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From: Joannah Hansen <Joannah@sluggy.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] a holiday idea
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I'm interested. 
But I would probably have to make sure that I mailed it no later than the very beginning of December - living on the other side of the world from most of our fellow listers combined with the Christmas postal rush could make its' timely arrival chancy, otherwise. ( And may still do, regardless. ;-P )

Joannah ( in Australia )

--- Dawn <dawn@reddawn.net> wrote:

From: Dawn <dawn@reddawn.net>
Date: Sun, 23 Oct 2005 14:35:38 -0500
To: Historical Costume <h-costume@indra.com>
Subject: [h-cost] a holiday idea

Is there any interest among listmembers for a holiday gift exchange? I 
envision it working something like this: folks sign up with their name, 
address, and a 'favorite' (color, period, animal, technique).  Each 
participant receives the name of another participant and is then charged 
with buying or making a small ($10 -ish) gift and sending it to that 
person by Dec. 20th.

I'm willing to coordinate, of course. :)



Dawn
wet, windy and cold in KC



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In a message dated 10/31/2005 8:07:29 P.M. Eastern Standard Time,  
kahlara@yahoo.com writes:

Anyone  have any suggestions where else I could look, or know of a specific 
pattern I  may have over looked?



Have you looked at Kwik Sew patterns?
 
Ann Wass
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In a message dated 11/1/2005 5:44:16 A.M. Eastern Standard Time,  
AnnBWass@aol.com writes:

Have you  looked at Kwik Sew patterns?



Their website is:
_www.kwiksew.com_ (http://www.kwiksew.com) 
 
Look at pattern 3150. 
 
Ann Wass
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Subject: Re: [h-cost] Planning my first Tudor, need feedback on my plan
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>> And finally, one of my new favorites:
>> http://www.photo.rmn.fr/
>> The search utility here isn't anywhere near as good as bildindex's, but 
>> it's got a lot of great paintings.  Click 'recherche' at the top to do a 
>> search. The dating info on this website makes it hard to pick a date 
>> range, but if you're patient you'll find some great paintings.  Of 
>> course, the paintings are largely French, but you can get some useful 
>> details nonetheless; the French hoods, if nothing else, are very similar 
>> to what was worn in England. I'd suggest doing a search for Corneille de 
>> Lyon (you'll get an option of him or of his atelier; look at both) as 
>> you'll find some great, detailed portraits from around the right time 
>> period.
>>
>> Hope this helps.
>>
>> -E House

Thanks for this link! I've been putting off working on  French hood for a 
while now---I had a sudden attack of laziness!-but I find it verrrry 
interesting (said in best Arte Johnson voice) that the painting of Catherine 
de Medici clearly shows a narrow white strap holding on her hood. My hair is 
very soft and slippery, and normally trying to keep on a hat of any kind 
drives me nuts and makes me cranky, so anything that makes it easier is 
welcome.

Dianne
back to look at more pictures!

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Can someone point me in the way of needlework history of the development of crochet? Warren and Pullan indicate that it was used in ancient times by shepherds as a means of converting sheared wool into garments.  Other references I have turned up  give notice to tambour work, guipuire Maltese laces and such.  Is there any direct documented use of this form of lace making in the 18th C?  In any case, it seems to relate to more primitive and coarse lace work.
Comments?

Kathleen
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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] crochet pattern needed - modern (O.T. sorta)
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Kathleen's recent mail has reminded me that I would love a pattern 
for one of those crochet hats that are so fashionable. Here they are 
in heavy "wool" with a cap back part, and a brim, like a butcher boy 
cap, or what we used to call in the 60's  (God I'm old!) a Donovan 
cap, or like you see in Dickens costume dramas on Oliver Twist and so 
on. Anybody any ideas?

Suzi


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To: Historical Costume <h-costume@indra.com>
From: Joan Jurancich <joanmj@surewest.net>
Subject: Re: [h-cost] crochet
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At 06:07 AM 11/1/2005, you wrote:
>Can someone point me in the way of needlework history of the 
>development of crochet? Warren and Pullan indicate that it was used 
>in ancient times by shepherds as a means of converting sheared wool 
>into garments.  Other references I have turned up  give notice to 
>tambour work, guipuire Maltese laces and such.  Is there any direct 
>documented use of this form of lace making in the 18th C?  In any 
>case, it seems to relate to more primitive and coarse lace work.
>Comments?
>
>Kathleen

This subject has come up numerous times (and on other lists) over the 
years.  Unfortunately, the earliest evidence I've ever seen for 
crochet is sometime in the 1820s.  There are no surviving examples 
that pre-date the 19th century.  It was popular during the mid-late 
19th century to claim ancient roots for many forms of needlework; 
Warren and Pullan are not credible historic sources.  What has been 
claimed to be crochet from "ancient times" has turned out to be 
naalbinding, which can have a superficial resemblance to crochet or 
knitting but is made in an entirely different fashion.

The earliest patterns I have found are for fine thread work done in 
imitation of more expensive lace.  By the 1850s patterns were 
available for wool work for hats, mittens, vests, and shawls.


Joan Jurancich
joanmj@surewest.net 

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Subject: [h-cost] 18th century breeches question
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I'm looking for some basic suggestions.   I have a really great pair of what 
look like 18th century breeches - I say "look like" since there are some 
minor details that were left out in the construction (like pockets).  When 
my wife made them, she made them from a nice heavy linen, and they fit 
great.  They do all the shifting and such needed so I can squat and sit 
comfortably and even wrap  my knees behind my head without them binding 
(assuming I could actually *get* my knees behind my head...)   My problem is 
that as the linen warms up, it loosesn up a bit, and I can't tie them 
tightly enough to actually stay on (which can be somewhat embarassing).

I'm assuming that something needs to be done to the waistband area to keep 
them up, but what?  I may have to go with the suspenders idea, which is 
possible for that period, but I'd like to resove the problem really since I 
don't know what late 19th century suspenders look like.

Thoughts?

Marc


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To: Historical Costume <h-costume@indra.com>
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At 15:00 01/11/2005, you wrote:
>I'm looking for some basic suggestions.   I have a really great pair 
>of what look like 18th century breeches - I say "look like" since 
>there are some minor details that were left out in the construction 
>(like pockets).  When my wife made them, she made them from a nice 
>heavy linen, and they fit great.  They do all the shifting and such 
>needed so I can squat and sit comfortably and even wrap  my knees 
>behind my head without them binding (assuming I could actually *get* 
>my knees behind my head...)   My problem is that as the linen warms 
>up, it loosesn up a bit, and I can't tie them tightly enough to 
>actually stay on (which can be somewhat embarassing).
>
>I'm assuming that something needs to be done to the waistband area 
>to keep them up, but what?  I may have to go with the suspenders 
>idea, which is possible for that period, but I'd like to resove the 
>problem really since I don't know what late 19th century suspenders look like.


Can you split the back seam about 6", fold it back to make the 
opening a little wider, then add lacing? This is contemporary with 
18th century breeches, and can be seen in several original pairs that 
I have had the opportunity to look at. I do it with all my 18th 
century breeches as it allows for both "fat" and "thin" days.

Suzi
(who's just making two such pairs of breeches.) 


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Date: Tue, 01 Nov 2005 10:12:49 -0500
From: monica spence <monicaspence@optonline.net>
Subject: RE: Bronzino (was Re: [h-cost] knit jacket was Re: Moda
	aFirenze1540-1580
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 Most late period sleeves tied or buttoned into the armhole. That puffy
(shirred) sleeve is attached to the gown, the undersleeve ties under it at
the armhole. It is a practical consideration also. A woman could have a
"new" gown with the addition of a pair of sleeves!

BTW-- I've done this gown (gown: black wool and sleeves:maroon wool) The
sleeves have mega pieces...

Yes, Luara was a very famous poet, married to a famous architect who worked
for Duke Cosimo I de Medici of Florence.
Dame Catriona MacDuff

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of Susan B. Farmer
Sent: Sunday, October 30, 2005 12:44 PM
To: Historical Costume
Subject: RE: Bronzino (was Re: [h-cost] knit jacket was Re: Moda
aFirenze1540-1580


Quoting monica spence <monicaspence@optonline.net>:

> The lower sleeves are deep maroon in most of the repros I have seen. It is
> funny that so many color reproductions vary in quality from place to
place.
> Anybody ever see the real portrait up close and personal? And BTW, the
lower
> sleeves (which tie into the armhole BTW, on the Lucrezia Panciatichi  gown
> are eggplant purple (aubergine). Makes for the possibility of interesting
> color combos for costumers who do early 16th C. Florentine...
> Dame Catriona MacDuff
>

I knew that Laura's gown was brown and black (did you know that she was
a Famous Poet?) -- but how can you tell that the maroon lower sleeves
on Lucrezia's gown tie into the armhole?

Jerusha, the sleeve junkie
-----
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: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: Re: [h-cost] 18th century breeches question
Date: Tue, 1 Nov 2005 16:17:06 +0100
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Hi Marc,
Yes i will confirm what Suzi said. Split up the back seam, and make it about 
1 inch smaller, 1/2 inch each side. Also split up the center back of the 
linning, and make lace holes in each side.
I have this in all my  period breeches!

Bjarne
----- Original Message ----- 
From: "Marc Carlson" <marccarlson20@hotmail.com>
To: <h-costume@indra.com>
Sent: Tuesday, November 01, 2005 4:00 PM
Subject: [h-cost] 18th century breeches question


> I'm looking for some basic suggestions.   I have a really great pair of 
> what look like 18th century breeches - I say "look like" since there are 
> some minor details that were left out in the construction (like pockets). 
> When my wife made them, she made them from a nice heavy linen, and they 
> fit great.  They do all the shifting and such needed so I can squat and 
> sit comfortably and even wrap  my knees behind my head without them 
> binding (assuming I could actually *get* my knees behind my head...)   My 
> problem is that as the linen warms up, it loosesn up a bit, and I can't 
> tie them tightly enough to actually stay on (which can be somewhat 
> embarassing).
>
> I'm assuming that something needs to be done to the waistband area to keep 
> them up, but what?  I may have to go with the suspenders idea, which is 
> possible for that period, but I'd like to resove the problem really since 
> I don't know what late 19th century suspenders look like.
>
> Thoughts?
>
> Marc
>
>
> _______________________________________________
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> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 


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Thai Silks is taking a survey to improve their website.  Since I'm 
constantly frustrated by the lack of information, the lack of good photos, 
and the inconvenience of their sample system, I'm hoping to get as many 
people as possible to fill out the survey so that they'll fix what annoys 
me. =}

http://www.digisurvey.com/login.php?u=thai&p=silks

Not affiliated, yada.

-E House 

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Last chance... sign-up ends today (Nov 1) at midnight EST.

You will have received a confirmation from me if you are "In". If you 
think you signed up and did not get a confirmation, check your junk 
email, and if necessary, re-send your address and introduction.

Everyone who is signed up will receive their exchange assignment on 
Wed., probably in the evening.



Dawn


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Subject: Re: [h-cost] 18th century breeches question
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In a message dated 11/1/2005 10:17:37 A.M. Eastern Standard Time,  
drewscph@post12.tele.dk writes:

Split up  the back seam, and make it about 
1 inch smaller, 1/2 inch each side. Also  split up the center back of the 
lining, and make lace holes in each  side.



And for future pairs, make the waistband in 2 pieces, with a seam at center  
back, where you an leave the opening, then put in the lace holes.
 
Ann Wass
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Hi Dawn,
 
Sorry for the very late post.  I'd love to participate and as for time periods, mine are Anglo-Saxon - Viking and 1870-1915.
 
Not sure what else you need from me. I must have inadvertantly deleted the 'e' that explained what info. you were specifically looking for. 
 
Chris G.

Dawn <dawn@reddawn.net> wrote:
Last chance... sign-up ends today (Nov 1) at midnight EST.

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Dawn


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Subject: [h-cost] ettiquite question
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Not quite costume question, but can anyone point me to a source that documents or refers to the social occasion of women leaving the dinnertable and retiring elsewhere while the men continue their after dinner conversations, etc?  I have always understood this was a Victorian convention but am now being told this was also the "Thing" in the 18th Century.  When did the post parandial begin?

Kathleen
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From: monica spence <monicaspence@optonline.net>
Subject: RE: Bronzino (was Re: [h-cost] knit jacket was Re:
	ModaaFirenze1540-1580
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Hmmm. Interesting! Thanks for the info on this, Kate.

Don't feel odd about the inarticulate noises... When I saw Eleonora of
Toledo's wedding portrait (The deep pink (crimson) gown) at the Philly art
Museum, after an hour of staring at it, I was trying to figure out a way to
take it home with me... :-)

And then there was the time that my friend Anna and I ammost got tossed out
of the Metropolitan Musueum of Art in NYC trying to see the back of the
leather fencing doublet that is on permanent display. Not a problem you
would think until you realize that it is displayed in a glass case against a
wall on a form... Sigh!  Why can't museum people learn to display clothing
correctly so it can be seen all the way around? (At least pit a mirror in
the back!)

Dame Catriona MacDuff

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of Ailith Mackintosh
Sent: Sunday, October 30, 2005 6:34 PM
To: Historical Costume
Subject: Re: Bronzino (was Re: [h-cost] knit jacket was Re:
ModaaFirenze1540-1580


I've seen the portrait!! It was the only reason that I made the 4 hour
drive. What an adventure! We nearly got sucked up by a tornado. The car
actually left the road for a brief period of time.

Last year the Detroit Museum of Art was one of the stops in an exhibition
featuring Medici art. She's nearly life-size and the bottom of the portrait
was less than 2 feet off of the floor. I was on my knees in front of it
making inarticulate sounds. The guards thought I'd lost my mind! ;-D

It's a really odd combination. Her gown is black. The bodice is black and
deep burgundy brocade; the upper sleeves and skirt are plain black. There's
no trace of any kind of pattern in either the upper sleeves or the skirt.
Her upper sleeves are ruched like those in the Panciatichi portrait. The
lower sleeves are the same deep burgundy color as in the brocade of the
bodice, though they are solid, not brocade.

kate


----- Original Message -----
From: "monica spence" <monicaspence@optonline.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Sunday, October 30, 2005 11:58 AM
Subject: RE: Bronzino (was Re: [h-cost] knit jacket was Re: Moda
aFirenze1540-1580


> The lower sleeves are deep maroon in most of the repros I have seen. It is
> funny that so many color reproductions vary in quality from place to
> place.
> Anybody ever see the real portrait up close and personal? And BTW, the
> lower
> sleeves (which tie into the armhole BTW, on the Lucrezia Panciatichi  gown
> are eggplant purple (aubergine). Makes for the possibility of interesting
> color combos for costumers who do early 16th C. Florentine...
> Dame Catriona MacDuff


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Subject: Re: [h-cost] 18th century breeches question
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That's similar to what I have to do with my ItalianRen dresses that are made
of linen.  I scootch up to a friend and get them to help me tighten the
bodice lacing (I can't reach).  Doesn't do much for the "drop" I've
experienced with the skirt, though, the times I've worn them in the summer,
and gotten them damp or wet, and had the skirt "grow" several inches....;o)
--Sue
----- Original Message -----
From: "Suzi Clarke" <suzi@suziclarke.co.uk>
To: "Historical Costume" <h-costume@indra.com>
Sent: Tuesday, November 01, 2005 8:06 AM
Subject: Re: [h-cost] 18th century breeches question


> At 15:00 01/11/2005, you wrote:
> >I'm looking for some basic suggestions.   I have a really great pair
> >of what look like 18th century breeches - I say "look like" since
> >there are some minor details that were left out in the construction
> >(like pockets).  When my wife made them, she made them from a nice
> >heavy linen, and they fit great.  They do all the shifting and such
> >needed so I can squat and sit comfortably and even wrap  my knees
> >behind my head without them binding (assuming I could actually *get*
> >my knees behind my head...)   My problem is that as the linen warms
> >up, it loosesn up a bit, and I can't tie them tightly enough to
> >actually stay on (which can be somewhat embarassing).
> >
> >I'm assuming that something needs to be done to the waistband area
> >to keep them up, but what?  I may have to go with the suspenders
> >idea, which is possible for that period, but I'd like to resove the
> >problem really since I don't know what late 19th century suspenders look
like.
>
>
> Can you split the back seam about 6", fold it back to make the
> opening a little wider, then add lacing? This is contemporary with
> 18th century breeches, and can be seen in several original pairs that
> I have had the opportunity to look at. I do it with all my 18th
> century breeches as it allows for both "fat" and "thin" days.
>
> Suzi
> (who's just making two such pairs of breeches.)


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When the Medici exhibit was in Chicago, the Art Institute hired several of us frm Bristol's Guilde of St. George to do Italian Renaissance Court dances (in full kit of course) as part of the entertaining for the gala opening. After our performances were done, we all got to go thru the exhibit- after the paying patrons but before most of the public. Of course we were all fascinated by the portrait of Elenora and her son and we were all clustered around it cooing and ahhing over all the details we could finally see. After a few minutes I noticed that the gallery was very quiet and I realized that all the patrons had moved back against the opposite wall and were standing there watching us with rapt attention. I also realized that we must have made just the most incredible picture ourselves- a group in full 16th century court dress, still partially in our characters, in the midst of all the 16th century objects. Wish I could have gotten video of it. 
 
 
Karen
Seamstrix

-- monica spence <monicaspence@optonline.net> wrote:
Hmmm. Interesting! Thanks for the info on this, Kate.

Don't feel odd about the inarticulate noises... When I saw Eleonora of
Toledo's wedding portrait (The deep pink (crimson) gown) at the Philly art
Museum, after an hour of staring at it, I was trying to figure out a way to
take it home with me... :-)

And then there was the time that my friend Anna and I ammost got tossed out
of the Metropolitan Musueum of Art in NYC trying to see the back of the
leather fencing doublet that is on permanent display. Not a problem you
would think until you realize that it is displayed in a glass case against a
wall on a form... Sigh!  Why can't museum people learn to display clothing
correctly so it can be seen all the way around? (At least pit a mirror in
the back!)

Dame Catriona MacDuff

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of Ailith Mackintosh
Sent: Sunday, October 30, 2005 6:34 PM
To: Historical Costume
Subject: Re: Bronzino (was Re: [h-cost] knit jacket was Re:
ModaaFirenze1540-1580


I've seen the portrait!! It was the only reason that I made the 4 hour
drive. What an adventure! We nearly got sucked up by a tornado. The car
actually left the road for a brief period of time.

Last year the Detroit Museum of Art was one of the stops in an exhibition
featuring Medici art. She's nearly life-size and the bottom of the portrait
was less than 2 feet off of the floor. I was on my knees in front of it
making inarticulate sounds. The guards thought I'd lost my mind! ;-D

It's a really odd combination. Her gown is black. The bodice is black and
deep burgundy brocade; the upper sleeves and skirt are plain black. There's
no trace of any kind of pattern in either the upper sleeves or the skirt.
Her upper sleeves are ruched like those in the Panciatichi portrait. The
lower sleeves are the same deep burgundy color as in the brocade of the
bodice, though they are solid, not brocade.

kate


----- Original Message -----
From: "monica spence" <monicaspence@optonline.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Sunday, October 30, 2005 11:58 AM
Subject: RE: Bronzino (was Re: [h-cost] knit jacket was Re: Moda
aFirenze1540-1580


> The lower sleeves are deep maroon in most of the repros I have seen. It is
> funny that so many color reproductions vary in quality from place to
> place.
> Anybody ever see the real portrait up close and personal? And BTW, the
> lower
> sleeves (which tie into the armhole BTW, on the Lucrezia Panciatichi  gown
> are eggplant purple (aubergine). Makes for the possibility of interesting
> color combos for costumers who do early 16th C. Florentine...
> Dame Catriona MacDuff


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Subject: [h-cost] Re: 18th century breeches question
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>From: Suzi Clarke <suzi@suziclarke.co.uk>
>Can you split the back seam about 6", fold it back to make the
>opening a little wider, then add lacing? This is contemporary with
>18th century breeches, and can be seen in several original pairs that
>I have had the opportunity to look at. I do it with all my 18th
>century breeches as it allows for both "fat" and "thin" days.

It's already split in back and tied.  I'm not sure if it's possible to alter 
the angle on the split to make it more snug, but it's possible that may be 
the only real answer.

Marc


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Subject: Re: [h-cost] Re: 18th century breeches question
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At 21:40 01/11/2005, you wrote:
>>From: Suzi Clarke <suzi@suziclarke.co.uk>
>>Can you split the back seam about 6", fold it back to make the
>>opening a little wider, then add lacing? This is contemporary with
>>18th century breeches, and can be seen in several original pairs that
>>I have had the opportunity to look at. I do it with all my 18th
>>century breeches as it allows for both "fat" and "thin" days.
>
>It's already split in back and tied.  I'm not sure if it's possible 
>to alter the angle on the split to make it more snug, but it's 
>possible that may be the only real answer.


Do you have a buckle and strap arrangement as well as your tie? I 
feel sure I have seen a buckle and strap on the body of the breeches, 
not just the waist, but can't call to mind if they were a pair of 
court breeches from the 19th century, or a pair of 18th century.

Of course the cheating, 21st century way, would be to herringbone two 
pieces of elastic into the side waistbands, on the inside of course, 
and slightly smaller than the space they occupy, to give "grip" at the sides.

Or put a "sticky" lining, like velvet, suede or similar, on to the 
inside of the waistband, also to give grip.

Suzi


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How long is your shirt underneath? If it is as long as it might have 
been in period times it should also help anchor the breeches up. Is it 
cotton or linen? Linen has more gripping power than cotton IMO. And 
don't worry - my husband is slim and seems to have the same problem as 
you - I made another pair with a waistband that went up higher on the 
waist and that seems to be working for now, although I'm starting to 
think of suspenders.......
Regards, Aylwen Garden
http://www.regencyreproductions.com

On Wednesday, November 2, 2005, at 02:00  AM, Marc Carlson wrote:

> I'm looking for some basic suggestions.   I have a really great pair 
> of what look like 18th century breeches - I say "look like" since 
> there are some minor details that were left out in the construction 
> (like pockets).  When my wife made them, she made them from a nice 
> heavy linen, and they fit great.  They do all the shifting and such 
> needed so I can squat and sit comfortably and even wrap  my knees 
> behind my head without them binding (assuming I could actually *get* 
> my knees behind my head...)   My problem is that as the linen warms 
> up, it loosesn up a bit, and I can't tie them tightly enough to 
> actually stay on (which can be somewhat embarassing).
>
> I'm assuming that something needs to be done to the waistband area to 
> keep them up, but what?  I may have to go with the suspenders idea, 
> which is possible for that period, but I'd like to resove the problem 
> really since I don't know what late 19th century suspenders look like.
>
> Thoughts?
>
> Marc
>
>
> _______________________________________________
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Subject: FW: [h-cost] Holiday Gift Exchange 
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Sorry to forward without permission but, it looked like some did not know
where to sign up.

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Dawn
Sent: Tuesday, October 25, 2005 1:41 PM
To: Historical Costume
Subject: [h-cost] Holiday Gift Exchange 

Welcome to the 2005 H-COST Holiday Gift Exchange.

Please DO NOT reply to the List. Please address all replies to me at 
Dawn@reddawn.net.

Please leave the H-COST header intact in your reply so your message does 
not end up in the spam-trap.


_What we're doing. _

We will be exchanging small costume and sewing related gifts with each 
other. To participate you must sign up (below). There are rules, so that 
everybody knows what is expected of them, but I want this to be fun so I 
am keeping the rules simple. If you want to participate, please read 
this entire message.

The Sign-up Deadline is November 1st. The Mailing Deadline is Dec.19th.


_The Rules._

1. You are responsible for completing your end of the exchange on time. 
Please be sure you can follow through on your committment.

2. Gifts should be sewing or costume related. Gifts may be hand-made for 
the recipient, or purchased, or may be items you already have. Gifts 
should be clean and in good condition and suitable for giving. You will 
be given guidelines to help you choose a gift for your recipient.

3. Gifts should be in the $10-$15 US range, and no more than that. (8-12 
euros). It's ok if you can get something on sale or make something from 
supplies you already have. Second-hand books in good condition are ok. 
We all know how many desireable but out-of-print titles are out there.

4. Plan to mail your gift in early to mid December. Remember that it 
will cost you postage on top of what you spent on the gift. Small and 
lightweight objects are generally cheaper to mail. If you are mailing 
overseas you may have to fill out a Customs Declaration.

5. After the sign-up period I will create a mailing list for all 
participants so that I can stay in touch with you and send reminders. 
Email should be addressed to me, or to this list and not to H-Cost.

6. Each person who joins will be randomly matched up with one person 
they will send a gift to. Additionally, someone else will send a gift to 
you. For example, Ann will send to Bob. Bob will send to Clara. Clara 
will send to Ann. This way each person will meet two H-Costumers by 
giving and receiving. You will know who you are sending to, but not who 
is sending to you.


_Join Now!_

1. To join you must send me your name and mailing address. Please reply 
to me at dawn@reddawn.net and NOT to the H-Cost list. The sign-up period 
ends November 1st.

2. Introduce yourself. Tell me a little bit about you, your family, your 
pets, what you do -- as much as you feel comfortable sharing. It's been 
suggested that you include your dress size.

3. Tell me some of your Favorite Things. What do you sew? What time 
period or place interests you? Is there a favorite technique or process 
that you enjoy? (weaving, dyeing, embroidery, etc.) Do you have a 
favorite color or theme?

4. If you live outside the US and know your Duty limit, please include 
it. If you are within the US and do not wish to mail to another country, 
please let me know.




I think that about covers it. If you have questions or concerns, please 
reply to me at dawn@reddawn.net and NOT to the H-Cost list.



Dawn


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From h-costume-bounces@indra.com  Tue Nov  1 22:05:39 2005
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Does anyone know how to make kick pleats on the back of a pirate coat?  Like 
the one Johnny Depp wore in Pirates of the Carribean?  The pleats look like 
they have alot of fabric but seem to lay smooth at the top where the pleats 
begin.  Any help would be much appreciated.


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I drafted my kickpleats from Norah Waugh's book "The Cut of Men's Clothes".
Regards, Aylwen Garden

http://www.regencyreproductions.com

YVONNE SCHNYDER wrote:

> Does anyone know how to make kick pleats on the back of a pirate 
> coat?  Like the one Johnny Depp wore in Pirates of the Carribean?  The 
> pleats look like they have alot of fabric but seem to lay smooth at 
> the top where the pleats begin.  Any help would be much appreciated.
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>
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Thanks! I appreciate it! :)


>From: A & J Garden <garden@earthlydelights.com.au>
>Reply-To: Historical Costume <h-costume@indra.com>
>To: Historical Costume <h-costume@indra.com>
>Subject: Re: [h-cost] Kick pleats on 17th century pirate coat
>Date: Wed, 02 Nov 2005 14:42:19 +1100
>
>I drafted my kickpleats from Norah Waugh's book "The Cut of Men's Clothes".
>Regards, Aylwen Garden
>
>http://www.regencyreproductions.com
>
>YVONNE SCHNYDER wrote:
>
>>Does anyone know how to make kick pleats on the back of a pirate coat?  
>>Like the one Johnny Depp wore in Pirates of the Carribean?  The pleats 
>>look like they have alot of fabric but seem to lay smooth at the top where 
>>the pleats begin.  Any help would be much appreciated.
>>
>>
>>_______________________________________________
>>h-costume mailing list
>>h-costume@mail.indra.com
>>http://mail.indra.com/mailman/listinfo/h-costume
>>
>_______________________________________________
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>h-costume@mail.indra.com
>http://mail.indra.com/mailman/listinfo/h-costume


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It looks something like this,

http://www.costumes.org/HISTORY/100pages/leloirX1.htm

find the pattern about 1/3 the way down the page, "Pattern for a 
Jutaucorps [sic] with pagoda sleeve"

Norah Waugh's book is a very good source. Expensive, but worth it.



Dawn


A & J Garden wrote:

> I drafted my kickpleats from Norah Waugh's book "The Cut of Men's Clothes".
> Regards, Aylwen Garden
> 
> http://www.regencyreproductions.com
> 
> YVONNE SCHNYDER wrote:
> 
>> Does anyone know how to make kick pleats on the back of a pirate 
>> coat?  Like the one Johnny Depp wore in Pirates of the Carribean?  The 
>> pleats look like they have alot of fabric but seem to lay smooth at 
>> the top where the pleats begin.  Any help would be much appreciated.
>>
_______________________________________________
h-costume mailing list
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http://mail.indra.com/mailman/listinfo/h-costume

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I got my book as a remaindered library book - its the small hardback 
early edition - but everything inside is just the same.
I found another pattern online that has the fold lines marked - 
http://www.costumes.org/HISTORY/leloir/justaucorpspattern.jpg
Cheers, Aylwen


Dawn wrote:

> It looks something like this,
>
> http://www.costumes.org/HISTORY/100pages/leloirX1.htm
>
> find the pattern about 1/3 the way down the page, "Pattern for a 
> Jutaucorps [sic] with pagoda sleeve"
>
> Norah Waugh's book is a very good source. Expensive, but worth it.
>
>
>
> Dawn
>
>
> A & J Garden wrote:
>
>> I drafted my kickpleats from Norah Waugh's book "The Cut of Men's 
>> Clothes".
>> Regards, Aylwen Garden
>>
>> http://www.regencyreproductions.com
>>
>> YVONNE SCHNYDER wrote:
>>
>>> Does anyone know how to make kick pleats on the back of a pirate 
>>> coat?  Like the one Johnny Depp wore in Pirates of the Carribean?  
>>> The pleats look like they have alot of fabric but seem to lay smooth 
>>> at the top where the pleats begin.  Any help would be much appreciated.
>>>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>
_______________________________________________
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Status: RO

Thanks Kim and Ann - that is perfect!
 
Annette M


>>Anyone have any suggestions where else I could look, or know of a specific 
>>pattern I may have over looked?
>
>
>
>Have you looked at Kwik Sew patterns?


		
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From: "YVONNE SCHNYDER" <vovvie@msn.com>
To: h-costume@indra.com
Subject: Re: [h-cost] Kick pleats on 17th century pirate coat
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Thanks so much!


>From: Dawn <dawn@reddawn.net>
>Reply-To: Historical Costume <h-costume@indra.com>
>To: Historical Costume <h-costume@indra.com>
>Subject: Re: [h-cost] Kick pleats on 17th century pirate coat
>Date: Tue, 01 Nov 2005 21:49:29 -0600
>
>It looks something like this,
>
>http://www.costumes.org/HISTORY/100pages/leloirX1.htm
>
>find the pattern about 1/3 the way down the page, "Pattern for a Jutaucorps 
>[sic] with pagoda sleeve"
>
>Norah Waugh's book is a very good source. Expensive, but worth it.
>
>
>
>Dawn
>
>
>A & J Garden wrote:
>
>>I drafted my kickpleats from Norah Waugh's book "The Cut of Men's 
>>Clothes".
>>Regards, Aylwen Garden
>>
>>http://www.regencyreproductions.com
>>
>>YVONNE SCHNYDER wrote:
>>
>>>Does anyone know how to make kick pleats on the back of a pirate coat?  
>>>Like the one Johnny Depp wore in Pirates of the Carribean?  The pleats 
>>>look like they have alot of fabric but seem to lay smooth at the top 
>>>where the pleats begin.  Any help would be much appreciated.
>>>
>_______________________________________________
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Subject: Re: [h-cost] Kick pleats on 17th century pirate coat
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Hi,

I used that pattern for my Captain Jack Sparrow cotume.
And a pattern from I think Sinmplicity for the size.
http://www.deredere.dds.nl/18thcent/18man/Jack/Jack.html
It worked quite well.

A & J Garden wrote:

> I got my book as a remaindered library book - its the small hardback 
> early edition - but everything inside is just the same.
> I found another pattern online that has the fold lines marked - 
> http://www.costumes.org/HISTORY/leloir/justaucorpspattern.jpg
> Cheers, Aylwen
>
>
> Dawn wrote:
>
>> It looks something like this,
>>
>> http://www.costumes.org/HISTORY/100pages/leloirX1.htm
>>
>> find the pattern about 1/3 the way down the page, "Pattern for a 
>> Jutaucorps [sic] with pagoda sleeve"
>>
>> Norah Waugh's book is a very good source. Expensive, but worth it.
>>
>>
>>
>> Dawn
>>
>>
>> A & J Garden wrote:
>>
>>> I drafted my kickpleats from Norah Waugh's book "The Cut of Men's 
>>> Clothes".
>>> Regards, Aylwen Garden
>>>
>>> http://www.regencyreproductions.com
>>>
>>> YVONNE SCHNYDER wrote:
>>>
>>>> Does anyone know how to make kick pleats on the back of a pirate 
>>>> coat?  Like the one Johnny Depp wore in Pirates of the Carribean?  
>>>> The pleats look like they have alot of fabric but seem to lay 
>>>> smooth at the top where the pleats begin.  Any help would be much 
>>>> appreciated.
>>>>
>> _______________________________________________
>> h-costume mailing list
>> h-costume@mail.indra.com
>> http://mail.indra.com/mailman/listinfo/h-costume
>>
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From h-costume-bounces@indra.com  Wed Nov  2 07:41:32 2005
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From: "Elizabeth Walpole" <ewalpole@tpg.com.au>
To: "Historical Costume" <h-costume@indra.com>
References: <43631DEA.5030508@comcast.net>
Subject: Re: [h-cost] Planning my first Tudor, need feedback on my plan
Date: Wed, 2 Nov 2005 23:40:39 +1100
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Status: RO

> So, what do you think?  I have done so much reading that my head is 
> spinning with details.  I don't see a lot of recreation in 1530, moreso in 
> the 1540 range, where there are some changes.  I wish I had more non-royal 
> sources as I really don't need to be that high of class and I'd like to 
> know where I can legitimately skimp on the details.  I'm just looking for 
> some feedback and corrections as needed because I want to go fabric 
> shopping within the week.
>
> -- 
> Elinor Salter

OK, I've been looking through my files and for an example of a 1530s non 
royal portrait I've found this 1536 portrait of Elizabeth Widmerpole by Hans 
Holbein (I couldn't resist it as it's so close to my own name) 
http://au.geocities.com/e_walpole/1536_Widmerpole.jpg it shows a definite 
wrinkle beneath her bust which shows that unboned bodices are period. This 
sketch of Mary Zouch from the 1530s shows the French Hood as worn in England 
at that time http://au.geocities.com/e_walpole/maryzouch.jpeg (as the 1540s 
style of hood is slightly diferent as is the French version and the only 
other reference is Anne Boleyn) I can't work out where I got these images 
from originally so I've put them up on my website,  apart from the wrinkle 
under the bust the portrait of Elizabeth Widmerpole is very similar to the 
portrait of Mary Boleyn I posted in my last message 
http://www.tudorplace.com.ar/images/Boleyn,Mary.jpg and in all three the 
kirtle's neckline is not decorated (if you run short on time or money to 
bead your kirtle's neckline). 
http://www.wga.hu/frames-e.html?/html/h/holbein/hans_y/index.html and look 
at Holbein's sketches (though only a few of them are on this site, I used to 
know a site that had all of them but I've changed computers and haven't 
transfered my favorites yet) These are all the non royal 1530s portraits I 
can find, but if I come across any more I will let you know.
HTH
Elizabeth
--------------------------------------------
Elizabeth Walpole
Canberra Australia
ewalpole[at]tpg.com.au
http://au.geocities.com/e_walpole/

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Subject: [h-cost] Holbein at Portland, was re: Planning my first Tudor
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Good news for Holbein fans in or near Portland, Oregon. NYTimes has an 
article today on the current exhibit at the Portland, Oregon museum of Art:

"Madonna With Basel Mayor Jakob Meyer and His Family," is on view in the 
United States for the first time in a widely anticipated exhibition at 
the Portland Art Museum in Oregon."

(That would be this one: 
http://www.portlandartmuseum.org/asp/special_exhibitions/exhibitions.asp?exhibitionID=39

"The show, "Hesse: A Princely German Collection," provides both a rare 
public glimpse of one of the finest private art collections in Europe 
and an indirect primer on German laws governing cultural patrimony: six 
paintings in the show, including the Holbein, are on that country's list 
of "unexportable national treasures."

Also mentions some 15th century Flemish tapestries but doesn't specify.
Runs through March 19. Full NYTimes article at: (free registration may 
be required to read article)

http://www.nytimes.com/2005/11/02/arts/design/02hess.html?pagewanted=2&th&adxnnl=1&emc=th&adxnnlx=1130938652-nNlXwHi5AgBqUkb/wV7oDA

Information about the exhibit at:
http://www.portlandartmuseum.org/asp/special_exhibitions/exhibitions.asp?exhibitionID=39
catalog and links to some images of the objects

- Hope
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Subject: Re: [h-cost] Re: 18th century breeches question
Date: Wed, 2 Nov 2005 09:19:31 -0500
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I have had occasion to tighten such construction of the back band and solved
the problem by cutting the back band at equal distance to the center,remove
about an inch from the slit areas and rejoin the band ends.  Since there is
usually some ease already at this point, your re-adjust the gathers and
should get a better fit.
----- Original Message ----- 
From: "Marc Carlson" <marccarlson20@hotmail.com>
To: <h-costume@indra.com>
Sent: Tuesday, November 01, 2005 4:40 PM
Subject: [h-cost] Re: 18th century breeches question


> >From: Suzi Clarke <suzi@suziclarke.co.uk>
> >Can you split the back seam about 6", fold it back to make the
> >opening a little wider, then add lacing? This is contemporary with
> >18th century breeches, and can be seen in several original pairs that
> >I have had the opportunity to look at. I do it with all my 18th
> >century breeches as it allows for both "fat" and "thin" days.
>
> It's already split in back and tied.  I'm not sure if it's possible to
alter
> the angle on the split to make it more snug, but it's possible that may be
> the only real answer.
>
> Marc
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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Subject: Re: [h-cost] Re: 18th century breeches question
Date: Wed, 2 Nov 2005 09:20:26 -0500
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Sorry, the last message attached re band adjustment was from
Kathleen
----- Original Message ----- 
From: "Marc Carlson" <marccarlson20@hotmail.com>
To: <h-costume@indra.com>
Sent: Tuesday, November 01, 2005 4:40 PM
Subject: [h-cost] Re: 18th century breeches question


> >From: Suzi Clarke <suzi@suziclarke.co.uk>
> >Can you split the back seam about 6", fold it back to make the
> >opening a little wider, then add lacing? This is contemporary with
> >18th century breeches, and can be seen in several original pairs that
> >I have had the opportunity to look at. I do it with all my 18th
> >century breeches as it allows for both "fat" and "thin" days.
>
> It's already split in back and tied.  I'm not sure if it's possible to
alter
> the angle on the split to make it more snug, but it's possible that may be
> the only real answer.
>
> Marc
>
>
> _______________________________________________
> 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] Kick pleats on 17th century pirate coat
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In a message dated 11/2/2005 12:45:32 AM Eastern Standard Time, 
garden@earthlydelights.com.au writes:

> http://www.costumes.org/HISTORY/leloir/justaucorpspattern.jpg
> 

Great pattern


Looks 1740s


I made my pirate coat more like 1700-17-teens and used Norah Waugh. There's a 
justicorps where the side back comes out at about a 90 degree angle from the 
CB piece. No actual pleating required, it just falls into folds. Very easy to 
make but not a full as the pattern you posted....but still looks great. 
There's plenty of fabric.

The cuff on the sleeves is real too...not added. The long bell shaped sleeve 
actually folds back and buttons to the upper part. The pocket flaps [and 
pockets] are low down on the coat.

Very easy to make
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Subject: [h-cost] Fw:  Medieval Reality Show Auditions
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I haven't checked out the legitimacy of this, but it might interest some of 
y'all:

> Fwd:
> From: Paladin Music & Entertainment
> Date: Sun, 30 Oct 2005 07:04:41 -0800 (PST)
> Subject: [EKSouth] Casting Call of Interest to SCA Members.
>
> IMMEDIATE CASTING CALL
> Paladin Music & Entertainment, Inc. is seeking
> families for an ABC TV Reality Show. The families must
> live the Renaissance, Fantasy or Medieval
> lifestyle. Perfect for rennies, SCA, Markland, etc.
> who have a love and passion for this way of life.
>
> Families must have one or more children ages
> 5 - 19 and all live together. No criminal records.
>
> NO ACTORS. REAL FAMILIES ONLY PLEASE. PAY. Serious
> inquiries only. For further details, please respond
> to: Mr. Chris Lance at paladinmusic@yahoo.com with
> full name, contact phone number and best time to
> call.

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From: Suzi Clarke <suzi@suziclarke.co.uk>
>Do you have a buckle and strap arrangement as well as your tie?...

No buckle, no.  I've seen some that had the buckle instead of a tie, but 
I'll have to start looking at that.

>Of course the cheating, 21st century way, would be to herringbone two 
>pieces of elastic into the side waistbands, on the inside of course, and 
>slightly smaller than the space they occupy, to give "grip" at the sides.

I was thinking about putting something in there to restrict stretching - 
like a strip of leater, or woven tape or something.

>Or put a "sticky" lining, like velvet, suede or similar, on to the inside 
>of the waistband, also to give grip.

Another possiblity, thank you.

------------------------------
From: Garden <garden@earthlydelights.com.au>
>How long is your shirt underneath?

Knee length, Linen.

>...don't worry - my husband is slim and seems to have the same problem as 
>you - I made another pair with a waistband that went up higher on the waist 
>and that seems to be working for now, although I'm starting to think of 
>suspenders.......

Rumor is that this is about when they started being developed, I'm thinking 
for this very problem :)

Marc


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Date: Wed, 02 Nov 2005 19:20:33 +0000
To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] Re: 18th century breeches question
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At 17:35 02/11/2005, you wrote:
>From: Suzi Clarke <suzi@suziclarke.co.uk>
>>Do you have a buckle and strap arrangement as well as your tie?...
>
>No buckle, no.  I've seen some that had the buckle instead of a tie, 
>but I'll have to start looking at that.
>
>>Of course the cheating, 21st century way, would be to herringbone 
>>two pieces of elastic into the side waistbands, on the inside of 
>>course, and slightly smaller than the space they occupy, to give 
>>"grip" at the sides.
>
>I was thinking about putting something in there to restrict 
>stretching - like a strip of leater, or woven tape or something.
>
>>Or put a "sticky" lining, like velvet, suede or similar, on to the 
>>inside of the waistband, also to give grip.
>
>Another possiblity, thank you.
>
>------------------------------
>From: Garden <garden@earthlydelights.com.au>
>>How long is your shirt underneath?
>
>Knee length, Linen.
>
>>...don't worry - my husband is slim and seems to have the same 
>>problem as you - I made another pair with a waistband that went up 
>>higher on the waist and that seems to be working for now, although 
>>I'm starting to think of suspenders.......
>
>Rumor is that this is about when they started being developed, I'm 
>thinking for this very problem :)

The earliest genuine trousers with buttons for suspenders (English 
translation - braces) that I have seen are c.1830. There are earlier 
ones, c.1760-1810, but as these, though genuine, are from a 
theatrical context, I cannot be certain that the buttons were not put 
on at a much later point in their history. Trousers buttoned on to 
upper garments were, of course, worn by late 18th century boys - the 
so-called skeleton suit. And 16-17th century hose/trunks/breeches 
were laced or hooked to the upper garments. It seems odd that only 
the 18th century breeches were intended to be self supporting.

Suzi


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From: Chris <emeraldepona@yahoo.com>
Subject: Re: [h-cost] Fw:  Medieval Reality Show Auditions
To: Historical Costume <h-costume@indra.com>
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I know Chris personally so I'll bite here and say yes, this is legit.  FYI, he's up in Hackettstown, NJ...

E House <formfunc@formfunction.org> wrote:I haven't checked out the legitimacy of this, but it might interest some of 
y'all:

> Fwd:
> From: Paladin Music & Entertainment
> Date: Sun, 30 Oct 2005 07:04:41 -0800 (PST)
> Subject: [EKSouth] Casting Call of Interest to SCA Members.
>
> IMMEDIATE CASTING CALL
> Paladin Music & Entertainment, Inc. is seeking
> families for an ABC TV Reality Show. The families must
> live the Renaissance, Fantasy or Medieval
> lifestyle. Perfect for rennies, SCA, Markland, etc.
> who have a love and passion for this way of life.
>
> Families must have one or more children ages
> 5 - 19 and all live together. No criminal records.
>
> NO ACTORS. REAL FAMILIES ONLY PLEASE. PAY. Serious
> inquiries only. For further details, please respond
> to: Mr. Chris Lance at paladinmusic@yahoo.com with
> full name, contact phone number and best time to
> call.

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---------------------------------
 Yahoo! FareChase - Search multiple travel sites in one click.  
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From: "E House" <formfunc@formfunction.org>
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Seeing as I have no children and therefore won't be applying, do you know 
anything about this that you could tell us?  My local list was briefly very 
interested in it, and then for no apparent reason decided it was a hoax.

-E House

----- Original Message ----- 
From: "Chris" <emeraldepona@yahoo.com>
>I know Chris personally so I'll bite here and say yes, this is legit.  FYI, 
>he's up in Hackettstown, NJ...

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Lynda,

Please email me your address for the Gift Exchange. I don't think my 
mail to you is getting through.



Dawn



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Subject: [h-cost] Holiday Gift exchange - question...clarification
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So we are NOT  supposed to know who sent us our gift?  I just got my 
"assignment," and I'd kinda like to "talk" to this person.  Sounds like 
we have a lot in common!
Good match Dawn!

Sg

I have posted this to the site too Dawn, I figure if I have this 
question, so will others. 
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: [h-cost] embroidery supplies
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Hi,
After you sended the link to chenilles et pappilons, i have wondered. Does 
anybody know where i could get such oval silver spangels, as one of the mens 
jackets, are embroidered with?
Such ones i have ben looking for for ages, and i cant think of what things i 
mis because my french is so lousy. There must be loads of such things for 
sale in paris, when i think about all that haute couture made there with 
Lesage embroideries and the like. Any of you ever ben to paris and found 
such places?
Small tiny oval glassbeads would be a treassure two!

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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From: Chris <emeraldepona@yahoo.com>
Subject: Re: [h-cost] Fw:  Medieval Reality Show Auditions
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Morning,
 
No, sorry I don't.  I can only suggest that you call Chris.  He WILL call you back even if it takes a day or so.  He's very good about that.  Also, don't be put off by his nonstop talking :)  The man has far more energy than one person should have and gets so excited about all the projects he works on.  Feel free to cut him off and ask questions :)

E House <formfunc@formfunction.org> wrote:
Seeing as I have no children and therefore won't be applying, do you know 
anything about this that you could tell us? My local list was briefly very 
interested in it, and then for no apparent reason decided it was a hoax.

-E House

----- Original Message ----- 
From: "Chris" 
>I know Chris personally so I'll bite here and say yes, this is legit. FYI, 
>he's up in Hackettstown, NJ...

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Subject: Re: [h-cost] Holiday Gift exchange - question...clarification
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>So we are NOT  supposed to know who sent us our gift?  I just got my 
>"assignment," and I'd kinda like to "talk" to this person.  Sounds 
>like we have a lot in common!
>Good match Dawn!

     I think the idea is that you reveal who you are when you send the 
gift.  But not beforehand.  I imagine there will be a lot of talking 
once the gift-giving is done!

      -Carol
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Subject: [h-cost] Re: Holiday Gift exchange - question...clarification
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WickedFrau wrote:

> So we are NOT  supposed to know who sent us our gift?  I just got my 
> "assignment," and I'd kinda like to "talk" to this person.  Sounds like 
> we have a lot in common!
> Good match Dawn!


You'll know when they send you something. It's not supposed to be 
completely anonymous, just a mystery at first.

I didn't put any restrictions on contacting your assignment (sounds a 
bit cloak-and-dagger doesn't it?) so if you want to chat or feel you 
need more info before chosing a gift, feel free.

Almost everybody has been paired up. I will finish sending names out today.


Dawn


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----- Original Message ----- 
From: "WickedFrau" <wickedfrau@msn.com>
> So we are NOT  supposed to know who sent us our gift?  I just got my 
> "assignment," and I'd kinda like to "talk" to this person.  Sounds like we 
> have a lot in common!
> Good match Dawn!


I second the question (great match).  And since I'm now realizing how scanty 
my intro info was (I also like beads and jewelry-making! a lot!) I expect 
whoever got me might want to ask at least something or another.

-E House 

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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Holiday Gift exchange - question...clarification
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On Thu, 3 Nov 2005, Carol Kocian wrote:

> >So we are NOT  supposed to know who sent us our gift?  I just got my 
> >"assignment," and I'd kinda like to "talk" to this person.  Sounds 
> >like we have a lot in common!
> 
>      I think the idea is that you reveal who you are when you send the 
> gift.  But not beforehand.  I imagine there will be a lot of talking 
> once the gift-giving is done!

I have someone who does a period I know absolutely nothing about, and now
I'm trying to figure out where to seek help on making a good choice --
since I can't post my questions to the list!

--Robin

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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] embroidery supplies
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On Thu, 3 Nov 2005, Bjarne og Leif Drews wrote:

> After you sended the link to chenilles et pappilons, i have wondered. Does 
> anybody know where i could get such oval silver spangels, as one of the mens 
> jackets, are embroidered with? ...
> Small tiny oval glassbeads would be a treassure two!

Not sure about the spangles, but one huge source of glass beads would be
Fire Mountain, at http://www.firemountain.com . They ship internationally.
Be sure to check the "Outlet store" and "Great Product" sections of the
site for bargains, as well as the main catalog.

They might have something that works for spangles under metal beads or
findings -- there's a lot of sterling, silverplate, and pewter.

Warning: You can spend hours here.

--Robin


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At 14:23 03/11/2005, you wrote:
>Hi,
>After you sended the link to chenilles et pappilons, i have 
>wondered. Does anybody know where i could get such oval silver 
>spangels, as one of the mens jackets, are embroidered with?
>Such ones i have ben looking for for ages, and i cant think of what 
>things i mis because my french is so lousy. There must be loads of 
>such things for sale in paris, when i think about all that haute 
>couture made there with Lesage embroideries and the like. Any of you 
>ever ben to paris and found such places?
>Small tiny oval glassbeads would be a treassure two!
>
>Bjarne


Try 
http://www.creativebeadcraft.co.uk/pdf/BeadcraftPriceList.pdf#search='Ells%20and%20Farrier'

or http://www.debbiesiniska.co.uk/beads/links.html

You may not know all the people on the links page, although I am sure 
you know Ells and Farrier.

Suzi


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Hi, I keep getting someone elses messages, I think you have the wrong email 
address.


>From: Dawn <dawn@reddawn.net>
>Reply-To: Historical Costume <h-costume@indra.com>
>To: Historical Costume <h-costume@indra.com>
>Subject: [h-cost] Re: Holiday Gift exchange - question...clarification
>Date: Thu, 03 Nov 2005 09:10:39 -0600
>
>WickedFrau wrote:
>
>>So we are NOT  supposed to know who sent us our gift?  I just got my 
>>"assignment," and I'd kinda like to "talk" to this person.  Sounds like we 
>>have a lot in common!
>>Good match Dawn!
>
>
>You'll know when they send you something. It's not supposed to be 
>completely anonymous, just a mystery at first.
>
>I didn't put any restrictions on contacting your assignment (sounds a bit 
>cloak-and-dagger doesn't it?) so if you want to chat or feel you need more 
>info before chosing a gift, feel free.
>
>Almost everybody has been paired up. I will finish sending names out today.
>
>
>Dawn
>
>
>_______________________________________________
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-----Original Message-----
Hi,
After you sended the link to chenilles et pappilons, i have wondered. Does
anybody know where i could get such oval silver spangels, as one of the mens
jackets, are embroidered with?
Such ones i have ben looking for for ages, and i cant think of what things i
mis because my french is so lousy. There must be loads of such things for
sale in paris, when i think about all that haute couture made there with
Lesage embroideries and the like. Any of you ever ben to paris and found
such places?
Small tiny oval glassbeads would be a treassure two!

Bjarne

Reply:
http://www.crazycrow.com/Merchant2/merchant.mvc?Screen=CTGY&Category_Code=53
0-900-000

These are circular and not oval. I can't seem to find the papillon site back
to see if you were really meaning circular or not.
Crazy Crow Trading is a good company to deal with. If you have the time you
may browse their site for other goodies.:)
Their sequins/spangles come in two sizes, 1/4 inch and 3/8 inch (roughly 1
1/2 cm ?). Brass and silver.

De


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I have someone who does a period I know absolutely nothing about, and
now
I'm trying to figure out where to seek help on making a good choice --
since I can't post my questions to the list!

--Robin
=====================
Post privately to someone on the list who you know might know something
about the period?

Catherine

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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Re: Holiday Gift exchange - question...clarification
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On Thu, 3 Nov 2005, Catherine Kinsey wrote:

> I have someone who does a period I know absolutely nothing about, and
> now I'm trying to figure out where to seek help on making a good
> choice -- since I can't post my questions to the list!

> Post privately to someone on the list who you know might know something
> about the period?

Tee hee. Just did. It took me a while to figure out who, though. I don't
pay much attention to post-1500 threads.

I think I'll also take a spin through the archives.

--Robin

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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] embroidery supplies
Date: Thu, 3 Nov 2005 20:49:35 +0100
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Hi,
It was oval seaqins i was after, doesnt seem to be in fashion these days.
I looked at your link and found this:
German Silver Sheet Metal - 28 Gauge, 6"x12"
Wich is thin silver plate wich you could cut out yourself.
Perhaps that would be a solution. This was very much in use in 18th century 
to cut out special shapes and add to your embroidery.

Bjarne
----- Original Message ----- 
From: "otsisto" <otsisto@socket.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, November 03, 2005 8:23 PM
Subject: RE: [h-cost] embroidery supplies


> -----Original Message-----
> Hi,
> After you sended the link to chenilles et pappilons, i have wondered. Does
> anybody know where i could get such oval silver spangels, as one of the 
> mens
> jackets, are embroidered with?
> Such ones i have ben looking for for ages, and i cant think of what things 
> i
> mis because my french is so lousy. There must be loads of such things for
> sale in paris, when i think about all that haute couture made there with
> Lesage embroideries and the like. Any of you ever ben to paris and found
> such places?
> Small tiny oval glassbeads would be a treassure two!
>
> Bjarne
>
> Reply:
> http://www.crazycrow.com/Merchant2/merchant.mvc?Screen=CTGY&Category_Code=53
> 0-900-000
>
> These are circular and not oval. I can't seem to find the papillon site 
> back
> to see if you were really meaning circular or not.
> Crazy Crow Trading is a good company to deal with. If you have the time 
> you
> may browse their site for other goodies.:)
> Their sequins/spangles come in two sizes, 1/4 inch and 3/8 inch (roughly 1
> 1/2 cm ?). Brass and silver.
>
> De
>
>
> _______________________________________________
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> h-costume@mail.indra.com
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Subject: Re: [h-cost] Re: Holiday Gift exchange - question...clarification
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Hi,
I am going to do that two, and i hope it is allright to do this.
New period, very exciting to try it out!

Bjarne
       
----- Original Message ----- 
From: "Catherine Kinsey" <ckinsey@kumc.edu>
To: <h-costume@indra.com>
Sent: Thursday, November 03, 2005 8:26 PM
Subject: [h-cost] Re: Holiday Gift exchange - question...clarification


>I have someone who does a period I know absolutely nothing about, and
> now
> I'm trying to figure out where to seek help on making a good choice --
> since I can't post my questions to the list!
> 
> --Robin
> =====================
> Post privately to someone on the list who you know might know something
> about the period?
> 
> Catherine
> 
> _______________________________________________
> 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] embroidery supplies
Date: Thu, 3 Nov 2005 14:30:07 -0600
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If you cut your own shapes you will need something to smooth down the edges.

De

-----Original Message-----
Hi,
It was oval seaqins i was after, doesnt seem to be in fashion these days.
I looked at your link and found this:
German Silver Sheet Metal - 28 Gauge, 6"x12"
Wich is thin silver plate wich you could cut out yourself.
Perhaps that would be a solution. This was very much in use in 18th century
to cut out special shapes and add to your embroidery.

Bjarne


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Would it be possible to use one of the new fancy punches that are currently
the vogue for scrapbooking? I have tried a "corrugated press" for paper and
have found that if the fabric is crisp enough, it will pattern the
fabric.(This is another scrapbook item).  I suspect that the foil sequins
will be 'buried' in the embroidery enough that the rough edges will not be a
problem.

Kathleen
----- Original Message ----- 
From: "otsisto" <otsisto@socket.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, November 03, 2005 3:30 PM
Subject: RE: [h-cost] embroidery supplies


> If you cut your own shapes you will need something to smooth down the
edges.
>
> De
>
> -----Original Message-----
> Hi,
> It was oval seaqins i was after, doesnt seem to be in fashion these days.
> I looked at your link and found this:
> German Silver Sheet Metal - 28 Gauge, 6"x12"
> Wich is thin silver plate wich you could cut out yourself.
> Perhaps that would be a solution. This was very much in use in 18th
century
> to cut out special shapes and add to your embroidery.
>
> Bjarne
>
>
> _______________________________________________
> 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] embroidery supplies
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Emery boards for fingernail filing work very well for delicate things like
this, I use them for smoothing out the edges of plastic jewels and glass
shisha mirrors for dance costumes. Added bonus, a pack of the disposable
ones is usually very cheap.

Sheridan


> If you cut your own shapes you will need something to smooth down the
edges.
>
> De
>
> -----Original Message-----
> Hi,
> It was oval seaqins i was after, doesnt seem to be in fashion these days.
> I looked at your link and found this:
> German Silver Sheet Metal - 28 Gauge, 6"x12"
> Wich is thin silver plate wich you could cut out yourself.
> Perhaps that would be a solution. This was very much in use in 18th
century
> to cut out special shapes and add to your embroidery.
>
> Bjarne
>
>
> _______________________________________________
> 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 Nov  3 17:13:17 2005
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From: Chris Laning <claning@igc.org>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] embroidery supplies
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I've been experimenting with making similar things -- see this page for my first attempts:
http://claning.home.igc.org/bezants/bezants.htm

None of the things I've sewed these onto so far have seen much wear, but the edges of the metal are definitely _not_ sharp enough to cut fingers, and they don't seem to be doing any damage to the fabric they're sewed onto.

The 32-gauge soft brass sheet I've been using can be cut with ordinary scissors and pierced by a needle, but I would not expect a punch designed to work on paper to be sharp enough or sturdy enough. A leather punch does work (the kind that is mounted on a straight rod that you hit with a hammer). One of my friends tried using some scrapbooking embossing-templates on this metal, and found that while she could get a design, the plastic template wasn't sturdy enough and got pretty well mashed in the process.

Ideally, of course, one would use jewelry-making tools of hardened metal, but the softer metal tools designed for leather do work, though they probably won't last as long.

If there's interest, I have a longer article on bezants that I can post on that web page as well.

-----Original Message-----
From: Lloyd Mitchell <rmitchell@washjeff.edu>
Sent: Nov 3, 2005 1:23 PM
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] embroidery supplies

Would it be possible to use one of the new fancy punches that are currently
the vogue for scrapbooking? I have tried a "corrugated press" for paper and
have found that if the fabric is crisp enough, it will pattern the
fabric.(This is another scrapbook item).  I suspect that the foil sequins
will be 'buried' in the embroidery enough that the rough edges will not be a
problem.

Kathleen
----- Original Message ----- 
From: "otsisto" <otsisto@socket.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, November 03, 2005 3:30 PM
Subject: RE: [h-cost] embroidery supplies


> If you cut your own shapes you will need something to smooth down the
edges.
>
> De
>
> -----Original Message-----
> Hi,
> It was oval seaqins i was after, doesnt seem to be in fashion these days.
> I looked at your link and found this:
> German Silver Sheet Metal - 28 Gauge, 6"x12"
> Wich is thin silver plate wich you could cut out yourself.
> Perhaps that would be a solution. This was very much in use in 18th
century
> to cut out special shapes and add to your embroidery.
>
> Bjarne
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>

_______________________________________________
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____________________________________________________________
0  Chris Laning
|  <claning@igc.org>
+  Davis, California
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Subject: [h-cost] Fwd: [SCA-Laurels] Commercian patterns for Viking and/or
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>From some curious folks, myself included.
Has anyone seen or tried these patterns?  How authentic  are they, etc.?
Thanks.
Nancy

On the  Norsefolk list, a gentleman posted to ask whether the "Viking and 
Saxon"  commercial costume patterns at  
http://www.caliverbooks.com/general/patterns.htm  were worth  buying.


Has anyone seen these patterns?  How accurate  historically are they? Was 
there any documentation and if so was it any  good?  Were they easy to use or 
not?  I'd like to solicit  feedback that I can take back to the Norsefolk  
list.


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

Nancy  Spies
Arelate Studio
_www.weavershand.com/ArelateStudio.html_ 
(http://www.weavershand.com/ArelateStudio.html) 
Ingvild  Josefsdatter, OL
Bright Hills, Atlantia

"But if by a 'Liberal' they  mean someone who looks ahead and not behind, 
someone who welcomes new ideas  without rigid reactions, someone who cares about 
the welfare of the people --  their health, their housing, their schools, 
their jobs, their civil rights, and  their civil liberties -- someone who believes 
we can break through the stalemate  and suspicions that grip us in our 
policies abroad, if that is what they mean by  a 'Liberal,' then I'm proud to say 
I'm a 'Liberal'." John F. Kennedy, 14 Sept  1960

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The stationary punches don't work real well with metal. What works to a
degree are leather punches, dies and stamps. Smoothing the edge is
recommended as the edge cut and will cut fabric, embroidery floss and your
fingers. And it not cut snag you fabric and embroidery, as well as prick
your finger(s). Emery board, metal file or dremil tool works. You don't have
to do the whole thing, just where it is sharp.

-----Original Message-----
Would it be possible to use one of the new fancy punches that are currently
the vogue for scrapbooking? I have tried a "corrugated press" for paper and
have found that if the fabric is crisp enough, it will pattern the
fabric.(This is another scrapbook item).  I suspect that the foil sequins
will be 'buried' in the embroidery enough that the rough edges will not be a
problem.

Kathleen


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Subject: [h-cost] older singer sewing machines
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 hello everyone

we have a 1951 singer electric sewing machine, and its in reasonable
condition, but we are in need of a new or decent bobbin case, 

machine style number is 201k3e



can anyone help with spares or know of any cheap reliable old machines i can
buy 

thanks all

jessica

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Subject: Re: [h-cost] embroidery supplies
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You have probably saved me another hour of tinkering.  I am quit amazed at
the new tools for dealing with paper and wish someone would produce the same
sort of thing for textiles!  I remember the discussion on re discovering
pinking tools and could yet hope that historical costume interest would come
up with something that would more than "DO".

Kathleen

----- Original Message ----- 
From: "Chris Laning" <claning@igc.org>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, November 03, 2005 5:12 PM
Subject: Re: [h-cost] embroidery supplies


> I've been experimenting with making similar things -- see this page for my
first attempts:
> http://claning.home.igc.org/bezants/bezants.htm
>
> None of the things I've sewed these onto so far have seen much wear, but
the edges of the metal are definitely _not_ sharp enough to cut fingers, and
they don't seem to be doing any damage to the fabric they're sewed onto.
>
> The 32-gauge soft brass sheet I've been using can be cut with ordinary
scissors and pierced by a needle, but I would not expect a punch designed to
work on paper to be sharp enough or sturdy enough. A leather punch does work
(the kind that is mounted on a straight rod that you hit with a hammer). One
of my friends tried using some scrapbooking embossing-templates on this
metal, and found that while she could get a design, the plastic template
wasn't sturdy enough and got pretty well mashed in the process.
>
> Ideally, of course, one would use jewelry-making tools of hardened metal,
but the softer metal tools designed for leather do work, though they
probably won't last as long.
>
> If there's interest, I have a longer article on bezants that I can post on
that web page as well.
>
> -----Original Message-----
> From: Lloyd Mitchell <rmitchell@washjeff.edu>
> Sent: Nov 3, 2005 1:23 PM
> To: Historical Costume <h-costume@indra.com>
> Subject: Re: [h-cost] embroidery supplies
>
> Would it be possible to use one of the new fancy punches that are
currently
> the vogue for scrapbooking? I have tried a "corrugated press" for paper
and
> have found that if the fabric is crisp enough, it will pattern the
> fabric.(This is another scrapbook item).  I suspect that the foil sequins
> will be 'buried' in the embroidery enough that the rough edges will not be
a
> problem.
>
> Kathleen
> ----- Original Message ----- 
> From: "otsisto" <otsisto@socket.net>
> To: "Historical Costume" <h-costume@indra.com>
> Sent: Thursday, November 03, 2005 3:30 PM
> Subject: RE: [h-cost] embroidery supplies
>
>
> > If you cut your own shapes you will need something to smooth down the
> edges.
> >
> > De
> >
> > -----Original Message-----
> > Hi,
> > It was oval seaqins i was after, doesnt seem to be in fashion these
days.
> > I looked at your link and found this:
> > German Silver Sheet Metal - 28 Gauge, 6"x12"
> > Wich is thin silver plate wich you could cut out yourself.
> > Perhaps that would be a solution. This was very much in use in 18th
> century
> > to cut out special shapes and add to your embroidery.
> >
> > Bjarne
> >
> >
> > _______________________________________________
> > h-costume mailing list
> > h-costume@mail.indra.com
> > http://mail.indra.com/mailman/listinfo/h-costume
> >
>
> _______________________________________________
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>
> ____________________________________________________________
> 0  Chris Laning
> |  <claning@igc.org>
> +  Davis, California
> ____________________________________________________________
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Subject: Re: [h-cost] older singer sewing machines
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Try eBay.  I got bobbins for an 1886 Singer that way.

Lalah, Never give up, Never surrender
--- "jessica lynn potter" <mrscrinoline@aol.com> wrote:
From: "jessica lynn potter" <mrscrinoline@aol.com>
Date: Thu, 3 Nov 2005 23:49:14 -0800 (Pacific Standard Time)
To: "Historical Costume" <h-costume@indra.com>
Subject: [h-cost] older singer sewing machines
hello everyone
we  have  a  1951  singer  electric  sewing machine, and its in
reasonable
condition, but we are in need of a new or decent bobbin case,
machine style number is 201k3e
can  anyone  help with spares or know of any cheap reliable old
machines i can
buy
thanks all
jessica
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Subject: [h-cost] Blackwork coif
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Greetings everyone,

    This is a question for those who do blackwork.   I've only done samplers of blackwork.  Now, I would like to make myself a coif and do some blackwork on a shirt for my finace' for his Elizabethan garb.
     I'm not sure how to go about it with the coif.  I have found several sites on how to make the coif but I'm not sure if I should do an outline of the coif pattern on the material then do the blackwork on the pre-cut coif.  Also, I've noticed that many of the fabric and craft stores (Michael's) has like 28 or 32 count pieces of linen - is this fabric okay to use for the coif or should I buy regular even weave linen fabric?
    I basically have the same question for a man's shirt.  I've figured out how to do the cuffs but not sure how to go about any other part of the shirt.
     Thanks for any assistance.

Roscelin

BTW, thanks to everyone who gave suggestions about Elizabethan patterns for my future mother in law.  It seems she had picked up a pattern the same day she asked me to get recommendations.
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From: Robin Netherton <robin@shell.nightowl.net>
To: Historic Costume List <h-costume@indra.com>
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Subject: [h-cost] Upcoming costume event, St. Cloud, Minn.
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As I mentioned a few weeks ago, I'm scheduled to speak at Clothier's
Seminar North (an SCA event) on Sat., Nov. 18, in St. Cloud, Minnesota. I
promised further details when they became available. As of today, there's
a preliminary class list up at
http://www.geocities.com/ursulagoddess/CSNorth_main.html

I'll be giving four lectures -- my mainstays on the Gothic fitted dress,
the Greenland gored gown, the sideless surcote, and the 15th century
V-neck gown.

Given the quantity of classes, the event strikes me as very reasonable: $8
for SCA members, $11 for nonmembers, and you get lunch if you preregister
by Nov. 9.

If this hasn't already been announced on the usual SCA garb lists, I know
the planners would appreciate it if someone would make a mention.

And if anyone on the h-cost list is planning on going, please let me know,
and be sure to introduce yourself at the event. (Don't be put off if I'm
in my usual pre-lecture intense-concentration mode or my post-lecture
brain fog.) I'd love lunch company with some h-cost people!

--Robin



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Status: RO

Thank you, however we are looking for

the mechanism that holds/drives the 

bobbin not the bobbin spool itself.

Would appreciate any help and/or input.

Thanks all,

jessica



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

 

From: Lalah

Date: 11/03/05 16:07:51

To: Historical Costume

Subject: Re: [h-cost] older singer sewing machines

 

Try eBay.  I got bobbins for an 1886 Singer that way.

 

Lalah, Never give up, Never surrender

--- "jessica lynn potter" <mrscrinoline@aol.com> wrote:

From: "jessica lynn potter" <mrscrinoline@aol.com>

Date: Thu, 3 Nov 2005 23:49:14 -0800 (Pacific Standard Time)

To: "Historical Costume" <h-costume@indra.com>

Subject: [h-cost] older singer sewing machines

hello everyone

we  have  a  1951  singer  electric  sewing machine, and its in

reasonable

condition, but we are in need of a new or decent bobbin case,

machine style number is 201k3e

can  anyone  help with spares or know of any cheap reliable old

machines i can

buy

thanks all

jessica

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

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Subject: Re: [h-cost] older singer sewing machines
Date: Thu, 3 Nov 2005 19:42:12 -0500
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Do try e-bay for older parts!  Had great luck finding pieces for my older
(and Beloved) Kenmore, recently
Kathleen
----- Original Message ----- 
From: "jessica lynn potter" <mrscrinoline@aol.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, November 04, 2005 2:49 AM
Subject: [h-cost] older singer sewing machines




 hello everyone

we have a 1951 singer electric sewing machine, and its in reasonable
condition, but we are in need of a new or decent bobbin case,

machine style number is 201k3e



can anyone help with spares or know of any cheap reliable old machines i can
buy

thanks all

jessica

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


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From: Bonnie Booker <aspasia1@gmail.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Blackwork coif
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>
>
> I'm not sure how to go about it with the coif. I have found several sites
> on how to make the coif but I'm not sure if I should do an outline of the
> coif pattern on the material then do the blackwork on the pre-cut coif.

 Draw the outline of the coif on the linen. It is one piece. Then put the
embroidery design on the coif. If you are willing to use modern methods, cut
out a piece of tracing paper in the shape of the coif and trace the
developed design onto the paper with a transfer pencil and iron it on the
outlined coif. Or if you want to be period, draw it on (cartooning) on draw
it on butcher paper and poke holes in it and sprinkle charcoal in the holes.
I recommend the first.

 Also, I've noticed that many of the fabric and craft stores (Michael's) has
> like 28 or 32 count pieces of linen - is this fabric okay to use for the
> coif or should I buy regular even weave linen fabric?

 You can use this, but I use medium weight even weave white linen. Either
way, I line it with white linen.

 I basically have the same question for a man's shirt. I've figured out how
> to do the cuffs but not sure how to go about any other part of the shirt

 You can count threads on the coif and shirt, or on the shirt you can use
waste canvas. Instructions come on the package and you can get it at
Michael's. 14 count is the most common. That means 14 stitches to the inch,
but you can get a higher count (smaller design.)


 Aspasia Moonwind
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Date: Thu, 03 Nov 2005 16:53:46 -0800
To: Historical Costume <h-costume@indra.com>
From: Joan Jurancich <joanmj@surewest.net>
Subject: Re: [h-cost] older singer sewing machines
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The first thing I would do is call my local Singer sales/repair 
shop.  Your machine is not so old that the parts may not be available.
Joan

At 12:39 AM 11/4/2005, you wrote:
>Thank you, however we are looking for the mechanism that holds/drives the
>bobbin not the bobbin spool itself.
>
>Would appreciate any help and/or input.
>
>Thanks all,
>
>jessica
>
>-------Original Message-------
>
>From: Lalah
>Date: 11/03/05 16:07:51
>To: Historical Costume
>Subject: Re: [h-cost] older singer sewing machines
>
>Try eBay.  I got bobbins for an 1886 Singer that way.
>
>Lalah, Never give up, Never surrender
>
>--- "jessica lynn potter" <mrscrinoline@aol.com> wrote:
>From: "jessica lynn potter" <mrscrinoline@aol.com>
>Date: Thu, 3 Nov 2005 23:49:14 -0800 (Pacific Standard Time)
>To: "Historical Costume" <h-costume@indra.com>
>Subject: [h-cost] older singer sewing machines
>
>hello everyone
>
>we  have  a  1951  singer  electric  sewing machine, and its in reasonable
>condition, but we are in need of a new or decent bobbin case,
>machine style number is 201k3e
>
>can  anyone  help with spares or know of any cheap reliable old
>machines i can buy
>
>thanks all
>
>jessica

_______________________________________________
h-costume mailing list
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At 04:13 PM 11/3/2005, you wrote:
>Greetings everyone,
>
>     This is a question for those who do blackwork.   I've only done 
> samplers of blackwork.  Now, I would like to make myself a coif and 
> do some blackwork on a shirt for my finace' for his Elizabethan garb.
>      I'm not sure how to go about it with the coif.  I have found 
> several sites on how to make the coif but I'm not sure if I should 
> do an outline of the coif pattern on the material then do the 
> blackwork on the pre-cut coif.  Also, I've noticed that many of the 
> fabric and craft stores (Michael's) has like 28 or 32 count pieces 
> of linen - is this fabric okay to use for the coif or should I buy 
> regular even weave linen fabric?
>     I basically have the same question for a man's shirt.  I've 
> figured out how to do the cuffs but not sure how to go about any 
> other part of the shirt.
>      Thanks for any assistance.
>
>Roscelin
>
>BTW, thanks to everyone who gave suggestions about Elizabethan 
>patterns for my future mother in law.  It seems she had picked up a 
>pattern the same day she asked me to get recommendations.

The best way to do it is to outline the coif on your fabric; put it 
in the frame and work your pattern.  Do not cut it out until you are 
done with the embroidery.


Joan Jurancich
joanmj@surewest.net 

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Subject: Re: [h-cost] older singer sewing machines
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I will contact them and see what they have to say.

Thank you,

jessica & vicky 

 

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

 

From: Joan Jurancich

Date: 11/03/05 16:54:29

To: Historical Costume

Subject: Re: [h-cost] older singer sewing machines

 

The first thing I would do is call my local Singer sales/repair

shop.  Your machine is not so old that the parts may not be available.

Joan

 

At 12:39 AM 11/4/2005, you wrote:

>Thank you, however we are looking for the mechanism that holds/drives the

>bobbin not the bobbin spool itself.

>

>Would appreciate any help and/or input.

>

>Thanks all,

>

>jessica

>

>-------Original Message-------

>

>From: Lalah

>Date: 11/03/05 16:07:51

>To: Historical Costume

>Subject: Re: [h-cost] older singer sewing machines

>

>Try eBay.  I got bobbins for an 1886 Singer that way.

>

>Lalah, Never give up, Never surrender

>

>--- "jessica lynn potter" <mrscrinoline@aol.com> wrote:

>From: "jessica lynn potter" <mrscrinoline@aol.com>

>Date: Thu, 3 Nov 2005 23:49:14 -0800 (Pacific Standard Time)

>To: "Historical Costume" <h-costume@indra.com>

>Subject: [h-cost] older singer sewing machines

>

>hello everyone

>

>we  have  a  1951  singer  electric  sewing machine, and its in reasonable

>condition, but we are in need of a new or decent bobbin case,

>machine style number is 201k3e

>

>can  anyone  help with spares or know of any cheap reliable old

>machines i can buy

>

>thanks all

>

>jessica

 

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Thank you but we have never heard of

this particular sewing machine and we are curious about

it's age, you happen to know the year it was made?

 And yes we will have a look on ebay.

Thanks,

jessica & vicky



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

 

From: Lloyd Mitchell

Date: 11/03/05 16:44:07

To: Historical Costume

Subject: Re: [h-cost] older singer sewing machines

 

Do try e-bay for older parts!  Had great luck finding pieces for my older

(and Beloved) Kenmore, recently

Kathleen

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

From: "jessica lynn potter" <mrscrinoline@aol.com>

To: "Historical Costume" <h-costume@indra.com>

Sent: Friday, November 04, 2005 2:49 AM

Subject: [h-cost] older singer sewing machines

 

 

 

 

  hello everyone

 

we have a 1951 singer electric sewing machine, and its in reasonable

condition, but we are in need of a new or decent bobbin case,

 

machine style number is 201k3e

 

 

 

can anyone help with spares or know of any cheap reliable old machines i can

buy

 

thanks all

 

jessica

 

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

 

 

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Hello,

can anyone give us advice on where we can get hooping material for crinoline
dresses. Are they made of plastic or is it cloth covered wire and could
anyone tell us where to get the appropriate materials please?

thank you,

jessica & vicky
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Subject: Re: [h-cost] Upcoming costume event, St. Cloud, Minn.
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I haven't seen it on any of the SCA lists I'm on, that I recall.  Will be
glad to forward....
--Sue

----- Original Message -----
From: "Robin Netherton" <robin@shell.nightowl.net>
To: "Historic Costume List" <h-costume@indra.com>
Sent: Thursday, November 03, 2005 5:52 PM
Subject: [h-cost] Upcoming costume event, St. Cloud, Minn.


>
> As I mentioned a few weeks ago, I'm scheduled to speak at Clothier's
> Seminar North (an SCA event) on Sat., Nov. 18, in St. Cloud, Minnesota. I
> promised further details when they became available. As of today, there's
> a preliminary class list up at
> http://www.geocities.com/ursulagoddess/CSNorth_main.html
>
> I'll be giving four lectures -- my mainstays on the Gothic fitted dress,
> the Greenland gored gown, the sideless surcote, and the 15th century
> V-neck gown.
>
> Given the quantity of classes, the event strikes me as very reasonable: $8
> for SCA members, $11 for nonmembers, and you get lunch if you preregister
> by Nov. 9.
>
> If this hasn't already been announced on the usual SCA garb lists, I know
> the planners would appreciate it if someone would make a mention.
>
> And if anyone on the h-cost list is planning on going, please let me know,
> and be sure to introduce yourself at the event. (Don't be put off if I'm
> in my usual pre-lecture intense-concentration mode or my post-lecture
> brain fog.) I'd love lunch company with some h-cost people!
>
> --Robin


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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] hoops for crinoline dresses
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One place is http://www.farthingales.on.ca/ and the site has lots of 
info to read about it all as well.
Cheers, Aylwen

http://www.regencyreproductions.com

jessica lynn potter wrote:

>Hello,
>
>can anyone give us advice on where we can get hooping material for crinoline
>dresses. Are they made of plastic or is it cloth covered wire and could
>anyone tell us where to get the appropriate materials please?
>
>thank you,
>
>jessica & vicky
>_______________________________________________
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>h-costume@mail.indra.com
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>
>  
>
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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Fwd: [SCA-Laurels] Commercian patterns for Viking and/or
	Saxon clothes?
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On Thursday 03 November 2005 5:57 pm, SNSpies@aol.com wrote:
> From some curious folks, myself included.
> Has anyone seen or tried these patterns?  How authentic  are they, etc.?
> Thanks.

I don't know, though I've run across the website in question before and I too 
am curious.  

Apparently "Petty Chapman" has his own website, here:

http://www.pettychapman.co.uk/

He appears to be a vendor selling mainly to UK reenactors.

-- 
Cathy Raymond <cathy@thyrsus.com>

"Physics is like sex; sure, it may give some practical 
results, but that's not why we do it."--Richard Feynman
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In a message dated 11/3/2005 6:34:18 P.M. Mountain Standard Time,  
mrscrinoline@aol.com writes:

can  anyone give us advice on where we can get hooping material for  crinoline
dresses. Are they made of plastic or is it cloth covered wire and  could
anyone tell us where to get the appropriate materials  please?




try Amazon Drygoods or Farthingales, both have web pages that you can  
"google".
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Or Greenberg and Hammer
Kathleen
----- Original Message ----- 
From: <Cheryldee@aol.com>
To: <h-costume@indra.com>
Sent: Thursday, November 03, 2005 11:15 PM
Subject: Re: [h-cost] hoops for crinoline dresses


>
> In a message dated 11/3/2005 6:34:18 P.M. Mountain Standard Time,
> mrscrinoline@aol.com writes:
>
> can  anyone give us advice on where we can get hooping material for
crinoline
> dresses. Are they made of plastic or is it cloth covered wire and  could
> anyone tell us where to get the appropriate materials  please?
>
>
>
>
> try Amazon Drygoods or Farthingales, both have web pages that you can
> "google".
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>

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I believe petty chapman is also a "title" of someone who sells small items. Sadly all the sites that I could find that sell petty chapman patterns don't have a picture and on one site they say that it is a book and not patterns.

-----Original Message-----
On Thursday 03 November 2005 5:57 pm, SNSpies@aol.com wrote:
> From some curious folks, myself included.
> Has anyone seen or tried these patterns?  How authentic  are they, etc.?
> Thanks.

I don't know, though I've run across the website in question before and I too 
am curious.  

Apparently "Petty Chapman" has his own website, here:

http://www.pettychapman.co.uk/

He appears to be a vendor selling mainly to UK reenactors.




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From: Kahlara <kahlara@yahoo.com>
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Subject: [h-cost] Re: Upcoming costume event, St. Cloud, Minn.
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Wish it wasn't so far away from me - those sound like exactly the ones I would want to attend. 
 
Annette M


Message: 2
Date: Thu, 3 Nov 2005 18:52:48 -0600 (CST)
From: Robin Netherton 
Subject: [h-cost] Upcoming costume event, St. Cloud, Minn.

As I mentioned a few weeks ago, I'm scheduled to speak at Clothier's
Seminar North (an SCA event) on Sat., Nov. 18, in St. Cloud, Minnesota. I
promised further details when they became available. As of today, there's
a preliminary class list up at
http://www.geocities.com/ursulagoddess/CSNorth_main.html

I'll be giving four lectures -- my mainstays on the Gothic fitted dress,
the Greenland gored gown, the sideless surcote, and the 15th century
V-neck gown.

Given the quantity of classes, the event strikes me as very reasonable: $8
for SCA members, $11 for nonmembers, and you get lunch if you preregister
by Nov. 9.

If this hasn't already been announced on the usual SCA garb lists, I know
the planners would appreciate it if someone would make a mention.

And if anyone on the h-cost list is planning on going, please let me know,
and be sure to introduce yourself at the event. (Don't be put off if I'm
in my usual pre-lecture intense-concentration mode or my post-lecture
brain fog.) I'd love lunch company with some h-cost people!

--Robin


		
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From: "Five Rivers Chapmanry" <lgsteph@wightman.ca>
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Subject: [h-cost] RE: blackwork coif
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	Use regular evenweave linen, of the best quality you can find.
Use a filament silk thread. Mark the coif pattern on the linen, allowing
yourself at least a 2" border all around. Mark on the embroidery
pattern; however, if you can do the outline of the coif and the
embroidery marking all in one go that's best. Don't fuss about the
embroidery transfer being washable. In period the cartoons (embroidery
designs) were marked in blue India ink and thus indelible. 

	For the shirt you can choose to appliqué or work directly on the
fabric. I'd choose the latter.

	Bind the edges of the fabric with a twill tape to protect the
edges, then stretch on a roller bar frame, not a hoop. Go nuts.

	After you've finished embroidering unframe the items, cut them
out and hand-sew together.

Regards,
Lorina
Five Rivers Chapmanry
purveyors of historical sewing patterns, quality hand-crafted cooperage,
re-enactor and embroidery supplies, and more.
519-799-5577 info@5rivers.org - www.5rivers.org



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Subject: Re: [h-cost] embroidery supplies
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----- Original Message ----- 
From: "Robin Netherton" <robin@shell.nightowl.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, November 03, 2005 1:05 PM
Subject: Re: [h-cost] embroidery supplies


> Not sure about the spangles, but one huge source of glass beads would be
> Fire Mountain, at http://www.firemountain.com . They ship internationally.
> Be sure to check the "Outlet store" and "Great Product" sections of the
> site for bargains, as well as the main catalog.
>
> They might have something that works for spangles under metal beads or
> findings -- there's a lot of sterling, silverplate, and pewter.
>
> Warning: You can spend hours here.
>
> --Robin
>
And lots of money. I just bought some things to make a girdle, and spent $60 
in under ten minutes! Would have been a whole lot more, but I already had 
the pearls.

Dianne 

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Subject: [h-cost] Fwd: [SCA-Laurels] Commercian patterns for Viking and/or
	Saxon clot
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Caliver books (run by Dave Ryan) are regulars on the UK re-enactment trading 
scene.  So is Petty Chapman (Dave Rushworth).

I've never used any of the patterns sold by Caliver, (I cut my own), so can't 
say how accurate or otherwise, or how easy to use.

Did once use some of Dave Rushworth's patterns once, at a customer's 
insistence - will never do it again.  Over complicated, and seemed to be completely 
arbitrary whether you got instructions or not!  I worked it out, but as I cut my 
own patterns already, I'm pretty advanced - anyone with less experience may 
have problems.  Have heard that others have had problems too.

These are of course, my personal experiences, and others may have had no 
problems at all, but just thought I should mention it.

Debs
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From: "jessica lynn potter" <mrscrinoline@aol.com>
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Subject: Re: [h-cost] hoops for crinoline dresses
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hi Aylwen

thanks this is worth looking into, as i am now starting work for the first
time on crinolines and hoopskirts



thank,s 

jessica 

 

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

 

From: A & J Garden

Date: 11/03/05 17:39:47

To: Historical Costume

Subject: Re: [h-cost] hoops for crinoline dresses

 

One place is http://www.farthingales.on.ca/ and the site has lots of

info to read about it all as well.

Cheers, Aylwen

 

http://www.regencyreproductions.com

 

jessica lynn potter wrote:

 

>Hello,

>

>can anyone give us advice on where we can get hooping material for
crinoline

>dresses. Are they made of plastic or is it cloth covered wire and could

>anyone tell us where to get the appropriate materials please?

>

>thank you,

>

>jessica & vicky

>_______________________________________________

>h-costume mailing list

&gt;h-costume@mail.indra.com

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>

>

>

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Status: RO

hey hun

thanks i will have a look into thias as soon as i have 5 mins to spare

hugs

jessica 

 

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

 

From: Cheryldee@aol.com

Date: 11/03/05 20:16:26

To: h-costume@indra.com

Subject: Re: [h-cost] hoops for crinoline dresses

 

 

In a message dated 11/3/2005 6:34:18 P.M. Mountain Standard Time,

mrscrinoline@aol.com writes:

 

can  anyone give us advice on where we can get hooping material for 
crinoline

dresses. Are they made of plastic or is it cloth covered wire and  could

anyone tell us where to get the appropriate materials  please?

 

 

 

 

try Amazon Drygoods or Farthingales, both have web pages that you can

"google".

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http://mail.indra.com/mailman/listinfo/h-costume
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Subject: [h-cost] Re: Blackwork coif
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I second the recommendations to use linen and draw the pattern for the
coif directly onto the fabric.  I would recommend regular linen from a
good fabric store, slightly heavier than a weight you might be using for
the shirt.

I don't know how much embroidery you have done but if you are wanting a
counted type pattern on the shirt, give a try at just eyeballing it :). 
Also, a lot of the shirts, and the coifs, were not done in counted
patterns but used a variety of stitches.  Stem/outline stitch was very
commen.

There is a Blackwork group on Yahoo that also might be able to help. 
As stroll through the picture files will give you a lot of inspiration
too.

Catherine
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On Fri, 4 Nov 2005, Dianne & Greg Stucki wrote:

> > Warning: You can spend hours here.

> And lots of money. I just bought some things to make a girdle, and
> spent $60 in under ten minutes! Would have been a whole lot more, but
> I already had the pearls.

You got off easy ;-)  I shop the sale stuff once or twice a year, when
there's enough to make a big order. I made an order last week; it came to
$450.

(Well, when you're at 90 strands or so, it makes sense to go for the even
hundred and the 10 percent discount.)

This is because I know I will return half for inadequate quality. I have
learned how to work with their return policy! Of course, half of 100
strands is still 50 strands...

They're by no means my favorite vendor. My favorite is South Pacific.

--Robin
jeweler on the side

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From: "jessica lynn potter" <mrscrinoline@aol.com>
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To: "Historical Costume" <h-costume@indra.com>
Subject: Re: [h-cost] hoops for crinoline dresses
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Status: RO

hey kathleen ,

thanks for that, it will be useful, ,as i am starting crinoline dress making
for the first time as such, and its not like my usual sewing work, so all
you tell me i absorb,



thanks

jessica 

 

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

 

From: Lloyd Mitchell

Date: 11/03/05 21:18:25

To: Historical Costume

Subject: Re: [h-cost] hoops for crinoline dresses

 

Or Greenberg and Hammer

Kathleen

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

From: <Cheryldee@aol.com>

To: <h-costume@indra.com>

Sent: Thursday, November 03, 2005 11:15 PM

Subject: Re: [h-cost] hoops for crinoline dresses

 

 

>

> In a message dated 11/3/2005 6:34:18 P.M. Mountain Standard Time,

> mrscrinoline@aol.com writes:

>

> can  anyone give us advice on where we can get hooping material for

crinoline

> dresses. Are they made of plastic or is it cloth covered wire and  could

> anyone tell us where to get the appropriate materials  please?

>

>

>

>

> try Amazon Drygoods or Farthingales, both have web pages that you can

> "google".

> _______________________________________________

> h-costume mailing list

> h-costume@mail.indra.com

> http://mail.indra.com/mailman/listinfo/h-costume

>

 

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Subject: [h-cost] Attention Yvonne Schnyder-H-cost list wrong address
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Status: RO

Hi Yvonne, it is not clear who you are adressing this to.  Dawn, me 
(Sg), or the list? 

YVONNE SCHNYDER wrote:

> Hi, I keep getting someone elses messages, I think you have the wrong 
> email address.
>
>
>> From: Dawn <dawn@reddawn.net>
>> Reply-To: Historical Costume <h-costume@indra.com>
>> To: Historical Costume <h-costume@indra.com>
>> Subject: [h-cost] Re: Holiday Gift exchange - question...clarification
>> Date: Thu, 03 Nov 2005 09:10:39 -0600
>>
>> WickedFrau wrote:
>>
>>> So we are NOT  supposed to know who sent us our gift?  I just got my 
>>> "assignment," and I'd kinda like to "talk" to this person.  Sounds 
>>> like we have a lot in common!
>>> Good match Dawn!
>>
>>
>>
>> You'll know when they send you something. It's not supposed to be 
>> completely anonymous, just a mystery at first.
>>
>> I didn't put any restrictions on contacting your assignment (sounds a 
>> bit cloak-and-dagger doesn't it?) so if you want to chat or feel you 
>> need more info before chosing a gift, feel free.
>>
>> Almost everybody has been paired up. I will finish sending names out 
>> today.
>>
>>
>> Dawn
>>
>>
>> _______________________________________________
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>
>
>
> _______________________________________________
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>

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From: "Diana Habra" <dch@inreach.com>
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Subject: [h-cost] OT-Question about Silk Taffeta
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Hello everyone,

I was hoping that any of you who use silk taffeta in your costuming could
help me......

I have been told that dupioni is not really appropriate for historical
costuming but I know that many of us use it to cut down on costs.  Taffeta
is closer to the weave/weight/sheen that is appropriate for the 1500's
through the 1800's but it is more expensive.

I have a supplier that has a nice range of colored taffetas but I am not
sure if the price is reasonable or not.

If you use silk taffeta, what do you typically pay per yard for it?  What
colors would you like to be able to find?  Any other input?  (Please
respond to me at dch@inreach.com so that we don't clog up the list)

Thanks for your help!  And if I can offer silk taffetas at good prices, I
will do so.

Happy Sewing,

Diana


www.RenaissanceFabrics.net
"Everything for the Costumer"

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Date: Fri, 4 Nov 2005 11:56:23 -0500
From: Bonnie Booker <aspasia1@gmail.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Re: Blackwork coif
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>
>
> I don't know how much embroidery you have done but if you are wanting a
> counted type pattern on the shirt, give a try at just eyeballing it :).

 I don't recommend this as the pattern could become way off.

Also, a lot of the shirts, and the coifs, were not done in counted
> patterns but used a variety of stitches. Stem/outline stitch was very
> common.

 Holbein, or double running stitch is much more common outline stitch and
more authentic for a simple design. For more elaborate designs braid stitch
etc. If you aren't much of an embroider I recommend the Holbein.You can find
good simple designs at
www.blackworkarchives.com<http://www.blackworkarchives.com>and
http://aeg.atlantia.sca.org/index.htm can give you patterns and refer you to
other places. There is a referal page on each to sites with period patterns.

There is a Blackwork group on Yahoo that also might be able to help.
> As stroll through the picture files will give you a lot of inspiration
> too.

 I recommend it. I'm a member. Also look at the photogallery for ideas.

--
> Aspasia Moonwind
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Subject: Re: [h-cost] OT-Question about Silk Taffeta
Date: Fri, 4 Nov 2005 18:23:00 +0100
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Dear Diana,
Silk taffetas comes in 2 main types. One is heavy weaved, very stiff and 
stout, and another is much lighter.
So it depends what you want to use it for. I would say that the thinner 
quality, is useable, for bodices jackets and the likes, if you interline it 
with a stiffer fabric. The heavy sort is my ideal for costumes. Skirts 
drapes very beautifull with this.
Prices varies a lot here in Denmark. I can easy pay up to 1000,00 kr. wich 
is about 160 dollars a meter. This is a very fine silk shop, and you pay 
extra because they have a huge amount of colours and different kinds of silk 
fabrics to choose from
Another cheap fabric shop  sometimes have taffeta, but it is a lesser fine 
quality, but the same weight and stiffnes for about 25 dollars. Mostly they 
only carries the colours you choose for bridal wear, different whites. This 
sort has some weave faults, but only little.
Finally i found another shop wich sells this fine quality for 350,00 kr. 
wich is about 58 dollars, but they only have a little colour range.
Happy sewing to you two!

Bjarne

----- Original Message ----- 
From: "Diana Habra" <dch@inreach.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, November 04, 2005 5:15 PM
Subject: [h-cost] OT-Question about Silk Taffeta


> Hello everyone,
>
> I was hoping that any of you who use silk taffeta in your costuming could
> help me......
>
> I have been told that dupioni is not really appropriate for historical
> costuming but I know that many of us use it to cut down on costs.  Taffeta
> is closer to the weave/weight/sheen that is appropriate for the 1500's
> through the 1800's but it is more expensive.
>
> I have a supplier that has a nice range of colored taffetas but I am not
> sure if the price is reasonable or not.
>
> If you use silk taffeta, what do you typically pay per yard for it?  What
> colors would you like to be able to find?  Any other input?  (Please
> respond to me at dch@inreach.com so that we don't clog up the list)
>
> Thanks for your help!  And if I can offer silk taffetas at good prices, I
> will do so.
>
> Happy Sewing,
>
> Diana
>
>
> www.RenaissanceFabrics.net
> "Everything for the Costumer"
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 


_______________________________________________
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From: Cin <cinbarnes@gmail.com>
To: h-cost <h-costume@indra.com>
Subject: [h-cost] hoops for crinoline dresses
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>can anyone give us advice on where we can get hooping material for crinoline
>dresses. Are they made of plastic or is it cloth covered wire and could
>anyone tell us where to get the appropriate materials please?

I'm fond of www.Greenberg-Hammer.com
Look for hoop wire in the boning section.
--cin
Cynthia Barnes
CinBarnes@gmail.com

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----- Original Message ----- 
From: "Robin Netherton" <robin@shell.nightowl.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, November 04, 2005 9:36 AM
Subject: Re: [h-cost] embroidery supplies


> You got off easy ;-)  I shop the sale stuff once or twice a year, when
> there's enough to make a big order. I made an order last week; it came to
> $450.
>
> (Well, when you're at 90 strands or so, it makes sense to go for the even
> hundred and the 10 percent discount.)
>
> This is because I know I will return half for inadequate quality. I have
> learned how to work with their return policy! Of course, half of 100
> strands is still 50 strands...
>
> They're by no means my favorite vendor. My favorite is South Pacific.


I actually felt guilty spending that much--we are on a VERY tight budget, 
which is going to get tighter, since we just were told that we need to be 
out of our house within 30-60 days. (No, we didn;t do anything wrong. The 
house is owned by a mall company, and they are going to demolish it to put 
up a sign.) And my husband found out Monday that the radio station he works 
at was just sold to Cumulus. So, I think my fabric and gem buying is going 
to be severely limited for a while! (Thanks heavens I just indulged my wool 
yearnings recently!) Anyhoo, I considered just passing on the girdle for 
now, but I've been wanting one for  a long time, and I plan on entering this 
one in the East Kingdom A&S comp at 12th Night, so I need plenty of time to 
get it done!!

I haven't ordered from South Pacific yet, though I drool copiously over 
their catalogs.

Just waiting for the mailman to come to the door...

I was so good, and so focused--I wanted to make garb, and only garb. Then I 
made friends with a jeweler, and a spinner. Now I want to make the jewelry 
for all my garb, and spin and weave the wool, and use handspun silk as laces 
for my gowns..ACK!

Dianne 

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Subject: [h-cost] OT-Question about Silk Taffeta (Diana Habra)
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Dupioni (or something similar) was sold historically, so it CAN be used.
Here's a website about that:
http://homepage.mac.com/festive_attyre/research/silk.html

But to answer your other questions, I like shot silks.  I'd like to
pay less than $15/yd for an 18mm taffeta.

Kate


> Date: Fri, 4 Nov 2005 08:15:06 -0800 (PST)
> From: "Diana Habra" <dch@inreach.com>
> Subject: [h-cost] OT-Question about Silk Taffeta
> To: "Historical Costume" <h-costume@indra.com>
> Message-ID:
> 	<1227.67.188.164.116.1131120906.squirrel@webmail.inreach.com>
> Content-Type: text/plain;charset=iso-8859-1
> 
> Hello everyone,
> 
> I was hoping that any of you who use silk taffeta in your costuming could
> help me......
> 
> I have been told that dupioni is not really appropriate for historical
> costuming but I know that many of us use it to cut down on costs.  Taffeta
> is closer to the weave/weight/sheen that is appropriate for the 1500's
> through the 1800's but it is more expensive.
> 
> I have a supplier that has a nice range of colored taffetas but I am not
> sure if the price is reasonable or not.
> 
> If you use silk taffeta, what do you typically pay per yard for it?  What
> colors would you like to be able to find?  Any other input?  (Please
> respond to me at dch@inreach.com so that we don't clog up the list)
> 
> Thanks for your help!  And if I can offer silk taffetas at good prices, I
> will do so.
> 
> Happy Sewing,
> 
> Diana
> 
> 
> www.RenaissanceFabrics.net
> "Everything for the Costumer"
> 
> 
> 
> ------------------------------
> 
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From: Ann Catelli <elvestoorder@yahoo.com>
Subject: Re: [h-cost] older singer sewing machines
To: Historical Costume <h-costume@indra.com>
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I strongly recommend bringing your machine to a Singer
or multiple brands repair shop that isn't in a fabric
store.

My 1951 Singer cast-iron monstrosity got a new bobbin
case that fit only after I tried several; all the
bobbin cases were class 15, as is my machine, but the
cases are machined to very close tolerances, which
don't match every machine.  
The store isn't a store-front any more, or I would
recommend them highly.

Ann in CT

--- jessica lynn potter <mrscrinoline@aol.com> wrote:

>  
> 
>  hello everyone
> 
> we have a 1951 singer electric sewing machine, and
> its in reasonable
> condition, but we are in need of a new or decent
> bobbin case, 
> 
> machine style number is 201k3e
> 
> 
> 
> can anyone help with spares or know of any cheap
> reliable old machines i can
> buy 
> 
> thanks all
> 
> jessica
> 
> -------Original Message-------
> 
>  
> _______________________________________________
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> h-costume@mail.indra.com
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Subject: [h-cost] OT-Question about Silk Taffeta
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I'd normally expect to pay anything from about 15 GBP (wholesale) or 25 GBP 
(retail) to over 200 GBP, depending on the weight, and where it's woven (obv. 
if woven in China or India it's cheaper than if Western European, because of 
lower labour cost).

(That's something like 25 USD - 350 USD.)


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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] OT-Question about Silk Taffeta
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At 09:26 05/11/2005, you wrote:
>I'd normally expect to pay anything from about 15 GBP (wholesale) or 25 GBP
>(retail) to over 200 GBP, depending on the weight, and where it's woven (obv.
>if woven in China or India it's cheaper than if Western European, because of
>lower labour cost).
>
>(That's something like 25 USD - 350 USD.)


And how much you buy. It's always cheaper to buy 
in bulk. Also if you are buying by mail order, 
you have to factor in mailing costs, and the 
iniquitous VAT which goes on these as well as the 
goods. (Debs where do you buy at £15.00? Please 
mail me privately if you have time.)

Suzi



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Subject: Re: [h-cost] older singer sewing machines
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hey ann

thanks for that advice, yes i fully understand, i personally prefer the
older machines to the latest modern stuff, somehow, as they seem to suit me
better



hugs

jessica 

 

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

 

From: Ann Catelli

Date: 11/04/05 14:57:56

To: Historical Costume

Subject: Re: [h-cost] older singer sewing machines

 

I strongly recommend bringing your machine to a Singer

or multiple brands repair shop that isn't in a fabric

store.

 

My 1951 Singer cast-iron monstrosity got a new bobbin

case that fit only after I tried several; all the

bobbin cases were class 15, as is my machine, but the

cases are machined to very close tolerances, which

don't match every machine.

The store isn't a store-front any more, or I would

recommend them highly.

 

Ann in CT

 

--- jessica lynn potter <mrscrinoline@aol.com> wrote:

 

>

>

>  hello everyone

>

> we have a 1951 singer electric sewing machine, and

> its in reasonable

> condition, but we are in need of a new or decent

> bobbin case,

>

> machine style number is 201k3e

>

>

>

> can anyone help with spares or know of any cheap

> reliable old machines i can

> buy

>

> thanks all

>

> jessica

>

> -------Original Message-------

>

>

> _______________________________________________

> h-costume mailing list

> h-costume@mail.indra.com

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>

 

 

 

 

 

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Subject: Re: [h-cost] hoops for crinoline dresses
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hi cynthia

yes thanks that will be useful, as i am now embarking on hoopskirts for the
first time, and i expect to make a few disasters on he way this link will be
really useful. thank you

hugs

jessica 

 

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

 

From: Cin

Date: 11/04/05 11:07:24

To: h-cost

Subject: [h-cost] hoops for crinoline dresses

 

>can anyone give us advice on where we can get hooping material for
crinoline

>dresses. Are they made of plastic or is it cloth covered wire and could

>anyone tell us where to get the appropriate materials please?

 

I'm fond of www.Greenberg-Hammer.com

Look for hoop wire in the boning section.

--cin

Cynthia Barnes

CinBarnes@gmail.com

 

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Subject: [h-cost] Hoops for Mother Ginger
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Hello all,
This is a 'Plantive Cry for Help' ....
Can anyone out there direct me to a site or give me some hints on the
best way to construct the giant hoop skirt needed for Mother Ginger in
Nutcracker?  The director would like a wide 18th Century oval/pannier
style that is big enough to hide 10 to 13 small children under it. 
(Mother herself will be standing on a ladder under the dress and will be
pulled across the stage on a dolly.)  Low cost and speed of construction
is, as always, a major consideration.  What would be sturdy enough not
to twist?  Or is that helped by putting actual panniers on the "hips"? 
Storage through the rest of the year is also  problematic.  If I used
the hoop connectors from Farthingales and their hoop steel, could I take
it apart after the performances and store it in pieces?

I'd greatly appreciate any help from anyone who's done this costume or
even peeked inside one!

Thanks
Kathy Hoover
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>(Debs where do you buy at £15.00? Please 
>mail me privately if you have time.)
>Suzi

I'd love to know too - if it is ok, could you tell me
too?! Pretty pretty please.

Katherine
de la finding reasonable wholesalers thin on the ground.

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


	
	
		
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Kathy Hoover wrote:

>  The director would like a wide 18th Century oval/pannier
> style that is big enough to hide 10 to 13 small children under it. 


Sounds like a tent. And for cheap tent supports we used to use plastic 
plumbing pipe and connectors from the hardware store. Goes together like 
tinkertoys. The thinner piping should be bendable, to a degree.



Dawn



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I'm looking at Simplicity 4566 
(http://www.simplicity.com/assets/4566/4566.jpg) and wondering if this 
is a decent pattern for the era. They show it as a wedding dress, but I 
was thinking about shortening the train some for practicality.



Dawn


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From: "Lloyd Mitchell" <rmitchell@washjeff.edu>
To: "Historical Costume" <h-costume@indra.com>
References: <436D4D2B.6070805@reddawn.net>
Subject: Re: [h-cost] 1920-1930-ish gowns
Date: Sat, 5 Nov 2005 20:43:52 -0500
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Maybe I missed something, but for what era (and for what purpose)? The gown
shown is for the period of the 1930s and a very good likeness for two I have
in my collection.  The bridesmaid's gowns just "spill" with the train which
adds interest to the bias cut in back.
Kathleen

----- Original Message ----- 
From: "Dawn" <dawn@reddawn.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Saturday, November 05, 2005 7:24 PM
Subject: [h-cost] 1920-1930-ish gowns


> I'm looking at Simplicity 4566
> (http://www.simplicity.com/assets/4566/4566.jpg) and wondering if this
> is a decent pattern for the era. They show it as a wedding dress, but I
> was thinking about shortening the train some for practicality.
>
>
>
> Dawn
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>

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Subject: RE: [h-cost] 1920-1930-ish gowns
Date: Sat, 5 Nov 2005 20:35:37 -0600
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I was guessing the pattern looks late 30s. The 20s usually had a drop waist
or no waist.
I found this comes close to a late 20s.
http://store.sewingtoday.com/cgi-bin/voguepatterns/shop.cgi?s.item.V8070=x&T
I=20009&page=1
This one is weak but passable for 20s.
http://www.mccallpattern.com/item/M4995.htm?tab=costumes&page=1
20s style
http://store.sewingtoday.com/cgi-bin/butterick/shop.cgi?s.item.B4093=x&TI=10
013&page=5
Passable
http://store.sewingtoday.com/cgi-bin/voguepatterns/shop.cgi?s.item.V7571=x&T
I=20003&page=8

-----Original Message-----
Maybe I missed something, but for what era (and for what purpose)? The gown
shown is for the period of the 1930s and a very good likeness for two I have
in my collection.  The bridesmaid's gowns just "spill" with the train which
adds interest to the bias cut in back.
Kathleen

----- Original Message -----
> I'm looking at Simplicity 4566
> (http://www.simplicity.com/assets/4566/4566.jpg) and wondering if this
> is a decent pattern for the era. They show it as a wedding dress, but I
> was thinking about shortening the train some for practicality.

> Dawn


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Lloyd Mitchell wrote:

> Maybe I missed something, but for what era (and for what purpose)? The gown
> shown is for the period of the 1930s and a very good likeness for two I have
> in my collection.  The bridesmaid's gowns just "spill" with the train which
> adds interest to the bias cut in back.
> Kathleen
>  

I'm not sure what you mean by 'bridesmaid's gowns', as this pattern 
doesn't have that option.

I was looking at using it for "Mobster and Movie Star" costumes at 
CostumeCon next spring. My husband has wanted an old time gangster 
outfit for a while, and I need something suitably slinky to wear with it.



Dawn


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From: "Lloyd Mitchell" <rmitchell@washjeff.edu>
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Subject: Re: [h-cost] 1920-1930-ish gowns
Date: Sun, 6 Nov 2005 00:05:01 -0500
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I have a set that includes the bridesmaids dresses made from the same
pattern...
Kathleen
----- Original Message ----- 
From: "Dawn" <dawn@reddawn.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Saturday, November 05, 2005 10:01 PM
Subject: Re: [h-cost] 1920-1930-ish gowns


> Lloyd Mitchell wrote:
>
> > Maybe I missed something, but for what era (and for what purpose)? The
gown
> > shown is for the period of the 1930s and a very good likeness for two I
have
> > in my collection.  The bridesmaid's gowns just "spill" with the train
which
> > adds interest to the bias cut in back.
> > Kathleen
> >
>
> I'm not sure what you mean by 'bridesmaid's gowns', as this pattern
> doesn't have that option.
>
> I was looking at using it for "Mobster and Movie Star" costumes at
> CostumeCon next spring. My husband has wanted an old time gangster
> outfit for a while, and I need something suitably slinky to wear with it.
>
>
>
> Dawn
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>

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If you are looking at the 1920s, The first Vogue pattern conforms best for
the necessary hipline, which should "touch" but not necessarily bind or
reveal.  The other two have some of the elements of the design but are too
retro and use far more fabric than the simplicity and economy of line that
is more faithful to the era.

Kathleen

----- Original Message ----- 
From: "otsisto" <otsisto@socket.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Saturday, November 05, 2005 9:35 PM
Subject: RE: [h-cost] 1920-1930-ish gowns


> I was guessing the pattern looks late 30s. The 20s usually had a drop
waist
> or no waist.
> I found this comes close to a late 20s.
>
http://store.sewingtoday.com/cgi-bin/voguepatterns/shop.cgi?s.item.V8070=x&T
> I=20009&page=1
> This one is weak but passable for 20s.
> http://www.mccallpattern.com/item/M4995.htm?tab=costumes&page=1
> 20s style
>
http://store.sewingtoday.com/cgi-bin/butterick/shop.cgi?s.item.B4093=x&TI=10
> 013&page=5
> Passable
>
http://store.sewingtoday.com/cgi-bin/voguepatterns/shop.cgi?s.item.V7571=x&T
> I=20003&page=8
>
> -----Original Message-----
> Maybe I missed something, but for what era (and for what purpose)? The
gown
> shown is for the period of the 1930s and a very good likeness for two I
have
> in my collection.  The bridesmaid's gowns just "spill" with the train
which
> adds interest to the bias cut in back.
> Kathleen
>
> ----- Original Message -----
> > I'm looking at Simplicity 4566
> > (http://www.simplicity.com/assets/4566/4566.jpg) and wondering if this
> > is a decent pattern for the era. They show it as a wedding dress, but I
> > was thinking about shortening the train some for practicality.
>
> > Dawn
>
>
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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] 1920-1930-ish gowns
Date: Sun, 6 Nov 2005 00:20:42 -0500
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Having just caught the 'occasion', the last Vogue is a good choice, I think
because it does treat the hips in the manner that evolves from the simpler
columnar line of the 20s.
Kathleen
----- Original Message ----- 
From: "Dawn" <dawn@reddawn.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Saturday, November 05, 2005 10:01 PM
Subject: Re: [h-cost] 1920-1930-ish gowns


> Lloyd Mitchell wrote:
>
> > Maybe I missed something, but for what era (and for what purpose)? The
gown
> > shown is for the period of the 1930s and a very good likeness for two I
have
> > in my collection.  The bridesmaid's gowns just "spill" with the train
which
> > adds interest to the bias cut in back.
> > Kathleen
> >
>
> I'm not sure what you mean by 'bridesmaid's gowns', as this pattern
> doesn't have that option.
>
> I was looking at using it for "Mobster and Movie Star" costumes at
> CostumeCon next spring. My husband has wanted an old time gangster
> outfit for a while, and I need something suitably slinky to wear with it.
>
>
>
> Dawn
>
>
> _______________________________________________
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Subject: [h-cost] Re: Hoops for Mother Ginger
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Status: RO

The Mother Ginger costume for my daughter's ballet company has a
frame made from plastic plumbing pipe (the white kind, about 2-3" in
diameter).  It's a very large pannier shape, which is attached to a
suspender-type contraption.  (We have a very tall woman to play MG,
she also wears platform shoes.)  Our MG can hide about 10+/- kids
under her skirt.  The MG dress is in two pieces, the skirt which is
attached to the framework and the bodice which MG wears.  The skirt
has a basque to slide under the bodice to make it look like one
piece.

Hope that helps...
~mary


> From: "Kathy Hoover" <khoover@wvu.edu>
> Subject: [h-cost] Hoops for Mother Ginger
> 
> Hello all,
> This is a 'Plantive Cry for Help' ....
> Can anyone out there direct me to a site or give me some hints on
> the
> best way to construct the giant hoop skirt needed for Mother Ginger
> in
> Nutcracker?  The director would like a wide 18th Century
> oval/pannier
> style that is big enough to hide 10 to 13 small children under it. 
> (Mother herself will be standing on a ladder under the dress and
> will be
> pulled across the stage on a dolly.)  Low cost and speed of
> construction
> is, as always, a major consideration.  What would be sturdy enough
> not
> to twist?  Or is that helped by putting actual panniers on the
> "hips"? 
> Storage through the rest of the year is also  problematic.  If I
> used
> the hoop connectors from Farthingales and their hoop steel, could I
> take
> it apart after the performances and store it in pieces?
> 
> I'd greatly appreciate any help from anyone who's done this costume
> or
> even peeked inside one!
> 
> Thanks
> Kathy Hoover
> 
> 


"Pictures of perfection, as you know, make me sick & wicked."
~ Jane Austen

"Right now I'm having amnesia and deja vu at the same time.  I think I've forgotten this before."      ~ Steven Wright
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From: "otsisto" <otsisto@socket.net>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] 1920-1930-ish gowns
Date: Sun, 6 Nov 2005 01:02:36 -0600
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I was suggesting patterns to Dawn.
The first one does come close. I am in the planning stages with this one.
The lining will be black satin with a red semi opaque material with black
flocked(?) tendril design for the outer part. Trying to decide whether to
have the vee at the collar the red with a black satin insert or a black
satin vee with red insert. It's been a loooong while since I created sleeves
for a sleeveless dress pattern.
Anyway, the McCall's as I said is a weak design for the 20's but has
elements akin to Erte'.
The butterick is similar to a dress from a late 20s fashion plate. (Sorry,
don't have a URL, was just working on a design more then looking to make it
authentic) The underdress in the plate was a bit shorter and the sleeves
were slightly different.
The last Vogue has darts in the overdress and zipper in the back which I
have yet to see in a 20s era dress. The underdress is great.

De


-----Original Message-----
If you are looking at the 1920s, The first Vogue pattern conforms best for
the necessary hipline, which should "touch" but not necessarily bind or
reveal.  The other two have some of the elements of the design but are too
retro and use far more fabric than the simplicity and economy of line that
is more faithful to the era.

Kathleen



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From: "otsisto" <otsisto@socket.net>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] 1920-1930-ish gowns
Date: Sun, 6 Nov 2005 01:42:48 -0600
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Look what I found 1934
http://store.sewingtoday.com/cgi-bin/voguepatterns/shop.cgi?s.item.V2609=x&T
I=20006&page=2

1928
http://store.sewingtoday.com/cgi-bin/voguepatterns/shop.cgi?s.item.V2535=x&T
I=20006&page=3

1931
http://store.sewingtoday.com/cgi-bin/voguepatterns/shop.cgi?s.item.V2241=x&T
I=20006&page=3


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Subject: Re: [h-cost] 1920-1930-ish gowns
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otsisto wrote:

> Passable
> http://store.sewingtoday.com/cgi-bin/voguepatterns/shop.cgi?s.item.V7571=x&T
> I=20003&page=8

Oooh, yummy! Thanks for the link, I wouldn't have thought to look at 
Vogue. I love the lace overlay and that it has a sleeved version. I get 
cold with exposed shoulders.



Dawn



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Lloyd Mitchell wrote:

> I have a set that includes the bridesmaids dresses made from the same
> pattern...
> Kathleen

Hmmn. I will have to take a better look at it next week when they go on 
sale. The pattern info on the website only shows yardage for one dress.


Dawn



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Have you looked at FolkWear? I just put the Monte Carlo dress--
http://www.folkwear.com/264.html
--up on stage on Lucy, in a 'twenties production of Dracula. In ivory satin, with ivory chiffon for the overpiece, it's very 'twenties, very slinky, very wow. I'd imagine those qualities would persist or even intensify in other colors!
--Ruth Anne Baumgartner
scholar gypsy and amateur costumer

-----Original Message-----
From: Dawn <dawn@reddawn.net>
Sent: Nov 6, 2005 10:27 AM
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] 1920-1930-ish gowns

Lloyd Mitchell wrote:

> I have a set that includes the bridesmaids dresses made from the same
> pattern...
> Kathleen

Hmmn. I will have to take a better look at it next week when they go on 
sale. The pattern info on the website only shows yardage for one dress.


Dawn



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Subject: [h-cost] 17th century beaded bodice
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Hello all!
   I usually just lurk and love reading the posts, but came across
   an item I figured one of you knowledgable persons might know
   more about. I found an article on the net ...

  http://tinyurl.com/brxjg
    -or-   http://www.culture.gov.uk/global/press_notices/ 
archive_2004/dcms136_04.htm ...

   It talks about a pink satin bodice (c1640-1650) with a surface design
   of bugle beads worked into sprays of overlapping feathers. This
   sounded fascinating as there are so few examples of clothing
   from this time, but I can't find any more information, much less
   pictures of it. It's English, and the British arts minister placed a
   temporary export bar on it at the time. There is contact #s at the  
bottom
   of the page for inquiries, but I have yet to want to call long  
distance and
   I guess if no one here knows anything I could email them to see if  
they
   have updated info...
Hopefully, one of the links will work!
    Thanks for any help,
    Debbie Callahan :)
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Subject: Re: [h-cost] 17th century beaded bodice
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Hi Debbie,
Gosh this must be an unknown bodice to us! I have never seen or heard of it 
before. Also beading and feather pattern, is very interresting, and pink 
two. My guess is that it looks similar to the pale blue bodice of the London 
museum. It is a joy to all of us, that events like this still is happening, 
to fill out the gashes of mystery.
Yesterday i was at an antique fair in Copenhagen (huge one) and found a 
german costume book, wich i never have seen before. Its from 1919, and even 
that the black and white pictures are lousy, they are very valuable to 
me.There is a drawing in it of the caraco jacket in Köhlers book, both the 
front and the back, and a striped redingote with huge buttons from the late 
years, and and........
Most of the costumes, are german from collektions wich dont excist any more. 
The eldest garment is a mans italian renaissance doublet, with multi puffed 
sleaves. I never saw
that either, it is mid 16th century and the book claims it is a mixture of 
the italian and spanish fashion.
Title of the book is Kostümkunde für samler.
Thanks for posting this, i would die to se a picture of that bodice, and i 
hope it will be sold to a museum, so that we shall get more informations of 
it.

Bjarne


----- Original Message ----- 
From: "Max Callahan" <mcallahan@cox.net>
To: <h-costume@mail.indra.com>
Sent: Monday, November 07, 2005 8:34 AM
Subject: [h-cost] 17th century beaded bodice


> Hello all!
>   I usually just lurk and love reading the posts, but came across
>   an item I figured one of you knowledgable persons might know
>   more about. I found an article on the net ...
>
>  http://tinyurl.com/brxjg
>    -or-   http://www.culture.gov.uk/global/press_notices/ 
> archive_2004/dcms136_04.htm ...
>
>   It talks about a pink satin bodice (c1640-1650) with a surface design
>   of bugle beads worked into sprays of overlapping feathers. This
>   sounded fascinating as there are so few examples of clothing
>   from this time, but I can't find any more information, much less
>   pictures of it. It's English, and the British arts minister placed a
>   temporary export bar on it at the time. There is contact #s at the 
> bottom
>   of the page for inquiries, but I have yet to want to call long  distance 
> and
>   I guess if no one here knows anything I could email them to see if  they
>   have updated info...
> Hopefully, one of the links will work!
>    Thanks for any help,
>    Debbie Callahan :)
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 


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From: Melanie Schuessler <melanie@faucet.net>
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] 17th century beaded bodice
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One of the footnotes at the bottom of the article says, "Pictures of 
this item can be downloaded free of charge from our site on PA 
Picselect.  Please go to the DCMS folder situated within the Arts 
section of Picselect either at http://www.papicselect.com/ or through 
the PA bulleting board. "  I assume that last was meant to be "bulletin 
board."  PA Picselect said there were 0 images in the DCMS folder, and 
so far I haven't been able to locate the PA bulletin board.

Anyone else have better luck?  I'm very interested to see this bodice!

Melanie

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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] 17th century beaded bodice
Date: Mon, 7 Nov 2005 14:58:48 +0100
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Hi,
Could it be because the bodice was sold last year, and they have then 
removed the picture for more bandwidth?
What happened to the bodice, who baught it?
I think the list is very quiet, are everybody making hooliday gift exchages? 
I am, almost finished with mine!

Bjarne who cant postpictures, it is a seacret you know!

----- Original Message ----- 
From: "Melanie Schuessler" <melanie@faucet.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Monday, November 07, 2005 1:50 PM
Subject: Re: [h-cost] 17th century beaded bodice


> One of the footnotes at the bottom of the article says, "Pictures of this 
> item can be downloaded free of charge from our site on PA Picselect. 
> Please go to the DCMS folder situated within the Arts section of Picselect 
> either at http://www.papicselect.com/ or through the PA bulleting board. " 
> I assume that last was meant to be "bulletin board."  PA Picselect said 
> there were 0 images in the DCMS folder, and so far I haven't been able to 
> locate the PA bulletin board.
>
> Anyone else have better luck?  I'm very interested to see this bodice!
>
> Melanie
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 


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Date: Mon, 07 Nov 2005 09:11:45 +0000
From: "Kate M Bunting" <K.M.Bunting@derby.ac.uk>
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Subject: Re: [h-cost] 17th century beaded bodice
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I would love to see a picture of this. I see it was more than a year ago, but I've never heard of it before.
 
Kate Bunting
Librarian and 17th century reenactor

>>> mcallahan@cox.net 07/11/2005 07:34 >>>

Hello all!
   I usually just lurk and love reading the posts, but came across
   an item I figured one of you knowledgable persons might know
   more about. I found an article on the net ...

  http://tinyurl.com/brxjg
    -or-   http://www.culture.gov.uk/global/press_notices/ 
archive_2004/dcms136_04.htm ...

   It talks about a pink satin bodice (c1640-1650) with a surface design
   of bugle beads worked into sprays of overlapping feathers. This
   sounded fascinating as there are so few examples of clothing
   from this time, but I can't find any more information, much less
   pictures of it. It's English, and the British arts minister placed a
   temporary export bar on it at the time. There is contact #s at the  
bottom
   of the page for inquiries, but I have yet to want to call long  
distance and
   I guess if no one here knows anything I could email them to see if  
they
   have updated info...
Hopefully, one of the links will work!
    Thanks for any help,
    Debbie Callahan :)
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Subject: Re: [h-cost] 17th century beaded bodice
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You did better than I did.  I couldn't find either the folder or the 
bulletin board.  I just registered for the site too.  Waiting to get 
confirmation.

Melanie Schuessler wrote:

> One of the footnotes at the bottom of the article says, "Pictures of 
> this item can be downloaded free of charge from our site on PA 
> Picselect.  Please go to the DCMS folder situated within the Arts 
> section of Picselect either at http://www.papicselect.com/ or through 
> the PA bulleting board. "  I assume that last was meant to be 
> "bulletin board."  PA Picselect said there were 0 images in the DCMS 
> folder, and so far I haven't been able to locate the PA bulletin board.
>
> Anyone else have better luck?  I'm very interested to see this bodice!
>
> Melanie
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>
>
I ju
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Subject: Re: [h-cost] 17th century beaded bodice
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Re this bodice that may (or not be 17th C...)


I just entered the" picselect" site that someone reports as a visual source
for look-see and also did not see a reference for the picture we are
interested in.  Since this seems to be a film outlet, my suspicion is that
this bodice is someone's fantasy.  I too have never seen" bugles' and
'feathers' as a design feature for this period.

Kathleen

----- Original Message ----- 
From: "Max Callahan" <mcallahan@cox.net>
To: <h-costume@mail.indra.com>
Sent: Monday, November 07, 2005 2:34 AM
Subject: [h-cost] 17th century beaded bodice


> Hello all!
>    I usually just lurk and love reading the posts, but came across
>    an item I figured one of you knowledgable persons might know
>    more about. I found an article on the net ...
>
>   http://tinyurl.com/brxjg
>     -or-   http://www.culture.gov.uk/global/press_notices/
> archive_2004/dcms136_04.htm ...
>
>    It talks about a pink satin bodice (c1640-1650) with a surface design
>    of bugle beads worked into sprays of overlapping feathers. This
>    sounded fascinating as there are so few examples of clothing
>    from this time, but I can't find any more information, much less
>    pictures of it. It's English, and the British arts minister placed a
>    temporary export bar on it at the time. There is contact #s at the
> bottom
>    of the page for inquiries, but I have yet to want to call long
> distance and
>    I guess if no one here knows anything I could email them to see if
> they
>    have updated info...
> Hopefully, one of the links will work!
>     Thanks for any help,
>     Debbie Callahan :)
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>

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Subject: Re: [h-cost] 17th century beaded bodice
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I've have been contacted by the folks at Picselect for further 
information on my attempt to register...I will let you know what they 
decide!

Sg
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Picselect no longer has the images.  I have sent an email to the Dept. 
of Media, Art and Sport to see what else they can tell us.  I'll keep 
you updated.

Sg

WickedFrau wrote:

> I've have been contacted by the folks at Picselect for further 
> information on my attempt to register...I will let you know what they 
> decide!
>
> Sg
> _______________________________________________
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To: Historical Costume <h-costume@indra.com>
From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] 17th century beaded bodice
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The bodice is not a fantasy, since we have a government press release 
saying it has been held back from export (I don't believe everything the 
government tells us, but I don't think press officers make things up 
that are so far from the headlines).  Since the owner is not identified, 
I would guess it is from a private collection and may never have been 
displayed or referenced.  The "picselect" site seems to belong to the 
Press Association, so maybe they just put pictures up for a short time 
while they are current.

Jean


Lloyd Mitchell <rmitchell@washjeff.edu> wrote
>Re this bodice that may (or not be 17th C...)
>
>
>I just entered the" picselect" site that someone reports as a visual source
>for look-see and also did not see a reference for the picture we are
>interested in.  Since this seems to be a film outlet, my suspicion is that
>this bodice is someone's fantasy.  I too have never seen" bugles' and
>'feathers' as a design feature for this period.
>
>Kathleen
>
>----- Original Message -----
>From: "Max Callahan" <mcallahan@cox.net>
>To: <h-costume@mail.indra.com>
>Sent: Monday, November 07, 2005 2:34 AM
>Subject: [h-cost] 17th century beaded bodice
>
>
>> Hello all!
>>    I usually just lurk and love reading the posts, but came across
>>    an item I figured one of you knowledgable persons might know
>>    more about. I found an article on the net ...
>>
>>   http://tinyurl.com/brxjg
>>     -or-   http://www.culture.gov.uk/global/press_notices/
>> archive_2004/dcms136_04.htm ...
>>
>>    It talks about a pink satin bodice (c1640-1650) with a surface design
>>    of bugle beads worked into sprays of overlapping feathers. This
>>    sounded fascinating as there are so few examples of clothing
>>    from this time, but I can't find any more information, much less
>>    pictures of it. It's English, and the British arts minister placed a
>>    temporary export bar on it at the time. There is contact #s at the
>> bottom
>>    of the page for inquiries, but I have yet to want to call long
>> distance and
>>    I guess if no one here knows anything I could email them to see if
>> they
>>    have updated info...
>> Hopefully, one of the links will work!
>>     Thanks for any help,
>>     Debbie Callahan :)
>> _______________________________________________
>> h-costume mailing list
>> h-costume@mail.indra.com
>> http://mail.indra.com/mailman/listinfo/h-costume
>>
>
>_______________________________________________
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-- 
Jean Waddie
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From h-costume-bounces@indra.com  Mon Nov  7 15:38:55 2005
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To: h-costume@mail.indra.com
From: Max Callahan <mcallahan@cox.net>
Subject: Re: [h-cost] 17th century beaded bodice
Date: Mon, 7 Nov 2005 12:36:41 -0800
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   Thanks for the quick replies everyone! I'm fascinated that there may
be this newly found piece out there somewhere that might add clues
as to construction and technique. Makes me think of a Costume
College I went to and Sally Queen was teaching. She said something
akin to the fact that every time she made a new discovery about
costumes that it felt like Christmas! I so agree! : D
   I hope that if this is the real thing, it turns up where we can  
see pictures
of it ...(hopefully yummy close-up ones)
    -Debbie Callahan


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From: "Jeanine E. Swick" <jeanine@woollycat.net>
Subject: Re: [h-cost] 1920-1930-ish gowns
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otsisto wrote:

>Look what I found 1934
>http://store.sewingtoday.com/cgi-bin/voguepatterns/shop.cgi?s.item.V2609=x&T
>I=20006&page=2
>
>  
>
I used that pattern for my CC22 "Think Pink" entry last year.  There is 
no zipper, it uses hooks & eyes  in the side seam.  I would make it 
again if the need came up again.

Jeanine

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   I'm trying to help a friend with his Japanese persona's costume.  We are needing to  find patterns for these items:  hakama, manchira, and hitatare.  If anyone could point us in the right direction it would be greatly appreciated.  Thanks!

Roscelin
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Subject: Re: [h-cost] Japanese clothes patterns
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At 03:33 PM 11/7/2005, you wrote:
>    I'm trying to help a friend with his Japanese persona's 
> costume.  We are needing to  find patterns for these 
> items:  hakama, manchira, and hitatare.  If anyone could point us 
> in the right direction it would be greatly appreciated.  Thanks!
>
>Roscelin

If my memory is correct, Folkwear has some Japanese clothing patterns.


Joan Jurancich
joanmj@surewest.net 

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roscelinlimoges@comcast.net wrote:
>    I'm trying to help a friend with his Japanese persona's costume.  We are needing to  find patterns for these items:  hakama, manchira, and hitatare.  If anyone could point us in the right direction it would be greatly appreciated.  Thanks!
> 


I found these easily with a Google search of "_______ pattern".


Also:

http://www.sengokudaimyo.com/

Looked like an interesting site for your friend to take a look at.



Dawn

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Subject: [h-cost] NESAT 6 available
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There are a limited number of copies of NESAT 6 available from Lena Falk at 
the Archaeology Dept of the Goteborgs Univeritet even though it is listed 
as out of print at the bookshop: http://www.hum.gu.se/ark/.

You can contact her at lena.falk AT archaeology.gu.se

Hope that this is of interest.
Beth Matney

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Subject: Re: [h-cost] Japanese clothes patterns
Date: Mon, 7 Nov 2005 17:10:30 -0700
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I think Folkwear still has a pattern for hakamas.

Sylrog

On Nov 7, 2005, at 4:33 PM, roscelinlimoges@comcast.net wrote:

>    I'm trying to help a friend with his Japanese persona's costume.  
> We are needing to  find patterns for these items:  hakama, manchira, 
> and hitatare.  If anyone could point us in the right direction it 
> would be greatly appreciated.  Thanks!
>
> Roscelin
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
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To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Japanese clothes patterns
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>>    I'm trying to help a friend with his Japanese persona's costume.  We 
>> are needing to  find patterns for these items:  hakama, manchira, and 
>> hitatare.  If anyone could point us in the right direction it would be 
>> greatly appreciated.  Thanks!
>
>If my memory is correct, Folkwear has some Japanese clothing patterns.

http://www.folkwear.com/asian.html

#112 Japanese Field Clothing
#113 Japanese Kimono
#129 Japanese Hapi & Haori
#151 Japanese Hakama & Kataginu

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

              //// \\\
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Subject: [h-cost] 18th Century Fabric
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Hello,

Does anyone know of an on-line source for reproductions of 18th century
fabrics?  I've found a few, but don't want to miss any before I choose the
fabric for a 1780s-1790s  dress.

Thanks,
Anita

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Does the contest theme match the theme of the con? For example, St. Lou's CC
is "hell freezing over" would that be the theme of the contest?
De
-----Original Message-----
I used that pattern for my CC22 "Think Pink" entry last year.  There is
no zipper, it uses hooks & eyes  in the side seam.  I would make it
again if the need came up again.

Jeanine


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What era?
And I am not 100% sure but I think a manchira is an upper torse piece of
chainmail. Is that what you are think when you say manchira?

Various info and some patterns.

http://www.reconstructinghistory.com/japanese/briefhistory.html
http://www.5rivers.org/en-gb/dept_8.html
http://www.japan-zone.com/culture/kimono.shtml
http://www.geocities.com/anne_liese_w/Japanese/japhitatare.htm
http://www.iz2.or.jp/english/fukusyoku/busou/5.htm
http://www.iz2.or.jp/english/fukusyoku/wayou/29.htm
http://www.samurai-archives.com/clothing.html
http://sengokudaimyo.com/katchu/graphics/patterns/hitatare.PDF
http://www.marubeni.com/gallery/gallery0205.html
http://brian.hoffert.faculty.noctrl.edu/TEACHING/Samurai.html
http://www.japan-guide.com/e/e2133.html

De





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Subject: Re: [h-cost] Japanese clothes patterns
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On Monday 07 November 2005 7:25 pm, Joan Jurancich wrote:
> At 03:33 PM 11/7/2005, you wrote:
> >    I'm trying to help a friend with his Japanese persona's
> > costume.  We are needing to  find patterns for these
> > items:  hakama, manchira, and hitatare.  If anyone could point us
> > in the right direction it would be greatly appreciated.  Thanks!
> >
> >Roscelin
>
> If my memory is correct, Folkwear has some Japanese clothing patterns.

You can find the information on how to make your own patterns (since these 
items are made of rectangles of various sizes, appropriate dimensions are all 
the information you need) may be found for at least some of these items in a 
book called "Make Your Own Japanese Clothes" by John Marshall.  It's 
published by Kodansha International; Amazon sells it here:

http://www.amazon.com/exec/obidos/tg/detail/-/087011865X/qid=1131420042/sr=8-1/ref=pd_bbs_1/002-9908496-1648834?v=glance&s=books&n=507846

Here's the relevant information in case the URL has gotten butchered:

# Paperback: 130 pages
# Publisher: Kodansha America; 1st ed edition (November, 1988)
# Language: English
# ISBN: 087011865X

-- 
Cathy Raymond <cathy@thyrsus.com>

"Physics is like sex; sure, it may give some practical 
results, but that's not why we do it."--Richard Feynman
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Subject: Re: [h-cost] 18th Century Fabric
From: "Diana Habra" <dch@inreach.com>
To: "Historical Costume" <h-costume@indra.com>
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>
> Hello,
>
> Does anyone know of an on-line source for reproductions of 18th century
> fabrics?  I've found a few, but don't want to miss any before I choose the
> fabric for a 1780s-1790s  dress.

Anita,

If you can wait for a few months....I will be carrying Duran Textiles
starting in Februrary.  If you haven't seen the website, it is really
great (especially the photographs that Laila takes)!  Here is a link:

http://www.durantextiles.com/

I will be starting with the cotton prints and eventually hope to carry the
full line.  And next to each style of fabric she says where the original
pattern was found.  Very cool!

Diana

www.RenaissanceFabrics.net
"Everything for the Costumer"

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I thought I remembered seeing a garment with bugle beads in either 
"Fashion in Detail" or QEWU, but I couldn't find it in either? Another 
book perhaps?  Mike T.


>
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From: Catherine Olanich Raymond <cathy@thyrsus.com>
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Subject: Re: [h-cost] 18th Century Fabric
Date: Tue, 8 Nov 2005 00:06:49 -0400
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On Monday 07 November 2005 10:38 pm, Diana Habra wrote:
> > Hello,
> >
> > Does anyone know of an on-line source for reproductions of 18th century
> > fabrics?  I've found a few, but don't want to miss any before I choose
> > the fabric for a 1780s-1790s  dress.

Have you heard of Reproduction Fabrics?  They claim to sell reproduction 
patterns dating between 1775 and 1970, some of which are genuine indigo 
prints in period designs.  Most of them appear to be cotton prints, if that's 
what you're interested in:

http://www.reproductionfabrics.com/index.php
>

-- 
Cathy Raymond <cathy@thyrsus.com>

"Physics is like sex; sure, it may give some practical 
results, but that's not why we do it."--Richard Feynman
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] CCs
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As a member of the CC25 committee, let me answer your question by 
stating:  there is not, nor is there ever, a "theme of the contest". 
 I'll explain in further detail.

Costume Con has 3 competitions:

a.  a design folio for future fashions (judged and printed before the 
convention; people construct designs from the folio for a fashion show 
at the con)
b.  a Science Fiction and Fantasy masquerade
c.  a Historical masquerade

There are NO requirements about following any specific theme; that 
stifles artistic expression - if you have an outfit you're aching to do, 
but it doesn't fit any of the upcoming themes, then what would you do? 
 Part of the joy is not knowing what costumes will show up.  

Some people occasionally *choose* to do a particular outfit that follows 
the spirit of that convention (for example, CC24's theme is "Epic 
Movies", and an outfit I hope to complete for the SF/F masquerade is in 
keeping with that).

The traditional place for the theme to show up is at the convention's 
Friday Night Social, which is not a competition, but simply a "meet and 
greet".  For CC25, the social is meant to be "a gathering of rock stars 
after a concert".  People will come as rock stars past or present, or 
backstage crew, or groupies, or whatever.  It's just a fun time.

Karen

otsisto wrote:

>Does the contest theme match the theme of the con? For example, St. Lou's CC
>is "hell freezing over" would that be the theme of the contest?
>De
>


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At 10:30 PM 11/7/2005, you wrote:
>Date: Mon, 07 Nov 2005 22:29:09 -0600
>From: Karen Heim <axejudge@accessus.net>
>Subject: Re: [h-cost] CCs
>
>Some people occasionally *choose* to do a particular outfit that follows
>the spirit of that convention (for example, CC24's theme is "Epic
>Movies", and an outfit I hope to complete for the SF/F masquerade is in
>keeping with that).
>
>The traditional place for the theme to show up is at the convention's
>Friday Night Social, which is not a competition, but simply a "meet and
>greet".
>
>Karen

And CC 24's Friday Night Social theme is:  "An Evening with the 
Stars" - think pre or post Oscar party.
Sandy

>otsisto wrote:
>
> >Does the contest theme match the theme of the con? For example, St. Lou's CC
> >is "hell freezing over" would that be the theme of the contest?
> >De

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

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

Andromeda  


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Try this:

http://www.twobarleycorns.net/meas_form.html



                   .
                 /'
                //
            .  //
            |\//7
           /' " \
          .   . .
          | (    \     '._
          |  '._  '    '. '
          /    \'-'_---. ) )
         .              :.'
         |               \
         | .    .   .     .
         ' .    |  |      |
          \^   /_-':     /
          / | |    '\  .'
         / /| |     \\  |
         \ \( )     // /
          \ | |    // /
           L! !   // /   Joan Broneske 
            [_]  L[_|    unicorn@surewest.net



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Subject: RE: [h-cost] CCs
Date: Tue, 8 Nov 2005 01:31:29 -0600
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I have never been to CC and hope to go to the one in St. Louis as it will be
close and I have relatives near there if budget is tight and can't hotel it.
For now I am hoping to find time to finally make a costume for Archon (if
not more). :)

Thank you,
De

-----Original Message-----
As a member of the CC25 committee, let me answer your question by
stating:  there is not, nor is there ever, a "theme of the contest".
 I'll explain in further detail.

Costume Con has 3 competitions:

a.  a design folio for future fashions (judged and printed before the
convention; people construct designs from the folio for a fashion show
at the con)
b.  a Science Fiction and Fantasy masquerade
c.  a Historical masquerade

There are NO requirements about following any specific theme; that
stifles artistic expression - if you have an outfit you're aching to do,
but it doesn't fit any of the upcoming themes, then what would you do?
 Part of the joy is not knowing what costumes will show up.

Some people occasionally *choose* to do a particular outfit that follows
the spirit of that convention (for example, CC24's theme is "Epic
Movies", and an outfit I hope to complete for the SF/F masquerade is in
keeping with that).

The traditional place for the theme to show up is at the convention's
Friday Night Social, which is not a competition, but simply a "meet and
greet".  For CC25, the social is meant to be "a gathering of rock stars
after a concert".  People will come as rock stars past or present, or
backstage crew, or groupies, or whatever.  It's just a fun time.

Karen



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Perhaps the english journal of the Costume Society, have some more 
informations of the bodice?

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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> I thought I remembered seeing a garment with bugle beads in either
> "Fashion in Detail" or QEWU, but I couldn't find it in either? Another
> book perhaps?  Mike T.

I looked in Fashion in Detail and didn't see it. You may be thinking  
of a
pair of sleeves with beading, and I unfortunately don't own QEWU. I  
looked
in other books of mine but couldn't find anything there either...
   -Debbie Callahan
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Subject: [h-cost] 17th beaded bodice
Date: Tue, 8 Nov 2005 13:51:50 -0800
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> Perhaps the english journal of the Costume Society, have some more
> informations of the bodice?
>
> Bjarne

Good idea, Bjarne, I hadn't thought about that... okay after looking at
their site, I didn't see any information about it. Maybe Saragrace's
inquiries will bear fruit. I've emailed them also.
    (hmm.. my last reply I believe I forgot to change the subject
    header. : p)

-Debbie Callahan
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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] 17th beaded bodice
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At 21:51 08/11/2005, you wrote:
>>Perhaps the english journal of the Costume Society, have some more
>>informations of the bodice?
>>
>>Bjarne
>
>Good idea, Bjarne, I hadn't thought about that... okay after looking at
>their site, I didn't see any information about it. Maybe Saragrace's
>inquiries will bear fruit. I've emailed them also.
>    (hmm.. my last reply I believe I forgot to change the subject
>    header. : p)


As far as I remember there has been nothing in the journal of the 
Costume Society about this garment. If it is private property, and 
was put on hold there would not have been time to publish in the 
latest copy received July/August this year. If money was being raised 
to prevent this historic garment from leaving England I feel sure 
that members of the Costume Society, The Art Fund and The Friends of 
Fashion of the Museum of London would all have been asked to 
contribute, and as I am a member of all three I would have had some 
notification. I have had no such notification.

I too will be awaiting further developments.

Suzi


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From: "Jeanine E. Swick" <jeanine@woollycat.net>
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Subject: [h-cost] O.T. traveling to Montreal
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I'll be in Montreal the week following Thanksgiving.  What would be some 
good sites/museums to visit?  Costuming, unique fabric, books....

Jeanine

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From: Kathy Page <caitlin_oduibhir@yahoo.ca>
To: Historical Costume List <h-costume@mail.indra.com>
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Subject: [h-cost] Searching for a photo
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Greetings once again,

I have come across a nifty little photo, but it
doesn't show the object in question either in total,
or large enough.

http://www.ntpl.org.uk/zooms/00000000103/103281.bro

Is what I can find for The Garter of Maximilian I,
King of the Romans, c. 1489. It is held at Anglesey
Abbey, catalogued through the National Trust ref
#103281. I'd like a photo that shows the entire garter
if at all possible, and if it had dimensional
references, I would be in heaven. I have a partial
photo in "Art of Embroidery: History of Style and
Technique" by Lanto Synge, which is where I came to
know this item in the first place. Anyone out there
have a pic?

Thanks so much! 

Kathy

It’s never too late to be who you might have been.
-George Eliot
For every beauty there is an eye somewhere to see it. For every truth there is an ear somewhere to hear it. For every love there is a heart somewhere to receive it.
-Ivan Panin


	

	
		
__________________________________________________________ 
Find your next car at http://autos.yahoo.ca
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From h-costume-bounces@indra.com  Wed Nov  9 05:06:16 2005
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Hello,
I hope somebody can help me a little.
I am draping the toille of the sack backed yellow chenille dress. Then i 
have a little problem with the sleave fitting.
Is it ok that my armscye overlaps the shoulderstraps of the stays at the 
top? I might have made the shoulderstraps two wide at the top and wondered 
if it matters? If i make the armscye to the edge of the shoulder straps, my 
sleave dont get the right angle i think.
Any ideas greatly apreciated, thanks

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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At 03:04 09/11/2005, you wrote:
>Greetings once again,
>
>I have come across a nifty little photo, but it
>doesn't show the object in question either in total,
>or large enough.
>
>http://www.ntpl.org.uk/zooms/00000000103/103281.bro
>
>Is what I can find for The Garter of Maximilian I,
>King of the Romans, c. 1489. It is held at Anglesey
>Abbey, catalogued through the National Trust ref
>#103281. I'd like a photo that shows the entire garter
>if at all possible, and if it had dimensional
>references, I would be in heaven. I have a partial
>photo in "Art of Embroidery: History of Style and
>Technique" by Lanto Synge, which is where I came to
>know this item in the first place. Anyone out there
>have a pic?


This looks to be similar in dimensions to a 1930's copy of a Garter I 
have, (from the British Order of the Garter).  This is made in blue 
velvet, and is about 1" wide, and long enough to buckle round under 
the knee. This length seems to have been variable, dependant on the 
size of the leg. The decoration and words are in gold bullion, with 
small cross like symbols between each word. The motto of course 
is  "Honi+Soit+Qui+Mal+Y+Pense" (as written.) The buckle is gilt 
metal, probably gold in the original. I saw an early black "Garter" 
somewhere, possibly Belvoir Castle, but I thought that was also a 
British Garter. Sorry I don't have a pic though - you could try 
contacting the National Trust.

Suzi


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From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] odd question about toille draping
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At 10:05 09/11/2005, you wrote:
>Hello,
>I hope somebody can help me a little.
>I am draping the toille of the sack backed yellow chenille dress. 
>Then i have a little problem with the sleave fitting.
>Is it ok that my armscye overlaps the shoulderstraps of the stays at 
>the top? I might have made the shoulderstraps two wide at the top 
>and wondered if it matters? If i make the armscye to the edge of the 
>shoulder straps, my sleave dont get the right angle i think.
>Any ideas greatly apreciated, thanks
>
>Bjarne


Bjarne

If you have, or can get, a copy of "Period Costume for Stage and 
Screen 1500-1800" by Jean Hunnisett published by Players Press, you 
will find that she has clear instructions for draping a mantua and 
for a sack, with clear drawings (by Janette Haslam). The title is 
misleading, as all the patterns are based on thorough research of 
original garments wherever possible.

Suzi


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Subject: Re: [h-cost] odd question about toille draping
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In a message dated 11/9/2005 5:06:37 A.M. Eastern Standard Time,  
drewscph@post12.tele.dk writes:

Is it ok  that my armscye overlaps the shoulderstraps of the stays at the  
top?


Of course it is. The gown is the gown and the stays are the stays. What if  
the gown were worn with different stays? I mean not all gowns have stays made  
just for them. Worry about what the gown looks like.
 
That's my advice anyway....
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So far, nothing back from either the ministry or the costume society! 
I'll keep everyone posted.
Max Callahan wrote:

> Good idea, Bjarne, I hadn't thought about that... okay after looking at
> their site, I didn't see any information about it. Maybe Saragrace's
> inquiries will bear fruit. I've emailed them also.
>

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Is this a "fashion" question (i.e. does it make the silhouette wrong?) 
Not sure I am following you completely, but you you are talking about 
the edge of the armscye towards the sleeve (correct?).  By over lapping 
you mean that the cut of the armscye is "so deep" that (when the sleeve 
is not inserted) the stay strap is visible, or do you mean that the cut 
of the armscye extends beyond the shoulder?   Got a picture you could 
post?  I love engineering problems!

Sg


Bjarne og Leif Drews wrote:

> Is it ok that my armscye overlaps the shoulderstraps of the stays at 
> the top? I might have made the shoulderstraps two wide at the top and 
> wondered if it matters? If i make the armscye to the edge of the 
> shoulder straps, my sleave dont get the right angle i think.


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FYI all :)  Beth, thanks so much for this information!
 
If my calculations are correct, the total for book/shipping is $38
 
Chris G.
Lena Falk <lena.falk@archaeology.gu.se> wrote:
Date: Wed, 9 Nov 2005 07:26:37 +0100 (CET)
Subject: Re: Fwd: [h-cost] NESAT 6 available
From: "Lena Falk" <lena.falk@archaeology.gu.se>
To: "Chris" <emeraldepona@yahoo.com>

Dear Chris,

Thank you for your mail. Yes, we still have copies of the book left. The
price is SEK 150 plus postage, about SEK100. If you are interested, please
just give me your address, and I will send you the book.

Best regards
Lena



> Good Afternoon Ms. Falk,
>
> Per the e-mail below, have all the copies of NESAT VI been sold and if
> not, what would the cost be to purchase plus ship to New Jersey in the
> United States?
>
> Thank you very much for your time,
> Chris Gallucci
>
> Beth and Bob Matney wrote:
> Date: Mon, 07 Nov 2005 17:06:54 -0600
> To: 
> From: Beth and Bob Matney 
> Subject: [h-cost] NESAT 6 available
>
> There are a limited number of copies of NESAT 6 available from Lena Falk
> at
> the Archaeology Dept of the Goteborgs Univeritet even though it is listed
> as out of print at the bookshop: http://www.hum.gu.se/ark/.
>
> You can contact her at lena.falk AT archaeology.gu.se
>
> Hope that this is of interest.
> Beth Matney
>
> _______________________________________________
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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
>
>
>
>
>
> ---------------------------------
> Yahoo! FareChase - Search multiple travel sites in one click.


-- 
Lena Falk
Institutionen för arkeologi
Göteborgs universitet
Box 200
405 30 GÖTEBORG
Tel. 031-773 46 14
lena.falk@archaeology.gu.se


		
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From: Edith Reardon <edithreardon@yahoo.ca>
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Oh you lucky girl!  I couldn't believe the selection of fabric available. Some of the shops reminded me of chinatown shops everything stacked as high as possible.  First time I bought fabric by the pound very interesting. I didn't get rid of my stash before I went so I couldn't buy much. I can hardly wait till next year so I can go again and this time I'm going to make sure I have lots of room.  The fabric district is between St. Laurent and avenue du parc  about 7700 to 9200.  Try this link for some cheap ideas??  http://www.montrealmirror.com/ARCHIVES/2002/assg/assg5.html
 
While I was there the university had a book sale but it was total chaos.  We were lucky and got a three day pass that covered all our metro plus museums.  Because we were going to be there several weeks I also got an Entertainment coupon book so we could try lots of different restaurants cheap.  I got several pamphlets from Quebec tourism including maps and places to shop etc. these are free for the asking. When planning I usually contact the tourism or commerce of the town or area.  They usually have great coupons for attractions and other info like the metro/museum passes. The museum pass I think got you into 21 or more museums for free but were only for sale for a short time.
 
I couldn't believe how many restaurants just sold hot dogs some as cheap as 3/$100.  Take out lunch isn't chinese or pizza it's hot dogs.
 
 
Edith


"Jeanine E. Swick" <jeanine@woollycat.net> wrote:
I'll be in Montreal the week following Thanksgiving. What would be some 
good sites/museums to visit? Costuming, unique fabric, books....

Jeanine

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From: Edith Reardon <edithreardon@yahoo.ca>
Subject: Re: [h-cost] O.T. traveling to Montreal
To: Historical Costume <h-costume@indra.com>
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So you don't have to search forever try this and I seem to have mislaid the one for Quebec tourism.  http://www.tourisme-montreal.org/B2C/00/default.asp?cookie%5Ftest=1
 
Edith

"Jeanine E. Swick" <jeanine@woollycat.net> wrote:
I'll be in Montreal the week following Thanksgiving. What would be some 
good sites/museums to visit? Costuming, unique fabric, books....

Jeanine

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Subject: Re: [h-cost] O.T. traveling to Montreal
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Hi,

If you want costumes, the McCord Museum will probably be your best bet. 
http://www.mccord-museum.qc.ca/en/. Check their online catalog as well. A 
little hard to navigate, but they have many amazing items and they're not 
all on display, at least not all at the same time.

The Pointe-à-Callière is interesting as well, but it's an archeology museum, 
not a costume collection. No fabric there, but a visit of the first 
settlements of the city. Lots of arrowheads, but also more recent stuff, 
pottery, glass, other household items, all arranged by date, and the 
fundations of the very old building underneath the museum. 
http://www.pacmusee.qc.ca/indexan.html It's in the Old Port, so you can 
visit the area too, although it's probably starting to be a little empty at 
this time of year - and it will be windy too. There's a great Science museum 
in the Port too.

You can also try the Stewart museum. http://www.stewart-museum.org/map.htm. 
Few articles of clothing, but very, very interesting items, most in the 17th 
to 19th century range, IIRC. Not very big, but the exhibitions are usually 
very interesting.

If you want fabric, the usual location is on St-Hubert street, north of 
Jean-Talon. It's the so-called fabric district. But there's a couple of 
other places as well, out of the fabric district, for example a shop called 
Rix Rax for buttons and notions. http://www.rixrax.ca/ (another annoying 
QuickTime site - if you need the address, let me know).

I don't know of a good independant library. Most of them have been swallowed 
up by Renaud-Bray and Archambault. There's Olivieri but it's out of the way 
of major attractions. For used books and CDs, there's a few on Mont-Royal, 
east of St-Denis. Mont-Royal, both east and west of St-Denis, is THE place 
to go for used clothing - and used things in general. Some very fashionable 
stuff too.

If you're still there December 2nd, the Salon des Métiers d'Art opens that 
day. You'll have the cheesy artsy stuff, but also the very interesting 
modern art objects to buy, as well as a few local fine food producers - some 
of what they sell is not available in stores. Entrance is free.

Try www.montrealplus.ca for all (well... let's say a lot of) Montreal 
activities.

If you're into food, take a trip to Jean-Talon market. Parking is not easy 
so try to go during the week. The market itself and the streets around are a 
real feast. Literally :-)

For general shopping, restaurants, those kinds of things... The French side 
is St-Denis street, between Ste-Catherine and... oh... about St-Joseph. The 
mixed, a little more chic street is St-Laurent, between Sherbrooke and 
St-Joseph. (St-Laurent cuts Montreal in half - French on the East, English 
on the West side, more or less). Where the English (and most tourists) go 
for bars and restaurants is Crescent street, mostly between de Maisonneuve 
and René-Lévesque. You can also try Ste-Catherine street from Peel street 
down to about Berri street - and even down to Papineau.

But if you're looking for anything in particular (antiques, crafts, Japanese 
food, paper, tea, fancy men's hats - whatever) let me know. I don't know a 
lot of places, but maybe I can help - yes, I know, costumes and fabric and 
books :-) Unfortunately, I do most of my shopping for those things online!

Other than that... frankly, we rarely know our own city very well :-)

Oh, and BTW, Canadian Thanksgiving is in October :-) It's long gone by 
now...

----- Original Message ----- 
From: "Jeanine E. Swick" <jeanine@woollycat.net>
To: "Historic Costume" <h-costume@indra.com>
Sent: Tuesday, November 08, 2005 9:37 PM
Subject: [h-cost] O.T. traveling to Montreal


> I'll be in Montreal the week following Thanksgiving.  What would be some 
> good sites/museums to visit?  Costuming, unique fabric, books....
>
> Jeanine
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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> 
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Subject: Re: [h-cost] odd question about toille draping
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Dear Saragrace,
Albertcat, understood it right, its my armscye of the bodice wich are bigger 
than the armscye in the stays.
It wont show when the bodice covers the stays, do you get it?

Bjarne


----- Original Message ----- 
From: "WickedFrau" <wickedfrau@msn.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, November 09, 2005 2:39 PM
Subject: Re: [h-cost] odd question about toille draping


> Is this a "fashion" question (i.e. does it make the silhouette wrong?) Not 
> sure I am following you completely, but you you are talking about the edge 
> of the armscye towards the sleeve (correct?).  By over lapping you mean 
> that the cut of the armscye is "so deep" that (when the sleeve is not 
> inserted) the stay strap is visible, or do you mean that the cut of the 
> armscye extends beyond the shoulder?   Got a picture you could post?  I 
> love engineering problems!
>
> Sg
>
>
> Bjarne og Leif Drews wrote:
>
>> Is it ok that my armscye overlaps the shoulderstraps of the stays at the 
>> top? I might have made the shoulderstraps two wide at the top and 
>> wondered if it matters? If i make the armscye to the edge of the shoulder 
>> straps, my sleave dont get the right angle i think.
>
>
> _______________________________________________
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> 


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Hi, Kathy:
There is still no answer at Antonio's phone number and I haven't heard back  
via email from either Brian at Geac or Holly Dewar at Fitzgerald.  I  believe 
it may be time to pick up the phone and call one of them:  do you  prefer I 
call Brian at Geac or Holly at Fitzgerald.  Please advise.
Thanks,
Julia
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Yes that is where I went St. Hubert Lots of good deals. The metro is fast and easy to use in Montreal as parking will also cost you a small fortune.  Edith

Audrey Bergeron-Morin <audreybmorin2@hotmail.com> wrote:Hi,

If you want costumes, the McCord Museum will probably be your best bet. 
http://www.mccord-museum.qc.ca/en/. Check their online catalog as well. A 
little hard to navigate, but they have many amazing items and they're not 
all on display, at least not all at the same time.

The Pointe-à-Callière is interesting as well, but it's an archeology museum, 
not a costume collection. No fabric there, but a visit of the first 
settlements of the city. Lots of arrowheads, but also more recent stuff, 
pottery, glass, other household items, all arranged by date, and the 
fundations of the very old building underneath the museum. 
http://www.pacmusee.qc.ca/indexan.html It's in the Old Port, so you can 
visit the area too, although it's probably starting to be a little empty at 
this time of year - and it will be windy too. There's a great Science museum 
in the Port too.

You can also try the Stewart museum. http://www.stewart-museum.org/map.htm. 
Few articles of clothing, but very, very interesting items, most in the 17th 
to 19th century range, IIRC. Not very big, but the exhibitions are usually 
very interesting.

If you want fabric, the usual location is on St-Hubert street, north of 
Jean-Talon. It's the so-called fabric district. But there's a couple of 
other places as well, out of the fabric district, for example a shop called 
Rix Rax for buttons and notions. http://www.rixrax.ca/ (another annoying 
QuickTime site - if you need the address, let me know).

I don't know of a good independant library. Most of them have been swallowed 
up by Renaud-Bray and Archambault. There's Olivieri but it's out of the way 
of major attractions. For used books and CDs, there's a few on Mont-Royal, 
east of St-Denis. Mont-Royal, both east and west of St-Denis, is THE place 
to go for used clothing - and used things in general. Some very fashionable 
stuff too.

If you're still there December 2nd, the Salon des Métiers d'Art opens that 
day. You'll have the cheesy artsy stuff, but also the very interesting 
modern art objects to buy, as well as a few local fine food producers - some 
of what they sell is not available in stores. Entrance is free.

Try www.montrealplus.ca for all (well... let's say a lot of) Montreal 
activities.

If you're into food, take a trip to Jean-Talon market. Parking is not easy 
so try to go during the week. The market itself and the streets around are a 
real feast. Literally :-)

For general shopping, restaurants, those kinds of things... The French side 
is St-Denis street, between Ste-Catherine and... oh... about St-Joseph. The 
mixed, a little more chic street is St-Laurent, between Sherbrooke and 
St-Joseph. (St-Laurent cuts Montreal in half - French on the East, English 
on the West side, more or less). Where the English (and most tourists) go 
for bars and restaurants is Crescent street, mostly between de Maisonneuve 
and René-Lévesque. You can also try Ste-Catherine street from Peel street 
down to about Berri street - and even down to Papineau.

But if you're looking for anything in particular (antiques, crafts, Japanese 
food, paper, tea, fancy men's hats - whatever) let me know. I don't know a 
lot of places, but maybe I can help - yes, I know, costumes and fabric and 
books :-) Unfortunately, I do most of my shopping for those things online!

Other than that... frankly, we rarely know our own city very well :-)

Oh, and BTW, Canadian Thanksgiving is in October :-) It's long gone by 
now...

----- Original Message ----- 
From: "Jeanine E. Swick" 
To: "Historic Costume" 
Sent: Tuesday, November 08, 2005 9:37 PM
Subject: [h-cost] O.T. traveling to Montreal


> I'll be in Montreal the week following Thanksgiving. What would be some 
> good sites/museums to visit? Costuming, unique fabric, books....
>
> Jeanine
>
> _______________________________________________
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Subject: Re: [h-cost] O.T. traveling to Montreal
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Hi, it's me again,

Of course, most of the references I gave are in the Eastern Montreal. Not 
that we don't mix up with the other side, just that it's far enough that 
stores just don't have the same clients.

> http://www.montrealmirror.com/ARCHIVES/2002/assg/assg5.html

That's a great link thanks! Take note that, in this article, they almost 
always stop at St-Laurent, or St-Denis, but you can also in most instances 
push more towards the Eastern part too and find interesting things - I'm 
thinking mostly of Mont-Royal street here, but it's true of others as well, 
if you don't mind bad English.

> I couldn't believe how many restaurants just sold hot dogs some as cheap 
> as 3/$100.  Take out lunch isn't chinese or pizza it's hot dogs.

Uh, well. Not true of everyone. IMHO, most of those hot-dogs they sell for 
1$ don't qualify as food, although some people seem to think they do :-) But 
if you want real hot dogs for 1$, you have to go to Montreal Pool Room (1200 
St-Laurent). It's THE hot-dog place. Me, I hate cheap hot dogs. There's lots 
of 1$ pizza places. Don't be afraid to take advantage of them. And lots of 
cheap Chinese/Thai places. And lots if Indian, Pakistanese, Italian, Greek, 
Japanese (including take-out sushi), Mexican, Libanese, French (though those 
are usually more expensive), etc. restaurants. No need to eat cheap hot-dogs 
:-) Ah, another thing I dislike but you might enjoy - smoked meat. The 
world-famous place is Schwartz. 3895 St-Laurent. There's ALWAYS people 
there. Looks really crappy, but they supposedly make the best smoked-meat in 
the world. Also - no street food vendors in Montreal. Personnally, I think 
we could do with a few, but there's a silly law against it. But there's 
always food in shopping malls.

Edith mentioned the metro. It's great for going almost anywhere in town - at 
least downtown. You can buy a weekly pass. If you want to know easily how to 
get from point A to point B, go to www.stm.info and find the "Tous Azimuts" 
link. Of course, it won't help you in a hotel room without an Internet 
connexion, but it will at least allow you to know your main routes before 
you leave. I use it regularly, and it has never been wrong before.

Costume contents? Uh... well... that was in the first message. All of this 
is to GET to the costume stuff... 
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Subject: Fwd: [h-cost] NESAT 6 available
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Lena is excellent to deal with and very helpful. The price and shipping for 
NESAT 6 is quite reasonable. and arrived VERY quickly. There is only one 
minor problem that you should be aware of.... payment must be in SEK 
(Swedish Kronors) and by wire transfer/ direct deposit to their bank or 
cheque.. or by cash. I ordered SEK from my bank and mailed it directly to 
the Archaeology Department (contact Lena for the correct address) as 
International Wire Transfer fees were excessive from my bank.

Beth

At 09:36 AM 11/9/2005, you wrote:
>Date: Wed, 9 Nov 2005 06:13:15 -0800 (PST)
>From: Chris <emeraldepona@yahoo.com>
>Subject: Fwd: Re: Fwd: [h-cost] NESAT 6 available
>To: h-costume@mail.indra.com
>Message-ID: <20051109141315.96180.qmail@web31005.mail.mud.yahoo.com>
>Content-Type: text/plain; charset=iso-8859-1
>
>FYI all :)  Beth, thanks so much for this information!
>
>If my calculations are correct, the total for book/shipping is $38
>
>Chris G.

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Rats,  I guess I  was hoping for something more difficult!  Yes, I think 
I get it now. I would not worry about this situation.  I would worry if 
the situation were reversed, i.e. the dress armscye were smaller than 
the stays because you can get some fleshy lumps and bumps sometimes. 


Bjarne og Leif Drews wrote:

> Dear Saragrace,
> Albertcat, understood it right, its my armscye of the bodice wich are 
> bigger than the armscye in the stays.
> It wont show when the bodice covers the stays, do you get it?
>

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Subject: [h-cost] scalloped sleave ruffles
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Hi again,
Forgive that i have another question. I want to make the sleave ruffles of 
the yellow dress with scalloped edges. I dont have pinking tools, and i just 
want to cut it with ordinary scissors.
How could i make the edge of this, so it wont fray? Should i make buttonhole 
stitches? I want to add small bouquets of chenille flowers here and there! 
Could i turn the edge, about 1-2 mm. and perhaps cut it each top? I dont 
want to make tiny ones, but  scallopes about 5 cm. wide

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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What little I know of these styles, they did use raw edges on the 
scallops right?  You don't have a set of pinking shears?  You can also 
apply a very light coat of "fray check" with a micro brush.  I will try 
to find a link of all these things is you don't have them "over there."

Sg
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From: Chris <emeraldepona@yahoo.com>
Subject: Re: Fwd: [h-cost] NESAT 6 available
To: Historical Costume <h-costume@indra.com>
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Ah, VERY good to know.  I'll send her another 'e' for her address.
 
Thanks again Beth!

Beth and Bob Matney <bmatney@alltel.net> wrote:
Lena is excellent to deal with and very helpful. The price and shipping for 
NESAT 6 is quite reasonable. and arrived VERY quickly. There is only one 
minor problem that you should be aware of.... payment must be in SEK 
(Swedish Kronors) and by wire transfer/ direct deposit to their bank or 
cheque.. or by cash. I ordered SEK from my bank and mailed it directly to 
the Archaeology Department (contact Lena for the correct address) as 
International Wire Transfer fees were excessive from my bank.

Beth



		
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Subject: [h-cost] early Knitting and crochet
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The quote below is the earliest dating that I have heard for knitting and 
crochet in Northern Europe. Can anyone confirm or deny using other 
archaeological sources? There is, of course, the possibility of translation 
error in the article and that they are referring to naalbinding or some 
other technique.

Beth Matney

"That knitting has an old tradition in the Baltic states is evident from 
archaeological data of Latvia and Estonia (Peets 1987, 105-16; Zarina, 
Caune 1980, 60-9). In cultural layers of Riga, dated to the 12th-15th 
centuries, woollen gloves and mittens were found. Some of them were knitted 
and others were crochetted with a small bone needle."
( from pg 283, "Holiday Clothing of Lithuanian Country Women in the 
15th-16th centuries" by Saule Urbanaviciene in NESAT 6)

This references:

Peets J., 1987: 'Totenhandschuhe im Bestattungsbrauchtum de Esten und 
anderen Ostseefinnen'. Fenoscandia Archaeologica. IV. Helsinki. 105-16

Caune A., Zarina A., 1980: 'Rigas 13.-15. gs. vilnas cimdi'. Latvijas PSR 
zinatnu akademijas vestis, Nr.1 (39), 60-9.

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From: Kathy Page <caitlin_oduibhir@yahoo.ca>
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Subject: [h-cost] Re: Searching for a photo
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This one is blue silk, what looks like grosgrain with
silver gilt thread embroidery, gold buckle and
enamelled Tudor roses in place where your crosses
would be. This is the oldest known surviving Garter
from that Order. Apparently it was sent by the King of
England to Maximilian to confirm his support of his
marriage proposal. This item was eventually sent with
Maximilian's representative to I think her name was
Anne, IIRC, for the first proxy marriage ceremony. 

I have come across pictures of both you are speaking
of on a Russian, of all places, website. The
Goldworked one had a lovely picture, the black one
wasn't as detailed since they took the pic of the
black garter atop black moire taffeta - artistic, but
not useful for detail purposes.  

National Trust has a photo purchase section, I was
just hoping not to have to go that far. This was a
little side adventure for me. I guess I'll make it the
size of the available buckles - again though, buckle
purveyors might be very interested in the buckle for
repro purposes anyway. I wouldn't be looking forward
to packing all of this into anything smaller than one
inch, however.

Incidentally, for the purposes of trivia, the garter I
am looking for has "pense" spelled wrong on it -
"pence", however it could be a more period spelling as
I have found multiple references with that same
misspelling. Additionally, the other photo I have of
this item _appears_ to have something else on it, or
some really wild looking gothic script, I can't tell.
The buckle end has either "POM--", "HOM--" or "BOM--"
on it, depending on which way you turn the photo.
Someone either couldn't spell, I can't read, or a
combination of the two. :-) It's possible too that I
am mistaking the "M" for a really tightly packed "NI"
based on the script style. This item looks
surprisingly long for a garter and seems to have a
decorative section at the strap end. 

Perhaps I can get a museum card description from
them... who knows.

Thanks Suzi!

Kathy

> This looks to be similar in dimensions to a 1930's
> copy of a Garter I 
> have, (from the British Order of the Garter).  This
> is made in blue 
> velvet, and is about 1" wide, and long enough to
> buckle round under 
> the knee. This length seems to have been variable,
> dependant on the 
> size of the leg. The decoration and words are in
> gold bullion, with 
> small cross like symbols between each word. The
> motto of course 
> is  "Honi+Soit+Qui+Mal+Y+Pense" (as written.) The
> buckle is gilt 
> metal, probably gold in the original. I saw an early
> black "Garter" 
> somewhere, possibly Belvoir Castle, but I thought
> that was also a 
> British Garter. Sorry I don't have a pic though -
> you could try 
> contacting the National Trust.

It’s never too late to be who you might have been.
-George Eliot
For every beauty there is an eye somewhere to see it. For every truth there is an ear somewhere to hear it. For every love there is a heart somewhere to receive it.
-Ivan Panin


	

	
		
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Most of my husbands family lives in Eastern Montreal and that is where he used to live.  You have such a choice of fabrics at wonderful prices.  We have a Fabricland and Walmart for a population 100,000 people.  Vancouver has about the same selection except for little india. I buy most of my fabric from Walmart, second-hand stores or off the internet.  
 
We all know that we can get cheaper fabric on the internet but shipping to Canada can be $17.+.  I ordered Linen 10 yds. from an online stores once and by the time I got it I paid $10. a yd. for what turned out to be junk. I love sellers that say it's linen and they are selling cotton.  I don't buy linen now unless I can see it and feel it.
 
Edith

Audrey Bergeron-Morin <audreybmorin2@hotmail.com> wrote:
Hi, it's me again,

Of course, most of the references I gave are in the Eastern Montreal. Not 
that we don't mix up with the other side, just that it's far enough that 
stores just don't have the same clients.

> http://www.montrealmirror.com/ARCHIVES/2002/assg/assg5.html

That's a great link thanks! Take note that, in this article, they almost 
always stop at St-Laurent, or St-Denis, but you can also in most instances 
push more towards the Eastern part too and find interesting things - I'm 
thinking mostly of Mont-Royal street here, but it's true of others as well, 
if you don't mind bad English.

> I couldn't believe how many restaurants just sold hot dogs some as cheap 
> as 3/$100. Take out lunch isn't chinese or pizza it's hot dogs.

Uh, well. Not true of everyone. IMHO, most of those hot-dogs they sell for 
1$ don't qualify as food, although some people seem to think they do :-) But 
if you want real hot dogs for 1$, you have to go to Montreal Pool Room (1200 
St-Laurent). It's THE hot-dog place. Me, I hate cheap hot dogs. There's lots 
of 1$ pizza places. Don't be afraid to take advantage of them. And lots of 
cheap Chinese/Thai places. And lots if Indian, Pakistanese, Italian, Greek, 

		
---------------------------------
Find your next car at Yahoo! Canada Autos
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Subject: Re: [h-cost] odd question about toille draping
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      As long as there are no strange bumps or ridges, it doesn't matter.

      I'm reminded of the construction of some originals - rather than 
setting the sleeve into an armscye, it seems that the sleeve tops are 
eased into place and then the strap or robings are applied on top of 
them.  So perhaps you'll have the opportunity to ensure the sleeves 
go smoothly over the straps of the stays, and the actual position of 
the seams on the gown will not matter.

      -Carol


>Dear Saragrace,
>Albertcat, understood it right, its my armscye of the bodice wich 
>are bigger than the armscye in the stays.
>It wont show when the bodice covers the stays, do you get it?
>
>Bjarne
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Subject: Re: [h-cost] early Knitting and crochet
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> The quote below is the earliest dating that I have heard for knitting and 
> crochet in Northern Europe. Can anyone confirm or deny using other 
> archaeological sources? There is, of course, the possibility of 
> translation error in the article and that they are referring to 
> naalbinding or some other technique.
>
> Beth Matney

Well. I can't do so using archaeological sources, but I can tell you that 
"crochet with a small bone needle" is a weird way of phrasing things. Is it 
crochet or naalbinding? I'd guess naalbinding. Is it a bone needle or a bone 
crochet? Again, I'd guess bone needle, which would again lead to 
naalbinding. It references sources in another language, which makes it very 
possible that the translator used what he thought was a generic word - 
knitted - for what we think of as a specific term. Unless someone can read 
the original and let us know, I'd put a big warning on the text if you want 
to use it as proof that knitting existed.

> "That knitting has an old tradition in the Baltic states is evident from 
> archaeological data of Latvia and Estonia (Peets 1987, 105-16; Zarina, 
> Caune 1980, 60-9). In cultural layers of Riga, dated to the 12th-15th 
> centuries, woollen gloves and mittens were found. Some of them were 
> knitted and others were crochetted with a small bone needle."
> ( from pg 283, "Holiday Clothing of Lithuanian Country Women in the 
> 15th-16th centuries" by Saule Urbanaviciene in NESAT 6) 
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Karen Heim wrote:
> As a member of the CC25 committee, let me answer your question by 
> stating:  there is not, nor is there ever, a "theme of the contest". 
> I'll explain in further detail.


Karen,

Info on the web site is a little thin. Can you tell me what the con 
weapon policy is (costume weapons of course) or point me to a website 
where it might be outlined?

A couple of the costumes I'm considering involve the use of toy guns as 
accessories.



Dawn

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To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] early Knitting and crochet
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>were crochetted with a small bone needle."

Crochet cannot be done with any kind of needle.  Sorry, but your source 
must have been written by someone who doesn't know knit from crochet.


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

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I've seen the term "crochet needle" in English-language 19th-century 
crochet instructions, as a synonym for "crochet hook."

BTW< I also just came across an early 19th-century reference to 
"knitting wires," for stockings, which I believe just means fine 
knitting needles.

While I'm all in favor of giving things the correct terms, it is 
important to recognize that languages just naturally use different names 
for the same thing and the same name for different things.  This is 
especially true when you're dealing with older versus modern English, 
and with a field like fashion, where makers and promoters of various 
goods intentionally apply a new name to the same old product or style 
just to make it seem more fashionable. 

If I were trying to judge whether a textile was crocheted or knitted or 
whatever, I'd look at a photo or drawing of it (the original probably 
not being available to me), before making any judgments.

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

Carolyn Kayta Barrows wrote:

>
>> were crochetted with a small bone needle."
>
>
> Crochet cannot be done with any kind of needle.  Sorry, but your 
> source must have been written by someone who doesn't know knit from 
> crochet.
>
>
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] early Knitting and crochet
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Hi Caroline.
Perhaps its the translation. In Denmark wich is part of Scandinavia and 
Finland, a croched hook is called a croched needle.

Bjarne


----- Original Message ----- 
From: "Carolyn Kayta Barrows" <kayta@frys.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, November 09, 2005 7:10 PM
Subject: Re: [h-cost] early Knitting and crochet


>
>>were crochetted with a small bone needle."
>
> Crochet cannot be done with any kind of needle.  Sorry, but your source 
> must have been written by someone who doesn't know knit from crochet.
>
>
>        CarolynKayta Barrows
> dollmaker, fibre artist, textillian
>          www.FunStuft.com
>
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Subject: Re: [h-cost] early Knitting and crochet
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>I've seen the term "crochet needle" in English-language 19th-century 
>crochet instructions, as a synonym for "crochet hook."

>>>were crochetted with a small bone needle."

>>Crochet cannot be done with any kind of needle.  Sorry, but your source 
>>must have been written by someone who doesn't know knit from crochet.

I didn't like how the source lumped knitting and crochet together under the 
same name of implement and in the same phrase, hence my reaction.  My guess 
is that either the writer got his dates and techniques very wrong or that 
the technique in question is actually naalbinding, which superficially 
resembles both knitting and crochet and is done with a needle.

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

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Subject: [h-cost] Question for leather dyers
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OK, so I bought a leather handbag with very attractive (but not super 
deep) tooling all over it. This was from a discount source that does not 
accept returns. The picture on the website showed a 
darkish-reddish-brown bag with a cooked-artichoke-green strap, outer 
pocket, and piping on the bottom--a very Art Nouveau color combo.

What I got was a fuschia bag with chartreuse accents. Yow.  I should've 
known better.  But now I want to dye it the colors I thought I was 
getting.  Or at least some kind of acceptable earthtones.  The bag has a 
bright red lining and zipper that I don't want to try replacing, but at 
least they're not too visible and I'm hoping a reddish brown dye will 
work OK with the zipper.

I've never dyed leather before. (It is leather, not suede.) I'm looking 
at the dyes on this website:

http://www.cosplaysupplies.com/leather/leather.html

Does anyone recommend any dye brand in particular?  If I want to keep 
the green accents (aside from the piping, which I'm willing to forego), 
how do I keep a dye (I'm leaning a bit to sprays but can be swayed) from 
going where it shouldn't, and get neat demarcations between the reddish 
brown and the grayish green I hope for?

Finally, it looks like I shouldn't have trouble buying some kind of 
reddish brown dye.  But the grayish green looks problematic.  Any 
suggestions?

Thanks,

Fran
Lavolta Press
http://www.lavoltapress.com
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Sorry i misspelled your name, i ment off cause Carolyn.

Bjarne

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Dear Saragrace,
Perhaps this would be a good idea. Ill try to ask in my shops if they have 
this stuff over here.
I am most conserned because i want to apply (embroider on) some chenille 
flowers on the edge, and i am afraid if they will "run out"
But it would be the best solution to do, for authentic look!

Bjarne


----- Original Message ----- 
From: "WickedFrau" <wickedfrau@msn.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, November 09, 2005 5:49 PM
Subject: Re: [h-cost] scalloped sleave ruffles


> What little I know of these styles, they did use raw edges on the scallops 
> right?  You don't have a set of pinking shears?  You can also apply a very 
> light coat of "fray check" with a micro brush.  I will try to find a link 
> of all these things is you don't have them "over there."
>
> Sg
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] early Knitting and crochet
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Maybe, but there is no way to know the writer is "wrong," without seeing 
the textile or a close-up illustration. 

Fran

Carolyn Kayta Barrows wrote:

>
> I didn't like how the source lumped knitting and crochet together 
> under the same name of implement and in the same phrase, hence my 
> reaction. 

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Subject: Re: [h-cost] early Knitting and crochet
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Yes, but crochet needles usually are very, very fine and pointy. That's what 
they use for tambour work, because they need to pierece through fabric. Not 
at all like like the ones we use for crocheting.

The problem here is that we're dealing with a translation, not with an 
evolution of English. The book was dated 1980, but the info came from 
sources in another language which I couldn't identify. Knitting terms 
haven't evolved that much since 1980, but a LOT can be lost in translation.

And, from what I heard, naalbinding looks very similar to knitting. Just 
looking at a picture of the item might not be enough to differentiate 
between knitting, crochet and naalbinding.

We weren't making any judgements. Just saying that there were some weirdly 
formulated things in the text that would make it preferable to reserve 
judgement about the validity of the text.

----- Original Message ----- 
From: "Lavolta Press" <fran@lavoltapress.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, November 09, 2005 2:16 PM
Subject: Re: [h-cost] early Knitting and crochet


> I've seen the term "crochet needle" in English-language 19th-century 
> crochet instructions, as a synonym for "crochet hook."
>
> BTW< I also just came across an early 19th-century reference to "knitting 
> wires," for stockings, which I believe just means fine knitting needles.
>
> While I'm all in favor of giving things the correct terms, it is important 
> to recognize that languages just naturally use different names for the 
> same thing and the same name for different things.  This is especially 
> true when you're dealing with older versus modern English, and with a 
> field like fashion, where makers and promoters of various goods 
> intentionally apply a new name to the same old product or style just to 
> make it seem more fashionable.
> If I were trying to judge whether a textile was crocheted or knitted or 
> whatever, I'd look at a photo or drawing of it (the original probably not 
> being available to me), before making any judgments.
>
> Fran
> Lavolta Press
> http://www.lavoltapress.com
>
> Carolyn Kayta Barrows wrote:
>
>>
>>> were crochetted with a small bone needle."
>>
>>
>> Crochet cannot be done with any kind of needle.  Sorry, but your source 
>> must have been written by someone who doesn't know knit from crochet.
>>
>>
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Subject: [h-cost] Fraycheck,
 microbrushes and Pinking shears: Was: scalloped sleave ruffles
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Microbrush picture:  http://www.internettrains.com/micdisap.html
A Netherlands dealer: 
<http://www.americanho.com/>http://www.americanho.com 
<http://www.americanho.com/>          (Believe it or not!)

A picture of Pinking Shears 
<http://www.fabriclandwest.com/Notion_basics/Cutting_Tools_101/cutting_tools_101.htm#shears>   
There are many makers of pinking shears...there are some fancy shaped 
ones, but I think they are mostly used for paper...not sure you could 
justify them  historically anyway.

A UK source for Fraycheck 
<http://www.kleins.co.uk/index.asp?function=DISPLAYPRODUCT&productid=212>
Be sure to make a test on a scrap and apply very sparingly.   The 
microbrushes work well for this kind of work.  Trying to apply it 
straight out of the bottle will make a big mess.

Cheers! :-D



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Subject: Re: [h-cost] odd question about toille draping
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Dear Carol,
Yes you are quite right, this is what i do.
Thanks

Bjarne  


----- Original Message ----- 
From: "Carol Kocian" <aquazoo@patriot.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, November 09, 2005 6:53 PM
Subject: Re: [h-cost] odd question about toille draping


>      As long as there are no strange bumps or ridges, it doesn't matter.
> 
>      I'm reminded of the construction of some originals - rather than 
> setting the sleeve into an armscye, it seems that the sleeve tops are 
> eased into place and then the strap or robings are applied on top of 
> them.  So perhaps you'll have the opportunity to ensure the sleeves 
> go smoothly over the straps of the stays, and the actual position of 
> the seams on the gown will not matter.
> 
>      -Carol
> 
> 
>>Dear Saragrace,
>>Albertcat, understood it right, its my armscye of the bodice wich 
>>are bigger than the armscye in the stays.
>>It wont show when the bodice covers the stays, do you get it?
>>
>>Bjarne
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Subject: Re: [h-cost] scalloped sleave ruffles
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Quite a few originals have just raw edges, and have frayed quite badly (a 
yellow on springs to mind, but I can't remember where from).

But any of the suggestions would work - just depends what you're happiest 
with.

Debs
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Subject: Re: [h-cost] scalloped sleave ruffles
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At 19:39 09/11/2005, you wrote:
>Dear Saragrace,
>Perhaps this would be a good idea. Ill try to ask in my shops if 
>they have this stuff over here.
>I am most conserned because i want to apply (embroider on) some 
>chenille flowers on the edge, and i am afraid if they will "run out"
>But it would be the best solution to do, for authentic look!
>
>Bjarne


If I don't want to use my pinking tool, I usually cut my scalloped 
ruffles with pinking scissors, - gives a "period" look. Sometimes I 
use fraycheck - depends on the fabric.

Suzi


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It's always preferable to reserve judgment about the validity of 
everything in every text, but without ever having an agenda of proving 
anyone "wrong."  That's what objectivity is.

Anyway, a picture might not show everything one needs to know but 
without it one knows even less.

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

>
> We weren't making any judgements. Just saying that there were some 
> weirdly formulated things in the text that would make it preferable to 
> reserve judgement about the validity of the text.
>
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Subject: Re: [h-cost] Question for leather dyers
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Fran wrote:
> Finally, it looks like I shouldn't have trouble buying some kind of 
> reddish brown dye.  But the grayish green looks problematic.  Any 
> suggestions?
> 
When my late brother was doing leather work professionally, green was the hardest color to use and control. You know how the 18th century costumers have all those "ick" greens to play with prior to the advent of aniline dye because there was no reliable one-step green dye and the blends all faded or were otherwise fugitive at different rates and stuff? It's a problem that hasn't been fully solved for leather (or, should you be interested, for papers, either) and so there is less control and less reliable outcome and etc. In addition for some reason the green dyes seem to interact with the leather color more, so you can't guarantee that the color on your sample will be the color on your bag ayway. Green is just tricky. So if you want a specific grayish green, you may have to mix your own, or try to find something translucent  that will  mute or drab the green you've got rather than finding the right green dye. 

Good luck!
Lauren



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Date: Wed, 09 Nov 2005 17:02:39 -0500
From: "Jeanine E. Swick" <jeanine@woollycat.net>
Subject: Re: [h-cost] O.T. traveling to Montreal
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Guess I should have said the U.S. Thanksgiving, I know Canada's is in 
Oct., but didn't think of that when I posted.  We'll be there from Nov. 
26 to Dec. 3rd.  My husband has a conference there and I'm going along 
to play tourist. 

I should be able to navigate the Metro there even though I don't know 
much French.  I managed the trains and subways in Japan a few years ago 
-  not all the stations use dual text (kanji  (sp)& roman) on their signs.

I saw a reference to the McCord Museum costume collection.  The link 
will be helpful. 

Thanks,
Jeanine

Audrey Bergeron-Morin wrote:

> Hi,
>
> If you want costumes, the McCord Museum will probably be your best 
> bet. http://www.mccord-museum.qc.ca/en/. Check their online catalog as 
> well. A little hard to navigate, but they have many amazing items and 
> they're not all on display, at least not all at the same time.
>
> The Pointe-à-Callière is interesting as well, but it's an archeology 
> museum, not a costume collection. No fabric there, but a visit of the 
> first settlements of the city. Lots of arrowheads, but also more 
> recent stuff, pottery, glass, other household items, all arranged by 
> date, and the fundations of the very old building underneath the 
> museum. http://www.pacmusee.qc.ca/indexan.html It's in the Old Port, 
> so you can visit the area too, although it's probably starting to be a 
> little empty at this time of year - and it will be windy too. There's 
> a great Science museum in the Port too.
>
> You can also try the Stewart museum. 
> http://www.stewart-museum.org/map.htm. Few articles of clothing, but 
> very, very interesting items, most in the 17th to 19th century range, 
> IIRC. Not very big, but the exhibitions are usually very interesting.
>
> If you want fabric, the usual location is on St-Hubert street, north 
> of Jean-Talon. It's the so-called fabric district. But there's a 
> couple of other places as well, out of the fabric district, for 
> example a shop called Rix Rax for buttons and notions. 
> http://www.rixrax.ca/ (another annoying QuickTime site - if you need 
> the address, let me know).
>
> I don't know of a good independant library. Most of them have been 
> swallowed up by Renaud-Bray and Archambault. There's Olivieri but it's 
> out of the way of major attractions. For used books and CDs, there's a 
> few on Mont-Royal, east of St-Denis. Mont-Royal, both east and west of 
> St-Denis, is THE place to go for used clothing - and used things in 
> general. Some very fashionable stuff too.
>
> If you're still there December 2nd, the Salon des Métiers d'Art opens 
> that day. You'll have the cheesy artsy stuff, but also the very 
> interesting modern art objects to buy, as well as a few local fine 
> food producers - some of what they sell is not available in stores. 
> Entrance is free.
>
> Try www.montrealplus.ca for all (well... let's say a lot of) Montreal 
> activities.
>
> If you're into food, take a trip to Jean-Talon market. Parking is not 
> easy so try to go during the week. The market itself and the streets 
> around are a real feast. Literally :-)
>
> For general shopping, restaurants, those kinds of things... The French 
> side is St-Denis street, between Ste-Catherine and... oh... about 
> St-Joseph. The mixed, a little more chic street is St-Laurent, between 
> Sherbrooke and St-Joseph. (St-Laurent cuts Montreal in half - French 
> on the East, English on the West side, more or less). Where the 
> English (and most tourists) go for bars and restaurants is Crescent 
> street, mostly between de Maisonneuve and René-Lévesque. You can also 
> try Ste-Catherine street from Peel street down to about Berri street - 
> and even down to Papineau.
>
> But if you're looking for anything in particular (antiques, crafts, 
> Japanese food, paper, tea, fancy men's hats - whatever) let me know. I 
> don't know a lot of places, but maybe I can help - yes, I know, 
> costumes and fabric and books :-) Unfortunately, I do most of my 
> shopping for those things online!
>
> Other than that... frankly, we rarely know our own city very well :-)
>
> Oh, and BTW, Canadian Thanksgiving is in October :-) It's long gone by 
> now...
>
> ----- Original Message ----- From: "Jeanine E. Swick" 
> <jeanine@woollycat.net>
> To: "Historic Costume" <h-costume@indra.com>
> Sent: Tuesday, November 08, 2005 9:37 PM
> Subject: [h-cost] O.T. traveling to Montreal
>
>
>> I'll be in Montreal the week following Thanksgiving.  What would be 
>> some good sites/museums to visit?  Costuming, unique fabric, books....
>>
>> Jeanine
>>
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I got a request from an Elvis impersonator to make him the '68 leather jacket (young sexy Elvis not fat, dead on the toilet, Elvis). 
I don't have the time to draft a pattern and haven't been able to find anything appropriate at Fabricland (Butterick and friends seem to think men would be better both naked). Any suggestions?

Thanks
Wendy

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From h-costume-bounces@indra.com  Wed Nov  9 17:50:39 2005
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Date: Wed, 09 Nov 2005 16:49:39 -0600
To: h-costume@indra.com
From: Beth and Bob Matney <bmatney@alltel.net>
Subject: Re: [h-cost] early Knitting and crochet
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Sorry, the source makes it obvious that they know knit from crochet.. and 
that they make it clear that they are talking about two different 
techniques. This is the NESAT (Northern European Society of Archaeological 
Textiles). This is a peer reviewed scholarly journal... they are extremely 
well versed in textiles.

There is quite possibly a translation problem as English is not the 
author's native language. The question lies in the terms "crochet" and 
"needle", after all, knitting "needles" don't have holes in them either! 
The possibility exists that the term "needle" as used here, may have been 
used instead of the American English "crochet hook". Yes, naalbinding was 
sometimes confused with either knit or crochet in museums in the early 
years of archaeology and I brought up the possibility in my post. Now if 
the author had specified that the needle had an hole, the question would 
not have been raised and I would assumed that naalbinding was intended. The 
textile produced is the final arbiter, but the Baltic States (Latvia, etc) 
is just a bit far for me to personally examine the textiles (assuming that 
I could even gain access).

The intent of my question was to determine the correct two different 
techniques mentioned in the article. Sorry that I was too esoteric. The 
h-cost community is extremely diverse and knowledgeable and I was hoping 
someone might have seen something that I haven't. I will ILL the two 
references.

"Crochet" is generally considered a 19th century technique, but I have not 
found anything creditable on it's early evolution... just speculation.

It is possible to go from sheep to "crocheted" textile using only a spindle 
and whorl by plucking a staple ("rooing"), spinning with a drop spindle, 
removing the whorl and "crocheting" with the spindle. Not that that I know 
that this was done in early period in any country, but it IS possible. It 
is also impossible to detect a difference between a spindle with a notch 
(without whorl) and a "crochet hook".

Thanks to everyone who commented on the question.

Beth Matney


At 03:14 PM 11/9/2005, you wrote:
>Date: Wed, 09 Nov 2005 10:10:29 -0800
>From: Carolyn Kayta Barrows <kayta@frys.com>
>Subject: Re: [h-cost] early Knitting and crochet
>
>
> >were crochetted with a small bone needle."
>
>Crochet cannot be done with any kind of needle.  Sorry, but your source
>must have been written by someone who doesn't know knit from crochet.
>
>
>         CarolynKayta Barrows
>dollmaker, fibre artist, textillian

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In a message dated 11/9/2005 5:12:14 P.M. Eastern Standard Time,  
emmajean@myway.com writes:

I don't  have the time to draft a pattern and haven't been able to find 
anything  appropriate at Fabricland (Butterick and friends seem to think men would 
be  better both naked). Any suggestions?




Once again, will any of the Kwik Sew patterns do?  None for leather  
specifically, but perhaps you could modify the denim jacket or one of the other  
styles.
 
Since Butterick has been bought out by McCall's, they seem to have slim  
pickings.  And, yes, men's patterns in general are scarce, and almost every  
jacket/coat (men's AND women's) is made out of fleece.
 
Ann Wass
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On Wed, 9 Nov 2005, Beth and Bob Matney wrote:

> There is quite possibly a translation problem as English is not the
> author's native language. The question lies in the terms "crochet" and
> "needle", after all, knitting "needles" don't have holes in them
> either!  The possibility exists that the term "needle" as used here,
> may have been used instead of the American English "crochet hook".

It strikes me that if only the textile is extant, than there's no way of
knowing what the instrument was that made it, except by extrapolation from
the product. So, it doesn't make sense that the author would have been
describing a specific needle/hook/etc. It may simply be that in the
original source, the language requires specifying "technique done with a
needle" as a means of describing the particular technique, without any
implication that the instrument was extant.

A Danish-speaking costume scholar has pointed out to me that there are far
fewer words in Danish than in English -- something like only one-fourth,
IIRC -- and in turn, many of the costume terms she is accustomed to using
in English have no equivalents in Danish. So, it's possible that in the
source language, the way of specifying naalbinding would be something like
"a looping method done with a needle" as opposed to another sort of
looping method. If the word for "looping method" is the same for several
different methods, then a translator (or an English-speaking scholar
struggling to read the original paper) might easily end up with a literal,
word-for-word translation such as "crochet made with a needle," which is
quite confusing in English and perhaps not representative of the actual
meaning of the phrase in the source language.

I'm not intending to speculate that's what happened here, simply to point
out that when dealing with translation of technical terms (particularly
from a Scandinavian language to English), it's wise to be very suspicious
of terminology. There's probably no way to be certain from the English,
and you are on the right track to order the original sources. However, you
may also need a textiles expert who is a native speaker of that language
to tell you what the source phrase means in reality, not just
word-for-word!

Bear in mind that the NESAT papers are recent, and the scholars currently
active. They are often quite receptive to courteous queries. Of course the
scholar who cited the works may not have seen the original textile pieces,
and may simply be taking the word of the quoted papers -- and because
you've got a secondhand reference, there may be more than one level of
translation involved! -- but it's quite possible that the scholars who
made the original papers are still available and accessible as well.

I would also encourage you to contact Anne Marie Haymes, an American
researcher who is a naalbinding specialist and has seen many of these
items. (Anne Marie is also active in the SCA under the name of Sigrid
something-or-other.) She is a professional translator as well as a textile
expert and may be able to help you with the source documents even if she
isn't familiar with the specific finds. She is well aware of the frequent
miscataloguing of naalbound examples in museums and is always on the
lookout for specific examples.

--Robin


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To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] early Knitting and crochet
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>Yes, but crochet needles usually are very, very fine and pointy.

Please say hooks.

>  That's what they use for tambour work, because they need to pierece 
> through fabric. Not at all like like the ones we use for crocheting.

Yes, actually, the two tools are pretty much interchangeable.  And many 
early crochet hooks are built like tambour hooks, with a wood handle with 
the metal bit stuck in the end.

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

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Date: Wed, 09 Nov 2005 15:40:55 -0800
To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] early Knitting and crochet
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>Sorry i misspelled your name, i ment off cause Carolyn.

No problem.  I probably didn't even notice it was supposed to be me.  I 
usually go by "Kayta", or "Käthe".


        CarolynKayta Barrows
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          www.FunStuft.com

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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] early Knitting and crochet
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>Sorry, the source makes it obvious that they know knit from crochet.. and 
>that they make it clear that they are talking about two different 
>techniques. This is the NESAT (Northern European Society of Archaeological 
>Textiles). This is a peer reviewed scholarly journal... they are extremely 
>well versed in textiles.

Glad to know they know.  It didn't sound like they knew, to me, from just 
your snippet.

>"Crochet" is generally considered a 19th century technique, but I have not 
>found anything creditable on it's early evolution... just speculation.

And there are no extant examples before then either, so it all has to be 
speculation.


        CarolynKayta Barrows
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          www.FunStuft.com

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From: Thomas Hayman <thomas.hayman@gmail.com>
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Hello there, i found this place from a forum and thought i'd introduce
myself with some questions. I am a member of a high fidelity 15th
century group. Onto the questions.

Aside from this group, i enjoy the 16th cenutyr and its clothing,
puffed and slashed especially. I am mainly looking for links to
construction ideas for puffed and slashed clothing. Mainly a
doublet/jacket of some kind to start with. Any and all help you can
provide would be fantastic.
--
Yours sincerely

Thomas Hayman

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Subject: Re: [h-cost] scalloped sleave ruffles
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Bjarne og Leif Drews wrote:
> Hi again,
> Forgive that i have another question. I want to make the sleave ruffles 
> of the yellow dress with scalloped edges. I dont have pinking tools, and 
> i just want to cut it with ordinary scissors.
> How could i make the edge of this, so it wont fray? Should i make 
> buttonhole stitches? I want to add small bouquets of chenille flowers 
> here and there! Could i turn the edge, about 1-2 mm. and perhaps cut it 
> each top? I dont want to make tiny ones, but  scallopes about 5 cm. wide
> 
> Bjarne
> 
Hi Bjarne,
	It seems to me that it's nearly impossible to make a narrow hem on a 
5cm scallop.  When scallops were popular fifty years ago, scallops were 
hemmed by laying a hem band together with the fabric, cutting the 
scallops, sewing them together on the scalloped edge with a narrow seam 
allowance, turn and hem the hem band to the reverse of the fashion 
fabric.  hope this helps,   Kitty

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On Wednesday 09 November 2005 5:49 pm, Beth and Bob Matney wrote:
> Sorry, the source makes it obvious that they know knit from crochet.. and
> that they make it clear that they are talking about two different
> techniques. This is the NESAT (Northern European Society of Archaeological
> Textiles). This is a peer reviewed scholarly journal... they are extremely
> well versed in textiles.
[snip]

Speaking of the NESAT, the same Polish archaelogical institute that published 
NESAT 8 is the publisher of Irena Turnau's history of knitting.  It costs, I 
believe, 19 Euros and you can order it from them.  Shipping is 6 Euros 
(because they ship by the Polish equivalent of book rate) and it thus takes 
about 2 months to get to the US, but the book seems well worth the money.  
I'm thinking about ordering it eventually.

I cannot find the institute's catalog right now, otherwise I'd post the ISBN 
and other information about it.


-- 
Cathy Raymond <cathy@thyrsus.com>

"Physics is like sex; sure, it may give some practical 
results, but that's not why we do it."--Richard Feynman
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Perhaps this?

http://www.reconstructinghistory.com/patterns/german.html


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Fran,

Also try:  www.tandyleather.com
They are a U.S. company - the cosplay site is Canadian, so shipping 
might be an issue (I'm assuming you're in the U.S.).
You will need to use a deglazer (page 2 of dyes on the Tandy site) 
before dyeing - otherwise the dye will only sit on the surface and 
not penetrate, making it streaky.  I've only used the Tandy ProDye, 
but that was on raw leather I tooled myself - it is specifically for 
vegetable tanned leather.  The Fiebing's is a good brand - but I 
would apply it with a wool dauber (also available) rather than trying 
to use one of the sprays.  Once the item is completely dry, then 
re-glaze it with one of the finishes.  The dye will dye the zipper, 
no problem.  For the green, perhaps use a very light tan dye - it 
won't quite be gray-green, but it will mute the chartreuse.

Since these are chemicals, be sure to have good ventilation, and 
cover your work surface (it WILL go where you don't want it if you 
don't <veg>).

HTH,
Sandy

At 03:53 PM 11/9/2005, you wrote:
>Date: Wed, 09 Nov 2005 11:31:53 -0800
>From: Lavolta Press <fran@lavoltapress.com>
>Subject: [h-cost] Question for leather dyers
>
>OK, so I bought a leather handbag with very attractive (but not super
>deep) tooling all over it. But now I want to dye it the colors I 
>thought I was
>getting.  Or at least some kind of acceptable earthtones.  I'm 
>hoping a reddish brown dye will work OK with the zipper.
>I've never dyed leather before. (It is leather, not suede.) I'm 
>looking at the dyes on this website:
>
>http://www.cosplaysupplies.com/leather/leather.html
>Does anyone recommend any dye brand in particular?  If I want to 
>keep the green accents (aside from the piping, which I'm willing to 
>forego), how do I keep a dye (I'm leaning a bit to sprays but can be 
>swayed) from going where it shouldn't, and get neat demarcations 
>between the reddish brown and the grayish green I hope for?
>
>Finally, it looks like I shouldn't have trouble buying some kind of 
>reddish brown dye.  But the grayish green looks problematic.  Any suggestions?
>
>Fran
>Lavolta Press
>http://www.lavoltapress.com

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

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

Andromeda  


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A friend asked me to help pass this around the net.
--------------------------------
‘LOOPING THE  LOOPS’,
RESEARCH BY
THE EARLY KNITTING HISTORY GROUP
Saturday, 11th March, 2006.
at
The Courtauld Institute of Art
Somerset House, Strand, London, WC2.

Following its former successes the Early Knitting History Group is to hold a 
one-day seminar of continuing research into knitting and similar non-woven 
fabrics up to the year 1600. This will be in collaboration with Medats at 
the Courtauld Institute at Somerset House on the above date.
Papers will cover the history, techniques, excavation, conservation, 
collection, recording and depictions of early handknitting, with samples and 
demonstrations throughout the day.

For further details see www.medats.org.uk or contact Kirstie Buckland, at 
01600-712469 or ‘kb@qualitycaps.co.uk’


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Subject: [h-cost] Elvis OT-ish
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> I got a request from an Elvis impersonator 

One of my pro-wrestler clients was taken to the hospital with a suspected 
broken rib a few weeks back. In the next cubical was an Elvis with a broken arm 
and his wig hanging floppily over the edge of the stretcher.

Just thought I'd add that for no reason,


-C.



------------------------------------------------------------
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At 05:24 10/11/2005, you wrote:
>A friend asked me to help pass this around the net.
>--------------------------------
>'LOOPING THE  LOOPS',
>RESEARCH BY
>THE EARLY KNITTING HISTORY GROUP
>Saturday, 11th March, 2006.
>at
>The Courtauld Institute of Art
>Somerset House, Strand, London, WC2.
>
>Following its former successes the Early Knitting History Group is 
>to hold a one-day seminar of continuing research into knitting and 
>similar non-woven fabrics up to the year 1600. This will be in 
>collaboration with Medats at the Courtauld Institute at Somerset 
>House on the above date.
>Papers will cover the history, techniques, excavation, conservation, 
>collection, recording and depictions of early handknitting, with 
>samples and demonstrations throughout the day.
>
>For further details see www.medats.org.uk or contact Kirstie 
>Buckland, at 01600-712469 or 'kb@qualitycaps.co.uk'


Just for information - this is a sub-group of the "Medieval Dress and 
Textiles Society" which is inexpensive to join. If you are in or 
near, (or can get to) London they hold whole day meetings regularly 
on many dress and textile related subjects. The last one I went to 
was on "Narrow Wares" and the last one, a two day seminar, was about 
the use of gold and silver thread.

Suzi


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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: [h-cost] treatment of scalloped edges
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Hi,
A lady on another list i am on, told me she used spray glue on the backside 
of the fabric both for scalloped sleaves and scalloped edge of a polonaise 
skirt. Then she sprayed the edges with hairspray.
I think i will try this, on some samplers first.
Many thanks for all your advises..........

Bjarne






Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] Re: Searching for a photo
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At 17:20 09/11/2005, you wrote:
>This one is blue silk, what looks like grosgrain with
>silver gilt thread embroidery, gold buckle and
>enamelled Tudor roses in place where your crosses
>would be. This is the oldest known surviving Garter
>from that Order. Apparently it was sent by the King of
>England to Maximilian to confirm his support of his
>marriage proposal. This item was eventually sent with
>Maximilian's representative to I think her name was
>Anne, IIRC, for the first proxy marriage ceremony.
>
>I have come across pictures of both you are speaking
>of on a Russian, of all places, website. The
>Goldworked one had a lovely picture, the black one
>wasn't as detailed since they took the pic of the
>black garter atop black moire taffeta - artistic, but
>not useful for detail purposes.
>
>National Trust has a photo purchase section, I was
>just hoping not to have to go that far. This was a
>little side adventure for me. I guess I'll make it the
>size of the available buckles - again though, buckle
>purveyors might be very interested in the buckle for
>repro purposes anyway. I wouldn't be looking forward
>to packing all of this into anything smaller than one
>inch, however.
>
>Incidentally, for the purposes of trivia, the garter I
>am looking for has "pense" spelled wrong on it -
>"pence", however it could be a more period spelling as
>I have found multiple references with that same
>misspelling. Additionally, the other photo I have of
>this item _appears_ to have something else on it, or
>some really wild looking gothic script, I can't tell.
>The buckle end has either "POM--", "HOM--" or "BOM--"
>on it, depending on which way you turn the photo.
>Someone either couldn't spell, I can't read, or a
>combination of the two. :-) It's possible too that I
>am mistaking the "M" for a really tightly packed "NI"
>based on the script style. This item looks
>surprisingly long for a garter and seems to have a
>decorative section at the strap end.

Kathy

The "garter" should be longer that is normal. There is a long piece 
after the end is threaded through the buckle, which threads under the 
strap, leaving a loop, through which the leading end is then 
threaded. So there is not only a buckle but a tie as well. If this 
doesn't make sense, I will make you a diagram, or take a photo if one 
made up with ribbon.

Suzi


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Subject: Re: [h-cost] scalloped sleave ruffles
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In a message dated 11/9/2005 11:39:57 A.M. Eastern Standard Time,  
drewscph@post12.tele.dk writes:

Forgive  that i have another question. I want to make the sleave ruffles of 
the  yellow dress with scalloped edges. I dont have pinking tools, and i just 
 
want to cut it with ordinary scissors.



They do make scalloped pinking shears.... if you can find them!
 
On "Last of the Mohicans" for the girls' "frilly frocks" they just cut the  
ruffles in a scalloped pattern with regular pinking shears and then covered the 
 pointed pinking with either a fancy braid or a ruffled  ribbon.
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Subject: Re: [h-cost] scalloped sleave ruffles
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In a message dated 11/9/2005 11:53:56 A.M. Eastern Standard Time,  
wickedfrau@msn.com writes:

very  light coat of "fray check" with a micro brush.  I will try 
to find a  link of all these things is you don't have them "over  there."



In lieu of "Fray Check", watered down glue [Sobo glue is a white glue we  
have here that doesn't dry clean or wash out] will do. But both these substances  
can leave a dark mark on silk [or even acetate]  taffeta.
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Subject: [h-cost] scalloped again
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Sorry i keep on with this.
In Patterns of Fashion there is a Pet en Láir 1745 50 from Snowhill manor 
wich has a few scallops in the sleave ruffle, and the edge is rolled gently 
up and stitched. I didnt notice that, and as a matter of fact this was what 
i wanted to do, but i was only conserned if it was period. I know i said i 
would make the scallopes about 5 cm, but i realise this is two small. But i 
could  make bigger scallopes and roll up the hem as i liked to do.........
So i have asked all you in vain, sorry about that. Its me that dont know 
much about anything isnt it!
I think i must read some more..................
Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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Subject: Re: [h-cost] scalloped sleave ruffles
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Greenberg & Hammer carries Fiskar scallop fabric shears [9891] and wavy  
fabric shears [98920]
 
_Greenberg  & Hammer, Inc. shears_ 
(http://www.greenberg-hammer.com/store.asp?CatID=47)  
 
 
I'm sure they'll ship to Europe.....won't they?
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The Greenberg & Hammer address again.....I forget you can't just drag  things 
into the list so I don't know if the link will post in the other message  I 
sent.
 
 
_http://www.greenberg-hammer.com/store.asp?CatID=47_ 
(http://www.greenberg-hammer.com/store.asp?CatID=47) 
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Subject: [h-cost] Re:  early Knitting and crochet
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Beth wrote:
>The quote below is the earliest dating that I have heard for knitting and
>especially crochet in Northern Europe. Can anyone confirm or deny using
>other archaeological sources? There is, of course, the possibility of
>translation error in the article and that they are referring to naalbinding
>(given the reference to a small bone needle) or some other technique.
>
>"That knitting has an old tradition in the Baltic states is evident from
>archaeological data of Latvia and Estonia (Peets 1987, 105-16; Zarina,
>Caune 1980, 60-9). In cultural layers of Riga, dated to the 12th-15th
>centuries, woollen gloves and mittens were found. Some of them were knitted
>and others were crochetted with a small bone needle."
>( from pg 283, "Holiday Clothing of Lithuanian Country Women in the
>15th-16th centuries" by Saule Urbanaviciene in NESAT 6)

Knitting in Europe in the 13th century is well known from other 
European sources: not common, but certainly in existence. The 
Historic Knit list had a reference to a 13th-century piece outside 
Spain, for instance, though I don't recall the specifics (and don't 
have access to them here). So I would not be terribly surprised by a 
12th-century piece, if that's what it is. There are knitted pieces in 
Egypt that are probably older.

The "crochet", on the other hand, I would suspect of being a 
misinterpretation: I'd be totally unsurprised by naalbinding, but I 
wouldn't take this citation as evidence for crochet without seeing 
and analyzing the actual piece(s).

My reasoning is this:

(1) The earliest other pieces I know of that do indeed turn out to be 
crochet are early 19th century.

(2) In the past, a lot of non-specialists have identified a variety 
of non-crochet techniques as "crochet" -- it seems to be the default 
term for "this clearly isn't knitting but I'm not familiar with the 
technique." Now this article seems to be by a clothing specialist, so 
I'd expect that in this case this is not the problem.

(3) Many people would _like_ crochet to date back to the Middle Ages, 
for various reasons: because it seems logical, because they want 
crochet to have ancient and romantic origins, because they do 
historical recreation and would like to include crochet, and so 
forth. So there is something of a tendency for people to seize on the 
slightest indication and crow "See! Crochet is period!" (not that I 
think Beth is doing this!)

(4) As we have seen in the translation of Irena Turnau's book (from 
Polish), some of the less Western-European languages (the Slavic 
group definitely, and perhaps the Baltic and Finno-Estonian groups as 
well) may not "map" the word "crochet" in exactly the same way we do. 
We've been told, for instance, that Polish has two completely 
different words that are both translated "crochet" -- although I 
don't know whether these are just two names for the same thing, or 
two different techniques that we would lump together but that Polish 
may separate.

All of this leads me to think that, of all needlework terms, 
"crochet" is the most likely to turn out to be a mistaken translation 
of a word in another language -- possibly referring to a quite 
different (and NOT crochet) technique. As others have said, the most 
likely candidate for this is naalbinding. IIRC we _do_ have 
considerable evidence for woolen gloves and mittens done in 
naalbinding from these centuries and even earlier ones.

Of course this doesn't prove that this is _not_ crochet, but it 
explains why I think many of us are suspicious of this citation.

>This references:
>
>Peets J., 1987: 'Totenhandschuhe im Bestattungsbrauchtum de Esten und
>anderen Ostseefinnen'. Fenoscandia Archaeologica. IV. Helsinki. 105-16

German: roughly translated as "Burial gloves in funeral customs of 
Estonia (?) and other Baltic Sea Finnish people."

>Caune A., Zarina A., 1980: 'Rigas 13.-15. gs. vilnas cimdi'. Latvijas PSR
>zinatnu akademijas vestis, Nr.1 (39), 60-9.

Latvian(?): it looks like "13th to 15th century [somethings] from Riga."



____________________________________________________________
0  Chris Laning
|  <claning@igc.org>
+  Davis, California
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Subject: [h-cost] British Order of the Garter with pix
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At 17:20 09/11/2005, you wrote:
>This one is blue silk, what looks like grosgrain with
>silver gilt thread embroidery, gold buckle and
>enamelled Tudor roses in place where your crosses
>would be. This is the oldest known surviving Garter
>from that Order. Apparently it was sent by the King of
>England to Maximilian to confirm his support of his
>marriage proposal. This item was eventually sent with
>Maximilian's representative to I think her name was
>Anne, IIRC, for the first proxy marriage ceremony.
>
>I have come across pictures of both you are speaking
>of on a Russian, of all places, website. The
>Goldworked one had a lovely picture, the black one
>wasn't as detailed since they took the pic of the
>black garter atop black moire taffeta - artistic, but
>not useful for detail purposes.
>
>National Trust has a photo purchase section, I was
>just hoping not to have to go that far. This was a
>little side adventure for me. I guess I'll make it the
>size of the available buckles - again though, buckle
>purveyors might be very interested in the buckle for
>repro purposes anyway. I wouldn't be looking forward
>to packing all of this into anything smaller than one
>inch, however.
>
>Incidentally, for the purposes of trivia, the garter I
>am looking for has "pense" spelled wrong on it -
>"pence", however it could be a more period spelling as
>I have found multiple references with that same
>misspelling. Additionally, the other photo I have of
>this item _appears_ to have something else on it, or
>some really wild looking gothic script, I can't tell.
>The buckle end has either "POM--", "HOM--" or "BOM--"
>on it, depending on which way you turn the photo.
>Someone either couldn't spell, I can't read, or a
>combination of the two. :-) It's possible too that I
>am mistaking the "M" for a really tightly packed "NI"
>based on the script style. This item looks
>surprisingly long for a garter and seems to have a
>decorative section at the strap end.


http://www.sculptor-iangb.com/Garters.html

Information and a picture of the modern "Garter", for your interest.


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	Thu, 10 Nov 2005 02:17:15 EST
Date: Thu, 10 Nov 2005 02:17:15 -0500 (EST)
From: Edith Reardon <edithreardon@yahoo.ca>
Subject: Re: [h-cost] O.T. traveling to Montreal
To: Historical Costume <h-costume@indra.com>
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I hope you enjoy your trip as much as I did.  We went to the McCord Museum to see my husband's grandfathers picture collection when it was on display there.  The romanian gypsy outfit looked great in his photos and then I got a book  "Cut my Cote".  In this book from the Royal Ontario Museum is a picture of almost the same outfit.  The book states that the outfit is Roumanian, North Moldavia, Late 19th Century.  Surprising that there was  a young women wearing the almost exact outfit in the nothern interior of BC in the 1920's.The outfit is so ornate with it's embroidery, woven belt, black wool wrap-around skirt and white linen & cotton shirt. She was photographed outside on a wintery day so the darker color really pop from all that white.  Yes, she got her money for not putting a curse on the family and offering  goodluck instead..
 
Edith    

"Jeanine E. Swick" <jeanine@woollycat.net> wrote:
Guess I should have said the U.S. Thanksgiving, I know Canada's is in 
Oct., but didn't think of that when I posted. We'll be there from Nov. 
26 to Dec. 3rd. My husband has a conference there and I'm going along 
to play tourist. 

I should be able to navigate the Metro there even though I don't know 
much French. I managed the trains and subways in Japan a few years ago 
- not all the stations use dual text (kanji (sp)& roman) on their signs.

I saw a reference to the McCord Museum costume collection. The link 
will be helpful. 

Thanks,
Jeanine

Audrey Bergeron-Morin wrote:

> Hi,
>
> If you want costumes, the McCord Museum will probably be your best 
> bet. http://www.mccord-museum.qc.ca/en/. Check their online catalog as 
> well. A little hard to navigate, but they have many amazing items and 
> they're not all on display, at least not all at the same time.
>
> The Pointe-à-Callière is interesting as well, but it's an archeology 
> museum, not a costume collection. No fabric there, but a visit of the 
> first settlements of the city. Lots of arrowheads, but also more 
> recent stuff, pottery, glass, other household items, all arranged by 
> date, and the fundations of the very old building underneath the 
> museum. http://www.pacmusee.qc.ca/indexan.html It's in the Old Port, 
> so you can visit the area too, although it's probably starting to be a 
> little empty at this time of year - and it will be windy too. There's 
> a great Science museum in the Port too.
>
> You can also try the Stewart museum. 
> http://www.stewart-museum.org/map.htm. Few articles of clothing, but 
> very, very interesting items, most in the 17th to 19th century range, 
> IIRC. Not very big, but the exhibitions are usually very interesting.
>
> If you want fabric, the usual location is on St-Hubert street, north 
> of Jean-Talon. It's the so-called fabric district. But there's a 
> couple of other places as well, out of the fabric district, for 
> example a shop called Rix Rax for buttons and notions. 
> http://www.rixrax.ca/ (another annoying QuickTime site - if you need 
> the address, let me know).
>
> I don't know of a good independant library. Most of them have been 
> swallowed up by Renaud-Bray and Archambault. There's Olivieri but it's 
> out of the way of major attractions. For used books and CDs, there's a 
> few on Mont-Royal, east of St-Denis. Mont-Royal, both east and west of 
> St-Denis, is THE place to go for used clothing - and used things in 
> general. Some very fashionable stuff too.
>
> If you're still there December 2nd, the Salon des Métiers d'Art opens 
> that day. You'll have the cheesy artsy stuff, but also the very 
> interesting modern art objects to buy, as well as a few local fine 
> food producers - some of what they sell is not available in stores. 
> Entrance is free.
>
> Try www.montrealplus.ca for all (well... let's say a lot of) Montreal 
> activities.
>
> If you're into food, take a trip to Jean-Talon market. Parking is not 
> easy so try to go during the week. The market itself and the streets 
> around are a real feast. Literally :-)
>
> For general shopping, restaurants, those kinds of things... The French 
> side is St-Denis street, between Ste-Catherine and... oh... about 
> St-Joseph. The mixed, a little more chic street is St-Laurent, between 
> Sherbrooke and St-Joseph. (St-Laurent cuts Montreal in half - French 
> on the East, English on the West side, more or less). Where the 
> English (and most tourists) go for bars and restaurants is Crescent 
> street, mostly between de Maisonneuve and René-Lévesque. You can also 
> try Ste-Catherine street from Peel street down to about Berri street - 
> and even down to Papineau.
>
> But if you're looking for anything in particular (antiques, crafts, 
> Japanese food, paper, tea, fancy men's hats - whatever) let me know. I 
> don't know a lot of places, but maybe I can help - yes, I know, 
> costumes and fabric and books :-) Unfortunately, I do most of my 
> shopping for those things online!
>
> Other than that... frankly, we rarely know our own city very well :-)
>
> Oh, and BTW, Canadian Thanksgiving is in October :-) It's long gone by 
> now...
>
> ----- Original Message ----- From: "Jeanine E. Swick" 
> 
> To: "Historic Costume" 
> Sent: Tuesday, November 08, 2005 9:37 PM
> Subject: [h-cost] O.T. traveling to Montreal
>
>
>> I'll be in Montreal the week following Thanksgiving. What would be 
>> some good sites/museums to visit? Costuming, unique fabric, books....
>>
>> Jeanine
>>
>> _______________________________________________
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Dear Melanie,
I hope not it is two nosy of me to ask, but where did you get that Trebizond 
cord that you used in your Elizabethan embroidery doublet?
If i understand it correctly you used it for the branches or stems of the 
oak leaves? How thick is this cord?
http://www.faucet.net/costume/black.html
Nomatter what you say, it is totally gorgeous embroidery, i think its one of 
the best i have seen yeat for Elizabethan reproduktion.

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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Subject: Re: [h-cost] scalloped sleave ruffles
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Hi,
Thanks for your help. I dont want to make a fringe on the edge of the 
scallopes, and a lady from the gustavians, told me she had used a spray glue 
on the backside of the silk and then a hairspray on the edge, and it worked 
very well.
Ill try this out, also because this is things i can get here, and i dont 
want to waite for a month for an order overseas.
Thanks anyway...........

Bjarne
----- Original Message ----- 
From: <AlbertCat@aol.com>
To: <h-costume@indra.com>
Sent: Thursday, November 10, 2005 2:54 PM
Subject: Re: [h-cost] scalloped sleave ruffles


>
> In a message dated 11/9/2005 11:53:56 A.M. Eastern Standard Time,
> wickedfrau@msn.com writes:
>
> very  light coat of "fray check" with a micro brush.  I will try
> to find a  link of all these things is you don't have them "over  there."
>
>
>
> In lieu of "Fray Check", watered down glue [Sobo glue is a white glue we
> have here that doesn't dry clean or wash out] will do. But both these 
> substances
> can leave a dark mark on silk [or even acetate]  taffeta.
> _______________________________________________
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Subject: [h-cost] Re: early Knitting and crochet
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Thank you, Robin! I'll try and find her. She probably has already resolved 
the question.

Beth

At 10:17 AM 11/10/2005, you wrote:
>I would also encourage you to contact Anne Marie Haymes, an American
>researcher who is a naalbinding specialist and has seen many of these
>items. (Anne Marie is also active in the SCA under the name of Sigrid
>something-or-other.) She is a professional translator as well as a textile
>expert and may be able to help you with the source documents even if she
>isn't familiar with the specific finds. She is well aware of the frequent
>miscataloguing of naalbound examples in museums and is always on the
>lookout for specific examples.
>
>--Robin

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> At 10:17 AM 11/10/2005, you wrote:
> >I would also encourage you to contact Anne Marie Haymes, an American
> >researcher who is a naalbinding specialist and has seen many of these
> >items. (Anne Marie is also active in the SCA under the name of Sigrid
> >something-or-other.) She is a professional translator as well as a
> >textile expert and may be able to help you with the source documents
> >even if she isn't familiar with the specific finds. She is well aware
> >of the frequent miscataloguing of naalbound examples in museums and
> >is always on the lookout for specific examples.
> >
> >--Robin

Anne Marie is aka Sigrid Briansdottir. She's currently living in, I 
believe, North Carolina. (Atlantia in SCA terms anyway. And we in the 
Pacific NW miss her terribly.)

Kat
<kat@redtrollforge.com>


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Status: RO

Thanks very much for your help.  Not having planned to take up leather 
dyeing, and therefore not having researched it, I was not aware that I 
had to deglaze the purse, dye it, then reglaze. 

If you are dyeing the same item two different colors in different areas, 
do you use masking tape or something to protect the edges of one color 
when you are doing another?  Like masking off the edges of a wall when 
you paint the molding another color?

Thanks a lot,

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

Pierre & Sandy Pettinger wrote:

> Fran,
>
> Also try:  www.tandyleather.com
> They are a U.S. company - the cosplay site is Canadian, so shipping 
> might be an issue (I'm assuming you're in the U.S.).
>

<snip>
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Hey Thomas,

Welcome, and have you tried the Costumer's Manifesto?  might have links to 
info sites (although haven't looked personally for C16th lately).

www.costumes.org

Also, Janet Arnold's book may help (Patterns of Fashion - from Paul Meekins 
or Caliver in the UK) - although it doesn't give instructions so much as 
descriptions of the originals. 

You could also try contacting the Goodmans (Ruth and Mark) (can't remember 
their trading name, but will check market website when in less of a rush, and 
post it if noone else has).  Ruth does restoration, and both were *extremely* 
helpful when a client and I were trying to decipher an obscure C16th Irish 
woodcut earlier this year!

Debs.
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Status: RO

Thank you everybody fr the welcome and links. I'll poke around those
sites or now and come back when i'm stuck (probaby not that soon) :-)
--
Yours sincerely

Thomas Hayman

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At 04:22 PM 11/9/2005, you wrote:
>Aside from this group, i enjoy the 16th cenutyr and its clothing,
>puffed and slashed especially. I am mainly looking for links to
>construction ideas for puffed and slashed clothing. Mainly a
>doublet/jacket of some kind to start with. Any and all help you can
>provide would be fantastic.


Hello Thomas,

What nationality for cut/slash work are you looking for? What time frame of 
16th century? I am very familiar with some of it, as in English and a bit 
of German military. If you are interested in German, there is a yahoogroups 
list you might want to check out.
http://groups.yahoo.com/group/GermanRenCostume/

I've done a couple of German styles, and have dressdiary style entries on 
my web site
German Dopplesoldier's Slash & Puff Doublet
http://www.kimiko1.com/dressdiaries/dopplesoldier/index.html

German Captain's Waffenrock
http://www.kimiko1.com/dressdiaries/CptnWaffenrock/index.html

And I did an English doublet for my husband where I made part of it 
slashed. It was in black velveteen with red silk showing under the slashes. 
My entry for his doublet is here, and I do show some of the inner 
construction (although not all of the details).
http://www.kimiko1.com/dressdiaries/ElzbthnPeascod/index.html

hth,

Kimiko


Kimiko Small
Costumer, Fiber Artist, Web Designer, Wife and Mother
Personal site: http://www.kimiko1.com
LiveJournal: http://www.livejournal.com/~sstormwatch/

"The future belongs to those who believe
      in the beauty of their dreams." - Eleanor Roosevelt

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Not big on dying leather myself either, only have one tip - result of a 
friend's learning experience - if using tape to mask, make sure it's low-tack!!  
(Friend made huge mess)
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Date: Thu, 10 Nov 2005 19:17:01 -0500
From: Melanie Schuessler <melanie@faucet.net>
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Subject: Re: [h-cost] for Melanie Schuessler
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Bjarne og Leif Drews wrote:
> Dear Melanie,
> I hope not it is two nosy of me to ask, but where did you get that 
> Trebizond cord that you used in your Elizabethan embroidery doublet?

I got it from Rising River Thread Express
http://www.threadexpress.com/
but I can't now find it on their site.  You might email Jean and see if 
she still carries it.  She's tremendously nice.

It's not hard to find, though.  A short Google search turned up these 
and more:
http://store.apneedlearts.com/trebizond.html
http://www.elainemagnin.com/silks.html
http://www.nordicneedle.com/Merchant2/merchant.mvc?Screen=CTGY&Category_Code=I18-00-00

> If i understand it correctly you used it for the branches or stems of 
> the oak leaves? How thick is this cord?

Yes--all the stems are Trebizond.  In most places there are two cords 
right next to each other.  The cord itself is fairly thin (1 mm in 
diameter), but with two side-by-side, it works.  I tried thicker twisted 
threads (couldn't find any thicker silk cording), but it looked too 
bulky.  If it was in colors on a pale background, the stems might look 
too thin, but since it's black silk on black velvet, it's more the 
texture that's important.

> http://www.faucet.net/costume/black.html
> Nomatter what you say, it is totally gorgeous embroidery, i think its 
> one of the best i have seen yeat for Elizabethan reproduktion.

I'm blushing!!  Thank you.  There are aspects of it that I wish were a 
little different, but at least I'm getting plenty of practice!  When I 
finish, decades from now, I'll post a pic of the completed outfit.

;)
Melanie

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Hi Fran,
I'm pretty sure that we used to use contact cement to mask off areas of 
the leather, then rubbed it off.  I might be wrong though, it was 36 
years ago.   If you try it, try it on an inconspicuous area first before 
you use it on the whole purse.   Kitty

Lavolta Press wrote:
> Thanks very much for your help.  Not having planned to take up leather 
> dyeing, and therefore not having researched it, I was not aware that I 
> had to deglaze the purse, dye it, then reglaze.
> If you are dyeing the same item two different colors in different areas, 
> do you use masking tape or something to protect the edges of one color 
> when you are doing another?  Like masking off the edges of a wall when 
> you paint the molding another color?
> 
> Thanks a lot,
> 
> Fran
> Lavolta Press


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Fran, 

I don't know if this will be suitable for your use,
but I think you would have more reliable results if
you dulled down the entire purse with one color of
dye, say a medium brown, than trying to overdye two
separate areas.
If the dye you use is a red-brown, than you'll get the
duller, greyer green, and the deeper but muted red you
were looking for (iirc).

Ann in CT

> If you are dyeing the same item two different colors
> in different areas, 
> do you use masking tape or something to protect the
> edges of one color 
> when you are doing another?  Like masking off the
> edges of a wall when 
> you paint the molding another color?
> 
> Fran



	
		
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From h-costume-bounces@indra.com  Thu Nov 10 22:04:56 2005
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Subject: Re: [h-cost] Re: leather dying
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Status: RO

BTW.....where does one go to find out about leather? Y'know things like how  
the thickness and weight are measured and what is good for what. Where to buy  
hides and what to look for? Techniques for sewing and care? Is there a good  
site?
 
I'd love to make a leather doublet but don't know how to get what I  want.
 
So... I went with friends to the DC Eagle, a leather bar [what a bunch  of 
crazy and great guys! So what if they want to parade around in a harness and  
leather jock strap. Whatever get's you thru the night, y'know] and met a  guy 
there who was gonna buy a leather "kilt" for $200 from the local leather  fetish 
shop. He knew I had made a kilt for my friend Bill and wanted me to check  
out the leather version at the shop. So the next day we walked over to the  shop.
 
What a piece of junk! It was made of coat/vest weight black leather. It had  
an apron and under-apron like a kilt....and closed with straps and buckles 
like  a kilt. But it had a basque that went to hip level where the pleats 
started. It  only had pleats on the sides, the CB was flat for about 8". And to top 
it all  off, the hem was a couple of inches above the knee.
 
It looked like an S&M cheerleader skirt. I talked him out of wasting  his 
money. [even though it probably woulda gone over big at the bar]
 
 
But it could work. Why not make it out of light/shirt weight leather and  
just do it like a real kilt? Make the pleats go all the way across the back....a  
little more than full return deep. And cut it [why they turned a hem on the  
other one I'll never know] to knee level. I think instead of binding the  top 
edge, I might put it on a wide [slightly curved] waist band to imitate the  
belt of a real kilt. I'd use lots of hardware too. It could work.....and  look 
good.
 
One thing I did learn from the cheerleader skirt: Each pleat and its return  
was a separate strip. The seam holding it to the next strip was at the back of 
 the return, making sure it stayed in the right direction. The front of the  
pleats were edge stitched too to keep them folded in the right direction.  All 
that top stitching actually helps the look.
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Subject: Re: [h-cost] for Melanie Schuessler
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At 05:26 AM 11/10/2005, you wrote:
>Dear Melanie,
>I hope not it is two nosy of me to ask, but where did you get that 
>Trebizond cord that you used in your Elizabethan embroidery doublet?
>If i understand it correctly you used it for the branches or stems of the 
>oak leaves? How thick is this cord?
>http://www.faucet.net/costume/black.html
>Nomatter what you say, it is totally gorgeous embroidery, i think its one 
>of the best i have seen yeat for Elizabethan reproduktion.
>
>Bjarne


Thank you Bjarne for posting this on the list.

Melanie, I, too, love the work you have done on that doublet. You have 
inspired me to follow suit, as soon as I can find some time and a suitable 
project to work on. Ah, perhaps the glove gauntlets I keep wanting to do, 
since small and portable must be a part of the criteria.

Please Melanie, keep us informed on your progress.

Kimiko


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>http://www.sculptor-iangb.com/Garters.html
>
>Information and a picture of the modern "Garter", for your interest.


I also have this site bookmarked on the modern Garter.
http://www.nationmaster.com/encyclopedia/Order-of-the-Garter

Kimiko


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Fran,

I think you would only have to mask if you're spraying the color 
on.  Otherwise, just use a small brush along the edge, and dye with 
the lighter color first.  If you wanted a really sharp line, you 
could do it in two stages, re-glazing the lighter color along the 
edge (again with a small brush) before dyeing the darker color.  The 
glaze would act a little like a resist.  If the leather is fairly 
smooth, the dye doesn't really bleed all that much.

Sandy

At 01:00 PM 11/10/2005, you wrote:
>Date: Thu, 10 Nov 2005 08:41:19 -0800
>From: Lavolta Press <fran@lavoltapress.com>
>Subject: Re: [h-cost] Re: h-costume Digest, Vol 4, Issue 716
>
>If you are dyeing the same item two different colors in different areas,
>do you use masking tape or something to protect the edges of one color
>when you are doing another?  Like masking off the edges of a wall when
>you paint the molding another color?
>
>Fran
>Lavolta Press

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

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

Andromeda  


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At 03:17 11/11/2005, you wrote:

>>http://www.sculptor-iangb.com/Garters.html
>>
>>Information and a picture of the modern "Garter", for your interest.
>
>
>I also have this site bookmarked on the modern Garter.
>http://www.nationmaster.com/encyclopedia/Order-of-the-Garter
>
>Kimiko


That is terrific - it shows the knot I was trying to describe 
perfectly. Thanks Kimiko.

Suzi


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From: Edith Reardon <edithreardon@yahoo.ca>
Subject: Re: [h-cost] Re: leather dying
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Try some of these I seem to have misplaced some of the best sites.
 
http://whttp://www.diycostume.com/leather_intro.php
http://www.diycostume.com/leather_intro.php
http://leatherunltd.com/leather/oak/oak.html
http://www.leatherfactory.com/
http://www.brettunsvillage.com/leather/suede.html
http://www.florilegium.org/      Crafts then leather dye or leather
 
Need to put detailed designs on Leather use "Sharpie" felt pens and then use a good leather sealer.  I've seen a bag 25 yrs. old done with sharpies and the colors were still great but it must be resealed about every 5 yrs..
 
Edith 
 
 
 

AlbertCat@aol.com wrote:
BTW.....where does one go to find out about leather? Y'know things like how 
the thickness and weight are measured and what is good for what. Where to buy 
hides and what to look for? Techniques for sewing and care? Is there a good 
site?


		
---------------------------------
Find your next car at Yahoo! Canada Autos
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Hi Thomas,
I also welcome you here. I'm not so much into renaissance, but 18th. 
century, but recently i got an old book from 1919, german called 
"Costumkunde fur Sammler"
It has a photo of a roman renaissance doublet, with a mixture of the italian 
and spanish style. Its got a lot of slashing in the sleaves, and a lot of 
puffed layers two. Very elegant, but this is only a photo of the jacket, no 
pattern, but perhaps it could be an inspiration for you.
If you would like, i would not mind scanning it and send it for you!

Bjarne
----- Original Message ----- 
From: "Thomas Hayman" <thomas.hayman@gmail.com>
To: <h-costume@indra.com>
Sent: Thursday, November 10, 2005 10:14 PM
Subject: RE: [h-cost] Hello/ questions


> Thank you everybody fr the welcome and links. I'll poke around those
> sites or now and come back when i'm stuck (probaby not that soon) :-)
> --
> Yours sincerely
>
> Thomas Hayman
>
> _______________________________________________
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From: Judy Mitchell <judymitch@theoldforest.net>
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Re: leather dying
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AlbertCat@aol.com wrote:
> BTW.....where does one go to find out about leather? Y'know things like how  
> the thickness and weight are measured and what is good for what. Where to buy  
> hides and what to look for? Techniques for sewing and care? Is there a good  
> site?
>  
> I'd love to make a leather doublet but don't know how to get what I  want.

	Try the leather pages at 
<http://www.alleycatscratch.com/lotr/LeatherS.htm> while the main focus 
of the site may be lord of the rings movie costumes, there's a whole lot 
of info about sewing and leatherwork in general. This page will take you 
to ones on how to estimage leather for a project, what weight for what 
sort of project, terms and definations, how to make some things that 
aren't leather look like it, and a bunch of methods of working with the 
leather.

	-Judy Mitchell
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From: Joannah Hansen <Joannah@sluggy.net>
To: Historical Costume <h-costume@indra.com>
Subject: RE: Bronzino (was Re: [h-cost] knit jacket was Re:
	ModaaFirenze1540-15	80
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Karen, 
What a wonderful story! I've saved it, it delighted me so much.
Smiling still,
Joannah. 

<snip
When the Medici exhibit was in Chicago, the Art Institute hired several of us frm Bristol's Guilde of St. George to do Italian Renaissance Court dances (in full kit of course) as part of the entertaining for the gala opening. After our performances were done, we all got to go thru the exhibit- after the paying patrons but before most of the public. Of course we were all fascinated by the portrait of Elenora and her son and we were all clustered around it cooing and ahhing over all the details we could finally see. After a few minutes I noticed that the gallery was very quiet and I realized that all the patrons had moved back against the opposite wall and were standing there watching us with rapt attention. I also realized that we must have made just the most incredible picture ourselves- a group in full 16th century court dress, still partially in our characters, in the midst of all the 16th century objects. Wish I could have gotten video of it. 
  
Karen
Seamstrix

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Subject: [h-cost] Re: leather dying
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>From: AlbertCat@aol.com
>BTW.....where does one go to find out about leather? Y'know things like how
>the thickness and weight are measured and what is good for what. Where to 
>buy
>hides and what to look for? Techniques for sewing and care? Is there a good
>site?

Not a *good* one.

You can find bits and pieces here and there though.  And I know *I* will be 
perfectly happy to answer questions.  You might also try asking at 
http://groups.yahoo.com/group/medieval-leather/  It's a good list, but a bit 
moribund lately.

Just as a fair warning - there is a tremendous amount of folklore and 
"traditionally handed down" information in the leather world - if you see 
people saying authoritatively "you should never do this or that" be aware 
that it probably won't hurt to do it whatever way they suggest, but the 
reason they give may not be the whole story.  They are often just repeating 
what they were taught in good faith.

However the sites that others have been suggesting are definately worth 
taking a look.

>I'd love to make a leather doublet but don't know how to get what I  want.

First you need a pattern :)

>leather jock strap. Whatever get's you thru the night, y'know] and met a  
>guy
>there who was gonna buy a leather "kilt" for $200 from the local leather  
>fetish
>shop.

That's cheaper than a good wool one - which should tell you something right 
there.

>What a piece of junk! It was made of coat/vest weight black leather. It had
>an apron and under-apron like a kilt....and closed with straps and buckles
>like  a kilt. But it had a basque that went to hip level where the pleats
>started. It  only had pleats on the sides, the CB was flat for about 8". 
>And to top
>it all  off, the hem was a couple of inches above the knee.

Well, I will say that if you were going to do a leather kilt, the first 
thing to keep in mind is that puppie's going to be *heavy*.  The more pleats 
you put in it, the heavier it will be (not to mention hard to sit on).

Ok, leather thickness is usually (in the US at least) measured in "ounces".  
Garment weight leather is about 2-3 ounces, which means that a square foot 
weighs 2-3 ounces (an "ounce" is *I think* about 1/64" (.4mm) but this will 
vary slightly by type of leather, tannage, the weather, how well it was 
split).   Now if we assume a full wool kilt is made with 6 yards as a 
minimum and 2.5 feet from hem to waistline - this is an estimate for 
illustration, only.  That's (6x3x2.5) 45 square feet.  45*2.5 (a median 
point for 2-3 oz leather) that's 112.5 ounces of leather, or slightly over 7 
pounds of leather.  And that's not counting the weight of the thread and 
other attachments.

>But it could work. Why not make it out of light/shirt weight leather and
>just do it like a real kilt? Make the pleats go all the way across the 
>back....a
>little more than full return deep. And cut it [why they turned a hem on the
>other one I'll never know] to knee level. I think instead of binding the  
>top
>edge, I might put it on a wide [slightly curved] waist band to imitate the
>belt of a real kilt. I'd use lots of hardware too. It could work.....and  
>look
>good.

Give it a try.  They probably turned the lower hem to give it a more 
finished look.  Raw leather edges can be *so* tacky :)

>One thing I did learn from the cheerleader skirt: Each pleat and its return
>was a separate strip. The seam holding it to the next strip was at the back 
>of
>  the return, making sure it stayed in the right direction. The front of 
>the
>pleats were edge stitched too to keep them folded in the right direction.  
>All
>that top stitching actually helps the look.

I can see that

Marc


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Subject: [h-cost] Braces - rerun
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Marc

Was it you asking about braces? I found information accidentally 
while looking for something else. Earliest form of braces appears to 
be 1780's for gentlemen's breeches, usually just ribbon. I can quote 
exactly if you wish - book and computer are a whole floor apart and I 
am too lazy to go up and get the book! (It's a guide to where costume 
items can be found in the U.K. - "A Guide to Historic Costume?"

Suzi


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Dear Kimiko and Suzi,

Ohhhhhhh.... *that* knot. Okay. I knew that is how it
would be worn. It was more a matter of what decorated
the terminal end of the garter. Y'know, all that repro
information jazz. :-)

I have heard back from the House Manager at Anglesey
House. He is going to send me a copy of the photo from
the Museum of London Gothic art book (gods only know
it's a popular book title, but for the life of me I
can't remember it's name!) and since it's going out on
loan very soon, said he would take a picture of it's
baskside for me. I hope that he puts some kind of
dimensional reference in there for me. 

I also have a metalsmith interested in reproducing the
buckle and roses for me in brass. If we can pull up
enough dimensional detail for it so that the repro is
faithful to the original, he may just put it into
production in his collection. That would be cool. :-) 

Kathy

> 
> I also have this site bookmarked on the modern
> Garter.
>
http://www.nationmaster.com/encyclopedia/Order-of-the-Garter
> 
> Kimiko

> 
> That is terrific - it shows the knot I was trying to
> describe 
> perfectly. Thanks Kimiko.
> 
> Suzi

It’s never too late to be who you might have been.
-George Eliot
For every beauty there is an eye somewhere to see it. For every truth there is an ear somewhere to hear it. For every love there is a heart somewhere to receive it.
-Ivan Panin


	

	
		
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Thank you for all the links and welcomes everyone. Its is the German
style of puff and slash that i enjoy the most. I'll give your site a
try and see how i go with different pieces. I am also joining the
German ren costume list.

Bjarne, i would love it if you could send me that scan. I welcome all
help :-) Thank you.
--
Yours sincerely

Thomas Hayman

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>From: Suzi Clarke <suzi@suziclarke.co.uk>
>Marc
>Was it you asking about braces? I found information accidentally
>while looking for something else. Earliest form of braces appears to
>be 1780's for gentlemen's breeches, usually just ribbon. I can quote
>exactly if you wish - book and computer are a whole floor apart and I
>am too lazy to go up and get the book! (It's a guide to where costume
>items can be found in the U.K. - "A Guide to Historic Costume?"

Yes that was me.  Please.   Whenever is convenient for you would be fine.

I'm thinking the least complex guess is going to be a pair of fabric tapes 
with button holes, and attach some buttons to the breeches.  But I'd like to 
actually *know*, if such a thing is possible.

Marc


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Subject: Re: [h-cost] Re: leather dying
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In a message dated 11/11/2005 10:14:28 A.M. Eastern Standard Time,  
marccarlson20@hotmail.com writes:

that's  112.5 ounces of leather, or slightly over 7 
pounds of leather.  And  that's not counting the weight of the thread and 
other  attachments.



Lord....After making a real kilt out of wool, I'd never do a leather one  
that full. I mean, there's no tartan to match up so you can make the pleats as  
shallow as the look will allow. That's why I thought just a little more  than 
full return. So if the hips are say 40" and you had like 20  1" pleats in the 
back with maybe 2" added to each return, that would  be  20 X 3 + (20 x 2) = 
100" or  a little over 2 and 3/4 yards in the  back [it does add up, doesn't 
it]. So the whole thing might be about a 4 yard or  less kilt.....like a utility 
kilt.
 
On "Last of the Mohicans" Daniel Day Lewis's shirt was cut just like any  
18th century shirt out of a soft leather the weight of washed cotton. That might  
be a good weight to use....or a little heavier...just a little.
 
We also made an 1740s coat out of elk hide for a trapper in the film. Boy  
was it beautiful! and heavy. But the weight made those back pleats swing  
gracefully. It was something I would have nicked at rap if I  could've!
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Don't know your period, but there are lots of patterns and ideas for making
bracers in the 19th C.  They seem to be one of those needle work items to
gift the men on your 'list', along with caps and wallets.  Seems probable to
me that the need for such an assessory was not a "new" thing at that time
period.
Kathleen
----- Original Message ----- 
From: "Marc Carlson" <marccarlson20@hotmail.com>
To: <h-costume@indra.com>
Sent: Friday, November 11, 2005 2:19 PM
Subject: [h-cost] RE: Braces - rerun


> >From: Suzi Clarke <suzi@suziclarke.co.uk>
> >Marc
> >Was it you asking about braces? I found information accidentally
> >while looking for something else. Earliest form of braces appears to
> >be 1780's for gentlemen's breeches, usually just ribbon. I can quote
> >exactly if you wish - book and computer are a whole floor apart and I
> >am too lazy to go up and get the book! (It's a guide to where costume
> >items can be found in the U.K. - "A Guide to Historic Costume?"
>
> Yes that was me.  Please.   Whenever is convenient for you would be fine.
>
> I'm thinking the least complex guess is going to be a pair of fabric tapes
> with button holes, and attach some buttons to the breeches.  But I'd like
to
> actually *know*, if such a thing is possible.
>
> Marc
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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>

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My favorite source for all kinds of animal-source products:
Moscow Hide and Fur
http://www.hideandfur.com/

They do have a page where they describe how they grade and describe 
leather, plus what someone else said - one ounce leather is about .4 
mm thick.  They mostly carry the heavier cow leathers, but they have 
all sorts of exotic leathers.  For anyone doing buckskinning, or 
other types of costume where you need natural materials, they also 
have feathers, horns and antlers, furs, teeth, claws, etc.  They are 
located in Moscow, Idaho, USA, and everything they sell is either 
farmed or legally hunted in the state it came from.  We've gotten 
bear teeth and claws, buffalo horns, and other things from 
them.  They will also send you a letter of origin if you need one for 
your state (good to have when traveling with the costume).

Sandy

At 08:35 AM 11/11/2005, you wrote:
>Date: Thu, 10 Nov 2005 22:04:00 EST
>From: AlbertCat@aol.com
>Subject: Re: [h-cost] Re: leather dying
>
>BTW.....where does one go to find out about leather? Y'know things like how
>the thickness and weight are measured and what is good for what. 
>Where to buy
>hides and what to look for? Techniques for sewing and care? Is there a good
>site?
>
>I'd love to make a leather doublet but don't know how to get what I  want.

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

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

Andromeda  


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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Hi marc
I dont remember if i told you that the gustavian  weadding suit i made, had 
strips attached to the waistcoat shoulders and to the front breeches. This 
is 1766.

Bjarne


----- Original Message ----- 
From: "Marc Carlson" <marccarlson20@hotmail.com>
To: <h-costume@indra.com>
Sent: Friday, November 11, 2005 8:19 PM
Subject: [h-cost] RE: Braces - rerun


> >From: Suzi Clarke <suzi@suziclarke.co.uk>
>>Marc
>>Was it you asking about braces? I found information accidentally
>>while looking for something else. Earliest form of braces appears to
>>be 1780's for gentlemen's breeches, usually just ribbon. I can quote
>>exactly if you wish - book and computer are a whole floor apart and I
>>am too lazy to go up and get the book! (It's a guide to where costume
>>items can be found in the U.K. - "A Guide to Historic Costume?"
>
> Yes that was me.  Please.   Whenever is convenient for you would be fine.
>
> I'm thinking the least complex guess is going to be a pair of fabric tapes 
> with button holes, and attach some buttons to the breeches.  But I'd like 
> to actually *know*, if such a thing is possible.
>
> Marc
>
>
> _______________________________________________
> h-costume mailing list
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Subject: Re: [h-cost] RE: Braces - rerun
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At 09:43 12/11/2005, you wrote:
>Hi marc
>I dont remember if i told you that the gustavian  weadding suit i 
>made, had strips attached to the waistcoat shoulders and to the 
>front breeches. This is 1766.
>
>Bjarne


Yes, but are they original? There are several garments in the Danish 
costume books that have braces, but there is no guarantee they are 
contemporary with the garments. The ones I am thinking of have been 
used later for theatre performances, having been donated to the 
theatre after they were finished with. In all likelihood the braces 
were added by later wardrobe staff.

Quote from "The Guide to Historic Costume by Karen Baclawski, 
published in 1995 by Batsford (ISBN 0 7134 6060 1)

"Braces

Two straps of ribbon, leather or webbing etc., usually connected, 
passing over the shoulders and secured at both front and back waist 
of a garment to keep it in place. Braces were introduced into 
fashionable circles in the 1780's when the waistline of men's 
waistcoats rose and unsightly gaps exposing the shirt were not 
desirable. From the early 19th century braces were used with trousers 
but remained concealed by waistcoat. <snip for 20th century content>

In 1814 Jane Austen commented on the appearance of braces in women's 
fashion, but they were not generally adopted until the late 19th 
century. <snip 20th century>"

Earliest noted item is female and dated 1810-20. Earliest male braces 
noted are 1830-5. These are items in museum collections and not 
necessarily the earliest known items.

Suzi

(Karen Baclawski holds an MA in the History of Dress from the 
Courtauld Institute. Aileen Ribiero was technical advisor to the project.)






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From: "Elizabeth Walpole" <ewalpole@tpg.com.au>
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Subject: [h-cost] herringbone weave in the 16th century? (is it period)
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Hi everyone,
I found a heringbone weave silk which I was planning to use for a Tudor 
Kirtle, but then I had a really vague recollection that somebody on one of 
my lists said the herringbone weave fell out of favour during the high 
middle ages and didn't turn up again for several centuries. Ordinarily I'd 
probably buy it anyway on the basis that it's plausible they did 
occasionally use it (as it's not a hugely complex variation on a twill) and 
rely on the lack of evidence is not evidence of lack theory. However this 
fabric was specifically intended for a competition entry, as the theme of an 
upcoming competition for the Tailor's Guild of Lochac (in the SCA) is 'pink' 
and this was the best pink fabric I could find. However if it's an 
inappropriate weave for my period I will probably opt for a black satin I 
saw for a similar price and not enter it into the competition.
So can anybody answer my basic question, is there any evidence for the use 
of a herringbone weave in the 16th century, with a simple yes (there are 
extant pieces of herringbone weave fabric from the 16th century) or no 
(there is no evidence for herringbone weave for X many years either side of 
the 16th century)
thanks
Elizabeth
--------------------------------------------
Elizabeth Walpole
Canberra Australia
ewalpole[at]tpg.com.au
http://au.geocities.com/e_walpole/

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Subject: [h-cost] Regency question
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Hi,

My husband and I will go to our fhirst Regency ball next year.
http://www.nehelenia-designs.com/costumeevents/costumeevents.html

I know what I would like to make for myself.
I would love to make a white dress with embroidery like these
http://www.metmuseum.org/toah/hd/god1/hob_1983.6.1,07.146.5.htm

For my husband I have found some really nice Blue wool.
I would like to make a tailcoat out of it.
http://home.kabelfoon.nl/~triade2/RegencyBall/FabricR.jpg
Would this be right for regency?

I have two Butterick patterns, 3648 and 3723.
Are those of any use?
Or is there a better male pattern?
Ireally don't know anything from this period.

I have the La Mode Bagatelle pattern
and I made a fantasy version with that pattern.
http://home.kabelfoon.nl/~triade2/RegencyBall/Regfront.jpg
http://home.kabelfoon.nl/~triade2/RegencyBall/Regback.jpg
I think I'll need to make the skirt smaller so that I don't have to 
pleat it to the bodice.

Greetings,
       Deredere


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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] Regency question
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At 13:04 12/11/2005, you wrote:
>Hi,
>
>My husband and I will go to our fhirst Regency ball next year.
>http://www.nehelenia-designs.com/costumeevents/costumeevents.html


Lucky you - Christina is a lovely lady.


>I know what I would like to make for myself.
>I would love to make a white dress with embroidery like these
>http://www.metmuseum.org/toah/hd/god1/hob_1983.6.1,07.146.5.htm
>
>For my husband I have found some really nice Blue wool.
>I would like to make a tailcoat out of it.
>http://home.kabelfoon.nl/~triade2/RegencyBall/FabricR.jpg
>Would this be right for regency?

It would be correct for day wear, but might be a bit bright, and 
could be a bit smoother I think. I usually use "Venetian" a pure wool 
fabric readily available in England. The original coats I've examined 
are very smooth wool, Melton being one of the cloths used. Also 
available - v. expensive - here.)


>I have two Butterick patterns, 3648 and 3723.
>Are those of any use?
>Or is there a better male pattern?
>Ireally don't know anything from this period.

Patterns for men can be found in "Cut of Men's Clothes" (Norah Waugh) 
and Men's 17th and 18th Century Costume Cut and Fashion, (R.I Davis) 
both English. Then there are the wonderful American patterns in 
"Fitting and Proper" and "Costume Closeup". These two also have 
women's patterns. You should also look at "Cut of Women's Clothes", 
"Period Costume for Stage and Screen 1800-1909", Jean Hunnisett 
(patterns from original garments in spite of the title) and "Patterns 
of Fashion 1660-1860" Janet Arnold.

All of the above have to be scaled up, but are accurate patterns of 
the fashions worn at the time. I am not sure about commercial 
patterns as I never use them for period stuff.


>I have the La Mode Bagatelle pattern
>and I made a fantasy version with that pattern.
>http://home.kabelfoon.nl/~triade2/RegencyBall/Regfront.jpg
>http://home.kabelfoon.nl/~triade2/RegencyBall/Regback.jpg
>I think I'll need to make the skirt smaller so that I don't have to 
>pleat it to the bodice.


Hope that helps.

Suzi


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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: Re: [h-cost] RE: Braces - rerun
Date: Sat, 12 Nov 2005 17:02:43 +0100
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Hi Suzi,
This is original weadding suit, not ever altered. It was embroidered in 
Paris and sewed together in Stockholm for the weadding between the future 
Gustav III and princesse Sophia Magdalena in 1766. Its a french costume 
maker from royal swedish opera that drafted the pattern after the original. 
He didnt alter a thing to it! It was in the middle of my cut out of the 
pattern, i realised this about the breeches attaches, and i was very 
surprised two!
And remember its only on the fronts, there are no "braces" in the back!
Bjarne


----- Original Message ----- 
From: "Suzi Clarke" <suzi@suziclarke.co.uk>
To: "Historical Costume" <h-costume@indra.com>
Sent: Saturday, November 12, 2005 11:27 AM
Subject: Re: [h-cost] RE: Braces - rerun


> At 09:43 12/11/2005, you wrote:
>>Hi marc
>>I dont remember if i told you that the gustavian  weadding suit i made, 
>>had strips attached to the waistcoat shoulders and to the front breeches. 
>>This is 1766.
>>
>>Bjarne
>
>
> Yes, but are they original? There are several garments in the Danish 
> costume books that have braces, but there is no guarantee they are 
> contemporary with the garments. The ones I am thinking of have been used 
> later for theatre performances, having been donated to the theatre after 
> they were finished with. In all likelihood the braces were added by later 
> wardrobe staff.
>
> Quote from "The Guide to Historic Costume by Karen Baclawski, published in 
> 1995 by Batsford (ISBN 0 7134 6060 1)
>
> "Braces
>
> Two straps of ribbon, leather or webbing etc., usually connected, passing 
> over the shoulders and secured at both front and back waist of a garment 
> to keep it in place. Braces were introduced into fashionable circles in 
> the 1780's when the waistline of men's waistcoats rose and unsightly gaps 
> exposing the shirt were not desirable. From the early 19th century braces 
> were used with trousers but remained concealed by waistcoat. <snip for 
> 20th century content>
>
> In 1814 Jane Austen commented on the appearance of braces in women's 
> fashion, but they were not generally adopted until the late 19th century. 
> <snip 20th century>"
>
> Earliest noted item is female and dated 1810-20. Earliest male braces 
> noted are 1830-5. These are items in museum collections and not 
> necessarily the earliest known items.
>
> Suzi
>
> (Karen Baclawski holds an MA in the History of Dress from the Courtauld 
> Institute. Aileen Ribiero was technical advisor to the project.)
>
>
>
>
>
>
> _______________________________________________
> 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] Regency question
From: "Diana Habra" <dch@inreach.com>
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> Hi,
>
> My husband and I will go to our fhirst Regency ball next year.
> http://www.nehelenia-designs.com/costumeevents/costumeevents.html

I am SOO jealous!!  We don't have wonderful places like this where I live 
(California).  It is beautiful!

> I have two Butterick patterns, 3648 and 3723.
> Are those of any use?
> Or is there a better male pattern?
> Ireally don't know anything from this period.
>
> I have the La Mode Bagatelle pattern
> and I made a fantasy version with that pattern.
> http://home.kabelfoon.nl/~triade2/RegencyBall/Regfront.jpg
> http://home.kabelfoon.nl/~triade2/RegencyBall/Regback.jpg
> I think I'll need to make the skirt smaller so that I don't have to
> pleat it to the bodice.

Actually, if you look closer at the embroidered white dresses, they use a
very light cotton fabric and leave it smooth across the front.  Then start
your pleating around where the arms hang and the majority of the pleats
are in the back.  It is much more flattering than pleating or gathering
all around the top of the skirt.

The Museum of Bath has an exhibit of "Jane Austen" dresses right now that
you can see online.  If you look closely at the seam lines and adjust any
of the patterns you already have, you will be fine.  Here is a link to the
Bath exhibit:

http://snipurl.com/jtdw

If you can't get the snipURL to work, just go to www.museumofcostume.co.uk
and click on "Special Displays and Exhibitions".

Have fun!!  You do such nice work I am sure you will look fabulous!

Diana

www.RenaissanceFabrics.net
"Everything for the Costumer"

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Subject: Re: [h-cost] Regency question
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In a message dated 11/12/2005 8:35:52 A.M. Eastern Standard Time,  
suzi@suziclarke.co.uk writes:

It would  be correct for day wear, but might be a bit bright, and 
could be a bit  smoother I think. I usually use "Venetian" a pure wool 
fabric readily  available in England. The original coats I've examined 
are very smooth  wool, Melton being one of the cloths used. Also 
available - v. expensive -  here.)


>I have two Butterick patterns, 3648 and 3723.
>Are  those of any use?
>Or is there a better male pattern?
>Ireally  don't know anything from this period.

Patterns for men can be found in  "Cut of Men's Clothes" (Norah Waugh) 
and Men's 17th and 18th Century  Costume Cut and Fashion, (R.I Davis) 
both English. Then there are the  wonderful American patterns in 
"Fitting and Proper" and "Costume Closeup".  These two also have 
women's patterns. You should also look at "Cut of  Women's Clothes", 
"Period Costume for Stage and Screen 1800-1909", Jean  Hunnisett 
(patterns from original garments in spite of the title) and  "Patterns 
of Fashion 1660-1860" Janet Arnold.




I agree that the blue fabric looks very bright--a dark or midnight blue  
would be better.  Unfortunately, there aren't any really good men's coat  patterns 
on the market, so your best bet, if you can do it, is the scale pattern  in 
Hill and Bucknell's "Evolution of Fashion"--last time I checked, this book  was 
still available from DramaBooks.  For all that it has some good  patterns, 
"Cut of Men's Clothes" does NOT have an early 19th century men's  coat--just an 
overcoat.
 
If the Butterick patterns you are referring to are the "Regency" ones they  
came out with several years ago, they aren't very good.  And it would have  
been so easy to make them better!  The bodices are all right, but the  skirts are 
raised-waist A-line style--looks like they pulled them from the  "bridesmaid 
pattern drawer." Waugh's "Cut of Women's Clothes" does have a  good ballgown 
pattern--the skirt is basically a rectangle back and front, and  gored sides.  
And, yes, it should be smooth across the front, with the  fullness 
concentrated towards the back.
 
Ann Wass

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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] Regency question
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>
>It would  be correct for day wear, but might be a bit bright, and
>could be a bit  smoother I think. I usually use "Venetian" a pure wool
>fabric readily  available in England. The original coats I've examined
>are very smooth  wool, Melton being one of the cloths used. Also
>available - v. expensive -  here.)
>
>
> >I have two Butterick patterns, 3648 and 3723.
> >Are  those of any use?
> >Or is there a better male pattern?
> >Ireally  don't know anything from this period.
>
>Patterns for men can be found in  "Cut of Men's Clothes" (Norah Waugh)
>and Men's 17th and 18th Century  Costume Cut and Fashion, (R.I Davis)
>both English. Then there are the  wonderful American patterns in
>"Fitting and Proper" and "Costume Closeup".  These two also have
>women's patterns. You should also look at "Cut of  Women's Clothes",
>"Period Costume for Stage and Screen 1800-1909", Jean  Hunnisett
>(patterns from original garments in spite of the title) and  "Patterns
>of Fashion 1660-1860" Janet Arnold.
>
>
>
>
>I agree that the blue fabric looks very bright--a dark or midnight blue
>would be better.  Unfortunately, there aren't any really good men's 
>coat  patterns
>on the market, so your best bet, if you can do it, is the scale pattern  in
>Hill and Bucknell's "Evolution of Fashion"--last time I checked, 
>this book  was
>still available from DramaBooks.  For all that it has some good  patterns,
>"Cut of Men's Clothes" does NOT have an early 19th century 
>men's  coat--just an
>overcoat.

Sorry to disagree but there is a late 18th century pattern that is 
perfectly suitable for the dates given for the ball - 1790-1810. 
Men's fashions had begun to fossilize, and evening dress in 
particular became uniform. I have studied several coats at the Museum 
of London, and one of them, dated c. 1820 was almost identical in 
style to the one in "Cut of Men's Clothes".  The same style can be 
seen in many of the fashion plates of the period - I have some on my web site.

Suzi 


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From: "otsisto" <otsisto@socket.net>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Regency question
Date: Sat, 12 Nov 2005 16:14:20 -0600
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Though Regency is not my period. Here are some things I ran across when I
was trying to get a feel of the period for some material I have that
screamed at me "Regency!" after I had washed it. :)

Day dress
http://www.vintagetextile.com/new_page_537.htm

1830s formal(?)
http://www.vintagetextile.com/new_page_292.htm

1800-1810 formal(?) with Spencer jacket
http://www.vintagetextile.com/new_page_333.htm

1800 casual dress
http://www.vintagetextile.com/new_page_190.htm

1780-1790 men's
http://www.vintagetextile.com/new_page_205.htm

1820 corset
http://www.vintagetextile.com/new_page_256.htm

1830 evening slippers/shoes
http://www.vintagetextile.com/new_page_494.htm

Gallery with some regency
http://www.vintagetextile.com/gallery_early.htm
The first dress is formal and is gathered in front.

As for the Butterick patterns, they're only good for in a pinch need.
Site for some Regency patterns
http://www.regencygarderobe.com/New%20Patterns.htm

Hope this helps.

De




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-----Original Message-----
Just in case, each site has more pictures with details if you scroll down
the page.

1830s formal(?)
http://www.vintagetextile.com/new_page_292.htm

1800-1810 formal(?) with Spencer jacket
http://www.vintagetextile.com/new_page_333.htm

1800 casual dress
http://www.vintagetextile.com/new_page_190.htm

1820 corset
http://www.vintagetextile.com/new_page_256.htm

1830 evening slippers/shoes
http://www.vintagetextile.com/new_page_494.htm

Gallery with some regency
http://www.vintagetextile.com/gallery_early.htm
The first dress is formal and is gathered in front.


Hope this helps.

De


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Subject: Re: [h-cost] Regency question
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In a message dated 11/12/2005 4:37:43 P.M. Eastern Standard Time,  
suzi@suziclarke.co.uk writes:

Sorry to  disagree but there is a late 18th century pattern that is 
perfectly  suitable for the dates given for the ball - 1790-1810. 
Men's fashions had  begun to fossilize, and evening dress in 
particular became  uniform.


Do you mean Diagram XXIX?  I guess it would do.  I, however,  interpret 
mostly the 1810s, and I would prefer a double-breasted front, and  would not at all 
do that shaped pleat overlay with buttons, or the large pocket  flaps with 
the buttons underneath, or that shape of collar.  I prefer the  large M-notch 
collar in "Evolution in Fashion." 
 
Another good source for men's wear, albeit it also requires some skill in  
interpretation--R.L. Shep's "Federalist & Regency Costume:  1790-1819." 
 
And we do play fast and loose with "Regency," don't we?  Technically,  the 
English Regency was 1811-1820.
 
Ann Wass
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Subject: Re: [h-cost] Regency question
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Hi Deredere,
In Koehler´s book, there is a nice cut of a gentlemans garment for this 
event. Its from 1804. This is not one of the coats that is cut straight over 
at the front, but has the curves from previous fashion. This is the glory of 
high tailoring and very elegant. This pattern you have to scale up, but i 
know you are used to this. There is no pattern of the gillet (waistcoat) but 
this is the easy part, so you could find it somewhere else.
I wished i had the money to go to this, and the clothes, but my clothes are 
much two oldfashioned for this.
I wish yoy good luck!

Bjarne

----- Original Message ----- 
From: "Deredere Galbraith" <Deredere.Galbraith@kabelfoon.nl>
To: "Historical Costume" <h-costume@indra.com>
Sent: Saturday, November 12, 2005 2:04 PM
Subject: [h-cost] Regency question


> Hi,
>
> My husband and I will go to our fhirst Regency ball next year.
> http://www.nehelenia-designs.com/costumeevents/costumeevents.html
>
> I know what I would like to make for myself.
> I would love to make a white dress with embroidery like these
> http://www.metmuseum.org/toah/hd/god1/hob_1983.6.1,07.146.5.htm
>
> For my husband I have found some really nice Blue wool.
> I would like to make a tailcoat out of it.
> http://home.kabelfoon.nl/~triade2/RegencyBall/FabricR.jpg
> Would this be right for regency?
>
> I have two Butterick patterns, 3648 and 3723.
> Are those of any use?
> Or is there a better male pattern?
> Ireally don't know anything from this period.
>
> I have the La Mode Bagatelle pattern
> and I made a fantasy version with that pattern.
> http://home.kabelfoon.nl/~triade2/RegencyBall/Regfront.jpg
> http://home.kabelfoon.nl/~triade2/RegencyBall/Regback.jpg
> I think I'll need to make the skirt smaller so that I don't have to pleat 
> it to the bodice.
>
> Greetings,
>       Deredere
>
>
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Organization: Earthly Delights
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Regency question
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I am in the middle of making some Regency tailcoats - I have been 
scaling up patterns from RL Shep "Federalist & Regency Costume: 
1790-1819". If you want to chat while you're putting it together I'm 
only an email away.
Cheers, Aylwen Garden
http://www.regencyreproductions.com
http://stores.ebay.com.au/Earthly-Delights


Deredere Galbraith wrote:

> Hi,
>
> My husband and I will go to our fhirst Regency ball next year.
> http://www.nehelenia-designs.com/costumeevents/costumeevents.html
>
> I know what I would like to make for myself.
> I would love to make a white dress with embroidery like these
> http://www.metmuseum.org/toah/hd/god1/hob_1983.6.1,07.146.5.htm
>
> For my husband I have found some really nice Blue wool.
> I would like to make a tailcoat out of it.
> http://home.kabelfoon.nl/~triade2/RegencyBall/FabricR.jpg
> Would this be right for regency?
>
> I have two Butterick patterns, 3648 and 3723.
> Are those of any use?
> Or is there a better male pattern?
> Ireally don't know anything from this period.
>
> I have the La Mode Bagatelle pattern
> and I made a fantasy version with that pattern.
> http://home.kabelfoon.nl/~triade2/RegencyBall/Regfront.jpg
> http://home.kabelfoon.nl/~triade2/RegencyBall/Regback.jpg
> I think I'll need to make the skirt smaller so that I don't have to 
> pleat it to the bodice.
>
> Greetings,
>       Deredere
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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Date: Sat, 12 Nov 2005 18:32:37 -0800 (PST)
Subject: RE: [h-cost] Regency question
From: "Diana Habra" <dch@inreach.com>
To: "Historical Costume" <h-costume@indra.com>
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>
> Day dress
> http://www.vintagetextile.com/new_page_537.htm

Wow!  I got lost on this site for about an hour.  And 100 pages of printer
paper later.....I have up-close pictures and information about real
antique clothing!  Even though the garments are for sale, this website has
better detail pictures than any costume museum website I have seen.

If you like to look at details and figure out "how they did that" from the
1750's onward....spend some time and look through this site :~>

My favorite detail picture is from the 1800-1810 apron front dress:

http://www.vintagetextile.com/new_page_190.htm

It is an "apron front" dress where the front of the bodice "flips up" in
to place.  Scroll down to the second-to-last picture.  They have splayed
the dress out so that you can see exactly how it was constructed and how
it all goes together.  Awesome!!!

Sorry to get all weirdly excited....but I love finding out how things are
truly done on period clothing ;~>

Diana

www.RenaissanceFabrics.net
"Everything for the Costumer"

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Subject: Re: [h-cost] Regency question
Date: Sun, 13 Nov 2005 07:49:40 -0500
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Think that the one I have and have used is from Rockinghorse Farm(?),  It is
double breasted, with the proper pleats at the tail opening at the back.
This one little detail is missing from at least one of the contemporary
patterns.  I compared the pieces to the shapes in "Cut of men's clothes
before I cut it out.
Kathleen
----- Original Message ----- 
From: <AnnBWass@aol.com>
To: <h-costume@indra.com>
Sent: Saturday, November 12, 2005 5:23 PM
Subject: Re: [h-cost] Regency question


>
> In a message dated 11/12/2005 4:37:43 P.M. Eastern Standard Time,
> suzi@suziclarke.co.uk writes:
>
> Sorry to  disagree but there is a late 18th century pattern that is
> perfectly  suitable for the dates given for the ball - 1790-1810.
> Men's fashions had  begun to fossilize, and evening dress in
> particular became  uniform.
>
>
> Do you mean Diagram XXIX?  I guess it would do.  I, however,  interpret
> mostly the 1810s, and I would prefer a double-breasted front, and  would
not at all
> do that shaped pleat overlay with buttons, or the large pocket  flaps with
> the buttons underneath, or that shape of collar.  I prefer the  large
M-notch
> collar in "Evolution in Fashion."
>
> Another good source for men's wear, albeit it also requires some skill in
> interpretation--R.L. Shep's "Federalist & Regency Costume:  1790-1819."
>
> And we do play fast and loose with "Regency," don't we?  Technically,  the
> English Regency was 1811-1820.
>
> Ann Wass
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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Subject: Re: [h-cost] Regency question
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re the waistcoat, the present one from McCall's is quite comparable.  I have
two waistcoats that are of the First Q 19th C and this pattern follows the
correct line.

Kathleen
----- Original Message ----- 
From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: "Historical Costume" <h-costume@indra.com>
Sent: Saturday, November 12, 2005 2:51 PM
Subject: Re: [h-cost] Regency question


> Hi Deredere,
> In Koehler´s book, there is a nice cut of a gentlemans garment for this
> event. Its from 1804. This is not one of the coats that is cut straight
over
> at the front, but has the curves from previous fashion. This is the glory
of
> high tailoring and very elegant. This pattern you have to scale up, but i
> know you are used to this. There is no pattern of the gillet (waistcoat)
but
> this is the easy part, so you could find it somewhere else.
> I wished i had the money to go to this, and the clothes, but my clothes
are
> much two oldfashioned for this.
> I wish yoy good luck!
>
> Bjarne
>
> ----- Original Message ----- 
> From: "Deredere Galbraith" <Deredere.Galbraith@kabelfoon.nl>
> To: "Historical Costume" <h-costume@indra.com>
> Sent: Saturday, November 12, 2005 2:04 PM
> Subject: [h-cost] Regency question
>
>
> > Hi,
> >
> > My husband and I will go to our fhirst Regency ball next year.
> > http://www.nehelenia-designs.com/costumeevents/costumeevents.html
> >
> > I know what I would like to make for myself.
> > I would love to make a white dress with embroidery like these
> > http://www.metmuseum.org/toah/hd/god1/hob_1983.6.1,07.146.5.htm
> >
> > For my husband I have found some really nice Blue wool.
> > I would like to make a tailcoat out of it.
> > http://home.kabelfoon.nl/~triade2/RegencyBall/FabricR.jpg
> > Would this be right for regency?
> >
> > I have two Butterick patterns, 3648 and 3723.
> > Are those of any use?
> > Or is there a better male pattern?
> > Ireally don't know anything from this period.
> >
> > I have the La Mode Bagatelle pattern
> > and I made a fantasy version with that pattern.
> > http://home.kabelfoon.nl/~triade2/RegencyBall/Regfront.jpg
> > http://home.kabelfoon.nl/~triade2/RegencyBall/Regback.jpg
> > I think I'll need to make the skirt smaller so that I don't have to
pleat
> > it to the bodice.
> >
> > Greetings,
> >       Deredere
> >
> >
> > _______________________________________________
> > h-costume mailing list
> > h-costume@mail.indra.com
> > http://mail.indra.com/mailman/listinfo/h-costume
> >
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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>

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In a message dated 11/13/2005 7:50:10 A.M. Eastern Standard Time,  
rmitchell@washjeff.edu writes:

It is
double breasted, with the proper pleats at the tail opening at the  back.
This one little detail is missing from at least one of the  contemporary
patterns.  I compared the pieces to the shapes in "Cut of  men's clothes
before I cut it out.



How are the directions?  That seems to be the biggest shortcoming of  some of 
the period patterns.  They assume you know how to put a coat  together and 
skim over, or omit completely, details such as constructing the  lapel and those 
pleats.
 
Ann Wass
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Regency question
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Diana Habra wrote:
>>Day dress
>>http://www.vintagetextile.com/new_page_537.htm
> > 
> Wow!  I got lost on this site for about an hour.  And 100 pages of printer

Yes, isn't that a wonderful site! I also found this one quite helpful:
http://demode.tweedlebop.com/realvict/

Seeing the construction details are marvelous. One thing I did find 
challenging about these "extant gown" sites, though: very often they 
display the clothes on modern mannequins or dress forms. It gives one an 
improper impression of how the gown should hang, usually because the 
bust is lower and shaped differently than a corseted figure. Just 
something to take into account when making the gown...

- Hope
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Date: Sun, 13 Nov 2005 09:19:11 -0800 (PST)
Subject: Re: [h-cost] Regency question
From: "Diana Habra" <dch@inreach.com>
To: "Historical Costume" <h-costume@indra.com>
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>
>
> Diana Habra wrote:
>>>Day dress
>>>http://www.vintagetextile.com/new_page_537.htm
>> >
>> Wow!  I got lost on this site for about an hour.  And 100 pages of
>> printer
>
> Yes, isn't that a wonderful site! I also found this one quite helpful:
> http://demode.tweedlebop.com/realvict/

The main thing that I liked about the site was that it had *many* detailed
pictures of the same garment.  Often an extant garment will be pictured
but usually only the whole front (and maybe the back) will be shown.  And
I haven't seen any of the museum sites offer a look at a gown or outfit
unfastened so that we can see how it really works.  That was what I liked
the most :~>

> Seeing the construction details are marvelous. One thing I did find
> challenging about these "extant gown" sites, though: very often they
> display the clothes on modern mannequins or dress forms. It gives one an
> improper impression of how the gown should hang, usually because the
> bust is lower and shaped differently than a corseted figure. Just
> something to take into account when making the gown...

I totally agree with you on this however I am fairly familiar with how
these styles should look already so it wasn't too much of a problem for
me.

Diana

www.RenaissanceFabrics.net
"Everything for the Costumer"

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Subject: Re: [h-cost] Regency question
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> My husband and I will go to our fhirst Regency ball next year.
> http://www.nehelenia-designs.com/costumeevents/costumeevents.html
>

Not clothing related, but please humor me.  :-)

On the web page above, there are two photos of the interior of the ball 
location. Can someone tell me the original purpose of the inset alcoves 
shown in both photos?  Are these closed up fireplace or stove alcoves? 
Statuary settings?  I'm curious because the items placed in these areas 
don't seem to fit, exactly, but I don't know enough about the period to know 
why.

Thanks
Denise B in Iowa 

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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] Regency question
Date: Sun, 13 Nov 2005 15:28:38 -0500
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I will search out this pattern tomorrow and see if I can put together the
directions for you.  This pattern company (for me at least) also assumes
that the sewer will already know the finer points of construction).  If you
have ever done any tailoring, like for a suit or coat, you will have no
problem in being able to follow the progression. One thing I have learned in
my 30yr. plus costume generation is that once you have the right shapes and
the right cuts re alignment of grain and bias, you have already done 2/3s of
the work. Adding the proper interfacings that are often omitted from
contemporary costume making (in the popular vein) will help you to turn even
a minimalist pattern into a credible period garment.
All the recent volumes like "The Cut of..." give lots of wonderful details
re style and construction that can make a success of your own attempts of
"getting it right".

Kathleen
----- Original Message ----- 
From: <AnnBWass@aol.com>
To: <h-costume@indra.com>
Sent: Sunday, November 13, 2005 8:29 AM
Subject: Re: [h-cost] Regency question


>
> In a message dated 11/13/2005 7:50:10 A.M. Eastern Standard Time,
> rmitchell@washjeff.edu writes:
>
> It is
> double breasted, with the proper pleats at the tail opening at the  back.
> This one little detail is missing from at least one of the  contemporary
> patterns.  I compared the pieces to the shapes in "Cut of  men's clothes
> before I cut it out.
>
>
>
> How are the directions?  That seems to be the biggest shortcoming of  some
of
> the period patterns.  They assume you know how to put a coat  together and
> skim over, or omit completely, details such as constructing the  lapel and
those
> pleats.
>
> Ann Wass
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>

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In a message dated 11/13/2005 1:10:39 P.M. Eastern Standard Time,  
landofoz@netins.net writes:

Are  these closed up fireplace or stove alcoves? 
Statuary  settings? 


Look like statuary niches to me--for neo-classical casts, perhaps?
 
Ann Wass
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Subject: Re: [h-cost] Regency question
Date: Sun, 13 Nov 2005 17:15:53 -0500
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I think the dark things in the alcoves are stoves. On the second picture, it 
looks like there are tiles inside and around the alcove - look at the way 
the reflexion of the light is broken on the tiles in the second pic.

----- Original Message ----- 
From: "Land of Oz" <landofoz@netins.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Sunday, November 13, 2005 1:09 PM
Subject: Re: [h-cost] Regency question


>> My husband and I will go to our fhirst Regency ball next year.
>> http://www.nehelenia-designs.com/costumeevents/costumeevents.html
>>
>
> Not clothing related, but please humor me.  :-)
>
> On the web page above, there are two photos of the interior of the ball 
> location. Can someone tell me the original purpose of the inset alcoves 
> shown in both photos?  Are these closed up fireplace or stove alcoves? 
> Statuary settings?  I'm curious because the items placed in these areas 
> don't seem to fit, exactly, but I don't know enough about the period to 
> know why.
>
> Thanks
> Denise B in Iowa
> _______________________________________________
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In a message dated 11/13/2005 3:29:02 P.M. Eastern Standard Time,  
rmitchell@washjeff.edu writes:

I will  search out this pattern tomorrow and see if I can put together  the
directions for you.  This pattern company (for me at least) also  assumes
that the sewer will already know the finer points of  construction).  If you
have ever done any tailoring, like for a suit  or coat, you will have no
problem in being able to follow the progression.  One thing I have learned in
my 30yr. plus costume generation is that once  you have the right shapes and
the right cuts re alignment of grain and  bias, you have already done 2/3s of
the work. Adding the proper  interfacings that are often omitted from
contemporary costume making (in  the popular vein) will help you to turn even
a minimalist pattern into a  credible period garment.



I was asking for our original poster.
 
I've had enough experience with what I call modern classic tailoring, both  
men's and women's, that I can finally proceed fairly well.  The hardest  part 
for early 19th century coats, in my opinion, is how the front  
edge/tails/pocket sacks are handled. When I made my first coat, I had  never seen a real one, 
and had to muddle through that part.
 
Ann Wass
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Subject: [h-cost] bib-front regency dress
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Wow, that is an amazing site! The details are wonderful. Thanks so much for
posting it! The back of the indigo regency dress is just lovely. I am
surprised (because this is not a period I've ever studied) to see all the
very practical "drawstrings" on these dresses, some of which are not even
hidden. 

Now for my question. On the bib-front dress:

http://www.vintagetextile.com/new_page_190.htm

How does this dress actually close? The picture that shows the inside bodice
construction confuses me. It seems to have two front pieces, plain white,
that close in some way that doesn't show. And then the bib comes up over it,
and attaches somehow that is also not apparent.

So how does it work?

Gail Finke

Thinking about an Easter dress for the 11-year-old for next year...


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Subject: Re: [h-cost] bib-front regency dress
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In a message dated 11/13/2005 7:41:55 P.M. Eastern Standard Time,  
gailscott@eos.net writes:

How does  this dress actually close? The picture that shows the inside  bodice
construction confuses me. It seems to have two front pieces, plain  white,
that close in some way that doesn't show. And then the bib comes up  over it,
and attaches somehow that is also not apparent.

So how does  it work?




It may have all been pins.  The white lining flaps probably pinned  shut, and 
sometimes the bib was pinned in place, as well--sometimes. though, it  
buttoned, with thread or, rarely, fabric, loops.  If you can examine the  actual 
garment, you can often see marks from repeated pinning.
 
I pin my flaps now, although some folks opt to substitute snaps,  instead.
 
Ann Wass
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To: Historical Costume <h-costume@indra.com>
From: Joan Jurancich <joanmj@surewest.net>
Subject: Re: [h-cost] bib-front regency dress
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At 04:29 PM 11/13/2005, you wrote:

>Wow, that is an amazing site! The details are wonderful. Thanks so much for
>posting it! The back of the indigo regency dress is just lovely. I am
>surprised (because this is not a period I've ever studied) to see all the
>very practical "drawstrings" on these dresses, some of which are not even
>hidden.
>
>Now for my question. On the bib-front dress:
>
>http://www.vintagetextile.com/new_page_190.htm
>
>How does this dress actually close? The picture that shows the inside bodice
>construction confuses me. It seems to have two front pieces, plain white,
>that close in some way that doesn't show. And then the bib comes up over it,
>and attaches somehow that is also not apparent.
>
>So how does it work?
>
>Gail Finke
>
>Thinking about an Easter dress for the 11-year-old for next year...

It looks like the fronts should pin closed, then the bib comes up and 
is pinned at the corners.  That's how I'd do it.


Joan Jurancich
joanmj@surewest.net 

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Date: Mon, 14 Nov 2005 12:09:49 +1100
From: A & J Garden <garden@earthlydelights.com.au>
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] bib-front regency dress
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Hi, I copied this dress a few months ago and put up a few pictures on my 
webpage http://www.earthlydelights.com.au/regency4.htm - its the 
red-checked dress. I also referred to my copy of Costume in Detail.
regards, Aylwen Garden
---------------------------------------
http://www.aylwen.com


Gail & Scott Finke wrote:

>Wow, that is an amazing site! The details are wonderful. Thanks so much for
>posting it! The back of the indigo regency dress is just lovely. I am
>surprised (because this is not a period I've ever studied) to see all the
>very practical "drawstrings" on these dresses, some of which are not even
>hidden. 
>
>Now for my question. On the bib-front dress:
>
>http://www.vintagetextile.com/new_page_190.htm
>
>How does this dress actually close? The picture that shows the inside bodice
>construction confuses me. It seems to have two front pieces, plain white,
>that close in some way that doesn't show. And then the bib comes up over it,
>and attaches somehow that is also not apparent.
>
>So how does it work?
>
>Gail Finke
>
>Thinking about an Easter dress for the 11-year-old for next year...
>
>
>_______________________________________________
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Regency question
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Hi,

Thank you for the response!
I'll try to answer all the emails at once.

I will hopefully get the "Cut of Men's Clothes" (Norah Waugh) and the
Cut of Women's Clothes as a X-mas present from my husband.
I already read in a revieuw that the patterns are from pre-1780s and the
other half from 1840 on.
But I am also planning on making a 1860 or 1885 "Dickens fair" costume
for my husband.
I have the Laughing Moon 109 men's frock coat for that.
It will be the fhirst time I will make something tailord as that and the
pattern looks quite difficult.

Diana Snipp<<

Actually, if you look closer at the embroidered white dresses, they use a
very light cotton fabric and leave it smooth across the front.  Then start
your pleating around where the arms hang and the majority of the pleats
are in the back.  It is much more flattering than pleating or gathering
all around the top of the skirt.

>>
I think I'll do that. Thanks for the idea.
I hadn't noticed it before.

Bjarne Snipp<<
In Koehler´s book, there is a nice cut of a gentlemans garment for this
event. Its from 1804. This is not one of the coats that is cut straight
over at the front, but has the curves from previous fashion.
>>

That book is on my wish list too.
I would love to make a beautifull embroidered 18th century costume for
my husband like the ones you make.
And I probaby will some day.
Because of that I think it would be more interesting for me to make a
more different costume for this period.

Ann Wass Snipp<<
Hill and Bucknell's "Evolution of Fashion"
>>
I have a copy of a part of that book.
Unfortionally only untill 1585

De Snipp<<
Gallery with some regency
http://www.vintagetextile.com/gallery_early.htm
>>

Yum!!!!!!!!!!!!


Aylwen Garden Snipp<<
I am in the middle of making some Regency tailcoats - I have been
scaling up patterns from RL Shep "Federalist & Regency Costume:
1790-1819". If you want to chat while you're putting it together I'm
only an email away.

Cheers, Aylwen Garden

http://www.regencyreproductions.com

http://stores.ebay.com.au/Earthly-Delights
>> 

You make beautifull costumes!
"Federalist & Regency Costume: 1790-1819" Looks like an interesting book.
But it looks like it is out of print :(



Kathleen Snipp<<
Think that the one I have and have used is from Rockinghorse Farm(?),  It is
double breasted, with the proper pleats at the tail opening at the back.
This one little detail is missing from at least one of the contemporary
patterns.  I compared the pieces to the shapes in "Cut of men's clothes
before I cut it out.
>>

I have never used Rocking horse farm patterns.
Do you mean the dragoon Uniform pattern?
http://rockinghorse-farm.com/
The others are only the waistcoats.

Greetings,
	Deredere










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Deredere

You might also be interested in some research I did into Regency 
coats, a little later than you are planning, but the tailoring is 
very similar. I wrote an article on the research for Vintage Connection.

http://www.vintageconnection.net/archives/RegencyCoats.htm

Suzi


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Subject: [h-cost] What's your dressmaker's dummy wearing?
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It's that time of year: holiday parties, winter balls, company
dinners, New Years Eve, cocktail parties,12th Night, You might even be
planning a sojourn to a balmy tropical locale.  Whatever the reason,
costumers are probably making something.  So, what's your dressmaker's
dummy wearing today?
--cin
Cynthia Barnes
CinBarnes@gmail.com

PS. It's ok to run into the sewing room, toss something spiffy on the dummy and
*then* tell us about it.

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A German coat a'la 1580.  Front opening fitted bodice, skirt pleated
in the back.  Made of rust fulled wool, lined with black Muppet fur.
The long sleeves end in hefty turned back cuffs, and a black silk cord
is couched along the entire circumference.

Just for fun.  Didn't even bother to hand sew this one.

Mari / Bridgette

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I am making Vogue 2607 in an iridescent burgundy silk dupioni from fabric.com, and commissioning a pearl and garnet necklace from Israel to wear with it.  My husband plans to wear a black jacket with charcoal mock turtle neck and black pants, as the perfect foil for my eye popping attire.
 
Of course, between now and then, I have to complete his 16th century Italian outfit, make gifts for the 5 kids and wrap up about a dozen other projects, classic underachiever that I am.
 
;-)
~Kimberley
 
-----Original Message-----
From: Cin <cinbarnes@gmail.com>
To: h-cost <h-costume@indra.com>
Sent: Mon, 14 Nov 2005 10:36:27 -0800
Subject: [h-cost] What's your dressmaker's dummy wearing?


It's that time of year: holiday parties, winter balls, company
dinners, New Years Eve, cocktail parties,12th Night, You might even be
planning a sojourn to a balmy tropical locale.  Whatever the reason,
costumers are probably making something.  So, what's your dressmaker's
dummy wearing today?
--cin
Cynthia Barnes
CinBarnes@gmail.com

PS. It's ok to run into the sewing room, toss something spiffy on the dummy and
*then* tell us about it.

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I have two, one of which is my size, the other is my
Great-Great-Grandmother's size. (Well, it was her mannequin, after all!
;)

GGGramma's is wearing a tricked-out full-length leather coat, with shiny
antique buttons.

My size is wearing a conglomerate of things, including a star-spangled
skirt in need of a new waistband, some half-finished bat wings, and a
cream colored nearly-done cloak which is holding the bat wings in place.


When *those* get done, I'll be working on a mid-1500's German gown.
Theoretically, at least. ;)

Kate McClure
aka StitchWitch

Beads? What beads . . . ?

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Cin wrote:

>   So, what's your dressmaker's
> dummy wearing today?

LOL! Cat hair... well, it would be if I had one. I'm "between projects" 
right now, nothing on the calendar for about 3 months. I've got mending 
and alterations to do to several costumes from previous events and I'm 
busy picking horrible little 3-d flowers off a perfectly good bolt of 
linen I bought on clearance a couple months ago.



Dawn


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Well as you all know, the yellow dress.
.
But for myself, cant use my dressdummy for something for myself , i have ben 
wanting to make me a cavallier outfit.
'There is an opera masqued ball in february again and i have this grey 
damask wich is a cotton/(dont remember the name) blend. I also have this 
reproduktion reticella lace i baught from England for the cuffs and standing 
band.
I want to make it an early cavallier style. I even have enough fabric to 
make a female outfit two, for my niece if she wants to go because i  emptied 
all the shop for this bargain fabric.
Newyear is cavallier time...............

Bjarne

----- Original Message ----- 
From: "Cin" <cinbarnes@gmail.com>
To: "h-cost" <h-costume@indra.com>
Sent: Monday, November 14, 2005 7:36 PM
Subject: [h-cost] What's your dressmaker's dummy wearing?


> It's that time of year: holiday parties, winter balls, company
> dinners, New Years Eve, cocktail parties,12th Night, You might even be
> planning a sojourn to a balmy tropical locale.  Whatever the reason,
> costumers are probably making something.  So, what's your dressmaker's
> dummy wearing today?
> --cin
> Cynthia Barnes
> CinBarnes@gmail.com
>
> PS. It's ok to run into the sewing room, toss something spiffy on the 
> dummy and
> *then* tell us about it.
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 


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From: Lalah <lalahcatlady@netscape.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] What's your dressmaker's dummy wearing?
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Lalah, Never give up, Never surrender
--- Cin <cinbarnes@gmail.com> wrote:
From: Cin <cinbarnes@gmail.com>
Date: Mon, 14 Nov 2005 10:36:27 -0800
To: h-cost <h-costume@indra.com>
Subject: [h-cost] What's your dressmaker's dummy wearing?
It's that time of year: holiday parties, winter balls, company
dinners,  New Years Eve, cocktail parties,12th Night, You might
even be
planning  a  sojourn  to  a balmy tropical locale. Whatever the
reason,
costumers  are  probably  making  something.  So,  what's  your
dressmaker's
dummy wearing today?
--cin
Cynthia Barnes
CinBarnes@gmail.com
PS.  It's ok to run into the sewing room, toss something spiffy
on the dummy and
*then* tell us about it.
_______________________________________________
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Date: Mon, 14 Nov 2005 13:52:52 -0800 (PST)
From: Lalah <lalahcatlady@netscape.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] What's your dressmaker's dummy wearing?
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Whoops - I hit the send button instead of the tab.
Mine is wearing an almost completed Regency gown I am making for a friend for Christmas.  It is soft white lawn with tiny pink rosebuds and very delicate moss green vines and leaves.  And I wanted to find a ribbon to match the green, but so far have been out of luck.  I may have to go with the pink.
 

Lalah, Never give up, Never surrender


--- Cin <cinbarnes@gmail.com> wrote:

From: Cin <cinbarnes@gmail.com>
Date: Mon, 14 Nov 2005 10:36:27 -0800
To: h-cost <h-costume@indra.com>
Subject: [h-cost] What's your dressmaker's dummy wearing?

It's that time of year: holiday parties, winter balls, company
dinners, New Years Eve, cocktail parties,12th Night, You might even be
planning a sojourn to a balmy tropical locale.  Whatever the reason,
costumers are probably making something.  So, what's your dressmaker's
dummy wearing today?
--cin
Cynthia Barnes
CinBarnes@gmail.com

PS. It's ok to run into the sewing room, toss something spiffy on the dummy and
*then* tell us about it.

_______________________________________________
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] What's your dressmaker's dummy wearing?
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Dark blue faille 1882 bustle dress (kick pleat skirt and cuirass bodice), 
with inset dark blue figured velvet panel down front of skirt and on front 
of bodice; cuffs and standup collar also figured velvet. White lace at 
wrist and top of collar. About a dozen dark blue "jewel and gold" buttons 
down the front. Very small black silk on buckram bonnet with faux jet and 
ribbon trim sitting on top, that goes with the black cotton velvet talma 
which has "jet" beading along the upper edge of the deep looped fringe. I 
wore it to an 1883 reunion of Civil War veterans.

Vicki Betts
vbetts@gower.net

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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] What's your dressmaker's dummy wearing?
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Well....
One of my dummies is wearing a very pink dress.
It is finished but it reminds me that I am going to make it again but
then with a long skirt and in very pale blue.
I will be wearing the blue gown to the X-mas/New years party from my
husbands job.
http://www.deredere.dds.nl/Fantasy/Chii/Chii.html

And on an other is a black and purple gothic version of a robe a la
francaise.
Wich I will hopefully sell next weekend on a Gothic and Fantasy fair.
http://mystictimes.nl/Verkoop/Verkoop.html
Don't have any pictures of the gown yet but I really like it.
I am working on a corset from the butteric pattern.
I only adjusted the angle of the schoulderstrap on the front.
Now it is a bit more like the original pattern in Corsets and crinolines.
It promeses to be a very comfortable lightwaight corset.


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Subject: Re: [h-cost] What's your dressmaker's dummy wearing?
Date: Mon, 14 Nov 2005 15:11:22 -0700
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I did exactly the same thing (picking off horrid flowers) a couple of months
ago.  The final result was a whole ziploc bag full of little black linen
flowers, which I passed on to a friend, who can actually *do* something with
them, and a bolt of perfectly nice, medium-weight, white linen.  Cost? Less
than $2/yd (on sale at JoAnn's) Satisfaction? Priceless.....
--Sue, who doesn't have a dress dummy, but if I did, she'd probably be
wearing cat hairs, since just about everything else in this house does as
well.

----- Original Message -----
From: "Dawn" <dawn@reddawn.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Monday, November 14, 2005 12:15 PM
Subject: Re: [h-cost] What's your dressmaker's dummy wearing?


> Cin wrote:
>
> >   So, what's your dressmaker's
> > dummy wearing today?
>
> LOL! Cat hair... well, it would be if I had one. I'm "between projects"
> right now, nothing on the calendar for about 3 months. I've got mending
> and alterations to do to several costumes from previous events and I'm
> busy picking horrible little 3-d flowers off a perfectly good bolt of
> linen I bought on clearance a couple months ago.


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From: Chris <emeraldepona@yahoo.com>
Subject: Re: [h-cost] What's your dressmaker's dummy wearing?
To: Historical Costume <h-costume@indra.com>
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Mine quite brazen, she's only wearing a circa 1897 petticoat...my male friends have been warned to mind their manners :)
   
  Chris G.
   
  
  Subject: [h-cost] What's your dressmaker's dummy wearing?


It's that time of year: holiday parties, winter balls, company
dinners, New Years Eve, cocktail parties,12th Night, You might even be
planning a sojourn to a balmy tropical locale. Whatever the reason,
costumers are probably making something. So, what's your dressmaker's
dummy wearing today?
--cin
Cynthia Barnes
CinBarnes@gmail.com

PS. It's ok to run into the sewing room, toss something spiffy on the dummy and
*then* tell us about it.



		
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 Yahoo! FareChase - Search multiple travel sites in one click.  
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Subject: Re: [h-cost] What's your dressmaker's dummy wearing?
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Right now mine's topless.  On her bottom half she's wearing the red with 
yellow fleur de lis skirt that will be the lower half of my new 1635 
Cavalier gown for 12th Night.  The bodice is cut out, but I'm embroidering 
it with gold thread and pearls before I sew it together.  She also has a 
leather bat-wing-horned-looking mask sitting on top of a white irridecent 
veil where her head would be if she had one, mostly because I can't find a 
place to put the mask and I need to remember to return the veil to its 
owner.

Melusine 

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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] What's your dressmaker's dummy wearing?
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  I wish I had a dressmaker's dummy.  If I did have one, I believe I would have a 16th century German dress on it.   There's a dress on the front of a pattern from Period Patterns that I just adore.   The color would be emerald green.

Maybe Santa will be nice to me this year.  Sigh.....

Roscelin



> --- Cin <cinbarnes@gmail.com> wrote:
> From: Cin <cinbarnes@gmail.com>
> Date: Mon, 14 Nov 2005 10:36:27 -0800
> To: h-cost <h-costume@indra.com>
> Subject: [h-cost] What's your dressmaker's dummy wearing?
> It's that time of year: holiday parties, winter balls, company
> dinners,  New Years Eve, cocktail parties,12th Night, You might
> even be
> planning  a  sojourn  to  a balmy tropical locale. Whatever the
> reason,
> costumers  are  probably  making  something.  So,  what's  your
> dressmaker's
> dummy wearing today?
> --cin
> Cynthia Barnes
> CinBarnes@gmail.com
> PS.  It's ok to run into the sewing room, toss something spiffy
> on the dummy and
> *then* tell us about it.
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 
> 
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In a message dated 11/14/2005 5:13:20 P.M. Eastern Standard Time,  
moreplentyn@earthlink.net writes:

Right  now mine's topless. 


And mine is bottomless.  She is wearing the bodice of a shawl  overdress 
based on an 1810 French fashion plate.  I bought 2 silk paisley  shawls at El 
Corte Ingles in Madrid a couple of years ago.  The project is  taking longer than 
I hoped, though. First, the two shawls did not match exactly,  so the skirt 
looks kind of wonky, but I'll live.  Then, I sewed the collar  on upside down.  
Fixed it now, though.
 
Ann Wass
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In a message dated 11/14/2005 5:24:41 P.M. Eastern Standard Time,  
roscelinlimoges@comcast.net writes:

I wish I  had a dressmaker's dummy. 


I scrounged one of my dummies out of a trash can.  It needed a fitting  to 
hold the base together, but I went to my local hardware store, where they  fixed 
me up.  The other I bought for $5 at a yard sale.
 
Ann Wass
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My son has armor draped on it.  
 
I made a duct tape dummy lost weight and moved it to the garage.  My son needed some place to hold his leather tunic with metal plates while he works on it, and look, there's a dummie in the garage, just for him, he thinks.
 
alex

Cin <cinbarnes@gmail.com> wrote:
It's that time of year: holiday parties, winter balls, company
dinners, New Years Eve, cocktail parties,12th Night, You might even be
planning a sojourn to a balmy tropical locale. Whatever the reason,
costumers are probably making something. So, what's your dressmaker's
dummy wearing today?
--cin
Cynthia Barnes
CinBarnes@gmail.com

PS. It's ok to run into the sewing room, toss something spiffy on the dummy and
*then* tell us about it.

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In a message dated 11/14/2005 2:27:28 P.M. Eastern Standard Time,  
drewscph@post12.tele.dk writes:

cant use  my dressdummy for something for myself 


You need to get a male mannequin, too!  I bought a torso from a shirt  store 
that was closing for $10.
 
Ann Wass
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I have two forms, one is not at all my size (I wish!) but it's good enough to display gowns on. It's an antique style with the seperate plates. The other is modern foam with cotton cover. It's not exactly my size, but ti's closer than the other one- got it when a fabric store was closing for cheap. The antique form has my vamprie character, Sadie, on it right now. She's based on the 1880's 'late bustle' style, but with very little regard for period construction. She's all purple bridal satin with black trim and sequins. I made her to work Fright Fest at Six Flag's Great America a few years back and decided I really liked her so I trot her out periodically. I just wore her for the WindyCon masquerade competition and won 'Best in Show'.....which makes me feel like I should be trotted around a ring on a leash and then rewarded with a doggie biscuit....but maybe not.....
 
 
Karen
Seamstrix

-- Alex Doyle <garbaholic@sbcglobal.net> wrote:
My son has armor draped on it.  
 
I made a duct tape dummy lost weight and moved it to the garage.  My son needed some place to hold his leather tunic with metal plates while he works on it, and look, there's a dummie in the garage, just for him, he thinks.
 
alex

Cin <cinbarnes@gmail.com> wrote:
It's that time of year: holiday parties, winter balls, company
dinners, New Years Eve, cocktail parties,12th Night, You might even be
planning a sojourn to a balmy tropical locale. Whatever the reason,
costumers are probably making something. So, what's your dressmaker's
dummy wearing today?
--cin
Cynthia Barnes
CinBarnes@gmail.com

PS. It's ok to run into the sewing room, toss something spiffy on the dummy and
*then* tell us about it.

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

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Cin wrote:
> It's that time of year: holiday parties, winter balls, company
> dinners, New Years Eve, cocktail parties,12th Night, You might even be
> planning a sojourn to a balmy tropical locale.  Whatever the reason,
> costumers are probably making something.  So, what's your dressmaker's
> dummy wearing today?
> --cin


	One is wearing Bilbo's shirt and party vest in progress (and no 
trousers!), the other is wearing a bodice mockup of a 1927 shirt dress 
(gotta fix the armscye) and a long red pleated skirt so the cats can 
play under it.

	I had to take off the Regency dress  from one because Bilbo has to take 
precedence right now.

	-Judy Mitchell
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>In a message dated 11/14/2005 5:13:20 P.M. Eastern Standard Time,
>moreplentyn@earthlink.net writes:
>Right  now mine's topless.
Both mine are in a shocking state of deshabille!

Euphrosnia, the strumpet, sports a copy of the Verney Gown, a forest
of quilt pins and not much else.  The gown's armholes are ragged, as
is the neckline.  The gown is fully lined and she wears it inside-out
waiting for binding to beautify, support & conceal rough shoulder
seams.  Possibly she wears her coat inside out to repulse pixies.

Adonis, exhibitionist that he is, wears only a black gilet that
belongs under a Charles de Blois style pourpoint.
--cin
Cynthia Barnes
CinBarnes@gmail.com

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right now?
 
dust
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] What's your dressmaker's dummy wearing?
Date: Mon, 14 Nov 2005 21:04:30 -0500
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On Monday 14 November 2005 2:07 pm, chindora@aol.com wrote:
> I am making Vogue 2607 in an iridescent burgundy silk dupioni from
> fabric.com, and commissioning a pearl and garnet necklace from Israel to
> wear with it.  My husband plans to wear a black jacket with charcoal mock
> turtle neck and black pants, as the perfect foil for my eye popping attire.

Wow!  Sounds really sharp.


-- 
Cathy Raymond <cathy@thyrsus.com>

"Physics is like sex; sure, it may give some practical 
results, but that's not why we do it."--Richard Feynman
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] What's your dressmaker's dummy wearing?
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On Monday 14 November 2005 1:51 pm, Marie Stewart wrote:
> A German coat a'la 1580.  Front opening fitted bodice, skirt pleated
> in the back.  Made of rust fulled wool, lined with black Muppet fur.
> The long sleeves end in hefty turned back cuffs, and a black silk cord
> is couched along the entire circumference.

Sounds lovely.  But what is "Muppet fur?"


-- 
Cathy Raymond <cathy@thyrsus.com>

"Physics is like sex; sure, it may give some practical 
results, but that's not why we do it."--Richard Feynman
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Subject: Re: [h-cost] What's your dressmaker's dummy wearing?
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On Monday 14 November 2005 1:36 pm, Cin wrote:
> It's that time of year: holiday parties, winter balls, company
> dinners, New Years Eve, cocktail parties,12th Night, You might even be
> planning a sojourn to a balmy tropical locale.  Whatever the reason,
> costumers are probably making something.  So, what's your dressmaker's
> dummy wearing today?

I don't have a dressmaker's dummy.  Never have.  But the clothes hanger that 
is taking the place in my life of a dressmaker's dummy is wearing the first 
few parts of a 10th c Lithuanian costume I am attempting to recreate--the 
(completed) tunic and the (incomplete) shawl.  The overskirt, veil and 
circlet I've made are done too--but those don't stay on a hanger very 
well.  :-) 

 I have socks, Baltic-style slippers, and a wool sash that I've purchased.  
Once I finish the apron and shawl and obtain a suitable set of stickpins, 
I'll be done!  :-)



-- 
Cathy Raymond <cathy@thyrsus.com>

"Physics is like sex; sure, it may give some practical 
results, but that's not why we do it."--Richard Feynman
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Kimiko Small wrote:

> Thank you Bjarne for posting this on the list.
> 
> Melanie, I, too, love the work you have done on that doublet. You have 
> inspired me to follow suit, as soon as I can find some time and a 
> suitable project to work on. Ah, perhaps the glove gauntlets I keep 
> wanting to do, since small and portable must be a part of the criteria.

That sounds lovely!

> Please Melanie, keep us informed on your progress.

I will, of course, though progress is slow.  Perhaps in a year or two 
I'll have something more to show than more of the same.  For right now, 
I'm 3/4 through the embroidery and applique on the doublet.  Next panel 
on the frame will be the other half of the front plus the short 
uppersleeve pieces, then a panel or two of skirt guarding.  THEN I can 
begin construction!

Slowly but surely (mostly slowly),
Melanie

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One is wearing an Edwardian outfit in a great shade of purple (it was a pink
I overdyed with blue) with white lace trim around the neck, decorating the
top, and the bottom of the sleeves. The skirt has white insertions where the
side panels met the front panel, all of this needs  ribbons laced through
it, but I haven't find a color I liked yet. I made to wear to an event this
summer and liked the way it turned out.

the other is wearing: a crinoline, a silk ruffled petticoat, a scarlet lace
tiered petticoat, a bright purple underskirt, and a black silk and lace
tiered skirt. On top she has a black lace blouse with leg-o-mutton sleeves.
and a bright red 7" wide belt that is tied with red satin ribbon.  The skirt
is tucked up so all the layers show. I was seeing if I liked the look, and I
do, now all I have to do is find some place to wear it :-)

Susan in Bellevue


>  So, what's your dressmaker's
> dummy wearing today?
> --cin
> Cynthia Barnes

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We don't have a dummy either.  But, the DH is busy making 2 teddy 
bears and 2 shoulder wraps out of an old mink coat.  A co-worker of 
mine had this old coat from her grandmother, and she asked if we 
could make bears and wraps out of it for her granddaughters.  So, I 
spent about 2 weeks carefully picking the whole thing apart, now the 
re-construction begins.  The wraps will be lined with the original 
coat lining, and there were some monogram appliques on the lining 
that will be applied to one of the wraps as well.  We'll probably put 
the original coat label on the other wrap.
My project for the next 1.5 months will be baking holiday goodies and 
the various holiday dinners.

Sandy

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

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

Andromeda  


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Subject: Re: [h-cost] What's your dressmaker's dummy wearing?
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>It's that time of year: holiday parties, winter balls, company
>dinners, New Years Eve, cocktail parties,12th Night, You might even be
>planning a sojourn to a balmy tropical locale.  Whatever the reason,
>costumers are probably making something.  So, what's your dressmaker's
>dummy wearing today?

I'm storing a couple of hats on her right now, including my basic Harry 
Potter's World hat.  Other than that she's just wearing a t-shirt with the 
bones of the human torso and hips printed on it.  It belongs to her 
actually.  I used to take her to schools to put costumes on, for historical 
talks, and the little kids would giggle when the clothes came off.  But 
they don't giggle when they see bones underneath.  (It ain't no sin to take 
off your skin and dance around in your bones.)

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

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

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Hi!
 
My toddler size dummy is wearing a Christmas Fairy costume; I just need to cut out 200 holly leaves!!  I wonder if my 3 year old daughter will appreciate all the hard work?!!
 
All the best
Jayne



		
---------------------------------
 Yahoo! FareChase - Search multiple travel sites in one click.  
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----- Original Message ----- 
From: <AnnBWass@aol.com>
To: <h-costume@indra.com>
Sent: Monday, November 14, 2005 6:05 PM
Subject: Re: [h-cost] What's your dressmaker's dummy wearing?


>
> In a message dated 11/14/2005 5:13:20 P.M. Eastern Standard Time,
> moreplentyn@earthlink.net writes:
>
> Right  now mine's topless.
>
>
> And mine is bottomless.

And mine is naked as a jaybird. I'm collecting the last of the materials for 
my Pelican gown and I refuse to start anything else until that dress is 
DONE. (slaps hand that is wandering toward that oh-so-tempting pile of 
fabrics..)

I'm also preparing to move---have to be out of this house by January 1, 
before the wrecking ball hits...so starting any more projects right now 
would a bit...silly.

Dianne



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In a message dated 11/15/2005 4:53:18 A.M. Eastern Standard Time,  
glassesgal@yahoo.com writes:

I just  need to cut out 200 holly leaves!!  I wonder if my 3 year old 
daughter  will appreciate all the hard work?!!



I appreciate it!  I would never do it--I would use ready-made leaves,  myself.
 
Ann Wass
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Date: Tue, 15 Nov 2005 07:50:15 -0500
From: Marie Stewart <maricelt@gmail.com>
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Muppet Fur is what I call the currently popular Acrylic furlike fiber.
 Some folks call it Teddy Bear, some folks call it eyelash.
LONG URL...  but this gives the texture.  The lining I used is in black.
Got the fabric for a steal from my local shop.
The texture approximates the look in the portrait, and seeing as this
project was just for fun,  I went with the Muppet.  :>

http://www.fabric.com/Webdata/Product/d4ebf93b-829b-405c-b49d-68a951920948/Images/Medium_AK-781.jpg

Mari

On 11/14/05, Catherine Olanich Raymond <cathy@thyrsus.com> wrote:
> On Monday 14 November 2005 1:51 pm, Marie Stewart wrote:
> > A German coat a'la 1580.  Front opening fitted bodice, skirt pleated
> > in the back.  Made of rust fulled wool, lined with black Muppet fur.
> > The long sleeves end in hefty turned back cuffs, and a black silk cord
> > is couched along the entire circumference.
>
> Sounds lovely.  But what is "Muppet fur?"
>
>
> --
> Cathy Raymond <cathy@thyrsus.com>
>
> "Physics is like sex; sure, it may give some practical
> results, but that's not why we do it."--Richard Feynman
> _______________________________________________
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Hi! Ann
 
I did look into getting ready made holly leaves, but the ones I have come across come in packets of six leaves at £3.00 a packet (sorry, I don't know what that is in dollars!), and I have to budget for gift shopping for Santa (I'm one of his elves in disguise!! lol), so the DIY option was the cheapest.  Hubby has promised to cut some out though!  Better find that extra pair of scissors....!
 
All the best 
Jayne

		
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Marie Stewart wrote:
> Muppet Fur is what I call the currently popular Acrylic furlike fiber.
>  Some folks call it Teddy Bear, some folks call it eyelash.
> LONG URL...  but this gives the texture.  The lining I used is in black.
> Got the fabric for a steal from my local shop.
> The texture approximates the look in the portrait, and seeing as this
> project was just for fun,  I went with the Muppet.  :>

Which portrait?  This coat sounds interesting, and I'd love to see your 
inspiration.  Also, depending on the surface quality of the "fur," you 
might be able to make a case for it being similar to silk shag, which 
was popular in some places in the later 16th c.  (See pics of the lining 
in Verney's loose gown in Patterns of Fashion, p. 38.)

Melanie Schuessler

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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: [h-cost] about fur
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Hi,
Now we are talking about fur. Yesterday they had a bargain in my Mall. I 
could get a silverfox with head, legs and tails, you know how these looks 
like, for a bargain. Very fine quality.
Could i use such a fox and sew on my 18th century cloak?
I would consider it a shame to remove the head, legs and tail, but would 
this be period?
My cloak has a wide falling collar made of faux fur!

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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From: Marie Stewart <maricelt@gmail.com>
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This is the painting which inspired me.  Holbein before England ... I
misremembered the date.

Portrait of Young Woman
Artist: Hans Holbein
1517

http://www.wga.hu/art/h/holbein/hans_y/1518/5wife.jpg

On 11/15/05, Melanie Schuessler <melanie@faucet.net> wrote:
> Marie Stewart wrote:
> > Muppet Fur is what I call the currently popular Acrylic furlike fiber.
> >  Some folks call it Teddy Bear, some folks call it eyelash.
> > LONG URL...  but this gives the texture.  The lining I used is in black.
> > Got the fabric for a steal from my local shop.
> > The texture approximates the look in the portrait, and seeing as this
> > project was just for fun,  I went with the Muppet.  :>
>
> Which portrait?  This coat sounds interesting, and I'd love to see your
> inspiration.  Also, depending on the surface quality of the "fur," you
> might be able to make a case for it being similar to silk shag, which
> was popular in some places in the later 16th c.  (See pics of the lining
> in Verney's loose gown in Patterns of Fashion, p. 38.)
>
> Melanie Schuessler
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>

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Mine is wearing a draping of a black wool skirt with an overlay of 
silver/grey burnout velvet (black background) in a cool scrollie 
pattern.  I'm not sure what it will be yet.  I am just playing with 
fabric at the moment.

Sg

Other than that it periodically holds my new ruff for the upcoming 
presentation at the Phoenix Art Museum.

SG

>  
>

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Subject: Re: [h-cost] What's your dressmaker's dummy wearing?
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Mine has one small hip pad, and one slightly larger, (as the lady has 
one hip higher than the other,) and a petticoat from the costume 
which I made a year or two ago. I am now making a quilted petticoat 
to go under the caraco jacket. There is a tape measure, an Indian cap 
with sequin and embroidery - from when I was "into" elephants - now 
it's dragons.

It also has pins and safety pins in the neck, and a piece of elastic 
tied round the waist to checking skirt lengths. Also a tape measure 
pinned to the back neck and waist, and hanging down the back to give 
me a height when I need it.

Suzi


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Muppet fur is what you get when you skin a dead muppet!  Preferrably a prime 
pelt like Cookie Monster, Elmo or Snuffalupagus. Kermit and the Count never 
have prime pelts, so not worth the bother.



Is Sesame Street old enough to be on-topic for a historical costuming list? 
<grin>



Denise B in Iowa


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Status: RO

Nice portrait! It'll be great to see the outfit when you finish it.
This whole use of fur prompts an odd question for me, though.  I'm aware,
from all the years of costuming I've done in the SCA, and all the
conversations about it, that the heat/perspiration/cooling properties of
fabrics can vary enormously depending on whether they're natural or man-made
materials, let alone, what kind of natural materials.  Does anyone have any
similar experience to share about the differing properties of real and faux
furs?
--Sue

----- Original Message -----
From: "Marie Stewart" <maricelt@gmail.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Tuesday, November 15, 2005 6:42 AM
Subject: Re: [h-cost] Muppet Fur


> This is the painting which inspired me.  Holbein before England ... I
> misremembered the date.
>
> Portrait of Young Woman
> Artist: Hans Holbein
> 1517
>
> http://www.wga.hu/art/h/holbein/hans_y/1518/5wife.jpg
>
> On 11/15/05, Melanie Schuessler <melanie@faucet.net> wrote:
> > Marie Stewart wrote:
> > > Muppet Fur is what I call the currently popular Acrylic furlike fiber.
> > >  Some folks call it Teddy Bear, some folks call it eyelash.
> > > LONG URL...  but this gives the texture.  The lining I used is in
black.
> > > Got the fabric for a steal from my local shop.
> > > The texture approximates the look in the portrait, and seeing as this
> > > project was just for fun,  I went with the Muppet.  :>
> >
> > Which portrait?  This coat sounds interesting, and I'd love to see your
> > inspiration.  Also, depending on the surface quality of the "fur," you
> > might be able to make a case for it being similar to silk shag, which
> > was popular in some places in the later 16th c.  (See pics of the lining
> > in Verney's loose gown in Patterns of Fashion, p. 38.)
> >
> > Melanie Schuessler


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To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] What's your dressmaker's dummy wearing?
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>>It's that time of year: holiday parties, winter balls, company
>>dinners, New Years Eve, cocktail parties,12th Night, You might even be
>>planning a sojourn to a balmy tropical locale.  Whatever the reason,
>>costumers are probably making something.  So, what's your dressmaker's
>>dummy wearing today?
>
>I'm storing a couple of hats on her right now, including my basic Harry 
>Potter's World hat.  Other than that she's just wearing a t-shirt with the 
>bones of the human torso and hips printed on it.  It belongs to her 
>actually.  I used to take her to schools to put costumes on, for 
>historical talks, and the little kids would giggle when the clothes came 
>off.  But they don't giggle when they see bones underneath.  (It ain't no 
>sin to take off your skin and dance around in your bones.)

I forgot to mention that mine has a head I made out of a cut-down Styrofoam 
wig head.  I added a hollow neck of poster board, that fits over her 
original neck, then I paper mache-ed over the whole head/neck thing.  I can 
take her head off so I can put clothes on her body, then I can replace it 
so I can try out the head-wear with the clothes.


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

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one's wearing the fabric for a coat I'm making the other half for christmas - 
one's wearing a victorian corset (or the beginnings of it anyway - one (child 
sized) is wearing a part made British army Crimean uniform (child sized, 
obv.), and the other is naked, but soon to be wearing an 18th century embroidered 
coat.

well, you did ask....

debs


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Date: Tue, 15 Nov 2005 10:33:11 -0500
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That's part of my experiment!  Cool.

I'm trying to see how well the fluff of the acrylic fur will trap
heat.  I'm betting that my natural sheep skin will do a better job,
but... just have to give it a try.

Bridgette

On 11/15/05, Sue Clemenger <mooncat@in-tch.com> wrote:
> Nice portrait! It'll be great to see the outfit when you finish it.
> This whole use of fur prompts an odd question for me, though.  I'm aware,
> from all the years of costuming I've done in the SCA, and all the
> conversations about it, that the heat/perspiration/cooling properties of
> fabrics can vary enormously depending on whether they're natural or man-made
> materials, let alone, what kind of natural materials.  Does anyone have any
> similar experience to share about the differing properties of real and faux
> furs?
> --Sue
>
> ----- Original Message -----
> From: "Marie Stewart" <maricelt@gmail.com>
> To: "Historical Costume" <h-costume@indra.com>
> Sent: Tuesday, November 15, 2005 6:42 AM
> Subject: Re: [h-cost] Muppet Fur
>
>
> > This is the painting which inspired me.  Holbein before England ... I
> > misremembered the date.
> >
> > Portrait of Young Woman
> > Artist: Hans Holbein
> > 1517
> >
> > http://www.wga.hu/art/h/holbein/hans_y/1518/5wife.jpg
> >
> > On 11/15/05, Melanie Schuessler <melanie@faucet.net> wrote:
> > > Marie Stewart wrote:
> > > > Muppet Fur is what I call the currently popular Acrylic furlike fiber.
> > > >  Some folks call it Teddy Bear, some folks call it eyelash.
> > > > LONG URL...  but this gives the texture.  The lining I used is in
> black.
> > > > Got the fabric for a steal from my local shop.
> > > > The texture approximates the look in the portrait, and seeing as this
> > > > project was just for fun,  I went with the Muppet.  :>
> > >
> > > Which portrait?  This coat sounds interesting, and I'd love to see your
> > > inspiration.  Also, depending on the surface quality of the "fur," you
> > > might be able to make a case for it being similar to silk shag, which
> > > was popular in some places in the later 16th c.  (See pics of the lining
> > > in Verney's loose gown in Patterns of Fashion, p. 38.)
> > >
> > > Melanie Schuessler
>
>
> _______________________________________________
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> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
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Hi,
I am a little embarrased to ask, because i really aught to know and have 
made this before, but actually i never made a chemise before because i 
always just edged my dresses with lace.
But i want to construkt after Jean Hunniset's chemise.
My lady meassures 21 inches from under the arms and over the bust. I suppose 
this should be my meassure for the front and back pieces then + 2 inches for 
movement.
Is this correkt?
Do you think i should add the lace frills to the sleaves, or should i just 
sew it to the dress sleaves?



Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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Subject: Re: [h-cost] chemise construktion
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In a message dated 11/15/2005 11:21:50 A.M. Eastern Standard Time,  
drewscph@post12.tele.dk writes:

My lady  meassures 21 inches from under the arms and over the bust. I suppose 
this  should be my meassure for the front and back pieces then + 2 inches for 
 
movement.
Is this correkt?
*****************************
 
 
I'd add more that 2". Remember, in the period the cut reflects a time when  
things were not really cut as we think of it today, but came off the loom in  
rectangles and squares. Not all chemises add the triangular pieces for extra  
room in the hips and at the hem. It would then be a straight tube the  
measurement of the hip area and hem. You don't need to be THAT  primitive....shaping 
is allowed. But I'd go a little fuller than usual. It all  gets smashed under 
the corset, true, but sometimes the neck of the chemise gets  drawn up by a 
cord in a casing ... Not as much as a ruffle...but a bit.
 
***************************************


Do  you think i should add the lace frills to the sleaves, or should i just  
sew it to the dress sleaves?
 
***********************************
Both is done in the period. I'd put them on the dress....unless you see  some 
chemise sleeve peaking out from under the dress' sleeve.....which you do in  
the 1780s and 90s.



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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Hi,
Thanks for taking the time for this.
I also have ben thinking it would be silly to add the engageantes to the 
chemise, as it always is going to be washed after each use, and therefore 
would be more labout to iron the laces of the sleaves.
I want to make a casing for a drawstring along the neckline, so that it can 
be perfectly fitted to the dress neckline. I will use 2 inches extra,
Thanks for this
Bjarne
----- Original Message ----- 
From: <AlbertCat@aol.com>
To: <h-costume@indra.com>
Sent: Tuesday, November 15, 2005 6:04 PM
Subject: Re: [h-cost] chemise construktion


> In a message dated 11/15/2005 11:21:50 A.M. Eastern Standard Time,
> drewscph@post12.tele.dk writes:
>
> My lady  meassures 21 inches from under the arms and over the bust. I 
> suppose
> this  should be my meassure for the front and back pieces then + 2 inches 
> for
>
> movement.
> Is this correkt?
> *****************************
>
>
> I'd add more that 2". Remember, in the period the cut reflects a time when
> things were not really cut as we think of it today, but came off the loom 
> in
> rectangles and squares. Not all chemises add the triangular pieces for 
> extra
> room in the hips and at the hem. It would then be a straight tube the
> measurement of the hip area and hem. You don't need to be THAT 
> primitive....shaping
> is allowed. But I'd go a little fuller than usual. It all  gets smashed 
> under
> the corset, true, but sometimes the neck of the chemise gets  drawn up by 
> a
> cord in a casing ... Not as much as a ruffle...but a bit.
>
> ***************************************
>
>
> Do  you think i should add the lace frills to the sleaves, or should i 
> just
> sew it to the dress sleaves?
>
> ***********************************
> Both is done in the period. I'd put them on the dress....unless you see 
> some
> chemise sleeve peaking out from under the dress' sleeve.....which you do 
> in
> the 1780s and 90s.
>
>
>
> _______________________________________________
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> h-costume@mail.indra.com
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> 


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Subject: Re: [h-cost] What's your dressmaker's dummy wearing?
Date: Tue, 15 Nov 2005 12:34:42 -0500
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Unfortunately, I have nothing coming up that I can play dress-up at. I'm in
a bit of a no-man's land by way of costuming, and any Christmas parties
coming up are very informal. *Sigh*

So instead I'm using the time to repair and update some of my dance
costumes. Presently my dummy is looking all disco-sparkly in a lovely three
tone gold Bedlah set, which I am in the process of adding more gold and
holographic gold pailletes to. Base fabric is a dark almost tarnished
looking matte gold, the silver-lined beads and sequins are orange and bright
gold with a smattering of holograpic sequins and paillets in the mix. I
usually make all of my own applique's, these ones are simple geometric
shapes. I have also added some more large orange jewels, which I have 'set'
with gold and orange beads. It's soon getting to the point where I will have
to wear sunglasses to finish it. :-) I also need to finish off the set with
some accessories, arm bands of some sort and something for my hair.

Sheridan


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In a message dated 11/15/05 5:30:41 PM GMT Standard Time, 
h-costume-request@indra.com writes:

> It also has pins and safety pins in the neck

Forgot about the assortment of pins, bits of fabric pinned on to mark CF and 
CB, and wastlines etc, and the remnants of a mock up of a cage crinoline that 
I haven't got round to taking off yet :-)
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Subject: Re: [h-cost] Re: What's your dressmaker's dummy wearing?
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In a message dated 11/15/2005 8:15:03 A.M. Eastern Standard Time,  
glassesgal@yahoo.com writes:

I did  look into getting ready made holly leaves, but the ones I have come 
across  come in packets of six leaves at £3.00 a packet (sorry, I don't know 
what that  is in dollars!),


Ouch!  That is pricey.  You couldn't pull leaves off bunches for  a lot 
cheaper? And are you sewing them all on, as opposed to gluing?  
 
Bless you!  You had better get lots of photos, to be sure your  daughter 
remembers!
 
Ann Wass
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Subject: [h-cost] What's your dressmaker's dummy wearing? 
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Mine's just wearing the canvas cover since I never got her to remotely
resemble me...with an instructor's help.  How do you model rounded shoulders
and a hollow chest?  

A friend and I are planning on making duct tape doubles.  Any better
suggestions?  I know that pinning will be more difficult and pins will get
sticky.

Julie

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At 16:14 15/11/2005, you wrote:
>Hi,
>I am a little embarrased to ask, because i really aught to know and 
>have made this before, but actually i never made a chemise before 
>because i always just edged my dresses with lace.
>But i want to construkt after Jean Hunniset's chemise.
>My lady meassures 21 inches from under the arms and over the bust. I 
>suppose this should be my meassure for the front and back pieces 
>then + 2 inches for movement.
>Is this correkt?
>Do you think i should add the lace frills to the sleaves, or should 
>i just sew it to the dress sleaves?


Your lady may need a little more in the width of the main pieces 
Bjarne. Jean's chemise is made to fit a 91-96 cm chest, (36"-38") and 
you will find anyone bigger needs a bit more or it is very snug. 
Because you are making a corset, and there should not be a lot of 
spare fabric under it, 2-3" maximum should be all you will need. You 
will not need extra for ease or movement because of the corset. Do 
also check the sleeves, as I find that they are rather snug too. You 
can use a casing for a draw string, but it also helps to put the 
corset on the unfinished chemise, pull down the extra, and cut the 
neckline once the corset is on. The sleeves sometimes have a draw 
string too, or the ends are left loose on the binding and tied.

Do contact me off list if you want - I make these all the time.

Suzi


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To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] What's your dressmaker's dummy wearing? 
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>A friend and I are planning on making duct tape doubles.  Any better
>suggestions?  I know that pinning will be more difficult and pins will get
>sticky.

Make a snug-fitting fabric cover for the duct tape one, and only pin to the 
cover.


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

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Subject: Re: [h-cost] chemise construktion
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Bjarne, my reply about the lace frills is from a costumer and considers practicality rather than necessarily being authentic, but for what it's worth:
I always edge the chemise in lace rather than sewing the lace to the dress, because the chemise is much easier to launder. With the actresses in make-up, the lace gets soiled easily but the dress usually stays pretty clean, and if the actress perspires this also affects the chemise much more than the costume, so washing the chemise keeps the whole costume looking clean and smelling fresh. Depending on how carefully the actress dresses, the lace edging may or may not be as precisely lined up with the sleeve and neckline edges as you'd want, but the ease of care is more important to me.
--Ruth Anne Baumgartner
scholar gypsy and amateur costumer


-----Original Message-----
From: Bjarne og Leif Drews <drewscph@post12.tele.dk>
Sent: Nov 15, 2005 11:14 AM
To: h-costume@indra.com
Subject: [h-cost] chemise construktion

Hi,
I am a little embarrased to ask, because i really aught to know and have 
made this before, but actually i never made a chemise before because i 
always just edged my dresses with lace.
But i want to construkt after Jean Hunniset's chemise.
My lady meassures 21 inches from under the arms and over the bust. I suppose 
this should be my meassure for the front and back pieces then + 2 inches for 
movement.
Is this correkt?
Do you think i should add the lace frills to the sleaves, or should i just 
sew it to the dress sleaves?



Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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Julie Tamura wrote:
> Mine's just wearing the canvas cover since I never got her to remotely
> resemble me...with an instructor's help.  How do you model rounded shoulders
> and a hollow chest?  
> 
> A friend and I are planning on making duct tape doubles.  Any better
> suggestions?  I know that pinning will be more difficult and pins will get
> sticky.
> 
> Julie
> 
I've heard of paper packing tape dummies, and they sound usable, 
whatever you make, I think a fitted canvas cover on it would give you 
something to pin to that won't make things difficult.  I'm going to make 
one for mine.


And since my duct tape dummy is fifty pounds ago, I'm going to make my 
canvas cover to fit me as I am now and then stuff it. Again.

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I am assuming that this is a 1700s outfit. (got in the topic late)a
suggestion and not this is how it's done. If you have a double row of
lace/ruffle on the sleeve, you could have the lace/ruffle that is near the
skin sewn to the chemise and the top lace/ruffle sewn to the dress.

-----Original Message-----
Bjarne, my reply about the lace frills is from a costumer and considers
practicality rather than necessarily being authentic, but for what it's
worth:
I always edge the chemise in lace rather than sewing the lace to the dress,
because the chemise is much easier to launder. With the actresses in
make-up, the lace gets soiled easily but the dress usually stays pretty
clean, and if the actress perspires this also affects the chemise much more
than the costume, so washing the chemise keeps the whole costume looking
clean and smelling fresh. Depending on how carefully the actress dresses,
the lace edging may or may not be as precisely lined up with the sleeve and
neckline edges as you'd want, but the ease of care is more important to me.
--Ruth Anne Baumgartner
scholar gypsy and amateur costumer


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Bless you!  You had better get lots of photos, to be sure your  daughter 
remembers!


Absolute must - my Nana spent hours making me a medieval princess dress when 
I 
was little, but we didn't get any pics - all I can remember is that it was 
gorgeous, purple, 
and had a big pointy henin!


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The last time I did this sort of project, after cutting the first  10
leaves, I began to cut the rest free-hand.  This made the chore more
interesting (as to repeating the shapes from a given piece of felt),  The
assembly thereafter was Much more interesting.
Pick your best flick and enjoy the evening.

Kathleen

----- Original Message ----- 
From: <AnnBWass@aol.com>
To: <h-costume@indra.com>
Sent: Tuesday, November 15, 2005 12:49 PM
Subject: Re: [h-cost] Re: What's your dressmaker's dummy wearing?



In a message dated 11/15/2005 8:15:03 A.M. Eastern Standard Time,
glassesgal@yahoo.com writes:

I did  look into getting ready made holly leaves, but the ones I have come
across  come in packets of six leaves at £3.00 a packet (sorry, I don't know
what that  is in dollars!),


Ouch!  That is pricey.  You couldn't pull leaves off bunches for  a lot
cheaper? And are you sewing them all on, as opposed to gluing?

Bless you!  You had better get lots of photos, to be sure your  daughter
remembers!

Ann Wass
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To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] Re: What's your dressmaker's dummy wearing?
Date: Tue, 15 Nov 2005 18:50:55 -0500
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OH, (from Kathleen)again, given you daughter's age, you may not need all
300!!
KSM
----- Original Message ----- 
From: <AnnBWass@aol.com>
To: <h-costume@indra.com>
Sent: Tuesday, November 15, 2005 12:49 PM
Subject: Re: [h-cost] Re: What's your dressmaker's dummy wearing?



In a message dated 11/15/2005 8:15:03 A.M. Eastern Standard Time,
glassesgal@yahoo.com writes:

I did  look into getting ready made holly leaves, but the ones I have come
across  come in packets of six leaves at £3.00 a packet (sorry, I don't know
what that  is in dollars!),


Ouch!  That is pricey.  You couldn't pull leaves off bunches for  a lot
cheaper? And are you sewing them all on, as opposed to gluing?

Bless you!  You had better get lots of photos, to be sure your  daughter
remembers!

Ann Wass
_______________________________________________
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h-costume@mail.indra.com
http://mail.indra.com/mailman/listinfo/h-costume

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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Re: What's your dressmaker's dummy wearing?
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Well, my male dummy has a regency shirt, waistcoat and a tailcoat and is 
waiting for a cravat,
and the female has a brown taffeta 1830's bodice waiting for a skirt. My 
other three dummies are standing rather lonely in the shower bay - where 
I store them to keep them out of the way.
Cheers, Aylwen Garden
------------------------------------------
http://www.regencyreproductions.com
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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Muppet Fur
Date: Tue, 15 Nov 2005 22:00:01 -0500
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On Tuesday 15 November 2005 7:50 am, Marie Stewart wrote:
> Muppet Fur is what I call the currently popular Acrylic furlike fiber.
>  Some folks call it Teddy Bear, some folks call it eyelash.
> LONG URL...  but this gives the texture.  The lining I used is in black.
> Got the fabric for a steal from my local shop.
> The texture approximates the look in the portrait, and seeing as this
> project was just for fun,  I went with the Muppet.  :>

I thought that might be what you meant.  Thanks.


-- 
Cathy Raymond <cathy@thyrsus.com>

"Physics is like sex; sure, it may give some practical 
results, but that's not why we do it."--Richard Feynman
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Subject: Re: [h-cost] Muppet Fur
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Just made my 3yr old granddaughter her new winter coat and hat from this
stuff.  Shocking pink, she chose.  Too cute!!!

Kathleen

----- Original Message ----- 
From: "Catherine Olanich Raymond" <cathy@thyrsus.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Tuesday, November 15, 2005 10:00 PM
Subject: Re: [h-cost] Muppet Fur


> On Tuesday 15 November 2005 7:50 am, Marie Stewart wrote:
> > Muppet Fur is what I call the currently popular Acrylic furlike fiber.
> >  Some folks call it Teddy Bear, some folks call it eyelash.
> > LONG URL...  but this gives the texture.  The lining I used is in black.
> > Got the fabric for a steal from my local shop.
> > The texture approximates the look in the portrait, and seeing as this
> > project was just for fun,  I went with the Muppet.  :>
>
> I thought that might be what you meant.  Thanks.
>
>
> -- 
> Cathy Raymond <cathy@thyrsus.com>
>
> "Physics is like sex; sure, it may give some practical
> results, but that's not why we do it."--Richard Feynman
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>

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That's what I was going to suggest - getting a 
large 'silk' holly garland and peeling off the 
leaves.  They usually come off very easily.  This 
is how we did the angel wings from one of our 
painting reproductions (fantasy) - got every bit 
of silk greenery from the local craft store that 
had the right shape leaves, and peeled them 
off.  We lucked out - the store had all silk 
flowers/greens at 50% off that day only.

Sandy

At 01:14 PM 11/15/2005, you wrote:
>Date: Tue, 15 Nov 2005 12:49:53 EST
>From: AnnBWass@aol.com
>Subject: Re: [h-cost] Re: What's your dressmaker's dummy wearing?
>
>>glassesgal@yahoo.com writes:
>>
>>I did  look into getting ready made holly leaves, but the ones I have come
>>across  come in packets of six leaves at £3.00 a packet (sorry, I don't know
>>what that  is in dollars!),
>
>Ouch!  That is pricey.  You couldn't pull leaves off bunches for  a lot
>cheaper? And are you sewing them all on, as opposed to gluing?
>
>Ann Wass

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

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

Andromeda  



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From: Lynn Downward <lynndownward@gmail.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Re: What's your dressmaker's dummy wearing?
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Status: RO

Jayne, what a great project! I hope you'll link us to a picture once you're
finished.
 I made elf wings a few years ago, about three feet long and two wide. I
purchased a bunch of silky maple leaf bushes from JoAnn Fabrics, stripped
them from the branches and hot-glued them to to wings. I have also purchased
silky holly branches to use for a different project. Michael's also carries
these silky bushes.
 Best wishes on your project!
LynnD

 On 11/15/05, Jayne Thomas <glassesgal@yahoo.com> wrote:
>
> Hi! Ann
>
> I did look into getting ready made holly leaves, but the ones I have come
> across come in packets of six leaves at £3.00 a packet (sorry, I don't know
> what that is in dollars!), and I have to budget for gift shopping for Santa
> (I'm one of his elves in disguise!! lol), so the DIY option was the
> cheapest. Hubby has promised to cut some out though! Better find that extra
> pair of scissors....!
>
> All the best
> Jayne
>
>
> ---------------------------------
> Yahoo! FareChase - Search multiple travel sites in one click.
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Kate Bunting
Librarian and 17th century reenactor

>>> ruthanneb@mindspring.com 15/11/2005 20:28 >>> wrote:
>I always edge the chemise in lace rather than sewing the lace to the dress, because the chemise is much easier >to launder. With the actresses in make-up, the lace gets soiled easily but the dress usually stays pretty clean,
 >and if the actress perspires this also affects the chemise much more than the costume, so washing the chemise >keeps the whole costume looking clean and smelling fresh.

...which of course is exactly how it worked in period.

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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: [h-cost] Marie Antoinette
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Hi, in case some of you dont know, there is a 4 hour long Marie Antoinette 
movie on TCM right now!

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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Subject: [h-cost] has anyone used Butterick 4485 (18th century court gown)?
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hello to the list, I know we discussed this pattern when it first came out, 
but I was wondering if anybody has actually looked at it and worked out if 
it's designed to be worn over the corset (the pictures on the website aren't 
clear)? If the bodice is cut to be worn over a cone shaped foundation it 
could be really useful as a base for several time periods. Whilst the skirt 
may not be to everyone's taste a bodice that's already got the period 
silhouette right without needing to get rid of the curved princess seams 
could be a valuable pattern to have, and certainly a much better starting 
point for beginners than the ones designed to be worn over a bra. Obviously 
the back seams are in the wrong place for all the periods I can think of but 
it's still a better starting point than any of the other big 3 patterns.
I ask because I was thinking of teaching a class on removing princess seams 
so people can create an Elizabethan bodice from a commercial pattern, but if 
this one is already in the right shape I'd probably recommend it as a bodice 
pattern.
Elizabeth
--------------------------------------------
Elizabeth Walpole
Canberra Australia
ewalpole[at]tpg.com.au
http://au.geocities.com/e_walpole/

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I just retrieved an old copy of "Costume 4" (the journal of the U.K. 
Costume Society) and there is an article on Old Deerfield, by Adele 
Jay-Filene. Among the black and white plates is a photograph of 
"Suspenders" - these are the same as English braces are they not? The 
article states (written in 1970) "The costumes in the collection are 
virtually limited to the eighteenth century and consist of men's and 
women's suits and dresses, children's suits and dresses, church 
vestments, accessories such as men's embroidered night caps, 
undergarments, shoes, stockings, purses, pockets, garters and 
suspenders. (my italics.)

Perhaps someone could contact the curator and find out more? It's a 
bit pricey to phone from my side of the pond!

Suzi 
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From: Lauren Walker <lauren.walker@comcast.net>
To: Historical Costume <h-costume@indra.com>
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Subject: [h-cost] Slightly OT: Rope Makers?
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Hi, 
Has anybody used either the "Schacht Incredible Rope Machine" or the
"Leonardo Rope Maker", which costs about half what the Schacht does, and is
supposedly based on a design by Leonardo DaVinci?

I am thinking of getting one for some passementerie I want to make to
decorate my living room -- curtain tie-backs, for instance -- but I can tell
that once I have it, twisted-cord trim will be showing up in my costuming,
too. Has anybody played with these toys?

The pictures are so small on most Web sites that it is hard to tell whether
they are easy to use or anything else about them, so any first-hand info
would be appreciated.

Thanks!
Lauren
-- 
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


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I never used one myself but saw someone using it.
It is very easy to make rope with it.

For small cords I use a hair twister the braid X-press.
Like this one
http://www.bodydeco.co.uk/acatalog/Hair_Briading.html.
Bought it secondhand for 1 Euro.
For two to four strands.

Greetings,
       Deredere

Lauren Walker wrote:

>Hi, 
>Has anybody used either the "Schacht Incredible Rope Machine" or the
>"Leonardo Rope Maker", which costs about half what the Schacht does, and is
>supposedly based on a design by Leonardo DaVinci?
>
>I am thinking of getting one for some passementerie I want to make to
>decorate my living room -- curtain tie-backs, for instance -- but I can tell
>that once I have it, twisted-cord trim will be showing up in my costuming,
>too. Has anybody played with these toys?
>
>The pictures are so small on most Web sites that it is hard to tell whether
>they are easy to use or anything else about them, so any first-hand info
>would be appreciated.
>
>Thanks!
>Lauren
>  
>


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From h-costume-bounces@indra.com  Wed Nov 16 11:39:52 2005
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Subject: [h-cost] Phoenix Art museum-Suitable Gown for her Majesty-Dec-15th,
	7:00 pm
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Hi all, sorry for the cross posts.  Thought some of you might be 
interested in this:

We will be presenting the "Suitable Gown for Her Majesty" 
<http://www.saragrace.net/3E_10_QEW_Event_Pics.html>  again at the 
Phoenix Art Museum <http://www.phxart.org/events/lectures.asp> in 
conjunction with the exhibit  Lingerie: Secrets of Elegance 
<http://www.phxart.org/exhibitions/current.asp> on Thursday, December 
15th at 7:00 pm.  So for those of you who missed it last year, here is 
another chance!  I will be presenting a short slide show of costumes 
which includes a color slide of a rarely seen portrait by Frederigo 
Zuccero.  (This portrait appears in Max Von Boehn's _Modes and Manners_ 
and was formerly thought to be a picture of Mary Stuart.)  It is 
particularly interesting for it's huge mahoitered sleeves.

*_Thursday nights at the museum are free!_*  So you can see the whole 
museum and the presentation for the price of gas! 


Hope to see you then,

Saragrace
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From: Joannah Hansen <Joannah@sluggy.net>
To: Historic Costume List <h-costume@indra.com>,
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Subject: [h-cost] Anyone dealt with this company?
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Hello, All,

Please forgive if you receive more than one of these messages - I've posted it to all the re-enactment/costuming e-groups I'm on, even ones where this is OOP, as I know that people often do more than era in their re-enacting/costuming.

Has anyone had any dealings with Coon River Mercantile?
http://www.coonriver.com/ 

I have tried to contact them via email a couple of times because I have a query about one of their specials, and have received no response whatsoever. I have been told that they are good to deal with, by one of our friends who knows other people who have bought stuff from them, but I am starting to wonder.

My next avenue of action will be either waiting up until the wee small hours , or getting up very early, to make an international phone call to them.

Any info will be greatly appreciated.

Thanks,
Joannah 
( who is really quite looking forward to her husband re-enacting a period for which he can BUY accurate clothing! )

_____________________________________________________________
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Is there an illustrated print catalog for the lingerie exhibit?

Thanks,

Fran

<snip>

>  in conjunction with the exhibit  Lingerie: Secrets of Elegance 
> <http://www.phxart.org/exhibitions/current.asp> on Thursday, December 
> 15th at 7:00 pm. 
>
>
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Subject: [h-cost] Re: Holly Leaves (was What's Your Dressmaker's Dummy
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Hi!
   
  Hubby and I cut out the holly leaves last night, wasn't too bad while listening to our favourite CD's (Hubby got the bottles of beer I promised him for helping me!).  When I am doing anything like this, I do more than I need, to allow for mistakes - I've spotted a few strange looking holly leaves in the pile!   I looked at the holly-leaf based Christmas decorations, and they all looked a bit non-holly leaf. Such a perfectionist!!  Just got to sew them on, which I don't mind!  If the photos of my daughter in her costumes come out well (I have some beautiful ones of her in her Tudor costume), I get them enlarged and framed, and give them as gifts to her Grandparents, Aunties and Uncles, and other relatives, which they all love!
   
  All the best!
  Jayne

		
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What are you wanting to buy from Coon River, and what is the level of authenticity you want?  If Coon River doesn't come across for you I might be able to make some other suggestions of people who would love to deal with you.
   
  Mia in Charlotte, NC

		
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I'll ask....

Lavolta Press wrote:

> Is there an illustrated print catalog for the lingerie exhibit?


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I passed on this one, cause the back was not even faintly like any 18th Cent garments I have come into contact with.  It did not even meet the  "Oh it's only $1.99/.99 and I can do something with it." criteria.  But my direction is more authentic than costume.  I did get the accomanying stays pattern because is WAS correct in shape.  
   
  If you are looking for a good pattern and more in the authentic line, you would do better with one of the smaller companies.  You would even do better enlarging from a book (yes Bjarne, cutting and draping is easy too, but you have skills way beyond my humble talents.  All I can make without a pattern is a petticoat!!)
   
  Seems to me I remember hearing rumors that one of the OTHER pattern companies, Simplicity in the Martha McCain/Fashion Historian line was thinking about doing something 18 cent. in the near future.  That might solve your availability problems since doesn't Simplicity sell in Australia??.
   
  18c Cent Mia in Charlotte, who was 1890s Mia last weekend.

		
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Thanks!

Fran

WickedFrau wrote:

> I'll ask....
>
> Lavolta Press wrote:
>
>> Is there an illustrated print catalog for the lingerie exhibit?
>
>
>
> _______________________________________________
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Subject: Re: [h-cost] Re: BUtterick 18th C
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In a message dated 11/16/2005 3:19:36 P.M. Eastern Standard Time,  
snappylunch_2001@yahoo.com writes:

Seems to  me I remember hearing rumors that one of the OTHER pattern 
companies,  Simplicity in the Martha McCain/Fashion Historian line was thinking about  
doing something 18 cent. in the near future.  That might solve your  
availability problems since doesn't Simplicity sell in  Australia??.



That's right--she is doing research now, even as we speak.  She will  start 
from the inside out, and has been looking at all the stays she can get her  
hands on.
 
Ann Wass
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Yes, I'm looking forward to authentic 18th century patterns from
Simplicity, hopefully next year. Not only should reinactors welcome
them, but Sophia Coppola's film based on Antonia Fraser's biog of Marie
Antoinette is coming out sometime later next year, which should spark an
interest in late 18th costume.

Lovers of Japanese costume should at least have a look at the Newmarket
book, "Memoirs of a Geisha: Images of the Film" Of course, as in all
Hollywood films, the extras have more authentic costumes, makeup and
hairstyles, than the leads, but there is explanation why the lead
actresses often are costumed less accurately than extras. For this film,
it was not only because the leads have to stand out, the film and book
relates Sayuri's memoiries, especially as a child, of the glamorous
geisha Matsumomo.  The Tonner Doll Company is doing a doll, a 16" tall
Spring Dance Sayuri(a likeness of the movie character, not the actress
playing Sayuri)in a stunning costume, copying the original from the
movie. No release date yet for this doll, which is the first based on
the movie.  The full Memoirs of a Geisha doll line by Tonner will
premier in Jan 2006, along with the full Harry Potter doll line,
including Ron and Hermione and extra costumes and accessories.  The 17"
tall Harry Potter doll in Hogwarts uniform is supposed to ship next
month; FAO Schwarzt will have an exclusive version of this HP doll with
Hedwig the owl retailing for $150. 

Cindy Abel


 

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Subject: [h-cost] FYI- Vocabulary of Basic Terms for Cataloguing Costume 
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I wondered if others might find this interesting:

http://www.mda.org.uk/costume/vbt00e.htm

Vocabulary of Basic Terms for Cataloguing Costume, ICOM International 
Committee for the Museums and Collections of Costume

It's broken down by men's and women's clothing, etc. and includes basic 
line drawings. A bit basic,  but if your mind goes blank trying to think of 
a clothing term, it could be useful sometime.

Sheridan Alder

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Marie Stewart wrote:
> This is the painting which inspired me.  Holbein before England ... I
> misremembered the date.
> 
> Portrait of Young Woman
> Artist: Hans Holbein
> 1517

That's a nice one!  I don't believe I've seen that before.

Thanks for sharing!
Melanie

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From: Marie Stewart <maricelt@gmail.com>
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It's quickly become a favorite of mine.  :>
I have the coat... over gown... whatever - someone have a correct name for it?
Next on the list... after the Lace Commission... is to make myself that Hemd.
Hemd=Chemise  -  if I have that right.   I just love that white worked collar.
Then it's the apron.  <vbeg>
This one portrait just has so many interesting bits and items.

Mari / Bridgette...  like I don't already have enough to do.

On 11/16/05, Melanie Schuessler <melanie@faucet.net> wrote:
> Marie Stewart wrote:
> > This is the painting which inspired me.  Holbein before England ... I
> > misremembered the date.
> >
> > Portrait of Young Woman
> > Artist: Hans Holbein
> > 1517
>
> That's a nice one!  I don't believe I've seen that before.
>
> Thanks for sharing!
> Melanie

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> It's quickly become a favorite of mine.  :>
> I have the coat... over gown... whatever - someone have a correct name for
it?
> Next on the list... after the Lace Commission... is to make myself that
Hemd.
> Hemd=Chemise  -  if I have that right.   I just love that white worked
collar.
> Then it's the apron.  <vbeg>
> This one portrait just has so many interesting bits and items.

I always felt so:)

What I also found interesting was the lacing going through the dress rather
than lacing rings.

I've thought about it on and off and just what it is made of etc. I do
suspect that is a long partlet she is wearing. Or two hemden maybe for more
warmth? I have some examples of partlets being worn over dresses. There is
possibly another warm layer between the two? It kind of defeats the purpose
of a very warm dress to wear a thin layer of linen just where one wants a
lot of warmth;)

I know when I wear my linen kirtle under my wool burgundian:
http://costumes.glittersweet.com/sca/burgundian.htm
I get chilly even with three layers of linen there;)

Michaela
http://glittersweet.com



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To: Historical Costume <h-costume@indra.com>
From: Kimiko Small <kimiko@kimiko1.com>
Subject: Re: [h-cost] Re: British Order of the Garter with pix
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At 08:22 AM 11/11/2005, you wrote:
>I also have a metalsmith interested in reproducing the
>buckle and roses for me in brass. If we can pull up
>enough dimensional detail for it so that the repro is
>faithful to the original, he may just put it into
>production in his collection. That would be cool.
>
>Kathy


Oooh, if so, please let us know who that metalsmith is. My husband needs a 
garter of that order for his Elizabethan character (George Clifford, Earl 
of Cumberland).

And thanks for sharing.

Kimiko


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To: Historical Costume <h-costume@indra.com>
From: Kimiko Small <kimiko@kimiko1.com>
Subject: Re: [h-cost] herringbone weave in the 16th century? (is it
  period)
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At 03:55 AM 11/12/2005, you wrote:
>So can anybody answer my basic question, is there any evidence for the use 
>of a herringbone weave in the 16th century, with a simple yes (there are 
>extant pieces of herringbone weave fabric from the 16th century) or no 
>(there is no evidence for herringbone weave for X many years either side 
>of the 16th century)
>thanks
>Elizabeth


Hi Elizabeth,

Did you ever get an answer on this question? I was curious as well.

Kimiko


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Subject: Re: [h-cost] herringbone weave in the 16th century? (is it  period)
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I didn't see anything about it come across the list.  I know that twills
were distinctly used (I've seen them in person), but not the herringbone,
and haven't had the time to go through my books that have extant bits in
them to double check.
--Sue

----- Original Message -----
From: "Kimiko Small" <kimiko@kimiko1.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, November 16, 2005 9:17 PM
Subject: Re: [h-cost] herringbone weave in the 16th century? (is it period)


> At 03:55 AM 11/12/2005, you wrote:
> >So can anybody answer my basic question, is there any evidence for the
use
> >of a herringbone weave in the 16th century, with a simple yes (there are
> >extant pieces of herringbone weave fabric from the 16th century) or no
> >(there is no evidence for herringbone weave for X many years either side
> >of the 16th century)
> >thanks
> >Elizabeth
>
>
> Hi Elizabeth,
>
> Did you ever get an answer on this question? I was curious as well.
>
> Kimiko
>
>
> _______________________________________________
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From h-costume-bounces@indra.com  Thu Nov 17 04:56:58 2005
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Subject: Re: [h-cost] has anyone used Butterick 4485 (18th century court gown)?
Date: Thu, 17 Nov 2005 10:55:43 +0100
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Hi Elizabeth,
I know it is hard for you when you cant drape on a dress stand.
But why dont you do like this:
It requires that you have the patterns books off cause, a computer and a 
drawingprogram like for instance Corel Draw.
You can scan in the pattern you want, open it in your drawing program. 
Meassure a point of yourself where you want the pattern to be the same 
meassure. Take for instance your bodice side meassure. Find the bodice side 
meassure in the book.
You then have that your own bodice side is, say (30cm.) The meassure of the 
pattern side bodice is ( 2,8cm)
Now you devide 30 with 2,8 cm wich is 10,714 This means that you have to 
enlarge your pattern 1071,4 %
In the drawing programme there is a tab where you can resamble your pattern. 
Place in 1071,4 % and it will enlarge your pattern in the meassures you 
want.
My drawing program also can print out the whole pattern in A4 papers. It can 
tile the big picture and print out all the pattern parts.
This gives you an excakt print of the book pattern. I often use this method 
when i make new corsets.
You have to work on this original pattern to fit your own body off cause, 
but that you also have to do with finished cut out patterns.
I know that the skirts are huge to print out, but you could use it to get 
the right bodice construktion.

Bjarne


----- Original Message ----- 
From: "Elizabeth Walpole" <ewalpole@tpg.com.au>
To: "Historic Costume" <h-costume@indra.com>
Sent: Wednesday, November 16, 2005 1:32 PM
Subject: [h-cost] has anyone used Butterick 4485 (18th century court gown)?


> hello to the list, I know we discussed this pattern when it first came 
> out, but I was wondering if anybody has actually looked at it and worked 
> out if it's designed to be worn over the corset (the pictures on the 
> website aren't clear)? If the bodice is cut to be worn over a cone shaped 
> foundation it could be really useful as a base for several time periods. 
> Whilst the skirt may not be to everyone's taste a bodice that's already 
> got the period silhouette right without needing to get rid of the curved 
> princess seams could be a valuable pattern to have, and certainly a much 
> better starting point for beginners than the ones designed to be worn over 
> a bra. Obviously the back seams are in the wrong place for all the periods 
> I can think of but it's still a better starting point than any of the 
> other big 3 patterns.
> I ask because I was thinking of teaching a class on removing princess 
> seams so people can create an Elizabethan bodice from a commercial 
> pattern, but if this one is already in the right shape I'd probably 
> recommend it as a bodice pattern.
> Elizabeth
> --------------------------------------------
> Elizabeth Walpole
> Canberra Australia
> ewalpole[at]tpg.com.au
> http://au.geocities.com/e_walpole/
>
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> 


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----- Original Message ----- 
From: "Mia Dappert" <snappylunch_2001@yahoo.com>
To: <h-costume@indra.com>
Sent: Thursday, November 17, 2005 7:18 AM
Subject: [h-cost] Re: BUtterick 18th C


>I passed on this one, cause the back was not even faintly like any 18th 
>Cent garments I have come into contact with.  It did not even meet the  "Oh 
>it's only $1.99/.99 and I can do something with it." criteria.  But my 
>direction is more authentic than costume.  I did get the accomanying stays 
>pattern because is WAS correct in shape.
>
>  If you are looking for a good pattern and more in the authentic line, you 
> would do better with one of the smaller companies.  You would even do 
> better enlarging from a book (yes Bjarne, cutting and draping is easy too, 
> but you have skills way beyond my humble talents.  All I can make without 
> a pattern is a petticoat!!)

I have actualy sized up a pattern from Patterns of Fashion 1, the Polonaise 
with the back cut en fourreau (I've probably misspelt that but I don't have 
the book with me to check) for myself (though I did make the mistake of 
making the shoulders wider when I enlarged it to my measurements) but it 
took me a few years to work up the courage to do that.
I was actually planning on using a commercial pattern for a class aimed at 
new costumers, I'm considering offering some members of my local SCA group a 
tutorial on my method of taking a readily available commercial pattern with 
Princess seams and turning it into a cone shaped 16th century bodice without 
princess seams (I've tried to explain my method here 
http://au.geocities.com/e_walpole/SiL/Fixing_SiL.html#Bodice but there's 
nothing like a hands on demonstration). And as Butterick patterns are on 
sale at the moment I thought this might be a good option.

>  Seems to me I remember hearing rumors that one of the OTHER pattern 
> companies, Simplicity in the Martha McCain/Fashion Historian line was 
> thinking about doing something 18 cent. in the near future.  That might 
> solve your availability problems since doesn't Simplicity sell in 
> Australia??.
>
>  18c Cent Mia in Charlotte, who was 1890s Mia last weekend.
>
I could wait until Martha McCain does her 18th century patterns but I hoped 
to do this for any new members we get from the recruitment drive at the 
beginning of next semester (around the end of Febuary as we're about to go 
on Summer hollidays here). I thought that if this Butterick pattern already 
has a cone shaped bodice it's easier to  alter that than one designed to be 
worn over a bra (no eliminating a curve, just eliminating one straight seam)
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  Thu Nov 17 05:05:32 2005
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: "Historical Costume" <h-costume@indra.com>
References: <20051116201824.92812.qmail@web30107.mail.mud.yahoo.com>
Subject: Re: [h-cost] Re: BUtterick 18th C
Date: Thu, 17 Nov 2005 11:04:57 +0100
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Hello Mia and others

Now when i am working on an 18th century sack dress i would not mind to draw 
some patterns of this dress. I also have the corset pattern and the pannier.
But i made this dress for a tall lady who also has a tall body, but if 
someone was interrested, i would not mind to draw a paper pattern to you of 
this.
But as i think perhaps more than one would like this, i would like to have a 
favour in return.
I should like if you baught some Eterna Stranded silk floss for me in stead 
and have the company send for me.
I dont know how much such a pattern would be worth, but it would take about 
an hour or so to make each paper pattern.
Let me know if someone was interrested, and please email me 
privately...........

Bjarne


----- Original Message ----- 
From: "Mia Dappert" <snappylunch_2001@yahoo.com>
To: <h-costume@indra.com>
Sent: Wednesday, November 16, 2005 9:18 PM
Subject: [h-cost] Re: BUtterick 18th C


>I passed on this one, cause the back was not even faintly like any 18th 
>Cent garments I have come into contact with.  It did not even meet the  "Oh 
>it's only $1.99/.99 and I can do something with it." criteria.  But my 
>direction is more authentic than costume.  I did get the accomanying stays 
>pattern because is WAS correct in shape.
>
>  If you are looking for a good pattern and more in the authentic line, you 
> would do better with one of the smaller companies.  You would even do 
> better enlarging from a book (yes Bjarne, cutting and draping is easy too, 
> but you have skills way beyond my humble talents.  All I can make without 
> a pattern is a petticoat!!)
>
>  Seems to me I remember hearing rumors that one of the OTHER pattern 
> companies, Simplicity in the Martha McCain/Fashion Historian line was 
> thinking about doing something 18 cent. in the near future.  That might 
> solve your availability problems since doesn't Simplicity sell in 
> Australia??.
>
>  18c Cent Mia in Charlotte, who was 1890s Mia last weekend.
>
>
> ---------------------------------
> Yahoo! FareChase - Search multiple travel sites in one click.
> _______________________________________________
> 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 Nov 17 06:37:33 2005
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Date: Thu, 17 Nov 2005 12:36:39 +0100
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Subject: [h-cost] chemise
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Hi,
Yesterday i worked on the chemise. Took me all day to gather lace to the 
neckline. I used gathered whipstitches to attach the lace to the chemise.
Picture of the neckline with the stays are in the top where the pictures of 
the stays starts.
I also have added a picture of how the sleave flounces ended up. I scalloped 
them, they are doubble. And i sewed on a nice ribbon to hide the zig-zag 
line of the machine stitches. The sleave laces are going to be attched to 
the sleaves of the chemise today..........
http://www.my-drewscostumes.dk/chenillestumpwork.htm
I have made flounces of cotton tulle in the same mesh as my lace is.

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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Subject: Re: [h-cost] has anyone used Butterick 4485 (18th century court gown)?
Date: Thu, 17 Nov 2005 22:43:18 +1100
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----- Original Message ----- 
From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, November 17, 2005 8:55 PM
Subject: Re: [h-cost] has anyone used Butterick 4485 (18th century court 
gown)?


> Hi Elizabeth,
> I know it is hard for you when you cant drape on a dress stand.
> But why dont you do like this:
<snip>

Bjarne,
Thanks for the advice, but I was not planning to use this pattern for 
myself. It's for a class I was planning to teach for new costumers. I'm in 
the SCA (a medieval and renaissance group) I was going to try to teach some 
newcomers that there is a middle ground between drafting your own patterns 
(or buying expensive patterns from a small pattern company) and using a 
major commercial pattern as it is (which produces the wrong shape). I 
thought some of them might appreciate something other than the basic tunic 
that SCA people usually teach newcomers to make (e.g. 
http://www.sca.org.au/politarchopolis/library/tunic.php or the more period 
way http://www.reconstructinghistory.com/beginners/FirstGarb.html which is 
becoming more popular all the time)
My original plan was to base this class on how to turn Simplicity's version 
of the costumes from the Movie "Shakespeare in Love" (I've even written a 
webpage on it http://au.geocities.com/e_walpole/SiL/Fixing_SiL.html) into a 
more accurate 16th century gown. Then it occoured to me that if I used a 
pattern with the right basic shape I wouldn't have to modify the bodice as 
much (though it would obviously still need some changes), given that 
Butterick has also released an 18th cenutry stays pattern I thought that 
this bodice might be designed to be worn over those stays instead of modern 
underwear like all the other major commercial patterns.
I will hang onto your advice, for enlarging using drawing software, but I 
don't have a scanner so for now I'm going to have to do it by hand (I've 
done it successfully for one polonaise gown from Patterns of Fashion1 and 
one 1850s corset from Corsets and Crinolines).
Elizabeth
--------------------------------------------
Elizabeth Walpole
Canberra Australia
ewalpole[at]tpg.com.au
http://au.geocities.com/e_walpole/

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Date: Thu, 17 Nov 2005 07:18:43 -0500 (EST)
From: Edith Reardon <edithreardon@yahoo.ca>
Subject: Re: [h-cost] Slightly OT: Rope Makers?
To: Historical Costume <h-costume@indra.com>
In-Reply-To: <BFA0BA4E.DDD6%lauren.walker@comcast.net>
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I believe the cheaper of the two was used to make favors for our shire.  One of the members made several more for the ladies to use at 1/2 the cost.  Mostly what they were used for was making cording for jewelery.
   
   
  Brin Kendall

  
Lauren Walker <lauren.walker@comcast.net> wrote:
  Hi, 
Has anybody used either the "Schacht Incredible Rope Machine" or the
"Leonardo Rope Maker", which costs about half what the Schacht does, and is
supposedly based on a design by Leonardo DaVinci?

I am thinking of getting one for some passementerie I want to make to
decorate my living room -- curtain tie-backs, for instance -- but I can tell
that once I have it, twisted-cord trim will be showing up in my costuming,
too. Has anybody played with these toys?

The pictures are so small on most Web sites that it is hard to tell whether
they are easy to use or anything else about them, so any first-hand info
would be appreciated.

Thanks!
Lauren
-- 
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


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From: Mia Dappert <snappylunch_2001@yahoo.com>
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Subject: [h-cost] Re: BUtterick stays
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I just looked at my cut out pattern for the butterick stays, the very next project (well maybe, or maybe a new 18c fancy pants waistcoat for my husbands birthday, and finish my...)
   
  The shape of these stays is not the classic ice cream cone shape of the middle 18c years (ala J.P. Ryan's patterns)  It is more of the ...latter years shape kind of like that champagne saucer glass, smaller waist, bigger bosom, but more flaired.  Pardon my description, I know it's not very good. 
   
  And what's on my dress form?  My dress form is a hanger on the wall too, and it's holding the under lining for a 1760-70s shot silk taffeta Brunswick gown, sort of like the one shown in one of the Dress in 18th Cent.Books by Ribiero?/Buck? (I don't have the citation)  It's the one of Lady Mary Fox, later Baroness Holland (ca. 1767), with darling red and white stripped ribbons on her elbows, a really fetching cap with lace and  more of the little red and white stripped ribbbons, and she's carrying a little dog.  I have the lining done, I have it silk cut out.  Now to find the time.  I have too much invested in the material for it to become a passed over project.
   
  18c Mia in CHarlotte, NC

		
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Subject: Re: [h-cost] Re: BUtterick 18th C
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In a message dated 11/17/2005 4:58:34 A.M. Eastern Standard Time,  
ewalpole@tpg.com.au writes:

I was  actually planning on using a commercial pattern for a class aimed at 
new  costumers, I'm considering offering some members of my local SCA group a 
 
tutorial on my method of taking a readily available commercial pattern  with 
Princess seams and turning it into a cone shaped 16th century bodice  without 
princess seams (I've tried to explain my method here  
http://au.geocities.com/e_walpole/SiL/Fixing_SiL.html#Bodice but there's  
nothing like a hands on demonstration). And as Butterick patterns are on  
sale at the moment I thought this might be a good  option.



****************************
 
I use commercial "fitting shells" all the time to get shoulder slopes and  
neck curves and stuff like that. There's no need to start with a "costume"  
pattern. Start with what we use to draft up in school from measurements... a  
"sloper". But why draft it up when all the major pattern companies have done it  
for you...or the "fitting shell". [they usually have 1960s darting to fit the  
front...y'know, a dart under the bust and one on the side.]
 
As far  princess line patterns... an 18th century open robe with a  stomacher 
shouldn't be too hard to tweak from one. But forget the costume  pattern and 
start with the simplest princess line dress you can.
 
And remember,  tell them a pattern is just the starting point [but  it's 
important to get the shapes right]. A garment still has to be fitted so if  things 
are just spot on in the pattern, don't panic! {and of course an 18th  century 
bodice isn't ever gonna fit right w/out the corset under it.]
 
Boy is that Butterick pattern a laugh riot! Yuk!
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In a message dated 11/17/2005 10:25:53 A.M. Eastern Standard Time,  
AlbertCat@aol.com writes:

And  remember,  tell them a pattern is just the starting point [but  it's  
important to get the shapes right]. A garment still has to be fitted so  if  
things 
are just spot on in the pattern, don't panic! 


*****************
 
That should read:
 
A garment still has to be fitted so if  things 
are  NOT just spot on in the pattern, don't panic! 
 
 
Nothing like saying the exact opposite of what you mean!  :-P
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Hi
I remember i had this book of Anne Buck. Is this the book thar has a large 
colour photo of a yellow francaise dress with lots of  gathered decorations 
on it? I think it has silver edged to the fabric trim.
I really mis that book, and wondered is it still available today. Once many 
years ago when i couldnt find a job with my costuming, i got so mad that i 
sold all my costume books. I have collected back most of them, but this is 
one of those i never got again. What a mad thing to do, but i did!

Bjarne




Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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Elizabeth Walpole wrote:
> 

> I was actually planning on using a commercial pattern for a class aimed 
> at new costumers, I'm considering offering some members of my local SCA 
> group a tutorial on my method of taking a readily available commercial 
> pattern with Princess seams and turning it into a cone shaped 16th 
> century bodice without princess seams 

I would suggest Butterick 3071 or 6196 then. I've adapted both of those. 
Or 4154, which has a sleeve.



Dawn

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Amazon has it, but the price varies. It is shown 2 places. One of the prices 
are nearly 78 pounds, wich i find expensive, another price is 32 pounds. Is 
this because they are used books?

Bjarne 


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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Re: BUtterick stays
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I made the stay's and find them comfortable.
I changed the angle of the front straps and the placing of the boning.
The boning is plastic.
You can see pictures of it here,
http://mystictimes.nl/Verkoop/Verkoop.html


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Bjarne,
  Did you see that contest that they're running?  The money prizez are not that spectacular, but They are giving winners large collections of their silk thread.  And ANY of your things are as good, if not better that the things that won prizes.  Your work snow off thier product very nicely
   
  Mia in Charlotte, NC



		
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From: Chris <emeraldepona@yahoo.com>
Subject: Re: [h-cost] Anne Buck
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Probably...
   
  Meant to send this out a couple of days ago as a reference for us new folk :)  
  http://tinyurl.com/7l65z
   
  It's a list of books that I felt most people would like to have as a reference guide.
   
  Good luck Bjarne and I hope you come accross a copy of Ann's book soon.
   
  Chris G.
  

Bjarne og Leif Drews <drewscph@post12.tele.dk> wrote:
  Amazon has it, but the price varies. It is shown 2 places. One of the prices 
are nearly 78 pounds, wich i find expensive, another price is 32 pounds. Is 
this because they are used books?

Bjarne 



		
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Bjarne og Leif Drews wrote:

> Amazon has it, but the price varies. It is shown 2 places. One of the 
> prices are nearly 78 pounds, wich i find expensive, another price is 32 
> pounds. Is this because they are used books?

You're talking about "Dress in Eighteenth Century England" ?  Amazon.com 
(US site) has it for $39, which should be a lot less than 32 Euro.

It looks very much out of print, so yes, those would be used copies, 
although it looks like some are more used than others.



Dawn


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At 08:02 AM 11/17/2005, you wrote:
>Amazon has it, but the price varies. It is shown 2 places. One of 
>the prices are nearly 78 pounds, wich i find expensive, another 
>price is 32 pounds. Is this because they are used books?
>
>Bjarne

Are you are looking for "Dress in Eighteenth Century England"?  The 
most expensive copy listed on Amazon (USA) is $50 USD; the least 
expensive is $39.52. I don't know what the shipping cost would be, 
but it should not be too high.
http://www.amazon.com/gp/product/offer-listing/0841905177/ref=dp_olp_2//103-8085395-7349433?condition=all


Joan Jurancich
joanmj@surewest.net 

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From: "McClure, Kate" <kate.mcclure@dexmedia.com>
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Subject: [h-cost] Eterna Silk (was Re: BUtterick 18th C)
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Bjarne wrote:

I should like if you baught some Eterna Stranded silk floss for me in
stead 
and have the company send for me.
**********************************************

And I, being curious, checked out their website:
http://www.eternasilk.com/

WOW! 

Be sure to check out the designer showcase, it's way cool!

Kate McClure
Who really doesn't need more floss, but that's never stopped me before .
. . ;)

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Subject: [h-cost] Vocabulary of Basic Terms for Cataloguing Costume
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this was an interesting site but very Anglo-centric.  Some American museum
curator needs to chime in with the American terms for many of those items.
For instance: the British term "braces" for men's suspenders was there and
the British term "Suspender belt" was there for a woman's garter belt.
Both  things that most Americans would need a translator for (and who knows
what English as a Second Language speakers would need).

Anyone with good language skills and time on their hands could probably give
them some input for American costume vocabulary.




    6. FYI- Vocabulary of Basic Terms for Cataloguing Costume
>       (david webb)
--------------------------
>
> Message: 6
> Date: Wed, 16 Nov 2005 18:55:47 -0500
> From: david webb <alderweb@vaxxine.com>
> Subject: [h-cost] FYI- Vocabulary of Basic Terms for Cataloguing
> Costume
> To: h-costume@indra.com
> Message-ID: <4.3.0.20051116184713.00c86f00@pop.vaxxine.com>
> Content-Type: text/plain; charset="us-ascii"; format=flowed
>
> I wondered if others might find this interesting:
>
> http://www.mda.org.uk/costume/vbt00e.htm
>
> Vocabulary of Basic Terms for Cataloguing Costume, ICOM International
> Committee for the Museums and Collections of Costume
>
> It's broken down by men's and women's clothing, etc. and includes basic
> line drawings. A bit basic,  but if your mind goes blank trying to think
of
> a clothing term, it could be useful sometime.
>
> Sheridan Alder
>
>

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Subject: Re: [h-cost] chemise
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As always, just incredible!

Susan

----- Original Message ----- 
From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: <h-costume@indra.com>
Sent: Thursday, November 17, 2005 5:36 AM
Subject: [h-cost] chemise


> Hi,
> Yesterday i worked on the chemise. Took me all day to gather lace to the 
> neckline. I used gathered whipstitches to attach the lace to the chemise.
> Picture of the neckline with the stays are in the top where the pictures 
> of the stays starts.
> I also have added a picture of how the sleave flounces ended up. I 
> scalloped them, they are doubble. And i sewed on a nice ribbon to hide the 
> zig-zag line of the machine stitches. The sleave laces are going to be 
> attched to the sleaves of the chemise today..........
> http://www.my-drewscostumes.dk/chenillestumpwork.htm
> I have made flounces of cotton tulle in the same mesh as my lace is.
>
> Bjarne
>
>
>
>
>
> Leif og Bjarne Drews
> www.my-drewscostumes.dk
>
> http://home0.inet.tele.dk/drewscph/
>
> _______________________________________________
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> http://mail.indra.com/mailman/listinfo/h-costume 

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There ya have it:  It is real.  I will contact the Manchester museum to 
see if I can find out anything more.

Sg

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Duh....I guess I should remember the email list doesn't accept 
attachments. 
It looks like I will have to write the Manchester museum via snail 
mail....they don't accept email inquiries. 

Sg


WickedFrau wrote:

> There ya have it:  It is real.  I will contact the Manchester museum 
> to see if I can find out anything more.
>
> Sg
>
>------------------------------------------------------------------------
>

>Laraine Ansley wrote:
>
>  
>
Hi there,
The museum is:
The Gallery of English Costume, Platt Fields, Manchester.  
It is open to the public but you may have to ring first as Manchester 
have reduced some opening times and you need to check.   Information 
about the gallery should be accessible via the Manchester Art Galleries 
website.   If you have problems getting in touch, come back to me and 
I'll find you other info.   We saw some photos of the bodice at our 
meeting in Settle but we do not have the copyright on the pictures so 
have nothing on our website yet.  It is a very attractive piece and 
quite unique.    We ought to be able to do something about pictures once 
the conservation has been done, I think.

*/"Saragrace T. Knauf" <saragracetk@msn.com>/* wrote:

    Hello, I was reading on your website about this bodice:
    http://www.nsct.fsnet.co.uk/20050924.html

    Can you tell me what museum in Manchester has this bodice? There are a
    number of folks on a historic costume email list who have just heard
    about it and would love to see some photos. Any information on where it
    will be exhibited would also be appreciated.


    Thanks,

    Saragrace Knauf




Best wishes,
 
Rae
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Subject: Re: [h-cost] Anne Buck 
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One of the ones on my wish list - and that I use at the local library till I 
get it!

Amazon UK has two - priced at 32 (gbp*) and 70+ (gbp*)

Paul Meekins the bookseller has a copy listed at 55 (gbp)

Is very out of print, being from around 25 years ago.

Price probably depends on condition, and whether the seller knows what it's 
worth or not.

Ebay's worth keeping an eye on, too, alhtough it doesn't have a copy right 
now.

Debs

PS sorry about the 'gbp' thing - US configured keyboard won't do pound sign >
:(

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From: Catherine Olanich Raymond <cathy@thyrsus.com>
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Subject: Re: [h-cost] Re: BUtterick stays
Date: Thu, 17 Nov 2005 20:49:26 -0500
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On Thursday 17 November 2005 9:29 am, Mia Dappert wrote:
[snip]
>   And what's on my dress form?  My dress form is a hanger on the wall too,
> and it's holding the under lining for a 1760-70s shot silk taffeta
> Brunswick gown, sort of like the one shown in one of the Dress in 18th
> Cent.Books by Ribiero?/Buck? (I don't have the citation)  It's the one of
> Lady Mary Fox, later Baroness Holland (ca. 1767), with darling red and
> white stripped ribbons on her elbows, a really fetching cap with lace and 
> more of the little red and white stripped ribbbons, and she's carrying a
> little dog.  I have the lining done, I have it silk cut out.  Now to find
> the time.  I have too much invested in the material for it to become a
> passed over project.

Sounds charming! I hope to see a picture of it sometime.


-- 
Cathy Raymond <cathy@thyrsus.com>

"Physics is like sex; sure, it may give some practical 
results, but that's not why we do it."--Richard Feynman
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Subject: Re: [h-cost] Eterna Silk (was Re: BUtterick 18th C)
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At 08:35 AM 11/17/2005, you wrote:
>And I, being curious, checked out their website:
>http://www.eternasilk.com/
>
>WOW!


Of course, the closest dealer is 2+ hours from me. Why this city isn't 
considered big enough for nice companies, I don't know. We are just getting 
a Pottery Barn, for goodness sake.

Kimiko
Feeling grumpy about having to always buy things online if I want nice 
stuff to play with.


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Kimiko,

I am working with Raymond's Quiet Press on this one.
When I get the condition report and obverse photo from
Anglesey House, he'll be better able to decide if he
wishes to pursue making it. 
I on the other hand am working on getting the book
this item is featured in, hopefully it has some
dimensional information in it. Hopefully they have
already sent me the file photo they promised. Once I
have enough source material I can draw out a full
scale cartoon of the embroidery. I can forward that
over to you once I have finished with it, along with
yardage requirements. 

Busy, busy busy... :-)

Kathy  

> Oooh, if so, please let us know who that metalsmith
> is. My husband needs a 
> garter of that order for his Elizabethan character
> (George Clifford, Earl 
> of Cumberland).
> 
> And thanks for sharing.

It’s never too late to be who you might have been.
-George Eliot
For every beauty there is an eye somewhere to see it. For every truth there is an ear somewhere to hear it. For every love there is a heart somewhere to receive it.
-Ivan Panin


	

	
		
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I love it, I love it all. You are so very talented, and very inspirational. 
I love the red corset with the ribbons over the seams. It just makes it so 
much more elegant and yummy. Someday I hope to achieve what you do... when 
I have time away from little babies.

Thanks for sharing your work again.

Kimiko


At 03:36 AM 11/17/2005, you wrote:
>Hi,
>Yesterday i worked on the chemise. Took me all day to gather lace to the 
>neckline. I used gathered whipstitches to attach the lace to the chemise.
>Picture of the neckline with the stays are in the top where the pictures 
>of the stays starts.
>I also have added a picture of how the sleave flounces ended up. I 
>scalloped them, they are doubble. And i sewed on a nice ribbon to hide the 
>zig-zag line of the machine stitches. The sleave laces are going to be 
>attched to the sleaves of the chemise today..........
>http://www.my-drewscostumes.dk/chenillestumpwork.htm
>I have made flounces of cotton tulle in the same mesh as my lace is.
>
>Bjarne

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From: Kathy Page <caitlin_oduibhir@yahoo.ca>
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Subject: [h-cost] Order of the Garter.... Garter
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This book is the one it was featured in:

V&A Museum's catalogue ' Gothic - Art for England 
1400-1547' 
Cat 81.
ISBN 1851774017.

If anyone has it on hand... can you check and see if
it's of any use to me? otherwise I'll just wait till
the book comes in on ILL. :-)

Kathy

It’s never too late to be who you might have been.
-George Eliot
For every beauty there is an eye somewhere to see it. For every truth there is an ear somewhere to hear it. For every love there is a heart somewhere to receive it.
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From: "Sue Clemenger" <mooncat@in-tch.com>
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Subject: Re: [h-cost] Eterna Silk (was Re: BUtterick 18th C)
Date: Fri, 18 Nov 2005 07:04:02 -0700
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Not getting any sympathy from me! ;o) I live in an entire state that's not
big enough (population wise) for most nice companies, or restaurants.  I
don't know that we've got a Pottery Barn anywhere in Montana....
--Sue

----- Original Message -----
From: "Kimiko Small" <kimiko@kimiko1.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, November 17, 2005 8:53 PM
Subject: Re: [h-cost] Eterna Silk (was Re: BUtterick 18th C)


> At 08:35 AM 11/17/2005, you wrote:
> >And I, being curious, checked out their website:
> >http://www.eternasilk.com/
> >
> >WOW!
>
>
> Of course, the closest dealer is 2+ hours from me. Why this city isn't
> considered big enough for nice companies, I don't know. We are just
getting
> a Pottery Barn, for goodness sake.
>
> Kimiko
> Feeling grumpy about having to always buy things online if I want nice
> stuff to play with.
>
>
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From: "jmhr3@yahoo.com" <jmhr3@yahoo.com>
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Subject: [h-cost] costume dvds for sale
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Hi, I'm clearing out again and have 4 more dvds for
sale, $35 plus your choice of postage:

Lady Chatterley - BBC, 2 discs, all 4 episodes, Sean
Bean, Joely Richardson

Barchester Chronicles - BBC, 2 discs, all 7 episodes,
Alan Rickman is THE Obadiah Slope

Swept from the Sea - Joseph Conrad's story "Amy
Foster," Vincent Perez

Joseph Andrews - Peter Firth, Ann-Margret

If you have questions or want to buy, please email me
off list at jmr779@alltel.net

Melissa Roberts


	
		
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In a message dated 11/18/2005 11:54:40 A.M. Eastern Standard Time,  
jmhr3@yahoo.com writes:

Joseph  Andrews - Peter Firth, Ann-Margret



******************
official name-drop!
 
Hey, I made costumes for Ann-Margret...for the miniseries  "Queen".
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Subject: Re: [h-cost] [Fwd: Re: Website question about 17th century bodice
	find]
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Hi Saragrace

Perhaps i missed the thread. Did you find out that that beaded 17th century 
bodice was in the collektion of Manchester Museum?

Bjarne
----- Original Message ----- 
From: "WickedFrau" <wickedfrau@msn.com>
To: <h-costume@indra.com>
Sent: Friday, November 18, 2005 12:57 AM
Subject: [h-cost] [Fwd: Re: Website question about 17th century bodice find]


> There ya have it:  It is real.  I will contact the Manchester museum to
> see if I can find out anything more.
>
> Sg
>


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


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From: Bonnie Booker <aspasia1@gmail.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] crochet
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On 11/1/05, Lloyd Mitchell <rmitchell@washjeff.edu> wrote:
>
> Can someone point me in the way of needlework history of the development
> of crochet? Warren and Pullan indicate that it was used in ancient times =
by
> shepherds as a means of converting sheared wool into garments. Other
> references I have turned up give notice to tambour work, guipuire Maltese
> laces and such. Is there any direct documented use of this form of lace
> making in the 18th C? In any case, it seems to relate to more primitive a=
nd
> coarse lace work.
> Comments?

 I'm afraid those sources aren't the best. Where they got their information
doesn't hold up.
However, see attachments 1, AN INTRODUCTION TO LACE by Gabrielle Pond.
Scribner's, NY, 1973. p.40-41.
attachment 2, LEGACY OF LACE ny Kathleen Warnick and Shirley Nilsson. Drown=
,
NY, 1989. p.12.
and thousands of "hooks and crochets" listed in the inventory of the
belongings of Queen Mary I of England when returning to the court of her
father, King Henry VIII. CALENDAR OF STATE PAPERS AND MANUSCRIPTS, RELATING
TO ENGLISH AFFAIRS Existing in Archives and Collections of Venice, edited
bhy Rawdon Brown and Allen B. Hinds. Vol. 38. Longman & C,m Kibdibm
1864-1947. p.92

Aspasia Moonwind

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I am not sure if this will work - please bear with me - I am 
attaching a copy of the Museum of London's Press release on the New 
Medieval Gallery, to be opened at the end of this month. (My gable 
headdress will be available for trying on!!)

Suzi
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From h-costume-bounces@indra.com  Fri Nov 18 16:33:32 2005
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Subject: [h-cost] Harper House?
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Does anyone on this list live near Harper House? Can anyone see if they 
are still open? I never heard back from them after placing my last order 
- then I put in a query with Paypal which they did not respond to - so I 
got my money back today. However, I'm worried that they're not all right 
- and I'd hate them to get a bad reputation as I've purchased 
successfully from them in the past. Unfortunately both their fax and 
phone numbers are not working for me.
Regards, Aylwen Garden

http://stores.ebay.com.au/Earthly-Delights


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From h-costume-bounces@indra.com  Fri Nov 18 16:54:59 2005
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From: Chris Laning <claning@igc.org>
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Subject: Re: [h-cost] crochet
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If I may, my short FAQ file on this subject is now on the Web at:
http://claning.home.igc.org/crochet.html

Bonnie mentioned:
>...thousands of "hooks and crochets" listed in the inventory of the
>belongings of Queen Mary I of England when returning to the court of her
>father, King Henry VIII. 

Yes, but from the surviving specimens and the way they are described in the inventories, these are clearly "dress hooks" (imagine the hook part of giant hook-and-eye fasteners). They have a semi-circular open hook, less than 1 inch of shaft, and end with a flat plate pierced with holes for sewing onto the garment. They would be impossible to use as tools.

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|  <claning@igc.org>
+  Davis, California
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I ordered  from them several months ago and just recently got a small 
portion of the order.  Everything else was backordered.  I'm afraid you may 
be right, there may be a problem.  I hope not too.
Rebecca 


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From h-costume-bounces@indra.com  Fri Nov 18 17:44:37 2005
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Subject: Re: [h-cost] Re: British Order of the Garter with pix
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At 11:22 PM 11/17/2005, you wrote:
>Kimiko,
>
>I am working with Raymond's Quiet Press on this one.
>When I get the condition report and obverse photo from
>Anglesey House, he'll be better able to decide if he
>wishes to pursue making it.
>I on the other hand am working on getting the book
>this item is featured in, hopefully it has some
>dimensional information in it. Hopefully they have
>already sent me the file photo they promised. Once I
>have enough source material I can draw out a full
>scale cartoon of the embroidery. I can forward that
>over to you once I have finished with it, along with
>yardage requirements.
>
>Busy, busy busy...
>
>Kathy


Hi Kathy,

I look forward to whatever you find out. Thank you. :-)

Kimiko 

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Subject: Re: [h-cost] Eterna Silk (was Re: BUtterick 18th C)
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At 06:04 AM 11/18/2005, you wrote:
>Not getting any sympathy from me! ;o) I live in an entire state that's not
>big enough (population wise) for most nice companies, or restaurants.  I
>don't know that we've got a Pottery Barn anywhere in Montana....
>--Sue


Ok, you win. :-)

Kimiko


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Date: Fri, 18 Nov 2005 17:46:40 -0500
Subject: Re: [h-cost] Muppet Fur
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When I saw the subject line, I immediately thought of the dyed sheepskins that IKEA is currently selling.  Most of them are colors found in nature (if not on sheep), except for the red ones.  By some strange and random chance, the red ones are precisely the color of Elmo.  They also have a frigteningly similar appearance.

-Katie


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From h-costume-bounces@indra.com  Sat Nov 19 01:35:02 2005
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Subject: [h-cost] re:Website question about 17th century bodice	 find
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>
> Duh....I guess I should remember the email list doesn't accept
> attachments.
> It looks like I will have to write the Manchester museum via snail
> mail....they don't accept email inquiries.
>
> Sg

>> Laraine Ansley wrote:
>>
> Hi there,
> The museum is:
> The Gallery of English Costume, Platt Fields, Manchester.
> It is open to the public but you may have to ring first as Manchester
> have reduced some opening times and you need to check.   Information
> about the gallery should be accessible via the Manchester Art  
> Galleries
> website.   If you have problems getting in touch, come back to me and
> I'll find you other info.   We saw some photos of the bodice at our
> meeting in Settle but we do not have the copyright on the pictures so
> have nothing on our website yet.  It is a very attractive piece and
> quite unique.    We ought to be able to do something about pictures  
> once
> the conservation has been done, I think.
>
> */"Saragrace T. Knauf" <saragracetk@msn.com>/* wrote:
>
>     Hello, I was reading on your website about this bodice:
>     http://www.nsct.fsnet.co.uk/20050924.html
>
>     Can you tell me what museum in Manchester has this bodice?  
> There are a
>     number of folks on a historic costume email list who have just  
> heard
>     about it and would love to see some photos. Any information on  
> where it
>     will be exhibited would also be appreciated.
>
>     Thanks,
>
>     Saragrace Knauf
>
> Best wishes,
>
> Rae

Thanks for posting that! I'm very excited now and can't wait to hear  
what happens
with the conservation. Maybe one of you lucky people out there will  
get to hear
about what's going on (or even get to work on it!)
     -dreaming of European museums now....mmmm :D
     Debbie Callahan
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From: Joannah Hansen <Joannah@sluggy.net>
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Subject: Re: [h-cost] has anyone used Butterick 4485 (18th century court gown)?
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So *that's* how you do it, Bjarne! :-> I am now not only in awe of your embroidery and costuming skills, but your computer-pattern-tweaking, too!
Joannah.

--- "Bjarne og Leif Drews" <drewscph@post12.tele.dk> wrote:

Hi Elizabeth,
I know it is hard for you when you cant drape on a dress stand.
But why dont you do like this:
It requires that you have the patterns books off cause, a computer and a 
drawingprogram like for instance Corel Draw.
You can scan in the pattern you want, open it in your drawing program. 
Meassure a point of yourself where you want the pattern to be the same 
meassure. Take for instance your bodice side meassure. Find the bodice side 
meassure in the book.
You then have that your own bodice side is, say (30cm.) The meassure of the 
pattern side bodice is ( 2,8cm)
Now you devide 30 with 2,8 cm wich is 10,714 This means that you have to 
enlarge your pattern 1071,4 %
In the drawing programme there is a tab where you can resamble your pattern. 
Place in 1071,4 % and it will enlarge your pattern in the meassures you 
want.
My drawing program also can print out the whole pattern in A4 papers. It can 
tile the big picture and print out all the pattern parts.
This gives you an excakt print of the book pattern. I often use this method 
when i make new corsets.
You have to work on this original pattern to fit your own body off cause, 
but that you also have to do with finished cut out patterns.
I know that the skirts are huge to print out, but you could use it to get 
the right bodice construktion.

Bjarne


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Subject: Re: [h-cost] Muppet Fur
Date: Sat, 19 Nov 2005 09:03:53 -0500
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When we were in Greece in 1999, all the best fur shops were sporting these
colors,  I think it is amazing that it has taken this long for this style to
become popular in our marketplace.
Kathleen
----- Original Message ----- 
From: "Katie Lewis" <katie_lewis@lycos.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, November 18, 2005 5:46 PM
Subject: Re: [h-cost] Muppet Fur


> When I saw the subject line, I immediately thought of the dyed sheepskins
that IKEA is currently selling.  Most of them are colors found in nature (if
not on sheep), except for the red ones.  By some strange and random chance,
the red ones are precisely the color of Elmo.  They also have a frigteningly
similar appearance.
>
> -Katie
>
>
> -- 
> _______________________________________________
>
> Search for businesses by name, location, or phone number.  -Lycos Yellow
Pages
>
>
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>
>
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Subject: Re: [h-cost] about fur
Date: Sat, 19 Nov 2005 08:20:31 -0600
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> Now we are talking about fur. Yesterday they had a bargain in my Mall. I 
> could get a silverfox with head, legs and tails, you know how these looks 
> like, for a bargain. Very fine quality.
> Could i use such a fox and sew on my 18th century cloak?
> I would consider it a shame to remove the head, legs and tail, but would 
> this be period?
> My cloak has a wide falling collar made of faux fur!


see this for a way to use your whole fur...
http://tinyurl.com/cmojc

B, You'd probably have to make a new outfit to match, in a different time 
period---or at least a different economic strata, but it would certainly be 
stunning!

Did you ever get a Real answer to your question?  I don't know about period 
use of the head, legs, etc, but I think real fur would be wonderfully 
luxurious detail to your costume.

I also think you should enter that Eterna Silk contest---it would blow the 
doors off the current and past entries!

Denise in Iowa 

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Date: Sat, 19 Nov 2005 09:20:21 -0500
From: Elizabeth Western <contessaisabel@optonline.net>
Subject: Re: [h-cost] Harper House?
In-reply-to: <437E473B.6030001@earthlydelights.com.au>
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Hi Aylwen,

I too had had a little problem with them last year, got my money back with
an apology.  From what I understand from people over on the S&S message
board, the owners husband is ill and she is dealing with those issues.

Elizabeth


On 11/18/05 4:27 PM, "A & J Garden" <garden@earthlydelights.com.au> wrote:

> Does anyone on this list live near Harper House? Can anyone see if they
> are still open? I never heard back from them after placing my last order
> - then I put in a query with Paypal which they did not respond to - so I
> got my money back today. However, I'm worried that they're not all right
> - and I'd hate them to get a bad reputation as I've purchased
> successfully from them in the past. Unfortunately both their fax and
> phone numbers are not working for me.
> Regards, Aylwen Garden
> 
> http://stores.ebay.com.au/Earthly-Delights
> 
> 
> _______________________________________________
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Subject: [h-cost] Re: pottery barn (was eterna silk)
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Come on guys, Pottery Barn isn't all that it's cracked up to be, unless you
like pretty but overpriced things. Now I am lucky in that there is a Pottery
Barn factory outlet about an hour and half away. Most of the stuff is STILL
overpriced, even the damaged stuff. But if you're not picky they always have
some give-aways. I got a great kitchen clock there for $15, and a $95
kitchen garbage can (like I would pay nearly $100 for my garbage!) for $30.

I have just been to the Frontgate/Ballard Design outlet that's in a suburb
about 40 miles away. Makes the Pottery Barn outlet look cheap. Stuff that
was seriously damaged was STILL hundreds of dollars!

Obviously I am not the target market for these stores. I like nice things,
and well-designed things. But if I bought that kind of stuff, I wouldn't
have anything left over for books and fabric!

Gail Finke

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From: Bonnie Booker <aspasia1@gmail.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] crochet
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>
>
> Bonnie mentioned:
> >...thousands of "hooks and crochets" listed in the inventory of the
> >belongings of Queen Mary I of England when returning to the court of her
> >father, King Henry VIII.
>
> Yes, but from the surviving specimens and the way they are described in
> the inventories, these are clearly "dress hooks" (imagine the hook part of
> giant hook-and-eye fasteners). They have a semi-circular open hook, less
> than 1 inch of shaft, and end with a flat plate pierced with holes for
> sewing onto the garment. They would be impossible to use as tools.
>
> I differ with you, but not being able to time travel, neither of us can
> present definitive proof. There is clearly lace on the collars, cuffs, and
> headpieces of the time. Also what looks to be lace on the passements that
> time and before. It may or may not be. This does not pass away the
> "crochets" part of the listing nor why it is listed in conjunction with the
> hooks. Some people have also said it is buttoning hooks. Crochets could be
> anything from heavy yarns for bedhangings to decorative fine lace. There was
> also mentions of Elizabeth being fond of her fine chain headpieces. Again,
> may or may not be. There is no conclusive evidence either way. It seems to
> be too much circumstansal evidence to say nay.
> --
> Aspasia Moonwind
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From: "Susan B. Farmer" <sfarmer@goldsword.com>
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Subject: [h-cost] rectangular construction tunic
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Status: RO

It was on one of my garb lists that we were discussing rectanguolar
construction techniques for making a gown for a large busted woman. 
There were extra gores down the sides (at least from the bottom of the
armsye to the waist) in addition to the skirt gores to allow for the
extra flesh.  Does anybody remember that thread?  I'm not having any
luck finding it.

The gist was that if you just made the "standard" 4-panel gown with
skirt gores, the shoulder seams would be down somewhere around your
elbows because that's how wide the fabric would have to be to go around
the bust.

Thanks,
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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Susan B. Farmer wrote:

> It was on one of my garb lists that we were discussing rectanguolar
> construction techniques for making a gown for a large busted woman. 
> There were extra gores down the sides (at least from the bottom of the
> armsye to the waist) in addition to the skirt gores to allow for the
> extra flesh.  Does anybody remember that thread?

Yep.  The idea which someone had, and found gave good results, had 
trapezoid-shaped panels under the arms.  The regular start-at-the-waist 
godets were put in those in addition.

-- 
Cynthia Virtue and/or Cynthia du Pre Argent

"Everyone Who Disagrees With Me Must Die" law was approved by Congress 
today.
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From: Lavolta Press <fran@lavoltapress.com>
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Subject: [h-cost] Leather and Socks
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Thanks to everyone for the info on leather dyeing, which I have not had 
time to implement this.

BTW, I just discovered the Bureau of Missing Socks:

http://www.funbureau.com/

which "explores all aspects of the phenomena including the occult, 
conspiracy theories, and extraterrestrial" and the formation of the 
Bureau beginning in the American Civil War:

http://www.funbureau.com/history.html

Fran
Lavolta Press Books on Historic Costuming
http://www.lavoltapress.com
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From: "Sue Clemenger" <mooncat@in-tch.com>
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Subject: Re: [h-cost] rectangular construction tunic
Date: Sat, 19 Nov 2005 17:27:10 -0700
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I'm very large, even by American standards ;o), and significantly
well-endowed, as well (a problematice issue even at lower weights), and I do
just fine with a standard 4-panel gown, if you're talking basic 14th century
fitted gown.  (Robin could verify this...she's actually fitted me at a
workshop, bless her heart! ;o)  But then, for this sort of garment, you've
got the inset sleeve and all, so there really isn't any extra fabric in the
shoulder area.
Where I *have* run into exactly that, though, is with less, uhm, fitted
articles of clothing? Tee-tunics and their various versions are probably the
most obvious.  I also experience it with underclothing along the lines of
18th-century shifts, or the fairly body-skimming shifts one would wear under
a Tudor gown or 16th c. Flemish outfit.  When I make those, I take a wedge
of fabric off either shoulder--like double-pointed triangles, like this:
|\
| \
|  \
|   \
|    \
|     \
|      \
------
|      /
|     /
|    /
|   /
|  /
| /
|/

The horizontal dashed line is the shoulder line.  I just taper the rest of
the cutout down to below my bust.  When completed, you really can't see that
there's fabric missing, it's only when you lay it flat, and really look,
that it becomes apparent.

I've never done one of the Greenland-style gowns with the extra, gores of
fabric running from the armpit area to the hem, although I'm planning on
doing something *like* that to make myself a couple of  Norse aprons.
--Sue

----- Original Message -----
From: "Susan B. Farmer" <sfarmer@goldsword.com>
To: "Costume List" <h-costume@indra.com>
Sent: Saturday, November 19, 2005 10:28 AM
Subject: [h-cost] rectangular construction tunic


> It was on one of my garb lists that we were discussing rectanguolar
> construction techniques for making a gown for a large busted woman.
> There were extra gores down the sides (at least from the bottom of the
> armsye to the waist) in addition to the skirt gores to allow for the
> extra flesh.  Does anybody remember that thread?  I'm not having any
> luck finding it.
>
> The gist was that if you just made the "standard" 4-panel gown with
> skirt gores, the shoulder seams would be down somewhere around your
> elbows because that's how wide the fabric would have to be to go around
> the bust.
>
> Thanks,
> Susan


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From: Heather Rose Jones <heather.jones@earthlink.net>
Subject: Re: [h-cost] crochet
Date: Sat, 19 Nov 2005 18:26:53 -0800
To: Historical Costume <h-costume@indra.com>
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On Nov 19, 2005, at 7:05 AM, Bonnie Booker wrote:

>>
>>
>> Bonnie mentioned:
>>
>>> ...thousands of "hooks and crochets" listed in the inventory of the
>>> belongings of Queen Mary I of England when returning to the court  
>>> of her
>>> father, King Henry VIII.
>>>
>>
>> Yes, but from the surviving specimens and the way they are  
>> described in
>> the inventories, these are clearly "dress hooks" (imagine the hook  
>> part of
>> giant hook-and-eye fasteners). They have a semi-circular open  
>> hook, less
>> than 1 inch of shaft, and end with a flat plate pierced with holes  
>> for
>> sewing onto the garment. They would be impossible to use as tools.
>>

(I think this is Bonnie again, despite the quote-layering)

>> I differ with you, but not being able to time travel, neither of  
>> us can
>> present definitive proof. There is clearly lace on the collars,  
>> cuffs, and
>> headpieces of the time. Also what looks to be lace on the  
>> passements that
>> time and before. It may or may not be. This does not pass away the
>> "crochets" part of the listing nor why it is listed in conjunction  
>> with the
>> hooks. Some people have also said it is buttoning hooks. Crochets  
>> could be
>> anything from heavy yarns for bedhangings to decorative fine lace.  
>> There was
>> also mentions of Elizabeth being fond of her fine chain  
>> headpieces. Again,
>> may or may not be. There is no conclusive evidence either way. It  
>> seems to
>> be too much circumstansal evidence to say nay.


Keep in mind that the word "crochet" originally simply means "hook"  
-- before the use of the word for a specific type of thread-work, the  
phrase "hooks and crochets" would simply mean "hooks, and hooks-by- 
another-name".   There's no historic context for considering that the  
phrase in a 16th c. document can only mean "hooks and threadwork made  
with a hook".

Heather

--
Heather Rose Jones
heather.jones@earthlink.net
http://www.heatherrosejones.com
LJ:hrj


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Subject: [h-cost] the latest Pride and Prejudice movie
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Saw it this evening, and I liked it very much. I thought it was very 
well made, and in some ways even better than the last version with Colin 
Firth, although Kiera Knightly's hair bothered me. The costuming all had 
that 'real clothing' feel that 'Persuasion' had, which I liked, too. I 
recommend the movie, even if you've heard bad things about it.


Dawn

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Heather Rose Jones wrote:

> Keep in mind that the word "crochet" originally simply means "hook"  -- 
> before the use of the word for a specific type of thread-work, the  
> phrase "hooks and crochets" would simply mean "hooks, and hooks-by- 
> another-name".   There's no historic context for considering that the  
> phrase in a 16th c. document can only mean "hooks and threadwork made  
> with a hook".

Plus the mentions of these items in other accounts puts them in a 
category separate from clothing items.  Hookes and crotchettes are 
listed with chests, sacks, hammers, and coal baskets.  Hookes and eyes 
are listed with thread and textiles.

Melanie Schuessler

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Subject: Re: [h-cost] the latest Pride and Prejudice movie
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In a message dated 11/19/2005 11:03:33 P.M. Eastern Standard Time,  
dawn@reddawn.net writes:

even if  you've heard bad things about it.




The main commentary I hear about it is it has more of a Wuthering Heights  
feel...y'know, more romantic than classical....more Bronte than  Austin. But 
that's OK really. There's room for that. And now we have this  one AND the Colin 
Firth one, so no harm done.
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To: Historical Costume <h-costume@indra.com>
From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] the latest Pride and Prejudice movie
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AlbertCat@aol.com wrote
>
>In a message dated 11/19/2005 11:03:33 P.M. Eastern Standard Time,
>dawn@reddawn.net writes:
>
>even if  you've heard bad things about it.
>
>The main commentary I hear about it is it has more of a Wuthering Heights
>feel...y'know, more romantic than classical....more Bronte than  Austin. But
>that's OK really. There's room for that. And now we have this  one AND 
>the Colin
>Firth one, so no harm done.

There is a point, when Lizzie is in Derbyshire with her aunt and uncle, 
where she stands on a hilltop with her skirt blowing out behind her - I 
leaned over to the friend I was with and asked "Is that the definition 
of "wuthering""?

Jean

-- 
Jean Waddie
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Date: Sun, 20 Nov 2005 11:48:23 -0800
Subject: Re: [h-cost] What's your dressmaker's dummy wearing?
From: Donna Franke <roscelin@attglobal.net>
To: "Historical Costume <h-costume@indra.com>" <h-costume@indra.com>
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My dress form is wearing a bodice for an Italian Renaissance gown. In
particular Bronzino's A Daughter of Matteo Sofferoni.

I realized that I had make this when I discovered that I had green wool and
yellow polished cotton that matched the dress.

My first time making an Italian Renaissance outfit. I'm getting good
practice draping the pattern.

Donna


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Mine is wearing a plastic bag poncho.  Mostly I've been sewing for the 
kids, who are relatively easy to fit (they're almost 4) although I did 
make a poly-fleece coif for my mother, who complains of chills in the 
winter.  It's in violent rainbow patterns, to dispell any Victorian 
Grandmother with lappets images!

-- 
Cynthia Virtue and/or Cynthia du Pre Argent

"Everyone Who Disagrees With Me Must Die" law was approved by Congress 
today.
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Subject: RE: [h-cost] What's your dressmaker's dummy wearing?
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Hi Donna--

Do you have a photo link for the painting? (Bronzino's A Daughter of Matteo
Sofferoni)

I don't think I am familiar with it.

Thanks!
Dame Catriona MacDuff

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of Donna Franke
Sent: Sunday, November 20, 2005 2:48 PM
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] What's your dressmaker's dummy wearing?


My dress form is wearing a bodice for an Italian Renaissance gown. In
particular Bronzino's A Daughter of Matteo Sofferoni.

I realized that I had make this when I discovered that I had green wool and
yellow polished cotton that matched the dress.

My first time making an Italian Renaissance outfit. I'm getting good
practice draping the pattern.

Donna


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Date: Sun, 20 Nov 2005 16:04:32 -0800
Subject: Re: [h-cost] What's your dressmaker's dummy wearing?
From: Donna Franke <roscelin@attglobal.net>
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Hi Catriona,

You can find it here:

http://homepage.mac.com/festive_attyre/research/secondflor/portfolio.html

Helen

On 11/20/05 3:43 PM, "monica spence" <monicaspence@optonline.net> wrote:

> 
> Hi Donna--
> 
> Do you have a photo link for the painting? (Bronzino's A Daughter of Matteo
> Sofferoni)
> 
> I don't think I am familiar with it.
> 
> Thanks!
> Dame Catriona MacDuff


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From: "Susan B. Farmer" <sfarmer@goldsword.com>
To: Historical Costume <h-costume@indra.com>
Subject: RE: [h-cost] What's your dressmaker's dummy wearing?
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Quoting monica spence <monicaspence@optonline.net>:

>
> Hi Donna--
>
> Do you have a photo link for the painting? (Bronzino's A Daughter of Matteo
> Sofferoni)
>
> I don't think I am familiar with it.

I've got black velvet and gold silk to make one out of.

http://homepage.mac.com/festive_attyre/research/secondflor/secflor31.html

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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Saw it Friday.  It's great, and visually stunning.  We get some  fun new 
costumes with the girls from Beauxbatons and the guys from Durmstrang,  and, of 
course, the formal robes for the Yule Ball.
 
Ann Wass
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From: monica spence <monicaspence@optonline.net>
Subject: RE: [h-cost] What's your dressmaker's dummy wearing?
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Thanks Helen!
 I know that picture as the "Woman in the Green Dress". I am glad that I can
give it a name a little less vague.
Catriona

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of Donna Franke
Sent: Sunday, November 20, 2005 7:05 PM
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] What's your dressmaker's dummy wearing?


Hi Catriona,

You can find it here:

http://homepage.mac.com/festive_attyre/research/secondflor/portfolio.html

Helen

On 11/20/05 3:43 PM, "monica spence" <monicaspence@optonline.net> wrote:

>
> Hi Donna--
>
> Do you have a photo link for the painting? (Bronzino's A Daughter of
Matteo
> Sofferoni)
>
> I don't think I am familiar with it.
>
> Thanks!
> Dame Catriona MacDuff


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I was just looking for pocket watches on ebay (as they are less jarring than 
a wrist watch) and I found a bunch of watches with abstract floral designs 
on the cover described as '18th century style' (e.g. 
http://cgi.ebay.com.au/ANTIQUE-18-CENTURY-ARTISTIC-SILVER-POCKET-WATCH-3_W0QQitemZ5055655807QQcategoryZ398QQrdZ1QQcmdZViewItem 
or http://snipurl.com/k39k look at the seller's other items for other 
slightly different designs) Does anyone know if this really is a feature of 
18th centuy watches (they might mean 1800s rather than 18th century) or are 
they making this up to make it sound better?
Elizabeth
--------------------------------------------
Elizabeth Walpole
Canberra Australia
ewalpole[at]tpg.com.au
http://au.geocities.com/e_walpole/

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Oh, this is fun,

http://www.paperdolls.com/pages/dressem.htm


And you can get the paper versions too.



Dawn


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Subject: Re: [h-cost] somewhat OT 18th century pocket watches
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In a message dated 11/20/2005 11:53:29 P.M. Eastern Standard Time,  
ewalpole@tpg.com.au writes:

I found  a bunch of watches with abstract floral designs 
on the cover described as  '18th century style' (e.g.  
http://cgi.ebay.com.au/ANTIQUE-18-CENTURY-ARTISTIC-SILVER-POCKET-WATCH-3_W0QQi
temZ5055655807QQcategoryZ398QQrdZ1QQcmdZViewItem  
or http://snipurl.com/k39k look at the seller's other items for other  
slightly different designs) Does anyone know if this really is a feature  of 
18th century watches (they might mean 1800s rather than 18th century)  or are 
they making this up to make it sound  better?



I thought 18th century watches didn't have covers at all, but I might be  
wrong.
 
Ann Wass
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From h-costume-bounces@indra.com  Mon Nov 21 09:10:06 2005
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Subject: [h-cost] Re: rectangular construction tunic
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Add me to the zaftig list :).  And I have found the gores-under-the-arms
rectuangular pattern to work very well for my figure.  Depending on the
fabric types, I also don't seem to have as much neck-creep-to-the-back
with this pattern as I do with the basic t-tunic.

I can't find the original website I found instructions for this style
on but did find this russian costume website that uses essentially the
same thing for a shorter under tunic/shirt:

http://members.aol.com/predslava/GiliarovskaiaPatterns.html 

Catherine



 

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From: Joannah Hansen <Joannah@sluggy.net>
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My husband and I went to see P & P on Thursday just past. For the book that they had to compress into just over 2 hours long, they didn't do a bad job. I did like the 'hand-made' look of the clothes, the Bennet girls in particular, and overall, I found very little to pick at over the costuming. But WHY did they have to dress Keira Knightley in such generally dark, ugly colours? The messy hair thing was a bit irritating, but understandable, I guess, in view of the impression of the time and the family that the film-makers were going for. 

What *did* irritate me, was the disregard of the propriety / period manners / modes of conduct - Mr Bingley would NEVER have actually gone into the sickroom where a sick, unmarried, *unrelated* female guest was lying, even if she was chaperoned; to the door to inquire after the invalid, perhaps, but never actually *into* the room. And the scene on the bridge at dawn? Beautifully romantic, but even a strong-minded woman like Elizabeth would never have behaved in such a manner. It just wouldn't have happened. These two are the most glaring examples that I remember.

They also were not quite successful in marrying the scriptwriter's dialogue with dialogue from the book - the difference was noticeable, from the informality of the 'modern' dialogue to suddenly having the characters speaking the original, much more formal dialogue of the book. 

Don't get me wrong, I enjoyed the movie ( so did my husband! ) and thought that altogether it was worth seeing, but I do think that as far as being true to the book, the 1995 BBC series was much better.

My bit more than 2 cents worth.

Joannah. 



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From h-costume-bounces@indra.com  Mon Nov 21 18:18:33 2005
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Subject: [h-cost] Jean Hunnisett book on ebay
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I just discovered I had two copies of a Jean Hunnisett Book 1 so have 
just listed one on ebay. I also noticed that Amazon have listed it as 
out-of-print so will be very careful with my remaining copy!
http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=6990223141

Regards, Aylwen Garden
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Well, just at the moment, she's down to the wire supports, having 
lost 1) a dry cleaners bag  2) the 1970s gauze peasant dress I use 
for a dust cover  3) my duct tape double shell and  4) the size 6? 
original molded form. But tomorrow, ah tomorrow...my mother's wedding 
dress from 1955 - with all 3 tiers of lace and tulle over heavy 
satin, silver beads, pearls & iridescent sequins & more buttons down 
the back & sleeves than I have time to count!  She'll hold it up 
while I coax out some of the wrinkles, and then display it at my 
parents 50th wedding anniversary party on Friday.

Mary Piero Carey
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<snip>
> Don't get me wrong, I enjoyed the movie ( so did my husband! ) and thought 
> that altogether it was worth seeing, but I do think that as far as being 
> true to the book, the 1995 BBC series was much better.
>
> My bit more than 2 cents worth.
>
> Joannah.
>
I agree with the other comments that it had a bit of a Romantic/Gothic feel 
(IIRC it only rains once in the 1995 version it's constantly raining in this 
one) and the lack of propriety, in terms of costuming I noticed a lot of 
wandering around without hats (Mr Darcy and Lizzy were the main culprits) 
perhaps it's a reflection of their mental state like those 15th century 
pictures of Mary Magdalene in just her kirtle at the foot of the cross ;). 
and the bit where Lizzy is wandering about the Collins' house in her 
nightgown (a lot of people hesitate to do that in somebody else's house 
today, let alone in the 19th century). There were also a couple of points 
where it completely missed the point of the book, the most glaring error is 
dropping the Gardiners' children Mrs Bennet claims that her brother is rich 
with no children of his own, in the book much is made of the facts that 1. 
Mrs Bennet's family aren't too rich and are 'in trade' (and therefore are 
not really of the same social standing as Mr Bennet as a member of the 
landed gentry) and 2. after their Father's death the girls will have only 
£50 a year to live on and none of their relatives can afford to support 
them. If their uncle is married with no children after several years of 
marriage it's a safe bet that he's not going to have children of his own and 
he can pass his fortune onto his neices when he dies. The Bennets were 
depicted as not very well off (the house is falling to bits and they can 
apparently only afford Potatoes for dinner!) in the book they are no where 
near that poor, but they will be when Mr Bennet dies. The other major 
problem I saw was the timing of Lady Catherine's visit to tell Lizzy that 
she disapproves of the match. She turns up at the Bennets only a few hours 
after Bingley proposed to Jane having heard rumours that Darcy will propose 
to Lizzy, I don't understand where she would have heard such a rumour. In 
the book the neighbors begin speculating about Lizzy and Darcy after Jane 
and Bingley's engagement and so Charlotte Lucas hears the rumour from her 
family and Mr Collins passes the message onto Lady Catherine. I don't 
understand how a rumour about Lizzy and Darcy would get to Lady Catherine so 
quickly and the movie never explains it either.
Overall the costuming was pretty good and with a couple of exceptions they 
got it right (better than Emma with Gwyneth Paltrow for example), I liked 
the way that the older women were wearing older fashions, though I think 
Keira Knightley could have worn something more flattering than that 
ubiquitous ugly green dress, she's not stupid she can see what flatters her 
and what doesn't, I could excuse the ugly fabric if it's supposed to be a 
home dress but I don't see why she would choose such an un-flattering cut. 
The other problem I saw was Caroline Bingley wearing a sleeveless gown at 
the Netherfield ball, I could kind of understand it if it was in imitation 
of classical draperies but it was a structured cut that just skipped the 
sleeves (to me it looked like they had made a petticoat out of satin).
Apart from those few errors (and the lack of hats mentioned above) the 
costuming was done pretty well. It's an entertaining movie fairly loosely 
based on Jane Austen's novel, but don't expect the sort of faithful 
adaptation the BBC did.
Elizabeth
--------------------------------------------
Elizabeth Walpole  | Elizabeth Beaumont
Canberra, Australia  | Politarchopolis, Lochac
ewalpole[at]tpg.com.au
http://au.geocities.com/e_walpole/

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Subject: [h-cost] New Medieval Gallery at the Museum of London
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Tonight I went to a private viewing of the new Medieval Gallery at 
the Museum of London (c400-1558.) For a wonder the cases are well 
lit, and to an extent you can get to the sides, and sometimes round 
the back. For the interest of this list there are tiny knitted 
garments for children, knitted caps, a fragment of sleeve with 
buttons, (in the Crowfoot/Staniland book), thimbles, pins, jewellery, 
madder dyed textiles, a leather jerkin, belts, a garter of wool, 
shoes, patterns, a cod piece and various other relevant things like 
for weaving, about which I know nothing. The wire frame for the Gable 
Headdress, which I copied for the Museum, was on display, and also a 
frame for a French hood!!! The think I find most personal is a 
beautiful fine hairnet, which I had the good fortune to handle many 
years ago, and it was very evocative of a real person.

All in all, somewhere worth visiting if you are in London with time 
on your hands, There are, of course, other galleries there to be 
enjoyed, the 18th century printed cotton clothes being on of my favourites.

Suzi


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----- Original Message ----- 
From: "Suzi Clarke" <suzi@suziclarke.co.uk>
> The wire frame for the Gable Headdress, which I copied for the Museum, was 
> on display, and also a frame for a French hood!!!

What are the photography rules?  Can you take pics of the headwear frames 
for those of us in the US? =}

-E House

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Subject: [h-cost] King Kong
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Anyone seen the previews for the new King Kong movie coming out? It seems  to 
be set in the 1930s, and I was wondering if anyone had any impressions of the 
 costumes yet.
 
Tea Rose
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At 02:34 22/11/2005, you wrote:
>----- Original Message ----- From: "Suzi Clarke" <suzi@suziclarke.co.uk>
>>The wire frame for the Gable Headdress, which I copied for the 
>>Museum, was on display, and also a frame for a French hood!!!
>
>What are the photography rules?  Can you take pics of the headwear 
>frames for those of us in the US? =}
>
>-E House


Should not be a problem once the Gallery is officially open. I 
thought it might be a bit obvious if I was there with my camera last 
night!! As it was I had my little notebook out making lists.

Suzi


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jean wrote:>when Lizzie is in Derbyshire with her aunt
and >uncle, where she stands on a hilltop with her
skirt blowing out >behind her

I was so beggging someone to come up and shove her
off...

I thought: Costumes - ok (suitably rumpled and certain
people suitably unfashionable), hair - really
annoying: was it intentional to have short bits of
dark hair sticking out at the nape of her neck?,
etiquette - was likewise shocked at 'bedroom scene'
:-)

My main peeve were the above 'wuthering' scene and the
dawn scene - not that they were inappropriate (one of
them was) or badly acted (I've seen worse) but the
cinematography, that touched up super-real Keira
twenty feet high thing: I enjoyed it apart from those
which I felt really jarred and were badly done.

Going to see the Libertine with M. Depp next week -
from the promos the costumes look very good. Is it
another Beavan/Bright collaboration?  Apparently the
17th century has never been quite so dirty...

Katherine who doesn't care too much about acting if
they get the costumes right.

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


		
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Oh, and the best thing was a black silk knitted stocking foot, 
probably Italian. Anyone who understands knitting patterns could 
probably work out the pattern. The gusset-thing shaping the foot was 
fascinating. With all the knitting, the needles must have been tiny, 
even allowing for shrinkage and fulling. The one knitted hat looks 
like fabric, and the child's vest/shirt/jumper was knitted in very 
small even rows of plain/purl - sorry, having a senior moment and 
cannot remember then name of the stitch!

Suzi


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From: Alex Doyle <garbaholic@sbcglobal.net>
Subject: Re: [h-cost] New Medieval Gallery at the Museum of London
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Do you have an approximate date for the stocking?  and if pre-1600, can I beg photos?
 
Please?
 
pretty please!
 
alex

Suzi Clarke <suzi@suziclarke.co.uk> wrote:

Oh, and the best thing was a black silk knitted stocking foot, 
probably Italian. Anyone who understands knitting patterns could 
probably work out the pattern. The gusset-thing shaping the foot was 
fascinating. With all the knitting, the needles must have been tiny, 
even allowing for shrinkage and fulling. The one knitted hat looks 
like fabric, and the child's vest/shirt/jumper was knitted in very 
small even rows of plain/purl - sorry, having a senior moment and 
cannot remember then name of the stitch!

Suzi


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From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] New Medieval Gallery at the Museum of London
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At 13:50 22/11/2005, you wrote:
>Do you have an approximate date for the stocking?  and if pre-1600, 
>can I beg photos?
>
>Please?
>
>pretty please!
>
>alex
>
>Suzi Clarke <suzi@suziclarke.co.uk> wrote:
>
>Oh, and the best thing was a black silk knitted stocking foot,
>probably Italian.


As the last date in the gallery is 1558, I guess it must be early to 
mid 1500's - I can take the date off the label next time I go, and 
will try to take photos if allowed - should not be a problem as far as I know.


Suzi 


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As the last date in the gallery is 1558, I guess it must be early to 
mid 1500's - I can take the date off the label next time I go, and 
will try to take photos if allowed - should not be a problem as far as I know.


Suzi 

Thank you, I am most particularly interested in how the heel was turned/made, since our most famous stocking example of that period, Eleanora de Toledo's, don't have the heels anymore.

 

alex

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Date: Tue, 22 Nov 2005 07:21:09 -0800 (PST)
From: Aurelia Rufinia <aureliarufinia@yahoo.com>
Subject: Re: [h-cost] Pride & Prejudice
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I just saw it last night, and this is so not my
period, so I will not talk about the costumes.  

Of course the mini-series is more tru to the book! 
the mini-series was what?  Five hours?  And this was
two.  Lots of stuff is going to be in that three
hours.   

Dinner:  If you look at the plates, there is meat and
greens on them.  The potatoes looked quite tasty,
though.  So not only could they afford a cook and a
couple severents, they could afford meat, as well.  

Hair:  I believe the wispy hair bits Lizzie had going
was to accentuate her "plain-ness."  

I'm told the American ending  is different than the
British ending... I believe the very last scene is not
in the british version.  (It seemed random and
slightly out of place, as it were.)  

Aurelia
---------------
> >
> I agree with the other comments that it had a bit of
> a Romantic/Gothic feel 
> (IIRC it only rains once in the 1995 version it's
> constantly raining in this 
> one) and the lack of propriety, in terms of
> costuming I noticed a lot of 
> wandering around without hats (Mr Darcy and Lizzy
> were the main culprits) 
> perhaps it's a reflection of their mental state like
> those 15th century 
> pictures of Mary Magdalene in just her kirtle at the
> foot of the cross ;). 
> and the bit where Lizzy is wandering about the
> Collins' house in her 
> nightgown (a lot of people hesitate to do that in
> somebody else's house 
> today, let alone in the 19th century). There were
> also a couple of points 
> where it completely missed the point of the book,
> the most glaring error is 
> dropping the Gardiners' children Mrs Bennet claims
> that her brother is rich 
> with no children of his own, in the book much is
> made of the facts that 1. 
> Mrs Bennet's family aren't too rich and are 'in
> trade' (and therefore are 
> not really of the same social standing as Mr Bennet
> as a member of the 
> landed gentry) and 2. after their Father's death the
> girls will have only 
> £50 a year to live on and none of their relatives
> can afford to support 
> them. If their uncle is married with no children
> after several years of 
> marriage it's a safe bet that he's not going to have
> children of his own and 
> he can pass his fortune onto his neices when he
> dies. The Bennets were 
> depicted as not very well off (the house is falling
> to bits and they can 
> apparently only afford Potatoes for dinner!) in the
> book they are no where 
> near that poor, but they will be when Mr Bennet
> dies. The other major 
> problem I saw was the timing of Lady Catherine's
> visit to tell Lizzy that 
> she disapproves of the match. She turns up at the
> Bennets only a few hours 
> after Bingley proposed to Jane having heard rumours
> that Darcy will propose 
> to Lizzy, I don't understand where she would have
> heard such a rumour. In 
> the book the neighbors begin speculating about Lizzy
> and Darcy after Jane 
> and Bingley's engagement and so Charlotte Lucas
> hears the rumour from her 
> family and Mr Collins passes the message onto Lady
> Catherine. I don't 
> understand how a rumour about Lizzy and Darcy would
> get to Lady Catherine so 
> quickly and the movie never explains it either.
> Overall the costuming was pretty good and with a
> couple of exceptions they 
> got it right (better than Emma with Gwyneth Paltrow
> for example), I liked 
> the way that the older women were wearing older
> fashions, though I think 
> Keira Knightley could have worn something more
> flattering than that 
> ubiquitous ugly green dress, she's not stupid she
> can see what flatters her 
> and what doesn't, I could excuse the ugly fabric if
> it's 
=== message truncated ===



		
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At 04:00 PM 11/21/2005, you wrote:
>The wire frame for the Gable Headdress, which I copied for the Museum, was 
>on display, and also a frame for a French hood!!!


Thanks Suzi for sharing this info. I really have to get to Great Britain 
someday... I really do.

But until then, do you happen to have images of these frames for both the 
Gable and the French hood? Or know where one can find such images, like a 
book or catalog or online?

Thanks,

Kimiko


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From: Marie Stewart <maricelt@gmail.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] New Medieval Gallery at the Museum of London
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Oh, want!  Suzi was it recreation or was it extant... I'm a little
confused.  BUT if it is extant then add it to my list of things to
"visit" in June. ;>
Happy dance.
Bridgette, historic knit junky
btw, reeled silk shouldn't shrink or full

On 11/22/05, Suzi Clarke <suzi@suziclarke.co.uk> wrote:
>
> Oh, and the best thing was a black silk knitted stocking foot,
> probably Italian. Anyone who understands knitting patterns could
> probably work out the pattern. The gusset-thing shaping the foot was
> fascinating. With all the knitting, the needles must have been tiny,
> even allowing for shrinkage and fulling. The one knitted hat looks
> like fabric, and the child's vest/shirt/jumper was knitted in very
> small even rows of plain/purl - sorry, having a senior moment and
> cannot remember then name of the stitch!
>
> Suzi
>
>
> _______________________________________________
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Subject: Re: [h-cost] New Medieval Gallery at the Museum of London
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> Tonight I went to a private viewing of the new Medieval Gallery at
> the Museum of London (c400-1558.) For a wonder the cases are well
> lit, and to an extent you can get to the sides, and sometimes round
> the back. For the interest of this list there are tiny knitted
> garments for children, knitted caps, a fragment of sleeve with
> buttons, (in the Crowfoot/Staniland book), thimbles, pins, jewellery,
> madder dyed textiles, a leather jerkin, belts, a garter of wool,
> shoes, patterns, a cod piece and various other relevant things like
> for weaving, about which I know nothing. The wire frame for the Gable
> Headdress, which I copied for the Museum, was on display, and also a
> frame for a French hood!!! The think I find most personal is a
> beautiful fine hairnet, which I had the good fortune to handle many
> years ago, and it was very evocative of a real person.

 For us travel limited, do they have a place on line? My daughter was there
many times when she spent 6 mo. last winter, but I'm disabled and have
problems getting around.


> Aspasia Moonwind
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I'd check that with the museum - we were there in late 2003 and were not 
able to take photographs or (I kid you not) do sketches!

I'm glad the displays are better - the old ones were quite disappointing - 
many items were not labelled. Some interesting pieces didn't even have an 
accession number to ask questions about later (they had the earliest 
examples of  slipware (dated on the piece) I've seen, but no further 
information about them. Wayne did some sketches of these anyway!
We're taking the kids to the UK next April-May, We'll be in London over 
Easter, and are looking forward to seeing the new gallery.


Glenda.
----- Original Message ----- 

> At 02:34 22/11/2005, you wrote:
>>----- Original Message ----- From: "Suzi Clarke" <suzi@suziclarke.co.uk>
>>>The wire frame for the Gable Headdress, which I copied for the Museum, 
>>>was on display, and also a frame for a French hood!!!
>>
>>What are the photography rules?  Can you take pics of the headwear frames 
>>for those of us in the US? =}
>>
>>-E House
>
>
> Should not be a problem once the Gallery is officially open. I thought it 
> might be a bit obvious if I was there with my camera last night!! As it 
> was I had my little notebook out making lists.
>
> Suzi
>
> 

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----- Original Message ----- 
From: "Suzi Clarke" <suzi@suziclarke.co.uk>
> Should not be a problem once the Gallery is officially open. I 
> thought it might be a bit obvious if I was there with my camera last 
> night!! As it was I had my little notebook out making lists.

Yay!  And good point. =}

-E House

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Subject: [h-cost] Flemish Workingwomen -Black Partlets -a question
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I am going to be making tomorrow (wed, nov23) one of the black partlets 
shown in some of  AERTSEN's  work.  Some examples of  a painting with 
some of these partlets is 
http://www.wga.hu/frames-e.html?/html/a/aertsen/ (in the ninth, tenth 
and eleventh paintings down). 

These partlets seem to be basically exactly the same pattern as the 
white linen ones worn beneath, so I have a pattern. 

However, I am wondering if i  should make the partlet out of one layer, 
and just make the inside seams as pretty as I can, or should I make them 
out of two layers and make the seems go inside? anyway have any insight?

I make my white linen ones from two layers, though I am thinking of 
making one with only one layer-it seems like it will be more see though 
with only one layer, and some of the paintings make it seem like they 
should be see though sometimes. 

Thanks to anyone who shares their opinion, I value both theoretical and 
practical outlooks. 


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Subject: Re: [h-cost] New Medieval Gallery at the Museum of London
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At 12:02 22/11/2005, you wrote:
>Oh, want!  Suzi was it recreation or was it extant... I'm a little
>confused.  BUT if it is extant then add it to my list of things to
>"visit" in June. ;>
>Happy dance.
>Bridgette, historic knit junky
>btw, reeled silk shouldn't shrink or full
>
>On 11/22/05, Suzi Clarke <suzi@suziclarke.co.uk> wrote:
> >
> > Oh, and the best thing was a black silk knitted stocking foot,
> > probably Italian. Anyone who understands knitting patterns could
> > probably work out the pattern. The gusset-thing shaping the foot was
> > fascinating. With all the knitting, the needles must have been tiny,
> > even allowing for shrinkage and fulling. The one knitted hat looks
> > like fabric, and the child's vest/shirt/jumper was knitted in very
> > small even rows of plain/purl - sorry, having a senior moment and
> > cannot remember then name of the stitch!


Oh, no these are all real - the recreations had not yet reached the 
gallery, including my gable headdress!

Suzi


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At 00:17 22/11/2005, you wrote:
>At 04:00 PM 11/21/2005, you wrote:
>>The wire frame for the Gable Headdress, which I copied for the 
>>Museum, was on display, and also a frame for a French hood!!!
>
>
>Thanks Suzi for sharing this info. I really have to get to Great 
>Britain someday... I really do.
>
>But until then, do you happen to have images of these frames for 
>both the Gable and the French hood? Or know where one can find such 
>images, like a book or catalog or online?


As far as I know there are no images of the frames anywhere, but I 
will ask next time I am in the Museum for research - next week 
actually. Face to face with the curators is always better than 
mailing or phoning.

The Museum is totally accessible as there are lifts all around at 
street level, and the Museum itself is on only two levels, with lift 
access to both, to the best of my knowledge. Most of the cases are 
easily viewable from a wheelchair I would guess.

Suzi


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Subject: Re: [h-cost] Flemish Workingwomen -Black Partlets -a question
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J Schueller wrote:


> However, I am wondering if i  should make the partlet out of one layer, 
> and just make the inside seams as pretty as I can, or should I make them 
> out of two layers and make the seems go inside? anyway have any insight?
> 

I made one of a pants weight black wool and just hemmed the edges. It is 
quite warm and toasty as just a single layer. I was sweating in it 
indoors, but comfortable on a sunny February afternoon outside.

It's my belief that the black ones were outdoor or winter wear, and the 
white ones for indoors or better weather, and the sheer ones for 'best' 
wear.



Dawn


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From: J Schueller <jaurbik@optonline.net>
Subject: Re: [h-cost] Flemish Workingwomen -Black Partlets -a question
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Status: RO

Thanks a good point Dawn.  And I am making the partlet out of this 
outragusly great and wonderful black wool that my mom got for some 
suits.  I made the stuff for her, and just *happened* to have some left 
over.  when i got the fabric i had to roll around in it, it was so 
wonderful.  Actually, I really sweated the placement of pieces because 
the fabic was like $30 a yard-worth every penny, but not something I 
would normally buy. 

>
> J Schueller Says:
>
>> However, I am wondering if i  should make the partlet out of one 
>> layer, and just make the inside seams as pretty as I can, or should I 
>> make them out of two layers and make the seems go inside? anyway have 
>> any insight?
>>
> Dawn Says:
> I made one of a pants weight black wool and just hemmed the edges. It 
> is quite warm and toasty as just a single layer. I was sweating in it 
> indoors, but comfortable on a sunny February afternoon outside.
>
> It's my belief that the black ones were outdoor or winter wear, and 
> the white ones for indoors or better weather, and the sheer ones for 
> 'best' wear.


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Date: Wed, 23 Nov 2005 15:17:07 +1300 (NZDT)
From: Jenny McSaveney <jmcsaveney@yahoo.co.nz>
Subject: Re: [h-cost] New Medieval Gallery at the Museum of London
To: Historical Costume <h-costume@indra.com>
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In case it hasn't made the rounds here yet, the BBC
has some pictures up of a couple of the artifacts from
the new Gallery:
http://news.bbc.co.uk/2/hi/in_pictures/4457602.stm
for the start of the sequence.
#4 has a child's knitted mitten and vest from the
1500s.
Short on actual info, but still some good pictures.
More info direct from the Museum website
(http://www.museumoflondon.org.uk/ and follow the
links), with the medieval gallery press release (pdf)
at:
http://www.museumoflondon.org.uk/MOLsite/gallery/medieval/images/MedievalPressPack.pdf
Lots of detail there...

Jenny
(who will go back to lurking now)

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Subject: Re: [h-cost] Flemish Workingwomen -Black Partlets -a question
Date: Tue, 22 Nov 2005 19:48:05 -0700
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A "Flemish" is on my list of to-do projects for next year's tourney season,
and I've been figuring that I'd line my outer (black) partlet with a
medium-weight linen, if only to give my black wool a bit more body than it
already has (it's a fairly fine suitweight worsted).
--Sue

----- Original Message -----
From: "Dawn" <dawn@reddawn.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Tuesday, November 22, 2005 3:35 PM
Subject: Re: [h-cost] Flemish Workingwomen -Black Partlets -a question


> J Schueller wrote:
>
>
> > However, I am wondering if i  should make the partlet out of one layer,
> > and just make the inside seams as pretty as I can, or should I make them
> > out of two layers and make the seems go inside? anyway have any insight?
> >
>
> I made one of a pants weight black wool and just hemmed the edges. It is
> quite warm and toasty as just a single layer. I was sweating in it
> indoors, but comfortable on a sunny February afternoon outside.
>
> It's my belief that the black ones were outdoor or winter wear, and the
> white ones for indoors or better weather, and the sheer ones for 'best'
> wear.
>
>
>
> Dawn


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Subject: [h-cost] Re: Mus. of London...  knit question
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I would *love* to know what the dates and assumed origins are (if any) 
for the knit garments.  So far, the earliest I've heard verified made in 
England (other than "Monmouth caps" which are coarse-knit then 
felted/fulled) has been in the 1550s.

(I'm guessing that they're the youngest of the items in the display, 
but... :-)

-Liz

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Subject: Re: [h-cost] New Medieval Gallery at the Museum of London
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Hi. Pg 228 of Geoff Egan and Hazel Forsyth's article "Wound Wire and 
Silver Gilt"  in Oxbow Monograph #98 shows the wire from the headdress 
that I believe you are talking about. The full title of the book is "The 
Age of Transition; The archaeology of English culture 1400-1600" Hope 
this helps, Mike T.


>>
>>
>> But until then, do you happen to have images of these frames for both 
>> the Gable and the French hood? Or know where one can find such 
>> images, like a book or catalog or online?
>
>
>
>
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Subject: [h-cost] More Tudor Questions (next step - bodice)
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I haven't achieved as much as I want to on this, so I need to ramp it 
up!  I have made some final decisions, after finding enough portraits 
which I believe support my beliefs for this project at this time and 
place (I may be wrong, but this is research in progress)  =)
 
1. No farthingale - just a stiffened petticoat, a pleated undergown and 
a pleated overgown should give oomph enough
2. No corset - bodice lined with canvas and I'm not going to bone it 
since I don't need THAT much support and the stiffened stomacher should 
provide the appropriate front line.
3. Using a 2 kirtle setup - as in the Cecilia Heron picture, pinned 
stomacher on outermost gown as in the Jane Seymour
4. French hood
5. Using my existing cotton chemise because it's made and it has an 
authentic (square) neckline - 
http://i26.photobucket.com/albums/c120/elinorsalter/tudor%20project/ren_chemise.jpg
 
I still haven't made it to the fabric district, but I need to know how 
much fabric I'll have to buy first.  I'm still thinking about using a 
deep red cotton velvet, simply for the look.  This is going to be for a 
Yule event and for fancy events like Coronations.  I'm going to do silk 
taffeta for the turnback sleeves, to achieve the color and the stiffness 
depicted.
 
This fabric is the the frontrunner for my forepart and false sleeves.  
If I can find something just as pretty in a more authentic fabric in the 
meantime, I will grab it.  I can get this for as low as $10/yd, maybe 
less depending on the combination of sale & coupon in effect at the 
time.  I don't know how much of it I'll need though.

http://www.hancockfabrics.com/jump.jsp?itemID=11212&itemType=PRODUCT
 
As for progress, I've designed a bodice using the vertetsable website 
instructions and it's in the process of fitting (using canvas as the 
toile which will become my lining), with my husband's help.  I'm not 
sure how far the armscye needs to come down.  I'm also not sure whether 
or not I need it this complex (i.e. 3 pieces) but I can always sew 
pieces together when I transfer my final pattern back to paper.

http://i26.photobucket.com/albums/c120/elinorsalter/tudor%20project/tudor_bodice_pieces.jpg 
- before fitting

I have two big quandaries right now.  The first is how should the 
undergown fasten?  Looking at the sketches of Cecilia Heron and the More 
family, the undergown is definitely NOT front-fastening.  Is side-lacing 
period-appropriate or would it be back-laced?  I'm trying to find images 
from earlier/later periods, even in other countries, particularly of 
lower-class dress but I'm having little success.

My second question is what pattern should I use for the skirt portion?  
I see skirts of just a few panels all the way to multiple gored pieces 
(like Alcega's farthingale or kirtle for a fat woman f.58a patterns).  I 
want to take an authentic bent so I've been scouring portraits but I 
just can't tell and I need to figure this out NOW so I can purchase 
fabric, hopefully this weekend.  I do remember one earlier portrait 
(from Spain?) showing a tapestry fabric kirtle pieced as in an Alcega 
gored pattern.  And what proportions should I do it in?  Do I just 
figure out an appropriate circumferance for the hem and take up the rest 
in pleating?  I'm a little leery of doing that since I have 50" of waist 
to deal with and I need plenty of fabric to pleat at the back as in the 
style of the Holbein back view sketch.
 
Thank you for all the previous help.  I didn't reply to everyone because 
of that nasty virus I got that week, but all of your help has gotten me 
to this point, which is more advanced than I've ever inched to before.

-- 
Elinor Salter
Barony of the Steppes, Ansteorra

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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] Re: Mus. of London...  knit question
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At 03:23 23/11/2005, you wrote:
>I would *love* to know what the dates and assumed origins are (if 
>any) for the knit garments.  So far, the earliest I've heard 
>verified made in England (other than "Monmouth caps" which are 
>coarse-knit then felted/fulled) has been in the 1550s.
>
>(I'm guessing that they're the youngest of the items in the display, 
>but... :-)


As far as I remember, the stocking foot is Italian mid 1500's, and 
the child's knitted vest and mitten, not a set as I remember, are 
1300's. (Dated from the context of the dig.) However, I will be 
making proper notes next week and will pass them on.

Suzi


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At 09:08 PM 11/22/2005, you wrote:
>  have two big quandaries right now.  The first is how should the 
> undergown fasten?  Looking at the sketches of Cecilia Heron and the More 
> family, the undergown is definitely NOT front-fastening.  Is side-lacing 
> period-appropriate or would it be back-laced?  I'm trying to find images 
> from earlier/later periods, even in other countries, particularly of 
> lower-class dress but I'm having little success.
>
>My second question is what pattern should I use for the skirt portion?
>I see skirts of just a few panels all the way to multiple gored pieces 
>(like Alcega's farthingale or kirtle for a fat woman f.58a patterns).  I 
>want to take an authentic bent so I've been scouring portraits but I just 
>can't tell and I need to figure this out NOW so I can purchase fabric, 
>hopefully this weekend.  I do remember one earlier portrait (from Spain?) 
>showing a tapestry fabric kirtle pieced as in an Alcega gored 
>pattern.  And what proportions should I do it in?  Do I just figure out an 
>appropriate circumferance for the hem and take up the rest in 
>pleating?  I'm a little leery of doing that since I have 50" of waist to 
>deal with and I need plenty of fabric to pleat at the back as in the style 
>of the Holbein back view sketch.


Some quick thoughts.

http://costume.dm.net/fabuse.html is a website that details amounts of 
fabrics used for 16th c. women's clothes. I just happened to be reading it 
as your question came over the list. It might help you.

On the kirtle (undergown) and how it fastens, that's something I am trying 
to determine as well. The Cunningtons in _Handbook of English Costume in 
the 16th Century_ mentions "Fastened down the front to waist invisibly, 
probably by hooks and eyes. Occasionally buttoned or laced." They also 
mention stomachers (1516/1517) and placards (1547) that are suitably vague 
enough to maybe covering the actual fasteners under the gown. Most images I 
have seen are not detailed enough to know for sure what was done under the 
gown.

As to the amount of fabric for the skirt to pleat in the back, if you have 
even two panels of 45" material, you will have more than plenty to pleat at 
the back in that style. I really wouldn't go with more fabric, and may even 
consider doing less. It might be something you might want to drape onto a 
form and see what gives you the right look.

Kimiko

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At 09:05 PM 11/22/2005, you wrote:
>Hi. Pg 228 of Geoff Egan and Hazel Forsyth's article "Wound Wire and 
>Silver Gilt"  in Oxbow Monograph #98 shows the wire from the headdress 
>that I believe you are talking about. The full title of the book is "The 
>Age of Transition; The archaeology of English culture 1400-1600" Hope this 
>helps, Mike T.

Thanks Mike!

Kimiko


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Subject: Re: [h-cost] New Medieval Gallery at the Museum of London
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Hello,

The last time I was at the MoL, you are not allowed to take photos 
unless you have express permission from the curatorial staff and have 
signed the appropriate waivers.  This is a fairly new policy that had 
been instituted while they were doing all that work in the museum a 
year or two ago.  One of the curators told me their main reason was 
to gain copyright control over the spread of the images and the 
quality of the images being passed around.  Too many people were 
taking pictures on their trips there and slapping them on their 
websites, or even publishing them, without consulting the museum so 
to put a stop to this, they stopped allowing general photography.

Cheers,
Danielle

At 08:02 AM 11/22/2005, you wrote:
>At 13:50 22/11/2005, you wrote:
>>Do you have an approximate date for the stocking?  and if pre-1600, 
>>can I beg photos?
>>
>>Please?
>>
>>pretty please!
>>
>>alex
>>
>>Suzi Clarke <suzi@suziclarke.co.uk> wrote:
>>
>>Oh, and the best thing was a black silk knitted stocking foot,
>>probably Italian.
>
>As the last date in the gallery is 1558, I guess it must be early to 
>mid 1500's - I can take the date off the label next time I go, and 
>will try to take photos if allowed - should not be a problem as far as I know.
>
>Suzi

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At 04:03 PM 11/22/2005, you wrote:
>At 00:17 22/11/2005, you wrote:
>>At 04:00 PM 11/21/2005, you wrote:
>>>The wire frame for the Gable Headdress, which I copied for the 
>>>Museum, was on display, and also a frame for a French hood!!!
>>
>>Thanks Suzi for sharing this info. I really have to get to Great 
>>Britain someday... I really do.
>>
>>But until then, do you happen to have images of these frames for 
>>both the Gable and the French hood? Or know where one can find such 
>>images, like a book or catalog or online?
>
>
>As far as I know there are no images of the frames anywhere, but I 
>will ask next time I am in the Museum for research - next week 
>actually. Face to face with the curators is always better than 
>mailing or phoning.
>
>The Museum is totally accessible as there are lifts all around at 
>street level, and the Museum itself is on only two levels, with lift 
>access to both, to the best of my knowledge. Most of the cases are 
>easily viewable from a wheelchair I would guess.
>
>Suzi

They are completely accessible, and they used to, and I'm sure they 
still do, have motorized wheelchairs available to make the museum 
more accessible to patrons.  All the cases were clearly visible from 
wheelchair height.

Cheers,
Danielle



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Date: Wed, 23 Nov 2005 01:23:37 -0600
To: Historical Costume <h-costume@indra.com>
From: Danielle Nunn-Weinberg <dannw@mn.rr.com>
Subject: Re: [h-cost] Re: Mus. of London...  knit question
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There are a number of very clear references to knitted items in the 
Henry VIII inventories, many of them are much earlier than you 
think.  There are plenty of references in other sources as 
well.  Including one I have found which has King Henry ordering 
twelve pairs of "knytt hosen" for his sister-in-law sister the 
Princess of Castile, in May of 1510.

Cheers,
Danielle

At 09:23 PM 11/22/2005, you wrote:
>I would *love* to know what the dates and assumed origins are (if 
>any) for the knit garments.  So far, the earliest I've heard 
>verified made in England (other than "Monmouth caps" which are 
>coarse-knit then felted/fulled) has been in the 1550s.
>
>(I'm guessing that they're the youngest of the items in the display, 
>but... :-)
>
>-Liz

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From: monica spence <monicaspence@optonline.net>
Subject: RE: [h-cost] Re: Mus. of London...  knit question
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Is there anything out there about knitted garters? Italian preferably, but
English , French or German will do. If there is a reference out there ,
please let me know. There is a discussion on garters, knitted and otherwise
on another list...

Thanks,
Dame Catriona MacDuff

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of Suzi Clarke
Sent: Wednesday, November 23, 2005 1:13 AM
To: Historical Costume
Subject: Re: [h-cost] Re: Mus. of London... knit question


At 03:23 23/11/2005, you wrote:
>I would *love* to know what the dates and assumed origins are (if
>any) for the knit garments.  So far, the earliest I've heard
>verified made in England (other than "Monmouth caps" which are
>coarse-knit then felted/fulled) has been in the 1550s.
>
>(I'm guessing that they're the youngest of the items in the display,
>but... :-)


As far as I remember, the stocking foot is Italian mid 1500's, and
the child's knitted vest and mitten, not a set as I remember, are
1300's. (Dated from the context of the dig.) However, I will be
making proper notes next week and will pass them on.

Suzi


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Subject: RE: [h-cost] Re: Mus. of London...  knit question
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At 10:18 23/11/2005, you wrote:
>Is there anything out there about knitted garters? Italian preferably, but
>English , French or German will do. If there is a reference out there ,
>please let me know. There is a discussion on garters, knitted and otherwise
>on another list...
>
>Thanks,
>Dame Catriona MacDuff


There is a garter, (don't remember the date) but I think it is made 
of wool fabric. It appears to be tied and to have a fringe made from 
the slashed edge of the fabric. I feel that it is actually displayed 
upside down, and would have been worn with the fringe hanging down, 
not sticking up, but that is a personal opinion. It would be 
difficult, though not impossible, to display it the other way up. But 
what do I know - I'm only the practical one who makes these things!!

Suzi


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Subject: Re: [h-cost] Flemish Workingwomen -Black Partlets -a question
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----- Original Message ----- 
From: "J Schueller" <jaurbik@optonline.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Tuesday, November 22, 2005 6:53 PM
Subject: Re: [h-cost] Flemish Workingwomen -Black Partlets -a question


  when i got the fabric i had to roll around in it, it was so 
> wonderful.  >>

I'm so glad I'm not the only one who does that....

Dianne
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Subject: Re: [h-cost] More Tudor Questions (next step - bodice)
Date: Thu, 24 Nov 2005 00:17:34 +1300
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> 1. No farthingale - just a stiffened petticoat, a pleated undergown and
> a pleated overgown should give oomph enough

I didn't catch what dates you are looking at. The later styles are very
conical and often have skirts fitted smoothly over the front of the hooped
skirt. I had a look in my deleted emails, but I seem to have completely lost
the first post... sigh. If you are looking at later then hooped skirts are
the only thing that will give that shape (escept maybe layers and layers of
netting.... layers and layers and layers..). For earlier (Jane Seymore,
Margaret Tudor etc etc) then a supportive underskirt is probably better.

> 2. No corset - bodice lined with canvas and I'm not going to bone it
> since I don't need THAT much support and the stiffened stomacher should
> provide the appropriate front line.

I would make sure you can add boning at a later date, simply because I know
from personal experience of "not needing much support" that I won't conform
to shape unless I do somehting more drastic;) I had a really good example at
the end of September when I wore my Victorian corset laced as close as it
can. My shape was suddenly ideal for the period (it lowered my waistline
considerably). Same with my effigy stays for my 1560 Spanish gown.

Is there anything in Corsets and Crinolines from this period? I was focused
post 1550 when I last looked at the book. And the Richard III society has
privy purse accounts from before 1510 (canvas is mentioned for
upperbodices.)

> 3. Using a 2 kirtle setup - as in the Cecilia Heron picture, pinned
> stomacher on outermost gown as in the Jane Seymour

I have some nice close ups of two of the Jane Seymour portraits, and one of
a miniature to show the pins quite clearly.
http://glittersweet.com/1seymorebodice1.jpg
http://glittersweet.com/1seymorebodice2.jpg

http://glittersweet.com/2seymore1.jpg
http://glittersweet.com/2seymore2.jpg

http://glittersweet.com/holbainsmall.jpg
Lovely typo in his name.. sigh.


> I have two big quandaries right now.  The first is how should the
> undergown fasten?  Looking at the sketches of Cecilia Heron and the More
> family, the undergown is definitely NOT front-fastening.  Is side-lacing
> period-appropriate or would it be back-laced?  I'm trying to find images
> from earlier/later periods, even in other countries, particularly of
> lower-class dress but I'm having little success.

I'm pretty sure one of the vasquina y cuerpo baxo (skirt with bodice)
patterns in Alcega has the front and backs cut on the fold so that the only
way to fasten it is at the side seams, which are only slightly shifted to
the back. My book is buried in my sewing room with no chance of rescue
tonight.

> My second question is what pattern should I use for the skirt portion?
> I see skirts of just a few panels all the way to multiple gored pieces
> (like Alcega's farthingale or kirtle for a fat woman f.58a patterns).

Looking at the skirts in Alcega and Patterns of Fashion I'd use a gored
pattern with a wider back skirt section to allow for pleats at the back.
The rounder the waist is cut and the wider the side seam angles the more
flare you'll get. You are probably going to do well adapting Eleanora di
Toledo's skirt. It's got a nice drape without too much skirt flare. The
train can be cut shorter if needed.

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



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From: Marie Stewart <maricelt@gmail.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Re: Mus. of London... knit question
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Dame Catriona... Hey there...

I don't know of any knitted garters.  I've looked at lots of
inventories and wills and not seen them mentioned.  Of course, that
doesn't mean that they don't exist, just that I haven't seen any in
about 7 years of historic knit research.  Have you tried over on the
historic knit list?  Those folks are a font of information.
Good luck in your search.  I'll keep an eye out and if I see any I'll
certainly post to HKnit, and try to remember to post here as well.
Please, if you find anything do share, I'd love to see an example of these.
Sincerely,
Mari / Bridgette

On 11/23/05, monica spence <monicaspence@optonline.net> wrote:
> Is there anything out there about knitted garters? Italian preferably, but
> English , French or German will do. If there is a reference out there ,
> please let me know. There is a discussion on garters, knitted and otherwise
> on another list...
>
> Thanks,
> Dame Catriona MacDuff
>

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Since working all knit stitches is known as garter stitch, knitted garters must have been common at some period!

Kate Bunting
Librarian and 17th century reenactor

>>> maricelt@gmail.com 23/11/2005 11:56 >>>
Dame Catriona... Hey there...

I don't know of any knitted garters.  I've looked at lots of
inventories and wills and not seen them mentioned.  Of course, that
doesn't mean that they don't exist, just that I haven't seen any in
about 7 years of historic knit research.  Have you tried over on the
historic knit list?  Those folks are a font of information.
Good luck in your search.  I'll keep an eye out and if I see any I'll
certainly post to HKnit, and try to remember to post here as well.
Please, if you find anything do share, I'd love to see an example of these.
Sincerely,
Mari / Bridgette

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From: Marie Stewart <maricelt@gmail.com>
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On 11/23/05, Kate M Bunting <K.M.Bunting@derby.ac.uk> wrote:
> Since working all knit stitches is known as garter stitch, knitted garters must have been common at some period!


Hey Kate -
It is indeed possible.  Most of my research is in the pre-1600 time
frame, so that is the only area on which I can comment.  I only said I
hadn't seen any, not that they didn't exist.  :>  I would be very
interested to learn when they were common.  And please - if you know
of anything, or find anything do share.  I would very much like to
learn more.
Thanks,
Mari / Bridgette

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Kate M Bunting wrote:

>Since working all knit stitches is known as garter stitch, knitted garters must have been common at some period!
>
>Kate Bunting
>Librarian and 17th century reenactor
>  
>

My theory on that is that garter stitch refers to a chunk of stitching 
that's above the garter and keeps the stocking from falling through 
better than a rolling edge does.  And a small section of garter stitch 
at the top of the stocking does do this very well.

This is only a theory and is based entirely on the fact that it works 
and not on historical evidence.

- Ynes
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Ynes!  Hey there...  That is an interesting idea.  And it fits well
with the stocking evidence that we do have both painted, extant and
written.  Hmmm... an elegant solution.  Thank you.  You've given me
something to think about.  :>
 Mari / Bridgette

On 11/23/05, Ynes Garcia <ynes@sskip.net> wrote:
> My theory on that is that garter stitch refers to a chunk of stitching
> that's above the garter and keeps the stocking from falling through
> better than a rolling edge does.  And a small section of garter stitch
> at the top of the stocking does do this very well.
>
> This is only a theory and is based entirely on the fact that it works
> and not on historical evidence.
>
> - Ynes

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From: Alex Doyle <garbaholic@sbcglobal.net>
Subject: Re: [h-cost] New Medieval Gallery at the Museum of London
To: Historical Costume <h-costume@indra.com>
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That's interesting, since in June of this year I was at the Museum of London and took many pictures while there and no one said anything.  I don't know that there was a change in policy or they were being lax in enforcing it.  I certainly wasn't hiding that I was taking photos.
 
alex

Danielle Nunn-Weinberg <dannw@mn.rr.com> wrote:
Hello,

The last time I was at the MoL, you are not allowed to take photos 
unless you have express permission from the curatorial staff and have 
signed the appropriate waivers. This is a fairly new policy that had 
been instituted while they were doing all that work in the museum a 
year or two ago. One of the curators told me their main reason was 
to gain copyright control over the spread of the images and the 
quality of the images being passed around. Too many people were 
taking pictures on their trips there and slapping them on their 
websites, or even publishing them, without consulting the museum so 
to put a stop to this, they stopped allowing general photography.

Cheers,
Danielle

At 08:02 AM 11/22/2005, you wrote:
>At 13:50 22/11/2005, you wrote:
>>Do you have an approximate date for the stocking? and if pre-1600, 
>>can I beg photos?
>>
>>Please?
>>
>>pretty please!
>>
>>alex
>>
>>Suzi Clarke wrote:
>>
>>Oh, and the best thing was a black silk knitted stocking foot,
>>probably Italian.
>
>As the last date in the gallery is 1558, I guess it must be early to 
>mid 1500's - I can take the date off the label next time I go, and 
>will try to take photos if allowed - should not be a problem as far as I know.
>
>Suzi

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Subject: Re: [h-cost] Flemish Workingwomen -Black Partlets -a question
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I have made several of these in both black and white.  I line the black 
wool ones in black linen and the white ones with self fabric.  I am 
trying to remember where I saw it, but there is a painting/drawing of a 
woman with a black partlet and red lining.  It might have been a 
Breughel, but most of those collars aren't like this...my brain 
remembers that it was an allegorical painting of woman riding a horse or 
something??  Maybe when the rest of me wakes up I will be able to put my 
finger on it.

Oh and if any of you decide to make the pointy Breughel ones, I know 
where to get the reproduction dresshooks..... :)

Sg
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They also weren't allowing photography in 2002, when I went over there, and
then later that year, apparently they were.  The policy seems to change
often, which I guess, for us, means hope for the best and plan as best as
you can (getting permission, etc.).
--Sue, who remembers some guy being dumb enough to try it while she was
there, and he was using a flash on his camera, and boy, did that bring the
security guards.....

----- Original Message -----
From: "Danielle Nunn-Weinberg" <dannw@mn.rr.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, November 23, 2005 12:12 AM
Subject: Re: [h-cost] New Medieval Gallery at the Museum of London


> Hello,
>
> The last time I was at the MoL, you are not allowed to take photos
> unless you have express permission from the curatorial staff and have
> signed the appropriate waivers.  This is a fairly new policy that had
> been instituted while they were doing all that work in the museum a
> year or two ago.  One of the curators told me their main reason was
> to gain copyright control over the spread of the images and the
> quality of the images being passed around.  Too many people were
> taking pictures on their trips there and slapping them on their
> websites, or even publishing them, without consulting the museum so
> to put a stop to this, they stopped allowing general photography.
>
> Cheers,
> Danielle


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Subject: [h-cost] Re: new exhibit in Charlotte, NC
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    If you are interested in 18th and 19th century stuff. The MInt Museum in Charlotte, NC has just opened a new gallery devoted to costume.  I went last night on free night, and was really really suprised.  They don't have a lot, but it is very nice for sucha a small area.  If you are in the area, you should go...especially because there is not much security in the gallery.  you can get your snout right up the the things!  I mean right up.  This facet of the exhibit probably will not last long.  A lovely big paisley shawl spread 1 inch (yes that's right 1 inch) from the edge of a platform is neat to look at but too, too much of a temptation.  Last year I nearly had apoplexey whan a early teens child who was touring a gallery poked a 1600's floral still life with a pencil eraser and was going after it with a finger.  I 'm afraid I was not politically correct when I yelled, DON"T DO THAT!"  Ahh, life in 2005.
   
  The exhibit:  and this is a 30,000 foot overview, I can't remeber all the details:
    Stuff out where you an really see it and touch it if your bad.
            1.  a mid 1700s Robe ala Francaise - That white and pink silk pattern that you see sometimes in heavier modern upholstery fabric.  Pink strips alternating with white and multicolored floral sprigs on the white.  The stomacher that buttons 
            2.  a later 1700s robe ala Francaise, red silk, figured,  matching peticoat, polonaised up.  Front had robings I think.
            3.  a later 1700s gown of spitalfileds silk, beige-ish background,  back, en foreau. repro petticoat.
           4.  Many english court suit, 1700s, reputedly worn at Marie Antoinette's wedding.  beige. lots of sparkly things attached.
            5.  A Stunning black silk mens suit.  English or New england-ish, according to the label.  They used reporduction blonde lace on the cuffs and for the neckruffel. Suit is georgueos, use of blonde ???  I would have used really fine white linnen...It's more Republican 
            6.  a womans silk jacket, tied in from with ribbons and quilted aqua silk petticoat, late 1700's, with a strange "fichu" tucked into the neckline of the jacket.  It had a drawstring around the neck that I have never seen before this early.  Looks to me like a later chemisette, but whatever.
   
  the rest of the collection goes up to the late 1900, but I've gone on long enough
   
  Down side.  Curator is on art history side of the costume coin.  He uses repops for many shoes, laces, and accessories.  I recognize the new.  Much of the stuff is bought from reputable dealers and is not from the Charlotte, NC area.  I wish he had displayed some of the regional stuff that started the collction., alot of the local families donated some of their things.  You could have got a good idea on what was going on in the area.  And I agree with 95% of what he has done and described.  
   
  I will try to get pictures and better distrciptions.
   
  18c Mia in Charlotte Town, NC
   
   
   
   
   



		
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From: "Sue Clemenger" <mooncat@in-tch.com>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] Re: Mus. of London... knit question
Date: Wed, 23 Nov 2005 07:37:04 -0700
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We've discussed it over there, as well.  Despite the (current) knitting
nomenclature including the phrase "garter stitch," I don't recall anyone on
the h-knit list coming up with examples of actual garters made from that
stitch (or other knitting).  At least, certainly not pre-17th century
European.
--Sue

----- Original Message -----
From: "Marie Stewart" <maricelt@gmail.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, November 23, 2005 4:56 AM
Subject: Re: [h-cost] Re: Mus. of London... knit question


> Dame Catriona... Hey there...
>
> I don't know of any knitted garters.  I've looked at lots of
> inventories and wills and not seen them mentioned.  Of course, that
> doesn't mean that they don't exist, just that I haven't seen any in
> about 7 years of historic knit research.  Have you tried over on the
> historic knit list?  Those folks are a font of information.
> Good luck in your search.  I'll keep an eye out and if I see any I'll
> certainly post to HKnit, and try to remember to post here as well.
> Please, if you find anything do share, I'd love to see an example of
these.
> Sincerely,
> Mari / Bridgette


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Subject: [h-cost] Re:knit clothing dates
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Interesting... though I know I've been told a few times that he had no 
knit hose in his own wardrobe, only woven and sewn.

I know that there was very fine knitting done in both 'Germany' and 
Italy at the time (especially Germany), and wouldn't be surprised to see 
those thing imported a bit.  I'm trying to figure out a vague English 
knitting timeline in my head still.  I know the Monmouth caps type 
knitting was around in the late 1400s, and that by Elizabeth's reign 
knitting women were relatively common (as were knit hose knit *in* 
England)... but I've not seen anything about anything other than the 
caps in between, or anything on when finer knitting was introduced and 
caught on in the country.


Ever curious,
-Elisabeth

>From: Danielle Nunn-Weinberg <dannw@mn.rr.com>
>
>
>There are a number of very clear references to knitted items in the 
>Henry VIII inventories, many of them are much earlier than you 
>think.  There are plenty of references in other sources as 
>well.  Including one I have found which has King Henry ordering 
>twelve pairs of "knytt hosen" for his sister-in-law sister the 
>Princess of Castile, in May of 1510.
>
>Cheers,
>Danielle
>
>  
>

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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Hi the list.
I went to an opera with the oldest opera ever performed, Monteverdis 
Olysses.
Music and orchestra was very impressive but the costumes!
I would like to ask you who might makes costumes for stage, why does it have 
to be modern and artistic?
I have the feeling it is an intempt to try to drag more people to come to 
theaters, that they make the costumes modern and artistic.
I am totally disagreable in this, i hate the very guts of those stupid, and 
tedious scenografers, who destroys my want to go and have a fantastic time, 
i was so disapointed and i could just as well have gone to a cd shop and buy 
the opera, and stay home.
What are your oppinons about this, why in heavens name dont they make period 
costumes, what is wrong with this, and would the modern audiense hate this?

Bjarne.......................

Bjarne Drews
www.my-drewscostumes.dk

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


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Subject: Re: [h-cost] theater opera costumes in general
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Bjarne, I'm with you on this basically. It seems to me that the music, or the words (in the case of a play), should be seen as part of a whole world being created, and that world also includes what the eye sees--costumes, set, even the actor's gestures. Once in a while a production comes along where the beauty of the language or the music or something in the theme is highlighted by, or given a new focus by, costumes or setting from another time, or from "no" time at all (that is, maybe black slacks and sweaters on all the actors, set made of movable cubes, etc.)--but most of the time when the production designer or director changes the time period of the set and costumes, the music or language sounds odd or the audience is confused or distracted by the changes.

I blame a few things. 
--First of all, it's hard to raise money to do a production if "all" you're planning to do is the show as written. Every time I get ready to direct a Shakespeare play, people ask me "What's your concept?" and they mean, "how are you going to change things to make this different and new?" Investors probably are more eager for that than the general public.
--Second, some directors don't consider it very "creative" to just do the show as it was originally conceived by the playwright or composer. They want to make their mark on it.
--Third, unfortunately, there's a lot of condescension on the part of the art community toward the general public. A British actor was in residence at Williams College here a few years ago and directed a production of Richard Brinsley Sheridan's The Rivals (1775). I went because I had just done a production of that myself and was curious as to how ours would measure up. Well, I HATED his production--it was "camped up," a broad sex scene was put in, a lot of slapstick and sight gags were added. The audience did laugh a lot, but I and the actors who had come along with me were very disappointed. The show itself is very very funny--it doesn't need all that low comedy thrown in. When I got home I looked at the program and noticed that he had given a talk there at the theater one day, called "Adapting The Rivals for the Modern Audience." So you see he obviously believed that a modern audience wouldn't "get" The Rivals as originally conceived. But I can tell you that the audiences!
  that came to see MY The Rivals laughed and laughed and said the play was wonderful. They didn't need to be condescended to.

Well, I do think that experimenting is a healthy thing in art. But I also think people have to keep in mind what they're doing it for, and also remember that the piece they're working with has been around for a long time without their interference.

What a shame that such a rare opportunity to see a Monteverdi opera wasn't used to show the audience what the original experience was really like. This isn't to say that older works of art should be treated like museum pieces, but just that they should be respected in themselves, and audiences should be respected enough to be trusted with them.

Well, that's my opinionated opinion, anyway!

--Ruth Anne Baumgartner
scholar gypsy and amateur costumer

-----Original Message-----
From: Bjarne og Leif Drews <drewscph@post12.tele.dk>
Sent: Nov 23, 2005 3:04 PM
To: h-costume@indra.com
Subject: [h-cost] theater opera costumes in general

Hi the list.
I went to an opera with the oldest opera ever performed, Monteverdis 
Olysses.
Music and orchestra was very impressive but the costumes!
I would like to ask you who might makes costumes for stage, why does it have 
to be modern and artistic?
I have the feeling it is an intempt to try to drag more people to come to 
theaters, that they make the costumes modern and artistic.
I am totally disagreable in this, i hate the very guts of those stupid, and 
tedious scenografers, who destroys my want to go and have a fantastic time, 
i was so disapointed and i could just as well have gone to a cd shop and buy 
the opera, and stay home.
What are your oppinons about this, why in heavens name dont they make period 
costumes, what is wrong with this, and would the modern audiense hate this?

Bjarne.......................

Bjarne Drews
www.my-drewscostumes.dk

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


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Subject: Re: [h-cost] theater opera costumes in general
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In a message dated 11/23/2005 3:05:08 P.M. Eastern Standard Time,  
drewscph@post12.tele.dk writes:

What are  your opinions about this, why in heavens name don't they make 
period  
costumes


************************************
 
Well, it depends on the production. The concept, if not period, need not  
have period costumes. And I assure you the original  17th century  production of 
this Greek myth didn't have period Greek costumes. Or did you mean  Baroque 
costumes....their "modern" version of what they thought the costumes  should 
look like in the 17th century?
 
You see the problem here.
 
I love Monteverdi! My favorite production of "L'Orfeo" [which is  actually 
older than "Il ritorno d'Ulisse in patria] that is  on film is Jean-Pierre 
Ponnelle's late 1970's production. It is Baroque  with the gods and goddesses 
dressed in court costume with farthingales and stiff  wired collars....but with 
bits of allegorical stuff....like the words "La  Musica" in the spirit of music's 
hair. Charon looks like a Baroque grotesque off  some architectural element. 
The shepherds look like a dream from a Milton  poem. Ponnelle did all 3 of the 
big Monteverdi operas [the 3rd one being  L'incoronazione di Poppea]  in this 
Baroque style. Alas, none of  them are on DVD to my knowledge.
 
On DVD is another version of "LOrfeo" dressed in ancient Greek  
clothing....sorta. It still has ample Baroque elements...especially in the  scenery. Great 
singing too! It's on BBC Opus/Arte with Le Concert des Nations  and La Capella 
Reial de Catalunya doing the music.
 
There's also a great "Ulisse" with Samuel Ramey singing the title role on  
DVD....but I don't have that one.
 
 
Anyway... if the production calls for period costumes, then they should  have 
them. If the concept is not to make it look period....the costumes will not  
be period. The costumes must serve the vision of the director's concept.
[My biggest problem with much costuming is, it's just bad... modern or  
period. Costuming gets no respect in America. They'll hire the Producer's niece  to 
do the clothes because she needs a summer job!]
 
 
There is a great GREAT version of an opera, "Les Indes Gallantes"  [1735] by 
French baroque composer Rameau on DVD that is fantastic! I love  it. It has 
great respect for Baroque traditions but is completely modern. And a  lark. It 
is light entertainment and the costumes are a hoot....though not  truly 
period....still their roots are evident. They are costumes all  the way, but work so 
well with the concept of the show. There are lots of  Baroque stage effects in 
it: A storm at sea, a volcano erupting....it's great  fun! The last act takes 
place among American Indians! Of course the music  is divine! Also on BBC 
Opus/Arte.
 
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Subject: Re: [h-cost] theater opera costumes in general
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why in heavens name dont they make period 
costumes, what is wrong with this, and would the modern audiense hate this?

I think frequently they do modern sets and costumes because it's cheaper.

Janet
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Subject: [h-cost] OT - Pin Cushion
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I'm wanting to make a decorative pin cushion for a Christmas gift., but not sure what to fill it with.  Does anyone have any suggestions besides sand or fiberfill?

Roscelin
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Subject: Re: [h-cost] theater opera costumes in general
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In a message dated 11/23/2005 4:11:34 P.M. Eastern Standard Time,  
bear_janet@msn.com writes:

I think  frequently they do modern sets and costumes because it's  cheaper


Not always...especially with big-wig companies. 
 
It's more to do with making it relevant to modern audiences. It's why we  
have films like "Clueless" ...or "Great Expectations" in modern times.
Even "War of the Worlds" should take place in 1898.
 
Sometimes it works and sometimes it's misguided. I don't think is a  
necessity, that's for sure. 
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At 01:19 PM 11/23/2005, you wrote:
>I'm wanting to make a decorative pin cushion for a Christmas gift., 
>but not sure what to fill it with.  Does anyone have any suggestions 
>besides sand or fiberfill?
>
>Roscelin

I'd recommend wool.  If you can get some fleece with some lanolin 
left in, it helps prevent rust.


Joan Jurancich
joanmj@surewest.net 

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http://www.nytimes.com/2005/11/20/magazine/20style_90s.html#articleBodyLi
nk
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AlbertCat@aol.com wrote:
>  
> In a message dated 11/23/2005 4:11:34 P.M. Eastern Standard Time,  
> bear_janet@msn.com writes:
> 
> I think  frequently they do modern sets and costumes because it's  cheaper
> 
> 
> Not always...especially with big-wig companies. 
>  
> It's more to do with making it relevant to modern audiences. It's why we  
> have films like "Clueless" ...or "Great Expectations" in modern times.
> Even "War of the Worlds" should take place in 1898.
>  
> Sometimes it works and sometimes it's misguided. I don't think is a  
> necessity, that's for sure. 

I saw Henry V at Stratford festival in Ontario, Canada many years ago 
that was done up in Edwardian. I was initally irritated, but then I got 
into it and it is now one of my favorite theatre memories.

liz young

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Ground emery to keep your pins and needles sharp?

Failing that, perhaps cedar shavings?

Arlys

On Wed, 23 Nov 2005 21:19:28 +0000 roscelinlimoges@comcast.net writes:
> I'm wanting to make a decorative pin cushion for a Christmas gift., 
> but not sure what to fill it with.  Does anyone have any suggestions 
> besides sand or fiberfill?
> 
> Roscelin
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In a message dated 11/23/2005 5:05:50 P.M. Eastern Standard Time,  
lizyoung@fenris.net writes:

saw  Henry V at Stratford festival in Ontario, Canada many years ago 
that was  done up in Edwardian. I was initally irritated, but then I got 
into it and  it is now one of my favorite theatre memories.



***********************
 
 
That's a very strange notion to take a HISTORY and put it in ANOTHER  PERIOD. 
But it worked for that film of Richard III. With these Shakespeare  plays, 
sometimes the actual period doesn't matter. "Three Penny Opera" is  supposed to 
take place at Victoria's coronation....it's even a plot device! But  it's 
usually done in the 1890s....more Jack the Ripper/ Old London-esque. It  doesn't 
really matter....the plot is not as important as the message with  Brecht. [I 
designed it in school and did it 1915...during the War. I did so  because of 
the music, which is Fox Trots and Charlestons.] 
 
That 4 hour Hamlet [ I loved it] is done in a militaristic, spy  laden turn 
of the 19th century. Perfect for the atmosphere of the play, really.  Not a 
history though. 
 
I've seen "Much Ado About Nothing" [because they need to come back  from a 
war] and "Cosi Fan Tutti" [Because they need to go off to a war]  both done 
during the Civil War. [The "Cosi" didn't work so well. But I love the  idea of the 
saucy, sexy servant, Despina, being a big black  Mammy....but they didn't do 
that in the production.]
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Subject: RE: [h-cost] Re: Mus. of London... knit question
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Thanks very much for the help!
Best Regards-
Dame catriona MacDuff

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of Sue Clemenger
Sent: Wednesday, November 23, 2005 9:37 AM
To: Historical Costume
Subject: Re: [h-cost] Re: Mus. of London... knit question


We've discussed it over there, as well.  Despite the (current) knitting
nomenclature including the phrase "garter stitch," I don't recall anyone on
the h-knit list coming up with examples of actual garters made from that
stitch (or other knitting).  At least, certainly not pre-17th century
European.
--Sue

----- Original Message -----
From: "Marie Stewart" <maricelt@gmail.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, November 23, 2005 4:56 AM
Subject: Re: [h-cost] Re: Mus. of London... knit question


> Dame Catriona... Hey there...
>
> I don't know of any knitted garters.  I've looked at lots of
> inventories and wills and not seen them mentioned.  Of course, that
> doesn't mean that they don't exist, just that I haven't seen any in
> about 7 years of historic knit research.  Have you tried over on the
> historic knit list?  Those folks are a font of information.
> Good luck in your search.  I'll keep an eye out and if I see any I'll
> certainly post to HKnit, and try to remember to post here as well.
> Please, if you find anything do share, I'd love to see an example of
these.
> Sincerely,
> Mari / Bridgette


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Mmm, I'm always impressed by McKellen's Richard III set in a 1930s dictatorship,

-C.


> That's a very strange notion to take a HISTORY and put it in ANOTHER  PERIOD.



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Kimiko Small wrote:

> At 09:08 PM 11/22/2005, you wrote:
>
>>  have two big quandaries right now.  The first is how should the 
>> undergown fasten?  Looking at the sketches of Cecilia Heron and the 
>> More family, the undergown is definitely NOT front-fastening.  Is 
>> side-lacing period-appropriate or would it be back-laced?  I'm trying 
>> to find images from earlier/later periods, even in other countries, 
>> particularly of lower-class dress but I'm having little success.
>>
>> My second question is what pattern should I use for the skirt portion?
>> I see skirts of just a few panels all the way to multiple gored 
>> pieces (like Alcega's farthingale or kirtle for a fat woman f.58a 
>> patterns).  I want to take an authentic bent so I've been scouring 
>> portraits but I just can't tell and I need to figure this out NOW so 
>> I can purchase fabric, hopefully this weekend.  I do remember one 
>> earlier portrait (from Spain?) showing a tapestry fabric kirtle 
>> pieced as in an Alcega gored pattern.  And what proportions should I 
>> do it in?  Do I just figure out an appropriate circumferance for the 
>> hem and take up the rest in pleating?  I'm a little leery of doing 
>> that since I have 50" of waist to deal with and I need plenty of 
>> fabric to pleat at the back as in the style of the Holbein back view 
>> sketch.
>
> Some quick thoughts.
>
> http://costume.dm.net/fabuse.html is a website that details amounts of 
> fabrics used for 16th c. women's clothes. I just happened to be 
> reading it as your question came over the list. It might help you.
>
> On the kirtle (undergown) and how it fastens, that's something I am 
> trying to determine as well. The Cunningtons in _Handbook of English 
> Costume in the 16th Century_ mentions "Fastened down the front to 
> waist invisibly, probably by hooks and eyes. Occasionally buttoned or 
> laced." They also mention stomachers (1516/1517) and placards (1547) 
> that are suitably vague enough to maybe covering the actual fasteners 
> under the gown. Most images I have seen are not detailed enough to 
> know for sure what was done under the gown.
>
> As to the amount of fabric for the skirt to pleat in the back, if you 
> have even two panels of 45" material, you will have more than plenty 
> to pleat at the back in that style. I really wouldn't go with more 
> fabric, and may even consider doing less. It might be something you 
> might want to drape onto a form and see what gives you the right look.
>
> Kimiko

I wish that the website could help, but not a lot of women back then 
were ever my size, at least not any pictured (which is why I like Lady 
Guildford's portrait - she's plump and she's only a little younger than 
I am - 27).  That's why I was really interested to see the Alcega layout 
for a "fat woman".
 
Here's what I've found so far for depictions of fastening:
 
Front of overgown tied shut, no depiction of undergown fastening, but is 
not front-fastened
Elizabeth Dauncey, 1526-8, http://www.uvm.edu/~hag/sca/tudor/dauncey.jpg
Cecilia Heron, 1527, http://www.uvm.edu/~hag/sca/tudor/cecilia.jpg
Margaret Grigg, 1527, http://www.uvm.edu/~hag/sca/tudor/holb5.jpg
More Family, 1527, http://www.uvm.edu/~hag/sca/tudor/morefamily.jpg
More Family, 1593 copy, http://www.uvm.edu/~hag/sca/tudor/moregirls.jpg
 
Front of overgown widely laced shut, no depiction of undergown 
fastening, but is not front-fastened
Catherine of Aragon, 1509, http://www.uvm.edu/~hag/sca/tudor/aragon.jpg
More Family, 1530 copy, http://www.uvm.edu/~hag/sca/tudor/lockley.jpg
Anne Boleyn?, ?, http://www.tudorplace.com.ar/images/Boleyn,Anne03.jpg

Overgown with placard/stomacher, probably covering up front-tying, 
probably attached with pins
Jane Seymour, 1537, http://www.uvm.edu/~hag/sca/tudor/redjane.jpg
Mrs. Pemberton, 1540, http://www.uvm.edu/~hag/sca/tudor/pemberton.jpg

Front of overgown closely front-fastened, not laced, probably 
hook-and-eye (see Margaret)
Elizabeth Broughton, 1525, http://www.uvm.edu/~hag/sca/tudor/trivick04.jpg
Wife of Thomas Pownder, 1525, http://www.uvm.edu/~hag/sca/tudor/norris01.jpg
Lady with a Squirrel, 1527-28, http://www.uvm.edu/~hag/sca/tudor/holbsq.jpg
Elizabeth Payne, 1528, http://www.uvm.edu/~hag/sca/tudor/trivick03.jpg
Portrait of a Woman, 1532-35, 
http://www.uvm.edu/~hag/sca/tudor/1532woman.jpg
Margaret Marchioness of Dorset, 1541, 
http://www.uvm.edu/~hag/sca/tudor/margaret.jpg
(possibly) Princess Mary, 1544, 
http://www.uvm.edu/~hag/sca/tudor/prinmary2.jpg

No visible means of closing gown
Woman and her children, ?, http://www.uvm.edu/~hag/sca/tudor/holb-fam.jpg
Lady Henegham, ?, http://www.uvm.edu/~hag/sca/tudor/henegham.jpg
Mary Tudor, 1514-15, 
http://www.tudorplace.com.ar/images/Tudor,Marysketch.jpg
Mary Tudor, 1515, http://www.uvm.edu/~hag/sca/tudor/marytudor.jpg
Unknown Woman (was Margaret Tudor), 1520, 
http://www.npg.org.uk/live/OC_Data/images/weblg/0/2/mw04202.jpg
Catherine of Aragon, 1525, http://www.uvm.edu/~hag/sca/tudor/cathyold1.jpg
Anne Boleyn, 1525-27, http://www.uvm.edu/~hag/sca/tudor/boleyn1525.jpg
Anne Cresacre, 1526-27, http://www.tudor-portraits.com/AnneCresacre.jpg
Lady Guildford, 1527, http://www.uvm.edu/~hag/sca/tudor/guildford.jpg
Mary Zouch, 1530's, http://au.geocities.com/e_walpole/maryzouch.jpeg
Margaret Pole, 1535, 
http://www.tudorplace.com.ar/images/Pole,Margaret(CSalisbury)02.jpg
Elizabeth Widmerpole, 1536, 
http://au.geocities.com/e_walpole/1536_Widmerpole.jpg
Miniature of an Unknown Lady (Catherine Howard), 1541, 
http://www.uvm.edu/~hag/sca/tudor/choward.jpg
 
What's going on here (all open-fronts)?

Diane de Poitires (by Jean Clouet), 
http://www.photo.rmn.fr/LowRes2/TR1/QM0KEZ/02-008694.jpg
Madeleine d'Astarac (by Jean Clouet), 
http://www.photo.rmn.fr/LowRes2/TR1/W6NWFJ/02-008827.jpg
Marie de Guise (by Lyon), ?, 
http://tudorhistory.org/people/guise/maryguise.jpg

Other artists I plan to investigate active during the Tudor time: Jean 
Perreal (France), Levina Teerlinc, Hilliard

-- 
Elinor Salter
Barony of the Steppes, Ansteorra

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Subject: Re: [h-cost] theater opera costumes in general
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Yes, I think sometimes a history play is costumed as a later period to make the audience  aware of the similarities with the political situation in an era that they're more familiar with (if that makes sense).

I remember enjoying the BBC TV Shakespeare production of "All's Well that Ends Well" set in the mid-17th century, with beautiful Vermeer-like interiors and military scenes based on paintings of the period.

The only opera I've seen in modern dress was a production of "Aida" at the Brighton Festival, with the male leads in modern military uniform. Radames rather spoiled the effect by wearing his Sam Browne belt incorrectly! I can understand Bjarne's disappointment, but, as AlbertCat points out, should "correct" dress for Monteverdi be authentic classical costume or a reproduction of Baroque theatrical costume?

Kate Bunting
Librarian and 17th century reenactor

>>> stilskin@netspace.net.au 24/11/2005 04:42 >>>
Mmm, I'm always impressed by McKellen's Richard III set in a 1930s dictatorship,

-C.


> That's a very strange notion to take a HISTORY and put it in ANOTHER  PERIOD.



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I think sheeps wool is the best stuff for stuffing, has enough natural 
oil to allow pins and needles to slide in and out easily, and keeps the 
pins and needles from rusting as well.

Fiber fill seems to stop pins from sliding into the cushion a lot of 
times, but wool doesn't do this.  our ancestors used fine saw dust also.

Kitty



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Subject: [h-cost] dates of knitted mitt, and vest?
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> the child's knitted vest and mitten, not a set as I
> remember, are 1300's. (Dated from the context of the
dig.)
> However, I will be making proper notes next week and
will pass them on.

The BBC has these as 1500's: 

http://news.bbc.co.uk/1/hi/in_pictures/4457602.stm

assuming these are the same knitted mitten and vest
you saw, Suzi, and not a different set.  Also, if
these are, the vest is knitted?!?  I can't tell that
from the photograph, and that (16th cen, let alone
14th!) would be excitingly early for a knitted
body-garment!

Stephanie


		
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Subject: Re: [h-cost] OT - Pin Cushion
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Unspun wool.

Dianne
----- Original Message ----- 
From: <roscelinlimoges@comcast.net>
To: "Historic Costuming" <h-costume@indra.com>
Sent: Wednesday, November 23, 2005 4:19 PM
Subject: [h-cost] OT - Pin Cushion


> I'm wanting to make a decorative pin cushion for a Christmas gift., but 
> not sure what to fill it with.  Does anyone have any suggestions besides 
> sand or fiberfill?
>
> Roscelin
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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] dates of knitted mitt, and vest?
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At 11:50 24/11/2005, you wrote:

> > the child's knitted vest and mitten, not a set as I
> > remember, are 1300's. (Dated from the context of the
>dig.)
> > However, I will be making proper notes next week and
>will pass them on.
>
>The BBC has these as 1500's:
>
>http://news.bbc.co.uk/1/hi/in_pictures/4457602.stm
>
>assuming these are the same knitted mitten and vest
>you saw, Suzi, and not a different set.  Also, if
>these are, the vest is knitted?!?  I can't tell that
>from the photograph, and that (16th cen, let alone
>14th!) would be excitingly early for a knitted
>body-garment!


Yes, definitely knitted - I thought they were earlier, but if that is 
what the Museum has put out for publicity, that will be right. I seem 
to remember that the mitten and the vest were knitted at roughly the 
same size of stitches. I will take notes, and pictures if possible, 
next week when I revisit. In a social situation it was a bit 
difficult to do more than scribble a few reminders.

Suzi


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Subject: Re:[h-cost] theater opera costumes in general
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>
>
>Message: 2
>Date: Wed, 23 Nov 2005 21:04:19 +0100
>From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
>Subject: [h-cost] theater opera costumes in general
>To: <h-costume@indra.com>
>Message-ID: <000a01c5f069$17845cf0$7c83fea9@CPQ21932199711>
>Content-Type: text/plain; format=flowed; charset="iso-8859-1";
>         reply-type=original
>
>Hi the list.
>I went to an opera with the oldest opera ever performed, Monteverdis
>Olysses.
>Music and orchestra was very impressive but the costumes!
>I would like to ask you who might makes costumes for stage, why does it have
>to be modern and artistic?
>I have the feeling it is an intempt to try to drag more people to come to
>theaters, that they make the costumes modern and artistic.
>I am totally disagreable in this, i hate the very guts of those stupid, and
>tedious scenografers, who destroys my want to go and have a fantastic time,
>i was so disapointed and i could just as well have gone to a cd shop and buy
>the opera, and stay home.
>What are your oppinons about this, why in heavens name dont they make period
>costumes, what is wrong with this, and would the modern audiense hate this?
>
>Bjarne.......................


The simple answer is innovation. Producers and directors of opera are 
always trying to be innovative, to bring something new and fresh and 
different to opera and Shakespeare and classical literature. They can't 
mess with the words and music, those are set in stone (unless you're Franco 
Zefferelli who thinks he knows better than Verdi how La Traviata and 
Othello should end, but that's another story). So the only thing left to 
them is the production itself - the sets and costumes.

I sometimes think that because they =can't= mess with the words and music, 
they go way overboard with with they can and do change around. If you 
present a production in correct period sets and costumes you're seen as 
having no imagination and the rest of the opear/theatre world dismisses you 
(and likely the rest of your career) as a no-talent hack. The opera world 
is astonishingly vicious.

It may sound ugly, but that's the truth.
Julie


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In a message dated 11/24/2005 10:32:25 A.M. Eastern Standard Time,  
Kiloran@worldnet.att.net writes:

If you  
present a production in correct period sets and costumes you're seen as  
having no imagination and the rest of the opera/theatre world dismisses  you 



*****************************
 
Not exactly. 
 
You all seem to forget that period accurate costumes and sets don't always  
work. They are fine for people interested in history....and even then they may  
be historically interesting but not dramatically interesting or a service to 
the  production. We live in the 21st century, not the 17th. The only advantage 
that  period interps of period shows have is that they automatically have a 
legitimate  reason for being used with said play or opera or whatever.
 
I just think that period designs have as much a chance at being awful and  
irrelevant as modern designs.
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To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] OT - Pin Cushion
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>I'm wanting to make a decorative pin cushion for a Christmas gift., but 
>not sure what to fill it with.  Does anyone have any suggestions besides 
>sand or fiberfill?

Bran?  Rice husks?  I've even used dryer lint.


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

              //// \\\
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Subject: [h-cost] Plays and operas in different periods
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For me, a professional costume designer as well as a costume designer in  
education, it is always more fun to place a well-known play in a different  
period that the period in which it was written.  But I speak  selfishly.  It needs 
to be made clear, here that it works best with  well-known classics such as 
Shakespeare, Moliere, or the Greek and  Roman plays.  If the theme relates well 
to a different time in history,  then it seems to work very well.  Even the 
Shakespearean plays weren't  placed "in period" at their time but in a curious 
mismash of the Elizabethan  interpretation of, say, Roman with Renaissance 
interpretation including doublets  and hose.  And I think a play or opera from the 
Baroque period would be  great fun if it was designed in the style of the 
opera costumes of Baroque  period, although, as it was pointed out previously, 
those weren't "period",  either, but appear rather strange to the contemporary 
eye.  I have a  British director that I design for who always insists on "the 
period, Darling,  of course", without considering the possibilities.  So we've 
had a  "Macbeth" in 12th century or so Scotland (fun, anyway because the 
research was  so much fun plus, given that we built 90% of the show a pretty easy 
time due to  the T-shape construction methods of the time).  She wanted 
"Hamlet" in "the  period, Darling", but the budget and time constraints wouldn't have 
allowed for  it, so she was talked into an Erte look with Early Jacobean 
touches.  That  said, some of the most fun I have had as a designer have been the 
following  plays placed out of period:
 
"Romeo and Juliet"-French Directoire
"Measure for Measure"-Antebellum New Orleans
"As You Like It"-1960's Hippies vs. Jet Setters
"Taming of the Shrew"-California Gold Rush
"Pericles"-Vague Gypsy
"Midsummer Night's Dream"-An all white court in Renaissance Doublets for  the 
men, pseudo-Greek draperies for the ladies and a host of Punk-inspired  
fairies (sounds dreadful, but worked very well)
 
I also recall a "Tempest" at Yale back in the '70's which took place on  
Mars, a "Measure for Measure" at the Royal Shakespeare in Stratford set in the  
18th Century (wonderful production), and a very bad "Twelfth Night" at the Young 
 Vic set in the 1930's (it wasn't the costumes which made it bad, it was the  
stage direction)
 
And I'm sure there are many more that skip my mind as I rattle off this  
email.  Sometimes it's done because time and budget constraints don't allow  for 
the actual period, sometimes because the director wants to "visit" the play  in 
a new play.  After it's all over and done, the question to ask is did  the 
chosen play/opera/ballet support the playwright's, etc. original  vision?  If it 
didn't, then I would say the choice is not particularly  successful.
 
Long post, between bread (rising), pies (in the oven) and stuffing (next on  
my list)
 
Happy Thanksgiving to all of the Americans on this list, and Peace on Earth  
to all of us.
 
Cheryl Odom
College of Santa Fe
 
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	Thu, 24 Nov 2005 13:19:45 EST
Date: Thu, 24 Nov 2005 13:19:45 -0500 (EST)
From: Kathy Page <caitlin_oduibhir@yahoo.ca>
To: h-costume@indra.com
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Subject: [h-cost] Re:Tudor Costumes
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This isn't my period per se, but something jumped out
at me in this group of sources you have listed. I
don't know if you listed them together for the same
reason they caught my attention, however I thought I
would make the observation. 
Most of these women are quite pregnant. That I suspect
explains the closure oddities. 
Forgive me for jumping in part way into this thread, I
haven't been following it. I have Alcega, which "Fat
woman" pattern do you want - there are several.
Frankly, they look no different than the not-fat woman
patterns. I think its accounting for greater fabric
usage, nothing more. The major difference between a
large woman and a regular woman, for the most part
anyway, is the depth of the armscye. I think most plus
women have regular frames which makes their shoulders
narrow, but the larger girth (as much as I hate that
word in this context) makes it harder to get those
curves to meet up.
Often I will buy a shirt pattern that fits my
shoulders and add in the extra from bust to hip so
that the critical fitting is already done. 

I could be completely off base from the intended
topic, so I digress.

Interestingly though, because they are pregnant, the
lacing is quite wide and appears to be that ladder
lacing well known amongst the later era Venetians. One
has to wonder if this is the genesis for that style?
Having a slightly opened bodice showing the lacing and
chemise, suggesting fertility? That style of bodice
closure appears in Venice not long after their first
round with the plague, they employed any number of
visual illusions to imply ample fecundity right about
that time.

Kathy

That's why I was really interested to
> see the Alcega layout 
> for a "fat woman".
>  
> Here's what I've found so far for depictions of
> fastening:
>  
> Front of overgown tied shut, no depiction of
> undergown fastening, but is 
> not front-fastened
> Elizabeth Dauncey, 1526-8,
> http://www.uvm.edu/~hag/sca/tudor/dauncey.jpg
> Cecilia Heron, 1527,
> http://www.uvm.edu/~hag/sca/tudor/cecilia.jpg
> Margaret Grigg, 1527,
> http://www.uvm.edu/~hag/sca/tudor/holb5.jpg
> More Family, 1527,
> http://www.uvm.edu/~hag/sca/tudor/morefamily.jpg
> More Family, 1593 copy,
> http://www.uvm.edu/~hag/sca/tudor/moregirls.jpg


It’s never too late to be who you might have been.
-George Eliot
For every beauty there is an eye somewhere to see it. For every truth there is an ear somewhere to hear it. For every love there is a heart somewhere to receive it.
-Ivan Panin


	

	
		
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To: Historical Costume <h-costume@indra.com>
From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] Apparently the 1990's are Now Considered Period Costume
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Ooh yeah!  Let's start complaining about "anachronistic low-rise jeans" 
!

Jean


Karen R Bergquist <penhalion@juno.com> wrote
>http://www.nytimes.com/2005/11/20/magazine/20style_90s.html#articleBodyLi
>nk
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-- 
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Subject: Re: [h-cost] Apparently the 1990's are Now Considered Period Costume
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1990s are vintage?  At least it means most of us can dress in real 
authentic vintage just by mining the back of the closet.

Fran
Lavolta Press  Books on Vintage Clothes
http://www.lavoltapress.com


>
> Karen R Bergquist <penhalion@juno.com> wrote
>
>> http://www.nytimes.com/2005/11/20/magazine/20style_90s.html#articleBodyLi 
>>
>> nk
>
>
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From: "Elizabeth Walpole" <ewalpole@tpg.com.au>
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Subject: [h-cost] victorian corset with too short busk
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Hi everyone,
I've almost finished making a victorian corset (1850s pattern from Corsets 
and Crinolines) which I'm ready to put the boning in and I was looking for 
sources of boning and the cheapest source I can find is hedgehog handworks, 
but they don't have busk long enough for my corset (their longest busk is 
about 2-3 inches shorter than my corset) so has anyone worked out the best 
way to make up for a short busk? My thought so far was to add an extra bone 
with a heavy duty hook & eye at either the top or the bottom, but I think I 
remember later 19th century corsets (1880s or 90s) with a few inches of 
lacing below the busk (I used a library copy of corsets and crinolines so I 
don't have it with me to check). If anyone has experimented with either 
hooks & eyes or lacing with a busk can you tell me what worked and what 
didn't.
thanks
Elizabeth
--------------------------------------------
Elizabeth Walpole
Canberra Australia
ewalpole[at]tpg.com.au
http://au.geocities.com/e_walpole/

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Subject: [h-cost] RE:  theater opera costumes in general 
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I just think that period designs have as much a chance at being awful and  
irrelevant as modern designs.

Of course they do - bad design is just bad design.  Just as good design is 
good design, whether period or modern.

(as an aside, my college costume tutor used to tell a wonderful story about 
how she'd put bias cut panels into a boned bodice for an opera (the theory 
being that it would make it easier to take a big breath) when she was a student, 
and her tutor, (Janet Arnold, no less), made her take it apart and start again, 
because 'it's wrong, and if you're going to make it historically you should 
make it properly'.)
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At 22:22 24/11/2005, you wrote:
>Hi everyone,
>I've almost finished making a victorian corset (1850s pattern from 
>Corsets and Crinolines) which I'm ready to put the boning in and I 
>was looking for sources of boning and the cheapest source I can find 
>is hedgehog handworks, but they don't have busk long enough for my 
>corset (their longest busk is about 2-3 inches shorter than my 
>corset) so has anyone worked out the best way to make up for a short 
>busk? My thought so far was to add an extra bone with a heavy duty 
>hook & eye at either the top or the bottom, but I think I remember 
>later 19th century corsets (1880s or 90s) with a few inches of 
>lacing below the busk (I used a library copy of corsets and 
>crinolines so I don't have it with me to check). If anyone has 
>experimented with either hooks & eyes or lacing with a busk can you 
>tell me what worked and what didn't.
>thanks
>Elizabeth


Jean Hunnisett would use hooks and eyes at the top of a short busk, 
having taped a steel bone to the busk in order to lengthen the 
support part. I also get my husband to cut a sections from a straight 
busk (I'm not strong enough) and I tape them to the top of a short busk.

Suzi 


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Subject: Re: [h-cost] Apparently the 1990's are Now Considered Period Costume
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In a message dated 11/24/2005 3:49:18 P.M. Eastern Standard Time,  
anne@montgomerie.demon.co.uk writes:

Ooh  yeah!  Let's start complaining about "anachronistic low-rise jeans"  
!



************************
 
 
Hahahaha! Or ....black clothes!
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Subject: Re: [h-cost] victorian corset with too short busk
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In a message dated 11/24/2005 7:47:59 P.M. Eastern Standard Time,  
suzi@suziclarke.co.uk writes:

Jean  Hunnisett would use hooks and eyes at the top of a short busk,  



*******************
 
I put it at the bottom, because if there is a crinkle or lump there because  
of it, it ends up under the petticoat and skirt. [I might put it at the top 
for  Bustle or later, since there's usually some fru-fru or buttons around the  
bust area in those periods and the hip area might be fitted and smooth.] I 
just  run a bone long enough to go from top to bottom right next to the  busk.
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Hi,

I am from German and look for victorian dressmaking- can you help me?

Greetings from Hamburg

Yours Silvia



Verschicken Sie romantische, coole und witzige Bilder per SMS! 
Jetzt bei WEB.DE FreeMail: http://f.web.de/?mc=021193 

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Subject: Re: [h-cost] victorian corset with too short busk
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Hi,

I buy my busks here.
http://www.venacavadesign.co.uk/Pages/DraftBusks.htm
They sell the very long busks.
I don't know if they are cheap but I have seen corsets where the busk
was too short and they looked ugly.
They cut a piece of an other busk and taped it together but is is very
easy to see.

Greetings,
       Deredere

Elizabeth Walpole wrote:

> Hi everyone,
> I've almost finished making a victorian corset (1850s pattern from 
> Corsets and Crinolines) which I'm ready to put the boning in and I was 
> looking for sources of boning and the cheapest source I can find is 
> hedgehog handworks, but they don't have busk long enough for my corset 
> (their longest busk is about 2-3 inches shorter than my corset) so has 
> anyone worked out the best way to make up for a short busk? My thought 
> so far was to add an extra bone with a heavy duty hook & eye at either 
> the top or the bottom, but I think I remember later 19th century 
> corsets (1880s or 90s) with a few inches of lacing below the busk (I 
> used a library copy of corsets and crinolines so I don't have it with 
> me to check). If anyone has experimented with either hooks & eyes or 
> lacing with a busk can you tell me what worked and what didn't.
> 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
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>


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Subject: Re: [h-cost] victorian corset with too short busk
Date: Fri, 25 Nov 2005 20:54:22 +1100
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I looked at Vena Cava but they don't have 1/2 inch spiral boning in pre cut 
lengths, they only have it in rolls and I don't want to have to cut it up 
myself as by the time I've bought a decent pair of bolt cutters it would be 
just as expensive as buying from http://www.corsetmaking.com/ (they have all 
the pieces I need but it would cost me about $20 more than if I used 1/4 
inch boning from vena cava) Hedgehog handworks has everything I want except 
for the long busk, for about the same price as vena cava (less than $1 
difference once I convert it into Australian dollars)
Elizabeth
----- Original Message ----- 
From: "Deredere Galbraith" <Deredere.Galbraith@kabelfoon.nl>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, November 25, 2005 7:37 PM
Subject: Re: [h-cost] victorian corset with too short busk


> Hi,
>
> I buy my busks here.
> http://www.venacavadesign.co.uk/Pages/DraftBusks.htm
> They sell the very long busks.
> I don't know if they are cheap but I have seen corsets where the busk
> was too short and they looked ugly.
> They cut a piece of an other busk and taped it together but is is very
> easy to see.
>
> Greetings,
>       Deredere
>
> Elizabeth Walpole wrote:
>
>> Hi everyone,
>> I've almost finished making a victorian corset (1850s pattern from 
>> Corsets and Crinolines) which I'm ready to put the boning in and I was 
>> looking for sources of boning and the cheapest source I can find is 
>> hedgehog handworks, but they don't have busk long enough for my corset 
>> (their longest busk is about 2-3 inches shorter than my corset) so has 
>> anyone worked out the best way to make up for a short busk? My thought so 
>> far was to add an extra bone with a heavy duty hook & eye at either the 
>> top or the bottom, but I think I remember later 19th century corsets 
>> (1880s or 90s) with a few inches of lacing below the busk (I used a 
>> library copy of corsets and crinolines so I don't have it with me to 
>> check). If anyone has experimented with either hooks & eyes or lacing 
>> with a busk can you tell me what worked and what didn't.
>> 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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>
>
>
>
> -- 
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Date: Fri, 25 Nov 2005 10:15:11 -0500
From: Katy Bishop <katybishop64@gmail.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] victorian corset with too short busk
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Greenberg and Hammer have corset busks as short as 6" and longer ones
in 11" 12" 14" and 17" lengths.

https://www.greenberg-hammer.com/store.asp?ItemID=195

They also have ones with gold colered studs.

Katy

On 11/25/05, Deredere Galbraith <Deredere.Galbraith@kabelfoon.nl> wrote:
> Hi,
>
> I buy my busks here.
> http://www.venacavadesign.co.uk/Pages/DraftBusks.htm
> They sell the very long busks.
> I don't know if they are cheap but I have seen corsets where the busk
> was too short and they looked ugly.
> They cut a piece of an other busk and taped it together but is is very
> easy to see.
>
> Greetings,
>       Deredere
>
> Elizabeth Walpole wrote:
>
> > Hi everyone,
> > I've almost finished making a victorian corset (1850s pattern from
> > Corsets and Crinolines) which I'm ready to put the boning in and I was
> > looking for sources of boning and the cheapest source I can find is
> > hedgehog handworks, but they don't have busk long enough for my corset
> > (their longest busk is about 2-3 inches shorter than my corset) so has
> > anyone worked out the best way to make up for a short busk? My thought
> > so far was to add an extra bone with a heavy duty hook & eye at either
> > the top or the bottom, but I think I remember later 19th century
> > corsets (1880s or 90s) with a few inches of lacing below the busk (I
> > used a library copy of corsets and crinolines so I don't have it with
> > me to check). If anyone has experimented with either hooks & eyes or
> > lacing with a busk can you tell me what worked and what didn't.
> > 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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>


--
Katy Bishop, Vintage Victorian
vintage@shore.net                www.VintageVictorian.com
     Custom reproduction gowns of the Victorian Era.
      Publisher of the Vintage Dress Series books.

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From h-costume-bounces@indra.com  Fri Nov 25 10:27:28 2005
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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] victorian corset with too short busk
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At 15:15 25/11/2005, you wrote:
>Greenberg and Hammer have corset busks as short as 6" and longer ones
>in 11" 12" 14" and 17" lengths.
>
>https://www.greenberg-hammer.com/store.asp?ItemID=195
>
>They also have ones with gold colered studs.
>
>Katy
>
>On 11/25/05, Deredere Galbraith <Deredere.Galbraith@kabelfoon.nl> wrote:
> > Hi,
> >
> > I buy my busks here.
> > http://www.venacavadesign.co.uk/Pages/DraftBusks.htm
> > They sell the very long busks.
> > I don't know if they are cheap but I have seen corsets where the busk
> > was too short and they looked ugly.
> > They cut a piece of an other busk and taped it together but is is very
> > easy to see.


Never had any complaints from my customers, but then you can't see 
that an extra piece has been added. At least not the way I do it. I 
have some old spoon busks which are way too short, but work fine when 
I tape the extra piece on.

Suzi


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From h-costume-bounces@indra.com  Fri Nov 25 12:18:54 2005
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From: Joannah Hansen <Joannah@sluggy.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] victorian corset with too short busk
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Did you look at Farthingales?

http://www.farthingales.on.ca/busks.php

They have straight busks up to 16" long, for up to CDN$22.49 ( AUS$26.20 ).

I also thought that these are an interesting idea ( new from the last time I had a browse through their site ) -

http://www.farthingales.on.ca/lacing_bones.php

But, yes, Hedgehog Handworks has a really good price.

If you will forgive my asking, how long is the front of your corset? ( Just curious/interested. )

Joannah.

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From h-costume-bounces@indra.com  Fri Nov 25 12:39:34 2005
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One thing that I found interesting about Baz Luhrman's 'Romeo and Juliet', was that he didn't change the dialogue to modern speech, but kept the language of the original script/play, and after the first realization of the fact that the characters are speaking Elizabethan English, you totally forgot about it - it was just a part of the movie. ( At least, I forgot about it - it just fitted the movie so well. )

Joannah.

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The Museum of London's website has a "press pack" in PDF which has many, 
many pictures of some of the things -- including larger versions of the 
mitten and the sock.  Also background info -- well, it goes on and on. 
Anyone interested in things from around 500 - 1500 should download and 
read the PDF, really.

Go here: 
http://www.museumoflondon.org.uk/MOLsite/gallery/medieval/pages/c_closure.asp


-- 
Cynthia Virtue and/or Cynthia du Pre Argent

"The result is that Black Friday generally ends up ranking as the fifth 
biggest sales day of the year at most, behind the four days comprising 
the two weekends before Christmas."  -- Snopes.com
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Date: Fri, 25 Nov 2005 13:20:04 EST
Subject: Re: [h-cost] Modern interpretations of period plays
To: h-costume@indra.com
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In a message dated 11/25/2005 12:39:42 P.M. Eastern Standard Time,  
Joannah@sluggy.net writes:

after  the first realization of the fact that the characters are speaking 
Elizabethan  English, you totally forgot about it 


*********************
 
Horrors! To forget about all that amazingly beautiful language!   :-P
 
OK OK....I know what you really meant. 
 
But that happens for me even in a period version of Shakespeare. I mean  it's 
just MODERN English after all. It's not Middle or Old English, y'know.  
Shakespeare rarely used now obsolete words and sometimes, but not THAT  much, 
archaic meanings to perfectly good Modern English words.....and then the  meanings 
are usually perfectly clear via context.
 
The 1st thing to realize is that Shakespeare is not some language unto its  
own. Just very good and creative English.
 
Getting back to your original notion of "forgetting" the "not  
conversational" English....IOW being swept along with the idea of it all... This  happens in 
opera too. Like Shakespeare, the word "opera" immediately puts up a  wall for 
a lot of people. It's too high brow to understand! That wall in both  cases 
is an illusion. After you "get" everyone in opera is singing [with  supertitles 
and subtitled film, the language isn't that much of a barrier  anymore], that 
"disappears" too and one just goes with the flow. 
 
The non-existent wall that prevents otherwise intelligent people from  
enjoying these delights of Opera and Shakespeare is sewn, here in America  anyway, 
by the anti-intellectual brigade. Those usually sports-soaked numb-nuts  that 
seem to be "kewl" in school and never really leave college for the rest of  
their lives. Ignorance is bliss....I guess.
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Subject: Re: [h-cost] dates of knitted mitt, and vest?
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At 18:20 25/11/2005, you wrote:
>The Museum of London's website has a "press pack" in PDF which has 
>many, many pictures of some of the things -- including larger 
>versions of the mitten and the sock.  Also background info -- well, 
>it goes on and on. Anyone interested in things from around 500 - 
>1500 should download and read the PDF, really.
>
>Go here: 
>http://www.museumoflondon.org.uk/MOLsite/gallery/medieval/pages/c_closure.asp


I don't think I need to take photos next week - that is a great 
series of pictures. The Press pack I was sent was nowhere near that 
informative. My colleague Annie the Pedlar is one of the 
craftspeople, and that is the wretched gable hood that caused me such grief!!

Suzi


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For a start, this has become one of my favorite sites.
http://www.vintagetextile.com/victorian.htm
Victorian is not my field of interest so I will let others who are tell you
their sites and tips.

De

-----Original Message-----
Hi,

I am from German and look for victorian dressmaking- can you help me?

Greetings from Hamburg

Yours Silvia


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At 11:20 AM -0700 11/25/05, h-costume-request@indra.com wrote:
>The non-existent wall that prevents otherwise intelligent people from 
>enjoying these delights of Opera and Shakespeare is sewn, here in 
>America  anyway,
>by the anti-intellectual brigade. Those usually sports-soaked numb-nuts  that
>seem to be "kewl" in school and never really leave college for the rest of
>their lives. Ignorance is bliss....I guess.

And then there are the great Baltimore Opera ads--
"Opera it's better than you think, it has to be..."
with some very good graphics as background...
ta
Carol
-- 
Creative Clutter is Better Than Idle Neatness!
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Subject: [h-cost] Re:  too short victorian busk
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If you're already looking outside of Australia, may I
direct you to Greenberg & Hammer, specifically this
item, pop-front busks with silver clasp, from 6" to
17": 
https://www.greenberg-hammer.com/store.asp?ItemID=195

And compare their boning prices.

If you have already purchased your boning, by all
means ignore this.

Ann in CT

Elizabeth Walpole wrote:

> I was looking for sources of boning and the cheapest
> source I can find is hedgehog handworks, but they
don't
> have busk long enough for my corset (their longest
busk
> is about 2-3 inches shorter than my corset) 
>
> Elizabeth



		
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From: Dawn <dawn@reddawn.net>
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] I am new!
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Quebelle@web.de wrote:

> 
> Hi,
> 
> I am from German and look for victorian dressmaking- can you help me?
> 

Welcome. There are many folks here who know Victorian. What are you 
working on?


Dawn


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From: "Elizabeth Walpole" <ewalpole@tpg.com.au>
To: "Historical Costume" <h-costume@indra.com>
References: <20051125091810.BAD97042@dm20.mta.everyone.net>
Subject: Re: [h-cost] victorian corset with too short busk
Date: Sat, 26 Nov 2005 12:28:46 +1100
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----- Original Message ----- 
From: "Joannah Hansen" <Joannah@sluggy.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Saturday, November 26, 2005 4:18 AM
Subject: Re: [h-cost] victorian corset with too short busk


> Did you look at Farthingales?
>
> http://www.farthingales.on.ca/busks.php
>
> They have straight busks up to 16" long, for up to CDN$22.49 ( 
> AUS$26.20 ).
>
> I also thought that these are an interesting idea ( new from the last time 
> I had a browse through their site ) -
>
> http://www.farthingales.on.ca/lacing_bones.php
>
> But, yes, Hedgehog Handworks has a really good price.
>
> If you will forgive my asking, how long is the front of your corset? ( 
> Just curious/interested. )
>
> Joannah.
>

the front of my corset is 19 inches in total (I chose this pattern from 
Corsets and Crinolines because it was fairly simple but it was long enough 
that I could do things like Bustle gowns as well as crinoline fashions) so 
if I leave 1/2 an inch at either end that leaves me with an 18" busk so 16" 
isn't long enough (though it's 1" longer than Hedgehog Handworks) and they 
don't have 1/2" wide spiral steels in pre-cut lengths, and I don't want to 
have to deal with cutting up the boning myself.
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>
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Subject: Re: [h-cost] Re:  too short victorian busk
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----- Original Message ----- 
From: "Ann Catelli" <elvestoorder@yahoo.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Saturday, November 26, 2005 11:41 AM
Subject: [h-cost] Re: too short victorian busk


>
> If you're already looking outside of Australia, may I
> direct you to Greenberg & Hammer, specifically this
> item, pop-front busks with silver clasp, from 6" to
> 17":
> https://www.greenberg-hammer.com/store.asp?ItemID=195
>
> And compare their boning prices.
>
> If you have already purchased your boning, by all
> means ignore this.
>
> Ann in CT
>

Well, I've got to look outside Australia as to my knowledge there isn't an 
Australian supplier of spiral boning (I know of one SCA merchant who offers 
flat steels and I won't see them untill next easter anyway)
But Greenberg & Hammer have the same problem as most of the other stores 
they don't offer 1/2 inch spiral steel in pre-cut lengths, following the 
advice I seem to read everywhere that if you're above a C cup 1/4 inch 
steels won't give enough support I'm looking for 1/2 inch steels but I don't 
want to cut my own, because I'm hoping this will be the only corset I'll 
have to make with spiral bones, so learning how to apply the tips for one 
corset would be more trouble than it's worth (not to mention buying a pair 
of bolt cutters to cut it).
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>
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Subject: Re: [h-cost] victorian corset with too short busk
Date: Sat, 26 Nov 2005 13:44:28 +1100
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<snip>
>> > I don't know if they are cheap but I have seen corsets where the busk
>> > was too short and they looked ugly.
>> > They cut a piece of an other busk and taped it together but is is very
>> > easy to see.
>
>
> Never had any complaints from my customers, but then you can't see that an 
> extra piece has been added. At least not the way I do it. I have some old 
> spoon busks which are way too short, but work fine when I tape the extra 
> piece on.
>
> Suzi

Suzi,
Can you describe the way you attach an extra busk piece, as it must be 
different to the method Deredere has seen if one is obvious and the other 
isn't. I'm assuming you would have to use gaffer tape (AKA duct tape) for 
the strength and I'm wondering how you would get the requisite strength in 
the join without creating lumps in the finished corset.
Thanks,
Elizabeth
--------------------------------------------
Elizabeth Walpole
Canberra Australia
ewalpole[at]tpg.com.au
http://au.geocities.com/e_walpole/


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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Re:  too short victorian busk
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	<000f01c5f22a$bec5f600$69daf5dc@user4712b7d135>
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There is an Australian supplier - I'm now getting my stuff from them - 
contact me for details but you'll have to drive to Sydney to look at 
what you want.
Aylwen
http://www.earthlydelights.com.au


Elizabeth Walpole wrote:

>
> ----- Original Message ----- From: "Ann Catelli" <elvestoorder@yahoo.com>
> To: "Historical Costume" <h-costume@indra.com>
> Sent: Saturday, November 26, 2005 11:41 AM
> Subject: [h-cost] Re: too short victorian busk
>
>
>>
>> If you're already looking outside of Australia, may I
>> direct you to Greenberg & Hammer, specifically this
>> item, pop-front busks with silver clasp, from 6" to
>> 17":
>> https://www.greenberg-hammer.com/store.asp?ItemID=195
>>
>> And compare their boning prices.
>>
>> If you have already purchased your boning, by all
>> means ignore this.
>>
>> Ann in CT
>>
>
> Well, I've got to look outside Australia as to my knowledge there 
> isn't an Australian supplier of spiral boning (I know of one SCA 
> merchant who offers flat steels and I won't see them untill next 
> easter anyway)
> But Greenberg & Hammer have the same problem as most of the other 
> stores they don't offer 1/2 inch spiral steel in pre-cut lengths, 
> following the advice I seem to read everywhere that if you're above a 
> C cup 1/4 inch steels won't give enough support I'm looking for 1/2 
> inch steels but I don't want to cut my own, because I'm hoping this 
> will be the only corset I'll have to make with spiral bones, so 
> learning how to apply the tips for one corset would be more trouble 
> than it's worth (not to mention buying a pair of bolt cutters to cut it).
> 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
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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] victorian corset with too short busk
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At 02:44 26/11/2005, you wrote:
><snip>
>>> > I don't know if they are cheap but I have seen corsets where the busk
>>> > was too short and they looked ugly.
>>> > They cut a piece of an other busk and taped it together but is is very
>>> > easy to see.
>>
>>
>>Never had any complaints from my customers, but then you can't see 
>>that an extra piece has been added. At least not the way I do it. I 
>>have some old spoon busks which are way too short, but work fine 
>>when I tape the extra piece on.
>>
>>Suzi
>
>Suzi,
>Can you describe the way you attach an extra busk piece, as it must 
>be different to the method Deredere has seen if one is obvious and 
>the other isn't. I'm assuming you would have to use gaffer tape (AKA 
>duct tape) for the strength and I'm wondering how you would get the 
>requisite strength in the join without creating lumps in the finished corset.
>Thanks,
>Elizabeth


I use electrical tape, which is sturdy and much finer than duct tape. 
I have a collection of old spoon busks which I use, but they are 
barely 10" long, so my husband cuts a modern busk to make the length 
I need, making sure that there is as much spare steel as possible 
below the bottom stud and loop. Then I just bind them together  with 
the tape. It may be a difference in construction technique as well. 
The corsets I make for VictorianEdwardian are single layer, with the 
front busk edge and the back lacing edge both faced with the same 
material (broche). I use twill rape sewn over the seams to hold the 
bones. I have made corsets for a lady with an FF bust, and still use 
narrow spiral steels, but use two laid side by side in each tape. 
This gives plenty of support and means I don't go looking for wider 
steels. I make corsets all the rime, and have never used wider steels 
for any of them, no matter what size.

Hope this helps.

Suzi




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Subject: Re: [h-cost] More Tudor Questions (next step - bodice)
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At 11:31 PM 11/23/2005, you wrote:
>I wish that the website could help, but not a lot of women back then were 
>ever my size, at least not any pictured (which is why I like Lady 
>Guildford's portrait - she's plump and she's only a little younger than I 
>am - 27).  That's why I was really interested to see the Alcega layout for 
>a "fat woman".


Thank you for sharing those resource images. I have seen or have most of 
them, but a few were new to me.

I am also a larger woman (about 20-22 in Women's size) and have had 3 kids, 
one recently, so I understand the size differences. However, there isn't 
that much differences in fabric usage in a good layout from a normal 
woman's size, to a larger one. Well, lets look at Alcega's layouts.

Compare Alcega's layouts and fabric requirements in his various garments 
for a "fat woman".
Kirtle of silk for a woman: 6 1/8 x 2/3 ells
Silk kirtle for a fat woman: 7 1/2 x 2/3 ells
Kirtle of cloth for a fat woman: 2 1/4 x 2 ells
Kirtle of cloth rash: 2 x 2 ells (cloth rash has no nap)
Kirtle of cloth rash for a fat woman: 2 1/4 x 2 ells
In this case, kirtle appears to be a skirt only, not the complete skirt and 
bodice of earlier times, but different than the Skirt that is shown in a 
different diagram. Also something I am just noting is that there are 
layouts for "kirtle and bodice" or "kirtle and little jerkin" for women, 
but none are shown for fat women. I am not sure why this is.

The thing I am leary with looking at Alcega's patterns is that it is for 
the 1580s, and styles for that time frame are different than the earlier 
Tudor time frame. I recently got a hold of a book from the library on 
Spanish garments, Hispanic Costume: 1480 - 1530 by Ruth M. Anderson. Let me 
look over the images again, and see if there are any insights to be gained 
from that book. I know I got a lot on the men's garments, especially the 
bases, but the women's garments appear to be very different than the Tudor 
style.

And I have some of Livinia Teerlinks images, but those were miniatures, and 
hard to determine what they wore. She also comes into Henry VIII's service 
in 1546 according to the book I have, so her Tudor minis are going to be a 
later time frame than you are looking at. I have an image that her father, 
Simon Benninck (sometimes spelled Bennick or Bening) painted that shows 
ladies in various outdoor situations wearing Tudor garments (c.1540). There 
is no visible means of closures on the outer gowns, and he shows both front 
and back views. They are at the V&A museum, and I have found color images 
online, but not in any good detail. They also would not be English, but I 
think Flemish in location.
http://66.102.7.104/u/vam?q=cache:bnvSW5a1woUJ:www.vam.ac.uk/images/image/11732-popup.html+bening&hl=en&ie=UTF-8
That is one, and I can't seem to find the other right now.

Hilliard wasn't born until 1547, so his images will not be helpful for your 
time frame. I don't know anything about Jean Perreal, so I will check him 
out as well.

hth,
Kimiko

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Subject: Re: [h-cost] Modern interpretations of period plays
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> The non-existent wall that prevents otherwise intelligent people from
> enjoying these delights of Opera and Shakespeare is sewn, here in America 
> anyway,
> by the anti-intellectual brigade. Those usually sports-soaked numb-nuts 
> that
> seem to be "kewl" in school and never really leave college for the rest of
> their lives. Ignorance is bliss....I guess.


Actually, my "opera wall" (tee hee) was caused by living, when I was a 
child, next door to some opera fans. Not only were they generally unpleasant 
people, but every evening, they played opera music. LOUDLY. And three 
seasons of the year, they had their windows wide open, so the whole 
neighboorhood could "enjoy" their music.

I got bettah..  :-)

I've loved Shakespeare since the first time I encountered it. One of my most 
cherished books is the Complete Works of Shakespeare, which my parents gave 
me for Christmas when I was sixteen.

Dianne 

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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] Modern interpretations of period
  plays/opera/ballet
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At 12:17 26/11/2005, you wrote:

>>The non-existent wall that prevents otherwise intelligent people from
>>enjoying these delights of Opera and Shakespeare is sewn, here in 
>>America anyway,
>>by the anti-intellectual brigade. Those usually sports-soaked numb-nuts that
>>seem to be "kewl" in school and never really leave college for the rest of
>>their lives. Ignorance is bliss....I guess.
>
>
>Actually, my "opera wall" (tee hee) was caused by living, when I was 
>a child, next door to some opera fans. Not only were they generally 
>unpleasant people, but every evening, they played opera music. 
>LOUDLY. And three seasons of the year, they had their windows wide 
>open, so the whole neighboorhood could "enjoy" their music.
>
>I got bettah..  :-)
>
>I've loved Shakespeare since the first time I encountered it. One of 
>my most cherished books is the Complete Works of Shakespeare, which 
>my parents gave me for Christmas when I was sixteen.


I too love Shakespeare, even though my first experience as a very 
young child, was watching an all female company "do" Merchant of 
Venice". I think I must have read Lamb's Tales From Shakespeare, as I 
waited with trepidation for Shylock to bare "his" breast in the trial scene!!

Then my aunt took me to my first RSC production (1952) and I was 
hooked - we lived in Stratford on Avon, where you either loved it or 
hated it. And I saw some really weird versions I must say! Also in 
the winter there were productions of opera, and I mostly loved that, 
although now I prefer earlier rather than later (Last year was a 
French production of a Rameau opera date late 17th /early 18th 
century, with naked people, trampolines, and weeeird costumes, but 
the music was bliss.)

But I cannot get over the ballet "wall", even though I saw Nureyev 
and Fontaine in Les Sylphides. I hate the music, and don't enjoy the 
dancing. (And there are some seriously odd costumes in ballet too.)

Suzi 


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Hi,
I saw the most delightfull printed roses velvet today. It is the kind of 
velvet that is wowen into dimentional stripes.
Dont know the english term for this, and i apologise for asking because many 
have asked before, but this velvet wich today is used for trousers and 
jackets, was that used in 18th century?
If not it is such a shame, it would have ben wonderfull for jackets and 
skirts.........

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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From h-costume-bounces@indra.com  Sat Nov 26 09:02:23 2005
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From: "Sue Clemenger" <mooncat@in-tch.com>
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	<016f01c5f283$703d99d0$c2b6eb40@Stuckis>
Subject: Re: [h-cost] Modern interpretations of period plays
Date: Sat, 26 Nov 2005 07:08:29 -0700
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I'm with Dianne on this one, although my "opera wall" doesn't come with a
set of rude neighbors! ;-D
I just plain don't like most 19th century music (or a fair amount of 20th
century music).  I don't have much appreciation for any book or movie or art
form that has a lot of over-the-top drama in it.  Since I got out of
adolescence, I've also not been much of a fan of musicals (liked them as a
kid just fine, and there are a few I enjoy now, but it's not something I'll
normally spend money on <shrugs>).
I adore music from the Renaissance and Baroqe periods, though, and Mozart
(does he count as Baroqe or Romantic?).  The local university's in the
middle of working on a production of _Marriage of Figaro_, and I'm going to
see that. ;o)
--Sue, who's musical prefernces pick up again in the 1960s, with exceptions
for composers like Aaron Copeland.....
OCC: Currently sorting through in-house wool and linen stash for makings for
some 10th c. (western) Norse outfits.  What's everyon else doing?

----- Original Message -----
From: "Dianne & Greg Stucki" <goofy1@suscom.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Saturday, November 26, 2005 5:17 AM
Subject: Re: [h-cost] Modern interpretations of period plays


>
> > The non-existent wall that prevents otherwise intelligent people from
> > enjoying these delights of Opera and Shakespeare is sewn, here in
America
> > anyway,
> > by the anti-intellectual brigade. Those usually sports-soaked numb-nuts
> > that
> > seem to be "kewl" in school and never really leave college for the rest
of
> > their lives. Ignorance is bliss....I guess.
>
>
> Actually, my "opera wall" (tee hee) was caused by living, when I was a
> child, next door to some opera fans. Not only were they generally
unpleasant
> people, but every evening, they played opera music. LOUDLY. And three
> seasons of the year, they had their windows wide open, so the whole
> neighboorhood could "enjoy" their music.
>
> I got bettah..  :-)
>
> I've loved Shakespeare since the first time I encountered it. One of my
most
> cherished books is the Complete Works of Shakespeare, which my parents
gave
> me for Christmas when I was sixteen.
>
> Dianne
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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From h-costume-bounces@indra.com  Sat Nov 26 09:31:34 2005
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Subject: [h-cost] Opera and ballet
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In a message dated 11/26/2005 9:02:57 A.M. Eastern Standard Time,  
mooncat@in-tch.com writes:

I adore  music from the Renaissance and Baroqe periods, though, and Mozart
(does he  count as Baroqe or Romantic?


*******************
 
 
He's "Classical"....with Haydn and Beethoven.
 
And there are lots of Baroque and Classical operas. My faves too. I like  the 
stylized, non-realistic approach of these operas. "Le Nozzi di Figaro" is my  
fave.
But I also like a lot of 19th century fare. Who doesn't like  Rossini? Verdi 
is awfully good...well can be. Of course one can do a  dreadful production of 
a great opera, y'know.
 
And I must admit that "Die Valkure" is a lot of "fun" in that melodramatic  
way. But you really have to prepare for Wagner.
 
It must be remembered that when people say "I don't like opera", it's like  
saying "I don't like cheese". There's a million different kinds!!!!! Four  
centuries worth. "L'Orfeo" is nothing like "Wozzek"! Both are great in their own  
way.
 
And.... was it Suzi who didn't like Ballet? But you loved Rameau? About 1/3  
of his operas ARE ballet!
 
I love ballet but I admit I go for those Balenchine no costume/ no sets  
pieces to great music. "La Sylphide" is a big bore!.... with mediocre music.  
However "Giselle" is divine [especially Act II]....with mediocre music.
But Delibes &Tchaikovsky changed all that mediocre music  "tradition".
 
One of the best works of art EVER created is Balenchine's "The Four  
Temperaments". The music was written in 1940 by Hindemith and is really  good....a 
theme with 4 variations [one for each temperament] for strings and a  
piano....like a concerto. The choreography is perfection. No sets....no  costumes. It's 
on DVD but the music is out of sync by like 1/2 a second and I  can't stand it! 
I know it's wrong because I have it on VHS and have watched it a  million 
times.
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From h-costume-bounces@indra.com  Sat Nov 26 09:38:16 2005
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Date: Sat, 26 Nov 2005 09:36:47 -0500
To: Historical Costume <h-costume@indra.com>
From: Carol Kocian <aquazoo@patriot.net>
Subject: Re: [h-cost] victorian corset with too short busk
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      This is hindsight, but I would have researched and bought the 
busk first before starting the corset, and then adjust the corset 
length so the available busk works.

      Why do you have to buy the rest of the boning in the same place? 
Is there a minimum order?

      The spiral boning is not that hard to cut.  I'm talking about 
the type that looks like a flattened spring.  You only need to snip 
two parts of the wire, with cutters that do not need to be as strong 
as those used to cut a solid metal bone.  There's not that much metal 
to cut.

      If you cut it a certain way, you end up with a rounded edge 
because of the way the wire is rounded.  You can get caps for the 
ends, but I found the resulting rounded edge works well.  It's 
slightly better than the white metal boning as far as not wearing 
through the fabric.

      When I used the pre-made lengths of boning, I have a stock of a 
lot of different lengths.  That way I don't have to order a specific 
amount and I can switch them if something ends up not the right size 
or comfort for any reason.

      -Carol


>the front of my corset is 19 inches in total (I chose this pattern 
>from Corsets and Crinolines because it was fairly simple but it was 
>long enough that I could do things like Bustle gowns as well as 
>crinoline fashions) so if I leave 1/2 an inch at either end that 
>leaves me with an 18" busk so 16" isn't long enough (though it's 1" 
>longer than Hedgehog Handworks) and they don't have 1/2" wide spiral 
>steels in pre-cut lengths, and I don't want to have to deal with 
>cutting up the boning myself.
>Elizabeth
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Subject: Re: [h-cost] Modern interpretations of period plays
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Sue wrote:
> I adore music from the Renaissance and Baroqe periods, though, and Mozart
> (does he count as Baroqe or Romantic?).

Mozart is considered "classical", along with Haydn and early Beethoven. 
Classicism is between Baroque and Romantic.
                      -Helen/Aidan
(Who grew up not especially liking opera, since it was blasted in our house 
every waking moment my father was not at work. Of course, my opinion changed 
in my late teens.  I'm also not a 19th c music fan for the most part (give 
me Bach and Mozart); most of it is too schmaltzy for my taste, except for 
some of the national/folkloric stuff.  There's some good stuff in the 20th 
c, but definitely not that serial stuff.) 

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If I understand what you mean correctly, you 'betcha!  Look in Fashion 
in Detail from the 17th and 18th Centuries (by Hart and North) on pages 
82 and 100.  A 1760's  man's dress coat of sprigged silk velvet.  The 
velvet it is orange with greenish flowers outlined in black!  It is 
embroided in silver-gilt thread.

Sg

Bjarne og Leif Drews wrote:

> Hi,
> I saw the most delightfull printed roses velvet today. It is the kind 
> of velvet that is wowen into dimentional stripes.
> Dont know the english term for this, and i apologise for asking 
> because many have asked before, but this velvet wich today is used for 
> trousers and jackets, was that used in 18th century?
> If not it is such a shame, it would have ben wonderfull for jackets 
> and skirts.........
>
> Bjarne


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Date: Sat, 26 Nov 2005 17:13:25 +0000
To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] Opera and ballet
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>
>I adore  music from the Renaissance and Baroqe periods, though, and Mozart
>(does he  count as Baroqe or Romantic?
>
>
>*******************
>
>
>He's "Classical"....with Haydn and Beethoven.
>
>And there are lots of Baroque and Classical operas. My faves too. I like  the
>stylized, non-realistic approach of these operas. "Le Nozzi di Figaro" is my
>fave.

<Snip>


>And.... was it Suzi who didn't like Ballet? But you loved Rameau? About 1/3
>of his operas ARE ballet!

No, what I said was I loved the music. I did not enjoy the 
trampolines and the bizarre modern take on the opera.But the music 
was played and sung by Les Arts Florisantes, a truly wonderful 
baroque music group directed by William Christie. They are doing 
Handel's  Hannibal" later in the year, and I hope so much to be able 
to see that too.  (Well, listen rather than see to be honest.)

<Snip>

Suzi 


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From h-costume-bounces@indra.com  Sat Nov 26 12:34:33 2005
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Date: Sat, 26 Nov 2005 09:34:09 -0800 (PST)
From: Joannah Hansen <Joannah@sluggy.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] victorian corset with too short busk
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Possibilities......?

18" busk -
http://store.corsetmaking.com/Merchant2/merchant.mvc?Screen=PROD&Product_Code=B-18&Category_Code=SB

Another 18"/46cm busk -
http://www.grannd.com/Merchant2/merchant.mvc?Screen=PROD&Store_Code=GS&Product_Code=1228%2F13.46&Category_Code=BUSK1

I don't think that you'll find long busks for much cheaper than these two, unless you buy in bulk. ;-}

Pre-cut, pre-capped spiral boning
http://www.venacavadesign.co.uk/Pages/DraftSpiralWires.htm

More pre-cut, pre-capped spiral boning at pretty reasonable prices - not quite AUS$12.00/dozen for the very longest ones -
http://www.tutu.com/ntn_hoopbones.html

MOST EXCITING OF ALL! **** 1/2" wide **** pre-cut, pre-tipped spiral boning, up to 18" long, also at pretty reasonable prices -
http://www.corsetmaking.com/supplies.html#spiral_boning

I so know what you mean about cutting the boning yourself - I made two corsets with Farthingales 50-8406-06 plastic-coated Hoop Steel - white 6mm(1/4")6mm wide X .6mm thick - which had to be cut with bolt cutters, the ends trimmed into something roughly resembling a curve, and tipped with elastoplast then tooldip, because at that stage they didn't have hoopsteel tips. The trimming left *lots* of little sharp metal bits which were not good to stand on with bare feet. Not something I want to have to do again.
 
HTH
Joannah

--- "Elizabeth Walpole" <ewalpole@tpg.com.au> wrote:

the front of my corset is 19 inches in total (I chose this pattern from 
Corsets and Crinolines because it was fairly simple but it was long enough 
that I could do things like Bustle gowns as well as crinoline fashions) so 
if I leave 1/2 an inch at either end that leaves me with an 18" busk so 16" 
isn't long enough (though it's 1" longer than Hedgehog Handworks) and they 
don't have 1/2" wide spiral steels in pre-cut lengths, and I don't want to 
have to deal with cutting up the boning myself.
Elizabeth
--------------------------------------------
Elizabeth Walpole
Canberra Australia
ewalpole[at]tpg.com.au
http://au.geocities.com/e_walpole/



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Subject: Re: [h-cost] Modern interpretations of period plays
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In a message dated 11/26/2005 11:59:41 A.M. Eastern Standard Time,  
hpinto@mindspring.com writes:
 
but definitely not that serial stuff.) 
 
**********************
Definitely NOT so...

As 12 tone music becomes more historical....I find that it can not be so  
bad. In fact I like a lot of it. I 1st "got it" with Stravinsky's ballet "Agon"  
which is only partly  12 tone. [ Another great Balenchine ballet with  no sets 
or costumes. ]Also his 12 tone  Mass and another church piece  called 
"Canticum Sacrum", which has a divine tenor solo ["sulge aquilo"] and  also a 
fantastic movement for bass and chorus. It's very dry music. But then  Alban Berg's 
serial stuff is very lush and almost romantic ["Lulu"] and I like  it too. Even 
Copland wrote some serial stuff! It's not all the same.
 
What it all takes...Opera, classical, serial, jazz, zydeco....whatever...is  
getting familiar with it and its vocab. The only way to do that is to be open  
minded and not dismiss it. Yes, some things one just doesn't like. But you  
should only decide that after repeated listenings. 
I remember in school I had to design Stravinsky's opera "Oedipus Rex" so  
naturally I went to the library and listened to it. I though "Jesus! What a  
bunch of caterwauling!" But of course on repeated listenings, I "got" it. It's  
now one of my all time faves. A great work of art.
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Subject: Re: [h-cost] Opera and ballet
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In a message dated 11/26/2005 12:14:04 P.M. Eastern Standard Time,  
suzi@suziclarke.co.uk writes:

No, what  I said was I loved the music.


Well there's no argument there!
 
 
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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Modern interpretations of period  plays/opera/ballet
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On Sat, 26 Nov 2005, Suzi Clarke wrote:

> But I cannot get over the ballet "wall", even though I saw Nureyev and
> Fontaine in Les Sylphides. I hate the music, and don't enjoy the
> dancing. (And there are some seriously odd costumes in ballet too.)

Oh wow. I'm just the opposite. I can barely tolerate opera music (though
the costumes and the dramatic element, when it's there, can distract me
sufficiently from the music). But if anyone's dancing, I'm *there.* I even
like Olympic ice dancing and gymnastics floor exercise.

Classical ballet is my least favorite of ballet styles, but it still shows
off the sheer athleticism of the performers. And many "ballet" companies"
do non-classical works. I spent several months of my early career as an
arts journalist covering the training team of the Joffrey Ballet ... wow.
I'd still rather see Momix or Pilobolus, though.

--Robin

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Date: Sat, 26 Nov 2005 18:03:40 +0000
To: Historical Costume <h-costume@indra.com>
From: Jean Waddie <anne@montgomerie.demon.co.uk>
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Subject: [h-cost] Museum of London gable
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Suzi Clarke <suzi@suziclarke.co.uk> wrote
>At 18:20 25/11/2005, you wrote:
>>The Museum of London's website has a "press pack" in PDF which has 
>>many, many pictures of some of the things -- including larger versions 
>>the mitten and the sock.  Also background info -- well, it goes on and 
>>on. Anyone interested in things from around 500 - 1500 should download 
>>and read the PDF, really.
>>
>>Go here: 
>>http://www.museumoflondon.org.uk/MOLsite/gallery/medieval/pages/c_closu
>>re.asp
>
>
>I don't think I need to take photos next week - that is a great series 
>of pictures. The Press pack I was sent was nowhere near that 
>informative. My colleague Annie the Pedlar is one of the craftspeople, 
>and that is the wretched gable hood that caused me such grief!!
>
>Suzi

It looks great, Suzi!  May I ask, what solution did you decide on for 
the inside front section - did you do it as a padded roll or flat 
fabric?

Jean
-- 
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From h-costume-bounces@indra.com  Sat Nov 26 13:23:36 2005
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Date: Sat, 26 Nov 2005 13:21:38 -0500
From: monica spence <monicaspence@optonline.net>
Subject: RE: [h-cost] Modern interpretations of period  plays/opera/ballet
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My mom was a professional classical ballerina and dance in general, so I
think my love for ballet is genetic. If I have a chance --- even if it is a
movie- I'll watch it.

Opera--- now there is another thing...

I did costume designs for many, many, many productions for two major Opera
Conservatories in Philadelphia. I notoiced thet though the director moved
the opera a bit time- wise it was never so jarring that it challenged the
integrity of the story/plot line or music...

Over the past two weekends, I  watched a production of Rigoletto done the
Connecticut Lyric Opera. My husband was in the cast as the "Halberdier" and
though he didn't sing except in the backstage area during the storm scene, I
couldn't be prouder.

Dame Catriona MacDuff

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of Robin Netherton
Sent: Saturday, November 26, 2005 1:21 PM
To: Historical Costume
Subject: Re: [h-cost] Modern interpretations of period
plays/opera/ballet



On Sat, 26 Nov 2005, Suzi Clarke wrote:

> But I cannot get over the ballet "wall", even though I saw Nureyev and
> Fontaine in Les Sylphides. I hate the music, and don't enjoy the
> dancing. (And there are some seriously odd costumes in ballet too.)

Oh wow. I'm just the opposite. I can barely tolerate opera music (though
the costumes and the dramatic element, when it's there, can distract me
sufficiently from the music). But if anyone's dancing, I'm *there.* I even
like Olympic ice dancing and gymnastics floor exercise.

Classical ballet is my least favorite of ballet styles, but it still shows
off the sheer athleticism of the performers. And many "ballet" companies"
do non-classical works. I spent several months of my early career as an
arts journalist covering the training team of the Joffrey Ballet ... wow.
I'd still rather see Momix or Pilobolus, though.

--Robin

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From h-costume-bounces@indra.com  Sat Nov 26 13:29:03 2005
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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] Museum of London gable
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At 18:03 26/11/2005, you wrote:
>Suzi Clarke <suzi@suziclarke.co.uk> wrote
>>At 18:20 25/11/2005, you wrote:
>>>The Museum of London's website has a "press pack" in PDF which has 
>>>many, many pictures of some of the things -- including larger 
>>>versions the mitten and the sock.  Also background info -- well, 
>>>it goes on and on. Anyone interested in things from around 500 - 
>>>1500 should download and read the PDF, really.
>>>
>>>Go here: 
>>>http://www.museumoflondon.org.uk/MOLsite/gallery/medieval/pages/c_closu
>>>re.asp
>>
>>
>>I don't think I need to take photos next week - that is a great 
>>series of pictures. The Press pack I was sent was nowhere near that 
>>informative. My colleague Annie the Pedlar is one of the 
>>craftspeople, and that is the wretched gable hood that caused me such grief!!
>>
>>Suzi
>
>It looks great, Suzi!  May I ask, what solution did you decide on 
>for the inside front section - did you do it as a padded roll or flat fabric?

Hi Jean

Thanks again for your site. I used a thin layer of wadding, just 
enough to soften it, and cut it on the straight. It just worked 
somehow like that. I have a dress diary written out for it (Headdress 
diary?) but need to add the pictures.

Suzi


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From h-costume-bounces@indra.com  Sat Nov 26 13:59:15 2005
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From: "Sue" <sue@victorianmillinery.com>
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Subject: Re: [h-cost] OT - Pin Cushion
Date: Sat, 26 Nov 2005 13:58:45 -0500
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Emory and toe are the usual 1800's filling. The emory is really hard to 
find. The toe  is the flax that is thrown away  from sheathing. Go to a 
period farm for it.
Sue Shatto
Sue@VictorianMillinery.com
401 Fairview Ave.
Frederick, MD 21701
www.victorianmillinery.com
301-694-8950
----- Original Message ----- 
From: <roscelinlimoges@comcast.net>
To: "Historic Costuming" <h-costume@indra.com>
Sent: Wednesday, November 23, 2005 4:19 PM
Subject: [h-cost] OT - Pin Cushion


> I'm wanting to make a decorative pin cushion for a Christmas gift., but 
> not sure what to fill it with.  Does anyone have any suggestions besides 
> sand or fiberfill?
>
> Roscelin
> _______________________________________________
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From h-costume-bounces@indra.com  Sat Nov 26 14:39:26 2005
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Subject: [h-cost] Re: OT: Pin Cushion
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Unspun wool would work a treat. Or sawdust. Me, I'd use the wool. 
Email me I should have some combings from the wedding shawl I'm 
supposed to be spinning...
Ta
Carol
-- 
Creative Clutter is Better Than Idle Neatness!
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: Re: [h-cost] Modern interpretations of period plays
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Hi Sue,
This is very odd, we share excatcly same taste in music.
Except for some music by Elgar, Stravinsky, my music ranges also from 16th 
trough 17th. and 18th century music.
My favourite composer is Haendel, i just love his music sooo much!!!!

Bjarne
----- Original Message ----- 
From: "Sue Clemenger" <mooncat@in-tch.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Saturday, November 26, 2005 3:08 PM
Subject: Re: [h-cost] Modern interpretations of period plays


> I'm with Dianne on this one, although my "opera wall" doesn't come with a
> set of rude neighbors! ;-D
> I just plain don't like most 19th century music (or a fair amount of 20th
> century music).  I don't have much appreciation for any book or movie or 
> art
> form that has a lot of over-the-top drama in it.  Since I got out of
> adolescence, I've also not been much of a fan of musicals (liked them as a
> kid just fine, and there are a few I enjoy now, but it's not something 
> I'll
> normally spend money on <shrugs>).
> I adore music from the Renaissance and Baroqe periods, though, and Mozart
> (does he count as Baroqe or Romantic?).  The local university's in the
> middle of working on a production of _Marriage of Figaro_, and I'm going 
> to
> see that. ;o)
> --Sue, who's musical prefernces pick up again in the 1960s, with 
> exceptions
> for composers like Aaron Copeland.....
> OCC: Currently sorting through in-house wool and linen stash for makings 
> for
> some 10th c. (western) Norse outfits.  What's everyon else doing?



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From: "Susan B. Farmer" <sfarmer@goldsword.com>
To: Historical Costume <h-costume@indra.com>
Subject: Lavinia teerlinc (was Re: [h-cost] More Tudor Questions)
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Quoting Kimiko Small <kimiko@kimiko1.com>:

>
> And I have some of Livinia Teerlinks images, but those were 
> miniatures, and hard to determine what they wore. She also comes into 
> Henry VIII's service in 1546 according to the book I have, so her 
> Tudor minis are going to be a later time frame than you are looking 
> at. I have an image that her father, Simon Benninck (sometimes 
> spelled Bennick or Bening) painted that shows ladies in various 
> outdoor situations wearing Tudor garments (c.1540).

Cool!  I didn't know that.

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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Subject: [h-cost] 16th century Book of Hours/Calendar
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I can't remember whether this is a Book of Hours or a Calendar, but I 
think it is by Simon Bening (too lazy to check - it's cold where my 
books are.) Thought the list mind be interested to see the site. 
Click on "Flemish Miniatures".

http://www.bl.uk/onlinegallery/ttp/ttpbooks.html

Suzi


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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] victorian corset with too short busk
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At 17:34 26/11/2005, you wrote:
>Possibilities......?
>
>18" busk -
>http://store.corsetmaking.com/Merchant2/merchant.mvc?Screen=PROD&Product_Code=B-18&Category_Code=SB
>
>Another 18"/46cm busk -
>http://www.grannd.com/Merchant2/merchant.mvc?Screen=PROD&Store_Code=GS&Product_Code=1228%2F13.46&Category_Code=BUSK1
>
>I don't think that you'll find long busks for much cheaper than 
>these two, unless you buy in bulk. ;-}
>
>Pre-cut, pre-capped spiral boning
>http://www.venacavadesign.co.uk/Pages/DraftSpiralWires.htm
>
>More pre-cut, pre-capped spiral boning at pretty reasonable prices - 
>not quite AUS$12.00/dozen for the very longest ones -
>http://www.tutu.com/ntn_hoopbones.html
>
>MOST EXCITING OF ALL! **** 1/2" wide **** pre-cut, pre-tipped spiral 
>boning, up to 18" long, also at pretty reasonable prices -
>http://www.corsetmaking.com/supplies.html#spiral_boning
>
>I so know what you mean about cutting the boning yourself - I made 
>two corsets with Farthingales 50-8406-06 plastic-coated Hoop Steel - 
>white 6mm(1/4")6mm wide X .6mm thick - which had to be cut with bolt 
>cutters, the ends trimmed into something roughly resembling a curve, 
>and tipped with elastoplast then tooldip, because at that stage they 
>didn't have hoopsteel tips. The trimming left *lots* of little sharp 
>metal bits which were not good to stand on with bare feet. Not 
>something I want to have to do again.


I understand why people don't like to cut boning of any kind, but so 
often I find that the bones I need are not exactly the same length as 
I can buy commercially, so it is easier, for me, as I have been doing 
it for so long, to cut them to the size I want. But the invention of 
metal tips, now I have the hang of them, is brilliant.

I just wish that British and American hoop steel makers would get 
together and rationalize their sizes, then I could use the joining 
widgets that Farthingales sells on all my hoops! (And before anyone 
suggests I buy my steel from Farthingales, I can get it far cheaper 
and more easily locally, if you include postage, and man is a roll of 
steel heavy!!)

Suzi 


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Date: Sat, 26 Nov 2005 09:01:31 -0800 (PST)
Subject: Re: [h-cost] question about velvet
From: "Diana Habra" <dch@inreach.com>
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> Hi,
> I saw the most delightfull printed roses velvet today. It is the kind of
> velvet that is wowen into dimentional stripes.
> Dont know the english term for this, and i apologise for asking because
> many
> have asked before, but this velvet wich today is used for trousers and
> jackets, was that used in 18th century?
> If not it is such a shame, it would have ben wonderfull for jackets and
> skirts.........

Bjarne,

We call it corduroy and people have argued that it looks like "cut
velvet".  The "stripes" are called wales and the really thin waled
corduroy is what people say may be period all the way back to the
Renaissance.  I personally haven't seen any examples but I am sure
somebody on the list will have more information.

Diana

www.RenaissanceFabrics.net
"Everything for the Costumer"

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From h-costume-bounces@indra.com  Sat Nov 26 20:41:39 2005
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To: Historical Costume <h-costume@indra.com>
From: Kimiko Small <kimiko@kimiko1.com>
Subject: Re: [h-cost] 16th century Book of Hours/Calendar
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At 09:05 AM 11/26/2005, you wrote:
>I can't remember whether this is a Book of Hours or a Calendar, but I 
>think it is by Simon Bening (too lazy to check - it's cold where my books 
>are.) Thought the list mind be interested to see the site. Click on 
>"Flemish Miniatures".
>
>http://www.bl.uk/onlinegallery/ttp/ttpbooks.html
>
>Suzi


My goodness, thank you Suzi! This is what I've been looking for. It is by 
Simon Bening/Bennink. I've seen a couple of the images in books I have, but 
not the whole thing. Oh, if only they could print the whole book for us 
costumers. I would love to see clear close-up images of the outfits they 
are wearing, because we get to see side and even back views on some of them.

Thanks again.

Kimiko

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From h-costume-bounces@indra.com  Sat Nov 26 20:47:07 2005
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Date: Sat, 26 Nov 2005 20:46:21 -0500
From: Katy Bishop <katybishop64@gmail.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] question about velvet
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I have the ugliest 1880's bodice ever made of ick-brown fairly
wide-wale corduroy.  Nobody would ever believe it was accurate if I
reproduced it.  So homely.

Katy

On 11/26/05, Diana Habra <dch@inreach.com> wrote:
>
> > Hi,
> > I saw the most delightfull printed roses velvet today. It is the kind of
> > velvet that is wowen into dimentional stripes.
> > Dont know the english term for this, and i apologise for asking because
> > many
> > have asked before, but this velvet wich today is used for trousers and
> > jackets, was that used in 18th century?
> > If not it is such a shame, it would have ben wonderfull for jackets and
> > skirts.........
>
> Bjarne,
>
> We call it corduroy and people have argued that it looks like "cut
> velvet".  The "stripes" are called wales and the really thin waled
> corduroy is what people say may be period all the way back to the
> Renaissance.  I personally haven't seen any examples but I am sure
> somebody on the list will have more information.
>
> Diana
>
> www.RenaissanceFabrics.net
> "Everything for the Costumer"
>
> _______________________________________________
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>


--
Katy Bishop, Vintage Victorian
vintage@shore.net                www.VintageVictorian.com
     Custom reproduction gowns of the Victorian Era.
      Publisher of the Vintage Dress Series books.

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From h-costume-bounces@indra.com  Sat Nov 26 21:39:24 2005
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If you don't mind what color the wool is - I have some 'raw' brown wool that I could send you.

Katheryne
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From h-costume-bounces@indra.com  Sat Nov 26 21:50:20 2005
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Date: Sat, 26 Nov 2005 21:48:26 -0500
From: monica spence <monicaspence@optonline.net>
Subject: RE: [h-cost] 16th century Book of Hours/Calendar
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Hi !
Has anybody ever have a chance to see the Eleonora of Toledo book of Hours
in the V&A? If so, is there a link? I have only seen B&W pics ...

Best Holiday Regards-
Dame Catriona MacDuff

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of Kimiko Small
Sent: Saturday, November 26, 2005 8:41 PM
To: Historical Costume
Subject: Re: [h-cost] 16th century Book of Hours/Calendar


At 09:05 AM 11/26/2005, you wrote:
>I can't remember whether this is a Book of Hours or a Calendar, but I
>think it is by Simon Bening (too lazy to check - it's cold where my books
>are.) Thought the list mind be interested to see the site. Click on
>"Flemish Miniatures".
>
>http://www.bl.uk/onlinegallery/ttp/ttpbooks.html
>
>Suzi


My goodness, thank you Suzi! This is what I've been looking for. It is by
Simon Bening/Bennink. I've seen a couple of the images in books I have, but
not the whole thing. Oh, if only they could print the whole book for us
costumers. I would love to see clear close-up images of the outfits they
are wearing, because we get to see side and even back views on some of them.

Thanks again.

Kimiko

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I saw a movie an adaption of Richard III with Ian McKellan (sp??), done in the WWII era.. except for a few lines added here and there, it was very well done.

In fact it made more sense to me then the original. 

Katheryne
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To: Historical Costume <h-costume@indra.com>
From: Kimiko Small <kimiko@kimiko1.com>
Subject: Re: [h-cost] Museum of London gable
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At 10:27 AM 11/26/2005, you wrote:
>At 18:03 26/11/2005, you wrote:
>>It looks great, Suzi!  May I ask, what solution did you decide on for the 
>>inside front section - did you do it as a padded roll or flat fabric?
>
>Hi Jean
>
>Thanks again for your site. I used a thin layer of wadding, just enough to 
>soften it, and cut it on the straight. It just worked somehow like that. I 
>have a dress diary written out for it (Headdress diary?) but need to add 
>the pictures.
>
>Suzi


Oh, yes, please do. I would love to know how you made your gable, as that's 
next on my list of Tudor hats to do. I really have to remake my French hood 
first, now that I've learned how not to do them.

Kimiko


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Subject: Re: [h-cost] victorian corset with too short busk
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----- Original Message ----- 
From: "Carol Kocian" <aquazoo@patriot.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Sunday, November 27, 2005 1:36 AM
Subject: Re: [h-cost] victorian corset with too short busk


>
>      This is hindsight, but I would have researched and bought the busk 
> first before starting the corset, and then adjust the corset length so the 
> available busk works.
But if you need a long corset for fashions which are fitted over the hips 
(such as the early 1880s) then a shorter corset isn't going to work, which 
would mean that I would need to buy a long busk anyway (not to mention the 
rest of the boning, postage and the fabric) when I get around to making a 
bustle or natural form period gown.

>
>      Why do you have to buy the rest of the boning in the same place? Is 
> there a minimum order?
I don't want to pay postage plus bank fees (my bank charges a fee for any 
overseas payments on my credit card) on 2 separate orders because the extra 
postage would probably eat up any saving I made.
Elizabeth

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From: Lalah <lalahcatlady@netscape.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] OT - Pin Cushion
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Emery isn't all that difficutlt to find.  Go to any rock shop or lapidary supply site (or store if you are lucky enough to live near one) and get the grit made for tumbling stones.  You would probably want about a 400 for a pin cushion or the little strawberry emery cushion.  200 would be ok, but I think 100 would be too coarse and 600 would be too fine.  

Lalah, Never give up, Never surrender


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Subject: Re: [h-cost] question about velvet
Date: Sun, 27 Nov 2005 10:48:45 -0500
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The abolitionist John Brown was "famous" for wearing a brown corduroy suit 
(pre-1859 when he was hanged).  My husband wants me to make him one and I 
have no idea what it would look like--the wales (wide or narrow?) , the 
color/shade of brown, the stlye of suit, etc.

Kate

----- Original Message ----- 
From: "Katy Bishop" <katybishop64@gmail.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Saturday, November 26, 2005 8:46 PM
Subject: Re: [h-cost] question about velvet


>I have the ugliest 1880's bodice ever made of ick-brown fairly
> wide-wale corduroy.  Nobody would ever believe it was accurate if I
> reproduced it.  So homely.
>
> Katy
>
> On 11/26/05, Diana Habra <dch@inreach.com> wrote:
>>
>> > Hi,
>> > I saw the most delightfull printed roses velvet today. It is the kind 
>> > of
>> > velvet that is wowen into dimentional stripes.
>> > Dont know the english term for this, and i apologise for asking because
>> > many
>> > have asked before, but this velvet wich today is used for trousers and
>> > jackets, was that used in 18th century?
>> > If not it is such a shame, it would have ben wonderfull for jackets and
>> > skirts.........
>>
>> Bjarne,
>>
>> We call it corduroy and people have argued that it looks like "cut
>> velvet".  The "stripes" are called wales and the really thin waled
>> corduroy is what people say may be period all the way back to the
>> Renaissance.  I personally haven't seen any examples but I am sure
>> somebody on the list will have more information.
>>
>> Diana
>>
>> www.RenaissanceFabrics.net
>> "Everything for the Costumer"
>>
>> _______________________________________________
>> h-costume mailing list
>> h-costume@mail.indra.com
>> http://mail.indra.com/mailman/listinfo/h-costume
>>
>
>
> --
> Katy Bishop, Vintage Victorian
> vintage@shore.net                www.VintageVictorian.com
>     Custom reproduction gowns of the Victorian Era.
>      Publisher of the Vintage Dress Series books.
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>
> 


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Subject: Re: [h-cost] theater opera costumes in general
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In a message dated 11/26/2005 10:22:42 P.M. Eastern Standard Time,  
purplkat@optonline.net writes:

I saw a  movie an adaption of Richard III with Ian McKellan (sp??), done in 
the WWII  era.. except for a few lines added here and there, it was very well  
done.



************************
 
Yes, that film is good. But it's even BETTER if you know "the original"  
because most of the fun is seeing how the adaptation works...the one to  ones...
 
And no lines were added. But many many of them were  cut.
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Subject: [h-cost] What do 19th century reproductionist do for calico?
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Okay-I am WAAAAY out of time period that I know anything about, but I 
found this beautiful calico that I just HAD to have.  I have a book on 
appropriate patterns on order from ILL, but I just can't wait!  :-D
I am sure it certianly isn't a reproduction calico...I was just curious 
what folks do for calico dresses.  Is there enough reproduction calico 
that you all aren't wearing the same prints, or do you kind of go for 
what "looks okay?" 

I don't know if I REALLY want to know the answer to the next question, 
but I'll ask anyway.  :-\ 
What do you think of this pattern and colors for a 19th century gown-
*http://tinyurl.com/8z7dn

If the link doesn't work, it is *

*Moda Kansas Troubles Scrapbook Garden 9092-13*


I have bought 7.5 yards of it and probably need another 5.
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Just to warn you, this is *way* past my period, however....My
Great-Grandmother made a quilt of fabric scraps from dresses that she'd made
for her kids and grandkids, and shirts for her husband and her sons-in-law.
I rebacked the quilt and got to examine a lot of the fabrics.
The pattern on your sample is almost spot on for a cotton chintz, that came
from one of her mother's dresses. The main difference, is that your fabric
is matte, and you can see the weave, Great-Great-Grandma's dress, was a
glossy and *very* tightly woven cotton (or, it was just pressed within an
inch of its life, not exactly sure, it was so shiny and solid that it
resembled a very lightweight vinyl) but the pattern itself, looks exactly
like what I remember.

Hope this helps
Robert of Stonemarche
ps. for dating purposes, Great-Grandma Tibbets died at the age of 92, in
1973. I can't find when great-great-grandma Boyd died. However, GGT was the
youngest child
> From: WickedFrau <wickedfrau@msn.com>
> Okay-I am WAAAAY out of time period that I know anything about, but I
> found this beautiful calico that I just HAD to have.  I have a book on
> appropriate patterns on order from ILL, but I just can't wait!  :-D
> I am sure it certianly isn't a reproduction calico...I was just curious
> what folks do for calico dresses.  Is there enough reproduction calico
> that you all aren't wearing the same prints, or do you kind of go for
> what "looks okay?"
>
> I don't know if I REALLY want to know the answer to the next question,
> but I'll ask anyway.  :-\
> What do you think of this pattern and colors for a 19th century gown-
> *http://tinyurl.com/8z7dn


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Subject: Re: [h-cost] What do 19th century reproductionist do for calico?
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Lov-er-ly!
 
There are so many calicos out there for quilts and crafts, you could design  
an entire Dickens novel in calico and not repeat a pattern. Some are  
reproductions of 19th century samples. Some 1830s and 40s patterns are so  stylized 
they almost look modern.
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I don't think I've EVER seen a Shakespear play (and I've seen a lot of them)
done in Elizabethan costume. No wait -- I've seen one. I've seen a lot of
wonderful productions set in many different times. That goes for other old
plays and operas too.

But Bjarne asked about "modern and artistic" costumes, and that's different.
I'm with you, Bjarne! I hate that kind of thing. It's rarely done well, and
it usually distracts from the performance.

If a production is going to be done in some sort of avant-garde style, the
company owes it to the public to make it clear in the advertisements, etc.
Many people really do go see a production, especially if it's a rarely done
production, to get at least a feeling of what it was like "back then." If
you're going to deliver something else, at least tell people!

Gail Finke

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I'm looking for a woven, single fold tape that's used to trim the edges 
of felt hats. It's not cotton bias tape. It has a weave more like a 
shoelace, but it's flat. (At least on the hat I have).  I want to buy 
some to finish a hat, but I don't know what it's called. Can anyone help 
me?



Dawn


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Subject: Re: [h-cost] what do you call this?
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> I'm looking for a woven, single fold tape that's used to trim the edges
> of felt hats. It's not cotton bias tape. It has a weave more like a
> shoelace, but it's flat. (At least on the hat I have).  I want to buy
> some to finish a hat, but I don't know what it's called. Can anyone help
> me?

Is it Twill tape?  Like this:

http://www.jkmribbon.com/wrights/twill.html

It comes in other colors than these eye-poppers :~>

Good luck!

Diana

www.RenaissanceFabrics.net
"Everything for the Costumer"

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Date: Sun, 27 Nov 2005 17:39:55 -0800 (PST)
From: Joannah Hansen <Joannah@sluggy.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] what do you call this?
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Could it be cotton tape? e.g.

http://www.ribbonmoon.co.uk/details.asp?id=2936

Joannah.


--- Dawn <dawn@reddawn.net> wrote:

From: Dawn <dawn@reddawn.net>
Date: Sun, 27 Nov 2005 18:10:28 -0600
To: Historical Costume <h-costume@indra.com>
Subject: [h-cost] what do you call this?

I'm looking for a woven, single fold tape that's used to trim the edges 
of felt hats. It's not cotton bias tape. It has a weave more like a 
shoelace, but it's flat. (At least on the hat I have).  I want to buy 
some to finish a hat, but I don't know what it's called. Can anyone help 
me?



Dawn


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Subject: RE: [h-cost] What do 19th century reproductionist do for calico?
Date: Sun, 27 Nov 2005 12:25:22 -0500
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Hi~!

Not really my era either, but perhaps this will help:

http://www.reproductionfabrics.com/

The fabric is lovely, btw. I had to get to it the "hard way", but I got there. ;-)

::Linda::


-----Original Message-----
 On Behalf Of WickedFrau
Subject: [h-cost] What do 19th century reproductionist do for calico?

Okay-I am WAAAAY out of time period that I know anything about, but I 
found this beautiful calico that I just HAD to have 

I don't know if I REALLY want to know the answer to the next question, 
but I'll ask anyway.  :-\ 
What do you think of this pattern and colors for a 19th century gown-
 http://tinyurl.com/8z7dn 

If the link doesn't work, it is *Moda Kansas Troubles Scrapbook Garden 9092-13*

I have bought 7.5 yards of it and probably need another 5.



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  calico?
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At 09:12 AM 11/27/2005, you wrote:
>Okay-I am WAAAAY out of time period that I know anything about, but 
>I found this beautiful calico that I just HAD to have.  I have a 
>book on appropriate patterns on order from ILL, but I just can't wait!  :-D
>I am sure it certianly isn't a reproduction calico...I was just 
>curious what folks do for calico dresses.  Is there enough 
>reproduction calico that you all aren't wearing the same prints, or 
>do you kind of go for what "looks okay?"
>I don't know if I REALLY want to know the answer to the next 
>question, but I'll ask anyway.  :-\ What do you think of this 
>pattern and colors for a 19th century gown-
>*http://tinyurl.com/8z7dn
>
>If the link doesn't work, it is *
>
>*Moda Kansas Troubles Scrapbook Garden 9092-13*
>
>
>I have bought 7.5 yards of it and probably need another 5.

What part of the 19th century are you going for?  This one looks like 
a decent mid-19th century print for a work dress (won't show dirt too easily).


Joan Jurancich
joanmj@surewest.net 

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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Forgive me for being off topic.
Now when i get more time, when i have stopped taking orders of costumes, i 
have ben thinking about making a forum at my website and make some online 
classes. I can teach embroidery and bobbin lace.
How much do you think that it would cost me to have a webdesigner make that 
forum for me?
Does anybody have any ideas about this?
Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] OT - Pin Cushion
Date: Sun, 27 Nov 2005 23:33:45 +0000
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  Thanks one and all for your help with the contents of a pin cushion.  There were so many of you I thought it was best to one letter (although there are a couple of you awaiting a private message - which will be done next.)

  I hope everyone in the US had a wonderful Thanksgiving.  And I'm sending  everyone around the world a happy holidays.

Roscelin


> Emery isn't all that difficutlt to find.  Go to any rock shop or lapidary supply 
> site (or store if you are lucky enough to live near one) and get the grit made 
> for tumbling stones.  You would probably want about a 400 for a pin cushion or 
> the little strawberry emery cushion.  200 would be ok, but I think 100 would be 
> too coarse and 600 would be too fine.  
> 
> Lalah, Never give up, Never surrender
> 
> 
> _____________________________________________________________
> Netscape. Just the Net You Need.
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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Re: theater costumes in general
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On Sun, 27 Nov 2005, Gail & Scott Finke wrote:

> If a production is going to be done in some sort of avant-garde style,
> the company owes it to the public to make it clear in the
> advertisements, etc. Many people really do go see a production,
> especially if it's a rarely done production, to get at least a feeling
> of what it was like "back then." If you're going to deliver something
> else, at least tell people!

That in fact is what a Washington company did about 10 years ago for the
Mikado: All the publicity pointed out they were doing it Scots -- think
McAddo. So much for Japan! And ... it was brilliant. Best Mikado I've ever
seen. And I've seen several.

--Robin

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Joannah Hansen wrote:

> Could it be cotton tape? e.g.
> 
> http://www.ribbonmoon.co.uk/details.asp?id=2936
> 


No, it's not cotton tape or twill tape. It has a much coarser, 'braided' 
weave to it, which allows it to conform to the curve of the hat brim 
_like_ a bias tape. Cotton twill tape doesn't flex like this.



Dawn


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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] what do you call this?
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Dawn wrote:
> I'm looking for a woven, single fold tape that's used to trim the edges 
> of felt hats. It's not cotton bias tape. It has a weave more like a 
> shoelace, but it's flat. (At least on the hat I have).  I want to buy 
> some to finish a hat, but I don't know what it's called. Can anyone help 
> me?

I think what you are looking for is either "millinery grosgrain" or 
"french belting". You take the ribbon that you want to use (4" longer 
than the diameter of the brim), soak it, fold it in half, and wrap it 
tightly around the edge of a disk, you can use a dinner plate according 
to the book "from the neck up". Tape it to the plate with duct tape 
(just tape it at the ends) and let it dry, unstick it and attach it to 
your hat using a stab stitch or w/ a zipper foot.

Note: I have never done this, so you now know as much as I do. I believe 
you can get millinery grosgrain from www.hatsupply.com

liz young

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From: "Helen  Pinto" <hpinto@mindspring.com>
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Subject: Re: [h-cost] what do you call this?
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Dawn wrote:
> I'm looking for a woven, single fold tape that's used to trim the edges 
> of felt hats. It's not cotton bias tape. It has a weave more like a 
> shoelace, but it's flat. (At least on the hat I have).  I want to buy 
> some to finish a hat, but I don't know what it's called. Can anyone help 
> me?

and
> No, it's not cotton tape or twill tape. It has a much coarser, 'braided' 
> weave to it, which allows it to conform to the curve of the hat brim 
> _like_ a bias tape. Cotton twill tape doesn't flex like this.


You might be thinking of foldover braid.  There's some here:
http://www.sewbizfabrics.com/FO3.shtml
and an enlargement here:
http://www.sewbizfabrics.com/images/F-21.jpg

          -Helen/Aidan



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Helen Pinto wrote:

  > You might be thinking of foldover braid.  There's some here:
> http://www.sewbizfabrics.com/FO3.shtml
> and an enlargement here:
> http://www.sewbizfabrics.com/images/F-21.jpg
> 


Yup! That's it, thanks Helen! And they even have the tan I want. :)


Dawn


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Subject: Re: [h-cost] Re: theater costumes in general
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In a message dated 11/27/2005 6:36:41 P.M. Eastern Standard Time,  
gailscott@eos.net writes:

Many  people really do go see a production, especially if it's a rarely  done
production, to get at least a feeling of what it was like "back  then.


**********************************
 
And many go to see something current, new and innovative.
 
So what's you're point?
 
Do you really think the average person cares as much about the costumes as  
you or I? Most people I know who go to the opera don't care about anything  
except who's singing.
 
As for "modern and artistic " [whatever that means] usually being done  
badly....I'd say period things are usually done badly too.
 
Take the Met's "Barber of Seville". Pat Zipprodt's clothes are accurate and  
cut correctly, but they are utterly pedestrian. Boring, characterless [except  
for something just stereotypical] ho-hum clothes. I hate to think what they  
spent on these things that look like they were pulled from a college costume  
stock. How could one come up with something so dull for such a sparkling  
opera?
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Kate,

Here's a link to one page, with some pics, but more importantly, a 
bibliography/source list.  There's only one picture of John Brown, 
and it's not very good, but you can make out some details of the 
construction.  I would guess it would be a fairly typical shape for the period.
http://www.iath.virginia.edu/jbrown/master.html

Here's a better image:
http://en.wikipedia.org/wiki/Image:John_brown_1859.jpg
and here's one of him at a younger age:
http://en.wikipedia.org/wiki/Image:John_Brown.gif

HTH,
Sandy

At 01:00 PM 11/27/2005, you wrote:

>Date: Sun, 27 Nov 2005 10:48:45 -0500
>From: "Kate Pinner" <pinner@mccc.edu>
>
>The abolitionist John Brown was "famous" for wearing a brown corduroy suit
>(pre-1859 when he was hanged).  My husband wants me to make him one and I
>have no idea what it would look like--the wales (wide or narrow?) , the
>color/shade of brown, the stlye of suit, etc.
>
>Kate

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

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

Andromeda  


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What a great late night place! There are some very pretty fabrics here.
Linda Rice wrote:

>Hi~!
>
>Not really my era either, but perhaps this will help:
>
>http://www.reproductionfabrics.com/
>
>The fabric is lovely, btw. I had to get to it the "hard way", but I got there. ;-)
>
>::Linda::
>
>  
>

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What part of the 19th century are you going for?  This one looks like a 
decent mid-19th century print for a work dress (won't show dirt too 
easily).

> Joan Jurancich


Not sure yet...something with some intricate pleating in the back.....a 
day dress..probably.  I haven't done a whole lot of research....just had 
to have that fabric...it was so out of character for me...I am usually a 
velvet and silk kinda gal...this one just struck a cord.

Sg
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In a message dated 11/27/2005 7:10:08 P.M. Eastern Standard Time,  
dawn@reddawn.net writes:

I'm  looking for a woven, single fold tape that's used to trim the edges 
of  felt hats. It's not cotton bias tape. It has a weave more like a 
shoelace,  but it's flat. 


It's called foldover braid.  You can get basic colors, but in  synthetics, at 
most fabric stores.  Places that specialize in boiled wool  (for jackets) 
should have a range of colors, as it is used to finish the edges  of the jackets.
 
When I took a millinery class, though, we used petersham for the edges--it  
is similar to grosgrain ribbon, but more flexible, and is available from  
milliner suppliers.
 
Ann Wass
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Subject: [h-cost] busks, corset supplies
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I'm just getting back from holiday and trying to get
caught up on e-mail, so sorry if this is really late.

I had to plug my favorite corset supply store, Grannd
Garb.  See their site here:

http://www.grannd.com

I haven't purchased anything from them for a while,
being a student and hence very poor, but last I
checked, their prices were very good and they sell
many different lengths and widths of busks.  I went
there after a rather annoying experience with
corsetmakers in which a busk I got from them broke and
they were unwilling to do anything about it.  I have
always been pleased with Grannd.  I purchased my
industrial grommet setter from them, which is one of
my most beloved posessions.

I'm happy to give up my secret if it means more
business for them.  :)

--Rachel


		
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I can't help on the subject of cost, but I can certainly say I'd welcome such classes. I occasionally embroider but not at your level, and I used to make bobbin lace and would like to return to doing that, with some guidance this time (learned it entirely from books!).
--Ruth Anne Baumgartner
scholar gypsy and amateur costumer

-----Original Message-----
From: Bjarne og Leif Drews <drewscph@post12.tele.dk>
Sent: Nov 27, 2005 3:02 PM
To: h-costume@indra.com
Subject: [h-cost] o/t online forum

Forgive me for being off topic.
Now when i get more time, when i have stopped taking orders of costumes, i 
have ben thinking about making a forum at my website and make some online 
classes. I can teach embroidery and bobbin lace.
How much do you think that it would cost me to have a webdesigner make that 
forum for me?
Does anybody have any ideas about this?
Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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If it makes it any easier to find in the future it's also known (in the UK at 
least) as millinery tape, or petersham ribbon (not to be confused with 
petersham waistbanding).  
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Subject: Re: [h-cost] question about velvet
Date: Mon, 28 Nov 2005 10:13:12 -0500
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Being a couple of days behind in my mail, might we be talking about (a kind
of) widewale corduroy?  I think that there is a gent's suit in Fashion
Revealed made from what looks to be waled fabric.
Kathleen
----- Original Message ----- 
From: "WickedFrau" <wickedfrau@msn.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Saturday, November 26, 2005 12:13 PM
Subject: Re: [h-cost] question about velvet


> If I understand what you mean correctly, you 'betcha!  Look in Fashion
> in Detail from the 17th and 18th Centuries (by Hart and North) on pages
> 82 and 100.  A 1760's  man's dress coat of sprigged silk velvet.  The
> velvet it is orange with greenish flowers outlined in black!  It is
> embroided in silver-gilt thread.
>
> Sg
>
> Bjarne og Leif Drews wrote:
>
> > Hi,
> > I saw the most delightfull printed roses velvet today. It is the kind
> > of velvet that is wowen into dimentional stripes.
> > Dont know the english term for this, and i apologise for asking
> > because many have asked before, but this velvet wich today is used for
> > trousers and jackets, was that used in 18th century?
> > If not it is such a shame, it would have ben wonderfull for jackets
> > and skirts.........
> >
> > Bjarne
>
>
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I'm wanting to make a decorative pin cushion for a Christmas gift., but
not sure what to fill it with.  Does anyone have any suggestions besides
sand or fiberfill?

Roscelin

*********************************

I have made several, and tend to favor chinchilla dust. No, no, not dust
made from chinchillas! The dust sold in larger pet stores for
chinchillas to bathe in. It is a very fine grit, which keeps needles and
pins sharp and rust-free. Just don't get any in your eyes! (I speak from
painful experience here.)

Kate McClure
Grand Pooh-Bah
Beyond Reality Costumers Guild
www.brcg.org

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From: Mia Dappert <snappylunch_2001@yahoo.com>
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And not only do you have to consider the costumes and the direction of the production, with opera and any other "Period  Music", You have to consider whether it is one with period instruments and sensibilities, or if it is done with a modern orchestra.  (and vocal talents...were there castrati or at least male altos singing some of the parts?)  There are some groups that head in this direction, and the sound is very different.  Modern music is often times very different from the intent of the composer.
   
  And thanks for some of the DVD suggestions
   
  18th c Mia in Charlotte, formerly Baroque Mia from the University of MD Chorus, who was lucky enough to sing with some male altos and instruments from the Smithsonian instution and Barouge performance artists from many places at the Handel festival

		
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From: Caroline <carolineebuckley@gmail.com>
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Subject: Re: [h-cost] Re: opera
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I have come to this thread late so do appologise if this sorth of
thing has been mentioned before.  As a singer putting on a proper
corset to sing means you can't get the air in nearly so well as
without.  The notes are then naturally shortened, compressed and
quiter.  Now perhaps the very 'big' singing of modern days would not
sound so full or loud sung by women in corsettry.

Alternatively - did opera singers wear corsets - I can't even begin to
think how to sing something like the Queen of the night aria in a
corset.

On 28/11/05, Mia Dappert <snappylunch_2001@yahoo.com> wrote:
> And not only do you have to consider the costumes and the direction of the production, with opera and any other "Period  Music", You have to consider whether it is one with period instruments and sensibilities, or if it is done with a modern orchestra.  (and vocal talents...were there castrati or at least male altos singing some of the parts?)  There are some groups that head in this direction, and the sound is very different.  Modern music is often times very different from the intent of the composer.
>
>   And thanks for some of the DVD suggestions
>
>   18th c Mia in Charlotte, formerly Baroque Mia from the University of MD Chorus, who was lucky enough to sing with some male altos and instruments from the Smithsonian instution and Barouge performance artists from many places at the Handel festival
>
>
> ---------------------------------
>  Yahoo! Music Unlimited - Access over 1 million songs. Try it free.
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>


--
Caroline

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Subject: Re: [h-cost] Re: opera
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In a message dated 11/28/2005 11:55:45 A.M. Mountain Standard Time,  
carolineebuckley@gmail.com writes:

As a  singer putting on a proper
corset to sing means you can't get the air in  nearly so well as
without.  The notes are then naturally shortened,  compressed and
quiter.  Now perhaps the very 'big' singing of modern  days would not
sound so full or loud sung by women in  corsettry.

Alternatively - did opera singers wear corsets - I can't  even begin to
think how to sing something like the Queen of the night aria  in a
corset.



I actually have some experience with this, having spent several summers at  
the Santa Fe Opera.  Yes, the singers wear corsets, although in periods up  
until the 19th century, the corset boning is generally included in the bodices  
and not separate.  Just makes the costumes more "actor proof".  This  means 
that a coutil, steel-boned bodice is constructed, fitted, the pieces  dismantles 
and covered with bias cotton flannel (so the boning won't show  through) then 
covered with the bodice fabric.  Believe me, you can't  tell.  Initially, the 
singers worry, if they haven't worn a corset before,  but soon consider it 
their best friend, as they can push against the bones with  their diaphram as 
they sing and it actually supports them.
 
Cheryl
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From: Marie Stewart <maricelt@gmail.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Re: opera
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Hi folks.

Also coming in late... but this I can comment on.  I do sing opera,
and I do wear corsets, sometimes both together.
(side note) Remember, corset shapes are not all the same.  (/side note)
What I tend to wear are 1550+ to about 1700 corsets. Most of these are
somewhat cylindrical in shape.   I have found that wearing a corset
actually helps my breath support, because it makes me more conscious
of the areas involved in supporting the voice.

How to explain this... (insert useless floundering) gahh... I just
really can't think of a way to explain without putting my hands on
peoples backs, bellies and sides...

Opera, any well supported singing for that matter, is not about big
lungs and gasping for air,  It's about support, flow of the air
column, and unobstruction of the sound.  And that's probably as clear
as mud.  Hence why I don't teach voice.

As for the Queen of the Night Aria... heheh... I cannot sing it I'm
not a Coloratura, but another of my coaches students can, and has,
while wearing a baroque gown, with corset.   :>  She brought the house
down.

Mari / Bridgette

On 11/28/05, Caroline <carolineebuckley@gmail.com> wrote:
> I have come to this thread late so do appologise if this sorth of
> thing has been mentioned before.  As a singer putting on a proper
> corset to sing means you can't get the air in nearly so well as
> without.  The notes are then naturally shortened, compressed and
> quiter.  Now perhaps the very 'big' singing of modern days would not
> sound so full or loud sung by women in corsettry.
>
> Alternatively - did opera singers wear corsets - I can't even begin to
> think how to sing something like the Queen of the night aria in a
> corset.

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From: Caroline <carolineebuckley@gmail.com>
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Wow so many singers who are interested in costuming.  I have to admit
I have only done a small amount of singing and only once in a circa
1800 corset.  It did feel strange but those of you with more
experience would suggest that more practice in it would probably
help..

On 28/11/05, Marie Stewart <maricelt@gmail.com> wrote:
> Hi folks.
>
> Also coming in late... but this I can comment on.  I do sing opera,
> and I do wear corsets, sometimes both together.
> (side note) Remember, corset shapes are not all the same.  (/side note)
> What I tend to wear are 1550+ to about 1700 corsets. Most of these are
> somewhat cylindrical in shape.   I have found that wearing a corset
> actually helps my breath support, because it makes me more conscious
> of the areas involved in supporting the voice.
>
> How to explain this... (insert useless floundering) gahh... I just
> really can't think of a way to explain without putting my hands on
> peoples backs, bellies and sides...
>
> Opera, any well supported singing for that matter, is not about big
> lungs and gasping for air,  It's about support, flow of the air
> column, and unobstruction of the sound.  And that's probably as clear
> as mud.  Hence why I don't teach voice.
>
> As for the Queen of the Night Aria... heheh... I cannot sing it I'm
> not a Coloratura, but another of my coaches students can, and has,
> while wearing a baroque gown, with corset.   :>  She brought the house
> down.
>
> Mari / Bridgette
>
> On 11/28/05, Caroline <carolineebuckley@gmail.com> wrote:
> > I have come to this thread late so do appologise if this sorth of
> > thing has been mentioned before.  As a singer putting on a proper
> > corset to sing means you can't get the air in nearly so well as
> > without.  The notes are then naturally shortened, compressed and
> > quiter.  Now perhaps the very 'big' singing of modern days would not
> > sound so full or loud sung by women in corsettry.
> >
> > Alternatively - did opera singers wear corsets - I can't even begin to
> > think how to sing something like the Queen of the night aria in a
> > corset.
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>


--
Caroline

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Subject: Re: [h-cost] books on Tudor artifacts (was: New Medieval Gallery ...)
Date: Mon, 28 Nov 2005 13:04:14 -0600
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----- Original Message ----- 
From: "michael tartaglio" <mikes@dandy.net>
> Hi. Pg 228 of Geoff Egan and Hazel Forsyth's article "Wound Wire and 
> Silver Gilt"  in Oxbow Monograph #98 shows the wire from the headdress 
> that I believe you are talking about. The full title of the book is "The 
> Age of Transition; The archaeology of English culture 1400-1600" Hope this 
> helps, Mike T.

This looks similar to a book I've been wanting:
http://www.amazon.com/gp/product/190199239X/104-1649257-0753564?v=glance&n=283155&s=books&v=glance
or
http://snipurl.com/kav3

Can anyone compare the two, taking into account that the latter from amazon 
is 1/3 the price of the former? =}  The former has lots of very very 
interesting articles that I just don't really care too much about at the 
moment, judging from the contents list here:
http://www.oxbowbooks.com/bookinfo.cfm/ID/18729//Location/DBBC
Instead, I'm interested in the actual physical finds.

And can anyone suggest books you'd consider must-haves for nitty-gritty 
artifact type stuff c1485-1530, particularly for continental Europe?

-E House 

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Subject: Re: [h-cost] RE: OT - Pin Cushion
Date: Mon, 28 Nov 2005 20:27:47 +0100
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----- Original Message ----- 
From: "McClure, Kate" <kate.mcclure@dexmedia.com>
To: <h-costume@indra.com>
Sent: Monday, November 28, 2005 6:57 PM
Subject: [h-cost] RE: OT - Pin Cushion


>
> I'm wanting to make a decorative pin cushion for a Christmas gift., but
> not sure what to fill it with.  Does anyone have any suggestions besides
> sand or fiberfill?
>
> Roscelin


Hi Riscelin,
My embroidery magazines have many different pin cushions to make and they 
all have fiber fill in them, like polyester fill. It looks like vatting and 
it is very good to use!

Bjarne 


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From: Mia Dappert <snappylunch_2001@yahoo.com>
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Thinking on illustrations I have seen.  
   
  The mid 18th c  opera women must have sun in stays.  I'm working from memory here, but the engravinfgs I can remember of Handel operas show full-bore 1700's court dress, wigs, paniers out to there, feathers on the tops of heads.   And all of this done with no modern amplification, so it must be do-able.
   
  Now the men were in kind of Roman armor ( I can't remeber the opera. Judith or some such thing)  , and being a caracture, the heads were tiny, as were the legs, and the breastplate was HUGE...of course they were making fun of some Italian castrato.
   
  Mia in Charlotte

		
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Subject: Re: [h-cost] books on Tudor artifacts (was: New Medieval Gallery ...)
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On Mon, 28 Nov 2005, E House wrote:

> http://www.amazon.com/gp/product/190199239X/104-1649257-0753564?v=glance&n=283155&s=books&v=glance
> or
> http://snipurl.com/kav3
> 
> Can anyone compare the two, taking into account that the latter from amazon 
> is 1/3 the price of the former? 

Amazon is wrong -- the newer one has yet to be released. My contact at the
publisher told me today that with luck we may yet see it before the end of
the year. See another description here:

http://www.oxbowbooks.com/bookinfo.cfm/ID/44480

--Robin


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Subject: Re: [h-cost] Re: opera
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In a message dated 11/28/2005 1:49:37 P.M. Eastern Standard Time,  
carolineebuckley@gmail.com writes:

I can't  even begin to
think how to sing something like the Queen of the night aria  in a
corset.



I've always wondered about this. I mean they certainly wore corsets for the  
1st production. But many 18th century theatres are smaller than the current 
Met  of Paris opera houses and period instruments are often quieter as well. But 
you  know the original Brunhilde wore a corset! Yikes!
 
I suspect they didn't go for tight lacing...which is what we do nowadays  
with boned bodices and corsets for opera. Snug but not tight.
 
Remember that scene in "Topsy Turvey"? 
 
"I simply cannot appear on stage without a corset!"
And the Scottish tenor even wears a corset.
 
I've had singer say they like a corset [if it's not too tight] because it  
gives them great posture and they can just belt it out standing up  straight.
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----- Original Message ----- 
From: "Robin Netherton" <robin@shell.nightowl.net>
> Amazon is wrong -- the newer one has yet to be released. My contact at the
> publisher told me today that with luck we may yet see it before the end of
> the year. See another description here:
> http://www.oxbowbooks.com/bookinfo.cfm/ID/44480


Aah.  I'd been wondering why I hadn't heard more about it!  Thanks for the 
info.  I gueeeesssss I can wait a month or two...

-E House

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Subject: Re: [h-cost] Re:was OPERA singing in stays
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I dunno about 1800s for real but for fake it works:

Costuming Barnum (set in 1800s) a few years back, I put Jenny Lind (chick with 
high voice) into a steel-bone Victorian corset. She loved it, saying that she 
was able to press against it from the inside for additional control,

-C.


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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] Re: opera
Date: Tue, 29 Nov 2005 14:10:25 +1300
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> How to explain this... (insert useless floundering) gahh... I just
> really can't think of a way to explain without putting my hands on
> peoples backs, bellies and sides...
> Opera, any well supported singing for that matter, is not about big
> lungs and gasping for air,  It's about support, flow of the air
> column, and unobstruction of the sound.  And that's probably as clear
> as mud.  Hence why I don't teach voice.

Basically the diaphram moves up and down, if you have a solid external
support you can focus on "dropping the breath" rather than pushing the belly
out (which is not what you are supposed to do;) ) and letting the muscles
around the belly relax.
It helps to brace against to support the outbreath as well.
So it helps the relaxing of the inbreath and support of sustained outbreath.
You can also learn to use the muscles all around the ribcage rather than
just those at the front.

I had difficulty for years because no singing teacher actually explained
what I was supposed to "feel." I thought they were meaning just the
vibrations in the mask etc.
So now I explain to my teachers I can't deal in imagery, tell me what is
actually happening.

> As for the Queen of the Night Aria... heheh... I cannot sing it I'm
> not a Coloratura, but another of my coaches students can, and has,
> while wearing a baroque gown, with corset.   :>  She brought the house
> down.

I can't hold a sustained E in alt but those Fs are so very fun to sing. It's
an excellent piece to sing for learning to get the voice agile:) It helped
me a great deal. I couldn't sing it in public for money;) But it's an
extremely delicious song to sing.

michaela
http://costumes.glittersweet.com



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From h-costume-bounces@indra.com  Mon Nov 28 21:04:09 2005
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Subject: [h-cost] Re: singing in a corset
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Done it.  If it's not laced right it can be a problem.  If the rings aren't slippery (and they and the lace shouldn't be) it's easy to lace tighter up top where you need more support, and slightly looser below where you need room for your lungs to expand/diaphragm to move.

That said, one reason for the phrase "belting it out" is that you are throwing your breath into your belt for support (more or less).  When I was taking flute lessons, years ago, eventually my teacher had me (and her other students) wearing a snug belt while playing... to teach better breath support.  On top of focusing your attention, the belt itself provided a bit of support.  She'd learned from both opera singers and woodwind players (can't remember which men in specific, but there were at least a couple... and I've a guess at which, who she's met, but don't want to stick my foot in it with the wrong names).

I've found the same support and focus when my bodice and/or corset is laced properly.  Obviously not as snugly as the belt had been worn, but snug, not tight.

-Elisabeth


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Subject: Re: [h-cost] Re: opera
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In a message dated 11/28/2005 8:11:13 P.M. Eastern Standard Time,  
thebruce@ihug.co.nz writes:

It's
an excellent piece to sing for learning to get the voice  agile:) 


Getting yourself ready for "Una voce poco fa"?
 
I'm obsessed with "Figaro" lately....
 
Which reminds me of a great production I saw that used Rene Magrite  
paintings as a jumping off point. The costumes were stereotypes....not accurate  
really. Rosina was in an all white almost Flamenco dress. Figaro had his usual  
bolero, breeches and sash [he sung his big entrance aria...y'know the one with  
the "Fiiiiiii-gaaaaa-rooooo.....Fi-ga-ro....FigaoFigaroFigaroFigaro....." show  
off section....in his bedroom getting dressed. At the beginning of it he's  
getting out of bed....he's all dressed by the end of it.] During the  
thunderstorm, a scrim came down raining men in bowler hats. When a big conflict  would 
arise, a drop of a train coming out of the fireplace would appear. At the  end 
when the lovers are united, the walls of the room became a box of blue sky  
with little white clouds, then the Count and Rosina appear in their same  
costumes only now made of blue sky with clouds. I loved  it!
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Subject: [h-cost] This is gorgeous!
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Browsing eBay and found this...
   
  http://cgi.ebay.com/Exquisite-Victorian-Soutache-Trim-Jacket_W0QQitemZ8358250073QQcategoryZ48864QQssPageNameZWDVWQQrdZ1QQcmdZViewItem
   
  Sigh, the sort of thing that looks great period, but would also go great with a pair of jeans! I love Victorian although I haven't yet attempted to make anything period.
   
  Annette M

		
---------------------------------
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Subject: [h-cost] Re: costume in general
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AlbertCat wrote:

> So what's you're point?

My point is exactly what I said: If you're going to do a rare performance
but do it in an unusual style, then tell people. That way people know what
they're getting into.

I, personally, don't like bizarre and modern costumes. But if I know I am
going to see them, it's up to me whether or not to pay the ticket price. I
am not against creative staging -- but I have seen a lot of awful (in my
opinion) things done in the name of "creativity." And, you're right, a lot
of awful "traditional" productions. I try to check reviews of productions
ahead of time, but that's not always possible -- sometimes you have to buy
the tickets far in advance.

Theater people have a lot of fun with creative casting, costuming, staging,
and even totally changing the point of various plays. But the audience is
supposed to enjoy the production, too. If we audience members are supposed
to respect the work and vision going into a production, and to try things
that are different from what we expect, it's only right for the theater
company to respect the audience's opinion if they hate it.

Gail Finke




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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] RE: OT - Pin Cushion-how many needles have you lost?
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I took one of my pin cushions apart lately and found no less than 31 
needles stuck inside....I thought I had a needle eating monster (I know 
I have a sock eating monster!), now I know where to look next time!

Sg

>
>  
>

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From h-costume-bounces@indra.com  Mon Nov 28 22:09:20 2005
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Date: Mon, 28 Nov 2005 14:15:40 -0500
From: monica spence <monicaspence@optonline.net>
Subject: RE: [h-cost] Re: opera
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I've costumed a lot of period style operas-- for me the best way was to
lightly bone the bodice of the gown so it gives the look , but doesn't drive
the singers crazy...
Dame Catriona MacDuff

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of Caroline
Sent: Monday, November 28, 2005 1:43 PM
To: Historical Costume
Subject: Re: [h-cost] Re: opera


I have come to this thread late so do appologise if this sorth of
thing has been mentioned before.  As a singer putting on a proper
corset to sing means you can't get the air in nearly so well as
without.  The notes are then naturally shortened, compressed and
quiter.  Now perhaps the very 'big' singing of modern days would not
sound so full or loud sung by women in corsettry.

Alternatively - did opera singers wear corsets - I can't even begin to
think how to sing something like the Queen of the night aria in a
corset.

On 28/11/05, Mia Dappert <snappylunch_2001@yahoo.com> wrote:
> And not only do you have to consider the costumes and the direction of the
production, with opera and any other "Period  Music", You have to consider
whether it is one with period instruments and sensibilities, or if it is
done with a modern orchestra.  (and vocal talents...were there castrati or
at least male altos singing some of the parts?)  There are some groups that
head in this direction, and the sound is very different.  Modern music is
often times very different from the intent of the composer.
>
>   And thanks for some of the DVD suggestions
>
>   18th c Mia in Charlotte, formerly Baroque Mia from the University of MD
Chorus, who was lucky enough to sing with some male altos and instruments
from the Smithsonian instution and Barouge performance artists from many
places at the Handel festival
>
>
> ---------------------------------
>  Yahoo! Music Unlimited - Access over 1 million songs. Try it free.
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>


--
Caroline

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To: Historical Costume <h-costume@indra.com>
From: Joan Jurancich <joanmj@surewest.net>
Subject: Re: Singing while wearing a corset, was [h-cost] Re: opera
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At 11:41 AM 11/28/2005, you wrote:
>Wow so many singers who are interested in costuming.  I have to admit
>I have only done a small amount of singing and only once in a circa
>1800 corset.  It did feel strange but those of you with more
>experience would suggest that more practice in it would probably
>help..
>
>[big snip about opera specifics]

While I am not an opera singer, I have done quite a bit of singing in 
full Elizabethan court dress over the past 20 years; I have no 
trouble projecting a considerable distance out of doors (and making 
echoes indoors).  One thing the corseting does is keep your posture 
upright, which makes it easier to support your breathing for 
singing.  This, of course, assumes that your corset is properly 
fitted and worn correctly (snug enough for support and not so tight 
that breathing is difficult).


Joan Jurancich
joanmj@surewest.net 

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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] Re: opera
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At 18:43 28/11/2005, you wrote:
>I have come to this thread late so do appologise if this sorth of
>thing has been mentioned before.  As a singer putting on a proper
>corset to sing means you can't get the air in nearly so well as
>without.  The notes are then naturally shortened, compressed and
>quiter.  Now perhaps the very 'big' singing of modern days would not
>sound so full or loud sung by women in corsettry.
>
>Alternatively - did opera singers wear corsets - I can't even begin to
>think how to sing something like the Queen of the night aria in a
>corset.
>
>On 28/11/05, Mia Dappert <snappylunch_2001@yahoo.com> wrote:
> > And not only do you have to consider the costumes and the 
> direction of the production, with opera and any other 
> "Period  Music", You have to consider whether it is one with period 
> instruments and sensibilities, or if it is done with a modern 
> orchestra.  (and vocal talents...were there castrati or at least 
> male altos singing some of the parts?)  There are some groups that 
> head in this direction, and the sound is very different.  Modern 
> music is often times very different from the intent of the composer.


Certainly in comparatively recent times, I worked with an opera 
singer who insisted on wearing a corset if the part called for it, 
and there was no reduction in volume from her voice. At Glyndebourne 
in Sussex,  one of the premier opera houses in England, some singers 
would wear them, and some refused. If you are used to wearing it 
corset during your normal life, it would not be a problem to sing in 
one. You learn to breathe differently - I certainly never had problems myself.

Suzi


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Subject: [h-cost] Vintage thread question
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Status: RO

I have something of a dilemma. We're finally getting around to dealing with
some of my late mother's huge collection of odds-and-ends, and there is an
entire *drawer* full of thread that I rescued before Dad threw it out. Old
thread on wooden spools--Coats & Clark, a brand called Blyda, and Belding
Corticelli. There are some random spools from Sears, but mostly those three,
in various colors. So I have all this thread, and I'm not sure what to do
with it. Should I try selling it to collectors? Should I sew with it?
Anybody have any suggestions?

Many thanks,

Jen
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Vintage thread question
References: <6107d9c10511281930r71a3ae48q82b9d33d3d9d67a@mail.gmail.com>
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pixel wrote:

>  Should I try selling it to collectors? Should I sew with it?
> Anybody have any suggestions?
> 

If it's not rotten, and you're not attached to it, go ahead and sew with 
it. I have some that was my grandmothers that I am slowly using up, 
thinking of her each time I pull one from the rack. Keep the empty 
wooden spools though, they don't make real ones any more.


Dawn


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Date: Mon, 28 Nov 2005 21:44:50 -0600
From: Catrijn vanden Westhende <catrijn@gmail.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Vintage thread question
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Old thread has a tendency to be rather weak.  I inherited quite a bit
of old silk thread - and I only made the mistake of sewing with it
once.  It broke incessantly once I started wearing the garment - I
finally had to re-do all the seams that were under even a little bit
of stress.  I keep it around as it is suitable for small bits of
decorative work, where the thread really isn't under any tension, but
other than that, it isn't good for much.

Catrijn

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Subject: Re: [h-cost] Vintage thread question
Date: Mon, 28 Nov 2005 23:01:50 -0500
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>From my own experience, depending on the age and quality of storage, a lot
of the thread may be only usable on spool for ambiance in a "sewing box" of
vintage  collecting.  Some of the labels suggest this.  If you are planning
to try to use some of it, I suggest you 'test' each spool for necessary
strength, or the garment thus constructed will probably fall apart as you
sew...

Kathleen

----- Original Message ----- 
From: "pixel" <goddessandqueen@gmail.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Monday, November 28, 2005 10:30 PM
Subject: [h-cost] Vintage thread question


I have something of a dilemma. We're finally getting around to dealing with
some of my late mother's huge collection of odds-and-ends, and there is an
entire *drawer* full of thread that I rescued before Dad threw it out. Old
thread on wooden spools--Coats & Clark, a brand called Blyda, and Belding
Corticelli. There are some random spools from Sears, but mostly those three,
in various colors. So I have all this thread, and I'm not sure what to do
with it. Should I try selling it to collectors? Should I sew with it?
Anybody have any suggestions?

Many thanks,

Jen
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To: Historical Costume <h-costume@indra.com>
From: Joan Jurancich <joanmj@surewest.net>
Subject: Re: [h-cost] Vintage thread question
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At 07:30 PM 11/28/2005, you wrote:
>I have something of a dilemma. We're finally getting around to dealing with
>some of my late mother's huge collection of odds-and-ends, and there is an
>entire *drawer* full of thread that I rescued before Dad threw it out. Old
>thread on wooden spools--Coats & Clark, a brand called Blyda, and Belding
>Corticelli. There are some random spools from Sears, but mostly those three,
>in various colors. So I have all this thread, and I'm not sure what to do
>with it. Should I try selling it to collectors? Should I sew with it?
>Anybody have any suggestions?
>
>Many thanks,
>
>Jen

I'd sew with it.  Over the years I have found many older spools of 
thread; if they have not deteriorated due to poor storage conditions, 
I use them.  I don't like to hand sew with Dual Duty (the 
cotton-wrapped polyester stuff) unless I am doing some beadwork (it's 
actually recommended in some instruction books and works well for 
that).  I like the greater number of sizes of thread that were 
available many years ago.


Joan Jurancich
joanmj@surewest.net 

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From: Cin <cinbarnes@gmail.com>
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Subject: [h-cost] Working with velvet
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Anyone have some favorite velvet tricks they'd like to share? It's
been ages since I worked with the stuff.

I'm particularly concerned about dealing with areas where multiple
layers meet.  I'm doing an early Stuart informal doublet with set in
sleeves and epaulettes.  That's a lot of layers.  In wool, I'd just
grade down the interfacing then steam it to a fair-thee-well and whack
the whole think with a clapper.  If I do that on velvet I'll have a
nasty squished mess.

Got any hints?
--cin
Cynthia Barnes
CinBarnes@gmail.com

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From: "Lloyd Mitchell" <rmitchell@washjeff.edu>
To: "Historical Costume" <h-costume@indra.com>
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	<6.2.3.4.2.20051128200250.0309b820@pop.surewest.net>
Subject: Re: [h-cost] Vintage thread question
Date: Mon, 28 Nov 2005 23:59:49 -0500
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And another possibility is using it to make 'found lace'...random
sewing/embroidery on a soluble filament that you wash away after you are
done with the machine part.  One of the trendy new crafts (for leftover
thread!).
Kathleen
----- Original Message ----- 
From: "Joan Jurancich" <joanmj@surewest.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Monday, November 28, 2005 11:07 PM
Subject: Re: [h-cost] Vintage thread question


> At 07:30 PM 11/28/2005, you wrote:
> >I have something of a dilemma. We're finally getting around to dealing
with
> >some of my late mother's huge collection of odds-and-ends, and there is
an
> >entire *drawer* full of thread that I rescued before Dad threw it out.
Old
> >thread on wooden spools--Coats & Clark, a brand called Blyda, and Belding
> >Corticelli. There are some random spools from Sears, but mostly those
three,
> >in various colors. So I have all this thread, and I'm not sure what to do
> >with it. Should I try selling it to collectors? Should I sew with it?
> >Anybody have any suggestions?
> >
> >Many thanks,
> >
> >Jen
>
> I'd sew with it.  Over the years I have found many older spools of
> thread; if they have not deteriorated due to poor storage conditions,
> I use them.  I don't like to hand sew with Dual Duty (the
> cotton-wrapped polyester stuff) unless I am doing some beadwork (it's
> actually recommended in some instruction books and works well for
> that).  I like the greater number of sizes of thread that were
> available many years ago.
>
>
> Joan Jurancich
> joanmj@surewest.net
>
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Have you run across this site?
http://www.cma.org/explore/department.asp?deptgroup=3&display=&recNo=360

De

-----Original Message-----
I can't help on the subject of cost, but I can certainly say I'd welcome
such classes. I occasionally embroider but not at your level, and I used to
make bobbin lace and would like to return to doing that, with some guidance
this time (learned it entirely from books!).
--Ruth Anne Baumgartner
scholar gypsy and amateur costumer



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Subject: [h-cost] Irons
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I think my 28yo GE iron is giving up to ghost.

Problem is this: I volunteered to make curtains for a friend who is having a
baby - she doesn't have time as the doctor wants to induce her 3 wks early
(due to diabetes in the family). I need to get them done like today or
tomorrow and I don't have time to research irons.

So, can I please get some recommendations? Something, sturdy, mid-range,
easy to find  (cause this is Seattle and they're prediciting snow off and on
for the week and I might have to get it at either a Joanns, Fred Meyers, or
Sears store) and without an automatic off timer thingy that drives me nuts
when I use other peoples.

Thanks a bunch

Susan in Bellevue

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Subject: Re: [h-cost] Vintage thread question
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In a message dated 11/28/2005 11:59:40 P.M. Eastern Standard Time,  
rmitchell@washjeff.edu writes:

And  another possibility is using it to make 'found  lace'...random
sewing/embroidery on a soluble filament that you wash away  after you are
done with the machine part


And another idea, if you don't want to risk using the thread to sew--make a  
necklace with the spools, with the thread still on them.  Combine with  
interesting beads, perhaps some vintage fabric scraps--make a statement and  
remember your mom at the same time.
 
Ann Wass
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Working with velvet
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Hi Cin, I do a lot of hand basting with silk thread to prevent 
shifting.  Sort of in a ladder pattern both vertical and horizontal.    
I will review my Threads articles on sewing with velvet.  I don't recall 
any recommendations to do so, but I suppose you could "shear" the velvet 
seam allowances like you do when working with fur.
Also, do you have a velvet pressing pad?  They are either a bunch of 
little pins or even stiff brushy type ironing pads.

What kind of velvet is it?  If it is cotton, washing it up first will 
soften it alot.

Sg


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Subject: [h-cost] What about a gift exchange picture page?
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Hi, I was wondering if any of you would be interested in me setting up a 
webpage with the "gift exchangees" and their gifts so we can see what 
everyone got?

I can set it up on my site if you like or we can find some external 
picture site which would allow folks to upload their own.

Sg
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Subject: Re: [h-cost] This is gorgeous!
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In a message dated 11/28/2005 10:12:54 P.M. Eastern Standard Time,  
kahlara@yahoo.com writes:

although  I haven't yet attempted to make anything period.



*****************
The actual construction of this jacket would not be too hard or  too removed 
from any modern jacket.
 
Applying the soutache on the other hand.....
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From: ruthanneb@mindspring.com
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Working with velvet
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I usually put tissue paper between the layers. That discourages creep and also seems to enable the pile to move out of the way of the needle rather than getting squished under the thread, so the seam doesn't really show after sewing. But I haven't got a trick to deal with thickness, other than gritting my teeth, muttering under my breath, and pushing the fabric that's under the presser foot down as hard as I can with my forefingers! --That, or sew it by hand.
--Ruth Anne Baumgartner
scholar gypsy and amateur costumer

-----Original Message-----
From: Cin <cinbarnes@gmail.com>
Sent: Nov 28, 2005 11:46 PM
To: h-cost <h-costume@indra.com>
Subject: [h-cost] Working with velvet

Anyone have some favorite velvet tricks they'd like to share? It's
been ages since I worked with the stuff.

I'm particularly concerned about dealing with areas where multiple
layers meet.  I'm doing an early Stuart informal doublet with set in
sleeves and epaulettes.  That's a lot of layers.  In wool, I'd just
grade down the interfacing then steam it to a fair-thee-well and whack
the whole think with a clapper.  If I do that on velvet I'll have a
nasty squished mess.

Got any hints?
--cin
Cynthia Barnes
CinBarnes@gmail.com

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From: elena_o_tighearnaigh@comcast.net
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Irons
Date: Tue, 29 Nov 2005 15:33:15 +0000
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I live in Everett WA and Costco has a great iron (can't remember the brand - and I'm at work - drat!) that I think is equal to the Rowenta that I have, and about half the price.  

It's got a 'computerized' setting selection LCD (I think that's what it's called) with up/down buttons to select syn/silk/wool/cotton/linen.  It has a separate lever to select steam functions too.  

The shot of steam is wonderful.

I'll post the brand when I get home.
Elena/Gia
-------------- Original message -------------- 

> I think my 28yo GE iron is giving up to ghost. 
> 
> Problem is this: I volunteered to make curtains for a friend who is having a 
> baby - she doesn't have time as the doctor wants to induce her 3 wks early 
> (due to diabetes in the family). I need to get them done like today or 
> tomorrow and I don't have time to research irons. 
> 
> So, can I please get some recommendations? Something, sturdy, mid-range, 
> easy to find (cause this is Seattle and they're prediciting snow off and on 
> for the week and I might have to get it at either a Joanns, Fred Meyers, or 
> Sears store) and without an automatic off timer thingy that drives me nuts 
> when I use other peoples. 
> 
> Thanks a bunch 
> 
> Susan in Bellevue 
> 
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At 07:27 AM 11/29/2005, you wrote:
>Message: 11
>Date: Tue, 29 Nov 2005 01:05:14 -0800
>From: "Susan" <Scourney@nwlink.com>
>Subject: [h-cost] Irons
>To: "Historical Costume" <h-costume@indra.com>
>Message-ID: <00ca01c5f4c4$03119b20$0300a8c0@sc>
>Content-Type: text/plain;       charset="iso-8859-1"
>
>I think my 28yo GE iron is giving up to ghost.
>
>Problem is this: I volunteered to make curtains for a friend who is having a
>baby - she doesn't have time as the doctor wants to induce her 3 wks early
>(due to diabetes in the family). I need to get them done like today or
>tomorrow and I don't have time to research irons.
>
>So, can I please get some recommendations? Something, sturdy, mid-range,
>easy to find  (cause this is Seattle and they're prediciting snow off and on
>for the week and I might have to get it at either a Joanns, Fred Meyers, or
>Sears store) and without an automatic off timer thingy that drives me nuts
>when I use other peoples.
>
>Thanks a bunch
>
>Susan in Bellevue

I've gone through more irons in my life than I can count, and I'm always 
disappointed. I've tried all the high end one, like Rowenta and such, and 
I've never found one that didn't drip, or heat unevenly, or behave badly in 
some way.

But recently I found the best iron I've ever had - no drip, no matter how 
much I use the shot of steam feature, able to steam while upright, coated 
(like teflon) bottom, retractable cord, and a few other goodies. It's a 
Sumbeam Steam Master model 4214, and it was a whopping $25 at WalMart. I'll 
never waste money on an expensive iron again!

Julie


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Hi Cin!

Actually, you can steam velvet if you have one of 2 things: 

1) a nail board -- this is the safest option, but they are very expensive, and tend to come in 4" square sizes, which are simply frustrating to work with. (IMHO)

2) You can iron and steam velvet if you put the pile face down into another piece of velvet whose pile is up.  The pile from the bottom velvet keeps the pile in the garment from being crushed. The costume shop manager I learned this from said it worked best if you used the same fabric for both the garment and the "drop cloth". Personally, I made a velvet ironing board cover, and it's worked great for every velvet I've needed to iron. Depending on the strength of your iron (if you have an industrial iron for instance), I would be hesitant to use the full blast of the steam on this, especially if you are not using the same fabric for both velvets. But I have worked with a home iron and my velvet ironing board cover with no problems. I'm also a bit more paranoid about leaving the iron face down on the velvet then I am when ironing cotton or wool. 

	-sunny
 


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Subject: [h-cost] Another on Opera/Theatre in general
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I'm coming in late on this as I had heistated to comment, but now feel like tossing in my two cents worth as well.
   
  I saw a production of Tristan and Isolde several years ago that left a lot to be desired. I'm not sure of the intent, but it was distracting as the costuming was from more than one period - and none of it "period" to the opera. The set design was also from left field. I did watch it through as the voices were beautiful, but the friend that attended with me said she had to just close her eyes and listen.
   
  One of my favorites was a production of Die Fledermaus - I couldn't tell you what the period was as I wasn't as costume conscious then, but they were gorgeous!
   
  I have also seen a lot of Shakespeare, some in period costume some not. I saw a production of Taming of the Shrew in a 20th century Bohemian setting. It worked well I thought.
   
  I can see where a gently firm corset would help with breath support especially with the Queen of the Night's aria. But my favorite - even though it has been commercialized - is the Flower Duet from Lakme'. I did see that done in period costume - more or less - as the costumes were more representative for the British solidiers than accurate and seemed, as I recall, a little more showy than the actual uniforms would have been. But that is theatre after all, isn't it?
   
  Annette M
  (local to both the Seattle and Vancouver, B.C. Opera companies and ventures to the Oregon Shakespeare Festival on occasion)

		
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Subject: Re: [h-cost] What about a gift exchange picture page?
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> Hi, I was wondering if any of you would be interested in me setting up a
> webpage with the "gift exchangees" and their gifts so we can see what
> everyone got?

Saragrace,

What a cool idea!

Diana

www.RenaissanceFabrics.net
"Everything for the Costumer"

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I'm for it.

-E House


----- Original Message ----- 
>> Hi, I was wondering if any of you would be interested in me setting up a
>> webpage with the "gift exchangees" and their gifts so we can see what
>> everyone got?
> 
> Saragrace,

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WickedFrau wrote:

> Hi, I was wondering if any of you would be interested in me setting up a 
> webpage with the "gift exchangees" and their gifts so we can see what 
> everyone got?

Fine by me, though folks without a digital camera might be at a 
disadvantage.



Dawn



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 While I usually make porcelain dolls from soft-fired greenware, a
friend recently gave me a 24" Paradise Galleries Native American doll
because she wanted the beautiful costume and hair ornaments for a doll
she had made and is not a sewer.

I want to dress the doll as Pocahontas(Matoaka)either on her wedding day
to John Rolfe, or when she was at the English court for the 12th Night
celebrations. While I could dress her as in her engraved portrait(the
revised colors based on how engravers indicated colors through their
engraving are gold dress, red surcoat, and white hat with gold band and
white feather)and that is still an option, I'd like to do a wedding day
or court dress. The doll is on a cloth body so the dress would have to
be high-necked or have a shallow square neck. I found some red and gold
Christmas fabric at Joann's at 70% off that might do. The striped design
has a Jacobean feel to it and possibly hasn't sold as well as other
fabrics because the stripe is horizontal and isn't obviously
Christmassy. 

The excellent biography Pocahontas and the Powhatan Dilemma only says
that Pocahontas' wedding ensemble was imported from England and her
father sent her a necklace of pearls. The 12th Night gown isn't
described either.

I'm guessing the pearls were freshwater, but have no idea as to the
length or color of the necklace(white, natural, pink, grey, mixed?) Does
anyone on the list know what pearls (white beads were worn, I know)a
Powhatan "noble" woman would wear.

Also I'm thinking of adding a white Jacobean surcoat, but made of white
feathers. I know from the biog that Powhatan's wives were recorded as
wearing blue feather capes, made so densely, that one Englishman
recorded them as appearing more of satin than feathers, but have no idea
as of type of feather or shade of blue.

Many thanks for any help.

Cindy Abel

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big very fluffy towels work too.> 
> 

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Subject: [h-cost] ironing
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Hi... ummm, I hope that I am doing this right. My name is Katy and I am a 
college student who signed up on this list a long time ago more to learn 
then to participate. But I was reading about ironing and thought that I 
might put in a word.

I once did the ironing for the priest on my campus (the linens we use at 
mass and such). He had washed them but did not put them in the dryer. To 
keep them wet he kept them in the ridge and then while you ironed you not 
only took out all wrinkles but also dried them!!
Another side effect is having a slight steam facial. lol.

Since I am a poor student- and I dropped my iron at the beginning of last 
year so it leaks when I do put water in it. I have resorted to this method 
which really does work!

Katy- an eager learner.


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Subject: Re: [h-cost] ironing
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Subject: [h-cost] ironing


> I once did the ironing for the priest on my campus (the linens we use at 
> mass and such). He had washed them but did not put them in the dryer. To 
> keep them wet he kept them in the ridge and then while you ironed you not 
> only took out all wrinkles but also dried them!!
> Another side effect is having a slight steam facial. lol.
>
> Since I am a poor student- and I dropped my iron at the beginning of last 
> year so it leaks when I do put water in it. I have resorted to this method 
> which really does work!
>
> Katy- an eager learner.

My grandmother took in ironing for extra money all her life, and she used to 
use a sprinkler can to dampen the clothing before it was ironed.  If she 
couldn't get to it imediately, she'd store the damp clothes in her freezer 
until she could.  It worked much better than using the steam function on the 
iron.  She only used that when she was sewing.

Melusine 

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From h-costume-bounces@indra.com  Tue Nov 29 16:41:08 2005
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From: Deredere Galbraith <Deredere.Galbraith@kabelfoon.nl>
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Subject: [h-cost] Regency embroidery question
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Hi,
I am planning on making a regency gown.
http://www.metmuseum.org/toah/hd/god1/hob_1983.6.1,07.146.5.htm
And I have found the perfect cotton voile.

But know I am wondering what kind of embroidery thread I should use.
The discription says heavy white cotton thread.
It looks not very tightly spun.
Has anyone any idea what I could use?

I wish I had some close up pictures of this type of embroidery.
There is one in the Kyoto book but that embroidery is too heavy to my taste.
Like the subtle smaller patterns better.

Greetings,
       Deredere



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From h-costume-bounces@indra.com  Tue Nov 29 17:54:09 2005
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Subject: [h-cost] A Rant about commercial patterns
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I've been sewing for my granddaughters for Christmas and have come across,  
again, something that has long bothered me in most commercial patterns.   The 
sleeves have elastic in them and the directions say, "Cut elastic to a  
comfortable measurement."  Now, the girls are in Florida, and I am in  Maryland, so 
how am I supposed to do that?  The same holds when making baby  clothes for 
babies who aren't born yet, for example.  I've emailed the  company in question 
to get a measurement but haven't heard back yet, and I need  to get these in 
the mail soon.  I went to the store today to see if I could  find ready-made 
garments to measure.  This is not only a huge  inconvenience, but almost futile, 
as everything I saw in the store had long  straight sleeves!
 
Does this peeve anyone else as it does me?
 
Ann Wass
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From h-costume-bounces@indra.com  Tue Nov 29 18:08:47 2005
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Subject: Re: [h-cost] RE: OT - Pin Cushion
Date: Tue, 29 Nov 2005 15:08:51 -0800
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I stuff my pincushions with half-scoured wool fleece.  Wash it enough to get
rid of the pasture but not so much as to strip the lanolin.  Keeps pins and
needles sharp and lubed longer than anything else I've ever used....

-Brenna

> > I'm wanting to make a decorative pin cushion for a Christmas gift., but
> > not sure what to fill it with.  Does anyone have any suggestions besides
> > sand or fiberfill?
> >
> > Roscelin
>
>
> Hi Riscelin,
> My embroidery magazines have many different pin cushions to make and they
> all have fiber fill in them, like polyester fill. It looks like vatting
and
> it is very good to use!
>
> Bjarne

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That sounds like a great idea, I think one of the photo sharing websites 
might work best as we can allow multiple people to upload their own photos. 
I've used http://www.myphotoalbum.com/ for the amiperiodornot photos 
(http://amiperiodornot.myphotoalbum.com/) because it allows voting and 
comments and it's designed to let a lot of different people upload photos 
(one of the previous administrators just has to set up an account for them). 
Perhaps we could set up a h-cost photo album and create IDs for members of 
this list who ask, that way, rather than having it hosted on one website 
which only one person has access to everyone could upload their own, and 
nobody here is paying for the extra bandwidth and one person doesn't get 
swamped by emails with photo attachments.
Elizabeth
----- Original Message ----- 
From: "WickedFrau" <wickedfrau@msn.com>
To: <h-costume@indra.com>
Sent: Wednesday, November 30, 2005 1:53 AM
Subject: [h-cost] What about a gift exchange picture page?


> Hi, I was wondering if any of you would be interested in me setting up a 
> webpage with the "gift exchangees" and their gifts so we can see what 
> everyone got?
>
> I can set it up on my site if you like or we can find some external 
> picture site which would allow folks to upload their own.
>
> Sg

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From h-costume-bounces@indra.com  Tue Nov 29 18:29:47 2005
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From: stilskin@netspace.net.au
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] ironing
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Ironing? Ironing? Did someone say ironing? I am anally retentive when it comes 
to ironing -- if it does not have a crease you can cut bread with, it ain't 
ironed.

I guess it all goes back to my childhood, my first holidays job at a large 
industrial laundry, work that included preparing formal waistcoats, bibs, bow 
ties and so forth for the private gentlemen's clubs. My favourite thing, and 
another way of getting a facial, was the steam pipe with the flattened end for 
putting folds in formal shirt collars and so forth.

My rulez?

Don't be lazy, don't put water in the iron, you cannot control when some brown 
gunk is going to choose to visit your shirt, use a sprinkling can/bottle or a 
spray bottle;

Constantly adjust your temperature for the job at hand;

Take your time and get it right, go over things if you made an unwanted wrinkle;

Remember that, on pure cotton, starch is your true god;

Use a think padding on your board with a natural fibre cover;

Collect as many tailoring aids as you can think of (hams, etc.). At a pinch, a 
football can be used.

Collect as many useless things to do with ironing as you can lay hands on (coal-
heated irons, combustion stove-heated irons, old Singer iron stands). You are 
not required to use them, just have them in the same way as you must have much 
fabric;

Have several working irons -- one for fabric, one for spare, one for shaping 
polystyrene props...;

Keep your iron clean with quality floor cleaners that can take off any muck -- 
when worse gets to worst, do as I do and take a powerdrill fitted with a wire 
brush to the thing (which also helps remove that stoopid teflon people think 
looks good but will -- sooner or later -- flake off on your best whites).

Thanks for the bandwidth, I am heading back to my looney bin now,


-C.


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This email was sent from Netspace Webmail: http://www.netspace.net.au

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From h-costume-bounces@indra.com  Tue Nov 29 18:47:14 2005
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From: "kim baird" <kbaird@cableone.net>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] A Rant about commercial patterns
Date: Tue, 29 Nov 2005 17:41:50 -0600
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Status: RO

It's not the pattern company's fault that your granddaughters are in
Florida.

I have the same problem if I'm sewing for my daughter while she's at
school. I NEVER use the measurement given in the pattern (if there is
one) for elastic. I measure directly on the body in question.

In your case, have someone measure the girls' wrists and let you know.

The other option is to thread in the elastic but don't join the ends,
and don't close the casing. Let their mother or father do it at the
other end, when the girls have tried on the garment.

If none of those will work, just guess and err a bit on the large side.
They can always use a safety pin.

Kim

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
On Behalf Of AnnBWass@aol.com
Sent: Tuesday, November 29, 2005 4:53 PM
To: h-costume@indra.com
Subject: [h-cost] A Rant about commercial patterns


I've been sewing for my granddaughters for Christmas and have come
across,  
again, something that has long bothered me in most commercial patterns.
The 
sleeves have elastic in them and the directions say, "Cut elastic to a  
comfortable measurement."  Now, the girls are in Florida, and I am in
Maryland, so 
how am I supposed to do that?  The same holds when making baby  clothes
for 
babies who aren't born yet, for example.  I've emailed the  company in
question 
to get a measurement but haven't heard back yet, and I need  to get
these in 
the mail soon.  I went to the store today to see if I could  find
ready-made 
garments to measure.  This is not only a huge  inconvenience, but almost
futile, 
as everything I saw in the store had long  straight sleeves!
 
Does this peeve anyone else as it does me?
 
Ann Wass
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From h-costume-bounces@indra.com  Tue Nov 29 18:54:28 2005
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Subject: Re: [h-cost] A Rant about commercial patterns
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In a message dated 11/29/2005 6:42:49 P.M. Eastern Standard Time,  
kbaird@cableone.net writes:

If none  of those will work, just guess and err a bit on the large side.
They can  always use a safety pin.



*****************
Measure a kid that is close to the size of the girls...y'know, your  
neighbor's or something. It's elastic! It's a wrist measurement or an upper arm  
measurement. How different can it be? If it with in 2" of the correct  measurement, 
it should work. Any measurement that pattern company might come up  with will 
be just as much of an educated guess.
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From h-costume-bounces@indra.com  Tue Nov 29 19:01:56 2005
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Date: Tue, 29 Nov 2005 18:55:33 -0500
From: monica spence <monicaspence@optonline.net>
Subject: RE: [h-cost] A Rant about commercial patterns
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Why don't you have the girl's mom loosly measure their wrists?

Elastic specs are tricky in a factory. If something is too tight it will not
fit or sell.

Best Regards-
Dame Catriona MacDuff

(Monica Spence-- designer and patternmaker for kid's swimwear)


-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of AnnBWass@aol.com
Sent: Tuesday, November 29, 2005 5:53 PM
To: h-costume@indra.com
Subject: [h-cost] A Rant about commercial patterns


I've been sewing for my granddaughters for Christmas and have come across,
again, something that has long bothered me in most commercial patterns.
The
sleeves have elastic in them and the directions say, "Cut elastic to a
comfortable measurement."  Now, the girls are in Florida, and I am in
Maryland, so
how am I supposed to do that?  The same holds when making baby  clothes for
babies who aren't born yet, for example.  I've emailed the  company in
question
to get a measurement but haven't heard back yet, and I need  to get these in
the mail soon.  I went to the store today to see if I could  find ready-made
garments to measure.  This is not only a huge  inconvenience, but almost
futile,
as everything I saw in the store had long  straight sleeves!

Does this peeve anyone else as it does me?

Ann Wass
_______________________________________________
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: OT - Pin Cushion
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   Thank you, Bjarne, for your suggestion.  Can any of those magazines be bought in the U.S.?  They sound interesting.

Roscelin



> Hi Riscelin,
> My embroidery magazines have many different pin cushions to make and they 
> all have fiber fill in them, like polyester fill. It looks like vatting and 
> it is very good to use!
> 
> Bjarne 
> 
> 
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Subject: [h-cost] Regency embroidery question
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Hi,
I am planning on making a regency gown.
http://www.metmuseum.org/toah/hd/god1/hob_1983.6.1,07.146.5.htm
And I have found the perfect cotton voile.

But know I am wondering what kind of embroidery thread I should use.
The discription says heavy white cotton thread.
It looks not very tightly spun.
Has anyone any idea what I could use?

I wish I had some close up pictures of this type of embroidery.
There is one in the Kyoto book but that embroidery is too heavy to my taste.
Like the subtle smaller patterns better.

Greetings,
       Deredere


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What I want to know is, is anyone waiting till Christmas to open their gift?

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

WickedFrau wrote:

> Hi, I was wondering if any of you would be interested in me setting up 
> a webpage with the "gift exchangees" and their gifts so we can see 
> what everyone got?
>
>
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Great idea!  But what about the folks who don't have digital cameras?

Roscelin


> WickedFrau wrote:
> 
> > Hi, I was wondering if any of you would be interested in me setting up a 
> > webpage with the "gift exchangees" and their gifts so we can see what 
> > everyone got?
> 
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Subject: [h-cost] What does "herigaudz" mean?
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This question is probably for the native & historical French speakers
in the crowd.
I'm reading a friends circa 14th c manuscript by Robert Grosseteste
wherein he gives a rule for clothes (livery) worn by servants.  I'm
puzzled by one word.  Here's the original in transcription:

Commandez ke vos chiualers e trestoutz vos gentils hommes qe vos robes
pernent ke meymes ces robes chescun ionr e nomement a voster manger e
en voster presence usut pur vostre honour garder ne pas veuz tabartz e
soulletz herigaudz en contrefetes curtepies.

That's the problem phrase, 'soulletz herigaudz', I'll tell you what I
think it is but I dont want to predispose your opinion.  I've looked
at 2 english translations, and dont agree with them.  Care to opine?
--cin
Cynthia Barnes
CinBarnes@gmail.com

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To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Dressing a doll as Pocahontas
Date: Tue, 29 Nov 2005 15:50:21 -0600
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Court outfit. she's age 20 and died a few months after this portrait.
http://www.geocities.com/Broadway/1001/poca_pic.html

De
Who lives a few miles away from decendents of Pocahantas' sister. And one of
them at age 20 looked like Pocahontas.

-----Original Message-----
 I want to dress the doll as Pocahontas(Matoaka)either on her wedding day
to John Rolfe, or when she was at the English court for the 12th Night
celebrations. While I could dress her as in her engraved portrait(the
revised colors based on how engravers indicated colors through their
engraving are gold dress, red surcoat, and white hat with gold band and
white feather)and that is still an option, I'd like to do a wedding day
or court dress. The doll is on a cloth body so the dress would have to
be high-necked or have a shallow square neck. I found some red and gold
Christmas fabric at Joann's at 70% off that might do. The striped design
has a Jacobean feel to it and possibly hasn't sold as well as other
fabrics because the stripe is horizontal and isn't obviously
Christmassy.

I'm guessing the pearls were freshwater, but have no idea as to the
length or color of the necklace(white, natural, pink, grey, mixed?) Does
anyone on the list know what pearls (white beads were worn, I know)a
Powhatan "noble" woman would wear.

Also I'm thinking of adding a white Jacobean surcoat, but made of white
feathers. I know from the biog that Powhatan's wives were recorded as
wearing blue feather capes, made so densely, that one Englishman
recorded them as appearing more of satin than feathers, but have no idea
as of type of feather or shade of blue.

Many thanks for any help.

Cindy Abel


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From: "Lloyd Mitchell" <rmitchell@washjeff.edu>
To: "Historical Costume" <h-costume@indra.com>
References: <20051129214003.69BAE319C9A@pelian.kabelfoon.nl>
Subject: Re: [h-cost] Regency embroidery question
Date: Tue, 29 Nov 2005 17:29:30 -0500
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Deredere, One of the advantages of using cotton embroidery skeins is that
each skein is made up of 6 strands.  These can be broken down to the strand
width that is more pleasing to your taste.
However, it has been my experience in doing white-on-white that three or
four strands will probably be necessary to create the texture that is
expected in the designs you have presented.  Floss is softer in look and use
than, say, crochet cotton (Which comes in differing thicknesses.)  I suspect
that the floss of the time was probably less malleable than what we have at
our convenience now.

Kathleen

----- Original Message ----- 
From: "Deredere Galbraith" <trands will beDeredere.Galbraith@kabelfoon.nl>
To: "Historical Costume" <h-costume@indra.com>
Sent: Tuesday, November 29, 2005 4:40 PM
Subject: [h-cost] Regency embroidery question


> Hi,
> I am planning on making a regency gown.
> http://www.metmuseum.org/toah/hd/god1/hob_1983.6.1,07.146.5.htm
> And I have found the perfect cotton voile.
>
> But know I am wondering what kind of embroidery thread I should use.
> The discription says heavy white cotton thread.
> It looks not very tightly spun.
> Has anyone any idea what I could use?
>
> I wish I had some close up pictures of this type of embroidery.
> There is one in the Kyoto book but that embroidery is too heavy to my
taste.
> Like the subtle smaller patterns better.
>
> Greetings,
>        Deredere
>
>
>
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] RE: OT - Pin Cushion-how many needles have you lost?
Date: Wed, 30 Nov 2005 00:08:12 +0000
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My couch is the pin/needle eating monster.  I guess when I make some pin cushions for holiday gifts - I better make one for myself also.  ;-)

Roscelin


> I took one of my pin cushions apart lately and found no less than 31 
> needles stuck inside....I thought I had a needle eating monster (I know 
> I have a sock eating monster!), now I know where to look next time!
> 
> Sg
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Subject: Re: [h-cost] Re: OT: Pin Cushion
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Hi Carol,

   Sorry for the delay in getting back to you - been working on the preperations for a medieval Yule Feast.  I hope your offer of some wool is still good.  Let me know what you need from me; shipping, etc.

Roscelin


> Unspun wool would work a treat. Or sawdust. Me, I'd use the wool. 
> Email me I should have some combings from the wedding shawl I'm 
> supposed to be spinning...
> Ta
> Carol
> -- 
> Creative Clutter is Better Than Idle Neatness!
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Subject: Re: [h-cost] OT - Pin Cushion
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Greetings Katheryne,

   If your offer of some wool is still open, I would be very happy to receive a bit of it.   It doesn't matter about the color of the wool since it will be packed in to the pin cushion covering.

Roscelin


> If you don't mind what color the wool is - I have some 'raw' brown wool that I 
> could send you.
> 
> Katheryne
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Subject: Re: [h-cost] A Rant about commercial patterns
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Ann, don't take this the wrong way, but how would you feel if the 
pattern companies responded to you and gave you an "average" that didn't 
work for your grandkids?   I know it is not always easy to get parents 
to accurately measure so I deal with my nephews the same way Kim does.  
I leave the wrist open and safety pin the elastic to approximately where 
it should be. 


Sg
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How about threading a pretty ribbon through the casing so your (very 
lucky to have a grandma sewing for them!!) granddaughters can just tie 
off  and have an attractive bow showing?  Although, maybe not a good 
solution for babies...someone in an earlier post suggested leaving an 
extra length of elastic for Mama to finish off?

Good luck,

Theresa Eacker

AnnBWass@aol.com wrote:
> I've been sewing for my granddaughters for Christmas and have come across,  
> again, something that has long bothered me in most commercial patterns.   The 
> sleeves have elastic in them and the directions say, "Cut elastic to a  
> comfortable measurement."  Now, the girls are in Florida, and I am in  Maryland, so 
> how am I supposed to do that?  The same holds when making baby  clothes for 
> babies who aren't born yet, for example.  (Snipping....)
> Does this peeve anyone else as it does me?
>  
> Ann Wass

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I think this is a great idea.  I will look into it further and get back 
to everyone!

Sg
Elizabeth Walpole wrote:

> That sounds like a great idea, I think one of the photo sharing 
> websites might work best as we can allow multiple people to upload 
> their own photos. I've used http://www.myphotoalbum.com/ for the 
> amiperiodornot photos (http://amiperiodornot.myphotoalbum.com/) 
> because it allows voting and comments and it's designed to let a lot 
> of different people upload photos (one of the previous administrators 
> just has to set up an account for them). Perhaps we could set up a 
> h-cost photo album and create IDs for members of this list who ask, 
> that way, rather than having it hosted on one website which only one 
> person has access to everyone could upload their own, and nobody here 
> is paying for the extra bandwidth and one person doesn't get swamped 
> by emails with photo attachments.
> Elizabeth
> ----- Original Message ----- From: "WickedFrau" <wickedfrau@msn.com>
> To: <h-costume@indra.com>
> Sent: Wednesday, November 30, 2005 1:53 AM
> Subject: [h-cost] What about a gift exchange picture page?
>
>
>> Hi, I was wondering if any of you would be interested in me setting 
>> up a webpage with the "gift exchangees" and their gifts so we can see 
>> what everyone got?
>>
>> I can set it up on my site if you like or we can find some external 
>> picture site which would allow folks to upload their own.
>>
>> Sg
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>
>

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But of course! O:-)

Lavolta Press wrote:

> What I want to know is, is anyone waiting till Christmas to open their 
> gift?
>

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Hopefully someone on one end or the other of the exchange will have 
one.  We should ask those who are sending to make pictures if at all 
possible in case the receiver doesn't have access to one!

I can also scan "normal" photographs!

Sg
Dawn wrote:

>
> Fine by me, though folks without a digital camera might be at a 
> disadvantage.
>

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On Tuesday 29 November 2005 12:57 pm, Diana Habra wrote:
> > Hi, I was wondering if any of you would be interested in me setting up a
> > webpage with the "gift exchangees" and their gifts so we can see what
> > everyone got?
>
> Saragrace,
>
> What a cool idea!

Doing such a page would have the advantage of encouraging those of us (like 
me) who were too cowardly to participate this year.  :-)


-- 
Cathy Raymond <cathy@thyrsus.com>

"Physics is like sex; sure, it may give some practical 
results, but that's not why we do it."--Richard Feynman
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On Tuesday 29 November 2005 9:17 pm, WickedFrau wrote:
> But of course! O:-)
>
> Lavolta Press wrote:
> > What I want to know is, is anyone waiting till Christmas to open their
> > gift?

Whether or not the individual recipients do wait till Christmas to open their 
gifts, I do think that any "gift exchange" photo site should not go up until 
after the Christmas holiday.

-- 
Cathy Raymond <cathy@thyrsus.com>

"Physics is like sex; sure, it may give some practical 
results, but that's not why we do it."--Richard Feynman
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To: Historical Costume <h-costume@indra.com>
From: Carol Kocian <aquazoo@patriot.net>
Subject: Re: [h-cost] What about a gift exchange picture page?
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      I already sent my gift to my person without this in mind, so I'm 
not keen on the idea.  If people want to show off something they 
made, they could do a page like Bjarne does.  People do this all the 
time with dress diaries, etc., and then it's up to the person who 
made it.

      I picked out what I sent based on my person's interests, not 
with the idea that it would be shown to everyone on the list.

      While it's nice of people to offer web space, I think both 
people should decide if they want to post a picture.

      -Carol
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From h-costume-bounces@indra.com  Tue Nov 29 22:03:33 2005
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Subject: [h-cost] Re: velvet
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Earlier this year, both of us were working on velvet 
elizabethans.  Pierre's doublet has some of the same problems.  He 
used a thick towel, but in some places you can see iron squishing.  I 
much prefer the real needle board - yeah, they're expensive, but they 
work SO-O-O-O-O much better.  You can use lots of steam (as much as 
the fabric will handle, anyway) and really lean on it - even use a 
clapper - without crushing the nap.  You must let the fabric dry 
completely before removing it - otherwise any touch will mar the nap 
as well.  I'm lucky - mine is 4" x 12", with a heavy cotton canvas 
base which lets it curve over a ham if needed.  I got it at least 20 
years ago, and it cost $50 then.  I panic if I forget where I left it 
last, and I need it.

The small size is only a problem if you need to press large areas - 
usually seams (especially those you have in the epaulets) aren't that 
big a hassle.

HTH,
Sandy

At 09:27 AM 11/29/2005, you wrote:
>Date: Mon, 28 Nov 2005 20:46:03 -0800
>From: Cin <cinbarnes@gmail.com>
>Subject: [h-cost] Working with velvet
>
>Anyone have some favorite velvet tricks they'd like to share? It's
>been ages since I worked with the stuff.
>I'm particularly concerned about dealing with areas where multiple
>layers meet.  I'm doing an early Stuart informal doublet with set in
>sleeves and epaulettes.  That's a lot of layers.  In wool, I'd just
>grade down the interfacing then steam it to a fair-thee-well and whack
>the whole think with a clapper.  If I do that on velvet I'll have a
>nasty squished mess.
>Got any hints?
>--cin
>Cynthia Barnes
>
>Date: Tue, 29 Nov 2005 07:50:53 -0700
>From: WickedFrau <wickedfrau@msn.com>
>Subject: Re: [h-cost] Working with velvet
>
>Hi Cin, I do a lot of hand basting with silk thread to prevent
>shifting.  Sort of in a ladder pattern both vertical and horizontal.
>Also, do you have a velvet pressing pad?  They are either a bunch of
>little pins or even stiff brushy type ironing pads.
>
>Sg
>
>Date: Tue, 29 Nov 2005 10:27:36 -0500 (GMT-05:00)
>From: ruthanneb@mindspring.com
>Subject: Re: [h-cost] Working with velvet
>
>But I haven't got a trick to deal with thickness, other than 
>gritting my teeth, muttering under my breath, and pushing the fabric 
>that's under the presser foot down as hard as I can with my 
>forefingers! --That, or sew it by hand.
>--Ruth Anne Baumgartner

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

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

Andromeda  


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Subject: Re: [h-cost] What about a gift exchange picture page?
Date: Tue, 29 Nov 2005 20:18:36 -0700
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I'll open mine on Solstice. ;o)
If I can wait that long.
--Sue

----- Original Message -----
From: "Lavolta Press" <fran@lavoltapress.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Tuesday, November 29, 2005 11:34 AM
Subject: Re: [h-cost] What about a gift exchange picture page?


> What I want to know is, is anyone waiting till Christmas to open their
gift?
>
> Fran
> Lavolta Press
> http://www.lavoltapress.com
>
> WickedFrau wrote:
>
> > Hi, I was wondering if any of you would be interested in me setting up
> > a webpage with the "gift exchangees" and their gifts so we can see
> > what everyone got?


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>The toe  is the flax that is thrown away  from sheathing. Go to a period 
>farm for it.

Look for it called "tow", as in "tow-headed" for a flaxen-haired blonde.

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

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>>Hi, I was wondering if any of you would be interested in me setting up a 
>>webpage with the "gift exchangees" and their gifts so we can see what 
>>everyone got?
>
>Fine by me, though folks without a digital camera might be at a disadvantage.

Having a scanner might do the trick.


        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] RE: OT - Pin Cushion-how many needles have you
  lost?
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>I took one of my pin cushions apart lately and found no less than 31 
>needles stuck inside....I thought I had a needle eating monster (I know I 
>have a sock eating monster!), now I know where to look next time!

My grandmother was a weaver, and said one mustn't make a pin cushion out of 
fabric that includes sparkley silver threads.


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

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To: Historical Costume <h-costume@indra.com>
From: Kimiko Small <kimiko@kimiko1.com>
Subject: Re: [h-cost] Working with velvet
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At 08:46 PM 11/28/2005, you wrote:
>Anyone have some favorite velvet tricks they'd like to share? It's
>been ages since I worked with the stuff.
>
>I'm particularly concerned about dealing with areas where multiple
>layers meet.  I'm doing an early Stuart informal doublet with set in
>sleeves and epaulettes.  That's a lot of layers.  In wool, I'd just
>grade down the interfacing then steam it to a fair-thee-well and whack
>the whole think with a clapper.  If I do that on velvet I'll have a
>nasty squished mess.
>
>Got any hints?
>--cin
>Cynthia Barnes
>CinBarnes@gmail.com


Hmmm... use a walking foot; baste with silk thread first, not just pins; 
grade with pinking shears and not too close to the seam line, or the turned 
edge will fray over time. Use a velvet board or fluffy dry towel or another 
piece of velvet to press with. There isn't much I've been able to do with 
multiple layers, other than to grade carefully and try to place as few 
seams in overlapping places as I can.

May I ask why both a set in sleeve and the epaulettes?

Kimiko


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To: Historical Costume <h-costume@indra.com>
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Subject: Re: [h-cost] What about a gift exchange picture page?
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At 10:34 AM 11/29/2005, you wrote:
>What I want to know is, is anyone waiting till Christmas to open their gift?
>
>Fran


Yes.

Kimiko


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From: "Kate M Bunting" <K.M.Bunting@derby.ac.uk>
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Subject: Re: [h-cost] ironing
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I've never owned a steam iron and neither has my Mum. Now that I have a tumble dryer, I only give the clothes a short tumble (which shakes the worst creases out of knitted cotton garments) and iron them while still damp. If they have got too dry I spray them with water.

Kate Bunting
Librarian and 17th century reenactor

>>> laughingkat@hotmail.com 29/11/2005 20:20 >>> wrote:
I once did the ironing for the priest on my campus (the linens we use at 
mass and such). He had washed them but did not put them in the dryer. To 
keep them wet he kept them in the ridge and then while you ironed you not 
only took out all wrinkles but also dried them!!
Another side effect is having a slight steam facial. lol.

Since I am a poor student- and I dropped my iron at the beginning of last 
year so it leaks when I do put water in it. I have resorted to this method 
which really does work!

Katy- an eager learner.


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In a message dated 11/30/2005 4:15:17 A.M. Eastern Standard Time,  
K.M.Bunting@derby.ac.uk writes:

I've  never owned a steam iron and neither has my Mum. Now that I have a 
tumble  dryer, I only give the clothes a short tumble (which shakes the worst 
creases  out of knitted cotton garments) and iron them while still damp. If they 
have  got too dry I spray them with water.



I've found that a steam iron is required to do modern (or even 19th  century) 
tailoring.  I'm currently still using my Norelco; however, when it  dies, I 
will be in the same pickle, as Norelco doesn't make steam irons  anymore.  I've 
found Black and Decker not very satisfactory. Haven't tried  a Rowenta, but I 
had a Rowenta toaster once, and the thermostat never seemed to  be 
consistent, so haven't high hopes for an iron.
 
May consider a Sunbeam when the time comes.
 
Ann Wass
 
 
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My problem with the Rowenta is that they 'spit' after a while.  When
behaving Well, it is still my favorite for long distance ironing.
Presently, I am enjoying the Sunbeam...especially since I discovered how to
use the self -cleaning mode.  I can even get the 'burst of steam' which was
also a best feature with the Rowenta.

Kathleen

----- Original Message ----- 
From: <AnnBWass@aol.com>
To: <h-costume@indra.com>
Sent: Wednesday, November 30, 2005 7:28 AM
Subject: Re: [h-cost] ironing


>
> In a message dated 11/30/2005 4:15:17 A.M. Eastern Standard Time,
> K.M.Bunting@derby.ac.uk writes:
>
> I've  never owned a steam iron and neither has my Mum. Now that I have a
> tumble  dryer, I only give the clothes a short tumble (which shakes the
worst
> creases  out of knitted cotton garments) and iron them while still damp.
If they
> have  got too dry I spray them with water.
>
>
>
> I've found that a steam iron is required to do modern (or even 19th
century)
> tailoring.  I'm currently still using my Norelco; however, when it  dies,
I
> will be in the same pickle, as Norelco doesn't make steam irons  anymore.
I've
> found Black and Decker not very satisfactory. Haven't tried  a Rowenta,
but I
> had a Rowenta toaster once, and the thermostat never seemed to  be
> consistent, so haven't high hopes for an iron.
>
> May consider a Sunbeam when the time comes.
>
> Ann Wass
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>

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Subject: [h-cost] Re: velvet pressing...
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At 12:27 AM -0700 11/30/05, h-costume-request@indra.com wrote:
>as well.  I'm lucky - mine is 4" x 12", with a heavy cotton canvas
>base which lets it curve over a ham if needed.  I got it at least 20
>years ago, and it cost $50 then.  I panic if I forget where I left it
>last, and I need it.

Yah know they make straight toothed carding cloth. I know I've used 
my flat backed carder in a pinch, but don't do enough velvet to 
actually go and buy a bit o carder cloth...
Ta
Carol
-- 
Creative Clutter is Better Than Idle Neatness!
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] RE: OT - Pin Cushion-how many needles have you  lost?
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Carolyn Kayta Barrows wrote:

> My grandmother was a weaver, and said one mustn't make a pin cushion 
> out of fabric that includes sparkley silver threads.
>

But the fabric wasn't the problem!  These had gotten driven so deep into 
the cushion that you'd never know they were there! =-O

Sg

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In a message dated 11/30/2005 7:52:02 A.M. Eastern Standard Time,  
rmitchell@washjeff.edu writes:

My  problem with the Rowenta is that they 'spit' after a  while.


Yes, and the "spit" usually indicates that the iron is not getting hot  
enough--hence, the unreliability of the thermostat.
 
Ann Wass
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From: elena_o_tighearnaigh@comcast.net
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] A Rant about commercial patterns
Date: Wed, 30 Nov 2005 14:50:29 +0000
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What I've done in the past is to cut a bit of elastic, and sew ribbon to *both* ends.  This way the ribbon doesn't need to be very long (shorter dangly bits) and you get a bit of 'give' for sizing.

When I thread the elastic/ribbon through the casing, I also tack (backstitch) 'across' the elastic in the casing at least in the middle (I hope that's clear), so it doesn't keep slipping out.

I hope this helps!
Elena/Gia

-------------- Original message -------------- 

> How about threading a pretty ribbon through the casing so your (very 
> lucky to have a grandma sewing for them!!) granddaughters can just tie 
> off and have an attractive bow showing? Although, maybe not a good 
> solution for babies...someone in an earlier post suggested leaving an 
> extra length of elastic for Mama to finish off? 
> 
> Good luck, 
> 
> Theresa Eacker 
> 
> AnnBWass@aol.com wrote: 
> > I've been sewing for my granddaughters for Christmas and have come across, 
> > again, something that has long bothered me in most commercial patterns. The 
> > sleeves have elastic in them and the directions say, "Cut elastic to a 
> > comfortable measurement." Now, the girls are in Florida, and I am in 
> Maryland, so 
> > how am I supposed to do that? The same holds when making baby clothes for 
> > babies who aren't born yet, for example. (Snipping....) 
> > Does this peeve anyone else as it does me? 
> > 
> > Ann Wass 
> 
> _______________________________________________ 
> h-costume mailing list 
> h-costume@mail.indra.com 
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Subject: Re: [h-cost] Re: opera
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Dear Mia,
Yes i agree on your words. The reason why i went to this opera was because 
the orkestra was Concerto Copenhagen, wich makes historical music. They go 
as far as standing up all the time while all the music is played, because 
this is what they did back then, and the opera was a 3 hours long 
performance.
I go each time they play, because they are my favourite orkestra, last i 
went it was with Haendels Julius Ceasar, with Andreas Scholl as contra 
tenor.
They also play copies of old instruments.

Bjarne
----- Original Message ----- 
From: "Mia Dappert" <snappylunch_2001@yahoo.com>
To: <h-costume@indra.com>
Sent: Monday, November 28, 2005 7:16 PM
Subject: [h-cost] Re: opera


> And not only do you have to consider the costumes and the direction of the 
> production, with opera and any other "Period  Music", You have to consider 
> whether it is one with period instruments and sensibilities, or if it is 
> done with a modern orchestra.  (and vocal talents...were there castrati or 
> at least male altos singing some of the parts?)  There are some groups 
> that head in this direction, and the sound is very different.  Modern 
> music is often times very different from the intent of the composer.
>
>  And thanks for some of the DVD suggestions
>
>  18th c Mia in Charlotte, formerly Baroque Mia from the University of MD 
> Chorus, who was lucky enough to sing with some male altos and instruments 
> from the Smithsonian instution and Barouge performance artists from many 
> places at the Handel festival
>
>
> ---------------------------------
> Yahoo! Music Unlimited - Access over 1 million songs. Try it free.
> _______________________________________________
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> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 


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Subject: Re: [h-cost] ironing
From: "Diana Habra" <dch@inreach.com>
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> My problem with the Rowenta is that they 'spit' after a while.  When
> behaving Well, it is still my favorite for long distance ironing.
> Presently, I am enjoying the Sunbeam...especially since I discovered how
> to
> use the self -cleaning mode.  I can even get the 'burst of steam' which
> was
> also a best feature with the Rowenta.

I love how my Rowenta presses (and the steam is great) but the "spitting"
is SOOO annoying!  I went to press out my tablecloth yesterday and there
was water everywhere!!  This is my second one and I can't recommend them. 
I might just go get me a Sunbeam even though my iron isn't dead yet
because I am tired of the problems.

And it seems like an iron would be such a simple device!! Who knew?

Diana

www.RenaissanceFabrics.net
"Everything for the Costumer"

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From: "Dinah & Harold Tackett" <htackett@tds.net>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Dressing a doll as Pocahontas
Date: Wed, 30 Nov 2005 10:41:41 -0500
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-----Original Message-----From Abel, Cynthia
Snipped:
The excellent biography Pocahontas and the Powhatan Dilemma only says that
Pocahontas' wedding ensemble was imported from England and her father sent
her a necklace of pearls. The 12th Night gown isn't described either.

I'm guessing the pearls were freshwater, but have no idea as to the length
or color of the necklace (white, natural, pink, grey, and mixed?) Does
anyone on the list know what pearls (white beads were worn, I know) a
Powhatan "noble" woman would wear.

	I grew up in Gloucester County, VA and Elementary school was a mile
from the location of Powhatan village, so I am pretty sure that the would
have been Saltwater Pearls. But considering the scale of a doll to adult,
the freshwater ones should work well. On color, I would go with what works
best for the outfit.

Also I'm thinking of adding a white Jacobean surcoat, but made of white
feathers. I know from the biog that Powhatan's wives were recorded as
wearing blue feather capes, made so densely, that one Englishman recorded
them as appearing more of satin than feathers, but have no idea
as of type of feather or shade of blue.
Many thanks for any help.
Cindy Abel

	On the research I have done on time period, I do not feel that the
Europeans would have appreciated ANY native elements in dress (except the
Pearls:-)). Most Europeans believed that they were civilizing the natives,
and could not appreciate the culture.
Dinah Tackett
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Subject: Re: [h-cost] ironing
Date: Wed, 30 Nov 2005 12:16:44 -0500
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I have had three R's and even experimented using distilled water
exclusively! and even that was not the ultimate solution. Don't try working
on a wedding dress !! Table linen is bad enough.
Kathleen

----- Original Message ----- 
From: "Diana Habra" <dch@inreach.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, November 30, 2005 10:41 AM
Subject: Re: [h-cost] ironing


>
> > My problem with the Rowenta is that they 'spit' after a while.  When
> > behaving Well, it is still my favorite for long distance ironing.
> > Presently, I am enjoying the Sunbeam...especially since I discovered how
> > to
> > use the self -cleaning mode.  I can even get the 'burst of steam' which
> > was
> > also a best feature with the Rowenta.
>
> I love how my Rowenta presses (and the steam is great) but the "spitting"
> is SOOO annoying!  I went to press out my tablecloth yesterday and there
> was water everywhere!!  This is my second one and I can't recommend them.
> I might just go get me a Sunbeam even though my iron isn't dead yet
> because I am tired of the problems.
>
> And it seems like an iron would be such a simple device!! Who knew?
>
> Diana
>
> www.RenaissanceFabrics.net
> "Everything for the Costumer"
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>

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Subject: [h-cost] Re: Question about display...
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Now, my questions are, am I correct in my understanding that vintage
clothes 
should be displayed flat, and not to clean them  (We've got the whole -
no 
UV thing covered already)?

And is there anything I'm not thinking about?

Marc
==============================
My only experience with this is a small local museum but they regularly
vacuum their costume pieces, which are stored flat in acid-free tissue
and boxes.  For display, they are mounted on padded maneguins or forms,
occasionally laid across a bed or something like that.  A lot of the
choice on how to display depended on the condition of the garment.  They
try to rotate their displays several times a year but that depends on
staff/volunteer availability.

Good luck :).
Catherine



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Most clothes (exception: shawls, kimono) were never intended to be flat,
but are shaped to the human body.

One thing to beware of in display or storage is creasing. Use
well-washed muslin or acid-free tissue inside sleeves and folds to
prevent sharp creases forming.

Another consideration is acid--avoid unsealed wood or cardboard, or any
plastics that give off fumes.

Clothes on display will definitely collect dust, and vacuuming is the
way to remove it. BUT--it can also remove loose buttons and trim! Get a
piece of fiberglass window screening, tape the cut edges to avoid snags,
and always vacuum through the screen. Thisis not a job for your shop
vac--low suction is preferred.

Kim

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
On Behalf Of Catherine Kinsey
Sent: Wednesday, November 30, 2005 11:32 AM
To: h-costume@indra.com
Subject: [h-cost] Re: Question about display...


Now, my questions are, am I correct in my understanding that vintage
clothes 
should be displayed flat, and not to clean them  (We've got the whole -
no 
UV thing covered already)?

And is there anything I'm not thinking about?

Marc
==============================
My only experience with this is a small local museum but they regularly
vacuum their costume pieces, which are stored flat in acid-free tissue
and boxes.  For display, they are mounted on padded maneguins or forms,
occasionally laid across a bed or something like that.  A lot of the
choice on how to display depended on the condition of the garment.  They
try to rotate their displays several times a year but that depends on
staff/volunteer availability.

Good luck :).
Catherine



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Subject: RE: [h-cost] ironing
Date: Wed, 30 Nov 2005 12:31:42 -0600
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I am so glad I don't have any of these ironing problems--years ago I
bought a Euro-Pro system. It has a separate tank (no water in the iron)
and a suction table for ironing.

I found mine on sale, and have since had to replace the tank/iron unit
with another, but the suction table still works great.

It also doubles as a steamer, which is very handy for antique clothing.

Other companies make similar systems. Look for a commercial ironing
system.

Kim

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Subject: Re: [h-cost] ironing
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Our iron here doesn't have any of the problems usually associated with 
irons... My mother wanted one that made a lot of steam, so she checked the 
ratings in Consumer Reports and other magazines of the kind, and chose the 
Philips azur exel 10. It's been a few years so it's probably not sold 
anymore. It wasn't the cheapest model, but we've never, ever had problems 
with it.

In any case, it makes *lots* of steam, even on low settings (I can steam 
wool), and it doesn't spit. I've never felt the need to use the spit button.

Now, our travel iron... now THAT one spits. Yikes! 

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Subject: RE: [h-cost] Dressing a doll as Pocahontas
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Usually, either blue jay, blue bird or hummingbird.

De
-----Original Message-----From Abel, Cynthia
 I know from the biog that Powhatan's wives were recorded as wearing blue
feather capes, made so densely, that one Englishman recorded
them as appearing more of satin than feathers, but have no idea as of type
of feather or shade of blue. Many thanks for any help.
Cindy Abel




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From: Cin <cinbarnes@gmail.com>
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Subject: Re: [h-cost] Working with velvet
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Sg>I will review my Threads articles on sewing with velvet.  I don't recall
any recommendations to do so, but I suppose you could "shear" the velvet
seam allowances like you do when working with fur.

Ah yes, that's a good fur trick.  Hadnt considered that.  An
interesting idea, but not sure how I'd do it. The idea of russet
cotton tufts in my beau's electric razor...hmmm.  Such things lead to
certain peril.

Ruth Ann>But I haven't got a trick to deal with thickness, other than
gritting my teeth, muttering under my breath, and pushing the fabric
that's under the presser foot down as hard as I can with my
forefingers! --That, or sew it by hand.

Yes, I suspect it will come to that!

Sunny> Personally, I made a velvet ironing board cover, and it's
worked great for every velvet I've needed to iron.

How very classy!  This is a great idea.  i've always used bath towels
but this is ever so much more elegant.  (Like I worry how elegant my
ironing board is!)

Thanks all!
BTW, Another off-list friend said that you can re-raise the pile on
natural fiber velvets by misting with a white vinegar/distilled water
solution (approx 2T in 1c water) and brushing up the nap with a new
toothbrush.  Some vile experiments are in order.
--cin

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Oh yeah, and you can't use feathers from any of these bird as it will land
you a fine and a term in jail.
They are protected under the category of songbird.
Pigeons, starlings and mourningdoves you can hunt, kill, eat, and use their
feathers.

De

-----Original Message-----
Usually, either blue jay, blue bird or hummingbird.

De
-----Original Message-----From Abel, Cynthia
 I know from the biog that Powhatan's wives were recorded as wearing blue
feather capes, made so densely, that one Englishman recorded
them as appearing more of satin than feathers, but have no idea as of type
of feather or shade of blue. Many thanks for any help.
Cindy Abel


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Ok, so I am on the right page with all this.  Great.  Thank you.

Has anyone tried those cans of compressed air rather than a vacuum?

Marc


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Kimiko >There isn't much I've been able to do with
>multiple layers, other than to grade carefully and try to place as few
>seams in overlapping places as I can.
>May I ask why both a set in sleeve and the epaulettes?

Good question.  The shortest answer is that I think it looks sharp.  I
love the wide shoulder look of the late Eliz/early Stuart stuff. I'm
not very big or very tall.  It's a fun look for me to take up more
than my customary amount of space.
There's extant pieces & paintings showing this style.  However, as
perhaps you imply, leaving out the epaulette and 1/3 of my inseam bulk
certainly is an option.   Call it a late-in-the-construction-phase
design modification.  I'll angst over it a bit more.  Everything else
in the construction & trim is done.  Setting in the epaulettes &
sleeves is the next step.  Dither. Dither. I'l work on something else
and let it stew.

SandyP... thanks for the needleboard notes.  Greenberg & Hammer has
them from $50-300+ depending on the size.  Yow! Tough to justify if I
dont do much velvet.

--cin
Cynthia Barnes
CinBarnes@gmail.com

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Marc C>Now, my questions are, am I correct in my understanding that
vintage clothes
>should be displayed flat, and not to clean them  (We've got the whole - no
>UV thing covered already)?

>And is there anything I'm not thinking about?

IMHO Clothes are meant to be seen in body shapes, not laid flat.  If
your garments are not fragile, unique or particular heavy I would
seriously consider mounting them stress-free on a manequin.  With
smaller, fragile or incomplete outfits you could gently stuff the
sleeves, shape collars, etc with acid-free or buffered papers so
people can see the body-shaping.

If your garment is so fragile & unique, like the Dolly Madison gown at
the Smithsonian, or the Eleanor of Toleado burial gown then let it lie
flat as those museums do.  Choose acid-free or buffered papers for the
garment(s) to rest upon.

Buffered papers, unlike run-of-the-mill papers are alkali permeated to
count the acidic effects of dyes, chems, and can slow deteriation.  I
collect vintage photographs and handcolored fashion plates.  My
speciality papers & photo sleeves come from Light Impressions an
archival supply shop.
--cin
Cynthia Barnes
CinBarnes@gmail.com

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Subject: Re: [h-cost] Re: working with velvet/epaulettes
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At 21:06 30/11/2005, you wrote:
>Kimiko >There isn't much I've been able to do with
> >multiple layers, other than to grade carefully and try to place as few
> >seams in overlapping places as I can.
> >May I ask why both a set in sleeve and the epaulettes?
>
>Good question.  The shortest answer is that I think it looks sharp.  I
>love the wide shoulder look of the late Eliz/early Stuart stuff. I'm
>not very big or very tall.  It's a fun look for me to take up more
>than my customary amount of space.
>There's extant pieces & paintings showing this style.  However, as
>perhaps you imply, leaving out the epaulette and 1/3 of my inseam bulk
>certainly is an option.   Call it a late-in-the-construction-phase
>design modification.  I'll angst over it a bit more.  Everything else
>in the construction & trim is done.  Setting in the epaulettes &
>sleeves is the next step.  Dither. Dither. I'l work on something else
>and let it stew.


When I use epaulettes I put in the sleeves in the normal way. I make 
up the epaulettes as complete units, and sew them on to the sleeve 
head seam from the underneath, so you don't see the stitching. Saves 
an awful lot of layers!

Suzi


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I had the same problem with my old Sunbeam.

Roger

Diana Habra wrote:

>>My problem with the Rowenta is that they 'spit' after a while.  When
>>behaving Well, it is still my favorite for long distance ironing.
>>    
>>
>
>I love how my Rowenta presses (and the steam is great) but the "spitting"
>is SOOO annoying!  I went to press out my tablecloth yesterday and there
>was water everywhere!!  This is my second one and I can't recommend them. 
>I might just go get me a Sunbeam even though my iron isn't dead yet
>because I am tired of the problems.
>
>And it seems like an iron would be such a simple device!! Who knew?
>  
>
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Subject: [h-cost] Question about display...
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Ok, you'll love this...

A couple of weeks ago I got saddled with the Special Collections department 
for the University Library (I'm pretty sure I was assigned this for my 
skills at cutting through academic pretention and getting things back on 
track more than anything else - and the fact that the faculty as a whole 
seem to not hate me).

The reason I'm mentioning this is that IN this collection there is a small 
collection of vintage clothing, among other more obscure realia.  And I have 
a wide range of empty display cases.  I hate empty display cases.  So, I 
have empty display cases, and I have things to display.  Seems like an easy 
choice here.

So, I mentioned this to my assistant (who's been in this department for 20 
years or so, and she got a little unhappy (ok, the reality is she totally 
freaked out and spazzed all over the floor, but I've gotten her calmed down 
now, and she's just sadly resigned to me having my way with her stuff).  Her 
major stated complaints were a) the stuff's all dirty and needs to be 
cleaned and steamed before it could be displayed (because it will mess up 
her nice, clean display cases), and there's nothing to display the clothes 
*on* since these are generally flat cases.

Now, my questions are, am I correct in my understanding that vintage clothes 
should be displayed flat, and not to clean them  (We've got the whole - no 
UV thing covered already)?

And is there anything I'm not thinking about?

Marc


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Subject: Re: [h-cost] A Rant about commercial patterns
Date: Wed, 30 Nov 2005 12:18:00 -0500
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Great idea!  Best of both worlds.
Kathleen
----- Original Message ----- 
From: <elena_o_tighearnaigh@comcast.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, November 30, 2005 9:50 AM
Subject: Re: [h-cost] A Rant about commercial patterns


> What I've done in the past is to cut a bit of elastic, and sew ribbon to
*both* ends.  This way the ribbon doesn't need to be very long (shorter
dangly bits) and you get a bit of 'give' for sizing.
>
> When I thread the elastic/ribbon through the casing, I also tack
(backstitch) 'across' the elastic in the casing at least in the middle (I
hope that's clear), so it doesn't keep slipping out.
>
> I hope this helps!
> Elena/Gia
>
> -------------- Original message -------------- 
>
> > How about threading a pretty ribbon through the casing so your (very
> > lucky to have a grandma sewing for them!!) granddaughters can just tie
> > off and have an attractive bow showing? Although, maybe not a good
> > solution for babies...someone in an earlier post suggested leaving an
> > extra length of elastic for Mama to finish off?
> >
> > Good luck,
> >
> > Theresa Eacker
> >
> > AnnBWass@aol.com wrote:
> > > I've been sewing for my granddaughters for Christmas and have come
across,
> > > again, something that has long bothered me in most commercial
patterns. The
> > > sleeves have elastic in them and the directions say, "Cut elastic to a
> > > comfortable measurement." Now, the girls are in Florida, and I am in
> > Maryland, so
> > > how am I supposed to do that? The same holds when making baby clothes
for
> > > babies who aren't born yet, for example. (Snipping....)
> > > Does this peeve anyone else as it does me?
> > >
> > > Ann Wass
> >
> > _______________________________________________
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> > h-costume@mail.indra.com
> > http://mail.indra.com/mailman/listinfo/h-costume
> _______________________________________________
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: Re: [h-cost] Regency embroidery question
Date: Wed, 30 Nov 2005 21:09:36 +0100
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Hi Deredere,
I would buy a DMC cotton floss if i were you. Its stranded into 6 threads. 
You can try to use one strand, two strands and 3 strands, and deside wich 
you like!

Bjarne


----- Original Message ----- 
From: "Deredere Galbraith" <Deredere.Galbraith@kabelfoon.nl>
To: "Historical Costume" <h-costume@indra.com>
Sent: Tuesday, November 29, 2005 10:40 PM
Subject: [h-cost] Regency embroidery question


> Hi,
> I am planning on making a regency gown.
> http://www.metmuseum.org/toah/hd/god1/hob_1983.6.1,07.146.5.htm
> And I have found the perfect cotton voile.
>
> But know I am wondering what kind of embroidery thread I should use.
> The discription says heavy white cotton thread.
> It looks not very tightly spun.
> Has anyone any idea what I could use?
>
> I wish I had some close up pictures of this type of embroidery.
> There is one in the Kyoto book but that embroidery is too heavy to my 
> taste.
> Like the subtle smaller patterns better.
>
> Greetings,
>       Deredere
>
>
>
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> 


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Subject: Re: [h-cost] RE: OT - Pin Cushion-how many needles have you  lost?
Date: Wed, 30 Nov 2005 12:22:54 -0500
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Aint that the truth!  I had your experience, too. Amazed at all the hidden
steel, I stopped thinking that I had all these needles lurking in the rug.
This, after I returned from an 8 day stay in the hospital when one of the
hidden buggers entered my foot unbeknownst.

Kathleen

----- Original Message ----- 
From: "WickedFrau" <wickedfrau@msn.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, November 30, 2005 9:10 AM
Subject: Re: [h-cost] RE: OT - Pin Cushion-how many needles have you lost?


> Carolyn Kayta Barrows wrote:
>
> > My grandmother was a weaver, and said one mustn't make a pin cushion
> > out of fabric that includes sparkley silver threads.
> >
>
> But the fabric wasn't the problem!  These had gotten driven so deep into
> the cushion that you'd never know they were there! =-O
>
> Sg
>
> _______________________________________________
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Re: working with velvet/epaulettes
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Can someone point us to an online pic to see what it is you are all 
talking about?  Sounds very interesting.
Thanks,
Sg

>
> When I use epaulettes I put in the sleeves in the normal way. I make 
> up the epaulettes as complete units, and sew them on to the sleeve 
> head seam from the underneath, so you don't see the stitching. Saves 
> an awful lot of layers!


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To: Historical Costume <h-costume@indra.com>
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This is an interesting observation.  One of the things we "discovered" 
in the process of making the "Suitable gown for her majesty" (same 
period), we wondered if one of the reasons 'Liz I  preferred the big 
gowns was because it makes one feel, well, "imposing."

Sg

Cin wrote:

>I'm not very big or very tall.  It's a fun look for me to take up more
>than my customary amount of space.
>  
>

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Subject: RE: [h-cost] Dressing a doll as Pocahontas
Date: Wed, 30 Nov 2005 17:00:24 -0600
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Thread-Topic: [h-cost] Dressing a doll as Pocahontas
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From: "Abel, Cynthia" <CynthiaAbel@creighton.edu>
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I'm going to use, if I do it, the usual feathers found in my local craft
hobby stores. Actually, the Europeans were really fascinated by the
so-assumed by them lesser civilized natives of other lands, so I thought
using feathers but making an Elizabethan/Jacobean surcoat was a clever,
if inaccurate idea. 

Camilla Townsend's recent biog of Pocahontas does a great job of prising
out the real meanings behind the engraving of Pocahontas. She points out
that the costume she is wearing, is much more upper-middle class,
reflecting almost Puritan morales(the body modestly covered and the high
capitain hat, which Queen Anne wore, but few other noblewomen did so in
portraits at that time), despite Pocahontas'/Matoaka/Lady Rebecca's high
birth which entitled her to wear the full coat costume of low neck and
French farthingale. 

Some authors have surmised that the all covering wear might have hidden
tatoos, but it is just as probable that Pocahontas, John Rolfe, the
Virginia Company sponsors or any combination of the three, would have
preferred a visual representation of the Christian convert Native
American "princess" as advertisement for prospective sponsors and
settlers not to be deliniated in full court costume(not only Puritans
railed against the extravagent required court costumes of the 16th and
17th centuries), thought by many as practically immoral, but in modest,
if expensive fabrics. Virginia needed hardworking serious-minded
investors and settlers, in order to succeed, not those who wanted to
find gold, get rich quickly, and return to Mother England.

Cindy Abel

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
On Behalf Of otsisto
Sent: Wednesday, November 30, 2005 2:44 PM
To: Historical Costume
Subject: RE: [h-cost] Dressing a doll as Pocahontas

Oh yeah, and you can't use feathers from any of these bird as it will
land you a fine and a term in jail.
They are protected under the category of songbird.
Pigeons, starlings and mourningdoves you can hunt, kill, eat, and use
their feathers.

De

-----Original Message-----
Usually, either blue jay, blue bird or hummingbird.

De
-----Original Message-----From Abel, Cynthia  I know from the biog that
Powhatan's wives were recorded as wearing blue feather capes, made so
densely, that one Englishman recorded them as appearing more of satin
than feathers, but have no idea as of type of feather or shade of blue.
Many thanks for any help.
Cindy Abel


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Subject: Re: [h-cost] Re: working with velvet
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> >May I ask why both a set in sleeve and the epaulettes?

> Good question.  The shortest answer is that I think it looks sharp.  I
> love the wide shoulder look of the late Eliz/early Stuart stuff. I'm
> not very big or very tall.  It's a fun look for me to take up more
> than my customary amount of space.


You could though have tie on sleeves. It makes the whole thing easier to sew
and wear and more adaptable;) My Valois gown:
http://costumes.glittersweet.com/sca/valois.htm
Has the doublet sewn up and the seam allowance turned under and stitched
down. The tabs at the shoulders are made up seperately and sewn edege to
edge to the shoulder. Then the sleeves are finished and ladder stitched into
place for events. It means I can actually transport those sleeves by turning
them inside out and folding (pile to pile) and I have a really mix and match
ensemble;)

I've worn the doublet alone with chemise sleeves showing or the full thing.

As for velvet.. I only have towels with a twisted and looped pile, so I
cannot use them for ironing. They leave very obvious marks. The only method
I'v found that actually works is to use the same fabric face up. This is
also a really good way to transfer a beading pattern from one side to the
other;)

You can also revive the pile, especially for stitch marks, by shots of steam
from your iron. You have to hold the iron above the pile of course;)

regards
michaela de bruce
http://glittersweet.com



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Subject: Re: [h-cost] Re: working with velvet/epaulettes
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At 22:33 30/11/2005, you wrote:
>Can someone point us to an online pic to see what it is you are all 
>talking about?  Sounds very interesting.
>Thanks,
>Sg
>
>>
>>When I use epaulettes I put in the sleeves in the normal way. I 
>>make up the epaulettes as complete units, and sew them on to the 
>>sleeve head seam from the underneath, so you don't see the 
>>stitching. Saves an awful lot of layers!



Never seen pictures of it - the first time I did it, it just made 
sense, and I  just always do it. Maybe I read it in Arnold - I've 
been doing it so long I forget now. I frequently put the sleeves to 
the body by binding both the armhole and the sleeve head, then whip 
stitching them together. The epaulette covers that!

Suzi 


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Subject: RE: [h-cost] Dressing a doll as Pocahontas
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it is also possible that she was dressing to Rolfe's income and station and
the fact that an American "princess" was not considered equal to a European
princess. Seeing as how they weren't quite civilized.
It should be noted that if a person was a "chief" or sachem it did not
necessarily mean that the children were princes and princess'. This was a
way that the Europeans seemed to identified the children of chiefs. Their
assumtion of how they thought things ranked. And usually the Europeans did
not understand how the system worked within a given tribe or nation. Among
the Akwesasne, you became a sachem by election.
There was one nation that had royalty/nobility, I think it was the
Narragansett but I'm not really sure.

De

-----Original Message-----
I'm going to use, if I do it, the usual feathers found in my local craft
hobby stores. Actually, the Europeans were really fascinated by the
so-assumed by them lesser civilized natives of other lands, so I thought
using feathers but making an Elizabethan/Jacobean surcoat was a clever,
if inaccurate idea.

Camilla Townsend's recent biog of Pocahontas does a great job of prising
out the real meanings behind the engraving of Pocahontas. She points out
that the costume she is wearing, is much more upper-middle class,
reflecting almost Puritan morales(the body modestly covered and the high
capitain hat, which Queen Anne wore, but few other noblewomen did so in
portraits at that time), despite Pocahontas'/Matoaka/Lady Rebecca's high
birth which entitled her to wear the full coat costume of low neck and
French farthingale.
Some authors have surmised that the all covering wear might have hidden
tatoos, but it is just as probable that Pocahontas, John Rolfe, the
Virginia Company sponsors or any combination of the three, would have
preferred a visual representation of the Christian convert Native
American "princess" as advertisement for prospective sponsors and
settlers not to be deliniated in full court costume(not only Puritans
railed against the extravagent required court costumes of the 16th and
17th centuries), thought by many as practically immoral, but in modest,
if expensive fabrics. Virginia needed hardworking serious-minded
investors and settlers, in order to succeed, not those who wanted to
find gold, get rich quickly, and return to Mother England.

Cindy Abel



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KOOOOL tips!! Those just made it into my "sewing room tricks" archive. 
Thanks so much for sharing,

Theresa Eacker

elena_o_tighearnaigh@comcast.net wrote:
> What I've done in the past is to cut a bit of elastic, and sew ribbon to *both* ends.  This way the ribbon doesn't need to be very long (shorter dangly bits) and you get a bit of 'give' for sizing.
> 
> When I thread the elastic/ribbon through the casing, I also tack (backstitch) 'across' the elastic in the casing at least in the middle (I hope that's clear), so it doesn't keep slipping out.
> 
> I hope this helps!
> Elena/Gia
> 
> -------------- Original message -------------- 
> 
> 
>>How about threading a pretty ribbon through the casing... (Snipped)

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Subject: [h-cost] epaulettes (was: working with velvet)
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>> When I use epaulettes I put in the sleeves in the normal way. I make
>> up the epaulettes as complete units, and sew them on to the sleeve
>> head seam from the underneath, so you don't see the stitching. Saves
>> an awful lot of layers!

Suzi!  This is probably the best solution. Why didnt I think of it? 
I'd even get perfect placement of the epaulettes with full control. 
You're a genius.  Thanks!

>Can someone point us to an online pic to see what it is you are all
>talking about?  Sounds very interesting.
>Thanks,
>Sg

I was asking about Stuart doublets. Here's a few pics in books:
Look in Norah Waugh, Cut of Women's Clothes, plate 3b c 1610. See the
little wing at the top of shoulder?
Janet Arnold PoF: The Verney gown c 1600.
Blanche Payne: Fig 348 Purple & Gold costume of Adolphus the Great
1620 is a man's version of the same style.

You'll also find dozens in late Elizabethan portraits on men & women. 
Here's a Spanish one: Blanche Payne: fig 336 Infanta Isabella Clara
Eugenia 1590
--cin
Cynthia Barnes
CinBarnes@gmail.com

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Subject: [h-cost] Re: speaking of Pocahontas
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My newspaper today gave a little blurb about all the upcoming films, and
said that the new Pocahontas movie was about "the doomed love between John
Smith and Pocahontas." Sigh. And of course the BIG film coming up is
"Memoirs of a Geisha," which screwed up the portrayal of the way geisha
behaved so much that the leading geisha of the century had to insist on many
occasions that the character is NOT based on her. Plus, she's played by a
Chinese actress. I guess the film people decided that as far as Western
audiences are concerned, a Chinese woman is no different from a Japanese
woman! At least the costumes look good in that one.

Gail Finke


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Quoting Suzi Clarke <suzi@suziclarke.co.uk>:

> At 22:33 30/11/2005, you wrote:
>> Can someone point us to an online pic to see what it is you are all 
>> talking about?  Sounds very interesting.
>> Thanks,
>> Sg
>>
>>>
>>> When I use epaulettes I put in the sleeves in the normal way. I 
>>> make up the epaulettes as complete units, and sew them on to the 
>>> sleeve head seam from the underneath, so you don't see the 
>>> stitching. Saves an awful lot of layers!
>
>
>
> Never seen pictures of it - the first time I did it, it just made 
> sense, and I  just always do it. Maybe I read it in Arnold - I've 
> been doing it so long I forget now. I frequently put the sleeves to 
> the body by binding both the armhole and the sleeve head, then whip 
> stitching them together. The epaulette covers that!
>

Any chance that we could "understand" what it is that you do by looking
at some close-up photos of a finished gown?

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: Stephanie Smith <sismith42@yahoo.com>
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Subject: [h-cost] soulletz herigaudz definition
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Hi Cin,

> I'm reading a friends circa 14th c manuscript by
Robert Grosseteste
> wherein he gives a rule for clothes (livery) worn by
servants.  I'm

Which text is it, out of curiosity?  This sounds like
something *I*'d like to read/have my husband translate
:-) Speaking of, below is his translation of the
paragraph; he has the phrase "soulletz herigaudz" as
"soiled surcotes".

> puzzled by one word.  Here's the original in
transcription:
> 
> Commandez ke vos chiualers e trestoutz vos gentils
> hommes qe vos robes pernent ke meymes ces robes
chescun ionr e nomement
> a voster manger e en voster presence usut pur vostre
honour garder ne
> pas veuz tabartz e soulletz herigaudz en contrefetes
curtepies.

"Command that your knights and see that your gentle
men wear your dress, that these same dresses be worn
by all during your meal and in your presence and to
maintain your honour they must not be old tabbards or
*soiled surcotes* a fake magpie(1) [would wear]" 

(1) uncertain

Cheers,
Stephanie


	
		
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Subject: Re: [h-cost] soulletz herigaudz definition
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On Wed, 30 Nov 2005, Stephanie Smith wrote:

> > Commandez ke vos chiualers e trestoutz vos gentils
> > hommes qe vos robes pernent ke meymes ces robes
> chescun ionr e nomement
> > a voster manger e en voster presence usut pur vostre
> honour garder ne
> > pas veuz tabartz e soulletz herigaudz en contrefetes
> curtepies.
> 
> "Command that your knights and see that your gentle
> men wear your dress, that these same dresses be worn
> by all during your meal and in your presence and to
> maintain your honour they must not be old tabbards or
> *soiled surcotes* a fake magpie(1) [would wear]" 
> 
> (1) uncertain

"curtepies" might be the French plural of "courtepy," a type of surcote
(Chaucer used the word in English, and there's a lot of overlap in English
and French at this time). I don't know what a counterfeit courtepy would
be.

--Robin

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>This is an interesting observation.  One of the things we "discovered"
>in the process of making the "Suitable gown for her majesty" (same
>period), we wondered if one of the reasons 'Liz I  preferred the big
>gowns was because it makes one feel, well, "imposing."

Sg,

Other people react to that sort of outfit, too, not just the wearer. 
Oh, I expect it's partly size, but it's also to do with obvious
complexity, near perfect tailoring, walking with dignity and killer
materials.  Take away any element and the effect disappears. Back in
Aug, I wore a c 1590 drum farthingale in "tawney sarceonet"  with as
many jewels, shinies, accessories & as much big hair as I could
muster.  At this particular Renn ball, 3 people dropped me curtesies
while they were in the middle of a figured dance.  Two of them claimed
it was quite literally a knee-jerk reaction.  One guy said he'd made a
leg, before his head even processed whether he should or not.
I got to use my current favorite Maggie Thatcher line: "Oh, I'm not
the Queen, I'm only in politics."  (I'm Campaign Treasurer for a
county judicial candidate.)
--cin
Cynthia Barnes
CinBarnes@gmail.com

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Date: Thu, 01 Dec 2005 00:18:58 +0000
To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] Re: working with velvet/epaulettes
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At 23:59 30/11/2005, you wrote:
>Quoting Suzi Clarke <suzi@suziclarke.co.uk>:
>
>>At 22:33 30/11/2005, you wrote:
>>>Can someone point us to an online pic to see what it is you are 
>>>all talking about?  Sounds very interesting.
>>>Thanks,
>>>Sg
>>>
>>>>
>>>>When I use epaulettes I put in the sleeves in the normal way. I 
>>>>make up the epaulettes as complete units, and sew them on to the 
>>>>sleeve head seam from the underneath, so you don't see the 
>>>>stitching. Saves an awful lot of layers!
>>
>>
>>
>>Never seen pictures of it - the first time I did it, it just made 
>>sense, and I  just always do it. Maybe I read it in Arnold - I've 
>>been doing it so long I forget now. I frequently put the sleeves to 
>>the body by binding both the armhole and the sleeve head, then whip 
>>stitching them together. The epaulette covers that!
>
>Any chance that we could "understand" what it is that you do by looking
>at some close-up photos of a finished gown?



Very possibly, but I don't have finished gowns, as I am a costume 
maker and sell what I make! I don't bother to take closeup photos, as 
I don't need them. If I am teaching, it's show and tell, so no 
teaching examples, and I don't draw! I am not being very helpful here, am I?

It is an instruction from Hunnisett, the 1500-1800 book, but there 
are no pictures of it or the sleeve application. If you make up the 
epaulette, however you like, bagging out, turning the edges together 
and stitching, so you have a thing that is completely finished. You 
have the sleeve sewn into the sleeve head. Then you put the curved 
edge of the epaulette just to the shoulder side of the sleeve seam, 
and either stab stitch it from the right side, or fold it back over 
the shoulder and stitch it from the underside. When you fold it back 
into place, you then do not see the stitching. (or you cover it with 
braid, like "they" did!)

Is that any clearer?

Suzi 


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To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] RE: OT - Pin Cushion-how many needles have you 
  lost?
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>>My grandmother was a weaver, and said one mustn't make a pin cushion out 
>>of fabric that includes sparkley silver threads.
>
>But the fabric wasn't the problem!  These had gotten driven so deep into 
>the cushion that you'd never know they were there! =-O

Her problem was that pinheads hid in the Mylar silver threads in the weave, 
and needles similarly hid before they got lost inside.

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

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Subject: Re: [h-cost] A Rant about commercial patterns
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In a message dated 11/30/2005 6:31:21 P.M. Eastern Standard Time,  
theresa@misc.com writes:

KOOOOL  tips!! 


Yes, thanks all for the suggestions.  Unfortunately, none of them work  for 
this particular project.  I've found that, with size 3 garments, I  can't set 
the sleeve "in the round."  Therefore, I sew the sleeve to the  bodice flat, 
then insert the elastic, then sew the side seams.  So leaving  the elastic 
unfinished, or using ribbon, doesn't work this time.  But I  might plan a way to 
use the ribbon next time.
 
Ann Wass
 
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] soulletz herigaudz definition
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Greetings--

Stephanie Smith wrote:

>>I'm reading a friends circa 14th c manuscript by
> 
> Robert Grosseteste

Actually, Grosseteste (aka Bobby Fathead--and not "Bobby Big Balls", as 
my husband kept joking) died in 1253. Grosseteste is quite a significant 
scholarly figure of the 13th century, writing numerous theological and 
scientific works, as well as things like books of manners in Norman 
French :-) As Bishop of Lincoln, he headed a pretty big household, 
including numerous sons of nobility sent to learn them some manners.

Susan
friend of Bobby Fathead (hey, he's my SCA persona's bishop, although 
he's due to die in a couple of years :-)


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Subject: [h-cost] Re: velvet pressing
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Hi
The Howard Brush company sells straight tooth carding cloth...
  http://www.howardbrush.com/distribute.html
Either on the card or as a separate piece by the foot...

Go forth and shop <G>
Ta
Carol--now looking into replacing the missing velvet cloth...
-- 
Creative Clutter is Better Than Idle Neatness!
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From: "Elizabeth Walpole" <ewalpole@tpg.com.au>
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Hi everyone, I'm making a pair of engagentes for a c. 1860 gown and I'm 
looking for some clues on what sort of lace I should use for the cuffs, does 
anybody know of pictures I can look at to give me ideas on what period lace 
looks like so I know what to look for when I go shopping. I'd prefer an 
online resource, but if it's got to be a book I'll check the libraries round 
about, my local public library has a surprisingly good selection of 
costuming books and if that fails hopefully an Australian author has written 
on the subject as then I'm guaranteed that the national library will have a 
copy (Australian publishers are legally required to give at least one copy 
of every book they publish to the national library)
Thanks
Elizabeth
--------------------------------------------
Elizabeth Walpole
Canberra Australia
ewalpole[at]tpg.com.au
http://au.geocities.com/e_walpole/

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Can't you turn the seam allowance under for the elastic casing, and then leave that bit of the seam open when you sew the side seam? It could be hand-finished once the elastic was properly sized and stitched, no? I'm trying to think three-dimensionally here, and I THINK I have done this once or twice....when I was in some kind of pinch or another....Because I use my costumes over and over, I use elastic whenever I can, particularly on breeches and waistbands, and I like to just tie the elastic so that it can be re-sized for the next character the next year....and what I THINK I'm describing is one way to keep access to the ends of the elastic.
--Ruth Anne Baumgartner
scholar gypsy and amateur costumer

-----Original Message-----
From: AnnBWass@aol.com
Sent: Nov 30, 2005 8:02 PM
To: h-costume@indra.com
Subject: Re: [h-cost] A Rant about commercial patterns

 
In a message dated 11/30/2005 6:31:21 P.M. Eastern Standard Time,  
theresa@misc.com writes:

KOOOOL  tips!! 


Yes, thanks all for the suggestions.  Unfortunately, none of them work  for 
this particular project.  I've found that, with size 3 garments, I  can't set 
the sleeve "in the round."  Therefore, I sew the sleeve to the  bodice flat, 
then insert the elastic, then sew the side seams.  So leaving  the elastic 
unfinished, or using ribbon, doesn't work this time.  But I  might plan a way to 
use the ribbon next time.
 
Ann Wass
 
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To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Re: speaking of Pocahontas
Date: Wed, 30 Nov 2005 20:17:35 -0600
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Status: RO

Oh you got to be kidding. Can we say pedophilia. Pocahontas was 12/13 when
she saved Smith's life. Even he in his grandiose memoirs doesn't even imply
that they were in love.
Well it took Hollywood a while to finally cast someone that was not
Caucasian in the role of the King in Anne and the King.

De


-----Original Message-----
My newspaper today gave a little blurb about all the upcoming films, and
said that the new Pocahontas movie was about "the doomed love between John
Smith and Pocahontas." Sigh. And of course the BIG film coming up is
"Memoirs of a Geisha," which screwed up the portrayal of the way geisha
behaved so much that the leading geisha of the century had to insist on many
occasions that the character is NOT based on her. Plus, she's played by a
Chinese actress. I guess the film people decided that as far as Western
audiences are concerned, a Chinese woman is no different from a Japanese
woman! At least the costumes look good in that one.

Gail Finke


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From: monica spence <monicaspence@optonline.net>
Subject: RE: [h-cost] Re: Question about display...
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Status: RO

Just be careful that you don't cause stress to the fabric. Vintage fabrics
can rip easily if they have not been cared for properly. If you put too much
stress on it, it could tear. For example, be careful that you don't hang
something from, say pins in the shoulders of a garment, without supporting
it. There are people here who would know more than I do...

Cans of air vs vaccuum... Be careful that the vaccuum is not to strong. It
can damage fibers as well.

Regards--

Dame Catriona MacDuff

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of Catherine Kinsey
Sent: Wednesday, November 30, 2005 12:32 PM
To: h-costume@indra.com
Subject: [h-cost] Re: Question about display...


Now, my questions are, am I correct in my understanding that vintage
clothes
should be displayed flat, and not to clean them  (We've got the whole -
no
UV thing covered already)?

And is there anything I'm not thinking about?

Marc
==============================
My only experience with this is a small local museum but they regularly
vacuum their costume pieces, which are stored flat in acid-free tissue
and boxes.  For display, they are mounted on padded maneguins or forms,
occasionally laid across a bed or something like that.  A lot of the
choice on how to display depended on the condition of the garment.  They
try to rotate their displays several times a year but that depends on
staff/volunteer availability.

Good luck :).
Catherine



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US publishers are also required to give free copies of every book to the 
Library of Congress, at least if they get any cataloging data off the 
LOC.  But the LOC, being short of storage space, simply discards a great 
many books, I don't know by what means.

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

> and if that fails hopefully an Australian author has written on the 
> subject as then I'm guaranteed that the national library will have a 
> copy (Australian publishers are legally required to give at least one 
> copy of every book they publish to the national library)
>
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