt as I uinderstand it, not being a german speaker).    Like many things 
on this list, some specification is needed.  Do you mean how are the words 
used today, in which I would agree with Joan, though I try to use period 
terms when I can, and if not, when is the period in question?

Ron Carnegie


----- Original Message ----- 
From: "Joan Jurancich" <joanmj@surewest.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Tuesday, September 13, 2005 8:04 PM
Subject: Re: [h-cost] trousers vs. hose


> At 03:37 PM 9/13/2005, you wrote:
>>I would like your expert opinions on what the "official" difference is 
>>between trousers and leggings or hose.  Is it just that trousers aren't as 
>>fitted in the legs? Or are trousers one piece while leggings are two?
>>
>>Tea Rose
>
> Leggings (or hose) are just that, individually fastened coverings for the 
> legs.  Trousers are one garment that covers both legs and the fork and up, 
> historically, to the waist. How fitted the leg coverings are is a matter 
> of fashion.
>
>
> Joan Jurancich
> joanmj@surewest.net
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume 

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-----Original Message-----
mooncat@in-tch.com writes:

I should  add that I use a non-historically accurate (for MY time period)  
cross-lacing, and not the spiral lacing, which I really do intend to try  
at some point.  Really. ;o)
*****
Umm, I don't know your time period but
late 1400s Florentine

http://homepage.mac.com/festive_attyre/research/earlyflor/3flor3.html

http://homepage.mac.com/festive_attyre/research/earlyflor/3flor5.html

http://homepage.mac.com/festive_attyre/research/earlyflor/3flor20.html
De

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Subject: Re: [h-cost] trousers vs. hose
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At least in Britain, "leggings" has been used in recent years to describe the close-fitting one-piece nether garment fashionable for casual wear. When I was a little girl in the 1950s, when it was still uncommon for females to wear trousers, I wore "leggings" with my winter coats, but they were separate items, like long gaiters.
"Trousers" in the late 18th-early 19th century were a loose-fitting full-length garment, originally worn by working men (the "sans-culottes" of the French Revolution were called "without breeches" because they wore trousers instead). Fashionable men gradually abandoned knee-breeches for pantaloons (full-length but fitted) and then trousers. Nowadays I often hear people who don't know about historic costume refer to breeches as trousers - it's become a generic term for the nether garment.
 
Kate Bunting
Librarian and 17th century reenactor

>>> r.carnegie@verizon.net 14/09/2005 04:03 >>>

     ".   Like many things 
on this list, some specification is needed.  Do you mean how are the words 
used today, in which I would agree with Joan, though I try to use period 
terms when I can, and if not, when is the period in question?

Ron Carnegie


----- Original Message ----- 
From: "Joan Jurancich" <joanmj@surewest.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Tuesday, September 13, 2005 8:04 PM
Subject: Re: [h-cost] trousers vs. hose


> At 03:37 PM 9/13/2005, you wrote:
>>I would like your expert opinions on what the "official" difference is 
>>between trousers and leggings or hose.  Is it just that trousers aren't as 
>>fitted in the legs? Or are trousers one piece while leggings are two?
>>
>>Tea Rose
>
> Leggings (or hose) are just that, individually fastened coverings for the 
> legs.  Trousers are one garment that covers both legs and the fork and up, 
> historically, to the waist. How fitted the leg coverings are is a matter 
> of fashion.
>
>
> Joan Jurancich
> joanmj@surewest.net
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume 

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At 04:03 14/09/2005, you wrote:
>I wonder if the green thread is related to the old use of green as 
>the color of mourning (long before black)... because green grass 
>grows on the grave.  Gytha
>
>Chris Laning <claning@igc.org> wrote:AlbertCat@aol.com wrote:
>
> > When I worked for the local Shakespeare festival, we had an excellent
> > British actress in the company who was serious about a number of 
> silly , yet
> > traditional theatre superstitions. I used to torment her, putting 
> shoes on the
> > counter instead of the floor...
>
>A couple more:
>
>(1) It's unlucky to baste anything with green thread. (Green is 
>supposed to be a generally unlucky color anyway.) IIRC (and it was a 
>LONG time ago) I think my grandmother actually told me this one.
>
>(2) It's unlucky for anyone to sew or mend clothing while someone is 
>actually wearing it. But the person wearing the clothing can avert 
>evil consequences by holding a piece of thread between their teeth 
>while the sewing is going on. (Can't remember where I saw this, but 
>it was relatively recent.)

A couple of times when I worked for the Royal Shakespeare Company I 
had to "sew" someone into a costume which had split, and each time 
the actor was very, very unhappy about it. There was simply no time 
to take the garment off, mend it and replace.

Some actors have to put  the left shoe (for example) on before the 
right, others won't wear green, (it's the colour of the fairies - 
same for bridesmaids and brides - don't upset the fairies/little 
people) and in many theatres, real flowers are not allowed on stage 
(except at curtain calls.) This one makes some sense, as if flowers 
of leaves drop on to the stage and get trodden on they can be 
slippery and therefore a hazard. There do seem to be many 
superstitions about the colour green and clothing.

Suzi 


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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] Clothing superstitions (and theatre)
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>>
>>A couple more:
>>
>>(1) It's unlucky to baste anything with green thread. (Green is 
>>supposed to be a generally unlucky color anyway.) IIRC (and it was 
>>a LONG time ago) I think my grandmother actually told me this one.
>>
>>(2) It's unlucky for anyone to sew or mend clothing while someone 
>>is actually wearing it. But the person wearing the clothing can 
>>avert evil consequences by holding a piece of thread between their 
>>teeth while the sewing is going on. (Can't remember where I saw 
>>this, but it was relatively recent.)
>
>A couple of times when I worked for the Royal Shakespeare Company I 
>had to "sew" someone into a costume which had split, and each time 
>the actor was very, very unhappy about it. There was simply no time 
>to take the garment off, mend it and replace.
>
>Some actors have to put  the left shoe (for example) on before the 
>right, others won't wear green, (it's the colour of the fairies - 
>same for bridesmaids and brides - don't upset the fairies/little 
>people) and in many theatres, real flowers are not allowed on stage 
>(except at curtain calls.) This one makes some sense, as if flowers 
>of leaves drop on to the stage and get trodden on they can be 
>slippery and therefore a hazard. There do seem to be many 
>superstitions about the colour green and clothing.
>
>Suzi


Just a silly thing - my e-mail provider has queried the use of the 
phrase "the fairies" as being a rude word - who programmes these 
things - have they never heard of fairies with wings and wands?

Suzi


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From: Joannah Hansen <Joannah@sluggy.net>
To: Historical Costume <h-costume@indra.com>
Subject: RE: [h-cost] lacing
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Just a comment on an interesting thing that I have just noticed about this portrait :

http://homepage.mac.com/festive_attyre/research/earlyflor/3flor5.html

- it looks to me as if the criss-cross lacing isn't just crossed over, it's tied in a half knot at each crossing.

Joannah. 

<snip
--- "otsisto" <otsisto@socket.net> wrote:

Umm, I don't know your time period but
late 1400s Florentine

http://homepage.mac.com/festive_attyre/research/earlyflor/3flor3.html

http://homepage.mac.com/festive_attyre/research/earlyflor/3flor5.html

http://homepage.mac.com/festive_attyre/research/earlyflor/3flor20.html
De
>snip

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What fantastic pictures - love the theatre - the bears are cute too.
 
Kate Bunting
Librarian and 17th century reenactor

>>> dawn@reddawn.net 14/09/2005 01:44 >>>

  www.ckrumlov.cz/uk/seznamy/t_obrzam.htm

Stumbled across this site while looking for something else. Appears to 
be a Czechoslovakian castle site with the most amazing collections of 
photos. Photos of the castle in excruciating detail, photos of the 17th 
century theatre and some extant costumes, photos of paintings from the 
castle gallery, photos of re-enactment events on the grounds, photos of 
state dinners in modern fancy dress, photos of I-don't -know-what...

And if you follow the links you can take virtual tours of the place.


Dawn



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At 01:44 14/09/2005, you wrote:
>  www.ckrumlov.cz/uk/seznamy/t_obrzam.htm
>
>Stumbled across this site while looking for something else. Appears 
>to be a Czechoslovakian castle site with the most amazing 
>collections of photos. Photos of the castle in excruciating detail, 
>photos of the 17th century theatre and some extant costumes, photos 
>of paintings from the castle gallery, photos of re-enactment events 
>on the grounds, photos of state dinners in modern fancy dress, 
>photos of I-don't -know-what...
>
>And if you follow the links you can take virtual tours of the place.
Amazing site - I love the bears too, especially the Christmas ones. 
The original costume designs are interesting too. What I wouldn't I 
give for similar photos of Warwick Castle, Alnwick, Arundel, 
Blenheim, Windsor..................................! 


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Subject: [h-cost] Re: lacing and clothing superstitions
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(2) It's unlucky for anyone to sew or mend clothing while someone is
actually wearing it. But the person wearing the clothing can avert evil
consequences by holding a piece of thread between their teeth while the
sewing is going on. (Can't remember where I saw this, but it was
relatively recent.)
========================
Good thing I had never heard of this, I've stitched up way to many
pairs of tights while they were on the performers out at faire.  Just to
much trouble for them to disrobe everything down to what is essentially
the bottom layer.  Haven't stuck anyone, or lost a needle..... yet :).

Catherine


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Subject: [h-cost] Re:  At Long Last- the QE2!
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Just lovely Karen!  And I think your crown is a good choice in keeping
with the portraits of QE you found.  

I have the site bookmarked for the cartridge pleating info, have a
project this winter that will require it, thanks.

Catherine
Wooo Hooo Calontir :)
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Subject: [h-cost] Re: trousers vs. hose
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Thanks for your replies. I was looking for the modern usage, I guess. I was reading something that said that "trousers" were introduced to Europe by northern barbarians sometime after the fall of the Western Roman Empire, and I remembered we'd just had a discussion about some early extant trousers on this list, so I was just wondering what the exact definition was. Sounds like the author of the article meant that the Romans wore two-piece leg coverings and the northerners liked to sew them together, no doubt because it can be a little drafty up there in Scandinavia. :) 
 
The bad thing about being self-educated is that one learns the meaning of specialized terms like "extant" but may miss basic words like "trousers." 
 
Thanks again,
Tea Rose, who can draft patterns but has never set a zipper.
 
------------------------------

>Message: 15
>Date: Tue, 13 Sep 2005 23:03:44 -0400
>From: "RON CARNEGIE" <r.carnegie@verizon.net>

>Like many things on this list, some specification is needed.  Do you mean how are the >words used today, in which I would agree with Joan, though I try to use period 
>terms when I can, and if not, when is the period in question?

>Ron Carnegie
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Subject: Re: [h-cost] Clothing superstitions (and theatre)
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> At 04:03 14/09/2005, you wrote:
> >I wonder if the green thread is related to the old use of green as
> >the color of mourning (long before black)... because green grass
> >grows on the grave.

I've heard it was because the dye used in green thread wasn't colorfast, and
could leave green marks on your fabric if used for basting.

> >(2) It's unlucky for anyone to sew or mend clothing while someone is
> >actually wearing it. But the person wearing the clothing can avert
> >evil consequences by holding a piece of thread between their teeth
> >while the sewing is going on. (Can't remember where I saw this, but
> >it was relatively recent.)

My grandmother was a stickler for this one, but this is the first time I've
heard it anywhere else. I may have posted here about it in the past, so
possibly you heard it from me? I still have a hard time sewing on someone
unless they have a thread in their teeth!  She was from a Russian Jewish
background, in case anyone's trying to trace such things.

Margo

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Subject: Re: [h-cost] Clothing superstitions (and theatre)
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>> >(2) It's unlucky for anyone to sew or mend clothing while someone is
>> >actually wearing it.

     Even worse luck to iron something on a live body, and the thread
between the teeth doesn't help there.

     Not that I tried it myself.

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>     Even worse luck to iron something on a live body, and the thread
> between the teeth doesn't help there.
>

ahhh...so *that* is why the instructions that come with an iron actually 
specify "Do Not Attempt to Iron Garments While Being Worn"!

Silly me, I thought it was common sense safety...



Denise B 

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Hadn't heard about the spit. My German aunt used to attribute the flipped hem to someone's sending the wearer a kiss. (I'll resist any temptation to associate kisses and spit....!!!!!)
--Ruth Anne Baumgartner
scholar gypsy and amateur costumer

-----Original Message----
... I ran into a superstition about hems flipping up at the edges somewhere 
in a book.  Have you ever heard of that one?  The character in the book 
had to spit on it before smoothing it down, if I recall correctly -- but 
it was more than 10 years ago that I read it.

-- 
Cynthia Virtue and/or Cynthia du Pre Argent

   "Such virtue hath my pen...."  -Shakespeare, Sonnet 81
        "I knew this wasn't _my_ pen!"  --Cynthia Virtue
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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] Clothing superstitions (and theatre)
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At 16:23 14/09/2005, you wrote:
>>     Even worse luck to iron something on a live body, and the thread
>>between the teeth doesn't help there.
>
>ahhh...so *that* is why the instructions that come with an iron 
>actually specify "Do Not Attempt to Iron Garments While Being Worn"!
>
>Silly me, I thought it was common sense safety...


And another one . If you put on a garment inside out (usually a 
vest/t-shirt, or knickers/underpants) you shouldn't change it, as 
that too would be bad luck. Too bad if it was trousers or pants!!

Suzi 


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Actually, the original lore to wearing clothing inside out and fairies
has
to do with weird sod.

*snip*

Um . . . Weird sod?

A definition, please?

Kate McClure
Who may have gardened in such . . . ;)

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Subject: Re: [h-cost] Re: lacing and clothing superstitions
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From: "Chris Laning"

> (2) It's unlucky for anyone to sew or mend clothing while someone is
actually wearing it. But the person wearing the clothing can avert evil
consequences by holding a piece of thread between their teeth while the
sewing is going on. (Can't remember where I saw this, but it was relatively
recent.)


Aha!  I hadn't unsnarled all the replies on my earlier post, to see this was
from you, Chris.  I think you heard this from me, and were subjected to it,
when I made you a costume a few years back.

It was my grandmother's superstition.  I don't know if it was a
regional/cultural thing, or just familial.

Margo

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Subject: Re: [h-cost] Clothing superstitions (and theatre)
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I too have stitched several actors into their costumes before going on 
stage.  You do want you can in a hurry.

Penny E. Ladnier
Owner,
The Costume Gallery, www.costumegallery.com
Costume Classroom, www.costumeclassroom.com
Costume Research Library, www.costumelibrary.com

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Subject: Re: [h-cost] re:effigy corst: reeds/bamboo for stiffening
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> steel hoop boning over here doesn't hold the tips well either.  I have 
> found that the spiral steel corset boning holds the tips well if you use a 
> particular method of attaching them....don't know if you saw the link to 
> my tutorial earlier. Sg

Could you repost it please? I didn't need it at the time, but now I would 
love to have a look at it! 
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Penny Ladnier wrote:

> I too have stitched several actors into their costumes before going on 
> stage.  You do want you can in a hurry.

... and it's a lot better than superglue and staples.

-- 
Cynthia Virtue and/or Cynthia du Pre Argent

   "Such virtue hath my pen...."  -Shakespeare, Sonnet 81
        "I knew this wasn't _my_ pen!"  --Cynthia Virtue
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Subject: RE: [h-cost] lacing
Date: Wed, 14 Sep 2005 11:30:35 -0500
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Actually, they lace each other. Meaning that instead of the lace going to
the loop on the other side it uses the oppose lace as the loop.
Does that make sense?

De

-----Original Message-----
Just a comment on an interesting thing that I have just noticed about this
portrait :

http://homepage.mac.com/festive_attyre/research/earlyflor/3flor5.html

- it looks to me as if the criss-cross lacing isn't just crossed over, it's
tied in a half knot at each crossing.

Joannah.



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Got to be quick as in hurry (as ever)!

I'd consider it to be a difference in the construction method, as trousers 
are actually cut quite differently to hosen (esp the 15th / 16th cent. variety).

A couple of costume historians have suf=ggested that the construction of what 
we'd call trousers all but died out in this part of the world in medieval 
times in favour of hosen, and had to be almost rediscovered through breeches.

That said I'd agree that the later you get the more blurred the terminology 
gets (I used to know a man who still called his trousers hose - but than again, 
others who used 'hose' to mean socks...)
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From: jordana robinson <mylaar@gmail.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Clothing superstitions (and theatre)
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On 9/14/05, Land of Oz <landofoz@netins.net> wrote:
> ahhh...so *that* is why the instructions that come with an iron actually
> specify "Do Not Attempt to Iron Garments While Being Worn"!
> 
> Silly me, I thought it was common sense safety...

at my old job, one of my coworkers confessed that the mark on his
neck, which he had tried to pass off as a hickey, was in fact a burn
from his attempt to iron the collar of his shirt while he was wearing
it.  (even worse, a jokespam email listing "silly" warning
instructions had _just_ done the rounds of the office...)

-jordana

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jordana robinson wrote:

> from his attempt to iron the collar of his shirt while he was wearing
> it.

I actually watched a person try to drive with one of those cardboard 
windshield sun things still on the car.  He/She had bent down a corner 
to peer out.
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From: Julie <jtknits@jtknits.cts.com>
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Subject: [h-cost] Clothing Superstitions
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Hmmm......
I've touched up a hem while I was wearing it.  Maybe I should have spat on it instead <G>
Julie

************
Even worse luck to iron something on a live body, and the thread
between the teeth doesn't help there.

     Not that I tried it myself.



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From: Ann Catelli <elvestoorder@yahoo.com>
Subject: Re: [h-cost] Re: lacing and clothing superstitions
To: Historical Costume <h-costume@indra.com>
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It's unlucky to sew with green, because green dyes
were notorious for coming off onto your garment or
project.

I have some green silk with just that problem--the
thread is long gone, but there's a great ugly dark
green splotch where it used to be.  Never got wet,
just crocking.

I wouldn't baste anything with that thread, or
embroider or sew anything, either.

Ann in CT

> Chris Laning <claning@igc.org>
>
> A couple more:
> 
> (1) It's unlucky to baste anything with green
> thread. (Green is supposed to be a generally unlucky
> color anyway.) IIRC (and it was a LONG time ago) I
> think my grandmother actually told me this one.
____________________________________________________________
> 0 Chris Laning


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From: "Penny Ladnier" <penny@costumegallery.com>
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Subject: Re: [h-cost] Clothing superstitions (and theatre)
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Cynthia,

I am guilty of stapling a hem when an actor needs to get on stage real 
quick.  I have taped a bodice of a gown to a model.  It helps with very low 
cut dress.

Penny E. Ladnier
Owner,
The Costume Gallery, www.costumegallery.com
Costume Classroom, www.costumeclassroom.com
Costume Research Library, www.costumelibrary.com

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Subject: Re: [h-cost] Clothing superstitions (and theatre)
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Penny Ladnier wrote:

> I am guilty of stapling a hem when an actor needs to get on stage real 
> quick.

I was trying to be amusing -- sorry it wasn't clear.

But don't staples really mess up the fabric?  Pulls and such?

cv
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Subject: RE: [h-cost] Clothing superstitions (and theatre)
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Actually, the original lore to wearing clothing inside out and fairies has
to do with weird sod.
If you step on weird sod you will walk forever, the way to break the spell
once you figured out you stepped on weird sod is to turn your clothing
inside out (usually it is just the jacket). One lore in Cardaff(?) says
switch shoes from one foot to the other.
This info is from a friend working on her doctorial thesis on Irish and
African folklore.

De

-----Original Message-----
but, if you wear a garment inside out, it protects you from the faeries!

Arlys

> And another one . If you put on a garment inside out (usually a
> vest/t-shirt, or knickers/underpants) you shouldn't change it, as
> that too would be bad luck. Too bad if it was trousers or pants!!
>
> Suzi


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To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Re: lacing and clothing superstitions
Date: Wed, 14 Sep 2005 11:30:35 -0500
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This sounds like a semi practical thing. Like using spit to smooth a cowlick
then a superstition.

-----Original Message-----
... I ran into a superstition about hems flipping up at the edges somewhere
in a book.  Have you ever heard of that one?  The character in the book
had to spit on it before smoothing it down, if I recall correctly -- but
it was more than 10 years ago that I read it.

--
Cynthia Virtue and/or Cynthia du Pre Argent




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Date: Wed, 14 Sep 2005 19:47:37 +0100
To: Historical Costume <h-costume@indra.com>
From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] Clothing superstitions (and theatre)
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Suzi Clarke <suzi@suziclarke.co.uk> wrote
>At 16:23 14/09/2005, you wrote:
>>>     Even worse luck to iron something on a live body, and the thread
>>>between the teeth doesn't help there.
>>
>>ahhh...so *that* is why the instructions that come with an iron 
>>actually specify "Do Not Attempt to Iron Garments While Being Worn"!
>>
>>Silly me, I thought it was common sense safety...
>
>
>And another one . If you put on a garment inside out (usually a 
>vest/t-shirt, or knickers/underpants) you shouldn't change it, as that 
>too would be bad luck. Too bad if it was trousers or pants!!
>
>Suzi
>
I'd forgotten that one, but yes, I grew up with that.  Have to hope you 
notice before you get it completely on, it's OK if you're only half-way 
into the garment.

Jean

-- 
Jean Waddie
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Date: Wed, 14 Sep 2005 09:07:51 -0700
Subject: Re: [h-cost] Clothing superstitions (and theatre)
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but, if you wear a garment inside out, it protects you from the faeries!

Arlys

> And another one . If you put on a garment inside out (usually a 
> vest/t-shirt, or knickers/underpants) you shouldn't change it, as 
> that too would be bad luck. Too bad if it was trousers or pants!!
> 
> Suzi 

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Subject: [h-cost] Sewing on the body...
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Denise said,
> ahhh...so *that* is why the instructions that come with an iron actually
> specify "Do Not Attempt to Iron Garments While Being Worn"!
>
> Silly me, I thought it was common sense safety...

     No, not at all, it's complete superstitious nonsense.  Elderly
relatives will claim it causes huge blisters and worse, but there is
no real cause & effect.  :-)

     Ok, here is a question - this has been in letters sent to Ann Landers
& Dear Abby in the past.  A woman starts a new job (usually as a
secretary) and the boss (male of course) either learns or assumes
that she sews.  He asks her to mend his trousers, a crotch seam,
while he is wearing them.  It's potentially a type of sexual
harassment, and Ann or Abby have suggested that the lady tell him to
bring the trousers in the next day and she will be happy to fix them.

     The story is historic in that I don't think sewing is such a
universal skill any more that any woman can be assumed to know it. 
Plus we have a much greater awareness of sexual harassment.

     Funny thing is, I have repaired a boss' trousers.  In my last job,
the boss is a horse enthusiast and wondered if I could patch her
riding breeches.

     And I have also advised plenty of people that dry cleaners often have
a tailor/seamstress on staff who can replace a broken zipper, etc. 
I've often been asked if something can be repaired, a few more times
than being asked to actually do the repair myself.

     It never hurts to keep  stash of safety pins in the desk drawer!  :-)

     -Carol

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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] Sewing on the body...
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>
>
>      Ok, here is a question - this has been in letters sent to Ann Landers
>& Dear Abby in the past.  A woman starts a new job (usually as a
>secretary) and the boss (male of course) either learns or assumes
>that she sews.  He asks her to mend his trousers, a crotch seam,
>while he is wearing them.  It's potentially a type of sexual
>harassment, and Ann or Abby have suggested that the lady tell him to
>bring the trousers in the next day and she will be happy to fix them.
>
>      The story is historic in that I don't think sewing is such a
>universal skill any more that any woman can be assumed to know it.
>Plus we have a much greater awareness of sexual harassment.
>
>      Funny thing is, I have repaired a boss' trousers.  In my last job,
>the boss is a horse enthusiast and wondered if I could patch her
>riding breeches.
>
>      And I have also advised plenty of people that dry cleaners often have
>a tailor/seamstress on staff who can replace a broken zipper, etc.
>I've often been asked if something can be repaired, a few more times
>than being asked to actually do the repair myself.
>
>      It never hurts to keep  stash of safety pins in the desk drawer!  :-)


I once had an actor swear that the zipper was stuck on the very tight 
white jeans he was wearing, and could I help him take them off. (It 
was his first day in the theatre - it was not mine!) When I turned 
round with a pair of very sharp pointed scissors in my hand, the 
zipper miraculously unstuck itself. (I later discovered the only 
acting he had previously done was in porn movies - he lasted the 
season with us, but I never heard of him since - funny that!)

Suzi


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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] Clothing superstitions (and theatre)
Date: Wed, 14 Sep 2005 19:54:34 -0400
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Cynthia,

I got that you were being funny.  I thought it was funny too until I thought 
about it... OMG, I have done that!

When you are in a rush, and needing to get people on stage, you really don't 
care.  Stapling is a lot less painful to the actors' legs than sending them 
dancing on stage with a straight-pins in their hems.  Staples and paper 
clips are the last dig thing to do in an emergency.

I guess I started my emergency tricks when I was in 6th grade... I used to 
hem up all the girls' skirts on the bus to school and let down their hems on 
the way home.  Mom's never knew how short their darlings skirts where when 
they were at school.  I was carrying my sewing supplies with me for Home Ec. 
class during this time.

Penny E. Ladnier
Owner,
The Costume Gallery, www.costumegallery.com
Costume Classroom, www.costumeclassroom.com
Costume Research Library, www.costumelibrary.com

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Subject: Re: [h-cost] Clothing Superstitions
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Julie,

It makes me wonder if a straightening iron for hair would work for last 
minute hem pressing?  Maybe I will try it in a rush one day.

I have ironed some full-skirt hems while a few actresses and models were 
wearing them.  If you have confidence in what you are doing and the 
actor/model has confidence in your abilities, they won't be scared.  After 
one night of rehearsals, the actor/model can pick up on your abilities 
really quick.

During West Side Story last year, I rigged two full sized flags into two 
actresses' underskirts with safety pins.  The actresses lifted their skirts 
to reveal the flags at the end of the song America. We had three minutes to 
do the pinning between scenes.  It worked.  You can see a photo at:
http://www.costumegallery.com/Manchester/WWS/flags3.jpg
I had the safety pins already in their place in the skirts and petticoats, 
when it came time to put the flags in them, my teams of dressers knew 
exactly where to place them.  The actors knew exactly how to hold the skirts 
during the quick pinning to make the process quicker.  I had my dressers 
practice the pinning during dress rehearsals several times to get the timing 
down to three minutes.  You can't tell from the photo but the middle of the 
flags are also pinned to the waistband of the petticoats to hold the flags 
in place while the actresses danced vigorously to America.  You could not 
tell the flags were in the skirts until the actresses lifted their skirts. 
We tried Velcro and snaps to hold the flags in the skirts but they were not 
strong enough to hold up the flags through the America scene.   These girls 
really shook their skirts during the number.   They looked great when they 
shook the skirts in the dance!  Especially the girl with the gold petticoat! 
Thankfully the pins never opened and the flags stayed in the skirts.

Penny E. Ladnier
Owner,
The Costume Gallery, www.costumegallery.com
Costume Classroom, www.costumeclassroom.com
Costume Research Library, www.costumelibrary.com

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Subject: Re: [h-cost] Sewing on the body...
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>
>      No, not at all, it's complete superstitious nonsense.  Elderly
> relatives will claim it causes huge blisters and worse, but there is
> no real cause & effect.  :-)
>
>      Ok, here is a question - this has been in letters sent to Ann Landers
> & Dear Abby in the past.  A woman starts a new job (usually as a
> secretary) and the boss (male of course) either learns or assumes
> that she sews.  He asks her to mend his trousers, a crotch seam,
> while he is wearing them.  It's potentially a type of sexual
> harassment, and Ann or Abby have suggested that the lady tell him to
> bring the trousers in the next day and she will be happy to fix them.
>
>      The story is historic in that I don't think sewing is such a
> universal skill any more that any woman can be assumed to know it.
> Plus we have a much greater awareness of sexual harassment.
>
>      Funny thing is, I have repaired a boss' trousers.  In my last job,
> the boss is a horse enthusiast and wondered if I could patch her
> riding breeches.
>
>      And I have also advised plenty of people that dry cleaners often have
> a tailor/seamstress on staff who can replace a broken zipper, etc.
> I've often been asked if something can be repaired, a few more times
> than being asked to actually do the repair myself.
>
>      It never hurts to keep  stash of safety pins in the desk drawer!  :-)
>
>      -Carol

On a similar note, co-workers not knowing you have sewing skills can be a
fun advantage.

A supervisor at my last hotel job was in the habit of teasing and pranking
me mercilessly, and I would continually warn him that 'one of these days' I
would get him back. I very patiently waited until one day when he came in to
drop off his suit for the hotel cleaners. The instant he was gone I grabbed
it out of the bin, sat down with a hotel sewing kit and in very short order
had one pant leg hemmed up an inch or two shorter than the other. Back into
the bin it went. A couple of days later he came in with his newly cleaned
and pressed suit, none the wiser. I was not there that day (sadly) but he
apparently walked around for most of the morning trying to pull one pant leg
down. (step tug tug grumble, step step grumble tug, step tug, give leg a
shake, repeat.) The front office had a great laugh, and John was very
careful not to get too carried away with his jokes ever after...

Sheridan


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From: Catherine Olanich Raymond <cathy@thyrsus.com>
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Subject: Re: [h-cost] lacing
Date: Wed, 14 Sep 2005 22:03:29 -0400
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On Wednesday 14 September 2005 6:30 am, Joannah Hansen wrote:
> Just a comment on an interesting thing that I have just noticed about this
> portrait :
>
> http://homepage.mac.com/festive_attyre/research/earlyflor/3flor5.html
>
> - it looks to me as if the criss-cross lacing isn't just crossed over, it's
> tied in a half knot at each crossing.

I think this is the painting which Jen Thompson of the Festive Attyre site 
says that the laces are twisted around each other in the center (kind of the 
way you make pretzels), and that's how it looks to me.

-- 
Cathy Raymond <cathy@thyrsus.com>

"So what if the universe is a pointless mass of hydrogen refuse powered by
entropy.  I'm spreading ketchup on a rubber duck, and after that I'm going
to brush its teeth.  So there."-- Rob Landley 
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Subject: RE: [h-cost] RE: Clothing superstitions (and theatre)
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It was believed that you were taking a chance stepping off commonly
traversed paths to say, take a short cut, because you might step on weird
sod or enchanted piece of ground. Upon stepping on the weird sod your sense
of distance and direction is a skewed and you continue walking and you may
even pass up your destination and not register it in your mind.
Someone I know told me that they were visiting friends in Ireland. They
thought they would be good guests and go to town and get some food for the
larder.
On the way back they thought they would try creating a short cut and walked
off the path. After a while they noticed the time and realized that they
should have reached their destination an hour ago. One of group after a bit
suggested to turn their jackets and sweaters inside out. So they did. They
came to a road and a man came walking by and they asked directions and the
man said they roughly 9 miles, actually he said the equivalent of 9 miles in
kilometers(?) back down the road in the opposite direction they were
walking.
They walked a bit to the man's neighbor's house and the neighbor drove them
to their friend's house. Telling them next time don't be going of the path.
They got to the house and their legs were shaking as their muscles were not
use to such long walks.
Side note: I was informed that though fairies are known to lay the weird
sods, 90% of the time it would be the Leprechauns.

De


-----Original Message-----
Actually, the original lore to wearing clothing inside out and fairies
has
to do with weird sod.

*snip*

Um . . . Weird sod?

A definition, please?

Kate McClure
Who may have gardened in such . . . ;)


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I'm hoping someone here can help me.

I am looking for an online source for  a ladies high heeled Oxford shoe.
Zappos had, but they do not ship to Canada, and the price was a bit above
what I wanted to pay (including shipping and exchange).

Any ideas are greatfully accepted! :-)

Sheridan

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

Ogden Nash


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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] trousers vs. hose
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tearoses@aol.com wrote:

> I would like your expert opinions on what the "official" difference is between trousers and leggings or hose.  Is it just that trousers aren't as fitted in the legs? Or are trousers one piece while leggings are two? 
>  


Trousers are a loose fitting garment typically reaching down from waist 
to the knee or the ankle. Related to the word trews, which now means 
close fitting tartan plaid pants, but used to mean any kind of trousers. 
Breeches, by comparison are typically only knee length.

Leggings typically cover from the ankle to the knee, but can go higher, 
esp if worn with garters or suspenders to hold them up. Leggings are 
also considered closer fitting than trousers.

Hose cover the foot and lower part of the leg, though historically they 
reached higher. Hose were typically worn with knee breeches, or just 
tied on to a doublet.


So, I think the differences have to do with which parts of the body are 
covered more than how many pieces they come in.



Dawn


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To: Historical Costume <h-costume@indra.com>
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Subject: Re: [h-cost] serging knits help please!
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Actually, I didn't write any suggestions, I asked the original 
question.  I'm using cotton knit fabric that does unravel so I need 
to finish the edges before I sew it up.  Even my polar fleece got 
stretched on the damn machine last night...

Cheers,
Danielle

At 09:27 AM 9/13/2005, you wrote:
>Danielle writes some great suggestions here.......my question is why 
>you are serging the edges?  Perhaps I have misunderstood.  Unless 
>you mean you are just pieces together....there shouldn't be any need 
>to "finish" the fabric edges....
>
>kim baird wrote:
>
>>Danielle--
>>
>>There is a simple adjustment you can make to fix this.
>>
>>
>>Cheers,
>>Danielle

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Hi Kim,

Thanks!  There is a nob on the side of the machine that I think might 
be this differential feed thing, I will try and track down the manual 
so I can see if it says anything about this.  My serger is about 9 
years old so I don't think it is too old.  Hopefully, I can get this 
solved, since it is even stretching out my polar fleece (I know it 
isn't going to ravel, I was just trying to use it as a gauge to do a 
narrow rolled hem).  I will also try and track down the book.  Thank you again.

Cheers,
Danielle

At 08:39 AM 9/13/2005, you wrote:
>Danielle--
>
>There is a simple adjustment you can make to fix this.
>
>Your serger has differential feed (unless it's VERY old), which means
>there are 2 sets of feed dogs under the presser foot, and they can be
>adjusted to go at different speeds. Depending on the fabric you are
>serging, you will need to adjust the differential feed knob one
>direction or the other.
>
>Look in your manual--there should be illustrations of wavy edges (like
>you got) or gathered edges, and how to adjust the differential feed to
>correct each situation.
>
>What I do is use a scrap of my fabric to test before I sew the actual
>seam. Then is the edge is ruffling or stretching, I adjust the feed.
>
>If you don't have the manual, check out serger books at the library or
>book store, or just experiment with your knob on scrap fabrics. You will
>be amazed at what a difference that differential feed makes.There is an
>article in Threads Apr/May '00 issue titled "Make Sense of Your Serger's
>Differential Feed" that should help.
>
>Taunton published a very good how-to book for sergers, Serging Fine
>Fabrics. I've seen it discounted at Hamilton Books.
>
>Kim--who resisted learning to serge for many years before discovering
>what a wonderful tool the darn thing is!

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Do you mean the black and white kind?  Is it for costume?  I have a pair 
of those I never wear.....want em?  (US size 8 (I think).

Shane & Sheridan wrote:

>I'm hoping someone here can help me.
>
>I am looking for an online source for  a ladies high heeled Oxford shoe.
>Zappos had, but they do not ship to Canada, and the price was a bit above
>what I wanted to pay (including shipping and exchange).
>
>Any ideas are greatfully accepted! :-)
>
>Sheridan
>
>*-*-*-*-*-*-*-*-*-*-*
>You are only young once,
>but you can stay immature indefinitely.
>
>Ogden Nash
>
>
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
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>
>
>  
>
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***my comments
> 
> It makes me wonder if a straightening iron for hair would work for last 
> minute hem pressing?  Maybe I will try it in a rush one day.

***I'm used that too..collar, twisty button placket, hem.  Not very effective, but better than nothing.  Better is noticing the problem the night before and spraying it with a mister bottle and letting it dry <G>.
 
> During West Side Story last year, I rigged two full sized flags into two 
> actresses' underskirts with safety pins.  The actresses lifted their skirts to reveal the flags at the end of the song America. We had three minutes to do the pinning between scenes.  It worked.  You can see a photo at:
> http://www.costumegallery.com/Manchester/WWS/flags3.jpg
> I had the safety pins already in their place in the skirts and petticoats, when it came time to put the flags in them, my teams of dressers knew exactly where to place them.  The actors knew exactly how to hold the skirts during the quick pinning to make the process quicker.  I had my dressers practice the pinning during dress rehearsals several times to get the timing down to three minutes.
> 
***very impressive - and a great bit of theatrics <G>
Julie

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Subject: [h-cost] Steel bnoning tip tutorial-was:effigy corst......
	stiffening
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Check out the 7/24/04 entry.  http://www.saragrace.net/3E_4_QEW_Corset.html

Just a suggestion....you might want to change the subject line of your 
emails to draw attention to your request...I almost didn't read it! 

Sg

>
>
>
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Subject: Re: [h-cost] looking for:
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I'm looking for something in the same shape as the one on this site (17th
picture down, about half way down the page) mostly just for wearing, costume
use is a bonus. :-) If its a black and white wing tip, that would be
fantastic! I find I might soon be in the market for actual 'office' clothes,
and I don't want boring. I have been wearing uniforms for waaaaay too long,
and I'm looking for vintage, retro and otherwise, to jazz up the closet. I'd
be more than happy to take them off of your hands (or would that be feet?),
name your price...

Sheridan

From: "WickedFrau"

> Do you mean the black and white kind?  Is it for costume?  I have a pair
> of those I never wear.....want em?  (US size 8 (I think).
>
> Shane & Sheridan wrote:
>
> >I'm hoping someone here can help me.
> >
> >I am looking for an online source for  a ladies high heeled Oxford shoe.
> >Zappos had, but they do not ship to Canada, and the price was a bit above
> >what I wanted to pay (including shipping and exchange).
> >
> >Any ideas are greatfully accepted! :-)
> >
> >Sheridan
> >
> >*-*-*-*-*-*-*-*-*-*-*
> >You are only young once,
> >but you can stay immature indefinitely.
> >
> >Ogden Nash


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----- Original Message ----- 
From: "Shane & Sheridan" 

> I'm looking for something in the same shape as the one on this site (17th
> picture down, about half way down the page

oops, I suppose posting the site would be a good idea eh?
http://www.vintagefashionguild.org/footwearhistory.html

 Sheridan


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Subject: [h-cost] FW: Bjarne alert!
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Bjarne--

Have you seen this book on eBay?

Kim

http://cgi.ebay.com/ART-OF-THE-EMBROIDERER-FAB-COSTUME-HISTORY-BOOK_W0QQ
itemZ8334848560QQcategoryZ48864QQtcZphotoQQrdZ1QQcmdZViewItem

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To: Historical Costume <h-costume@indra.com>
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Subject: [h-cost] FYI - Ladies costume inspired by the court of Napoleon
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http://www.guildford.gov.uk/GuildfordWeb/Leisure/Guildford+House/Exhibitions/Golden+Bees+Costume.htm

Golden Bees : An exhibition of ladies costume inspired by the Court of 
Napoleon.
from 21 September to 22 October 2005
Guildford House Gallery hosts an exhibition of costume made by local 
costume maker Sarah Vickery.
Sarah has been a dedicated member of the Napoleonic Association, a 
world-wide research and re-enactment society for the past 12 years. She 
specialises the designing and making of period clothing inspired by the 
ladies of the Napoleonic Court.
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From: Althea Turner <althea@alfalfapress.com>
Subject: Re: [h-cost] FYI - Ladies costume inspired by the court of Napoleon
Date: Thu, 15 Sep 2005 20:05:40 -0700
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Hiya,

The bees depicted on this fabric were first found in the grave of  
Childeric I and used to strengthen the Hapsburg claim to the throne  
of France in some obscure way that still eludes me.  :D

Something about fleur de lys being Bourbon.  So Napoleon used the  
bees in a political way to impress and to tie his reign to those of  
the past.

Althea



On Sep 15, 2005, at 7:54 PM, david webb wrote:

>
>
> http://www.guildford.gov.uk/GuildfordWeb/Leisure/Guildford+House/ 
> Exhibitions/Golden+Bees+Costume.htm
>
> Golden Bees : An exhibition of ladies costume inspired by the Court  
> of Napoleon.
> from 21 September to 22 October 2005
> Guildford House Gallery hosts an exhibition of costume made by  
> local costume maker Sarah Vickery.
> Sarah has been a dedicated member of the Napoleonic Association, a  
> world-wide research and re-enactment society for the past 12 years.  
> She specialises the designing and making of period clothing  
> inspired by the ladies of the Napoleonic Court.
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>

Althea Turner
althea@alfalfapress.com



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	<007501c5b98d$3c8602f0$6a00a8c0@Penny>
Subject: Re: [h-cost] Clothing Superstitions
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Penny

Did you try "whopper popper" snaps on the flags for West Side Story?   I 
can't imagine a good number of those not holding anything.  They are the 
giant snaps used by most costumers in theater these days for all sorts of 
quick change/take it apart /add something on needs.

Anyway, if you didn't, and you need to add a special effect like the flags 
again in the future, you might try them. They are better than velcro because 
they don't make any sound, but they do have to be worked in a bit, as they 
really really hold at first (making it difficult to take things off and put 
them back initially).

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: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, September 14, 2005 5:34 PM
Subject: Re: [h-cost] Clothing Superstitions


> Julie,
>
> It makes me wonder if a straightening iron for hair would work for last 
> minute hem pressing?  Maybe I will try it in a rush one day.
>
> I have ironed some full-skirt hems while a few actresses and models were 
> wearing them.  If you have confidence in what you are doing and the 
> actor/model has confidence in your abilities, they won't be scared.  After 
> one night of rehearsals, the actor/model can pick up on your abilities 
> really quick.
>
> During West Side Story last year, I rigged two full sized flags into two 
> actresses' underskirts with safety pins.  The actresses lifted their 
> skirts to reveal the flags at the end of the song America. We had three 
> minutes to do the pinning between scenes.  It worked.  You can see a photo 
> at:
> http://www.costumegallery.com/Manchester/WWS/flags3.jpg
> I had the safety pins already in their place in the skirts and petticoats, 
> when it came time to put the flags in them, my teams of dressers knew 
> exactly where to place them.  The actors knew exactly how to hold the 
> skirts during the quick pinning to make the process quicker.  I had my 
> dressers practice the pinning during dress rehearsals several times to get 
> the timing down to three minutes.  You can't tell from the photo but the 
> middle of the flags are also pinned to the waistband of the petticoats to 
> hold the flags in place while the actresses danced vigorously to America. 
> You could not tell the flags were in the skirts until the actresses lifted 
> their skirts. We tried Velcro and snaps to hold the flags in the skirts 
> but they were not strong enough to hold up the flags through the America 
> scene.   These girls really shook their skirts during the number.   They 
> looked great when they shook the skirts in the dance!  Especially the girl 
> with the gold petticoat! Thankfully the pins never opened and the flags 
> stayed in the skirts.
>
> Penny E. Ladnier
> Owner,
> The Costume Gallery, www.costumegallery.com
> Costume Classroom, www.costumeclassroom.com
> Costume Research Library, www.costumelibrary.com
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 


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Shane & Sheridan wrote:
> ----- Original Message ----- 
> From: "Shane & Sheridan" 
> 
> 
>>I'm looking for something in the same shape as the one on this site (17th
>>picture down, about half way down the page
> 
> 
> oops, I suppose posting the site would be a good idea eh?
> http://www.vintagefashionguild.org/footwearhistory.html
> 
>  Sheridan

These might not be just what you are looking for; they do not lace, but 
buckle. The shape is reminiscent.
http://www.masseyscredit.com/ProductDetails.aspx?family_id=6770

liz young

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aquazoo@patriot.net wrote:
> 
>      It never hurts to keep  stash of safety pins in the desk drawer!  :-)
> 
>      -Carol
> 
Yeah, I bet they wouldn't be askin' you to sew a seam on their crotch if 
you went at them with safety pins, either.   LOL

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To: Historical Costume <h-costume@indra.com>
From: Chris Laning <claning@igc.org>
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Subject: [h-cost] Re: lacing and clothing superstitions
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>A couple of people have commented to the effect that:
>It's unlucky to sew with green, because green dyes
>were notorious for coming off onto your garment or
>project.

What's interesting about this is that just about any dark or dark-ish 
color can "crock" or rub off dye like this -- black or red, for 
instance. But for some reason, this seems to be the thing everybody 
says specifically when trying to rationalize the idea that basting 
with _green_ is "unlucky" -- as though there were something 
particularly unstable about green dye, which as far as I know is no 
worse than other deep colored dyes.

I did an experiment once with different colors of embroidery thread, 
stitching them on white cloth and then pulling the stitches out to 
see whether they left marks. ALL the dark colors left marks. I tried 
washing and drying the embroidery thread and repeating the 
experiment, and this time there were no marks when I pulled the 
thread out. I still have a piece of cloth somewhere with "Washed 
thread leaves no marks" stitched into it. :)

I suppose the moral is that it's not a good idea to baste with _any_ 
dark or bright colored thread, except on fabric that's darker than 
the thread is. I usually tuck a spool of cheap bargain-bin pastel 
thread into my work box somewhere just for basting with.
-- 
____________________________________________________________

O    Chris Laning <claning@igc.org>  -   Davis, California
+     http://paternoster-row.org - http://paternosters.blogspot.com
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Date: Fri, 16 Sep 2005 08:55:29 +0100
From: "Kate M Bunting" <K.M.Bunting@derby.ac.uk>
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Subject: Re: [h-cost] FYI - Ladies costume inspired by the court of
	Napoleon
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Wow! Fantastic - I wish I was anywhere near Guildford.
 
Kate Bunting
Librarian and 17th century reenactor

>>> alderweb@vaxxine.com 16/09/2005 03:54 >>>



http://www.guildford.gov.uk/GuildfordWeb/Leisure/Guildford+House/Exhibitions/Golden+Bees+Costume.htm

Golden Bees : An exhibition of ladies costume inspired by the Court of 
Napoleon.
from 21 September to 22 October 2005


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References: <13849153.1126640466198.JavaMail.root@mswamui-swiss.atl.sa.earthlink.net><20050914030306.66627.qmail@web53204.mail.yahoo.com><6.2.3.4.0.20050914103331.01ce7988@127.0.0.1><003601c5b93a$0ee41ec0$cbd14fd1@dnyeaqvf><58309.12.34.14.44.1126709866.squirrel@webmail.patriot.net><011001c5b940$548eb010$2ad12b42@denise8541f2db>
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Subject: Re: [h-cost] Sewing on the body...
Date: Fri, 16 Sep 2005 06:32:32 -0400
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Unless you iron garments at too high a temperature, and the fibers melt.....
  ----- Original Message ----- 
  From: aquazoo@patriot.net<mailto:aquazoo@patriot.net> 
  To: Historical Costume<mailto:h-costume@indra.com> 
  Sent: Wednesday, September 14, 2005 1:30 PM
  Subject: [h-cost] Sewing on the body...


  Denise said,
  > ahhh...so *that* is why the instructions that come with an iron actually
  > specify "Do Not Attempt to Iron Garments While Being Worn"!
  >
  > Silly me, I thought it was common sense safety...

       No, not at all, it's complete superstitious nonsense.  Elderly
  relatives will claim it causes huge blisters and worse, but there is
  no real cause & effect.  :-)

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From: "Rebecca Schmitt" <lotsofteapots@charter.net>
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Subject: [h-cost] re: crocking was clothing superstitions
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Actually, on the subject of crocking...
 
This year my husband's red wool venetians crocked/bled very badly onto his
shirt and stockings during the run of Faire. Not unusual, you might say, red
is notorious for not being a stable dye. However, this is the third year
these venetians were worn, and neither of us recall any sort of difficulties
with them before. The offending dye washed out of the other pieces of
clothing without mishap, but I was wondering if anyone else had such an
experience and if there is any way to try to "set" the dye into the wool at
this point?
 
*******************************************************************
Rebecca Schmitt
aka Agness Cabot, Guilde of St. Lawrence
Bristol Renaissance Faire
 
My arms are too short to box with God.  --Johnny Cash
*******************************************************************
 
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What have you been using to wash the red venetians with for the last 
three years? I'm asking, because I had the same sort of time-delay color 
run happen to me with an embroidered coif.  The background was white 
linen, and the embroidery on it was done in red silk and gold thread. 
About the 4th or 5th time it got washed, the red dye suddenly cut loose, 
and turned the fabric into a mess of mottled pink.  This was in the days 
of "before I knew better," so I'd been using Woolite to hand-wash it. 
Experts that I consulted said what had probably happened was that the 
serial washings (in the wrong stuff) had weakened the fiber/dye bonds 
successively, until they finally cut loose.  I thought it was ruined, 
but several soakings in Biz and a lot of prayer got almost all of it out 
(there's a *very* faint pink tinge to the linen).  Now, I'd wash it in 
something protein-fiber friendly (shampoo or one of the gentle wool 
washes or Orvus).  There's not much I can do with it to "set" the dye at 
this point, because of the nature of the embroidered beast <g>, but 
there might be for your husband's Venetians.  Synthrapol, maybe? Or 
salt? Or vinegar? The first place I'd probably look would be the Dharma 
Trading website, since they've got so many dyeing products for sale.....
--Sue

Rebecca Schmitt wrote:
> Actually, on the subject of crocking...
>  
> This year my husband's red wool venetians crocked/bled very badly onto his
> shirt and stockings during the run of Faire. Not unusual, you might say, red
> is notorious for not being a stable dye. However, this is the third year
> these venetians were worn, and neither of us recall any sort of difficulties
> with them before. The offending dye washed out of the other pieces of
> clothing without mishap, but I was wondering if anyone else had such an
> experience and if there is any way to try to "set" the dye into the wool at
> this point?

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To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] Sewing on the body...
Date: Fri, 16 Sep 2005 09:07:22 -0400
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Re too high temp and melt down,
When cotton/poly fabric first appeared, I made a very nice fullsleeved shirt
for the hero in "Arms and the Man".  At dress rehearsal, he climbed through
a window, coming in over a table that had a lighted candle on it.  Voila,
instant melt down which adhered to his arm.  End of rehearsal!...and off to
the ER. The next evening he appeared with a very realistic battle dressing
and the shirt did not get mended 'til way later, (and the candle of course
got repositioned).
I had lots of fun using all the newest fibers in the 1970's.  Some were just
great and some were all wrong! Since theater is often all about allusion,
and the budget was nil, the fun was in the experimentation to see how close
I could come to making the faux fabric look like the real thing.

Kathleen

----- Original Message ----- 
From: "Nancy Kiel" <nancy_kiel@hotmail.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, September 16, 2005 6:32 AM
Subject: Re: [h-cost] Sewing on the body...


Unless you iron garments at too high a temperature, and the fibers melt.....
  ----- Original Message ----- 
  From: aquazoo@patriot.net<mailto:aquazoo@patriot.net>
  To: Historical Costume<mailto:h-costume@indra.com>
  Sent: Wednesday, September 14, 2005 1:30 PM
  Subject: [h-cost] Sewing on the body...


  Denise said,
  > ahhh...so *that* is why the instructions that come with an iron actually
  > specify "Do Not Attempt to Iron Garments While Being Worn"!
  >
  > Silly me, I thought it was common sense safety...

       No, not at all, it's complete superstitious nonsense.  Elderly
  relatives will claim it causes huge blisters and worse, but there is
  no real cause & effect.  :-)

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Subject: Re: [h-cost] re: crocking was clothing superstitions
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> Rebecca Schmitt wrote:
<snip>
>> ...if there is any way to try to "set" the dye into the wool at
>> this point?

Give it a nice long soak in vinegar; it sets every dye I've tried on protein 
fibers.

In fact, several months ago I overdyed a huge batch of dyed lambskin fur, 
which had been dyed with a very un-wash-fast dye and which had to be 
absolutely soaked in dye to get the right color.  I dipped each skin in 
vinegar for about 5 seconds after dyeing it but before rinsing it, and then 
when I rinsed it the water was clear immediately!  (The vinegar smell rinsed 
out easily.) Most amazing thing I've seen whilst dyeing... test swatches 
without vinegar never did run clear.

-E House
(PS--yup, lambskin is generally washable, though it can shrink.  Very handy 
for lining your dresses, though!) 

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Subject: RE: [h-cost] re: crocking was clothing superstitions
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Can you take an eyedropper of vinegar and try to set the red silk?


-----Original Message-----
 There's not much I can do with it to "set" the dye at this point, because
of the nature of the embroidered beast <g>,


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Subject: Re: [h-cost] Sewing on the body...
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In a message dated 9/14/2005 7:25:14 P.M. Eastern Standard Time,  
aquazoo@patriot.net writes:

And I have also advised plenty of people that dry cleaners often have
a  tailor/seamstress on staff who can replace a broken zipper, etc.  




Ahhhhh, yes. But if you're on location in a swamp and the lead actors  zipper 
has broken, and the wardrobe trailer is up the hill...and the camera is  
waiting, it can get amusing...especially if you  forgot scissors and have  to bite 
the thread off.
 
Yes, this happened....
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Date: Fri, 16 Sep 2005 13:26:56 -0400 (EDT)
Subject: Re: [h-cost] Sewing on the body...
From: aquazoo@patriot.net
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>> aquazoo@patriot.net writes:
>>
>> And I have also advised plenty of people that dry cleaners often have
>> a  tailor/seamstress on staff who can replace a broken zipper, etc.
>
Albertcat said,
> Ahhhhh, yes. But if you're on location in a swamp and the lead actors
> zipper has broken, and the wardrobe trailer is up the hill...and the
> camera is waiting, it can get amusing...especially if you  forgot scissors
> and have to bite the thread off.
>
> Yes, this happened....


     The difference is, whether a costume about to go on stage or the
camera is running, it's very different from a co-worker asking for a
repair.  Wardrobe people are in the trenches and do what they must
do.  The boss situation can be more of a control or harassment of the
employee.  Repairing burst seams or broken zippers is not in the job
description.  :-)

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Subject: Re: [h-cost] lacing
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In a message dated 9/14/2005 6:31:03 A.M. Eastern Standard Time,  
Joannah@sluggy.net writes:

_http://homepage.mac.com/festive_attyre/research/earlyflor/3flor5.html_ 
(http://homepage.mac.com/festive_attyre/research/earlyflor/3flor5.htmlWhat) 
 
What a lovely portrait. It looks like the just looped the cord  over the 
cross above each time. And she seems to be wearing a watered  silk!
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Subject: Re: [h-cost] Sewing on the body...
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AlbertCat@aol.com wrote:

> Ahhhhh, yes. But if you're on location in a swamp and the lead actors  zipper 
> has broken, and the wardrobe trailer is up the hill...and the camera is  
> waiting, it can get amusing...especially if you  forgot scissors and have  to bite 
> the thread off.

Have you considered writing a book?  If "The Nanny Diaries" can be a 
bestseller, your stories should be, also!

-- 
Cynthia Virtue and/or Cynthia du Pre Argent

   "Such virtue hath my pen...."  -Shakespeare, Sonnet 81
        "I knew this wasn't _my_ pen!"  --Cynthia Virtue
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Subject: Re: [h-cost] Clothing superstitions (and theatre)
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In a message dated 9/14/2005 6:02:32 A.M. Eastern Standard Time,  
suzi@suziclarke.co.uk writes:

Just a  silly thing - my e-mail provider has queried the use of the 
phrase "the  fairies" as being a rude word - who programmes these 
things - have they  never heard of fairies with wings and  wands?

Suzi





For god's sake! Don't write anything about the "Owl and the  Pussycat"!
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Subject: [h-cost] How white should lace be?
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We are in the process of redoing the ruff for our "Suitable Gown for Her 
Majesty" (SGHM)  presentation at the Phoenix Art Museum in December.  We 
found some reasonable lace substitution (in form anyway) which is a 
light ivory.  I was wondering what the color range might have been in 
"white" lace in Elizabethan times.  I know some people were dying it 
yellow and blue (later on?) but I am more interested in the "white to 
neutral."

Also, forgive me if I repeat this question, but were there examples of 
gold or silver lace on ruffs?  Seems I have seen darker colors, but 
since I don't have great access to color pictures...I wonder what other 
knew.

Sg
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] re: crocking was clothing superstitions
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I hadn't thought of it.  Haven't actually used the coif in years, but if 
I do again, I may just soak it briefly in a vinegar rinse.
--Sue

otsisto wrote:
> Can you take an eyedropper of vinegar and try to set the red silk?
> 
> 
> -----Original Message-----
>  There's not much I can do with it to "set" the dye at this point, because
> of the nature of the embroidered beast <g>,
> 
> 
> _______________________________________________
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> h-costume@mail.indra.com
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From: "Elizabeth Walpole" <ewalpole@tpg.com.au>
To: "historic costume" <h-costume@indra.com>
Date: Sat, 17 Sep 2005 14:24:09 +1000
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Subject: [h-cost] Victorian/Edwardian mesh corsets,
	has anybody tried to make one?
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Hi everyone,
I was browsing ebay looking for cheap corsets (I've worked out that it's
cheaper to buy one of those off the rack satin corsets to rip apart for the
steels than to buy the bones by themselves) and I came across this corset
from c. 1904
http://cgi.ebay.com.au/Airy-c1904-Ladys-Summer-Corset_W0QQitemZ8334930447QQcategoryZ48865QQrdZ1QQcmdZViewItem
(http://snipurl.com/hqx7) I thought this use of mesh would help with some of
the complaints you often hear (e.g. 'corsets are too hot to wear in summer',
or 'It's too hot to wear that many layers. I'll bone the bodice instead')
and I wondered if anybody had experimented with using mesh as a corset
fabric and if so was the experiment successful? Any ideas on what sort of
fabrics available today would work for such a reproduction?
Elizabeth
--------------------------------------------
Elizabeth Walpole
Canberra Australia
ewalpole[at]tpg.com.au
http://au.geocities.com/e_walpole/

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From h-costume-bounces@indra.com  Sat Sep 17 01:43:41 2005
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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] How white should lace be?
Date: Sat, 17 Sep 2005 01:42:50 -0400
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On Friday 16 September 2005 2:02 pm, WickedFrau wrote:
> We are in the process of redoing the ruff for our "Suitable Gown for Her
> Majesty" (SGHM)  presentation at the Phoenix Art Museum in December.  We
> found some reasonable lace substitution (in form anyway) which is a
> light ivory.  I was wondering what the color range might have been in
> "white" lace in Elizabethan times.  I know some people were dying it
> yellow and blue (later on?) but I am more interested in the "white to
> neutral."

Not "dyeing" it yellow, blue, etc.  But using yellow, or blue colored starch 
preparations to starch them.


-- 
Cathy Raymond <cathy@thyrsus.com>

"So what if the universe is a pointless mass of hydrogen refuse powered by
entropy.  I'm spreading ketchup on a rubber duck, and after that I'm going
to brush its teeth.  So there."-- Rob Landley 
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Yes, you are correct...sloppiness on my part.

Sg

Catherine Olanich Raymond wrote:

>Not "dyeing" it yellow, blue, etc.  But using yellow, or blue colored starch 
>preparations to starch them.
>
>
>  
>
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From h-costume-bounces@indra.com  Sat Sep 17 11:44:20 2005
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: [h-cost] purse embroideries
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Hi the list,
My last note some time back caused a lot of different feelings, and i should 
not have posted that. No more political notes from me, sorry if i did heart 
somebody, but i was just conserned about all the poor people hit by the 
hurricane.
Ben buisy with embroidering more ladies purses, and i have 3 finished ones 
ready to go with me to Stockholm next friday. I go to 18th centurey ball 
next saturday, and 3 gustavian ladies ordered purses.
I love to make these things, and also because they are much quicker to make 
than costumes. Actually i have serious plans with this, and thoaght i wanted 
to make much more accessories for reenacters like aprons, stomachers, 
purses, pockets and the like.
Here is a link to the latest purses:
http://www.my-drewscostumes.dk/purseembroideries.htm

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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It's not just this corset. I've some across quite a number of references 
to mesh corsets from the late 1860s (when I was researching 
_Reconstruction Era Fashions_) through the rest of the 19th century.  I 
haven't tried to make one though.

Fran
Lavolta Press--Books on historic costuming
http://www.lavoltapress.com

Elizabeth Walpole wrote:

>Hi everyone,
>I was browsing ebay looking for cheap corsets (I've worked out that it's
>cheaper to buy one of those off the rack satin corsets to rip apart for the
>steels than to buy the bones by themselves) and I came across this corset
>from c. 1904
>http://cgi.ebay.com.au/Airy-c1904-Ladys-Summer-Corset_W0QQitemZ8334930447QQcategoryZ48865QQrdZ1QQcmdZViewItem
>(http://snipurl.com/hqx7) I thought this use of mesh would help with some of
>the complaints you often hear (e.g. 'corsets are too hot to wear in summer',
>or 'It's too hot to wear that many layers. I'll bone the bodice instead')
>and I wondered if anybody had experimented with using mesh as a corset
>fabric and if so was the experiment successful? Any ideas on what sort of
>fabrics available today would work for such a reproduction?
>Elizabeth
>
>  
>
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Date: Sat, 17 Sep 2005 10:40:36 -0700 (PDT)
From: Lalah <lalahcatlady@netscape.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] purse embroideries
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Do you ever get tired of hearing how wonderful your work is?  I
sure  hope  not,  because it makes me feel good just to look at
it.  Thanks for sharing!

Lalah, Never give up, Never surrender
--- "Bjarne og Leif Drews" <drewscph@post12.tele.dk> wrote:
From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
Date: Sat, 17 Sep 2005 17:43:35 +0200
To: <h-costume@indra.com>
Subject: [h-cost] purse embroideries
Hi the list,
My last note some time back caused a lot of different feelings,
and i should
not have posted that. No more political notes from me, sorry if
i did heart
somebody,  but  i  was just conserned about all the poor people
hit by the
hurricane.
Ben  buisy  with  embroidering more ladies purses, and i have 3
finished ones
ready  to  go  with  me  to Stockholm next friday. I go to 18th
centurey ball
next saturday, and 3 gustavian ladies ordered purses.
I  love  to  make  these things, and also because they are much
quicker to make
than  costumes.  Actually  i  have serious plans with this, and
thoaght i wanted
to  make  much  more  accessories  for  reenacters like aprons,
stomachers,
purses, pockets and the like.
Here is a link to the latest purses:
http://www.my-drewscostumes.dk/purseembroideries.htm
Bjarne
Leif og Bjarne Drews
www.my-drewscostumes.dk
http://home0.inet.tele.dk/drewscph/
_______________________________________________
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_____________________________________________________________
Netscape. Just the Net You Need.
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Bjarne, these are stunning! Thank you for sharing the pictures. I'm always
inspired by your embroidery.

I'm sure there's a market for the accessories, and a well made stomacher is
an amazing thing.

Once again, Thank you for sharing,

Bob Dorr--Robert of Stonemarche(SCA)

>>
> Ben buisy with embroidering more ladies purses, and i have 3 finished ones
> ready to go with me to Stockholm next friday. I go to 18th centurey ball
> next saturday, and 3 gustavian ladies ordered purses.
> I love to make these things, and also because they are much quicker to
make
> than costumes. Actually i have serious plans with this, and thoaght i
wanted
> to make much more accessories for reenacters like aprons, stomachers,
> purses, pockets and the like.
> Here is a link to the latest purses:
> http://www.my-drewscostumes.dk/purseembroideries.htm
>
> Bjarne


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Date: Sat, 17 Sep 2005 11:52:02 -0700
To: Historical Costume <h-costume@indra.com>
From: Chris Laning <claning@igc.org>
Subject: Re: [h-cost] How white should lace be?
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Catherine Olanich Raymond wrote:

>Not "dyeing" it yellow, blue, etc.  But using yellow, or blue 
>colored starch preparations to starch them.

I attended a fascinating workshop awhile back with someone who's been 
working with some of these colored period starches -- and she says 
that using the colored starch does, indeed, permanently color the 
cloth.

My educated guess on how white the lace should be is: as white as you 
can get it without modern "brighteners" -- the compounds added to 
modern detergents that reflect ultraviolet light and thus make whites 
look whiter. I believe that the fashion for "ecru" colored lace 
(ivory or tan) is a Victorian thing, intended to create an impression 
of age. There seems to be lots of evidence of Renaissance people 
expending a good deal of effort to make white linens actually as 
white as possible with the technology they had.
-- 
____________________________________________________________

O    Chris Laning <claning@igc.org>  -   Davis, California
+     http://paternoster-row.org - http://paternosters.blogspot.com
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Beautiful, Bjarne!
I love your work.
Michelle
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At 08:43 AM 9/17/2005, you wrote:
>Hi the list,
>My last note some time back caused a lot of different feelings, and 
>i should not have posted that. No more political notes from me, 
>sorry if i did heart somebody, but i was just conserned about all 
>the poor people hit by the hurricane.
>Ben buisy with embroidering more ladies purses, and i have 3 
>finished ones ready to go with me to Stockholm next friday. I go to 
>18th centurey ball next saturday, and 3 gustavian ladies ordered purses.
>I love to make these things, and also because they are much quicker 
>to make than costumes. Actually i have serious plans with this, and 
>thoaght i wanted to make much more accessories for reenacters like 
>aprons, stomachers, purses, pockets and the like.
>Here is a link to the latest purses:
>http://www.my-drewscostumes.dk/purseembroideries.htm
>
>Bjarne

Your purses are lovely.  And I think that your idea of making 
accessories is a good one.  I think it's a shame when someone in a 
lovely outfit shows up with really out-of-period accessories (or 
cheap imports that are almost, but not quite, correct) and ruins the look.

And thank you for posting pictures of your work.


Joan Jurancich
joanmj@surewest.net 

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References: <001701c5bb9e$9265f730$7c83fea9@CPQ21932199711>
Subject: Re: [h-cost] purse embroideries
Date: Sun, 18 Sep 2005 08:18:04 -0400
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The purses are Loverly!  Did you just gather the bottom, or are the gathers
set on a smaller circle?

Kathleen

----- Original Message ----- 
From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: <h-costume@indra.com>
Sent: Saturday, September 17, 2005 11:43 AM
Subject: [h-cost] purse embroideries


> Hi the list,
> My last note some time back caused a lot of different feelings, and i
should
> not have posted that. No more political notes from me, sorry if i did
heart
> somebody, but i was just conserned about all the poor people hit by the
> hurricane.
> Ben buisy with embroidering more ladies purses, and i have 3 finished ones
> ready to go with me to Stockholm next friday. I go to 18th centurey ball
> next saturday, and 3 gustavian ladies ordered purses.
> I love to make these things, and also because they are much quicker to
make
> than costumes. Actually i have serious plans with this, and thoaght i
wanted
> to make much more accessories for reenacters like aprons, stomachers,
> purses, pockets and the like.
> Here is a link to the latest purses:
> http://www.my-drewscostumes.dk/purseembroideries.htm
>
> Bjarne
>
>
>
>
>
> Leif og Bjarne Drews
> www.my-drewscostumes.dk
>
> http://home0.inet.tele.dk/drewscph/
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>

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From: Chris <emeraldepona@yahoo.com>
Subject: Re: [h-cost] purse embroideries
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So beautiful Bjarne!!!  Thank you SOmuch for sharing and as always, the inspiration to create.
 
Chris G.

: "Bjarne og Leif Drews" To: 
Sent: Saturday, September 17, 2005 11:43 AM
Subject: [h-cost] purse embroideries

> I love to make these things, and also because they are much quicker to
make
> than costumes. Actually i have serious plans with this, and thoaght i
wanted
> to make much more accessories for reenacters like aprons, stomachers,
> purses, pockets and the like.
> Here is a link to the latest purses:
> http://www.my-drewscostumes.dk/purseembroideries.htm
>
> Bjarne

		
---------------------------------
Yahoo! for Good
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----- Original Message ----- 
From: "Lloyd Mitchell" <rmitchell@washjeff.edu>
To: "Historical Costume" <h-costume@indra.com>
Sent: Sunday, September 18, 2005 2:18 PM
Subject: Re: [h-cost] purse embroideries


> The purses are Loverly!  Did you just gather the bottom, or are the 
> gathers
> set on a smaller circle?
>
> Kathleen


Hi Kathleen,
I have cartridge pleated the bottom and then i have sewed all the pleats 
together like a star.
You are right that some have a little covered cirkle in the bottom, and i 
still have a lot to learn in making them like the old ones. I have found a 
book on Amazon com that has some examples and i want that book.
Also i have to find out how to make renaissance purses two, because i want 
to make Elizabethan two.
Thanks for all your positive feed backs, i always feels good when people 
like what i do.
I also got a permission order to make a belt pouch from late 1500 with a 
family crest with 3 lions in silver, this is something i will start to make 
after the dress i make has finished.
Does anyone have any links to late 1500 belt pouches?
I would like to see some examples...........

Bjarne 


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Bjarne og Leif Drews wrote:
> I also got a permission order to make a belt pouch from late 1500 with a 
> family crest with 3 lions in silver, this is something i will start to 
> make after the dress i make has finished.
> Does anyone have any links to late 1500 belt pouches?

There's some 1400 ones in Boucher, but that's too early.  You might want 
to look at the museum they're in though; who knows, they might be part 
of a purse collection.

I've got a picture near the bottom of 
http://www.virtue.to/articles/extant.html

and my notes say "New York Metropolitan Museum" which I expect means the 
Met, these days.  The Met has a lot of images online in their image bank.

-- 
Cynthia Virtue and/or Cynthia du Pre Argent

To his credit, President Bush did respond quickly and he did send troops 
as son as he found out that Louisiana had oil. -- Jay Leno
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Greetings once again,

Has anyone ever purchased some of this velvet? I have
found it at http://www.minidolls.com/silk.shtml and it
answers all my needs for a project I have had in mind
for a while. Said project is based on the "Portrait of
 Soldier" (Giovanni Moroni,  c1557, Museo del Prado ,
Madrid http://www.wga.hu/art/m/moroni/port_sol.jpg)
painting. I had brought this painting up in a
discussion a short while ago. I had always envisioned
the doublet in changeable velvet, and now I have found
it. problem is, I have no evidence that this variety
of velvet existed at the time of this painting. I
would hazard it did; cut velvets with contrasting
patterns suggest it was woven in this way - I would
*really* like to see an extant scrap from somewhere in
Europe that said yes, they did it. Has anyone seen
anything like this anywhere?
I've already ordered a yard of it in order to mess
around with it a bit and see what I can pull out of my
hat in terms of creative use. Im going to check my
discharge acid directions to see if I could use that
to make cut velvet jaquard from this stuff. Otherwise,
it's hand cutting - eep!

Kathy

It’s never too late to be who you might have been.
-George Eliot
English is essentially Pictish that was attacked out of nowhere by Angles cohabiting with Teutons who were done in by a drunk bunch of Vikings masquerading as Frenchmen who insisted they spoke Latin and Greek but lacked the Arabic in which to convey that.
-Bill Hammel


	

	
		
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From h-costume-bounces@indra.com  Sun Sep 18 15:30:57 2005
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From: "otsisto" <otsisto@socket.net>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] purse embroideries, 1500s
Date: Sun, 18 Sep 2005 14:30:30 -0500
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Note: there is a slight variance in style depending on the country it is
from and whether it is early or late 1500s.
Portraits and prints of the period are the only thing I can think of right
now.
I know I've seen online extent purses of the period but my brain isn't work
real well due to illness.

De


-----Original Message-----
Bjarne og Leif Drews wrote:
> I also got a permission order to make a belt pouch from late 1500 with a
> family crest with 3 lions in silver, this is something i will start to
> make after the dress i make has finished.
> Does anyone have any links to late 1500 belt pouches?

There's some 1400 ones in Boucher, but that's too early.  You might want
to look at the museum they're in though; who knows, they might be part
of a purse collection.

I've got a picture near the bottom of
http://www.virtue.to/articles/extant.html

and my notes say "New York Metropolitan Museum" which I expect means the
Met, these days.  The Met has a lot of images online in their image bank.

--
Cynthia Virtue and/or Cynthia du Pre Argent



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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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I am most ashamed. I think i have made a big mistake here. There is not talk 
about late 16.th century style of pouches but late 1400.
I am so sorry about this,
Late 15th century burgundian style.

Bjarne who has duck'ed and covered.........






Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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To: Historical Costume <h-costume@indra.com>
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Subject: Re: [h-cost] Two-toned Silk Velvet
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At 11:45 AM 9/18/2005, you wrote:
>I had always envisioned
>the doublet in changeable velvet, and now I have found
>it. problem is, I have no evidence that this variety
>of velvet existed at the time of this painting. I
>would hazard it did; cut velvets with contrasting
>patterns suggest it was woven in this way - I would
>*really* like to see an extant scrap from somewhere in
>Europe that said yes, they did it. Has anyone seen
>anything like this anywhere?


 From Queen Elizabeth's Wardrobe Unlock'd, pg 362.
"Changeable, Chaungeable: Obsolete term for shot silk, usually taffeta; the 
warp and weft of different colors change the appearance of the silk, giving 
an iridescent effect: mockado, p. 105; S, f.53v/114, f.69/63"

Definitely available then in my book. I love how it looks in the sun, and 
have often wanted some myself in velvet, although I am currently smitten by 
a lovely Burgundy/Black changeable taffeta that I recently bought, and will 
be making into a pleated tall hat.

Kimiko


Kimiko Small

~~~~~~~~~~~~~~~~~~~~
"The things that will destroy America are prosperity at any price, safety 
first instead of duty first, a love of soft living and the get-rich-quick 
theory of life. This country will not be a permanently good place for any 
of us to live unless it is a good place for all of us to live." ~ Teddy 
Roosevelt.
~~~~~~~~~~~~~~~~~~~~

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Subject: Re: [h-cost] purse embroideries
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Museum of Bags and Purses:
http://www.museumofbagsandpurses.com/eng_collection.html
Amazon link to a book (couldn't find on Amazon UK, sorry):
http://www.amazon.com/exec/obidos/tg/detail/-/0713437723/ 
qid=1103676887/sr=1-3/ref=sr_1_3/102-2512588-2239316?v=glance&s=books
V&A search engine:
http://images.vam.ac.uk/ixbin/hixclient.exe?_IXSESSION_=&submit- 
button=search&search-form=main/index.html
Plug in "purse" and it comes back with some great images.

Hope it helps!
Laurie

On Sunday, September 18, 2005, at 02:00 PM, h-costume-request@indra.com  
wrote:

>
> Hi Kathleen,
> I have cartridge pleated the bottom and then i have sewed all the  
> pleats
> together like a star.
> You are right that some have a little covered cirkle in the bottom,  
> and i
> still have a lot to learn in making them like the old ones. I have  
> found a
> book on Amazon com that has some examples and i want that book.
> Also i have to find out how to make renaissance purses two, because i  
> want
> to make Elizabethan two.
> Thanks for all your positive feed backs, i always feels good when  
> people
> like what i do.
> I also got a permission order to make a belt pouch from late 1500 with  
> a
> family crest with 3 lions in silver, this is something i will start to  
> make
> after the dress i make has finished.
> Does anyone have any links to late 1500 belt pouches?
> I would like to see some examples...........
>
> Bjarne
>

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I made a linen apron last week and trimmed it with a remnant of the simple lace that I had used on my coif and neckerchief. Wearing them together on Sunday, I noticed that the lace on the apron was ecru but that on the older garments had faded to white with repeated washing. I've never bothered about not washing with modern detergents on the grounds that, as Chris says, people in "my" period would have wanted their linen as white as possible.

Kate Bunting
Librarian and 17th century reenactor

>>> claning@igc.org 17/09/2005 19:52 >>> wrote:

My educated guess on how white the lace should be is: as white as you 
can get it without modern "brighteners" -- the compounds added to 
modern detergents that reflect ultraviolet light and thus make whites 
look whiter. I believe that the fashion for "ecru" colored lace 
(ivory or tan) is a Victorian thing, intended to create an impression 
of age. There seems to be lots of evidence of Renaissance people 
expending a good deal of effort to make white linens actually as 
white as possible with the technology they had.
-- 
____________________________________________________________

O    Chris Laning <claning@igc.org>  -   Davis, California
+     http://paternoster-row.org - http://paternosters.blogspot.com 
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Recently while digging through the old _Catalogue of the Collection of 
London Antiquities in the Guildhall Museum._ London. 1908, I found pictures 
of several scraps of leather Jerkins (It looks like there are pieces from at 
least three jerkins).  Has anyone ever published anything on these?  I can't 
find anything in the stuff I have available, but I don't have any indexes to 
most of the costuming journals.

The catalog doesn't have much information - what there is I've extracted to 
here: 
http://www.personal.utulsa.edu/~marc-carlson/histshoe/guildhallcat/index.htm

Marc


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I want to try making a fan (18th-19th century style as opposed to 
renaissance style) but I don't know where to get the base. I'm not even 
sure what to call it, but the individual "sticks" are called ribs, I think. 
I tried googling "fan base" fan ribs" "fan set" and a couple of other 
combinations without any luck.

Can anyone help me with what the proper term is for this item? And if 
anyone can point me towards websites that might carry this, I'd be very 
grateful.

Thanks,
Julie

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Subject: Re: [h-cost] Odd Jerkin question...
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In a message dated 9/19/2005 2:36:59 P.M. Eastern Standard Time,  
marccarlson20@hotmail.com writes:

I found  pictures 
of several scraps of leather Jerkins 


Interesting.
Well, there's no doubt on how to cut the pattern. But how do they know  
they're Jerkins and not Doublets? That's what I Anna  know....
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Lovely find, Marc. I don't recall anything off the top... but I'll
certainly keep it in mind.
Mari / Bridgette

On 9/19/05, Marc Carlson <marccarlson20@hotmail.com> wrote:
> Recently while digging through the old _Catalogue of the Collection of
> London Antiquities in the Guildhall Museum._ London. 1908, I found pictures
> of several scraps of leather Jerkins (It looks like there are pieces from at
> least three jerkins).  Has anyone ever published anything on these?  I can't
> find anything in the stuff I have available, but I don't have any indexes to
> most of the costuming journals.
> 
> The catalog doesn't have much information - what there is I've extracted to
> here:
> http://www.personal.utulsa.edu/~marc-carlson/histshoe/guildhallcat/index.htm
> 
> Marc

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I held a class on making a mid-19th century fan last year. We used original fans 
that had their covers destroyed. A friend and I picked them up at flea markets and 
antique sales for a few dollars each; sometimes we paid less than a dollar. In 
several instances we were able to salvage original metal spangles for reuse. I also 
found some good sticks at oriental gift shops; we just removed the modern paper or 
imitation silk covers. 

Carolann Schmitt
cschmitt@genteelarts.com
www.genteelarts.com
Ladies & Gentlemen of the 1860s Conference, March 2 -5, 2006



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Date: Mon, 19 Sep 2005 20:05:17 +0100
To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] making a fan
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At 19:48 19/09/2005, you wrote:
>I want to try making a fan (18th-19th century style as opposed to 
>renaissance style) but I don't know where to get the base. I'm not 
>even sure what to call it, but the individual "sticks" are called 
>ribs, I think. I tried googling "fan base" fan ribs" "fan set" and a 
>couple of other combinations without any luck.
>
>Can anyone help me with what the proper term is for this item? And 
>if anyone can point me towards websites that might carry this, I'd 
>be very grateful.


I thought they were called "sticks". Try contacting the Fan Museum in 
Greenwich - they may be able to help.

http://www.fan-museum.org/

Suzi


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Hi,
They are called fan sticks. Try to search for it at lace materials dealers. 
Lacis have some made of bamboo for 30 dollars.

Bjarne

----- Original Message ----- 
From: <Kiloran@worldnet.att.net>
To: <h-costume@indra.com>
Sent: Monday, September 19, 2005 8:48 PM
Subject: [h-cost] making a fan


>I want to try making a fan (18th-19th century style as opposed to 
>renaissance style) but I don't know where to get the base. I'm not even 
>sure what to call it, but the individual "sticks" are called ribs, I think. 
>I tried googling "fan base" fan ribs" "fan set" and a couple of other 
>combinations without any luck.
>
> Can anyone help me with what the proper term is for this item? And if 
> anyone can point me towards websites that might carry this, I'd be very 
> grateful.
>
> Thanks,
> Julie
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 


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You could search eBay for antique fans in poor condition and recover them.

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

Kiloran@worldnet.att.net wrote:

>
> Can anyone help me with what the proper term is for this item? And if 
> anyone can point me towards websites that might carry this, I'd be 
> very grateful.
>
> Thanks,
> Julie
>
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From: Kathy Page <caitlin_oduibhir@yahoo.ca>
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Subject: [h-cost] Re: Two-toned Silk Velvet
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Thanks for the look up Kimiko.

Upon doing some more research on this fabric I have
come to find it's referred to at least modernly, as
Nacre Velvet, occasionally as cross weave or cross
dye. In this case, the ground yarns, often a twill or
tabby weave, or if very luxurious, a satin weave, is a
different colour from the pile yarns. When the velvet
moves and the pile opens up, the ground weave shows
through giving a pearlescent appearance thus the
reference to the nacre layers of a pearl. I can't find
any history on this whatsoever. I know that shot
fabrics existed, but this is a slightly different
kettle of fish. Given those references, does it ring
any more bells?

Kathy

>  From Queen Elizabeth's Wardrobe Unlock'd, pg 362.
> "Changeable, Chaungeable: Obsolete term for shot
> silk, usually taffeta; the 
> warp and weft of different colors change the
> appearance of the silk, giving 
> an iridescent effect: mockado, p. 105; S, f.53v/114,
> f.69/63"

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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] making a fan
Date: Mon, 19 Sep 2005 21:09:24 +0000
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Dharma Trading 
http://www.dharmatrading.com

has plain white silk fans on bamboo frames:

http://www.dharmatrading.com/html/eng/1669-AA.shtml

for $4.95

You could either embellish the silk or cover it, or probably remove and replace it. 

They also carry white silk paddle fans:
http://www.dharmatrading.com/html/eng/1539963-AA.shtml

but a) they are out of stock and b) I don't think the paddles are period for 18th/19th century.

Good luck with your project.
Lauren


> I want to try making a fan (18th-19th century style as opposed to 
> renaissance style) but I don't know where to get the base. I'm not even 
> sure what to call it, but the individual "sticks" are called ribs, I think. 
> I tried googling "fan base" fan ribs" "fan set" and a couple of other 
> combinations without any luck.
> 
> Can anyone help me with what the proper term is for this item? And if 
> anyone can point me towards websites that might carry this, I'd be very 
> grateful.
> 
> Thanks,
> Julie
> 
> _______________________________________________
> 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] making a fan
Date: Mon, 19 Sep 2005 21:14:29 +0000
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I picked up the sticks for the fan I'm making at:
www.displaycostume.com
the company is here in Seattle but they do website orders and will ship.
Good Luck
Molly
-------------- Original message -------------- 

> I want to try making a fan (18th-19th century style as opposed to 
> renaissance style) but I don't know where to get the base. I'm not even 
> sure what to call it, but the individual "sticks" are called ribs, I think. 
> I tried googling "fan base" fan ribs" "fan set" and a couple of other 
> combinations without any luck. 
> 
> Can anyone help me with what the proper term is for this item? And if 
> anyone can point me towards websites that might carry this, I'd be very 
> grateful. 
> 
> Thanks, 
> Julie 
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Date: Mon, 19 Sep 2005 15:15:08 -0700
To: Historical Costume <h-costume@indra.com>
From: Joan Jurancich <joanmj@surewest.net>
Subject: Re: [h-cost] making a fan
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Did you get the maribou fan?  That's the only folding fan I found on 
the web site.
Joan

At 02:14 PM 9/19/2005, you wrote:
>I picked up the sticks for the fan I'm making at:
>www.displaycostume.com
>the company is here in Seattle but they do website orders and will ship.
>Good Luck
>Molly
>-------------- Original message --------------
>
> > I want to try making a fan (18th-19th century style as opposed to
> > renaissance style) but I don't know where to get the base. I'm not even
> > sure what to call it, but the individual "sticks" are called 
> ribs, I think.
> > I tried googling "fan base" fan ribs" "fan set" and a couple of other
> > combinations without any luck.
> >
> > Can anyone help me with what the proper term is for this item? And if
> > anyone can point me towards websites that might carry this, I'd be very
> > grateful.
> >
> > Thanks,
> > Julie
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
>http://mail.indra.com/mailman/listinfo/h-costume

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From: Bella <bella_lucia_da_verona@yahoo.com.au>
Subject: Re: [h-cost] Re: Two-toned Silk Velvet
To: Historical Costume <h-costume@indra.com>
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Kathy, the closest I could find to a 'changeable' velvet in history is something called chameleon velvet:
 
"This is a velvet with an iridescent effect: the pile appears to be of two different colours, depending on the angle from which one looks at it. Of course, the manufacture makes use of two different pile warps in different colours and a special system of weaving. This was in fashion for men's and women's clothing from 1842 until 1846."
 
(Orsi Landini, R. and Redaelli, A. "Techniques and Types of Velvet" in Velvet: History Techniques Fashions, p 191. Ed Fabrizio de Marinis. Idea Books, NY 1994 Eng. Version)
 
 
 
Bella


 

Send instant messages to your online friends http://au.messenger.yahoo.com 
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Subject: [h-cost] Bridal lace on the cheap?
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Greetings to the list,

I am a lurker but I find I am in need of some input for much more informed minds then mine.

A local young lady has asked me to help her make 7 bridesmaids dresses, no problem. But she want dusty rose lace overlays on the dresses. 
Where can I find such a creature that doesnt cost an arm and a leg?  She would prefer more of an open lace like an embroidered tulle  or something that doesnt 'have all of the flowers crammed together'.   I think she is looking in the range of $10. yard or less.

Does anyone have any idea where I can find anything close to this?

Thanks for your time,

Lyonet      who generally does dresses from the 15+16 century not the 21st.
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In a message dated 9/19/2005 5:17:36 P.M. Eastern Standard Time,  
rampant_peacock@comcast.net writes:

www.displaycostume.com



I love the "Crime Family" on the home page. Is that a political  
commentary????
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Hi, Marc. I believe the Guildhall Museum collection was incorporated 
into that of the City Museum (Museum of London). If that is the case, 
the leather jerkin that they currently have on display might be part of 
the same finds or possibly incorporated from the pieces you show. I 
would send a note to the Curator or Collections Manager (I can't 
remember her name, but she is very helpful with such things) to find 
out. Perhaps after they acquired a complete jerkin they took the pieces 
off exhibit. Of course, the pics come from 1908, so they might have been 
lost in the Blitz. I think the old Guildhall Museum was only a few 
blocks from the river and the docks. Sorry I don't know more. Mike T.


> .  Has anyone ever published anything on these?  I can't find anything 
> in the stuff I have available, but I don't have any indexes to most of 
> the costuming journals.
>
>
>
>
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Subject: [h-cost] RE: Odd Jerkin question...
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>From: michael tartaglio <mikes@dandy.net>
>Hi, Marc. I believe the Guildhall Museum collection was incorporated
>into that of the City Museum (Museum of London). If that is the case,
>the leather jerkin that they currently have on display might be part of
>the same finds or possibly incorporated from the pieces you show. I
>would send a note to the Curator or Collections Manager (I can't
>remember her name, but she is very helpful with such things) to find
>out. Perhaps after they acquired a complete jerkin they took the pieces
>off exhibit. Of course, the pics come from 1908, so they might have been
>lost in the Blitz. I think the old Guildhall Museum was only a few
>blocks from the river and the docks. Sorry I don't know more. Mike T.

I believe you are right about the merging of the museums (in 1973?).  If you 
wouldn't mind, I'd appreciate it.  I wouldn't be surprised if the pieces 
didn't survive the Blitz, although I've been corresponding with the various 
museums about their old shoes, and a lot of those do seem to have survived 
(although some of them don't seem to be in the same condition they were a 
century ago).

Thank you.

Marc


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Subject: Re: [h-cost] Bridal lace on the cheap?
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mischele1 wrote:
> Greetings to the list,
> 
> I am a lurker but I find I am in need of some input for much more informed minds then mine.
> 
> A local young lady has asked me to help her make 7 bridesmaids dresses, no problem. But she want dusty rose lace overlays on the dresses. 
> Where can I find such a creature that doesnt cost an arm and a leg?  She would prefer more of an open lace like an embroidered tulle  or something that doesnt 'have all of the flowers crammed together'.   I think she is looking in the range of $10. yard or less.
> 
> Does anyone have any idea where I can find anything close to this?

ebay, I bought seven yards and 12 yards, less than two dollars a yard.

depending on width, and desireability.   KItty   type in Bridal lace


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At 04:22 20/09/2005, you wrote:
>Hi, Marc. I believe the Guildhall Museum collection was incorporated 
>into that of the City Museum (Museum of London). If that is the 
>case, the leather jerkin that they currently have on display might 
>be part of the same finds or possibly incorporated from the pieces 
>you show. I would send a note to the Curator or Collections Manager 
>(I can't remember her name, but she is very helpful with such 
>things) to find out. Perhaps after they acquired a complete jerkin 
>they took the pieces off exhibit. Of course, the pics come from 
>1908, so they might have been lost in the Blitz. I think the old 
>Guildhall Museum was only a few blocks from the river and the docks. 
>Sorry I don't know more. Mike T.
>
>
>>.  Has anyone ever published anything on these?  I can't find 
>>anything in the stuff I have available, but I don't have any 
>>indexes to most of the costuming journals.


The leather jerkin that is usually on display is currently in store 
as there is a new medieval gallery (400AD  - 1558AD) opening in late 
October or early November.  I do not believe that this leather jerkin 
has been put together from fragments, but was a whole jerkin, 
although the fabric is similar. It seems too complete to have been so 
assembled.

The lady who I have been talking with is Meriel Jeater - who is the 
Deputy Curator, Department of Early London History and Collections. I 
should war you they are *very* busy right now!

Suzi


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Date: Tue, 20 Sep 2005 01:47:10 -0500
To: Historical Costume <h-costume@indra.com>
From: Danielle Nunn-Weinberg <dannw@mn.rr.com>
Subject: Re: [h-cost] making a fan
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Hi,

I did a quick search on fan sticks and came up with:
http://lace.lacefairy.com/Fans/Fansticks.html

It has a section:
Sources of Fansticks
Springetts - <mailto:sales@springetts.com>sales@springetts.com
Ann Keller- <http://www.annkeller.com/>http://www.annkeller.com/
Malcolm Cox-FANSTICKS - 
<http://www.connect.ie/users/mcox/>http://www.connect.ie/users/mcox/
Aebi's Woodworking (Lafayette IN) <mailto:johnaebi@msn.com>johnaebi@msn.com

I've searched for them myself in the past and only found them in 
connection with lace making.  Good luck.

Cheers,
Danielle

At 01:48 PM 9/19/2005, you wrote:
>I want to try making a fan (18th-19th century style as opposed to 
>renaissance style) but I don't know where to get the base. I'm not 
>even sure what to call it, but the individual "sticks" are called 
>ribs, I think. I tried googling "fan base" fan ribs" "fan set" and a 
>couple of other combinations without any luck.
>
>Can anyone help me with what the proper term is for this item? And 
>if anyone can point me towards websites that might carry this, I'd 
>be very grateful.
>
>Thanks,
>Julie
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Subject: [h-cost] A New Programme to watch out for - "Elizabeth"
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This is made by Channel 4 for British TV but will no doubt make its 
way elsewhere. Helen Mirren plays Elizabeth in the years after the 
Armada to her death, and the advisor was the historian David Starkey. 
After praising its authenticity in an article in the "Radio Times" a 
tv listings magazine, he then proceeds to list at least 5 anomalies. 
I quote "David Starkey explains why, sometimes, artistic licence is 
better for drama than authenticity." (Says who?)

The interest for us will no doubt be the costumes. Well, I'm getting 
my b*tch in first. Helen Mirren is posing with Jeremy Irons (great so 
far) in a gown that has seams which curve into the armhole.  And the 
underskirt is an embroidered dupion which is extraordinarily like 
18th century flower embroidery. (I used it for my 18th century bride 
recently.) The braid is a braid I buy in a local shop, and would 
never have considered for Elizabeth - far too plain. There is a 
"collar of glass jewels and pheasant feathers in which Helen Mirren 
gives Queen Elizabeth's Armada speech". I will no doubt watch, as I 
adore Jeremy Irons, but I don't anticipate much joy from the costumes.

I spend a lot of time working to get things looking as near accurate 
as I can for my customers, but really, sometimes I wonder why I bother.

Suzi


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Subject: [h-cost] making a fan
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Hi, Julie!  :)

I carry bamboo fan frames on my website:
http://sapphireandsage.com/alacarte.html

They're at the very bottom of the page.  If you have any questions, just 
ask!  :)

 ~Rhonda
Sapphire & Sage - Renaissance Jewelry & Accessories
((¸¸.·' ...·' -:¦:- www.sapphireandsage.com
-:¦:- ((¸¸..·'*
For website updates and special offers, subscribe to the Sapphire & Sage 
Newsletter:
http://groups.yahoo.com/group/sapphireandsage/

¤º°`°º¤ø,¸¸,ø¤º°`°º¤ø¤º°`°º¤ø,¸¸,ø¤º°`°º¤ø¤º°`°º¤ø,¸¸,ø¤º°`°º¤



> Message: 2
> Date: Mon, 19 Sep 2005 11:48:58 -0700
> From: Kiloran@worldnet.att.net
> Subject: [h-cost] making a fan

> I want to try making a fan.   (snip)
> Can anyone help me with what the proper term is for this item? And if
> anyone can point me towards websites that might carry this, I'd be very
> grateful.

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From: Kathy Page <caitlin_oduibhir@yahoo.ca>
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Subject: [h-cost] Re: Two-toned Silk Velvet
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Thanks Bella, that sounds like a close relative for
sure. I don't suppose the book mentions how cut velvet
with a contrasting colour backing was made? That would
imply it existed, just not put to use uncut. Then at
least I could justify the use of it for embossing or
jaquard.

Kathy

> Kathy, the closest I could find to a 'changeable'
> velvet in history is something called chameleon
> velvet:
>  
> "This is a velvet with an iridescent effect: the
> pile appears to be of two different colours,
> depending on the angle from which one looks at it.
> Of course, the manufacture makes use of two
> different pile warps in different colours and a
> special system of weaving. This was in fashion for
> men's and women's clothing from 1842 until 1846."
>  
> (Orsi Landini, R. and Redaelli, A. "Techniques and
> Types of Velvet" in Velvet: History Techniques
> Fashions, p 191. Ed Fabrizio de Marinis. Idea Books,
> NY 1994 Eng. Version)

It’s never too late to be who you might have been.
-George Eliot
English is essentially Pictish that was attacked out of nowhere by Angles cohabiting with Teutons who were done in by a drunk bunch of Vikings masquerading as Frenchmen who insisted they spoke Latin and Greek but lacked the Arabic in which to convey that.
-Bill Hammel


	

	
		
__________________________________________________________ 
Find your next car at http://autos.yahoo.ca
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Also, you can find bamboo and plastic sticks (also called fan staves)

http://www.featherplace.com/ic/fp/BBSTAVES.html

-Irmgart
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Subject: [h-cost] Dressing Santa Claus
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Okay, this may seem like the wrong time of year for this question, but I'm making a bunch of Santa dolls for a craft show in November, and I got to wondering what kind of garment Santa's traditional costume is supposed to be? You know, the one that was made popular by the early 20th Century Coca-Cola ads. I know Santa became really popular for the first time in the 1880s or so, but who invented his get-up? Did anyone ever really dress like that, or is it a Victorian concoction? 
 
My Santas, for what it's worth, will be dressed in mid-19th Century waistcoats and jackets, mainly because I have some cool brocade I want to use on the waistcoats.
 
Tea Rose
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Date: Tue, 20 Sep 2005 18:08:22 EDT
Subject: Re: [h-cost] A New Programme to watch out for - "Elizabeth
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In a message dated 9/20/05 7:06:15 PM GMT Daylight Time, 
h-costume-request@indra.com writes:

> I spend a lot of time working to get things looking as near accurate 
> as I can for my customers, but really, sometimes I wonder why I bother.
> 
> Suzi
> 

God, I know that feeling!!!

Debbie
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Subject: Re: [h-cost] Dressing Santa Claus
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tearoses@aol.com wrote:

> what kind of garment Santa's traditional costume is supposed to be? You know, the one that was made popular by the early 20th Century Coca-Cola ads. 

Interesting question.

http://www.dovercards.com/_images/0486236609_46_Thomas%2520Nast_Santa%2520at%2520Chimney.jpg

This is a Nast Santa, and it looks like he's in longjohns.


http://www.sonofthesouth.net/Thomas_Nast/Original_Santa_Claus.jpg

Another Nast Santa, from 1865, he's in striped pants, a fur lined jacket 
with stars on it, and some kind of cap, but it still doesn't look like 
1865 fashion. The image is heavily political, the stars and stripes are 
obviously iconic.


http://www.adclassix.com/images54cokesanta.jpg

This is a Coca-Cola Santa from 1954... and you're right. What the heck 
is the suit supposed to be? It's not a 1954 men's fashion, is it?


And why red?



Dawn





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Subject: [h-cost] House of Elliot
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I have a six-tape set of the BBC series _The House of Elliot_.  There is 
a DVD set out advertised as "series one" and just lately, a second DVD 
set (I think currently exclusively available from Acorn Media) 
advertised as "series two."  Does anyone with knowledge of both the tape 
set and the first DVD series (and/or the original BBC showings) know 
whether this second DVD set has different material from the tapes?  Or 
whether they just chose to remaster the tapes over two DVD packages 
instead of one?  I have not found any reviews or listings that clarify 
this point.

_The House of Elliot_ is not much on intellectual content, but it's got 
great clothes.  For those who don't know, it's about two fictional 
sisters who started a couture house in the 1920s.

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

>  
>
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From: Adele de Maisieres <ladyadele@paradise.net.nz>
Subject: Re: [h-cost] House of Elliot
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Lavolta Press wrote:
> I have a six-tape set of the BBC series _The House of Elliot_.  There 
> is a DVD set out advertised as "series one" and just lately, a second 
> DVD set (I think currently exclusively available from Acorn Media) 
> advertised as "series two."  Does anyone with knowledge of both the 
> tape set and the first DVD series (and/or the original BBC showings) 
> know whether this second DVD set has different material from the 
> tapes?  Or whether they just chose to remaster the tapes over two DVD 
> packages instead of one?  I have not found any reviews or listings 
> that clarify this point.
>
> _The House of Elliot_ is not much on intellectual content, but it's 
> got great clothes.  For those who don't know, it's about two fictional 
> sisters who started a couture house in the 1920s.
>
"Series One" is the first twelve episodes and "Series Two" is the next 
twelve(?).

-- 
Adele de Maisieres

-----------------------------
Habeo metrum - musicamque,
hominem meam. Expectat alium quid?
-Georgeus Gershwinus
----------------------------- 

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Subject: [h-cost] re: making a fan
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>From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
>They are called fan sticks. Try to search for it at lace materials dealers.
>Lacis have some made of bamboo for 30 dollars.

The obvious follow up question is: what glue do you use? Presumeably
this differs as the fan & stick combination of materials changes.  I
have a set of turn-of-the-previous-century ivory sticks with the
junkiest piece of plastic lace in place of the proper silk.  (A found
object - I'm innocent!)

--cin
Cynthia Barnes
CinBarnes@gmail.com

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Well, when a mummy science fiction fan loves a daddy science fiction fan . . .


-C.



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This email was sent from Netspace Webmail: http://www.netspace.net.au

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Subject: [h-cost] Re: Guildhall Museum Medieval Gallery (was Odd Jerkin
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> From: Suzi Clarke <suzi@suziclarke.co.uk>
> Re: [h-cost] Odd Jerkin question...
> 
>...the Guildhall Museum collection was incorporated 
> >into that of the City Museum (Museum of London)... 
> 
> The leather jerkin that is usually on display is
> currently in store 
> as there is a new medieval gallery (400AD  - 1558AD)
> opening in late 
> October or early November......
> 
> Suzi

Is this going to be a permanent display or a temporary
one, and if temporary, any idea how long it will be on
display?

Thanks,
Annette M



		
__________________________________ 
Yahoo! Mail - PC Magazine Editors' Choice 2005 
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Subject: Re: [h-cost] re: making a fan
Date: Tue, 20 Sep 2005 23:55:44 -0400
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I can tell you from my goof-up... don't use super glue on a fan.  I did this 
to an antique fan, and permanently glued the whole fan in a closed position. 
GRRRR... I guess we live and learn.

Penny E. Ladnier
Owner,
The Costume Gallery, www.costumegallery.com
Costume Classroom, www.costumeclassroom.com
Costume Research Library, www.costumelibrary.com

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We talked a while back about airfares from the U.S. to Europe. I promised I would let people know when the fares started dropping again. I just received these fares from United Airlines Newsletter:

Sample fares are for travel beginning September 26 through September 29, 2005 and returning October 3 through October 6, 2005. Additional taxes and fees apply.*

      From: To: Roundtrip: 
      Chicago (ORD) London, England (LHR) $500 
      New York City (JFK) London, England (LHR) $404 
      Washington, D.C. (IAD) Amsterdam, Netherlands (AMS) $558 


At one point last February, you could fly from DC to London for $175 roundtrip.

Penny E. Ladnier
Owner,
The Costume Gallery, www.costumegallery.com
Costume Classroom, www.costumeclassroom.com
Costume Research Library, www.costumelibrary.com
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To: Historical Costume <h-costume@indra.com>
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Subject: [h-cost] Museum of London new Medieval Gallery (was Guildhall Museum
 Medieval Gallery)
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At 04:41 21/09/2005, you wrote:
> > From: Suzi Clarke <suzi@suziclarke.co.uk>
> > Re: [h-cost] Odd Jerkin question...
> >
> >...the Guildhall Museum collection was incorporated
> > >into that of the City Museum (Museum of London)...
> >
> > The leather jerkin that is usually on display is
> > currently in store
> > as there is a new medieval gallery (400AD  - 1558AD)
> > opening in late
> > October or early November......
> >
> > Suzi
>
>Is this going to be a permanent display or a temporary
>one, and if temporary, any idea how long it will be on
>display?


As far as I know, the new Medieval Gallery is permanent. The 
exhibition that is being mounted to draw attention to it is a 
temporary one. The Museum is constantly undergoing refurbishment in 
various departments, and this is a really rather major one! It is no 
longer called the "Guildhall Museum" - it has been the Museum of 
London for over 25 years.

Suzi


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Subject: Re: [h-cost] House of Elliot
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In a message dated 9/20/2005 7:32:08 P.M. Eastern Standard Time,  
fran@lavoltapress.com writes:

The  House of Elliot_ is not much on intellectual content, but it's got 
great  clothes.  For those who don't know, it's about two fictional 
sisters  who started a couture house in the 1920s.



Be sure to catch the French & Saunders [yes that's Jennifer  Saunders of Ab 
Fab] spoof of it: "House of Idiot". It's on their DVD called  "At The Movies" 
with them as Thelma & Louise on the cover.
Too funny.
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Date: Wed, 21 Sep 2005 09:09:25 +0100
From: "Kate M Bunting" <K.M.Bunting@derby.ac.uk>
To: <h-costume@indra.com>
Subject: Re: [h-cost] House of Elliot
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I watched it on TV, and there were certainly at least two series, if not more.
 
Kate Bunting
Librarian and 17th century reenactor

>>> fran@lavoltapress.com 21/09/2005 00:29 >>>

I have a six-tape set of the BBC series _The House of Elliot_.  There is 
a DVD set out advertised as "series one" and just lately, a second DVD 
set (I think currently exclusively available from Acorn Media) 
advertised as "series two."  Does anyone with knowledge of both the tape 
set and the first DVD series (and/or the original BBC showings) know 
whether this second DVD set has different material from the tapes?  Or 
whether they just chose to remaster the tapes over two DVD packages 
instead of one?  I have not found any reviews or listings that clarify 
this point.



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	<8C78C3ADB07B3E8-1188-4BB9@FWM-R42.sysops.aol.com>
Subject: Re: [h-cost] Dressing Santa Claus
Date: Wed, 21 Sep 2005 08:50:55 -0400
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1822 -- Clement Moore -- "A Visit From Saint Nicholas".
This supposedly gave us the first picture of how he was dressed (a picture 
in words). The newspaper/magazine artists took it from there.  Before that, 
I don't think there was a clear image of him that someone could identify 
immediately by some specific article of clothing...at least in the US.
Kate

----- Original Message ----- 
From: <tearoses@aol.com>
To: <h-costume@indra.com>
Sent: Tuesday, September 20, 2005 4:41 PM
Subject: [h-cost] Dressing Santa Claus


> Okay, this may seem like the wrong time of year for this question, but I'm 
> making a bunch of Santa dolls for a craft show in November, and I got to 
> wondering what kind of garment Santa's traditional costume is supposed to 
> be? You know, the one that was made popular by the early 20th Century 
> Coca-Cola ads. I know Santa became really popular for the first time in 
> the 1880s or so, but who invented his get-up? Did anyone ever really dress 
> like that, or is it a Victorian concoction?
>
> My Santas, for what it's worth, will be dressed in mid-19th Century 
> waistcoats and jackets, mainly because I have some cool brocade I want to 
> use on the waistcoats.
>
> Tea Rose
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>
> 


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Subject: [h-cost] help with Rocking Horse Farm pattern
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Hi, some time ago I ordered and received the Mens Regency patterns from 
Rocking Horse Farm - #201 Tailcoat and #204 Dragoon Uniform.
I just went and looked at them again and found I've mislaid the 
instructions to both.
Has anyone on this list used these patterns? And if so, are there 
anything tricky bits I should be aware of?
Many, many thanks, Aylwen
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Cin wrote:

 >>From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
 >>They are called fan sticks. Try to search for it at lace materials 
dealers.
 >>Lacis have some made of bamboo for 30 dollars.
 >
 >
 >
 >The obvious follow up question is: what glue do you use? Presumeably
 >this differs as the fan & stick combination of materials changes.  I
 >have a set of turn-of-the-previous-century ivory sticks with the
 >junkiest piece of plastic lace in place of the proper silk.  (A found
 >object - I'm innocent!)
 >

     Go to <http://www.thistothat.com/> and plug in the two materials 
you're trying to glue -bamboo & silk (wood to fabric)?
"Wood to Fabric If you don't want your fabric to be crisp, we recommend: 
3M 77 , But if you don't mind crispyness, use:

Elmer's Carpenter's Glue or LePage's Bondfast"

I would guess ivory to be closest to plastic for glueing purposes.
         -Judy Mitchell
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Subject: Re: [h-cost] making a fan
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if you type fan in the search box at the top left of the screen the first
item that comes up is these
http://www.displaycostume.com/detail.asp?item=220973 "bamboo fan staves"
Elizabeth


> Did you get the maribou fan?  That's the only folding fan I found on
> the web site.
> Joan
>
> At 02:14 PM 9/19/2005, you wrote:
> >I picked up the sticks for the fan I'm making at:
> >www.displaycostume.com
> >the company is here in Seattle but they do website orders and will ship.
> >Good Luck
> >Molly
<snip>

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From: Kahlara <kahlara@yahoo.com>
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Subject: [h-cost] Re: Dressing Santa Claus
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I don't know how accurate this is, but I had always
been told that prior to the Moore/Nast (American) idea
of St. Nick's appearance, that many countries/ethnic
groups had their own version of St. Nicholas or some
similar personality (Baba Yaga in Russia?) and each
had their own costume based on how they were portrayed
in the stories. If I remember correctly, Sinter Claaus
wears a bishop's costume, complete with mitre and
staff and rides a white horse.

Annette M


> Date: Tue, 20 Sep 2005 16:41:47 -0400
> From: tearoses@aol.com
> Subject: [h-cost] Dressing Santa Claus
> 
> Okay, this may seem like the wrong time of year for
> this question, but I'm making a bunch of Santa dolls
> for a craft show in November, and I got to wondering
> what kind of garment Santa's traditional costume is
> supposed to be? You know, the one that was made
> popular by the early 20th Century Coca-Cola ads. I
> know Santa became really popular for the first time
> in the 1880s or so, but who invented his get-up? Did
> anyone ever really dress like that, or is it a
> Victorian concoction? 
>  
> My Santas, for what it's worth, will be dressed in
> mid-19th Century waistcoats and jackets, mainly
> because I have some cool brocade I want to use on
> the waistcoats.
>  
> Tea Rose
> 
> 
> ------------------------------
> 
> Message: 2
> Date: Tue, 20 Sep 2005 16:36:17 -0500
> From: "Abel, Cynthia" <CynthiaAbel@creighton.edu>
> Subject: RE: [h-cost] Dressing Santa Claus
> 
> Thomas Nast, probably was the illustrator that
> started the image of
> Santa we have today. I don't think all of Nast's
> Santa's wore a red
> outfit, but just about all the images I recall
> usually show him in a
> practical winter weather two-piece fur-trimmed suit,
> suited for a jolly
> old elf" and a stocking cap. The earlier(1820's)
> "The Night Before
> Christmas" probably really was the starting point
> that took the European
> St. Nicholas and made him Santa Claus. If I remember
> correctly, this
> Claus was derived more from the slightly
> Protestanized Dutch Sinter
> Claaus, than St. Nicholas. I think that the present
> Santa Claus is a
> blend of Sinter Claaus(bad kids got a bunch of
> switches in their wooden
> shoes), The Night Before Christmas" jolly old elf
> leaving tons of gifts,
> with the sleigh and reindeer, Scrooge post-three
> spirits visit, Thomas
> Nast's artwork, and the big Depression era start
> point of
> commercializing Christmas to drum up sales during a
> traditionally slow
> economic time of year. A great big very well-fed guy
> in a cheery and
> confident color red with grandfatherly white beard
> and whiskers was just
> the visual ticket to lift the economically stressed
> consumer.
> 
> See if your library has any histories on Santa
> Claus(not the kids'
> fiction books). Amazon.com has Wonderworker: the
> history of Santa Claus,
> which has a pic of one of Thomas Nast's Santa's on
> the cover--with a
> very present-day politically incorrect pipe between
> his lips! Many
> dollmakers have made their own Santas and St.
> Nicholas' and I think
> there is a book out there somewhere just full of
> them as a great idea
> board for you.
> 
> Cindy Abel
> 
> 
> But put your Santas in whatever. The brocade could
> be used as linings or
> trims, as well as waistcoats.

Message: 15
Date: Wed, 21 Sep 2005 08:50:55 -0400
From: "Kate Pinner" <pinner@mccc.edu>
Subject: Re: [h-cost] Dressing Santa Claus

1822 -- Clement Moore -- "A Visit From Saint
Nicholas".
This supposedly gave us the first picture of how he
was dressed (a 
picture 
in words). The newspaper/magazine artists took it from
there.  Before 
that, 
I don't think there was a clear image of him that
someone could 
identify 
immediately by some specific article of clothing...at
least in the US.
Kate





		
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Subject: Re: [h-cost] A New Programme to watch out for - "Elizabeth"
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Suzi Clarke wrote:

>
> I quote "David Starkey explains why, sometimes, artistic licence is 
> better for drama than authenticity." (Says who?)

I assume this explanation occurs in the film itself and not the 
article?  I'd like to hear what he has to say.

>
> The interest for us will no doubt be the costumes. Well, I'm getting 
> my b*tch in first. Helen Mirren is posing with Jeremy Irons (great so 
> far) in a gown that has seams which curve into the armhole.

Do you mean in the front? They had them in the back for sure. Wish we 
could see the photo.

>   And the underskirt is an embroidered dupion which is extraordinarily 
> like 18th century flower embroidery. (I used it for my 18th century 
> bride recently.) The braid is a braid I buy in a local shop, and would 
> never have considered for Elizabeth - far too plain. There is a 
> "collar of glass jewels and pheasant feathers in which Helen Mirren 
> gives Queen Elizabeth's Armada speech". I will no doubt watch, as I 
> adore Jeremy Irons, but I don't anticipate much joy from the costumes.
> I spend a lot of time working to get things looking as near accurate 
> as I can for my customers, but really, sometimes I wonder why I bother.
>
> Suzi
>
Have you ever read Hunnisett's explanation of the costs asscoiated with 
making the Ditchley gown for the Elizabeth R series?  Why does every 
production of anything having to do with history have to be "perfectly 
accurate" down to the seams?  Should the have to go "all the way" and 
have reproduction everything? Consider the targeted audience.  Most 
people wouldn't notice any of the detail you speak of.  Do your 
clients?  That anyone is producing history films at all is a boon in my 
mind.  If absolute costume accuracy were the criteria, all we would ever 
see is contemporary films...it would be all that was affordable. 

Just my two cents....

Sg

I am sure this is not the article you speak of, but it does have some 
pictures.  
http://www.telegraph.co.uk/arts/main.jhtml?xml=/arts/2005/09/10/bflizzie10.xml
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Thank you to everyone that responded. It was very
helpful. One last question on this topic...

Wool or Linen?

I did buy a nice 'homespun' cotton that has a nice
texture and feel and resembles linen, but it will need
some type of crisp lining. I have regular interfacing
- not the fusible kind - and was thinking of layering
that between the cotton and some sort of lining
fabric. Certainly not accurate, but I thought it might
be a nice look for the wedding.

Make that two questions - 

we are considering the 'embroidered' embellishments
similar to those shown in the woodcuts, but tone on
tone. How is this to be done - before assembling the
pieces or after the jacket is done? And how to keep
the fabric smooth and taut enough to accomplish this
so it looks nice? My 'needlework' experiece is limited
to what fits in a hoop or on a stretcher.

Thanks again,
Annette M



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From: julian wilson <smnco37@yahoo.co.uk>
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Penny Ladnier <penny@costumegallery.com> wrote:
We talked a while back about airfares from the U.S. to Europe. I promised I would let people know when the fares started dropping again. I just received these fares from United Airlines Newsletter:

Sample fares are for travel beginning September 26 through September 29, 2005 and returning October 3 through October 6, 2005. Additional taxes and fees apply.*

From: To: Roundtrip: 
Chicago (ORD) London, England (LHR) $500 
New York City (JFK) London, England (LHR) $404 
Washington, D.C. (IAD) Amsterdam, Netherlands (AMS) $558 

At one point last February, you could fly from DC to London for $175 roundtrip.

Penny E. Ladnier

 

Comment

 
Dear Penny, -  
what about low-cost air fres in the other direction UK-US-UK - for those of us who'd love to visit SCA events in the US? 
 
Members of our Company would love to do that, or even to visit SCA events in Drachenwald, - but the high local roundtrip fares to get to the mainland Uk or to France - make it out of the question for the most of our Companions - [mostly blue-collar workers,  - or still at school and therefore not earning; - or retired folk].
 
I enquire because in our little island the only Carriers - sea or air - who service us, frequently post low-fare travel offers UK-Jersey-UK  where the same low fares are not available Jersey-UK-Jersey !!  
There are times when it costs Jersey residents as much for Jersey-UK roundtrips as it does for UK-US roundtrips.




Yours in service, 
Julian Wilson,
[aka. Messire Matthew Baker/Matthieu Besquer, Governor & Castellan of Jersey, 1486-1497: - "Si vis pacem, para bellum"]
late-medieval Re-enactor; & Historian and Master Artisan to  
"The Companie of the Duke's Leopards",
[the only medieval living-history Group
in "olde" Jersey]
		
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Thanks for your responses. I think we're getting somewhere, but let me rephrase my question. What I'm really wondering is, if I wanted to make a costume like this one: http://www.adclassix.com/images54cokesanta.jpg
and call it historical, where would I go to document it? Who would have worn something like that in real life? Victorian isn't my period, but I don't recall ever seeing anybody dress like that in my brief studies of that century. Is it a Victorian or 20th Century confabulation of some earlier period? Or is it some kind of 19th Century Dutch costume? Does anyone have any pictures of a real person wearing a similar costume, maybe in some other color or without the fur trim? Nast seems to have dressed him in clothes derived from his own period, though possibly a little fantasized, but did the Coca-Cola artist make up the traditional costume or did he derive it from earlier drawings?
 
Tea Rose
 
P.S. I think I'll go look up that WonderWorker book; thanks for the reference. I know there are all kinds of Santas these days, which is why I don't feel compelled to do the traditional suit, but I'm curious about where the traditional suit came from. 
 
==============================
From: "Abel, Cynthia" <CynthiaAbel@creighton.edu>

I don't think all of Nast's Santa's wore a red
outfit, but just about all the images I recall usually show him in a
practical winter weather two-piece fur-trimmed suit, suited for a jolly
old elf" and a stocking cap. 
 
If I remember correctly, this Claus was derived more from the slightly Protestanized Dutch Sinter Claaus, than St. Nicholas. 
 
A great big very well-fed guy in a cheery and
confident color red with grandfatherly white beard and whiskers was just
the visual ticket to lift the economically stressed consumer.

Amazon.com has Wonderworker: the history of Santa Claus,
which has a pic of one of Thomas Nast's Santa's on the cover--with a
very present-day politically incorrect pipe between his lips! 

From: Dawn <dawn@reddawn.net>

http://www.dovercards.com/_images/0486236609_46_Thomas%2520Nast_Santa%2520at%2520Chimney.jpg

This is a Nast Santa, and it looks like he's in longjohns.

http://www.sonofthesouth.net/Thomas_Nast/Original_Santa_Claus.jpg

Another Nast Santa, from 1865, he's in striped pants, a fur lined jacket 
with stars on it, and some kind of cap, but it still doesn't look like 
1865 fashion. The image is heavily political, the stars and stripes are 
obviously iconic.

http://www.adclassix.com/images54cokesanta.jpg

This is a Coca-Cola Santa from 1954... and you're right. What the heck 
is the suit supposed to be? It's not a 1954 men's fashion, is it?

And why red?

Dawn

From: "Kate Pinner" <pinner@mccc.edu>

1822 -- Clement Moore -- "A Visit From Saint Nicholas".
This supposedly gave us the first picture of how he was dressed (a picture 
in words). The newspaper/magazine artists took it from there.  Before that, 
I don't think there was a clear image of him that someone could identify 
immediately by some specific article of clothing...at least in the US.
Kate
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Subject: Re: [h-cost] A New Programme to watch out for - "Elizabeth"
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At 17:30 21/09/2005, you wrote:
>Suzi Clarke wrote:
>
>>
>>I quote "David Starkey explains why, sometimes, artistic licence is 
>>better for drama than authenticity." (Says who?)
>
>I assume this explanation occurs in the film itself and not the 
>article?  I'd like to hear what he has to say.

No, this is in the article. It is a drama, not a documentary.

>>The interest for us will no doubt be the costumes. Well, I'm 
>>getting my b*tch in first. Helen Mirren is posing with Jeremy Irons 
>>(great so far) in a gown that has seams which curve into the armhole.
>
>Do you mean in the front? They had them in the back for sure. Wish 
>we could see the photo.

No I don't - I mean in the front, over the bust.


>>I spend a lot of time working to get things looking as near 
>>accurate as I can for my customers, but really, sometimes I wonder 
>>why I bother.
>>
>Have you ever read Hunnisett's explanation of the costs asscoiated 
>with making the Ditchley gown for the Elizabeth R series?

I was taught by Jean Hunnisett, and I know what she went through. The 
courses she taught were to show costume makers how original garments 
were made wherever possible, (using original garments  in museums 
where available) and then to reproduce them to the best of their 
ability. Her whole ethos was to make everything look as accurate as 
possible, using modern techniques and fabrics. She hated costume that 
did not look right, and in particular was horribly disappointed with 
David Starkey, whose documentary series on Elizabeth used her 
original costumes for "Elizabeth R" but for the wrong dates. (For 
example, clothes made for the 1570's were worn during the 1590's and 
vice versa.) She even wrote to him with her complaint.

>Why does every production of anything having to do with history have 
>to be "perfectly accurate" down to the seams?  Should the have to go 
>"all the way" and have reproduction everything? Consider the 
>targeted audience.  Most people wouldn't notice any of the detail 
>you speak of.  Do your clients?  That anyone is producing history 
>films at all is a boon in my mind.  If absolute costume accuracy 
>were the criteria, all we would ever see is contemporary films...it 
>would be all that was affordable.

The learning and teaching of history in Britain is getting worse and 
worse, in part because TV series and films show inaccurate details. 
People in this country believe what they see on the TV and do not 
know enough to get it right. If TV companies have the money to 
produce costume drama, how much more expensive is it to do the 
research (as the costume person is said to have done) and to get it 
right. I have worked on film too, and it is no more expensive - at 
least when I have made costumes.



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Suzi,

I take it you applied for this costuming job, but didn't get it?

Fran

<snip>

> he hated costume that did not look right, and in particular was 
> horribly disappointed with David Starkey, whose documentary series on 
> Elizabeth used her original costumes for "Elizabeth R" but for the 
> wrong dates. (For example, clothes made for the 1570's were worn 
> during the 1590's and vice versa.) She even wrote to him with her 
> complaint.
> <

<snip>

>  I have worked on film too, and it is no more expensive - at least 
> when I have made costumes.
>
>
>
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Subject: Re: [h-cost] A New Programme to watch out for - "Elizabeth"
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In a message dated 9/21/2005 12:32:50 P.M. Eastern Standard Time,  
wickedfrau@msn.com writes:

Why does  every 
production of anything having to do with history have to be  "perfectly 
accurate" down to the seams? 
Uh....the seams are the EASIEST things to get accurate. There's just no  
reason whatsoever to cut thing wrong.
 
 

Should  the have to go "all the way" and 
have reproduction everything? Consider  the targeted audience.  Most 
people wouldn't notice any of the detail  you speak of. 
Costume for morons? I don't think so. Maybe we can teach them  something.
 
 Hell, if they don't notice the costumes anyway, let's just do it in  jeans 
and t-shirts, OK? Why have I been wasting my time all these  decades???
 
I suppose this goes for the set dressers and designers and the lighting  too. 
Hell any old chair and table will do. And just some general illumination.  We 
don't need ART! No one notices anyway. Right?
 
Gee, thanks for the input, Sg! Very helpful.

 
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From: Irmgart <irmgart@gmail.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] A New Programme to watch out for - "Elizabeth"
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Status: RO

*laugh*

I really hope Saragrace doesn't take the same offense at this post that I'm
trying not to.

Sarcasm was uncalled for.

No one is saying that things shouldn't be as accurate as possible...
however, "possible" is many different things to many different people. It
all depends on budget, time, knowledge, and a hundred other things.

Yes, for us seams may be the easiest thing to get right, but perhaps they
aren't.

-Irmgart

On 9/21/05, AlbertCat@aol.com <AlbertCat@aol.com> wrote:
>
> In a message dated 9/21/2005 12:32:50 P.M. Eastern Standard Time,
> wickedfrau@msn.com writes:
>
> Why does every
> production of anything having to do with history have to be "perfectly
> accurate" down to the seams?
> Uh....the seams are the EASIEST things to get accurate. There's just no
> reason whatsoever to cut thing wrong.
>
>
>
> Should the have to go "all the way" and
> have reproduction everything? Consider the targeted audience. Most
> people wouldn't notice any of the detail you speak of.
> Costume for morons? I don't think so. Maybe we can teach them something.
>
> Hell, if they don't notice the costumes anyway, let's just do it in jeans
> and t-shirts, OK? Why have I been wasting my time all these decades???
>
> I suppose this goes for the set dressers and designers and the lighting
> too.
> Hell any old chair and table will do. And just some general illumination.
> We
> don't need ART! No one notices anyway. Right?
>
> Gee, thanks for the input, Sg! Very helpful.
>
>
>
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Date: Wed, 21 Sep 2005 18:46:39 +0100
To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] A New Programme to watch out for - "Elizabeth"
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At 18:34 21/09/2005, you wrote:
>Suzi,
>
>I take it you applied for this costuming job, but didn't get it?
>
>Fran
>


I find that comment unnecessary, rude and offensive.

Suzi

><snip>
>
>>he hated costume that did not look right, and in particular was 
>>horribly disappointed with David Starkey, whose documentary series 
>>on Elizabeth used her original costumes for "Elizabeth R" but for 
>>the wrong dates. (For example, clothes made for the 1570's were 
>>worn during the 1590's and vice versa.) She even wrote to him with 
>>her complaint.
>><
>
><snip>
>
>>  I have worked on film too, and it is no more expensive - at least 
>> when I have made costumes.




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Subject: Re: [h-cost] Dressing Santa Claus
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What about some of the early "polar explorer" type of clothing, done up 
in Santa colors?

-- 
Cynthia Virtue and/or Cynthia du Pre Argent

   "Such virtue hath my pen...."  -Shakespeare, Sonnet 81
        "I knew this wasn't _my_ pen!"  --Cynthia Virtue
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>Go to <http://www.thistothat.com/> and plug in the two materials
you're trying to glue -bamboo & silk (wood to fabric)?
"Wood to Fabric If you don't want your fabric to be crisp, we recommend:
3M 77 , But if you don't mind crispyness, use:

>Elmer's Carpenter's Glue or LePage's Bondfast"

>I would guess ivory to be closest to plastic for glueing purposes.
>        -Judy Mitchell

Cool site!  Thanks for the tip, Judy. It's been a long time since we
met at Costume Con RI, whatcha working on these days?

--cin
Cynthia Barnes
CinBarnes@gmail.com

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Dawn wrote:
> tearoses@aol.com wrote:
> 
>> what kind of garment Santa's traditional costume is supposed to be? 
>> You know, the one that was made popular by the early 20th Century 
>> Coca-Cola ads. 
> 
> 
> Interesting question.
> 
> http://www.dovercards.com/_images/0486236609_46_Thomas%2520Nast_Santa%2520at%2520Chimney.jpg 
> 
> 
> This is a Nast Santa, and it looks like he's in longjohns.
> 

what is a Nast Santa?

> 
> http://www.sonofthesouth.net/Thomas_Nast/Original_Santa_Claus.jpg
> 
> Another Nast Santa, from 1865, he's in striped pants, a fur lined jacket 
> with stars on it, and some kind of cap, but it still doesn't look like 
> 1865 fashion. The image is heavily political, the stars and stripes are 
> obviously iconic.
> 
> 
> http://www.adclassix.com/images54cokesanta.jpg
> 
> This is a Coca-Cola Santa from 1954... and you're right. What the heck 
> is the suit supposed to be? It's not a 1954 men's fashion, is it?
> 

It looks very workman like to me, refering specifically at the pants and 
boots, the coat would be a workmans coat if it weren't a bit long, and 
of course the fur is added.
> 
> And why red?


for cheer and to refer to the season?

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Date: Wed, 21 Sep 2005 17:40:57 +0100 (BST)
From: julian wilson <smnco37@yahoo.co.uk>
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Subject: [h-cost] comment response re  New Programme - "Elizabeth
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Debloughcostumes@aol.com wrote:In a message dated 9/20/05 7:06:15 PM GMT Daylight Time, 
h-costume-request@indra.com writes:

> I spend a lot of time working to get things looking as near accurate  as I can for my customers, but really, sometimes I wonder why I bother.
>  Suzi

God, I know that feeling!!!

Debbie
COMMENT
 
Yes, so do I  !! 
 I would be astonished if  much more than 1% of the MoP who attend our Events - at [say] Gorey Castle - have any real understanding of the enormous amount of behind-the-scenes work, and the many hours of prior research - which enables our Company of passionate & enthusiastic amateur historians/re-enactors to create what we display for the visitora to see and [hopefully] to enjoy.
 
God's Benison upon you all, this Feast of St Aagapitus, and until The Judgement.




Yours in service, 
Julian Wilson,
[aka. Messire Matthew Baker/Matthieu Besquer, Governor & Castellan of Jersey, 1486-1497: - "Si vis pacem, para bellum"]
late-medieval Re-enactor; & Historian and Master Artisan to  
"The Companie of the Duke's Leopards",
[the only medieval living-history Group
in "olde" Jersey]
		
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From h-costume-bounces@indra.com  Wed Sep 21 14:48:29 2005
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Subject: Re: [h-cost] A New Programme to watch out for - "Elizabeth"
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I think you are being extreme in your response.   I am not suggesting 
doing everything in jeans and tee-shirts, nor going on the cheap for 
props etc.   I have too have worked on theatrical costuming, and I beg 
to differ that doing the research, and absolutly accurate reproduction 
of clothing is no more expensive than using resonable fabrics, trims 
etc.  Try outfitting a whole cast with lace trim for instance.  I can 
only imagine what it would cost for using reproduction fabrics. 

I think you are being rather high and mighty.  My father was a dramaturg 
and I used to give him a hard time for his inability to enjoy a 
production he was veiwing, away from his work, for what it was.  As Suz 
responded, this is drama not a documentary, and its target is a 
generally costume DETAIL ignorant group of people,  not a bunch of 
costumers who think far too much of their talents and experiences, and 
that they should be imposed on every production that ever gets made.  As 
to cutting the thing wrong, I would bet my paycheck that if we can find 
shaping seams in the back of the garment, then we could probably find 
them in at least one example in the front.  And again, in a large scale 
production, where many gowns are being made, fitting that type of 
garment _is_ faster and easier.

Sg
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From h-costume-bounces@indra.com  Wed Sep 21 15:19:38 2005
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Subject: Re: [h-cost] A New Programme to watch out for - "Elizabeth"
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In a message dated 9/21/2005 2:49:21 P.M. Eastern Standard Time,  
wickedfrau@msn.com writes:

I think  you are being rather high and mighty.


I am. But don't take it too personally.
 
The "no one will notice" argument is one of my pet peeves.
 
 
The "No one will notice or cares" argument is no help at all. Look at  it 
this way. A show runs a mere 3 times. The small house only holds  100. At least 
300 people can see the show. Are you telling me out  of 300 people, NO ONE will 
know? Besides I know it's wrong. There's  one!

 
As far as expense....after a certain professional level...if you don't have  
the bucks, then don't do it.
 
I can't tell you how many garments and costumes I've made out of a sows ear  
and made it look like silk. With a little thinking and, yes, extra effort, it  
can be done.
 
I was asked to do a "southern belle" for the March of Dimes little fund  
raiser skit. I bought lace cafe curtains by the pound, got  donated  polyester 
taffeta bolt ends I pieced together for an underskirt, and cut an  accurate gown 
[even though the fabric wasn't] that looks so good, the  designer of a film I 
did for The Family Channel insisted on using it on Jane  Curtin in a major 
scene...where they talk about the dress! [it's dubbed the  Jane Curtin Curtain 
Dress].
 
Now I don't really mean to toot my own horn so much....I am not the do all  
and end all in costuming. But that's my point! I'm just a cutter draper in  
Wilmington, NC...not even LA or NYC. If I can do it, why can't others? My own  
experience tells me this.
 
The problem with your $$$$ argument is that most lousy costuming has  nothing 
to do with budget in the major motion picture and TV industry. It's  usually 
a designer who just doesn't get it....or cronyism....or both.
 
 
There, end of rant. It's not personal...but nix the "No one will know"  rap.
 
You are correct about accuracy not working every time.
 
I am not a accuracy nut...but I like RESPECT for the period. Take "Sleepy  
Hollow" and "Interview with the Vampire". Both take great liberties with fabrics 
 and color. But things are cut accurately and there's a respect for the  
period...adjusted to fit the fantasy of the drama. Great  costumes!
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http://www.snopes.com/cokelore/santa.asp
http://www.kidzworld.com/site/p1557.htm


-----Original Message-----
Thanks for your responses. I think we're getting somewhere, but let me
rephrase my question. What I'm really wondering is, if I wanted to make a
costume like this one: http://www.adclassix.com/images54cokesanta.jpg
and call it historical, where would I go to document it? Who would have worn
something like that in real life? Victorian isn't my period, but I don't
recall ever seeing anybody dress like that in my brief studies of that
century. Is it a Victorian or 20th Century confabulation of some earlier
period? Or is it some kind of 19th Century Dutch costume? Does anyone have
any pictures of a real person wearing a similar costume, maybe in some other
color or without the fur trim? Nast seems to have dressed him in clothes
derived from his own period, though possibly a little fantasized, but did
the Coca-Cola artist make up the traditional costume or did he derive it
from earlier drawings?

Tea Rose



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Is Santa Claus not a fantasy version of Sint Nikolaas (Sinterklaas)?

otsisto wrote:

>http://www.snopes.com/cokelore/santa.asp
>http://www.kidzworld.com/site/p1557.htm
>
>
>-----Original Message-----
>Thanks for your responses. I think we're getting somewhere, but let me
>rephrase my question. What I'm really wondering is, if I wanted to make a
>costume like this one: http://www.adclassix.com/images54cokesanta.jpg
>and call it historical, where would I go to document it? Who would have worn
>something like that in real life? Victorian isn't my period, but I don't
>recall ever seeing anybody dress like that in my brief studies of that
>century. Is it a Victorian or 20th Century confabulation of some earlier
>period? Or is it some kind of 19th Century Dutch costume? Does anyone have
>any pictures of a real person wearing a similar costume, maybe in some other
>color or without the fur trim? Nast seems to have dressed him in clothes
>derived from his own period, though possibly a little fantasized, but did
>the Coca-Cola artist make up the traditional costume or did he derive it
>from earlier drawings?
>
>Tea Rose
>
>
>
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
>http://mail.indra.com/mailman/listinfo/h-costume
>
>  
>


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Kate Pinner wrote:

> 1822 -- Clement Moore -- "A Visit From Saint
> Nicholas".
> This supposedly gave us the first picture of how he
> was dressed (a 
> picture 
> in words). The newspaper/magazine artists took it from
> there.

But the poem says "He was dressed all in fur from his head to his foot/And
his clothes were all tarnished with ashes and soot." That's not a red suit
with gleaming white fur by a longshot.

Gail Finke

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From: Chris Laning <claning@igc.org>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] A New Programme to watch out for - "Elizabeth"
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AlbertCat said:
>The problem with your $$$$ argument is that most lousy costuming has  nothing 
>to do with budget in the major motion picture and TV industry. It's  usually 
>a designer who just doesn't get it....or cronyism....or both.
 
I agree. What particularly infuriates me, personally, is when something is grossly inaccurate when doing it accurately would _NOT_ have been any more expensive or difficult. And all it would have taken to do it right would be ten minutes' worth of asking around among people who actually do know. 

Common sense, of course, also enters into it: if something is only going to be seen from 20 feet away, make it look good at 20 feet. That's often more a matter of color and silhouette than what actual materials are used. So shortcuts, timesavers and so forth are perfectly reasonable (no one's going to see the bodice and skirt are held together by giant snaps!). 

On the other hand, if you're doing closeups that show someone's sleeve cuffs on screen from four inches away at 300% of life size, they had better look good from four inches away. That usually means going with more authentic materials and construction.

And if a movie bills itself as fiction, of course they can dress their characters in whatever they want. What was most annoying about the film "Elizabeth," a few years ago, is that they did lots of things in counter-historical fashion AND billed the movie as "educational", with study guides and everything. I have no idea how many people came away thinking that Sir Francis Walsingham actually _did_ go to Scotland and murder Mary of Guise after sleeping with her (or whatever it was the movie said he did) -- when in fact I don't think he was ever _in_ Scotland.


____________________________________________________________
0  Chris Laning
|  <claning@igc.org>
+  Davis, California
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Date: Thu, 22 Sep 2005 09:12:14 +1200
From: Adele de Maisieres <ladyadele@paradise.net.nz>
Subject: Re: [h-cost] Re: Kilcommon Jacket 2 last questions
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Kahlara wrote:
> Thank you to everyone that responded. It was very
> helpful. One last question on this topic...
>
> Wool or Linen?
>   
Wool.
>
> we are considering the 'embroidered' embellishments
> similar to those shown in the woodcuts, but tone on
> tone. How is this to be done - before assembling the
> pieces or after the jacket is done? And how to keep
> the fabric smooth and taut enough to accomplish this
> so it looks nice? My 'needlework' experiece is limited
> to what fits in a hoop or on a stretcher.

I believe the usual 16th century taylor's technique is:
1. Mark the outlines of the pieces to be cut on the fabric.
2. Have the fabric embroidered.
3. Cut out and assemble.

Having said that, lots of people (self included) do embroidery without 
having the work under tension.

-- 
Adele de Maisieres

-----------------------------
Habeo metrum - musicamque,
hominem meam. Expectat alium quid?
-Georgeus Gershwinus
----------------------------- 

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In a message dated 9/21/2005 5:17:50 P.M. Eastern Standard Time,  
claning@igc.org writes:

What  particularly infuriates me, personally, is when something is grossly  
inaccurate when doing it accurately would _NOT_ have been any more expensive  
or difficult. And all it would have taken to do it right would be ten minutes'  
worth of asking around among people who actually do know.  




*****************
 
Or the costume designer thinks he's a fashion designer who can make up  
whatever he wants and then put it on Wolfgang Amadeus Mozart....or whomever. A  
costume designer's job is not the same as a fashion  designer's.
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Subject: Re: [h-cost] A New Programme to watch out for - "Elizabeth"
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In a message dated 9/21/2005 5:23:07 P.M. Eastern Standard Time,  
katherinejsanders@yahoo.co.uk writes:

I also  think that people should not say anything
unless they have something  supportive /informative
/nice to say or a question to ask that other  people
can help with. Sniping is a waste of bandwidth and
everyone's  time.



**************
 
I was informative.
 
 
and let's all be "nice"....and avoid all controversy or differing  POVs...
 
ZZZZZZZZZZZZZZZZZZZZZ
 
Nothing I say here is meant personally. I lean a lot from thrashing things  
out. I'm never offended by snips at me....we really don't know each other for  
the most part. Everyone has a POV and I'm interested in hearing it, whether I  
agree or not. Besides, when one is wrong....one is wrong. Even me.
 
Let's not be so thin skinned.
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From: Adele de Maisieres <ladyadele@paradise.net.nz>
Subject: Re: [h-cost] A New Programme to watch out for - "Elizabeth"
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katherine sanders wrote:
> Dear Suzi
>
>   
<snip!>
> Sniping is a waste of bandwidth and
> everyone's time.
>   
Hear, hear!

-- 
Adele de Maisieres

-----------------------------
Habeo metrum - musicamque,
hominem meam. Expectat alium quid?
-Georgeus Gershwinus
----------------------------- 

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From: Adele de Maisieres <ladyadele@paradise.net.nz>
Subject: Re: [h-cost] A New Programme to watch out for - "Elizabeth"
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WickedFrau wrote:
>
> Have you ever read Hunnisett's explanation of the costs asscoiated 
> with making the Ditchley gown for the Elizabeth R series?  Why does 
> every production of anything having to do with history have to be 
> "perfectly accurate" down to the seams?  

Short answer: they don't.

-- 
Adele de Maisieres

-----------------------------
Habeo metrum - musicamque,
hominem meam. Expectat alium quid?
-Georgeus Gershwinus
----------------------------- 

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From: Lynn Downward <lynndownward@gmail.com>
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Subject: Re: [h-cost] A New Programme to watch out for - "Elizabeth"
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So, Adele, what did that famous monk Georgeus Gershwinus say? My Latin
is nonexistant.
LynnD


On 9/21/05, Adele de Maisieres <ladyadele@paradise.net.nz> wrote:
> katherine sanders wrote:
> > Dear Suzi
> >
> >
> <snip!>
> > Sniping is a waste of bandwidth and
> > everyone's time.
> >
> Hear, hear!
>
> --
> Adele de Maisieres
>
> -----------------------------
> Habeo metrum - musicamque,
> hominem meam. Expectat alium quid?
> -Georgeus Gershwinus
> -----------------------------

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From h-costume-bounces@indra.com  Wed Sep 21 18:32:58 2005
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From: katherine sanders <katherinejsanders@yahoo.co.uk>
Subject: Re: [h-cost] A New Programme to watch out for - "Elizabeth"
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Dear Suzi

I concur about the falling standards of UK history
programmes - they seem to be aimed at those with
gnat-like attention spans and clips of 'reenactments'
are repeated ad nauseam just in case you forgot what
happened the last time the presenter mentioned Henry
VIII... all of one minute ago. My particular peeve was
with a national historic body (who will remain
nameless) advertising sites in Scotland using one
character who was supposed to be a warrior from
Bannockburn but was instead Billy Connolly's double
from Braveheart. When I wrote and complained to both
the organisation and advertising agency, I was told
that all that mattered was making the public 'aware of
their sites' by using recognisable images.Honestly.

 I too was bemused by the princess seams on
Elizabeth's very dowdy doublet dress. Surely everyone
who makes costumes at that kind of level has access to
patterns of fashion??

I also think that people should not say anything
unless they have something supportive /informative
/nice to say or a question to ask that other people
can help with. Sniping is a waste of bandwidth and
everyone's time.

Katherine


		
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Subject: Re: [h-cost] Re: Kilcommon Jacket 2 last questions
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At 09:10 AM 9/21/2005, you wrote:
>Thank you to everyone that responded. It was very
>helpful. One last question on this topic...
>
>Wool or Linen?

Wool is my suggestion. Lined in linen or cotton.

>I did buy a nice 'homespun' cotton that has a nice
>texture and feel and resembles linen, but it will need
>some type of crisp lining. I have regular interfacing
>- not the fusible kind - and was thinking of layering
>that between the cotton and some sort of lining
>fabric. Certainly not accurate, but I thought it might
>be a nice look for the wedding.

It would depend on how thick and "homespun" it looks to you. If you like 
it, then use it. As for interfacing, regular sew-in kind is what I use (I 
am not fond of how fusibles don't hold up as well), with tailor's hair 
canvas (if you can find it) or additional regular interfacing added in any 
stress areas, like a small strip along the front edge and neck, and along 
the bottom to support the pleats.

>Make that two questions -
>
>we are considering the 'embroidered' embellishments
>similar to those shown in the woodcuts, but tone on
>tone. How is this to be done - before assembling the
>pieces or after the jacket is done? And how to keep
>the fabric smooth and taut enough to accomplish this
>so it looks nice? My 'needlework' experiece is limited
>to what fits in a hoop or on a stretcher.

Either can work, although it is easier to do so before the jacket is 
assembled. First wash and dry your fabric. Make a cartoon (outline of the 
embroidery) on a copy of the pattern pieces you are going to work, so you 
know where to place things. Then transfer the cartoon onto the fabric and 
cut out the fabric with very wide margins (2-3") or as a rectangle (works 
better). Do not actually cut out the pattern piece yet, things can shrink a 
little while being embroidered. Put the piece of material in a stretcher 
(better than a hoop, but a hoop can work), do your embroidery work, take it 
off the stretcher, lightly wash the fabric if there are transfer marks 
remaining, dry & press on the wrong side with a towel underneath the fabric 
(so you don't flatten the embroidery), then cut out the pattern piece and 
make up the jacket.

You can also embroidery a lightweight fabric, and add that on as an 
applique onto the back of the jacket. That is period, and those were called 
"slips" by the English. The upper classes would do slips in linen, cut the 
pieces out, and sew the slips onto velvet. I am not as sure if the Celts 
did the same, but it would make sense to do so if embroidering onto heavy 
materials like wool or velvet.

>Thanks again,
>Annette M

hth,

Kimiko Small

~~~~~~~~~~~~~~~~~~~~
"The things that will destroy America are prosperity at any price, safety 
first instead of duty first, a love of soft living and the get-rich-quick 
theory of life. This country will not be a permanently good place for any 
of us to live unless it is a good place for all of us to live." ~ Teddy 
Roosevelt.
~~~~~~~~~~~~~~~~~~~~

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From: Adele de Maisieres <ladyadele@paradise.net.nz>
Subject: Re: [h-cost] A New Programme to watch out for - "Elizabeth"
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Lynn Downward wrote:
> So, Adele, what did that famous monk Georgeus Gershwinus say? My Latin
> is nonexistant.
>
>   
I've got rhythm -  I've got music.
I've got my man. Who could ask for anything more?

-- 
Adele de Maisieres

-----------------------------
Habeo metrum - musicamque,
hominem meam. Expectat alium quid?
-Georgeus Gershwinus
----------------------------- 

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Subject: Re: [h-cost] A New Programme to watch out for - "Elizabeth"
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AlbertCat@aol.com wrote:

>I am. But don't take it too personally.
>  
>
Why would I  take it personally?   Sounds like it's your problem.

> 
>The "no one will notice" argument is one of my pet peeves.  
>There, end of rant. It's not personal...but nix the "No one will know"  rap
>
You are either not understanding what I am saying, or are 
mis-representing it. It isn't that no one will notice, or know the 
difference.   It is a matter of how many people will notice, and for how 
many people it will be a detraction.  Is your one opinion (or another 
few) worth so much more than the rest of the 299?   The economic answer 
is "no." 

> 
>As far as expense....after a certain professional level...if you don't have  
>the bucks, then don't do it....The problem with your $$$$ argument is that most lousy costuming has  nothing 
>to do with budget in the major motion picture and TV industry.
>
This  argument is myopic.  A film production can't afford to be 
historically accurate in every way, and there is an self-imagined 
"expert"  for every aspect. I think for instance of:  period armor, 
weaponry, carriages, saddlery, tack, furniture, food presentation, 
livestock, geography etc.  One could go on and on.  Do you really think 
it would be better to have none at all if it can't be perfectly accurate 
in every way?  I don't.  A film, even a drama,  can be educational 
without being historically accurate in every way.  Maybe this film won't 
be the best example of that, but again, I think of another production.  
There is a German film production of "Luther" which is staged entirely 
in old church.  The stage is set up in such a way that it represents 
everything from Luther's private home to the Vatican in Rome, to a mill 
where many people were slaughtered and hung.  Is it entirely 
accurate?-obviously not-but effective and educational-yes.  BTW-the 
costuming isn't perfect in that flick either.

I'm done. Since we are being accused of sniping it is time to take any 
further discussions off-list.

Sg
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of course.
LynnD
Covering my face in embarassment. Now I know what it means, it's obvious.

On 9/21/05, Adele de Maisieres <ladyadele@paradise.net.nz> wrote:
> Lynn Downward wrote:
> > So, Adele, what did that famous monk Georgeus Gershwinus say? My Latin
> > is nonexistant.
> >
> >
> I've got rhythm -  I've got music.
> I've got my man. Who could ask for anything more?
>
> --
> Adele de Maisieres
>
> -----------------------------
> Habeo metrum - musicamque,
> hominem meam. Expectat alium quid?
> -Georgeus Gershwinus
> -----------------------------
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>

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From: katherine sanders <katherinejsanders@yahoo.co.uk>
Subject: Re: [h-cost] ... "Elizabeth" : quotes from article & designer info
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Hi all

I'm unable to track down an online copy of Mr
Starkey's article in the British TV paper Radio Times,
so thought it would be useful to give more info on
what he actually wrote.

He was flown over to Lithuania to watch filming - he's
a nippy sweety historian who is pretty good at
lecturing to camera, but nothing like the class of
Kenneth Clark - and raves on about the 1/3 and full
scale reproductions of Whitehall Palace constructed
with guidance from Simon Thurley, head of English
Heritage and ' "the" great expert on Tudor palaces'
after pointing out they film in Lithuania because it's
cheap.  Then we get onto costume.

"Where I think this film is really going to score,
though, is in the attention to costume. This is not
the usual Hollywood version of the Tudors, not the
standard stuff.  In the 16th century, costume wasn't
as we take it for granted now. In, say, a dress, the
sleeves were separate, the skirt was separate and the
whole thing was held together by a series of ties or
aglets (a type of super-safety pin of gold and
silver). I asked to watch the actors being dressed,
and the textures, the colours and the shapes were all
extremely well done; several costumes were entirely
authentic."

The period of Elizabeth's life is covered (from Armada
to death) next and praises the writing, saying it is a
formal style without the "horrors of" prithee and
forsooth, before detailing the process of hanging,
drawing and quartering which we will get to see in
full. Yay.

There is also a little box called "Spot the Deliberate
Mistake: David Starkey explains why, sometimes,
artistic license is better for drama than
authenticity..."  He points out that even shakespeare
messed about with facts for the purpose of his drama
and concludes "This drama is particularly dangerous
because it will look so real". We also have Elizabeth
meeting Queen Mary (of Scotland) and King James VI/I,
her successor, people sitting and wearing hats in the
royal presence and Elizabeth comforting Leicester as
he dies (although who could resist an ailing Mr
Irons?).

All in all I think the article and perhaps the
programme will be a mixed bag - I will be keen to see
the rest of the costumes, designed by Mike O'Neill
(who did Prime Suspect, David Copperfield (1999),
Charles II (2004?), Our Mutual Friend, Daniel Deronda
and North and South. Obviously the BBC period person
du jour.
http://www.bbc.co.uk/drama/charles/backstage/costume_designer.shtml
gives some insight into his process. Mr O'Neill is
shown looking at a short bejwelled bodice 'bought in
Rome' for Helen Mirren. Mr Starkey was also very
impressed with his research (photograph of large white
folder).

I'm not knowledgeable enough to spot the small things
but I'd be delighted if someone could give me examples
of a princess seam on an Elizabethan bodice - it
shouts to me of inappropriate corseting, my pet peeve.

HTH,
Katherine, who's sure the show will migrate to our
American cousins quite soon.


		
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Subject: Re: [h-cost] A New Programme to watch out for - "Elizabeth"
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In a message dated 9/21/2005 7:15:22 P.M. Eastern Standard Time,  
wickedfrau@msn.com writes:

Since we  are being accused of sniping it is time to take any 
further discussions  off-list.



We're not snipping. Anyway....much of what you say is quite  
right....Practically all of it. We really don't disagree.
It's that "Elizabeth" context...which was inaccurate for no reason really.  
We both agree that accuracy is no guarantee of anything...and indeed 
impossible.  Not even a film like "Dangerous Liaisons" is accurate, but it strives for a 
type  of accuracy. What it is is completely convincing.
 
Perhaps "convincing" is a better criteria to follow.
 
It's that "no one will know" thingie that starts me  off...
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Last year we had discussed the dress of Eleanora of Toledo that was on  
display in Memphis.  I wasn't sure if the link to the picture on the web  had been 
posted, so it is listed below.  This picture is much better than  the one in 
the catalog.
 
http://www.wonders.org/masters8.htm
 
Nancy Stengel Ulmer
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Subject: Re: [h-cost] curved seams A New Programme to watch out for -
	"Elizabeth"
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>  I would bet my paycheck that if we can find
> shaping seams in the back of the garment, then we could probably find
> them in at least one example in the front.  And again, in a large scale
> production, where many gowns are being made, fitting that type of
> garment _is_ faster and easier.

There is evidence of curved side front seams that go into the armpts for
doublet bodices. The extant jerkin in the Met, I have the pattern from
Blanche Payne's book, first ed. History of costume has just such seams. The
same placment is seen here:
http://www.vertetsable.com/research_b181.htm
http://www.vertetsable.com/research_burguen.htm
Although it's not curved. I suspect the curving in the jerkin is from the
finetuning of the piece to fit to shape.

The main thing is they are shaping for a conical body so are gently curved
rather than curved to shape the bust. The very very shallow curve worked
well for me and my Valois bodice. But I'm sure someone with a larger bust
would need a rounder curve.

Isn't there a curved seam in one of Jean Hunnisett's patterns as well? I can
never remember which portrait it was inspired by, but it was a doublet
bodice. There was the option of a very curved seam or a fish from centre
front to bust point

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



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Subject: [h-cost] Mary de Guise (was: A New Programme to watch out for -
 "Elizabeth")
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At 02:12 PM 9/21/2005, you wrote:
>I have no idea how many people came away thinking that Sir Francis 
>Walsingham actually _did_ go to Scotland and murder Mary of Guise after 
>sleeping with her (or whatever it was the movie said he did) -- when in 
>fact I don't think he was ever _in_ Scotland.


That was the most annoying part of the movie to my mind, among the many 
annoying parts of the movie. I know the history from the Scottish side of 
things, and I just about screamed in the theatre when I saw it. I even 
bought the DVD and I still can't bring myself to watch the darn thing, even 
tho I loved seeing the costumes (accurate or otherwise).

Kimiko

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Date: Wed, 21 Sep 2005 22:27:22 -0400
From: monica spence <monicaspence@optonline.net>
Subject: RE: [h-cost] Eleanora's Dress
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Hi Maddalena (Nancy) ---
Actually I have the catalog from the Memphis show and a book on Eleonora
that shows this. Also saw it in a slide at a lecture given by Janet
Cox-Rearick (16th C costume / painting goddess). Great dress. MIGHT have
been one of the dresses from her ladies in waiting. Maybe from the Ducal
Entrance after the victory over Siena...Very cool. Thanks for thinking about
me!!!

I am on PG. 311 on the manuscript of the book on Eleonora/Cosimo. Probabby
at least 200 to go....


Be well. Coronation is on Saturday and I an Chief- Lady -in -Waiting to the
incoming Royals, Darious and Roxane. How do I get into these things? :-)
(They are really really great folks!)

Take Care--
Love-
Monica / Catriona



-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of MaddNancy@aol.com
Sent: Wednesday, September 21, 2005 8:50 PM
To: h-costume@indra.com
Subject: [h-cost] Eleanora's Dress


Last year we had discussed the dress of Eleanora of Toledo that was on
display in Memphis.  I wasn't sure if the link to the picture on the web
had been
posted, so it is listed below.  This picture is much better than  the one in
the catalog.

http://www.wonders.org/masters8.htm

Nancy Stengel Ulmer
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From: Judy Mitchell <judymitch@oldwaylane.net>
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Cin wrote:

 >Cool site!  Thanks for the tip, Judy.
 >
     yeah,  'this to that' can be a very helpful site when you're trying 
to glue oddball stuff.


 > It's been a long time since we
 >met at Costume Con RI, whatcha working on these days?
 >

     Oh my list keeps growing and changing. I'm a good bit through a 
GFD, but it had to go on hold
  (I need to do the eyelets and set the neck/shoulder seam and the 
sleeves) to finish some stuff on deadline.
I had to do a RennFaire shirt for a guy I know - had a lot of trouble 
with the fabric (cotton sateen)
and ended up buying completely different fabric for it. Made a great 
media recreation costume for a friend:
a graphic novel character called 'Dawn', the artists is thrilled and 
says I totally nailed the outfit. I'm glad, I
spend a year on that puppy!

     Now I'm working on a Regency outfit - cutting up a sari, and 
working on two costumes for next CC
competitions. I went to Sweden last spring to research at the museums 
for one of them. Now trying to get the
handcrank sewing machine to work for more than 20min! but, it will get 
there.

     Also found a pile of Danish kroner left over from my last research 
trip... seems to mean to me that I should
go back to Denmark (what a shame!) <G>. And of course still working on 
the Lord of the Rings Costume site. So I'm keeping busy. If only work 
didn't get in the way of the sewing <sigh>

     So what have you been working on?

        -Judy
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Can Franchesca Havas please write me off-list.  I am sorry to write on the list but I have her email wrong address.

Penny E. Ladnier
Owner,
The Costume Gallery, www.costumegallery.com
Costume Classroom, www.costumeclassroom.com
Costume Research Library, www.costumelibrary.com
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From: "Lloyd Mitchell" <rmitchell@washjeff.edu>
To: "Historical Costume" <h-costume@indra.com>
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	<8C78CD95C87CC91-DB8-884A@FWM-R40.sysops.aol.com>
Subject: Re: [h-cost] Re: h-costume Digest, Vol 4, Issue 603
Date: Thu, 22 Sep 2005 08:09:22 -0400
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This is plainly 20thC American, from my point of view. As someone has
already pointed out, the vision of Santa differs from culture to culture.
The Nast version is the first that I am aware of, which is influenced by the
description given in the "Night Before Christmas"(as it is now known)
Are you aware of the Dover issue that presents a collection of Santas and
farther Christmas? This source might be a starting point in creating the
view of Santa you are looking for.

Kathleen

----- Original Message ----- 
From: <tearoses@aol.com>
To: <h-costume@indra.com>
Sent: Wednesday, September 21, 2005 11:36 AM
Subject: [h-cost] Re: h-costume Digest, Vol 4, Issue 603


> Thanks for your responses. I think we're getting somewhere, but let me
rephrase my question. What I'm really wondering is, if I wanted to make a
costume like this one: http://www.adclassix.com/images54cokesanta.jpg
> and call it historical, where would I go to document it? Who would have
worn something like that in real life? Victorian isn't my period, but I
don't recall ever seeing anybody dress like that in my brief studies of that
century. Is it a Victorian or 20th Century confabulation of some earlier
period? Or is it some kind of 19th Century Dutch costume? Does anyone have
any pictures of a real person wearing a similar costume, maybe in some other
color or without the fur trim? Nast seems to have dressed him in clothes
derived from his own period, though possibly a little fantasized, but did
the Coca-Cola artist make up the traditional costume or did he derive it
from earlier drawings?
>
> Tea Rose
>
> P.S. I think I'll go look up that WonderWorker book; thanks for the
reference. I know there are all kinds of Santas these days, which is why I
don't feel compelled to do the traditional suit, but I'm curious about where
the traditional suit came from.
>
> ==============================
> From: "Abel, Cynthia" <CynthiaAbel@creighton.edu>
>
> I don't think all of Nast's Santa's wore a red
> outfit, but just about all the images I recall usually show him in a
> practical winter weather two-piece fur-trimmed suit, suited for a jolly
> old elf" and a stocking cap.
>
> If I remember correctly, this Claus was derived more from the slightly
Protestanized Dutch Sinter Claaus, than St. Nicholas.
>
> A great big very well-fed guy in a cheery and
> confident color red with grandfatherly white beard and whiskers was just
> the visual ticket to lift the economically stressed consumer.
>
> Amazon.com has Wonderworker: the history of Santa Claus,
> which has a pic of one of Thomas Nast's Santa's on the cover--with a
> very present-day politically incorrect pipe between his lips!
>
> From: Dawn <dawn@reddawn.net>
>
>
http://www.dovercards.com/_images/0486236609_46_Thomas%2520Nast_Santa%2520at%2520Chimney.jpg
>
> This is a Nast Santa, and it looks like he's in longjohns.
>
> http://www.sonofthesouth.net/Thomas_Nast/Original_Santa_Claus.jpg
>
> Another Nast Santa, from 1865, he's in striped pants, a fur lined jacket
> with stars on it, and some kind of cap, but it still doesn't look like
> 1865 fashion. The image is heavily political, the stars and stripes are
> obviously iconic.
>
> http://www.adclassix.com/images54cokesanta.jpg
>
> This is a Coca-Cola Santa from 1954... and you're right. What the heck
> is the suit supposed to be? It's not a 1954 men's fashion, is it?
>
> And why red?
>
> Dawn
>
> From: "Kate Pinner" <pinner@mccc.edu>
>
> 1822 -- Clement Moore -- "A Visit From Saint Nicholas".
> This supposedly gave us the first picture of how he was dressed (a picture
> in words). The newspaper/magazine artists took it from there.  Before
that,
> I don't think there was a clear image of him that someone could identify
> immediately by some specific article of clothing...at least in the US.
> Kate
> _______________________________________________
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Subject: Re: [h-cost] A New Programme to watch out for - "Elizabeth"
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<snip> Have you ever read Hunnisett's explanation of the costs asscoiated
with
> making the Ditchley gown for the Elizabeth R series?  Why does every
> production of anything having to do with history have to be "perfectly
> accurate" down to the seams?  Should the have to go "all the way" and
> have reproduction everything? Consider the targeted audience.  Most
> people wouldn't notice any of the detail you speak of.  Do your
> clients?  That anyone is producing history films at all is a boon in my
> mind.  If absolute costume accuracy were the criteria, all we would ever
> see is contemporary films...it would be all that was affordable.
>
> Just my two cents....
>
> Sg
<snip>
but seams are the easiest and cheapest thing to get right, no matter how
shoestring your budget is princess seams are no cheaper than a period cut
(in fact they would be marginally more expensive as they take up more
fabric) I can understand things like substituting synthetics for authentic
fabrics, so long as it looks OK on film and for any costume that's not going
to be seen close up synthetics will probably be fine. But if there were
curved seams going over the bust that will throw off the entire silhouette
which is blatantly obvious to everyone, admittedly only a small proportion
of the viewers will know it's wrong but if the argument that only a small
proportion of the viewers will know that it's wrong is the basis for all the
decisions then why try for any base in fact if only a few viewers will know
they got it wrong. But the viewers who already know the facts are not the
ones to be concerned about, it's the people who are learning history from
this film who will take it as fact and be wrong.
Elizabeth
--------------------------------------------
Elizabeth Walpole
Canberra Australia
ewalpole[at]tpg.com.au
http://au.geocities.com/e_walpole/

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Sinterklaas is also dressed in red and white.
Maby they looked at medieval clothes to make him look old, like he lives 
forever.
And added white fur since he comes from the north?pole.

Kahlara wrote:

>I don't know how accurate this is, but I had always
>been told that prior to the Moore/Nast (American) idea
>of St. Nick's appearance, that many countries/ethnic
>groups had their own version of St. Nicholas or some
>similar personality (Baba Yaga in Russia?) and each
>had their own costume based on how they were portrayed
>in the stories. If I remember correctly, Sinter Claaus
>wears a bishop's costume, complete with mitre and
>staff and rides a white horse.
>
>Annette M
>
>
>  
>


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Hi the list,
Folowed your thread, but just want to add my 2 cents here even if it is a 
little painfull to hear!
First people dont have the eyes of experts. They dont see that the sleave is 
curved or not!- period
This is the way things are, you just have to realise that.
It is only us costume freaks who notice these things!!
You should be glad that they bother to send something about Elizabeth at 
all.
Here in Denmark, we have no history, we have 3-4 channels to choose from, 
and neither of them bothers to tell any history at all.
Dont know what have become of us, that we dont bother, tragedy-tragedy

Bjarne






Leif og Bjarne Drews
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Subject: Re: [h-cost] A New Programme to watch out for - "Elizabeth"
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Excatly my words...............

Bjarne
----- Original Message ----- 
From: <AlbertCat@aol.com>
To: <h-costume@indra.com>
Sent: Wednesday, September 21, 2005 11:51 PM
Subject: Re: [h-cost] A New Programme to watch out for - "Elizabeth"


>
> In a message dated 9/21/2005 5:17:50 P.M. Eastern Standard Time,
> claning@igc.org writes:
>
> What  particularly infuriates me, personally, is when something is grossly
> inaccurate when doing it accurately would _NOT_ have been any more 
> expensive
> or difficult. And all it would have taken to do it right would be ten 
> minutes'
> worth of asking around among people who actually do know.
>
>
>
>
> *****************
>
> Or the costume designer thinks he's a fashion designer who can make up
> whatever he wants and then put it on Wolfgang Amadeus Mozart....or 
> whomever. A
> costume designer's job is not the same as a fashion  designer's.
> _______________________________________________
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Why is it that America has such a great market for 18th century reenacters 
and not so many of 18th century?
I have no clues, could anybody enlighten me?

Bjarne





Leif og Bjarne Drews
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Sorry sorry folks, drinks on me!

I ment why so much renaissance fairs and renaissance reenactors and not so 
many 18th century?
----- Original Message ----- 
From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: <h-costume@indra.com>
Sent: Thursday, September 22, 2005 4:06 PM
Subject: [h-cost] why renaissance and not 18th century?


> Why is it that America has such a great market for 18th century reenacters 
> and not so many of 18th century?
> I have no clues, could anybody enlighten me?
>
> Bjarne
>
>
>
>
>
> Leif og Bjarne Drews
> www.my-drewscostumes.dk
>
> http://home0.inet.tele.dk/drewscph/
>
> _______________________________________________
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Mmmmm...
Gold rush?
I think they just love the colour of gold.
And there is a lot more gold in 16th century dresses than in 18 
thcentury dresses.
:-) :-D ;-) :-P



Bjarne og Leif Drews wrote:

> Why is it that America has such a great market for 18th century 
> reenacters and not so many of 18th century?
> I have no clues, could anybody enlighten me?
>
> Bjarne
>
>
>
>
>
> Leif og Bjarne Drews
> www.my-drewscostumes.dk
>
> http://home0.inet.tele.dk/drewscph/
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>


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Subject: Re: [h-cost] why renaissance and not 18th century?
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Bjarne og Leif Drews wrote:

> Sorry sorry folks, drinks on me!
> 
> I ment why so much renaissance fairs and renaissance reenactors and not 
> so many 18th century?

The American RenFaires are mostly very fluffy.  Lots of flashy clothes, 
stage magic, selling of pretty things, and not so much history.  They 
make a fair amount of money for the organizers, and the few historic 
elements are often provided by really dedicated volunteers who get paid 
nothing, and who are not a big part of the experience for most of the 
attendees.

It's an experience of its own, really, not related to re-enactment.  I 
expect the 18th century is too close in time to be myth'ed up like that 
and sell well to the general public.

cv
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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First all! i am sorry if i misspell pannier, is it panier?
You make very interresting points my ladies with this only rare hinged 
pannier.
I have ben thinking that this pair of pannier was the example of how they 
did, when they needed to be more flexible, and suddently invented the hip 
panniers. Could it not be an (in between pannier and hip pannier thingy?)
You know even if it is the only version, could not be the reason to 
discharge it.
Hip panniers could also be very wide, and not the poor examples found in the 
patterns of fashion and corsets and crinolines. But this is not to the 
knolledge of many people. In Denmark we have several examples of wide hip 
panniers, at the National Museum and also at the Museum of Decoratif Arts.
These were much more flexible and could be lifted up under your arms, 
sitting at tables and getting trough doorways,
As time goes by, we shall know much more!





Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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Subject: Re: [h-cost] why renaissance and not 18th century?
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Gold rush it is§   :-)

I like silk the better!





----- Original Message ----- 
From: "Deredere Galbraith" <triade@kabelfoon.nl>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, September 22, 2005 1:28 PM
Subject: Re: [h-cost] why renaissance and not 18th century?


> Mmmmm...
> Gold rush?
> I think they just love the colour of gold.
> And there is a lot more gold in 16th century dresses than in 18 thcentury 
> dresses.
> :-) :-D ;-) :-P
>
>
>
> Bjarne og Leif Drews wrote:
>
>> Why is it that America has such a great market for 18th century 
>> reenacters and not so many of 18th century?
>> I have no clues, could anybody enlighten me?
>>
>> Bjarne
>>
>>
>>
>>
>>
>> Leif og Bjarne Drews
>> www.my-drewscostumes.dk
>>
>> http://home0.inet.tele.dk/drewscph/
>>
>> _______________________________________________
>> h-costume mailing list
>> h-costume@mail.indra.com
>> http://mail.indra.com/mailman/listinfo/h-costume
>>
>
>
> _______________________________________________
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> 


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I think that it depends on where in the US you are. We've got a big country here. In the Eastern/Midwestern part of the US, Revolutionary War re-enactment is relatively big. I got my start with the NorthWest Territory Alliance (NWTA) back in the 1970's when the Bicentennial was happening. 25 years later it's still going strong although I participate only occasionally. There's also a pretty big Voyageur (French traders and explorers associated with canoes) reenactment contingent as well as general 'Fur Trade' reenactment with black powder weapons being their focus. Unlike the European 18th century, much of North America was a frontier so we don't tend to do the beautiful, elegant costumes such as you make, Bjarne. I'm not saying that they didn't exist, but our reeneactments tend to focus on a much rougher segment of the population. 
 
 
Karen
Seamstrix

-- Cynthia Virtue <cvirtue+dated+1142950896.7b47ea@thibault.org> wrote:
Bjarne og Leif Drews wrote:

> Sorry sorry folks, drinks on me!
> 
> I ment why so much renaissance fairs and renaissance reenactors and not 
> so many 18th century?

The American RenFaires are mostly very fluffy.  Lots of flashy clothes, 
stage magic, selling of pretty things, and not so much history.  They 
make a fair amount of money for the organizers, and the few historic 
elements are often provided by really dedicated volunteers who get paid 
nothing, and who are not a big part of the experience for most of the 
attendees.

It's an experience of its own, really, not related to re-enactment.  I 
expect the 18th century is too close in time to be myth'ed up like that 
and sell well to the general public.

cv
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There are some Revolutionary war reenactors in the US.  And then there are
places like Colonial Williamsburg (http://www.historicwilliamsburgusa.com),
which is a town-sized museum of 18th century life.  

There is also a lot of reenactment of the American Civil War, 19th century,
going on in the US.  This one is easier to do because the items to use or
reproduce still exist in people's attics. 

Renaissance faires aren't really re-enactment.  They are theater with a historic
bent.  Some faires are more historic or accurate with their history than others,
but they are out there to entertain, not educate, their audience.  And therefore
they have a lot more advertising and a lot more press.

My feeling is that the reenactment groups do it more to educate and entertain
themselves than for any audience that might happen to be there.  And there's
usually a battle involved, too.

- Ynes



Quoting Bjarne og Leif Drews <drewscph@post12.tele.dk>:

> Sorry sorry folks, drinks on me!
> 
> I ment why so much renaissance fairs and renaissance reenactors and not so 
> many 18th century?
> ----- Original Message ----- 
> From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
> To: <h-costume@indra.com>
> Sent: Thursday, September 22, 2005 4:06 PM
> Subject: [h-cost] why renaissance and not 18th century?
Ynes Garcia
Chatelaine, Barony of Storvik
ynes@sskip.net
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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References: <20050922.074239.12727.556366@webmail24.nyc.untd.com>
Subject: Re: [h-cost] why renaissance and not 18th century?
Date: Thu, 22 Sep 2005 16:57:36 +0200
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Oh yes Karen,
I think you have a point there,
Things in a new country so far from civilisation 3 or 4months away
I give up!

Its just like i hate another list ia m on called 18th century womens list, 
and they dont care about fashion at all
But i am sure you are righ
Good weekend to youIn denmark we say
----- Original Message ----- 
From: <penhalion@juno.com>
To: <h-costume@indra.com>
Sent: Thursday, September 22, 2005 4:41 PM
Subject: Re: [h-cost] why renaissance and not 18th century?


>I think that it depends on where in the US you are. We've got a big country 
>here. In the Eastern/Midwestern part of the US, Revolutionary War 
>re-enactment is relatively big. I got my start with the NorthWest Territory 
>Alliance (NWTA) back in the 1970's when the Bicentennial was happening. 25 
>years later it's still going strong although I participate only 
>occasionally. There's also a pretty big Voyageur (French traders and 
>explorers associated with canoes) reenactment contingent as well as general 
>'Fur Trade' reenactment with black powder weapons being their focus. Unlike 
>the European 18th century, much of North America was a frontier so we don't 
>tend to do the beautiful, elegant costumes such as you make, Bjarne. I'm 
>not saying that they didn't exist, but our reeneactments tend to focus on a 
>much rougher segment of the population.
>
>
> Karen
> Seamstrix
>
> -- Cynthia Virtue <cvirtue+dated+1142950896.7b47ea@thibault.org> wrote:
> Bjarne og Leif Drews wrote:
>
>> Sorry sorry folks, drinks on me!
>>
>> I ment why so much renaissance fairs and renaissance reenactors and not
>> so many 18th century?
>
> The American RenFaires are mostly very fluffy.  Lots of flashy clothes,
> stage magic, selling of pretty things, and not so much history.  They
> make a fair amount of money for the organizers, and the few historic
> elements are often provided by really dedicated volunteers who get paid
> nothing, and who are not a big part of the experience for most of the
> attendees.
>
> It's an experience of its own, really, not related to re-enactment.  I
> expect the 18th century is too close in time to be myth'ed up like that
> and sell well to the general public.
>
> cv
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
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	"Elizabet...
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In a message dated 9/21/2005 9:43:17 P.M. Eastern Standard Time,  
kimiko@kimiko1.com writes:

I still  can't bring myself to watch the darn thing, even 
tho I loved seeing the  costumes (accurate or otherwise).



Yes, some of the gowns are lov-er-ly. The men's stuff is dreadful! I really  
hate their outfits.
 
However, while we're on the subject of Mary de Guise....what WAS she  
wearing????? and who did her hair????? YUK!
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Subject: Re: [h-cost] why renaissance and not 18th century?
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18th century for us is recent history. :) to get in touch with our roots,
we have to go back to the Old World.

arlys in oregon, where the first town was founded around 1860 or so

On Thu, 22 Sep 2005 16:18:21 +0200 "Bjarne og Leif Drews"
<drewscph@post12.tele.dk> writes:
> Sorry sorry folks, drinks on me!
> 
> I ment why so much renaissance fairs and renaissance reenactors and 
> not so 
> many 18th century?

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There's a big general 18th century reenactment coming up this weekend in Indiana. It's called a Rendezvous from the French 'to come together'. It was an annual gathering of traders and merchants on the frontier. It was also a really big party!
 
http://www.tcha.mus.in.us/feast.htm
 
Karen
Seamstrix

-- "Bjarne og Leif Drews" <drewscph@post12.tele.dk> wrote:
Oh yes Karen,
I think you have a point there,
Things in a new country so far from civilisation 3 or 4months away
I give up!

Its just like i hate another list ia m on called 18th century womens list, 
and they dont care about fashion at all
But i am sure you are righ
Good weekend to youIn denmark we say
----- Original Message ----- 
From: <penhalion@juno.com>
To: <h-costume@indra.com>
Sent: Thursday, September 22, 2005 4:41 PM
Subject: Re: [h-cost] why renaissance and not 18th century?


>I think that it depends on where in the US you are. We've got a big country 
>here. In the Eastern/Midwestern part of the US, Revolutionary War 
>re-enactment is relatively big. I got my start with the NorthWest Territory 
>Alliance (NWTA) back in the 1970's when the Bicentennial was happening. 25 
>years later it's still going strong although I participate only 
>occasionally. There's also a pretty big Voyageur (French traders and 
>explorers associated with canoes) reenactment contingent as well as general 
>'Fur Trade' reenactment with black powder weapons being their focus. Unlike 
>the European 18th century, much of North America was a frontier so we don't 
>tend to do the beautiful, elegant costumes such as you make, Bjarne. I'm 
>not saying that they didn't exist, but our reeneactments tend to focus on a 
>much rougher segment of the population.
>
>
> Karen
> Seamstrix
>
> -- Cynthia Virtue <cvirtue+dated+1142950896.7b47ea@thibault.org> wrote:
> Bjarne og Leif Drews wrote:
>
>> Sorry sorry folks, drinks on me!
>>
>> I ment why so much renaissance fairs and renaissance reenactors and not
>> so many 18th century?
>
> The American RenFaires are mostly very fluffy.  Lots of flashy clothes,
> stage magic, selling of pretty things, and not so much history.  They
> make a fair amount of money for the organizers, and the few historic
> elements are often provided by really dedicated volunteers who get paid
> nothing, and who are not a big part of the experience for most of the
> attendees.
>
> It's an experience of its own, really, not related to re-enactment.  I
> expect the 18th century is too close in time to be myth'ed up like that
> and sell well to the general public.
>
> cv
> _______________________________________________
> 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] why renaissance and not 18th century?
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In a message dated 9/22/2005 10:30:32 A.M. Eastern Standard Time,  
cvirtue+dated+1142950896.7b47ea@thibault.org writes:

The  American RenFaires are mostly very fluffy.  Lots of flashy clothes,  
stage magic, selling of pretty things, and not so much history.   

**************************
 
Yes the Renn thing is not historical...though of course we over here do  have 
a Renn history. I live in NC where the 1st English colony landed....and  then 
disappeared [the Lost Colony]. Sir Walter Raleigh's little adventure, which  
is why the capital of NC is named Raleigh.
 
And there are tons of Colonial towns and battlefields on the East Coast  
because of the Revolutionary War so there is actually more 18th century  
reenacting than you might think. But that is HISTORY and politics...Founding  Fathers 
and all....so naturally it is kinda rejected by American culture  because you 
might actually learn something!
 
The 19th century on the other hand... Whoa! The Civil War [in the south  
east]and the Gold Rush [out west] are extensively covered....even if it is  
history. I suspect the Gold Rush is alluring because it embodies that pioneer  
spirit mixed with greed we Americans seem to revere. The Civil War is  practically 
re-fought every year because there are those in the South still  trying to win 
it :P





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Subject: Re: [h-cost] Mary de Guise (was: A New Programme to watch out for
	-"Elizabet...
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And was she really a worrior
----- Original Message ----- 
From: <AlbertCat@aol.com>
To: <h-costume@indra.com>
Sent: Thursday, September 22, 2005 5:08 PM
Subject: Re: [h-cost] Mary de Guise (was: A New Programme to watch out 
for -"Elizabet...


>
> In a message dated 9/21/2005 9:43:17 P.M. Eastern Standard Time,
> kimiko@kimiko1.com writes:
>
> I still  can't bring myself to watch the darn thing, even
> tho I loved seeing the  costumes (accurate or otherwise).
>
>
>
> Yes, some of the gowns are lov-er-ly. The men's stuff is dreadful! I 
> really
> hate their outfits.
>
> However, while we're on the subject of Mary de Guise....what WAS she
> wearing????? and who did her hair????? YUK!
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 


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From h-costume-bounces@indra.com  Thu Sep 22 11:35:42 2005
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Subject: [h-cost] RE: why renaissance and not 18th century?
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There is an interesting twist here that hasn't been mentioned yet.  Bjarne 
asked why the Renaissance and not the 18th century, and the answers have all 
been about renn fairs.  There are other groups that do “renaissance” 
(particularly if we expand that to the pseudo-renn fantasy thingie) than 
just the renn fair folks.  There are a large number of SCA people (some of 
whom are quite serious), for instance.  I am assuming that we are meaning 
16th century for “renaissance” even though Renaissance actually covers a 
huge amount of mutually conflicting eras and regions, starting in 13th 
century Italy.
There are a lot of other late 16th century groups, like the trained bands 
and whatnot.  We even have English Civil War folk, which moves us well into 
the 17th century.   That’s without going into the “Medieval” and fantasy 
medieval people or earlier.

In the 18th century, there are a lot of American Revolution and French and 
Indian War re-enactors on the east coast.  But because there were so few of 
those things that took place west of the Appalachians, the rest of the 
country has to look at other things if we want to re-enact.  American Civil 
War, not my thing personally, but it’s good for a lot of folks – but here in 
Oklahoma, we only have two civil war battles that we can re-enact locally 
(well one battle and a minor skirmish).  That leaves “Buckskinning” (which 
does seem to stretch back into the late 18th century), or a lot of Old West 
sorts of things.  We have a lot of that going on around here (and some of it 
is excellent), but not everyone really wants to do that sort of history.  
Particularly since not all of that history is, um, pleasant (for some reason 
we just don’t have a lot of Coronado re-enacting around here – or Indian 
Wars …weird…)    So those people will  tend to look back towards a more 
romantic part of our past and want to go for that.

Me, personally, I prefer late 16th century/early 17th to the 18th century 
because I like the shoes better :)

Marc


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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: Re: [h-cost] RE: why renaissance and not 18th century?
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Me, personally, I prefer late 16th century/early 17th to the 18th century
because I like the shoes better :)

Marc

1680 ies fashhionable shoes are definately very sexy and beautifull for mens 
wear. With red heals
Love the full bottoned wigs with rich curls two and the cravattes and all 
the sewed button holes.
You must be a tall person to be fashhionablle in this and gurlish in your 
manners
Love the draughtmans contrakt or whatever it is called,
Erased this by accident on my taperecorder grrrrrrrrrrrrrrrr
Love the exageration of costumes, but only experts know this apropos a 
programme to watch out for!

Bjarne, who is very happy to be back on the list, and takes the train 
tomorrow for the swedes gustavians answer to petite trianon at Beatelund 
party.....
Pictures next week

Bjarne 


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Subject: Re: [h-cost] Mary de Guise (was: A New Programme to watch out for
	-"Elizabet...
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And was she really a female warrior?



----- Original Message ----- 
From: <AlbertCat@aol.com>
To: <h-costume@indra.com>
Sent: Thursday, September 22, 2005 5:08 PM
Subject: Re: [h-cost] Mary de Guise (was: A New Programme to watch out 
for -"Elizabet...


>
> In a message dated 9/21/2005 9:43:17 P.M. Eastern Standard Time,
> kimiko@kimiko1.com writes:
>
> I still  can't bring myself to watch the darn thing, even
> tho I loved seeing the  costumes (accurate or otherwise).
>
>
>
> Yes, some of the gowns are lov-er-ly. The men's stuff is dreadful! I 
> really
> hate their outfits.
>
> However, while we're on the subject of Mary de Guise....what WAS she
> wearing????? and who did her hair????? YUK!
> _______________________________________________
> 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] why renaissance and not 18th century?
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I think we in the U.S. may also have an actual TRADITION of Ren faires, whereas reenactments of our own country's history are a more recent phenomenon. 

According to James D. Hart's THE POPULAR BOOK: A HISTORY OF AMERICA'S LITERARY TASTE (University of California Press, 1950), the novels of Sir Walter Scott were wildly popular with American readers. They were adapted into plays (Ivanhoe in 1820 and within the next twelve years six more of his novels and two of his poems), and the Gothic settings of his novels influenced architecture and landscape design especially in the American South. According to Hart, "Although only four or five of Scott's novels dealth with the Middle Ages, the South thought of him as the romancer of chivalry. When he died the Louisiana Courier asked sadly, 'Who shall now depict the feudal castle--the time worn turret--the feats of warrior knights--the conflicts of the tournaments--the battles against the infidels?'... the Southern patricians enjoyed a kind of juvenile imitation of [these events] in the tournaments they instituted in the 1840s. Nothing quite like their tilting with lances at a suspended!
  ring was to be found in Scott's pages but the spirit of the contest was his. A South Carolina newspaper announced one as copying 'closely in dresses and arrangements...those that Ivanhoe withnessed'; contestants frequently took such titles as Waverly, Ivanhoe, The Disinherited Knight, and Peveril of the Peak...and the affairs were furbished with Queens of Honour, pseudo-medieval costume, and all the other trappings of romance identified with a Scott tourney....Scott was influential because his fiction was in accord with the region's general attitude of mind...."

And since the medieval world was heavily fantasized in Scott's novels, it's easy to see how those tournaments would be celebrations of "Days of Yore" rather than historical reenactments!

I suspect that Americans in general secretly wish for the trappings of royalty even if they don't want an actual king! We do have some wonderful reenactment groups and places (in the East, Plimouth Plantation, Colonial Williamsburg, Mystic Seaport, for instance) that do Colonial (1640s to 1770s), Revolutionary, and 19th century, and (to judge from this list) some serious Renaissance groups as well, but the Ren fairs seem to be a different phenomenon altogether, and what Hart has to say suggests that this is the older and deeper attachment.

--Ruth Anne Baumgartner
scholar gypsy and amateur costumer


-----Original Message-----
From: Bjarne og Leif Drews <drewscph@post12.tele.dk>
Sent: Sep 22, 2005 9:33 AM
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] why renaissance and not 18th century?

Gold rush it is§   :-)

I like silk the better!





----- Original Message ----- 
From: "Deredere Galbraith" <triade@kabelfoon.nl>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, September 22, 2005 1:28 PM
Subject: Re: [h-cost] why renaissance and not 18th century?


> Mmmmm...
> Gold rush?
> I think they just love the colour of gold.
> And there is a lot more gold in 16th century dresses than in 18 thcentury 
> dresses.
> :-) :-D ;-) :-P
>
>
>
> Bjarne og Leif Drews wrote:
>
>> Why is it that America has such a great market for 18th century 
>> reenacters and not so many of 18th century?
>> I have no clues, could anybody enlighten me?
>>
>> Bjarne
>>
>>
>>
>>
>>
>> Leif og Bjarne Drews
>> www.my-drewscostumes.dk
>>
>> http://home0.inet.tele.dk/drewscph/
>>
>> _______________________________________________
>> h-costume mailing list
>> h-costume@mail.indra.com
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>
>
> _______________________________________________
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Yes, as someone else said,  for the most part the 18th century in North America was far rougher than in Europe. Reenactors and enthusiasts of that time period focus on either the revolution or trapping/frontier exploration as was mentioned by someone else. And much of the country was still unexplored to any great extent. Out here in the Northwest it seems out of place to consider a 're-enactment' group for a period prior to the westward expansion that includes anything but the most utilitarian and rudimentary of period clothing. In my area there is quite an interest in the 'pioneer' era, one town has a park dedicated to preserving the history of the area, including several original log houses that are used for a museum - and it is definitely not 18th century.
 
As to why the Renaissance...Just a conjecture, but I think it has a lot to do with how the Renaissance is viewed as a period of cultural and social development and change that makes it popular.
 
All JMO
Annette M
---------------------------------
Date: Thu, 22 Sep 2005 16:06:55 +0200
From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
Subject: [h-cost] why renaissance and not 18th century?

why so much renaissance fairs and renaissance reenactors and 
not 
> so many 18th century?

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

I....t's an experience of its own, really, not related to re-enactment.  I 
expect the 18th century is too close in time to be myth'ed up like that 
and sell well to the general public.

cv

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

I think that it depends on where in the US you are.....
 
 Unlike the European 18th century, much of North America was a frontier so we don't tend to do the beautiful, elegant costumes such as you make, Bjarne. I'm not saying that they didn't exist, but our reeneactments tend to focus on a much rougher segment of the population. 


Karen
Seamstrix

---------------------------
There are some Revolutionary war reenactors in the US. And then there are
places like Colonial Williamsburg (http://www.historicwilliamsburgusa.com),
which is a town-sized museum of 18th century life. 

There is also a lot of reenactment of the American Civil War, 19th century,
going on in the US. This one is easier to do because the items to use or
reproduce still exist in people's attics. 

Renaissance faires aren't really re-enactment. They are theater with a historic
bent. Some faires are more historic or accurate with their history than others,
but they are out there to entertain, not educate, their audience. And therefore
they have a lot more advertising and a lot more press.

My feeling is that the reenactment groups do it more to educate and entertain
themselves than for any audience that might happen to be there. And there's
usually a battle involved, too.

- Ynes



		
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Marc Carlson wrote:

> There is an interesting twist here that hasn't been mentioned yet.  
> Bjarne asked why the Renaissance and not the 18th century, and the 
> answers have all been about renn fairs.

"I ment why so much renaissance fairs and renaissance reenactors and not 
so many 18th century? "

I figured he meant why no 18th century done as Ren-Faires, based on his 
question.  So that's what I answered.  RenFaires get most of the press.

I went to a local Native American Pow-Wow this past weekend.  Do any of 
you do that activity?  It was... probably like the early days of the SCA.

-- 
Cynthia Virtue and/or Cynthia du Pre Argent

   "Such virtue hath my pen...."  -Shakespeare, Sonnet 81
        "I knew this wasn't _my_ pen!"  --Cynthia Virtue
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From: Chris Laning <claning@igc.org>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] A New Programme to watch out for - "Elizabeth"
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Elizabeth Walpole <ewalpole@tpg.com.au> wrote:
>But seams are the easiest and cheapest thing to get right, no matter how
>shoestring your budget is princess seams are no cheaper than a period cut
>(in fact they would be marginally more expensive as they take up more
>fabric) I can understand things like substituting synthetics for authentic
>fabrics, so long as it looks OK on film and for any costume that's not going
>to be seen close up synthetics will probably be fine. But if there were
>curved seams going over the bust that will throw off the entire silhouette...

My guess would be that the biggest reason for inaccurate costumes is simply that it's easier for costumers to make something familiar. If their experience is entirely with modern cuts and fitting, those techniques are going to seem "easier" to them because there's nothing to learn -- whether they are, in fact, easier or not. And if they're in a hurry, or under pressure (as who in the industry isn't...) familiarity may win out.

Now mind you, for a historical film, especially one that aspires to accuracy, taking this route qualifies in my book as laziness. But I can see how it could happen, and I'm not completely unsympathetic. I just wish producers would stop claiming "accuracy" for things that aren't and "educational value" for things that distort history.

One of my costuming friends commented about the film "Elizabeth" that the film's website actually said that the director _forbid_ the costumers to consult historic sources for costume, because he wanted "a fresh vision." The amusing thing, my friend said, is that the director clearly didn't know enough about the period portraits to spot when the costumers _did_ lift something straight out of a well-known historical source :)

____________________________________________________________
0  Chris Laning
|  <claning@igc.org>
+  Davis, California
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If you are trying to find an inspirational source for the coca-cola Santa's costume, research frontier clothing and explorer's garb a la Lewis and Clark. Keep in mind however, that the coca-cola Santa's costume is likely to be at least partly due to artistic inspiration and invention.
 
As to Sinter Claaus being dressed in red and white...the local Dutch community has a Sinter Claaus parade every year, with him dressed as I described. Perhaps this is a more modern version, but he has been the same for many years. ??
 
Annette M
 
 
----------
Sinterklaas is also dressed in red and white.
Maby they looked at medieval clothes to make him look old, like he lives 
forever.
And added white fur since he comes from the north?pole.

Kahlara wrote:

>I don't know how accurate this is, but I had always
>been told that prior to the Moore/Nast (American) idea
>of St. Nick's appearance, that many countries/ethnic
>groups had their own version of St. Nicholas or some
>similar personality (Baba Yaga in Russia?) and each
>had their own costume based on how they were portrayed
>in the stories. If I remember correctly, Sinter Claaus
>wears a bishop's costume, complete with mitre and
>staff and rides a white horse.
>
>Annette M
>
>
> 
>




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

Message: 2
Date: Thu, 22 Sep 2005 08:09:22 -0400
From: "Lloyd Mitchell" 
Subject: Re: [h-cost] Re: h-costume Digest, Vol 4, Issue 603

This is plainly 20thC American, from my point of view. As someone has
already pointed out, the vision of Santa differs from culture to culture.
The Nast version is the first that I am aware of, which is influenced by the
description given in the "Night Before Christmas"(as it is now known)
Are you aware of the Dover issue that presents a collection of Santas and
farther Christmas? This source might be a starting point in creating the
view of Santa you are looking for.

Kathleen

----- Original Message ----- 
From: 
To: 
Sent: Wednesday, September 21, 2005 11:36 AM
Subject: [h-cost] Re: h-costume Digest, Vol 4, Issue 603


> Thanks for your responses. I think we're getting somewhere, but let me
rephrase my question. What I'm really wondering is, if I wanted to make a
costume like this one: http://www.adclassix.com/images54cokesanta.jpg
> and call it historical, where would I go to document it? Who would have
worn something like that in real life? Victorian isn't my period, but I
don't recall ever seeing anybody dress like that in my brief studies of that
century. Is it a Victorian or 20th Century confabulation of some earlier
period? Or is it some kind of 19th Century Dutch costume? Does anyone have
any pictures of a real person wearing a similar costume, maybe in some other
color or without the fur trim? Nast seems to have dressed him in clothes
derived from his own period, though possibly a little fantasized, but did
the Coca-Cola artist make up the traditional costume or did he derive it
from earlier drawings?
>
> Tea Rose
>
> P.S. I think I'll go look up that WonderWorker book; thanks for the
reference. I know there are all kinds of Santas these days, which is why I
don't feel compelled to do the traditional suit, but I'm curious about where
the traditional suit came from.
>
> ==============================
> From: "Abel, Cynthia" 
>
> I don't think all of Nast's Santa's wore a red
> outfit, but just about all the images I recall usually show him in a
> practical winter weather two-piece fur-trimmed suit, suited for a jolly
> old elf" and a stocking cap.
>
> If I remember correctly, this Claus was derived more from the slightly
Protestanized Dutch Sinter Claaus, than St. Nicholas.
>
> A great big very well-fed guy in a cheery and
> confident color red with grandfatherly white beard and whiskers was just
> the visual ticket to lift the economically stressed consumer.
>
> Amazon.com has Wonderworker: the history of Santa Claus,
> which has a pic of one of Thomas Nast's Santa's on the cover--with a
> very present-day politically incorrect pipe between his lips!
>
> From: Dawn 
>
>
http://www.dovercards.com/_images/0486236609_46_Thomas%2520Nast_Santa%2520at%2520Chimney.jpg
>
> This is a Nast Santa, and it looks like he's in longjohns.
>
> http://www.sonofthesouth.net/Thomas_Nast/Original_Santa_Claus.jpg
>
> Another Nast Santa, from 1865, he's in striped pants, a fur lined jacket
> with stars on it, and some kind of cap, but it still doesn't look like
> 1865 fashion. The image is heavily political, the stars and stripes are
> obviously iconic.
>
> http://www.adclassix.com/images54cokesanta.jpg
>
> This is a Coca-Cola Santa from 1954... and you're right. What the heck
> is the suit supposed to be? It's not a 1954 men's fashion, is it?
>
> And why red?
>
> Dawn
>
> From: "Kate Pinner" 

>
> 1822 -- Clement Moore -- "A Visit From Saint Nicholas".
> This supposedly gave us the first picture of how he was dressed (a picture
> in words). The newspaper/magazine artists took it from there. Before
that,
> I don't think there was a clear image of him that someone could identify
> immediately by some specific article of clothing...at least in the US.
> Kate
> _______________________________________________



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Without any inside knowledge of the film industry--my impression is that 
it is a very much committee effort.  That costumers (and most other team 
members) don't get to just do anything they want.  That they can produce 
accurate designs, but the director can instead insist that he or she 
wants styles he/she thinks modern audiences think are flattering to 
modern actors, or that convey certain symbolism, and whatever else 
he/she wants to see.

So it seems inaccurate to me to say, "Gee, the costumer must not have 
known any better."

My feeling has always been that if you want a 100% perfect custom-made 
costume, by your lights, that the only way to have total control over it 
is to make it by yourself, for yourself only. If you custom make it for 
someone else, whether they are a film or a play or a private customer, 
since they're paying, they have a right to get what they want. You're 
working _for_ someone.   If it's ready-to-wear, of course you can always 
make it and see if it sells. 

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

>One of my costuming friends commented about the film "Elizabeth" that the film's website actually said that the director _forbid_ the costumers to consult historic sources for costume, because he wanted "a fresh vision." The amusing thing, my friend said, is that the director clearly didn't know enough about the period portraits to spot when the costumers _did_ lift something straight out of a well-known historical source :)
>
>
>  
>
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Kitty Felton wrote:


> 
> what is a Nast Santa?
> 

Santa drawn by 19th century artist Thomas Nast. He did a whole bunch of 
drawings of Santa and holiday scenes, among other things, and was quite 
popular at the time. His drawings still show up on cards and wrapping 
paper today.



Dawn




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Costume designers for movies set in historic times may want to be as
accurate as possible but face a lot of caveats:

The book "Hollywood and History by Edward Maeder is an excellent guide
to the following

1) Designers are going to choose from sources that look most attractive
to the modern eye. Also some designers believe that slavish copying of
historic sources is slavish copying--it isn't creative. They are
artists, not unimaginative researchers.

Personal aside here--I prefer histoically accuracy, but can understand
this viewpoint

2) Budget(budget, budget, (especially when it comes to fabric and
trims)and time constraints. This often means renting already made
costumes(usually for minor and extra characters)

3) What looks good onscreen and what is the director's aesthetic. Films
of the 1930's and 40's set in past times are full of what was available
and what was attractive in fabrics. Lame, Lurex, and shoulder pads
abound. 

And besides, lighting can't ever be called really accurate--in most
historic films and tv presentations, we'd hardly be able to see
anything.

4) Keeping the stars' images attractive--ie, you want authentic--check
out the actors in the background or in minor roles--stars always  want
to or have to meet the current aesthetic image of what looks attractive.
This is especially noticeable in hair and makeup where the correct
aesthetic almost always comes through. A sure way of being able to date
when a movie was made within a couple of years. Although a sure way to
get an Academy and/or other awards is to gain or lose a lot of weight,
strip off the makeup, or alter one's very attractive appearance enough
to prove one's self a serious actor.

5) What can or cannot be shown onscreen--is there a moral or social code
that permits or does not permit, whether historically correct or not,
concealing, revealing or emphasizing via costume parts of the human
anatomy.

Actually, I'm entertained by movies and tv dramatizations set in the
past that aren't well done--it is worth a good giggle.

Cindy Abel

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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Re: santa costume
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I don't think the question is "What did Santa Claus wear?", but rather 
"Is the 20th century Santa costume based on anything historical? And if 
so, what?"



Dawn

otsisto wrote:
> http://www.snopes.com/cokelore/santa.asp
> http://www.kidzworld.com/site/p1557.htm
> 
> 
> -----Original Message-----
> Thanks for your responses. I think we're getting somewhere, but let me
> rephrase my question. What I'm really wondering is, if I wanted to make a
> costume like this one: http://www.adclassix.com/images54cokesanta.jpg
> and call it historical, where would I go to document it? Who would have worn
> something like that in real life? 

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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] why renaissance and not 18th century?
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I actually don't understand it either.

True, most of the current US was, in the 18th century, not a place for 
silks and satins.  But, as people are commenting, the SCA does all kinds 
of eras and places remote from US history. So, why not have more groups 
that do the "fancy" 18th century, even in parts of the US where that 
part of history didn't happen to speak of?  Granted, there won't be the 
existing organizations, the historic houses and such, to build it 
around.  But the SCA has done very well in the absence of medieval 
castles . . . .

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

Bjarne og Leif Drews wrote:

> Why is it that America has such a great market for 18th century 
> reenacters and not so many of 18th century?
> I have no clues, could anybody enlighten me?
>
> Bjarne
>
>
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Subject: Re: [h-cost] why renaissance and not 18th century?
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Nah, to most Americans the 18th century is the remote past.  As for 
"mythed up," you apparently weren't in my grade school American history 
classes.  True and false, we had the larger-than-life Founding Fathers 
(even a few mothers), history told as stories.  Washington and the 
cherry tree.  Washington and Valley Forge.  Betsy Ross and the flag.  (I 
knew one of her descendents in high school, named . .. Betsy Ross.  And 
her cousins were named Betsy.  The family was still attaching the name 
to every female infant possible.)  Paul Revere and his ride.  The Boston 
Tea Party.  In the part of the country I originally came from, 
everything was named for Washington.  Towns, streets, schools, you name 
it.  There was hardly an 18th-century house or inn around that 
Washington didn't supposedly sleep in.  He was Our Father, larger than 
life. 

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

>
> It's an experience of its own, really, not related to re-enactment.  I 
> expect the 18th century is too close in time to be myth'ed up like 
> that and sell well to the general public.
>
> cv
> _______________________________________________
>
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From: Robin Netherton <robin@shell.nightowl.net>
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Subject: [h-cost] My upcoming lecture schedule
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A number of you have asked me to keep you updated on my lecture
appearances. I have two trips upcoming.

Sat., Nov. 18, St. Cloud, Minnesota: Clothier's Seminar North. Lots of
classes; I'll be doing four lectures. They're listed on the website, here:
http://www.geocities.com/ursulagoddess/CSNorth_main.html

Sat., March 25, 2006, Portland, Oregon: Lecture day. This will be similar
to the one I did in Seattle a couple of years ago.  I'll be doing my usual
five-lecture marathon; I'm not sure which talks they'll choose yet, but
probably some of the same and one or two new ones.

Although both of these events are SCA-sponsored, I believe anyone will be
welcome to go. The St. Cloud seminar may require that all participants
wear an approximation of medieval costume (and I know that many people
will be showing off their clothing there).

--Robin


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Oh, that was a fun part. And how about when Elizabeth was shot at while in
her boat on a party on the river, and no one bothered to look for who did
it? As a Catholic, of course I was bemused by the very idea of Elizabeth
wearing white makeup and deciding never to marry in order to give England a
"new" Virgin Mary -- surrounded by weeping serving maids, no less!

But the very best part, IMHO: THE POISONED DRESS.

That movie had so little to do with reality that the fun part was finding
what was really true! But the people who made it had no business touting its
accuracy. I agree with everyone else who said that was the real problem, and
it's a pretty big problem.

Gail Finke

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I should add that, I think to many people, people not that interested in 
history, reenactors, and professional historians, the driving interest, 
the original motivation of their interest was not facts, but the great 
myths.  For American history, we have myths like The Settlers Persecuted 
for Their Beliefs Find Refuge, the Noble Rebellion Against the Unjust 
Opressor (the Little Guys Win!), the Taming of the Great Forests into 
Fertile Farmland, the Winning of the West, etc., etc.  We have The 
American Dream (the nuclear famiily owning its own suburban home), we 
have The Land of Opportunity (anyone with gumption can become president).

As people learn more about history, the issues become much more complex, 
and some of historical events turn out to be not so noble after all. And 
things like the American Dream are seen, by many, to not be achievable 
in real life.  And current politics make myths seem silly--Kennedy as a 
president was still revered, but Tricky Dick was a genuine shock.

But the myths, the driving force of them, is still there.  I think to 
most reenactors, even the ones who moan about tourists whose primary 
knowledge of the American Civil War is "Gone with the Wind" (another 
great myth)--fact is, the myths are a core of their own interest.  I 
think it's a good thing, as otherwise, what is history?  A collection of 
dry facts, arranged as scientifically as possible?  Accurate, maybe; 
emotionally involving, no. 

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





>
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Subject: RE: [h-cost] Re: Dressing Santa Claus
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Baba Yaga is female and was not Russia's version of St. Nick. :)
De

-----Original Message-----
Kahlara wrote:

>I don't know how accurate this is, but I had always
>been told that prior to the Moore/Nast (American) idea
>of St. Nick's appearance, that many countries/ethnic
>groups had their own version of St. Nicholas or some
>similar personality (Baba Yaga in Russia?) and each
>had their own costume based on how they were portrayed
>in the stories. If I remember correctly, Sinter Claaus
>wears a bishop's costume, complete with mitre and
>staff and rides a white horse.
>
>Annette M


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Subject: Re: [h-cost] why renaissance and not 18th century?
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Bjarne,

     I'm on the 18cWoman list and we are interested and do talk about
fashion, as well as many other topics.  If you hate it, then
unsubscribe.


> Oh yes Karen,
> I think you have a point there,
> Things in a new country so far from civilisation 3 or 4months away
> I give up!
>
> Its just like i hate another list ia m on called 18th century womens list,
> and they dont care about fashion at all
> But i am sure you are righ
> Good weekend to youIn denmark we say


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Subject: [h-cost] Santa
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Twas the night before Christmas was written by a Pastor trying to cheer his
children with a story. He started with St. Nicholas but the pastor is said
to have lightened the character up a bit as St. Nicholas was considered a
bit solemn in character.
It is said that the sleigh idea came from the pastor seeing the German
people in winter, riding in sleighs.
To make the story more magical, added reindeer instead of horses.
Perhaps you might want to look into the traditional costume of the ghost of
Christmas past. He wears a green, wht fur trimmed robe that is similar in
design to Santa's jacket.

De


-----Original Message-----
This is plainly 20thC American, from my point of view. As someone has
already pointed out, the vision of Santa differs from culture to culture.
The Nast version is the first that I am aware of, which is influenced by the
description given in the "Night Before Christmas"(as it is now known)
Are you aware of the Dover issue that presents a collection of Santas and
farther Christmas? This source might be a starting point in creating the
view of Santa you are looking for.

Kathleen

----- Original Message -----
From: <tearoses@aol.com>
To: <h-costume@indra.com>
Sent: Wednesday, September 21, 2005 11:36 AM
Subject: [h-cost] Re: h-costume Digest, Vol 4, Issue 603


> Thanks for your responses. I think we're getting somewhere, but let me
rephrase my question. What I'm really wondering is, if I wanted to make a
costume like this one: http://www.adclassix.com/images54cokesanta.jpg
> and call it historical, where would I go to document it? Who would have
worn something like that in real life? Victorian isn't my period, but I
don't recall ever seeing anybody dress like that in my brief studies of that
century. Is it a Victorian or 20th Century confabulation of some earlier
period? Or is it some kind of 19th Century Dutch costume? Does anyone have
any pictures of a real person wearing a similar costume, maybe in some other
color or without the fur trim? Nast seems to have dressed him in clothes
derived from his own period, though possibly a little fantasized, but did
the Coca-Cola artist make up the traditional costume or did he derive it
from earlier drawings?
>
> Tea Rose
>
> P.S. I think I'll go look up that WonderWorker book; thanks for the
reference. I know there are all kinds of Santas these days, which is why I
don't feel compelled to do the traditional suit, but I'm curious about where
the traditional suit came from.
>
> ==============================
> From: "Abel, Cynthia" <CynthiaAbel@creighton.edu>
>
> I don't think all of Nast's Santa's wore a red
> outfit, but just about all the images I recall usually show him in a
> practical winter weather two-piece fur-trimmed suit, suited for a jolly
> old elf" and a stocking cap.
>
> If I remember correctly, this Claus was derived more from the slightly
Protestanized Dutch Sinter Claaus, than St. Nicholas.
>
> A great big very well-fed guy in a cheery and
> confident color red with grandfatherly white beard and whiskers was just
> the visual ticket to lift the economically stressed consumer.
>
> Amazon.com has Wonderworker: the history of Santa Claus,
> which has a pic of one of Thomas Nast's Santa's on the cover--with a
> very present-day politically incorrect pipe between his lips!
>
> From: Dawn <dawn@reddawn.net>
>
>
http://www.dovercards.com/_images/0486236609_46_Thomas%2520Nast_Santa%2520at
%2520Chimney.jpg
>
> This is a Nast Santa, and it looks like he's in longjohns.
>
> http://www.sonofthesouth.net/Thomas_Nast/Original_Santa_Claus.jpg
>
> Another Nast Santa, from 1865, he's in striped pants, a fur lined jacket
> with stars on it, and some kind of cap, but it still doesn't look like
> 1865 fashion. The image is heavily political, the stars and stripes are
> obviously iconic.
>
> http://www.adclassix.com/images54cokesanta.jpg
>
> This is a Coca-Cola Santa from 1954... and you're right. What the heck
> is the suit supposed to be? It's not a 1954 men's fashion, is it?
>
> And why red?
>
> Dawn
>
> From: "Kate Pinner" <pinner@mccc.edu>
>
> 1822 -- Clement Moore -- "A Visit From Saint Nicholas".
> This supposedly gave us the first picture of how he was dressed (a picture
> in words). The newspaper/magazine artists took it from there.  Before
that,
> I don't think there was a clear image of him that someone could identify
> immediately by some specific article of clothing...at least in the US.
> Kate
> _______________________________________________
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>

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From: Althea Turner <althea@alfalfapress.com>
Date: Thu, 22 Sep 2005 11:34:34 -0700
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Greetings,

I have been tasked with creating an Excel spreadsheet in order to  
collect data for a historical study.  The tables will need to be  
exportable to Access.  I'm comfortable doing fairly complicated  
spreadsheets, but want to know if anyone out there has done this  
before and do they have any suggestions or advice before I go  
creating away.  I have never done anything this complicated before.

Many thanks!

Althea Turner
althea@alfalfapress.com



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Bjarne, why not start your own discussion group about the 18th century, 
focusing on clothes?  I'll bet plenty of us here would love to join.
Michelle
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Subject: Re: [h-cost] why renaissance and not 18th century?
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Ohhhhhhhh yeah!!!!
 
Chris G.

Michelle Plumb <mplumb@wideopenwest.com> wrote:
Bjarne, why not start your own discussion group about the 18th century, 
focusing on clothes? I'll bet plenty of us here would love to join.
Michelle
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The sites help in getting an idea as to how the Santa Claus character and
possibly the suit came together.
This can help in searching down avenues not thought of.

"The Santa Claus figure, although not yet standardized, was ubiquitous by
the late 19th century. Santa was portrayed as both large and small; he was
usually round but sometimes of normal or slight build; and he dressed in
furs (like Belsnickle) or cloth suits of red, blue, green, or purple. A
Boston printer named Louis Prang introduced the English custom of Christmas
cards to America, and in 1885 he issued a card featuring a red-suited Santa.
The chubby Santa with a red suit (like an "overweight superhero") began to
replace the fur-dressed Belsnickle image and the multicolored Santas. "

I think you might want to look at the source of inspiration. Nast was German
and therefore you might want to look into German costumes. Probably garments
closer to 1800s.

There has been a comparison between Santa's suit and Laplanders folkwear.
You might want to look there.

De

-----Original Message-----
I don't think the question is "What did Santa Claus wear?", but rather
"Is the 20th century Santa costume based on anything historical? And if
so, what?"



Dawn

otsisto wrote:
> http://www.snopes.com/cokelore/santa.asp
> http://www.kidzworld.com/site/p1557.htm
>


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Wow, I remember the discussion last year, but not the dress detail below 
the waist.  Interesting. 
What is the manuscript you speak of Monica?  I missed that part.

Saragrace

>  
>
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>From: Lavolta Press <fran@lavoltapress.com>
>...
>great myth)--fact is, the myths are a core of their own interest.  I
>think it's a good thing, as otherwise, what is history?  A collection of
>dry facts, arranged as scientifically as possible?  Accurate, maybe;
>emotionally involving, no.

Well, maybe not for *most* folks... :)

OTOH, I know that in my case, cold, dry objective fact is the goal...

Marc


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Yes I do. Traditional cloth. Though I am curious as to what is meant by
"early days of SCA". That can be a bad thing as well as a good thing. :)
There are various types of Powwows. Some are open to the public and others
are closed (private/invitation only/card carriers only)

De

-----Original Message-----
I went to a local Native American Pow-Wow this past weekend.  Do any of
you do that activity?  It was... probably like the early days of the SCA.

--
Cynthia Virtue and/or Cynthia du Pre Argent




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Subject: Re: [h-cost] RE: why renaissance and not 18th century?
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Great question!  For me, I think it what I was introduced to first from 
a costume perspective.  From a history perspective, I just find American 
history to be "too new." That being said, there are several of us (here 
in Phoenix) who have been doing the Renaissance thing who are toying 
with moving up two or three centuries.   I have found that the more 
complicated the construction, the more I like it..........there is 
plenty of that after the Renaissance, though more of the guess work has 
been taken out of it.

Sg

>
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Lavolta Press wrote:

> Nah, to most Americans the 18th century is the remote past.  As for 
> "mythed up," you apparently weren't in my grade school American history 
> classes.

Oh, yeah, I've had those, but it's not all fairies and magic dust,
bizarre speech patterns, and bosoms.  And some of those myths can at 
least be found to have roots in real events (although, apparently, not 
the 'Betsy Ross made the flag' one, last I heard.)

-- 
Cynthia Virtue and/or Cynthia du Pre Argent

   "Such virtue hath my pen...."  -Shakespeare, Sonnet 81
        "I knew this wasn't _my_ pen!"  --Cynthia Virtue
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The bosoms are for a somewhat older crowd. . . .

Some medieval myths, such as King Arthur, probably have some roots in 
real events. We just don't know for sure what those are.

But my point is, we _do_ have American historical myths and they have a 
powerful effect on Americans.  This may not be the body of myth that 
most affects you emotionally, but it definitely exists, and it's 
definitely only partly in accordance with historical fact.

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

Cynthia Virtue wrote:

> Lavolta Press wrote:
>
>> Nah, to most Americans the 18th century is the remote past.  As for 
>> "mythed up," you apparently weren't in my grade school American 
>> history classes.
>
>
> Oh, yeah, I've had those, but it's not all fairies and magic dust,
> bizarre speech patterns, and bosoms.  And some of those myths can at 
> least be found to have roots in real events (although, apparently, not 
> the 'Betsy Ross made the flag' one, last I heard.)
>
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There is a difference between a goal and a motivation, what leads 
someone to become interested in history, and partly to stay 
interested.   When I was studying to be a historian, most of the 
students in a historiography seminar (that is, one that focused 
primarily on teaching professional historical method, rather than any 
specific era or topic) confessed (when officially asked) that they were 
motivated by what our instructor termed "romantic" notions.  The great 
myths, the love of the romance of the past.  Furthermore, the instructor 
cheerily confessed to it too, and so did many of my other instructors at 
some point. 

And, so do I.  That doesn't mean that I, or any of those other people, 
don't enjoy abstract research, or don't believe in finding facts.  But 
the great myths have power.  History is full of wonderful stories, true, 
false, and partly true. This is probably why historians choose history 
over physics. 

On the other hand, "hard" scientists tend to have their own romantic 
bases, their own myths and beliefs, that motivate them.  When asked on a 
questionnaire what his religion was, my husband replied, that his 
religion was physics.

People aren't machines. They are partly emotionally motivated at all 
times.  As long as you don't allow emotion to triumph over abstract 
reasoning, there is no problem with the quality of your reasoning. 

Myths may not be facts, but they are real and valuable.

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


Marc Carlson wrote:

>> From: Lavolta Press <fran@lavoltapress.com>
>> ...
>> great myth)--fact is, the myths are a core of their own interest.  I
>> think it's a good thing, as otherwise, what is history?  A collection of
>> dry facts, arranged as scientifically as possible?  Accurate, maybe;
>> emotionally involving, no.
>
>
> Well, maybe not for *most* folks... :)
>
> OTOH, I know that in my case, cold, dry objective fact is the goal...
>
> Marc
>
>
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Subject: [h-cost] Re: Kilcommon Jacket 2 last questions
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Thank you everyone that responded (with the same answer too!). Laying it out and embroidering before cutting makes perfect sense now that it has been explained. I don't have a frame that big, but am thinking a quilting hoop - about 22" inside diameter - might do the trick.
 
Another reminder for the costuming historians out there - this is for my wedding and we're going for a look more than accuracy. I will probably be the only one there that knows the degree of accuracy or lack there of, although I do appreciate the historical notes and reminders some of you have sent and will keep them for future reference.
 
Thanks again,
 
Annette M

------------------------------
 
Message: 1
Date: Wed, 21 Sep 2005 15:01:31 -0700
From: Kimiko Small 
Subject: Re: [h-cost] Re: Kilcommon Jacket 2 last questions

At 09:10 AM 9/21/2005, you wrote:
>Thank you to everyone that responded. It was very
>helpful. One last question on this topic...
>
>Wool or Linen?

Wool is my suggestion. Lined in linen or cotton.

>I did buy a nice 'homespun' cotton that has a nice
>texture and feel and resembles linen, but it will need
>some type of crisp lining. I have regular interfacing
>- not the fusible kind - and was thinking of layering
>that between the cotton and some sort of lining
>fabric. Certainly not accurate, but I thought it might
>be a nice look for the wedding.

It would depend on how thick and "homespun" it looks to you. If you like 
it, then use it. As for interfacing, regular sew-in kind is what I use (I 
am not fond of how fusibles don't hold up as well), with tailor's hair 
canvas (if you can find it) or additional regular interfacing added in any 
stress areas, like a small strip along the front edge and neck, and along 
the bottom to support the pleats.

>Make that two questions -
>
>we are considering the 'embroidered' embellishments
>similar to those shown in the woodcuts, but tone on
>tone. How is this to be done - before assembling the
>pieces or after the jacket is done? And how to keep
>the fabric smooth and taut enough to accomplish this
>so it looks nice? My 'needlework' experiece is limited
>to what fits in a hoop or on a stretcher.

Either can work, although it is easier to do so before the jacket is 
assembled. First wash and dry your fabric. Make a cartoon (outline of the 
embroidery) on a copy of the pattern pieces you are going to work, so you 
know where to place things. Then transfer the cartoon onto the fabric and 
cut out the fabric with very wide margins (2-3") or as a rectangle (works 
better). Do not actually cut out the pattern piece yet, things can shrink a 
little while being embroidered. Put the piece of material in a stretcher 
(better than a hoop, but a hoop can work), do your embroidery work, take it 
off the stretcher, lightly wash the fabric if there are transfer marks 
remaining, dry & press on the wrong side with a towel underneath the fabric 
(so you don't flatten the embroidery), then cut out the pattern piece and 
make up the jacket.

You can also embroidery a lightweight fabric, and add that on as an 
applique onto the back of the jacket. That is period, and those were called 
"slips" by the English. The upper classes would do slips in linen, cut the 
pieces out, and sew the slips onto velvet. I am not as sure if the Celts 
did the same, but it would make sense to do so if embroidering onto heavy 
materials like wool or velvet.

>Thanks again,
>Annette M

hth,

Kimiko Small



		
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To: Historical Costume <h-costume@indra.com>
Subject: playing in period societies? Re: [h-cost] why renaissance and not
	18th century?
Date: Thu, 22 Sep 2005 18:26:58 +0000
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Personally, I play in the SCA because I can dress up alot...

What I'd prefer to do is to play dress up for several periods, and (I'm sorry) for brevity let's just say from 1650 through 1900.  

I love each of the different fashions that evolved and exploring each development and their fabrics, textiles, accessories and social graces would be exquisite.

If there are 'Societies' in the USA (Seattle, Washington area) that I could begin playing in I'd love to know about them.

Or, if not, if there's a group that focuses on the Irish/Celtic/Welsh (I think they are all different and distinct groups) history, language and costuming, I'd also love to know about them, too.

Elena/Gia


> Bjarne og Leif Drews wrote:
> 
> > Sorry sorry folks, drinks on me!
> > 
> > I ment why so much renaissance fairs and renaissance reenactors and not 
> > so many 18th century?
> 
> The American RenFaires are mostly very fluffy.  Lots of flashy clothes, 
> stage magic, selling of pretty things, and not so much history.  They 
> make a fair amount of money for the organizers, and the few historic 
> elements are often provided by really dedicated volunteers who get paid 
> nothing, and who are not a big part of the experience for most of the 
> attendees.
> 
> It's an experience of its own, really, not related to re-enactment.  I 
> expect the 18th century is too close in time to be myth'ed up like that 
> and sell well to the general public.
> 
> cv
> _______________________________________________
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From: Cin <cinbarnes@gmail.com>
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Subject: Subject: [h-cost] Eleanora's Dress
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>Last year we had discussed the dress of Eleanora of Toledo that was on
>display in Memphis.  I wasn't sure if the link to the picture on the web  had
> been posted, so it is listed below.  This picture is much better than
>  the one in the catalog.

>http://www.wonders.org/masters8.htm

The website is wrong. That gown is from Pisa's collection. The
Gallerie di Costume (Florence) isnt convinced that it was Eleanora's. 
Circumstancial, documentary and physical evidence leads the curators
to be relatively sure that it is from Eleanor's tailor's workshop. 
Quite possibly, it belonged to one of Eleanora's ladies in waiting.
IIRC, when Eleanora died, 1562 in Pisa, many of her gowns were given
to her favorite church there, the convento di San Matteo, where it
prob dressed an effigy. No gown recorded in Eleanora's inventories or
receipts corresponds to the Pisa gown. As mentioned by another poster,
Eleanora's ladies were seen in Siena 1560 all in matching red velvel
gowns much like this one.
Eleanora's gown, as found in her grave, was white satin, tho' even
post restoration, it doesnt look particularly white.
The full story is in "Moda a Firenza" subtitled "Lo Stylo di Eleanora
di Toledo e la sua Influenza" published by the Pitti Palace museum.
There is also a publication on the Pisa gown pub'd 2000 post
restoration. I have not read it. Has anyone else?
--cin
Cynthia Barnes
CinBarnes@gmail.com

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Subject: [h-cost] RE: why renaissance and not 18th century?
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>From: Lavolta Press <fran@lavoltapress.com>
>...And, so do I.  That doesn't mean that I, or any of those other people,
>don't enjoy abstract research, or don't believe in finding facts.  But
>the great myths have power.  History is full of wonderful stories, true,
>false, and partly true. This is probably why historians choose history
>over physics.

I didn't suggest that anyone wasn't interested in research (does that parse 
right to you?), just that unlike the implied everyone in your earlier 
message, some of us really *do* enjoy dry dull facts, and the myths and 
stories are of less interest.  In fact the myths and stories that have grown 
up about history tend to annoy me in the long run since they generally have 
to be weeded out later as they prove to be false.

So, my goal is cold, objective fact.  My *motivation* is to honor the dead, 
those who's lives and existence we have coopted for our entertainment, and I 
don't believe that's actually possible without at least making the effort to 
get a correct understanding of the worlds they lived in.  This means not 
making stuff up to fill in the blanks unless we have to; saying "we don't 
know" a *lot* more than most people prefer :)

>On the other hand, "hard" scientists tend to have their own romantic
>bases, their own myths and beliefs, that motivate them.  When asked on a
>questionnaire what his religion was, my husband replied, that his
>religion was physics.

The topic of "historical fact" is the only place you will ever see me get 
that fanatical gleam in my eye (God can take care of God just fine - the 
facts and the Dead, OTOH, could use some protection).

>People aren't machines. They are partly emotionally motivated at all
>times.  As long as you don't allow emotion to triumph over abstract
>reasoning, there is no problem with the quality of your reasoning.
>Myths may not be facts, but they are real and valuable.

I grant they have their uses.

Marc


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Subject: Re: [h-cost] why renaissance and not 18th century?
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Here is another different take on the subject:

I think what periods of history that have been chosen by North Americans to
re-create have been heavily influenced by movies, popular fiction and
television. Take the SCA for example, one of the founding members is a very
popular Fantasy writer. Both Ren-faires and the SCA began during a period of
Fantasy fiction popularity, so to my mind there is no real surprise that the
time periods chosen to re-create are more Medieval in flavour. Also hugely
popular is the 'Western'. Western movies, books, TV programs abound, so no
real surprise that some folks would love the chance to play Cowboy, ride a
horse and wear a 6 shooter. Same to be said of the Civil war. It's all a
very romanticised part of local history.

As a youngster, I could tell you that guys with swords and armour were from
the Middle Ages, King Arthur was cool, I had piles of books of stories about
that. There were movies and tv shows too. Tell me there is a group that
dresses up and does Medieval things, fantastic, sign me up. Where's my horse
and my sword? :-)

The TV show Gunsmoke and my Grandpa's Louis L'Amour western novels were
responsible for my (obviously shaky) grasp of American Western history. Tell
me there is a group that gets to run around outside with tomahawks, black
powder guns and horses, sign me up!

Ask me anything about the 1700's and I would draw a total blank. There were
no tv shows about that. First movie I ever saw on the subject at all was
Dangerous Liasons, and the subject matter of the movie wouldn't have been
much of an encouragement to find a group to recreate the period. :-)

To make a long post short, we start with what we know, then expand as we
learn. What drew us to these groups in the first place was a very idealized
romantic notion of 'history', whatever we had seen up to that point we got
from Pop culture. Now we know better. :-)


Sheridan

(I also think that some history we are still too close to, my home province
of Alberta just celebrated its 100th anniversary of being part of Canada. My
family has lived here for just over 90 years. Europe's history always seemed
far more interesting to me in comparison, because it's Old.)


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Subject: Re: [h-cost] A New Programme to watch out for - "Elizabeth"
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In a message dated 9/22/2005 1:05:17 P.M. Eastern Standard Time,  
fran@lavoltapress.com writes:

One of  my costuming friends commented about the film "Elizabeth" that the 
film's  website actually said that the director _forbid_ the costumers to 
consult  historic sources for costume, because he wanted "a fresh vision." The 
amusing  thing, my friend said, is that the director clearly didn't know enough 
about  the period portraits to spot when the costumers _did_ lift something 
straight  out of a well-known historical source :)



Ignorance is always fun, isn't it?
 
A fresh vision??? Then do a Sci-fi film and leave history to those who like  
it. Stupid director! Why the producers [who have control] let him get away 
with  this stupid BS idea is beyond me.
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If there are 'Societies' in the USA (Seattle, Washington area) that I
could begin playing in I'd love to know about them.

*snip*

Ask and ye shall receive:

www.brcg.org

We are a group that  studies every aspect of costuming, from
extrapolations of the stone age to futuristic fantasy, with a lot of
historical fact and folly in between. There is another group, Somewhere
in Time, Unlimited, which is more heavily influenced by historical
costume after the SCA period, but I don't think they have a web
presence. I can find their address if you would like it. The BRCG is the
local branch of the International Costumers Guild, while S.I.T.U. was
started by local folks in the SCA who wanted more from the later
periods.

Kate McClure
aka StitchWitch

Beads? What beads . . . ?



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Date: Thu, 22 Sep 2005 13:42:33 -0700
To: Historical Costume <h-costume@indra.com>
From: Joan Jurancich <joanmj@surewest.net>
Subject: Re: [h-cost] question on data collection/ excel
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At 11:34 AM 9/22/2005, you wrote:
>Greetings,
>
>I have been tasked with creating an Excel spreadsheet in order to
>collect data for a historical study.  The tables will need to be
>exportable to Access.  I'm comfortable doing fairly complicated
>spreadsheets, but want to know if anyone out there has done this
>before and do they have any suggestions or advice before I go
>creating away.  I have never done anything this complicated before.
>
>Many thanks!
>
>Althea Turner
>althea@alfalfapress.com
 From my limited experience with spreadsheets, the data may be 
exportable, but the formatting is not.  So make it as simple as possible.

Joan Jurancich
joanmj@surewest.net 

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> Bjarne og Leif Drews wrote:
>
>> Sorry sorry folks, drinks on me!
>>
>> I ment why so much renaissance fairs and renaissance reenactors and not 
>> so many 18th century?


Aside from the fact that I don't know of any 18th century groups near me...

I just plain like the clothing from the 16th century better. Not so fond of 
the 18th century stuff, it just never appealed to me.

Dianne 

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Excel and Access work very well together.  You can even work directly in 
your spreadsheet from Access.  It sounds like you will not be doing the 
data manipulation once it is in Access?  If not, it would be best to 
work with the person who is to be sure the fields you establish are 
what/how they want.   It is important to know how things will be 
categorized/sub-categorized first.  That will require what will appear 
to be duplication from a spreadsheet person's view.  I'd be happy to 
help...I have worked with both extensivley.

Sg

Althea Turner wrote:

> Greetings,
>
> I have been tasked with creating an Excel spreadsheet in order to  
> collect data for a historical study.  The tables will need to be  
> exportable to Access.  I'm comfortable doing fairly complicated  
> spreadsheets, but want to know if anyone out there has done this  
> before and do they have any suggestions or advice before I go  
> creating away.  I have never done anything this complicated before.
>
> Many thanks!
>
> Althea Turner
> althea@alfalfapress.com
>
>
>
> _______________________________________________
> h-costume mailing list
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>
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Subject: Re: [h-cost] why renaissance and not 18th century?
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In a message dated 9/22/2005 4:49:02 P.M. Eastern Standard Time,  
goofy1@suscom.net writes:

I just  plain like the clothing from the 16th century better. Not so fond of 
the  18th century stuff, it just never appealed to me.





Isn't taste interesting? There's really no period I hate, but I LOVE the  
18th century...generally of course. Things look different depending on the  
decade...but the coat [justicorps or frock] waistcoat and pants [breeches] on  men 
are the best. Especially IMHO at the end of the century. The open robe  
developed for women is a wonderful canvas to try all kinds of decorations on.  The 
conical corset, layered skirts and open necklines look good on just about  
every type [even large women look great!] and can be very sexy.
 
But I could go on about the 17th century's fabulous hats, wonderful off the  
shoulder rigid bodices [like in the 1660s] and wigs....and of course all those 
 18th century things I like START in the late 17th century.
 
And of course the 16th century men in leather doublets, short hair and  
beards look fantastic too. The women look good but not in a very feminine way to  
me. It's more ceremonial and elegant.
 
Then there's the 19th century.....
 
As far as making any of the periods...they all equal out. Different  
difficulties in each, but just as many.
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Subject: Re: [h-cost] why renaissance and not 18th century?
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I don't think there is a firm dividing line between "pop culture," and, 
well, the rest of our culture.  The Great Myths consist of a vast soup 
of old historical stories; fairy tales; religious myths; cultural 
dreams/goals; and modern novels, films, and TV shows.  It's not like 
"late-night TV" versus "solid academic historical research."  The reason 
a lot of "pop culture" resonates with people is that it consciously or 
unconsciously draws from, or has evolved from, established mythic 
elements.  And I don't think it's like, we should give up, or even can 
give up, the Great Myths the way kids give up playing with dolls because 
they're too old.  You just need to recognize them for what they are, and 
also recognize that they may be partly true, that they may contain 
actual historical facts.

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

Shane & Sheridan wrote:

>Here is another different take on the subject:
>
>I think what periods of history that have been chosen by North Americans to
>re-create have been heavily influenced by movies, popular fiction and
>television. 
>
>To make a long post short, we start with what we know, then expand as we
>learn. What drew us to these groups in the first place was a very idealized
>romantic notion of 'history', whatever we had seen up to that point we got
>from Pop culture. Now we know better. :-)
>
>
>Sheridan
>
>  
>
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All this talk about like one century or another.......
 
Now that the 20th century is over, what do you think the big clothing  
"thing" will be that defines it? Y'know....what quality will it be known for,  you 
think? What garment?
 
I have my own answers but I wonder what others  think.
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From: Althea Turner <althea@alfalfapress.com>
Subject: Re: [h-cost] the 20th century
Date: Thu, 22 Sep 2005 14:10:59 -0700
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Without a doubt ... platform sneakers.  :D

Althea

On Sep 22, 2005, at 2:07 PM, AlbertCat@aol.com wrote:

> All this talk about like one century or another.......
>
> Now that the 20th century is over, what do you think the big clothing
> "thing" will be that defines it? Y'know....what quality will it be  
> known for,  you
> think? What garment?
>
> I have my own answers but I wonder what others  think.
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
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Althea Turner
althea@alfalfapress.com



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In a message dated 9/22/2005 5:07:17 P.M. Eastern Standard Time,  
fran@lavoltapress.com writes:

I don't  think there is a firm dividing line between "pop culture," and, 
well, the  rest of our culture. 


Indeed.
 
But especially today, pop culture is disposable. "Real" culture  endures.
 
And pop culture is a lot...LOT of the time just plain wrong. Look  at the 
notion of the flapper in her fringed dress, stocking rolled down and  doing the 
Charleston . Yes, there's a basis for it but the REAL range of  attitudes and 
clothes [and dances] from the 1920s is much more interesting  and better.
 
Even closer to home is the hippy. I saw a bit of Milos Forman's [dreadful]  
film of "Hair" recently. The hippies had elements of hippy-dom, but I don't  
remember seeing any of them dressed quite like that. And the film is all flower  
power and free love, whereas the real "Hair"....and real hippy movement was  
very much more: down with the establishment, 
man...protest...f-you...aggressive.  I remember.
 
Pop culture skims the surface. "Real" culture digs deep. And is always more  
interesting.
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AlbertCat@aol.com wrote:

> Now that the 20th century is over, what do you think the big clothing  
> "thing" will be that defines it? Y'know....what quality will it be known for,  you 
> think? What garment?

Denim jeans would be my vote.

-- 
Cynthia Virtue and/or Cynthia du Pre Argent

   "Such virtue hath my pen...."  -Shakespeare, Sonnet 81
        "I knew this wasn't _my_ pen!"  --Cynthia Virtue
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From: Hope Greenberg <Hope.Greenberg@uvm.edu>
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Quoting AlbertCat@aol.com:

>
> Now that the 20th century is over, what do you think the big clothing
> "thing" will be that defines it? Y'know....what quality will it be 
> known for,  you
> think? What garment?

Great question. I'll take a stab at it, though I'm still trying to think of a
single defining garment:

1) Comfort as the defining word, as opposed to display, ostentation, 
propriety,
etc.
2) a deplorable lack of fabric! as in, clothes that use far less fabric than
before (a bit of a comeback in the 50s New Look and in high fashion evening
wear at various times, but overall...)
3) a transition from body shaping through foundation garments to body shaping
through actually shaping bodies (see Valerie Steele's corset book for more on
that)
4) high tech fabrics: goretex, velcro, mosquito/sun/stain proof, etc. (see #1
for why)
5) unisex clothing




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Unisex clothing, and definitely blue jeans IMO.

Sheridan

----- Original Message ----- 
From: <AlbertCat@aol.com>
To: <h-costume@indra.com>
Sent: Thursday, September 22, 2005 5:07 PM
Subject: [h-cost] the 20th century


> All this talk about like one century or another.......
>
> Now that the 20th century is over, what do you think the big clothing
> "thing" will be that defines it? Y'know....what quality will it be known
for,  you
> think? What garment?
>
> I have my own answers but I wonder what others  think.
> _______________________________________________
> 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: why renaissance and not 18th century?
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I would like to add to Fran's thoughtful comments that it has a lot to do with our own sense of national heritage. People are often interested in history mainly from the perspective of their own ancestors. The Civil War is much more interesting when you find out your great-great-grandfather fought in it. Historical reenactment groups tend to reenact what happened in their general location; for example, here in Missouri there are a lot of Civil War and pioneer reenactors, but I've never come across any RevWar people here. In New England, though, I would expect the Revolutionary War to predominate. Maybe the reason location has such an impact is because in the place where something happened you have the highest concentration of descendants of the people involved in the historical event. 
 
In other words, we don't celebrate fancy, European-style 17th or 18th century events because our ancestors, or at least the people who shaped our society, were already forming a separate identity here during those centuries. We can celebrate Renaissance England because it was still our ancestor in that period, but not the Battle of Waterloo or the English colonial period, because by then England was no longer a part of our own heritage.
 
I hope I'm making sense. I'm not a sociologist. And I, too, wish there was a forum where I could explore centuries outside the realm of the SCA, the Renaissance Festival, or the Civil War. I'd love to see what I look like in a robe d'anglaise...
 
Tea Rose
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I saw the movie of 'Hair' back in 1979 when it was first made and even
then I noticed that the hippie fashions weren't done very well. I think
that the late 70's were too close to the real hippies to do their
fashions well. I know that sounds weird, but I think that fashion was
past it just enough for many of the crucial elements to look out of
fashion and not vintage. Bell bottoms had only gone out of style a few
years before the movie was made. I think that we could do a much better
version of 'Hair' in terms of costuming now with the recent retro-hippie
look that's been in. Of course the  plot or lack thereof had pretty much
doomed the movie to disaster from the beginning.....once again, too close
to the source (but not actually IN the source) for the soon to be Yuppies
to be comfortable with the antiestablishment Hippies. 


Karen
Seamstrix
(too young to be a real Hippie but I remember them)


On Thu, 22 Sep 2005 17:20:51 EDT AlbertCat@aol.com writes:

> Even closer to home is the hippy. I saw a bit of Milos Forman's 
> [dreadful]  
> film of "Hair" recently. The hippies had elements of hippy-dom, but 
> I don't  
> remember seeing any of them dressed quite like that. And the film is 
> all flower  
> power and free love, whereas the real "Hair"....and real hippy 
> movement was  
> very much more: down with the establishment, 
> man...protest...f-you...aggressive.  I remember.
>  
> Pop culture skims the surface. "Real" culture digs deep. And is 
> always more  
> interesting.
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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> 
> 
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Subject: Re: [h-cost] why renaissance and not 18th century?
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----- Original Message ----- 
From: <AlbertCat@aol.com>
To: <h-costume@indra.com>
Sent: Thursday, September 22, 2005 5:03 PM
Subject: Re: [h-cost] why renaissance and not 18th century?


>
> Then there's the 19th century.....
>
> As far as making any of the periods...they all equal out. Different
> difficulties in each, but just as many.


Now THERE is another century I could play in! Almost every decade in the 
19th century appeals to me, from Regency to the huge hoop skirts (I adore 
hoop skirts)  to the bustle gowns...and the men's clothing was so elegant!

Dianne


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Subject: Re: [h-cost] My upcoming lecture schedule
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we in the Portland area are really looking forward to your visit, Robin.
Whether you talk about our persona period or not! ;)

arlys

> Sat., March 25, 2006, Portland, Oregon: Lecture day. This will be 
> similar
> to the one I did in Seattle a couple of years ago.  I'll be doing my 
> usual
> five-lecture marathon; I'm not sure which talks they'll choose yet, 
> but
> probably some of the same and one or two new ones.

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From: Catrijn vanden Westhende <catrijn@gmail.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] the 20th century
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On 9/22/05, AlbertCat@aol.com <AlbertCat@aol.com> wrote:
> Now that the 20th century is over, what do you think the big clothing
> "thing" will be that defines it? Y'know....what quality will it be known for,  you
> think? What garment?

My first guess would be some of the technological changes rather than
any particular fashion style.  Plastic-based fibers and other
synthetics, lycra in everything.  Modern chemical dyes - day-glo and
neon colors.  The complete shift to ready-to-wear clothing.

Pants (by which I mean trousers, if you prefer British english) for
women being acceptable (and common) is a pretty big shift too.  But I
can't really put my finger on an iconic style for the century -
there's so much variety.

Catrijn

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Subject: RE: [h-cost] the 20th century
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Pants for women?

The whole designer/couture thing?

Kim

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
On Behalf Of AlbertCat@aol.com
Sent: Thursday, September 22, 2005 4:08 PM
To: h-costume@indra.com
Subject: [h-cost] the 20th century


All this talk about like one century or another.......
 
Now that the 20th century is over, what do you think the big clothing  
"thing" will be that defines it? Y'know....what quality will it be known
for,  you 
think? What garment?
 
I have my own answers but I wonder what others  think.
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> Pants for women?

And hemlines above the ankle.

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Date: Thu, 22 Sep 2005 18:56:13 -0400 (EDT)
Subject: Re: [h-cost] why renaissance and not 18th century?
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Cynthia said,
> Oh, yeah, I've had those, but it's not all fairies and magic dust,
> bizarre speech patterns, and bosoms.

     I've heard eough bizarre speech patterns at 18thC events, and there
are definitely bosoms!  It seems like for both 18thC and Ren Faires,
many people want to show more bosom than was fashionable at the time.


Fran said,
> True, most of the current US was, in the 18th century, not a place for
> silks and satins.  But, as people are commenting, the SCA does all kinds
> of eras and places remote from US history. So, why not have more groups
> that do the "fancy" 18th century, even in parts of the US where that
> part of history didn't happen to speak of?  Granted, there won't be the
> existing organizations, the historic houses and such, to build it
> around.  But the SCA has done very well in the absence of medieval
> castles . . . .

     Isn't that what PEERS does?  I'm not on the west coast, but I thought
they had balls of various periods, beyond the eras when California
was well-populated.

     There are places in the States where silks & satins are appropriate -
Williamsburg, Alexandria, Philadelphia and Boston come to mind.  For
those who could afford it, fashion was no more than a couple months
behind London, as long as it takes a ship to cross with the latest
Lady's Magazine.  As I understand it, there were no masqued balls,
really huge court panniers, or the extreme make-up that was seen in
Europe.  But there are still fine silk gowns and velvet coats,
minuets and parties.

     I know Gadsby's Tavern museum in Alexandria holds a ball every year,
sometimes several in a year.  Because they want to be open to the
museum members, dress is 18th century or 21stC formalwear.  There are
other events, sometimes private parties and sometimes as part of a
larger reenactment, where people dress in very fine clothes.

     Perhaps it seems like upper class 18thC activities do not exist in
the US because people know about them through word of mouth or other
reenactments.  If it weren't for the Lumieres list (a Yahoo group), I
would not know it was happening in Europe, either.

     -Carol

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T-shirts and jeans. After centuries of even peasant and workman's wear being
somewhat "formal" to our taste (think of barbers, printers, and butchers in
the late 1800s and early 1900s with white shirts, jackets, and ties), these
garments became nearly universal in the west, with all sorts of fancy
versions (designer jeans, silk t-shirts with women's suits, etc.). And
sweaters (jumpers, for our European friends), which seem to have been sort
of regional folk garments in the past.

Gail Finke

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>. 
>
>
>Indeed.
> 
>But especially today, pop culture is disposable. "Real" culture  endures.
>  
>
The works of Homer and Shakespeare (if they were even single authors, 
which is another issue entirely) were pop culture in their day.  So was 
most of what literature students earnestly study, at the time it was 
first published.

What people declare to be "high art" is not necessarily "better." Are 
Zeus myths really much more complicated or edifying than Superman 
comics?  And also, "high art" is not necessarily more influential on our 
culture as a whole. 

> 
>And pop culture is a lot...LOT of the time just plain wrong. Look  at the 
>notion of the flapper in her fringed dress, stocking rolled down and  doing the 
>Charleston . Yes, there's a basis for it but the REAL range of  attitudes and 
>clothes [and dances] from the 1920s is much more interesting  and better.
>  
>
What I said was, that the myths we form of (and from) historic periods 
have a powerful influence on our culture.  I also said that real history 
is considerably more complex; so you and I agree there.  But to ignore 
or despise the effect that these myths have, is to ignore a significant 
portion of human motivations.  Including our own.


>.
> 
>Pop culture skims the surface. "Real" culture digs deep. And is always more  
>interesting.
>
>  
>
There we disagree, because I think this is an artificial distinction. 
It's basically a marketing distinction. Like "real" literature getting 
reviewed in the _New York Times Book Review_, and "trashy"--but 
bestselling--novels getting reviewed in a great many less pretentious 
venues.  Having worked in the book world, I could position lot of novels 
as either one or the other merely by writing a few paragraphs of back 
cover copy and sending review copies to a certain group of publications.

And definitions evolve.  Opera used to be popular entertainment.  The 
high-class spectators got box seats because they were above, therefore 
out of the line of fire of, people criticizing the performance by 
throwing things at the actors.  Now opera is "high art"--expensive to 
attend, and deemed a rather obscure, "cultured," taste.  Science fiction 
used to be "low art"; now it's becoming respectable. But whether high or 
low art, there are many working scientists who not only say they were 
inspired to their career paths by reading science fiction, but who are 
not ashamed to still read it.

I'm not saying all novels, or films, or other art forms are equally 
"good" in my own estimation.  But the fact remains that many people love 
and get value from things I don't think are "good," and from things our 
current marketing trend has declared "pop culture." 

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




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I don't think we'll ever see the whole 20th century defined as one 
image. After all, we don't see the 19th century that way.  We see it in 
terms of the Empire look, the crinoline look, etc.

We've already settled on images for most of the 20th century, except for 
the most recent decades.  We already think of the pigeon-front look, the 
Titanic look, the flapper look, the 30s Hollywood look, the World War 2 
look, the "swing" 1950s look, the Mod look of the 60s, the Hippie look 
of the 70s . . . it's just the 80s and 90s where we're still undecided 
on The Image.

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

AlbertCat@aol.com wrote:

>All this talk about like one century or another.......
> 
>Now that the 20th century is over, what do you think the big clothing  
>"thing" will be that defines it? Y'know....what quality will it be known for,  you 
>think? What garment?
> 
>
>  
>
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Date: Thu, 22 Sep 2005 16:20:38 -0700
From: Lavolta Press <fran@lavoltapress.com>
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Subject: Re: [h-cost] why renaissance and not 18th century?
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>     Isn't that what PEERS does?  I'm not on the west coast, but I thought
>they had balls of various periods, beyond the eras when California
>was well-populated.
>  
>
Yes, but not every reenactment event is a ball.  There are other things 
people like to do.  The Greater Bay Area Costumer's Guild has a range of 
non-dance events.  Neither is ongoing in the sense of one era, though.  
That is, if you want to dress 18th century you have to wait for the one 
or two times a year there is an event for it.

>     There are places in the States where silks & satins are appropriate -
>Williamsburg, Alexandria, Philadelphia and Boston come to mind. 
>
Yes, but for much of the current US, they weren't. 


> For
>those who could afford it, fashion was no more than a couple months
>behind London, as long as it takes a ship to cross with the latest
>Lady's Magazine.
>
True.

>
>     Perhaps it seems like upper class 18thC activities do not exist in
>the US because people know about them through word of mouth or other
>reenactments.  If it weren't for the Lumieres list (a Yahoo group), I
>would not know it was happening in Europe, either.
>
>    
>  
>
In California you are more likely to find a Gold Rush event than an 
18th-century one. It's not that people (aside from the SCA, which seems 
to be everywhere) never reenact things that didn't happen in that part 
of the country.  It's just that there are generally a lot fewer such 
events.  Someone who was used to attending 18th-century events on a 
frequent basis Back East, would find them few and far between in most 
parts of California.

Of course, many people have a taste for reenactment, per se. If there is 
no group for their favorite era in a place they move to, they just 
attend the events for the era popular in their new home.

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


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Message: 1
Date: Thu, 22 Sep 2005 13:08:36 -0500
From: "otsisto" 
Subject: RE: [h-cost] Re: Dressing Santa Claus
To: "Historical Costume" 

Baba Yaga is female and was not Russia's version of St. Nick. :)
De


Which is why I said "or some similar personality". :)

 

My understanding is that Baba Yaga was a witch who brought gifts. I'm a bit rusty on the little Russian Folklore I do know, so I don't remember more than that.


-----Original Message-----
Kahlara wrote:

>I don't know how accurate this is, but I had always
>been told that prior to the Moore/Nast (American) idea
>of St. Nick's appearance, that many countries/ethnic
>groups had their own version of St. Nicholas or some
>similar personality (Baba Yaga in Russia?) and each
>had their own costume based on how they were portrayed
>in the stories. If I remember correctly, Sinter Claaus
>wears a bishop's costume, complete with mitre and
>staff and rides a white horse.
>
>Annette M


		
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Subject: Re: [h-cost] the 20th century
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In a message dated 9/22/2005 7:12:58 P.M. Eastern Standard Time,  
fran@lavoltapress.com writes:

I don't  think we'll ever see the whole 20th century defined as one 
image. After  all, we don't see the 19th century that way.  We see it in 
terms of  the Empire look, the crinoline look, etc.
 
 
I understand you perfectly, but you can still distill the 19th century  to  
relatively unadorned clothes in dark colors for men, and that  curvilinear 
shape for women.
 
OK...here's my take on the 20th.
 
The short skirt. What other century has women in short skirts for all  
occasions? I think this is the main contribution.
 
And speaking of all occasions....manufactured clothes for all  
classes....from which a direct result is the zipper and Velcro. Jeans are really  part of 
this universality of manufactured clothing...they being a 19th century  
invention [as are designer clothes].
 
 
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Subject: Re: [h-cost] why renaissance and not 18th century?
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In a message dated 9/22/2005 7:06:50 P.M. Eastern Standard Time,  
fran@lavoltapress.com writes:

The  works of Homer and Shakespeare (if they were even single authors, 
which is  another issue entirely) were pop culture in their  day. 


Yes yes yes....but so were a bunch of playwrights and poets, who were  
probably MORE popular, that we will never [thank goodness] hear of. Time  weeds out 
pop culture for you so only the "real" culture remains. Remember, Bach  was 
considered old fashion and Euripides lost the play  contests.
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Date: Thu, 22 Sep 2005 20:08:17 -0400
From: monica spence <monicaspence@optonline.net>
Subject: RE: Subject: [h-cost] Eleanora's Dress
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Hi-- I've read it.

The gown was used to dress a statue of the Blessed Virgin Mary. Eleonora was
very religious and some of her gowns were used for ecclesiastical stuff
after she died. It MIGHT have been from one of the L-I-W, or Eleonora
herself. It is unsure. There is a painting of the Ducal entry into Siena
that shows Eleonora and her ladies in red as they rode into the city. The
figures are tiny, but you can see that they were all garbed similarly.

The burial gown was not white. Janet Arnold says it was chartreuse. I could
not thell you. Frankly I think it is remarkable that they could do anything
with the fragments of the gown, considering the condition it was in after
the 1857 exhumation. Ms. Arnold was kind enough to go into detail about the
dress and how it was damaged in the grave, in a letter to me in 1992.

Regards--
Dame Catriona MacDuff

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of Cin
Sent: Thursday, September 22, 2005 12:36 PM
To: h-cost
Subject: Subject: [h-cost] Eleanora's Dress


>Last year we had discussed the dress of Eleanora of Toledo that was on
>display in Memphis.  I wasn't sure if the link to the picture on the web
had
> been posted, so it is listed below.  This picture is much better than
>  the one in the catalog.

>http://www.wonders.org/masters8.htm

The website is wrong. That gown is from Pisa's collection. The
Gallerie di Costume (Florence) isnt convinced that it was Eleanora's.
Circumstancial, documentary and physical evidence leads the curators
to be relatively sure that it is from Eleanor's tailor's workshop.
Quite possibly, it belonged to one of Eleanora's ladies in waiting.
IIRC, when Eleanora died, 1562 in Pisa, many of her gowns were given
to her favorite church there, the convento di San Matteo, where it
prob dressed an effigy. No gown recorded in Eleanora's inventories or
receipts corresponds to the Pisa gown. As mentioned by another poster,
Eleanora's ladies were seen in Siena 1560 all in matching red velvel
gowns much like this one.
Eleanora's gown, as found in her grave, was white satin, tho' even
post restoration, it doesnt look particularly white.
The full story is in "Moda a Firenza" subtitled "Lo Stylo di Eleanora
di Toledo e la sua Influenza" published by the Pitti Palace museum.
There is also a publication on the Pisa gown pub'd 2000 post
restoration. I have not read it. Has anyone else?
--cin
Cynthia Barnes
CinBarnes@gmail.com

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Subject: [h-cost] why renaissance and not 18th century?
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I like so many different periods.  I especially think the men look HOT in 18th & 19th century clothes.  What was that Hugh Jackman and Meg Ryan movie?  YUM.

But for me, it's easier to sew the earlier period costumes.
Julie
----  <h-costume@indra.com> wrote:
> 
> I just  plain like the clothing from the 16th century better. Not so fond of 
> the  18th century stuff, it just never appealed to me.
************************
> Isn't taste interesting? There's really no period I hate, but I LOVE the  
> 18th century...generally of course. Things look different depending on the  
> decade...but the coat [justicorps or frock] waistcoat and pants [breeches] on  men 
> are the best. Especially IMHO at the end of the century. The open robe  
> developed for women is a wonderful canvas to try all kinds of decorations on.  The 
> conical corset, layered skirts and open necklines look good on just about  
> every type [even large women look great!] and can be very sexy.
>  
> But I could go on about the 17th century's fabulous hats, wonderful off the  
> shoulder rigid bodices [like in the 1660s] and wigs....and of course all those 
>  18th century things I like START in the late 17th century.
>  
> And of course the 16th century men in leather doublets, short hair and  
> beards look fantastic too. The women look good but not in a very feminine way to  
> me. It's more ceremonial and elegant.
>  
> Then there's the 19th century.....
>  
> As far as making any of the periods...they all equal out. Different  
> difficulties in each, but just as many.

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Subject: Re: [h-cost] why renaissance and not 18th century?
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It's not  true that "only the best automatically survives."

A huge amount of culture has simply been lost, including most of the 
works of playrights like Euripides, Sophocles, many others.  All or most 
of the literary, musical, and dramatic works of whole cultures are gone, 
probably forever. 

Authors, composers, etc. are often ignored because they belonged to a 
culturally ignored group. They were female, they belonged to the wrong 
racial group, etc.  It takes someone to do modern research, and in some 
sense marketing, to "revive" them.

On the other hand, there are some English Lit works that aren't really 
all that wonderful.  Some of those interminable 18th-century novels from 
the Days Before Editors?  And face it, _Jane Eyre_ and _Wuthering 
Heights_ are just romance novels.  They're good romance novels, but are 
now "great literature" because they're time-hallowed.  If they appeared 
on some publisher's list today, as new works, they'd get decent reviews 
in a few places, then quite possibly get put out of print after a couple 
years and forgotten.

And now, with the sheer, enormous, volume of stuff being published, a 
lot of excellent books meet this fate.

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


AlbertCat@aol.com wrote:

> 
>In a message dated 9/22/2005 7:06:50 P.M. Eastern Standard Time,  
>fran@lavoltapress.com writes:
>
>The  works of Homer and Shakespeare (if they were even single authors, 
>which is  another issue entirely) were pop culture in their  day. 
>
>
>Yes yes yes....but so were a bunch of playwrights and poets, who were  
>probably MORE popular, that we will never [thank goodness] hear of. Time  weeds out 
>pop culture for you so only the "real" culture remains. Remember, Bach  was 
>considered old fashion and Euripides lost the play  contests.
>_______________________________________________
>
>
>  
>
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Subject: Re: [h-cost] the 20th century
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We are probably too close to the end of the 20th century to identify a fashion 
style or item -- we can look at the early and middle years of the century but 
need some space before we can objectively look at what really worked as opposed 
to what designers and others put forward as definitive of the final decade or 
so.

I think it may just be fabrics/fabric technology/colouring that will define the 
time combined with production techniques. These contributed to availability and 
so contributed to what came to mind when designing and making,


-C.

> Now that the 20th century is over, what do you think the big clothing
> "thing" will be that defines it?


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Date: Thu, 22 Sep 2005 20:18:06 -0400
From: monica spence <monicaspence@optonline.net>
Subject: RE: [h-cost] Eleanora's Dress
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It is a very heavily researched historical novel about Cosimo and Eleonora.
Dame Catriona MacDuff (Monica Spence)

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of WickedFrau
Sent: Thursday, September 22, 2005 2:54 PM
To: Historical Costume
Subject: Re: [h-cost] Eleanora's Dress


Wow, I remember the discussion last year, but not the dress detail below 
the waist.  Interesting. 
What is the manuscript you speak of Monica?  I missed that part.

Saragrace

>  
>
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From: Catherine Olanich Raymond <cathy@thyrsus.com>
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Subject: Re: [h-cost] Mary de Guise (was: A New Programme to watch out
	for-"Elizabet...
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On Thursday 22 September 2005 1:07 pm, Abel, Cynthia wrote:
> Costume designers for movies set in historic times may want to be as
> accurate as possible but face a lot of caveats:
>
> The book "Hollywood and History by Edward Maeder 

Yes, it's an excellent book.  I got a used copy from a store once for under $3 
US and buying it was one of the best decisions I ever made.


> is an excellent guide 
> to the following
>
> 1) Designers are going to choose from sources that look most attractive
> to the modern eye. Also some designers believe that slavish copying of
> historic sources is slavish copying--it isn't creative. They are
> artists, not unimaginative researchers.
>
> Personal aside here--I prefer histoically accuracy, but can understand
> this viewpoint.

I can understand the viewpoint, but in my opinion any designer who doesn't 
think that it's possible to design creative costumes in a period-appropriate 
style doesn't know enough about the costume of the period.



-- 
Cathy Raymond <cathy@thyrsus.com>

"As a general rule, if end users want to smash something repeatedly
with a sledgehammer, that's a sign of bad UI."--Bram Cohen
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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] A New Programme to watch out for - "Elizabeth"
Date: Thu, 22 Sep 2005 20:30:23 -0400
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On Thursday 22 September 2005 4:29 pm, AlbertCat@aol.com wrote:
> In a message dated 9/22/2005 1:05:17 P.M. Eastern Standard Time,
> fran@lavoltapress.com writes:
>
> One of  my costuming friends commented about the film "Elizabeth" that the
> film's  website actually said that the director _forbid_ the costumers to
> consult  historic sources for costume, because he wanted "a fresh vision."
> The amusing  thing, my friend said, is that the director clearly didn't
> know enough about  the period portraits to spot when the costumers _did_
> lift something straight  out of a well-known historical source :)

That's interesting--and sad too.

But it certainly explains what I found to be so strange about the movie.  I 
was puzzled by the fact that some of the gowns were quite historical in 
design (though not necessarily period for the late 1550s, when Elizabeth 
actually first took the throne) while others were only "historically 
inspired", and still others looked like bad, distant imitations of historical 
designs.  Your friend's comment explains the phenomenon quite well.


-- 
Cathy Raymond <cathy@thyrsus.com>

"As a general rule, if end users want to smash something repeatedly
with a sledgehammer, that's a sign of bad UI."--Bram Cohen
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From: Cin <cinbarnes@gmail.com>
To: h-cost <h-costume@indra.com>
Subject: [h-cost] the 20th century
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>All this talk about like one century or another.......

>Now that the 20th century is over, what do you think the big clothing
>"thing" will be that defines it? Y'know....what quality will it be
known for,  you
>think? What garment?

>I have my own answers but I wonder what others  think.

Hmmm, I notice you didnt ask for a defining garment or style
particularly. So, I'll answer from the POV that "thing" equates to
"fashion trend". With not much thought, two "things" persisting most
of the century leapt to mind:

1. Nekkid ankles on women.
It's the shocking change that lasted pretty much all century, for all
occasions casual & formal. Only occasional maxi-skirts fads,
formalwear and evening wear doing the long "thing".

2. The other big change is that casual clothing is no longer the
inverse of power & wealth. Said another way, there is no longer a
requirement to Dress to Impress at every opportunity.  As a case in
point, the business suit here in Silicon Valley is rarely seen on any
but real estate agents, bankers and people pitching to VCs.  The suit
is the marker of service & supplication, not prestige.

--cin
Cynthia Barnes
CinBarnes@gmail.com

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Subject: Re: [h-cost] why renaissance and not 18th century?
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Julie wrote:
  What was that Hugh Jackman and Meg Ryan movie?  YUM.

"Kate & Leopold".  I second the YUM.

              -Helen/Aidan

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Subject: [h-cost] why renaissance and not 18th century?
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>Isn't that what PEERS does?  I'm not on the west coast, but I thought
>they had balls of various periods, beyond the eras when California
>was well-populated.

PEERS is a dance group with a costume addiction. <grin>  PEERS doesnt
stick with history or California either.  There have been Gilbert and
Sullivan Balls, Shanghai Swing Ball, The Black Ops Ball, Vampyres,
Romeo & Julliet (any R&J from any production strongly encouraged... I
did West Side Story).

Kathleen commented to me once long ago that the best part about the
Sci-Fi ball PEERS does every year was the excuse to dance any dance
from any place and from any time frame.  Six centuries of dances are
suddenly fair game. If they call some English or Italian Rennaissance
thing the "Centari Court Ritual Galliarde" it becomes Centari.

Aint nuthin wrong with that... but an SF ball isnt much in the way of
historical, either. I love the crossover costumers, re-enactors and
fandom.  Bring on the Victorian Klingons!
--cin

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> 1) Comfort as the defining word, as opposed to display, ostentation,
> propriety,
> etc.

Yep, stilletos, 3" heels of any kind, miniskirts, pantihose, winkle pickers.
All very comfy in my books;)

If we are comparing high fashion to high fashion, no way is it more about
being comfortable or less austentatious (except in the war years), and
regular wear to reagular wear.. well we would certainly find it more
comfortable it doesn't mean those we are comparing to would;)

> 3) a transition from body shaping through foundation garments to body
shaping
> through actually shaping bodies (see Valerie Steele's corset book for more
on
> that)

Definitely! Corsets now being worn as outwear and as curiositys.

The defining moments in 20thC fashion to my mind?

When it became cheaper to buy first hand clothing ready made than make
it/have it made. And in some cases cheaper than preworn clothing....

Pants became acceptable for women to wear nearly all the time. Though there
are still some formal occasions where they are frowned upon. So basically
the acceptance that women have legs too;)

When we changed our bodies to fit the clothes rather than relied on support
garments. Though support garments are still around, they are not the usual
way to shape ourselves. Well they aren't admitted to;)

The tan, though it was still a mark of luxury because you got it doing
nothing rather than working in the field all day long;)

Almost dependance on man made fibres rather than natural.

Fashionable icons are now for the most part those who act or sing. Though
there are still a few famous for being famous and thus emulated. Though I
suspect there is a different kind of ridicule for them now....

I'm sure there are a few more.

michaela
http://costumes.glittersweet.com



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From h-costume-bounces@indra.com  Thu Sep 22 21:48:59 2005
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Date: Thu, 22 Sep 2005 21:48:30 -0400
Subject: Re: [h-cost] making a fan
From: Lauren Walker <lauren.walker@comcast.net>
To: Historical Costume <h-costume@indra.com>
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Search on "fan" -- they call their sticks "Fan staves".

-- 
Lauren M. Walker
lauren.walker@comcast.net
-- 
"One does not need buildings, money, power, or status to practice the Art of
Peace. Heaven is right where you are standing, and that is the place to
train." -- Morihei Ueshiba

> From: Joan Jurancich <joanmj@surewest.net>
> Reply-To: Historical Costume <h-costume@indra.com>
> Date: Mon, 19 Sep 2005 15:15:08 -0700
> To: Historical Costume <h-costume@indra.com>
> Subject: Re: [h-cost] making a fan
> 
> Did you get the maribou fan?  That's the only folding fan I found on
> the web site.
> Joan
> 
> At 02:14 PM 9/19/2005, you wrote:
>> I picked up the sticks for the fan I'm making at:
>> www.displaycostume.com
>> the company is here in Seattle but they do website orders and will ship.
>> Good Luck
>> Molly
>> -------------- Original message --------------
>> 
>>> I want to try making a fan (18th-19th century style as opposed to
>>> renaissance style) but I don't know where to get the base. I'm not even
>>> sure what to call it, but the individual "sticks" are called
>> ribs, I think.
>>> I tried googling "fan base" fan ribs" "fan set" and a couple of other
>>> combinations without any luck.
>>> 
>>> Can anyone help me with what the proper term is for this item? And if
>>> anyone can point me towards websites that might carry this, I'd be very
>>> grateful.
>>> 
>>> Thanks,
>>> Julie
>> _______________________________________________
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From: Ann Catelli <elvestoorder@yahoo.com>
Subject: Re: [h-cost] why renaissance and not 18th century?
To: Historical Costume <h-costume@indra.com>
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My town didn't have Washington sleep in it--but he did
have breakfast there once, or so I was told during the
Bicentennial (of the revolution).  It's even possible,
as the town was between actual troup concentrations in
larger towns on either side, but don't ask me which;
possibly Wethersfield was one. 

I think Rochambeau & all the usual dramatis personae
(just the personal staff, but still) surrounding
Washington were also supposed to have been there.

Truth?   
I know I heard some things from the whole cloth on
that tour of Worthington Ridge, which is where my town
was founded.

fwiw

Ann in CT

--- Lavolta Press <fran@lavoltapress.com> wrote:

> Nah, to most Americans the 18th century is the
> remote past.  As for 
> "mythed up," you apparently weren't in my grade
> school American history 
> classes.  True and false, we had the
> larger-than-life Founding Fathers 
> (even a few mothers), history told as stories. 
> There was hardly an 18th-century house or inn
> around that 
> Washington didn't supposedly sleep in.  He was Our
> Father, larger than 
> life. 
> 
> Fran


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Drat, I think I did see this earlier. Is this the thing that isn't 
published yet?

monica spence wrote:

>It is a very heavily researched historical novel about Cosimo and Eleonora.
>Dame Catriona MacDuff (Monica Spence)
>
>
>What is the manuscript you speak of Monica?  I missed that part.
>
>Saragrace
>
>  
>
>  
>
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Date: Thu, 22 Sep 2005 21:53:24 -0400
Subject: Re: [h-cost] the 20th century
From: Lauren Walker <lauren.walker@comcast.net>
To: Historical Costume <h-costume@indra.com>
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Pants, especially pants on women. Possibly blue jeans.
-- 
Lauren M. Walker
lauren.walker@comcast.net

> From: Cin <cinbarnes@gmail.com>

>> All this talk about like one century or another.......
> 
>> Now that the 20th century is over, what do you think the big clothing
>> "thing" will be that defines it? Y'know....what quality will it be
> known for,  you
>> think? What garment?
> 
>> I have my own answers but I wonder what others  think.
> 
> Hmmm, I notice you didnt ask for a defining garment or style
> particularly. So, I'll answer from the POV that "thing" equates to
> "fashion trend". With not much thought, two "things" persisting most
> of the century leapt to mind:
> 
> 1. Nekkid ankles on women.
> It's the shocking change that lasted pretty much all century, for all
> occasions casual & formal. Only occasional maxi-skirts fads,
> formalwear and evening wear doing the long "thing".
> 
> 2. The other big change is that casual clothing is no longer the
> inverse of power & wealth. Said another way, there is no longer a
> requirement to Dress to Impress at every opportunity.  As a case in
> point, the business suit here in Silicon Valley is rarely seen on any
> but real estate agents, bankers and people pitching to VCs.  The suit
> is the marker of service & supplication, not prestige.
> 
> --cin
> Cynthia Barnes
> CinBarnes@gmail.com
> 
> _______________________________________________
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Date: Thu, 22 Sep 2005 19:04:07 -0700 (PDT)
From: Ann Catelli <elvestoorder@yahoo.com>
Subject: Re: [h-cost] the 20th century
To: Historical Costume <h-costume@indra.com>
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So far as silhouette, yes, the short skirt, but the
square shoulder was really noticable in most 20th
century fashion.  
Women's shoulders were shown as fairly square and
broad from the mid-1910's on, even through Dior's "New
Look".
Men's were fairly squared up by 1900, and never really
slumped.

Can you tell I Don't have square shoulders?  Great
figure for the 1830-40's, not too bad for c.1400, but
20th century stuff?  fooey.

Ann in CT

> Now that the 20th century is over, what do you
> think the big clothing
> "thing" will be that defines it?



		
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Date: Thu, 22 Sep 2005 22:18:00 -0400
From: "RON CARNEGIE" <r.carnegie@verizon.net>
Subject: Re: [h-cost] Re: US Reenacting (was: why renaissance and not 18th
	century?)
To: "Historical Costume" <h-costume@indra.com>
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Status: RO

  Hey all, thought I would jump onto this thread, and discuss both the 
original question,as well as the subthemes it seems to be inspiring.

   First there are 18th century reenactments in North America.  I suspect in 
fact (though maybe incorrectly) that there are more 18th century reenactors 
in America then there are Renn Faire participants.  Not more than there are 
ren faire gusests or customers however.  Not more than there are SCA members 
either.

   18th century is not limited in the US to places where it happened, though 
it happened in various different ways more than is often generally supposed 
by the average American.  I in fact work in the 18th century,  Tonight I was 
wearing silk.  A fine dark blue silk suit edged in gold lace, with an 
embroidered white silk wastcoat.  There are several  various museums which 
use 18th  century costumed employees or volunteers all along the eastern 
seaboard.  Not just in America, but all the way from Florida up to Nova 
Scotia.  Beyond that there are the Revolutionary war and the French  Indian 
war reenactors.  There are several thousands of these.  They are of course 
found in very large numbers again all over the East.  But they may also be 
found through out the old North West, many in the great lakes regions and 
there are even organizations in California.  California also has some, but 
very little of its own Spanish 18th century reenacting as does some of the 
southwestern states.  Of course like much of the reenacting in the US most 
of this is geared towards the war and not really the proper places for 
Silks.  there rae however a number of small civilian organizations that 
engage in all sorts of activities often having nothing to do with war. 
There are also a number of 18th century dance organizations in various parts 
of the US.  Many of these where 18th century dress to their balls and 
assemblies.  There are the various black powder and rendevous organizations 
which include the 18th century (usually anything pre 1840).  There are 
quitye a few pirate organizations as well, though these often are a 
conglmeration of periods from 1650 or so to 1750 or so.  Even have known 
(and in fact participated with) two seperate Jacobite groups.

    The other matter, the subtheme I mentioned before, is regarding those 
who are wishing for other preiod opportunities.  The U.S has a surprisingly 
large number of reenactment periods represented.  We have romans, we have 
darl ages and vikings. We have medevials (both the more loosely interpreted 
SCA and more authentically driven groups).  I belong to a Elizabethan 
Trayned Bande organization.  The 17th century is represented the by far the 
greatest number of these interpreters are planted rather frimly in the 
middle of the decade.  That being the English Civil War and the 30 years 
folks.  Already mentioned the 18th century people.  For the 19th century, 
there are the war of 1812 reenactors and Napaleonic reenactors.  For some 
these are the same people but some of these units are French.  One of my 
pal's is Napoleon!  There are Mexican American War reenactors, of course 
Civil War renactors which is huge.  There are various cowboy or gunfighter 
organizations.  There are a number of Indian War groups.  And yes, unlike 
what was suggested earlier there are British Colonial organizations.  I have 
known people reenacting the Queen's soldiers in the Zulu, Nile, and 
Afghanistan campaigns.  Though there numbers were not very large.  The Nile 
group curiously was the largest.  There are some people reenacting the 
Spanish American war, at least were for its big anniversery, not sure how 
they have survivied).  WWI groups fight battles in both California and 
Pennsylvania with many of the various participants represented.  I know of a 
group that reenacts the finian rebeillions of Ireland.  WWII is rather 
large, and in some ways very impressive, since military hardware is often 
there as well.  trucks halftrack tanks that sort of thing.  Finally I have 
seen some reenactors who reenact Vietnam and lastly The SOviet invasion of 
Afghanistan.  Pretty long list, and I am sure far from complete.  I have 
only taken it upon myself to include organizations or periods that I have 
either been involved in (far too many of these) or that I have personally 
seen.  I have included groups oif sevceral diffent sizes however.  SOme of 
these are limited to may be a hadful of participants, others can field 15 or 
16 thousand at an event

   Depending on where you live in the US, and how far you are willing to 
travel, their can be quite a lot of options available to you, though they 
are often limited to a military scope and situation.   Of course, there may 
not be you interest represented, or perhaps war aint your thing!   Well that 
is the point I want to make.  Everyone of the things I just mentioned, was 
started by someone.  You might just have to be that someone!  It really 
isn't as hard as it sounds, though yo0u might need to keep your expectations 
small.

     I will give some examples of things I have been involved with.  First, 
was the Social Daunse Irregulars.  I am one of the three original members of 
the Committee that began this organization several years ago.  Done simply 
because we wanted to dance Victorian in Southern California.  This group has 
grown from or tiny first ball to providing three balls a year to a sold out 
capicity of 400 and some.  The other were parties!  These are easier, as 
long as your are willing to keep your expectations low and our patiant.  My 
group of firends back home (Los Angeles) had regular parties, much like the 
poster in Seattle wants.  We had three you could count on.  A 1920s New 
Years Party, A July 4th 18th century Independence party, and a Antebellum 
South party.  Besides these were a number of historic themes quite a few 
middle ages parties, Bastille Day, WWI tea, etc..This kind of thing is 
really simple.  It can be as authentic or no as much as you like.  The 
historic theme aspect of ours got better and better every year.  This is in 
fact rather similiar to how the SCA started!  Ideas are easy.  Have a 
Victorian Tea, or a Revolutionary Dinner, or whatever.  Your site may or may 
not be conisitant with the theme.  Start in you modern house, and just hide 
things and add props, or maybe find places that will work.  If your partioes 
are successful things will get better and easier.  We ended up with some 
large tents. We did occasionally have parties in authentic period buildings. 
One of the participants even built a nondescript Inn out of an old shed. 
With changes of set dressings and props the period of this tavern could be 
changed dramatically.  (It is in fact show in a book on how to plan 
medievial evnts and parties now!).

   Now maybe this isn't what you had in mind.  Maybe you didn't want to 
"play" historic, but you wanted to teach the public.  That two can be done, 
though it might be harder.  If you contact various schools, musuems, 
libraries you may well find that there is interest in having such a "living 
history" for you more unusual event.  Done a lot of that as well.  In fact 
in time you are likely to get job offers.  Pay to be on films, or to provide 
"themes' for corporate parties or fundraisers, opeining of historic movies, 
or special events at museums to support new exhibits.  (Surprisingly the 
last might be an art mueseum as well as a history museum).

   Wow.  Aftert looking at this I realize that I really am a history tart!

Ron Carnegie
----- Original Message ----- 
From: <tearoses@aol.com>
To: <h-costume@indra.com>
Sent: Thursday, September 22, 2005 5:46 PM
Subject: [h-cost] Re: why renaissance and not 18th century?


>I would like to add to Fran's thoughtful comments that it has a lot to do 
>with our own sense of national heritage. People are often interested in 
>history mainly from the perspective of their own ancestors. The Civil War 
>is much more interesting when you find out your great-great-grandfather 
>fought in it. Historical reenactment groups tend to reenact what happened 
>in their general location; for example, here in Missouri there are a lot of 
>Civil War and pioneer reenactors, but I've never come across any RevWar 
>people here. In New England, though, I would expect the Revolutionary War 
>to predominate. Maybe the reason location has such an impact is because in 
>the place where something happened you have the highest concentration of 
>descendants of the people involved in the historical event.
>
> In other words, we don't celebrate fancy, European-style 17th or 18th 
> century events because our ancestors, or at least the people who shaped 
> our society, were already forming a separate identity here during those 
> centuries. We can celebrate Renaissance England because it was still our 
> ancestor in that period, but not the Battle of Waterloo or the English 
> colonial period, because by then England was no longer a part of our own 
> heritage.
>
> I hope I'm making sense. I'm not a sociologist. And I, too, wish there was 
> a forum where I could explore centuries outside the realm of the SCA, the 
> Renaissance Festival, or the Civil War. I'd love to see what I look like 
> in a robe d'anglaise...
>
> Tea Rose
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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Subject: Re: [h-cost] why renaissance and not 18th century?
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----- Original Message ----- 
From: "Lavolta Press" <fran@lavoltapress.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, September 22, 2005 7:06 PM
Subject: Re: [h-cost] why renaissance and not 18th century?


>
> There we disagree, because I think this is an artificial distinction. It's 
> basically a marketing distinction. Like "real" literature getting reviewed 
> in the _New York Times Book Review_, and "trashy"--but bestselling--novels 
> getting reviewed in a great many less pretentious venues.  Having worked 
> in the book world, I could position lot of novels as either one or the 
> other merely by writing a few paragraphs of back cover copy and sending 
> review copies to a certain group of publications.

I'd still rather read Pride and Prejudice or The Pickwick Papers than the 
latest Diana Gabaldon novel.

Which I think brings back the point that we are too close to the twentieth 
century yet to look at it objectively. Pickwick and Oliver Twist were serial 
novels, hardly considered "literature" in their time. Shakespeare was just a 
playwright. But how many other novelists and playwrights from those eras do 
we still read?

What will be the contribution the twentieth century made that will still 
influence the world a hundred years from now? Four hundred years from now? 
Will people still be wearing blue jeans? I'm talking culture, not 
scientific, though science certainly has made a HUGE impact on our culture.

Just please tell me not everyone will speak in internet shorthand..

Dianne

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----- Original Message ----- 
From: <AlbertCat@aol.com>
To: <h-costume@indra.com>
Sent: Thursday, September 22, 2005 7:50 PM
Subject: Re: [h-cost] why renaissance and not 18th century?


>
> In a message dated 9/22/2005 7:06:50 P.M. Eastern Standard Time,
> fran@lavoltapress.com writes:
>
> The  works of Homer and Shakespeare (if they were even single authors,
> which is  another issue entirely) were pop culture in their  day.
>
>
> Yes yes yes....but so were a bunch of playwrights and poets, who were
> probably MORE popular, that we will never [thank goodness] hear of. Time 
> weeds out
> pop culture for you so only the "real" culture remains. Remember, Bach 
> was
> considered old fashion and Euripides lost the play  contests.


lol...Read ALL mail before weighing in on a subject.!!

Dianne
> _______________________________________________
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> 

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>
> I'd still rather read Pride and Prejudice or The Pickwick Papers than 
> the latest Diana Gabaldon novel.
>
> Which I think brings back the point that we are too close to the 
> twentieth century yet to look at it objectively. Pickwick and Oliver 
> Twist were serial novels, hardly considered "literature" in their 
> time. Shakespeare was just a playwright. But how many other novelists 
> and playwrights from those eras do we still read?

It depends on who "we" are.  If you're an English Lit student, or have 
similar tastes, you read many more Elizabethan poets and playwrights 
than Shakespeare (the novel was not an established form then) and many 
more Victorian novelists than Dickens.  Most of whom are considered 
"literary greats," but many of whom were just hacking out popular 
culture that sold when they wrote the stuff.

The thing about the 20th century is, that so much more has been 
published, that it's much harder for the works of any fiction writer to 
emerge from the sea of other stuff as even existing, let alone great or not.

I'll tell you who I think the greatest 20th century writer is so far:  
Gene Wolfe.

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



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At 08:08 AM 9/22/2005, you wrote:
>However, while we're on the subject of Mary de Guise....what WAS she
>wearing????? and who did her hair????? YUK!


I don't know, but I think it was intentionally meant to make her appear as 
"EVIL" and as bad a person as they visually could do. Maybe even make her 
seem power mad or something. It was pathetic.

Kimiko


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 > And was she really a worrior

>And was she really a female warrior?


A female warrior? No, not really. Mary de Guise was a French Catholic 
Queen-Regent, living and ruling a country (Scotland) that was becoming 
heavily Protestant (at least in the lowlands). Her biggest enemy was the 
fire & brimstone preacher John Knox, and she had to rule Scotland in the 
name of her daughter Mary, who became Queen while an infant of 6 days 
(iirc). If Mary de Guise had battles she had to run, they were run by the 
men of her nobility. In suppressing the Protestants, a civil war occurred, 
and Mary was eventually deposed as Regent in 1559. On her death bed in 1560 
(don't know how she died, but it was not of poison) she urged both sides to 
make peace and support her daughter Mary Queen of Scots.

Elizabeth I became Queen of England in 1558, and Mary de Guise was deposed 
in 1559, so there isn't much actual time there for MdG to actually plot 
anything against QE1. And Mary QoS, at the urging of her father in law, the 
King of France, actually claimed the throne of England as rightful Catholic 
heir, vs the "bastard" Protestant Queen Elizabeth. But that's a whole other 
kettlefish.

There is so much real history of such an interesting nature that making 
things up, like MdG plotting in wicked fashion, or the poison dress, just 
seriously detracts from the movie for those of us, like myself, who enjoys 
historical movies.

And we wonder why people that go to Ren-faires have such horrid notions of 
English history. It's all today's public understands... what's made up in 
"historical movies", and the public takes it as fact. But that's just my 
opinion.


Kimiko Small

~~~~~~~~~~~~~~~~~~~~
"The things that will destroy America are prosperity at any price, safety 
first instead of duty first, a love of soft living and the get-rich-quick 
theory of life. This country will not be a permanently good place for any 
of us to live unless it is a good place for all of us to live." ~ Teddy 
Roosevelt.
~~~~~~~~~~~~~~~~~~~~

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At 10:15 AM 9/22/2005, you wrote:
>As a Catholic, of course I was bemused by the very idea of Elizabeth
>wearing white makeup and deciding never to marry in order to give England a
>"new" Virgin Mary -- surrounded by weeping serving maids, no less!


Read _The Cult of Elizabeth_ by Roy Strong (isbn 0-7126-6481-5)
That's exactly what Strong suggests was done, since the Catholic faith was 
no longer the state faith. It's a lot more complicated it would seem than 
that, but Elizabeth became an icon for her people. It just didn't happen 
overnight, however.

This is taken out of context, I know... but it gives some idea of what the 
"idea" was.
"Eliza the sun, the moon, the pelican, the phoenix, the rainbow -- fragile 
like a young girl in virgin white, like Spenser's vision of her as Cynthia, 
'a crowne of lillies/Upon a virgin brydes adorned head'." (Strong, 54)


Kimiko Small

~~~~~~~~~~~~~~~~~~~~
"The things that will destroy America are prosperity at any price, safety 
first instead of duty first, a love of soft living and the get-rich-quick 
theory of life. This country will not be a permanently good place for any 
of us to live unless it is a good place for all of us to live." ~ Teddy 
Roosevelt.
~~~~~~~~~~~~~~~~~~~~

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Bless you!!!!!

I'll look up the brcg and would love the info on the other group SWIT.

I can hardly wait to spread my historical research and costuming wings!

Elena/Gia


>  
> 
> If there are 'Societies' in the USA (Seattle, Washington area) that I
> could begin playing in I'd love to know about them.
> 
> *snip*
> 
> Ask and ye shall receive:
> 
> www.brcg.org
> 
> We are a group that  studies every aspect of costuming, from
> extrapolations of the stone age to futuristic fantasy, with a lot of
> historical fact and folly in between. There is another group, Somewhere
> in Time, Unlimited, which is more heavily influenced by historical
> costume after the SCA period, but I don't think they have a web
> presence. I can find their address if you would like it. The BRCG is the
> local branch of the International Costumers Guild, while S.I.T.U. was
> started by local folks in the SCA who wanted more from the later
> periods.
> 
> Kate McClure
> aka StitchWitch
> 
> Beads? What beads . . . ?
> 
> 
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
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>Subject: TextileMuse, the searchable online catalogue of Arthur D. Jenkins 
>Library collections
>Date: Thu, 22 Sep 2005 16:46:09 -0400
>From: "Sumru Krody" <skrody@textilemuseum.org>
>
>TextileMuse, the searchable online catalogue of Arthur D. Jenkins
>Library collections, is now accessible via the Textile Museum's Web site
>(www.textilemuseum.org). To search the
>online catalogue, visit www.textilemuseum.org/textilemuse.html. The
>catalogue is also part of the Online Computer Library Center (OCLC), a
>worldwide library cooperative. TextileMuse provides researchers and the
>general public with a full catalogue of the Library's collection of
>materials related to the textile arts
>=20
>The Textile Museum's Arthur D. Jenkins Library is the leading center for
>textile studies on the East Coast. The holdings of the library include
>books, serials, scholarly dissertations, pamphlets and auction
>catalogues, slides and videocassettes relating to the textile arts. The
>volumes detail the history of rugs, textiles and costume, and include
>manuals with information about the many techniques for creating,
>coloring and embellishing textiles and clothing. The Library also
>maintains a collection of cultural history literature, comprised of
>anthropology, archaeology, history, religion and travelogues that
>parallel the Museum's collections in the Middle East, Asia, Africa and
>the indigenous weaving of the Americas. In addition, the Library has
>considerable literature in the field of textile conservation,
>contemporary fiber art and, to a lesser extent, European textiles. The
>Library also indexes journal articles on textiles, rugs and costumes
>
>____________________________________
>Sumru Belger Krody
>Associate Curator
>Eastern Hemisphere Collections
>
>The Textile Museum
>2320 S Street, NW
>Washington, DC 20008-4008
>
>Phone: 202/667 0441 ext. 37
>Fax: 202/483 0994
>
>www.textilemuseum.org

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This is a very good topic Albert Cat.  It is a very important question to 
discuss.  Thank you for asking the question.

Several years ago I offered a challenge to h-costume to name a fashion since 
1957 that was original design.  I will now offer the challenge back in more 
time... lets try since 1949.  Not a textile, accessory, or method of 
clothing... a new silhouette.  The reason I am changing from the 1950s to 
the 1940s... after my extensive research into fashions from the 1890s though 
the 1920s... most of the 1950s fashions can be seen in the 1890s through 
1929.  If you think the "New Look" was new, do a search on eBay for fashion 
images in the "Art" section using the keyword "Bon Ton." These are the 
designers' fashion plates from 1910s-mid 1920s.  Look for a plate from May 
1920 by the designer Lanvin.  You will think you are looking at 1940s/50 
wasp waist. I think someone on this list pointed out to me that Dior's 
mother was fashionable in the 1890s.  The more you look at the styles of the 
1890s, you can see where Dior was inspired.  So far in my research, Lanvin 
is the earliest designer of  "The New Look."  But... and there is always a 
but... forgot about this recent find.  It kinda blew me away...1896 ladies 
gown by George Henry Lee of Liverpool, England.  You can see a thumbnail of 
it on my updates page on the Library.  Go to 
http://www.costumegallery.com/updates.htm and scroll down to the date July 
18.  The gown is the first one of the first row.  I have seen so many 1950s 
evening gown in this same style.

If I remember from my previous challenge... we came to the conclusion, what 
goes around comes around.  I laugh so much at my 14 y.o. daughter when she 
tells me, "You don't know anything about fashion."  I gave her this same 
challenge and then show her where the style was worn fashion before.  Her 
first answer was mini-length skirts.  Mini-length was worn in Ancient Egypt. 
Designer logos on the exterior of clothing... The designer Patou was the 
first to do this with a female tennis star in the early 1920s.  The 
competitiveness of the designers Patou and Chanel really deserve a lot of 
credit for how the fashion industry is today.  Patou would do one new thing 
in the industry and Chanel would try to out-do him, and vice versa.  This 
competition even came to the way the business of fashion is today.  An 
interesting book about this is named Patou by Martin Battersby.  Great book 
on how the fashion industry grew.

The more you get into the researching a time period in depth, you realize 
that several styles were popular in one time period.  During the 20th 
Century, I think the most change in style occurred during WW1.  Most people 
believe that the 1920s was when the skirt length changed. But the shorter 
skirts can be seen in common fashion magazines during WW1.  Also if you look 
at the very fashionable girls in the Cosby Show... those very styles were in 
fashion magazines during WW1.  It is almost like the designers copied them. 
Even the very popular gunny-sack dresses from the 1990s... same thing shown 
common fashion magazines during WW1.

I think Michaela hit the nail on the head  for a principle thing to frame 
the fashions of 20th Century .  I think it will be remembered more for the 
various advances in the textile industry.  A couple of years ago, I took a 
month-long course at our local DuPont factory.  This is plant is of the 
largest DuPont factories in the world.  I was floored by the technology used 
in the factory.  Employees were traveling around the plant on hover-crafts. 
Computers would move gigantic rolls of textiles from one side of the huge 
manufacturing building to another.  The guild warned us to not get in the 
way of the rolls... the computer will not stop transporting rolls for people 
in the way.  Each week we moved to another building and watched the entire 
manufacturing process of another textile.  BTW, for anyone wanting to take 
this DuPont course, it is offered once a year to Boy/Girl Scouts and their 
leaders once a year for their textiles badges.  I think the child has to be 
12 y.o to take the course.

Another very important thing for the 20th Century is mass production of 
clothing.  Mass production of men's clothing came in place during the mid 
19th Century.  But mass clothing production truly didn't take off until the 
1920s for women.  By the late 1970s, mass production made it cheaper to 
purchase ready-made clothing than made-at-home.  I really don't think any 
one silhouette will represent the entire 20th Century.  (Is this what you 
are looking for Albert Cat?)  Because of mass production, the fashion 
seasons' (industry term) changed annually  in the early 1900s to changing to 
six or more seasons in present day/end of the 20th Century.  Fashions have 
changing so quickly since the 1980s because of advances in communication and 
manufacturing technology.  Fax machines,  internet, computers, shipping 
speed advances, money exchanging overnight in banks, have made the process 
quicker than what used in 1900.  Today the factory-to-store time frame can 
happen in a few days in the last decade of the century.

I remember well in 1995 some of the lessons in a Fashion Forecasting class 
in college. One lesson was how fast a runway fashion at a show in the 
fashion capitals of the world, could be in a Walmart in little time.  Think 
of the manufacturers watching the Emmys or Oscars and seeing the dresses 
knocked off and shown on Entertainment Tonight the following night.  This 
production speed has been happening for the past 15 years.  My Forecasting 
professor called the MTV generation effect.  Think of how fast a scene, set 
dressing, and clothing changes in a music video.  We are all part of the MTV 
generation.  We want everything fast and then throw it away in a short 
amount of time.  We are all guilty of throw it away instead of repairing 
products.  Mass production makes it so much cheaper to purchase a new 
product instead of repairing.  Think of your VCR or TV. How many times you 
have had it repaired, compared to just purchasing a new one in the past 20 
years.  How many times have you taken your shoes to be repaired in the past 
two to three decades?  The majority of our MTV generation does this throw it 
away instead of repairing clothing.  Look at all the clothing in thrift 
stores.  There is so much clothing donated to stores like Goodwill. They 
only keep the best of the donated clothes. The others are bundled in very 
large bundles and shipped to foreign countries to be recycled into other 
textile products.

My library newsletter definition for Thursday was *classic fashion*.  LOL! 
I hadn't opened my regular email before sending out the daily definition and 
saw this email topic   There are several classic fashions that have been 
around for the past 20 years. Some classics like the Izod style shirt has 
been around for decades.  I have one dress that I only wear to my children's 
high school graduation.  This same dress has been in style in 1996, 1999, 
2001, 2004, & 2005 and probably 2010 when my last one child graduates.  A 
classic style survives years.  We thought in the 1970s and 80s nothing else 
could possibly be new in fashion design with denim.  "Blue jean" fabric is 
concerned a classic ... the past five years we are seeing the same designs 
with denim that was in 70s. The straight leg/boot cut blue jeans with the 
very tight fit of the 1980s, was made popular by Marilyn Monroe in a film. 
(Can't remember the movie title.)  If you look closely in the film, 
Philadelphia story, the pants that Katherine Hepburn wears is very similar 
to the *baggy* pants (not droopy) of the 1970s and 1990s.

A Hairstyle Recycle Exercise: A good example of what goes around comes 
around in fashion.

Go to http://www.costumegallery.com/Hairstyles/Longhair/Women/menu.htm  This 
is a free access area of my Library.
Click on the thumbnail, Ladies Long Hair (lower right image).  A thumbnail 
menu will show up on the left. I want you to do something before you click 
on any of the thumbnails on the left menu.   You have an assignment and you 
need to read all the directions below.

READ THESE DIRECTIONS FIRST: Click on a thumbnail, an enlargement will 
appear on the right.  Scroll down slowly.  Look at the lady's hairstyle 
closely.  DO NOT pay attention to the costume... put your hand over it if 
needed.  I want you to think of a time in the 20th Century when her 
hairstyle was worn.   Do not scroll down the webpage and cheat to see the 
photos' date, until you come up with a 20th Century decade for the 
hairstyle.  After you have decided on a 20th Century decade for the 
hairstyle, scroll down and see our estimated date of the fashion within a 
five year span.  Lady #8 will blow your mind.  How many of you wore this 
very same style?  BTW, if you run across the ladies with really long hair, 
put your hand over her hair below the waistline, then guess a modern decade. 
Now please go on and click on the thumbnail images.  If you think that was 
fun... go look on the Lady #11 in the Ringlets section, or Lady #8 (put your 
hand over the long ringlets).  She screams 1960s helmet hair!

Oh, I am going to make everyone feel old on the list... Last month, my 
daughter went shopping for school clothes.  She was thrilled that she had 
the latest craze in teenage fashion.... jogging suits in several solid 
colors!  I could not stop laughing when she proudly showed off her new 
school clothes to me.  Made me want to sing Olivia Newton John song, "Let's 
Get Physical!"  What goes around comes around!  And she still says Mom 
doesn't know a single thing about fashion!

Penny E. Ladnier
Owner,
The Costume Gallery, www.costumegallery.com
Costume Classroom, www.costumeclassroom.com
Costume Research Library, www.costumelibrary.com

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To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] the 20th century
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>I will now offer the challenge back in more time... lets try since 
>1949.  Not a textile, accessory, or method of clothing... a new silhouette.

I was going to say shoes of molded plastic.  But, as for new silhouettes, 
what about some of Miyaki's stuff?  A lot of it's not even body shaped.


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

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Date: Fri, 23 Sep 2005 02:23:49 -0700
To: Historical Costume <h-costume@indra.com>
From: Kimiko Small <kimiko@kimiko1.com>
Subject: Re: [h-cost] Re: US Reenacting (was: why renaissance and not
	18th century?)
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At 07:18 PM 9/22/2005, you wrote:
>I suspect in fact (though maybe incorrectly) that there are more 18th 
>century reenactors in America then there are Renn Faire participants.  Not 
>more than there are ren faire gusests or customers however.  Not more than 
>there are SCA members either.

Well, in my neck of Central California, there are far more Ren-faire 
re-enactors than any other time frame. I know of Civil War, Gold 
Rush/Western/Cowboy, WWI and WWII, and a small smattering here and there in 
time frames (again, mostly war settings). But when it comes to Ren-faire 
actors, I would estimate 800-1000 +/- actors that have shown up to local 
ren-faires and were checked in with arm-bands on any one weekend. And 
that's at the smaller faires that only go on for the one weekend (I used to 
help run Hanford Renaissance of Kings, one of the smallest, yet rather 
popular small ren-faires.)

I would love to be involved in other time frames for re-enactment and 
costuming, but unless I want to drive 4+ hours to Sacramento, the Bay Area, 
or Los Angeles, with small children in tow, there isn't much available in 
my area. However, our small local costuming group is working on doing other 
eras, and we are starting small... with a Victorian Tea up in Oakhurst 
sometime this upcoming spring, and hopefully it will grow from there.


Kimiko Small

~~~~~~~~~~~~~~~~~~~~
"The things that will destroy America are prosperity at any price, safety 
first instead of duty first, a love of soft living and the get-rich-quick 
theory of life. This country will not be a permanently good place for any 
of us to live unless it is a good place for all of us to live." ~ Teddy 
Roosevelt.
~~~~~~~~~~~~~~~~~~~~

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From h-costume-bounces@indra.com  Fri Sep 23 05:49:41 2005
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Gosh what a mess i have made with that question.
I dont have the time pressent to read all your topics, my train leaves in 2 
hours going to join the Gustavian Society, and had to pack my things.
This time i will wear my green embroidered court suit, and i have changed my 
wig to another hairstyle. Washed it gently in hair shampoo and set the curls 
with hairgel.
Gosh just remembered i didnt pack my shoes and my cloak, must do that 
emediately.
Returns sunday evening, so there will be a lot of reading to take care of.
Stockholm gets chilly in the evenings this time of year.
Bjarne




Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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Subject: Re: [h-cost] the 20th century
Date: Fri, 23 Sep 2005 08:03:59 -0400
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Chanel, Dior,Bali, and Levi Strauss

Kathleen
----- Original Message ----- 
From: <AlbertCat@aol.com>
To: <h-costume@indra.com>
Sent: Thursday, September 22, 2005 5:07 PM
Subject: [h-cost] the 20th century


> All this talk about like one century or another.......
>
> Now that the 20th century is over, what do you think the big clothing
> "thing" will be that defines it? Y'know....what quality will it be known
for,  you
> think? What garment?
>
> I have my own answers but I wonder what others  think.
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>

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> winkle pickers.

???

arlys
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Suzi,

Come back, I miss your expertise!  

Rhonda

Rhonda Donaldson
LTA II
e-Reserves Jr. Guru in Training
Circulation Department
Downtown Campus Library
P O Box 6069
Morgantown, WV
26506
293-4040 x4094
rhonda.donaldson@mail.wvu.edu

"Without change, something sleeps inside us, and seldom
awakens. The sleeper must awaken."
--Frank Herbert

"The future belongs to those who believe in the beauty of their
dreams."
- Eleanor Roosevelt


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To learn about the evolution of Santa Claus and other Christmas 
traditions, get a copy of Stephen Nissenbaum's The Battle for Christmas. 
The book is written by a historian and focuses on the social impetus for 
creating the contemporary traditions of Christmas. I read this book 
about four years ago as background for the children's Christmas program 
I run at our museum. As I recall Nissenbaum does discuss the evolution 
of Santa's dress and the Nast version is not the original conception. In 
the Moore poem Santa reflects the pre-19th century image of Christmas--a 
celebration of disorder and misrule favored by the poor, i.e. "the 
peddler opening his pack" was not originally a representative of the 
upper classes or the establishment. According to Nissenbaum the 
child-centered celebration of Christmas was promoted by Moore and others 
of his upper class NYC set as a reaction to the increasing social 
disorder evident in the city in the 1840s. Moore was horrified at the 
behavior of the city's working classes at Christmas--originally a 
celebration more akin to todays Halloween and New Years celebrations. 
Anyway, it is a great book on this holiday.
    For early images of Santa Claus, there is an illustrated edition of 
A Visit From Saint Nicholas that was published in 1848. The drawings 
show Santa wearing breeches, stockings, buckled shoes, a waistcoat, and 
a fur trimmed coat and a fur hat. We don't have a copy of the original, 
but it is reproduced in a Dover publication of historic Christmas 
information. I don't know if that is still in print and I don't have the 
citation handy, but if you want it I can get it for you. Good luck.

By the way, people have been complaining about the commercialization of 
Christmas since at least the 1850s, so I guess everything old is new again!

Anne


-- 
Anne Dealy
Director of Education and Public Information
Geneva Historical Society
Geneva, NY
adelaideatgenevahistoricalsociety.com
(be sure to change "at" to "@")
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Ok, I just HAD to know...  so I googled it

Winkle pickers are pointy toed shoes.

http://www.edu.pe.ca/gulfshore/pop/fashion/50's.htm
http://podiatry.curtin.edu.au/cool.html
http://cgi.peak.org/~jeremy/search.cgi?British=running%20shoes

Althea

On Sep 23, 2005, at 7:03 AM, Cynthia J Ley wrote:

>> winkle pickers

Althea Turner
althea@alfalfapress.com



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>From: Cynthia J Ley <cley@juno.com>
> > winkle pickers.
>???

A particular long toed style of mens shoe popular in the 50s.

Marc


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At 15:40 23/09/2005, you wrote:
>>From: Cynthia J Ley <cley@juno.com>
>> > winkle pickers.
>>???
>
>A particular long toed style of mens shoe popular in the 50s.
>
>Marc


And women's. They are currently to be seen in shoe shops in Europe as 
a "new" fashion.

Suzi


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----  <h-costume@indra.com> wrote:

> Pants, especially pants on women. Possibly blue jeans.

**Excellent example.  Blue jeans first came into being around 1849.  Then were popularized in the 1950's and have remained in some form or another since then.  Remember bell bottoms?  Remember having to have Designer labels?  Also interesting that this is a garment worn by men, women and children, rich and poor, fancy versions and work versions.  I sometimes think about what reenactors might wear 400 years in the future.  Maybe jeans and a t-shirt will be the future version of T-tunic, i.e. the basic garb for reenactors.  Hmmm...T-tunic and T-shirt...coincidence? ;-)
 
> The thing about the 20th century is, that so much more has been 
> published, that it's much harder for the works of any fiction writer to 
> emerge from the sea of other stuff as even existing, let alone great or not.

**Excellent point as well.  There is so much, what can stand out?  I know I love both Diana Gabaldon and Dickens.  Who would you say are the stand-out writers of the 19th century?

> 
> I'll tell you who I think the greatest 20th century writer is so far:  
> Gene Wolfe.
**Hmmm...not familiar with him.  I'll have to hit the library.  THanks for the lead.
Julie

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Yes. It is a work in progress. I HOPE to have it done in January, but there
are no guarantees...
Catriona

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of WickedFrau
Sent: Thursday, September 22, 2005 9:52 PM
To: Historical Costume
Subject: Re: [h-cost] Eleanora's Dress


Drat, I think I did see this earlier. Is this the thing that isn't
published yet?

monica spence wrote:

>It is a very heavily researched historical novel about Cosimo and Eleonora.
>Dame Catriona MacDuff (Monica Spence)
>
>
>What is the manuscript you speak of Monica?  I missed that part.
>
>Saragrace
>
>
>
>
>
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Subject: Re: [h-cost] the 20th century
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>
>
> Several years ago I offered a challenge to h-costume to name a fashion 
> since 1957 that was original design.  I will now offer the challenge 
> back in more time... lets try since 1949.

Penny, I don't know why you are presenting h-costume with "challenges,"  
in classroom style, rather than just discussing topics.

> Not a textile, accessory, or method of clothing... a new silhouette.  
> The reason I am changing from the 1950s to the 1940s... after my 
> extensive research into fashions from the 1890s though the 1920s... 
> most of the 1950s fashions can be seen in the 1890s through 1929.

<snip>

If you break it down as coarsely as you are doing, there _cannot_ be any 
more new silhouettes; if you do things like imply that all wasp-waisted 
fashions are basically the same.  Geometrically speaking, there just 
_aren't_ that many possibilities.  Nonetheless, "New Look" fashions are 
instantly recognizable as such, not mid 19th century or any other 
wasp-waisted period.  Early 19th-century fashions are recognizable as 
not ancient Greek, and so on. There can be a new style, without there 
being a new silhouette.

Two 20th-century trends that are rather new, if not exactly 
silhouettes:  Fewer and less bulky clothes overall, particularly on 
women.  Women wearing not only short skirts (and pants) but bare arms 
and low necks in the daytime.  Even wearing lingerie, or tops and 
dresses that look like lingerie, as the visible layer of clothing.  OK, 
there was the late 18th century chemise dress--but camis and slip 
dresses are skimpier.  It's not the first time in history that clothing 
was reduced, as it were; but it's the most it's been reduced in Western 
society for a long time as mainstream fashion, worn by perfectly 
respectable women and accepted by everyone.  (When you look at primitive 
societies, of course, there were lots of them wearing even less.)

Also, the "deconstructed" look worn intentionally, not out of poverty; 
even expensively purchased. Things like "fray" skirts and 
not-just-asymmetrical-but-ragged  hems on tops and skirts, high-contrast 
patches on clothes even if there was never a hole there, intentional 
tears in clothes. 

<snip>

> I laugh so much at my 14 y.o. daughter when she tells me, "You don't 
> know anything about fashion."  I gave her this same challenge and then 
> show her where the style was worn fashion before.

<snip>

>
> The more you get into the researching a time period in depth, you 
> realize that several styles were popular in one time period.

Penny,  h-costume is a group of people who have been studying historic 
fashion for some time. 

> We are all part of the MTV generation.

I've never seen MTV in my life and nothing whatever could induce me to 
do so.  I don't even watch TV. 

> We want everything fast and then throw it away in a short amount of 
> time.  We are all guilty of throw it away instead of repairing products.

Not me, I'm a repair-it-until-it-totally-dies person.  And h-costume has 
lots of members who restore vintage or antique clothes, who hand-sew 
clothes, and so on.

> .  Look at all the clothing in thrift stores.  There is so much 
> clothing donated to stores like Goodwill. They only keep the best of 
> the donated clothes. The others are bundled in very large bundles and 
> shipped to foreign countries to be recycled into other textile products.

H-costume members do a fair amount of shopping in thrift stores.

>
>
> Oh, I am going to make everyone feel old on the list... Last month, my 
> daughter went shopping for school clothes.  She was thrilled that she 
> had the latest craze in teenage fashion.... jogging suits in several 
> solid colors!  I could not stop laughing when she proudly showed off 
> her new school clothes to me.  Made me want to sing Olivia Newton John 
> song, "Let's Get Physical!"  What goes around comes around!  And she 
> still says Mom doesn't know a single thing about fashion!
>
I've never been quite sure who Olivia Newton John is, but I don't think 
I really want to know.  I think she has something to do with music?  but 
I don't listen to modern pop or rock or rap music, whatever the thing is 
now.

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




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Suzi Clarke wrote:

>>> > winkle pickers.
>>
>> A particular long toed style of mens shoe popular in the 50s.
>>
>> Marc 
> 
> And women's. They are currently to be seen in shoe shops in Europe as a 
> "new" fashion.
> 
> Suzi
> 
> 
Hmmm, my daughters have been wearing them here in Pennsylvania for 
almost two years now.   Nasty looking things.   Kitty

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Subject: Re: [h-cost] Re: the 20th century
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>>>> > winkle pickers.
>>>
>>>A particular long toed style of mens shoe popular in the 50s.
>>>
>>>Marc
>>And women's. They are currently to be seen in shoe shops in Europe as a 
>>"new" fashion.
>>Suzi
>Hmmm, my daughters have been wearing them here in Pennsylvania for almost 
>two years now.   Nasty looking things.

I got a pair, at a thrift store, for use as Wicked Witch shoes for like 
Halloween.  For that they're perfect.


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

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In a message dated 9/23/2005 11:16:23 A.M. Mountain Standard Time,  
fran@lavoltapress.com writes:

I've  never been quite sure who Olivia Newton John is, but I don't think 
I  really want to know.  I think she has something to do with music?   but 
I don't listen to modern pop or rock or rap music, whatever the thing  is 
now.



My opinion is that if you don't understand MTV, VHS, Hip-Hop and the whole  
youth music culture your are probably incomplete in your assessment of what is  
going on with "fashion" in our culture.  We no longer have one fashion  which 
everyone tries to copy within their economic class.  We have a  fascination 
with youth sub-culture and you won't get that without music videos,  etc. on 
these channels.  There is a world culture now, like never  before.  We are truly 
becoming a world village with exchange of styles  reinterpreted.  Look at the 
Tokyo street culture for a creative take on  Western fashion.  The couture 
houses no longer dictate fashion.  It  comes from everywhere.  Has anyone else 
noticed the recent fascination with  death?  What's up with that?
 
Fashion, however you define it, has always been a reflection of the  cultural 
and sub-cultural hegemony in Western Civilization.  It's often  referred to 
as "Zeitgeist".  Meaning it can only flower in the historic and  
socio-political environment of its time.  So if something is, indeed,  revisited (and it's 
never exactly the same), how is that reflected in what is  going on in the 
culture?
 
Sorry to be so effusive, but I am currently teaching a class I have labeled  
"Clothing as Metaphor" which deals with this specific issue.  I just spent  
three hours in that class discussing war and emancipation and its relation to  
fashion in the 20th century, so am interested in the thread.
 
By the way, if anyone is interested, we are using Fashion as  Communication 
by Malcolm Barnard as a text.  I am looking forward to  the additional 
discussion.
 
Cheryl Odom
College of Santa Fe
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Date: Fri, 23 Sep 2005 15:27:02 -0400
From: "RON CARNEGIE" <r.carnegie@verizon.net>
Subject: Re: [h-cost] Re: US Reenacting (was: why renaissance and not	18th
	century?)
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   I was speaking US wide, all of these things vary greatly from location to 
location, though you might be surprised how m,any reenactors there are in 
California. Some areas have nothing or very little at all.  Out here in 
Virginia, 800-1000+ reenactors at a civil war reenactment is still on the 
small side.  The big dog an pony shows as they are called get 13-17000.

 In fact did you know there were Bristish WWII and Colonial period 
reenactors there in central California.  They are based out of Fresno.  I 
used to work at the LHS faires.  Those were some of the largest renn faires 
in the country.  The parties I mentioned earlier were made up mostly of old 
Renn Faire people.  Kevin Brown, David Springhorn, Bill Rockford, Tim 
Kinkas, etc..

Ron CArnegie


----- Original Message ----- 
From: "Kimiko Small" <kimiko@kimiko1.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, September 23, 2005 5:23 AM
Subject: Re: [h-cost] Re: US Reenacting (was: why renaissance and not 18th 
century?)


> At 07:18 PM 9/22/2005, you wrote:
>>I suspect in fact (though maybe incorrectly) that there are more 18th 
>>century reenactors in America then there are Renn Faire participants.  Not 
>>more than there are ren faire gusests or customers however.  Not more than 
>>there are SCA members either.
>
> Well, in my neck of Central California, there are far more Ren-faire 
> re-enactors than any other time frame. I know of Civil War, Gold 
> Rush/Western/Cowboy, WWI and WWII, and a small smattering here and there 
> in time frames (again, mostly war settings). But when it comes to 
> Ren-faire actors, I would estimate 800-1000 +/- actors that have shown up 
> to local ren-faires and were checked in with arm-bands on any one weekend. 
> And that's at the smaller faires that only go on for the one weekend (I 
> used to help run Hanford Renaissance of Kings, one of the smallest, yet 
> rather popular small ren-faires.)
>
> I would love to be involved in other time frames for re-enactment and 
> costuming, but unless I want to drive 4+ hours to Sacramento, the Bay 
> Area, or Los Angeles, with small children in tow, there isn't much 
> available in my area. However, our small local costuming group is working 
> on doing other eras, and we are starting small... with a Victorian Tea up 
> in Oakhurst sometime this upcoming spring, and hopefully it will grow from 
> there.
>
>
> Kimiko Small
>
> ~~~~~~~~~~~~~~~~~~~~
> "The things that will destroy America are prosperity at any price, safety 
> first instead of duty first, a love of soft living and the get-rich-quick 
> theory of life. This country will not be a permanently good place for any 
> of us to live unless it is a good place for all of us to live." ~ Teddy 
> Roosevelt.
> ~~~~~~~~~~~~~~~~~~~~
>
> _______________________________________________
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> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume 

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>From: Suzi Clarke <suzi@suziclarke.co.uk>
> >> > winkle pickers.
> >>???
> >A particular long toed style of mens shoe popular in the 50s.
>And women's. They are currently to be seen in shoe shops in Europe as
>a "new" fashion.

I could be mistaken, what with it being a fashion thing, but I -believe- the 
original style was a man's shoe.  The term has just carried over with the 
more recent conckroach stompers.

Marc


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Subject: Re: [h-cost] the 20th century-influences
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> Fran  wrote:
> I've  never been quite sure who Olivia Newton John is, but I don't think
> I  really want to know.  I think she has something to do with music?   but
> I don't listen to modern pop or rock or rap music, whatever the thing  is
> now.

     Certainly there is some confusion when it's not clear if the
statements were regarding H-Costume members or the larger society in
general.  We are definitely a knowledgeable group, and many ignore
the 20th/21stC fashions in favor of historic clothing!

     I don't associate track/warmup/sweatsuits with Olivia Newton John, I
thougt she wore 80s spandex in the "Let's Get Physical" video, and a
whole range of styles seeing as she starred in the movie "Grease" and
was originally a country singer.

     But I do remember when a friend and I lamented people wearing
sweatpants in public - mid 80s?  The next thing you know it was
fashion (early 90s?).  It was more the over 50 crowd wearing them,
sweatsuits with wide colored stripes on the chest and down the leg,
older couples matching or coordinating.

     -Carol

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>
>My opinion is that if you don't understand MTV, VHS, Hip-Hop and the whole  
>youth music culture your are probably incomplete in your assessment of what is  
>going on with "fashion" in our culture.
>
I've never been interested in modern pop or rock music, and that 
includes when I was a teenager.  I was always a classical and folk music 
person.  I did not grow up watching TV (my parents thought it was the 
intellectual equivalent of junk food).  And I still don't watch it, 
because I largely agree with them.  Any costume movies I want to see I 
can get on video.

I don't need to subject myself to doing things I really dislike to feel 
hip.  I've never been hip in my life, or wanted to be.  My leisure time 
is limited, like everyone's.  I'd rather spend mine reading books I 
really like than watching TV, and listening to music I  like rather than 
music I don't.

Aside from what I choose to wear every day, I'm not very interested in 
modern fashion.  Or, in fact, in modern culture. It's just not what I 
like, or want to occupy my mind with.  Sorry, but this is, after all, a 
group for people interested in historical subjects, not one for modern 
sociologists.

However, considering that I'm always seeing people wearing modern 
fashion, seeing it sold in stores and on the net, seeing fashion columns 
in the newspapers, and reading fashion magazines, I think I have as good 
an idea as anyone of what people are wearing.  I actually do a fair 
amount of fashion magazine reading and shopping to put together a modern 
wardrobe of things I really like that fit into, sort of, what is 
currently worn.  Meaning I'm always looking for historic and vintage 
style revivals.


>  We no longer have one fashion  which 
>everyone tries to copy within their economic class.  We have a  fascination 
>with youth sub-culture and you won't get that without music videos,  etc. on 
>these channels. 
>
I'm very well aware of style diversity--if it weren't for that I'd have 
nothing to wear without looking like I was going to a costume party 
every day.  We've had a fascination with youth culture since the 1960s.  
I've read a ton of articles on the subject, seen the clothes, etc., 
without ever turning on a TV.



> There is a world culture now, like never  before.  We are truly 
>becoming a world village with exchange of styles  reinterpreted.  Look at the 
>Tokyo street culture for a creative take on  Western fashion. 
>
No kidding.  I'd never have known that from looking at all those "made 
in China" and "made in Thailand" labels on my clothes for years.  
Or--this summer alone--from all those Indian kurtas I've been seeing for 
sale--and bought.  Or from those cashmere ponchos I ordered from Nepal, 
the alapaca ones I got from Peru via eBay, the skirts I've been buying 
from a Thai seller on eBay, the kebayas I bought from Malaysia via the 
net, the sarongs I got from Indonesia.  Even the fancy designer 
"deconstructed" Japanese skirts I bought (discounted!).


> The couture 
>houses no longer dictate fashion.  It  comes from everywhere.
>

This is exactly what I kept telling an (irritated) instructor back when 
I studied fashion design in college. Couture has not dictated fashion 
since the "youth rebellion" of the 1960s.  Even before that, it was the 
province of the very rich.  And it has never dicated fashion in the US 
the way it did, for a while, in Europe.

However, MTV doesn't dictate all fashion either.


>Fashion, however you define it, has always been a reflection of the  cultural 
>and sub-cultural hegemony in Western Civilization.  It's often  referred to 
>as "Zeitgeist".  Meaning it can only flower in the historic and  
>socio-political environment of its time.  So if something is, indeed,  revisited (and it's 
>never exactly the same), how is that reflected in what is  going on in the 
>culture?
>  
>
Y'know, it's not like I've never read a "Fashion of Western 
Civilization" book, or any scholarly studies on clothing history.   I 
mean, I do have a degree in history (and another in "publishing"). I 
have completed college programs in fashion design and textile arts as 
well. I've also studied ethnic clothing (at the time I was studying 
weaving and such)  and I've collected antique and vintage clothing since 
I was 16.

And I've gotten by very nicely all this time without having to subject 
myself to MTV.

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

> Read _The Cult of Elizabeth_ by Roy Strong (isbn 0-7126-6481-5)
> That's exactly what Strong suggests was done, since the Catholic faith was
> no longer the state faith. It's a lot more complicated it would seem than
> that, but Elizabeth became an icon for her people. It just didn't happen
> overnight, however.

Well, it's good to know it had SOME context. But still, the way it was
portrayed in the movie -- I just had to laugh! Not appreciated by the whole
audience, I know, but I like to hope there was at least one person who was
silently giggling. 

I've never read Roy Strong. Of course Elizabeth became an icon, but I don't
think she just looked at a statue and decided to slop on some white makeup!
And that's pretty much what the movie said.

I remember, at the time the movie came out, someone on this list posted how
silly it was that Elizabeth wouldn't have known that her lover was married.
(I forget his name -- sudden blank mind.) And of course, it was ridiculous.
The whole movie was ridiculous.

Gail Finke

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Penny wrote:

> We want everything fast and then throw it away in a short
> amount of time.  We are all guilty of throw it away instead of repairing
> products.  Mass production makes it so much cheaper to purchase a new
> product instead of repairing.

This is not true in Europe, or at least it wasn't 10 years ago when I wrote
an article about Benneton for a retail magazine. The company had opened US
stores, but they failed miserably. They were trying to redo the stores, and
the person in charge told me that the company had misunderstood the American
market. Benneton sweaters, she told me, were considered middle-priced
clothing in Europe, while here they were considered expensive (they were
about $80 on sale then). The company was not geared to a "wear it for a year
or two and get rid of it" mentality. They expected people to keep their
Benneton clothes for a long time.

She also explained that Benneton did not have any ladies' dress jackets, and
that this was a staple of American women's work wardrobes (dress blouse,
dress skirts, and dress jackets, all of them mix and match). She said that
in Europe, women wore a lot more dresses to work, and a lot more matching
suits. 

Benneton was designed for people who have fewer, nicer clothes, and who keep
them longer. It could not compete as it was with the American market for a
LOT of less expensive clothes. I don't know what it's like now...

Gail Finke

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To: Historical Costume <h-costume@indra.com>
From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] why renaissance and not 18th century?
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Not exactly answering the question that was asked but...

I find it interesting what people choose to portray in different 
countries.  In the UK, most people do something linked with where they 
are, or where they grew up, or perhaps a more distant family link.  But 
the Americans and Australians I have met are more prepared to portray 
history from somewhere else entirely, doing Byzantine and Bulgarian 
medieval and all sorts.  It seems that, because they don't have the 
[European] history of that time in their own country, they feel more 
free to just pick something they fancy.

Jean


Bjarne og Leif Drews <drewscph@post12.tele.dk> wrote
>Sorry sorry folks, drinks on me!
>
>I ment why so much renaissance fairs and renaissance reenactors and not 
>so many 18th century?
>----- Original Message ----- From: "Bjarne og Leif Drews" 
><drewscph@post12.tele.dk>
>To: <h-costume@indra.com>
>Sent: Thursday, September 22, 2005 4:06 PM
>Subject: [h-cost] why renaissance and not 18th century?
>
>

-- 
Jean Waddie
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Julie wrote:

Remember bell bottoms?

A co-worker of mine swears that they are back, but I can't find any. I was
at the Chicago Gap store last week, and they certainly didn't have any
there. Darn. I love bellbottoms!

Gail Finke

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Try some online stores. Most have "real" stores in most cities/malls. If you
find
something it will take less time if you go in armed with a style number or a
photo.

Dame Catriona MacDuff
(Fashion instructor in a college where all the kids are rifgt on top of
styles)

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of Gail & Scott Finke
Sent: Friday, September 23, 2005 4:34 PM
To: h-costume@indra.com
Subject: [h-cost] Re: jeans


Julie wrote:

Remember bell bottoms?

A co-worker of mine swears that they are back, but I can't find any. I was
at the Chicago Gap store last week, and they certainly didn't have any
there. Darn. I love bellbottoms!

Gail Finke

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Subject: [h-cost] Re: THAT movie Elizabeth
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>I remember, at the time the movie came out, someone on this list posted
how
>silly it was that Elizabeth wouldn't have known that her lover was
married.
>(I forget his name -- sudden blank mind.) And of course, it was
ridiculous.
>The whole movie was ridiculous.
>
>Gail Finke

Ah, yes.  Lord Robert Dudley (later created Earl of Leicester by 
Elizabeth), whose wedding to Amy Robsart Elizabeth attended.  Of 
course she knew he was married.  In a way, that was what made things 
better for Elizabeth; Robert could not marry her.  Things changed 
after Amy died.

Joan Jurancich
joanmj@surewest.net 
==========================
But I think he did secretly marry Elizabeth's cousin, Lettice Knollys. 
It was his last (third?) marriage.  Did not make her very popular with
the Queen but it didn't stop one of Lettice's children by her first
marriage, Robert, Earl of Essex, from becoming one of the Queen's
favorites, and later being beheaded by Elizabeth.

Catherine



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To: Historical Costume <h-costume@indra.com>
From: Joan Jurancich <joanmj@surewest.net>
Subject: Re: [h-cost] Re: THAT movie Elizabeth
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Yes, he did later marry Lady Essex (Lettice was widowed) in 1578, I 
think.  And it was a rather open secret (her father was present to 
make certain that Lord Leicester could not repudiate the marriage 
later).  As long as the marriage was not "in her face", she could 
ignore it, and did.  Once the French ambassador made a public 
statement about the marriage, she could no longer ignore it.

Joan

At 02:11 PM 9/23/2005, you wrote:
> >I remember, at the time the movie came out, someone on this list posted
>how
> >silly it was that Elizabeth wouldn't have known that her lover was
>married.
> >(I forget his name -- sudden blank mind.) And of course, it was
>ridiculous.
> >The whole movie was ridiculous.
> >
> >Gail Finke
>
>Ah, yes.  Lord Robert Dudley (later created Earl of Leicester by
>Elizabeth), whose wedding to Amy Robsart Elizabeth attended.  Of
>course she knew he was married.  In a way, that was what made things
>better for Elizabeth; Robert could not marry her.  Things changed
>after Amy died.
>
>Joan Jurancich
>joanmj@surewest.net
>==========================
>But I think he did secretly marry Elizabeth's cousin, Lettice Knollys.
>It was his last (third?) marriage.  Did not make her very popular with
>the Queen but it didn't stop one of Lettice's children by her first
>marriage, Robert, Earl of Essex, from becoming one of the Queen's
>favorites, and later being beheaded by Elizabeth.
>
>Catherine
>
>
>
>_______________________________________________
>h-costume mailing list
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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] Re: the 20th century
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At 20:32 23/09/2005, you wrote:
>>From: Suzi Clarke <suzi@suziclarke.co.uk>
>> >> > winkle pickers.
>> >>???
>> >A particular long toed style of mens shoe popular in the 50s.
>>And women's. They are currently to be seen in shoe shops in Europe as
>>a "new" fashion.
>
>I could be mistaken, what with it being a fashion thing, but I 
>-believe- the original style was a man's shoe.  The term has just 
>carried over with the more recent conckroach stompers.
>
>Marc

Sorry Marc, they may have originally been a man's style, but I was 
wearing them in the '50's, and they were called winkle pickers then. 
I am old enough to have been wearing so called fashion in the 50's. I 
didn't wear them for long, or often, as they hurt my feet!! 
(Incidentally, at about that age, I was given a pair of my Grandma's 
shoes, possibly from the  First World War, which had long points - 
and I couldn't wear them either.

Suzi


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Gail,

The bell bottoms were in fashion again a couple of years ago. I think last 
winter we saw the first season without them.  But if you look at Vogue 
magazine for the past year a large majority of the fashions are the gypsy 
style from the 1970s.

Penny E. Ladnier
Owner,
The Costume Gallery, www.costumegallery.com
Costume Classroom, www.costumeclassroom.com
Costume Research Library, www.costumelibrary.com

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I miss Bennetton! And still own a classic pair of Bennetton wool trousers I bought over 25 years ago.
 
As for the "we" comments about today's fashion and culture - I think that they are simply gross generalizations about today's youth and should be viewed as such. From the little I have read from the folks here, I don't believe any of us would fit into the mould of today's pop culture. I know I don't. In truth, I don't think a vast majority of young people fit this mould either. Just to give one example, my niece buys all vintage 20th century fashion, mostly from the 40's and 50's.
 
Annette M
 
 
Message: 10
Date: Fri, 23 Sep 2005 16:31:11 -0400
From: Gail & Scott Finke <gailscott@eos.net>


Penny wrote:

> We want everything fast and then throw it away in a short
> amount of time.  We are all guilty of throw it away instead of 
repairing
> products.  Mass production makes it so much cheaper to purchase a new
> product instead of repairing.

This is not true in Europe, or at least it wasn't 10 years ago when I 
wrote
an article about Benneton for a retail magazine. The company had opened 
US
stores, but they failed miserably. They were trying to redo the stores, 
and
the person in charge told me that the company had misunderstood the 
American
market. Benneton sweaters, she told me, were considered middle-priced
clothing in Europe, while here they were considered expensive (they 
were
about $80 on sale then). The company was not geared to a "wear it for a 
year
or two and get rid of it" mentality. They expected people to keep their
Benneton clothes for a long time.

She also explained that Benneton did not have any ladies' dress 
jackets, and
that this was a staple of American women's work wardrobes (dress 
blouse,
dress skirts, and dress jackets, all of them mix and match). She said 
that
in Europe, women wore a lot more dresses to work, and a lot more 
matching
suits. 

Benneton was designed for people who have fewer, nicer clothes, and who 
keep
them longer. It could not compete as it was with the American market 
for a
LOT of less expensive clothes. I don't know what it's like now...

Gail Finke


		
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On Friday 23 September 2005 4:31 pm, Gail & Scott Finke wrote:
[snip]
> This is not true in Europe, or at least it wasn't 10 years ago when I wrote
> an article about Benneton for a retail magazine. The company had opened US
> stores, but they failed miserably. They were trying to redo the stores, and
> the person in charge told me that the company had misunderstood the
> American market. Benneton sweaters, she told me, were considered
> middle-priced clothing in Europe, while here they were considered expensive
> (they were about $80 on sale then). The company was not geared to a "wear
> it for a year or two and get rid of it" mentality. They expected people to
> keep their Benneton clothes for a long time.
>
> She also explained that Benneton did not have any ladies' dress jackets,
> and that this was a staple of American women's work wardrobes (dress
> blouse, dress skirts, and dress jackets, all of them mix and match). She
> said that in Europe, women wore a lot more dresses to work, and a lot more
> matching suits.

Interesting.  The Benetton store near my office in Philadelphia does have 
ladies' dress jackets, though that may simply be an accommodation to the 
American market.

>
> Benneton was designed for people who have fewer, nicer clothes, and who
> keep them longer. It could not compete as it was with the American market
> for a LOT of less expensive clothes. I don't know what it's like now...

I have *not* been impressed with the quality of the merchandise I've seen in 
their Philadelphia store.  Reasonably good construction, but most of the 
garments--even the sweaters--seem very thin. I bought several Benetton 
sweaters last winter on sale.  Although they are attractive and comfortable, 
if I wore them as often as I wear some of my work sweaters, they'd barely 
last one season before wearing through at the elbows.


-- 
Cathy Raymond <cathy@thyrsus.com>

"As a general rule, if end users want to smash something repeatedly
with a sledgehammer, that's a sign of bad UI."--Bram Cohen
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I think the things the 20th century will be remembered for are :
- the gradual liberalization of women's clothing (shorter skirts, less 
corsetry, trousers), which went hand in hand with the greater freedom of women 
- the liberalization of men's clothing (t-shirts aceptable for work wear as 
one example), 
- the increasing westernization of clothing worldwide (and backlashes against 
it)
- street fashions (I'm thinking of teddy boys, mods and rockers, carnaby st, 
punk, new romantic, grunge, etc etc - things that start on the street and are 
copied by top end designers)
- the reduction in home-made clothes, and the mass loss of the skills 
required (people like us lot are hugely outnumbered!!)

Modern designs that don't have a basis in history - assorted non-western 
designers regularly come up with completely off the wall clothes that are more 
like art than clothes.  Some western designers do too, (although more common 
among fashion students, before they graduate and get tied down to the 
commercialism involved in having to make a living.

"I'm not very interested in modern fashion", "I actually do a fair amount of 
fashion magazine reading", "that fit into, sort of, what is currently worn".
I actually think this is a really interesting contradiction (and I really 
don't mean that in a sarcy, or snide way).  I mean that it's interesting that 
even though someone isn't interested in modern fashion, they still feel compelled 
to read the mags to know what's "in".  Which another thing that the 20th 
century will probably be remembered for - as fashion becomes available and 
affordable to the masses, it spreads the pressure to fit in, and to be seen as part 
of the group by what you wear (even goths, etc, slot people into groups 
according to how they're dressed - "I'm a Goth, of the type called "Romantic."").  
There's nothing wrong with that, and of course it's been like that for 
centuries, but it's been far more common for the last few decades, because of mass 
media, and mass fashion.
.

OK - that involves a certain amount of sociology, but clothing, and in 
particular fashion, is so tied up with culture and society, that you can't really 
entirely understand one without the other (for example, would the skimpiness (or 
nudity) of say ancient Egyptian culture be acceptable in  the US, even in 
places with temperatures to make that practical? and would modern people be able 
to continue to live the way they do swathed in acres of fabric and boning (men 
as well as women)? )

Re. throw away - it's absolutely true of the part of Europe I'm in - jackets 
for 20 quid, t-shirts for 4 quid...(shops like new look and top shop) .  
personally I wear things till they fall apart (or just stop wearing them and let 
them accumulate!!).  I also have some vintage stuff, and some charity shop 
stuff.

Debs (sorry if a bit long and incoherent - quite late at night as writing!)

PS  Bell bottoms are definitely back over here - or at least on their way 
back.




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PPS - I don't watch MTV either!
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Subject: RE: [h-cost] Re: jeans
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No. Like, wow, no. In? No, like, y'know they are just so like last week,

-C.

> 
> Julie wrote:
> Remember bell bottoms?
> A co-worker of mine swears that they are back


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Subject: Re: [h-cost] Re: jeans
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The ones I have are called 'flares'...

Sheridan

----- Original Message ----- 
From: "Gail & Scott Finke" <gailscott@eos.net>
To: <h-costume@indra.com>
Sent: Friday, September 23, 2005 4:34 PM
Subject: [h-cost] Re: jeans


> Julie wrote:
>
> Remember bell bottoms?
>
> A co-worker of mine swears that they are back, but I can't find any. I was
> at the Chicago Gap store last week, and they certainly didn't have any
> there. Darn. I love bellbottoms!
>
> Gail Finke
>
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>"I'm not very interested in modern fashion", "I actually do a fair amount of 
>fashion magazine reading", "that fit into, sort of, what is currently worn".
>I actually think this is a really interesting contradiction (and I really 
>don't mean that in a sarcy, or snide way).  I mean that it's interesting that 
>even though someone isn't interested in modern fashion, they still feel compelled 
>to read the mags to know what's "in".
>
Hey, reading _Vogue_ only takes ten minutes.  It's all pictures.

Anyway, I buy mostly ready-to-wear--I don't find modern clothes 
interesting to construct these days.  What is in fashion magazines 
indicates what will be available to me in the stores, and whether I 
should even bother going to them. If I find a trend I like, I wear it.  
If not, I don't.  There was a period of five or six years when I simply 
did not buy clothes because almost everything seemed to be black, 
charcoal gray, or a blackish dark brown.  I ignore most trends entirely, 
in terms of what I wear.

But, I have to wear something.  I have to see people on business, and so 
forth.  Wearing entire historic period outfits all day every day, or 
anything really, really outre, is a luxury for those who don't have 
careers. 

Fashion is not _just_ about self-image and identity, or about belonging 
to cultural n-groups. 

>  Which another thing that the 20th 
>century will probably be remembered for - as fashion becomes available and 
>affordable to the masses, it spreads the pressure to fit in, and to be seen as part 
>of the group by what you wear 
>
I think the pressure to fit in socially has, thankfully, lessened a 
great deal.  In an urban area, at least, people are not stuck with any 
one set of people.  They can go find others who share their interests, 
they can find a new job, they can move, they can even shuck off annoying 
relatives to a great extent.  They can change religions, careers, 
spouses, identities, very freely.

>(even goths, etc, slot people into groups 
>according to how they're dressed - "I'm a Goth, of the type called "Romantic."").  
>
I was fairly amused to be classified as a Goth, by some Goths, since 
I've never thought of myself as one. And I don't  now.  Some very nice 
people assuring me that I was welcome in their e-group, does nothing to 
affect my personal identity,  nor will it change my actions or clothing 
a jot.  I'm hardly about to go hang out in a Goth club (though I might 
get some design tips over the net).

>There's nothing wrong with that, and of course it's been like that for 
>centuries, but it's been far more common for the last few decades, because of mass 
>media, and mass fashion.
>  
>
See above--I think it's less common.

One thing I dislike about the costuming community is:  They always want 
to push arguments to extremes.  Or push someone else's viewpoint to an 
extreme, and then argue against it. 

Apparently, in order to say that I'm not primarily into modern fashion, 
I have to also say that I never, ever read a fashion magazine, or shop 
in department stores, or wear modern clothes.

And that to avoid being called a conformist, someone so pathetically 
eager to fit into any group that I cry with joy because I discover a 
Goth group likes a good many more of the same things that I do than I 
ever suspected,  I have to--what?  Never speak to anyone?  Never get 
costuming tips from anyone?  Never interact on an e-group?  Say nasty 
things about the Goths I just met and assure everyone I'm telling them 
to buzz off?

On the other hand, if I said, falsely, that I go around wearing full 
Victorian (or other historic) outfits 24/7, even to business meetings 
and the supermarket, then I'd be called pathetically out of touch with 
modern culture. 

Oh, and you don't have a clue what I actually do wear, do you?  You've 
never seen me, or, I suspect, even a photo.

So, if whatever I say is going to be a platform for an excuse to put me 
down, I'd say that you don't have much of a platform to stand on.  I 
suggest you get back to discussing costume in a more general way.


Fran
Lavolta Press
http://www.lavoltapress.com
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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Re: Re: the 20th century
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>Apparently, in order to say that I'm not primarily into modern fashion, I 
>have to also say that I never, ever read a fashion magazine, or shop in 
>department stores, or wear modern clothes.

Huh?  Following fashion is often something people my daughter's age do.  So 
I can only assume that you're older than 21... ;)

I'm not primarily into modern fashion either, but I do believe in being 
dressed; and on some occasions even well dressed.  Right now I'm wearing an 
old t-shirt and my everything-else-is-in-the-laundry jeans.  When the 
laundry is done I'll put on a nicer t-shirt and some more presentable 
jeans.  It's entirely coincidence that other people in the world will be 
wearing t-shirts and jeans today too.


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

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The point of Deb's message seemed to be, "Oh, you're saying you're not a 
conformist, but see you are, because you read fashion magazines.  And 
some people on a Goth group told you they like historic styles too, and 
they called you a 'Romantic Goth,' so you're a conformist to their 
standards.  See, you're contradicting yourself."  With all those quotes 
from my e-mails, and responses to them, that was not a general 
discussion of costuming trends.

My point is:  Everyone on this group is interested in historic costume.  
Many people in this group would like to wear it places other than 
special reenactment or costuming events.  Many of them do, to a limited 
extent.  But, to most, it's a limited extent. I'd call someone a 
"conformist," who conforms more than normal, to whom conformity is a 
goal; which for me it is not.  But, many people have to hold down jobs 
in places where full historic costume is not accepted, or paint the 
garage, or whatever.  I don't think it's "conformity," to carefully pick 
out things you like that will get you by in modern daily life, maybe 
raising a few eyebrows but not harming your career, or causing you 
physical discomfort, or doing other things that cause you problems.  As 
I said, clothing is by no means entirely about self-expression.

Since I don't like most modern styles (though this year is better than 
the last several, to my relief), and since, besides, I'm an unusual size 
(4'9" tall)   for me this is a tricky  process.  It does require 
research into what is in fashion, careful thought about where I can get 
hold of the few things I like, where I can buy them in my size, and how 
I can combine them with each other and with vintage and antique clothes 
from my collection.

I spent the past several years wearing combos of T-shirts and basic 
pants and jumpers and other simple styles (which sounds like what you're 
doing, Katya). I did it to avoid wearing all that black and all those 
miniskirts.  But I got bored.  I've been buying a lot of clothes 
recently in reaction.  Yeah, I like to look well dressed too. 

I'd be curious to know how other people on the list are dealing with the 
issue of compromising; with wanting to look historic, but also wanting 
to look minimally acceptable and be reasonably practical in daily life. 
Not in the abstract, but on the level of what styles people are wearing, 
how they combine historic with modern, and so on.

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

>
> I'm not primarily into modern fashion either, but I do believe in 
> being dressed; and on some occasions even well dressed.  Right now I'm 
> wearing an old t-shirt and my everything-else-is-in-the-laundry 
> jeans.  When the laundry is done I'll put on a nicer t-shirt and some 
> more presentable jeans.  It's entirely coincidence that other people 
> in the world will be wearing t-shirts and jeans today too.
>
>
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Hello, all --

 

It dawned on me that I really should ask the list if any of you happened to know my sister, April Parke, who was a professional costumer (I don‘t know why it didn‘t occur to me sooner). She got her degree at the NC School of the Arts (late 70s or early 80s, I think…), had a long association with both the Atlanta Ballet and the Alabama Shakespeare Festival, and, after a move to NY, worked with The Muppets on Ice and on Phantom of the Opera (she had other gigs, of course, but I those are the primary ones I know about).

 

I realize it’s a long shot, but if any of you do happen to remember her, of course I’d love to hear from you.

 

Pax --

KP


		
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Subject: [h-cost] readymade hoops, are they worth it?
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Hi everyone,
I've been looking at some cotton hoopskirts on ebay
(http://stores.ebay.com/ANGELS-BRIDAL-SHOP_5-HOOP-6-HOOP-MEGA-FULL-SLIP_W0QQ
ssPageNameZVIStoreHeaderLinksQQtZkm?) for much less than it would cost me to
buy the boning. But they only have 6 hoops, whereas the Simplicity pattern
for mid 19th century hoops (#7216 but it's been discontinued) has 13 hoops.
My 16th century farthingale only has 5 hoops and I've had no problems with
it but it's much narrower than a 19th century hoop.
So in short has anybody had success in using a readymade hoop? If I bought a
readymade hoop I would obviously reduce the size (as a 168" hem is far too
large) and replace the drawstring with a real waistband. But I'm not sure if
6 hoops could cause problems with either the bones showing through the skirt
(I'd hope to only need one or two petticoats between the hoop and the dress)
or the bones collapsing? As a student I'm long on time and short on cash so
making modifications is not something I'm concerned about, but buying
something cheap that's going need replacing after five minutes is false
economy.
thanks
Elizabeth
--------------------------------------------
Elizabeth Walpole
Canberra Australia
ewalpole[at]tpg.com.au
http://au.geocities.com/e_walpole/

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From h-costume-bounces@indra.com  Sat Sep 24 02:57:53 2005
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From: "Elizabeth Walpole" <ewalpole@tpg.com.au>
To: "Historical Costume" <h-costume@indra.com>
References: <19a.3cd49f6e.30647636@aol.com>
Subject: Re: [h-cost] why renaissance and not 18th century?
Date: Sat, 24 Sep 2005 16:56:11 +1000
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<snip>
> As far as making any of the periods...they all equal out. Different
> difficulties in each, but just as many.


well OK, maybe making them is equally difficult but there is a great deal of
difference in _researching_ them.
If I want to make an 1860s morning dress I have thousands of fashion plates,
contemporary patterns and instructions, photos of real people in real
clothes (not an artist's slightly idealised version of what a member of the
aristocracy was wearing on a formal occasion) and a few hundred extant
garments to copy (obviously a lot of those are in private collections and
therefore inaccessible to most members of the general public but you get the
point).
If I wanted to do the same in the 1560s I've got one extant garment (well
Eleanora di Toledo's outfit, which is technically two layers, and a couple
of men's garments), a few dozen portraits of the aristocracy dressed to the
nines and a few tailors books (which focus heavily on men and are
essentially cutting layouts) from later in the century.
If I wanted to go back another century to the 15th century we've got
portraits (and far fewer of them) a couple of extant men's garments (the
'Mary of Hungary gown' is 14th century isn't it?) and a whole lot of
educated guesswork or trial and error.
So while the difficulty involved in actually physically constructing any
particular garment may be the same, the steps involved before you start
making something becomes more and more difficult the further you go back.
Elizabeth
--------------------------------------------
Elizabeth Walpole
Canberra Australia
ewalpole[at]tpg.com.au
http://au.geocities.com/e_walpole/

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From: "Elizabeth Walpole" <ewalpole@tpg.com.au>
To: "Historical Costume" <h-costume@indra.com>
References: <BF58D72D.D1E2%lauren.walker@comcast.net>
Subject: Re: [h-cost] making a fan
Date: Sat, 24 Sep 2005 16:58:32 +1000
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Status: RO

But Rhonda has the same thing cheaper so why not support a fellow list
member? :-)
http://sapphireandsage.com/alacarte.html
Elizabeth
----- Original Message ----- 
From: "Lauren Walker" <lauren.walker@comcast.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, September 23, 2005 11:48 AM
Subject: Re: [h-cost] making a fan


> Search on "fan" -- they call their sticks "Fan staves".
>
> -- 
> Lauren M. Walker
> lauren.walker@comcast.net
> -- 
> "One does not need buildings, money, power, or status to practice the Art
of
> Peace. Heaven is right where you are standing, and that is the place to
> train." -- Morihei Ueshiba
>
> > From: Joan Jurancich <joanmj@surewest.net>
> > Reply-To: Historical Costume <h-costume@indra.com>
> > Date: Mon, 19 Sep 2005 15:15:08 -0700
> > To: Historical Costume <h-costume@indra.com>
> > Subject: Re: [h-cost] making a fan
> >
> > Did you get the maribou fan?  That's the only folding fan I found on
> > the web site.
> > Joan
> >
> > At 02:14 PM 9/19/2005, you wrote:
> >> I picked up the sticks for the fan I'm making at:
> >> www.displaycostume.com
> >> the company is here in Seattle but they do website orders and will
ship.
> >> Good Luck
> >> Molly
> >> -------------- Original message --------------
> >>
> >>> I want to try making a fan (18th-19th century style as opposed to
> >>> renaissance style) but I don't know where to get the base. I'm not
even
> >>> sure what to call it, but the individual "sticks" are called
> >> ribs, I think.
> >>> I tried googling "fan base" fan ribs" "fan set" and a couple of other
> >>> combinations without any luck.
> >>>
> >>> Can anyone help me with what the proper term is for this item? And if
> >>> anyone can point me towards websites that might carry this, I'd be
very
> >>> grateful.
> >>>
> >>> Thanks,
> >>> Julie
> >> _______________________________________________
> >> h-costume mailing list
> >> h-costume@mail.indra.com
> >> http://mail.indra.com/mailman/listinfo/h-costume
> >
> > _______________________________________________
> > h-costume mailing list
> > h-costume@mail.indra.com
> > http://mail.indra.com/mailman/listinfo/h-costume
>
> _______________________________________________
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>
>

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Subject: [h-cost] 16th Century Portraits, 18th & 19th century Clothing
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I thought people might be interested in the following links. Sotheby's is 
auctioning off property from the Royal House of Hanover, there's about 
4,000 lots from the last 500 years plus a few medieval bits. There's a lot 
of portraiture, weapons, textiles, silverware. These are just a few I 
pulled out and thought to be of interest

You do have to be registered to use the site, however that isn't hard and 
considering its the only chance you'll get to see some of these.
If you click on the thumbnail it brings up another image and then click on 
view larger image to view it in its largest format.

Portraits

Portrait of a Noblewoman by a follower of Anthonis Mor
https://search.sothebys.com/jsps/live/lot/LotDetail.jsp?lot_id=4H3ZR

A portrait of King Henry VIII by a follower of Holbein
https://search.sothebys.com/jsps/live/lot/LotDetail.jsp?lot_id=4H3ZS

4 Children circa 1590 by the Northern Italian School
http://search.sothebys.com/jsps/live/lot/LotDetail.jsp?lot_id=4H4MK

a lovely portrait, with a lovely dress. I would say regency except the 
attributed sitter predates that era.
http://search.sothebys.com/jsps/live/lot/LotDetail.jsp?lot_id=4H5RT

Clothing

There is a very large amount of liveries listed including hunts and galas 
as well as uniforms (including the Hussars). Those lots are in the last 
quarter of the catalogue. These are just a very small selection that I 
thought might be of interest.

Blue Moire Padded Boys Dress circa 1860
http://search.sothebys.com/jsps/live/lot/LotDetail.jsp?lot_id=4HB68

An unusual Jacket of Hard tartan with matching velvet waistcoat circa 1800-1830
http://search.sothebys.com/jsps/live/lot/LotDetail.jsp?lot_id=4HB6J

A cloth of gold embroidered court gown circa 1812-1820
http://search.sothebys.com/jsps/live/lot/LotDetail.jsp?lot_id=4HB6G

A Gentleman's Paisley Weave Dressing Gown Woollen Dressing Gown circa 1840-1850
http://search.sothebys.com/jsps/live/lot/LotDetail.jsp?lot_id=4HB6C

A Russian Officer's Uniform of the 4th Luben Hussars 1838.
http://search.sothebys.com/jsps/live/lot/LotDetail.jsp?lot_id=4H54V


There are also baking moulds up for auction, which are of historically 
dressed figures as well. :)

I've posted bits and pieces of this here and there so apologies if you seen 
any of this before

Sharon

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I totally agree.
Since I am trieing to set up my own buisines in making fantasy and 
gothic clothing and weddingdresses I don't have time to do much 
research. And I quit the SCA and don't have reasons to wear my 16th 
century stuf aneymore
I am now more in to 18th and 19th century clothing.
It takes me the same amount of time in making them but less time in 
researching them.
I have a huge library of pictures collekted. And I find more reasons to 
wear them.
Once I wore my red 1860's dress to a X mas party and most people saw it 
as a very nice evening dress.
Last year I wore a 18th century polonaise. And this year I hope to wear 
a black bustle gown like the red one in Moulin Rouge or
in Van Helsing. But I would never wear my 16th century clothing to a 
modern party.
It is also less frustrating. There is so much unknown about the cloting 
before the 18th century.
And somehow I really don't like the 17th century.
And the fabrics are cheaper. I can use cotton. I like linnen and silks 
more but can't afford the silks anymore since the Euro.

In a lot of stores here where you can hire clothing and you ask for 
medieval you get 18th century.
I like to make fantasy and gothic versions of 18th and 19th century 
clothing.
And since there are more party's now where people can wear them I hope 
that they will buy them.
Because I haven't seen anyone who makes historical based fantasy and 
gothic clothing here in the Netherlands.
And if they do it is almost alway's Carnaval stuf. Very cheap and over 
the top.


>
>well OK, maybe making them is equally difficult but there is a great deal of
>difference in _researching_ them.
>If I want to make an 1860s morning dress I have thousands of fashion plates,
>contemporary patterns and instructions, photos of real people in real
>clothes (not an artist's slightly idealised version of what a member of the
>aristocracy was wearing on a formal occasion) and a few hundred extant
>garments to copy (obviously a lot of those are in private collections and
>therefore inaccessible to most members of the general public but you get the
>point).
>  
>
<Snip>

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Subject: Re: [h-cost] why renaissance and not 18th century?
Date: Sat, 24 Sep 2005 22:31:52 +1200
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> 'Mary of Hungary gown' is 14th century isn't it?) and a whole lot of
> educated guesswork or trial and error.

1520s.

The thing is when you "know" so much about an era you then start getting
pickier about other details, so it's not just a question of "oh there's more
info so it's easier."

In later periods you are also looking a larger population and indeed some
rather more subtle differences in clothing by region, month of the year and
indeed time of the day and occasion. Also age appropriate. It's still quite
difficult for me to work out why a garment is considered more appropriate
for an older woman than a younger. It's often not about colour, though
darker and duller shades are often listed as more seemly, not is it always
about ornamentation (sometimes plainer is too severe..) .

On another discussion list (message board) someone queried the use of a
bustle in 1880-81. The answer is not as simple as yes, wear a little one.
The answer was not as simple at the time either.

While there is more information, there are also more decisions to be made
because the rate of fashion changes really do increase to the point you have
seasonal fashions in the mid-late 19thC especially.  Also while there is
more opportunity to directly copy, there is ever so much more to research if
you want to know why and how.

One of my favourite eras covers the years from 1875-1885 and there certainly
is a lot of photographic evidence, but a lot of of it is undated and it can
be very tricky getting a good date because like now people cling on to older
fashions and use local fashions that may not appear in the usual books. The
usual rule to find the latest fashion and date from there doesn't always
work either, because that can either be a completely random item that is
ahead of its time or still be worn a few years before the image was taken.

So more information doesn't always mean an easier task;)

I recreate and create costume from many historical and media sources. The
only easy way for any of them is to just start creating immediately without
doing the reasearch, or at least saying "enough! my brain will explode if I
take up any more information!";) There is always more to learn. I started
going mad with my Valois because of the amount of information I could look
at (weaving types, stitch types where the cloth was woven.....)

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



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Subject: Re: [h-cost] Re: Re: the 20th century
Date: Sat, 24 Sep 2005 09:20:19 -0400
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About being "into modern fashion...
Having reached the chronological age of 67 (!), I am more noticing of what
women presumed to be in my age group are wearing, and am having a problem of
how to present myself that goes against the grain of the "norm".  I remember
back when I first started my fashion up-keep via catalogues.  Romans and Old
Pueblo seemed very funny to me.  "Who would make fashion choices from those
sources!"  The day I started to look at the catalogues and realize that my
eye was pausing from time to time came as a revelation that somehow I had
become to look more like the models. Not necessarily by size.  "Ahah, I must
be getting old."

I have been in my"African Period" as one 'wag' from choir puts it for about
10 years.  I love garments with an ethnic flare and especially those with
original fabric design and handiwork.

One style I have noticed on the street that I do not admire is all the
stretch pants outfits and the oversized styles that seem to be the rage (for
comfort?) in my age group.  Presently, I am making real choices that avoid
tee-shirts and overblouses that are left outside the skirt or pants.
Somehow the casualness of style seems to have gone beyond the bounds of
taste or fashion.

Who was it, ( Bobbie Burns?) "If we could only see ourselves as others see
us"...

Kathleen
----- Original Message ----- 
From: "Carolyn Kayta Barrows" <kayta@frys.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, September 23, 2005 10:17 PM
Subject: Re: [h-cost] Re: Re: the 20th century


>
> >Apparently, in order to say that I'm not primarily into modern fashion, I
> >have to also say that I never, ever read a fashion magazine, or shop in
> >department stores, or wear modern clothes.
>
> Huh?  Following fashion is often something people my daughter's age do.
So
> I can only assume that you're older than 21... ;)
>
> I'm not primarily into modern fashion either, but I do believe in being
> dressed; and on some occasions even well dressed.  Right now I'm wearing
an
> old t-shirt and my everything-else-is-in-the-laundry jeans.  When the
> laundry is done I'll put on a nicer t-shirt and some more presentable
> jeans.  It's entirely coincidence that other people in the world will be
> wearing t-shirts and jeans today too.
>
>
>         CarolynKayta Barrows
> dollmaker, fibre artist, textillian
>           www.FunStuft.com
>
>               //// \\\
>              ////-@@\\\
>             ((((   7 )))
>              (((  <> ))))
>                 )   ((((((
>            /----\   /---\))
>
> _______________________________________________
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>
>     Certainly there is some confusion when it's not clear if the
>statements were regarding H-Costume members or the larger society in
>general.  We are definitely a knowledgeable group, and many ignore
>the 20th/21stC fashions in favor of historic clothing!
>  
>
Yes, h-costume is primarily a historically oriented group. 

What I see is:

Modern ready-to-wear "dicates" what many people wear because it's what's 
available to them.  However, there are significant groups of people who 
are tired of walking into stores and seeing only a small range of colors 
this season (most of which they don't like) styles that don't flatter 
their bodies, and "looks" that don't suit their personalities.

So there are subgroups looking for styles to wear at least on special 
in-group occasions, and if possible every day, that suit their own needs 
rather than manufacturers'.  Historic costumers are one such group.  I'm 
not saying they have no real interest in clothing design or in history, 
because they do.  However, many also have bodies and/or personalities 
that current styles just do not suit. 

Goths are another such group.  I've been chatting a lot on one Goth 
sewing list and what I found out is:  I'm a Goth, of the type called 
"Romantic."  Oh, there were a couple people who felt my color sense was 
wrong for Goth--I look awful in black and "jewel" tones, and great in 
wholesome "autumn" colors. (Though some reminded me that autumn colors 
are, after all, pre-Raphaelite.)  But in terms of styles, I fit right 
in.  I'd say that the major difference between historic costumers and 
Romatic Goths is the Goths usually alter and mix the styles, and purist 
costumers are trying for historic accuracy. 

Then there are vintage clothing enthusiasts.

And people who make "wearable art" clothes.

And a lot of people who belong to one or more of these groups.


>     I don't associate track/warmup/sweatsuits with Olivia Newton John,
>

I associate sweatsuits with a recreational seniors group I see at the 
mall, who look like they all decided, "Heck with it, at our age let's go 
for comfort not beauty."  If they're happy with it why not? 

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

>  
>
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I think I saw some belbottoms at www.revolvevlothing.com,  as well as 
other 60s-inspired styles.

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

Gail & Scott Finke wrote:

>Julie wrote:
>
>Remember bell bottoms?
>
>A co-worker of mine swears that they are back, but I can't find any. I was
>at the Chicago Gap store last week, and they certainly didn't have any
>there. Darn. I love bellbottoms!
>
>Gail Finke
>
>  
>
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To: Historical Costume <h-costume@indra.com>
From: Joan Jurancich <joanmj@surewest.net>
Subject: Re: [h-cost] THAT movie Elizabeth
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At 01:22 PM 9/23/2005, you wrote:
>[snip]
>
>I remember, at the time the movie came out, someone on this list posted how
>silly it was that Elizabeth wouldn't have known that her lover was married.
>(I forget his name -- sudden blank mind.) And of course, it was ridiculous.
>The whole movie was ridiculous.
>
>Gail Finke

Ah, yes.  Lord Robert Dudley (later created Earl of Leicester by 
Elizabeth), whose wedding to Amy Robsart Elizabeth attended.  Of 
course she knew he was married.  In a way, that was what made things 
better for Elizabeth; Robert could not marry her.  Things changed 
after Amy died.

Joan Jurancich
joanmj@surewest.net 

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Subject: Re: [h-cost] why renaissance and not 18th century? 
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Following on from what Jean said, what I find interesting is this.

(Background for anybody who doesn't re-enact in the UK...)
There are several American Civil War groups here, varying in size.  There is 
also a group portraying the Spanish Civil War.

Lots of British men fought in both of these wars.

Anyway, the thing I find interesting is that everybody understands why Bitish 
people want to remember the Spanish CW, but very few get why the ACW.

To get more back to the original question (ish) - I'm not sure of the where's 
and why's, but there aren't very many 18th century re-enactors in the UK 
either.  
Medieval is by far the largest period re-enacted here at the moment (although 
it's taken over from the English Civil Wars).
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Subject: [h-cost] Current day fashion magazines
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What current day fashion magazines do you all read?

Penny E. Ladnier
Owner,
The Costume Gallery, www.costumegallery.com
Costume Classroom, www.costumeclassroom.com
Costume Research Library, www.costumelibrary.com
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Subject: Re: [h-cost] the 20th century-influences
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I don't know what you think is interesting . . .

A couple good eBay sellers of "gypsy" skirts are aonneo (the Thai 
seller; very cheap and great service) and funtique-23 (in California).  
Tons of other people sell them there though.  China-usa (actually also 
in California) sells lovely Victorianish hand-crocheted things, very 
high quality, at good prices.  Don't overbid, they are a manufacturer 
and have more of almost everything in stock.  For embroidered kebayas, 
you can search "kebaya" on eBay and sometimes find a couple, but I got 
mine from www.kebayas.com, who is not on ebay and says she has no plans 
to sell there. She will custom size her ready-to-wear to some extent 
(they're not quite RTW, I think she may pre-embroider them but she sews 
them after you order), and she will send fabric swatches. Which you will 
need because her web pictures have little to do with her fabric colors. 
  http://www.charitysalesonline.org is a company in Nepal that sells 
hand-loomed (knitting machine, I think) cashmere ponchos.  They knit 
them in white and will dye them any color you want. You can get several 
at a lower price and get one color of each. Meaning you can go in with 
some friends, or have a bunch of ponchos if you want.  They will send 
you color swatches too, but they charge for them.  Peruvian alpaca ones 
are cheaper and there are lots on eBay, you can just do a search. You 
can buy embroidered Indian kurtas and other Indian clothes all over the 
place, including lots on eBay, but the quality varies from great to 
awful.  http://www.shalincraft.com, who sells on Amazon apparel but not 
eBay as far as I know, has good quality in my experience. A good online 
seller of "wearable art" is www.artfulwears.com.  Some of their stuff is 
RTW but a lot of it appears to be handmade, limited-edition items. 

For vintage and antique clothes on eBay, your best bet is to get into 
(for example) clothing/vintage/women/1920s, or whatever subcategory 
interests you, and browse.  Unless you're looking for something really 
specific. Then you can get into the category and search on (for example) 
"black velvet jacket."

Hope this helps.

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

>
>
> Hi fran, could you tell me what you search for on ebay to find 
> interesting stuff?   thanks,  Kitty
>
>
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Subject: Re: [h-cost] the 20th century
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>> Now that the 20th century is over, what do you think the big clothing
>> "thing" will be that defines it? Y'know....what quality will it be known 
>> for,  you
>> think? What garment?
>

Pants for women. I think this is the one major change. In every other 
period, men wear pants and women skirts. Of course, that really happened in 
the second part of the century... 
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Subject: Re: [h-cost] Re: the 20th century
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----- Original Message ----- 
From: "Suzi Clarke" <suzi@suziclarke.co.uk>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, September 23, 2005 11:05 AM
Subject: Re: [h-cost] Re: the 20th century


> At 15:40 23/09/2005, you wrote:
>>>From: Cynthia J Ley <cley@juno.com>
>>> > winkle pickers.
>>>???
>>
>>A particular long toed style of mens shoe popular in the 50s.
>>
>>Marc
>
>
> And women's. They are currently to be seen in shoe shops in Europe as a 
> "new" fashion.
>
> Suzi
>

They've been there for a while. Actually, I started seeing them about 3 
years ago here in Montreal. Always thought they looked ugly - make the feet 
look so weird, and the poor girl always looks like she's going to trip on 
the tips and fall flat on her face. There seems to be a little less of them 
around this season (thank God!). 
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Subject: Re: [h-cost] Re: Re: the 20th century
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Lavolta Press wrote:

> I'd be curious to know how other people on the list are dealing with 
> the issue of compromising; with wanting to look historic, but also 
> wanting to look minimally acceptable and be reasonably practical in 
> daily life.

When I'm at an SCA event, Rennfaire, or historic-themed costume party, I 
want clothes that are historic. When I'm at work or church, I want 
clothes that are conservative, comfortable, and flattering.  When I'm 
out on the town, I want clothes that are eye-catching or elegant, 
depending on the venue.  When I'm at home, I want clothes that are 
comfortable.

When I wear historic pieces outside historic costume contexts, they make 
a definite statement (E of Toledo pair of bodies with a 1950's crinoline 
and 1990's knee-high combat boots at the goth club), are vintage pieces 
in classic lines that coordinate with moder pieces (mid-20th century 
sheath dress and a recent jacket), or are comfortable enough to fall 
asleep in (linen t-tunic or chemise).  This isn't a compromise to fit 
historic costume pieces into my modern wardrobe, rather it is use of 
historic costume pieces because they meet the requirements I place on my 
modern wardrobe.

- Ynes
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  Huh? Following fashion is often something people my daughter's age do. 
So I can only assume that you're older than 21... ;)

  I'm not primarily into modern fashion either, but I do believe in 
being dressed;


  True....but society....like high society, still cares what you wear 
sometimes far more than young people. It's like what the fashion report 
 from the red carpet is all about. But also what you wear at the White 
House or the board room. Me? I live in perpetual casual world. But my 
aunt is head of the American Red Cross and sees Bush and others high up 
and gives and attends big whoop-de-dos and so on and so forth.....and 
one must wear the right kind of thing at the right time...and it's 
serious....Jezebell serious. I don't mean to state the obvious, but in 
my world, I sometimes forget the rigors of society.
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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] Current day fashion magazines
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At 03:02 24/09/2005, you wrote:
>What current day fashion magazines do you all read?

None! But then I am short, fat and over 60!! I do read "ordinary" 
women's magazines which have fashion in, but really, not suitable for 
me. However, I welcome the return of longer skirts to fashion (I'm 
still wearing my old ones from the last time.) And I have finally 
found boots to fit my really fat calves - yay!

Suzi



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Hi Elizabeth.  What kind of shape are you trying to achieve?  What period? 
Sg


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Kool! Thanks!

J. Kale wrote:

>
>
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Subject: [h-cost] Current day fashion magazines
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In a message dated 9/24/2005 8:27:46 A.M. Mountain Standard Time,  
penny@costumegallery.com writes:

What  current day fashion magazines do you all read?



A trip to Border's is really educational.  Because of the class I am  
teaching, I am interested in what appeals, what is being worn by various  groups.  
Consider that the music magazines serve as fashion magazines, as  well.  There 
are magazines for Goths, Latinos (various subcultures), Blacks  (various age 
groups and subcultures), Teens, Wealthy Mainstream, Artsy Cutting  Edge.  Of 
course, there is crossover between these groups.  It's  interesting to see how 
different the looks are depending on the group one wishes  to identify 
with...and how one season something might appear only in the Goth  magazines and the 
next it resurfaces, remade in Vogue.  Re-enactors must be  rejoicing right now, 
as there is a mainstream interest in tapestry, velvet,  lace, corsets, (which 
have been appearing for three years or so).   Maybe you can't wear the whole 
thing, but you can certainly get away with the  laced bodices, jackets, ren 
shirts, etc...and look very stylish. It recalls the  Edwardian styles of the late 
'60's and early '70's, but more eclectic.
 
And I, too love the new mainstream look. The little tummy-bearing  tight 
clothes of the past several years would have looked hideous on moi, 55  years old 
who lost her waistline years ago and who loved the late 80's and early  90's 
because I could cover it up and still look  fashionable.
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In a message dated 9/24/2005 8:29:14 A.M. Mountain Standard Time,  
audreybmorin2@hotmail.com writes:

Pants  for women. I think this is the one major change. In every other 
period,  men wear pants and women skirts. Of course, that really happened in 
the  second part of the century... 



Actually men didn't wear "pants" until their skirts got so short they  needed 
to connect their hose to avoid a public display.  At least that is  my 
understanding.  Cheryl Odom
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Cathy Raymond wrote:

> Interesting.  The Benetton store near my office in Philadelphia does have
> ladies' dress jackets, though that may simply be an accommodation to the
> American market.
> 
I was talking about their first attempt at American stores. I don't know
what they have now.
> 
> I have *not* been impressed with the quality of the merchandise I've seen in
> their Philadelphia store.  Reasonably good construction, but most of the
> garments--even the sweaters--seem very thin. I bought several Benetton
> sweaters last winter on sale.  Although they are attractive and comfortable,
> if I wore them as often as I wear some of my work sweaters, they'd barely
> last one season before wearing through at the elbows.

Well then, I guess they adapted to the American market!

Gail Finke

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References: <1d6.458a1732.3065ed2a@aol.com>	<1d6.458a1732.3065ed2a@aol.com>	<4.3.1.2.20050923190944.039c1920@mail.frys.com>	<4334C423.7000207@lavoltapress.com>
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A better way to describe it than "compromise."  Thanks for the terminology.


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


>  This isn't a compromise to fit historic costume pieces into my modern 
> wardrobe, rather it is use of historic costume pieces because they 
> meet the requirements I place on my modern wardrobe.
>
> - Ynes
>
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I wouldn't know, never having met anyone in "high societ," or the 
American upper class.  And I'm probably unlikely to.  And I'm in the 
intellectual/professional/academic strata of the middle class by birth, 
marriage, and career; meaning not at the very bottom of it. 

I wouldn't say all middle-class dress is "casual," by any means.  There 
are plenty of jobs where people must wear conservative clothing to 
succeed, and so forth.

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


>
>  True....but society....like high society, still cares what you wear 
> sometimes far more than young people. It's like what the fashion 
> report from the red carpet is all about. But also what you wear at the 
> White House or the board room. Me? I live in perpetual casual world. 
> But my aunt is head of the American Red Cross and sees Bush and others 
> high up and gives and attends big whoop-de-dos and so on and so 
> forth.....and one must wear the right kind of thing at the right 
> time...and it's serious....Jezebell serious. I don't mean to state the 
> obvious, but in my world, I sometimes forget the rigors of society.
> _______________________________________________
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Current day fashion magazines
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That's at least partly being short--your calves are not where the boots 
manufacturer thinks they should be, height-wise.  I have the same 
problem with long boots.

I also welcome the return of long skirts. 

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

Suzi Clarke wrote:

> At 03:02 24/09/2005, you wrote:
>
>> What current day fashion magazines do you all read?
>
>
> None! But then I am short, fat and over 60!! I do read "ordinary" 
> women's magazines which have fashion in, but really, not suitable for 
> me. However, I welcome the return of longer skirts to fashion (I'm 
> still wearing my old ones from the last time.) And I have finally 
> found boots to fit my really fat calves - yay!
>
> Suzi
>
>
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Well, I am rejoicing.  I'm buying clothes like I haven't been for years.

Stuff from the 1960s through the 1980s is getting mixed together and 
marketed as "boho"--which is great with me.

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

>Re-enactors must be  rejoicing right now, 
>as there is a mainstream interest in tapestry, velvet,  lace, corsets, (which 
>have been appearing for three years or so).   Maybe you can't wear the whole 
>thing, but you can certainly get away with the  laced bodices, jackets, ren 
>shirts, etc...and look very stylish. It recalls the  Edwardian styles of the late 
>'60's and early '70's, but more eclectic.
> 
>
>  
>
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I bought a very nice pair of bone-colored "granny boots" from Old Pueblo 
a few months ago. OK, they have a zipper on the side (in addition to 
front lacing), but the price was better than a "repro" and the shoes are 
more durable than my antique ones. I had them dyed black over the toes 
and heels, like an antique pair I have.

One thing I've learned as a petite, is to get _every_ catalog I hear 
about that has petite-sized clothing in it, whether it's for misses, 
juniors, old ladies, wearable art/alternative, or whatever.  I look at 
the lines of the clothes and pay no attention to the appearance of the 
models, or their age.  I also shop at every store that has a petite 
section, and I look for sources of ethnic clothing that hasn't been 
resized for Americans.  I look for vintage sweaters that have shrunk 
(great for getting sleeves that don't need turning up!), and of course, 
vintage clothes that were made small to begin with.  And I look for 
styles where petite sizing is not necessary.  For example, a T-shirt or 
sweater with short sleeves and a crew neck doesn't have to be petite 
sized; one with a lowish scoop neck and/or long sleeves usually does.  
But a T-shirt is a T-shirt is a T-shirt, whether it comes out of a 
catalog for old ladies or one for juniors.

Though actually, for T-shirts I've been getting "blanks" en masse from 
Dharma Trading and dyeing a different batch every weekend for the past 
several months. 

A lot of the image stuff is just marketing, pure and simple.  The RTW 
industry comes up with lines and they have to attach labels to them, 
"boho" or whatever.  The stores and fashion magazines also use the 
labels.  Even the Goths use marketing labels for their RTW. Clothing 
sellers see advantages in trying to get people to assume personal 
identities to match their labels, as in "I'm boho, that's boho, so I'll 
buy it."  But individuals are, IMO, much better off looking at lines and 
construction and colors and what is convenient for them, and picking it 
out regardless of labels, and regardless of where it is sold.

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

>Romans and Old
>Pueblo seemed very funny to me.  "Who would make fashion choices from those
>sources!"  The day I started to look at the catalogues and realize that my
>eye was pausing from time to time came as a revelation that somehow I had
>become to look more like the models. Not necessarily by size.  "Ahah, I must
>be getting old."
>  
>
>  
>
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Subject: [h-cost] Embroidered Coif from V&A/ stitch question
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Greetings~
 
I am looking to make my daughter a coif embroidered like ones worn in the  
15th and 16th century in England.  I am planning to  incorporate blackwork 
surface embroidery as well as gold  embellishment.  I have run across a particular 
embroidery stitch  repeatedly, and cannot figure out exactly which stitch it 
is.  I have seen  it in many period pieces, and would like to use it in her 
coif.  You can  see it in this close-up at 
 
_http://costume.dm.net/va/coifs/blackgoldcloseup2.jpg_ 
(http://costume.dm.net/va/coifs/blackgoldcloseup2.jpg) 
 
I am specifically referring to the gold embroidery.  It looks like it  could 
be a braided chain stitch or the double back stitch, or something....but I  
would like to try to find out from someone who has more knowledge about  
embroidery from that period exactly what it is.  I tried, once, doing a  heavy chain 
stitch with metallic thread on satin, and it was abysmal  failure.  The 
metallic thread just kept making a mess.  It could be  that it was the satin, and 
that I needed a looser weave of fabric, such as the  linen I will be using, but 
I would also like recommendations for the best  metallic thread to use to get 
a look as close to accurate as possible.  
 
I also understand that there is a particular silk thread to use for  
blackwork that gives a very nice, clean finish.  I am very limited locally,  and will 
have to do mail order for all of my supplies for this project.   Any 
suggestions for sources would be greatly appreciated.
 
Thanks!
 
Kimberley 
 
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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] Embroidered Coif from V&A/ stitch question
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At 20:31 24/09/2005, you wrote:
>Greetings~
>
>I am looking to make my daughter a coif embroidered like ones worn in the
>15th and 16th century in England.  I am planning to  incorporate blackwork
>surface embroidery as well as gold  embellishment.  I have run 
>across a particular
>embroidery stitch  repeatedly, and cannot figure out exactly which stitch it
>is.  I have seen  it in many period pieces, and would like to use it in her
>coif.  You can  see it in this close-up at
>
>_http://costume.dm.net/va/coifs/blackgoldcloseup2.jpg_

Just for fun - I am getting an error message on this one. "These 
Weapons of Mass Destruction Cannot Be Displayed at this Time"!!!

>(http://costume.dm.net/va/coifs/blackgoldcloseup2.jpg)
>
>I am specifically referring to the gold embroidery.  It looks like it  could
>be a braided chain stitch or the double back stitch, or something....but I
>would like to try to find out from someone who has more knowledge about
>embroidery from that period exactly what it is.  I tried, once, 
>doing a  heavy chain
>stitch with metallic thread on satin, and it was abysmal  failure.  The
>metallic thread just kept making a mess.  It could be  that it was 
>the satin, and
>that I needed a looser weave of fabric, such as the  linen I will be 
>using, but
>I would also like recommendations for the best  metallic thread to use to get
>a look as close to accurate as possible.

I am going to a series of lectures on gold and silver thread and 
metallic embroidery but not for a month. Do you want copies of any 
notes that I think are relevant?

>
>I also understand that there is a particular silk thread to use for
>blackwork that gives a very nice, clean finish.  I am very limited 
>locally,  and will
>have to do mail order for all of my supplies for this project.   Any
>suggestions for sources would be greatly appreciated.

Can't help with this I'm afraid.

Suzi


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Subject: Re: [h-cost] Embroidered Coif from V&A/ stitch question
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In a message dated 9/24/2005 12:58:10 P.M. Pacific Daylight Time,  
suzi@suziclarke.co.uk writes:

Just for  fun - I am getting an error message on this one. "These 
Weapons of Mass  Destruction Cannot Be Displayed at this Time"!!!



Actually, for whatever reason the links don't work when I send them from  AOL 
to the list.  I have had this problem before and do not know how to get  
around it.  You have to copy and paste the actual link, without any of the  
extraneous characters before or after.  The correct url for the close  up is:
 
_http://costume.dm.net/va/coifs/blackgoldcloseup2.jpg_ 
(http://costume.dm.net/va/coifs/blackgoldcloseup2.jpg) 
 
And yes, I would love copies of any sort that you get from your  lectures.  I 
am always looking to increase my personal knowledge of  techniques, even if I 
am not able to use them all in my lifetime!
 
:)
~Kimberley
 
btw, the aforementioned five year old daughter saw me looking at the  
embroidered insects in the QEWU, and she has insisted on having dragonflies,  
butterflies and ladybugs on her coif.  Oh, and if I can squeeze in a  cricket or two 
that would be spif too.  
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From h-costume-bounces@indra.com  Sat Sep 24 16:09:26 2005
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Date: Sat, 24 Sep 2005 13:07:37 -0700 (PDT)
From: Alex Doyle <garbaholic@sbcglobal.net>
Subject: Re: [h-cost] Embroidered Coif from V&A/ stitch question
To: Historical Costume <h-costume@indra.com>
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The stitch is plaited braid stitch.  It takes a bit to learn but looks
really great one you get the hang of it.  

One of the things that you need to remember with gold cording/thread is
to use short lengths.  It really is a pain as it twists and such while
working with it and short lengths minimizes the twisting on any one
section so it is less of a problem.

alex

--- Chindora@aol.com wrote:

> Greetings~
>  
> I am looking to make my daughter a coif embroidered like ones worn in
> the  
> 15th and 16th century in England.  I am planning to  incorporate
> blackwork 
> surface embroidery as well as gold  embellishment.  I have run across
> a particular 
> embroidery stitch  repeatedly, and cannot figure out exactly which
> stitch it 
> is.  I have seen  it in many period pieces, and would like to use it
> in her 
> coif.  You can  see it in this close-up at 
>  
> _http://costume.dm.net/va/coifs/blackgoldcloseup2.jpg_ 
> (http://costume.dm.net/va/coifs/blackgoldcloseup2.jpg) 
>  
> I am specifically referring to the gold embroidery.  It looks like it
>  could 
> be a braided chain stitch or the double back stitch, or
> something....but I  
> would like to try to find out from someone who has more knowledge
> about  
> embroidery from that period exactly what it is.  I tried, once, doing
> a  heavy chain 
> stitch with metallic thread on satin, and it was abysmal  failure. 
> The 
> metallic thread just kept making a mess.  It could be  that it was
> the satin, and 
> that I needed a looser weave of fabric, such as the  linen I will be
> using, but 
> I would also like recommendations for the best  metallic thread to
> use to get 
> a look as close to accurate as possible.  
>  
> I also understand that there is a particular silk thread to use for  
> blackwork that gives a very nice, clean finish.  I am very limited
> locally,  and will 
> have to do mail order for all of my supplies for this project.   Any 
> suggestions for sources would be greatly appreciated.
>  
> Thanks!
>  
> Kimberley 
>  
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 
> 

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From: Catherine Olanich Raymond <cathy@thyrsus.com>
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Subject: Re: [h-cost] Re: benetton
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On Saturday 24 September 2005 11:59 am, Gail & Scott Finke wrote:
> Cathy Raymond wrote:
[snip]
> > I have *not* been impressed with the quality of the merchandise I've seen
> > in their Philadelphia store.  Reasonably good construction, but most of
> > the garments--even the sweaters--seem very thin. I bought several
> > Benetton sweaters last winter on sale.  Although they are attractive and
> > comfortable, if I wore them as often as I wear some of my work sweaters,
> > they'd barely last one season before wearing through at the elbows.
>
> Well then, I guess they adapted to the American market!
 
Apparently.  Though I personally prefer to buy quality clothing and keep it 
for longer as you say is common in Europe.  Sigh.

-- 
Cathy Raymond <cathy@thyrsus.com>

"As a general rule, if end users want to smash something repeatedly
with a sledgehammer, that's a sign of bad UI."--Bram Cohen
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Subject: [h-cost] anyone in Maryland?
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Any Maryland area folks feel like taking on a wedding party of 16 with a 
  medieval/ renaissance theme? The date is next May and the bride has a 
budget of ~$125 per outfit.

Please email me and I will pass on your contact info.


Dawn


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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Re: Re: the 20th century
Date: Sat, 24 Sep 2005 16:25:35 -0400
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On Saturday 24 September 2005 1:21 am, albertcat@aol.com wrote:
>   Huh? Following fashion is often something people my daughter's age do.
> So I can only assume that you're older than 21... ;)
>
>   I'm not primarily into modern fashion either, but I do believe in
> being dressed;

Agreed.

I wouldn't go so far as saying fashion is only for the young; some fashion 
trends require amounts of money that a 20-something usually won't have.  I 
have always thought of  "Fashion" with a capital F of being the prerogative 
of 30-40 somethings with money.  After about 45 or so, only the diehards who 
are really interested in fashion follow it more than casually.


-- 
Cathy Raymond <cathy@thyrsus.com>

"As a general rule, if end users want to smash something repeatedly
with a sledgehammer, that's a sign of bad UI."--Bram Cohen
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From: "Susan B. Farmer" <sfarmer@goldsword.com>
To: h-costume@mail.indra.com
Subject: Re: [h-cost] Embroidered Coif from V&A/ stitch question
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Quoting Chindora@aol.com:

> Greetings~
>
> I am looking to make my daughter a coif embroidered like ones worn in the
> 15th and 16th century in England.  I am planning to  incorporate blackwork
> surface embroidery as well as gold  embellishment.  I have run across 
> a particular
> embroidery stitch  repeatedly, and cannot figure out exactly which stitch it
> is.  I have seen  it in many period pieces, and would like to use it in her
> coif.  You can  see it in this close-up at
>
> _http://costume.dm.net/va/coifs/blackgoldcloseup2.jpg_
> (http://costume.dm.net/va/coifs/blackgoldcloseup2.jpg)
>
> I am specifically referring to the gold embroidery.  It looks like it  could
> be a braided chain stitch or the double back stitch, or something....but I
> would like to try to find out from someone who has more knowledge about
> embroidery from that period exactly what it is.  I

I believe it's called the plaited braid stitch.  I found a couple of
books that purport to show you how to do it -- there's an SCA book list
that in the comments about one of the embroidery books says "this book
has the best description of the plaited braid stitch in my whole
collection -- unfortunately, I don't remember which list -- or which
book!  *sigh*  I'll check when I get home.  The web sites that I found
are

http://www.annatextiles.ch/vo_sti/voca4/voc4.htm
http://www.craftown.com/instruction/silk.htm

You might also drop in on the h-needlework list

H-needlework mailing list
H-needlework@ansteorra.org
http://www.ansteorra.org/mailman/listinfo/h-needlework

There are lots of other SCA-related needlework lists -- you can email me
off list for the particulars if you'd like.

Jerusha
-----
Susan Farmer
sfarmer@goldsword.com
University of Tennessee
Department of Ecology and Evolutionary Biology
http://www.goldsword.com/sfarmer/Trillium/


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From h-costume-bounces@indra.com  Sat Sep 24 17:34:24 2005
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Date: Sat, 24 Sep 2005 22:31:18 +0100
To: Historical Costume <h-costume@indra.com>
From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] Current day fashion magazines
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None!  If I'm travelling by train or plane I get Marie-Claire or Red, 
and I get really fed up of reading the good articles at the front, and 
then having to pay for, and lug around, all the 
fashion/make-up/food/interiors/travel which doesn't interest me at all. 
Wish you could just buy it in sections.

Jean



In message <004201c5c0ac$129045c0$6400a8c0@Penny>, Penny Ladnier 
<penny@costumegallery.com> writes
>What current day fashion magazines do you all read?
>
>Penny E. Ladnier
>Owner,
>The Costume Gallery, www.costumegallery.com
>Costume Classroom, www.costumeclassroom.com
>Costume Research Library, www.costumelibrary.com
>_______________________________________________
>h-costume mailing list
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-- 
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From: Kathryn Parke <kjp1685@yahoo.com>
Subject: Re: [h-cost] Embroidered Coif from V&A/ stitch question
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The problem is that there's an extra underscore at the end of the address.  Cut and paste it (instead of clicking on it), and then remove the last _ before hitting enter, and it comes up.  KP


Suzi Clarke <suzi@suziclarke.co.uk> wrote:
At 20:31 24/09/2005, you wrote:
>Greetings~
>
>I am looking to make my daughter a coif embroidered like ones worn in the
>15th and 16th century in England. I am planning to incorporate blackwork
>surface embroidery as well as gold embellishment. I have run 
>across a particular
>embroidery stitch repeatedly, and cannot figure out exactly which stitch it
>is. I have seen it in many period pieces, and would like to use it in her
>coif. You can see it in this close-up at
>
>_http://costume.dm.net/va/coifs/blackgoldcloseup2.jpg_

Just for fun - I am getting an error message on this one. "These 
Weapons of Mass Destruction Cannot Be Displayed at this Time"!!!

>(http://costume.dm.net/va/coifs/blackgoldcloseup2.jpg)
>
>I am specifically referring to the gold embroidery. It looks like it could
>be a braided chain stitch or the double back stitch, or something....but I
>would like to try to find out from someone who has more knowledge about
>embroidery from that period exactly what it is. I tried, once, 
>doing a heavy chain
>stitch with metallic thread on satin, and it was abysmal failure. The
>metallic thread just kept making a mess. It could be that it was 
>the satin, and
>that I needed a looser weave of fabric, such as the linen I will be 
>using, but
>I would also like recommendations for the best metallic thread to use to get
>a look as close to accurate as possible.

I am going to a series of lectures on gold and silver thread and 
metallic embroidery but not for a month. Do you want copies of any 
notes that I think are relevant?

>
>I also understand that there is a particular silk thread to use for
>blackwork that gives a very nice, clean finish. I am very limited 
>locally, and will
>have to do mail order for all of my supplies for this project. Any
>suggestions for sources would be greatly appreciated.

Can't help with this I'm afraid.

Suzi


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At 12:27 PM 9/23/2005, you wrote:
>In fact did you know there were Bristish WWII and Colonial period 
>reenactors there in central California.  They are based out of Fresno.  I 
>used to work at the LHS faires.  Those were some of the largest renn 
>faires in the country.  The parties I mentioned earlier were made up 
>mostly of old Renn Faire people.  Kevin Brown, David Springhorn, Bill 
>Rockford, Tim Kinkas, etc..
>
>Ron CArnegie


I knew of the British WWI & WWII people through a friend who does 
activities with them. He says they usually meet for war game re-enactment 
in the deserts east of LA, like 29 Palms area or something on private 
property, iirc (we talked about that a couple of years ago, so my memory 
isn't clear). I was not aware of Colonial period re-enactors here, or any 
other re-enactors, other than the big Civil War (big for us) groups that 
apparently come in from everywhere across the western states for our Kearny 
Park event (which is in a couple of weeks.) I was a member of the 
Costumer's Guild in LA and got their listing of events, and now am a member 
of GBACG so I know of the Bay Area events. But sadly, there seems to be a 
dearth of historical re-enactment events in the Central Valley, at least 
that I am aware of. It seems we have many cultural events here, which is a 
different thing altogether.

If there are other re-enactment groups that are based in Fresno or nearby, 
I would love to know about them. I am with a small group of mostly women, 
and a few men, who are itching to create costumes for time frames outside 
of the Renaissance period, and have someplace suitable to wear them to. And 
preferably something not war-based, although I know many are war-based. So 
far, Civil War or museum events (Kearny and Meux homes) doing a "Victorian" 
Christmas are about it that we know of.

Kimiko


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From: Marie Stewart <maricelt@gmail.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Embroidered Coif from V&A/ stitch question
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Hey there... that is a form of chain stitch.  give me a sec... I'll go
look for a reference...
<rummage><drop><mumble>...

OK... Therese de Dilmont calls it Basket stitch.  Which is just a
modified chain.  p. 135 in the 2002 reprint.   In my original volume 
p. 139.

Mildred Davis -- calls it simply heavy chain.

And the V&A... in their descriptions of items that use the stitch
calls it just plain chain stitch in metallic threads.

I find de Dilmont to be the best description for boullion work.

Have fun.
Mari / Bridgette

On 9/24/05, Chindora@aol.com <Chindora@aol.com> wrote:
> Greetings~
>
> I am looking to make my daughter a coif embroidered like ones worn in the
> 15th and 16th century in England.  I am planning to  incorporate blackwork
> surface embroidery as well as gold  embellishment.  I have run across a particular
> embroidery stitch  repeatedly, and cannot figure out exactly which stitch it
> is.  I have seen  it in many period pieces, and would like to use it in her
> coif.  You can  see it in this close-up at
>
> _http://costume.dm.net/va/coifs/blackgoldcloseup2.jpg_
> (http://costume.dm.net/va/coifs/blackgoldcloseup2.jpg)
>
> I am specifically referring to the gold embroidery.  It looks like it  could
> be a braided chain stitch or the double back stitch, or something....but I
> would like to try to find out from someone who has more knowledge about
> embroidery from that period exactly what it is.  I tried, once, doing a  heavy chain
> stitch with metallic thread on satin, and it was abysmal  failure.  The
> metallic thread just kept making a mess.  It could be  that it was the satin, and
> that I needed a looser weave of fabric, such as the  linen I will be using, but
> I would also like recommendations for the best  metallic thread to use to get
> a look as close to accurate as possible.
>
> I also understand that there is a particular silk thread to use for
> blackwork that gives a very nice, clean finish.  I am very limited locally,  and will
> have to do mail order for all of my supplies for this project.   Any
> suggestions for sources would be greatly appreciated.
>
> Thanks!
>
> Kimberley
>
> _______________________________________________
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Subject: [h-cost] Current day fashion magazines
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>What current day fashion magazines do you all read?
Answers only make sense if you samples all the magazines read.  IMHO
to really make sense of this question, a pollster should address the
whole person, their lifestyle, workstyle, friends & acquantances, and
fiscal situation. Cheryldee's excellent point... "it's all about who
you want to fit in with" is clearly spot-on.  I would modify it
ever-so-slightly to "it's all about who you can & want to fit in
with". I may _want_ to fit in with the billionaire yacht owners in
Nice, but cannot at this time.

Now, to answer your question: I only read "Wired" (fashion) & the
Economist (not-fashion).
Yeah, some of you are going to deny this is "fashion", but go look at
the "Play" and "Fetish" sections.  Geek-chic.  It's all about the
accessories.  Here in Silly-con Valley, particularly among the tech
&/or MBA set, this *is* fashion. Being the first to get that
Blackberry, Zire, wireless access, a memory key, Mot flip-phone, or
the Vaio is fashionable. We just call it "cool" here.
Early this year it was the ear-wrap cellphone headset, now it's the
eyeglass mounted hands-free cellph. Oakley has one.  If only I wore
glasses.  My current "must-have" is a WAP-sniffer that discriminates
between locked/unlocked sites, gives IP address and details signal
strength.  Oh, and I want it purse-sized.

--cin
Cynthia Barnes
CinBarnes@gmail.com

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Subject: [h-cost] pockets  (Fwd: Artssciences Digest, Vol 28, Issue 12)
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Please send your responses directly to Gia who requested this  information.  
Thank you.
Nancy 
 

From:  "Jennifer Potts" <jenpotts@telus.net>
Subject: [SCA-AS] Pockets in  period
To:  <artssciences@lists.gallowglass.org>
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<20050918174321.HGDM6852.priv-edtnes57.telusplanet.net@jencodivvz309u>
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I have been seeing  "pockets" for women on a lot of the recreationist sites.
Does anyone know  of any documentation for the use of these in Venice during
the 16th  century?

Gia


 

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>If there are other re-enactment groups that are based in Fresno or nearby,
>I would love to know about them. I am with a small group of mostly women,
>and a few men, who are itching to create costumes for time frames outside
>of the Renaissance period, and have someplace suitable to wear them to. And
>preferably something not war-based, although I know many are war-based. So
>far, Civil War or museum events (Kearny and Meux homes) doing
>a "Victorian" Christmas are about it that we know of.

LAHA www.lahacal.org leaps to mind, tho it's not exactly "close"
except that we're both from Calif where "close" has a different scale,
nay, a different order of magnitude, than it does in other parts of
the world.  San Diego Historical district, too, tho' it's less
"close".  Many of the adobes & state historical parks around the
missions have volunteer associations, too. Some are Victorian, some
are Californio & some are Spanish period.
--cin
Cynthia Barnes
CinBarnes@gmail.com

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Subject: Re: [h-cost] Re: jeans
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At 01:34 PM 9/23/2005, you wrote:
>Julie wrote:
>
>Remember bell bottoms?
>
>A co-worker of mine swears that they are back, but I can't find any. I was
>at the Chicago Gap store last week, and they certainly didn't have any
>there. Darn. I love bellbottoms!
>
>Gail Finke


Our locally based department store Gottschalks actually carries them, 
according to the latest advertisement I just was looking at last night, 
trying to see what era of garments are currently in fashion among the 
younger set. The young lady model was wearing very full bell bottoms in 
fall colors. Unfortunately, they don't sell online it seems.

Kimiko


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From: "otsisto" <otsisto@socket.net>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Embroidered Coif from V&A/ stitch question
Date: Sat, 24 Sep 2005 20:12:54 -0500
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I do not think it is a basket stitch but I could be wrong.
http://www.fashion-era.com/smocking_page_2.htm

The gold embroidery looks to be chainstitch (there is a name for it when
stitched that close) or two rows of stemstitch. Also a possibility (can't
find my embroidery book) Have a back stitch of silk, then thread like a
stemstitch through the silk with the gold.
Could be a wheat stitch.

Been a while since I embroidered.
If I have time I will dig out my books if no one else is able to help.

De


-----Original Message-----
> I am looking to make my daughter a coif embroidered like ones worn in the
> 15th and 16th century in England.  I am planning to  incorporate blackwork
> surface embroidery as well as gold  embellishment.  I have run across a
particular
> embroidery stitch  repeatedly, and cannot figure out exactly which stitch
it
> is.  I have seen  it in many period pieces, and would like to use it in
her
> coif.  You can  see it in this close-up at
>
> _http://costume.dm.net/va/coifs/blackgoldcloseup2.jpg_
> (http://costume.dm.net/va/coifs/blackgoldcloseup2.jpg)
>
> Thanks!
>
> Kimberley
>


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Subject: Re: [h-cost] History in Fresno et environs
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At 05:54 PM 9/24/2005, you wrote:
>LAHA www.lahacal.org leaps to mind, tho it's not exactly "close"
>except that we're both from Calif where "close" has a different scale,
>nay, a different order of magnitude, than it does in other parts of
>the world.  San Diego Historical district, too, tho' it's less
>"close".  Many of the adobes & state historical parks around the
>missions have volunteer associations, too. Some are Victorian, some
>are Californio & some are Spanish period.
>--cin
>Cynthia Barnes
>CinBarnes@gmail.com


Ah, thanks, but that's again at least 4+ hours from here. One great thing 
about Fresno is that we are about 4-6 hours from great places, but that's 
also a big drawback. At one time I would easily travel to N & S California 
for various events, but with small kids, that isn't a great option for us 
anymore (I would be too stressed out by the time I got anywhere). I hope to 
travel more in a few years when they are older and more inclined to be 
involved.

I used to even live in San Diego when I was a student, but that's 6+ hours 
(depending on traffic). I loved Old Town area. And missions are all on the 
coast (2+ hours to the closest).

Thanks for the suggestions. I will pass these on to my friends who don't 
have little ones anymore.

Kimiko


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Subject: Re: [h-cost] readymade hoops, are they worth it?
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----- Original Message ----- 
From: "WickedFrau" <wickedfrau@msn.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Sunday, September 25, 2005 1:22 AM
Subject: Re: [h-cost] readymade hoops, are they worth it?


> Hi Elizabeth.  What kind of shape are you trying to achieve?  What period?
> Sg
>
I was originally planning a reproduction of the 1856-60 wedding dress in
Patterns of Fashion 1 (the last dress apart from the revised 18th century
mantle) but as the only place I can wear a post 1600 outfit is a ball I will
probably make a ballgown first and then I'll see if I have enough fabric
left to make a day bodice (to go with the same skirt).
I bought the elliptical hoop pattern because it's smaller than the round
hoop pattern, 9764 (which is still available) and although round hoops were
more common in the 50s the oval skirt does show up periodically (in fact I
think the original wedding dress in PoF1 may have been worn over an oval
hoop as the back of the skirt is longer than the front).
Elizabeth
--------------------------------------------
Elizabeth Walpole
Canberra Australia
ewalpole[at]tpg.com.au
http://au.geocities.com/e_walpole/

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Subject: [h-cost] plastic hoopskirt boning has anybody experimented?
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OK, as I've been informed (offlist) that most of the readymade hoopskirts
have flimsy boning I was wondering if anybody else had used this "triple
flex" plastic boning
http://www.venacavadesign.co.uk/Pages/DraftRigilene.htm#Triple. As I plan to
buy the materials for a corset from this company anyway I thought I may as
well buy hoop boning there too. Their description sounds good but they've
got a vested interest in promoting this product over the (steel)
alternative. I was hoping that somebody else has experimented with this and
could give me an independent review.
They are willing to send a sample to experiment with, but the postage (to
Australia) would be prohibitively expensive.
thanks
Elizabeth
--------------------------------------------
Elizabeth Walpole
Canberra Australia
ewalpole[at]tpg.com.au
http://au.geocities.com/e_walpole/

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Joan Jurancich [joanmj@surewest.net] saw this on Scotsman.com and thought you should see it too:
				
Message: If anyone can get to the Scottish National Portrait Gallery to see this exhibit, please let us know about it.
Thanks.

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

Miniatures are big deal for gallery

TINY priceless portraits from mystery collection go on show in city, with two rare gems that stunned experts.

http://heritage.scotsman.com/traditions.cfm?id=1982942005

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

[64.30.124.106]

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Subject: Re: [h-cost] plastic hoopskirt boning has anybody experimented?
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Status: RO

Elizabeth - I have some steel boning I can sell you if you want some - 
reasonable price too.
Cheers, Aylwen


Elizabeth Walpole wrote:

>OK, as I've been informed (offlist) that most of the readymade hoopskirts
>have flimsy boning I was wondering if anybody else had used this "triple
>flex" plastic boning
>http://www.venacavadesign.co.uk/Pages/DraftRigilene.htm#Triple. As I plan to
>buy the materials for a corset from this company anyway I thought I may as
>well buy hoop boning there too. Their description sounds good but they've
>got a vested interest in promoting this product over the (steel)
>alternative. I was hoping that somebody else has experimented with this and
>could give me an independent review.
>They are willing to send a sample to experiment with, but the postage (to
>Australia) would be prohibitively expensive.
>thanks
>Elizabeth
>--------------------------------------------
>Elizabeth Walpole
>Canberra Australia
>ewalpole[at]tpg.com.au
>http://au.geocities.com/e_walpole/
>
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
>http://mail.indra.com/mailman/listinfo/h-costume
>
>  
>
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From h-costume-bounces@indra.com  Sun Sep 25 00:56:08 2005
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Subject: RE: [h-cost] plastic hoopskirt boning has anybody experimented?
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I haven't experimented with their boning, but I found a plastic that I do
like and it holds up well to abuse and weight.

I use a 1/4 inch diameter clear, flexible plumbers tubing in my hoopskirt,
I have to put a petty coat between the hoop and my underskirt (Elizabethan)
to keep hoop ridges from showing, but it takes the weight of the beaded
brocade underskirt and the brocade overskirt without twisting out of round.
With the Western Washington state Humidity and rains we get it also holds up
a lot better than regular hoop wire did with the same gown.  I have photos
where the gown looks like a sad pannier attempt because the front and back
collapsed into oval shape with the old wire.

I got the tubing tip from Mistress Laurelinn, an SCA Laurel from An Tir.

It is also a lot cheaper and easier to get.  I buy mine at a local hardware
store.

Molly

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of Elizabeth Walpole
Sent: Saturday, September 24, 2005 7:33 PM
To: historic costume
Subject: [h-cost] plastic hoopskirt boning has anybody experimented?


OK, as I've been informed (offlist) that most of the readymade hoopskirts
have flimsy boning I was wondering if anybody else had used this "triple
flex" plastic boning
http://www.venacavadesign.co.uk/Pages/DraftRigilene.htm#Triple. As I plan to
buy the materials for a corset from this company anyway I thought I may as
well buy hoop boning there too. Their description sounds good but they've
got a vested interest in promoting this product over the (steel)
alternative. I was hoping that somebody else has experimented with this and
could give me an independent review.
They are willing to send a sample to experiment with, but the postage (to
Australia) would be prohibitively expensive.
thanks
Elizabeth
--------------------------------------------
Elizabeth Walpole
Canberra Australia
ewalpole[at]tpg.com.au
http://au.geocities.com/e_walpole/

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Subject: Re: [h-cost] Current day fashion magazines
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I like InStyle, which may not qualify as a fashion magazine, but I think it's 
got great fashion sense.

Kathleen Norvell
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From: Marie Stewart <maricelt@gmail.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Embroidered Coif from V&A/ stitch question
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Hi folks... remember... stitch names vary - sometimes wildly from era
to era, and author to author... Others remain stable.  That is why I
gave the name of the author as well as the name of the stitch as it is
described in their book.

OK... so the smocking site "uses" the term basket stitch a different
way... fine... not the one I was referring to... ; >

And in addition some groups have "traditional" names or use
intentionally older names for stitches,  and that can add to the
confusion.  For example, in my area of the SCA this stitch is called
"plaited" chain  or "plaited braid" stitch.  The second one always
makes me ask for clarification, because "plaited braid" as I learned
it from my grandmother was an open stitch used for filling in various
embroidered laces.

Mari / Bridgette

On 9/24/05, otsisto <otsisto@socket.net> wrote:
> I do not think it is a basket stitch but I could be wrong.
> http://www.fashion-era.com/smocking_page_2.htm

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Subject: Re: [h-cost] Re: the 20th century
Date: Sun, 25 Sep 2005 08:37:11 -0400
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I have a wonderful pair put up as MJs in paisley.  They have tiny heels.  I
admit that it takes a bit of getting used to in the wearing and walking.
The long toe is apt to trip one up if one doesn't watch it! We are so used
to scuffing and clumping around in tennies and clogs that we forget the mind
set needed to walk gracefully in proper dress shoes.
I remember in the mid '50s when I got my first pair of pointy stilletos how
different it was to walk in my usual rushing manner in them.

Kathleen

----- Original Message ----- 
From: "Audrey Bergeron-Morin" <audreybmorin2@hotmail.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, September 23, 2005 11:58 PM
Subject: Re: [h-cost] Re: the 20th century


>
>
> ----- Original Message ----- 
> From: "Suzi Clarke" <suzi@suziclarke.co.uk>
> To: "Historical Costume" <h-costume@indra.com>
> Sent: Friday, September 23, 2005 11:05 AM
> Subject: Re: [h-cost] Re: the 20th century
>
>
> > At 15:40 23/09/2005, you wrote:
> >>>From: Cynthia J Ley <cley@juno.com>
> >>> > winkle pickers.
> >>>???
> >>
> >>A particular long toed style of mens shoe popular in the 50s.
> >>
> >>Marc
> >
> >
> > And women's. They are currently to be seen in shoe shops in Europe as a
> > "new" fashion.
> >
> > Suzi
> >
>
> They've been there for a while. Actually, I started seeing them about 3
> years ago here in Montreal. Always thought they looked ugly - make the
feet
> look so weird, and the poor girl always looks like she's going to trip on
> the tips and fall flat on her face. There seems to be a little less of
them
> around this season (thank God!).
> _______________________________________________
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	<43345D37.9010007@lavoltapress.com><4334A2D5.10707@floodcity.net>
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Subject: Re: [h-cost] the 20th century-influences
Date: Sun, 25 Sep 2005 08:40:26 -0400
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Thank you for this list Fran.  I will add it to mine.

Kathleen
----- Original Message ----- 
From: "Lavolta Press" <fran@lavoltapress.com>
To: "Kitty Felton" <basyefelton@floodcity.net>; <h-costume@indra.com>
Sent: Friday, September 23, 2005 10:31 PM
Subject: Re: [h-cost] the 20th century-influences


> I don't know what you think is interesting . . .
> 
> A couple good eBay sellers of "gypsy" skirts are aonneo (the Thai 
> seller; very cheap and great service) and funtique-23 (in California).  
> Tons of other people sell them there though.  China-usa (actually also 
> in California) sells lovely Victorianish hand-crocheted things, very 
> high quality, at good prices.  Don't overbid, they are a manufacturer 
> and have more of almost everything in stock.  For embroidered kebayas, 
> you can search "kebaya" on eBay and sometimes find a couple, but I got 
> mine from www.kebayas.com, who is not on ebay and says she has no plans 
> to sell there. She will custom size her ready-to-wear to some extent 
> (they're not quite RTW, I think she may pre-embroider them but she sews 
> them after you order), and she will send fabric swatches. Which you will 
> need because her web pictures have little to do with her fabric colors. 
>   http://www.charitysalesonline.org is a company in Nepal that sells 
> hand-loomed (knitting machine, I think) cashmere ponchos.  They knit 
> them in white and will dye them any color you want. You can get several 
> at a lower price and get one color of each. Meaning you can go in with 
> some friends, or have a bunch of ponchos if you want.  They will send 
> you color swatches too, but they charge for them.  Peruvian alpaca ones 
> are cheaper and there are lots on eBay, you can just do a search. You 
> can buy embroidered Indian kurtas and other Indian clothes all over the 
> place, including lots on eBay, but the quality varies from great to 
> awful.  http://www.shalincraft.com, who sells on Amazon apparel but not 
> eBay as far as I know, has good quality in my experience. A good online 
> seller of "wearable art" is www.artfulwears.com.  Some of their stuff is 
> RTW but a lot of it appears to be handmade, limited-edition items. 
> 
> For vintage and antique clothes on eBay, your best bet is to get into 
> (for example) clothing/vintage/women/1920s, or whatever subcategory 
> interests you, and browse.  Unless you're looking for something really 
> specific. Then you can get into the category and search on (for example) 
> "black velvet jacket."
> 
> Hope this helps.
> 
> Fran
> Lavolta Press
> http://www.lavoltapress.com
> 
> >
> >
> > Hi fran, could you tell me what you search for on ebay to find 
> > interesting stuff?   thanks,  Kitty
> >
> >
> _______________________________________________
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From: Alex Doyle <garbaholic@sbcglobal.net>
Subject: Re: [h-cost] Embroidered Coif from V&A/ stitch question
To: Historical Costume <h-costume@indra.com>
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I called it plaited braid based upon Jane Zimmerman's book Elizabethan
Embroidery, nice close ups of exantant embroideries as well as clear
instructions on how to do the stitch.

alex

--- Marie Stewart <maricelt@gmail.com> wrote:

> Hi folks... remember... stitch names vary - sometimes wildly from era
> to era, and author to author... Others remain stable.  That is why I
> gave the name of the author as well as the name of the stitch as it
> is described in their book.
> 
> OK... so the smocking site "uses" the term basket stitch a different
> way... fine... not the one I was referring to... ; >
> 
> And in addition some groups have "traditional" names or use
> intentionally older names for stitches,  and that can add to the
> confusion.  For example, in my area of the SCA this stitch is called
> "plaited" chain  or "plaited braid" stitch.  The second one always
> makes me ask for clarification, because "plaited braid" as I learned
> it from my grandmother was an open stitch used for filling in various
> embroidered laces.
> 
> Mari / Bridgette
> 
> On 9/24/05, otsisto <otsisto@socket.net> wrote:
> > I do not think it is a basket stitch but I could be wrong.
> > http://www.fashion-era.com/smocking_page_2.htm
> 
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> 

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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Current day fashion magazines
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I like InStyle more than any fashion magazine. It's more sensible than 
most of them.  I'm letting my _Vogue_ subscription lapse in favor of it.

Not exactly fashion magazines, but I used to read _Sew News_ and 
_Threads_ regularly, in fact both since about the time they started 
publishing.  However, I let my subscription to _Sew News_ lapse several 
years ago, and I just did the same for _Threads_.  They both became 
utter beginner magazines. I assume because that's a bigger market and is 
therefore more profitable for them, but whole magazines full of articles 
on things like basic info on how to select needes, do nothing for me.

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


Appin1@aol.com wrote:

>I like InStyle, which may not qualify as a fashion magazine, but I think it's 
>got great fashion sense.
>
>Kathleen Norvell
>
>  
>
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From: Ann Catelli <elvestoorder@yahoo.com>
Subject: Gor for it Re: [h-cost] Re: US Reenacting 
To: Historical Costume <h-costume@indra.com>
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You say you've got a group--pick a period & go for it.

Have a party or a day in someone's house, backyard, or
local park.  Heck, hold a quilting bee, if that's
appropriate for the period you pick.

The best way to have something done is to do it.

Ann in CT

--- Kimiko Small <kimiko@kimiko1.com> wrote:

> re-enactment [near] Fresno 
> I am with a small group of mostly women, 
> and a few men, who are itching to create costumes
> for time frames outside 
> of the Renaissance period, and have someplace
> suitable to wear them to. 
> 
> Kimiko



		
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>From: Suzi Clarke <suzi@suziclarke.co.uk>
>Sorry Marc, they may have originally been a man's style, but I was
>wearing them in the '50's, and they were called winkle pickers then.
>I am old enough to have been wearing so called fashion in the 50's. I
>didn't wear them for long, or often, as they hurt my feet!!
>(Incidentally, at about that age, I was given a pair of my Grandma's
>shoes, possibly from the  First World War, which had long points -
>and I couldn't wear them either...

Why sorry?  It's nothing but a different interpretation of the evidence :)  
Nothing to be sorry about.

And just because a fashion item that was initially used by one gender winds 
up being used for the other (or even the *name* for a fashion item , etc) 
that later use has no bearing on it's origins.

I will say that fashion items do seem to flow more from being used by men to 
being used by both genders, than they do the other way.  I would tend to 
speculate that traditionally men are more reluctant to risk looking feminine 
than women are to risk looking masculine.  There are of course notable 
exceptions to this, but even those seem less likely to make it into 
widespread culture.

As winklepickers in the 50s were, on men, a part of a certain macho image, 
so it just seems unlikely to me that it was something they got from women's 
fashion and adapted.

Actually, I'm thinking the Americans and British picked it up from the 
Italians, but my memory may be playing tricks on me here.

Marc


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Penny Ladnier wrote:
> What current day fashion magazines do you all read?
>   

Absolutely none. Don't get me started.

-- 
Adele de Maisieres

-----------------------------
Habeo metrum - musicamque,
hominem meam. Expectat alium quid?
-Georgeus Gershwinus
----------------------------- 

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From: Adele de Maisieres <ladyadele@paradise.net.nz>
Subject: Re: [h-cost] Current day fashion magazines
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Lavolta Press wrote:
> Well, I am rejoicing.  I'm buying clothes like I haven't been for years.
>
> Stuff from the 1960s through the 1980s is getting mixed together and 
> marketed as "boho"--which is great with me.

You're welcome to it-- I refer to that "look" as bo-hobo.

-- 
Adele de Maisieres

-----------------------------
Habeo metrum - musicamque,
hominem meam. Expectat alium quid?
-Georgeus Gershwinus
----------------------------- 

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What do you prefer for "modern" wear?

Fran


Adele de Maisieres wrote:

> Lavolta Press wrote:
>
>> Well, I am rejoicing.  I'm buying clothes like I haven't been for years.
>>
>> Stuff from the 1960s through the 1980s is getting mixed together and 
>> marketed as "boho"--which is great with me.
>
>
> You're welcome to it-- I refer to that "look" as bo-hobo.
>
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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] Current day fashion magazines
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Fashion: Allure & Vogue.

I use Vogue as a source of inspiration for costume design, and to pick up on 
current trends, or specific designs & techniques that intrigue me and the 
houses that originate them.  I am a fiend for fashion photography as an art 
form.

Costume:  Threads I have to disagree with Fran that it is geared only for 
beginners, I am constantly finding inspiration and I doubt I'd qualify as a 
beginner.  It is true that not every issue speaks to me, but seems that 
would be true of just about any publication.  Just this last issue there 
were clear instructions on several techniques for unfinished edges, which I 
found quite useful for personal wear;  also Stage Directions & Theater Bay 
Area.

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 ----- 
To: "Historical Costume" <h-costume@indra.com>
Sent: Sunday, September 25, 2005 1:40 PM
Subject: Re: [h-cost] Current day fashion magazines


> Penny Ladnier wrote:
>> What current day fashion magazines do you all read?
>>
>


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From: Adele de Maisieres <ladyadele@paradise.net.nz>
Subject: Re: [h-cost] Current day fashion magazines
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Lavolta Press wrote:
> What do you prefer for "modern" wear?
>

Basically, I like clothes that look sleek.  I'm on the chunky side, 
slightly top-heavy and don't have much of a waist, so it's very easy for 
me to look like a pile of fabric. Also, this pretty much means that 
fashion magazines are not pitched at me and at times I struggle to find 
anything that fits, let alone anything that I want.  I like stripes and 
solids, but I'm _very_ choosy about prints. I don't like many of the 
prints I've seen in the shops lately-- they mainly seem to feature 
blurry flowers on a beige ground and similar.  Generally, I like 
smoothish-textured fabrics better than ones with a lot of texture.  
Trousers and jeans are good, (not hip-huggers-- but that nasty little 
trend is showing signs of letting up, thank heavens) and skirts as long 
as they're not too short.  I like the calf-length skirts that are 
appearing in the shops now, as long as they're not _too_ poofy.  Nothing 
with a lot of gathering, ruching, ruffles, etc.    I like semi-fitted 
tops and jackets-- nothing oversized or drapey, and nothing that looks 
too small, either.  I _hate_ artificially-aged clothing or anything with 
frayed edges-- I'd like to get at least some wear out of something 
before it starts to look shabby.  I also like things that are slightly 
whimsical.  Colours... black has been a mainstay of my wardrobe for 
ages, but I'm buying more coloured things at the moment.  I like lime 
green, red, light pink, black, tan but _loathe_ brown, purple, and blue 
in all its forms.   This spring doesn't seem too bad (I'm in New 
Zealand; it's spring here).  There's lots of boho-type stuff that I 
hate, but there's lots else to choose from.  Winter was awful-- the 
shops were full of the ugliest sweaters I've ever seen.

-- 
Adele de Maisieres

-----------------------------
Habeo metrum - musicamque,
hominem meam. Expectat alium quid?
-Georgeus Gershwinus
----------------------------- 

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Subject: Re: [h-cost] 16th Century Portraits, 18th & 19th century Clothing
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> a lovely portrait, with a lovely dress. I would say regency except the 
> attributed sitter predates that era.
> http://search.sothebys.com/jsps/live/lot/LotDetail.jsp?lot_id=4H5RT

1718-1746? No way! This makes no sense at all in the early 1700s! A century 
later, maybe. Look at her diadem, the teardrop pearls, the bracelets on her 
upper arms, the white and gold gathered underdress with red overdress 
(typical Regency colours), the short, curly hair and the high waistline! No 
way it's anything other than, oh... 1800-1810 maybe?

Very beautiful dress. And I love her jewelry.

Very interesting auctions. I've saved a couple of images. Thanks for 
sharing! 
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> I _hate_ artificially-aged clothing or anything with frayed edges-- 
> I'd like to get at least some wear out of something before it starts 
> to look shabby.

I know exactly what you mean. I like some of the "deconstructed" look in 
terms of very uneven hems, draping, layers, etc.  I hate actual raw 
edges, because the garment falls apart so much quicker.  That said, I'm 
probably giving up on the rather daunting task of going around every 
tier of those "fray skirts" (that I bought because I loved the styles, 
colors, and fabrics) and hand finishing them; or alternatively, taking 
them apart and putting them back together again.  I've beein doing some 
of that though.

> Winter was awful-- the shops were full of the ugliest sweaters I've 
> ever seen.


I've been seeing some wonderful sweaters--batwings and other draped 
styles.  A lot of them just swamp me, though I bought a nice drapey 
huge-batwing one recently.  And I like sweater-coats--but not belted.  
They look dowdy belted.

Fran
Lavolta Press
http://www.lavoltapress.com
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From: Adele de Maisieres <ladyadele@paradise.net.nz>
Subject: Re: [h-cost] Current day fashion magazines
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Lavolta Press wrote:
>
> I've been seeing some wonderful sweaters--batwings and other draped 
> styles.  A lot of them just swamp me, though I bought a nice drapey 
> huge-batwing one recently.  And I like sweater-coats--but not belted.  
> They look dowdy belted.
I hate batwing sweaters _and_ sweater coats.  And cowl-neck sweaters.  
And lumpy yarn.  And drapey stuff. 

-- 
Adele de Maisieres

-----------------------------
Habeo metrum - musicamque,
hominem meam. Expectat alium quid?
-Georgeus Gershwinus
----------------------------- 

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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] 16th Century Portraits, 18th & 19th century
  Clothing
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At 22:41 25/09/2005, you wrote:
>>a lovely portrait, with a lovely dress. I would say regency except 
>>the attributed sitter predates that era.
>>http://search.sothebys.com/jsps/live/lot/LotDetail.jsp?lot_id=4H5RT
>
>1718-1746? No way! This makes no sense at all in the early 1700s! A 
>century later, maybe. Look at her diadem, the teardrop pearls, the 
>bracelets on her upper arms, the white and gold gathered underdress 
>with red overdress (typical Regency colours), the short, curly hair 
>and the high waistline! No way it's anything other than, oh... 1800-1810 maybe?


The artist is said to be a follower of Elizabeth Vigee-Lebrun who was 
painting in the late 18th and early 19th century, which confirms the 
painting date as being early 19th century in all likelihood.

Suzi 


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Subject: Re: [h-cost] the 20th century
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> Pants  for women. I think this is the one major change. In every other
> period,  men wear pants and women skirts. Of course, that really happened 
> in
> the  second part of the century...
>
> Actually men didn't wear "pants" until their skirts got so short they 
> needed
> to connect their hose to avoid a public display.  At least that is  my
> understanding.  Cheryl Odom

What I meant is that men wore visible separate leg coverings. In most 
periods, you can actually see that their lower body is made of two separate 
appendages (except monks, scholars, etc but they're not the norm). Women... 
welllll... AFAIK, they didn't start wearing garments with separate legs 
until the Regency, and even then, only as underwear. I know you're going to 
pull out some images of riding outfits, but they're not the norm either. I'm 
talking about normal, regular everyday wear here. In every period I know, 
you couldn't even tell women had separate legs unless you lifted up their 
skirts. The most daring it got was showing some *ankle* under the skirt 
(some à la polonaise dresses were pretty short, some of Elizabeth's later 
dresses too, and some Regency stuff as well - considered very daring at the 
time, from what I read). Even under those, women wore hose, or stockings, 
that didn't really go over the knee and were held by garters at knee level. 
And, of course, you'd never see them as outer wear. They weren't wearing 
anything like pants, with-or-without a crotch seam. True, in earlier 
medieval times, men wore somewhat shorter hose, more like thigh-highs, but 
the "skirt" in men's garments was almost always shorter than that of women - 
you don't ever see  women's hose, but men's hose quickly starts being used 
more like outerwear. Even when men started wearing actual crotch-seamed 
pants, women kept wearing long skirts. And it went on until somewhere in the 
Victorian or Edwardian era (I'm no expert on those periods), where you start 
seeing some sportswear and bathing suits with actual LEGS on the outer 
garment. It only became acceptable for women to wear pants in most settings 
in what, the '70s? Of course, they started wearing them before that, but 
even today formal women's wear tends to be a dress or skirt of some kind.

I guess I'm really trying to say that I'm not talking about the actual pant 
*pants* as of today, but of two-legged garments, as opposed to one-tubed 
one.

Just think of the little male/female bathroom icons... 
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I love cowl necks, and big turtlenecks, and "Marilyn" necks (just a 
rearranged cowl neck of course), batwing and dolman sleeves, and big, 
chunky sweaters.  Cable knits.  Cashmere, both the smooth flat 50s style 
knits and chunky knits.  Embroidered sweaters.  Hand-knitted sweaters.  
And ponchos.  I adore ponchos, not the classic diamond "ethnic" ones so 
much, but the retangular-across ones and the ones with interesting 
drapes; especially knitted and crocheted ones. 

I'm betting capes come back soon--there are some around, particularly 
little capes, but they're not a major fashion trend right now as far as 
I can tell.

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




Adele de Maisieres wrote:

> Lavolta Press wrote:
>
>>
>> I've been seeing some wonderful sweaters--batwings and other draped 
>> styles.  A lot of them just swamp me, though I bought a nice drapey 
>> huge-batwing one recently.  And I like sweater-coats--but not 
>> belted.  They look dowdy belted.
>
> I hate batwing sweaters _and_ sweater coats.  And cowl-neck sweaters.  
> And lumpy yarn.  And drapey stuff.

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Subject: Re: Gor for it Re: [h-cost] Re: US Reenacting 
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At 09:08 AM 9/25/2005, you wrote:
>You say you've got a group--pick a period & go for it.
>
>Have a party or a day in someone's house, backyard, or
>local park.  Heck, hold a quilting bee, if that's
>appropriate for the period you pick.
>
>The best way to have something done is to do it.
>
>Ann in CT


Agreed. Thankfully, many of the ladies are used to working hard to put on 
an event. Several are guild masters or former guild masters, or are very 
involved in the ren-faire groups we are involved with. The hard part may be 
figuring out what time frame or theme for the first event. Hopefully the 
ball will roll after that.

Thanks!

Kimiko


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Whoooops...way out of my time period.  I am glad though that this made 
me pull out my other POF...  Is the shape which you refer to as 
eliptical truely an oval from front to back?  The wedding dress looks 
much more round.  I kind of figured those round ones you can buy would 
be pretty close to the right shape.  What would you have to do in your 
mind to make them correct?

Sg

Who is curious because several of us are thinking about moving up a few 
centuries in costuming!

Sg

>
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  Clothing
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At 12:46 AM 9/24/2005, you wrote:
>I thought people might be interested in the following links.


Wow, thanks for sharing that visual feast. I've been inspired by a few of 
the items.

Kimiko


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Subject: Re: [h-cost] readymade hoops, are they worth it?
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At 10:55 PM 9/23/2005, you wrote:
>So in short has anybody had success in using a readymade hoop?
><snip> As a student I'm long on time and short on cash so
>making modifications is not something I'm concerned about, but buying
>something cheap that's going need replacing after five minutes is false
>economy.
>thanks
>Elizabeth


I have seen these very hoopskirts about the same price or more used by many 
of the ren-faire people I've been involved with, and seen them in the LA 
garment district as well.

They don't hold up very well over time. If your skirts are the least bit 
heavy (velvets or brocades), they droop. They are better for light wedding 
dresses, or for a one-day event. The boning is thin, often plastic, and not 
worthy unless you don't mind replacing them every so often (that throw-away 
"consumer" society mindset that I personally am disliking more and more, 
but that's me.)

And as you may have noticed, the whole page of them have pretty much the 
same shape to them. Yet different time frames have different "looks" to the 
hoops worn for that time. You could spend your time adjusting them to fit 
the proper look, but in that case, make your hoops from scratch if possible.

One suggestion for finding cheap metal hoopsteel is from thrift stores. My 
first one was from a few different hoops I found from a couple of thrift 
stores that I cobbled together into a small cage crinoline (Hunnisett 
pattern) and it cost me under $10. for everything I needed. The thing 
lasted a few years and now is being replaced with high quality coated steel 
from Farthingales.on.ca now that I have the money for better quality stuff.

Kimiko


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At 11:26 AM 9/22/2005, you wrote:
>Or, if not, if there's a group that focuses on the Irish/Celtic/Welsh (I 
>think they are all different and distinct groups) history, language and 
>costuming, I'd also love to know about them, too.
>
>Elena/Gia


I don't know about your area, but in my area we have a local Celtic Society 
that I used to be semi-involved with. We used to do Scottish country 
dancing and we often were asked to either dance at Scottish caellies 
(sp?)), work the local Highland games, or dance with the Irish dance groups 
on St. Paddy's day, or give talks on costumes of the 16th c. Irish & Scots. 
They also tried to promote Breton, Welsh, and Cornish history as well, 
although those weren't as "popular". They are still around and are involved 
with a new Irish pub we have in town. Perhaps you can find something 
similar that may be associated with a pub in your area, or maybe listed in 
your news paper events page.

And if you do, please let me know as well. My best friend and former dance 
mistress lives and works in your area, and she's commented that she hasn't 
found much to do up there like she did around here for re-enactment or even 
dancing opportunities. She even sent me her old box of faire stuff because 
she didn't know what else to do with them (that almost broke my heart for 
all the fond memories we had.)

Kimiko


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Subject: Re: [h-cost] pockets  (Fwd: Artssciences Digest, Vol 28, Issue 12)
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Um...I guess there's another Gia on this list besides me!  I guess I'll have to make sure my sig line stays Elena/Gia!
-------------- Original message -------------- 

> 
> Please send your responses directly to Gia who requested this information. 
> Thank you. 
> Nancy 
> 
> 
> From: "Jennifer Potts" 
> Subject: [SCA-AS] Pockets in period 
> To: 
> Message-ID: 
> <20050918174321.HGDM6852.priv-edtnes57.telusplanet.net@jencodivvz309u> 
> Content-Type: text/plain; charset="us-ascii" 
> 
> I have been seeing "pockets" for women on a lot of the recreationist sites. 
> Does anyone know of any documentation for the use of these in Venice during 
> the 16th century? 
> 
> Gia 
> 
> 
> 
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Thank you both for the clarification. I have had little chance to research 
Georgian and Regency so only have a vague sense of whats what.

Sharon
>>[
>>1718-1746? No way! This makes no sense at all in the early 1700s! A 
>>century later, maybe. Look at her diadem, the teardrop pearls, the 
>>bracelets on her upper arms, the white and gold gathered underdress with 
>>red overdress (typical Regency colours), the short, curly hair and the 
>>high waistline! No way it's anything other than, oh... 1800-1810 maybe?
>
>
>The artist is said to be a follower of Elizabeth Vigee-Lebrun who was 
>painting in the late 18th and early 19th century, which confirms the 
>painting date as being early 19th century in all likelihood.
>
>Suzi

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Subject: Re: [h-cost] Current day fashion magazines
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----- Original Message ----- 
From: "Lavolta Press" <fran@lavoltapress.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Sunday, September 25, 2005 6:04 PM
Subject: Re: [h-cost] Current day fashion magazines


.  I adore ponchos, not the classic diamond "ethnic" ones so
> much, but the retangular-across ones and the ones with interesting drapes; 
> especially knitted and crocheted ones.


My best buy EVER from a thrift store was a poncho. It was red and blue 
marled sweater knit, with a deep navy cowl neck and long navy fringe, and it 
came to my knees. It was perfect for spring and fall, and I adored it. I 
wore it to death. If I ever found another, I would snatch it up in an 
instant. I paid all of $7.50, and it was the most expensive thing I ever 
bought at that store. (This was the same store where I bought my wool cloak 
for $5.00)

Dianne 

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From: "Elizabeth Walpole" <ewalpole@tpg.com.au>
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Subject: Re: [h-cost] readymade hoops, are they worth it?
Date: Mon, 26 Sep 2005 13:16:07 +1000
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----- Original Message ----- 
From: "WickedFrau" <wickedfrau@msn.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Monday, September 26, 2005 8:32 AM
Subject: Re: [h-cost] readymade hoops, are they worth it?


> Whoooops...way out of my time period.  I am glad though that this made
> me pull out my other POF...  Is the shape which you refer to as
> eliptical truely an oval from front to back?  The wedding dress looks
> much more round.  I kind of figured those round ones you can buy would
> be pretty close to the right shape.  What would you have to do in your
> mind to make them correct?
>
> Sg
>
> Who is curious because several of us are thinking about moving up a few
> centuries in costuming!
>
> Sg
>

Well I don't know if the original was worn over an oval hoop, it does look
round but it looks to me like maybe there was a little more fullness at the
back, especially at the top. http://snipurl.com/hxvp is an example of the
appearance of extra fullness at the back (although that could be due to the
way her shawl is draped, I'm not sure) and although this fashion plate is
from 1852 I don't think it's too unreasonable to think maybe one could do
something similar for the second half of that decade.
If I did buy one of these hoops I would have at least brought in the bottom
hoops so it was more of a dome shape and less of a cone shape (see
http://snipurl.com/hxve for an example of what a dress looks like worn over
one of these, it looks more like a caricature lampooning hoopskirts than
something you'd expect to see in real life). I was also planning to reduce
the overall size so the bottom hoop was somewhere between 110-120"
circumference (I've been told on another of my lists that the diameter of
most hoops was 40-60% of the wearer's height)
Elizabeth
--------------------------------------------
Elizabeth Walpole
Canberra Australia
ewalpole[at]tpg.com.au
http://au.geocities.com/e_walpole/

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eBay always has lots of vintage sweaters and ponchos for sale. . . .

Fran

Dianne & Greg Stucki wrote:

>
> ----- Original Message ----- From: "Lavolta Press" 
> <fran@lavoltapress.com>
> To: "Historical Costume" <h-costume@indra.com>
> Sent: Sunday, September 25, 2005 6:04 PM
> Subject: Re: [h-cost] Current day fashion magazines
>
>
> .  I adore ponchos, not the classic diamond "ethnic" ones so
>
>> much, but the retangular-across ones and the ones with interesting 
>> drapes; especially knitted and crocheted ones.
>
>
>
> My best buy EVER from a thrift store was a poncho. It was red and blue 
> marled sweater knit, with a deep navy cowl neck and long navy fringe, 
> and it came to my knees. It was perfect for spring and fall, and I 
> adored it. I wore it to death. If I ever found another, I would snatch 
> it up in an instant. I paid all of $7.50, and it was the most 
> expensive thing I ever bought at that store. (This was the same store 
> where I bought my wool cloak for $5.00)
>
> Dianne
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>
>
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I subscribe to Vogue, "W", Bazaar, and Entertainment Weekly (it covers a lot 
of star fashions).  For the past year Vogue has been running a section with 
photos on Hollywood and vintage fashions.  Vogue or Bazaar points out when 
someone is wearing vintage and puts the designer's in the caption.  I can't 
recall which one of these magazine has a monthly article by Karl Lagerfeld, 
but it is generally interesting.  I enjoy the ads in these magazines, except 
the perfume one with the samples.  They get ripped out immediately.  The 
designer ads are very creative, especially Sept. issue of Vogue... my 
daughter-in-law and I figured out that one ad was a mirror effect in 
Photoshop or another image software.  I do subscribe to Women's Wear Daily 
(WWD) online.  I enjoy the industry trade news. Vogue is also good about 
running articles about museum exhibits, photos of the guests attending the 
exhibit's opening, and articles about film costumes.  Their lead article is 
always in the last section of the magazine.  I do have a complaint about one 
photoshoot of Demi Moore that was last month's issue in one of these 
magazine... she was air brushed way too much.  I also study the ads for 
their layout and design.  I have been collecting Vogue since the 1970s, "W" 
magazine since 1995, and  EW since 2000. Bazaar I just started collecting 
this past year.

If you run a business, a lot of magazines will offer you subscription for 
$5-8 a year's subscription.  I think they are getting my business name and 
address from the county where my business license is registered.   I 
subscribe to several magazines this way or via using my airline frequent 
flyer points.

Although most people do not think of fashion but I have issues of National 
Geographic from the 1960s-2000.  I collect them for international cultural 
fashions.  The magazines are also an inspiration resource for costumes, 
past, present, and future.  The issues of the Bayeaux Tapestry and the Tut 
exhibit in the 1970s are like gold to me!  For those wanting to collect this 
magazine, your Library is a wonderful way to pick them up cheap.  Our local 
library has a Friends of the Library section, where you can purchase old 
magazines for a quarter each.  I have stopped getting issue of the magazine 
because we have run out of space to put them.

I do subscribe to Smithsonian magazine... That's how I found out about the 
King Tut exhibit and reserved my advance tickets for the 2007 exhibit in PA. 
BTW, for those people wanting to go to one of the Tut exhibits, you can 
reserve tickets online... all the future exhibits are over 50% booked.  They 
will reserve the tickets and you have  to pay the day before the exhibit 
opens in the location you plan to attend.  The exhibit is in Jacksonville, 
Florida either now or in a month or so.

I love Town and Country magazine but their subscription rate is too 
expensive for me.  Their fashions are so-o-o classy.  I read T&C and 
Architectural Digest whenever I go to my doctor's office.

A long time ago, I found a website, where you can receive free fashion 
catalogs from various companies.  I have been receiving the catalogs for 
years.  I love to look at the catalogs for the color themes for that season. 
I have fun seeing what new color names have come out.

Penny E. Ladnier
Owner,
The Costume Gallery, www.costumegallery.com
Costume Classroom, www.costumeclassroom.com
Costume Research Library, www.costumelibrary.com

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Status: RO

 
 
Kate Bunting
Librarian and 17th century reenactor

>>> suzi@suziclarke.co.uk 21/09/2005 18:03 >>>

At 17:30 21/09/2005, you wrote:
>Suzi Clarke wrote:

>The learning and teaching of history in Britain is getting worse and 
>worse
 
Yes - I was amazed on Saturday when watching the TV quiz "Who wants to be a millionaire". Despite all the recent  programmes about Henry VIII, very few people knew "which wife he married after seeing a flattering portrait of her by Holbein". I've known that story since I was a schoolgirl!

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Subject: RE: [h-cost] Dressing Santa Claus
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All I can contribute to this is that in my childhood in the UK in the 1950s, Father Christmas/Santa Claus was sometimes portrayed in a long hooded robe (red and fur-trimmed) rather than jacket and trousers.
 
Kate Bunting
Librarian and 17th century reenactor

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I find it hard to find trousers that aren't what is now called "bootcut" these days.
 
Kate Bunting
Librarian and 17th century reenactor

>>> gailscott@eos.net 23/09/2005 21:34 >>>

Julie wrote:

Remember bell bottoms?

A co-worker of mine swears that they are back, but I can't find any. I was
at the Chicago Gap store last week, and they certainly didn't have any
there. Darn. I love bellbottoms!

Gail Finke

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Subject: [h-cost] Re: Current fashion magazines
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I don't subscribe to fashion magazines and seldom buy them (I find
they end up taking space long after I'm interested in them), but when
I do it's either something for inspiration (Vogue and similar that
show "couture" or various subcultural/music oriented fashion
magazines) or something that just shows me what's in the stores, like
Lucky or Shop.

The latter type tends to suck all creativity out of fashion because a
lot of it just shows you what's in the stores and various price
points, but sometimes that's exactly what I want - a list of, say,
blazers with pictures detailing where it is and how much it costs
saves me a lot of time I could waste trolling the local shopping mall
not finding anything I like/anything I can afford!

Allison T.

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Subject: [h-cost] Minitures at the Scottish National Portrait Gallery
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Joan Jurancich [joanmj@surewest.net] saw this on 

Message: If anyone can get to the Scottish National
Portrait Gallery to see this exhibit, please let us
know about it.
Thanks.

Nifty-- thanks for the heads-up, Joan.  My husband & I
have been meaning to head over there anyway... I will
report back.  Was there anything specific you wanted
to know about it?  Any time period or place to keep an
eye out for?

Stephanie in Edinburgh

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Subject: Re: [h-cost] readymade hoops, are they worth it?
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Yeah, I'd have to agree with Kimiko.  You'd probably be better off 
making your own.  Funny, even to my inexperienced eye those shapes on 
the dresses for sale on ebay look wrong.  Surely for this period there 
are patterns for the hoop skirts?  Have you looked at buying a roll of 
the boning?  Is it where you live that makes shipping so expensive?  I 
buy most of my stuff from Greenberg and Hammer, but their stinkin' store 
isn't working right now.  I do see it online for about $18 a roll (12 
yards). 


Sg
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Anyone know what that is drooping in the front part of her dress? 


>
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To: Historical Costume <h-costume@indra.com>
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Subject: Re: [h-cost] Miniatures at the Scottish National Portrait
  Gallery
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According to the article (no pictures, darn it!), there is a pair of 
miniatures of Elizabeth I and Lord Leicester that have not been 
published anywhere.  They are thought to be by Hilliard.  Please let 
us know if there is a catalog available (and since I am across the 
pond, if it is available for online ordering).
Any 16th century miniatures would be of interest to me.  I just wish 
I could visit the exhibit in person...
Joan

At 06:57 AM 9/26/2005, you wrote:
>Joan Jurancich [joanmj@surewest.net] saw this on
>
>Message: If anyone can get to the Scottish National
>Portrait Gallery to see this exhibit, please let us
>know about it.
>Thanks.
>
>Nifty-- thanks for the heads-up, Joan.  My husband & I
>have been meaning to head over there anyway... I will
>report back.  Was there anything specific you wanted
>to know about it?  Any time period or place to keep an
>eye out for?
>
>Stephanie in Edinburgh
>
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Subject: [h-cost] WWI French women's clothes?
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A friend is thinking of putting together a WWI event (early war, I
think), and suggested that I could come along and do some sort of
French countrywoman impression.  Sounds like fun, but I need more
info on what to wear.

I have plenty of "fashion" books that show what Parisians might have
been wearing, and it's easy enough to find traditional French
festival costumes online, but what was the common "peasant" woman
wearing?  Any suggestions as to where to start looking?

Thanks,
Mara


---------------------
http://www.knittingobsession.com - modern knitting stuff
http://www.knittingobsession.blogspot.com
http://www.marariley.net - 18th century research and knitting patterns
---------------------
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Hello!

If I may ask the aid of this august assembly?

The seventh image down on this page http://www.wga.hu/index1.html has a
woman with what looks like huge pearls dangling from her bodice, but I'm
not too certain of what I'm seeing.  I'm rather taken with the dress,
and am considering re-creating it. Any advice on what those things are,
would be much appreciated!

Kate McClure
aka StitchWitch

Beads? What beads . . . ?

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McClure, Kate wrote:

> The seventh image down on this page http://www.wga.hu/index1.html

-- that's the frame location, not the image you want us to look at.  Can 
you figure out the URL of the actual image?

cv
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Subject: Re: [h-cost] What are These?
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Quoting Cynthia Virtue <cvirtue+dated+1143320124.a9ae93@thibault.org>:

> McClure, Kate wrote:
>
>> The seventh image down on this page http://www.wga.hu/index1.html
>
> -- that's the frame location, not the image you want us to look at.  
> Can you figure out the URL of the actual image?

You can right-click and select "this frame->show only this frame"
and get a URL -- or just tell us the artist and the name of the
painting!

JErusha
-----
Susan Farmer
sfarmer@goldsword.com
University of Tennessee
Department of Ecology and Evolutionary Biology
http://www.goldsword.com/sfarmer/Trillium/


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To: Historical Costume <h-costume@indra.com>
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Subject: Re: [h-cost] What are These?
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At 01:54 PM 9/26/2005, you wrote:
>Hello!
>
>If I may ask the aid of this august assembly?
>
>The seventh image down on this page http://www.wga.hu/index1.html has a
>woman with what looks like huge pearls dangling from her bodice, but I'm
>not too certain of what I'm seeing.  I'm rather taken with the dress,
>and am considering re-creating it. Any advice on what those things are,
>would be much appreciated!
>
>Kate McClure
>aka StitchWitch
>
>Beads? What beads . . . ?

Unfortunately, the URL is just an index page.  In order to find the 
actual picture, we'll need more information.


Joan Jurancich
joanmj@surewest.net 

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> McClure, Kate wrote:
>
>> The seventh image down on this page http://www.wga.hu/index1.html
>
> -- that's the frame location, not the image you want us to look at.  Can 
> you figure out the URL of the actual image?


The easiest way is to give the name of the artist, and we can go directly to 
him/her from the index page.
        -Helen/Aidan

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My turn-
Earlier this year, there was a question about a small rectangular object 
hanging from the belt of a male saint, I think.  Can anyone point me to a 
more specific reference?
Thanks,
            -Helen/Aidan 

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Subject: Re: [h-cost] 16th Century Portraits, 18th & 19th century Clothing
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----- Original Message ----- 
From: "WickedFrau" <wickedfrau@msn.com>


> Anyone know what that is drooping in the front part of her dress? 

Uh, sorry, which image are you asking a question about?
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Subject: RE: [h-cost] Current day fashion magazines
Date: Mon, 26 Sep 2005 12:19:06 -0500
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From: "Abel, Cynthia" <CynthiaAbel@creighton.edu>
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I probably read Vogue and Harper's Bazaar most. I've finally learned not
to save the whole magazine, just rip out and save those inspiration
pages only for my doll dressing, plus anything from upcoming movies,
costuming exhibitions(to check for possible catalog/book publications)as
I had about six huge boxes of doll-related and fashion magazines over
the last ten years. 

The magazine I miss most is "Victoria" which stopped publishing a few
years' ago. I reluctantly recycled my copies, except for a couple of
issues--when I did a long-overdue clean out of books and mags several
weeks ago. Costuming, history and some other books(still about seven
shelves/3 bookcases full)remain as I need the space for fabric, notions
and other crafting. Will finally get to some of it this winter as
heating costs will keep me home more along with much quieter(so
far)tenants in the apartment above mine!
 

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Subject: Re: [h-cost] WWI French women's clothes?
Date: Mon, 26 Sep 2005 13:47:09 -0500
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----- Original Message ----- 
From: "Mara Riley" <corbiegirl@yahoo.com>
>A friend is thinking of putting together a WWI event (early war, I
> think), and suggested that I could come along and do some sort of
> French countrywoman impression.

Having recently gone on a long drawn out image search for 
WWI-era-but-not-war-related posters & ad material, I can tell you that the 
bildindex
( http://www.bildindex.de ) has a ton of images of all sorts from that era, 
much of it from France.

I don't know if you're familiar with the site or if you speak German; if 
not, here's the search I'd try:
Go to "Suche"; at the top, select the middle choice ("illustrierten") and 
type in the beginning and ending dates.  Below that, there are 3 columns; go 
to the last one, where you see "ikon. Kontext".  In that blank, type in 
"mensch" or select it from the pop up box.  Skip down a couple of blanks, 
and beside "Ort/Region" type in or select "France". Hit "Suche starten" and 
you'll get a little readout telling you how many results fit your search 
parameters.  From here, you can either view the results ("galerie") or you 
can narrow the search parameters.  I just did the above search for 
1914-1918, and got 26 results; all were lithographs or engravings, but a 
couple looked like they might be helpful to you.  I also tried a search 
without specifying "mensch" (people), and got even more handy-looking 
images.  When you're looking at an image, click "vergrößern" to enlarge (if 
available) and "Dokument" to see more info about the image.

Granted, lithos may not be the best place for fashion details, but with some 
cross-referencing you could certainly put together an impression.

-E House


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From h-costume-bounces@indra.com  Mon Sep 26 19:32:09 2005
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Subject: [h-cost] Re: current fashions
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I heard a bit on the radio today about a web site for a "fantasy fashion
league," like "fantasy football" and "fantasy baseball," but for fashion
fans. It's way too big for my dial-up connection, but it sounded funny.
There's a fee, and I missed what the "teams" actually do, but they seem to
be competing some way. Anyway, I thought Penny and some of you fashion fans
would enjoy it!

www.fantasyfashionleague.com

Gail Finke

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Date: Mon, 26 Sep 2005 18:55:58 -0500 (CDT)
From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] A previous question
In-Reply-To: <02e201c5c2e0$61c96aa0$3b399b04@HELENPINTO>
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On Mon, 26 Sep 2005, Helen  Pinto wrote:

> My turn-
> Earlier this year, there was a question about a small rectangular object 
> hanging from the belt of a male saint, I think.  Can anyone point me to a 
> more specific reference?

Do you mean this?

http://www.christophersbookroom.com/cc/nazareth/bagatti/colfigs/bagatti-pl43-4.jpg

Close-up of two objects hanging from the belt on a sculpture of St. Peter.
The one on the right is probably a knife sheath. The heart-shaped object
hanging from a cord is a mystery. We discussed this in January if you want
to look up the thread.

--Robin


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From: Kahlara <kahlara@yahoo.com>
Subject: Re: playing in period societies? Re: [h-cost] why renaissance...
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Another possibility for finding like minded people, if you are at all into traditional or folk dancing you might check out some of those groups as well. I used to contra dance (old country dancing) quite frequently and met people from several groups, including a Civil War re-enactment group and a Scottish country dancing group that does demonstrations at the local Highland games. I also met several people that were into Irish step dancing and other Celtic interests at a weekend long dance. Many other dance groups and some other types of groups would also leave (or bring) flyers and brochures for their events at our dances. I am sure that each area and group is different, but it seemed to me that contra dancing draws quite a cross section of folks who had other areas of historical interests as well.
 
If you don't know what Contra Dance is... 
http://www.sbcds.org/contradance/whatis/

 

and a list of links to Contra Dance groups from all over the world.  http://www.contradancelinks.com/

 

Annette M

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

Message: 3
Date: Sun, 25 Sep 2005 15:24:42 -0700
From: Kimiko Small 
Subject: Re: playing in period societies? Re: [h-cost] why renaissance
and not 18th century?


At 11:26 AM 9/22/2005, you wrote:
>Or, if not, if there's a group that focuses on the Irish/Celtic/Welsh (I 
>think they are all different and distinct groups) history, language and 
>costuming, I'd also love to know about them, too.
>
>Elena/Gia


I don't know about your area, but in my area we have a local Celtic Society 
that I used to be semi-involved with. We used to do Scottish country 
dancing and we often were asked to either dance at Scottish caellies 
(sp?)), work the local Highland games, or dance with the Irish dance groups 
on St. Paddy's day, or give talks on costumes of the 16th c. Irish & Scots. 
They also tried to promote Breton, Welsh, and Cornish history as well, 
although those weren't as "popular". They are still around and are involved 
with a new Irish pub we have in town. Perhaps you can find something 
similar that may be associated with a pub in your area, or maybe listed in 
your news paper events page.

And if you do, please let me know as well. My best friend and former dance 
mistress lives and works in your area, and she's commented that she hasn't 
found much to do up there like she did around here for re-enactment or even 
dancing opportunities. She even sent me her old box of faire stuff because 
she didn't know what else to do with them (that almost broke my heart for 
all the fond memories we had.)

Kimiko

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


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From: Kitty Felton <basyefelton@floodcity.net>
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Current day fashion magazines- Victoria
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Abel, Cynthia wrote:
>  
> I probably read Vogue and Harper's Bazaar most. I've finally learned not
> to save the whole magazine, just rip out and save those inspiration
> pages only for my doll dressing, plus anything from upcoming movies,
> costuming exhibitions(to check for possible catalog/book publications)as
> I had about six huge boxes of doll-related and fashion magazines over
> the last ten years. 
> 
> The magazine I miss most is "Victoria" which stopped publishing a few
> years' ago. I reluctantly recycled my copies, except for a couple of
> issues--when I did a long-overdue clean out of books and mags several
> weeks ago. Costuming, history and some other books(still about seven
> shelves/3 bookcases full)remain as I need the space for fabric, notions
> and other crafting. Will finally get to some of it this winter as
> heating costs will keep me home more along with much quieter(so
> far)tenants in the apartment above mine!
>  
> 
Oh you should never recycle Victoria, there are so many people looking 
for missing issues.   why didn't you post that you had them, I never 
read it and would have enjoyed having them to read.   Mourn, Mourn, 
mourn.   Kitty

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Subject: [h-cost] Question about historical costuming terms
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Hi, I'm trying to sort out the differences between the following 
costuming terms:
Directoire, Empire, Regency, Romantic.
Have I got them in the right order and are they the right terms - or is 
one simply another term coined in another country? And how do we avoid 
all the confusion I encounter whenever I visit another website I read a 
different story about dates?I realise there will always be a slight 
confusion about when each period starts and finishes and why, but I'd 
love to try to simplify matters. One area I'm not sure of - I used to 
think Empire and Romantic were the same period and came after Regency - 
but some sites list empire as coming before Regency.<?????>
Cheers4now, Aylwen

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From: "Penny Ladnier" <penny@costumegallery.com>
To: "Historical Costume" <h-costume@indra.com>
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I also collected Victoria.  I loved their format.  So sad it stopped 
publishing.

Penny E. Ladnier
Owner,
The Costume Gallery, www.costumegallery.com
Costume Classroom, www.costumeclassroom.com
Costume Research Library, www.costumelibrary.com

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Subject: Re: playing in period societies? Re: [h-cost] why renaissance...
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English country dance is an even better place to meet people with 
historical interests. There are many branches of the Country Dance and 
Song Society in the US.  Their website is:

http://www.cdss.org/

Despite being a historically inauthentic revival, English country dance 
is easy, fun, full of friendly people, and many places have excellent 
live musicians playing.  I think the SCA uses English country dance a 
lot at gatherings, not because it's really authentic but because 
everyone can do it. So do baroque and Regency gatherings where people 
don't know authentic steps.  And a fair number of people who do English 
country dance also do other folk dance forms, especially contra dance, 
Irish country dance, Scottish country dance (their society's URL is 
http://www.rscds.org/), and Morris dance.  And, a fair number of people 
who are interested in one or more of these dance forms, are interested 
in historic dance (especially Victorian) or can become interested in it 
if they hear about an event. All these dance groups are open to having 
flyers for other dances deposited on tables somewhere near the entrance, 
put there for exactly that purpose.  Everyone does it, there are usually 
piles of them. 

Many people do several of the (related) dance forms above, so local 
groups try to pick different regular nights and not to hold big special 
workshops on the same day. It's not because they feel threatened 
(especially since the organizers are often the same for more than one 
group).  Quite the reverse, it's because they know a lot of dancers want 
to go to everything in the area and don't want to deprive anyone.  (I 
should add, though, that Morris dance is a performance dance. You can 
attend open "try this dance" intro workshops, and many groups welcome 
beginner members;  but regular rehearsals are usually not open for 
people to drop in.) 

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

Kahlara wrote:

>Another possibility for finding like minded people, if you are at all into traditional or folk dancing you might check out some of those groups as well. I used to contra dance (old country dancing) quite frequently and met people from several groups, 
>
>  
>

<snip>
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Subject: Re: [h-cost] Question about historical costuming terms
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In a message dated 9/26/2005 9:24:24 P.M. Mountain Standard Time,  
garden@earthlydelights.com.au writes:

Directoire,: After the French Revolution, specifically during the  
"Republic", think Marat, Robespierre. 1790's-1800ish.  French only.   Enormous collars 
and cravats to the chin on the men.  Wild hair styles  and pouting bosoms on 
the women.  Tricolor cockades everywhere.   Lots of stripes.
Empire: Refers to Napoleon's reign.  1800ish to 1815 or so. Not sure  when he 
was deposed  but the look begins to change about 1815.   Specifically French. 
An attempt to recall the Greek and Roman look,   Although "Empire" may refer 
to European continental styles in general.
 
 Regency: Refers to the King Regent later George IV.  He was  named Regent 
due to his father's bouts with insanity.  Specifically  English.  Think Brighton 
Palace.  "Madness of George III" the movie  and slightly after.  Also Jane 
Austen.  Like the French but much more  "sweet".  Small floral prints, pastels, 
etc.
 
 Romantic:  Lucy Barton term referring to the period 1820-ish  to 1840 or so. 
 It's that period when the waists dropped and the sleeves  grew enormous and 
the women looked like they were wearing Ike Bana on their  heads.  Think 
Dickens, Bronte sisters.  I should think the "Oliver  Twist" opening on Friday will 
be a good example of this period.



Cheryl Odom
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Subject: Re: [h-cost] A previous question
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Robin wrote:
> Do you mean this?
>
> http://www.christophersbookroom.com/cc/nazareth/bagatti/colfigs/bagatti-pl43-4.jpg
>
What I was looking for was a painting, but thanks for this, because it will 
at least give me an entry point into the archives.
               -Helen/Aidan

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Subject: Re: [h-cost] Question about historical costuming terms
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>
>Directoire,: After the French Revolution, specifically during the
>"Republic", think Marat, Robespierre. 1790's-1800ish.  French 
>only.   Enormous collars
>and cravats to the chin on the men.  Wild hair styles  and pouting bosoms on
>the women.  Tricolor cockades everywhere.   Lots of stripes.
>Empire: Refers to Napoleon's reign.  1800ish to 1815 or so. Not sure  when he
>was deposed  but the look begins to change about 1815.   Specifically French.
>An attempt to recall the Greek and Roman look,   Although "Empire" may refer
>to European continental styles in general.
>
>  Regency: Refers to the King Regent later George IV.  He was  named Regent
>due to his father's bouts with 
>insanity.  Specifically  English.  Think Brighton
>Palace.  "Madness of George III" the movie  and slightly after.  Also Jane
>Austen.  Like the French but much more  "sweet".  Small floral 
>prints, pastels,
>etc.

This is very specific, 1811 - 1820. Before that in England it is 
Georgian, (from 1714 to 1830)

>
>  Romantic:  Lucy Barton term referring to the period 1820-ish  to 
> 1840 or so.
>  It's that period when the waists dropped and the sleeves  grew enormous and
>the women looked like they were wearing Ike Bana on their  heads.  Think
>Dickens, Bronte sisters.  I should think the "Oliver  Twist" opening 
>on Friday will
>be a good example of this period.


Suzi



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Subject: [h-cost] RE: Scottish Miniatures of Elizabeth & Dudley
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Hello Joan

This article mentions the catalogue:
http://snipurl.com/hywm

"A fully illustrated catalogue will accompany the
exhibition, written by Dr Stephen Lloyd, Senior
Curator of the Scottish National Portrait Gallery and
priced £9.95. 

Further information and images available from the NGS
Press Office. 
Tel 0131 624 6325 / 314 / 332 / 247 
National Galleries of Scotland 
Bridge Lodge, 70 Belford Road 
Edinburgh EH4 3DE "
although I'd also try their website which has a shop:

http://www.nationalgalleries.org/
the Scotsman newspaper has an article but no images
http://snipurl.com/hywo

If I can find another site that has an image of the
portraits you're interested in, I'll be sure to post
it. Don't hae time to make it there in person, Grrr.

HTH,

Katherine

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


		
___________________________________________________________ 
How much free photo storage do you get? Store your holiday 
snaps for FREE with Yahoo! Photos http://uk.photos.yahoo.com
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Date: Tue, 27 Sep 2005 16:13:11 +1000
Subject: Re: [h-cost] Current day fashion magazines- Victoria
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Oh No! - I'd willingly swap making a costume for a whole swag of 
Victoria magazines - the older issues especially!
Aylwen

On Tuesday, September 27, 2005, at 01:16 PM, Kitty Felton wrote:

> Abel, Cynthia wrote:
>>  I probably read Vogue and Harper's Bazaar most. I've finally learned 
>> not
>> to save the whole magazine, just rip out and save those inspiration
>> pages only for my doll dressing, plus anything from upcoming movies,
>> costuming exhibitions(to check for possible catalog/book 
>> publications)as
>> I had about six huge boxes of doll-related and fashion magazines over
>> the last ten years. The magazine I miss most is "Victoria" which 
>> stopped publishing a few
>> years' ago. I reluctantly recycled my copies, except for a couple of
>> issues--when I did a long-overdue clean out of books and mags several
>> weeks ago. Costuming, history and some other books(still about seven
>> shelves/3 bookcases full)remain as I need the space for fabric, 
>> notions
>> and other crafting. Will finally get to some of it this winter as
>> heating costs will keep me home more along with much quieter(so
>> far)tenants in the apartment above mine!
>>
> Oh you should never recycle Victoria, there are so many people looking 
> for missing issues.   why didn't you post that you had them, I never 
> read it and would have enjoyed having them to read.   Mourn, Mourn, 
> mourn.   Kitty
>
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Subject: [h-cost] Question about historical costuming terms (A & J Garden)
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> Hi, I'm trying to sort out the differences between the following 
> costuming terms:
> Directoire, Empire, Regency, Romantic.

I'm not certain about Directoire and Romantic, but Empire, Regency, and Federal
are, historically speaking, all about the same time period, but refer to
different countries. Empire refers to the Napoleonic empire, and is French.
Regency is English, and Federal is American.

-Charlotte
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> Hi, I'm trying to sort out the differences between the following 
> costuming terms:
> Directoire, Empire, Regency, Romantic.

I'm not certain about Directoire and Romantic, but Empire, Regency, and Federal
are, historically speaking, all about the same time period, but refer to
different countries. Empire refers to the Napoleonic empire, and is French.
Regency is English, and Federal is American.

-Charlotte
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Politically speaking, the French "Directoire" lasted from 1795-99, when Napoleon seized power. He made himself Emperor in (I think) 1804, and was finally deposed after the Battle of Waterloo in 1815.
The future George IV was made Prince Regent in 1811, and succeeded as king in 1820. Of course, the fashion changes didn't literally correspond with regime changes, so to all intents and purposes Empire style = Regency  style.
 
Kate Bunting
Librarian and 17th century reenactor

>>> Cheryldee@aol.com 27/09/2005 05:22 >>>

In a message dated 9/26/2005 9:24:24 P.M. Mountain Standard Time,  
garden@earthlydelights.com.au writes:

Directoire,: After the French Revolution, specifically during the  
"Republic", think Marat, Robespierre. 1790's-1800ish.  French only.   Enormous collars 
and cravats to the chin on the men.  Wild hair styles  and pouting bosoms on 
the women.  Tricolor cockades everywhere.   Lots of stripes.
Empire: Refers to Napoleon's reign.  1800ish to 1815 or so. Not sure  when he 
was deposed  but the look begins to change about 1815.   Specifically French. 
An attempt to recall the Greek and Roman look,   Although "Empire" may refer 
to European continental styles in general.

Regency: Refers to the King Regent later George IV.  He was  named Regent 
due to his father's bouts with insanity.  Specifically  English.  Think Brighton 
Palace.  "Madness of George III" the movie  and slightly after.  Also Jane 
Austen.  Like the French but much more  "sweet".  Small floral prints, pastels, 
etc.

Romantic:  Lucy Barton term referring to the period 1820-ish  to 1840 or so. 
It's that period when the waists dropped and the sleeves  grew enormous and 
the women looked like they were wearing Ike Bana on their  heads.  Think 
Dickens, Bronte sisters.  I should think the "Oliver  Twist" opening on Friday will 
be a good example of this period.



Cheryl Odom
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Subject: [h-cost] Re: playing in period societies?
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Status: RO

It might also be worthwhile to look at historic martial arts
(http://www.thehaca.com/, www.mashs.org and similar) for people
interested in period play. I know the SCA does some of this but I
don't know how invested they are in true period fighting techniques -
I fence with MASHS and their devotion to the old manuals can be as
fervent as some of the h-costume memberships adherence to primary
costume sources. And they've got to have *something* to fence in!

Allison T.
> ------------------------------
>
> Message: 14
> Date: Mon, 26 Sep 2005 20:57:14 -0700
> From: Lavolta Press <fran@lavoltapress.com>
> Subject: Re: playing in period societies? Re: [h-cost] why
>         renaissance...
> To: Historical Costume <h-costume@indra.com>
> Message-ID: <4338C31A.5070702@lavoltapress.com>
> Content-Type: text/plain; charset=ISO-8859-1; format=flowed
>
> English country dance is an even better place to meet people with
> historical interests. There are many branches of the Country Dance and
> Song Society in the US.  Their website is:
>
> http://www.cdss.org/
>
> Despite being a historically inauthentic revival, English country dance
> is easy, fun, full of friendly people, and many places have excellent
> live musicians playing.  I think the SCA uses English country dance a
> lot at gatherings, not because it's really authentic but because
> everyone can do it. So do baroque and Regency gatherings where people
> don't know authentic steps.  And a fair number of people who do English
> country dance also do other folk dance forms, especially contra dance,
> Irish country dance, Scottish country dance (their society's URL is
> http://www.rscds.org/), and Morris dance.  And, a fair number of people
> who are interested in one or more of these dance forms, are interested
> in historic dance (especially Victorian) or can become interested in it
> if they hear about an event. All these dance groups are open to having
> flyers for other dances deposited on tables somewhere near the entrance,
> put there for exactly that purpose.  Everyone does it, there are usually
> piles of them.
>
> Many people do several of the (related) dance forms above, so local
> groups try to pick different regular nights and not to hold big special
> workshops on the same day. It's not because they feel threatened
> (especially since the organizers are often the same for more than one
> group).  Quite the reverse, it's because they know a lot of dancers want
> to go to everything in the area and don't want to deprive anyone.  (I
> should add, though, that Morris dance is a performance dance. You can
> attend open "try this dance" intro workshops, and many groups welcome
> beginner members;  but regular rehearsals are usually not open for
> people to drop in.)
>
> Fran
> Lavolta Press
> http://www.lavoltapress.com
>

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From: "A. Thurman" <athurman@gmail.com>
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Subject: [h-cost] Re: playing in period societies?
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Status: RO

It might also be worthwhile to look at historic martial arts
(http://www.thehaca.com/, www.mashs.org and similar) for people
interested in period play. I know the SCA does some of this but I
don't know how invested they are in true period fighting techniques -
I fence with MASHS and their devotion to the old manuals can be as
fervent as some of the h-costume memberships adherence to primary
costume sources. And they've got to have *something* to fence in!

Allison T.
> ------------------------------
>
> Message: 14
> Date: Mon, 26 Sep 2005 20:57:14 -0700
> From: Lavolta Press <fran@lavoltapress.com>
> Subject: Re: playing in period societies? Re: [h-cost] why
>         renaissance...
> To: Historical Costume <h-costume@indra.com>
> Message-ID: <4338C31A.5070702@lavoltapress.com>
> Content-Type: text/plain; charset=ISO-8859-1; format=flowed
>
> English country dance is an even better place to meet people with
> historical interests. There are many branches of the Country Dance and
> Song Society in the US.  Their website is:
>
> http://www.cdss.org/
>
> Despite being a historically inauthentic revival, English country dance
> is easy, fun, full of friendly people, and many places have excellent
> live musicians playing.  I think the SCA uses English country dance a
> lot at gatherings, not because it's really authentic but because
> everyone can do it. So do baroque and Regency gatherings where people
> don't know authentic steps.  And a fair number of people who do English
> country dance also do other folk dance forms, especially contra dance,
> Irish country dance, Scottish country dance (their society's URL is
> http://www.rscds.org/), and Morris dance.  And, a fair number of people
> who are interested in one or more of these dance forms, are interested
> in historic dance (especially Victorian) or can become interested in it
> if they hear about an event. All these dance groups are open to having
> flyers for other dances deposited on tables somewhere near the entrance,
> put there for exactly that purpose.  Everyone does it, there are usually
> piles of them.
>
> Many people do several of the (related) dance forms above, so local
> groups try to pick different regular nights and not to hold big special
> workshops on the same day. It's not because they feel threatened
> (especially since the organizers are often the same for more than one
> group).  Quite the reverse, it's because they know a lot of dancers want
> to go to everything in the area and don't want to deprive anyone.  (I
> should add, though, that Morris dance is a performance dance. You can
> attend open "try this dance" intro workshops, and many groups welcome
> beginner members;  but regular rehearsals are usually not open for
> people to drop in.)
>
> Fran
> Lavolta Press
> http://www.lavoltapress.com
>

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From h-costume-bounces@indra.com  Tue Sep 27 09:41:50 2005
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Subject: [h-cost] Re: Embroidered Coif from V&A/ stitch question
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As several folks have already mentioned, this gold braid is also called
plait stitch and Jane Zimmerman has instructions for doing it in one of
her books on Elizabethan embroidery.

Leon Conrad also has a different idea on how to do this stitch.  His
website seems to be down right now ( http://www.lcdesigns.org/  ), and I
can't remember if he ever posted instructions there but there was a
two-part article on the stitch by him in Fine Lines (Historic Needlework
Guild) last year.

I've only had a chance to play with this stitch a little myself but I
would recommend practicing before putting it on a coif :).

Hope this helps,
Catherine
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Subject: Re: [h-cost] Re: Embroidered Coif from V&A/ stitch question (Thanks )
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Well, I have learned a bit from my query.  Firstly, that there are several differing opinions as to exactly which stitch is used, and secondly, that different stitches can have the same name.  Oh, and that it is about impossible to find instructions that I can actually understand on how to do this elusive plaited braid stitch.  Yes, Leon has pictures of his stitch online, but no instructions.  I did find a set of instructions on one page, but the graphics made it very unclear as to which side of the needle the thread passed at one particular point.  After many attempts to do the stitch by those instructions, I gave it up.  I found another set of instructions, but the finished stitch that was shown on that webpage looked absolutely nothing like the stitch shown in the coif.  
 
I did find that the heavy chain looks (to my inexperienced eye) like the stitch shown in the coif, but then I have people who I consider to have a much more keenly honed knowledge of the field telling me that it is indeed a plaited braid and not the oh so easy heavy chain.  Of course, it would be too easy for it to be the simple heavy chain.  (grin)  
 
I am stuck, as there is no place here in Jacksonville, Florida that I can find with a copy of a book that has Elizabethan embroidery stitches in it.  Not even the library, if their online card catalogue is to be believed.  Until I can find someone to either demonstrate the stitch or an online reference (or of course ILL), I am going to have to go with the heavy chain stitch.  The linen for the coif has not arrived yet, so I still have a bit of time to change my mind if I can figure out how to do that plaited braid, but if not, I am OK with my other option.
 
Thanks so much to everyone who has given bits of information.  I have truly enjoyed the sharing, as usual.  
 
:)
~Kimberley 
 
-----Original Message-----
From: Catherine Kinsey <ckinsey@kumc.edu>
To: h-costume@indra.com
Sent: Tue, 27 Sep 2005 08:40:07 -0500
Subject: [h-cost] Re: Embroidered Coif from V&A/ stitch question


As several folks have already mentioned, this gold braid is also called
plait stitch and Jane Zimmerman has instructions for doing it in one of
her books on Elizabethan embroidery.

Leon Conrad also has a different idea on how to do this stitch.  His
website seems to be down right now ( http://www.lcdesigns.org/  ), and I
can't remember if he ever posted instructions there but there was a
two-part article on the stitch by him in Fine Lines (Historic Needlework
Guild) last year.

I've only had a chance to play with this stitch a little myself but I
would recommend practicing before putting it on a coif :).

Hope this helps,
Catherine
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From h-costume-bounces@indra.com  Tue Sep 27 11:33:18 2005
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Subject: Re: [h-cost] Question about historical costuming terms
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In a message dated 9/27/2005 8:29:58 A.M. Eastern Standard Time,  
K.M.Bunting@derby.ac.uk writes:

The  future George IV was made Prince Regent in 1811, and succeeded as king 
in  1820. Of course, the fashion changes didn't literally correspond with 
regime  changes, so to all intents and purposes Empire style = Regency   style.




But, just to confuse the issue, in decorative arts we also use "Empire" to  
refer to the late classical style, 1815-1840.  This used to confuse me no  end, 
as Napoleon was finally deposed in 1815.  But elements of the  neoclassical 
definitely lingered on.
 
Also, some people extend "Regency" to 1830, because George IV was still  
king, but, of course, no longer regent after 1820.
 
So, roughly, Federal (US), empire (French) and Regency (English) are  talking 
about the same period of time and similar styles, but not necessarily  
identical.
 
Oh, and there is also a French "Regence," (the regency of Louis XV?), in  the 
early 18th century.  So I try to distinguish ENGLISH Regency, just as  I'm 
trying to get in the habit or referring to the AMERICAN Civil War period, as  
distinguished from the ENGLISH Civil War.
 
Ann Wass
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Subject: Re: [h-cost] Re: Embroidered Coif from V&A/ stitch question
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Apparently he's merely changed his web address -- I googled him from your info and got this:
 
http://www.leonconraddesigns.freeserve.co.uk/
 
Looks excessively festive!
KP
 


Catherine Kinsey <ckinsey@kumc.edu> wrote:
As several folks have already mentioned, this gold braid is also called
plait stitch and Jane Zimmerman has instructions for doing it in one of
her books on Elizabethan embroidery.

Leon Conrad also has a different idea on how to do this stitch. His
website seems to be down right now ( http://www.lcdesigns.org/ ), and I
can't remember if he ever posted instructions there but there was a
two-part article on the stitch by him in Fine Lines (Historic Needlework
Guild) last year.

I've only had a chance to play with this stitch a little myself but I
would recommend practicing before putting it on a coif :).

Hope this helps,
Catherine
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost]"Elizabeth"
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The irony of this gives me a great deal of satisfaction, for some reason. ;->

Joannah

--- Chris Laning <claning@igc.org> wrote:
>snip
The amusing thing, my friend said, is that the director clearly didn't know enough about the period portraits to spot when the costumers _did_ lift something straight out of a well-known historical source :)



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Subject: Re: [h-cost] Re: Embroidered Coif from V&A/ stitch question (Thanks )
Date: Tue, 27 Sep 2005 10:47:47 -0500
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Here's some instructions that at least worked with my brain:
http://www.hand-dyedfibers.com/plait.html

And apparently lcdesigns.org is down because the site has moved to:
http://www.leonconraddesigns.freeserve.co.uk
and the plaited braid stitch page, which doesn't show how to do it, is here:
http://www.leonconraddesigns.freeserve.co.uk/pbs.htm

(Sorry, I came in halfway through, so I may be reposting links someone else 
already has posted.)
-E House 

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Subject: Re: [h-cost] RE: why renaissance and not 18th century?
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Too new!?! At least you go back to the 16thC - as far as settlement by Europeans goes. We ( European settlers ) only go back to 1788. ( Well, 1606, if you start with the Duyfken - http://www.duyfken.com/original/index.html - but they didn't stay and settle. ) My own home town was only founded in 1824.

Joannah in Brisbane, Australia
( who sighs over the idea of living with in place with as much visible history as England and Europe ..... sigh )

--- WickedFrau <wickedfrau@msn.com> wrote:
>snip
>From a history perspective, I just find American 
history to be "too new." 
>


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chindora@aol.com wrote:


> I am stuck, as there is no place here in Jacksonville, Florida that I can find with a copy of a book that has Elizabethan embroidery stitches in it.  Not even the library, if their online card catalogue is to be believed.  Until I can find someone to either demonstrate the stitch or an online reference (or of course ILL), I am going to have to go with the heavy chain stitch. 

The SCA stock clerk (sca.org) sells a pamphlet called "Wrought with 
Flowers of Black Silk"  from the Compleat Anachronist series, it is 
#115. I believe they sell for about $4. A number of stitches are 
demonstrated, braid and plaited braid, and there's some fill patterns 
for the designs on those coifs.

It's cheap and available, and , I think, a pretty good intro to 
Elizabethan period embroidery. The list of references will give your 
library a place to start if you consider ILL.



Dawn






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And apparently lcdesigns.org is down because the site has moved to:
http://www.leonconraddesigns.freeserve.co.uk 
=======================
Thanks!  I will update my bookmarks :).

Catherine
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Subject: [h-cost] Eleonora da Toledo
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Interesting forensic info.

"His forensic investigation revealed that Cosimo I's wife Eleonora da 
Toledo (1522-1562), beautifully portrayed by Agnolo Bronzino in a painting 
on display at the National Gallery in Prague, was five feet tall (1.58 
meter), had a protruding chin, twisted legs, suffered from toothache and 
had shin splints, caused by an inflammation of the outer layer of the bone 
that occurs often during the later stages of syphilis.

"However, the portrait shows a beautiful lady, and comparison with the 
skull reveals that the painting is rather realistic, except for the chin. 
The artist portrayed her from above, using a perspective trick. In this way 
the chin appears more regular," Rollo said. "

"Renaissance Painters "Corrected" Portrait Features" May 10, 2005
http://www.sgallery.net/news/05_2005/10.php

BTW The Prague painting is online at
http://www.ngprague.cz/show_en.php?picName=a_7.jpg
http://www.ngprague.cz/main.php?language=en&pageid=a01

and a poster of it is available from them. I have the email if needed.

Hope that this is of some interest.
Beth Matney 

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> The seventh image down on this page http://www.wga.hu/index1.html

-- that's the frame location, not the image you want us to look at.  Can
you figure out the URL of the actual image?

cv

Oops! It worked fine yesterday . . .

The image is from the artist Joos van Cleve (found under the C's) on his
third page, seventh image down.

Kate McClure

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From: Lynn Downward <lynndownward@gmail.com>
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they look like tassels connected to the network over her chemise. the
original hootchie-cootchie dancer?
LynnD

On 9/27/05, McClure, Kate <kate.mcclure@dexmedia.com> wrote:
>
>
> > The seventh image down on this page http://www.wga.hu/index1.html
>
> -- that's the frame location, not the image you want us to look at.  Can
> you figure out the URL of the actual image?
>
> cv
>
> Oops! It worked fine yesterday . . .
>
> The image is from the artist Joos van Cleve (found under the C's) on his
> third page, seventh image down.
>
> Kate McClure
>
> _______________________________________________
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Can you give us the painting info?   I only get one page of images and 
the 7th one down is:
*
Altarpiece of the Lamentation (central)*
Oil on wood, 145 x 206 cm
Musée du Louvre, Paris

Sg

McClure, Kate wrote:

>The image is from the artist Joos van Cleve (found under the C's) on his
>third page, seventh image down.
>
>Kate McClure
>
>
>
>  
>
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McClure, Kate wrote:


> The image is from the artist Joos van Cleve (found under the C's) on his
> third page, seventh image down.

Altarpiece of the Lamentation (central) ?


They look like tassels to me. I'm not a religious iconography expert, 
but I bet she's supposed to be Mary Magdalen, and that would be Mary in 
the black robes and white headdress. No idea who the third woman in back 
is. I wouldn't count on her clothing being too accurate. It looks a 
little "exotic" for the time and place of the painting. By comparison, 
there's the donors in front in the fur-lined robes.



Dawn


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Subject: [h-cost] New to me painting-wondering about layers-was "what are
	these?"
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Sorry for the cross post
This is a "new to me" painting  http://www.wga.hu/index1.html   
<http://www.wga.hu/index1.html>*

CLEVE, Joos van*
 Portrait of Agniete van den Rijne
Oil on oak, 40 x 29 cm
Rijksmuseum Twenthe, Enschede


'Spose this lady has 3 garments on besides her chemise?.  I just have to 
wonder if the black thing isn't a corset or gown that looks like the 
ones Sir Thomas Moore's family women are wearing.  
http://www.tudor-portraits.com/ThomasMore.jpg*
*
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My guess is tassels, hanging from two cords forming a V-shape.  
     -Helen/Aidan

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Subject: Re: [h-cost] RE: What are These?
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At 01:45 PM 9/27/2005, you wrote:
>they look like tassels connected to the network over her chemise. the
>original hootchie-cootchie dancer?
>LynnD
>
>On 9/27/05, McClure, Kate <kate.mcclure@dexmedia.com> wrote:
> >
> >[snip]
> >
> > The image is from the artist Joos van Cleve (found under the C's) on his
> > third page, seventh image down.
> >
> > Kate McClure

I wonder if that figure is intended to be Mary Magdalene.

Joan Jurancich
joanmj@surewest.net 

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The treatment is similar on this dress, with cords hanging down rather
than tassels though.

Portrait of Dorothea Meyer, née Kannengiesser
1516
by Holbein the younger
http://www.wga.hu/art/h/holbein/hans_y/1518/3meyer2.jpg

Holbein page:

http://www.wga.hu/html/h/holbein/hans_y/1518/index.html

Good luck
Annette

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
On Behalf Of Helen Pinto
Sent: Tuesday, September 27, 2005 5:15 PM
To: Historical Costume
Subject: Re: [h-cost] RE: What are These?

My guess is tassels, hanging from two cords forming a V-shape.  
     -Helen/Aidan

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From h-costume-bounces@indra.com  Tue Sep 27 17:37:18 2005
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Date: Tue, 27 Sep 2005 22:35:35 +0100
To: Historical Costume <h-costume@indra.com>
From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] Re: playing in period societies?
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The SCA in general does not do period fighting techniques, they have 
their own style of fighting which has developed from what the society 
chose as safety precautions (rattan weapons, full armour).  You might 
find some individuals in some areas exploring the old manuals, but that 
is not mainstream for the SCA.  There is also SCA "fencing", but I'm not 
sure where that lies between period techniques and modern sport fencing.

Jean


A. Thurman <athurman@gmail.com> wrote
>It might also be worthwhile to look at historic martial arts
>(http://www.thehaca.com/, www.mashs.org and similar) for people
>interested in period play. I know the SCA does some of this but I
>don't know how invested they are in true period fighting techniques -
>I fence with MASHS and their devotion to the old manuals can be as
>fervent as some of the h-costume memberships adherence to primary
>costume sources. And they've got to have *something* to fence in!
>
>Allison T.
>> ------------------------------
>>
>> Message: 14
>> Date: Mon, 26 Sep 2005 20:57:14 -0700
>> From: Lavolta Press <fran@lavoltapress.com>
>> Subject: Re: playing in period societies? Re: [h-cost] why
>>         renaissance...
>> To: Historical Costume <h-costume@indra.com>
>> Message-ID: <4338C31A.5070702@lavoltapress.com>
>> Content-Type: text/plain; charset=ISO-8859-1; format=flowed
>>
>> English country dance is an even better place to meet people with
>> historical interests. There are many branches of the Country Dance and
>> Song Society in the US.  Their website is:
>>
>> http://www.cdss.org/
>>
>> Despite being a historically inauthentic revival, English country dance
>> is easy, fun, full of friendly people, and many places have excellent
>> live musicians playing.  I think the SCA uses English country dance a
>> lot at gatherings, not because it's really authentic but because
>> everyone can do it. So do baroque and Regency gatherings where people
>> don't know authentic steps.  And a fair number of people who do English
>> country dance also do other folk dance forms, especially contra dance,
>> Irish country dance, Scottish country dance (their society's URL is
>> http://www.rscds.org/), and Morris dance.  And, a fair number of people
>> who are interested in one or more of these dance forms, are interested
>> in historic dance (especially Victorian) or can become interested in it
>> if they hear about an event. All these dance groups are open to having
>> flyers for other dances deposited on tables somewhere near the entrance,
>> put there for exactly that purpose.  Everyone does it, there are usually
>> piles of them.
>>
>> Many people do several of the (related) dance forms above, so local
>> groups try to pick different regular nights and not to hold big special
>> workshops on the same day. It's not because they feel threatened
>> (especially since the organizers are often the same for more than one
>> group).  Quite the reverse, it's because they know a lot of dancers want
>> to go to everything in the area and don't want to deprive anyone.  (I
>> should add, though, that Morris dance is a performance dance. You can
>> attend open "try this dance" intro workshops, and many groups welcome
>> beginner members;  but regular rehearsals are usually not open for
>> people to drop in.)
>>
>> Fran
>> Lavolta Press
>> http://www.lavoltapress.com
>>
>
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
>http://mail.indra.com/mailman/listinfo/h-costume

-- 
Jean Waddie
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Date: Tue, 27 Sep 2005 22:35:35 +0100
To: Historical Costume <h-costume@indra.com>
From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] Re: playing in period societies?
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The SCA in general does not do period fighting techniques, they have 
their own style of fighting which has developed from what the society 
chose as safety precautions (rattan weapons, full armour).  You might 
find some individuals in some areas exploring the old manuals, but that 
is not mainstream for the SCA.  There is also SCA "fencing", but I'm not 
sure where that lies between period techniques and modern sport fencing.

Jean


A. Thurman <athurman@gmail.com> wrote
>It might also be worthwhile to look at historic martial arts
>(http://www.thehaca.com/, www.mashs.org and similar) for people
>interested in period play. I know the SCA does some of this but I
>don't know how invested they are in true period fighting techniques -
>I fence with MASHS and their devotion to the old manuals can be as
>fervent as some of the h-costume memberships adherence to primary
>costume sources. And they've got to have *something* to fence in!
>
>Allison T.
>> ------------------------------
>>
>> Message: 14
>> Date: Mon, 26 Sep 2005 20:57:14 -0700
>> From: Lavolta Press <fran@lavoltapress.com>
>> Subject: Re: playing in period societies? Re: [h-cost] why
>>         renaissance...
>> To: Historical Costume <h-costume@indra.com>
>> Message-ID: <4338C31A.5070702@lavoltapress.com>
>> Content-Type: text/plain; charset=ISO-8859-1; format=flowed
>>
>> English country dance is an even better place to meet people with
>> historical interests. There are many branches of the Country Dance and
>> Song Society in the US.  Their website is:
>>
>> http://www.cdss.org/
>>
>> Despite being a historically inauthentic revival, English country dance
>> is easy, fun, full of friendly people, and many places have excellent
>> live musicians playing.  I think the SCA uses English country dance a
>> lot at gatherings, not because it's really authentic but because
>> everyone can do it. So do baroque and Regency gatherings where people
>> don't know authentic steps.  And a fair number of people who do English
>> country dance also do other folk dance forms, especially contra dance,
>> Irish country dance, Scottish country dance (their society's URL is
>> http://www.rscds.org/), and Morris dance.  And, a fair number of people
>> who are interested in one or more of these dance forms, are interested
>> in historic dance (especially Victorian) or can become interested in it
>> if they hear about an event. All these dance groups are open to having
>> flyers for other dances deposited on tables somewhere near the entrance,
>> put there for exactly that purpose.  Everyone does it, there are usually
>> piles of them.
>>
>> Many people do several of the (related) dance forms above, so local
>> groups try to pick different regular nights and not to hold big special
>> workshops on the same day. It's not because they feel threatened
>> (especially since the organizers are often the same for more than one
>> group).  Quite the reverse, it's because they know a lot of dancers want
>> to go to everything in the area and don't want to deprive anyone.  (I
>> should add, though, that Morris dance is a performance dance. You can
>> attend open "try this dance" intro workshops, and many groups welcome
>> beginner members;  but regular rehearsals are usually not open for
>> people to drop in.)
>>
>> Fran
>> Lavolta Press
>> http://www.lavoltapress.com
>>
>
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
>http://mail.indra.com/mailman/listinfo/h-costume

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

From h-costume-bounces@indra.com  Tue Sep 27 17:43:07 2005
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From: Wendy Colbert <rapierlady@earthlink.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Re: playing in period societies?
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Rapier (or fencing) in the SCA runs the gamut from those who fence in a style close to modern sport fencing to those who are fairly serious researchers of period techniques of the 15th through 16th C through translation and redaction of period manuals.

Wendy

-----Original Message-----
From: Jean Waddie <anne@montgomerie.demon.co.uk>
Sent: Sep 27, 2005 5:35 PM
To: Historical Costume <h-costume@indra.com>
Cc: h-costume@mail.indra.com
Subject: Re: [h-cost] Re: playing in period societies?

The SCA in general does not do period fighting techniques, they have 
their own style of fighting which has developed from what the society 
chose as safety precautions (rattan weapons, full armour).  You might 
find some individuals in some areas exploring the old manuals, but that 
is not mainstream for the SCA.  There is also SCA "fencing", but I'm not 
sure where that lies between period techniques and modern sport fencing.

Jean


A. Thurman <athurman@gmail.com> wrote
>It might also be worthwhile to look at historic martial arts
>(http://www.thehaca.com/, www.mashs.org and similar) for people
>interested in period play. I know the SCA does some of this but I
>don't know how invested they are in true period fighting techniques -
>I fence with MASHS and their devotion to the old manuals can be as
>fervent as some of the h-costume memberships adherence to primary
>costume sources. And they've got to have *something* to fence in!
>
>Allison T.

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

From h-costume-bounces@indra.com  Tue Sep 27 18:07:52 2005
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Subject: RE: [h-cost] Question about historical costuming terms
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Yes, you have them in the correct order

Directorie: Basically 1795-1799. A very short period, but full of
fashion extremes on the streets of Paris. Heideloff's "Gallery of
Fashion" is a good source of plates from the fashion perspective of
Great Britain. While the change in men's fashions confined itself most
of all to eliminating most of the peacock glory of men's court wear, the
introduction of pantaloons(trousers)replacing knee britches and men
mostly renouncing hair powder upping the taxes on flour( which was the
main ingredient in most hair powders ) in Great Britain and the view
that hair powder was one of the symbols seen as supporting the Old
Regieme in France. Women's fashions continued the rather radical change
that started just before the French Revolution. The high waisted look
became fashionable for the first time in over 150 years. The various
permutations of the so-called pocket-hoops and skirt backfullness,
supported by pads were pronounced passe in order to meet the new ideal
of a female Greek statue. Most women, even Mary Wollstonecraft, still
wore stays, but fabrics were plainer, although imported cotton and
Indian shawls along with high fashion's embrace of white, still meant
being a la mode wasn't cheap. Shoes went from what we would call modest
heels, to flat slippers. More comfortable, but not if you had high
arches.
Lots of Greek and Roman influences in fashion--especially when it came
to one's headgear. As those handy pockets worn within one's gown were
pronounced obsolete, the predecessor of the modern purse, the
Indepensible became a visible accessory. Cameos and semi-precious stones
become the last word in jewelry.

Empire: 1800-1815: Still lots of Roman influences, but on a grander
scale. Tons more gold. The coronation portrait of Napoleon and Josephine
gives one a good idea of the grafting of splendor on former simplicity
and signs of the coming Romantic period are visible in Josphine's
Elizabethan collars and ringleted hair in her portraits. The
high-waisted skirts widen and start to take on increasingly ornate
embelishments. Although men's dress wear and court costume can still be
ornate, Beau Brummell and Napoleon's own preferences for dark, simpler
dress, influences the continued copying of the embroidery-less suits
most gentlement started wearing  in the 1700's. 

Regency: 1811-1820 Lots of influence from the British colonies,
especially in India and Asia. Tons of color and more is more.
Englishwomen's fashionable dress embrasses details from both men's
military wear and romantic influences from the past. The Prince Regent
and his set still don't say no to color in their habillement, but most
men prefer quieter, but very expensive tailored suits. Savile Row is the
mecca for the truly fashionable moneyed gentleman.

Romantic:1820-1837. Women's bodice length really starts to drop from
just below the bust to normal waist. Sleeves and skirts balloon in width
as does the shoulder line. The Industrial Revolution makes possible the
manufacture of cheaper cloth and makers start creating even more complex
weaving and dyeing techniques than before. Skirts shorten to about the
ankle for a few years, which means more attention on footwear and hose
Fashionable women and girls appear almost buried in the ruffles,
pleatings and other details often lavished on the new wider skirts,
sleeves, and shoulder berthas and capes. Headgear and hairdressing
become increasingly complicated and ornate, even weighty looking to the
early 21st c eye.

Cindy Abel

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
On Behalf Of A & J Garden
Sent: Monday, September 26, 2005 10:31 PM
To: Historical Costume
Subject: [h-cost] Question about historical costuming terms

Hi, I'm trying to sort out the differences between the following
costuming terms:
Directoire, Empire, Regency, Romantic.
Have I got them in the right order and are they the right terms - or is
one simply another term coined in another country? And how do we avoid
all the confusion I encounter whenever I visit another website I read a
different story about dates?I realise there will always be a slight
confusion about when each period starts and finishes and why, but I'd
love to try to simplify matters. One area I'm not sure of - I used to
think Empire and Romantic were the same period and came after Regency -
but some sites list empire as coming before Regency.<?????> Cheers4now,
Aylwen

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 they look like tassels connected to the network over her chemise. the original hootchie-cootchie dancer?
LynnD

*snort*

You forgot the drink warning on that one . . .

They look like tassels to me. I'm not a religious iconography expert, but I bet she's supposed to be Mary Magdalen, and that would be Mary in the black robes and white headdress. No idea who the third woman in back is. I wouldn't count on her clothing being too accurate. It looks a little "exotic" for the time and place of the painting. By comparison, there's the donors in front in the fur-lined robes.

Dawn

Yes, well, the 'exotic' is kind of what drew me to it. Now that folks have mentioned tassels, it does look more like that than pearls. 


The treatment is similar on this dress, with cords hanging down rather than tassels though.

Portrait of Dorothea Meyer, née Kannengiesser
1516
by Holbein the younger
http://www.wga.hu/art/h/holbein/hans_y/1518/3meyer2.jpg

Good luck
Annette

Thanks! I hadn't gotten that far yet.

My thanks to all who answered, this list rocks!

Kate McClure
Off to make some tassels . . .

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Beee-zarre.  "Archaeology" magazine july/aug 05 issue has the prelim
results from the current dig in Florence.  I think you'll find some of
the hands-on forensic evidence a given by the Italian archaeologists
to be "just a little" different.  I'll cite all of the Eleanora's
health tidbits from the article "Secrets of the Medici":

"When we found Eleanora's box, we found that though no soft tissue was
preserved. the bones were in good condition. [Aside on the historical
record elided.] She was pregnant most of her adult life and her
skeleton showed it. Every birth is a trauma to the mother's pelvis and
leaves it's mark. In Eleanora's case the bones that come together were
extremely rough and irregular. She was a small woman, and everytime
she had a child there was damage to the bones, followed by regrowth
and remodeling of them. And the back of her pelvis, which is normally
quite angular was flattened by the many children coming down the birth
canal."
"All those pregnancies, during which the calcium is leached from the
mother for the bone development of the fetus, had had a serious effect
on Eleanora's teeth.  She had lost several and others were abcessed."

There is much, much more in the article about Eleanora, Cosimo, even
some light on the great debate as to whether or not Cosimo killed his
own son Cardinal Giovanni in grief over younger son Garzia's murder. 
(I wont spoil the plot. You can read it yourself.)

The 5th Medici exhumed in this year's dig was Gian Gastone di Medici,
the last Medici Duke.  He was found w all his grave goods intact, tho
the tomb was disturbed in the 1966 flood.
--cin
Cynthia Barnes
CinBarnes@gmail.com

From: Beth and Bob Matney <bmatney@alltel.net>
Subject: [h-cost] Eleonora da Toledo
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Interesting forensic info.

"His forensic investigation revealed that Cosimo I's wife Eleonora da
Toledo (1522-1562), beautifully portrayed by Agnolo Bronzino in a painting
on display at the National Gallery in Prague, was five feet tall (1.58
meter), had a protruding chin, twisted legs, suffered from toothache and
had shin splints, caused by an inflammation of the outer layer of the bone
that occurs often during the later stages of syphilis.

"However, the portrait shows a beautiful lady, and comparison with the
skull reveals that the painting is rather realistic, except for the chin.
The artist portrayed her from above, using a perspective trick. In this way
the chin appears more regular," Rollo said. "

"Renaissance Painters "Corrected" Portrait Features" May 10, 2005
http://www.sgallery.net/news/05_2005/10.php

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I think that both you and Jean are right Wendy.

I was very briefly in the SCA ~4-5 years ago and went to a single
rapier practice. I suspect it varies region to region, but I was not
terribly impressed with what I saw, mostly because I was able to hit
the marshal, repeatedly, with only 1 year of modern foil fencing under
my belt :P I'm only speaking of rapier however - I never tried heavy
fighting and know little about it.

To bring the conversation back to costume, I'm considering making
myself a fencing doublet similar to the ones in Janet Arnold's
Patterns of Fashion, but using linen canvas rather than leather for
economy. I want to make a few alterations of overlap and padding to
match the safety features of a modern fencing jacket but otherwise
stick with a period look and feel (all natural fibers, late 16th/early
17th c. silhouette). Has anyone tried this before?

Allison T.

> Message: 13
> Date: Tue, 27 Sep 2005 17:41:43 -0400 (GMT-04:00)
> From: Wendy Colbert <rapierlady@earthlink.net>
> Subject: Re: [h-cost] Re: playing in period societies?
> To: Historical Costume <h-costume@indra.com>
> Message-ID:
>         <33470353.1127857303332.JavaMail.root@elwamui-rustique.atl.sa.earthlink.net>
>
> Content-Type: text/plain; charset=us-ascii
>
> Rapier (or fencing) in the SCA runs the gamut from those who fence in a style close to modern sport fencing to those who are fairly serious researchers of period techniques of the 15th through 16th C through translation and redaction of period manuals.
>
> Wendy
>
> -----Original Message-----
> From: Jean Waddie <anne@montgomerie.demon.co.uk>
> Sent: Sep 27, 2005 5:35 PM
> To: Historical Costume <h-costume@indra.com>
> Cc: h-costume@mail.indra.com
> Subject: Re: [h-cost] Re: playing in period societies?
>
> The SCA in general does not do period fighting techniques, they have
> their own style of fighting which has developed from what the society
> chose as safety precautions (rattan weapons, full armour).  You might
> find some individuals in some areas exploring the old manuals, but that
> is not mainstream for the SCA.  There is also SCA "fencing", but I'm not
> sure where that lies between period techniques and modern sport fencing.
>
> Jean
>

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Status: RO

I think that both you and Jean are right Wendy.

I was very briefly in the SCA ~4-5 years ago and went to a single
rapier practice. I suspect it varies region to region, but I was not
terribly impressed with what I saw, mostly because I was able to hit
the marshal, repeatedly, with only 1 year of modern foil fencing under
my belt :P I'm only speaking of rapier however - I never tried heavy
fighting and know little about it.

To bring the conversation back to costume, I'm considering making
myself a fencing doublet similar to the ones in Janet Arnold's
Patterns of Fashion, but using linen canvas rather than leather for
economy. I want to make a few alterations of overlap and padding to
match the safety features of a modern fencing jacket but otherwise
stick with a period look and feel (all natural fibers, late 16th/early
17th c. silhouette). Has anyone tried this before?

Allison T.

> Message: 13
> Date: Tue, 27 Sep 2005 17:41:43 -0400 (GMT-04:00)
> From: Wendy Colbert <rapierlady@earthlink.net>
> Subject: Re: [h-cost] Re: playing in period societies?
> To: Historical Costume <h-costume@indra.com>
> Message-ID:
>         <33470353.1127857303332.JavaMail.root@elwamui-rustique.atl.sa.earthlink.net>
>
> Content-Type: text/plain; charset=us-ascii
>
> Rapier (or fencing) in the SCA runs the gamut from those who fence in a style close to modern sport fencing to those who are fairly serious researchers of period techniques of the 15th through 16th C through translation and redaction of period manuals.
>
> Wendy
>
> -----Original Message-----
> From: Jean Waddie <anne@montgomerie.demon.co.uk>
> Sent: Sep 27, 2005 5:35 PM
> To: Historical Costume <h-costume@indra.com>
> Cc: h-costume@mail.indra.com
> Subject: Re: [h-cost] Re: playing in period societies?
>
> The SCA in general does not do period fighting techniques, they have
> their own style of fighting which has developed from what the society
> chose as safety precautions (rattan weapons, full armour).  You might
> find some individuals in some areas exploring the old manuals, but that
> is not mainstream for the SCA.  There is also SCA "fencing", but I'm not
> sure where that lies between period techniques and modern sport fencing.
>
> Jean
>

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Jean Waddie wrote:
> None!  If I'm travelling by train or plane I get Marie-Claire or Red, 
> and I get really fed up of reading the good articles at the front, and 
> then having to pay for, and lug around, all the 
> fashion/make-up/food/interiors/travel which doesn't interest me at all. 
> Wish you could just buy it in sections.
> 
> Jean

you may not be able to buy it in sections, but you don't have to lug it 
around, I'd rip it out if I'm not interested in it.   LOL

Marie-Claire?  I thought that was for teenyboppers.   LOL

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Subject: Re: [h-cost] Re: playing in period societies?
Date: Tue, 27 Sep 2005 22:19:13 -0400
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Greetings--

> The SCA in general does not do period fighting techniques, they have their 
> own style of fighting which has developed from what the society chose as 
> safety precautions (rattan weapons, full armour).  You might find some 
> individuals in some areas exploring the old manuals, but that is not 
> mainstream for the SCA.  There is also SCA "fencing", but I'm not sure 
> where that lies between period techniques and modern sport fencing.

It's becoming more and more common to study period fighting techniques with 
the rise of some of the tournament societies and the introduction of 
"Historical Combat Studies" as an officially-recognized thing.   Some of the 
learned techniques are creeping into regular SCA armored combat, 
particularly in certain tournament styles.  It's still not the focus of the 
SCA, but it's no longer an oddity.

Many of the SCA fencers have been looking at the period rapier manuals for 
some time now, more so in some regions than others.  SCA fencing has been 
evolving further and further from modern sport fencing over the years.  Many 
SCA kingdoms no longer use epees at all, going exclusively to schlager 
blades and reproduction weapons.

Susan 

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Subject: Re: [h-cost] 16th Century Portraits, 18th & 19th century Clothing
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This one:  
http://search.sothebys.com/jsps/live/lot/LotDetail.jsp?lot_id=4H5RT

Audrey Bergeron-Morin wrote:

> ----- Original Message ----- From: "WickedFrau" <wickedfrau@msn.com>
>
>
>> Anyone know what that is drooping in the front part of her dress? 
>
>
> Uh, sorry, which image are you asking a question about?
> _______________________________________________
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Subject: Re: [h-cost] Slightly OT: Fencing (was: )
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I made mine from wool, with a heavyweight cotton lining, after making sure the combo passed the "punch" test (repeated stabs from a broken blade).
  ----- Original Message ----- 
  From: A. Thurman<mailto:athurman@gmail.com> 
  To: h-costume@indra.com<mailto:h-costume@indra.com> 
  Cc: h-costume@mail.indra.com<mailto:h-costume@mail.indra.com> 
  Sent: Tuesday, September 27, 2005 8:59 PM
  Subject: [h-cost] Slightly OT: Fencing (was: )


  I think that both you and Jean are right Wendy.

  To bring the conversation back to costume, I'm considering making
  myself a fencing doublet similar to the ones in Janet Arnold's
  Patterns of Fashion, but using linen canvas rather than leather for
  economy. I want to make a few alterations of overlap and padding to
  match the safety features of a modern fencing jacket but otherwise
  stick with a period look and feel (all natural fibers, late 16th/early
  17th c. silhouette). Has anyone tried this before?

  Allison T.
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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] RE: What are These?
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On Tue, 27 Sep 2005, Dawn wrote:

> McClure, Kate wrote:
> 
> > The image is from the artist Joos van Cleve (found under the C's) on his
> > third page, seventh image down.
> 
> They look like tassels to me. I'm not a religious iconography expert,
> but I bet she's supposed to be Mary Magdalen, and that would be Mary
> in the black robes and white headdress. No idea who the third woman in
> back is. I wouldn't count on her clothing being too accurate. It looks
> a little "exotic" for the time and place of the painting. By
> comparison, there's the donors in front in the fur-lined robes.

Yes, that's the Magdalen, frequently painted in this period with
flamboyant clothing, often with unusual / exotic / "foreign" details that
viewers would understand were not representative of real clothing.

The third woman in the back is the "third Mary" often shown in scenes of
the Crucifixion and related events.

--Robin

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From: Carolyn Kayta Barrows <kayta@frys.com>
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Subject: [h-cost] living history questions
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There has been a change in the leadership of a living history program I am 
in.  The new person in charge wants revive the program, which has almost 
become depopulated, and to make us look and act like a real living history 
program.  I am assuming that a higher standard of authenticity in costuming 
will help both to attract new people and to improve things generally, but 
I'm a costumer.

My questions:

What do you look for in a living history program you're considering 
joining?  What, besides the fact that it's a time period you're interested 
in, would attract you to such a program and, time permitting, make you want 
to come play?

The new person in charge has specified two levels of participation, one 
full-time and one part-time.  We will have a core of regulars, and room for 
drop-ins who don't have the time nor the inclination to make a full-time 
commitment.  And he's allowing for days core people have to miss.

How authentic to the period should the costumes be at first?  We have 
several male characters who are wearing OK-looking generic working class 
clothing from our period, and about three women in garments that are about 
right for the year we've chosen (1901).  Should we go easy on the 
authenticity at first, and try to raise the standards later, or should we 
change to the higher standards now, and try to raise the few older members 
up to them?

What is the best way to tell people who have been doing the program since 
it began, but whose standards of authentic costuming are not what the new 
person in charge wants them to be, that they have to meet higher standards 
now - if the new person in charge hasn't been in the program as long as 
they have?  The same question goes for me, the new costume mistress for the 
program.  My own solution would be to ask that when an objectionable 
garment wears out it should be replaced by a better one.  But I'm a 
volunteer, as are all the participants, so the question becomes a delicate 
one to ask.

Which 'cheats' are considered acceptable and which are not?  Some of the 
male characters are played by women with long hair, and they have always 
braided it and let it hang down their backs.  By 1901 pigtails were out of 
use by working class men, even sailors.  Should we insist that these women, 
who aren't going to extremes to fool anyone but who do act like guys, do 
something about the hair and obvious female anatomy?  (BTW, the program's 
female characters have always worn corsets, or at least looked like they were.)

I have just begun an inventory of the stock of costumes this program has, 
and have compiled a list of "over my dead body" items I don't ever want to 
see used in a program I'm costume mistress of.  There's also a soft list of 
things, like some of the mens' shirts, which read more like the 1850s than 
like 1901, which I'd like to phase out or, if currently not in use, to not 
issue to anyone.

The new person in charge also wants a list of costumes we need in 
stock.  I'm currently talking to him about getting participants to make 
their own costumes, to save program budget money we no longer have.  I have 
rashly volunteered to help all participants do this (and the program's 
historian has already roped me into a two-person shirt-sewing session with 
her).

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

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Subject: [h-cost] Tambour embroidery
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I'm looking for quick how-to guide or tutorial about tambour embroidery (the 
type of embroidery done with a small hook, looks like a crochet chain 
stitch, was very popular during the Empire period).

I've found sites who sell tambour embroidery kits, but none that supply 
instructions. I'm not looking for anything extensive, just a basic guide 
would be fine...

Thanks. 
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Subject: Re: [h-cost] 16th Century Portraits, 18th & 19th century Clothing
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>> ----- Original Message ----- From: "WickedFrau" <wickedfrau@msn.com>

>>> Anyone know what that is drooping in the front part of her dress?
> This one: 
> http://search.sothebys.com/jsps/live/lot/LotDetail.jsp?lot_id=4H5RT

You mean the red fabric? She's got the left shoulder of her "overdress" 
undone, or maybe she simply let it fall, so we can see the white dress 
underneath. I doesn't appear like it would reach all the way to her 
shoulder, but I think there's a tiny perspective problem here...

What *I'm* wondering, is how do they keep those high belts ON! They must be 
constantly trying to fall down...

I'd like to see the back of the gown... *sigh*...
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Subject: [h-cost] Re: Eleonora da Toledo -- forensics
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Yes, it is interesting the different views published of "objective facts". 
Bizarre? Unfortunately, it seems such a common problem in research.

To bring this back to textiles and costume:

We were unable to make it to Scandinavia on this trip (just not enough 
time), so we went to the UK again. Saw a nice sprang "sock" (Roman period) 
in York and have a pretty good photo of it, a silk headcovering (Viking) 
and wool tunic (Coptic) in Cambridge, among other things. Had a very nice 
time visiting and comparing notes with various "living history" reenactment 
groups that we met while there.

Beth

At 11:23 AM 9/28/2005, you wrote:
>Date: Tue, 27 Sep 2005 16:48:08 -0700
>From: Cin <cinbarnes@gmail.com>
>Subject: re: [h-cost] Eleonora da Toledo -- forensics
>
>Beee-zarre.  "Archaeology" magazine july/aug 05 issue has the prelim
>results from the current dig in Florence.  I think you'll find some of
>the hands-on forensic evidence a given by the Italian archaeologists
>to be "just a little" different.  I'll cite all of the Eleanora's
>health tidbits from the article "Secrets of the Medici":

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From: Chris <emeraldepona@yahoo.com>
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Subject: [h-cost] A-S/Viking tag - Re: Eleonora da Toledo -- forensics
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Picture(s)???  Did you say picture(s)???  I don't suppose you would post them? 
 
:-)  Chris G.

Beth and Bob Matney <bmatney@alltel.net> wrote:
Yes, it is interesting the different views published of "objective facts". 
Bizarre? Unfortunately, it seems such a common problem in research.

To bring this back to textiles and costume:

We were unable to make it to Scandinavia on this trip (just not enough 
time), so we went to the UK again. Saw a nice sprang "sock" (Roman period) 
in York and have a pretty good photo of it, a silk headcovering (Viking) 
and wool tunic (Coptic) in Cambridge, among other things. Had a very nice 
time visiting and comparing notes with various "living history" reenactment 
groups that we met while there.

Beth

At 11:23 AM 9/28/2005, you wrote:
>Date: Tue, 27 Sep 2005 16:48:08 -0700
>From: Cin 
>Subject: re: [h-cost] Eleonora da Toledo -- forensics


		
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Subject: Re: [h-cost] living history questions
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Carolyn asked,
> What do you look for in a living history program you're considering
> joining?  What, besides the fact that it's a time period you're interested
> in, would attract you to such a program and, time permitting, make you
> want to come play?

     I would consider whether or not the program allows me to do what I
want to do.  Personally I like to demonstrate a skill and talk to
visitors about what I am doing.  There may possibly be some
discussion of who I am portraying (general category, not a historic
character) but usually not in first person.

     Also from a personal viewpoint, I enjoy some people who do first
person and interacting with them to some extent.  But I have
experienced the sort who are overbearing, set on "acting" and treat
other interpretors as extras. (insulting, etc.)  If that was going on
in the program, I would lose interest.  Other people might enjoy that
kind of conflict.

> How authentic to the period should the costumes be at first?  We have
> several male characters who are wearing OK-looking generic working class
> clothing from our period, and about three women in garments that are about
> right for the year we've chosen (1901).  Should we go easy on the
> authenticity at first, and try to raise the standards later, or should we
> change to the higher standards now, and try to raise the few older members
> up to them?

     I think a change n the program is a good opportunity to introduce
better authenticity standards.  People will be making or buying new
thing all the time.  Encourage the highest authenticity that's
feasible, and work on raising the older members to the new standard.

     Thinking in terms of being new to the group, I would be very annoyed
if I was told my (about to be made or purchased) things were ok, and
then told later that they were not.  ESPECIALLY if someone knew all
along they were not right but did not say anything!

> What is the best way to tell people who have been doing the program since
> it began, but whose standards of authentic costuming are not what the new
> person in charge wants them to be, that they have to meet higher standards
> now - if the new person in charge hasn't been in the program as long as
> they have?  The same question goes for me, the new costume mistress for
> the program.  My own solution would be to ask that when an objectionable
> garment wears out it should be replaced by a better one.  But I'm a
> volunteer, as are all the participants, so the question becomes a delicate
> one to ask.

     It's a tough call, depending on the motivation and resources of the
existing people to update their clothing.  There will always be the
types who want to wear what has been accepted for the last 50
years....

     I also don't agree on the "when it wears out" school of thought.  I
would make categories based on the complexity/expense of each
garment.  A pair of gloves, for example, might last a long time, but
would be easy to replace.  That should be done by the next season or
within a month, whatever works.  A tailored coat is expensive and
might have a "grandfather" period of a year or two.

     An "old" volunteer might have something incorrect in his wardrobe
that only comes out once or twice a year, and would take eons to wear
out.  Also have you considered if someone decides to give or loan
their old, incorrect item to a new person in the group?

     Also as far as the time to replace/wearing out - how visible is the
item?  Say a different period skirt worn underneath the correct skirt
or an earlier chemise (if either is appropriate).  If you can't see
the difference when the person is dressed, how soon must it be
replaced?  (Unless the person is doing a demo on the layers worn
under an outfit of the time, of course.)

> Which 'cheats' are considered acceptable and which are not?  Some of the
> male characters are played by women with long hair, and they have always
> braided it and let it hang down their backs.  By 1901 pigtails were out of
> use by working class men, even sailors.  Should we insist that these
> women, who aren't going to extremes to fool anyone but who do act like
> guys, do something about the hair and obvious female anatomy?  (BTW,
> the program's female characters have always worn corsets, or at least
looked
> like they were.)

     Yes, women playing men (or vice versa) should make an effort to look
the part.  For women, put up the hair under a hat, take off the
makeup and nail polish (yes, I've seen this!) bind and pad to look
like a heavy guy rather than a skinny guy with breasts.  Also pencil
in the eyebrows a bit if the woman plucks them - men don't pluck! 
It's not necessary to add 5-o'clock shadow and a prosthesis, just
hide the things that are obviously female.

> I have just begun an inventory of the stock of costumes this program has,
> and have compiled a list of "over my dead body" items I don't ever want to
> see used in a program I'm costume mistress of.  There's also a soft list
> of things, like some of the mens' shirts, which read more like the 1850s
than
> like 1901, which I'd like to phase out or, if currently not in use, to not
> issue to anyone.

     Great idea!  For the shirts, how much of it shows?  Are they wearing
waistcoats and coats, or is the shirt fully exposed?

> The new person in charge also wants a list of costumes we need in
> stock.  I'm currently talking to him about getting participants to make
> their own costumes, to save program budget money we no longer have.  I
> have rashly volunteered to help all participants do this (and the program's
> historian has already roped me into a two-person shirt-sewing session with
> her).

     Also a good idea!  There will be people complaining about "uniforms"
and "cookie cutter" looks.  Maybe they can clear their research with
the committee before making something that is not within the new
guidelines.

     I look forward to reading about your progress in this project!

     -Carol

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Subject: [h-cost] Re: A-S/Viking tag
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I don't think that I can post attachments to the list, but I'll be glad to 
send you (offline) any pictures that you are interested in.

The sprang was on display at the Yorkshire Museum in York as well as a lot 
of other good stuff. The foot is missing but the rest was in pretty good 
shape. It dates from Late Roman period. I'll send it to you offline.

The Viking head-covering (silk) was at the FitzWilliam in Cambridge. 
(AWESOME manuscript display, by the way) They do not allow photography. It 
was complete and in excellent condition. The book "Viking Age Headcoverings 
from Dublin" ISBN: 0954385551  has an excellent description and photos of 
the type. I just happen to have a piece of silk in my stash that matches 
very closely....

We were also at the West Stowe Anglo-Saxon Village and at Sutton Hoo (and 
other places).

Beth

At 01:03 PM 9/28/2005, you wrote:
>Date: Wed, 28 Sep 2005 10:49:35 -0700 (PDT)
>From: Chris <emeraldepona@yahoo.com>
>Subject: [h-cost] A-S/Viking tag - Re: Eleonora da Toledo -- forensics
>
>Picture(s)???  Did you say picture(s)???  I don't suppose you would post 
>them?
>
>:-)  Chris G.
>
>Beth and Bob Matney <bmatney@alltel.net> wrote:
>We were unable to make it to Scandinavia on this trip (just not enough
>time), so we went to the UK again. Saw a nice sprang "sock" (Roman period)
>in York and have a pretty good photo of it, a silk headcovering (Viking)
>and wool tunic (Coptic) in Cambridge, among other things. Had a very nice
>time visiting and comparing notes with various "living history" reenactment
>groups that we met while there.
>
>Beth

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To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] living history questions
Date: Wed, 28 Sep 2005 15:57:42 -0400
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Hi Carolyn~!

It sounds like you have a pretty big task ahead, but the good news is, it *can* be done, and the
program will be better for it in the long run. Our group did the same sort of thing several years
ago, and it's been a long growth process. We did lose some people, but the ones who stayed are
happy that we did it.  It sounds like you are blessed with a program director who has a vision and
a plan, and he's looking to delegate the work to get it done. Good on him! He really needs the
trust and support of the remaining core volunteers. 

I'll answer your questions below:

-----Original Message-----
 On Behalf Of Carolyn Kayta Barrows
Sent: Wednesday, September 28, 2005 9:47 AM

There has been a change in the leadership of a living history program I am 
in.  The new person in charge wants revive the program, which has almost 
become depopulated, and to make us look and act like a real living history 
program.  I am assuming that a higher standard of authenticity in costuming 
will help both to attract new people and to improve things generally, but 
I'm a costumer.

My questions:

What do you look for in a living history program you're considering 
joining?  What, besides the fact that it's a time period you're interested 
in, would attract you to such a program and, time permitting, make you want 
to come play?

## For me, it's all about the history, regardless of the who/when/where. I want the feeling of
complete immersion, and I want to try and convey that to the public, even if only just a fraction
of it crosses over. To me, it's magic!  Having accurate clothing plays a big part in recreating
this feeling. Making sure that everyone knows the whole story of the place or events, and is able
to talk about it also is a huge part of the picture. 


The new person in charge has specified two levels of participation, one 
full-time and one part-time.  We will have a core of regulars, and room for 
drop-ins who don't have the time nor the inclination to make a full-time 
commitment.  And he's allowing for days core people have to miss.

##This is an excellent plan, imo. Always remember that this is a volunteer outfit! Appreciate them
for what they give, and don't make them feel bad for what they can't give. Most of us would give
our eye teeth to be able to "play" all day long, but Real Life Comes First. I've seen program
directors get too caught up in looking good for their own bosses and end up treating the nice
people very poorly. Then in a few months they really panic when they look around and realize they
have no more volunteers. 


How authentic to the period should the costumes be at first?  We have 
several male characters who are wearing OK-looking generic working class 
clothing from our period, and about three women in garments that are about 
right for the year we've chosen (1901).  Should we go easy on the 
authenticity at first, and try to raise the standards later, or should we 
change to the higher standards now, and try to raise the few older members 
up to them?

## This is a really tough one.  My experience has been to just make the standards *now*, and have
everyone understand why you are doing this. Yes, some people are not going to like it, but some
people are going to rejoice! I bet if you talk to your program director, he'll back you up on the
new rules. After all, it's *his* vision! 


What is the best way to tell people who have been doing the program since 
it began, but whose standards of authentic costuming are not what the new 
person in charge wants them to be, that they have to meet higher standards 
now - if the new person in charge hasn't been in the program as long as 
they have?  The same question goes for me, the new costume mistress for the 
program.  My own solution would be to ask that when an objectionable 
garment wears out it should be replaced by a better one.  But I'm a 
volunteer, as are all the participants, so the question becomes a delicate 
one to ask.

## This is a delicate problem indeed. If you think you have some folks who are going to really balk
or get sniffy, then they will need some extra TLC. But the reality is, things like this are just a
fact of life. How many times have you had a job where all of a sudden you get a new boss, half your
age and full of newfangled ideas? It's a tough adjustment, but most people handle it just fine
eventually. Either that, or they move on to softer pastures. Don't let the few who *might* resent
changes cause you or your boss to hold back from what you know to be right. Who knows, they just
might surprise you!  You said that the program is in a low spot now anyway. If so, I bet the troops
all know it and are ready for something new. So, make new standards and recruit new people! 


Which 'cheats' are considered acceptable and which are not?  Some of the 
male characters are played by women with long hair, and they have always 
braided it and let it hang down their backs.  By 1901 pigtails were out of 
use by working class men, even sailors.  Should we insist that these women, 
who aren't going to extremes to fool anyone but who do act like guys, do 
something about the hair and obvious female anatomy?  (BTW, the program's 
female characters have always worn corsets, or at least looked like they were.)

##  I firmly believe that if a person is going to attempt a cross-gender interpretation, they need
to work extra hard to pull it off. It can be done successfully, but it takes conscious effort to do
so. Yes, I would have these women dress their hair, clothes and accessories to reflect the average
male of the period. If they can adopt male mannerisms, more the better.  This also applies to women
dressing age and class appropriately. Too often I've seen someone get caught up in some romantic
notion and spend a small fortune on an outfit that she should never be in for the circumstances
she's portraying. 

You will also have to enforce eyeglasses, shoes, hairstyles and jewelry. Lucky for you, 1901 era is
easier than many. Always remember that old adage "The devil is in the details", because it really
is the little things that make all the difference. 

I have just begun an inventory of the stock of costumes this program has, 
and have compiled a list of "over my dead body" items I don't ever want to 
see used in a program I'm costume mistress of.  There's also a soft list of 
things, like some of the mens' shirts, which read more like the 1850s than 
like 1901, which I'd like to phase out or, if currently not in use, to not 
issue to anyone.

## Great idea! Cull out the rotten apples first! Perhaps there is another historic site near you
that these items would be more appropriate for? If so, I'm sure they would appreciate the donation.
Stick to your plan of having only correct things at your site.


The new person in charge also wants a list of costumes we need in 
stock.  I'm currently talking to him about getting participants to make 
their own costumes, to save program budget money we no longer have.  I have 
rashly volunteered to help all participants do this (and the program's 
historian has already roped me into a two-person shirt-sewing session with 
her).

## For those who are only occasional volunteers it is a good idea to have some loaner stuff
available. It's impossible to try and have something for -every- body, but you can make an attempt
anyway. Having the core people make their own stuff does go a long way towards a feeling of
inclusion and ownership of the project. First thing is to compile a list of accepted patterns,
fabrics, trims, accessories, reading list, etc and have it readily available, both online and in
paper, if possible. It'll take some time to compile, but it will be so worth it in the end. If you
can, make a fabric swatch book. (This is a good project to delegate to an assistant if you have
one) I've found that new people really benefit from seeing examples of what they can have.  Make
the swatches available for check-out so that people can borrow them to take shopping if they want.
It wouldn't hurt to also list some of the "don't go there" stuff, and why it's off-limits. 

As far as having sewing sessions, this is a wonderful thing! Are there any young ladies who would
like to join in? (This is a great way for older Girl Scouts to get all kinds of service badges).
Heck, why not do it during open hours? Having somebody(s) sitting on the porch with a sewing basket
would be absolutely appropriate. I'm always amazed by the number of people who are amazed at ME
when I'm just hand sewing!  Is there an appropriate machine in the house? If so, use it! Doing
period things in a period manner is what it's all about! 

Hope this helps,

::Linda::

          



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Subject: Re: [h-cost] Tambour embroidery
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In a message dated 9/28/2005 12:03:40 PM Eastern Standard Time, 
audreybmorin2@hotmail.com writes:

> I've found sites who sell tambour embroidery kits, but none that supply 
> instructions. I'm not looking for anything extensive, just a basic guide 
> would be fine...
> 

Have you tried your local library for a book on it? A big "embroidery bible" 
may include such things. I know....so low tech...but you may have better luck 
there than on the Internet.
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From: "Audrey Bergeron-Morin" <audreybmorin2@hotmail.com>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] Tambour embroidery
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>> I've found sites who sell tambour embroidery kits, but none that supply
>> instructions. I'm not looking for anything extensive, just a basic guide
>> would be fine...
>>
> Have you tried your local library for a book on it? A big "embroidery 
> bible"
> may include such things. I know....so low tech...but you may have better 
> luck
> there than on the Internet.

Libraries around here are... well... full of cooking and gardening books, 
but not much else. Ah, and candle and soapmaking too. I'd have to go to the 
Central library, but all I wanted was a quick look :-) Not worth the travel 
time unless I actually plan to *do* some tambour embroidery at some point 
:-)

BUT you've just reminded me that I've got an Encyclopedia of Needlework... 
there's about 2 pages on tambour embroidery, not very clear, but better than 
nothing! 
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From: Lynn Downward <lynndownward@gmail.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Tambour embroidery
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HI, Audrey,

I took a class on tambour last fall. It seemed that the most important
thing to remember is that the fabric MUST, MUST, *MUST* be taut all
around, more so than any other embroidery you've ever done. You will
work with one hand above and one hand below your fabric. You load up
your thread with the beads and you crochet a chain stitch through the
fabric, with the beads underneath. Sounds simple, eh? NO, the beads
try to fall out as you work, the hook - as small as it is - tries to
stick into the fabric always in the wrong place. I spent the day
learning, the evening practicing and at bedtime, I put the project
away and never went back to it. Now, if I had given it a fair chance I
might be still doing the work. Others in the class did some lovely
work. I'm pretty clever with my hands; I can learn things fairly
easily, but not tambour work. I think I went too quickly from working
with the thread to the beaded thread --- trying to run before I really
got that balance thing worked out while I was walking. It was all me
who couldn't get it right; the teacher was good and patient. My friend
got quite fast with her work andd swears by tambour for both
embroidery and for beading, but I will continue to slog away and bead
with a needle the old-fashioned way.

Lacis sells the tambour hooks and I'm pretty sure they have books on
the subject. Maybe check with their website and then go looking
elsewhere for used copies of the books???

Best wishes,
LynnD


On 9/28/05, Audrey Bergeron-Morin <audreybmorin2@hotmail.com> wrote:
>
> >> I've found sites who sell tambour embroidery kits, but none that supply
> >> instructions. I'm not looking for anything extensive, just a basic guide
> >> would be fine...
> >>
> > Have you tried your local library for a book on it? A big "embroidery
> > bible"
> > may include such things. I know....so low tech...but you may have better
> > luck
> > there than on the Internet.
>
> Libraries around here are... well... full of cooking and gardening books,
> but not much else. Ah, and candle and soapmaking too. I'd have to go to the
> Central library, but all I wanted was a quick look :-) Not worth the travel
> time unless I actually plan to *do* some tambour embroidery at some point
> :-)
>
> BUT you've just reminded me that I've got an Encyclopedia of Needlework...
> there's about 2 pages on tambour embroidery, not very clear, but better than
> nothing!
> _______________________________________________
> 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] Tudor/Elizabethan Jewellery
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----- Original Message ----- 
From: "Suzi Clarke" <suzi@suziclarke.co.uk>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, September 29, 2005 6:19 AM
Subject: [h-cost] Tudor/Elizabethan Jewellery


> 
> I'm sorry to be so vague and forgetful, but recently someone posted a 
> lovely Tudor/Elizabethan Jewellery site owned by a fellow h-cost 
> member. I thought I had it bookmarked, but cannot fins it anywhere. 
> Could someone please re-post.
> 
> Thanks
> 
> Suzi
> 
> (I have 5 Tudor ladies to costume and bejewel)

Was it www.sapphireandsage.com  ?

Even if it wasn't, it's a lovely site.  ;-)

Dianne
> 

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I'm sorry to be so vague and forgetful, but recently someone posted a 
lovely Tudor/Elizabethan Jewellery site owned by a fellow h-cost 
member. I thought I had it bookmarked, but cannot fins it anywhere. 
Could someone please re-post.

Thanks

Suzi

(I have 5 Tudor ladies to costume and bejewel)



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At 12:23 29/09/2005, you wrote:

>----- Original Message ----- From: "Suzi Clarke" <suzi@suziclarke.co.uk>
>To: "Historical Costume" <h-costume@indra.com>
>Sent: Thursday, September 29, 2005 6:19 AM
>Subject: [h-cost] Tudor/Elizabethan Jewellery
>
>
>>I'm sorry to be so vague and forgetful, but recently someone posted 
>>a lovely Tudor/Elizabethan Jewellery site owned by a fellow h-cost 
>>member. I thought I had it bookmarked, but cannot fins it anywhere. 
>>Could someone please re-post.
>>Thanks
>>Suzi
>>(I have 5 Tudor ladies to costume and bejewel)
>
>Was it www.sapphireandsage.com  ?
>
>Even if it wasn't, it's a lovely site.  ;-)



That's the one - thank you kindly.

Suzi


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  Byrde, Penelope    A VISUAL HISTORY OF COSTUME: THE TWENTIETH CENTURY


Anyone have comments on this book? What are the illustrations like? I 
find it listed several places in bibliographies, but can't find a review 
or annotation describing it. I'm hoping it covers everyday dress of the 
early half of the century and not just 'fashion'. Has anyone seen it?




Dawn


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Dawn: My public library has this book and I've seen it. Mostly, it uses
either pics of actual costume, or portraits, or fashion plates, as I
recall. But it isn't really a lot of ordinary everyday wear. For sources
of that, try the reprints of catalogs like Sears. I believe it is Dover
that has done reprints by decade(roughly)starting with 1909-1920 of
catalog pages from mainly Sears, but supplementing them with some other
catalogs, like Wards.

Hope this helps.

Cindy Abel

 

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
On Behalf Of Dawn
Sent: Thursday, September 29, 2005 8:59 AM
To: Historical Costume
Subject: [h-cost] Review? 'Visual History of Costume: 20th Century' 


  Byrde, Penelope    A VISUAL HISTORY OF COSTUME: THE TWENTIETH CENTURY


Anyone have comments on this book? What are the illustrations like? I
find it listed several places in bibliographies, but can't find a review
or annotation describing it. I'm hoping it covers everyday dress of the
early half of the century and not just 'fashion'. Has anyone seen it?




Dawn


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In a message dated 9/29/2005 10:10:11 A.M. Eastern Standard Time,  
CynthiaAbel@creighton.edu writes:

For  sources
of that, try the reprints of catalogs like Sears. I believe it is  Dover
that has done reprints by decade(roughly)starting with 1909-1920  of
catalog pages from mainly Sears, but supplementing them with some  other
catalogs, like Wards.



Even though they are not costume books per se, the Time-Life series on the  
decades of the 20th century are also good sources for "everyday" costume, lots  
and lots of photographs.
 
Ann Wass
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Subject: [h-cost] Re: HELP! I need a substitute to teach at KWCS
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I have been requested to cross post this to the list. Hope that someone can 
help her out.

Beth

At 03:09 PM 9/29/2005, you wrote:
>Date: Thu, 29 Sep 2005 20:03:47 -0000
>    From: "Maura Folsom" <jauncourt@yahoo.com>
>Subject: HELP! I need a substitute to teach at KWCS
>
>I'm afraid that I'm not going to be able to teach at KWCS. I am
>scheduled to teach two classes with 12th century focus - making court
>dress (women and men) and women's court hairdressing, and one with a
>14thc focus - making dagges based on the TExtiles and Clothing
>artifacts. I need to find someone to cover these classes. Is there
>anyone on this list who is going to be going who might be willing to
>take over one or both of the classes?
>
>I'll be happy to send you the course materials and lecture notes.
>
>We've had a family emergency (my uncle is in the hospital, and may be
>dying). My mother and grandmother are going up to Nova Scotia to see
>him, which means that I will not have transportation, childcare, or
>means to come (all money set aside for my trip is being spent for the
>trip to see my uncle). They expect to be gone for a few weeks.
>
>Marguerie de Jauncourt

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From: Julie <jtknits@jtknits.cts.com>
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Subject: [h-cost] Tambour embroidery
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I'm wondering just what *is* tambour embroidery.  I have a series of needles in assorted sizes that I can put into a handle, run thread through the needle and up the hollow body of the handle and do what I was told was punch embroidery or Russian embroidery.

I also have a tambour hook.  It looks like a crochet hook on a solid wooden handle but has a vicious point on the head of it.  I don't see where the thread would go with this one.  I thought it was worked from the wrong side of the fabric and the thread (and beads) run across the front of the fabric.  You make chain stitched on the wrong side that's facing you.

Which is what?  And is either one found before 1600?

Thanks
Julie

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From: Lynn Downward <lynndownward@gmail.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Tambour embroidery
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And there's the thing, Julie. You're managing the fabric, placement of
the "vicious hook" which is just big enough to get stuck on threads
while going back through the fabric, the thread (separate from the
hook) in your left hand, and the beads. that's what makes it so hard
for my brain. I can't juggle all those things at once. You're right
about the chain stitched on the wrong side of the fabric, which is
facing you. You have the thread and most of the beads on top of the
fabric and just the extra thread and some beads below while working.
You learn with practice to rotate the hook "just right" so it gets
through the fabric without catching, but it takes a bit of practice,
like crochet with a fish hook.

The size of the hook used is dependent on the weave of the ground
cloth. We used a really tiny hook while working on netting; we used a
larger one while working on linen and the largest size while working
on osnaburg. Contrary to logic, neither the larger hook nor the
smallest hook was easier to use. You know how one is taught to crochet
using a large hook with fat yarn; that logic doesn't help here.

i just reread what I wrote. Very negative. I had a terrible time with
tambour. I was only one person in a class of 8-10; most everyone else
managed to learn and enjoy the process. I only learned it.

LynnD

On 9/29/05, Julie <jtknits@jtknits.cts.com> wrote:
> I'm wondering just what *is* tambour embroidery.  I have a series of needles in assorted sizes that I can put into a handle, run thread through the needle and up the hollow body of the handle and do what I was told was punch embroidery or Russian embroidery.
>
> I also have a tambour hook.  It looks like a crochet hook on a solid wooden handle but has a vicious point on the head of it.  I don't see where the thread would go with this one.  I thought it was worked from the wrong side of the fabric and the thread (and beads) run across the front of the fabric.  You make chain stitched on the wrong side that's facing you.
>
> Which is what?  And is either one found before 1600?
>
> Thanks
> Julie
>
> _______________________________________________
> 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] Tambour embroidery
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http://www.smallbusinessnotes.com/businesses/manufacturing/artscrafts/croche
t.html

http://www.answers.com/topic/tambour-lace?hl=crochet

http://www.answers.com/topic/crochet


De


Books for me to order later.
http://www.amazon.com/exec/obidos/tg/detail/-/1931499446/103-5335735-5231047
?v=glance
http://www.amazon.com/exec/obidos/tg/detail/-/156158231X/103-5335735-5231047
?v=glance



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Subject: Re: [h-cost] Tambour embroidery
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I didn't take a class, but did attempt to do some tambour using instructions 
from a book I purchased at Lacis.  I too am usually adept at such work, good 
with my hands and patient at handwork.

I found tambour exceedingly difficult, was very unhappy with my progress and 
eventually abandoned the project in favor of hand beading.

I may try again, but it's really difficult, at least for me.  It's oddly 
reassuring to hear a similar story.

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: "Lynn Downward" <lynndownward@gmail.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, September 29, 2005 3:17 PM
Subject: Re: [h-cost] Tambour embroidery


> And there's the thing, Julie. You're managing the fabric, placement of
> the "vicious hook" which is just big enough to get stuck on threads
> while going back through the fabric, the thread (separate from the
> hook) in your left hand, and the beads. that's what makes it so hard
> for my brain. I can't juggle all those things at once. You're right
> about the chain stitched on the wrong side of the fabric, which is
> facing you. You have the thread and most of the beads on top of the
> fabric and just the extra thread and some beads below while working.
> You learn with practice to rotate the hook "just right" so it gets
> through the fabric without catching, but it takes a bit of practice,
> like crochet with a fish hook.
>
> The size of the hook used is dependent on the weave of the ground
> cloth. We used a really tiny hook while working on netting; we used a
> larger one while working on linen and the largest size while working
> on osnaburg. Contrary to logic, neither the larger hook nor the
> smallest hook was easier to use. You know how one is taught to crochet
> using a large hook with fat yarn; that logic doesn't help here.
>
> i just reread what I wrote. Very negative. I had a terrible time with
> tambour. I was only one person in a class of 8-10; most everyone else
> managed to learn and enjoy the process. I only learned it.
>
> LynnD
>
> On 9/29/05, Julie <jtknits@jtknits.cts.com> wrote:
>> I'm wondering just what *is* tambour embroidery.  I have a series of 
>> needles in assorted sizes that I can put into a handle, run thread 
>> through the needle and up the hollow body of the handle and do what I was 
>> told was punch embroidery or Russian embroidery.
>>
>> I also have a tambour hook.  It looks like a crochet hook on a solid 
>> wooden handle but has a vicious point on the head of it.  I don't see 
>> where the thread would go with this one.  I thought it was worked from 
>> the wrong side of the fabric and the thread (and beads) run across the 
>> front of the fabric.  You make chain stitched on the wrong side that's 
>> facing you.
>>
>> Which is what?  And is either one found before 1600?
>>
>> Thanks
>> Julie
>>
>> _______________________________________________
>> 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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>Always remember that this is a volunteer outfit!

Oh, you thought I was getting paid for this job?  Only the park rangers get 
paid at this site.  The rest of us are doing it because we want to.

>## Great idea! Cull out the rotten apples first! Perhaps there is another 
>historic site near you
>that these items would be more appropriate for?

If these garments are any period, they're Laura Ashley - too cutesy-poo for 
any real historical use.

>## For those who are only occasional volunteers it is a good idea to have 
>some loaner stuff
>available. It's impossible to try and have something for -every- body, but 
>you can make an attempt
>anyway. Having the core people make their own stuff does go a long way 
>towards a feeling of
>inclusion and ownership of the project.

This is the only program I've ever been in where the costumes were 
provided.  Everyplace else I've been you have to provide your own.  So I'm 
trying to downplay the "provided" aspect and encourage the "ownership" 
one.  This will make my job more difficult, but it should stretch our 
budget much farther (assuming we still have a budget next year...).  In 
future I hope it's only the really new docents, or the drop-ins, who will 
be wearing the loaners.

>can, make a fabric swatch book.

Great idea.  Thanx.

>It wouldn't hurt to also list some of the "don't go there" stuff, and why 
>it's off-limits.

I hesitate to tell a real newbie what she or he mustn't do, for fear 
they'll do it.  But I guess I can take a picture of the worst of the "don't 
go there" garments, for an example of what to avoid.

>As far as having sewing sessions, this is a wonderful thing! Are there any 
>young ladies who would
>like to join in? (This is a great way for older Girl Scouts to get all 
>kinds of service badges).

I wish I knew some Girl Scouts.  Mostly the program's historian and I will 
be sewing mens' shirts.  Then I will be doing smaller sessions with any new 
volunteer who wants to make her own costume.

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

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Date: Fri, 30 Sep 2005 00:07:48 -0700
To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: 1Re: [h-cost] living history questions
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>      Also from a personal viewpoint, I enjoy some people who do first
>person and interacting with them to some extent.  But I have
>experienced the sort who are overbearing, set on "acting" and treat
>other interpretors as extras. (insulting, etc.)  If that was going on
>in the program, I would lose interest.  Other people might enjoy that
>kind of conflict.

Those of us in costume do first person.  And the other volunteers at the 
site, plus most of the Rangers, do what they always do, and can answer the 
modern questions our characters can't ("Where's the nearest ATM machine?").

>      Thinking in terms of being new to the group, I would be very annoyed
>if I was told my (about to be made or purchased) things were ok, and
>then told later that they were not.  ESPECIALLY if someone knew all
>along they were not right but did not say anything!

One time I got all my fabric approved and was halfway to finishing my dress 
before I was told not only that one of my colors was wrong but that it had 
never been approved in the first place (same person approved and then 
objected).  I had to drop out of the program because I couldn't afford to 
change fabrics.  I'm now in a position to make sure that this doesn't 
happen to any of our people.

>out.  Also have you considered if someone decides to give or loan
>their old, incorrect item to a new person in the group?

Most of our women's garments are from our stock, so this won't happen for them.

>If you can't see
>the difference when the person is dressed, how soon must it be
>replaced?

If it really doesn't show, I'll probably never notice it (modern 
underwear), and there's only so much looking I'm prepared to do.  I'll only 
notice if its lack (corset, petticoat) shows.

Shirts were what I was thinking of when I mentioned replacements occasioned 
by wear.  If someone is currently wearing one of our shirts which I think 
it's not quite right, I will offer to replace it with a more acceptable one 
when that one wears out.  But I will offer to do neat mends on any 
otherwise acceptable shirt, regardless of ownership, because I think neat 
mends done in a period style make any costume shirt look more like a real 
historical garment.

>There will be people complaining about "uniforms"
>and "cookie cutter" looks.

Starting with me.  I know what I want for the women by general silhouette, 
and will provide as many different examples of this as I can, to avoid 
having us all looking as "cookie cutter" as our uniformed park rangers do.


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

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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: [h-cost] Gustavian harvest feast
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Dear all,
I have uploaded some pictures from this last weekends event at the 
gustavians in Stockholm.
It was situated in romantic sourroundings like a small Petite Trianon.
Dinner was esquisite and the company as allways very nice.
Please use your back button to get back to the index.
http://www.my-drewscostumes.dk/beatelund2005.htm
Unfortunately i had a small accident. When busses were driving us back to 
Stockholm i couldnt find my bag and i rushed arround to find it, slipped on 
a staircase and broke my right hand wrist.
My shoes are very slippery!
So no embroidering for me the next 4 weeks :-(

Thankyou fo all your feed back with the topic about why America are more 
into renaissance than 18th century.

Bjarne



Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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Subject: Re: [h-cost] Gustavian harvest feast
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What lovely pictures, Bjarne! So sorry to hear about your broken wrist.
 
Kate Bunting
Librarian and 17th century reenactor

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Subject: Re: [h-cost] Tambour embroidery
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I'm confused about the beads---my understanding of tambour embroidery is that basically you produce a chain stitch.  Where do beads come into the picture?
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To: "Historical Costume" <h-costume@indra.com>
References: <001401c5c59b$ef98f9f0$7c83fea9@CPQ21932199711>
Subject: Re: [h-cost] Gustavian harvest feast
Date: Fri, 30 Sep 2005 09:24:21 -0400
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What a fun party!  Enjoyed the pictures very much: but in such a sylvan
setting, I found the presence of bottled beer to be just a little
disconcerting...but then again, maybe we need little things like this to
remind us that we are only "playing".
Perhaps the enforced rest from your hoops and pillows will give you time to
search out your next exquisite project.

Kathleen

----- Original Message ----- 
From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: <h-costume@indra.com>
Sent: Friday, September 30, 2005 4:49 AM
Subject: [h-cost] Gustavian harvest feast


> Dear all,
> I have uploaded some pictures from this last weekends event at the
> gustavians in Stockholm.
> It was situated in romantic sourroundings like a small Petite Trianon.
> Dinner was esquisite and the company as allways very nice.
> Please use your back button to get back to the index.
> http://www.my-drewscostumes.dk/beatelund2005.htm
> Unfortunately i had a small accident. When busses were driving us back to
> Stockholm i couldnt find my bag and i rushed arround to find it, slipped
on
> a staircase and broke my right hand wrist.
> My shoes are very slippery!
> So no embroidering for me the next 4 weeks :-(
>
> Thankyou fo all your feed back with the topic about why America are more
> into renaissance than 18th century.
>
> Bjarne
>
>
>
> Leif og Bjarne Drews
> www.my-drewscostumes.dk
>
> http://home0.inet.tele.dk/drewscph/
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>

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From: "otsisto" <otsisto@socket.net>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Tambour embroidery
Date: Fri, 30 Sep 2005 08:40:54 -0500
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>From my understanding (and this is from one source so take with a grain of
salt), Tambour embroidery has the beads and tambour lace is the chainstitch
on a netted background.
Both are created with a hook.
Tambour:
You have for a background cloth a loose weave or netted material that is
pulled taught. Your crochet hook should be small enough that it inserts and
returns with thread without much difficulty.
Either side of the chainstitch w/out beads can be used. With beads, the
looped side will be on the backside.
Think couching but where the anchor thread would be, you would pull the top
thread through to the backside and create a loop. Go to the next anchor spot
and pull the thread through making a loop and pull that loop through your
first loop, so on and so forth.

Hope this helps,
De

-----Original Message-----
I'm confused about the beads---my understanding of tambour embroidery is
that basically you produce a chain stitch.  Where do beads come into the
picture?


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Date: Fri, 30 Sep 2005 09:57:01 -0400 (EDT)
Subject: Re: 2RE: [h-cost] living history questions
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>>It wouldn't hurt to also list some of the "don't go there" stuff, and why
>>it's off-limits.
>
> I hesitate to tell a real newbie what she or he mustn't do, for fear
> they'll do it.  But I guess I can take a picture of the worst of the
> "don't go there" garments, for an example of what to avoid.

     They will do it why - because they have been advised not to, or
because they see it and miss where you say "don't"?

     In that case, a bit more explanation might help.  Have the pictures
of the worst and ten minutes worth of WHY.

     I don't know your era, but for Rev War we would say "this is a
gathered circle cap.  You see it on reenactors, in theme restuarants,
etc, but it did not exist in the actual 18thC.  The earliest we know
it was worn was 1888.  Meanwhile here are some pattern sources for
appropriate caps.  There are several choices and people tend to find
them more flattering than the gathered circle."

     I'm guessing there are some typical errors/misconceptions about your
site.  Especialy emphasize how the right way is more attractive.  :-)

     -Carol

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Subject: [h-cost] RE: Gustavian harvest feast
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There are no beer bottles. I saw 2 unmarked wine bottles and one champaign
bottle.
Beer, wine and I believe champaign are within this period.
Bottled beer (so I have been told from a home brewer)is said to have started
at least in one area, in Amsterdam in the late 1600s.

De

-----Original Message-----
What a fun party!  Enjoyed the pictures very much: but in such a sylvan
setting, I found the presence of bottled beer to be just a little
disconcerting...


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To: Historical Costume <h-costume@indra.com>
From: Joan Jurancich <joanmj@surewest.net>
Subject: Re: [h-cost] Gustavian harvest feast
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At 01:49 AM 9/30/2005, you wrote:
>Dear all,
>I have uploaded some pictures from this last weekends event at the 
>gustavians in Stockholm.
>It was situated in romantic sourroundings like a small Petite Trianon.
>Dinner was esquisite and the company as allways very nice.
>Please use your back button to get back to the index.
>http://www.my-drewscostumes.dk/beatelund2005.htm
>Unfortunately i had a small accident. When busses were driving us 
>back to Stockholm i couldnt find my bag and i rushed arround to find 
>it, slipped on a staircase and broke my right hand wrist.
>My shoes are very slippery!
>So no embroidering for me the next 4 weeks :-(
>
>Thankyou fo all your feed back with the topic about why America are 
>more into renaissance than 18th century.
>
>Bjarne
>
>Leif og Bjarne Drews
>www.my-drewscostumes.dk
>
>http://home0.inet.tele.dk/drewscph/

Thank you for posting the pictures.  It reminds me of some of the 
pastoral pictures from the time period.  Everyone looks wonderful.

I'm sorry to hear about your accident.

Joan Jurancich
joanmj@surewest.net 

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Date: Fri, 30 Sep 2005 07:51:33 -0700
Subject: Re: [h-cost] Gustavian harvest feast
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ouch! my sincerest sympathies, and speedy healing!

arlys, broken arm, week 4

On Fri, 30 Sep 2005 10:49:57 +0200 "Bjarne og Leif Drews"
<drewscph@post12.tele.dk> writes:
> Dear all,
> I have uploaded some pictures from this last weekends event at the 
> gustavians in Stockholm.
> It was situated in romantic sourroundings like a small Petite 
> Trianon.
> Dinner was esquisite and the company as allways very nice.
> Please use your back button to get back to the index.
> http://www.my-drewscostumes.dk/beatelund2005.htm
> Unfortunately i had a small accident. When busses were driving us 
> back to 
> Stockholm i couldnt find my bag and i rushed arround to find it, 
> slipped on 
> a staircase and broke my right hand wrist.
> My shoes are very slippery!
> So no embroidering for me the next 4 weeks :-(
> 
> Thankyou fo all your feed back with the topic about why America are 
> more 
> into renaissance than 18th century.
> 
> Bjarne
> 
> 
> 
> Leif og Bjarne Drews
> www.my-drewscostumes.dk
> 
> http://home0.inet.tele.dk/drewscph/ 
> 
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 

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From h-costume-bounces@indra.com  Fri Sep 30 11:58:02 2005
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Date: Fri, 30 Sep 2005 08:00:26 -0700 (PDT)
From: Lalah <lalahcatlady@netscape.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Gustavian harvest feast
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The  pictures  are  wonderful.   I would love to go to an event
like  that  where  everyone  is properly  dressed  and the same
period.   SCA  is  fun,  but there is everything from Romans to
Elizabethan  and all  in  between.   And  the garb is less than
authentic in most cases.

I  am  so  sorry  about your wrist.  Keep dreaming up wonderful
costume and embroidery and the month will pass.  Just don't try
to  rush  the healing and start using it before you are healed.
It will be tempting after a  couple of weeks, but don't do it -
you  will  be  sorry  for the rest of your life if you do.  And
that  comes from one who broke an ankle and fudged a bit.  That
was twenty years ago and it still hurts sometimes.

We will all be thinking about you so hang in there.

Lalah, Never give up, Never surrender

--- "Bjarne og Leif Drews" <drewscph@post12.tele.dk> wrote:
From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
Date: Fri, 30 Sep 2005 10:49:57 +0200
To: <h-costume@indra.com>
Subject: [h-cost] Gustavian harvest feast
Dear all,
I  have uploaded some pictures from this last weekends event at
the
gustavians in Stockholm.
It  was  situated in romantic sourroundings like a small Petite
Trianon.
Dinner was esquisite and the company as allways very nice.
Please use your back button to get back to the index.
http://www.my-drewscostumes.dk/beatelund2005.htm
Unfortunately  i had a small accident. When busses were driving
us back to
Stockholm  i  couldnt  find my bag and i rushed arround to find
it, slipped on
a staircase and broke my right hand wrist.
My shoes are very slippery!
So no embroidering for me the next 4 weeks :-(
Thankyou fo all your feed back with the topic about why America
are more
into renaissance than 18th century.
Bjarne
Leif og Bjarne Drews
www.my-drewscostumes.dk
http://home0.inet.tele.dk/drewscph/
_______________________________________________
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_____________________________________________________________
Netscape. Just the Net You Need.
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From h-costume-bounces@indra.com  Fri Sep 30 11:58:33 2005
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From: elena_o_tighearnaigh@comcast.net
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Subject: Re: [h-cost] Gustavian harvest feast
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Oh *Bjarne!*.

I will pray for a swift healing for you!!!  And may your embroidery withdrawl symptoms be small...

Hugs (careful)!
Elena/Gia


> Dear all,
> I have uploaded some pictures from this last weekends event at the 
> gustavians in Stockholm.
> It was situated in romantic sourroundings like a small Petite Trianon.
> Dinner was esquisite and the company as allways very nice.
> Please use your back button to get back to the index.
> http://www.my-drewscostumes.dk/beatelund2005.htm
> Unfortunately i had a small accident. When busses were driving us back to 
> Stockholm i couldnt find my bag and i rushed arround to find it, slipped on 
> a staircase and broke my right hand wrist.
> My shoes are very slippery!
> So no embroidering for me the next 4 weeks :-(
> 
> Thankyou fo all your feed back with the topic about why America are more 
> into renaissance than 18th century.
> 
> Bjarne
> 
> 
> 
> Leif og Bjarne Drews
> www.my-drewscostumes.dk
> 
> http://home0.inet.tele.dk/drewscph/ 
> 
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
_______________________________________________
h-costume mailing list
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http://mail.indra.com/mailman/listinfo/h-costume

From h-costume-bounces@indra.com  Fri Sep 30 11:58:49 2005
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To: Historical Costume <h-costume@indra.com>
From: Althea Turner <althea@alfalfapress.com>
Date: Fri, 30 Sep 2005 08:07:25 -0700
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Subject: [h-cost] Wikipedia
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I think it was on this list there was a discussion of Wikipedia.  I  
came across this page when looking for ideas on how to make a  
teletubby costume for my son, the budding punster, who wishes to have  
a "Demented LaLa" costume for Halloween.  It's a discussion of the  
orientation of certain cartoon characters. :D

http://en.wikipedia.org/wiki/Talk:Teletubbies

historical costume content:  What were some of the first uses of  
these kind of costumes on television?  Any good pages/ books on how  
to make them?

Thanks!
Althea Turner
althea@alfalfapress.com



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From: "Angharad ver' Reynulf" <dragonwolfcat@yahoo.com>
Subject: Re: [h-cost] Gustavian harvest feast
To: Historical Costume <h-costume@indra.com>
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Speedy healing Bjarne, and follow the doctor's
recommendations!

Jonnalyhn/Angharad
shattered left wrist, week 7-they took the cast off Wednesday!


		
__________________________________ 
Yahoo! Mail - PC Magazine Editors' Choice 2005 
http://mail.yahoo.com
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Date: Fri, 30 Sep 2005 11:25:51 -0700
To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: 2RE: [h-cost] living history questions
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> > I hesitate to tell a real newbie what she or he mustn't do, for fear
> > they'll do it.  But I guess I can take a picture of the worst of the
> > "don't go there" garments, for an example of what to avoid.
>
>      They will do it why - because they have been advised not to, or
>because they see it and miss where you say "don't"?
>
>      In that case, a bit more explanation might help.  Have the pictures
>of the worst and ten minutes worth of WHY.

I guess I'm paranoid about docents wanting to do a cutesy Laura Ashley 
look.  I've seen too much of that on docents at sites around here (tho 
never from re-enactors) and in fact I volunteered to be the costume person 
here in hopes of preventing this very thing.  But, to give credit where 
it's due, all the other female characters in the program (of which I am one 
third of those who remain), either wore corsets or achieved a corseted look 
somehow.  And a real costumer made all our stock of dresses but that awful 
one.

The worst of the costumes we have in stock are ones which were donated by 
well meaning individuals who thought they looked right.  And since we're a 
historical museum it will be almost impossible to de-acquisition (= get rid 
of) these pieces.  But I am now in a position where I can put them all into 
a box and seal it, and refuse to issue them to anyone.  And I guess I could 
put someone into the bad example dress, photograph it, and use the image to 
hold down the zero end of the scale of one to ten where ten is our perfect 
ideal.

>      I don't know your era, but for Rev War we would say "this is a
>gathered circle cap.  You see it on reenactors, in theme restuarants,
>etc, but it did not exist in the actual 18thC.  The earliest we know
>it was worn was 1888.  Meanwhile here are some pattern sources for
>appropriate caps.  There are several choices and people tend to find
>them more flattering than the gathered circle."

Nice wording.  I'll have to remember that, subject only to the conditions 
mentioned below.

>      I'm guessing there are some typical errors/misconceptions about your
>site.  Especialy emphasize how the right way is more attractive.  :-)

We do 1901.  There is a posture shown in many contemporary illustrations 
where the bust is pushed forward and the butt is pushed backward, such that 
a standing woman is bent into an S-shaped curve (think Gibson Girl).  I can 
hardly present this un-natural, but historically correct, posture as 
flattering.  (It's really hard on the back too - I've tried it.)  But many 
dated contemporary photographs show women not exhibiting this posture.  So 
I'm going to have to be careful playing the "flattering" card here.  And 
the silhouette I present as the one to copy will have to be taken from the 
moderate end of what was done in our period.

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

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From: Joan Jurancich <joanmj@surewest.net>
Subject: Re: 2RE: [h-cost] living history questions
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At 11:25 AM 9/30/2005, you wrote:
>>[snip]
>
>We do 1901.  There is a posture shown in many contemporary 
>illustrations where the bust is pushed forward and the butt is 
>pushed backward, such that a standing woman is bent into an S-shaped 
>curve (think Gibson Girl).  I can hardly present this un-natural, 
>but historically correct, posture as flattering.  (It's really hard 
>on the back too - I've tried it.)  But many dated contemporary 
>photographs show women not exhibiting this posture.  So I'm going to 
>have to be careful playing the "flattering" card here.  And the 
>silhouette I present as the one to copy will have to be taken from 
>the moderate end of what was done in our period.
>
>        CarolynKayta Barrows
>dollmaker, fibre artist, textillian
>          www.FunStuft.com
>
>              //// \\\
>             ////-@@\\\
>            ((((   7 )))
>             (((  <> ))))
>                )   ((((((
>           /----\   /---\))

But isn't much (or even most) of that look an optical illusion rather 
than actual physical posture?  Lots of floof in the front and a pad 
for the buttocks should give that look.

Joan Jurancich
joanmj@surewest.net 

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Subject: Re: 2RE: [h-cost] living history questions
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>>We do 1901.  There is a posture shown in many contemporary illustrations 
>>where the bust is pushed forward and the butt is pushed backward, such 
>>that a standing woman is bent into an S-shaped curve (think Gibson 
>>Girl).  I can hardly present this un-natural, but historically correct, 
>>posture as flattering.  (It's really hard on the back too - I've tried 
>>it.)  But many dated contemporary photographs show women not exhibiting 
>>this posture.  So I'm going to have to be careful playing the 
>>"flattering" card here.  And the silhouette I present as the one to copy 
>>will have to be taken from the moderate end of what was done in our period.

>But isn't much (or even most) of that look an optical illusion rather than 
>actual physical posture?  Lots of floof in the front and a pad for the 
>buttocks should give that look.

Fashionable contemporary corsets were cut to make the body do that.  (Norah 
Waugh's book "Corsets and Crinolines" has the pattern I used for 
mine.)  The front floof, and not pads but the cut of the skirt in back, 
accentuated this look.  But throughout the period of this corset shape, the 
earlier non-S-shape corsets were available, at least according to Sears 
catalogs.  So I'm not insisting that any of our living history women do 
that to themselves, since something similar can be accomplished by a little 
front floof and contemporary skirt cutting.

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

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Subject: Re: 2RE: [h-cost] living history questions
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>I guess I'm paranoid about docents wanting to do a cutesy Laura Ashley look.
>
>The worst of the costumes we have in stock are ones which were 
>donated by well meaning individuals who thought they looked right. 
>And since we're a historical museum it will be almost impossible to 
>de-acquisition (= get rid of) these pieces.  But I am now in a 
>position where I can put them all into a box and seal it, and refuse 
>to issue them to anyone.  And I guess I could put someone into the 
>bad example dress, photograph it, and use the image to hold down the 
>zero end of the scale of one to ten where ten is our perfect ideal.

      Yes, seal the box! :-)  While Laura Ashley dresses look 
old-timey or traditional, they are from the late 1970s/early 80s. 
You could equate them with other styles of that era.  Also point out 
what makes the dress Laura Ashley and not 1901.

      My impression is that they are more of a little girl style than 
grown-up.  But you don't want to give the impression they're ok for 
girls, either.

>We do 1901.  There is a posture shown in many contemporary 
>illustrations where the bust is pushed forward and the butt is 
>pushed backward, such that a standing woman is bent into an S-shaped 
>curve (think Gibson Girl).  I can hardly present this un-natural, 
>but historically correct, posture as flattering.  (It's really hard 
>on the back too - I've tried it.)  But many dated contemporary 
>photographs show women not exhibiting this posture.  So I'm going to 
>have to be careful playing the "flattering" card here.  And the 
>silhouette I present as the one to copy will have to be taken from 
>the moderate end of what was done in our period.

      I tend to think a good period outfit is more flattering than 
20thC elements thrown together like a kid playing dress-up.  Isn't 
this the era of the movie "Room with a View"?  There's an example of 
beautiful, flattering costumes.  On live human bodies, not Gibson 
Girl drawings!

      I'm sure you've looked at yourself (or others well-dressed) in 
1901 dress and said "Wow, that looks good!"  It's a matter of 
communicating that enthusiasm to the other volunteers.  If you find 
the posture unattractive, it won't be as convincing.

      -Carol
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Date: Fri, 30 Sep 2005 23:19:16 -0700
To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: 2RE: [h-cost] living history questions
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Status: RO


>      Yes, seal the box! :-)  While Laura Ashley dresses look old-timey or 
> traditional, they are from the late 1970s/early 80s. You could equate 
> them with other styles of that era.  Also point out what makes the dress 
> Laura Ashley and not 1901.

Seal the box, and mark it something like "Do not open till 2070 - when 
contents will be antique".

>      My impression is that they are more of a little girl style than 
> grown-up.  But you don't want to give the impression they're ok for 
> girls, either.

At this time we have no little girls, but you're right that our costume 
guidelines should include children.


>      I'm sure you've looked at yourself (or others well-dressed) in 1901 
> dress and said "Wow, that looks good!"  It's a matter of communicating 
> that enthusiasm to the other volunteers.  If you find the posture 
> unattractive, it won't be as convincing.

The really extreme S-shaped curve is not only not flattering, it's bad for 
the back and, more to the point, it's a few years after 1901.  It's not the 
silhouette I'm going for, it's the one which immediately follows it.  In 
1901 this curve was moderate, and in fact my own costume is based on the 
S-shaped curve corset in Norah Waugh's "Corsets and Crinolines".  But, 
going by Sears catalogs, non-S-shaped curve corsets were being sold in 
1901.  This, and the fact that said curve was accentuated by the cut of the 
garments worn with it, will allow our women to look like 1901 without 
hurting themselves.  My point is that I may not be able to promote this by 
use of the word 'flattering', regardless of the fact that c.1901 is about 
my favorite historical period ever.

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

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