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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
Date: Wed, 9 Nov 2005 14:48:35 -0500
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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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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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>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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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
dollmaker, fibre artist, textillian
          www.FunStuft.com

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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
dollmaker, fibre artist, textillian
          www.FunStuft.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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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.



------------------------------------------------------------
This email was sent from Netspace Webmail: http://www.netspace.net.au

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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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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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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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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

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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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Subject: Re: [h-cost] scalloped sleave ruffles
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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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From h-costume-bounces@indra.com  Thu Nov 10 11:20:07 2005
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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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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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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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From: Thomas Hayman <thomas.hayman@gmail.com>
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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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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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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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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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Subject: Re: [h-cost] British Order of the Garter with pix
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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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Subject: [h-cost] Re: leather dyeing
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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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> h-costume@mail.indra.com
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> 


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From: Judy Mitchell <judymitch@theoldforest.net>
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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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>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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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
> http://mail.indra.com/mailman/listinfo/h-costume
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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
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume 


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From: Suzi Clarke <suzi@suziclarke.co.uk>
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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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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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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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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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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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>
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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
> http://mail.indra.com/mailman/listinfo/h-costume
>

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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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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>
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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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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
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>

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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
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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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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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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...
>
>
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
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>  
>
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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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From: Marie Stewart <maricelt@gmail.com>
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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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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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http://mail.indra.com/mailman/listinfo/h-costume


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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.

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


_____________________________________________________________
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] 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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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?
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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?
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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?
Date: Mon, 14 Nov 2005 22:22:50 +0000
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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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Subject: Re: [h-cost] What's your dressmaker's dummy wearing?
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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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From: Catherine Olanich Raymond <cathy@thyrsus.com>
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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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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Subject: [h-cost] Re: What's your dressmaker's dummy wearing?
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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



		
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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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From: Marie Stewart <maricelt@gmail.com>
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Subject: [h-cost] Muppet Fur
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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>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Muppet Fur
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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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Subject: Re: [h-cost] Muppet Fur
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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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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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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
From: Marie Stewart <maricelt@gmail.com>
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Subject: Re: [h-cost] Muppet Fur
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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
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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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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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Subject: Re: [h-cost] chemise construktion
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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.
>
>
>
> _______________________________________________
> 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] 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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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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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] What's your dressmaker's dummy wearing?
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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>
References: <251.1147b38.30ab79c1@aol.com>
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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From h-costume-bounces@indra.com  Tue Nov 15 19:11:11 2005
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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
http://www.earthlydelights.com.au
http://stores.ebay.com.au/Earthly-Delights
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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Muppet Fur
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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
Date: Tue, 15 Nov 2005 22:30:33 -0500
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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;
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"The Illusion of Historical Fact"
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Andromeda  



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From h-costume-bounces@indra.com  Wed Nov 16 01:33:03 2005
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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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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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From: "Elizabeth Walpole" <ewalpole@tpg.com.au>
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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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Subject: [h-cost] Braces, yet again
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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>
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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>
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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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> h-costume@mail.indra.com
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>
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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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Thread-Topic: Martha McCain 18th century patterns for Simplicity
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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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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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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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From: "Sue Clemenger" <mooncat@in-tch.com>
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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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From: "Elizabeth Walpole" <ewalpole@tpg.com.au>
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Subject: Re: [h-cost] Re: BUtterick 18th C
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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: "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.
> _______________________________________________
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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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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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From: "Elizabeth Walpole" <ewalpole@tpg.com.au>
To: "Historical Costume" <h-costume@indra.com>
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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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From: Edith Reardon <edithreardon@yahoo.ca>
Subject: Re: [h-cost] Slightly OT: Rope Makers?
To: Historical Costume <h-costume@indra.com>
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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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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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Subject: Re: [h-cost] Re: BUtterick 18th C
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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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Subject: [h-cost] Anne Buck
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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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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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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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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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> h-costume@mail.indra.com
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This is a multi-part message in MIME format.
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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>
To: Historical Costume <h-costume@indra.com>
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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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.
-Ivan Panin


	

	
		
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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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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]
Date: Fri, 18 Nov 2005 21:05:59 +0100
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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>
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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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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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0  Chris Laning
|  <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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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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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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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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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
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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?
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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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Date: Sat, 19 Nov 2005 10:05:59 -0500
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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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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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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References: <20051119112847.qcmay2s0hdi8o44g@www.goldsword.com>
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
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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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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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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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h-costume mailing list
h-costume@mail.indra.com
http://mail.indra.com/mailman/listinfo/h-costume


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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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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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From h-costume-bounces@indra.com  Sun Nov 20 23:51:40 2005
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From: "Elizabeth Walpole" <ewalpole@tpg.com.au>
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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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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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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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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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Subject: [h-cost] What's your dressmaker's dummy wearing?
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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
To: Historical Costume <h-costume@indra.com>
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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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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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Date: Tue, 22 Nov 2005 07:02:22 -0500
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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> h-costume@mail.indra.com
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From: Bonnie Booker <aspasia1@gmail.com>
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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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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
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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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] New Medieval Gallery at the Museum of London
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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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To: Historical Costume <h-costume@indra.com>
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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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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From: "Sue Clemenger" <mooncat@in-tch.com>
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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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From h-costume-bounces@indra.com  Wed Nov 23 00:10:27 2005
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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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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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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 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
Date: Wed, 23 Nov 2005 06:00:08 -0500
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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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From: "michaela" <thebruce@ihug.co.nz>
To: "Historical Costume" <h-costume@indra.com>
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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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From: "Kate M Bunting" <K.M.Bunting@derby.ac.uk>
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Subject: Re: [h-cost] Re: Mus. of London... knit question
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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>
To: Historical Costume <h-costume@indra.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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From: Marie Stewart <maricelt@gmail.com>
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Subject: Re: [h-cost] Re: Mus. of London... knit question
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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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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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Subject: Re: [h-cost] New Medieval Gallery at the Museum of London
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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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Subject: Re: [h-cost] Re: Mus. of London... knit question
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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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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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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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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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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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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 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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Subject: Re: [h-cost] theater opera costumes in general
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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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From h-costume-bounces@indra.com  Wed Nov 23 22:38:27 2005
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Date: Wed, 23 Nov 2005 22:37:42 -0500
From: monica spence <monicaspence@optonline.net>
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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From: "Kate M Bunting" <K.M.Bunting@derby.ac.uk>
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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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From h-costume-bounces@indra.com  Thu Nov 24 04:52:52 2005
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Subject: [h-cost] OT - pin cushion
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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
Date: Thu, 24 Nov 2005 07:22:32 -0500
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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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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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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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From: Kathy Page <caitlin_oduibhir@yahoo.ca>
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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


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-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
References: <20051123.150724.-114255583.0.penhalion@juno.com>
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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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	<cvuF72BGbihDJwmV@montgomerie.demon.co.uk>
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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 h-costume-bounces@indra.com  Thu Nov 24 17:22:36 2005
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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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From h-costume-bounces@indra.com  Thu Nov 24 18:26:38 2005
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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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Subject: Re: [h-cost] victorian corset with too short busk
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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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From h-costume-bounces@indra.com  Fri Nov 25 03:37:37 2005
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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
> http://mail.indra.com/mailman/listinfo/h-costume
>


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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
>>
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>
>
>
>
> -- 
> No virus found in this incoming message.
> Checked by AVG Free Edition.
> Version: 7.1.362 / Virus Database: 267.13.7/182 - Release Date: 24/11/2005
>
> 

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


--
Katy Bishop, Vintage Victorian
vintage@shore.net                www.VintageVictorian.com
     Custom reproduction gowns of the Victorian Era.
      Publisher of the Vintage Dress Series books.

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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: 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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Subject: [h-cost] Modern interpretations of period plays
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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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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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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 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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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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----- 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>
References: <20051126004114.99338.qmail@web51304.mail.yahoo.com>
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>
References: <000701c5f145$7e2d69b0$a5d7f5dc@user4712b7d135><20051125083659.804C4BE637@cardassian.kabelfoon.nl><3586f5070511250715y55ec6502w4b3799aa6046a23c@mail.gmail.com>
	<6.2.3.4.0.20051125152408.01d814a8@127.0.0.1>
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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From h-costume-bounces@indra.com  Fri Nov 25 21:52:09 2005
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Date: Sat, 26 Nov 2005 13:58:38 +1100
From: A & J Garden <garden@earthlydelights.com.au>
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Re:  too short victorian busk
References: <20051126004114.99338.qmail@web51304.mail.yahoo.com>
	<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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  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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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: [h-cost] question about velvet
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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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Subject: Re: [h-cost] Modern interpretations of period plays
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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
>
> _______________________________________________
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> h-costume@mail.indra.com
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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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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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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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From h-costume-bounces@indra.com  Sat Nov 26 12:12:42 2005
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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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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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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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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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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
-- 
Jean Waddie
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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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Date: Sat, 26 Nov 2005 18:27:52 +0000
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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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
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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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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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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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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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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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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Subject: Re: [h-cost] question about velvet
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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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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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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"
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>


--
Katy Bishop, Vintage Victorian
vintage@shore.net                www.VintageVictorian.com
     Custom reproduction gowns of the Victorian Era.
      Publisher of the Vintage Dress Series books.

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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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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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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 h-costume-bounces@indra.com  Sun Nov 27 10:38:12 2005
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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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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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Subject: [h-cost] Re:What do 19th century reproductionist do for calico?
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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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Subject: [h-cost] Re: theater costumes in general
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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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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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From: "Linda Rice" <vmaa2@cox.net>
To: "'Historical Costume'" <h-costume@indra.com>
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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To: Historical Costume <h-costume@indra.com>
From: Joan Jurancich <joanmj@surewest.net>
Subject: Re: [h-cost] What do 19th century reproductionist do for
  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>
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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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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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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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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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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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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.
> _______________________________________________
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> h-costume@mail.indra.com
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>


--
Caroline

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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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Date: Mon, 28 Nov 2005 14:20:20 -0500
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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Date: Mon, 28 Nov 2005 19:41:06 +0000
From: Caroline <carolineebuckley@gmail.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Re: opera
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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
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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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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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From: stilskin@netspace.net.au
To: Historical Costume <h-costume@indra.com>
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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Subject: Re: [h-cost] Re: opera
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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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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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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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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: 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
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>


--
Caroline

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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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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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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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From h-costume-bounces@indra.com  Mon Nov 28 22:41:32 2005
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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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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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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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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
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>

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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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From h-costume-bounces@indra.com  Tue Nov 29 04:01:16 2005
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From: "Susan" <Scourney@nwlink.com>
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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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From h-costume-bounces@indra.com  Tue Nov 29 09:49:20 2005
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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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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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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 h-costume-bounces@indra.com  Tue Nov 29 10:39:02 2005
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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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> h-costume@mail.indra.com 
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Subject: Re: [h-cost] Irons
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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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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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> 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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Subject: Re: [h-cost] What about a gift exchange picture page?
Date: Tue, 29 Nov 2005 12:08:46 -0600
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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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Subject: RE: [h-cost] Working with velvet 
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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: [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: 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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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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Subject: Re: [h-cost] What about a gift exchange picture page?
Date: Wed, 30 Nov 2005 10:26:38 +1100
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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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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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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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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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From h-costume-bounces@indra.com  Tue Nov 29 19:17:14 2005
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From: roscelinlimoges@comcast.net
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] RE: OT - Pin Cushion
Date: Wed, 30 Nov 2005 00:10:12 +0000
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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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From h-costume-bounces@indra.com  Tue Nov 29 19:48:09 2005
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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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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] What about a gift exchange picture page?
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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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Subject: Re: [h-cost] What about a gift exchange picture page?
Date: Tue, 29 Nov 2005 19:03:48 +0000
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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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From: Cin <cinbarnes@gmail.com>
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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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From: "otsisto" <otsisto@socket.net>
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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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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> h-costume@mail.indra.com
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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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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Re: OT: Pin Cushion
Date: Wed, 30 Nov 2005 00:30:08 +0000
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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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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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From h-costume-bounces@indra.com  Tue Nov 29 20:19:33 2005
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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
>
>
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>

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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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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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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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From h-costume-bounces@indra.com  Tue Nov 29 22:12:26 2005
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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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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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>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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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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>>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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Date: Mon, 28 Nov 2005 23:30:53 -0800
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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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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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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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 
> http://mail.indra.com/mailman/listinfo/h-costume 
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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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> 


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Date: Wed, 30 Nov 2005 07:41:45 -0800 (PST)
Subject: Re: [h-cost] ironing
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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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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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To: "Historical Costume" <h-costume@indra.com>
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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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To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Re: Question about display...
Date: Wed, 30 Nov 2005 12:25:24 -0600
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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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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] 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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From: "Audrey Bergeron-Morin" <audreybmorin@gmail.com>
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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
Date: Wed, 30 Nov 2005 14:16:44 -0600
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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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Subject: RE: [h-cost] Dressing a doll as Pocahontas
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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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Subject: [h-cost] Re: working with velvet
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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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From: Cin <cinbarnes@gmail.com>
To: h-cost <h-costume@indra.com>
Subject: re: [h-cost] Question about display...
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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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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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From: rwfranz <rwfranz@hotpop.com>
Subject: Re: [h-cost] ironing
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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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From: "Lloyd Mitchell" <rmitchell@washjeff.edu>
To: "Historical Costume" <h-costume@indra.com>
References: <113020051450.19651.438DBC35000020D400004CC322007340760809070E029D0E0A0809079BA101A10E020A040A@comcast.net>
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 h-costume-bounces@indra.com  Wed Nov 30 16:56:41 2005
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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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From h-costume-bounces@indra.com  Wed Nov 30 16:59:26 2005
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From: "Lloyd Mitchell" <rmitchell@washjeff.edu>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] RE: 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
References: <edcaf0220511301306i688c83a4oe97a5d3d48439da1@mail.gmail.com>
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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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From: "michaela" <thebruce@ihug.co.nz>
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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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From: Suzi Clarke <suzi@suziclarke.co.uk>
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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From: "otsisto" <otsisto@socket.net>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Dressing a doll as Pocahontas
Date: Wed, 30 Nov 2005 17:29:15 -0600
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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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Subject: Re: [h-cost] Re: working with velvet/epaulettes
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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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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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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
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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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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>>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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             (((  <> ))))
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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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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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Subject: [h-cost] mid 19th century lace what to look for
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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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Subject: Re: [h-cost] A Rant about commercial patterns
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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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Subject: RE: [h-cost] Re: speaking of Pocahontas
Date: Wed, 30 Nov 2005 20:17:35 -0600
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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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Date: Wed, 30 Nov 2005 21:50:42 -0500
From: monica spence <monicaspence@optonline.net>
Subject: RE: [h-cost] Re: Question about display...
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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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> At least the costumes look good in that one.

Talking about the movie Geisha, of course... as I said to my bf tonight: 
"Well, if the only good things in the movie are costumes and sets, it'll 
still be worth watching!"

I'm expecting eye-candy, but I'm not expecting accuracy - I don't think it 
would be realistic. They're having enough trouble as it is trying to 
reproduce our own ancestors, imagine trying to reproduce a culture so 
different from ours! -- and expecting to make money out of it. If I want to 
see nice Japanese movies... I'll just rent the Japanese ones... But I 
*still* like eye-candy, no matter how inaccurate :-) 

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>> 'Liz I  preferred the big
>>gowns was because it makes one feel, well, "imposing."

> 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.

Anybody on this list plays SCA in the East Kingdom? You know the... hmm... 
she's probably duchess now... Isabella? Those who've met her will know what 
I mean.

Very tall, and imposing in "normal" clothing. Even when she's not playing 
SCA, she's probably the center of attention pretty often.

First time I saw her, she was in full Elizabethan. All white, with a 
standing ruff and tons of pearls. Wow was she imposing. I took to moving 
away every time she came near, she was that intimidating. And... well... the 
clothing helps :-) 

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  I need help with a coat  from a book.  The book is "The Medieval Soldier" and the picture is on page 92; a pikeman is standing at the top of the page with a rust colored coat on.  This is the first time I'm recreating a costume from a picture in a book.
  What I need to know is would the seam of the arm placed towards the back like many of the other clothes at that time?  I'm going to have to make my own pattern for this coat - it's actually for my fiance' for Christmas.  I have his measurements and a  pattern made up for a similar piece that is form fitting.  But wanted to be sure of the arm seam.  Plus, I'm having problems determing how wide I need to make the whole sleeve - the sleeve in the picture is pretty loose.  The pattern I have already; the sleeve is snug fitting with buttons from the wrist to the elbow.
   I hope that all made sense - insomnia is trying to get the best of me.  :-)

Roscelin
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From: "Betsy Marshall" <betsy@softwareinnovation.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] soulletz herigaudz definition
Date: Thu, 1 Dec 2005 04:39:26 -0600
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I have absolutely no backing for this other than lots of dealing with typos,
(which might in some ways parallel the early English spelling variations)
but "counterfeit courtepy" might be counterfeit courtesy- i.e. fake clothing
to look like one belongs? Re-use of cast-off livery to boost apparent
status?
Just my .000002 lira, Betsy

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Robin Netherton
Sent: Wednesday, November 30, 2005 6:39 PM
To: Historical Costume
Subject: Re: [h-cost] soulletz herigaudz definition


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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Subject: Re: [h-cost] Re: working with velvet
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----- Original Message ----- 
From: "Audrey Bergeron-Morin" <audreybmorin@gmail.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, December 01, 2005 12:43 AM
Subject: Re: [h-cost] Re: working with velvet


>
> Very tall, and imposing in "normal" clothing. Even when she's not playing 
> SCA, she's probably the center of attention pretty often.
>
> First time I saw her, she was in full Elizabethan. All white, with a 
> standing ruff and tons of pearls. Wow was she imposing. I took to moving 
> away every time she came near, she was that intimidating. And... well... 
> the clothing helps :-)

She is indeed lovely and imposing, although every time I have seen her she 
has been in Persian.

I am in the process of making myself what I call my "Gown of Doom". Royal 
purple velvet Elizabethan, with pearls and cabochons all over it. I can't 
wait to finish it! (Lousy time to be moving, I want to SEW!!)

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

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From: Joannah Hansen <Joannah@sluggy.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Working with velvet
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Could you do the set-in sleeve *without* the epaulette, then make the epaulette separately and completely finish it, and then whip stitch it into place? That would certainly cut down on the layers within one seam.
Joannah.

snip
--- Kimiko Small <kimiko@kimiko1.com> wrote:

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

snip
May I ask why both a set in sleeve and the epaulettes?

Kimiko


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Hello,
I've had good results ironing wool using a square of damp lightweight cotton
over the top. I keep pieces of old sheets for the purpose. Also stops the
fabric going shiny.
I love ironing, especially linen!
regards
Joy

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In a message dated 11/30/2005 8:23:49 PM Eastern Standard Time,  
ruthanneb@mindspring.com writes:

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?


Lord, I hate people who just give negative reasons why such and such won't  
work, but, in this case, one of the garments has the little ruffle formed below 
 the casing.  The other has the casing at the edge but, in both cases, I  
plan to stitch the side seam and then serge it to finish it  off.  Also, the 
mother in Florida is sewing challenged and, if I leave  it unfinished, I'm not 
sure it would get done.  And the granddaughters have  shown a desire in the past 
to put it on NOW, as soon as they see it.  So  I'll guesstimate from 
ready-made garments this time--I did find one garment with  a puffed short sleeve that 
I could measure.
 
By the way, one of the reasons I make clothes is that trying to shop for  
Christmas for Floridians here in Maryland is difficult.  It's not THAT cold  here 
in the winter, but everything seems to be long-sleeved, turtle-necked, or  
otherwise cold weather gear.  Sometimes I do shop ahead in the summer (and  hope 
they don't grow too much by December), or find things on the clearance  racks.
 
Ann Wass
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What a fab idea!

Sg

>
>  
>

michaela wrote:

 This is also a really good way to transfer a beading pattern from one 
side to theother.


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From h-costume-bounces@indra.com  Thu Dec  1 09:42:44 2005
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I tried a bit of embroidery in knitting kotton no. 12
And I think I like it.
Made a little sample
http://home.kabelfoon.nl/~triade2/RegencyBall/embroiderytest2.jpg

Enlarged
http://home.kabelfoon.nl/~triade2/RegencyBall/embroiderytest3.jpg

I find the DMC a bit to shiny
But I will try it too.

Greetings,
       Deredere

Bjarne og Leif Drews wrote:

> 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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From h-costume-bounces@indra.com  Thu Dec  1 09:48:43 2005
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Any chance you could scan and post the picture (if you can scan it and 
send it to me, I can post it).  I love construction challenges.

Sg


roscelinlimoges@comcast.net wrote:

>  I need help with a coat  from a book.  The book is "The Medieval Soldier" and the picture is on page 92; a pikeman is standing at the top of the page with a rust colored coat on.  This is the first time I'm recreating a costume from a picture in a book.
>  What I need to know is would the seam of the arm placed towards the back like many of the other clothes at that time?  I'm going to have to make my own pattern for this coat - it's actually for my fiance' for Christmas.  I have his measurements and a  pattern made up for a similar piece that is form fitting.  But wanted to be sure of the arm seam.  Plus, I'm having problems determing how wide I need to make the whole sleeve - the sleeve in the picture is pretty loose.  The pattern I have already; the sleeve is snug fitting with buttons from the wrist to the elbow.
>   I hope that all made sense - insomnia is trying to get the best of me.  :-)
>
>Roscelin
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Yep, I know who you mean and you're so right...Imposing is the correct word to describe Izzy :)  Even my 6 yr. old, who is NOT intimidated by ANYONE, took a step back the first time she saw her in full regalia :)

Audrey Bergeron-Morin <audreybmorin@gmail.com> wrote:  >> 'Liz I preferred the big
>>gowns was because it makes one feel, well, "imposing."

> 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.

Anybody on this list plays SCA in the East Kingdom? You know the... hmm... 
she's probably duchess now... Isabella? Those who've met her will know what 
I mean.

Very tall, and imposing in "normal" clothing. Even when she's not playing 
SCA, she's probably the center of attention pretty often.

First time I saw her, she was in full Elizabethan. All white, with a 
standing ruff and tons of pearls. Wow was she imposing. I took to moving 
away every time she came near, she was that intimidating. And... well... the 
clothing helps :-) 


		
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I've finally remembered to look at the brand of iron I got from Costco.  It's Sunbeam.  The linen and cotton settings are *awesome*.  The iron has the auto off safety feature, but the warm up time to the high settings is super fast.

And I really like the fact that I can choose to not have steam at the higher settings, for iron on stuff.  

So, now I have two great irons.  One's for my costuming and the other is for my quilting.

Elena/Gia

-------------- Original message -------------- 

> 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 
> > http://mail.indra.com/mailman/listinfo/h-costume 
> _______________________________________________ 
> h-costume mailing list 
> h-costume@mail.indra.com 
> http://mail.indra.com/mailman/listinfo/h-costume 
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Subject: RE: [h-cost] Dressing a doll as Pocahontas
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Camilla Townsend points this out in her biography of Pocahontas. The
English viewed her as a princess, abeit a "savage" one. John Rolfe met a
lot of criticism on the trip to England for marrying above his station
in life, especially from no less than James I, that epitome of Divine
Right and birthright. Townsend argues that the difference in status
between Pocahontas/Matoaka as actually a daughter of lesser importance
to Powhatan, and the English viewing her as royal, may have been one of
the factors leading her to wed John Rolfe.

Cindy Abel 

 

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Mine in Omaha did the same-the little blurbs. Of course neither will be
here well before Christmas. If you want a good preview of MOAG, try
getting a look at Memoirs of a Geisha: Images from the Film. I got a
used copy for $20 + ship and it is lovely eye candy. Using Chinese
actresses for the female leads is the usual Hollywood thing--using
"name" actors to get financing and pull in more viewers. Ziyi Zhang,
Gong Li, and Michelle Yeoh are at least known names to financers and
American audiences that are fans of movies like Croaching Tiger, Hidden
Dragon, Hero, and Raise the Red Lantern. The actresses that play young
Chiyo and Pumpkin are Japanese. If you want strict accuracy on costume,
makeup, and hairstyles, as always with movies set in previous times,
check out the extras.

And of course, in "The New World" Pocahontas can't go about accurately
dressed and has to be at least teen-aged. It does look like the
Powhatans will be treated with some accuracy and respect, while John
Smith and Company will be seen as invaders. Nice change. For an
excellent biography of Pocahontas and her people, check out "Pocahontas
and the Powhatan Dilemma" by Camilla Townsend.


Cindy Abel


 

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Hi all, I have been trying to set us up with a photo album at 
myphotoalbum.com

What a PAIN IN THE YOU KNOW WHAT!  I even bought a membership for us so 
we wouldn't have to deal with pop adds.
(I am in the process of getting my money back).

Does anyone have any other suggestions for a similar type of site?

Thanks,

Sg

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Subject: Re: [h-cost] Regency embroidery question
Date: Thu, 1 Dec 2005 17:58:12 +0100
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Hi Deredere,
Sorry if i posted this 2 times, but i have had problems with my emails.
I would use a stranded cotton thread, DMC for instance wich is stranded into 
6 strands.
Then you could try to use as many strands at a time until you get the right 
"body" of your embroidery..............


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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Smugmug.com

An example of one of their albums is at ithaca.smugmug.com

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Subject: Re: [h-cost] mid 19th century lace what to look for
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Hi Elizabeth,
Point ground lace. Bobbin lace made with a Tulle ground and motifs of 
flowers.

Bjarne


----- Original Message ----- 
From: "Elizabeth Walpole" <ewalpole@tpg.com.au>
To: "Historic Costume" <h-costume@indra.com>
Sent: Thursday, December 01, 2005 2:20 AM
Subject: [h-cost] mid 19th century lace what to look for


> 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/
>
> _______________________________________________
> 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] mid 19th century lace what to look for
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Hi again,
I got a little confused, do you mean lace for cufs or lace for engageantes?
For cufs i would use a guipure lace. Engageantes you can use tulle ground 
lace.
Guipure lace has more body and are more sturdy to make cuffs out of .

Bjarne
----- Original Message ----- 
From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, December 01, 2005 6:03 PM
Subject: Re: [h-cost] mid 19th century lace what to look for


> Hi Elizabeth,
> Point ground lace. Bobbin lace made with a Tulle ground and motifs of 
> flowers.
>
> Bjarne
>
>
> ----- Original Message ----- 
> From: "Elizabeth Walpole" <ewalpole@tpg.com.au>
> To: "Historic Costume" <h-costume@indra.com>
> Sent: Thursday, December 01, 2005 2:20 AM
> Subject: [h-cost] mid 19th century lace what to look for
>
>
>> 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/
>>
>> _______________________________________________
>> h-costume mailing list
>> h-costume@mail.indra.com
>> http://mail.indra.com/mailman/listinfo/h-costume
>>
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 


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Hi Deredere,
I would buy a stranded cotton thread, like DMC. Its stranded into 6 strands. 
Then you can experiment with how many threads your embroidery want.

Bjarne




Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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From: Catrijn vanden Westhende <catrijn@gmail.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Any other photo album site recommendations?
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I use flickr.com

Catrijn

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Subject: Re: [h-cost] Any other photo album site recommendations?
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I like photobucket.com but I haven't tried the others.

-Irmgart
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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] mid 19th century lace what to look for
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At 17:10 01/12/2005, you wrote:
>Hi again,
>I got a little confused, do you mean lace for cufs or lace for engageantes?
>For cufs i would use a guipure lace. Engageantes you can use tulle 
>ground lace.
>Guipure lace has more body and are more sturdy to make cuffs out of .



Many engageants I have seen are made of very fine white cotton with 
whitework embroidery, also known as Ayrshire work. Also seen a pair 
in all over broderie anglais.

Suzi


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From: Bonnie Booker <aspasia1@gmail.com>
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Subject: Re: [h-cost] mid 19th century lace what to look for
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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.
>
> It means they put them on a shelf in the basement for a period of time.
> They allow non-profit organizations to select any they can use.  I was
> allowed some for my Kingdom, using our non-profit status a few years ago.
> They didn't have much at the time.  Most of them were old copies of things
> that had updated copies or well out of date. I don't know where they go from
> there.
>
> --
> Aspasia Moonwind
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To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Regency embroidery question
Date: Thu, 1 Dec 2005 15:38:50 -0600
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DMC carries lacing/tatting thread. 100% cotton. It is a 4-6 strand thread.
Not shiny.
If you loosen the twist, this would give you a smoother piece of embroidery
if that is what you are wanting to achieve.

De



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From: Ann Catelli <elvestoorder@yahoo.com>
Subject: Re: [h-cost] Regency embroidery question
To: Historical Costume <h-costume@indra.com>
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Cotton embroidery thread would not have been
mercerized in the early nineteenth century; a British
patent was granted to John Mercer in 1851.

So, the cotton for your regency gown would be
unmercerized; duller and not so strong.

This may be difficult to find; the only source I have
is the weaving store Webs http://www.yarn.com/ . 
Perhaps you may have a similar sort of store closer by
you.

Ann in CT

> >> 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.
> >>       Deredere



	
		
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Dear Suzi, 
  you have I have exchanged occasional e-mails for a while, now; and I've learned a lot from your helpful comments to other questioners on the Lists to which we both subscribe.
  I thought you'd like to see some of what our Companie has managed to achieve since we had to reform hastily in early 2003, - after John Antill pulled-out in a tantrum, and left  just 8 of us, with only our medieval clothes, and a very few weapons.
  Have a look at our new website at
  www.dukesleopards.org
  and see what you think.
   
   I thought you'd like to have a look at what we've been able to accomplish since John Antill pulled-out taking all his equipment with him. 
  We now have over 40 Companions, 6 medieval tents, and have made ourselves a lot of equipment.
   Not bad for a group still lacking in sponsorship of any kind, most of whose members are either retirees or "blue-collar" workers, and nearly all "first-time re-enactors trying to climb a "steep learning-curve".
  The Site is still under development, - and as this is my first attempt at Site Design and layout - [the Programming was donated - a commercial CMS similar to "Joomla"] - critical comment will be welcome. Please make allowances for my lack of experience at this new Skillset, but everyone has to start somewhere - and at least our Company now has a "webpresence".
  I have included a "Links to Merchants" File, and taken the liberty of including your URL, since your work is generally held in such very high regard by the re-enactment community. I hope this does not offend you - I realise now I ought to have asked your permission  first. 
  If, on seeing the quality of what we display, as shown on our Website, you'd not care to have your name listed in the website, please tell me, accept my sincere apologies, and I'll remove your listing.
   
  Sincerely, Julian Wilson.
   
  

 


    Yours in Service, 
Julian Wilson, 
[aka. Messire Matthew Baker/Matthieu Besquer, Governor & Castellan of Jersey, 1486-1497: Motto  - "Si vis pacem, para bellum" [Trans:-"if you wish for Peace, prepare for War" ]
  late-medieval Re-enactor; & Historian and Master Artisan to 
"The Companie of the Duke's Leopards", 
[the only mediæval living-history Group in "olde" Jersey] 
Meet us at <www.dukesleopards.org >"> 
     [input]  
  - 



		
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From: Marie Stewart <maricelt@gmail.com>
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Subject: [h-cost] Tailoring a man's shirt
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Hi folks...

I'm stumped and needing some help.  My husband has a nice new dress
shirt.  But except for the neckline, which does fit,  the rest of it
resembles something ala Barnum and Bailey.  This shirt is huge.

How on earth do you approach taking 8 inches out of the waist and 4
inches out of the chest? Are we talking a total deconstruction job?

Any help would be welcome.
Thanks,
Mari / Bridgette

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From: julian wilson <smnco37@yahoo.co.uk>
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Subject: [h-cost] Apologies - re-Duke's Leopards new website posting
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Sincere apologies to everyone for mis-posting that last message. It was intended to go "offlist" to Suzi Clark . So, to quote Lazarus Long, I "plead youth and inexperience, and long-and-faithful Service ". [Robert Heinlein]  
  I prey you Pardon; and - as I do hope for Heaven - do trust that God shall move your hearts to Mercy concerning my Transgression.
   
  What more can I say? It's late, and I've had a loooong, hard  day; and now I'm not-concentrating as well as I ought. Time to give-up and go to bed; - I have to be up at 0545 GMT, and I'm not as bright as I used to be, first-thing-in-the-mornings. 
   
  Getting older really is "the pits".




    Yours in Service, 
Julian Wilson, 
[aka. Messire Matthew Baker/Matthieu Besquer, Governor & Castellan of Jersey, 1486-1497: Motto  - "Si vis pacem, para bellum" [Trans:-"if you wish for Peace, prepare for War" ]
  late-medieval Re-enactor; & Historian and Master Artisan to 
"The Companie of the Duke's Leopards", 
[the only mediæval living-history Group in "olde" Jersey] 
Meet us at <www.dukesleopards.org >"> 
     [input]  
  - 



		
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In a message dated 12/1/2005 6:47:59 P.M. Eastern Standard Time,  
maricelt@gmail.com writes:

How on  earth do you approach taking 8 inches out of the waist and 4
inches out of  the chest? Are we talking a total deconstruction  job?




That is difficult, because altering the chest usually also means altering  
the armholes, and that is really difficult.  You could, though, not only  take 
in the sideseams, but also put front and back darts to help with the waist  
problem.  {We used to have the opposite problem, "tapered" shirts, which  had 
those darts, didn't fit the untapered menfolk in my family, so we had  to steer 
clear of them.)  I wonder if this oversized cut is part of the  whole baggy 
clothes trend.  Where did you buy the shirt?  Maybe a more  conservative menswear 
store might be a better choice?
 
Ann Wass
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Subject: Re: [h-cost] !5th Century coat
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Sg,

   For some reason I am having problems with sending you any attachments with the picture.  Let me find out what is wrong or if all else fails I will do up a quick and dirty website with the picture and then later add photos of the garb I have made in the past couple of years.

Roscelin


> Any chance you could scan and post the picture (if you can scan it and 
> send it to me, I can post it).  I love construction challenges.
> 
> Sg
> 
> 
> roscelinlimoges@comcast.net wrote:
> 
> >  I need help with a coat  from a book.  The book is "The Medieval Soldier" and 
> the picture is on page 92; a pikeman is standing at the top of the page with a 
> rust colored coat on.  This is the first time I'm recreating a costume from a 
> picture in a book.
> >  What I need to know is would the seam of the arm placed towards the back like 
> many of the other clothes at that time?  I'm going to have to make my own 
> pattern for this coat - it's actually for my fiance' for Christmas.  I have his 
> measurements and a  pattern made up for a similar piece that is form fitting.  
> But wanted to be sure of the arm seam.  Plus, I'm having problems determing how 
> wide I need to make the whole sleeve - the sleeve in the picture is pretty 
> loose.  The pattern I have already; the sleeve is snug fitting with buttons from 
> the wrist to the elbow.
> >   I hope that all made sense - insomnia is trying to get the best of me.  :-)
> >
> >Roscelin
> >_______________________________________________
> >h-costume mailing list
> >h-costume@mail.indra.com
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> >
> >
> >  
> >
> 
> _______________________________________________
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Subject: [h-cost] need some input
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I found some material that comes close in pattern but not in color to the
Bianca Anguissola portrait in a yellow dress.
The color is a shot(?) blue and dull mustard material. The lines of the
plaid are blue and the background is a blend of the two colors

http://www.nelepets.com/art/artists/a/Anguissola-c-09.htm

I was wondering, if you were going to make an outfit based on this portrait,
what color would you have the embroidery on the camicia?

De


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Subject: [h-cost] What periods for these fabrics?
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In going through my fabric stash, I find I have a number of things I've
bought over the years that I no longer consider suitable for medieval
clothing. They're good fabrics, and I am wondering what they might be
useful for (other than modern clothing or home decor). I know almost
nothing about periods after 15th c.

What periods, if any, would these be suitable for:

-- linen dyed in strong colors, e.g. cranberry, deep green, bright red,
black (I've been using the hot pink for mock-ups!)

-- glazed cotton (apricot, blue)

-- moire (the modern stuff that looks like wood-grain in texture, probably
rayon), in light blue or ivory or yellowy-white

-- silk noil

I'm sure I'll find more; these are things that happen to be in my "use
someday" boxes that I'm finally realizing I'll never have reason to use in
my usual work. If I know what they're good for, I can perhaps make
suitable gifts of them.

--Robin



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Subject: RE: [h-cost] What periods for these fabrics?
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-- linen dyed in strong colors, e.g. cranberry, deep green, bright red,
black (I've been using the hot pink for mock-ups!)

What is wrong with using these for medieval clothing?

-- moire (the modern stuff that looks like wood-grain in texture, probably
rayon), in light blue or ivory or yellowy-white

Early tudor. One or more of the unicorn tapestries has a woman wearing what
appears to be moire (the wood grain looking stuff)

De



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> In going through my fabric stash, I find I have a number of things I've 
> bought over the years that I no longer consider suitable for medieval 
> clothing. They're good fabrics, and I am wondering what they might be
> useful for (other than modern clothing or home decor). I know almost 
> nothing about periods after 15th c.
>
> What periods, if any, would these be suitable for:
>
> -- linen dyed in strong colors, e.g. cranberry, deep green, bright red, 
> black (I've been using the hot pink for mock-ups!) (snip)

 --Robin

Oh, these would be great for early 17th cen. stuff.  I've been amazed at the 
strong colors I've been turning up in paintings and written records.  I've 
got a bright red dress jacket made up in linen and I'd like to get a 
petticoat done to match it, but didn't have enough fabric for that.

Melusine 

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In a message dated 12/2/05 8:48:38 AM GMT Standard Time, 
h-costume-request@indra.com writes:

> -- linen dyed in strong colors, e.g. cranberry, deep green, bright red,
> black (I've been using the hot pink for mock-ups!)

Obviously depends on exact shades, but there's a version of hot pink that 
could be got in medieval times - and black, as everyone knows - just have to 
accept they're rich, and wouldn't have lasted that long.  I'd guess it'd be the 
same with the others - not that you can't use them, just that you have to stop 
using before they look at all worn (not very likely if you're anything like me 
- my conquest chemise has just completed its tenth year of re-enactment  ).
failing that, later 19th c - post annyline (sp?) dye introduction - or got 
any goth friends - or a big vat of pre-dye?  :o)

> 
> -- glazed cotton (apricot, blue)

Fab for victorian

> 
> -- moire (the modern stuff that looks like wood-grain in texture, probably
> rayon), in light blue or ivory or yellowy-white

turn of the century (19th to 20th) - bang up to date!  (rayon / viscose being 
manmade, not synthetic, (wood pulp or something - don't have the apparel 
textbooks to hand), and developed in the 1890s-ish)

> 
> -- silk noil
> 
um - bridal??  I've never really like noil, so not sure on this one.
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Hi,
To me i see that the embroidery on the portrait is made with 2 main colours. 
Yellow for flowers, green leaves and brown stems.
If the stripes in your material is shot blue, i would also make the flowers 
that colour, and then make the rest of the embroidery like the original.

My 2 cents

Bjarne
----- Original Message ----- 
From: "otsisto" <otsisto@socket.net>
To: "Historic Costume" <h-costume@mail.indra.com>
Sent: Friday, December 02, 2005 6:54 AM
Subject: [h-cost] need some input


>I found some material that comes close in pattern but not in color to the
> Bianca Anguissola portrait in a yellow dress.
> The color is a shot(?) blue and dull mustard material. The lines of the
> plaid are blue and the background is a blend of the two colors
>
> http://www.nelepets.com/art/artists/a/Anguissola-c-09.htm
>
> I was wondering, if you were going to make an outfit based on this 
> portrait,
> what color would you have the embroidery on the camicia?
>
> De
>
>
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Hi Sg

I like fototopic.net - it's quite easy to organise and
I've got loads of free space.

Katherine

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


		
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From: Danielle Nunn-Weinberg <dannw@mn.rr.com>
Subject: Re: [h-cost] What periods for these fabrics?
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At 01:10 AM 12/2/2005, you wrote:

>In going through my fabric stash, I find I have a number of things I've
>bought over the years that I no longer consider suitable for medieval
>clothing. They're good fabrics, and I am wondering what they might be
>useful for (other than modern clothing or home decor). I know almost
>nothing about periods after 15th c.
>
>What periods, if any, would these be suitable for:

<snip>

>-- glazed cotton (apricot, blue)

<snip>

>--Robin

I was thinking this would be great for 18th century.  I believe in 
the discussion of quilted petticoats when I was looking for sources 
for glazed wool someone suggest glazed cotton instead.  Certainly the 
colours would be suitable.

Cheers,
Danielle 

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Date: Fri, 02 Dec 2005 09:35:26 +0000
From: "Kate M Bunting" <K.M.Bunting@derby.ac.uk>
To: <h-costume@indra.com>
Subject: Re: [h-cost] Apologies - re-Duke's Leopards new website
	posting
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No need to apologise, Julian - I'm sure we all enjoyed looking at your group's new website. Our music group is supposed to have one in preparation which, as Pepys used to say, I am "with child" to see!

Kate Bunting
Librarian and 17th century reenactor

>>> smnco37@yahoo.co.uk 02/12/2005 00:19 >>>
Sincere apologies to everyone for mis-posting that last message. It was intended to go "offlist" to Suzi Clark . So, to quote Lazarus Long, I "plead youth and inexperience, and long-and-faithful Service ". [Robert Heinlein]  
  I prey you Pardon; and - as I do hope for Heaven - do trust that God shall move your hearts to Mercy concerning my Transgression.
   
  What more can I say? It's late, and I've had a loooong, hard  day; and now I'm not-concentrating as well as I ought. Time to give-up and go to bed; - I have to be up at 0545 GMT, and I'm not as bright as I used to be, first-thing-in-the-mornings. 
   
  Getting older really is "the pits".




    Yours in Service, 
Julian Wilson, 
[aka. Messire Matthew Baker/Matthieu Besquer, Governor & Castellan of Jersey, 1486-1497: Motto  - "Si vis pacem, para bellum" [Trans:-"if you wish for Peace, prepare for War" ]
  late-medieval Re-enactor; & Historian and Master Artisan to 
"The Companie of the Duke's Leopards", 
[the only mediæval living-history Group in "olde" Jersey] 
Meet us at <www.dukesleopards.org >"> 
     [input]  
  - 



		
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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: RE: [h-cost] What periods for these fabrics?
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On Fri, 2 Dec 2005, otsisto wrote:

> -- linen dyed in strong colors, e.g. cranberry, deep green, bright
> red, black (I've been using the hot pink for mock-ups!)
> 
> What is wrong with using these for medieval clothing?

Hmm, I guess it's been a while since this came up on the list. In very
very brief (without rehearsing all the lengthy discussion), the available
evidence strongly suggests that linen was not generally used for the outer
layer of gowns (i.e. the fashion fabric). It shows up in documentary and
archaeological evidence for many other things: (undyed) for chemises,
shirts, and other body linens, as well as veils and aprons; (occasionally
dyed?) for clothing linings; (again undyed) for a huge variety of
household uses, such as bed linens, table linens, towels, plus (coarser)
wrapping, sacking, sails, etc. I believe there's also evidence for some
specialized occupational garments made of heavy linen, probably undyed,
such as warriors' gambesons. And certainly some ecclesiastical garments
were done of linen. However, I have yet to find a reliable reference to a
colored linen gown/tunic/surcote/etc. from medieval Western Europe. This
preference would be consistent with the assumption that period linens were
unlikely to take period dyes with much depth/permanency, and colors were
preferred in gowns.

Before anyone starts sending me counterexamples: Note that I am *not*
using an SCA definition of "medieval." My own work is strictly 11th to
mid-15th c. (and mostly 13th/14th c.). I realize there are ample
references from the later 16th c. to linen garments (other than body
linens) -- that's not what I'm talking about. The economics and methods
involved in clothing construction were very different in the Elizabethan
era!

I also would not be surprised if linen were used for garments in medieval
Italy and/or Spain, which were warmer in climate, enjoyed more influences
from the East and South, and had a rather different range of garment
styles and construction approaches. However, those countries fall outside
of my field of inquiry. There would still be the color issue (which
perhaps accounts for the greater abundance of pastel shades in clothing
depicted in Italian art, but that's simply a musing at this point).

I am told that while people using medieval dye recipes today may have
success in getting strong, durable colors in modern linen, this reflects
the use of certain modern fiber treatments that make modern linen more
amenable to dyeing. I am inclined to trust the fiber experts I know who
say that period linens, lacking these treatments, would not have been so
willing to accept and retain dye. And while there are extant examples of
dyed linens, they seem to be used in places that do not get much light
exposure (e.g. linings).

I'm not absolutely wed to this argument, but I've been keeping an eye out
for evidence to the contrary for the last decade or so, and haven't seen
anything that strongly counters this hypothesis. On the other hand, there
is an abundance of evidence for wool as the default fiber for the fashion
layer of gowns/tunics/surcotes of all classes, as well as silk for the
wealthy. So if I do eventually find a good reference for a linen garment,
it would simply indicate that this is a highly rare, not typical, usage.

So: I'm not saying linen was never used for body garments.  But it does
appear that it was not at all typical. And unless I find good reason to
think that it was more than vanishingly rare, I don't want to use it for
my work. (My main purpose in making medieval clothing is to test and then
demonstrate construction methods, meaning I need to approximate the most
likely/typical materials.)

I realize that many re-enactors routinely recommend linen for garments,
but I think this is a misreading based simply on the fact that linen was
one of the two dominant fibers available at this time. Not all fibers were
used for all purposes; they have different properties and were used in a
specialized fashion. A lot of re-enactors also assume that wool = hot, so
linen must have been the default for summer, and should be used for
re-enactment in the generally warmer temperatures of modern America. I
don't find this to be a valid argument for a variety of reasons (chiefly
that a wool garment doesn't have to be hot!), but it's a common one.

(Now: PLEASE don't anyone go saying "Robin Netherton says they never used
linen in period!" As I've tried to make clear, I'm talking about a
specific sort of use, of a specific kind of linen, in a specific region,
in a specific time period. Funny how these sorts of nuances get lost when
people go repeating things, and it comes back to me months or years later
that I've said something was always/never done, without any of those
carefully stated qualifications!)

> -- moire (the modern stuff that looks like wood-grain in texture,
> probably rayon), in light blue or ivory or yellowy-white
> 
> Early tudor. One or more of the unicorn tapestries has a woman wearing
> what appears to be moire (the wood grain looking stuff)

The moire-looking fabric there is actually watered silk, which has a
puddle-ripple sort of design made from allowing water to pool on the silk;
it's a rather different sort of look, and made by a different method.
(When I did a display piece based on this, I actually found a damask with
a woven pattern in that sort of shape; not the right texture, but the
right visual effect!) It's true, though, that anyone happy enough with
rayon satin probably isn't going to fuss about the shape of the pattern.
But I am wondering when the wood-grain version, which is created by
pressing the pattern into the surface of the fabric, was introduced.

--Robin

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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: [h-cost] favourite fairy /christmass movie
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Hi,
Have any of you seen the checkoslovakian movie with Cinderella and the 3 
magic nuts?'
This is my favourite movie i watch each christmass. I love the costumes in 
it also, even they are fairy tale like, they have a touch of eastern europe 
fashions two.
Cinadarella is wearing such a lovely cloak with a deep pointed hood when she 
goes to the ball, that is the most wonderfull i ever saw, strange that it 
wasnt a fashion made that way.

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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Date: Fri, 2 Dec 2005 07:04:58 -0500
From: Marie Stewart <maricelt@gmail.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Tailoring a man's shirt
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Hey Ann...

I was afraid of that.  dang.

The shirt was a gift, but a tag said JoS Banks I think.   Yeah, Mike -
my husband, is a weight lifter and has over the years developed a very
inverted pyramid shape.  He's got a 19" neck, so I think the buyers
just went by the neck and arm, and certainly didn't get a tapered cut,
hence the tentage.   I'm afraid the shirt is going to get regifted...

Thanks for the reply.
Mari / Bridgette

On 12/1/05, AnnBWass@aol.com <AnnBWass@aol.com> wrote:
>
> In a message dated 12/1/2005 6:47:59 P.M. Eastern Standard Time,
> maricelt@gmail.com writes:
>
> How on  earth do you approach taking 8 inches out of the waist and 4
> inches out of  the chest? Are we talking a total deconstruction  job?
>
>
> That is difficult, because altering the chest usually also means altering
> the armholes, and that is really difficult.  You could, though, not only  take
> in the sideseams, but also put front and back darts to help with the waist
> problem.  {We used to have the opposite problem, "tapered" shirts, which  had
> those darts, didn't fit the untapered menfolk in my family, so we had  to steer
> clear of them.)  I wonder if this oversized cut is part of the  whole baggy
> clothes trend.  Where did you buy the shirt?  Maybe a more  conservative menswear
> store might be a better choice?
>
> Ann Wass

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Subject: Re: [h-cost] favourite fairy /christmass movie
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This sounds delightful.  I wonder if we can get it "over here."  Is it 
on video tape or DVD?  Can you give us some more details?

My favorite christmas movie is "A Christmas Story 
<http://www.netflix.com/MovieDisplay?movieid=60031127&trkid=189530>"   
It is totall silly.  Costume content?  Well it takes place in the 1940's 
in America (maybe the midwest?)  So, if you like that kind of 
stuff.....as I recall the dad orders a lamp made from a life-sized 
female manikin leg complete with spiked heeled shoe and fish-net stockings!

Sg

Bjarne og Leif Drews wrote:

> Hi,
> Have any of you seen the checkoslovakian movie with Cinderella and the 
> 3 magic nuts?'
> This is my favourite movie i watch each christmass. I love the 
> costumes in it also, even they are fairy tale like, they have a touch 
> of eastern europe fashions two.
> Cinadarella is wearing such a lovely cloak with a deep pointed hood 
> when she goes to the ball, that is the most wonderfull i ever saw, 
> strange that it wasnt a fashion made that way.
>
> Bjarne


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Subject: RE: [h-cost] favorite fairy /Christmas movie
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I'm am not sure if it was the same movie but I remember a Cinderella type
movie where Cinderella had shot down three magic nuts/acorns. Breaking a nut
off from the cluster, would make a wish and then throw it over her should.
The first wish was for archer's clothing.
This was years ago on a program similar to "Kookla, Fran and Ollie"

De

-----Original Message-----
Hi,
Have any of you seen the checkoslovakian movie with Cinderella and the 3
magic nuts?'
This is my favourite movie i watch each christmass. I love the costumes in
it also, even they are fairy tale like, they have a touch of eastern europe
fashions two.
Cinadarella is wearing such a lovely cloak with a deep pointed hood when she
goes to the ball, that is the most wonderfull i ever saw, strange that it
wasnt a fashion made that way.

Bjarne



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How about an applique design on a Victorian or Edwardian gown?

De

-----Original Message-----
> 
> -- silk noil
> 
um - bridal??  I've never really like noil, so not sure on this one.


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Subject: Re: [h-cost] Tailoring a man's shirt
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In a message dated 12/1/2005 7:40:13 P.M. Eastern Standard Time,  
AnnBWass@aol.com writes:

That is  difficult, because altering the chest usually also means altering   
the armholes,


Yeah...how are the armholes?
 
Look at the construction. I'll bet the sleeve seam and the side seams were  
sewn last and at once. [Flat fell seams?] 4" is just 2" a side seam, which is 
1"  on the front piece and 1" on the back piece. IOW, if you fold the shirt on  
the side seam and come in 1"...and do that on both sides, you've got your 
chest  prob solved...but you'll need to taper that pinch out to nothing in the 
sleeve  seam. If there's oodles of room in the upper sleeve, you're OK.
 
And then, like already suggested, 2 banana darts either side of  CB that take 
up 1" at waist level and taper away to nothing quickly [like a  1970s shirt] 
will do the extra you want out of the  waist.
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Several years ago on a trip to England, I purchased a waxed canvas rain hat. Not only is it very cute, but has had a lot of use, as I live on an island where motor vehicles are prohibited and I bicycle or walk to work, rain or shine. However, it seems to be in need of "recoating" as it is starting to absorb rather than repel the rain, does anyone know what type of product I could use to renew it's rain repelling ability?
Thanks,
Kelly
www.backwardglances.net
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Date: Fri, 2 Dec 2005 09:28:29 -0500
From: Marie Stewart <maricelt@gmail.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Tailoring a man's shirt
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Brilliant!  I'll go look.  Thanks!


> Yeah...how are the armholes?
>
> Look at the construction. I'll bet the sleeve seam and the side seams were
> sewn last and at once. [Flat fell seams?] 4" is just 2" a side seam, which is
> 1"  on the front piece and 1" on the back piece. IOW, if you fold the shirt on
> the side seam and come in 1"...and do that on both sides, you've got your
> chest  prob solved...but you'll need to taper that pinch out to nothing in the
> sleeve  seam. If there's oodles of room in the upper sleeve, you're OK.
>
> And then, like already suggested, 2 banana darts either side of  CB that take
> up 1" at waist level and taper away to nothing quickly [like a  1970s shirt]
> will do the extra you want out of the  waist.

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From: "Sue Clemenger" <mooncat@in-tch.com>
To: "Historical Costume" <h-costume@indra.com>
References: <23b.2aed3c8.30c167ea@aol.com>
Subject: Re: [h-cost] Re: h-costume Digest, Vol 4, Issue 766
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I think the thing is, with the dyed linens, that there's not a lot out there
supporting the existence of *dyed*  *linens.*  Dyed fabrics, yes, but not
linens.  Linens, yes, but not dyed. ;o)  At least, not in the part of the
world/time most often explored in the SCA.  Really don't know much about the
uses of colored linens after the introduction of coal-based dyes. (19th
century, right?)
That said, though, a lot of enthusiasts in my crowd use it as a reasonable
alternative to wools for summer garb.  Wool can be really hard for us to
find at all (weird, considering the winter climate here), let alone in
summer-appropriate weights, as we get temps unheardof in England or Ireland
or some parts of Continental Europe.  So linen shows up used for cottes or
gowns or jackets or tunics or....
--Sue in snowy Montana

----- Original Message -----
From: <Debloughcostumes@aol.com>
To: <h-costume@indra.com>
Sent: Friday, December 02, 2005 2:03 AM
Subject: [h-cost] Re: h-costume Digest, Vol 4, Issue 766


> In a message dated 12/2/05 8:48:38 AM GMT Standard Time,
> h-costume-request@indra.com writes:
>
> > -- linen dyed in strong colors, e.g. cranberry, deep green, bright red,
> > black (I've been using the hot pink for mock-ups!)
>
> Obviously depends on exact shades, but there's a version of hot pink that
> could be got in medieval times - and black, as everyone knows - just have
to
> accept they're rich, and wouldn't have lasted that long.  I'd guess it'd
be the
> same with the others - not that you can't use them, just that you have to
stop
> using before they look at all worn (not very likely if you're anything
like me
> - my conquest chemise has just completed its tenth year of
e-enactment  ).
> failing that, later 19th c - post annyline (sp?) dye introduction - or got
> any goth friends - or a big vat of pre-dye?  :o)
>


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Subject: Re: [h-cost] Tailoring a man's shirt
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In a message dated 12/2/2005 7:24:44 A.M. Mountain Standard Time,  
AlbertCat@aol.com writes:

Look at  the construction. I'll bet the sleeve seam and the side seams were   
sewn last and at once. [Flat fell seams?] 4" is just 2" a side seam, which  
is 
1"  on the front piece and 1" on the back piece. IOW, if you fold  the shirt 
on  
the side seam and come in 1"...and do that on both  sides, you've got your 
chest  prob solved...but you'll need to taper  that pinch out to nothing in 
the 
sleeve  seam. If there's oodles of  room in the upper sleeve, you're OK.




He's right, you know.  Having tailored many a dress shirt for a  boyfriend in 
the day, The last seam on the body of the shirt is always the  underarm.  If 
it really is a finely tailored shirt, it may be difficult to  pick out all of 
the flat-felling, although most of it can just be cut away and  replaced by a 
new flat-felled seam, save that which is near the cuff.   Generally, in 
well-tailored shirts, the stitch size is miniscule in the  flat-felled seams, which 
makes for a long life for the shirt.  Also, the  flat-felling in the armhole 
is a pain to do, although, again, you will only be  doing the underarm.  This 
seam is normally sewn and felled before the  underarm, making in easier to 
accomplish and since you are taking in the  underarm seam and the sleeve has 
already been set in the body, it will be  trickier, although not impossible, 
especially if your machine has a free  arm.  Cheryl
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From: "kim baird" <kbaird@cableone.net>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] favourite fairy /christmass movie
Date: Fri, 2 Dec 2005 09:20:55 -0600
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It's called  Three Wishes For Cinderella (Tri Orísky pro Popelku), made
in Czechoslovakia in 1973. You can get it from Amazon.com

Kim

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
On Behalf Of Bjarne og Leif Drews
Sent: Friday, December 02, 2005 5:43 AM
To: h-costume@indra.com
Subject: [h-cost] favourite fairy /christmass movie


Hi,
Have any of you seen the checkoslovakian movie with Cinderella and the 3

magic nuts?'
This is my favourite movie i watch each christmass. I love the costumes
in 
it also, even they are fairy tale like, they have a touch of eastern
europe 
fashions two.
Cinadarella is wearing such a lovely cloak with a deep pointed hood when
she 
goes to the ball, that is the most wonderfull i ever saw, strange that
it 
wasnt a fashion made that way.

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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From: "Sue Clemenger" <mooncat@in-tch.com>
To: "Historical Costume" <h-costume@indra.com>
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Subject: [h-cost] Clothes pins???
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Hi, everyone.  I am looking for information on the historical  development
of clothes pins--the kind you use to hang up wet laundry with.  I'm guessing
that the spring-type ones are pretty modern, but what about the simpler ones
that have a body and two "legs?" When were they developed? Off the top of my
head, the only wet laundry treatments from the middle ages/renaissance that
I remember seeing depicted is the laying out of linens on bushes/lawns, or
else using poles, almost like flag poles, with the clothing draped over
them.  I don't have clue one about later time periods, as far as laundry
goes.
A friend mentioned that the "leggy" type of clothes pins were developed by
the Shakers, which would most likely place them somewhere in the 19th
century, but she didn't remember her source, so I couldn't verify it....
Thanks,
Sue in Montana

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Date: Fri, 02 Dec 2005 08:59:46 -0800
To: Historical Costume <h-costume@indra.com>
From: Joan Jurancich <joanmj@surewest.net>
Subject: Re: [h-cost] waxed canvas
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At 06:25 AM 12/2/2005, you wrote:
>Several years ago on a trip to England, I purchased a waxed canvas 
>rain hat. Not only is it very cute, but has had a lot of use, as I 
>live on an island where motor vehicles are prohibited and I bicycle 
>or walk to work, rain or shine. However, it seems to be in need of 
>"recoating" as it is starting to absorb rather than repel the rain, 
>does anyone know what type of product I could use to renew it's rain 
>repelling ability?
>Thanks,
>Kelly
>www.backwardglances.net

Where exactly are you?  If you have access to an REI or other 
sporting goods company, check into their weatherproofing 
products.  You might not want something that is used on boots :-D, 
but I'll wager that there is something for canvas tents or wet 
weather gear that might work.


Joan Jurancich
joanmj@surewest.net 

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To: h-costume@indra.com
Date: Fri, 2 Dec 2005 11:01:42 -0600
Subject: Re: [h-cost] Clothes pins???
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If you do a Google search on clothespins and Shakers you will see that
the clothespin is frequently attributed to Shaker innovation. The Shakers
were responsible for a number of things that we consider commonplace
today such as flat brooms, an early version of the circular saw, and
paper seed packets. 


Karen
Seamstrix


On Fri, 2 Dec 2005 09:35:31 -0700 "Sue Clemenger" <mooncat@in-tch.com>
writes:
> Hi, everyone.  I am looking for information on the historical  
> development
> of clothes pins--the kind you use to hang up wet laundry with.  I'm 
> guessing
> that the spring-type ones are pretty modern, but what about the 
> simpler ones
> that have a body and two "legs?" When were they developed? Off the 
> top of my
> head, the only wet laundry treatments from the middle 
> ages/renaissance that
> I remember seeing depicted is the laying out of linens on 
> bushes/lawns, or
> else using poles, almost like flag poles, with the clothing draped 
> over
> them.  I don't have clue one about later time periods, as far as 
> laundry
> goes.
> A friend mentioned that the "leggy" type of clothes pins were 
> developed by
> the Shakers, which would most likely place them somewhere in the 
> 19th
> century, but she didn't remember her source, so I couldn't verify 
> it....
> Thanks,
> Sue in Montana
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 
> 
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I have just finished the long seams on a new 10th/11th century woollen tunic
for my husband.  In the past  I would now switch on the zig zag and do the
bits that are likely to fray with that. I've only ever hand sewn hems before
(what the public can't see etc)   However,  I have just spent a month doing
run and fell seams on a linen tunic and it would be nice to finish the
woolly one also by hand.

I have had a look at the York and London stiches and the main option seems
to be to flatten the seam and put a running or whip stich up the seam
allowance.  The running version would I think leave two parallel lines on
the front of the garment (either side of the seam) and the whip stich might
leave a series of diagonal lines on the front.

Does anyone have any other techniques they know about or have tried.  I
don't think run and fell is particularly aproproate the seam would probably
be rather bulky.
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From: julian wilson <smnco37@yahoo.co.uk>
Subject: Re: [h-cost] waxed canvas
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Dear Kelly,
   snap - I have just-such a rain hat.
  Waxed Cooton jackets and coats became something of a fashion item in the UK about 15-20 years' back as I recall.  At the same time as "green Wellies", if memory serves.
  Most of the manufacturers of such garments - [and the most famous in the World must surely be the Australian Stockman's "riding Coat"  referred to as a "Driza" - short for "dry as a bone", and almost unchanged in design and manufacturing for over a century ] - sell their own proprietary "dressings for when their garments need re-proofing. 
  Other examples of Makers, "Burberry" have their own Line of waxed cotton / linen / canvas jackets, raincoats, and hats, - as, I believe, do "Peter Storm".
  Now, I don't know what the Merchants are like in your home area - but in England, you can find wax-reproofing preparations for this job in "The Scout Shops"; also in shops which sell equestrian equipment and clothing; and in such "camping / outdoor-equipment suppliers as "Millets" and "Field & Trek".
  I have a "Driza" - and the last time I reproofed it, I used a wax-reproofing liquid  which I bought in our local Branch of "Millets", here in the Island of Iersey. So far as my "kitchen chemistry goes, - all such preparations carry wax dissolved in a liquid "vehicle" - which dries-out or evaporates after you've brushed or sprayed it onto the garment, leaving the wax behind in the fabric to repel the rain..
   
  Regards
  Julian Wilson

KELLY <robinandkellydorman@hotmail.com> wrote:
  Several years ago on a trip to England, I purchased a waxed canvas rain hat. Not only is it very cute, but has had a lot of use, as I live on an island where motor vehicles are prohibited and I bicycle or walk to work, rain or shine. However, it seems to be in need of "recoating" as it is starting to absorb rather than repel the rain, does anyone know what type of product I could use to renew it's rain repelling ability?
Thanks,
Kelly
www.backwardglances.net

    Yours in Service, 
Julian Wilson, 
[aka. Messire Matthew Baker/Matthieu Besquer, Governor & Castellan of Jersey, 1486-1497: Motto  - "Si vis pacem, para bellum" [Trans:-"if you wish for Peace, prepare for War" ]
  late-medieval Re-enactor; & Historian and Master Artisan to 
"The Companie of the Duke's Leopards", 
[the only mediæval living-history Group in "olde" Jersey] 
Meet us at <www.dukesleopards.org >"> 
     [input]  
  - 



		
---------------------------------
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Subject: [h-cost] Re: What periods for these fabrics?
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None of the linen is period at all.  

You can send it to me :).

Catherine
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Subject: [h-cost] Seam finishing on wool
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I've done both running stitch finishes on wool and whip stitch finishes on wool (also taken from looking things up in the Museum of London books :-) ). Here are my thoughts: 

1) The running stitch definitely shows on the outside, but it's rather decorative, actually (and is kinda fun, to show off to other people who recognize the research :-) ). It's also rather interesting how much stronger the seam feels after you add the running stitch. 2 of the garments I've applied this too were rather bulky wools, and had some areas with many seams meeting/crossing -- the running stitch actually does a lot to reduce the bulk in those areas.

2) The whip stitch just fades into the fabric if you don't take big stitches though the outside layer. I use the whip stitch for my hems 'cause of this. If you want unobtrusive, this is actually a good one.  

Afraid I haven't tried any of the other options.
	-sunny

> ------------------------------
> 
> Message: 5
> Date: Fri, 2 Dec 2005 17:39:58 +0000
> From: Caroline <carolineebuckley@gmail.com>
> Subject: [h-cost] Seam finishing on wool
> To: Historical Costume <h-costume@indra.com>
> Message-ID: <37ee9e000512020939l78bf8967n@mail.gmail.com>
> Content-Type: text/plain; charset=ISO-8859-1
> 
> I have just finished the long seams on a new 10th/11th 
> century woollen tunic
> for my husband.  In the past  I would now switch on the zig 
> zag and do the
> bits that are likely to fray with that. I've only ever hand 
> sewn hems before
> (what the public can't see etc)   However,  I have just spent 
> a month doing
> run and fell seams on a linen tunic and it would be nice to finish the
> woolly one also by hand.
> 
> I have had a look at the York and London stiches and the main 
> option seems
> to be to flatten the seam and put a running or whip stich up the seam
> allowance.  The running version would I think leave two 
> parallel lines on
> the front of the garment (either side of the seam) and the 
> whip stich might
> leave a series of diagonal lines on the front.
> 
> Does anyone have any other techniques they know about or have 
> tried.  I
> don't think run and fell is particularly aproproate the seam 
> would probably
> be rather bulky.


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Subject: Re: [h-cost] What periods for these fabrics? (long)
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Well, a quick search hasn't found that reference I was thinking of yet (I'm 
still going to look more, since this is BUGGING me), but did find these 
references to dyeing linen--that doesn't indicate what that linen was then 
used FOR, but it's a definite part of the puzzle:

Segreti per Colori, mid 15thC latinized Italian:
--To make a green and red and purple dye for dyeing bones, cloth, thread, 
and whatever you like, &c. --Take as much as you like of strong white 
vinegar, and put it in a glazed vase, and add to it scales of copper and 
copper-filings of a good red colour, Roman vitriol, roche alum, and a little 
verdigris; let everything be well ground and mixed with the vinegar, and let 
it remain so for 7 or 8 days and nights, and this vinegar becomes a good 
green tint for dyeing silk, bones, ***linen*** cloth, and other things as 
well as for painting. And if in this liquor you put bones raw or boiled, and 
boil them and let them remain in the liquor for the space of a month, they 
will become green for ever. And note that scales of copper make the best 
tint when fresh beaten. In the same manner things may be dyed red and 
crimson, using vermilion or minium or verzino, and put whatever you wish to 
dye into the liquor, and it will dye it well. The same can be done in 
yellow, using orpiment and proceeding as before directed; and, if you like, 
you may put urine instead of vinegar.

Allerley Mackel, Mainz 1532 by Peter Jordani
--To dye yarn and linen cloth blue
Take the black dwarf elder berries, dry them in the sun and soak them in 
vinegar for 12 hours. Squeeze them with your hands, strain them and press it 
through a cloth. Put ground verdegris and alum therein. If the color should 
turn out light blue then add more verdegris. Lay the yarn or the linen cloth 
therein. Or take blue bilberries, pour water thereon, let it soak for three 
or four days, put alum therein and boil it well together.
--To dye yarn and linen cloth brown
Take a pound of wild saffron and put it in a bag. Lay it a day and a night 
in flowing water; thereafter wash it until no more yellow color comes from 
it. Take then a pot and lay a layer of saffron therein which is not too 
thick. Strew thereon finely ground weyd ashes then again a layer of saffron 
and again weyd ashes, etc. Cover or stop it up well, and let it stand for 
seven hours. Take then eight mass of water, four mass vinegar and put the 
saffron and ashes in a pointed lye sack (long, pointed sack?). Let the warm 
water and vinegar run through 15 times, and this will be the last dye. Again 
take the same amount of water and vinegar, let it run through as before, and 
this is the second dye. Do it a third time, and this will be the first dye. 
Take this dye and warm it, and let the yarn lie therein for a night. Hang it 
up once its wrung out. Do the same with the second dye, and in the third let 
it lie for seven hours.

The Secretes of the Reverend Maister Alexis of Piemont, 1580
--To dye threede, yarne, or linnen cloth into a sad browne.
Take a pounde of bastrde Saffron, the which you shall put into a little 
bagge, and hang it in ryuer water a day and a night. Then washe it so muche, 
that it geue no more yellowe coloure: this done, make a ranke of Saffron ina 
potte not too thicke, then a rew of Saffron, and a rew of ashes, and couer 
it well, and let it stande seuen or eyght houres: then take eyghte pottes of 
water, four pottes of Vineger, and putting the Saffron with the ashes in a 
long bagge and sharpe pointed at the ende: strayne xv or xvi tymes the sayde 
water & Vineger thorowe it hote. And this is the last dying or coloure. Then 
take agayne as muche water and Vineger, & strayne it thorowe, and this 
shalbe the seconde dying. Do the lyke the thirde tyme, and it shalbe the 
thirde dying. This colour you shall heate, and lay your threede or linnen 
clothe in it, the space of a nyghte, then hang it up without wringing or 
rubbing it. Doo in like manner with the seconde coloure and with the thyrde, 
but let it lye in it seuen houres long.
--To dye threede or linnen cloth blewe.
Take the berries of Ebulus, very rype, and well dryed in the Sunne, laye 
them in Vineger, xii houres, then rubbe them with your hande, and strayne 
them throwe a linnen cloth, putting to them some Verdet bruised, and Alome 
alone. Yf the blewe be to be cleare put more Verdet to it, and lay your 
threede or linnen cloth in it.

A Profitable Booke, translated 1605 from T Bouck va Wondre, 1586
--How to dye linnen or thread redde.
As when ye will dye any Linnen or thread redde, yee shall take one pound of 
samfleure, and let it soke halfe a day and a night in water milke warme, 
then put it into a thicke bagge or sacke, and therein wash and rince it in 
the riuer till the bagge be therewith red, then wring the water well forth, 
and so take out your samfleure, and spread it uppon a faire bord or Table 
and make (as it were) a little thinne bedde thereof, then strew thereon of 
white ashes, in making beddes of your Samfleure, and when ye haue strewed 
them with ashes, ye shall take to one pound of Samfleure, a quarter of a 
pound of ashes, which ashes must be burnt and made of the lyes of white 
Wine, and it must be wel chaft betwixt your handes, the one against the 
other, then make thereof a small heape, and so let it rest the space of fiue 
houres. Then shal yee rubbe it againe til it ware warme, then haue readie a 
faire bason, and sette it under your stuffe, that it may runne therein, and 
also wring out the iuyce thereof into the sayd bason. Then cast therein a 
pinte of wine vinegar that is verie good, then yee may put therein a pounde 
of yarne, and it shal doe wel. But to dye your Linnen cloth, ye shall put it 
in before your yarne or fustian. Then lay it therein a day and a night, then 
take forth your linnen or yarne, and then put therein a gallon of ashes of 
the Ashe tree, and thereunto your linnen, yarne or fustian, and so let it 
lye therein halfe an houre, then take it out and wring it as well as you 
can, then by and by hang it in the sunne, then take that water that ye soked 
first your Samfleure in, and strayne it (as aforesayd) into the bason unto 
the other colour, then put therein a glasse full of Vinegar, and then you 
may put therein your yarne, fustian, or linnen cloth, and doe thereunto as 
is aforesayd.
--Another way to dye Linnen in a faire rose
To dye a faire redde Rose colour of Linnen, yee shall take to euerie iiii 
yards and a halfe of Linnen, half a li. of good gall nots, and seeth them in 
faire water all whole, the space of 2. Houres. Then take it from the fire, & 
poure that water into another vessell or fatte, then put your linnen into 
the sayd water, and let it soke therein the space of foure houres, then take 
it forth and wring the licour well forth. Then take faire water in a kettle, 
and set it on the fire, and put therein a quarter of a pound of Allom, and 
when it is readie to seeth, take it from the fire, and put your cloth 
therein as soone as ye haue wrung and strayned out your gals aforesayde, but 
lette it drie a night before first, and then turne it well therein the space 
of a quarter of an houre. So take it forth and wring it well, & then seeth 
two ounces of Brasill in faire water, the space of two houres, then take 
that from the fire, and hange another kettle ouer the fire, and put therein 
gruys water, so warme it a little, and cast therin two li. of grening wede, 
then put your linnen cloth therein, and looke that no Allom haue beene in 
that water. Then let it lye therin halfe an houre, and stirre it wel with a 
staffe and then take out therof the said linnen, ye may then cast away the 
same liquor, and wash your kettle cleane, and put therein of the clearest 
brasill water, and let it wel colour therein. Then take your Linnen and wash 
it wel in faire water, then take of faire water in a panne, with a little 
Allom and so seeth them both together: and therein seeth your linnen cloth 
fiue or sixe Pater noster whiles. Then take out the sayd cloth and wring it 
well, and after that put the sayd cloth into the kettle of brasill water and 
therin ye shal turne and winde it wel, the space of a quarter of an houre, 
then take it forth and wring it a little, and in like wise you shall do with 
the dying of fustian, but unto your fustian you must haue two parts more of 
Verdigreace and Allom, and that your fustian must lye therin halfe a day and 
a night, then wring it forth, and let it drie, then after yee may rayse his 
cotton with cardes meete for that purpose: if ye will haue your Linnen more 
fairer, cast into the kettle with your said brasill, some lye made of white 
Lime, then put your cloth therein, then turne and wind it therein the space 
of foure pater nosters, and then take it forth thereof, and wring it well, 
and so hange it up to drie.
--To dye faire linnen with brasill.
Ye shall take faire water, and heate it ouer the fire, then shall ye haue 
the powder of galles, and put thereof into the Kettle ouer the fire, and so 
let it seeth a quarter of an hower: then take it from the fire, and take 
another vessell and put therein so much cold water, as of the other in the 
kettle, and put that hote in the Kettle thereunto. Then put your cloth 
therein, and stirre it well up and downe therein, and as ye haue done so a 
while, then let it lye therein foure houres long in that gall water, then 
take your kettle againe with other faire water, and set it ouer the fire and 
make it hote, then put allom therein to the Kettle ouer the fire, and as 
that water is hot, and the allom melted, yee must then haue another vessell 
or fatte with cold water, as much as of the other hote water, and put the 
Allom water therein, then put your cloth therein, and stirre it as 
aforesayd, and so let it then lye therein foure houres long, so done, then 
yee shall wring it out and hange it to drie, or to drie in the ayre, but let 
it not bee too drie. Then shall ye take your brasill made in powder, and put 
it in the panne, and so let it seeth therein, the quarter of an houre, and 
before that brasill doe seeth, ye shall take wheat flower, & put therein, 
mixe it all together well in a dish, and put it into the kettle before it 
doe seeth: thus done, let it seeth, and as it hath sod, then take forth so 
much of the brasil, as ye may put in your cloth, and stirre it well about, 
as is afore declared, thus done, let your cloth rest therein a good while, 
then wring it forth, and hang it to dry, & as it is dry, ye shall take that 
liquor that it hath layne in, and put that away, then take againe so much 
brasill as before, and put that cloth therein againe, and then hange it to 
drie, and as it is drie, then put it in another licor, and hang it againe to 
drie, and then it is full done. And to know the quantitie of weight, which 
is, to euerie elle of linnen cloth, ye shall take a loot of gall powder so 
called in Dutch, & as much of allom, and to each elle of cloth one ounce of 
brasill.
--A faire linnen cloth to dye blewe.
For to dye a faire blew, ye shal take a pan of faire water, and hang it ouer 
the fire, & let it be seething hot, then must ye haue a vessell of halfe an 
Ame, so cald in dutch, or thereabout, & as your licor is hot, put thereto 3 
pound of wheat bran, & 3 pound of ashes, and a pound of greening weede, stir 
all this in the pan, & let it seeth 3 or 4 paternosters long, then take of 
floray under halfe a pound, & soke it in faire water, & let it there rest a 
quarter of an houre couered, then take your clean vessel or Ame, & therein 
put your soked floray, then take the hot licor ouer the fire, but let it 
coole ere ye put it into the fatte, then put it in and stirre it well, & so 
couer it wel and close, and let it so rest sixe houres long, then uncouer it 
& stirre it well about a good while, then couer it close againe, & let it 
rest other vi houres, then uncouer it & stir it as before, & so stop it 
again, then uncouer it within 2 or 3 houres, and looke if the die begin to 
come, or begin to wax greene [Ed.note: in original, phrase here added: "Or 
if the scum from the bloom begins to appear"], if they do not, let it rest 
longer and stoppe it close, if ye see it be come, put therein some of your 
cloth that ye would die, and turne it well therein, then wring it out, and 
let it rest 2. or 3. houres: then put in again your cloth, & use it as 
aforesayd, and so stop it wel again, and let it rest so 2 or 3 houres, till 
ye shall see the dye begin to come, and the flower to lye aboue, & to euerie 
going that ye goe thereto, see if the colour be green ynough, or wax green, 
and when ye shall see it so, ye shal scom off the flower with a dish, and 
then put your cloth again therein, stirre it wel, and wring it forth, then 
stop it again wel, and thus ye must color three or four times a day. Then 
must ye take the dye in the vessell, and hange it ouer the fire againe, and 
there let it bee hot, and put therin two pound and a halfe of ashes. Then 
put it in the fatte, and so let it rest, but stoppe it well and close, so 
let it rest a night, but stirre it once in the night with a staffe, & see in 
the morning if the die be come, as aforesayd, & so put in your cloth againe, 
but let it not lye therein too long, that it coole not the die, and as yee 
haue thus dyed it foure times. Then shall ye make it hot agayne ouer the 
fire, putting therein two pound of pot ashes, & so let it rest all a night, 
& stirre it once in the night as aforesaid, and stoppe it close, and when 
yee goe thereto, see if the dye be come, and if it be come, yee may dye, as 
before, what yee thinke good, and when your colour waxeth a faire green, 
then is your die good and ripe, and the flowers will lye faire aboue, but as 
it beginnes to waxe yealow, then is it too ripe: and then must yee put in 
more cloth.
--How to dye a faire Linnen with brasill.
Yee shall take so much linnen as ye will, and to euery elle of linnen, take 
two ounces of gall nuts, or xii nuts: these nuts yee shall breake in twoo or 
three peeces, then put them into a kettle with water, and let them seeth 
together, and when they haue sod a quarter of an houre or lesse, then take 
it from off the fire, and take your cloth foorth thereof, and let it a 
little soake by, but let it not drie. As ye haue thus sod it, ye shall take 
another kettle with faire water, and put it ouer the fire and make it 
seething hote, then shall ye to euery elle of cloth, take twoo ounces of 
Allom which ye shall put in the said water, & as it is melted, yee shall 
take the foresaid cloth and put it into the said kettle to the Allom and let 
them seeth together a quarter of an houre, then take it forth of the kettle 
and wring it a little, then hang it to drie a little, but not too much. Then 
yee must haue your sod brasill as thus: ye shall take lye made of wood 
ashes, but see it be not too strong, and thereof so much in your panne as 
wil make your cloth weat, then put your brasill into the pan with the lye, 
and so let it seeth a quarter of an houre, then set it from the fire, and 
haue ready an earthen panne, and by and by put your liquor and brasill 
therein, then shall yee put your foresaid cloth therein, and stirre it & 
turne it well therin, but see that it be not too dry of the said Allom that 
it hath been sod with. Also to foure gallons of lye, ye shall put lesse then 
halfe a pound of brasill poulder small beaten.
--To dye blacke Veluet or Linnen.
Take of gals and coperas, & seeth them together, and put your linnen 
therein, if it be gray silke, then take of Elder barks, and old yron, and 
put all in a herring barrell or vessell. Then take gruis or swarte, this 
shall be a third dele [part] of the fat, the other two parts shalbe faire 
water, so let it stand three weekes long, & so stir it often well about, and 
put your gray silke therein, and as this is done, so shall ye hang it to 
drie, and so put it in againe, so often till that it be blacke ynough. In 
stead of galles ye may take barkes of Oke, and Shomakers blacke.

[note: there are a lot of recipes in these and other manuscripts for dyeing 
'whatever you like,' which may include linen but don't say so specifically.] 

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Subject: Re: [h-cost] mid 19th century lace what to look for
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In a message dated 12/1/2005 12:12:50 P.M. Eastern Standard Time,  
drewscph@post12.tele.dk writes:

Guipure  lace has more body and are more sturdy to make cuffs out of  .



Speaking of lace....[which I know nothing about]
 
When does Battenburg lace....y'know, that we now mainly associate with  table 
linen...when is it big. Haven't I seen an entire Crinoline gown made from  
it...in a Met Museum Magazine or something? When does it 1st  appear?
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From: "Tonkin, Rebecca (PIRSA-SARDI)" <tonkin.rebecca@saugov.sa.gov.au>
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Subject: [h-cost] RE: mid 19th century lace what to look for
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Hi Elizabeth:
If you can get to Sydney, or have friends in Sydney, one of the museums
there has a collection of some sort of lace from about elizabethen onwards.
Patterns can be bought, apparently. I didn't go, but when I was in Sydney
for KWDS in July some of the ladies went and came back raving about it. If
you ask somebody in the SCA either locally or in sydney they might either
know of it or know somebody who does. I think Mistress Miriam Galbraith was
one of the people who went there...
Sorry I can't be more help,
Rebecca

> Message: 1
> Date: Thu, 1 Dec 2005 12:20:17 +1100
> From: "Elizabeth Walpole" <ewalpole@tpg.com.au>
 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. 
> Elizabeth
> --------------------------------------------
>
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I don't this this list excepts attachments.

De

-----Original Message-----
Sg,

   For some reason I am having problems with sending you any attachments
with the picture.  Let me find out what is wrong or if all else fails I will
do up a quick and dirty website with the picture and then later add photos
of the garb I have made in the past couple of years.

Roscelin


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Subject: Re: [h-cost] favourite fairy /christmass movie
Date: Fri, 2 Dec 2005 07:28:29 -0600
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> My favorite christmas movie is "A Christmas Story 
> <http://www.netflix.com/MovieDisplay?movieid=60031127&trkid=189530>"   It 
> is totall silly.  Costume content?  Well it takes place in the 1940's in 
> America (maybe the midwest?)  So, if you like that kind of stuff.....as I 
> recall the dad orders a lamp made from a life-sized female manikin leg 
> complete with spiked heeled shoe and fish-net stockings!


Which I saw, in last Sunday's local newspaper, that you can purchase for 
your very own! They will even send it in a wooden crate with bales of wood 
excelsior packing, in case you want the complete movie experience. 
http://theleglamp.com/signaturelamp.htm
(I think the dad wins it as a prize, but either way...:-)

My favorite is the Muppet's Christmas Carol.  My children think I'm insane. 
My second favorite is the same movie (A Christmas Carol) with George C. 
Scott.  In fact, I like nearly every version of that movie that I've seen, 
but George C. Scott is my favorite Ebenezer. Patrick Stewart a close second.

Not a lot of costume content here, but one of my favorite holiday 
decorations is a collection of Father Christmas/St. Nick/etc figurines that 
depict him in traditional costumes of the past.

Denise B
Iowa 

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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Hi,
I have started to make an extra stomacher for the yellow dress. I made a 
pattern of my own, and made a serpentine with bullion roses...........
http://www.my-drewscostumes.dk/chenillestumpwork.htm

Now i am assembling the dress bit by bit, all pieces ready to be put 
together........ ahhhhhhhhhh

Bjarne




Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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Subject: Re: [h-cost] favourite fairy /christmass movie
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In a message dated 12/2/2005 7:46:29 A.M. Eastern Standard Time,  
wickedfrau@msn.com writes:

My  favorite christmas movie is "A Christmas Story 



Yes, that is fabulous.  It came out when we were living in southern  
Mississippi, and it really made me nostalgic for the Chirstmases I spent in  colder 
climes.
 
I mentioned last year the "Cinderella" that was done live on CBS in the  late 
'50s, with Julie Andrews in the title role.  Not strictly a holiday  movie, 
but delightful nonetheless.  It is costumed in Regency style; of  course, it is 
black and white, as NBC had the patent on color TV in those  days.
 
Finally, much more recent, we watched "Elf" last week.  It is good,  too.  
 
Ann Wass
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On Fri, 2 Dec 2005, Catherine Kinsey wrote:

> None of the linen is period at all.  
> 
> You can send it to me :).

Nice try ;-)

--Robin

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Subject: Re: [h-cost] need some input
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If it were me, I'd be doing the camicia embroidery in gold, since the
original looks to be gold.  The colors of the gown look to me to be a gold
and a darker gold (brown? black?) pattern, so gold would work nicely with
the original fabric.  With your possible gown fabric? Hmmm....dunno.
Probably still do it in gold, but carefully choosing a "shade" of gold
thread that best went with the mustard tones of the fabric.  Or just
*possibly* doing it in blue--I don't know of any extant camicia (or Italian
portraits) that show blue embroidery (at least, not this early on a snowy
morning), but there *IS* that boy's shirt from slightly earlier in the 16th
century, which is now in theV&A.
--Sue, looking forward to an unexpectedly quiet weekend--perfect for sewing
on her new outfit (10th century Norse...decided to do it by hand ;o)

----- Original Message -----
From: "otsisto" <otsisto@socket.net>
To: "Historic Costume" <h-costume@mail.indra.com>
Sent: Thursday, December 01, 2005 10:54 PM
Subject: [h-cost] need some input


> I found some material that comes close in pattern but not in color to the
> Bianca Anguissola portrait in a yellow dress.
> The color is a shot(?) blue and dull mustard material. The lines of the
> plaid are blue and the background is a blend of the two colors
>
> http://www.nelepets.com/art/artists/a/Anguissola-c-09.htm
>
> I was wondering, if you were going to make an outfit based on this
portrait,
> what color would you have the embroidery on the camicia?


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In a message dated 12/2/2005 1:44:30 A.M. Eastern Standard Time,  
robin@shell.nightowl.net writes:

-- linen  dyed in strong colors, e.g. cranberry, deep green, bright redblack  
(I've been using the hot pink for mock-ups!)
*********************
You can always dip them down or change the color completely by dying...Ritt  
works well on linen....even the hot pink.



-- glazed cotton (apricot, blue)
**********************
 
18th century....especially for lining a caraco or something where you'll  
catch a glimpse of it...like a yellow silk jacket lined with the blue...or  
actually even the apricot. Tres chich!



-- moire (the modern stuff that looks like wood-grain in  texture, probably
rayon), in light blue or ivory or  yellowy-white
**********************
Victorian. I see an 1895 ball gown with huge sleeves....



-- silk noil


*******************
 
Hmmmmmm.... embroider it in coral red and make an early 1920s day dress or  
make a great 20s dress out of some brightly patterned china silk and  a floater 
coat of the noil lined with the dress fabric. Also tres  chich!
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Subject: Re: [h-cost] favorite fairy /Christmas movie
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Of course it's Nutcracker time. I like the unorthodox Ballet West film of  it 
with Maurice Sendak  designs. The Arabian dance is turned into a peacock  
dancing....danced by the same dancer who plays Clara's mother.at the Act I  
party. I love that. Great costumes and stage magic!
 
And there's Mark Morris' "The Hard Nut"...also on film. He puts it in the  
1950s. The "Waltz of the Flowers" becomes the waltz of the house plants....that  
need watering. Too much fun!
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Subject: Re: [h-cost] Tailoring a man's shirt
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Well, Joseph A. Banks is a good name, but, probably, cut on the generous  
side, for the, ahem, more mature male.  I would try other stores, like  Men's 
Wearhouse, and see if you can find a brand that fits him well.  
 
Ann Wass
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Subject: Re: [h-cost] favorite fairy /Christmas movie
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Hi,
Yes this is the film i am talking about.

Bjarne
----- Original Message ----- 
From: "otsisto" <otsisto@socket.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, December 02, 2005 2:56 PM
Subject: RE: [h-cost] favorite fairy /Christmas movie


> I'm am not sure if it was the same movie but I remember a Cinderella type
> movie where Cinderella had shot down three magic nuts/acorns. Breaking a 
> nut
> off from the cluster, would make a wish and then throw it over her should.
> The first wish was for archer's clothing.
> This was years ago on a program similar to "Kookla, Fran and Ollie"
>
> De


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From: Althea Turner <althea@alfalfapress.com>
Subject: Re: [h-cost] favourite fairy /christmass movie
Date: Fri, 2 Dec 2005 08:04:27 -0800
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Hiya,
This is also my favorite Christmas movie without Bing Crosby, or that  
is not an animation by Rankin and Bass.  :D  But He didn't order the  
lamp, it was an award. a major award.

Althea "It'll put your eye out" Turner



On Dec 2, 2005, at 4:48 AM, WickedFrau wrote:

> This sounds delightful.  I wonder if we can get it "over here."  Is  
> it on video tape or DVD?  Can you give us some more details?
>
> My favorite christmas movie is "A Christmas Story <http:// 
> www.netflix.com/MovieDisplay?movieid=60031127&trkid=189530>"   It  
> is totall silly.  Costume content?  Well it takes place in the  
> 1940's in America (maybe the midwest?)  So, if you like that kind  
> of stuff.....as I recall the dad orders a lamp made from a life- 
> sized female manikin leg complete with spiked heeled shoe and fish- 
> net stockings!
>
> Sg
>
> Bjarne og Leif Drews wrote:
>
>> Hi,
>> Have any of you seen the checkoslovakian movie with Cinderella and  
>> the 3 magic nuts?'
>> This is my favourite movie i watch each christmass. I love the  
>> costumes in it also, even they are fairy tale like, they have a  
>> touch of eastern europe fashions two.
>> Cinadarella is wearing such a lovely cloak with a deep pointed  
>> hood when she goes to the ball, that is the most wonderfull i ever  
>> saw, strange that it wasnt a fashion made that way.
>>
>> Bjarne
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume

Althea Turner
althea@alfalfapress.com

"Ignorant themselves of the forces of nature and wanting to have  
company in their ignorance, they don't want people to look into  
anything; they want us to believe like peasants and not ask the  
reasons behind things."
William of Conches, 12th century


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From: "Kate M Bunting" <K.M.Bunting@derby.ac.uk>
To: <h-costume@indra.com>
Subject: Re: [h-cost] Clothes pins???
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"Two-legged" clothes pegs (as I would call them) are shown in Beatrix Potter's "Mrs. Tiggy-Winkle" (around 1900?)

Kate Bunting
Librarian and 17th century reenactor

>>> mooncat@in-tch.com 02/12/2005 16:35 >>>
Hi, everyone.  I am looking for information on the historical  development
of clothes pins--the kind you use to hang up wet laundry with.  I'm guessing
that the spring-type ones are pretty modern, but what about the simpler ones
that have a body and two "legs?" When were they developed? Off the top of my
head, the only wet laundry treatments from the middle ages/renaissance that
I remember seeing depicted is the laying out of linens on bushes/lawns, or
else using poles, almost like flag poles, with the clothing draped over
them.  I don't have clue one about later time periods, as far as laundry
goes.
A friend mentioned that the "leggy" type of clothes pins were developed by
the Shakers, which would most likely place them somewhere in the 19th
century, but she didn't remember her source, so I couldn't verify it....
Thanks,
Sue in Montana

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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: Re: [h-cost] Clothes pins???
Date: Fri, 2 Dec 2005 18:02:22 +0100
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Hi Sue,
The oldest clothes pins i have seen were wooden sticks wich has a wedge in 
one end. You press the stick with your clothes between and onto the line. 
The tension of the wedge in the stick holds it in possition.
These are still available here in Denmark.
Have you seen The drafters contrakt? A lot of laundry is seen hanging in 
this film. (17th century)

Bjarne
----- Original Message ----- 
From: "Sue Clemenger" <mooncat@in-tch.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, December 02, 2005 5:35 PM
Subject: [h-cost] Clothes pins???


> Hi, everyone.  I am looking for information on the historical  development
> of clothes pins--the kind you use to hang up wet laundry with.  I'm 
> guessing
> that the spring-type ones are pretty modern, but what about the simpler 
> ones
> that have a body and two "legs?" When were they developed? Off the top of 
> my
> head, the only wet laundry treatments from the middle ages/renaissance 
> that
> I remember seeing depicted is the laying out of linens on bushes/lawns, or
> else using poles, almost like flag poles, with the clothing draped over
> them.  I don't have clue one about later time periods, as far as laundry
> goes.
> A friend mentioned that the "leggy" type of clothes pins were developed by
> the Shakers, which would most likely place them somewhere in the 19th
> century, but she didn't remember her source, so I couldn't verify it....
> Thanks,
> Sue in Montana
>
> _______________________________________________
> 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] What periods for these fabrics?
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----- Original Message ----- 
From: "Robin Netherton" <robin@shell.nightowl.net>
> -- linen dyed in strong colors, e.g. cranberry, deep green, bright red,
> black (I've been using the hot pink for mock-ups!)
>
> -- glazed cotton (apricot, blue)

Ooooh, this is going to drive me crazy.  I found something semi-recently 
that seemed to document black (well, blackish) linen; in fact, if I remember 
right, it said that the main colors that linens used for garment 
construction (presumably linings, facings, and accessories) were dyed are 
sky blue, gray/brown, and very dark brownish/blackish/gray.  But I am 
completely blanking on where I read it, and am thinking that unfortunately 
it was in the I-am-an-idiot-and-forgot-to-write-down-the-name-of-the-book 
book that I recently photographed for lack of a scanner.  It's a two inch 
thick book put out by some part of Oxford U that attempts to reprint every 
single document from England in the Tudor era, and part of a long series 
that attempts to do the same for every era of Britain's history. They fail, 
but they do have a ton of stuff.  (Robin, it lives in the Covenant Seminary 
library on Conway Rd just west of 270.) I've got pictures of at least a 
third of the pages in the book sitting in a file on my computer waiting to 
be typed up, and they're a real nuisance to check through in that format 
because there's no way to search them. I'll look in my other files and see 
if I can find it elsewhere; I could be remembering wrong about how strong 
the documentation is, unfortunately.

But er, anyway, even though the black is no doubt too pure a black to be 
hugely accurate, you might want to recheck whether or not it's useful.  Or 
you know, give it to me. =}

The glazed cotton should be hugely useful to 19thC people; it's the de 
rigueur lining material for bodices and dresses, at least in the 2nd half of 
it.

-E House 

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Subject: [h-cost] Seam finishing on wool
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I've done both running stitch finishes on wool and whip stitch finishes on wool (also taken from looking things up in the Museum of London books :-) ). Here are my thoughts: 

1) The running stitch definitely shows on the outside, but it's rather decorative, actually (and is kinda fun, to show off to other people who recognize the research :-) ). It's also rather interesting how much stronger the seam feels after you add the running stitch. 2 of the garments I've applied this too were rather bulky wools, and had some areas with many seams meeting/crossing -- the running stitch actually does a lot to reduce the bulk in those areas.

2) The whip stitch just fades into the fabric if you don't take big stitches though the outside layer. I use the whip stitch for my hems 'cause of this. If you want unobtrusive, this is actually a good one.  

Afraid I haven't tried any of the other options.
	-sunny

> ------------------------------
> 
> Message: 5
> Date: Fri, 2 Dec 2005 17:39:58 +0000
> From: Caroline <carolineebuckley@gmail.com>
> Subject: [h-cost] Seam finishing on wool
> To: Historical Costume <h-costume@indra.com>
> Message-ID: <37ee9e000512020939l78bf8967n@mail.gmail.com>
> Content-Type: text/plain; charset=ISO-8859-1
> 
> I have just finished the long seams on a new 10th/11th 
> century woollen tunic
> for my husband.  In the past  I would now switch on the zig 
> zag and do the
> bits that are likely to fray with that. I've only ever hand 
> sewn hems before
> (what the public can't see etc)   However,  I have just spent 
> a month doing
> run and fell seams on a linen tunic and it would be nice to finish the
> woolly one also by hand.
> 
> I have had a look at the York and London stiches and the main 
> option seems
> to be to flatten the seam and put a running or whip stich up the seam
> allowance.  The running version would I think leave two 
> parallel lines on
> the front of the garment (either side of the seam) and the 
> whip stich might
> leave a series of diagonal lines on the front.
> 
> Does anyone have any other techniques they know about or have 
> tried.  I
> don't think run and fell is particularly aproproate the seam 
> would probably
> be rather bulky.


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On Fri, 2 Dec 2005 09:35:31 -0700 "Sue Clemenger" <mooncat@in-tch.com>
writes:
> Hi, everyone.  I am looking for information on the historical  
> development
> of clothes pins--the kind you use to hang up wet laundry with.  I'm 
> guessing
> that the spring-type ones are pretty modern, but what about the 
> simpler ones
> that have a body and two "legs?" When were they developed? 

I don't have any information on when or where. But I would guess that the modern manufactured form of the "prong" clothespin descends ultimately from a simple twig, split partway up from the bottom. The natural springiness of the wood would easily keep the "legs" of a split twig exerting inward pressure, holding the clothes to a clothesline. I do have vague memories of seeing medieval clotheslines: the first place I'd look would be in the backgrounds of paintings, strung between buildings in a city scene.

Progress from this form could consist of (1) applying a binding around the top of the twig, or (2) actually cutting out a slot in the twig rather than splitting it -- making it less likely that the stick would split all the way up to the top and fall apart (since splits along the grain tend to propagate). Splitting is still, IIRC, the most common form of "clothespin failure" with the modern sort.

____________________________________________________________
0  Chris Laning
|  <claning@igc.org>
+  Davis, California
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Date: Fri, 02 Dec 2005 12:23:30 -0800
From: Lavolta Press <fran@lavoltapress.com>
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Subject: [h-cost] Fairy /christmas book
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Not a movie, and not exactly about Christmas, but a good Christmas 
present for an adult or child:

_Alice's Journey Beyond the Moon_, by R. J. Carter, Telos Publishing (UK)

This is an Alice in Wonderland journey done in the style of Lewis 
Carroll, pretending to be a newly discovered manuscript and with 
pseudo-scholarly footnotes.  The writing is very well done.

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

>

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To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Seam finishing on wool
Date: Fri, 2 Dec 2005 14:26:43 -0600
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This may or may not help- I've been using a whip stitch shaped 
like a "Z"- diagonal as it goes from stitch to stitch, but
parallel/perpendicular to the warp/weft in the stitch itself- catching only
1 or 2 threads on the visible side; and if the sewing thread is close to the
fabric color it virtually disappears.-maybe an indentation due to thread
tension, but that will likely ease out in the next wash.
HTH Betsy

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Caroline
Sent: Friday, December 02, 2005 11:40 AM
To: Historical Costume
Subject: [h-cost] Seam finishing on wool

I have just finished the long seams on a new 10th/11th century woollen tunic
for my husband.  In the past  I would now switch on the zig zag and do the
bits that are likely to fray with that. I've only ever hand sewn hems before
(what the public can't see etc)   However,  I have just spent a month doing
run and fell seams on a linen tunic and it would be nice to finish the
woolly one also by hand.

I have had a look at the York and London stiches and the main option seems
to be to flatten the seam and put a running or whip stich up the seam
allowance.  The running version would I think leave two parallel lines on
the front of the garment (either side of the seam) and the whip stich might
leave a series of diagonal lines on the front.

Does anyone have any other techniques they know about or have tried.  I
don't think run and fell is particularly aproproate the seam would probably
be rather bulky.
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Subject: Re: [h-cost] Re: What periods for these fabrics?
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----- Original Message ----- 
From: "Catherine Kinsey" <ckinsey@kumc.edu>
> None of the linen is period at all.  
> You can send it to me :).

I'm closer! =}

-E House
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On Fri, 2 Dec 2005, E House wrote:

> Well, a quick search hasn't found that reference I was thinking of yet
> (I'm still going to look more, since this is BUGGING me), but did find
> these references to dyeing linen--that doesn't indicate what that
> linen was then used FOR, but it's a definite part of the puzzle...

Yes, there are certainly plenty of references to linen dyeing and linen
garments in the 16th c. The Plictho would be another similar source; Drea
has been collecting these for ages (and I'm guessing you picked these up
from her site? let's give her credit for her great work in webbing all
this material). 

So it sounds like I can justify most of my linen hues for 16th c.; I don't
know if I can justify the deep intensity of the shades I have on hand, or
whether they're correct for clothing :-( There are 16th c. inventories and
other documentary references to dyed linen garments, but I'm not sure
about the colors mentioned -- I haven't done any real study of this
period.

Your Italian reference is the earliest I've seen for a recipe, which
supports what I said earlier about seeing some implications that dyed
linen was in greater use in Italy earlier than points north.

I once heard a scholar refer to legal restrictions on linen dyers in
medieval Germany (something like not being allowed to dump their dyebaths
in the local river), but I'd like to get a better citation before I take
on faith that this wasn't a misreading of a restriction that mentioned
both linen processors and dyers in the same ordinance, since both
procedures do nasty things to water supplies.

Clearly there's some dyed linen floating around in medieval Western Europe
-- e.g. there's a surviving garment with black linen lining, IIRC -- and I
want to make very sure no one thinks I'm saying there was no linen dyeing
done in this period. But I don't think it's safe to assume from that that
the linen was frequently dyed, and that dyed linen was typically used for
the visible layers of clothing, which is what my focus was in my
earlier post.

Some time ago on this list, someone talked at length about evidence that
linen in, hmm, 18th c America? -- I'd have to look it up -- being used
almost exclusively in white, blue (often striped), and brown, but rarely
or never in other colors, based on inventory evidence and surviving
garments. So I wonder whether the use of more variously colored linens was
something that went in and out over time, or came later to certain
geographical regions.

--Robin

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BTW, another one I'd recommend is Jeffrey Ford's _Cosmology of the Wider 
World_--it's sort of like _Wind in the Willows_ on hash.  You can get it 
at www.pspublishing.co.uk.  I've also got an extra copy of that and 
another book of theirs, Vera Nazarian's _The Clock King and the Queen of 
the Hourglass_. 

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

>

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Date: Fri, 2 Dec 2005 20:31:09 +0000
From: Caroline <carolineebuckley@gmail.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Clothes pins???
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Many of the pegs bought in the 19th and 20th century were made by Roma
gypsies.  It's an interesting subject but Romany history is almost non
existant in it purest (written text) form.  Lot's to think about.... no easy
answers.

Oh don't forget peg dolls - I used to make them as a kid

On 02/12/05, Chris Laning <claning@igc.org> wrote:
>
> On Fri, 2 Dec 2005 09:35:31 -0700 "Sue Clemenger" <mooncat@in-tch.com>
> writes:
> > Hi, everyone.  I am looking for information on the historical
> > development
> > of clothes pins--the kind you use to hang up wet laundry with.  I'm
> > guessing
> > that the spring-type ones are pretty modern, but what about the
> > simpler ones
> > that have a body and two "legs?" When were they developed?
>
> I don't have any information on when or where. But I would guess that the
> modern manufactured form of the "prong" clothespin descends ultimately from
> a simple twig, split partway up from the bottom. The natural springiness of
> the wood would easily keep the "legs" of a split twig exerting inward
> pressure, holding the clothes to a clothesline. I do have vague memories of
> seeing medieval clotheslines: the first place I'd look would be in the
> backgrounds of paintings, strung between buildings in a city scene.
>
> Progress from this form could consist of (1) applying a binding around the
> top of the twig, or (2) actually cutting out a slot in the twig rather than
> splitting it -- making it less likely that the stick would split all the way
> up to the top and fall apart (since splits along the grain tend to
> propagate). Splitting is still, IIRC, the most common form of "clothespin
> failure" with the modern sort.
>
> ____________________________________________________________
> 0  Chris Laning
> |  <claning@igc.org>
> +  Davis, California
> ____________________________________________________________
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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--
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To: h-costume@indra.com
Date: Fri, 2 Dec 2005 14:30:02 -0600
Subject: Re: [h-cost] favourite fairy /christmass movie
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The most recent Signals catalog  has both a large and small version of
the lamp for sale. Let's hear it for kitch.....


Karen
Seamstrix


On Fri, 2 Dec 2005 07:36:48 -0800 (PST) "Diana Habra" <dch@inreach.com>
writes:
> 
> > This sounds delightful.  I wonder if we can get it "over here."  
> Is it
> > on video tape or DVD?  Can you give us some more details?
> >
> > My favorite christmas movie is "A Christmas Story
> > 
> <http://www.netflix.com/MovieDisplay?movieid=60031127&trkid=189530>"
> > It is totall silly.  Costume content?  Well it takes place in the 
> 1940's
> > in America (maybe the midwest?)  So, if you like that kind of
> > stuff.....as I recall the dad orders a lamp made from a life-sized
> > female manikin leg complete with spiked heeled shoe and fish-net
> > stockings!
> 
> Actually, he wins it by entering a sweepstake drawing.  And even 
> though it
> is hideous, he takes great pride in the fact that he "won" it.
> 
> Diana
> 
> www.RenaissanceFabrics.net
> "Everything for the Costumer"
> 
> _______________________________________________
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> h-costume@mail.indra.com
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> 
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From: Caroline <carolineebuckley@gmail.com>
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Betsy - you have described my normal method of heming here. Visibility on
the front is not necessarily undesirable - it certanly looks like some of
the medieval stiches were both functional and decorative.  I think I may go
for a sewing the seams down with running stich.

My only worry is that this will still allow the fabric to fray.  I suppose
if the tunic is never washed.................  authentic but possibly a bit
smelly.



On 02/12/05, Betsy Marshall <betsy@softwareinnovation.com> wrote:
>
> This may or may not help- I've been using a whip stitch shaped
> like a "Z"- diagonal as it goes from stitch to stitch, but
> parallel/perpendicular to the warp/weft in the stitch itself- catching
> only
> 1 or 2 threads on the visible side; and if the sewing thread is close to
> the
> fabric color it virtually disappears.-maybe an indentation due to thread
> tension, but that will likely ease out in the next wash.
> HTH Betsy
>
> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
> Behalf Of Caroline
> Sent: Friday, December 02, 2005 11:40 AM
> To: Historical Costume
> Subject: [h-cost] Seam finishing on wool
>
> I have just finished the long seams on a new 10th/11th century woollen
> tunic
> for my husband.  In the past  I would now switch on the zig zag and do the
> bits that are likely to fray with that. I've only ever hand sewn hems
> before
> (what the public can't see etc)   However,  I have just spent a month
> doing
> run and fell seams on a linen tunic and it would be nice to finish the
> woolly one also by hand.
>
> I have had a look at the York and London stiches and the main option seems
> to be to flatten the seam and put a running or whip stich up the seam
> allowance.  The running version would I think leave two parallel lines on
> the front of the garment (either side of the seam) and the whip stich
> might
> leave a series of diagonal lines on the front.
>
> Does anyone have any other techniques they know about or have tried.  I
> don't think run and fell is particularly aproproate the seam would
> probably
> be rather bulky.
> _______________________________________________
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>
> _______________________________________________
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>



--
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Date: Fri, 2 Dec 2005 07:36:48 -0800 (PST)
Subject: Re: [h-cost] favourite fairy /christmass movie
From: "Diana Habra" <dch@inreach.com>
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> This sounds delightful.  I wonder if we can get it "over here."  Is it
> on video tape or DVD?  Can you give us some more details?
>
> My favorite christmas movie is "A Christmas Story
> <http://www.netflix.com/MovieDisplay?movieid=60031127&trkid=189530>"
> It is totall silly.  Costume content?  Well it takes place in the 1940's
> in America (maybe the midwest?)  So, if you like that kind of
> stuff.....as I recall the dad orders a lamp made from a life-sized
> female manikin leg complete with spiked heeled shoe and fish-net
> stockings!

Actually, he wins it by entering a sweepstake drawing.  And even though it
is hideous, he takes great pride in the fact that he "won" it.

Diana

www.RenaissanceFabrics.net
"Everything for the Costumer"

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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] What periods for these fabrics?
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On Fri, 2 Dec 2005 AlbertCat@aol.com wrote:

> In a message dated 12/2/2005 1:44:30 A.M. Eastern Standard Time,  
> robin@shell.nightowl.net writes:
> 
> -- linen  dyed in strong colors, e.g. cranberry, deep green, bright redblack  
> (I've been using the hot pink for mock-ups!)
> *********************
> You can always dip them down or change the color completely by dying...Ritt  
> works well on linen....even the hot pink.

If I needed it, yes, but since I have a ready source of inexpensive
undyed/bleached linen, it seems silly to pay money to spoil some really
nice colored fabrics if they can be used elsewhere. That's why I'm
wondering where else they might be used; I'd like to give some of them to 
friends, and I'll sell the rest.


Thanks so much for the thoughts on the others!

--Robin

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Scrooge, 1951 version w/ Alastair Sims and We're No Angels, from 1955. 


The latter just came out on DVD so I will be able to watch it this year
without the horrible editing it usually receives :).

Catherine

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So many good movies at this time of the year
   
  I like "A Christmas Story".  Although it is from a few years before MY time, it seems to tell the story of My childhod christmases in the 1950's.  I too was dressed in a snowsuit that made me fat as a tick, Tinsel on the tree, going to see Santa at a big department store and the displays in the windows.  It just seems to be all there.
   
  In our house we watch all the Christmas Carols, the Muppett one a (a Muppett Miss Piggy/Mrs. Cratchett is too too much), the old 1950's one with Alaistair Cook, the newer one's with Patrick Stewart.  It's always good, you can't really hurt a classic. (which is why it's a classic)
   
  This time of year they frequently play the movie about Handel writting the Messiah.  not good costumes, not really accurate, kind of painted with a broad inspirational/religious/spiritual brush, but I still like it.  Mainly because the Messiah is one of my favoite pieces of music.  But Handel was a pip, in a true 18th century manner.  He supposedly once threatend to throw a soprano out a window.  I would have loved to see one of the original 1700 performances in a real 1700's theatre.  Oh Bjarne, Can you imagine the clothing and the lights.  THe cloths we do now are only pale imitations of the real things (well not yours)
   
  Mia in Chralottetown, NC

		
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Clothes pins were invented by the Shakers in America. Or so they claim. One
of their many cool and designy contibutions. I guess that would have been in
the early 1800s.

Gail Finke

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Thanks!
De

-----Original Message-----
It's called  Three Wishes For Cinderella (Tri Orísky pro Popelku), made
in Czechoslovakia in 1973. You can get it from Amazon.com

Kim


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I liked it very much. I keep my eyes open at the video stores in hopes to
see if it will ever show up on their shelves.
Though not my favorite, The Polar bear king isn't a bad movie.

De

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

Hi,
Yes this is the film i am talking about.

Bjarne


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Gee I can't think or spell.
I don't believe this list excepts attachments.
De

-----Original Message-----
I don't this this list excepts attachments.

De

-----Original Message-----
Sg,

   For some reason I am having problems with sending you any attachments
with the picture.  Let me find out what is wrong or if all else fails I will
do up a quick and dirty website with the picture and then later add photos
of the garb I have made in the past couple of years.

Roscelin



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Bjarne og Leif Drews wrote:
> Hi,
> Have any of you seen the checkoslovakian movie with Cinderella and the 3 
> magic nuts?'

It sounds delightful.

I like "White Christmas" and "Holiday Inn" with Bing Crosby and Fred 
Astaire. Not much fancy costuming, unless you like to look at clothing 
from the early 1940's, but the music and dancing is fun.



Dawn


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> I'm kind of late on my emails...
> I think Suzi got it closest. Here are some on Ebay...the first pair  
> are fancier
    and the second slightly plainer with just a cotton lace on the  
hem. Also have
    seen some beautiful ones with the sleeve body having the  
whitework covering
    it. It does give you some good options.
      http://tinyurl.com/7ugu2
     http://tinyurl.com/dg49b

-Debbie Callahan


>

> Many engageants I have seen are made of very fine white cotton with
> whitework embroidery, also known as Ayrshire work. Also seen a pair
> in all over broderie anglais.
>
> Suzi
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Subject: RE: [h-cost] !5th Century coat
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I was trying to send it to Sg personally since I knew the list didn't except attachments.  We found out what the problem is; for some reason Comcast.net is not allowing many of us to send messages to anyone with MSN.   I'm going to try later today to see if Comcast fixed the problem.

This week and next I am right in the middle of preparing for a large medieval Yule Feast that I'm autocrating, cooking for over 50 people, embroidering an heraldic tablecloth, a gift for that gift exchange, and a gift for this gift exchange.  So, I'm fitting in H-costume stuff when I have a few minutes here and there

Roscelin


> Gee I can't think or spell.
> I don't believe this list excepts attachments.
> De
> 
> -----Original Message-----
> I don't this this list excepts attachments.
> 
> De
> 
> -----Original Message-----
> Sg,
> 
>    For some reason I am having problems with sending you any attachments
> with the picture.  Let me find out what is wrong or if all else fails I will
> do up a quick and dirty website with the picture and then later add photos
> of the garb I have made in the past couple of years.
> 
> Roscelin
> 
> 
> 
> _______________________________________________
> 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] What periods for these fabrics? (long)
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Yes!  That was from Drea's site.  By the way, I'm not saying that colored 
linen should be used for outer layers of outer garments (but I do, because I 
can look at a picture of fire and get over-heated) but rather that colored 
linen can be reasonably documented as a _part_ of an outer garment.

A few more notes, some of which rely on translations by Katherine Barich:

There's also at least one extant blue linen lining, Queen Margareta's dress 
if I remember aright. Yep, here it is:
Blue hip-length linen torso lining dated to early 15th century: Drottning 
Margaretas gyllen kjortel i Uppsala Domkyrka (The Golden Gown of Queen 
Margareta in Uppsala Cathedral). Geijer, Agners, Anne Marie Franzen, 
Margareta Nockert. Kungl. Vitterhets Historie och Antikvitets Akademien 1994 
(1st print 1985).
and also:
Black, waxed full linen lining of a Burgundian man's coat (mid 15thc), 
Textile Conservation. Flury-Lemberg, Mechthild. Schriften Der 
Abegg-Stiftung, Bern, 1988. pp. 156-157.

The 'Textiler Hausrat'  by Jutta Zander-Seidel has inventories that 
reference (colored?) linens used in garments (sorry, my notes on this one 
aren't clear enough for me to understand them). TH certainly includes a 
reference to a black linen lining in 16thC Nuremberg, and the book includes 
a ton of excellent fabric terminology stuff, such as: 'Gugler' is a term for 
a type of linen used in clothing that could be sold either unfinished or 
dyed.  A linen version of taffeta was available in 1582, as seen in a 1582 
inventory of a newcastle merchant: "viii yards lennen taffety 12/."  Damasks 
and velvets intended to imitate more expensive fabrics were also made with 
linen, and therefore would have almost certainly been dyed. TH (or possibly 
'Das Nuernberger Kunstbuch,' below--unclear notes again) also has recipes 
for dyeing linen red, green, yellow, and brown.

'Das Nuernberger Kunstbuch,' 2nd half of 15th C, has another recipe for dyed 
linen, but I don't have a word for word translation of it--the key phrase at 
the end of the recipe is "vnd du mach leines oder wulleins also verben" 
which, not word for word, means "this is how you dye linen or wool." The 
Vision of Piers Plowman, passus 1 (B-text, written c 1376), mentions linen 
clothing: "1.003: A lovely lady of leere in lynnen yclothed" but of course 
there could be symbolic reasons for that one.   According to someone who's 
read them (not me) the Rules of the Order of St. John of Jerusalem specify a 
habit of black linen for Hospitaller nuns in Jerusalem in the 12thC.

>From natural dyers in general: Linen takes tannin-based dyes well, but not 
ones that require another mordant.  So, colors achievable with tannin-based 
dyes, such as yellows, browns, and almost-blacks, would all be reasonable 
colors.

> I once heard a scholar refer to legal restrictions on linen dyers in
> medieval Germany (something like not being allowed to dump their dyebaths
> in the local river), but I'd like to get a better citation before I take
> on faith that this wasn't a misreading of a restriction that mentioned
> both linen processors and dyers in the same ordinance, since both
> procedures do nasty things to water supplies.

Textiler Hausrat would be a good place to check for this, if you can find a 
helpful translator.

-E House



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Date: Fri, 2 Dec 2005 23:09:31 +0000
To: Historical Costume <h-costume@indra.com>
From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] Seam finishing on wool
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If the fabric is reasonably tight woven, and your seam allowances are 
not too narrow, it should be OK.  When you wash it, it will fray a tiny 
bit, but it will also felt a bit to stick the frayed bits together.  Of 
course, you don't wash it every week  (I remember trying to explain to a 
colleague of my husband's that you don't wash wool jumpers every time 
you wear them!) but it will survive washing often enough not to be 
smelly.

Jean


Caroline <carolineebuckley@gmail.com> wrote
>Betsy - you have described my normal method of heming here. Visibility on
>the front is not necessarily undesirable - it certanly looks like some of
>the medieval stiches were both functional and decorative.  I think I may go
>for a sewing the seams down with running stich.
>
>My only worry is that this will still allow the fabric to fray.  I suppose
>if the tunic is never washed.................  authentic but possibly a bit
>smelly.
>
>
>
>On 02/12/05, Betsy Marshall <betsy@softwareinnovation.com> wrote:
>>
>> This may or may not help- I've been using a whip stitch shaped
>> like a "Z"- diagonal as it goes from stitch to stitch, but
>> parallel/perpendicular to the warp/weft in the stitch itself- catching
>> only
>> 1 or 2 threads on the visible side; and if the sewing thread is close to
>> the
>> fabric color it virtually disappears.-maybe an indentation due to thread
>> tension, but that will likely ease out in the next wash.
>> HTH Betsy
>>
>> -----Original Message-----
>> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
>> Behalf Of Caroline
>> Sent: Friday, December 02, 2005 11:40 AM
>> To: Historical Costume
>> Subject: [h-cost] Seam finishing on wool
>>
>> I have just finished the long seams on a new 10th/11th century woollen
>> tunic
>> for my husband.  In the past  I would now switch on the zig zag and do the
>> bits that are likely to fray with that. I've only ever hand sewn hems
>> before
>> (what the public can't see etc)   However,  I have just spent a month
>> doing
>> run and fell seams on a linen tunic and it would be nice to finish the
>> woolly one also by hand.
>>
>> I have had a look at the York and London stiches and the main option seems
>> to be to flatten the seam and put a running or whip stich up the seam
>> allowance.  The running version would I think leave two parallel lines on
>> the front of the garment (either side of the seam) and the whip stich
>> might
>> leave a series of diagonal lines on the front.
>>
>> Does anyone have any other techniques they know about or have tried.  I
>> don't think run and fell is particularly aproproate the seam would
>> probably
>> be rather bulky.
>> _______________________________________________
>> h-costume mailing list
>> h-costume@mail.indra.com
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>>
>> _______________________________________________
>> h-costume mailing list
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>>
>
>
>
>--
>Caroline
>_______________________________________________
>h-costume mailing list
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-- 
Jean Waddie
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Subject: Re: [h-cost] favourite fairy /christmass movie
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In a message dated 12/2/2005 3:33:13 P.M. Eastern Standard Time,  
penhalion@juno.com writes:

The most  recent Signals catalog  has both a large and small version of
the lamp  for sale. Let's hear it for kitch.....




The movie is based on a number of Jean Shephard's essays, which I read  years 
before the movie came out, including the one about the lamp.  I  recommend 
them to all.  Some are from later in life, including his prom  experiences, 
"Wanda Hickey's Night of Golden Memories."
 
Several years ago, I was in Charlotte, and read an article about a flea  
market there.  One of the stands specialized in mannequins, and a featured  
customer was looking for a leg to turn into a lamp!
 
Ann Wass
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In a message dated 12/2/2005 3:08:00 P.M. Eastern Standard Time,  
landofoz@netins.net writes:

as I  
> recall the dad orders a lamp made from a life-sized female manikin  leg 
> complete with spiked heeled shoe and fish-net  stockings!



No, he didn't order the lamp.  It was a "major award" in a  
contest--evidently sponsored by Nehi Orange Soda (get it!)  And that is why  he was so proud of 
it, because it was a "major award."
 
Ann Wass
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There was a small exhibit at the National Museum of American History a few  
years ago about the history of clothes pins.  Wish I remembered more  details, 
but I seem to recall they date to the mid-19th century, because I was  doing 
early 19th century laundry at the time and they would not have been  
appropriate.
 
Ann Wass
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On Friday 02 December 2005 12:54 am, otsisto wrote:
> I found some material that comes close in pattern but not in color to the
> Bianca Anguissola portrait in a yellow dress.
> The color is a shot(?) blue and dull mustard material. The lines of the
> plaid are blue and the background is a blend of the two colors
>
> http://www.nelepets.com/art/artists/a/Anguissola-c-09.htm
>
> I was wondering, if you were going to make an outfit based on this
> portrait, what color would you have the embroidery on the camicia?

I'd go with gold--good quality metallic thread, if I could afford it; 
so-called gold-color silk if I could not.  

-- 
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] need some input
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On Friday 02 December 2005 9:28 am, Sue Clemenger wrote:
[snip]
> --Sue, looking forward to an unexpectedly quiet weekend--perfect for sewing
> on her new outfit (10th century Norse...decided to do it by hand ;o)

Oooh.  When you finish it, will you put it on the Web somewhere, so that we 
can admire it?


-- 
Cathy "lonely Viking" 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] Seam finishing on wool
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On Friday 02 December 2005 2:55 pm, sunshine_buchler@agilent.com wrote:
[snip]
> 2) The whip stitch just fades into the fabric if you don't take big
> stitches though the outside layer. I use the whip stitch for my hems 'cause
> of this. If you want unobtrusive, this is actually a good one.


I agree with Sunny.  I've been using whipstitch on wools of various 
thicknesses, and it's pretty unobtrusive except, perhaps, on very very fine 
cloth--especially if you're using silk thread.

-- 
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: [h-cost] waxed canvas 
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have you tried contacting a company like Barbour in South Tyneside (UK - 
north east)?

they do tins of the stuff, and should be able to let you know of a supplier 
where you could get some.  (By the way, if anybody's ever near there, they have 
a fantastic factory shop, with huge discounts.)

(which reminds me my Barbour needs re-waxing before next year - oh joy)

Debbie

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Subject: Re: [h-cost] favourite fairy /christmass movi
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Christmas - I'm a complete sucker for just about all of them, but White 
Christmas, (I fell in love with the red 'santa' dresses that Rosemary Clooney and 
Vera Ellen wear at the end when I was about three), Wonderful Life, and Miracle 
on 34th Street.  

And films that aren't strictly Christmas films, but that I associate with 
Christmas - Meet Me in St Louis, and The Shop Around the Corner.  (Can you tell I 
do old Hollywood?)

And my fave fairy film has to be the one with Paul McGann about the 
Cottingley fairies, that I can't for the life of me remember the name of.

Debs


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Subject: Re: [h-cost] favourite fairy /christmass movie--OT
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In a message dated 12/2/2005 8:22:48 P.M. Eastern Standard Time,  
Debloughcostumes@aol.com writes:

Meet Me  in St Louis, 


Ah, yes, because of the song "Have Yourself a Merry Little  Christmas."  
Anyone else notice that they re-wrote the lyrics to this song  in the 1960s, so it 
was no longer bittersweet, but just a happy little ditty,  that doesn't even 
make any sense?
 
Ann Wass
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Subject: Re: [h-cost] favourite fairy /christmass movi
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Debs wrote:
> And my fave fairy film has to be the one with Paul McGann about the 
> Cottingley fairies, that I can't for the life of me remember the name of.


I think you're referring to "Fairy Tale: A True Story".
       -Helen/Aidan
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I was surfing http://movies.yahoo.com and noticed a few trailers for 
upcoming movies. _Pirates of the Caribbean 2_, of course. _Bloodrayne_, 
a fantasy  vampire hunter movie, _Casanova_ 18th century Venice? 
Costumes look good, but it's not my period. _Memoirs of a Geisha_, 
visually appealing though it doesn't sound like the book I read.  _The 
New World_, the Pocahantas movie. _The White Countess_ set in Shanghai 
in 1936, looks like a dramatic romance.

All the trailers are up for viewing.



Dawn


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That would be fun, wouldn't it? Unfortunately, I don't have a website.  Some
day, maybe....
--Sue

----- Original Message -----
From: "Catherine Olanich Raymond" <cathy@thyrsus.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, December 02, 2005 6:02 PM
Subject: Re: [h-cost] need some input


> On Friday 02 December 2005 9:28 am, Sue Clemenger wrote:
> [snip]
> > --Sue, looking forward to an unexpectedly quiet weekend--perfect for
sewing
> > on her new outfit (10th century Norse...decided to do it by hand ;o)
>
> Oooh.  When you finish it, will you put it on the Web somewhere, so that
we
> can admire it?
>
>
> --
> Cathy "lonely Viking" 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: [h-cost] the perennial colored linen topic
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On Dec 2, 2005, at 6:37 AM, Sue Clemenger wrote:

> I think the thing is, with the dyed linens, that there's not a lot  
> out there
> supporting the existence of *dyed*  *linens.*  Dyed fabrics, yes,  
> but not
> linens.  Linens, yes, but not dyed. ;o)  At least, not in the part  
> of the
> world/time most often explored in the SCA.  Really don't know much  
> about the
> uses of colored linens after the introduction of coal-based dyes.  
> (19th
> century, right?)
> That said, though, a lot of enthusiasts in my crowd use it as a  
> reasonable
> alternative to wools for summer garb.  Wool can be really hard for  
> us to
> find at all (weird, considering the winter climate here), let alone in
> summer-appropriate weights, as we get temps unheardof in England or  
> Ireland
> or some parts of Continental Europe.  So linen shows up used for  
> cottes or
> gowns or jackets or tunics or....

It's a recurring discussion, and it always ends up being important to  
distinguish between linen as a "fashion fabric" (i.e., an external  
intended-to-be-visible layer) and the question of "any colored linen  
at all".  The two examples I find easiest to cite of colored linen in  
the later medieval period are a pinkish (sort of salmon-colored)  
linen lining used in some (or perhaps all) of the well-known  
Vestments of the Order of the Golden Fleece and a dark greyish-black  
linen used for the lining of the "satin coat of Charles the Bold".   
These examples speak to the technological question of whether dyed  
linens were available in certain parts of the medieval period, but  
they don't speak to the plausibility of using colored linen as a  
substitute for colored wool as a fashion fabric (which is what many  
people are looking for support for).

Heather

--
Heather Rose Jones
heather.jones@earthlink.net
http://www.heatherrosejones.com
LJ:hrj


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Here are some pics of 18th c. clothespins.  Not sure how much earlier
they go back, but these are surely the predecessor of the Shaker
clothespin.

http://www.marariley.net/laundry/

Also, it was fairly common to spread linen out to dry on bushes and
stretches of lawn.

-- Mara

---------------------
http://www.knittingobsession.com - modern knitting stuff
http://www.knittingobsession.blogspot.com
http://www.marariley.net - 18th century research and knitting patterns
---------------------
Doubt is not a pleasant condition, but certainty is absurd. - Voltaire
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From: Mara Riley <corbiegirl@yahoo.com>
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We've had some arguments on the 18cWoman list about dyed linen. 
There is definitely evidence for dyed linen being used for gowns,
breeches, jackets, etc. in the 18th c., and these would obviously
have been dyed with natural dyes.

As for whether linen was/wasn't used for outer garments in Europe --
well, there is that linen 17th c. man's jacket that was found in the
wall (chimney?) of a house. 
http://www.concealedgarments.org/information/links.html

-- Mara
 

---------------------
http://www.knittingobsession.com - modern knitting stuff
http://www.knittingobsession.blogspot.com
http://www.marariley.net - 18th century research and knitting patterns
---------------------
Doubt is not a pleasant condition, but certainty is absurd. - Voltaire
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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: A Place to Post Pictures of Your Norse Garb (was [h-cost] need
	some input)
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On Friday 02 December 2005 9:34 pm, you wrote:
> That would be fun, wouldn't it? Unfortunately, I don't have a website. 
> Some day, maybe....

There's another costume-related list I'm on called MedCos; it covers the 
entire SCA period.  It has a website you can access the list through and 
photo galleries for posting photos of members' garb projects.  The site is 
at:

http://slumberland.org/moodle/login/index.php

You can just look at the site as a guest but to post you need to register 
(it's free).  I'm the sub-moderator of the Early Period section of the site, 
and I would be delighted to have more members who are interested in Early 
Period topics (there's a preponderance of people into 14th-16th century).  

If you were to join MedCos, I could post pictures of your garb in the Early 
Period Gallery.  :-)  There's also a forum called "Show Us Your Stuff!" where 
people can post a picture of almost any historic garb for comments, 
constructive (we mean it!) criticism, and related discussion.

Come check us out!

-- 
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] Seam finishing on wool
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On Dec 2, 2005, at 9:39 AM, Caroline wrote:

> I have just finished the long seams on a new 10th/11th century  
> woollen tunic
> for my husband.  In the past  I would now switch on the zig zag and  
> do the
> bits that are likely to fray with that. I've only ever hand sewn  
> hems before
> (what the public can't see etc)   However,  I have just spent a  
> month doing
> run and fell seams on a linen tunic and it would be nice to finish the
> woolly one also by hand.
>
> I have had a look at the York and London stiches and the main  
> option seems
> to be to flatten the seam and put a running or whip stich up the seam
> allowance.  The running version would I think leave two parallel  
> lines on
> the front of the garment (either side of the seam) and the whip  
> stich might
> leave a series of diagonal lines on the front.
>
> Does anyone have any other techniques they know about or have  
> tried.  I
> don't think run and fell is particularly aproproate the seam would  
> probably
> be rather bulky.

I'm not sure if this will work with the sewing you've already done,  
but when I was researching my article on seam types found on  
surviving textiles <http://www.heatherrosejones.com/ 
archaeologicalsewing/index.html> by far the "standard" wool seam  
treatment from the iron age through the medieval period seems to have  
been a fell-type seam.  Often these seem to have been designed so  
that there was never more than three layers of fabric at any one  
point.  But the diagrams at the article may give you some other  
inspirations.

If the wool is fairly springy or has much of a nap, I wouldn't expect  
the stitches to show unless they're fairly big.  On the other hand,  
you could always treat any visible stitching as a deliberate design  
element!

Heather

--
Heather Rose Jones
heather.jones@earthlink.net
http://www.heatherrosejones.com
LJ:hrj


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My favorite holiday movie:  Nightmare Before Christmas...Sally's 
patchwork dress is just so perfect for those days you can't decide what 
color to wear.  She's got a cute feisty character, too!

Theresa

kim baird wrote:
> It's called  Three Wishes For Cinderella (Tri Orísky pro Popelku), made
> in Czechoslovakia in 1973. You can get it from Amazon.com
> 
> Kim
> 
> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
> On Behalf Of Bjarne og Leif Drews
> Sent: Friday, December 02, 2005 5:43 AM
> To: h-costume@indra.com
> Subject: [h-cost] favourite fairy /christmass movie
> 
> 
> Hi,
> Have any of you seen the checkoslovakian movie with Cinderella and the 3
> 
> magic nuts?'
> This is my favourite movie i watch each christmass. I love the costumes
> in 
> it also, even they are fairy tale like, they have a touch of eastern
> europe 
> fashions two.
> Cinadarella is wearing such a lovely cloak with a deep pointed hood when
> she 
> goes to the ball, that is the most wonderfull i ever saw, strange that
> it 
> wasnt a fashion made that way.
> 
> Bjarne
> 
> 
> 
> 
> 
> Leif og Bjarne Drews
> www.my-drewscostumes.dk
> 
> http://home0.inet.tele.dk/drewscph/ 
> 
> 
> _______________________________________________
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> 
> 
> _______________________________________________
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> 


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Subject: Re: [h-cost] What periods for these fabrics? (long)
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On Friday 02 December 2005 3:55 pm, Robin Netherton wrote:
[snip]
> Clearly there's some dyed linen floating around in medieval Western Europe
> -- e.g. there's a surviving garment with black linen lining, IIRC -- and I
> want to make very sure no one thinks I'm saying there was no linen dyeing
> done in this period. But I don't think it's safe to assume from that that
> the linen was frequently dyed, and that dyed linen was typically used for
> the visible layers of clothing, which is what my focus was in my
> earlier post.

I know of no examples of linen outerwear from the later Middle Ages.  However, in an essay published in "Cloth and Clothing in Medieval Europe" Inga Hagg published the results of a stratographic analysis of grave finds at Birka, which indicated that some of the linen fragments found did not come from a shift (i.e. underwear) but from a "caftan" or "mantle"--an outer garment.  In a different essay (of which I've read reports but do not have a copy) she has posited that some of the outerwear layer linen fragments belonged to the so-called "apron dress".  To my knowledge, however, the Birka linen fragments have not been exposed to the sort of analysis that would enable a determination of whether they had been dyed or not. 

-- 
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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Date: Sat, 03 Dec 2005 00:48:39 -0500
From: "RON CARNEGIE" <r.carnegie@verizon.net>
Subject: Re: [h-cost] What periods for these fabrics? (long)
To: "Historical Costume" <h-costume@indra.com>
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Of course Linen is not as durable in an extant situation as is wool.


Ron Carnegie


>
> I know of no examples of linen outerwear from the later Middle Ages. 
> However, in an essay published in "Cloth and Clothing in Medieval Europe" 
> Inga Hagg published the results of a stratographic analysis of grave finds 
> at Birka, which indicated that some of the linen fragments found did not 
> come from a shift (i.e. underwear) but from a "caftan" or "mantle"--an 
> outer garment.  In a different essay (of which I've read reports but do 
> not have a copy) she has posited that some of the outerwear layer linen 
> fragments belonged to the so-called "apron dress".  To my knowledge, 
> however, the Birka linen fragments have not been exposed to the sort of 
> analysis that would enable a determination of whether they had been dyed 
> or not.
>
> -- 
> 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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On Dec 2, 2005, at 9:40 PM, Catherine Olanich Raymond wrote:

> On Friday 02 December 2005 3:55 pm, Robin Netherton wrote:
> [snip]
>
>> Clearly there's some dyed linen floating around in medieval  
>> Western Europe
>> -- e.g. there's a surviving garment with black linen lining, IIRC  
>> -- and I
>> want to make very sure no one thinks I'm saying there was no linen  
>> dyeing
>> done in this period. But I don't think it's safe to assume from  
>> that that
>> the linen was frequently dyed, and that dyed linen was typically  
>> used for
>> the visible layers of clothing, which is what my focus was in my
>> earlier post.
>>
>
> I know of no examples of linen outerwear from the later Middle  
> Ages.  However, in an essay published in "Cloth and Clothing in  
> Medieval Europe" Inga Hagg published the results of a stratographic  
> analysis of grave finds at Birka, which indicated that some of the  
> linen fragments found did not come from a shift (i.e. underwear)  
> but from a "caftan" or "mantle"--an outer garment.  In a different  
> essay (of which I've read reports but do not have a copy) she has  
> posited that some of the outerwear layer linen fragments belonged  
> to the so-called "apron dress".  To my knowledge, however, the  
> Birka linen fragments have not been exposed to the sort of analysis  
> that would enable a determination of whether they had been dyed or  
> not.

It also strikes me that those descriptions don't rule out the  
possibility that the linen was used as a lining for the caftan or  
hanging dress respectively.  (I keep forgetting what the current  
standard English term is for the not-an-apron dress.)

Heather

--
Heather Rose Jones
heather.jones@earthlink.net
http://www.heatherrosejones.com
LJ:hrj


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At 03:00 03/12/2005, you wrote:
>We've had some arguments on the 18cWoman list about dyed linen.
>There is definitely evidence for dyed linen being used for gowns,
>breeches, jackets, etc. in the 18th c., and these would obviously
>have been dyed with natural dyes.
>
>As for whether linen was/wasn't used for outer garments in Europe --
>well, there is that linen 17th c. man's jacket that was found in the
>wall (chimney?) of a house.
>http://www.concealedgarments.org/information/links.html
>
>-- Mara


Surely there is no problem with linen outer garments in the 17th 
century? On Thursday I was at the Museum of London again, where I was 
able to look at a linen bodice embroidered with blackwork, and 
previously I studied another, earlier bodice, also embroidered linen, 
from about 1610 - 20

Suzi


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From: Caroline <carolineebuckley@gmail.com>
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Subject: Re: [h-cost] Seam finishing on wool
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Thank you Heather - your figures 9 to 12 and 19 through to 21 are most
useful.  Your figure 14 is essentially what I have done with the linen tunic
- but it would be too bulky on the wool I have.  I may use number 10 - it
looks like the running stich is designed to be seen from the face as Sunny
said in an earlier post.

Jean I'd forgotton about the felting aspects - you are right we should wash
wool only sparingly.  Having said that I have a woollen cloak I only ever
air and brush becaus it is simply too big to wash.

On 03/12/05, Heather Rose Jones <heather.jones@earthlink.net> wrote:
>
>
> On Dec 2, 2005, at 9:39 AM, Caroline wrote:
>
> > I have just finished the long seams on a new 10th/11th century
> > woollen tunic
> > for my husband.  In the past  I would now switch on the zig zag and
> > do the
> > bits that are likely to fray with that. I've only ever hand sewn
> > hems before
> > (what the public can't see etc)   However,  I have just spent a
> > month doing
> > run and fell seams on a linen tunic and it would be nice to finish the
> > woolly one also by hand.
> >
> > I have had a look at the York and London stiches and the main
> > option seems
> > to be to flatten the seam and put a running or whip stich up the seam
> > allowance.  The running version would I think leave two parallel
> > lines on
> > the front of the garment (either side of the seam) and the whip
> > stich might
> > leave a series of diagonal lines on the front.
> >
> > Does anyone have any other techniques they know about or have
> > tried.  I
> > don't think run and fell is particularly aproproate the seam would
> > probably
> > be rather bulky.
>
> I'm not sure if this will work with the sewing you've already done,
> but when I was researching my article on seam types found on
> surviving textiles <http://www.heatherrosejones.com/
> archaeologicalsewing/index.html> by far the "standard" wool seam
> treatment from the iron age through the medieval period seems to have
> been a fell-type seam.  Often these seem to have been designed so
> that there was never more than three layers of fabric at any one
> point.  But the diagrams at the article may give you some other
> inspirations.
>
> If the wool is fairly springy or has much of a nap, I wouldn't expect
> the stitches to show unless they're fairly big.  On the other hand,
> you could always treat any visible stitching as a deliberate design
> element!
>
> Heather
>
> --
> Heather Rose Jones
> heather.jones@earthlink.net
> http://www.heatherrosejones.com
> LJ:hrj
>
>
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--
Caroline
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: [h-cost] tissue paper
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Hi,
Rats- my dictionary stinks. It doesnt have the word "tissue paper".
Is this the same as Kitchen Rolls are made of?
Because i got the advise to use this on hoop frames, when embroidering, 
cover the edge with this paper to protekt from dirt.
Could i not just as well use a piece of calico, i have plenty of that.....
Bjarne who now are going to watch swedish television, they have a series of 
17th century kingdom, where poor and rich chanllenges eachother. Rich has 
bathtubs, poor dont even have soap to wash..........
Costumes are ok, but only one of the rich ladies gown fits propperly. It is 
so difficult to dress a lady in a rented dress with a low cut boatshape bust 
if it doesnt fit.......







Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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Subject: Re: A Place to Post Pictures of Your Norse Garb (was [h-cost] need
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Jeeze, I gotta start reading more goodly...at first I thought it said Nose 
Garb...

-C.


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In a message dated 12/3/2005 8:02:50 A.M. Eastern Standard Time,  
drewscph@post12.tele.dk writes:

Because  i got the advise to use this on hoop frames, when embroidering, 
cover the  edge with this paper to protekt from dirt.
Could i not just as well use a  piece of calico, i have plenty of that


Tissue paper is the thin paper used for wrapping gifts.  I would think  
calico (what we Americans call muslin) would work just as well, if not  better.  
Tissue paper isn't very sturdy and might tear before you were done  with your 
work.
 
Ann Wass
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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] tissue paper
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At 13:49 03/12/2005, you wrote:
>
>In a message dated 12/3/2005 8:02:50 A.M. Eastern Standard Time,
>drewscph@post12.tele.dk writes:
>
>Because  i got the advise to use this on hoop frames, when embroidering,
>cover the  edge with this paper to protekt from dirt.
>Could i not just as well use a  piece of calico, i have plenty of that
>
>
>Tissue paper is the thin paper used for wrapping gifts.  I would think
>calico (what we Americans call muslin) would work just as well, if 
>not  better.
>Tissue paper isn't very sturdy and might tear before you were done  with your
>work.
>

You could also use plain cotton bias binding, as this is also less 
likely to tear than tissue.

Suzi


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"Ah, yes, because of the song "Have Yourself a Merry Little  Christmas."  
Anyone else notice that they re-wrote the lyrics to this song  in the 1960s, 
so it 
was no longer bittersweet, but just a happy little ditty,  that doesn't even 
make any sense?"

My Nana (who brought me up) always used to watch it Christmas - and yes I had 
noticed they rewrote the lyrics - irritates me every time I hear the new 
version

> "I think you're referring to "Fairy Tale: A True Story"."

Yep - that's the one - thanks (I swear, I'd forget my head if it wasn't 
screwed on :o) )
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On Sat, 3 Dec 2005, Suzi Clarke wrote:

> >As for whether linen was/wasn't used for outer garments in Europe --
> >well, there is that linen 17th c. man's jacket that was found in the
> >wall (chimney?) of a house.
> >http://www.concealedgarments.org/information/links.html
> >
> >-- Mara
> 
> Surely there is no problem with linen outer garments in the 17th 
> century? On Thursday I was at the Museum of London again, where I was 
> able to look at a linen bodice embroidered with blackwork, and 
> previously I studied another, earlier bodice, also embroidered linen, 
> from about 1610 - 20

I don't think anyone has questioned the existence of linen outer garments
from the 16th c. on. The only issue I'm aware of (and the one I summarized
in response to the initial query) is whether colored linen was routinely
used for the outer, visible layers of fashionable gowns in medieval
Western Europe.

However, whenever this subject comes up, there's a tendency for the thread
to mutate to the point that some read the statement as somehow applying to
(a) other times, (b) other places, (c) other garments, (d) the use of
linen at all, or (e) the dyeing of linen for any purpose -- none of which
should be at issue.

Honest, folks, I wouldn't have brought it up if someone hadn't asked me
directly why I wasn't intending to use my stash of brightly dyed linen for
medieval clothing -- a very specific question and a very specific answer.

And I'm still wondering when the strongly-dyed stuff would have become
available and fashionable! I'm thinking that I'd better use the
cranberry-colored length for a modern dress...

--Robin

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Subject: Re: [h-cost] Re: What periods for these fabrics?/17th c. linen
	outergarments
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----- Original Message ----- 
From: "Robin Netherton" <robin@shell.nightowl.net>
> Honest, folks, I wouldn't have brought it up if someone hadn't asked me
> directly why I wasn't intending to use my stash of brightly dyed linen for
> medieval clothing -- a very specific question and a very specific answer.

At least for me, the reason I responded with the info I gave was that, to 
me, this question implies that you see dyed linen as useless for _any_ part 
of medieval clothing, rather than just for outer layer stuff.  If you remove 
the fabric from your stash, then you can't use it for the 
reasonably-documentable non-outer-layer uses.  I hate to see anyone give up 
fabric that they could be using!

-E House
(Still hasn't figured out a way to reasonably dispose of the 10yr-50yr old 
cloth inherited from g'ma-in-law, which is ugly and smelly but has to be 
really useful to someone, somewhere....) (The cloth, not the grandma.) 

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The part over her shoulders is a mantle, and it looks as though she attached
it to what I know as a beguine.

scroll down you will see some nice hoods here:
http://www.medievaldesign.com/cappellieng.html

here are some similar to what she is wearing:
http://gallica.bnf.fr/scripts/mediator.exe?L=08100029&I=1&F=C

HTH
Ro
Bright Hills, Atlantia

I know in my heart that man is good, that what is right will alway
eventually triumph and there is a purpose and worth to each and every life.


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My favorite is "Miracle on 34th Street," although this year I am revisiting
my childhood and watching all my favorite holiday specials with my children,
who are really enjoying them. Last night was "Santa Claus is Coming to
Town." Earlier this week it was "Rudolf." And coming up are "Frosty," "A
Charlie Brown Christmas," and "How the Grinch Stole Christmas."

No costume content here. My daughter is begging me to buy her "White
Christmas," which I've never seen.

Gail Finke

PS: I remember the first time I saw "Meet Me In St. Louis." I was so shocked
by the Christmas song -- it was so sad!!! I can't hear it without thinking
of the movie.

 

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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Re: What periods for these fabrics?/17th c. linen
	outergarments
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On Sat, 3 Dec 2005, E House wrote:

> At least for me, the reason I responded with the info I gave was that,
> to me, this question implies that you see dyed linen as useless for
> _any_ part of medieval clothing, rather than just for outer layer
> stuff.  If you remove the fabric from your stash, then you can't use
> it for the reasonably-documentable non-outer-layer uses.  I hate to
> see anyone give up fabric that they could be using!

Don't worry -- it's only the bright/deep colors I'm not inclined to use. I
have a variety of blues, pinks, and peaches, all of which I would use for
linings.

In any case, the dyeing references you gave were nearly all 16th c., when
there does seem to be a lot more use of linen as the visible layers, and
thus presumably more inclination to dye it, though there's still the
question of intensity and hue. The one that wasn't 16th c. was Italian,
again a different culture than what I was talking about. All these are of
interest in the general study of linen, certainly, but not much use for my
own needs in this case.

So, back to the assumption of a limited color palette for any dyed linen
that was used in medieval garments. The colors you mentioned earlier (sky
blue, brown, off-black), the blue lining in the Golden Gown, and the ones
in the extant garments Heather points to (salmon, off-black) are
consistent with that assumption.

Which leaves me with 8-10 yards or so of screaming red linen, the same of
forest green, three yards or so of cranberry... The black I will probably
keep and try to wash/bleach down into something more greyish, which
probably is not something I could buy. The cranberry might make a modern
dress, or a suit...

--Robin


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Subject: Re: [h-cost] What periods for these fabrics? (long)
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On Saturday 03 December 2005 1:56 am, Heather Rose Jones wrote:
[snip]
> It also strikes me that those descriptions don't rule out the
> possibility that the linen was used as a lining for the caftan or
> hanging dress respectively.  (I keep forgetting what the current
> standard English term is for the not-an-apron dress.)


You're right, they don't rule out that possibility.  Though Hagg's analysis of 
some of the finds suggest that at least some caftans were lined with silk--a 
detail I've always found hard to accept in light of the evidence that silk 
was rare enough to be used for trim.

I'm not sure there is a standard English term for the "hanging dress".  Most 
SCA types now call it an "apron dress", for want of a better term.  Some 
people borrow the modern Scandanavian terms "hangerrock" (sorry, I can't put 
in the proper diacritical marks) or "traggerock."  


-- 
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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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: Re: [h-cost] Costume movies
Date: Sat, 3 Dec 2005 11:24:07 +0100
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Hi,
I am looking forwards to see Casanova, because its ben two long that we had 
an 18th century film last.
This photo shows a bad pair of stays. I can se that it is not propperly 
boned, and why is it they almost always dont bone the tabs 
probberly.............
http://movies.yahoo.com/shop?d=hv&id=1808665919&cf=pg&photoid=592785&intl=us

There was also a film i liked called The company of the Warewolf, or 
something like that. French but two bloody and two much fighting in it. 
Costumes are very nice though.

Bjarne

----- Original Message ----- 
From: "Dawn" <dawn@reddawn.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Saturday, December 03, 2005 2:59 AM
Subject: [h-cost] Costume movies


>I was surfing http://movies.yahoo.com and noticed a few trailers for 
>upcoming movies. _Pirates of the Caribbean 2_, of course. _Bloodrayne_, a 
>fantasy  vampire hunter movie, _Casanova_ 18th century Venice? Costumes 
>look good, but it's not my period. _Memoirs of a Geisha_, visually 
>appealing though it doesn't sound like the book I read.  _The New World_, 
>the Pocahantas movie. _The White Countess_ set in Shanghai in 1936, looks 
>like a dramatic romance.
>
> All the trailers are up for viewing.
>
>
>
> Dawn
>
>
> _______________________________________________
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> 


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To: Historical Costume <h-costume@indra.com>
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Subject: [h-cost] Medieval Gallery at the Museum of London re Photos
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To all who were interested. The Museum of London allows photography 
in certain galleries, but not, of course, in the Medieval Gallery, 
which is what I had asked about. I "might" have been able to sneak a 
couple, but as I am a regular, I don't want to cause waves, and get 
told I cannot see stuff when I want to.

So, I have a very bad drawing done of the stocking foot - bad as I 
don't understand what I was drawing - I don't knit stockings any more 
and have forgot all I knew. Anyone who wants a copy, please mail me 
off list, and I will scan and send.

Incidentally, because of the angle of the cases when I tried to get 
an idea of size of the mitten, I could only get an approximation. It 
is roughly 4.5" from top to bottom, the vest is roughly 16" from 
shoulder to hem. Would you believe I forgot to measure the stocking foot?

Suzi


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Subject: [h-cost] name that garment
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http://slumberland.org/moodle/mod/forum/discuss.php?d=864

I'd like to know the name of the dark grey/white piece on the woman in the 
second photo. It covers her head and shoulders.


I'd be interested in making something similar for modern wear, but I have no 
idea what it's called in order to look for other examples and/or patterns.

thanks!

Denise B
Iowa 

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Subject: RE: [h-cost] tissue paper
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Or perhaps the cotton/medical tape? (Using a Spiral wrap)
Might leave adhesive on your good hoop, though.
Still better than masking tape...

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Suzi Clarke
Sent: Saturday, December 03, 2005 8:14 AM
To: Historical Costume
Subject: Re: [h-cost] tissue paper

At 13:49 03/12/2005, you wrote:
>
>In a message dated 12/3/2005 8:02:50 A.M. Eastern Standard Time,
>drewscph@post12.tele.dk writes:
>
>Because  i got the advise to use this on hoop frames, when embroidering,
>cover the  edge with this paper to protekt from dirt.
>Could i not just as well use a  piece of calico, i have plenty of that
>
>
>Tissue paper is the thin paper used for wrapping gifts.  I would think
>calico (what we Americans call muslin) would work just as well, if 
>not  better.
>Tissue paper isn't very sturdy and might tear before you were done  with
your
>work.
>

You could also use plain cotton bias binding, as this is also less 
likely to tear than tissue.

Suzi


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In a message dated 12/3/2005 11:33:29 A.M. Eastern Standard Time,  
Debloughcostumes@aol.com writes:

and yes  I had 
noticed they rewrote the lyrics - irritates me every time I hear the  new 
version



Went hunting last night and was reminded that James Taylor's 2001 version  is 
almost the original lyrics.
 
Ann Wass
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In a message dated 12/3/05 1:05:25 PM GMT Standard Time, 
h-costume-request@indra.com writes:

> Rats- my dictionary stinks. It doesnt have the word "tissue paper".
> Is this the same as Kitchen Rolls are made of?
> Because i got the advise to use this on hoop frames, when embroidering, 
> cover the edge with this paper to protekt from dirt.

No, it's not kitchen paper - it's the stuff that expensive clothes, and 
breakable things (china, etc) are wrapped in when you buy them (in the UK at 
least).

Picture here: 
http://www.morplan.com/ProductDisplay/Acid%20Free%20Tissue/84320/16251/656590

The reason to use tissue is that you can use a sheet and treat it as one with 
the fabric when putting it in the hoop, then tear away the middle bit, so 
that the work area is uncovered but the edges are still protected.

But as long as you were careful when cutting away the middle bit, I don't see 
why you couldn't use calico.  Or even kitchen paper for that matter.

The main thing is to have something reasonably soft to stop the hoop making 
marks on the fabric, (which it does because the tightness of the grip).  Also, 
if you're not using a stand, if you leave a bit of the protective material 
overlapping the edge where you're holding the frame it'll help to reduce the dirt 
from your fingers that gets onto the work, thereby meaning less cleaning when 
you're finished of course.

Debbie.

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Subject: Re: [h-cost] Re: What periods for these fabrics?/17th c.
	linenoutergarments
Date: Sat, 3 Dec 2005 18:01:04 -0600
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There is also that mid-15thC Nuernberg Kunstbuch dye recipe, which does get 
a bit closer to your culture of interest. But yeah, the screaming red linen 
and the other might not work so great, it sounds like.  I did find one or 
two references to accessories (like that purse) of red linen, and household 
hangings in bright colors of linen, but it seems like brightly dyed linen 
would have been reserved for something that wouldn't need washing or 
wouldn't be capable of bleeding onto more delicate fabrics. I also got the 
impression, though certainly no solid proof of this theory, that the 
brightly dyed household linens would have been linen imitations of more 
expensive forms of fabric like damask, rather than the simple plain-weave 
stuff we generally have on hand.

And to slightly change the topic, I'm now very interested in this:
Black, waxed full linen lining of a Burgundian man's coat (mid 15thc),
Textile Conservation. Flury-Lemberg, Mechthild. Schriften Der
Abegg-Stiftung, Bern, 1988. pp. 156-157.
especially given the recent discussion on here about refreshing the wax 
coating on something. Does anyone have any insights on this?  Any indication 
of how common it might have been to wax a lining?  It does seem like a 
reasonable precaution for a coat, now that I think about it, but I'm curious 
as to how common it was (whether done with black linen or with any other 
fabric).  I'm also curious as to how they would have actually done the 
waxing!

-E House 

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Subject: Re: [h-cost] Re: What periods for these fabrics?/17th c. linen
	outergarments
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Cranberry colored linen would go very well for a modern dress for you, given
your coloring <g>, but if you just can't bring yourself to do it, feel free
to send it to me!
I would imagine that you'd have to coordinate several different tracks of
thought--increased use of linen as outer garments, cross-referenced with
times when strong, bright colors were fashionable, and then further refine
it by the colors you own.
I've got a whole bolt of pin-striped linen (black with narrow, white stripe)
that I'm going to make into some sort of modern outfit some day.  Just
couldn't resist buying it, even though I had no (SCA) use for it.  Ditto the
bolt of linen with the mustard/gold background and 18th centuryish print on
it that I got cheap.  Might be okay for some 18th century stuff, but I don't
*do* the 18th century! (lol!)
--Sue

----- Original Message -----
From: "Robin Netherton" <robin@shell.nightowl.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Saturday, December 03, 2005 10:35 AM
Subject: Re: [h-cost] Re: What periods for these fabrics?/17th c. linen
outergarments


>
> And I'm still wondering when the strongly-dyed stuff would have become
> available and fashionable! I'm thinking that I'd better use the
> cranberry-colored length for a modern dress...
>
> --Robin


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Subject: Re: [h-cost] What periods for these fabrics? (long)
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The terms I hear/see most often used for that item of clothing around here
are either "apron gown" or "apron dress."  "Apron gown" more commonly.
Interesting, isn't it? how some words transfer into English (like
"naalbinding"), and others do not....
--Maire, off to knit a shawl and listen to the radio, while the snow comes
down on the dark streets outside, and the cats sleep on the hearth rug.....

----- Original Message -----
From: "Catherine Olanich Raymond" <cathy@thyrsus.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Saturday, December 03, 2005 3:13 PM
Subject: Re: [h-cost] What periods for these fabrics? (long)


> On Saturday 03 December 2005 1:56 am, Heather Rose Jones wrote:
> [snip]
> > It also strikes me that those descriptions don't rule out the
> > possibility that the linen was used as a lining for the caftan or
> > hanging dress respectively.  (I keep forgetting what the current
> > standard English term is for the not-an-apron dress.)
>
>
> You're right, they don't rule out that possibility.  Though Hagg's
analysis of
> some of the finds suggest that at least some caftans were lined with
silk--a
> detail I've always found hard to accept in light of the evidence that silk
> was rare enough to be used for trim.
>
> I'm not sure there is a standard English term for the "hanging dress".
Most
> SCA types now call it an "apron dress", for want of a better term.  Some
> people borrow the modern Scandanavian terms "hangerrock" (sorry, I can't
put
> in the proper diacritical marks) or "traggerock."


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I definitely wouldn't want you to sneak photos on my behalf!  But thanks for 
letting us know about the neat stuff they have.

-E House 

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Just to say sorry, as I noticed when I got my last digest that I hadn't 
changed the titles -  (sorry).

See, like I said - head - screwed on!

Debbie
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Bjarne wrote:
> There was also a film i liked called The company of the Warewolf, or 
> something like that. French but two bloody and two much fighting in it. 
> Costumes are very nice though.

If it was released only a couple of years ago, you probably mean "Le Pacte 
des Loups", released in the US as "Brotherhood of the Wolf".  You're right 
about the blood and the fighting; it is, more or less, an 18th c martial 
arts movie.  (But I like those...)  And it did have some nice eye candy...
              -Helen/Aidan 

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On Saturday 03 December 2005 8:21 pm, Sue Clemenger wrote:
> The terms I hear/see most often used for that item of clothing around here
> are either "apron gown" or "apron dress."  "Apron gown" more commonly.

I never heard "apron gown" before, though it makes as much sense as anything 
else.


-- 
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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-----Original Message-----
I don't think anyone has questioned the existence of linen outer garments
from the 16th c. on. The only issue I'm aware of (and the one I summarized
in response to the initial query) is whether colored linen was routinely
used for the outer, visible layers of fashionable gowns in medieval
Western Europe.

However, whenever this subject comes up, there's a tendency for the thread
to mutate to the point that some read the statement as somehow applying to
(a) other times, (b) other places, (c) other garments, (d) the use of
linen at all, or (e) the dyeing of linen for any purpose -- none of which
should be at issue.

Honest, folks, I wouldn't have brought it up if someone hadn't asked me
directly why I wasn't intending to use my stash of brightly dyed linen for
medieval clothing -- a very specific question and a very specific answer.

And I'm still wondering when the strongly-dyed stuff would have become
available and fashionable! I'm thinking that I'd better use the
cranberry-colored length for a modern dress...

--Robin

I am glad that I asked why not. Though the issue wavers off the beaten path
I have come to understand why you and some others do not use dyed linen for
outerwear.
My perspective is that linen degrades faster then wool and therefore is one
of the reasons that extent garments made of linen have not been found yet in
the Medieval Western Europe. You also have the garments used until rags and
then sometimes became paper.
Anyhow, this has been an interesting and informative discussion.
Thank you,
De


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Hi!

> http://slumberland.org/moodle/mod/forum/discuss.php?d=864
> 
> I'd like to know the name of the dark grey/white piece on the 
> woman in the second photo. It covers her head and shoulders.

It's a hood, or medieval hood. Sometimes it's called a lirpipe (sp?) if there is a long tail hanging off the back of the head. Though that term mutates to mean a (usually man's) rolled hat with a tail hanging down.

If you need a pattern Medieval Miscellanea has an easy one. If you want a very period pattern the pattern chapter of the Museum of London _Clothing and Textiles_ has one.

Hope that helps!
	-sunny


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Date: Sat, 03 Dec 2005 20:28:33 -0800
To: Historical Costume <h-costume@indra.com>
From: Joan Jurancich <joanmj@surewest.net>
Subject: Survival of linen vs. wool, was RE: [h-cost] Re: What periods
	for these fabrics?/17th c. linen outer garments
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At 07:36 PM 12/3/2005, you wrote:
>[snip]
>I am glad that I asked why not. Though the issue wavers off the beaten path
>I have come to understand why you and some others do not use dyed linen for
>outerwear.
>My perspective is that linen degrades faster then wool and therefore is one
>of the reasons that extent garments made of linen have not been found yet in
>the Medieval Western Europe. You also have the garments used until rags and
>then sometimes became paper.
>Anyhow, this has been an interesting and informative discussion.
>Thank you,
>De

The issue is not that linen degrades faster than wool, but that the 
two fabrics survive under different conditions.  What preserves wool 
(acidic conditions like the bog burials) literally dissolves linen; 
what preserves linen (basic, anaerobic conditions, like the Swiss 
lake deposits), destroys wool.  About the only way both would survive 
would be to find them in extremely dry, arid conditions (which could 
be from a hot dry climate, like Egypt, or a cold dry climate, like 
Urumchi) or in frozen sites, like some of the fantastic sites in 
Mongolia (can't remember the names offhand, and the books have hidden 
themselves).


Joan Jurancich
joanmj@surewest.net 

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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: RE: [h-cost] Re: What periods for these fabrics?/back to medieval
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On Sat, 3 Dec 2005, otsisto wrote:

> I am glad that I asked why not. Though the issue wavers off the beaten
> path I have come to understand why you and some others do not use dyed
> linen for outerwear.

> My perspective is that linen degrades faster then wool and therefore
> is one of the reasons that extent garments made of linen have not been
> found yet in the Medieval Western Europe. You also have the garments
> used until rags and then sometimes became paper.

I wouldn't base the assumption just on the archaeological evidence, for
exactly that reason -- not nearly enough scope of survivals to generalize
about most things, not just this point.

But the documentary evidence -- wills, inventories, sales records,
domestic manuals, sumptuary laws, guild regulations, shipping records,
letters, literature, poetry, chronicles, legal cases -- paint a pretty
clear picture of what fibers are being made, sold, and used, and for what
purposes. I place a lot of faith in these! There's loads of linen
mentioned in these documents, but it generally appears in household and
industrial uses, as well as very specific clothing uses such as underwear,
caps, aprons, eccesiastical garments. References to fashionable/everyday
clothing are overwhelmingly to wool, wool, wool (for all classes) and some
silk (for the wealthy), and occasional blends that might have been part
linen or cotton in cases, but otherwise wool or silk.

--Robin




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De wrote:
"My perspective is that linen degrades faster than wool and therefore is
one of the reasons that extant garments made of linen have not been
found yet in the Medieval Western Europe. "

I don't think that's true. Some of the oldest clothing in existence is
linen from Egyptian tombs. Environmental conditions have more to do with
whether a textile is preserved than the fiber it's made of.

Kim


_

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	some input)
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You aren't alone! 
:-D
stilskin@netspace.net.au wrote:

>Jeeze, I gotta start reading more goodly...at first I thought it said Nose 
>Garb...
>
>-C.
>
>  
>

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Watch out!  I inadvertently opened my Secret Santa gift yesterday 
assuming it was something I had ordered and forgotten about.  (Yes it 
happens to me all to often).
It might be advisable to write "do not open till x mass" or "H-Costume 
Secret Santa" on your outer package.  Also, unfortunately mine wasn't 
wrapped and the accompanying note described the enclosed, absolutely 
beautiful, and beautifully crafted gift.  So if you are like me and want 
to be surprised on Christmas morning be careful opening packages in the 
next few weeks! 

I won't reveal my Santa or the nature of the gift until after 
Christmass, but needless to say this was a great idea and a lot of fun 
on both the giving and receiving end for me!  To my Secret Santa-please 
don't take this as criticism-I love what you have sent me and just 
wanted to caution others. :-*

Sg



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From: "Sue Clemenger" <mooncat@in-tch.com>
To: "Historical Costume" <h-costume@indra.com>
References: <Pine.LNX.4.10.10512021441350.19315-100000@shell.nightowl.net><200512031713.50859.cathy@thyrsus.com><004101c5f871$1b492ae0$79bfa6d8@pavilion>
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Subject: Re: [h-cost] What periods for these fabrics? (long)
Date: Sun, 4 Dec 2005 06:54:15 -0700
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SCA regionalism, I'm guessing.  Local custom/usage doesn't refer to the
other articles of clothing as a "dress," either, but as a "gown/undergown"
(women) or "tunic/undertunic" (both genders).
--Sue

----- Original Message -----
From: "Catherine Olanich Raymond" <cathy@thyrsus.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Saturday, December 03, 2005 8:34 PM
Subject: Re: [h-cost] What periods for these fabrics? (long)


> On Saturday 03 December 2005 8:21 pm, Sue Clemenger wrote:
> > The terms I hear/see most often used for that item of clothing around
here
> > are either "apron gown" or "apron dress."  "Apron gown" more commonly.
>
> I never heard "apron gown" before, though it makes as much sense as
anything
> else.
>
>
> --
> 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
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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As sundays usually are quiet here, i dont think you would mind me for 
showing you the finished sleaves for the yellow dress.
They ended up being excactly as i wanted them.
http://www.my-drewscostumes.dk/chenillestumpwork.htm
At the bottom.............

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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As usual-beautiful work.  I have a question.  It looks like you chose to 
allow the edge of the sleeve to fray a little under the white trim.  Did 
you do anything to stop the fraying past a certian point?  I guess the 
sewing on the trim would stop it huh?

Bjarne og Leif Drews wrote:

> As sundays usually are quiet here, i dont think you would mind me for 
> showing you the finished sleaves for the yellow dress.
> They ended up being excactly as i wanted them.
> http://www.my-drewscostumes.dk/chenillestumpwork.htm
> At the bottom.............
>
> Bjarne
>

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To: Historical Costume <h-costume@indra.com>
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Subject: Re: [h-cost] finished sleaves
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At 07:41 AM 12/4/2005, you wrote:
>As sundays usually are quiet here, i dont think you would mind me 
>for showing you the finished sleaves for the yellow dress.
>They ended up being excactly as i wanted them.
>http://www.my-drewscostumes.dk/chenillestumpwork.htm
>At the bottom.............
>
>Bjarne

As usual, very pretty, Bjarne!  Very inspiring.

All these lovely embroidered clothes are encouraging me to get a 
slate frame to use for future Elizabethan clothing.  I just need to 
decide how big it needs to be.


Joan Jurancich
joanmj@surewest.net 

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Mind?  You have got to be kidding.  We love to see your beautiful work. I can't even begin to imagine how many hours you have spent on this fabulous gown.  You are a true artist and I feel privileged to see your work in such detail.  Thank you so much for sharing!!

Lalah, Never give up, Never surrender

--- "Bjarne og Leif Drews" <drewscph@post12.tele.dk> wrote:
From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
Date: Sun, 4 Dec 2005 16:41:27 +0100
To: <h-costume@indra.com>
Subject: [h-cost] finished sleaves
As  sundays usually are quiet here, i dont think you would mind
me for
showing you the finished sleaves for the yellow dress.
They ended up being excactly as i wanted them.
http://www.my-drewscostumes.dk/chenillestumpwork.htm
At the bottom.............
Bjarne
Leif og Bjarne Drews
www.my-drewscostumes.dk
http://home0.inet.tele.dk/drewscph/
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Subject: [h-cost] 18th & 19th Century corset questions
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We went to Phoenix Art Museum yesterday to see their history of lingerie 
exhibit.  They have an early American (1780) corset on display that has 
a feature I have a question about.  The corset laces up the back, but 
across the front (now only on the point mostly) there are some very fine 
cords laced at very close distances (~3 mm) to one another.  You can see 
that they extended all the way up the front at one time.  The cord is a 
little thicker than upholstery thread and has been drawn through the 
fabric with a needle.  The holes are not reinforced in anyway so I 
assume it didn't take much stress. 


Also in several areas on this corset and one from the 1890's there are 
areas up near the bustline where there are threads about 2 inches long 
which almost look like warp threads that have been purposely left out of 
the weaving.  I am not sure how they do this because these threads run 
at a diagonal.  On the later corset there are two sets which cross each 
other.  They are the same plain white as the rest of the corset...I 
wonder if they had a function.  On a corset of an even later period they 
appear as decorations in a contrasting color in "X's" here and there.  
The literature says they thought those were sexy???

Any thoughts?

Sg
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Subject: [h-cost] Elizabethan Ladies 'offices'?
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Can any of you direct me to a text which might discuss in some detail 
the offices of maids of honor, ladies in waiting, privy and bedchambers 
in some detail?

Thanks
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Date: Sun, 4 Dec 2005 09:07:02 -0800 (PST)
Subject: Re: [h-cost] 18th & 19th Century corset questions
From: "Diana Habra" <dch@inreach.com>
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> We went to Phoenix Art Museum yesterday to see their history of lingerie
> exhibit.  They have an early American (1780) corset on display that has
> a feature I have a question about.  The corset laces up the back, but
> across the front (now only on the point mostly) there are some very fine
> cords laced at very close distances (~3 mm) to one another.  You can see
> that they extended all the way up the front at one time.  The cord is a
> little thicker than upholstery thread and has been drawn through the
> fabric with a needle.  The holes are not reinforced in anyway so I
> assume it didn't take much stress.

Maybe the lady did it because she got pregnant and needed more "room". 
Then she stitched it back together afterward?  Just a guess...

Diana

www.RenaissanceFabrics.net
"Everything for the Costumer"

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Is there a print catalog for that exhibit?

Thanks,

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

WickedFrau wrote:

> We went to Phoenix Art Museum yesterday to see their history of 
> lingerie exhibit. 


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Subject: Re: [h-cost] 18th & 19th Century corset questions
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     There is something we see on some stays of the 1780s and 90s - the
functional lacing is in back, and there is a lacing with smaller
holes (less reinforcement on the holes) from the waist up.  It looks
like a bustline adjustment, but some of them are lined so you really
can't adjust it.

     Diderot shows pregnancy stays that are back lacing, with additional
laced openings from the bottom to within an inch or so of the
armscye.  It's for adjustment, and I have not seen a set of extant
stays made that way to know if the lacing holes are reinforced.

     It seems that the reinforcement is needed for the every day lacing
holes - having a cord or tape dragged through them every time you put
them on.  Adjustment lacings are just that - occasionally adjusted,
but not unlaced each time.

     Does that fit with what you saw?

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How is a slate frame used?

Joan Jurancich wrote:

>
> All these lovely embroidered clothes are encouraging me to get a slate 
> frame to use for future Elizabethan clothing.  I just need to decide 
> how big it needs to be.
>

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Absolutely gogeous, Bjarne! Yellow usually isn't a color I like, but in this case I'd make an exception.

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aquazoo@patriot.net wrote:

>
>     Does that fit with what you saw?
>
That could be.   They were so tiny and close together. 

>Lavolta Press wrote: Is there a print catalog for that exhibit?
>Unfortuanaly there is no catalog, but I know the curator personally.  Maybe I could go see it and take some photos up close.
>


>Maybe the lady did it because she got pregnant and needed more "room". 
>Then she stitched it back together afterward?  Just a guess...
>
>Diana
>  
>
Well, except the back looked way too high and broad....



Sg

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Hi Saragrace,
The warp threads as you describes are stitched on. Some corsets had 
horizontal boning to make shape, and the stitching of these bone channels 
are visible at the front part of the stays.
The lacing you have seen on the front is purely decorative, for the looks.
The x stiches also are made for decorative purpose, but they also help to 
reinforce the stays.

Bjarne
----- Original Message ----- 
From: "WickedFrau" <wickedfrau@msn.com>
To: <h-costume@indra.com>
Sent: Sunday, December 04, 2005 5:37 PM
Subject: [h-cost] 18th & 19th Century corset questions


> We went to Phoenix Art Museum yesterday to see their history of lingerie 
> exhibit.  They have an early American (1780) corset on display that has a 
> feature I have a question about.  The corset laces up the back, but across 
> the front (now only on the point mostly) there are some very fine cords 
> laced at very close distances (~3 mm) to one another.  You can see that 
> they extended all the way up the front at one time.  The cord is a little 
> thicker than upholstery thread and has been drawn through the fabric with 
> a needle.  The holes are not reinforced in anyway so I assume it didn't 
> take much stress.
>
> Also in several areas on this corset and one from the 1890's there are 
> areas up near the bustline where there are threads about 2 inches long 
> which almost look like warp threads that have been purposely left out of 
> the weaving.  I am not sure how they do this because these threads run at 
> a diagonal.  On the later corset there are two sets which cross each 
> other.  They are the same plain white as the rest of the corset...I wonder 
> if they had a function.  On a corset of an even later period they appear 
> as decorations in a contrasting color in "X's" here and there.  The 
> literature says they thought those were sexy???
>
> Any thoughts?
>
> Sg
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Hi Debbie,
Now i understand. Many thanks for your informations.
You know we call this paper silk paper in Denmark because the ships that 
carried silks from china had them wrapped with this paper.

Bjarne


----- Original Message ----- 
From: <Debloughcostumes@aol.com>
To: <h-costume@indra.com>
Sent: Saturday, December 03, 2005 5:43 PM
Subject: [h-cost] Re: h-costume Digest, Vol 4, Issue 773


> In a message dated 12/3/05 1:05:25 PM GMT Standard Time,
> h-costume-request@indra.com writes:
>
>> Rats- my dictionary stinks. It doesnt have the word "tissue paper".
>> Is this the same as Kitchen Rolls are made of?
>> Because i got the advise to use this on hoop frames, when embroidering,
>> cover the edge with this paper to protekt from dirt.
>
> No, it's not kitchen paper - it's the stuff that expensive clothes, and
> breakable things (china, etc) are wrapped in when you buy them (in the UK 
> at
> least).
>
> Picture here:
> http://www.morplan.com/ProductDisplay/Acid%20Free%20Tissue/84320/16251/656590
>
> The reason to use tissue is that you can use a sheet and treat it as one 
> with
> the fabric when putting it in the hoop, then tear away the middle bit, so
> that the work area is uncovered but the edges are still protected.
>
> But as long as you were careful when cutting away the middle bit, I don't 
> see
> why you couldn't use calico.  Or even kitchen paper for that matter.
>
> The main thing is to have something reasonably soft to stop the hoop 
> making
> marks on the fabric, (which it does because the tightness of the grip). 
> Also,
> if you're not using a stand, if you leave a bit of the protective material
> overlapping the edge where you're holding the frame it'll help to reduce 
> the dirt
> from your fingers that gets onto the work, thereby meaning less cleaning 
> when
> you're finished of course.
>
> Debbie.
>
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From: Gail & Scott Finke <gailscott@eos.net>
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Bjarne:

Those sleeves are so perfectly sweet! I wish that just once in my life I
could wear such a beautiful thing.

Gail Finke

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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: Re: [h-cost] Re: bjarne's sleeves
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Hi Gail,
Thanks a lot, well yes i like them as well. I hope the lady i make it for, 
will remember to send me a picture with the dress. You know, i have made for 
many people now, but the only person who actually kept their promise was the 
wedding dress i made for Xenia,
It is quite another story to see it on a real person.
Unfortunately i cant work as speedy as i used to, also because of the winter 
season. When i get home from work its dark, and i am tired and dont have 
energy to pick up the work. So i only gets to make something of the dress in 
weekends. But now i have made the bodice with lining and pleated the back of 
the dress, so there is not long way till it is finished...........
Baught some books with purses and bags, boy you just waite till i have 
sended this dress away, bags and purses are going to be made..............
Bjarne

----- Original Message ----- 
From: "Gail & Scott Finke" <gailscott@eos.net>
To: <h-costume@indra.com>
Sent: Sunday, December 04, 2005 8:52 PM
Subject: [h-cost] Re: bjarne's sleeves


>
> Bjarne:
>
> Those sleeves are so perfectly sweet! I wish that just once in my life I
> could wear such a beautiful thing.
>
> Gail Finke
>
> _______________________________________________
> 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] Elizabethan Ladies 'offices'?
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Nope, but I'd sure enjoy lurking if someone else does!
--Sue

----- Original Message ----- 
From: "WickedFrau" <wickedfrau@msn.com>
To: <h-costume@indra.com>
Sent: Sunday, December 04, 2005 9:38 AM
Subject: [h-cost] Elizabethan Ladies 'offices'?


> Can any of you direct me to a text which might discuss in some detail 
> the offices of maids of honor, ladies in waiting, privy and bedchambers 
> in some detail?


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Oh, I'm a 100% with you on that wish, Gail.  I'm not a "pretty clothes" sort
of person, generally, and certainly don't have a physique that would do such
a gown justice, but oh, it's beautiful.  I'd think anyone wearing such a
dress couldn't help but feel like a queen.
--Sue in snowy Montana, sighing in envy.....

----- Original Message -----
From: "Gail & Scott Finke" <gailscott@eos.net>
To: <h-costume@indra.com>
Sent: Sunday, December 04, 2005 12:52 PM
Subject: [h-cost] Re: bjarne's sleeves


>
> Bjarne:
>
> Those sleeves are so perfectly sweet! I wish that just once in my life I
> could wear such a beautiful thing.
>
> Gail Finke


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At 07:13 AM 12/3/2005, you wrote:
>http://slumberland.org/moodle/mod/forum/discuss.php?d=864
>
>I'd like to know the name of the dark grey/white piece on the woman 
>in the second photo. It covers her head and shoulders.
>
>
>I'd be interested in making something similar for modern wear, but I 
>have no idea what it's called in order to look for other examples 
>and/or patterns.
>
>thanks!

Yes, as Ro and Sunny said, it is a hood/mantle.  It kpredates the 
first picture in most paintings, and is usually seen on women.  The 
ones without buttons are the ones seen on men.  I think it has to do 
with the fact that a woman would not want to pull a hood over her 
hair, while a man would be less concerned with messing up his locks.

Genie 


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As I mentioned recently, I have this nice collection of vintage materials - 
most of which are barely indexed and none really catalogued.  So I'm trying 
to figure out a way to get most of this stuff into a form that would be 
useful.

This is a test page.

Note that if this were the real thing, they'd all have pictures.

http://www.personal.utulsa.edu/~marc-carlson/Rushmore/Rushmore.htm

I'd appreciate any suggestions.

marc


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To: Historical Costume <h-costume@indra.com>
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Subject: Re: [h-cost] Elizabethan Ladies 'offices'?
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At 08:38 AM 12/4/2005, you wrote:
>Can any of you direct me to a text which might discuss in some 
>detail the offices of maids of honor, ladies in waiting, privy and 
>bedchambers in some detail?
>
>Thanks

I'm not aware of any single text that lays out this sort of 
information.  From what information I have seen, there is a great 
deal of overlap amongst the duties of the various 
"offices".  Basically, the maids of honor are young women of gentle 
or noble birth (sometimes as young as 14) who tend to the more public 
services; for example, carrying the Queen's prayer book when 
accompanying her to chapel, carrying her cup, serving at meals, 
etc.  The maids of honor were often placed at court to find a husband 
(always tricky since the Queen considered all of her ladies and 
gentlewomen part of her "family" and disliked changes; her permission 
was needed to allow the young woman to marry). They were also 
expected to be able to read (aloud), dance, sing, and play musical 
instruments; these skills were useful in providing entertainment for 
the Queen in her own chambers.  Ladies in waiting (noblewomen, 
married or widowed) and gentlewomen in waiting (of gentle but not 
noble birth, some unmarried, some married) provided more personal 
services in the Queen's bedchamber (the most private) and the privy 
chamber (the first public chambers; the Queen often met with 
ambassadors there).  They would get her up in the morning, help her 
dress, do her hair, put on makeup, etc.  At various times, different 
ladies would be assigned as record keepers for jewels, books, some 
clothes, etc.  However, there were no rigid lines between the various 
tasks performed by the various offices.

Some of the sources I have found useful are Queen Elizabeth's 
Wardrobe Unlock'd, the many biographies of Elizabeth I, Wives and 
Daughters, and any references that discuss the organization of the 
Court under the Tudors.

If anyone does find other useful sources, I'd love it if they would 
post them here.


Mistress Blanche Parry, chief Gentlewoman to the Queen [GoSGN]
aka Joan Jurancich
joanmj@surewest.net 

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From h-costume-bounces@indra.com  Sun Dec  4 18:29:27 2005
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Subject: [h-cost] My Sunday afternoon with Stanley
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Okay, here's a tip for anyone in Melbourne, Australia, before January 9:

ACMI (Australian Centre for Moving Image) is staging a Stanley Kubrick 
retrospective including props, costumes, scripts, notes, sketches and clips 
ranging from 
making-ofs to movie scenes.

Included in the display are:

Olivier's white armour from Spartacus (they had sewing machines in ancient 
Rome?);

Senator's costume from Spartacus (with some interesting moth-hole patching);

A selection of frock coats and gowns from Barry Lyndon (including a redcoat 
uniform had some interesting "repair" distressing here and there);

Hooded Cape and masks from Eyes Wide Shut;

Full ape, an ape mask, silver spacesuit and pack, and red space helmet from 
2001;

"Born to Kill" army helmet; and

Plenty of others from the movies.

There are lots of props, costume accessories, original costume sketches, 
reproductions of several costumes including Clockwork Orange pieces, set models 
(the miniature of the centrifuge still works!), and a great look at the 
obsessive research the director undertook (5 foot tall stack of books on 
Napoleon for an unrealised project, for instance, along with dozens of 
Empire/Regency sketches).

The nice thing about the displays is most are on podiums, not behind glass so 
you can get your nose right up to them so long as you do not touch.

The display is in conjuction with a couple of collections including Kubrick's 
estate so there are some hard-to-see inclusions.

I know, I know, you'd prefer a considered review but hell, it's Monday morning 
and I am too busy avoiding clients to be in one place for too long. Maybe one 
day - - -


-C.


------------------------------------------------------------
This email was sent from Netspace Webmail: http://www.netspace.net.au

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Absolutely gorgeous!!

  Message: 6
Date: Sun, 4 Dec 2005 16:41:27 +0100
From: "Bjarne og Leif Drews" 
Subject: [h-cost] finished sleaves

As sundays usually are quiet here, i dont think you would mind me for 
showing you the finished sleaves for the yellow dress.
They ended up being excactly as i wanted them.
http://www.my-drewscostumes.dk/chenillestumpwork.htm
At the bottom.............

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

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

		
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From: "Elizabeth Walpole" <ewalpole@tpg.com.au>
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----- Original Message ----- 
From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: <h-costume@indra.com>
Sent: Monday, December 05, 2005 2:41 AM
Subject: [h-cost] finished sleaves


> As sundays usually are quiet here, i dont think you would mind me for 
> showing you the finished sleaves for the yellow dress.
> They ended up being excactly as i wanted them.
> http://www.my-drewscostumes.dk/chenillestumpwork.htm
> At the bottom.............
>
> Bjarne
>

Wow! I can't wait to see the end result. Looking at such beautiful work 
makes me wish I had the patience for that sort of embroidery, but I can't 
even do simple blackwork because I get bored halfway through and put it away 
in a box for months on end. Making a dress is different I can see the 
results much faster and it's too big to be put in a box and forgotten.
Elizabeth
--------------------------------------------
Elizabeth Walpole
Canberra Australia
ewalpole[at]tpg.com.au
http://au.geocities.com/e_walpole/

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Wow.  That has got to be one of the most beautiful gowns I have ever seen!
I can't wait to see it finished!

XxX,
Traci
----- Original Message ----- 
From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: <h-costume@indra.com>
Sent: Monday, December 05, 2005 2:41 AM
Subject: [h-cost] finished sleaves


> As sundays usually are quiet here, i dont think you would mind me for
> showing you the finished sleaves for the yellow dress.
> They ended up being excactly as i wanted them.
> http://www.my-drewscostumes.dk/chenillestumpwork.htm
> At the bottom.............

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To: Historical Costume <h-costume@indra.com>
From: Joan Jurancich <joanmj@surewest.net>
Subject: Re: [h-cost] Just for fun...
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At 02:45 PM 12/4/2005, you wrote:
>As I mentioned recently, I have this nice collection of vintage 
>materials - most of which are barely indexed and none really 
>catalogued.  So I'm trying to figure out a way to get most of this 
>stuff into a form that would be useful.
>
>This is a test page.
>
>Note that if this were the real thing, they'd all have pictures.
>
>http://www.personal.utulsa.edu/~marc-carlson/Rushmore/Rushmore.htm
>
>I'd appreciate any suggestions.
>
>marc

It looks pretty good so far.  It would be useful to be able to search 
by dates and by type of item.


Joan Jurancich
joanmj@surewest.net 

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Bjarne-
Magnificent, as always.
               -Helen/Aidan

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Subject: Re: [h-cost] re:ironing/pressing
Date: Sun, 4 Dec 2005 21:58:45 -0500
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I am a bit behind with this thread, but besides the ordinary press cloth,
there are some new tech stuff that helps to handle the pressing needs of
contemporary fibers.  All of these I originally discovered in the Clotilde
catalogue.
1.  A teflon pressing sheet about 14x24".  This is wonderful if you are
trying to use any of the bonding fibers.  It will take  a fairly high heat.
(Be sure and not store it absentmindedly with other heaps of Plastic)
2.  There is a nylon(?) or maybe teflon mesh sheet about the same size as
the above item.  It is bound in blue, but looks something like a mesh
laundry bag for delicate.  This is a favorite for wools, rayon crepes, other
delicate fabrics like  polychiffon. It allows you to see exactly what you
are trying to press, prevents shininess or scorching.
3.A special cloth for press ing trousers or such is a treated cloth that
looks like any odd piece of cotton broadcloth but helps especially when
changing press lines on hems.

Kathleen

----- Original Message ----- 
From: <joy@c17th.org>
To: <h-costume@indra.com>
Sent: Thursday, December 01, 2005 7:12 AM
Subject: [h-cost] re:ironing/pressing


>
> Hello,
> I've had good results ironing wool using a square of damp lightweight
cotton
> over the top. I keep pieces of old sheets for the purpose. Also stops the
> fabric going shiny.
> I love ironing, especially linen!
> regards
> Joy
>
> _______________________________________________
> 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] favourite fairy /christmass movie
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----- Original Message ----- 
From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: <h-costume@indra.com>
Sent: Friday, December 02, 2005 6:42 AM
Subject: [h-cost] favourite fairy /christmass movie


> Hi,
> Have any of you seen the checkoslovakian movie with Cinderella and the 3
> magic nuts?'
> This is my favourite movie i watch each christmass. I love the costumes in
> it also, even they are fairy tale like, they have a touch of eastern
europe
> fashions two.
> Cinadarella is wearing such a lovely cloak with a deep pointed hood when
she
> goes to the ball, that is the most wonderfull i ever saw, strange that it
> wasnt a fashion made that way.
>
> Bjarne
>
>
>
>
>
> Leif og Bjarne Drews
> www.my-drewscostumes.dk
>
> http://home0.inet.tele.dk/drewscph/
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>

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Subject: [h-cost] commercial serger use
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Hi folks,
	I've just spent over an hour searching (google, A9, wiki, Jeeves...) to 
find information on when sergers began. I'm looking to find how early 
the common use of serging for off-the-rack clothing would be. I found 
lots on the history of the standard sewing maching, but zippo on 
sergers/overlockers. anybody run across this?

	Thanks in advance,
	Judy Mitchell
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From: "Carolann Schmitt" <cschmitt@genteelarts.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] commercial serger use
Date: Sun, 4 Dec 2005 22:37:18 -0500
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It's older than you think!

Here's one source from one of the pioneers:  http://www.merrow.com/

>From the Smithsonian:
http://www.sil.si.edu/DigitalCollections/Trade-Literature/Sewing-Machines/CF
/single-record.cfm?AuthorizedCompany=Merrow%20Machine%20Company

The terms serger and overlock are generally used for home sewing, not
commercial production.

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




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Hi, Roscelin. You might want to try and contact the Companie of Saynte 
George, since they put the book together based on their research on 15th 
cent. clothing. They are nice folks as well as top notch reenactors and 
researchers. Cheers, Mike T.

roscelinlimoges@comcast.net wrote:

>  I need help with a coat  from a book.  The book is "The Medieval Soldier"
>  
>
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Carolann Schmitt wrote:
> It's older than you think!
> 
> Here's one source from one of the pioneers:  http://www.merrow.com/
> 
>>From the Smithsonian:
> http://www.sil.si.edu/DigitalCollections/Trade-Literature/Sewing-Machines/CF
> /single-record.cfm?AuthorizedCompany=Merrow%20Machine%20Company
> 
> The terms serger and overlock are generally used for home sewing, not
> commercial production.

	very interesting! Hmm, Merrow is saying early to mid- 1920s. I had 
wanted to write the Husqvarna company about when they started 
(especially since I'm particularly interested in Sweden), but they have 
no contact info and just want you to contact your local distributor 
(who, esp over here) won't have a clue to the answer!

	Thanks.
	-Judy Mitchell
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Judy Mitchell wrote:
> Carolann Schmitt wrote:
> 
>> It's older than you think!
>>
>> Here's one source from one of the pioneers:  http://www.merrow.com/
>>
>>> From the Smithsonian:
>>
>> http://www.sil.si.edu/DigitalCollections/Trade-Literature/Sewing-Machines/CF 
>>
>> /single-record.cfm?AuthorizedCompany=Merrow%20Machine%20Company
>>
>> The terms serger and overlock are generally used for home sewing, not
>> commercial production.
> 
> 
>     very interesting! Hmm, Merrow is saying early to mid- 1920s. I had 
> wanted to write the Husqvarna company about when they started 
> (especially since I'm particularly interested in Sweden), but they have 
> no contact info and just want you to contact your local distributor 
> (who, esp over here) won't have a clue to the answer!

Well, the local dealers might know more than you think. A long time ago, 
when I worked for a store selling both Viking and Bernina, we had to 
learn the history of our respective brands. I attempted to sell Bernina 
(only lasted a week or two but managed to sell myself on them)
Of course, the history lessons might have been peculiar to that store.

liz young

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Was the film 'Company of Wolves', Bjarne? 
regards
Joy
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Coming late into this discussion, I was going to say that my Swedish dictionary gives "silkespapper" for "tissue paper". Interesting to know the reason for the name.

Kate Bunting
Librarian and 17th century reenactor

>>> drewscph@post12.tele.dk 04/12/2005 19:53 >>>
Hi Debbie,
Now i understand. Many thanks for your informations.
You know we call this paper silk paper in Denmark because the ships that 
carried silks from china had them wrapped with this paper.

Bjarne


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In a message dated 12/4/2005 10:51:56 P.M. Eastern Standard Time,  
judymitch@theoldforest.net writes:

but they  have 
no contact info and just want you to contact your local distributor  
(who, esp over here) won't have a clue to the answer!
Maybe not, but they might know how to contact the "home office."  Our  local 
Bernina dealer was very knowledgeable and had even been to the Bernina  plant 
in Switzerland several times.
 
Ann Wass
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Is there a charity in your area that could use the fabric---perhaps to make quilts? Or a school, for art projects?  I too have trouble throwing away any but the smallest scraps!


----- Original Message ----- 
  From: E House<mailto:formfunc@formfunction.org> 
  To: Historical Costume<mailto:h-costume@indra.com> 
  Sent: Saturday, December 03, 2005 2:10 PM
  Subject: Re: [h-cost] Re: What periods for these fabrics?/17th c. linenoutergarments



  -E House
  (Still hasn't figured out a way to reasonably dispose of the 10yr-50yr old 
  cloth inherited from g'ma-in-law, which is ugly and smelly but has to be 
  really useful to someone, somewhere....) (The cloth, not the grandma.) 

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In a message dated 12/5/2005 6:27:15 A.M. Eastern Standard Time,  
nancy_kiel@hotmail.com writes:

Still  hasn't figured out a way to reasonably dispose of the 10yr-50yr old 
cloth inherited from g'ma-in-law, which is ugly and smelly but has to be  
really useful to someone, somewhere....) (The cloth, not the  grandma.) 



I know this is a huge job, but you might consider taking pieces and making  
some kind of quilt for yourself, to preserve the memories.  Putting the  fabric 
out to air might help the smell.  And sometimes, individually ugly  fabrics 
make up quite nicely in quilts.
 
Some of what you have might not be useful to anybody--I'm thinking if there  
are polyester knits from the '60s for example--except as samples.  But if  
there are cotton prints, I imagine a quilters' group would like them.
 
I've been going through my stash recently and weeding out all kinds of  
things--I used to work at two fabric stores.  Mostly I take it to our local  thrift 
store, where they do bag up fabric pieces to sell. A very few pieces I  can 
offer to individuals.  I gave pieces of cotton prints to a quilter for  
Christmas last year.
 
Ann Wass
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At 11:24 05/12/2005, you wrote:
>Is there a charity in your area that could use the fabric---perhaps 
>to make quilts? Or a school, for art projects?  I too have trouble 
>throwing away any but the smallest scraps!


My local centre for the less able (!) is glad of scraps and odd 
buttons and scraps of lace, braid and so on for their craft projects, 
as is my local junior school (5-11 years.)

Suzi


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To: "Historical Costume" <h-costume@indra.com>
References: <Pine.LNX.4.10.10512031121500.28848-100000@shell.nightowl.net><003301c5f83e$70237580$8d00a8c0@compaqub>
	<BAY20-DAV990868A5154B46BF0D319E0410@phx.gbl>
Subject: Re: [h-cost] Re: Disposing of fabric
Date: Mon, 5 Dec 2005 07:05:22 -0500
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And don't forget your local Senior Citizen center.  They often have projects
going that use a wide variety of scraps. Or assisted senior care facilities.
Ours locally have a craft room that need to be "fed" on a regular basis. The
art teacher at a local elementary school is always asking for my scraps that
she uses on a variety of textile projects.

Kathleen

----- Original Message ----- 
From: "Nancy Kiel" <nancy_kiel@hotmail.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Monday, December 05, 2005 6:24 AM
Subject: Re: [h-cost] Re: Disposing of fabric


Is there a charity in your area that could use the fabric---perhaps to make
quilts? Or a school, for art projects?  I too have trouble throwing away any
but the smallest scraps!


----- Original Message ----- 
  From: E House<mailto:formfunc@formfunction.org>
  To: Historical Costume<mailto:h-costume@indra.com>
  Sent: Saturday, December 03, 2005 2:10 PM
  Subject: Re: [h-cost] Re: What periods for these fabrics?/17th c.
linenoutergarments



  -E House
  (Still hasn't figured out a way to reasonably dispose of the 10yr-50yr old
  cloth inherited from g'ma-in-law, which is ugly and smelly but has to be
  really useful to someone, somewhere....) (The cloth, not the grandma.)

  _______________________________________________
  h-costume mailing list
  h-costume@mail.indra.com<mailto:h-costume@mail.indra.com>

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From: "Lloyd Mitchell" <rmitchell@washjeff.edu>
To: "Historical Costume" <h-costume@indra.com>
References: <001901c5f746$fc7d7920$7c83fea9@CPQ21932199711>
Subject: Re: [h-cost] extra stomacher
Date: Mon, 5 Dec 2005 08:46:49 -0500
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I finally had time to look at the progress journal on this Gorgeous dress!
Thank you for sharing it.  I have friends and family who are not on the List
and they too wait for the updates!!
Not having the time to make the individual blooms as you are doing, I have
been developing heavy texture designs for my stomachers with some of the
commercial chenilles and other fibers and ribbon flowers that are being used
to make the 'funfur' assessories that are currently popular, here.  Into my
second year developing these designs, your work has been a constant
inspiration!
When I finish the present project, I will try to get it together to share.

Kathleen
----- Original Message ----- 
From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: <h-costume@indra.com>
Sent: Friday, December 02, 2005 8:47 AM
Subject: [h-cost] extra stomacher


> Hi,
> I have started to make an extra stomacher for the yellow dress. I made a
> pattern of my own, and made a serpentine with bullion roses...........
> http://www.my-drewscostumes.dk/chenillestumpwork.htm
>
> Now i am assembling the dress bit by bit, all pieces ready to be put
> together........ ahhhhhhhhhh
>
> Bjarne
>
>
>
>
> Leif og Bjarne Drews
> www.my-drewscostumes.dk
>
> http://home0.inet.tele.dk/drewscph/
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>

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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] commercial serger use
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If this link works, *http://tinyurl.com/deyk5 *there is one towards the 
bottom of the page dated back to 1857.  Is that the one you were 
refering to?
Carolann Schmitt wrote:

>It's older than you think!
>
>Here's one source from one of the pioneers:  http://www.merrow.com/
>
>>From the Smithsonian:
>http://www.sil.si.edu/DigitalCollections/Trade-Literature/Sewing-Machines/CF
>/single-record.cfm?AuthorizedCompany=Merrow%20Machine%20Company
>
>The terms serger and overlock are generally used for home sewing, not
>commercial production.
>
>Carolann Schmitt
>cschmitt@genteelarts.com
>www.genteelarts.com
>Ladies & Gentlemen of the 1860s Conference, March 2-5, 2006
>
>  
>

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	<003d01c5f90f$e7050a20$7c83fea9@CPQ21932199711>
Subject: Re: [h-cost] Re: bjarne's sleeves
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Bjarne, those flowers, how did you learn to make them? Do you have a book 
(in English, French or Spanish) to recommend?  They're really amazing, 
sitting there just on the edge of the fabric... 

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From: Lalah <lalahcatlady@netscape.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Re: Disposing of fabric
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How about a little theatre group?  I have used some truly ugly polyester stuff as a costume for the movie a friend is making.  It isn't historical, but then the movie isn't either.  Some little theatre groups put on plays from the 50's and 60's and the fabric would be great for them.

Lalah, Never give up, Never surrender


--- "Lloyd Mitchell" <rmitchell@washjeff.edu> wrote:

From: "Lloyd Mitchell" <rmitchell@washjeff.edu>
Date: Mon, 5 Dec 2005 07:05:22 -0500
To: "Historical Costume" <h-costume@indra.com>
Subject: Re: [h-cost] Re: Disposing of fabric

And don't forget your local Senior Citizen center.  They often have projects
going that use a wide variety of scraps. Or assisted senior care facilities.
Ours locally have a craft room that need to be "fed" on a regular basis. The
art teacher at a local elementary school is always asking for my scraps that
she uses on a variety of textile projects.

Kathleen

----- Original Message ----- 
From: "Nancy Kiel" <nancy_kiel@hotmail.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Monday, December 05, 2005 6:24 AM
Subject: Re: [h-cost] Re: Disposing of fabric


Is there a charity in your area that could use the fabric---perhaps to make
quilts? Or a school, for art projects?  I too have trouble throwing away any
but the smallest scraps!


----- Original Message ----- 
  From: E House<mailto:formfunc@formfunction.org>
  To: Historical Costume<mailto:h-costume@indra.com>
  Sent: Saturday, December 03, 2005 2:10 PM
  Subject: Re: [h-cost] Re: What periods for these fabrics?/17th c.
linenoutergarments



  -E House
  (Still hasn't figured out a way to reasonably dispose of the 10yr-50yr old
  cloth inherited from g'ma-in-law, which is ugly and smelly but has to be
  really useful to someone, somewhere....) (The cloth, not the grandma.)

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                    Ladies-in-waiting : from the Tudors to the present day / Anne Somerset.    by Somerset, Anne, 1955-    New York : Knopf, 1984.        
   
  I recentlyl read this book about ladies in waiting.  It was OK.  It was really about who they were, rather that what they did.
   
  (I need to know this, because my alter ego is Dappert, the dissolute ladies maid to an earls daughter.  This helps us in Rev War 'cause then we have an excuse to interpret another social class (high, middle, low, we have then all in his majesties 64th of foot.)  And the visitors seem to like discussing the difference in dress and status evident  bewtween the nobility and the washerwomen)
   
  Mia in Charlotte
                   
   
         



			
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: Re: [h-cost] Films
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Hi Joy,
Yes it was, sorry about this.

Bjarne


----- Original Message ----- 
From: <joy@c17th.org>
To: <h-costume@indra.com>
Sent: Monday, December 05, 2005 8:39 AM
Subject: [h-cost] Films


> Was the film 'Company of Wolves', Bjarne? 
> regards
> Joy
> _______________________________________________
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	<7.0.0.16.0.20051204154432.02276340@justinanimator.com>
Subject: Re: [h-cost] name that garment
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I, too, have heard that men's hoods did not button, but last January, I went 
to an exhibit at the Cleveland Museum of Art. There was a Burgundian themed 
exhibit which had some small statues of monks/lay men with hoods/mantles. 
One of them was pulled up and you could see buttons that were on the front 
opening.

Very cool and quite exciting!

kate

----- Original Message ----- 
From: "Genie Barrett" <maggie.gene@justinanimator.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Sunday, December 04, 2005 4:48 PM
Subject: Re: [h-cost] name that garment


> At 07:13 AM 12/3/2005, you wrote:
>>http://slumberland.org/moodle/mod/forum/discuss.php?d=864
>>
>>I'd like to know the name of the dark grey/white piece on the woman in the 
>>second photo. It covers her head and shoulders.
>>
>>
>>I'd be interested in making something similar for modern wear, but I have 
>>no idea what it's called in order to look for other examples and/or 
>>patterns.
>>
>>thanks!
>
> Yes, as Ro and Sunny said, it is a hood/mantle.  It kpredates the first 
> picture in most paintings, and is usually seen on women.  The ones without 
> buttons are the ones seen on men.  I think it has to do with the fact that 
> a woman would not want to pull a hood over her hair, while a man would be 
> less concerned with messing up his locks.
>
> Genie
>
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> 


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Date: Mon, 5 Dec 2005 19:41:20 +0000
To: Historical Costume <h-costume@indra.com>
From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] Just for fun...
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Looks good to me (who knows nothing about research from extant 
materials).  The thing I instantly wanted was a family tree to track who 
the items were made by, and for, and who was making the comment.

Jean


Marc Carlson <marccarlson20@hotmail.com> wrote
>As I mentioned recently, I have this nice collection of vintage 
>materials - most of which are barely indexed and none really 
>catalogued.  So I'm trying to figure out a way to get most of this 
>stuff into a form that would be useful.
>
>This is a test page.
>
>Note that if this were the real thing, they'd all have pictures.
>
>http://www.personal.utulsa.edu/~marc-carlson/Rushmore/Rushmore.htm
>
>I'd appreciate any suggestions.
>
>marc
>
>
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-- 
Jean Waddie
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Subject: RE: [h-cost] Re: Disposing of fabric
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Wash it in Odor Ban. Use for drafts. If sturdy but light weight enough, use
as interfacing.
One dark colored dress that my Grandma made, she use a piece of fabric scrap
from her quilting pile and used it for interfacing the collar.
De

-----Original Message-----
Still  hasn't figured out a way to reasonably dispose of the 10yr-50yr old
cloth inherited from g'ma-in-law, which is ugly and smelly but has to be
really useful to someone, somewhere....) (The cloth, not the  grandma.)



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I echo everyone else's suggestions about places to donate fabric you can't
use. But don't forget -- if it's really fabric that NO ONE wants (or, for
that matter, ripped old clothes and things like that) then both Goodwill and
the Salvation Army sell fabric scrap. So never throw anything fabric away!
Give it where it will be used, even scrap is reusing.

Gail Finke

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WickedFrau wrote:
> If this link works, *http://tinyurl.com/deyk5 *there is one towards the 
> bottom of the page dated back to 1857.  Is that the one you were 
> refering to?
> Carolann Schmitt wrote:


	so... (not having any vintage clothes), how were commercially made 
seams for daily wear clothes treated in the mid-1920s? cut out with 
straight edges or pinked? serged/merrowed or standard? Was Europe any 
different than US? (yeah, full of questions!)
	
	-Judy Mitchell
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Hi.  I have a dress in my collection, presumably commercially made,
from about 1908, that has some serged seams, mainly the side seams as
I recall.  It is a white cotton lingerie dress with lots of lace
insertion.

Katy

On 12/4/05, Judy Mitchell <judymitch@theoldforest.net> wrote:
> Hi folks,
>        I've just spent over an hour searching (google, A9, wiki, Jeeves...) to
> find information on when sergers began. I'm looking to find how early
> the common use of serging for off-the-rack clothing would be. I found
> lots on the history of the standard sewing maching, but zippo on
> sergers/overlockers. anybody run across this?
>
>        Thanks in advance,
>        Judy Mitchell
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>


--
Katy Bishop, Vintage Victorian
vintage@shore.net                www.VintageVictorian.com
     Custom reproduction gowns of the Victorian Era.
      Publisher of the Vintage Dress Series books.

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Hi.  I have a dress in my collection, presumably commercially made,
from about 1908, that has some serged seams, mainly the side seams as
I recall.  It is a white cotton lingerie dress with lots of lace
insertion.

Katy

On 12/4/05, Judy Mitchell <judymitch@theoldforest.net> wrote:
> Hi folks,
>        I've just spent over an hour searching (google, A9, wiki, Jeeves...) to
> find information on when sergers began. I'm looking to find how early
> the common use of serging for off-the-rack clothing would be. I found
> lots on the history of the standard sewing maching, but zippo on
> sergers/overlockers. anybody run across this?
>
>        Thanks in advance,
>        Judy Mitchell
> _______________________________________________
> 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
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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: RE: [h-cost] Re: Disposing of fabric
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On Mon, 5 Dec 2005, otsisto wrote:

> Use for drafts.

I read this, and immediately pictured rolling up a length of fabric and
tucking it around the bottom of the door to my deck, where there's a
draft.

Took me a minute to realize that's *not* the intended reading. 

Must be winter.

--Robin
who woke up to the radio announcing 17 degrees temp outside today, with
wind chill of 9 


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Subject: Re: [h-cost] Re: Disposing of fabric
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In a message dated 12/5/2005 6:02:58 P.M. Eastern Standard Time,  
robin@shell.nightowl.net writes:

I read  this, and immediately pictured rolling up a length of fabric and
tucking it  around the bottom of the door to my deck, where there's  a
draft.

Took me a minute to realize that's *not* the intended  reading. 

Must be winter.




Hey, but that works!
 
We moved in to a rental house in Rhode Island, and noticed that our dryer  
just wasn't working like it should.  That is when we discovered that the  
previous tenants, who must not have had a dryer, had stuffed a pair of shorts  into 
the vent--I guess to keep out drafts! 
 
Ann Wass
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From: "Helen  Pinto" <hpinto@mindspring.com>
To: "Historical Costume" <h-costume@indra.com>
References: <Pine.LNX.4.10.10512051725490.20528-100000@shell.nightowl.net>
Subject: Re: [h-cost] Re: Disposing of fabric
Date: Mon, 5 Dec 2005 18:45:13 -0500
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> On Mon, 5 Dec 2005, otsisto wrote:
> 
>> Use for drafts.
> 
> I read this, and immediately pictured rolling up a length of fabric and
> tucking it around the bottom of the door to my deck, where there's a
> draft.
> 
> Took me a minute to realize that's *not* the intended reading. 


You're not the only one.
          -Helen/Aidan

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From: Thomas Hayman <thomas.hayman@gmail.com>
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Subject: [h-cost] 18th century military jacket pattern
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Hi there, the 18th century has some truly nifty clothes and i decided
i just have to make something. It's likely that this will take a long
time and end up somewhat crap but i'd like to try anyway :-)
I'm looking for a pattern for a coat like this man is wearing.
http://www.gilliesandsaxxon.com/Redcoat.htm
I'm not really sure where to start because i don't know the proper
name for it (redcoat?) and wondered if you fine people could help me
:-)

Thank you for any and all help.
--
Yours sincerely

Thomas Hayman

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Mine go to schools and a couple of self supporting disabled groups - they 
make cushion covers and pin cushions and thing - might be worth seeing if there's 
anything like that near you.
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Date: Mon, 5 Dec 2005 18:31:11 -0600
Subject: Re: [h-cost] 18th century military jacket pattern
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It's called a regimental coat and you can find a pattern for it at :

http://www.patternsoftime.com/cat59a.html

If you look thru their pattern listings, you will find just about all the
18th century patterns available. The basic regimental coat was the same
pattern for Yanks as well as Brits.

Karen
Seamstrix

On Tue, 6 Dec 2005 00:53:09 +0000 Thomas Hayman <thomas.hayman@gmail.com>
writes:
> Hi there, the 18th century has some truly nifty clothes and i decided
> i just have to make something. It's likely that this will take a 
> long
> time and end up somewhat crap but i'd like to try anyway :-)
> I'm looking for a pattern for a coat like this man is wearing.
> http://www.gilliesandsaxxon.com/Redcoat.htm
> I'm not really sure where to start because i don't know the proper
> name for it (redcoat?) and wondered if you fine people could help me
> :-)
> 
> Thank you for any and all help.
> --
> Yours sincerely
> 
> Thomas Hayman
> 
> _______________________________________________
> 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: What periods for these fabrics?/17th c.
	linen	outergarments
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E House wrote:

> -E House
> (Still hasn't figured out a way to reasonably dispose of the 10yr-50yr 
> old cloth inherited from g'ma-in-law, which is ugly and smelly but has 
> to be really useful to someone, somewhere....) (The cloth, not the 
> grandma.)

There is, or was, a market for vintage yardage. 1960-1970's ugly is back 
in style. If you can get the smell out and present it attractively, you 
may get some cash out of it.


Dawn


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Subject: Re: [h-cost] commercial serger use
Date: Mon, 5 Dec 2005 22:34:00 -0500
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Are you Sure that this dress was not altered some time?  Of the dozens of
dresses I have from this time period, none of them is serged!

Kathleen
----- Original Message ----- 
From: "Katy Bishop" <katybishop64@gmail.com>
To: "Historical Costume" <h-costume@indra.com>
Cc: "h-costume" <h-costume@mail.indra.com>
Sent: Monday, December 05, 2005 5:17 PM
Subject: Re: [h-cost] commercial serger use


> Hi.  I have a dress in my collection, presumably commercially made,
> from about 1908, that has some serged seams, mainly the side seams as
> I recall.  It is a white cotton lingerie dress with lots of lace
> insertion.
>
> Katy
>
> On 12/4/05, Judy Mitchell <judymitch@theoldforest.net> wrote:
> > Hi folks,
> >        I've just spent over an hour searching (google, A9, wiki,
Jeeves...) to
> > find information on when sergers began. I'm looking to find how early
> > the common use of serging for off-the-rack clothing would be. I found
> > lots on the history of the standard sewing maching, but zippo on
> > sergers/overlockers. anybody run across this?
> >
> >        Thanks in advance,
> >        Judy Mitchell
> > _______________________________________________
> > 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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I don't believe it has been altered in modern times.  The serging is
done in period looking cotton thread in a style different from modern
serging, but it is definitely serging.  If I can find it (won't be
soon) I can put pics on my site.

Katy

On 12/5/05, Lloyd Mitchell <rmitchell@washjeff.edu> wrote:
> Are you Sure that this dress was not altered some time?  Of the dozens of
> dresses I have from this time period, none of them is serged!
>
> Kathleen
> ----- Original Message -----
> From: "Katy Bishop" <katybishop64@gmail.com>
> To: "Historical Costume" <h-costume@indra.com>
> Cc: "h-costume" <h-costume@mail.indra.com>
> Sent: Monday, December 05, 2005 5:17 PM
> Subject: Re: [h-cost] commercial serger use
>
>
> > Hi.  I have a dress in my collection, presumably commercially made,
> > from about 1908, that has some serged seams, mainly the side seams as
> > I recall.  It is a white cotton lingerie dress with lots of lace
> > insertion.
> >
> > Katy
> >
> > On 12/4/05, Judy Mitchell <judymitch@theoldforest.net> wrote:
> > > Hi folks,
> > >        I've just spent over an hour searching (google, A9, wiki,
> Jeeves...) to
> > > find information on when sergers began. I'm looking to find how early
> > > the common use of serging for off-the-rack clothing would be. I found
> > > lots on the history of the standard sewing maching, but zippo on
> > > sergers/overlockers. anybody run across this?
> > >
> > >        Thanks in advance,
> > >        Judy Mitchell
> > > _______________________________________________
> > > 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
> >
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>


--
Katy Bishop, Vintage Victorian
vintage@shore.net                www.VintageVictorian.com
     Custom reproduction gowns of the Victorian Era.
      Publisher of the Vintage Dress Series books.

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Subject: RE: [h-cost] Re: Disposing of fabric
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Forcast here for tonight -17 only.  The dog won't even go outside.
   
  Edith

Robin Netherton <robin@shell.nightowl.net> wrote:
  
On Mon, 5 Dec 2005, otsisto wrote:

> Use for drafts.

I read this, and immediately pictured rolling up a length of fabric and
tucking it around the bottom of the door to my deck, where there's a
draft.

Took me a minute to realize that's *not* the intended reading. 

Must be winter.

--Robin
who woke up to the radio announcing 17 degrees temp outside today, with
wind chill of 9 


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>From: Jean Waddie <anne@montgomerie.demon.co.uk>
>Looks good to me (who knows nothing about research from extant
>materials).  The thing I instantly wanted was a family tree to track who
>the items were made by, and for, and who was making the comment.

Yeah, you and me both :)

Marc


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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] commercial serger use
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I have a simple, otherwise ordinary, rather cheap looking white batiste 
"lingerie" blouse with kimono 3/4 sleeves from circa 1912, which has all 
of its seams serged except the application of the high lace collar and 
lace cuffs.  I suspect the lace collar and cuffs (which, BTW, are the 
places that tend to wear out first on these) have been replaced because 
they were just sewn on with no seam finish at all, whereas the rest of 
the blouse is quite neat. If anyone altered the blouse  recently they 
entirely remade it and resewed all the seams and the bottom 
hem---possible but not too likely. 

The blouse is also made of machine-embroidered fabric, BTW, which was 
definitely available well before 1912.  As for it being commercially 
made, it may well have been--many lingerie blouses were, but the labels 
are usually gone by this point, if the blouse ever had one.

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

>  
>
>>Hi.  I have a dress in my collection, presumably commercially made,
>>from about 1908, that has some serged seams, mainly the side seams as
>>I recall.  It is a white cotton lingerie dress with lots of lace
>>insertion.
>>
>>Katy
>>
>>    
>>
>  
>

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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Re: Disposing of fabric
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Hi, All. I just saw a telly program on a fellow from Pennsylvania (US) 
that is the guru for used fabrics. He started out by convincing the mill 
that he worked at that they should give him the scraps they would throw 
out. Now folks send him stuff and he sends it out to anyone who wants 
it. Folks make quilts for charities with his "stashes". I don't remember 
his name or what his website is called, but the show was on local public 
TV (WHYY Philadelphia/Wilmington)

AnnBWass@aol.com wrote:

> 
>In a message dated 12/5/2005 6:27:15 A.M. Eastern Standard Time,  
>nancy_kiel@hotmail.com writes:
>
>Still  hasn't figured out a way to reasonably dispose of the 10yr-50yr old 
>cloth inherited from g'ma-in-law, which is ugly and smelly but has to be  
>really useful to someone, somewhere....) (The cloth, not the  grandma.) 
>
>
>
>  
>
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From: "Elizabeth Walpole" <ewalpole@tpg.com.au>
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Subject: Re: [h-cost] Re: disposing of fabric
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----- Original Message ----- 
From: "Gail & Scott Finke" <gailscott@eos.net>
To: <h-costume@indra.com>
Sent: Tuesday, December 06, 2005 8:35 AM
Subject: [h-cost] Re: disposing of fabric


>
> I echo everyone else's suggestions about places to donate fabric you can't
> use. But don't forget -- if it's really fabric that NO ONE wants (or, for
> that matter, ripped old clothes and things like that) then both Goodwill 
> and
> the Salvation Army sell fabric scrap. So never throw anything fabric away!
> Give it where it will be used, even scrap is reusing.
>
> Gail Finke
>
I know a lot of charity shops sell natural fibre fabric scraps to mechanics 
who use it to soak up oil around their workshops (I assume other people buy 
them too but Mechanics is the only group I've heard of) I don't know if they 
could use synthetic fibres in the same way as they wouldn't absorb much.
Elizabeth
--------------------------------------------
Elizabeth Walpole
Canberra Australia
ewalpole[at]tpg.com.au
http://au.geocities.com/e_walpole/

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Subject: Re: [h-cost]  Disposing of fabric
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And if it's just too hideous to inflict upon humans, your local animal shelter would welcome it to use for bedding or just rags.  The shelter is also a good place to donate clothes, towels, and sheets that are too worn out for people but still have some use in them.
  ----- Original Message ----- 
  From: Suzi Clarke<mailto:suzi@suziclarke.co.uk> 
  To: Historical Costume<mailto:h-costume@indra.com> 
  Sent: Monday, December 05, 2005 6:36 AM
  Subject: Re: [h-cost] Re: Disposing of fabric


  At 11:24 05/12/2005, you wrote:
  >Is there a charity in your area that could use the fabric---perhaps 
  >to make quilts? Or a school, for art projects?  I too have trouble 
  >throwing away any but the smallest scraps!


  My local centre for the less able (!) is glad of scraps and odd 
  buttons and scraps of lace, braid and so on for their craft projects, 
  as is my local junior school (5-11 years.)

  Suzi


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Hi Bjarne.
   
  Tissuepaper is the same as Silkepapir. A thin crinkly paper, that you can get almost everywhere. I would get an acid free. I have a couple of sheets you can have if you want
  Tania

Bjarne og Leif Drews <drewscph@post12.tele.dk> wrote:
  Hi,
Rats- my dictionary stinks. It doesnt have the word "tissue paper".
Is this the same as Kitchen Rolls are made of?
Because i got the advise to use this on hoop frames, when embroidering, 
cover the edge with this paper to protekt from dirt.
Could i not just as well use a piece of calico, i have plenty of that.....
Bjarne who now are going to watch swedish television, they have a series of 
17th century kingdom, where poor and rich chanllenges eachother. Rich has 
bathtubs, poor dont even have soap to wash..........
Costumes are ok, but only one of the rich ladies gown fits propperly. It is 
so difficult to dress a lady in a rented dress with a low cut boatshape bust 
if it doesnt fit.......







Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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Thank you very much for that. It'll be a few months before i get to it
as i'm on a diet (yaaay)
--
Yours sincerely

Thomas Hayman

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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] commercial serger use
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On Sun, 4 Dec 2005, Judy Mitchell wrote:
> 	very interesting! Hmm, Merrow is saying early to mid- 1920s. I had
> wanted to write the Husqvarna company about when they started
> (especially since I'm particularly interested in Sweden), but they have
> no contact info and just want you to contact your local distributor
> (who, esp over here) won't have a clue to the answer!

Hi! I tried calling the Norwegian Husqvarna branch to ask, but they were
clueless. Unfortunately I don't have time to pursue this right now, but
he gave me the number to the Swedish factory (or so he said):
+4636146000, if you would like to contact them directly. The Swedish
website also gives an e-mail address for the Swedish branch:
sweden.info@vsmgroup.com. I don't know if they would know the history at
that particular address, but they should be able to forward it to
someone who does.

According to Husquarna's webpage, they started manufacturing sewing
machines in 1872. No mention is made specifically of
sergers/overlockers, but they do give a link to a museum that seems like
it covers the enitre tchnological history of the area, including the
arms manufacture but also the sewing machines:
http://www.husqvarna-museum.nu/ Maybe they would know! :)

Hope this helps,
Ingrid

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Lloyd Mitchell wrote:
> Are you Sure that this dress was not altered some time?  Of the dozens of
> dresses I have from this time period, none of them is serged!


	perhaps it has to do with the nature of the garment? Katy described 
hers as a 'lingerie dress with lace insertion' and Fran has a 'lingerie 
blouse' both of which have serged seams, yet Kathleen's regular dresses 
are not serged. Sounds like either the 'lingerie' nature  got serged, or 
different companies were sewing different methods and the serging was 
just coming in but not everywhere?? Interesting.

	-Judy Mitchell


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	Great! Thanks, Ingrid. I'll follow up on that.
  	-Judy Mitchell

Ingrid G. StorrÃ¸ wrote:
> On Sun, 4 Dec 2005, Judy Mitchell wrote:
> 
>>	very interesting! Hmm, Merrow is saying early to mid- 1920s. I had
>>wanted to write the Husqvarna company about when they started
>>(especially since I'm particularly interested in Sweden), but they have
>>no contact info and just want you to contact your local distributor
>>(who, esp over here) won't have a clue to the answer!
> 
> 
> Hi! I tried calling the Norwegian Husqvarna branch to ask, but they were
> clueless. Unfortunately I don't have time to pursue this right now, but
> he gave me the number to the Swedish factory (or so he said):
> +4636146000, if you would like to contact them directly. The Swedish
> website also gives an e-mail address for the Swedish branch:
> sweden.info@vsmgroup.com. I don't know if they would know the history at
> that particular address, but they should be able to forward it to
> someone who does.
> 
> According to Husquarna's webpage, they started manufacturing sewing
> machines in 1872. No mention is made specifically of
> sergers/overlockers, but they do give a link to a museum that seems like
> it covers the enitre tchnological history of the area, including the
> arms manufacture but also the sewing machines:
> http://www.husqvarna-museum.nu/ Maybe they would know! :)
> 
> Hope this helps,
> Ingrid
> 

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Date: Tue, 6 Dec 2005 10:01:12 -0500
To: Historical Costume <h-costume@indra.com>
From: Carol Kocian <aquazoo@patriot.net>
Subject: Re: [h-cost]  Disposing of fabric
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      I found a place in the Philadelphia area where I BOUGHT hideous 
fabric from the 1950s.  Actually I think it's cool, a pink, black & 
gray (with a touch of turquoise) "modern" print for curtains.

      I agree that you should de-stink the stash and find the market 
for it.  Otherwise you could be destroying something that is EXACTLY 
what someone else is looking for.

      -Carol
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: [h-cost] embroidery teckniques of 18th century
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Gosh, i found a new book wich is published in january.
Its about embroidery teckniques of the 18th century.
Amazon sells it.
http://www.amazon.co.uk/exec/obidos/ASIN/1861084765/qid=1133882199/sr=1-517/ref=sr_1_0_517/026-8705729-9238062


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] tissue paper
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Hmmmm, you have my curiosity up.  Isn't the edge of the fabric on the 
hoop protected by the outer hoop?   If it is the rest of the fabric you 
are worried about then I could see why you'd want to place a piece of 
tissue paper over the entire embroidery (with the inner hoop underneath) 
place the outer hoop on top, then tear the paper off where you want to 
work.  Not to argue with Tania-you guys "over there" call stuff 
differently than we, but silk paper over here is rather expensive.  
Tissue paper is really cheap and is mostly used for wrapping gifts.  It 
is the same as the paper most patterns are made of over here (very light 
and easily torn).

You could do the same I guess with a piece of calico (which I think we 
call muslin BTW) and cut a hole...maybe a little more expensive, but 
more durable.

Sg

>
>Bjarne og Leif Drews <drewscph@post12.tele.dk> wrote:
>  Hi,
>Rats- my dictionary stinks. It doesnt have the word "tissue paper".
>  
>

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Date: Tue, 6 Dec 2005 07:38:42 -0800
Subject: Re: [h-cost] tissue paper
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Mine too. I've heard of doing that with non-fusible interfacing, but have
never tried it.

Arlys

On Tue, 06 Dec 2005 08:28:21 -0700 WickedFrau <wickedfrau@msn.com>
writes:
> Hmmmm, you have my curiosity up.  Isn't the edge of the fabric on the 
> 
> hoop protected by the outer hoop?   If it is the rest of the fabric 
> you 
> are worried about then I could see why you'd want to place a piece 
> of 
> tissue paper over the entire embroidery (with the inner hoop 
> underneath) 
> place the outer hoop on top, then tear the paper off where you want 
> to 
> work.  Not to argue with Tania-you guys "over there" call stuff 
> differently than we, but silk paper over here is rather expensive.  
> Tissue paper is really cheap and is mostly used for wrapping gifts.  
> It 
> is the same as the paper most patterns are made of over here (very 
> light 
> and easily torn).
> 
> You could do the same I guess with a piece of calico (which I think 
> we 
> call muslin BTW) and cut a hole...maybe a little more expensive, but 
> 
> more durable.
> 
> Sg
> 
> >
> >Bjarne og Leif Drews <drewscph@post12.tele.dk> wrote:
> >  Hi,
> >Rats- my dictionary stinks. It doesnt have the word "tissue paper".
> >  
> >
> 
> _______________________________________________
> 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>
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Subject: Re: [h-cost] embroidery teckniques of 18th century
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At 15:18 06/12/2005, you wrote:
>Gosh, i found a new book wich is published in january.
>Its about embroidery teckniques of the 18th century.
>Amazon sells it.
>http://www.amazon.co.uk/exec/obidos/ASIN/1861084765/qid=1133882199/sr=1-517/ref=sr_1_0_517/026-8705729-9238062


Oh, that's gone on my wish list - I have a birthday soon!

Suzi


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michael tartaglio wrote:

> Hi, All. I just saw a telly program on a fellow from Pennsylvania (US) 
> that is the guru for used fabrics. He started out by convincing the mill 
> that he worked at that they should give him the scraps they would throw 
> out. Now folks send him stuff and he sends it out to anyone who wants 
> it. Folks make quilts for charities with his "stashes". I don't remember 
> his name or what his website is called, but the show was on local public 
> TV (WHYY Philadelphia/Wilmington)
> 

That's probably Magic Mike. I remember when he started offering boxes on 
  rec.quilting. Nice to know his charitable efforts are still being 
supported by the companies. His original supplier cut him off thinking 
they could sell the scraps since people wanted them.


Dawn


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Subject: [h-cost] sergers
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Interesting  thread on the history of overlock machines.

I can probably save you some effort in the Husqvarna department--as far
as I know, sergers are not manufactured by sewing machine companies.
They are all made in various factories in China, Korea, and perhaps
Japan.

When you buy a serger labelled Singer or Viking or Bernina, whatever, it
has been made NOT in their facotry, but to their specifications by one
of the serger manufacturers.

Kim (ex-sewing machine and serger dealer)

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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] commercial serger use
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A "lingerie" blouse or dress was merely a name used in the late 19th and 
early 20th centuries for a sheer white blouse or dress, embroidered 
and/or decorated with lace in a way that resembled fancy undergarments.  
I've collected a great many of them (I have over 100 lingerie blouses 
alone), and this is the only one I've seen with serged seams.  However, 
unless someone went to the trouble of taking the entire blouse apart and 
remaking it, the serging is original. 

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

Judy Mitchell wrote:

> Lloyd Mitchell wrote:
>
>> Are you Sure that this dress was not altered some time?  Of the 
>> dozens of
>> dresses I have from this time period, none of them is serged!
>
>
>
>     perhaps it has to do with the nature of the garment? Katy 
> described hers as a 'lingerie dress with lace insertion' and Fran has 
> a 'lingerie blouse' both of which have serged seams, yet Kathleen's 
> regular dresses are not serged. Sounds like either the 'lingerie' 
> nature  got serged, or different companies were sewing different 
> methods and the serging was just coming in but not everywhere?? 
> Interesting.
>
>     -Judy Mitchell
>
>
>

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 michael tartaglio wrote:
> 
> Hi, All. I just saw a telly program on a fellow from Pennsylvania (US)
> that is the guru for used fabrics. He started out by convincing the mill
> that he worked at that they should give him the scraps they would throw
> out. Now folks send him stuff and he sends it out to anyone who wants
> it. Folks make quilts for charities with his "stashes". I don't remember
> his name or what his website is called, but the show was on local public
> TV (WHYY Philadelphia/Wilmington)

The show was called "Pennsylvania Quilts" and is pretty good. The man
Michael mentioned, though, no longer collects fabric. He used to get waste
from mills and distribute it for free, but now he is disabled and there are
no more mills where he lives. But it was an inspirational story
nevertheless, one of several about quilters of various kinds and types
(family quilters, Amish quilters, art quilters, etc.) in the state.

Gail finke


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Ooh, and my birthday is next month!
Thanks for the info, Bjarne.
Michelle
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I recently finished an embroidery project using reeled silk.  What with my nasty rough hands and putting it into and out of the work bag I can certainly understand covering up all but the part being worked.  The bag is gorgeous but snags like crazy.  I keep it in a plastic food bag before putting it into my work bag.  I'm afraid to wear it because it snags so easily.
Julie

----  <h-costume@indra.com> wrote:
>> Hmmmm, you have my curiosity up.  Isn't the edge of the fabric on the 
> hoop protected by the outer hoop?   If it is the rest of the fabric you 
> are worried about then I could see why you'd want to place a piece of 
> tissue paper over the entire embroidery (with the inner hoop underneath) 
> place the outer hoop on top, then tear the paper off where you want to 
> work.  Not to argue with Tania-you guys "over there" call stuff 
> differently than we, but silk paper over here is rather expensive.  
> Tissue paper is really cheap and is mostly used for wrapping gifts.  It 
> is the same as the paper most patterns are made of over here (very light 
> and easily torn).

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Subject: [h-cost] 18th century military jacket pattern 
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If you want it to be correct for 18th century British army, you have to be 
very careful about the shape of the lapels (the turn backs).  And the pattern of 
the lacing (the braid) can be quite tricky, too.  (I think you'd be working 
from the 1740s clothing regs.)

Would recommend contacting lace wars (the re-enactment group) - especially 
Mark, through the 18th century bit of the LH site.  He's far more up on this 
than me, as most of the 18th C stuff I do is civilian.

It's dead right that military clothing follows civilian in style, although 
for the average uniform there's a bit of a time lag.  

Of course, all this depends how accurate you want it to be - if you just 
think the general cut's cool and want to give it a shot, you don't necessarily 
have to worry about the regimental lacing and lapel shapes and all that.





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Oops...hit send before I finished saying what I wanted to say....

  The coats we made were essentially just like a civilian coat except 
for the reveres [the folded back sections on the front] and the mariner 
cuffs. Ours were rather full in the back [because it was 1757] but the 
get narrower and more cut away as the century progresses.

 -----Original Message-----
 From: Thomas Hayman <thomas.hayman@gmail.com>
 To: h-costume@mail.indra.com
 Sent: Tue, 6 Dec 2005 00:53:09 +0000
 Subject: [h-cost] 18th century military jacket pattern

 Hi there, the 18th century has some truly nifty clothes and i decided
 i just have to make something. It's likely that this will take a long
 time and end up somewhat crap but i'd like to try anyway :-)
 I'm looking for a pattern for a coat like this man is wearing.
 http://www.gilliesandsaxxon.com/Redcoat.htm
 I'm not really sure where to start because i don't know the proper
 name for it (redcoat?) and wondered if you fine people could help me
 :-)

 Thank you for any and all help.
 --
 Yours sincerely

 Thomas Hayman

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From: "Kate Pinner" <pinner@mccc.edu>
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Subject: RE: [h-cost] sergers-Juki?
Date: Tue, 6 Dec 2005 12:29:26 -0500
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What about Juki?

Kate

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
On Behalf Of kim baird
Sent: Tuesday, December 06, 2005 11:57 AM
To: 'Historical Costume'
Subject: [h-cost] sergers


Interesting  thread on the history of overlock machines.

I can probably save you some effort in the Husqvarna department--as far
as I know, sergers are not manufactured by sewing machine companies.
They are all made in various factories in China, Korea, and perhaps
Japan.

When you buy a serger labelled Singer or Viking or Bernina, whatever, it
has been made NOT in their facotry, but to their specifications by one
of the serger manufacturers.

Kim (ex-sewing machine and serger dealer)

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From h-costume-bounces@indra.com  Tue Dec  6 19:33:22 2005
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Subject: [h-cost] Re: tissue
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I've obviously missed a chunk of this somewhere along the line, so sorry if 
am repeating.

> Hmmmm, you have my curiosity up.  Isn't the edge of the fabric on the 
> >hoop protected by the outer hoop?   

The main reason to use the tissue is to protect the fabric from the hoop 
itself, as it can cause indentations if working with a soft fabric.  Also, if the 
hoop you have to hand is smaller than the overall piece, and you have to 
reposition it, the tissue will protect the work you've already done from being 
squashed by the hoop.  Plus, I tend to find that my fingers always overlap the 
edge of the hoop (I use quite thin wooden ones), and the natural oils from my 
fingers will sooner or later mucky up the bit I'm holding.  If I can manage to 
hold onto tissue instead that doesn't happen as much, so easier to clean.

>If it is the rest of the fabric you > are worried about then I could see why 
> you'd want to >place a piece of tissue paper over the entire embroidery 
> (with the inner hoop >underneath) 
> >place the outer hoop on top, then tear the paper off where you want to 
> >work.  

That's exactly the way you're meant to use it.  (But that's much better but 
than when I tried to describe it.)

>Not to argue with Tania-you guys "over there" call stuff > 
> >differently than we, but silk paper over here is rather expensive.  

Silk paper here (UK) is also quite expensive (couple of quid a sheet), and is 
the handmade stuff with raw silk in it - it's an art paper, and I wouldn't 
ever suggest using that (the uneven texture could in fact do more harm than good 
with a particularly delicate piece).

> >Tissue paper is really cheap and is mostly used for wrapping gifts.  It 

> >is the same as the paper most patterns are made of over here (very light 
> >and easily torn).

That's what tissue is in the UK, too.  Although we tend to use wrapping paper 
for gifts instead.  As a guide, a ream (500 sheets) of tissue paper about A2 
sized would cost me about 8 pounds (I think - something like that).  

I also always try to use acid free tissue, as well (although if only a quick 
job it wouldn't matter *that* much).  I just tend to keep projects going for 
ages, so like to be safe!



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Why, that looks like the coats I made for "Last of the Mohicans".

-----Original Message-----
From: Thomas Hayman <thomas.hayman@gmail.com>
To: h-costume@mail.indra.com
Sent: Tue, 6 Dec 2005 00:53:09 +0000
Subject: [h-cost] 18th century military jacket pattern

  Hi there, the 18th century has some truly nifty clothes and i decided
i just have to make something. It's likely that this will take a long
time and end up somewhat crap but i'd like to try anyway :-)
I'm looking for a pattern for a coat like this man is wearing.
http://www.gilliesandsaxxon.com/Redcoat.htm
I'm not really sure where to start because i don't know the proper
name for it (redcoat?) and wondered if you fine people could help me
:-)

Thank you for any and all help.
--
Yours sincerely

Thomas Hayman

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Yep, that's the name I remember. I guess he is still in "business" so to 
speak...Can you reach him still at rec.quilting? Thanks, Mike T.

>>
>
> That's probably Magic Mike. I remember when he started offering boxes 
> on  rec.quilting. Nice to know his charitable efforts are still being 
> supported by the companies. His original supplier cut him off thinking 
> they could sell the scraps since people wanted them.
>
>
> Dawn
>
>
>
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Subject: RE: [h-cost] sergers-Juki?
Date: Tue, 6 Dec 2005 21:04:26 -0600
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Good question. I know they make sergers, but evidently they make other
sewing machines as well as other industrial equipment.

I THINK they may have gotten into the domestic machine market after
their beginnings in industrial machines.

Anybody know?

Kim

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
On Behalf Of Kate Pinner
Sent: Tuesday, December 06, 2005 11:29 AM
To: 'Historical Costume'
Subject: RE: [h-cost] sergers-Juki?


What about Juki?

Kate

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
On Behalf Of kim baird
Sent: Tuesday, December 06, 2005 11:57 AM
To: 'Historical Costume'
Subject: [h-cost] sergers


Interesting  thread on the history of overlock machines.

I can probably save you some effort in the Husqvarna department--as far
as I know, sergers are not manufactured by sewing machine companies.
They are all made in various factories in China, Korea, and perhaps
Japan.

When you buy a serger labelled Singer or Viking or Bernina, whatever, it
has been made NOT in their facotry, but to their specifications by one
of the serger manufacturers.

Kim (ex-sewing machine and serger dealer)

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From h-costume-bounces@indra.com  Wed Dec  7 01:03:16 2005
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Subject: [h-cost] Re: Using poly knits from the sixties.
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I belonged to a ladies church group who were making lap robes for the 
wheelchair bound at a local nursing home.   The nursing home requested 
polyknits such as you mentioned as useless because nothing stained them, 
they never wore out and they were just enough to protect from drafts and 
chills when backed with a cotton without any batting or fill.

the poly knits were cut into 4 or six inch squares and sewed into about 
a 2'x3' or 2.5'x3' cover backed with a cotton which is also used for 
ties.   there were yarn ties at each corner or maybe the center of each 
square and that was it!

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From: Edith Reardon <edithreardon@yahoo.ca>
Subject: Re: [h-cost] Re: Disposing of fabric
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I did a little searching and found this  http://www.nepanetwork.com/magicmik/
  Doesn't sound like he's doing that great health wise.
   
  Brin

michael tartaglio <mikes@dandy.net> wrote:
  
Yep, that's the name I remember. I guess he is still in "business" so to 
speak...Can you reach him still at rec.quilting? Thanks, Mike T.

>>
>
> That's probably Magic Mike. I remember when he started offering boxes 
> on rec.quilting. Nice to know his charitable efforts are still being 
> supported by the companies. His original supplier cut him off thinking 
> they could sell the scraps since people wanted them.
>
>
> Dawn
>
>
>
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Subject: [h-cost] eBay Listing Removed: Keyword Spamming 
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Hi, just want to warn others - I got this message tonight - I did not 
realise I was spamming. What are your thoughts? I make Regency dresses 
for sale.
Thanks, Aylwen Garden

-------- Original Message --------
Subject: 	eBay Listing Removed: Keyword Spamming (=LS &7193 JM5023424)
Date: 	Tue, 06 Dec 2005 21:22:44 PST
From: 	ended@ebay.com
To: 	garden@earthlydelights.com.au



Dear cottager87,

We appreciate that you chose eBay to list the following multiple item listing(s):

8359259226 - Regency Dress: Jane Austen 1800s Pride  Prejudice Gown


However, your listing was in violation of eBay's Keyword Spamming policy and has been removed from eBay.  We have credited all associated fees to your account and notified eBay users associated with the transaction that it has been cancelled.

  We would like to take this opportunity to let you know what part of your listing is not permitted.

Your listing(s) contains the following information:

In Title:
Jane Austen 1800s Pride & Prejudice


Keyword spamming is not permitted on eBay.  This typically occurs when members place brand names or other inappropriate keywords in a title or description for the purpose of gaining attention or diverting members to a listing.

* Use of Brand Names: Our policy does not permit members to include any brand names in the listing title other than the specific brand name used by the company that manufactured or produced the item being offered in the listing.

* Custom-made items: Although an item may be fabricated to visually match a specific product line of a recognized brand name, members are not permitted to include the name of the product line, or the related brand name in the listing title.

* Use of Celebrity or Artist Names:   At present, our policy does not permit members to include celebrity names, or the names of artists, authors, or other known figures in the listing title other than the specific celebrity or known figure that has created, written or officially endorsed the item being offered in the listing.  From the perspective of our policy, celebrity names are treated as being synonymous with brand names.

This means that although a celebrity may have worn a similar item, or made such an item popular in current pop-culture, members are not permitted to use the names of these celebrities or known figures in the listing title.  

Our policy permits a seller to use *one* name as a comparison within the subtitle or description section of the listing.
For more information on Keyword Spamming visit the following Help page:


http://pages.ebay.com/help/policies/keyword-spam.html


Please note: violation of this or other eBay policies may result in forfeit of eBay fees on cancelled listings, limits on account privileges and account suspension.


Please review eBay's Listing Policies and User Agreement at the following locations:

  http://pages.ebay.com/help/sell/policies.html
  http://pages.ebay.com/help/policies/user-agreement.html

For more information on why eBay removes multiple item listings, or to write to us with questions, please review the following Web page:

  http://pages.ebay.com/help/confidence/listing-ended.html

We thank you in advance for your cooperation.

Regards,

eBay Trust & Safety


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Yum!
That book is now on my wish list.

Bjarne og Leif Drews wrote:

> Gosh, i found a new book wich is published in january.
> Its about embroidery teckniques of the 18th century.
> Amazon sells it.
> http://www.amazon.co.uk/exec/obidos/ASIN/1861084765/qid=1133882199/sr=1-517/ref=sr_1_0_517/026-8705729-9238062 
>
>
>
> Bjarne
>
>
>
>
> Leif og Bjarne Drews
> www.my-drewscostumes.dk
>
> http://home0.inet.tele.dk/drewscph/
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>

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From h-costume-bounces@indra.com  Wed Dec  7 04:40:24 2005
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From: "Betsy Marshall" <betsy@softwareinnovation.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] eBay Listing Removed: Keyword Spamming 
Date: Wed, 7 Dec 2005 03:39:38 -0600
Organization: Software Innovation
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I might imagine it was because of the movies recently made or coming soon;
the original P&P is surely out of copyright (author death + 75 yrs if IRC)
Perhaps there is some sort of appeal process? 
Just my .02 lira,
Betsy (Ebay buyer, not seller)

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of A & J Garden
Sent: Wednesday, December 07, 2005 1:39 AM
To: Historical Costume
Subject: [h-cost] eBay Listing Removed: Keyword Spamming 

Hi, just want to warn others - I got this message tonight - I did not 
realise I was spamming. What are your thoughts? I make Regency dresses 
for sale.
Thanks, Aylwen Garden

-------- Original Message --------
Subject: 	eBay Listing Removed: Keyword Spamming (=LS &7193 JM5023424)
Date: 	Tue, 06 Dec 2005 21:22:44 PST
From: 	ended@ebay.com
To: 	garden@earthlydelights.com.au



Dear cottager87,

We appreciate that you chose eBay to list the following multiple item
listing(s):

8359259226 - Regency Dress: Jane Austen 1800s Pride  Prejudice Gown


However, your listing was in violation of eBay's Keyword Spamming policy and
has been removed from eBay.  We have credited all associated fees to your
account and notified eBay users associated with the transaction that it has
been cancelled.

  We would like to take this opportunity to let you know what part of your
listing is not permitted.

Your listing(s) contains the following information:

In Title:
Jane Austen 1800s Pride & Prejudice


Keyword spamming is not permitted on eBay.  This typically occurs when
members place brand names or other inappropriate keywords in a title or
description for the purpose of gaining attention or diverting members to a
listing.

* Use of Brand Names: Our policy does not permit members to include any
brand names in the listing title other than the specific brand name used by
the company that manufactured or produced the item being offered in the
listing.

* Custom-made items: Although an item may be fabricated to visually match a
specific product line of a recognized brand name, members are not permitted
to include the name of the product line, or the related brand name in the
listing title.

* Use of Celebrity or Artist Names:   At present, our policy does not permit
members to include celebrity names, or the names of artists, authors, or
other known figures in the listing title other than the specific celebrity
or known figure that has created, written or officially endorsed the item
being offered in the listing.  From the perspective of our policy, celebrity
names are treated as being synonymous with brand names.

This means that although a celebrity may have worn a similar item, or made
such an item popular in current pop-culture, members are not permitted to
use the names of these celebrities or known figures in the listing title.  

Our policy permits a seller to use *one* name as a comparison within the
subtitle or description section of the listing.
For more information on Keyword Spamming visit the following Help page:


http://pages.ebay.com/help/policies/keyword-spam.html


Please note: violation of this or other eBay policies may result in forfeit
of eBay fees on cancelled listings, limits on account privileges and account
suspension.


Please review eBay's Listing Policies and User Agreement at the following
locations:

  http://pages.ebay.com/help/sell/policies.html
  http://pages.ebay.com/help/policies/user-agreement.html

For more information on why eBay removes multiple item listings, or to write
to us with questions, please review the following Web page:

  http://pages.ebay.com/help/confidence/listing-ended.html

We thank you in advance for your cooperation.

Regards,

eBay Trust & Safety


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

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In a message dated 12/7/2005 2:33:20 A.M. Eastern Standard Time,  
garden@earthlydelights.com.au writes:

Use of  Celebrity or Artist Names:   At present, our policy does not permit  
members to include celebrity names, or the names of artists, authors, or other 
 known figures in the listing title other than the specific celebrity or 
known  figure that has created, written or officially endorsed the item being 
offered  in the listing.  From the perspective of our policy, celebrity names are  
treated as being synonymous with brand names.


I can understand the author, I guess, even though Jane Austen has been dead  
quite a few years.  So, I guess you can only use her name if you are  actually 
selling a book she wrote.
 
Guess you will have to stick to "Regency" era and hope people know what  that 
means.
 
Ann Wass
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Subject: Re: [h-cost] eBay Listing Removed: Keyword Spamming
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I understand wy ebay say's it is spam..
You sell regency style dresses and not a dress from the movie.
And the dress is also not from Jane Austen.
But you could say Jane Austen style in the discription of the item.

But it is a bit weird that they are sending this now.
It happends so often that people use a movie title to sell their costumes.
And it makes it very difficult to get the right people to see you auction.

But on the otherhand maby people will do a little more research if they 
want a dress in style of a perticulary book or movie.
Not that I think that will happen.

How many times people asked me to make a medieval dress and alway's 
start with telling me they want a hoopskirt.....
 

A & J Garden wrote:

> Hi, just want to warn others - I got this message tonight - I did not 
> realise I was spamming. What are your thoughts? I make Regency dresses 
> for sale.
> Thanks, Aylwen Garden
>
> -------- Original Message --------
> Subject:     eBay Listing Removed: Keyword Spamming (=LS &7193 JM5023424)
> Date:     Tue, 06 Dec 2005 21:22:44 PST
> From:     ended@ebay.com
> To:     garden@earthlydelights.com.au
>
>
>
> Dear cottager87,
>
> We appreciate that you chose eBay to list the following multiple item 
> listing(s):
>
> 8359259226 - Regency Dress: Jane Austen 1800s Pride  Prejudice Gown
>
>
> However, your listing was in violation of eBay's Keyword Spamming 
> policy and has been removed from eBay.  We have credited all 
> associated fees to your account and notified eBay users associated 
> with the transaction that it has been cancelled.
>
>  We would like to take this opportunity to let you know what part of 
> your listing is not permitted.
>
> Your listing(s) contains the following information:
>
> In Title:
> Jane Austen 1800s Pride & Prejudice
>
>
> Keyword spamming is not permitted on eBay.  This typically occurs when 
> members place brand names or other inappropriate keywords in a title 
> or description for the purpose of gaining attention or diverting 
> members to a listing.
>
> * Use of Brand Names: Our policy does not permit members to include 
> any brand names in the listing title other than the specific brand 
> name used by the company that manufactured or produced the item being 
> offered in the listing.
>
> * Custom-made items: Although an item may be fabricated to visually 
> match a specific product line of a recognized brand name, members are 
> not permitted to include the name of the product line, or the related 
> brand name in the listing title.
>
> * Use of Celebrity or Artist Names:   At present, our policy does not 
> permit members to include celebrity names, or the names of artists, 
> authors, or other known figures in the listing title other than the 
> specific celebrity or known figure that has created, written or 
> officially endorsed the item being offered in the listing.  From the 
> perspective of our policy, celebrity names are treated as being 
> synonymous with brand names.
>
> This means that although a celebrity may have worn a similar item, or 
> made such an item popular in current pop-culture, members are not 
> permitted to use the names of these celebrities or known figures in 
> the listing title. 
> Our policy permits a seller to use *one* name as a comparison within 
> the subtitle or description section of the listing.
> For more information on Keyword Spamming visit the following Help page:
>
>
> http://pages.ebay.com/help/policies/keyword-spam.html
>
>
> Please note: violation of this or other eBay policies may result in 
> forfeit of eBay fees on cancelled listings, limits on account 
> privileges and account suspension.
>
>
> Please review eBay's Listing Policies and User Agreement at the 
> following locations:
>
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Date: Wed, 07 Dec 2005 08:21:10 -0500
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Deredere Galbraith wrote:
> But it is a bit weird that they are sending this now.

Probably people report suspect cases if they see them, but that means 
the enforcement is very random.  There are many examples of bad keywords 
on eBay!

One of my favorite titles I saw on eBay was "Medieval Amish Celtic 
Gown."  It was a brown tunic without gores -- just straight sides.

Those Medieval Amish, those jokers!

-- 
Cynthia Virtue and/or Cynthia du Pre Argent

Feeling like your Middle Age is upon you? New design at my CafePress 
store, with a medieval woodcut of a pharmacist, a paen to OTC drugs, and 
a quote from Chaucer about old(er) age. Black T-shirt, various other 
colors & items: http://www.cafepress.com/virtueventures.39314581
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Date: Wed, 7 Dec 2005 08:26:24 -0500
To: Historical Costume <h-costume@indra.com>
From: Carol Kocian <aquazoo@patriot.net>
Subject: Re: [h-cost] eBay Listing Removed: Keyword Spamming
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      I'm guessing the listing would have been fine six months ago, 
but now with the movie coming out it has become a brand name.  Funny 
thing about celebrity names and fashion - I know exactly what Madonna 
boots are, or a Jackie-O pillbox.  People's names become synonymous 
with a style.  For e-Bay, I would know what someone meant by a Queen 
Elizabeth I style.  If they said J-Lo, they could mean something J-Lo 
actually wore or owned, an original or a copy of her fashion line, or 
a copy of one of her red-carpet gowns.  I suppose that's why they 
need to draw the line somewhere.

      Maybe it would be ok to use "Austen" in the description without 
the "Jane".  Unfortunately we (historic costumers) use movie titles 
all the time, like Ever After and Shakespeare in Love.  Not to 
mention the fantasy film inspirations!  Does this mean you can't sell 
a Queen Amidalla style gown?  And with artists: Watteau, Gibson and 
Vermeer all tell me something about the item.

      Your gowns will become popular because of the movie, perhaps 
with people who don't know terms like Regency, Federal, Empire, etc. 
Too bad they won't allow the keywords that will help people find them.

      -Carol


>Hi, just want to warn others - I got this message tonight - I did 
>not realise I was spamming. What are your thoughts? I make Regency 
>dresses for sale.
>Thanks, Aylwen Garden

>Jane Austen 1800s Pride & Prejudice
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In a message dated 12/7/2005 8:22:06 A.M. Eastern Standard Time,  
cvirtue+dated+1149513182.bbb5d7@thibault.org writes:

One of  my favorite titles I saw on eBay was "Medieval Amish Celtic 
Gown."   It was a brown tunic without gores -- just straight sides.

Those  Medieval Amish, those jokers!



Hey, eBay isn't filtering for stupidity!
 
Ann Wass
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> Good question. I know they make sergers, but evidently they make other
> sewing machines as well as other industrial equipment.
> 
> I THINK they may have gotten into the domestic machine market after
> their beginnings in industrial machines.
> 
> Anybody know?

I have a non-industrial serger by Juki (bought last year). I assume this means they are in the domestic machine market as well :-)
	-sunny

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This may have been mentioned already but just in case;

http://cgi.ebay.com/1786-DIDEROT-LACE-MAKING-decorative-feathers-etc_W0QQitemZ6584496015QQcategoryZ29223QQrdZ1QQcmdZViewItem


Not quite my period but very interesting to look through anyway.  

Catherine
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From: "Joan Broneske" <unicorn@surewest.net>
To: "Historical Costume" <h-costume@indra.com>
References: <43969185.3080702@earthlydelights.com.au>
Subject: Re: [h-cost] eBay Listing Removed: Keyword Spamming 
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This is really odd! Maybe it's because you have Jane Austin and Pride and 
Prejudice together?  Maybe if it was one or the other, or said "Jane Austin 
style dress" or "era dress"?  I don't know...I've never seen anything like 
this.  I would write to them right away and find out what the deal is.



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


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Date: Wed, 07 Dec 2005 16:17:02 +0000
From: "Kate M Bunting" <K.M.Bunting@derby.ac.uk>
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Subject: [h-cost] Pics of me online at last
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The proposed website for our Renaissance music group still hasn't got off the ground, but you can now see a couple of photos of me in costume on the Sealed Knot Living History Group website http://livinghistorygroup.co.uk/musicians.htm . In the first, I'm wearing a linen Hollar-style cap made from Kass McGann's pattern. I know the forehead cloth with it is probably not strictly correct, but it hides my thick fringe (bangs) which is inappropriate for the period.

Kate Bunting
Librarian and 17th century reenactor


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They drive me crazy I put 2 videos on tiling under tiling supplies, 60% the right catagory according to their system.  I had one removed because I put video in the title according to ebay they have to go under movies and dvds???
   
  Brin

AnnBWass@aol.com wrote:
  
In a message dated 12/7/2005 8:22:06 A.M. Eastern Standard Time, 
cvirtue+dated+1149513182.bbb5d7@thibault.org writes:

One of my favorite titles I saw on eBay was "Medieval Amish Celtic 
Gown." It was a brown tunic without gores -- just straight sides.

Those Medieval Amish, those jokers!



Hey, eBay isn't filtering for stupidity!

Ann Wass
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In a message dated 12/7/2005 8:28:09 A.M. Eastern Standard Time,  
aquazoo@patriot.net writes:

I'm  guessing the listing would have been fine six months ago, 
but now with the  movie coming out it has become a brand name


Actually, the TITLE of the movie can't be branded--titles can't be  
copyrighted, and especially not when the original book was published 200 years  ago. 
 
But it does seem there has to be a way around the particular wording--like,  
as someone suggested, Austen-style?
 
Ann Wass 
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Subject: Re: [h-cost] eBay Listing Removed: Keyword Spamming
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Uh-oh. Where does that leave such items as Eisenhower jackets, Peter Pan collars, Eton jackets, Mae Wests (life preservers), and other eponymous garments?   ;.}

--Ruth Anne Baumgartner
scholar gypsy and amateur costumer

-----Original Message-----
From: A & J Garden <garden@earthlydelights.com.au>
Sent: Dec 7, 2005 2:38 AM
To: Historical Costume <h-costume@indra.com>
Subject: [h-cost] eBay Listing Removed: Keyword Spamming 

Hi, just want to warn others - I got this message tonight - I did not 
realise I was spamming. What are your thoughts? I make Regency dresses 
for sale.
Thanks, Aylwen Garden

-------- Original Message --------
Subject: 	eBay Listing Removed: Keyword Spamming (=LS &7193 JM5023424)
Date: 	Tue, 06 Dec 2005 21:22:44 PST
From: 	ended@ebay.com
To: 	garden@earthlydelights.com.au



Dear cottager87,

We appreciate that you chose eBay to list the following multiple item listing(s):

8359259226 - Regency Dress: Jane Austen 1800s Pride  Prejudice Gown


However, your listing was in violation of eBay's Keyword Spamming policy and has been removed from eBay.  We have credited all associated fees to your account and notified eBay users associated with the transaction that it has been cancelled.

  We would like to take this opportunity to let you know what part of your listing is not permitted.

Your listing(s) contains the following information:

In Title:
Jane Austen 1800s Pride & Prejudice


Keyword spamming is not permitted on eBay.  This typically occurs when members place brand names or other inappropriate keywords in a title or description for the purpose of gaining attention or diverting members to a listing.

* Use of Brand Names: Our policy does not permit members to include any brand names in the listing title other than the specific brand name used by the company that manufactured or produced the item being offered in the listing.

* Custom-made items: Although an item may be fabricated to visually match a specific product line of a recognized brand name, members are not permitted to include the name of the product line, or the related brand name in the listing title.

* Use of Celebrity or Artist Names:   At present, our policy does not permit members to include celebrity names, or the names of artists, authors, or other known figures in the listing title other than the specific celebrity or known figure that has created, written or officially endorsed the item being offered in the listing.  From the perspective of our policy, celebrity names are treated as being synonymous with brand names.

This means that although a celebrity may have worn a similar item, or made such an item popular in current pop-culture, members are not permitted to use the names of these celebrities or known figures in the listing title.  

Our policy permits a seller to use *one* name as a comparison within the subtitle or description section of the listing.
For more information on Keyword Spamming visit the following Help page:


http://pages.ebay.com/help/policies/keyword-spam.html


Please note: violation of this or other eBay policies may result in forfeit of eBay fees on cancelled listings, limits on account privileges and account suspension.


Please review eBay's Listing Policies and User Agreement at the following locations:

  http://pages.ebay.com/help/sell/policies.html
  http://pages.ebay.com/help/policies/user-agreement.html

For more information on why eBay removes multiple item listings, or to write to us with questions, please review the following Web page:

  http://pages.ebay.com/help/confidence/listing-ended.html

We thank you in advance for your cooperation.

Regards,

eBay Trust & Safety


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From h-costume-bounces@indra.com  Wed Dec  7 12:39:53 2005
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Subject: Re: [h-cost] eBay Listing Removed: Keyword Spamming
Date: Wed, 7 Dec 2005 11:33:49 -0600
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I think the basic problem is that the words were in the TITLE of the 
auction.

If you put similar words and phrases in a conversational manner in the 
description of the items, I think you would be okay.

I think the main problem is they are trying to make the search results (for 
people who search by title only) more accurate.

On the other hand, there seems to be little rhyme or reason why ebay does 
some of the things they do, because I've seen my share of completely bogus 
listings with clearly misleading titles and descriptions (like a pyramid 
scheme with the title "18th century Irish spinning wheel!) and no amount of 
complaining to ebay removed the items or the seller.

If I were you, I'd re-list it with those words in the description, but avoid 
mentioning "movie". Like : "Are you a big fan of Jane Austen?  You will love 
this stunning gown that is a modern example of the styles described in Pride 
and Prejudice."  (or whatever).  People who search by looking at titles 
*and* descriptions will still find this item, and you can assure people who 
*know* what they are looking for by using a very accurate title.

Denise B
Iowa 

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Subject: Re: [h-cost] eBay Listing Removed: Keyword Spamming
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Joan Broneske wrote:
> This is really odd! Maybe it's because you have Jane Austin and Pride 
> and Prejudice together?  Maybe if it was one or the other, or said "Jane 
> Austin style dress" or "era dress"?  I don't know...I've never seen 
> anything like this.  I would write to them right away and find out what 
> the deal is.

I'd be surprised if they answered. Ebay has really bad "customer service".

What keywords are other people using to list regency clothing?



Dawn

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Subject: Re: [h-cost] eBay Listing Removed: Keyword Spamming
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     How did people work it out when selling Titanic era dresses?

     If someone was a fan of a period movie, they might search on the
movie title to see what merchandise was available.  They might not
have thought about a repro gown until seeing it come up in the
search.

     Why shouldn't someone be able to get that exposure?

     It sounds like they're making too broad a rule.  When I rule the
entire world, things will be different ...  :-)

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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Juki home sergers
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sunshine_buchler@agilent.com wrote:
>  
> 
>>Good question. I know they make sergers, but evidently they make other
>>sewing machines as well as other industrial equipment.
>>
>>I THINK they may have gotten into the domestic machine market after
>>their beginnings in industrial machines.
>>
>>Anybody know?
> 
> 
> I have a non-industrial serger by Juki (bought last year). I assume this means they are in the domestic machine market as well :-)
> 	-sunny

I adore my Juki non-industrial serger.  I've had it for...let's see...14 
years and have never had a problem.  I've bought them for both academic 
costume shops I've worked in as well, and they've been great.  They're 
more expensive than other brands, but they also work MUCH better.

Melanie Schuessler
Eastern Michigan University

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Cool!  I don't know about the correctness of the forehead cloth or not.  
Think I am remembering correctly- Fynn Morryson states that women on the 
continent wore forehead cloths "out and about" where as English women 
did not...

Sg
Kate M Bunting wrote:

>The proposed website for our Renaissance music group still hasn't got off the ground, but you can now see a couple of photos of me in costume on the Sealed Knot Living History Group website http://livinghistorygroup.co.uk/musicians.htm . In the first, I'm wearing a linen Hollar-style cap made from Kass McGann's pattern. I know the forehead cloth with it is probably not strictly correct, but it hides my thick fringe (bangs) which is inappropriate for the period.
>
>Kate Bunting
>Librarian and 17th century reenactor
>
>
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>
>  
>

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your forehead cloth puts me in mind of the cap and undercap combination worn by the early moravian settlers in North Carolina.   (haube?)  
   
  The interpreters in Old Salem up in Winston-Salem still wear them sometimes.  It gives a very non-18th cent/non-american look
   
  18 cent Mia in CHarlottetown

		
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From: "Rebecca Schmitt" <lotsofteapots@charter.net>
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My husband's stepmother has on her Christmas list "book on embroidery for
beginners". Any suggestions or recommendations? Thanks!
 

*******************************************************************

Rebecca Schmitt

aka Agness Cabot, Guilde of St. Lawrence

Bristol Renaissance Faire

 

My arms are too short to box with God.  --Johnny Cash

*******************************************************************

 
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Rebecca,

   I always suggest "The Embroidery Stitch Bible"  by Betty Barnden, ISBN 0873495101, to my beginning students.  The other one I would suggest is "Encyclopedia of Needlework" by Donna Kooler, ISBN 1574861840.  I had a few others, but I have doled those out to a couple of my needlework students.

Roscelin

 -------------- Original message ----------------------
From: "Rebecca Schmitt" <lotsofteapots@charter.net>
> My husband's stepmother has on her Christmas list "book on embroidery for
> beginners". Any suggestions or recommendations? Thanks!
>  
> 
> *******************************************************************
> 
> Rebecca Schmitt
> 
> aka Agness Cabot, Guilde of St. Lawrence
> 
> Bristol Renaissance Faire
> 
>  
> 
> My arms are too short to box with God.  --Johnny Cash
> 
> *******************************************************************
> 
>  
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume


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 Rebecca,
I have one I really like. Lots of step-by-step photos and it's spiral bound 
so it lays flat.

A~Z of Embroidery Stitches  from the publishers of Inspirations Magazine
ISBN 0646320025

I haven't had it more than a couple of years, but I don't know if it's still 
available new. The copyright is 1997.

Denise B 

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My favorite suggestion would be Erica Wilson's Embroidery Book, but it's
rather distinctly out of print. ;o(
--Sue

----- Original Message -----
From: <roscelinlimoges@comcast.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, December 07, 2005 2:57 PM
Subject: Re: [h-cost] Book recommendations, please


> Rebecca,
>
>    I always suggest "The Embroidery Stitch Bible"  by Betty Barnden, ISBN
0873495101, to my beginning students.  The other one I would suggest is
"Encyclopedia of Needlework" by Donna Kooler, ISBN 1574861840.  I had a few
others, but I have doled those out to a couple of my needlework students.
>
> Roscelin
>
>  -------------- Original message ----------------------
> From: "Rebecca Schmitt" <lotsofteapots@charter.net>
> > My husband's stepmother has on her Christmas list "book on embroidery
for
> > beginners". Any suggestions or recommendations? Thanks!
> >
> >
> > *******************************************************************
> >
> > Rebecca Schmitt


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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] eBay Listing Removed: Keyword Spamming
Date: Thu, 8 Dec 2005 01:14:15 -0500
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On Wednesday 07 December 2005 2:38 am, A & J Garden wrote:
> Hi, just want to warn others - I got this message tonight - I did not
> realise I was spamming. What are your thoughts? I make Regency dresses
> for sale.
> Thanks, Aylwen Garden

I don't sell on EBay (though I often shop there) but my guess is that the 
following portion of their canned message to you explains the problem.

[snip]

> * Use of Celebrity or Artist Names:   At present, our policy does not
> permit members to include celebrity names, or the names of artists,
> authors, or other known figures in the listing title other than the
> specific celebrity or known figure that has created, written or officially
> endorsed the item being offered in the listing.  From the perspective of
> our policy, celebrity names are treated as being synonymous with brand
> names.

You mentioned "Jane Austen" in the heading, so it was probably flagged 
automatically by their system even though she's been dead nearly 200 
years.  :-)  It may also be that their policy prohibits the use of movie 
titles in item captions also.

> http://pages.ebay.com/help/policies/keyword-spam.html

Might help explain too. 

-- 
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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From: Joannah Hansen <Joannah@sluggy.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Costume movies
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I felt so sorry for the 'beast' ...... poor thing.....
But yes, there certainly was some eye candy. 
Joannah.

--- "Helen  Pinto" <hpinto@mindspring.com> wrote:

From: "Helen  Pinto" <hpinto@mindspring.com>
Date: Sat, 3 Dec 2005 21:22:12 -0500
To: "Historical Costume" <h-costume@indra.com>
Subject: Re: [h-cost] Costume movies

Bjarne wrote:
> There was also a film i liked called The company of the Warewolf, or 
> something like that. French but two bloody and two much fighting in it. 
> Costumes are very nice though.

If it was released only a couple of years ago, you probably mean "Le Pacte 
des Loups", released in the US as "Brotherhood of the Wolf".  You're right 
about the blood and the fighting; it is, more or less, an 18th c martial 
arts movie.  (But I like those...)  And it did have some nice eye candy...
              -Helen/Aidan 

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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] Pics of me online at last
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Dear Kate,
How nice finally to be able to know how you look like. I surfed at your site 
and it looks great. It must be very fun to have such a group. I am very fund 
of early music including 17th century, and it is such a joy to hear it. 
Always admired people who could perform music, i never learned, but then 
again, you cant do it all - or what?
Thanks for sharing..........

Bjarne

----- Original Message ----- 
From: "Kate M Bunting" <K.M.Bunting@derby.ac.uk>
To: <h-costume@indra.com>
Sent: Wednesday, December 07, 2005 5:17 PM
Subject: [h-cost] Pics of me online at last


> The proposed website for our Renaissance music group still hasn't got off 
> the ground, but you can now see a couple of photos of me in costume on the 
> Sealed Knot Living History Group website 
> http://livinghistorygroup.co.uk/musicians.htm . In the first, I'm wearing 
> a linen Hollar-style cap made from Kass McGann's pattern. I know the 
> forehead cloth with it is probably not strictly correct, but it hides my 
> thick fringe (bangs) which is inappropriate for the period.
>
> Kate Bunting
> Librarian and 17th century reenactor
>
>
> _______________________________________________
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> h-costume@mail.indra.com
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> 


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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: "Historical Costume" <h-costume@indra.com>
References: <1d4.49b4c7b9.30c78103@aol.com>
Subject: Re: [h-cost] Re: tissue
Date: Thu, 8 Dec 2005 16:29:08 +0100
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Hi,
Thanks for enlightening me,
Well tissue paper is quit cheap here two, but i stick to calico.
I have zigzagged a  few pieces cut out for the right hoop frames, and i can 
wash them frequently.

Bjarne
----- Original Message ----- 
From: <Debloughcostumes@aol.com>
To: <h-costume@indra.com>
Sent: Wednesday, December 07, 2005 1:04 AM
Subject: [h-cost] Re: tissue


> I've obviously missed a chunk of this somewhere along the line, so sorry 
> if
> am repeating.
>
>> Hmmmm, you have my curiosity up.  Isn't the edge of the fabric on the
>> >hoop protected by the outer hoop?
>
> The main reason to use the tissue is to protect the fabric from the hoop
> itself, as it can cause indentations if working with a soft fabric.  Also, 
> if the
> hoop you have to hand is smaller than the overall piece, and you have to
> reposition it, the tissue will protect the work you've already done from 
> being
> squashed by the hoop.  Plus, I tend to find that my fingers always overlap 
> the
> edge of the hoop (I use quite thin wooden ones), and the natural oils from 
> my
> fingers will sooner or later mucky up the bit I'm holding.  If I can 
> manage to
> hold onto tissue instead that doesn't happen as much, so easier to clean.
>
>>If it is the rest of the fabric you > are worried about then I could see 
>>why
>> you'd want to >place a piece of tissue paper over the entire embroidery
>> (with the inner hoop >underneath)
>> >place the outer hoop on top, then tear the paper off where you want to
>> >work.
>
> That's exactly the way you're meant to use it.  (But that's much better 
> but
> than when I tried to describe it.)
>
>>Not to argue with Tania-you guys "over there" call stuff >
>> >differently than we, but silk paper over here is rather expensive.
>
> Silk paper here (UK) is also quite expensive (couple of quid a sheet), and 
> is
> the handmade stuff with raw silk in it - it's an art paper, and I wouldn't
> ever suggest using that (the uneven texture could in fact do more harm 
> than good
> with a particularly delicate piece).
>
>> >Tissue paper is really cheap and is mostly used for wrapping gifts.  It
>
>> >is the same as the paper most patterns are made of over here (very light
>> >and easily torn).
>
> That's what tissue is in the UK, too.  Although we tend to use wrapping 
> paper
> for gifts instead.  As a guide, a ream (500 sheets) of tissue paper about 
> A2
> sized would cost me about 8 pounds (I think - something like that).
>
> I also always try to use acid free tissue, as well (although if only a 
> quick
> job it wouldn't matter *that* much).  I just tend to keep projects going 
> for
> ages, so like to be safe!
>
>
>
> _______________________________________________
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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>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] Book recommendations, please
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DEAR Rebecca

There is no such thing as a beginner
(i hope not)

You combine stitch and stitch and become at last
Master embroiderer
I would love to  be gifted with a stitch dictionary
If i didnt know anything at all.
Then i would know something.
You know i have still problems with my email 
Dont know what to do. Do i have to buy a new harddisk?
My mother considers me a whit?

jarne. 



From: "Rebecca Schmitt" <lotsofteapots@charter.net>
To: "'Historical Costume'" <h-costume@indra.com>
Sent: Wednesday, December 07, 2005 10:43 PM
Subject: [h-cost] Book recommendations, please


> My husband's stepmother has on her Christmas list "book on embroidery for
> beginners". Any suggestions or recommendations? Thanks!
> 
> 
> *******************************************************************
> 
> Rebecca Schmitt
> 
> aka Agness Cabot, Guilde of St. Lawrence
> 
> Bristol Renaissance Faire
> 
> 
> 
> My arms are too short to box with God.  --Johnny Cash
> 
> *******************************************************************
> 
> 
> _______________________________________________
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Leif og Bjarne Drews
www.my-drewscostumes.dk

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

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Sue Clemenger <mooncat@in-tch.com> wrote:  My favorite suggestion would be Erica Wilson's Embroidery Book, but it's
rather distinctly out of print. ;o(
--Sue

----- Original Message -----
From: 
To: "Historical Costume" 
Sent: Wednesday, December 07, 2005 2:57 PM
Subject: Re: [h-cost] Book recommendations, please


> Rebecca,
>
> I always suggest "The Embroidery Stitch Bible" by Betty Barnden, ISBN
0873495101, to my beginning students. The other one I would suggest is
"Encyclopedia of Needlework" by Donna Kooler, ISBN 1574861840. I had a few
others, but I have doled those out to a couple of my needlework students.
>
> Roscelin
>
> -------------- Original message ----------------------
> From: "Rebecca Schmitt" 
> > My husband's stepmother has on her Christmas list "book on embroidery
for
> > beginners". Any suggestions or recommendations? Thanks!
> >
> >
> > *******************************************************************
> >
> > Rebecca Schmitt


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From: Mia Dappert <snappylunch_2001@yahoo.com>
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Subject: [h-cost] Re: blonde lace question
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This is for anyone18c and lace oriented folks, but I'm addressing it to Bjarne as he is most familiar with the high style
   
  Has anyone seen blonde used on men's 18c shirts.  I'm talking about the silk lace, very fine and beautiful, sometimes in an off white color.  The exhibit I was at at the Mint Museum in Charlotte, NC had a late-ish 1700s black velvet mens suit and they had it displayed with some reproduction blonde frills/ruffles at the wrists and neck.  I would have gone with a very fine white linnen myself (that $40+ a yard stuff that I can't find here in North Carolina)
   
  18c Mia in Charlottetown, NC, getting ready to go to a Back-county Carolinas Christmas.  I'm Mrs. Judge Irwin, and will be helping him politic at the bonfire. (Think guns shooting, whisky and general noisemaking)  I might try to do my hair 'a la mouton" this year, when one is ajudges wife, one leads the fashions.

			
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sorry just testing




Leif og Bjarne Drews
www.my-drewscostumes.dk

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

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Subject: [h-cost] Unicorn Tapestry & Mathematicians: upcoming lecture
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This is in Boston, but if they're taking it on the road, maybe they will 
go other places too:

Y'all may remember a very interesting article a few months ago about the
peculiar needs of the Met/Cloisters when photographing the Unicorn in
Captivity series.

The mathematicians involved are going to be giving a lecture about it on
January 18th at the Museum of Science in Boston:

Article link: http://www.newyorker.com/fact/content/articles/050411fa_fact

MoS: http://www.mos.org/doc/1136

The The Unicorn in Captivity

7:00 pm, January 18, 2006 (Wednesday)
Cahners Theater

Series:
2005 When Science Meets Art

To create an exact visual reproduction of one of the Metropolitan Museum
of Art’s Unicorn Tapestries, digital cameras photographed every inch.
When the hundreds of digital photographic files didn’t fit smoothly
together, the Chudnovsky brothers with their supercomputer were brought
in to figure it out. A limited number of tickets will be sold for seats
in the theater with the speakers.

Tickets: $10/night. Includes dessert reception. Advance purchase is
strongly recommended. Limited additional seating in a separate theater
with simulcast projection of the event will be available for FREE thanks
to the generosity of the Lowell Institute. Free seating tickets to the
simulcast available to the general public in the Museum lobby beginning
at 5:45 p.m. the evening of the program; first come, first served.

Featuring: David & Gregory Chudnovsky, Directors, Institute for
Mathematics and Advanced Supercomputing

-- 
Cynthia Virtue and/or Cynthia du Pre Argent

Feeling like your Middle Age is upon you? New design at my CafePress
store, with a medieval woodcut of a pharmacist, a paen to OTC drugs, and
a quote from Chaucer about old(er) age. Black T-shirt, various other
colors & items: http://www.cafepress.com/virtueventures.39314581

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try Bibliofind, I've found lots of books that have been out of print, 
some even a century old.

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Subject: Re: [h-cost] Book recommendations, please
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At 06:10 AM 12/8/2005, you wrote:
>Sue Clemenger <mooncat@in-tch.com> wrote:  My favorite suggestion would be 
>Erica Wilson's Embroidery Book, but it's
>rather distinctly out of print. ;o(
>--Sue


I see that book on eBay and half.com a lot for very little. It's worth a 
lookup. Also checkout addall.com for both used and new book searches. 
Sometimes the cheapest book may not be in the US, even with shipping added in.

Kimiko


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Bookfinder.com too.  If you are looking for something with a foreign 
author, be sure to also check the other languages...they often pop up 
there, but not necessarily when English is selected. I have purchased a 
number of books from overseas and been very happy with service, etc.

Sg

Kitty Felton wrote:

> try Bibliofind, I've found lots of books that have been out of print, 
> some even a century old.
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>
>

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The Royal School of Needlework Embroidery Techniques, published by Batsford, 
ISBN: 0713488174     

It's fabulous - covers materials, beginning, and there's a chapter each on 
black work, silk shading, goldwork, and crewelwork.  It has a few simple 
projects to complete in each section, and covers a bit of the history.  Each section 
is written by a 'graduate' of the RSN's apprenticeship.

Also has some stunning pics from the RSN's archive.

Debs.





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I've almost run out of Dharma Trading Company's "Men's and Women's Socks 
- 3 pack." It turns out Dharma is now out of stock and will not be 
getting any for the undefined future. 

Dharma also has some organic socks that they admit dye with a 
"heathered" effect, that is the elastic shows up as white bits.  I've 
dyed some socks like that and don't like the heathering much.  Thing is, 
I think 100% cotton socks are never really 100% cotton, they all have 
elastic in them that does not take Procion dyes.  The good thing about 
the socks Dharma ran out of, is that the cotton covers the elastic so 
well you hardly see it.

What I am getting at is, does anyone have another source for 100% cotton 
women's socks (men's are too big for me) that they know from experience, 
or a dyer's recommendation, do not have enough visible elastic to "heather"?

Thanks for any info,

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



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From: "Susan B. Farmer" <sfarmer@goldsword.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Re: Embroidery books, out of print
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Quoting Kitty Felton <basyefelton@floodcity.net>:

> try Bibliofind, I've found lots of books that have been out of print, 
> some even a century old.
>
>

eBay.  Erica Wilson shows up all the time on eBay -- as to several other
good embriodery books.

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


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Subject: Re: [h-cost] Re: Embroidery books, out of print
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At 02:06 PM 12/9/2005, you wrote:
>eBay.  Erica Wilson shows up all the time on eBay -- as to several other
>good embriodery books.
>
>Susan


What other books on embroidery would you consider good ones?

I have a few that have already been mentioned, but I am looking for 
something beyond beginner myself, and would love suggestions.

Thank you,

Kimiko


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Subject: [h-cost] Re:Embroidery books
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Erica Wilson is a master embroidery expert and would be a good one to
get for anyone interested in embroidery.   she has many books out and
any of them would be an encyclopedia for the rest of us.
> 
> What other books on embroidery would you consider good ones?
> 
> I have a few that have already been mentioned, but I am looking for 
> something beyond beginner myself, and would love suggestions.
> 
> Thank you,
> 
> Kimiko
> 

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Subject: [h-cost] which dress form? - opinions
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  The question posted earlier got me thinking that I need a dress form too. I know very little about them except that they can be quite useful. Which ones are the easiest to work with and adjust, and are some more compatible with adjustments for certain body types? Specifically - short back/long hip, small rib cage and waist but broad shoulders and largish bust.
   
  I took a quick peek online at Hancocks and they currently have one on sale for $99. This brought up the questions as this basic one doesn't look like it would adjust very well to what is required. The Prym-Dritz twin fit looks like it might be more amenable to the proper measurements.
   
  I'm looking for one that would be appropriate for both costuming and 'modern' clothing.
   
  What all is out there and what have been everyone's experiences? What would be considered a reasonable price?
   
  Thanks,
  Annette M


			
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At 15:47 11/12/2005, you wrote:
>   The question posted earlier got me thinking that I need a dress 
> form too. I know very little about them except that they can be 
> quite useful. Which ones are the easiest to work with and adjust, 
> and are some more compatible with adjustments for certain body 
> types? Specifically - short back/long hip, small rib cage and waist 
> but broad shoulders and largish bust.
>
>   I took a quick peek online at Hancocks and they currently have 
> one on sale for $99. This brought up the questions as this basic 
> one doesn't look like it would adjust very well to what is 
> required. The Prym-Dritz twin fit looks like it might be more 
> amenable to the proper measurements.
>
>   I'm looking for one that would be appropriate for both costuming 
> and 'modern' clothing.
>
>   What all is out there and what have been everyone's experiences? 
> What would be considered a reasonable price?


I know a lot of people prefer them, but I really cannot get on with 
adjustable stands, The gap in front is always where I want to put 
pins. I personally recommend buying a stand one size smaller than you 
actually need and padding it with batting, or fleece, till it is the 
same shape as you, then covering with an old T-shirt.

As a professional maker I only have three sizes, all solid. One is 
tiny, one medium, and one large, plus one male, medium, stand. These 
work for all the different sizes I have to cater for, with padding.

As I am in the U.K. there is no point in me recommending a particular 
brand. I hope that helps you make your decision.

Suzi


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Suzi and I have conversed about this before. ;o)

I use the adjustable dress forms combined with  the "Fabulous Fit" padding 
system which ends up covering the gap caused by the adjustable panels.
Cost is a major factor.  The solid professional dress forms can be quite 
expensive if you don't have a second hand source for them.  I own two 
adjustable forms - one "regular" sized, one "full figured" girl.  I 
recently acquired a lovely solid form which suits my own figure very 
well.  I would eventually love to own a man's form and a small sized form.

I think, for you, it depends on weather you are sewing for others or only 
for yourself.  If only for yourself, you really don't need to worry about 
adjustable sizing.  I've *heard* that some of the squish-able forms (My 
Twin?) are excellent when working with corseted period clothing as they 
will somewhat mimic the body when corseted.  


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Subject: Re: [h-cost] dress forms
Date: Sun, 11 Dec 2005 14:32:43 -0600
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I recently got a Uniquely You dress form, which is one of the squishy foam 
types that you zip into a cover.  I got the medium size, which according to 
the numbers should have been the right fit for me, but it decidedly wasn't. 
The bust was about 4-5 inches too low--and my bust isn't unusually 
high--which meant that no matter how well I fitted the cover, it would never 
work.  In order to make it useable, I had to split the thing into front and 
back halves, alter it from the inside, and glue it back together.  I then 
made a completely new custom fitted cover that laced closed front and back, 
since the foam body was so big that the zipper on the included cover simply 
could not be closed when the cover fitted properly.

When I first got the thing, I thought I should have gotten a small instead 
of a medium; however, if I had to do it all over again now, I'd skip it 
completely and go for one of the pad-to-size types like Fabulous Fit. After 
all my altering, the one I've got is a 98% perfect duplicate, but oy--I'm 
not sure it was worth all the effort. I'd eBay for it, though, because those 
are pretty expensive!

-E House 

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From h-costume-bounces@indra.com  Sun Dec 11 16:26:11 2005
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From: "Kelly Grant" <estela_dufrayse@hotmail.com>
To: h-costume@indra.com
Subject: RE: [h-cost] which dress form? - opinions
Date: Sun, 11 Dec 2005 17:25:12 -0400
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All I have is your basic model. I'm a historical costumer by trade, working 
for museums, and this is all I ever needed for women's clothes.  You can't 
really get one that adjusts to many different styles needed for the 
different time periods.  Corsets mounted on a dress dolly can shrink the 
padding underneath, which makes getting an accurate fit difficult.  I still 
rely on fitting on the person.

I use the dolly to support garments while I hem them, hanging bias garments 
out, checking sleeve alignment, that sort of thing.  I sometimes mount 
projects on the dolly to take photos and see how things are looking.

I would like to upgrade to a professional hard tailor's dolly as they tend 
to be a little more stable and don't tip. I've used the foam ones, but don't 
really care for them as they tend to go out of shape and stay that way if 
you corset them, that and they off gas (smell).

I'd get yourself a basic model. Often they can be found second hand for as 
little as $10. Then get a sloper fitted to you, and use that to pad out your 
dolly.  Use non twill fabric in the sloper as it will streatch, and be 
prepared to re check the fit from time to time.

Happy dolly buying,
Kelly Grant (SCA estela du frayse)



"Bravery is something you can experience on the spur of the moment, faced 
with danger.  To have courage, you must think about the dangers in advance, 
then weigh the risks, and then do what you have to do, despite your fears"
Caius Merlyn Britannicus





>From: Kahlara <kahlara@yahoo.com>
>Reply-To: Historical Costume <h-costume@indra.com>
>To: "h-costume@indra.com" <h-costume@indra.com>
>Subject: [h-cost] which dress form? - opinions
>Date: Sun, 11 Dec 2005 07:47:21 -0800 (PST)
>
>   The question posted earlier got me thinking that I need a dress form 
>too. I know very little about them except that they can be quite useful. 
>Which ones are the easiest to work with and adjust, and are some more 
>compatible with adjustments for certain body types? Specifically - short 
>back/long hip, small rib cage and waist but broad shoulders and largish 
>bust.
>
>   I took a quick peek online at Hancocks and they currently have one on 
>sale for $99. This brought up the questions as this basic one doesn't look 
>like it would adjust very well to what is required. The Prym-Dritz twin fit 
>looks like it might be more amenable to the proper measurements.
>
>   I'm looking for one that would be appropriate for both costuming and 
>'modern' clothing.
>
>   What all is out there and what have been everyone's experiences? What 
>would be considered a reasonable price?
>
>   Thanks,
>   Annette M
>
>
>
>---------------------------------
>Yahoo! Shopping
>  Find Great Deals on Holiday Gifts at Yahoo! Shopping
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Okay, so who saw "The Lion, The Witch, and the Wardrobe" this weekend???

The kids' 40s costumes looked good to me. The king and queen costumes at the
end -- blech. There was a lot of great armour, and some really beautiful
tents. Susan's first Narnia dress was particularly nice, the other kids'
clothes passable. 

But what the heck was the White Witch wearing at the beginning? Some sort of
prom dress gone bad, and I don't even know how to DESCRIBE what was going on
with the shoulders. She eventually changed clothes, thank goodness. This is
not a costume snob's description, either -- my 11-year-old daughter could
not stop talking about how ugly it was. Plus she had dreadlocks, which look
a bit weird on a blonde Englishwoman. I guess she turned all her
hairdressers to stone.

We enjoyed the movie immensely, despite quibbles about costume and other
things. It was a lot of fun, very enjoyable.

Gail Finke


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Original Message:
-----------------
From: Gail & Scott Finke gailscott@eos.net
Date: Sun, 11 Dec 2005 20:46:20 -0400
To: h-costume@indra.com
Subject: [h-cost] narnia movie

Okay, so who saw "The Lion, The Witch, and the Wardrobe" this weekend???

The kids' 40s costumes looked good to me. The king and queen costumes at the
end -- blech. There was a lot of great armour, and some really beautiful
tents. Susan's first Narnia dress was particularly nice, the other kids'
clothes passable. 

But what the heck was the White Witch wearing at the beginning? Some sort of
prom dress gone bad, and I don't even know how to DESCRIBE what was going on
with the shoulders.
--------------------
I thought the king and queen costumes at the end looked very
pre-raphaelite, just right for some odd reason.
I finally came to terms with the witch's dress by deciding that it was a
sort of a dress-shaped shell, like an icy coating.

liz young

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From h-costume-bounces@indra.com  Mon Dec 12 00:32:25 2005
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Subject: Re:  [h-cost] dress forms
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Like Suzi, I have problems with adjustable stands - the gaps are *always* in 
the wrong places.  That said, you can get some that have bits to cover the 
gaps, and they're fabulous (I used my Nana's to death when I was a kid).

I do have an adjustable female form (small - medium) that I use occasionally, 
but I find myself more and more using solid ones (pinnable, and paddable), 
and padding them as necessary.

A brand new professional solid dummy can cost quite a lot (as much as 800 
pounds) - but you can get them second hand, and some shop display forms (the 
heavier duty kind) are quite acceptable for the kind of 'light' use most costumers 
put them through, which is nothing like what they'd get in a factory, (my 
male one even copes with padded armour). 

Quite a ot of shopfitting stores, etc have second hand ones (that's in the 
UK, but I can't see it being that much different over there).  Ebay is also 
quite a good place for them, but  find out what they're made from - avoid the 
cheap polystyrene kind like the plague - you'd really need the yellowy coloured 
moulded foam kind.

Like Suzi, I obviously can't suggest a make or supplier, as shipping across 
the Atlantic is a bit pointless!


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Hi,

I have a bustle dress and I am wondering if it would look weird to make 
an evening bodice for the dress.
The dress is very simple and made from cotton.
But I have just one week to finish a coat and vest for my husband and a 
dress for me.

This is the dress
http://www.deredere.dds.nl/19thcent/19woman/Bustle/Bustle.html

Greetings,
       Deredere

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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] Bustle dress question
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At 11:12 12/12/2005, you wrote:
>Hi,
>
>I have a bustle dress and I am wondering if it would look weird to 
>make an evening bodice for the dress.
>The dress is very simple and made from cotton.
>But I have just one week to finish a coat and vest for my husband 
>and a dress for me.
>
>This is the dress
>http://www.deredere.dds.nl/19thcent/19woman/Bustle/Bustle.html


It is quite normal to have a second bodice for a dress in both bustle 
periods. I have usually seen them in silk, but I see no reason why 
you should not make one to match your skirt. It would only matter if 
someone in the group you are with took it into his/her head to complain.

Suzi


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From h-costume-bounces@indra.com  Mon Dec 12 06:36:13 2005
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To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] Bustle dress question
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I can't see why you couldn't. There are extant examples of dresses with 
different bodices.  Mind you, they are made of different material than 
cotton, but I think you would look and feel better if you were dressed in an 
appropriate style to match your husband's attire. People won't notice the 
cotton so much, especially from a bit of distance.

Have fun at your event!
Kelly/estela
www.goldenoakinn.com
----- Original Message ----- 
From: "Deredere Galbraith" <Deredere.Galbraith@kabelfoon.nl>
To: "Historical Costume" <h-costume@indra.com>
Sent: Monday, December 12, 2005 7:12 AM
Subject: [h-cost] Bustle dress question


> Hi,
>
> I have a bustle dress and I am wondering if it would look weird to make an 
> evening bodice for the dress.
> The dress is very simple and made from cotton.
> But I have just one week to finish a coat and vest for my husband and a 
> dress for me.
>
> This is the dress
> http://www.deredere.dds.nl/19thcent/19woman/Bustle/Bustle.html
>
> Greetings,
>       Deredere
>
> _______________________________________________
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To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Bustle dress question
Date: Mon, 12 Dec 2005 09:05:39 -0600
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Deredere--

I have seen many 19th century dresses with two bodices, one for day and
one for evening.

Looking at your dress, I wonder if you could leave the apron off the
skirt for evening wear? That checked fabric is very "daytime," not
formal enough for evening.

Kim

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
On Behalf Of Deredere Galbraith
Sent: Monday, December 12, 2005 5:12 AM
To: Historical Costume
Subject: [h-cost] Bustle dress question


Hi,

I have a bustle dress and I am wondering if it would look weird to make 
an evening bodice for the dress.
The dress is very simple and made from cotton.
But I have just one week to finish a coat and vest for my husband and a 
dress for me.

This is the dress
http://www.deredere.dds.nl/19thcent/19woman/Bustle/Bustle.html

Greetings,
       Deredere

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From: J Schueller <jaurbik@optonline.net>
Subject: Re: [h-cost] narnia movie
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Ok, I agree that the queen's first dress was majorly weird, but I 
actually liked how the dreadlocks looked, i thought they were cool.  of 
course, I (a blond blue eyed white girl) had dreadlocks once so i 
obviously like them.

jordana


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Subject: Re: [h-cost] Bustle dress question
Date: Mon, 12 Dec 2005 10:32:12 -0500
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Kim's suggestion is a good one.  You might make another 'apron' of, say,
cotton moire that would dress it UP...whatever you choose for the second
bodice.

Kathleen
----- Original Message ----- 
From: "kim baird" <kbaird@cableone.net>
To: "'Historical Costume'" <h-costume@indra.com>
Sent: Monday, December 12, 2005 10:05 AM
Subject: RE: [h-cost] Bustle dress question


> Deredere--
>
> I have seen many 19th century dresses with two bodices, one for day and
> one for evening.
>
> Looking at your dress, I wonder if you could leave the apron off the
> skirt for evening wear? That checked fabric is very "daytime," not
> formal enough for evening.
>
> Kim
>
> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
> On Behalf Of Deredere Galbraith
> Sent: Monday, December 12, 2005 5:12 AM
> To: Historical Costume
> Subject: [h-cost] Bustle dress question
>
>
> Hi,
>
> I have a bustle dress and I am wondering if it would look weird to make
> an evening bodice for the dress.
> The dress is very simple and made from cotton.
> But I have just one week to finish a coat and vest for my husband and a
> dress for me.
>
> This is the dress
> http://www.deredere.dds.nl/19thcent/19woman/Bustle/Bustle.html
>
> Greetings,
>        Deredere
>
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   Deredere ,
   Is there any way you could do an overlay for the top of the skirt, that way it would be a little more fancy.
 
-----Original Message-----
From: Deredere Galbraith <Deredere.Galbraith@kabelfoon.nl>
To: Historical Costume <h-costume@indra.com>
Sent: Mon, 12 Dec 2005 12:12:25 +0100
Subject: [h-cost] Bustle dress question


Hi, 
 
I have a bustle dress and I am wondering if it would look weird to make an evening bodice for the dress. 
The dress is very simple and made from cotton. 
But I have just one week to finish a coat and vest for my husband and a dress for me. 
 
This is the dress 
http://www.deredere.dds.nl/19thcent/19woman/Bustle/Bustle.html 
 
Greetings, 
  Deredere 
 
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From h-costume-bounces@indra.com  Mon Dec 12 11:58:23 2005
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Subject: Re: [h-cost] narnia movie
Date: Mon, 12 Dec 2005 10:48:21 -0600
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I thought the witch's dresses towards the beginning looked very odd 
(especially the weird sticking-out-six-inches-at-the-back thing) but I think 
the material it was made of was pretty well chosen; it looked more like it 
was sort of magically grown than made, which strikes me as right.

I did like her last two dresses, though--the strapless dark brown one, and 
the maned chain mail battle outfit.  Wonder how much that one weighed; to me 
it actually looked like chain mail rather than that fake metallic knit stuff 
that some movies use to impersonate chain mail.  The mane was a nice touch. 
It seemed like something Jadis would do.

I like both Susan and Lucy's Narnian dresses. Their coronation gowns... I 
didn't hate them, but I was hoping for something a bit more spectacular. 
>From a standpoint of what was right for the movie, they sort of make sense 
to me; this is supposed to be a country without humans, so they probably 
didn't exactly have a lot of human coronation gowns laying around, nor 
garment-makers with tons of experience at making human clothing.  Where on 
earth were they supposed to have gotten those earlier Narnia dresses, 
anyway?  The adult Susan and Lucy dresses disappointed me a bit, though I 
liked the purple/plum one.  (I couldn't quite tell which one was Su and 
which was Lu there.)

-E House


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Unfortionally I can't find any fabric that looks right with the purple.
And I won't be able to buy new fabric.
It is just a normal party and the people won't know if it is not right.
It is just that the dress doesn't feel like an evening dress to me.

But you all gave me some ideas.
What I could do is add some white lace to the bottom of the apron.
And also use the lace on the evening bodice.
And some darkpurple satin ribbon decoration on the bottom of the skirt.
Maby that will do it.





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Subject: [h-cost] Costume Books on eBay
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Greetings,
 
I found a collection of costume related books this weekend at an estate sale and there were several that I aleady had (I had to buy them all as a lot), so I've listed the ones I didn't need on eBay under my seller id    mayflower . There are several harder to find ones, including a two volume set of Davenport's THE BOOK OF COSTUME, THE MODE IN FURS, etc. There are also four huge lots of medieval and renaissance related books that I boxed up as lots that included some costume books as well.
 
Thanks, I thought someone might be able to find something they've been looking for..........
 
Perry
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In a message dated 12/12/2005 10:07:47 A.M. Eastern Standard Time,  
kbaird@cableone.net writes:

Looking  at your dress, I wonder if you could leave the apron off the
skirt for  evening wear? That checked fabric is very "daytime," not
formal enough for  evening.




I agree about the checked fabric, but you seem to be stuck with it for the  
ruffle, unless you can face taking it off.  If you have to leave it intact,  
yes, take off the apron, make one in a different fabric, and maybe use the check 
 as trim on the evening bodice--a ruffle around a low neck, perhaps?
 
Ann Wass
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> I agree about the checked fabric, but you seem to be stuck with it for the  
> ruffle, unless you can face taking it off.  If you have to leave it intact,  
> yes, take off the apron, make one in a different fabric, and maybe use the check 
>  as trim on the evening bodice--a ruffle around a low neck, perhaps?
>  

I agree with Ann above, if you have more of the solid purple use it to 
make some kind of drape for the back of the dress. Didn't evening gowns 
have trains? Lots of satin ribbon on the back drape, maybe some bows or 
something dimensional, too. Seems like a lot of sewing, but satin ribbon 
can all go on by machine.



Dawn


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In a message dated 12/12/2005 2:43:08 PM Eastern Standard Time, 
dawn@reddawn.net writes:

> Seems like a lot of sewing, but satin ribbon 
> can all go on by machine.
> 
> 

Not really since a plain ol' length of fabric can be gunched and bunched up 
with pins or tacking into a beautiful drape for the train. And lots of tortured 
bows can be pin on from behind too.

It's a shame, since you already have the correct underpinnings and a pattern 
you know works, you cannot just get some fantastic fabric and make a plain 
gown to wear. Y'know, not a bunch of flounces and ruffles but a striking stripped 
down elegant gown is some fabric that is itself the design and the draw...a 
rich green cut velvet or a red and gold satin brocade. I bet you could whip it 
up in a matter of hours. But 8 to 10 yards of such fabric adds up fast!
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Subject: Re: [h-cost] Bustle dress question
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And don't forget, this was a period when fringes were popular! You can use
cotton or chenille, 1"-3" would be suitable.  I have been using some of the
fancy yarns lately for color, texture, and economy to create my own trims.
They emulate antique items in my collection.
Kathleen
----- Original Message ----- 
From: "Deredere Galbraith" <Deredere.Galbraith@kabelfoon.nl>
To: "Historical Costume" <h-costume@indra.com>
Sent: Monday, December 12, 2005 12:57 PM
Subject: Re: [h-cost] Bustle dress question


> Unfortionally I can't find any fabric that looks right with the purple.
> And I won't be able to buy new fabric.
> It is just a normal party and the people won't know if it is not right.
> It is just that the dress doesn't feel like an evening dress to me.
>
> But you all gave me some ideas.
> What I could do is add some white lace to the bottom of the apron.
> And also use the lace on the evening bodice.
> And some darkpurple satin ribbon decoration on the bottom of the skirt.
> Maby that will do it.
>
>
>
>
>
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Bustle dress question
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I love fringes and use them on all of my bustle gowns - have you had a 
look at the dresses on the Truly Victorian website - they can give you 
lots of ideas. I added black trim to my purple gown.
http://trulyvictorian.netfirms.com/picturepro/nfpicturepro/index.php
http://trulyvictorian.netfirms.com/photo.html
Cheers, Aylwen Garden
http://www.aylwen.com

Lloyd Mitchell wrote:

>And don't forget, this was a period when fringes were popular! You can use
>cotton or chenille, 1"-3" would be suitable.  I have been using some of the
>fancy yarns lately for color, texture, and economy to create my own trims.
>They emulate antique items in my collection.
>Kathleen
>----- Original Message ----- 
>From: "Deredere Galbraith" <Deredere.Galbraith@kabelfoon.nl>
>To: "Historical Costume" <h-costume@indra.com>
>Sent: Monday, December 12, 2005 12:57 PM
>Subject: Re: [h-cost] Bustle dress question
>
>
>  
>
>>Unfortionally I can't find any fabric that looks right with the purple.
>>And I won't be able to buy new fabric.
>>It is just a normal party and the people won't know if it is not right.
>>It is just that the dress doesn't feel like an evening dress to me.
>>
>>But you all gave me some ideas.
>>What I could do is add some white lace to the bottom of the apron.
>>And also use the lace on the evening bodice.
>>And some darkpurple satin ribbon decoration on the bottom of the skirt.
>>Maby that will do it.
>>
>>
>>
>>
>>
>>_______________________________________________
>>h-costume mailing list
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>>
>>    
>>
>
>_______________________________________________
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>
>  
>
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From h-costume-bounces@indra.com  Mon Dec 12 21:15:17 2005
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Been meaning to add this for a few days now, and the narnia thread reminded 
me - went to see 'Mrs Henderson Presents' (about the Windmill Theatre) last 
weekend, and have to say that it was fabulous (and the costumes were wonderful).  
Judy Dench and Bob Hoskins were VG, and even Will Young wasn't too bad!

Thoroughly reccommend seeing.

Debs
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From: Catherine Olanich Raymond <cathy@thyrsus.com>
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Subject: Re: [h-cost] Bustle dress question
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On Monday 12 December 2005 12:57 pm, Deredere Galbraith wrote:
> Unfortionally I can't find any fabric that looks right with the purple.
> And I won't be able to buy new fabric.
> It is just a normal party and the people won't know if it is not right.
> It is just that the dress doesn't feel like an evening dress to me.
>
> But you all gave me some ideas.
> What I could do is add some white lace to the bottom of the apron.
> And also use the lace on the evening bodice.
> And some darkpurple satin ribbon decoration on the bottom of the skirt.
> Maby that will do it.

If I were doing it, I'd consider making a new apron, to completely cover the 
checked one, for evening wear.  But if you can't find a suitable fabric, 
there goes that idea.  (Have you considered solid white or ivory?  That might 
work).


-- 
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: [h-cost] Colonial costume
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Hi all,
I have a friend who wants to make a colonial costume.

She is as heavy as I am, about as wide as she is tall in the body, but 
has a short upper body compared to mine.

She wants to do a stomacher to minimize the width, and wonders how her 
skirt should look.   I can't find any pattern sites with a stomacher for 
colonial patterns, and my best guess for her is to make an over skirt to 
draw the lace overlay from the stomacher to the skirt and keep the eye 
moving and not fixated on the width.

Any other ideas?   I'd like to be able to email her some photos or sites 
to help her visualize the ideas if anyone has anything to help her.

thanks,  Kitty

Oh.  she is basically doing an impression, not perfect accuracy. She's 
never tried a corset and I'm not sure if I should offer to let her try 
mine.  LOL  I think mine might be too long anyway.

Any help gratefully recieved,   thanks, Kitty

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> this is supposed to be a country without humans, so they probably 
> didn't exactly have a lot of human coronation gowns laying around, nor 
> garment-makers with tons of experience at making human clothing.

Somebody was making gowns for the Queen, plus dwarves and giants wear 
clothes, so even if they didn't have specific clothing, there would have 
been supplies and skill of some level.

-- 
Cynthia Virtue and/or Cynthia du Pre Argent
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In a message dated 12/13/2005 1:47:46 A.M. Eastern Standard Time,  
basyefelton@floodcity.net writes:

She is  as heavy as I am, about as wide as she is tall in the body, but 
has a  short upper body compared to mine.




There is evidence of some fairly large women in Colonial America. I'm  
thinking of a painting of a woman in a green damask dress--someone on this list  
probably knows the one I mean. I can't remember if that dress has a stomacher or  
not, but, if it does, I believe it is plain and of the same fabric as the  
dress.
 
Ann Wass  
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Nice, but odd.  I poked around a bit and can't seem to find a way to 
look at them by year and how far back they go...they say they have been 
"doing it" since 1998.
Thanks for bringing this to our attention.
Robin Netherton wrote:

>I have just noticed that h-costume has been archived at mail-archive.com
>since August:
>
>http://www.mail-archive.com/h-costume@mail.indra.com/info.html
>
>  
>

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Trailer here!  Looks Fab!  Costumes fun too!  
http://www.mrshendersonthemovie.com/
Debloughcostumes@aol.com wrote:

>Been meaning to add this for a few days now, and the narnia thread reminded 
>me - went to see 'Mrs Henderson Presents' (about the Windmill Theatre) last 
>weekend, and have to say that it was fabulous (and the costumes were wonderful).  
>Judy Dench and Bob Hoskins were VG, and even Will Young wasn't too bad!
>
>Thoroughly reccommend seeing.
>
>Debs
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>
>  
>

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Not to mention that surrounding Narnia are countries where the predominant critters are humans.
 
~Kimberley 
 
-----Original Message-----
From: Cynthia Virtue <cvirtue+dated+1150022127.74fe5c@thibault.org>
To: Historical Costume <h-costume@indra.com>
Sent: Tue, 13 Dec 2005 05:43:46 -0500
Subject: Re: [h-cost] narnia movie


> this is supposed to be a country without humans, so they probably > didn't exactly have a lot of human coronation gowns laying around, nor > garment-makers with tons of experience at making human clothing. 
 
Somebody was making gowns for the Queen, plus dwarves and giants wear clothes, so even if they didn't have specific clothing, there would have been supplies and skill of some level. 
 
-- Cynthia Virtue and/or Cynthia du Pre Argent 
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: Re: [h-cost] Re: blonde lace question
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Hi

I have not seen many real mens shirt on displays and things, so my knolledge 
i know is from studying portraits.
Most of the lace i have seen used, has ben white lace, that has the same 
colour as the white linen. A Blonde Lace was .........well blonde in colour, 
and i think it is rarely used for mens shirts. I have read somewhere, that 
Blonde Lace was Marie Antoinettes favourite lace, but i think it was used 
for trimmings on dresses..............

Bjarne
----- Original Message ----- 
From: "Mia Dappert" <snappylunch_2001@yahoo.com>
To: <h-costume@indra.com>
Sent: Thursday, December 08, 2005 8:38 PM
Subject: [h-cost] Re: blonde lace question


> This is for anyone18c and lace oriented folks, but I'm addressing it to 
> Bjarne as he is most familiar with the high style
>
>  Has anyone seen blonde used on men's 18c shirts.  I'm talking about the 
> silk lace, very fine and beautiful, sometimes in an off white color.  The 
> exhibit I was at at the Mint Museum in Charlotte, NC had a late-ish 1700s 
> black velvet mens suit and they had it displayed with some reproduction 
> blonde frills/ruffles at the wrists and neck.  I would have gone with a 
> very fine white linnen myself (that $40+ a yard stuff that I can't find 
> here in North Carolina)
>
>  18c Mia in Charlottetown, NC, getting ready to go to a Back-county 
> Carolinas Christmas.  I'm Mrs. Judge Irwin, and will be helping him 
> politic at the bonfire. (Think guns shooting, whisky and general 
> noisemaking)  I might try to do my hair 'a la mouton" this year, when one 
> is ajudges wife, one leads the fashions.
>
>
> ---------------------------------
> Yahoo! Shopping
> Find Great Deals on Holiday Gifts at Yahoo! Shopping
> _______________________________________________
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> h-costume@mail.indra.com
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Subject: Re: [h-cost] Colonial costume
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Hi Kitty,

      First I would recommend the 18th century woman list which is a 
Yahoo Group - 18cWoman.  There is a concentration of people who just 
do that century, so lots of knowledge and information.

      Approximately what year of "colonial" does your friend want? 
Stomachers went out of fashion around the time of the American 
Revolution, but were very much in use in the early part of the 
century.

      What class is the outfit, and any particular ethnic group?  Is 
it to wear to a dance, as a volunteer for a historic site?  A 
theatrical performance?  Every-day or formal?
help keep the shape.

      I'm not familiar enough with the patterns available to be able 
to talk about them (I tend to draft or drape my own from books such 
as Patterns of Fashion).  Stays (18thC corset) really will help, 
especially if she is heavy.  Otherwise she can make the stomacher 
stiff (with boning and interfacing, which they did in the 18thC), and 
use a substantial lining in the bodice of the gown to

      Style-wise, the gown and petticoat (underskirt) can be the same 
color with a different color for the stomacher.  That will draw the 
eye up to the bustline.  (But you don't want to be spilling out of 
the gown!)  A different color petticoat is a sort of mix & match 
style sometimes seen in casual wear.  (Back to the question of the 
purpose of her gown.)  The stomacher should not match the petticoat.

      I'm not sure what you mean by a lace overlay on the stomacher. 
Some have a criss-cross ribbon pattern to look like the gown is laced 
overtop, and another style is a series of bows, as if the gown is 
tied over the stomacher.  Lace is sometimes used to give the 
appearance that the item is embroidered.  Some original stomachers 
are 3-D, with chenille embroidery, ribbon work, etc.  They can also 
be plain fabric or a brocade, without extra embellishment. (Again 
back to the purpose/class of the gown!)

      If you look around the web for ideas, be sure you know what is 
original to the 18th century (portraits & clothing) versus people in 
repro clothing.  Everyone makes their own changes and compromises, 
and it helps to know what you're looking at.

      -Carol


>She wants to do a stomacher to minimize the width, and wonders how 
>her skirt should look.   I can't find any pattern sites with a 
>stomacher for colonial patterns, and my best guess for her is to 
>make an over skirt to draw the lace overlay from the stomacher to 
>the skirt and keep the eye moving and not fixated on the width.
>
>Any other ideas?   I'd like to be able to email her some photos or 
>sites to help her visualize the ideas if anyone has anything to help 
>her.
>
>Oh.  she is basically doing an impression, not perfect accuracy. 
>She's never tried a corset and I'm not sure if I should offer to let 
>her try mine.  LOL  I think mine might be too long anyway.
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I have just noticed that h-costume has been archived at mail-archive.com
since August:

http://www.mail-archive.com/h-costume@mail.indra.com/info.html

The buttons at the bottom get you to the messages.

I don't know whether mail-archive found us on its own, or someone set us
up there, or how long the messages stay. It is nice to have a way to read
on the Web (I occasionally delete a message or three with the morning spam
by mistake, or want to read while traveling). 

Obviously it will not replace the valuable resource that is Eric's
archive, at http://sca.uwaterloo.ca/~fashion/archives/ , which goes back
forever and a day but is rather harder to search. Of more concern, I see
that Eric's site is not responding this morning. I hope this is a
temporary glitch.

--Robin

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Subject: Re: [h-cost] Colonial costume
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In a message dated 12/13/2005 6:20:14 AM Eastern Standard Time, 
AnnBWass@aol.com writes:

> There is evidence of some fairly large women in Colonial America. 

But of course! There're large women everywhere at every time. And mid 18th 
century is a period they look particularly good in...IMHO. I'd keep the gown 
dark and plain...trimmed with self fabric. The open robe...with a stomacher and 
petticoat showing...is a great silhouette for a large figure...but don't make 
the contrast too jarring. Either do it all out of the same fabric or choose two 
colors that are close in hue and saturation...like a burgundy and a dark 
blue....or a stripe [for the gown] and something the same color as whatever the 
prominent color the stripe presents [for the petticoat and stomacher].

Use a corset...like maybe the Simplicity [or is it Butterick] pattern. It 
needn't be made with steel boning [use Rigellene] or tight. Just snug to give the 
right shape. I doubt whether a large woman would go with hip pads or panniers 
unless at court or something.

A bit of lace and a flower at the neckline of the dark mass of the [taffeta? 
Changeable taffeta?] dress to draw your eye to her face, and don't forget a 
white lace and linen cap...maybe some mitts....

She'll look great! It'll have great character!
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Wow, I LOOOOOOVED the White Witch's costumes!  I
remember thinking them a bit odd when I first saw them
in trailers but after getting a bit used to the idea,
I love them!  I also read interviews with Tilda
Swinton and the costume designer which were very
interesting.

Remember, Jadis is NOT human.  I think encasing her in
rigid clothing that exaggerated the form was a good
way to indicate this.  I must praise Tilda Swinton to
the heavens for making this costume work on her!  She
moved about as if it were nothing, as if it really was
what she wore every day!  Good on her.  I'd be so
happy with her if I were the designer.

Also, her hair was very cool - like roots in the
earth.  In fact, I think I remember Ms. Swinton saying
something about how it was supposed to look earthy.

Loved the melting icicle crown.  Loved it!

Liked the kids clothes.  Agree that it is not what I
would have chosen for coronation clothing, but then
again, remember that they are CHILDREN so long trains
wouldn't make sense for them.  Also remember that the
movie is made for children and is supposed to be
fantasy, so perhaps what would have been more
drool-worthy to our eyes wouldn't have been as pretty
to little kids.

I wanted a better view of the grown-up kids' clothing!
 Guess I'll just have to go see it again.

SHUCKS!  ;)

--Rachel

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Alot of questions come up on this one.
   
  1.  What time?, "colonial" covers alot of ground
  2.  Where?  US, 
  3.  Whats the venue?  a historic house? a play. just for fun, just because....
  4.  What do you have access to?  small pattern companies, only big pattern manufacturers?
   
  18c cent Mia in Charlotteown, NC

			
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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] Re: blonde lace question
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At 14:03 13/12/2005, you wrote:
>Hi
>
>I have not seen many real mens shirt on displays and things, so my 
>knolledge i know is from studying portraits.
>Most of the lace i have seen used, has ben white lace, that has the 
>same colour as the white linen. A Blonde Lace was .........well 
>blonde in colour, and i think it is rarely used for mens shirts. I 
>have read somewhere, that Blonde Lace was Marie Antoinettes 
>favourite lace, but i think it was used for trimmings on dresses..............
>
>Bjarne
>----- Original Message ----- From: "Mia Dappert" <snappylunch_2001@yahoo.com>
>To: <h-costume@indra.com>
>Sent: Thursday, December 08, 2005 8:38 PM
>Subject: [h-cost] Re: blonde lace question
>
>
>>This is for anyone18c and lace oriented folks, but I'm addressing 
>>it to Bjarne as he is most familiar with the high style
>>
>>  Has anyone seen blonde used on men's 18c shirts.  I'm talking 
>> about the silk lace, very fine and beautiful, sometimes in an off 
>> white color.  The exhibit I was at at the Mint Museum in 
>> Charlotte, NC had a late-ish 1700s black velvet mens suit and they 
>> had it displayed with some reproduction blonde frills/ruffles at 
>> the wrists and neck.  I would have gone with a very fine white 
>> linnen myself (that $40+ a yard stuff that I can't find here in North Carolina)


"Type of bobbin lace made in the 18th and 19th centuries from raw 
silk, which was usually a pale straw colour, but later black or 
white. It was very popular as a dress trimming, especially in the 
early 19th century, and some embroideries on the dresses of that time 
are worked i a pale straw coloured silk which resembles blonde."

"The Needleworker's Dictionary" by Pamela Clabburn

Suzi

(I have some black blonde, as well as the straw coloured sort.)


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From: Judy Mitchell <judymitch@theoldforest.net>
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Subject: Re: [h-cost] narnia movie
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Cynthia Virtue wrote:
> Somebody was making gowns for the Queen, plus dwarves and giants wear 
> clothes, so even if they didn't have specific clothing, there would have 
> been supplies and skill of some level.

	I found it odd that the children were able to change clothes in the 
camp also. I mean, for the coronation sure! but how on earth did they 
get clothes that fit that soon. I mean, mostly it was talking beasts, 
merfolk, naiads and dryads - none of which wear human style clothing. 
Sure, there were dwarfs - but they weren't dressed in dwarfish styles!

	Problem with pointing out that all the outlying areas were human is 
that we only know about those in later books, after Lewis has explored 
them and decided to make them as people. None of them were in Narnia 
proper, or the prophecy could have been fulfilled long before.
	True, there were giants, but somehow they got short-shifted a lot. 
Rumblebuffin was credited but cut out.

	The queen, as was just pointed out, wasn't human - and was an adult. 
Actually, the problem with the queen's costume is that it was a concept 
costume. Apparently the concept didn't come through very well. Her gowns 
were so much made for her (regarding skill level) as they were formed of 
her own winter. Imagine glaciers and ice 'clothing' a being who rose out 
of it like a pillar of marble. I think that was what they were going for 
in that first outfit with the really odd neckline. Then as her power 
waned, the icicles that weren't so much a crown as actually growing from 
her head began to melt, and her whole gown changed - thinned and 
darkened as her magic changed. I think it was an interesting idea, but 
from the number of posts on different lists that I've read - it didn't 
seem to come across. I thought her battle outfit with her hair and that 
'vest' looking like a lion mane was an interesting touch to the true 
supremacy of Narnia!


	-Judy Mitchell
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Subject: Re: [h-cost] Re: blonde lace question
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Could you show a picture of it?
----- Original Message ----- 
From: "Suzi Clarke" <suzi@suziclarke.co.uk>
To: "Historical Costume" <h-costume@indra.com>
Sent: Tuesday, December 13, 2005 2:30 PM
Subject: Re: [h-cost] Re: blonde lace question


> At 14:03 13/12/2005, you wrote:
>>Hi
>>
>>I have not seen many real mens shirt on displays and things, so my 
>>knolledge i know is from studying portraits.
>>Most of the lace i have seen used, has ben white lace, that has the same 
>>colour as the white linen. A Blonde Lace was .........well blonde in 
>>colour, and i think it is rarely used for mens shirts. I have read 
>>somewhere, that Blonde Lace was Marie Antoinettes favourite lace, but i 
>>think it was used for trimmings on dresses..............
>>
>>Bjarne
>>----- Original Message ----- From: "Mia Dappert" 
>><snappylunch_2001@yahoo.com>
>>To: <h-costume@indra.com>
>>Sent: Thursday, December 08, 2005 8:38 PM
>>Subject: [h-cost] Re: blonde lace question
>>
>>
>>>This is for anyone18c and lace oriented folks, but I'm addressing it to 
>>>Bjarne as he is most familiar with the high style
>>>
>>>  Has anyone seen blonde used on men's 18c shirts.  I'm talking about the 
>>> silk lace, very fine and beautiful, sometimes in an off white color. 
>>> The exhibit I was at at the Mint Museum in Charlotte, NC had a late-ish 
>>> 1700s black velvet mens suit and they had it displayed with some 
>>> reproduction blonde frills/ruffles at the wrists and neck.  I would have 
>>> gone with a very fine white linnen myself (that $40+ a yard stuff that I 
>>> can't find here in North Carolina)
>
>
> "Type of bobbin lace made in the 18th and 19th centuries from raw silk, 
> which was usually a pale straw colour, but later black or white. It was 
> very popular as a dress trimming, especially in the early 19th century, 
> and some embroideries on the dresses of that time are worked i a pale 
> straw coloured silk which resembles blonde."
>
> "The Needleworker's Dictionary" by Pamela Clabburn
>
> Suzi
>
> (I have some black blonde, as well as the straw coloured sort.)
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume 


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From: Kitty Felton <basyefelton@floodcity.net>
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Subject: [h-cost] Re:Colonial costume
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Thanks for the replies.

carol asked
From: Carol Kocian <aquazoo@patriot.net>
Subject: Re: [h-cost] Colonial costume

Hi Kitty,

       "Approximately what year of "colonial" does your friend want?
Stomachers went out of fashion around the time of the American
Revolution, but were very much in use in the early part of the
century."

Reply:

I don't think she thought much about what year the costume is from, just 
colonial.

Deb was on the 1976 wagon trains and her family continued to raise the 
horses and maintain a wagon for local events til she got married or 
later.   We have a local antique crafts fair here in our area, a three 
day event called Mountain Craft Days.  Her family has a booth where they 
make old fashioned apple cider, and every worker has to dress in Period 
but no one is real fussy about what period.   Deb continued making and 
wearing costumes for this event and dressed her kids and husband for 
this as well.   Her kids enjoy it so much that they would wear their 
costumes to church now and then and we have another family in the church 
who also participates, and I and my grand kids are getting into it.

her girls all have a colonial styled costume, and she wants one too so 
they can wear them together.   her girls costumes have a psudo 
stomacher, created with a V of lace on the front of the dress.   My 
friend wants to use this design feature on her dress, to create a bit of 
distraction on the front of the dress to minimize her width.  She has a 
large bosom, but the dress will in no way expose her, it has a jeweled 
neckline.   She called me the other day to ask me what lines to add to 
the skirt to be most becoming to her keeping her size in mind.   I am 
the most experieced sewist of our bunch and the oldest. so I somehow 
became the "expert" of our group.

Question,
"      What class is the outfit, and any particular ethnic group?  Is
it to wear to a dance, as a volunteer for a historic site?  A
theatrical performance?  Every-day or formal?
help keep the shape."

Reply,
The dress will be to wear to church, should be modest and probably of 
modest means, since my friend uses cotton for her dresses.   We are 
heavy and get hot easily, and since her family IS of modest means it 
would be hard to protray a rich woman.  LOL   We have never encountered 
any documentation of ethnic groups so she is probably just interested in 
doing a general dress.   whatever pattern she chooses, I grade up and 
she makes it up for herself, and if she likes it, I try it on and then 
use the pattern for myself with the alterations I need.



Your notes:
       Style-wise, the gown and petticoat (underskirt) can be the same
color with a different color for the stomacher.  That will draw the
eye up to the bustline.  (But you don't want to be spilling out of
the gown!)  A different color petticoat is a sort of mix & match
style sometimes seen in casual wear.  (Back to the question of the
purpose of her gown.)  The stomacher should not match the petticoat.

(ME!) I'll tell her, I was thinking it SHOULD be different, so I'm glad 
I learned this before we made to many mistakes.



       I'm not sure what you mean by a lace overlay on the stomacher.

A layer of lace fabric over the gown fabric to make the stomacher stand 
out as a design element?   I'll bring up the ribbon lacing to her to see 
if she would rather try that.   thanks for the ideas,  Kitty


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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] Re: blonde lace question
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At 02:48 14/12/2005, you wrote:
>Could you show a picture of it?
>
>>>I have not seen many real mens shirt on displays and things, so my 
>>>knolledge i know is from studying portraits.
>>>Most of the lace i have seen used, has ben white lace, that has 
>>>the same colour as the white linen. A Blonde Lace was 
>>>.........well blonde in colour, and i think it is rarely used for 
>>>mens shirts. I have read somewhere, that Blonde Lace was Marie 
>>>Antoinettes favourite lace, but i think it was used for trimmings 
>>>on dresses..............
>>>
>>>>  Has anyone seen blonde used on men's 18c shirts.  I'm talking 
>>>> about the silk lace, very fine and beautiful, sometimes in an 
>>>> off white color. The exhibit I was at at the Mint Museum in 
>>>> Charlotte, NC had a late-ish 1700s black velvet mens suit and 
>>>> they had it displayed with some reproduction blonde 
>>>> frills/ruffles at the wrists and neck.  I would have gone with a 
>>>> very fine white linnen myself (that $40+ a yard stuff that I 
>>>> can't find here in North Carolina)
>>
>>
>>"Type of bobbin lace made in the 18th and 19th centuries from raw 
>>silk, which was usually a pale straw colour, but later black or 
>>white. It was very popular as a dress trimming, especially in the 
>>early 19th century, and some embroideries on the dresses of that 
>>time are worked i a pale straw coloured silk which resembles blonde."
>>
>>"The Needleworker's Dictionary" by Pamela Clabburn
>>
>>Suzi
>>
>>(I have some black blonde, as well as the straw coloured sort.)

Sorry, not right now. I am very, very busy, and don't have time to 
search through the lace box. I am pretty sure it is Victorian though 
if that helps.

Suzi


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If you haven't found these sites;
http://lace.lacefairy.com/ID/BlondeID.html
http://blondecaen.chez-alice.fr/styles.htm#DENTELLES

bands trimmed in blond lace
http://www.mccord-museum.qc.ca/en/collection/artifacts/M14797.1-2?Lang=1&acc
essnumber=M14797.1-2

http://www.refalo.com/bobbinlace/blonde.html

http://www.britannica.com/eb/article-9015687

http://www.costumes.org/history/100pages/18THLACE.HTM

http://www.antique-lace.com/Laces&textiles/2403/2403.htm

http://hibiscus-sinensis.com/regency/weddinggown.htm

De


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>
>
> Date: Tue, 13 Dec 2005 16:23:19 -0500
> From: Judy Mitchell <judymitch@theoldforest.net>
> Subject: Re: [h-cost] narnia movie
> To: Historical Costume <h-costume@indra.com>
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>
> Cynthia Virtue wrote:
> > Somebody was making gowns for the Queen, plus dwarves and giants wear
> > clothes, so even if they didn't have specific clothing, there would have
> > been supplies and skill of some level.
>
>        I found it odd that the children were able to change clothes in the
> camp also. I mean, for the coronation sure! but how on earth did they
> get clothes that fit that soon. I mean, mostly it was talking beasts,
> merfolk, naiads and dryads - none of which wear human style clothing.
> Sure, there were dwarfs - but they weren't dressed in dwarfish styles!
>
>     snippage
>
>        -Judy Mitchell
> actually, I was disappointed that Mrs. Beaver didn't get her new sewing
> machine from Father Christmas in the movie. She gets a new one in the book.
> It's been a long time, but I think she'd have the sewing skills to
> make/alter clothes for the children.


--
Joyce
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Subject: [h-cost] Humans in England, 700k years?
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I happened upon an AP article that just caught my eye.  Hopefully, I'm not sending out old news!  But it looks like that they found 32 black flints, in river sediments in Pakefiield in eastern England, that dated back to 700,000 years.

I think I need to find and re-read my Mummies of Urmichee (spelling?) book again.  This find will make the re-reading much more enthralling (to me anyway)!  I know this is *way* early for SCA (for those interested in SCA), but my research pathways have certainly expanded!

I can hardly *wait* for the details of this find to be published, even if there's no mention of textiles, this is still useful for development of  theories and conjectures.

Elena/Gia 
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Date: Wed, 14 Dec 2005 17:50:56 -0500
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Subject: [h-cost] Houppelandes with tie fastenings
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I was doing some bell-belt online searching today, and found this 
marvelous image from 1430:

http://www.rijksmuseum.nl/images/aria/sk/z/sk-c-1454.z

Note the two ties holding the skirt of the houp closed!  I'd never seen 
that before, although I (and probably others) have theorized that they 
were open on the center front, but held closed somehow.

-- 
Cynthia Virtue and/or Cynthia du Pre Argent
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At 02:36 PM 12/14/2005, you wrote:
>I happened upon an AP article that just caught my eye.  Hopefully, 
>I'm not sending out old news!  But it looks like that they found 32 
>black flints, in river sediments in Pakefiield in eastern England, 
>that dated back to 700,000 years.
>
>I think I need to find and re-read my Mummies of Urmichee 
>(spelling?) book again.  This find will make the re-reading much 
>more enthralling (to me anyway)!  I know this is *way* early for SCA 
>(for those interested in SCA), but my research pathways have 
>certainly expanded!
>
>I can hardly *wait* for the details of this find to be published, 
>even if there's no mention of textiles, this is still useful for 
>development of  theories and conjectures.
>
>Elena/Gia
>_______________________________________________

Here's the link to the BBC 
story.  http://news.bbc.co.uk/2/hi/science/nature/4526264.stm  Very 
interesting!


Joan Jurancich
joanmj@surewest.net 

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What nationality/county is the painting?
unusual cuff on the under garment.

De

-----Original Message-----
I was doing some bell-belt online searching today, and found this 
marvelous image from 1430:

http://www.rijksmuseum.nl/images/aria/sk/z/sk-c-1454.z

Note the two ties holding the skirt of the houp closed!  I'd never seen 
that before, although I (and probably others) have theorized that they 
were open on the center front, but held closed somehow.

-- 
Cynthia Virtue and/or Cynthia du Pre Argent


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Subject: Re: [h-cost] Humans in England, 700k years?
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I actually hadn't heard about this but it's very interesting. At 700,000
years ago, the likely candidate for the maker of the flints is homo
heidelbergensis who was an ancestor of homo neanderthalensis. At this
point in time general concensus has it that our ancestors (homo
rhodesiensis) was still in Africa. The mummies of Urumchi date to about
4,000 years ago and are homo sapiens although they appear to be caucasian
rather than oriental which is why finding them in the interior of China
is so remarkable. 


Karen
Seamstrix 
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otsisto wrote:

> What nationality/county is the painting?
> unusual cuff on the under garment.

Dutch, I belive.  There's more text at the website -- higher up the 
"tree" as it were.  Websearches on her name turn up a lot, too.  The 
draped undersleeve like that is seen in several other paintings of this 
time, most notably the Tres Riches Heures.

> http://www.rijksmuseum.nl/images/aria/sk/z/sk-c-1454.z

-- 
Cynthia Virtue and/or Cynthia du Pre Argent

Feeling like your Middle Age is upon you? New design at my CafePress 
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So could the undergarment be exposed, used like a outer gown and the
houppelande used like a coat?

De

-----Original Message-----
Dutch, I belive.  There's more text at the website -- higher up the
"tree" as it were.  Websearches on her name turn up a lot, too.  The
draped undersleeve like that is seen in several other paintings of this
time, most notably the Tres Riches Heures.

> http://www.rijksmuseum.nl/images/aria/sk/z/sk-c-1454.z

--
Cynthia Virtue and/or Cynthia du Pre Argent

Feeling like your Middle Age is upon you? New design at my CafePress
store, with a medieval woodcut of a pharmacist, a paen to OTC drugs, and
a quote from Chaucer about old(er) age. Black T-shirt, various other
colors & items: http://www.cafepress.com/virtueventures.39314581


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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Houppelande with tie fastenings
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otsisto wrote:

> So could the undergarment be exposed, used like a outer gown and the
> houppelande used like a coat?

I'm quite sure that most of the time a houppelande was like a coat, or 
maybe a sweater (jumper to you in the UK.)  There was at least one outer 
gown under there, of several different potential types (one being the 
Van Der Weyden kirtle a la Mary Magdalen.)

I don't know if the sleeve drape was like a lower circle sewn on, like 
you see on some young women's sleeves today, or if it was another sleeve 
like the angle-wing ones.  This particular picture seems like it must be 
more like the circle-on-the-sleeve sort, but the TRH ones look a bit 
more like another big houp sleeve.

cv
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Dear list,
I shared with you all my frustrations on measuring elastic for children who  
were far away a couple of weeks ago.  I wasn't able to incorporate any of  
your suggestions this time, but did find ready-made garments to measure for a  
guide.  I believe I mentioned that one reason to send the garments  completely 
finished, rather than having their mom try to finish the casings, is  that they 
would want to put the garments on immediately.  Well, that is  what happened. 
 Because the family will be traveling for two weeks at  Christmas, they 
opened their gifts Monday night, and we watched via web  cam.  The did indeed 
immediately put on their nightgowns.  (Also  gratifying was that the older one 
instantly recognized that they were the  same fabric I had used to make them 
pillows for their  birthdays.)  
 
Ah, modern technology!
 
Ann Wass 
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Date: Thu, 15 Dec 2005 00:05:34 -0500
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Subject: [h-cost] Re:Colonial costume
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Hi Kitty,

      Ok, I think I see what you mean - two strips of lace form a "V" 
that suggests a stomacher.  Which is not at all how gowns of the era 
were made.

      Also they typically had low necklines, not a jewel neck.  A 
riding habit would have a high neck, but not a gown.

      To fill in the neckline (for style or protection from the sun) 
she can wear a handkerchief. That will also conceal the fact that the 
dress has a jewel neckline.  Some 20th/21st century women like that 
the handkerchief offers modesty, but in the 18thC a nice bustline is 
fashionable and not immodest.

      I like Albert Cat's idea of a solid dark blue or green.  Don't 
bother with lace on the front at all.  Get a somewhat sheer cotton 
for engenentes (ruffles at the cuffs) and an apron, and you can make 
the handkerchief out of it, too.

>her girls all have a colonial styled costume, and she wants one too 
>so they can wear them together.   her girls costumes have a psudo 
>stomacher, created with a V of lace on the front of the dress.   My 
>friend wants to use this design feature on her dress, to create a 
>bit of distraction on the front of the dress to minimize her width. 
>She has a large bosom, but the dress will in no way expose her, it 
>has a jeweled neckline.   She called me the other day to ask me what 
>lines to add to the skirt to be most becoming to her keeping her 
>size in mind.   I am the most experieced sewist of our bunch and the 
>oldest. so I somehow became the "expert" of our group.
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Subject: [h-cost] getting oil stains out of fabric
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Greetings,

I know this has been discussed ad nauseam in the past but the changed 
archives don't seem to give me what I need.  Does anyone have a 
record of these threads or a good tip that they can email me off list 
since I had an encounter with an exploding bottle of salad dressing 
(wearing new clothes, naturally), and I need to deal with a large 
blob of olive oil right in the middle of the top...

Cheers,
Danielle

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Danielle Nunn-Weinberg wrote:
> Does anyone have a record 
> of these threads or a good tip that they can email me off list since I 
> had an encounter with an exploding bottle of salad dressing (wearing new 
> clothes, naturally), and I need to deal with a large blob of olive oil 
> right in the middle of the top...

Hair shampoo works fairly well as a first-pass; rub it in, wait a few 
minutes, throw in the washer.

-- 
Cynthia Virtue and/or Cynthia du Pre Argent
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Subject: Re: [h-cost] getting oil stains out of fabric
Date: Thu, 15 Dec 2005 19:14:15 +1100
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I did the same thing to my new expensive dressing gown last week.

I just threw it in the heavy duty laundry soaker and fairly hot water, and 
it came out quickly and easily.

Must be the week for it - I just dropped some tartare sauce on my top 
(eating prawns - the wonders of Christmas in Summer!), so I'll get that in 
the soak now.

Glenda.
----- Original Message ----- 
From: "Danielle Nunn-Weinberg" <dannw@mn.rr.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, December 15, 2005 6:54 PM
Subject: [h-cost] getting oil stains out of fabric


> Greetings,
>
> I know this has been discussed ad nauseam in the past but the changed 
> archives don't seem to give me what I need.  Does anyone have a record of 
> these threads or a good tip that they can email me off list since I had an 
> encounter with an exploding bottle of salad dressing (wearing new clothes, 
> naturally), and I need to deal with a large blob of olive oil right in the 
> middle of the top...
>
> Cheers,
> Danielle
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>
> 


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From: "Kelly Grant" <estela_dufrayse@hotmail.com>
To: h-costume@indra.com
Subject: Re: [h-cost] getting oil stains out of fabric
Date: Thu, 15 Dec 2005 07:48:28 -0400
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My mother in law swears by cheap kid's bubblebath...kinda like the father in 
"my Big Fat Greek Wedding" and his 'Windex', the bubblebath will remove 
almost any stain.

Kelly



"Bravery is something you can experience on the spur of the moment, faced 
with danger.  To have courage, you must think about the dangers in advance, 
then weigh the risks, and then do what you have to do, despite your fears"
Caius Merlyn Britannicus





>From: Cynthia Virtue <cvirtue+dated+1150185408.25d555@thibault.org>
>Reply-To: Historical Costume <h-costume@indra.com>
>To: Historical Costume <h-costume@indra.com>
>Subject: Re: [h-cost] getting oil stains out of fabric
>Date: Thu, 15 Dec 2005 03:05:11 -0500
>
>Danielle Nunn-Weinberg wrote:
>>Does anyone have a record of these threads or a good tip that they can 
>>email me off list since I had an encounter with an exploding bottle of 
>>salad dressing (wearing new clothes, naturally), and I need to deal with a 
>>large blob of olive oil right in the middle of the top...
>
>Hair shampoo works fairly well as a first-pass; rub it in, wait a few 
>minutes, throw in the washer.
>
>--
>Cynthia Virtue and/or Cynthia du Pre Argent
>_______________________________________________
>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 12/15/05 11:53:16 AM GMT Standard Time, 
h-costume-request@indra.com writes:

> I was disappointed that Mrs. Beaver didn't get her new sewing
> >machine from Father Christmas in the movie.

now that's just not fair - poor mrs beaver.

a couple of weeks the telegraph newspaper (UK) were giving away a free cd of 
the story, and even though it's seriously abridged, she still got her new 
machine.
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>From: Karen R Bergquist <penhalion@juno.com>
>...rhodesiensis) was still in Africa. The mummies of Urumchi date to about
>4,000 years ago and are homo sapiens although they appear to be caucasian
>rather than oriental which is why finding them in the interior of China
>is so remarkable.

Except that it really shouldn't be.- it's  not like they were found in the 
Yangtze basin.  They're from an area where "Caucasians" were known to be 
historically; and a much shorter walk from the assumed areas where the 
"Indo-European" ancestors are supposed to be from than any of the other 
areas where we know they went to the west and south.  Some going east makes 
perfect sense.

We just tend to assume that if something happened in a particular 
geographical region, everyone in that region must be alike.  It's similar to 
the current argueent that since Egypt is in Africa, Cleopatra must have been 
black, and ignoring the whole reality  of regional ethnic types (and more so 
of their placement 2000 years ago).

Marc


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Well, since the ethnic Chinese who discovered them and the locals in the area thought it was weird that the mummies were Caucasian, that's good enough for me. While the Silk and Spice Roads were known to be in operation 1000 to 2000 years ago, finding these people in that area put the whole timeline of the area back several thousand years. I have the book and it makes it quite clear that the AGE of the finds was what they found remarkable- more recent Caucasian remains wouldn't have been as odd. Also, these folks appear to be from a Celtic/Proto-Celtic (in the broadest sense of Celtic, I'm not talking about Irish!) people judging from their fabric. The fabric was found with a clear twill weave, something that the Chinese didn't use. Of course in retrospect it's clear that some people went east instead of west in the migrations that brought the Celtic people all over the Eurasian continent, it's just that these finds were the first evidence that a Celtic people moved that far east and settled there.
 
 
Karen
Seamstrix

-- "Marc Carlson" <marccarlson20@hotmail.com> wrote:
>From: Karen R Bergquist <penhalion@juno.com>
>...rhodesiensis) was still in Africa. The mummies of Urumchi date to about
>4,000 years ago and are homo sapiens although they appear to be caucasian
>rather than oriental which is why finding them in the interior of China
>is so remarkable.

Except that it really shouldn't be.- it's  not like they were found in the 
Yangtze basin.  They're from an area where "Caucasians" were known to be 
historically; and a much shorter walk from the assumed areas where the 
"Indo-European" ancestors are supposed to be from than any of the other 
areas where we know they went to the west and south.  Some going east makes 
perfect sense.

We just tend to assume that if something happened in a particular 
geographical region, everyone in that region must be alike.  It's similar to 
the current argueent that since Egypt is in Africa, Cleopatra must have been 
black, and ignoring the whole reality  of regional ethnic types (and more so 
of their placement 2000 years ago).

Marc


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Yes, do try to get her to upgrade to a more authentic dress, instead of a costume.  Bottom line, it looks better.  you don't have to go the whole hog authentic route, many "adjustments" can be made to make it easier/faster/more accessible
   
  1.  wear correct underpinnings. That corset stays pattern that is still available in butterick (.99 cent on sale if your lucky) can be made pretty quickly.  and it is a good shape.  and it goes up to patterns size 22 (This one is on my ironing board to start making soon.  at least I got it cut out!)  It does not have many bones and could actually be made without any.  AND IT"S WAY WAY more comfortable than ANY 20/21st century bra.  WAY WAY MORE COMFORTABLE ( Yes I am shouting.  I have HUM very large bosoms.  I'd rather wear stays any day.  You can't pick up things from the floor, but... it's way better than any bra)
   
  2.  Use the petticoat and dress variation.  It makes a large behind and hippal area look OK, just like you have several petticoats on.  The bodice attached to the waist makes things fit a bit funny
   
  3.  Linen is way better for hot than cotton.  It can be hard to find linen sometimes.
   
  The combination of reasons 1 and 2 will give you a smooth line .  The lace V over a modern underwear combination is kind of bloppy to me. One of the American 18 cent high flyers, (Barbara Delory I think, I will try to find that web site and cite it properly), did a side by side comparison of a women fully dressed out in 18 cent real stuff next to a woman in 18th cent costume (the bra look)  Now I'm prejudiced, and an authenticity pusher, but 
   
  Plus which she will be the center of good attention 
   
  18th cent Mia in Charlottetown, NC, 
  Who wnats to replicate a painting for her next outfit.  ONe of the figures George stubbs the haymakers ca. 1790 or so.  Big Black bonnett, blue linen gown and petticaot. white apron)  working class.....

			
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Okay, I went to the book. Here's one of the pertinent passages.
 
"According to Chinese historical documents, the Han Chinese themselves began to move into Central Asia only around 120B.C., struggling to open up regular trade with the West. So historians would not particularly expect Chinese mummies in Central Asia in the second millenium B.C. But why not Mongoloid? Archeologists and linguists alike had assumed that the Mongol-type peoples had 'always' inhabited this entire area, ever since the spread of Homo sapiens sapiens around the globe at the end of the Ice Age forty thousand years ago. They also assumed central and northern Asia to be the general homeland of the Altaic linguistic group, which today includes Mongol and the various Turkic and Tungusic languages. (Northern Central Asia was of course the heartland from which emanated the great invasions of Turks and Mongols during our own millneium.) To find Caucasians was a surprise."
 
 
Karen
Seamstrix 


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  http://www.18cnewenglandlife.org/18cnel/delorey5.htm
   
  This si old, so of course the picture is dead or something
   
  Mia in Charlotte, NC, now done trying to convert costume to clothes. as in "Wait, this isn't a costume, these are my clothes!"


			
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I make no claims about the costuming, but the concept is cute:

http://www.mcphee.com/categories/action.html



Dawn


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I had to snicker over this blurb from the Marie Antoinette doll, er figure:
 
This 5-1/2" tall, hard vinyl figure features amazing "Ejector Head Action," and comes with a removable plastic wig and dress. 
 
;-)
~Kimberley 
 
-----Original Message-----
From: Dawn <dawn@reddawn.net>
To: Historical Costume <h-costume@indra.com>
Sent: Thu, 15 Dec 2005 11:19:14 -0600
Subject: [h-cost] historical action figures


I make no claims about the costuming, but the concept is cute: 
 
http://www.mcphee.com/categories/action.html 
 
 
Dawn 
 
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To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Chinese Mummies (was Humans in England, 700k years?)
Date: Thu, 15 Dec 2005 11:37:55 -0600
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Mongoloid, I believe is a physical description not an ethnic description.
Perhaps you are looking for "Mongolian"?

Sorry I stand corrected:
"A genetically and physiologically identifiable race of the human species.
Includes people of north and east Asia, Malaysians, and American Indians.
Orientals are part of this race."
De



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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] historical action figures
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At 17:25 15/12/2005, you wrote:
>I had to snicker over this blurb from the Marie Antoinette doll, er figure:
>
>This 5-1/2" tall, hard vinyl figure features amazing "Ejector Head 
>Action," and comes with a removable plastic wig and dress.

I'm very taken with the lederhosen!

http://www.mcphee.com/items/11138.html

Suzi 


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Date: Thu, 15 Dec 2005 11:58:02 -0600
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What is the fiber content?
If not silk, usually a pre-treatment of the spot or the whole blouse, in
Shout, Dreft, oxi-clean, goop, Era, Woolite...etc.
Wash in warm.
Sometimes a second wash is needed (but rarely).

De
Who worked at a McDonalds for six years and had to deal with oil and grease
on uniforms.

-----Original Message-----
Greetings,

I know this has been discussed ad nauseam in the past but the changed
archives don't seem to give me what I need.  Does anyone have a
record of these threads or a good tip that they can email me off list
since I had an encounter with an exploding bottle of salad dressing
(wearing new clothes, naturally), and I need to deal with a large
blob of olive oil right in the middle of the top...

Cheers,
Danielle


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Subject: Re: [h-cost] Chinese Mummies (was Humans in England, 700k years?)
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I actually did shy away from using that term, but it's a quote from the
book. And I believe one of the reasons that what used to be called
'Mongolism' is now known as Down's Syndrome is to get away from
unflattering ethnic comparisons. Besides, I have it on good authority
that children with DS in the orient are thought to look more
Caucasian.......



Karen
Seamstrix


On Thu, 15 Dec 2005 11:37:55 -0600 "otsisto" <otsisto@socket.net> writes:
> Mongoloid, I believe is a physical description not an ethnic 
> description.
> Perhaps you are looking for "Mongolian"?
> 
> Sorry I stand corrected:
> "A genetically and physiologically identifiable race of the human 
> species.
> Includes people of north and east Asia, Malaysians, and American 
> Indians.
> Orientals are part of this race."
> De
> 
> 
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 
> 
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> Danielle Nunn-Weinberg wrote:
>> Does anyone have a record of these threads or a good tip that they 
>> can email me off list since I had an encounter with an exploding 
>> bottle of salad dressing (wearing new clothes, naturally), and I 
>> need to deal with a large blob of olive oil right in the middle of 
>> the top...
>

I always had good luck with a commercial degreaser (Fuller-Brush makes
one as does Shacklee) -- and the Shacklee Basic H.  (my folks used to
sell Shacklee at one time -- that's my only connection).

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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In fact, the lederhosen is THE gift for my brother-in-law, who's usually quite difficult to shop for!
Thanks for this site--I've dropped a few bucks but it was a lot of fun. I do wish Wilde had been more accessorized, but I'm not sure what I would have added. Perhaps a lace handkerchief.
I direct a staged-readings series and wish I had had the Poe action figure to sit by our mailing-list sign-up when we did Jeffrey Hatcher's MURDER BY POE this past October!
--Ruth Anne Baumgartner
scholar gypsy and amateur costumer

-----Original Message-----
From: Suzi Clarke <suzi@suziclarke.co.uk>
Sent: Dec 15, 2005 12:44 PM
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] historical action figures

At 17:25 15/12/2005, you wrote:
>I had to snicker over this blurb from the Marie Antoinette doll, er figure:
>
>This 5-1/2" tall, hard vinyl figure features amazing "Ejector Head 
>Action," and comes with a removable plastic wig and dress.

I'm very taken with the lederhosen!

http://www.mcphee.com/items/11138.html

Suzi 


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During my trip to England this past summer I happened upon a doll that I think dates to the late 17th, early 18th century, based upon the style of doll that it is.  The doll was in a museum that didn't have a date on the doll and of course I was deep in a whole other project at the time and didn't ask if there was more information.  So now that I need to get a better date if possible, I was hoping I could use the doll's clothing as a guide. 
   
  She wears panniers- the huge at the side kind of bustle thing-it's not my period at all, so excuse me if I have that wrong. 
   
  Can anyone give me beginning and end dates of when this style was worn in England?    The doll itself is housed in Norwich, in a museum that could be using toys from the families that have lived in this house since the 14th century, but I don't know if this doll was a gift  to the museum or not.
   
  any help give is much appreaciated.
   
  Alexandria
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I had to snicker over this blurb from the Marie Antoinette doll, er
figure:
 This 5-1/2" tall, hard vinyl figure features amazing "Ejector Head
Action," and comes with a removable plastic wig and dress. 
 ;-)
~Kimberley 

********************

Trust me, m'dear, you aren't the only one. ;)

I may have to purchase the Casanova figure, so he can ride on my
shoulder to the movie when it opens.

It is a little disturbing to note that I am one cat short of the Crazy
Cat Lady figure, though. :/

Kate McClure
Grand Pooh-Bah
Beyond Reality Costumers Guild
www.brcg.org

 

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Date: Thu, 15 Dec 2005 14:03:45 -0500
From: "Jeanine E. Swick" <jeanine@woollycat.net>
Subject: Re: [h-cost] getting oil stains out of fabric
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I have had reasonable luck using dish washing detergent on such stains. 

Jeanine


Danielle Nunn-Weinberg wrote:

> Greetings,
>
> I know this has been discussed ad nauseam in the past but the changed 
> archives don't seem to give me what I need.  Does anyone have a record 
> of these threads or a good tip that they can email me off list since I 
> had an encounter with an exploding bottle of salad dressing (wearing 
> new clothes, naturally), and I need to deal with a large blob of olive 
> oil right in the middle of the top...
>
> Cheers,
> Danielle
>
> _______________________________________________
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>

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Hello!

I was just perusing the web a bit, and ran across this:

http://www.thistlehillweavers.com/

They do reproduction weaving of period fabric, which I thought might be
of use to some.

Kate McClure
Grand Pooh-Bah
Beyond Reality Costumers Guild
www.brcg.org

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----- Original Message ----- 
From: "Dawn" <dawn@reddawn.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, December 15, 2005 12:19 PM
Subject: [h-cost] historical action figures


>I make no claims about the costuming, but the concept is cute:
> 
> http://www.mcphee.com/categories/action.html
> 
> 
> 
> Dawn
> 
> 
> _______________________________________________
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From: "Helen  Pinto" <hpinto@mindspring.com>
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Thank you for that link; it certainly cheered up my day.  Although I am not 
a big fan of unicorns, I could be persuaded to make an exception for the one 
on this site...
               -Helen/Aidan 

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From h-costume-bounces@indra.com  Thu Dec 15 14:40:08 2005
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: "Historical Costume" <h-costume@indra.com>
References: <20051215182346.21949.qmail@web81406.mail.mud.yahoo.com>
Subject: Re: [h-cost] Panniers question
Date: Thu, 15 Dec 2005 20:39:44 +0100
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Dear Alexandria.
It develloped trough the 1730ies and became the largest size in the 1740ies. 
It started to be a dome shaped pannier, became flattened and started to 
extend to the sides. Then in the 1760ies it grew smaller again, and ended up 
with bumrolls in 1770ies and 80ies.
The french claims it is english invention, english vise versa.
French story was that two english ladies walked in a park with huge panniers 
in a french park, and they started a fashion very quickly. The english 
version, i dont know.

Bjarne
----- Original Message ----- 
From: "Alex Doyle" <garbaholic@sbcglobal.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, December 15, 2005 7:23 PM
Subject: [h-cost] Panniers question


> During my trip to England this past summer I happened upon a doll that I 
> think dates to the late 17th, early 18th century, based upon the style of 
> doll that it is.  The doll was in a museum that didn't have a date on the 
> doll and of course I was deep in a whole other project at the time and 
> didn't ask if there was more information.  So now that I need to get a 
> better date if possible, I was hoping I could use the doll's clothing as a 
> guide.
>
>  She wears panniers- the huge at the side kind of bustle thing-it's not my 
> period at all, so excuse me if I have that wrong.
>
>  Can anyone give me beginning and end dates of when this style was worn in 
> England?    The doll itself is housed in Norwich, in a museum that could 
> be using toys from the families that have lived in this house since the 
> 14th century, but I don't know if this doll was a gift  to the museum or 
> not.
>
>  any help give is much appreaciated.
>
>  Alexandria
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 


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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] historical action figures
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Hi Dawn,
Its hillarious, Marie Antoinette has a removable head........


Bjarne


----- Original Message ----- 
From: "Dawn" <dawn@reddawn.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, December 15, 2005 6:19 PM
Subject: [h-cost] historical action figures


>I make no claims about the costuming, but the concept is cute:
> 
> http://www.mcphee.com/categories/action.html
> 
> 
> 
> Dawn
> 
> 
> _______________________________________________
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In a message dated 12/15/2005 2:40:10 P.M. Eastern Standard Time,  
drewscph@post12.tele.dk writes:

The  french claims it is english invention, english vise versa.
French story was  that two english ladies walked in a park with huge panniers 
in a french  park, and they started a fashion very quickly. The english 
version, i dont  know.




***************************
 
I like the idea that girls selling bread in the market place would  carry it 
in baskets on each hip, and throw their petticoats over the baskets to  keep 
them protected....thus the name Pannier ["pan" is French for  bread]
 
But it is true that dome shaped hoops are seen early, like in the 1730s and  
at court they become very elongated and wide to display the unbelievably  
incredible embroidery on court mantuas in the 1740s and 50s. The style gets its  
best proportions in the 1760s [the style you most often see....like in films  
like "Dangerous Liaisons"] but starts to wane then so that they are old  
fashioned....or reserved for evening wear [and court] ...by the late 1770s and  80s.
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From: "Kelly Grant" <estela_dufrayse@hotmail.com>
To: h-costume@indra.com
Subject: RE: [h-cost] Panniers question
Date: Thu, 15 Dec 2005 15:43:50 -0400
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Often, in the 18thC, dolls were used to portray the latest fashions from 
abroad.  The dolls would then make their way to the hands of children to 
play with.  But they usually started out as 'fashion magazines' for lack of 
a better term.  You can usually rely on them to portray fashions of the 
period.

There may be dress dolls closer to where you live that you can study 
further, as they were quite common. I'm not sure where you are located, but 
check your local museums.  I know that there are some right here in the 
Maritime Provinces of Canada.


As for dates...pannier are mid century.  A good rule of thumb, the wider, 
the higher the class of dress.  For hoops and panier anyway.

Kelly


"Bravery is something you can experience on the spur of the moment, faced 
with danger.  To have courage, you must think about the dangers in advance, 
then weigh the risks, and then do what you have to do, despite your fears"
Caius Merlyn Britannicus





>From: Alex Doyle <garbaholic@sbcglobal.net>
>Reply-To: Historical Costume <h-costume@indra.com>
>To: Historical Costume <h-costume@indra.com>
>Subject: [h-cost] Panniers question
>Date: Thu, 15 Dec 2005 10:23:46 -0800 (PST)
>
>During my trip to England this past summer I happened upon a doll that I 
>think dates to the late 17th, early 18th century, based upon the style of 
>doll that it is.  The doll was in a museum that didn't have a date on the 
>doll and of course I was deep in a whole other project at the time and 
>didn't ask if there was more information.  So now that I need to get a 
>better date if possible, I was hoping I could use the doll's clothing as a 
>guide.
>
>   She wears panniers- the huge at the side kind of bustle thing-it's not 
>my period at all, so excuse me if I have that wrong.
>
>   Can anyone give me beginning and end dates of when this style was worn 
>in England?    The doll itself is housed in Norwich, in a museum that could 
>be using toys from the families that have lived in this house since the 
>14th century, but I don't know if this doll was a gift  to the museum or 
>not.
>
>   any help give is much appreaciated.
>
>   Alexandria
>_______________________________________________
>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: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] Panniers question
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Bjarne wrote

>It develloped trough the 1730ies and became the largest size in the 
>1740ies. It started to be a dome shaped pannier, became flattened 
>and started to extend to the sides. Then in the 1760ies it grew 
>smaller again, and ended up with bumrolls in 1770ies and 80ies.
>The french claims it is english invention, english vise versa.
>French story was that two english ladies walked in a park with huge 
>panniers in a french park, and they started a fashion very quickly. 
>The english version, i dont know.

The wide pannier continued at the English court, as Court Dress, 
until the death of Queen Charlotte (well in to the 19th century) as 
it was her preference. I believe the Prince Regent hated the fashion, 
and as soon as his mother was dead, ordered that it should not be 
worn again. I do not have chapter and verse for his feelings, but I 
do have fashion plates of Regency style bodices, with panniers 
starting under the bust!!

Suzi

>>During my trip to England this past summer I happened upon a doll 
>>that I think dates to the late 17th, early 18th century, based upon 
>>the style of doll that it is.  The doll was in a museum that didn't 
>>have a date on the doll and of course I was deep in a whole other 
>>project at the time and didn't ask if there was more 
>>information.  So now that I need to get a better date if possible, 
>>I was hoping I could use the doll's clothing as a guide.
>>
>>  She wears panniers- the huge at the side kind of bustle 
>> thing-it's not my period at all, so excuse me if I have that wrong.
>>
>>  Can anyone give me beginning and end dates of when this style was 
>> worn in England?    The doll itself is housed in Norwich, in a 
>> museum that could be using toys from the families that have lived 
>> in this house since the 14th century, but I don't know if this 
>> doll was a gift  to the museum or not.
>>
>>  any help give is much appreaciated.
>>
>>  Alexandria
>>_______________________________________________
>>h-costume mailing list
>>h-costume@mail.indra.com
>>http://mail.indra.com/mailman/listinfo/h-costume
>
>
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
>http://mail.indra.com/mailman/listinfo/h-costume
>
>


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From: Alex Doyle <garbaholic@sbcglobal.net>
Subject: Re: [h-cost] Panniers question
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I think this is the flatter and extending to the side style, so about the mid 1700's?  
   
  I would have loved that this doll was earlier, but it does help establish that the doll styles stayed the same for quite some time, so that's good too.
   
  thanks
   
  alexandria
   
  oh, yes, last week I got this package from Denmark and my roommate wants to open it to see what it is.  He especially wants the stamps from the package. :)  told him was a christmas present and he couldn't touch it yet.

Bjarne og Leif Drews <drewscph@post12.tele.dk> wrote:
  Dear Alexandria.
It develloped trough the 1730ies and became the largest size in the 1740ies. 
It started to be a dome shaped pannier, became flattened and started to 
extend to the sides. Then in the 1760ies it grew smaller again, and ended up 
with bumrolls in 1770ies and 80ies.
The french claims it is english invention, english vise versa.
French story was that two english ladies walked in a park with huge panniers 
in a french park, and they started a fashion very quickly. The english 
version, i dont know.

Bjarne
----- Original Message ----- 
From: "Alex Doyle" 
To: "Historical Costume" 
Sent: Thursday, December 15, 2005 7:23 PM
Subject: [h-cost] Panniers question


> During my trip to England this past summer I happened upon a doll that I 
> think dates to the late 17th, early 18th century, based upon the style of 
> doll that it is. The doll was in a museum that didn't have a date on the 
> doll and of course I was deep in a whole other project at the time and 
> didn't ask if there was more information. So now that I need to get a 
> better date if possible, I was hoping I could use the doll's clothing as a 
> guide.
>
> She wears panniers- the huge at the side kind of bustle thing-it's not my 
> period at all, so excuse me if I have that wrong.
>
> Can anyone give me beginning and end dates of when this style was worn in 
> England? The doll itself is housed in Norwich, in a museum that could 
> be using toys from the families that have lived in this house since the 
> 14th century, but I don't know if this doll was a gift to the museum or 
> not.
>
> any help give is much appreaciated.
>
> Alexandria
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 


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Naturally you tell us about this site AFTER we're finished shopping for
the H-Cost gift exchange.

A friend & I were recently discussing who is sexier, Ben Franklin or Elvis...

     -Carol


> I make no claims about the costuming, but the concept is cute:
>
> http://www.mcphee.com/categories/action.html


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I vote for Ben Franklin--fascinating conversationalist probably and
intelligence is always sexier. Men at the French Court must have been
mystified with Franklin's popularity with females.

Cindy Abel  

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
On Behalf Of aquazoo@patriot.net
Sent: Thursday, December 15, 2005 2:46 PM
To: Historical Costume
Subject: Re: [h-cost] historical action figures


Naturally you tell us about this site AFTER we're finished shopping for
the H-Cost gift exchange.

A friend & I were recently discussing who is sexier, Ben Franklin or
Elvis...

     -Carol


> I make no claims about the costuming, but the concept is cute:
>
> http://www.mcphee.com/categories/action.html


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From h-costume-bounces@indra.com  Thu Dec 15 16:23:39 2005
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Subject: [h-cost] RE: Chinese Mummies (was Humans in England, 700k years?)
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>From: "penhalion@juno.com" <penhalion@juno.com>
>Well, since the ethnic Chinese who discovered them and the locals in the 
>area thought it
>was weird that the mummies were Caucasian, that's good enough for me.

Glad to hear it.  There are apparently plenty of Chinese records of the 
Tocharians being blond and red haired and blue eyed until the area was 
overrun by the Uighar (proto-Turkish) people in the 8th century.  Since I 
can't read Chinese I can'g tell you that in fact the records actually SAY 
that, but that they are said to.

>While the Silk and Spice Roads were known to be in operation 1000 to 2000 
>years ago, >finding these people in that area put the whole timeline of the 
>area back several thousand >years. I have the book and it makes it quite 
>clear that the AGE of the finds was what they >found remarkable- more 
>recent Caucasian remains wouldn't have been as odd.

Thank you, I have read the book.  I have actually kept pretty current on the 
literature about the mumies from the whole Taklamakan/Tarim Basin area.

>...Also, these folks appear to be from a Celtic/Proto-Celtic (in the 
>broadest sense of Celtic, >I'm not talking about Irish!) people judging 
>from their fabric. The fabric was found with a >clear twill weave, 
>something that the Chinese didn't use. Of course in retrospect it's clear 
> >that some people went east instead of west in the migrations that brought 
>the Celtic >people all over the Eurasian continent, it's just that these 
>finds were the first evidence >that a Celtic people moved that far!

The Tocharians are "Celtic" in the sense that the Romans, Greeks, and 
Hittites are "celtic".  To say they are "celtic" or even proto-celtic 
because of their fabrics suggests that no other Indo-European language 
peoples used those fabrics - and I'm pretty sure that we don't have the 
archaeological evidence to say that.  It's a sexy over-simplication because 
people think Celts are cool and so by tying these folks to Celts means that 
they must be interesting to study as well.

Marc


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> I don't know if the sleeve drape was like a lower circle sewn 
> on, like 
> you see on some young women's sleeves today, or if it was 
> another sleeve 
> like the angle-wing ones.  This particular picture seems like 
> it must be 
> more like the circle-on-the-sleeve sort, but the TRH ones look a bit 
> more like another big houp sleeve.

FYI, there is a Italian (I think) style (a bit earlier then the time of the Tres Riche Hours) that has what looks like circles attached to/acting as the cuffs of the gothic fitted dress's sleeves. There is a picture in _Parades et Parures_ by Odile Blanc. (it's the front piece. For those of you who read French [not me] the description is:

1. La seduction detournant de l'etude. Alors que le corps feminin reste enclos dans une veture continue et monochrome, la parure masculine rend le corps a une diversite des formes et des couleurs.

(I had to drop all the accents - I hope it's still decipherable) Elsewhere in the book it attributes the picture to Boccace, "Des clereset nobles femmes". Page 59, 125, 173, 185 and 217 all show other pictures from the same manuscript (all of which give different views of the bell-cuffs. The last one shows a gothic fitted dress with the cuffs, without the houpelande). Page 193 also gives a picture of a long bell-cuff from a different manuscript, the "Bible historiale", no author given. 

 It is my believe that this is a separate style from the "angle-wing" under sleeves you see in Tres Riche.
	-sunny

Following on the discussion of this link: http://www.rijksmuseum.nl/images/aria/sk/z/sk-c-1454.z

P.S. 2: I can't seem to find a link to an illumination of Boccaccio, "Concerning Famous Women" on line (which is what I'm guessing the translation of "Des clereset nobles femmes" is)




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Quoting sunshine_buchler@agilent.com:

>
> FYI, there is a Italian (I think) style (a bit earlier then the time 
> of the Tres Riche Hours) that has what looks like circles attached 
> to/acting as the cuffs of the gothic fitted dress's sleeves. There is 
> a picture in _Parades et Parures_ by Odile Blanc. (it's the front 
> piece. For those of you who read French [not me] the description is:
>
> 1. La seduction detournant de l'etude. Alors que le corps feminin 
> reste enclos dans une veture continue et monochrome, la parure 
> masculine rend le corps a une diversite des formes et des couleurs.
>
> (I had to drop all the accents - I hope it's still decipherable) 
> Elsewhere in the book it attributes the picture to Boccace, "Des 
> clereset nobles femmes". Page 59, 125, 173, 185 and 217 all show 
> other pictures from the same manuscript (all of which give different 
> views of the bell-cuffs. The last one shows a gothic fitted dress 
> with the cuffs, without the houpelande). Page 193 also gives a 
> picture of a long bell-cuff from a different manuscript, the "Bible 
> historiale", no author given.

*cool*  Are any of these images online anywhere?

Thanks!
Susan
>
> It is my believe that this is a separate style from the "angle-wing" 
> under sleeves you see in Tres Riche.
> 	-sunny
>
> Following on the discussion of this link: 
> http://www.rijksmuseum.nl/images/aria/sk/z/sk-c-1454.z
>
> P.S. 2: I can't seem to find a link to an illumination of Boccaccio, 
> "Concerning Famous Women" on line (which is what I'm guessing the 
> translation of "Des clereset nobles femmes" is)
>

I know that there's *some* Boccaccio on a BNF site, but I don't speak
french, so I have *no* clue as to how to go about finding them.

*sigh*

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


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Greetings--

McClure, Kate wrote:
> I had to snicker over this blurb from the Marie Antoinette doll, er
> figure:
>  This 5-1/2" tall, hard vinyl figure features amazing "Ejector Head
> Action," and comes with a removable plastic wig and dress. 

For the 13th century geek like me, the Pope Innocent III action figure 
is da bomb.  Someone out there knew which pope was considered to have 
reigned at the apex of the medieval papacy, rather than just picking one 
of those trendy popes like Julian II.

The best part is the little Latin scroll that comes with him, which is 
not translated anywhere on the packaging.  It reads, in English, "Kiss 
my a**, son of a Hohenstaufen."

Susan
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References: <9882D01216FC5249A2A41B86BD89559B06F05EBF@wcosmb01.cos.agilent.com>
Subject: Re: [h-cost] Houppelande with tie fastenings
Date: Thu, 15 Dec 2005 16:15:52 -0600
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I've been pondering the long, circle-ona-fitted-sleeve type of early 15thC 
sleeves for a while, and I've noticed... there doesn't seem to be any seam 
between the circly type part and the rest of the sleeve.  In other words, 
NOT a circle sewn on, but rather a dramatic flare starting at the wrist. 
Has anyone seen a painting/illumination/etc that seems to indicate a seam 
there?  For example, in the recently posted painting, there seems to be no 
disconnect in the fabric's pattern... it looks like it was cut all of a 
piece with the rest of the sleeve.

-E House, ponders too much for her own good.



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Subject: RE: [h-cost] Houppelande with tie fastenings
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 Following on the discussion of this link:
> http://www.rijksmuseum.nl/images/aria/sk/z/sk-c-1454.z

+++
(snip) For example, in the recently posted painting, there seems to be no
disconnect in the fabric's pattern... it looks like it was cut all of a
piece with the rest of the sleeve.

-E House, ponders too much for her own good.

=====
E.H.,
I don't think you can use the above as an example for your theory (which is
quite good) because where the seam would be is covered by the houppe's
dagging on her right and well the left....hmmmm...can someone make out what
is on the gold lining near her hand? Looks like a poor seam stitching.
Anyway that attachment to sleeve seam is covered if it was there.
The Marie of Hungary dress
http://www.virtue.to/articles/images/hungarian_cutting.jpg
shows a conical piece attached to the sleeve. This does not mean that the
previous picture's "cuffs" are made that way but are more like to have been.
De



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> *cool*  Are any of these images online anywhere?

In my quick (~15 minutes) on-line search I didn't find anything. But I'm not very familiar with the on-line manuscript archives... My search was limited to goggling various terms. Sorry! I would've liked to have given links in my earlier e-mail rather then referring to page numbers in a fairly obscure book (at least obscure to us English speakers :-) )


> I know that there's *some* Boccaccio on a BNF site, but I don't speak
> french, so I have *no* clue as to how to go about finding them.
> 
> *sigh*

It doesn't help that Boccaccio wrote in Italian, so I was attempting to come up with the English versions based on the translation from Italian into French and then trying to come up with the correct English term based on the French... Game of telephone, anyone? :-)

The full attribution in the back of the book for the Boccaccio manuscript was:

Paris, Bibliotheque nationale, ms. Fr. 598, Bocacce, Des cleres et nobles femmes, Paris, vers 1403, fol. 6v.

The different pictures I referenced have different numbers for the Fr. 598 number, and different folio versions listed, though all have the 1403 date.
	-sunny

P.S. for those of you seriously into the "high middle ages", about half the pictures in _Parades et Parures_ were not ones I recognized. I've felt the book was well worth purchasing despite my inability to actually _read_ it :-). I got mine from amazon.fr

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> *cool*  Are any of these images online anywhere?

In my quick (~15 minutes) on-line search I didn't find anything. But I'm not very familiar with the on-line manuscript archives... My search was limited to goggling various terms. Sorry! I would've liked to have given links in my earlier e-mail rather then referring to page numbers in a fairly obscure book (at least obscure to us English speakers :-) )


> I know that there's *some* Boccaccio on a BNF site, but I don't speak
> french, so I have *no* clue as to how to go about finding them.
> 
> *sigh*

It doesn't help that Boccaccio wrote in Italian, so I was attempting to come up with the English versions based on the translation from Italian into French and then trying to come up with the correct English term based on the French... Game of telephone, anyone? :-)

The full attribution in the back of the book for the Boccaccio manuscript was:

Paris, Bibliotheque nationale, ms. Fr. 598, Bocacce, Des cleres et nobles femmes, Paris, vers 1403, fol. 6v.

The different pictures I referenced have different numbers for the Fr. 598 number, and different folio versions listed, though all have the 1403 date.
	-sunny

P.S. for those of you seriously into the "high middle ages", about half the pictures in _Parades et Parures_ were not ones I recognized. I've felt the book was well worth purchasing despite my inability to actually _read_ it :-). I got mine from amazon.fr

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Date: Thu, 15 Dec 2005 18:39:18 -0600
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The whole houppelande discussion got me in the mood for something: I think I 
wanna wear a bunch of bells on a gown.  At the hem, or maybe tiny bells all 
over, like spangles.  Funfunfun. Cold medicine. I'm thinking late 
14thC/early 15thC would be the right era for it, but I've never really 
looked into anything involving bells before.  Anyone know of a style (other 
than houppes, which I just plain don't feel like making) that would work 
well with this?  Any literary mentions of it?  Illuminations/paintings?

-E House

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From: Julie <jtknits@jtknits.cts.com>
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Subject: [h-cost] getting out oil stains
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I worked with a lady who worked for a LARGE uniform/professional linens company.  Their first line of defense was hair spray - the cheap kind.  It's been great on pen ink.  I have oil stains on silk...i'll be trying my Aqua Net <G>

Julie

> I have had reasonable luck using dish washing detergent on such stains. 
> 
> Jeanine
> 
> 

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From h-costume-bounces@indra.com  Thu Dec 15 20:03:42 2005
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Subject: Re: [h-cost] bells on garments
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E House wrote:

> The whole houppelande discussion got me in the mood for something: I 
> think I wanna wear a bunch of bells on a gown.  At the hem, or maybe 
> tiny bells all over, like spangles.  Funfunfun. Cold medicine. I'm 
> thinking late 14thC/early 15thC would be the right era for it, but I've 
> never really looked into anything involving bells before.  Anyone know 
> of a style (other than houppes, which I just plain don't feel like 
> making) that would work well with this?  Any literary mentions of it?  
> Illuminations/paintings?

In some 30 minutes or so my updated bells-with-garb page will be live. 
Its at http://www.virtue.to/articles/bells.html

(If it doesn't have a picture of the Chaucer Squire at the top, it's the 
old version.)

However, it doesn't directly address bells ON clothes, just bells WITH 
clothes.  I don't think I've seen anything that looked like bells (or 
even bezants) on a hem.  There were definitely instances of bezants all 
over one sleeve, and there's no reason you couldn't decide that they 
might have sometimes been bells.

And sometimes they show up on the points of hoods, but not on the 
skirts, I think.

As for houps vs. other, they do seem to be all houps, although some are 
the men's "aren't my cheeks cute" type of houp.

The Museum of London Dress Accessories book has a number of citations, 
and you could check Fashion in the Age of the Black Prince for earlier. 
(Although I think I have looked there and found no bells.)

-- 
Cynthia Virtue and/or Cynthia du Pre Argent
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From h-costume-bounces@indra.com  Thu Dec 15 21:35:42 2005
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From: "Sue Clemenger" <mooncat@in-tch.com>
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Subject: Re: [h-cost] bells on garments
Date: Thu, 15 Dec 2005 19:41:32 -0700
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Maybe you could do a "masque" costume? (You know, you're in the 16th or 17th
century, and the local high muckety-muck is having a fancy event, and people
are encouraged to come in a costume--it'd be what someone *then* would think
someone from the 14th/15th century would wear). Find some historical
character, or biblical, or a saint associated with bells or something, and
work from there?
Or maybe, something based on the pre-Raphaelites? "Lady of Shalot" with
little, tinkling bells on your sleeves, or "Queen Mab," or something the
littlest bit...fey...or romantic? ;o)
--Sue, just tossing out ideas....

----- Original Message -----
From: "E House" <formfunc@formfunction.org>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, December 15, 2005 5:39 PM
Subject: [h-cost] bells on garments


> The whole houppelande discussion got me in the mood for something: I think
I
> wanna wear a bunch of bells on a gown.  At the hem, or maybe tiny bells
all
> over, like spangles.  Funfunfun. Cold medicine. I'm thinking late
> 14thC/early 15thC would be the right era for it, but I've never really
> looked into anything involving bells before.  Anyone know of a style
(other
> than houppes, which I just plain don't feel like making) that would work
> well with this?  Any literary mentions of it?  Illuminations/paintings?
>
> -E House
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume

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From: "E House" <formfunc@formfunction.org>
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Subject: Re: [h-cost] Houppelande with tie fastenings
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No offense meant, but I just don't buy it. =}  If the seam were far enough 
up to be concealed by the oversleeve, the whole look/drape would be changed. 
Even with really careful tailoring and stretching of the bias, a 
circle-on-a-tube type of sleeve just doesn't give the same shape as one that 
flares out right at the end. It just looks wrong.  It'll take an extant 
garment or a clear image of the flared sleeve with a seam to convince me.

Speaking of extant garments, I'm afraid the Mary of Hungary dress isn't 
enough, either!  It's almost a century older than this painting and much 
more than a century older than some of the earlier renditions of this 
sleeve.  And above all, it just plain looks nothing like the style of sleeve 
in question.  There are mid-15thC paintings that show sleeves similar to the 
M of H sleeve, all stiff and structured.  Why would they consistently 
portray the same type of sleeve two very very different ways?

(That black stuff on the gold lining of her left sleeve doesn't look like 
stitching to me; it's repeated much lower down on the same lining portion, 
near the edge.  It looks more like some characteristic of the fabric/fur; 
perhaps a variation on ermine patterning.  The black spots on the edging of 
her right arm sleeve make it look to me like they are ermine lined, but 
given the aging it's hard to be sure.  Either way, it's at the wrong 
place/angle to be stitching between circle and tube; it's at about a 45 
degree angle to the edge of the sleeve's hem, which just wouldn't make 
sense. Of course, it doesn't make much sense for ermine, either, but 
anyway...)

Sorry.  I'm difficult, I know! =} Especially when I'm trying real hard to 
not come down with a cold...

-E 'Zicam' House 

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Date: Thu, 15 Dec 2005 21:53:29 -0500
To: Historical Costume <h-costume@indra.com>
From: Carol Kocian <aquazoo@patriot.net>
Subject: Re: [h-cost] Panniers question
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      There is an odd dress from the 1920s, I think in the Met - it 
has panniers and a train.  It was worn at court, so I guess the order 
against panniers did not last forever!

      -Carol


Suzi said,
>The wide pannier continued at the English court, as Court Dress, 
>until the death of Queen Charlotte (well in to the 19th century) as 
>it was her preference. I believe the Prince Regent hated the 
>fashion, and as soon as his mother was dead, ordered that it should 
>not be worn again. I do not have chapter and verse for his feelings, 
>but I do have fashion plates of Regency style bodices, with panniers 
>starting under the bust!!
>
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<http://www.philosophersguild.com/index.lasso? 
page_mode=Product_Detail&item=0195>

St. Sebastian pincushion... you know you want one.
I know I do!

griz

=========================================
verybigdesign.com  |  verybigblog.com | pixeldecor.com | ohikea.com
         domeorama.com | medievalbeads.com  |  macmentor.org


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griz wrote:
> St. Sebastian pincushion... you know you want one.
> I know I do!

That's two for today.  Thanks,
         -Helen/Aidan

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Oh how tacky. The things people create to sell.

-----Original Message-----
<http://www.philosophersguild.com/index.lasso? 
page_mode=Product_Detail&item=0195>

St. Sebastian pincushion... you know you want one.
I know I do!

griz



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Subject: RE: [h-cost] bells on garments
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For some reason my system doesn't access the pictures as only three pictures
show up and the rest are frames with a little box and red X in the upper
left hand corner.

De

-----Original Message-----
In some 30 minutes or so my updated bells-with-garb page will be live.
Its at http://www.virtue.to/articles/bells.html

(If it doesn't have a picture of the Chaucer Squire at the top, it's the
old version.)

Cynthia Virtue and/or Cynthia du Pre Argent
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-----Original Message-----
No offense meant, but I just don't buy it. =}  If the seam were far enough
up to be concealed by the oversleeve, the whole look/drape would be changed.
Even with really careful tailoring and stretching of the bias, a
circle-on-a-tube type of sleeve just doesn't give the same shape as one that
flares out right at the end. It just looks wrong.

*disagree. I have seen medium weight linen, lined circular cuffs hang this
way. But my argument was of the strong possibility of an attached cuff with
the Maria of Hungary dress as an example that such a thing was done.
I am more inclined to believe because of the economical way they usually cut
fabric, that it was a conical shaped cuff then the circular. Your theory of
no seam at wrist is more feasible then the circular attached cuff but not
necessarily the conical attached cuff.

<<(That black stuff on the gold lining of her left sleeve doesn't look like
stitching to me; it's repeated much lower down on the same lining portion,
near the edge.  It looks more like some characteristic of the fabric/fur;
perhaps a variation on ermine patterning.  The black spots on the edging of
her right arm sleeve make it look to me like they are ermine lined, but
given the aging it's hard to be sure.  Either way, it's at the wrong
place/angle to be stitching between circle and tube; it's at about a 45
degree angle to the edge of the sleeve's hem, which just wouldn't make
sense. Of course, it doesn't make much sense for ermine, either, but
anyway...)

-E 'Zicam' House

Sorry I wasn't clear. I am not saying that the "stitches are the cuff to
sleeve" seam but asking if it was a seam. Both "stitch" areas correlate to
where seams would be on a straight sleeve. If these are seams, then it seems
to strengthen to some point your argument for no wrist seam.

De


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otsisto wrote:

> For some reason my system doesn't access the pictures as only three pictures
> show up and the rest are frames with a little box and red X in the upper
> left hand corner.

Argh.  It's not your system, it's my ($#@%!) editing program.  Sorry. 
It will be fixed in a few hours.

(For those who care, it often messes up the "image relative to page 
location" vs. "absolute" location pointer.)

cv
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E House wrote:

> No offense meant, but I just don't buy it. =}  If the seam were far 
> enough up to be concealed by the oversleeve, the whole look/drape would 
> be changed. Even with really careful tailoring and stretching of the 
> bias, a circle-on-a-tube type of sleeve just doesn't give the same shape 
> as one that flares out right at the end. It just looks wrong.

I'm sorry, I'm not sure which idea you're not buying?

However, if it were flared on the whole length, it wouldn't be bunched
up around her right hand like that -- it would trail back inside the red
sleeve.  Those folds are so even, I don't think a flare at the end would
produce them, only a circle sewn on.  What sort of flare are you
thinking of?  One which drops down from the arm, or one which also goes
upward?

Here's a far less lush flare at the wrist:
http://www.uvm.edu/~hag/sca/images/hecyra1.jpg

>  It'll 
> take an extant garment or a clear image of the flared sleeve with a seam 
> to convince me.

Sigh of general agreement!

> (That black stuff on the gold lining of her left sleeve doesn't look 
> like stitching to me; it's repeated much lower down on the same lining 
> portion, near the edge.  It looks more like some characteristic of the 
> fabric/fur; perhaps a variation on ermine patterning.

Agreed.

-- 
Cynthia Virtue and/or Cynthia du Pre Argent
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With regards to the conversation a couple of weeks ago on keyword spamming 
on eBay, I wonder how this monstrosity, which looks NOTHING like anything 
even vaguely Austen-related, slipped through the net: 
http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=8362341194
Perhaps the solution is to spell Jane Austen wrong?!

(By the way, hello, I've been lurking for ages but couldn't post because my 
e-mail turns everything into HTML - think I've finally worked it out 
though).


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In a message dated 12/15/2005 10:35:05 P.M. Eastern Standard Time,  
hpinto@mindspring.com writes:

griz  wrote:
> St. Sebastian pincushion... you know you want one.
> I  know I do!



All I can say is, "Ewwwwwwww."
Ann Wass
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In a message dated 12/16/2005 5:50:01 A.M. Eastern Standard Time,  
mrscakehole@hotmail.com writes:

http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=8362341194



Very, very vaguely late Victorian, maybe, but Jane Austen?  Hey, maybe  it 
was worn by somebody named Jane in Austin, Texas!
 
Ann Wass
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It's fixed for the second, and hopefully final, time.  Sorry about that, 
folks!

> Its at http://www.virtue.to/articles/bells.html
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This is an Unemployed Philosophers Guild product. They have a Beanie-Baby-style van Gogh doll with a detachable ear, a Global Warming mug that shows the predicted new coastlines when you fill it with hot coffee, a Scream pillow that does scream (and a Mona Lisa pillow that giggles), and Freudian Slippers with a sock-toe tongue protruding from Freud's mouth. Among many other punny, arch products. Character cards with stick-on appropriate quotations--including Jane Austen, fyi! They also have two different sets of Axis of Evil finger-puppets--choose according to your political inclinations....
   They're constantly adding to their line, and revising it too, at least if you consider that the Shakespeare "Brainy Baby" is now on his fourth costume design. I've given my artist friend Frieda Kahlo as well as van Gogh. I've got Shakespeare (2 different outfits); a friend gave me the Great Writers finger-puppet set. I've given my niece Jane Austen and my sister, a biologist, Charles Darwin. I'm hoping somebody will give me Eleanor Roosevelt and Che this Christmas!
   If you like their sense of humor (and I confess I LOVE it with all my overeducated heart!), you can spend a lot of money with them. I haven't tumbled for the St. Sebastian pincushion yet, but it does look JUST like the painting, and I've found the painting perversely charming, with his faint little grin (ecstasy, I presume) and all, for years. As a Protestant/agnostic and lit major I take great pleasure in the various saints and feel free to find them bizarre. A friend of mine suggested that we start a pub on the Canadian border and call it the "St. Lawrence Bar and Grill." Talk about Eeeeeeuuuuuw!
   Anyway, I assure all that I have no connection with the Unemployed Philosophers Guild except as a chronic customer. They have a website, in case you want to revel in their wierdness--or spend some money to make your overeducated friends laugh.
--Ruth Anne Baumgartner
scholar gypsy and amateur costumer

-----Original Message-----
>From: otsisto <otsisto@socket.net>
>Sent: Dec 15, 2005 11:15 PM
>To: Historical Costume <h-costume@indra.com>
>Subject: RE: [h-cost] For the costumers
>
>Oh how tacky. The things people create to sell.
>
>-----Original Message-----
><http://www.philosophersguild.com/index.lasso? 
>page_mode=Product_Detail&item=0195>
>
>St. Sebastian pincushion... you know you want one.
>I know I do!
>
>griz
>
>
>
>_______________________________________________
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Here's a far less lush flare at the wrist:
http://www.uvm.edu/~hag/sca/images/hecyra1.jpg


Great image - where and when is it from?

Janet

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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] bells on garments (fixed)
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At 13:03 16/12/2005, you wrote:
>It's fixed for the second, and hopefully final, time.  Sorry about 
>that, folks!
>
>>Its at http://www.virtue.to/articles/bells.html
>_______________________________________________


I am sure I have seen bells on one of the "Tres Riches Heures" pages, 
but cannot access my pix right now. Also found beautiful bells on a 
gentleman in a painting in the Prado, Madrid in the summer. (This one 
is possibly later - I forget the date.) Will copy to you when I have 
a spare minute.

Suzi 


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Subject: [h-cost] Book
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Has anyone seen this book or a review (preferably in English)?

Le Vêtement: Histoire, archéologie et symbolique vestimentaires au Moyen 
Age (Cahiers du Léopard d'or) 332 pages Publisher: Léopard d'or (1989) 
Language: French ISBN: 2863770896

The title sounds interesting...

Beth Matney


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 >> Here's a far less lush flare at the wrist:
 >> http://www.uvm.edu/~hag/sca/images/hecyra1.jpg

Oh -- I forgot to say that iirc, "Hecyra" (in the URL) is the name of 
the main character for which this was an illustration in the story. 
That might help track it down.  I tried looking further up Hope's 
website, but I didn't see it.  Providing my memory is accurate!

however, I think I found it via a discussion on this list some 6-7 years 
ago, so searching at the archives on the filename might find more info.

-- 
Cynthia Virtue and/or Cynthia du Pre Argent
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Robin i am very glad you sended the link with the new H-costume archive. It 
is very easy to use, and i discovered that i only gets a few of the posts 
sended to my own mailbox. I  had the feeling something was wrong last week 
two. Mails just slit out of my mailbox, i can se they get in when i upload 
my outlook express, but only a few is to be seen there. ( a small arrow 
moves for each mail comming in)
My computer works fine, so i think perhaps it is my webserver that have 
problems. Guess i have to call them for advise.
But to all of you, if you have something important to tell me, please email 
me 2- 3 times, so that i am sure to catch one of the mails.......

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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Re: [h-cost] Re: bjarne's sleeves
Audrey Bergeron-Morin
Mon, 05 Dec 2005 06:49:31 -0800

Bjarne, those flowers, how did you learn to make them? Do you have a book 
(in English, French or Spanish) to recommend? They're really amazing, 
sitting there just on the edge of the fabric...

Hi Audrey.
The small flowers are very simple made with loops of chenille threads, with 
french knots in the middle.
Larger flowers are stumpwork made with chenille thread. I make foundation 
leaves edged with tiny wire, stabstitched and later buttonhole stitch all 
way round. (in a hoop)
Then the chenille threads are couched onto the leaves with a thinner thread.
I have some stumpwork embroidery books, try to rent one in your local 
library, it is very fun and very amazing how you can create your own 
3-dimentional flowers.
I got the idea to make these flowers, when i studyed a particular 18th 
century dress wich seemed to be sprayed all over with small, dimentional, 
chenille thread flowers.
Next week il promise you pictures of the finished dress, at last.

Bjarne 


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I am sooo jealous of your collection.  I got Kahlo, the fridge magnet for
Xmas last year and drool at all the other wonderful possibilities. Have not
had such fun with this wearable/usable/own it yourself art since I
discovered an artist's rendering of many famous paintings in which the human
figure is replaced with Cats! A favorite on my wall is "OlymPUSS Apres
Manet"
Kathleen
----- Original Message ----- 
From: <ruthanneb@mindspring.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, December 16, 2005 9:04 AM
Subject: RE: [h-cost] For the costumers


> This is an Unemployed Philosophers Guild product. They have a
Beanie-Baby-style van Gogh doll with a detachable ear, a Global Warming mug
that shows the predicted new coastlines when you fill it with hot coffee, a
Scream pillow that does scream (and a Mona Lisa pillow that giggles), and
Freudian Slippers with a sock-toe tongue protruding from Freud's mouth.
Among many other punny, arch products. Character cards with stick-on
appropriate quotations--including Jane Austen, fyi! They also have two
different sets of Axis of Evil finger-puppets--choose according to your
political inclinations....
>    They're constantly adding to their line, and revising it too, at least
if you consider that the Shakespeare "Brainy Baby" is now on his fourth
costume design. I've given my artist friend Frieda Kahlo as well as van
Gogh. I've got Shakespeare (2 different outfits); a friend gave me the Great
Writers finger-puppet set. I've given my niece Jane Austen and my sister, a
biologist, Charles Darwin. I'm hoping somebody will give me Eleanor
Roosevelt and Che this Christmas!
>    If you like their sense of humor (and I confess I LOVE it with all my
overeducated heart!), you can spend a lot of money with them. I haven't
tumbled for the St. Sebastian pincushion yet, but it does look JUST like the
painting, and I've found the painting perversely charming, with his faint
little grin (ecstasy, I presume) and all, for years. As a
Protestant/agnostic and lit major I take great pleasure in the various
saints and feel free to find them bizarre. A friend of mine suggested that
we start a pub on the Canadian border and call it the "St. Lawrence Bar and
Grill." Talk about Eeeeeeuuuuuw!
>    Anyway, I assure all that I have no connection with the Unemployed
Philosophers Guild except as a chronic customer. They have a website, in
case you want to revel in their wierdness--or spend some money to make your
overeducated friends laugh.
> --Ruth Anne Baumgartner
> scholar gypsy and amateur costumer
>
> -----Original Message-----
> >From: otsisto <otsisto@socket.net>
> >Sent: Dec 15, 2005 11:15 PM
> >To: Historical Costume <h-costume@indra.com>
> >Subject: RE: [h-cost] For the costumers
> >
> >Oh how tacky. The things people create to sell.
> >
> >-----Original Message-----
> ><http://www.philosophersguild.com/index.lasso?
> >page_mode=Product_Detail&item=0195>
> >
> >St. Sebastian pincushion... you know you want one.
> >I know I do!
> >
> >griz
> >
> >
> >
> >_______________________________________________
> >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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Our art museum sells quite a bit of their products. I bought my brother a
Freudian Sips coffee mug and a Freud finger puppet -- he comes with a couch
finger puppet, which has a pop-up lady's head (for the patient's mother, who
of course is behind all mental problems). My brother and his wife are both
psychologists -- I bet their dinner conversation is fun!

Gail Finke

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Nice try but it says pride and prejudice before the name. :)
Its a 1980s wedding dress (think Dallas) hmmm maybe your right about the
Austin TX. :)
De

-----Original Message-----
http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=8362341194

Very, very vaguely late Victorian, maybe, but Jane Austen?  Hey, maybe  it
was worn by somebody named Jane in Austin, Texas!

Ann Wass


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Subject: [h-cost] Clothing in Stuart England
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I thought folks here might be interested in this.  Looks like it's due out
in February.

Colleen

Title: Fashion and Fiction: Dress in Art and Literature in Stuart England
Author: RIBEIRO, AILEEN
Price: $65.00
ISBN: 0300109997

Description: New Haven and London: Yale University Press, 2006.  28cm.,
cloth, ca 352pp., 80 color, 100 b&w illus.
(Focusing on the rich visual culture of the seventeenth century, including
portraits, engravings, fashion plates, and sculpture, and on literary
sources?poetry, drama, essays, sermons?the distinguished historian of
dress Aileen Ribeiro creates a fascinating account of Stuart dress and how
it both reflected and influenced society. Supported by a wealth of
illustrative images, she explores such varied themes as court costumes,
the masque, the ways in which political and religious ideologies could be
expressed in dress, and the importance of London as a fashion center. This
beautiful book is an indispensable and authoritative account of what
people wore and how it related to Stuart England's cultural climate) 
^Available February 2006^.


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Beth,

  I know I have a French costuming book somewhere in my library, let me see if it is the same one or not.  If it is, I like the book except for the fact it is in French - there was a chapter in it that I wanted translated, luckily I had an acquaintance who could translate the chapter for me.   Must go and let arm and wrist rest, had a nasty fall last weekend.

Roscelin

 -------------- Original message ----------------------
From: Beth and Bob Matney <bmatney@alltel.net>
> Has anyone seen this book or a review (preferably in English)?
> 
> Le Vêtement: Histoire, archéologie et symbolique vestimentaires au Moyen 
> Age (Cahiers du Léopard d'or) 332 pages Publisher: Léopard d'or (1989) 
> Language: French ISBN: 2863770896
> 
> The title sounds interesting...
> 
> Beth Matney
> 
> 
> 
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> Here's a far less lush flare at the wrist:
> http://www.uvm.edu/~hag/sca/images/hecyra1.jpg
> 
> Great image - where and when is it from?
> 
> Janet

It is by the Orosius Master, ca. 1412: Laches accuses
Sostrata.  Paris, Bil. de L'Arsenal, ms. 664. fol.
213v.

It was illustrating a Roman playwright's plays, but I
can't find easily which playwright.

The picture may be found in French Painting in the
Time of Jean de Berry:  The Limbourgs and Their
Contemporaries (Plates volume), by Millard Meiss,
George Braziller, NY.  ISBN 0-8076-0734-7.  
The text volume does say which playwright, somewhere.


Ann in CT

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Sorry, should have re-titled the previous message.

ACt

> > Here's a far less lush flare at the wrist:
> > http://www.uvm.edu/~hag/sca/images/hecyra1.jpg
> > 
> > Great image - where and when is it from?
> > 
> > Janet
> 
> It is by the Orosius Master, ca. 1412: Laches
> accuses
> Sostrata.  Paris, Bil. de L'Arsenal, ms. 664. fol.
> 213v.

> Ann in CT


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To: Historic Costume List <h-costume@indra.com>
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Subject: [h-cost] Update, my lectures in Portland, Oregon
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I promised to post information on my upcoming lecture appearance in
Portland, Oregon, when it became available. The registration information
is now online here:

http://www.ithra.antir.sca.org/idisplay.php?topic=classes&it=5433

or here:

http://www.ithra.antir.sca.org/idisplay.php?topic=classes&it=5433

The date is March 25, 2006, and I'll be doing five lectures on women's
dress of the 14th and 15th centuries.

The event is part of an SCA university, but non-SCA members are welcome,
and period dress is not required.

--Robin


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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Date: Sat, 17 Dec 2005 12:57:55 +0100
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Subject: [h-cost] light table
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Hi,
I was thinking about wishing a light table for christmas and birthday. I 
have birthday in january and ususally wishes bigger things, and then combine 
the gifts this way.
I was looking at a light table in a shop, and i wondered if any of you have 
any experiences with these.
Could i use this to trace embroidery patterns on to fabrics?
It could save me the work i have with transferring with graphite paper.
Any thoaghts greatly apreciated.

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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If you only work on small objects they are great.  I just use my large 
windows!  I have also used a glass table with a lamp underneath it.  
Sort of depends if you have the room to store another gadget and don't 
have anything else to wish for!

Sg

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I have a light table and I love it.  I use it for all sorts of things, and 
yes, it would be wonderful for transferring your embroidery 
patterns.  I  also use it for tracing my flat patterns and checking that 
seams match and notches line up.  It's also helpful when I have draped a 
pattern and want to transfer it to paper.  I also use it for the obvious 
re-drawing croquis.

My advice would be to purchase as large a light box as you can 
afford.  Mine is the same as the type used to view hospital x-rays and is 
roughly the size of a legal size page.  I always wish it was 
larger  something about 40 cm x 50 cm or larger would be ideal.


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Subject: [h-cost] Casanova movie
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This looks like it will be fun at the very least.  I don't know much 
about the period, but it certainly looks like it has potential as a 
costume movie.

http://casanova.movies.go.com/

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Bjarne-
While I use my light box primarily working on paper, I have also used it to 
transfer designs to cloth when making banners, small theatre drops, and wall 
hangings.  The last time I used it on fabric, the 8W fluorescent lamp inside 
was able to make the design easily seen through heavy white cotton duck and 
colored felt.  Mine is 24x30", and for larger projects, you just set up a 
grid and do it section by section.  You may not need anything that large, 
and there are some small ones currently available in the craft departments 
that have the same wattage, and are available for less than $50US. 
Alternatively, you can use a sheet of glass or perspex propped up over a 
small under-the-counter kitchen kitchen fluorescent light, which costs about 
$13US.  (Before I had a light box, I used to work on a glass-topped table 
with a desk lamp underneath it.)  Used X-ray readers also work, and you 
might be able to find a used one cheaply.
It's a wonderful thing to have, and makes a lot of work so much easier.
                      -Helen/Aidan
 

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Subject: Re: [h-cost] favourite fairy /christmass movi
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----- Original Message ----- 
From: <Debloughcostumes@aol.com>
To: <h-costume@indra.com>
Sent: Friday, December 02, 2005 8:21 PM
Subject: Re: [h-cost] favourite fairy /christmass movi


> Christmas - I'm a complete sucker for just about all of them, but White
> Christmas, (I fell in love with the red 'santa' dresses that Rosemary 
> Clooney and
> Vera Ellen wear at the end when I was about three), Wonderful Life, and 
> Miracle
> on 34th Street.
>
> And films that aren't strictly Christmas films, but that I associate with
> Christmas - Meet Me in St Louis, and The Shop Around the Corner.  (Can you 
> tell I
> do old Hollywood?)
>
> And my fave fairy film has to be the one with Paul McGann about the
> Cottingley fairies, that I can't for the life of me remember the name of.
>
> Debs

I'm coming in very late on this, due to the traumas of moving. We only moved 
two miles, but what a two weeks it's been! Sheesh!!

My favorite Christmas movies are It's A Wonderful Life (I adore Jimmy 
Stewart) and Scrooge--a musical from about 1970=71, starring Albert Finney. 
After I watch it, I walk around for days humminh "I Like Life" and "Thank 
You Very Much"!

Dianne
>
>
> _______________________________________________
> 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: Disposing of fabric
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----- Original Message ----- 
From: "michael tartaglio" <mikes@dandy.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Tuesday, December 06, 2005 12:02 AM
Subject: Re: [h-cost] Re: Disposing of fabric


> Hi, All. I just saw a telly program on a fellow from Pennsylvania (US) 
> that is the guru for used fabrics. He started out by convincing the mill 
> that he worked at that they should give him the scraps they would throw 
> out. Now folks send him stuff and he sends it out to anyone who wants it. 
> Folks make quilts for charities with his "stashes". I don't remember his 
> name or what his website is called, but the show was on local public TV 
> (WHYY Philadelphia/Wilmington)

Was it Magic Mike? If so, I know he was very ill for a while. Good to know 
he's better.

Dianne

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From: "Susan B. Farmer" <sfarmer@goldsword.com>
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Quoting Bjarne og Leif Drews <drewscph@post12.tele.dk>:

> Hi,
> I was thinking about wishing a light table for christmas and 
> birthday. I have birthday in january and ususally wishes bigger 
> things, and then combine the gifts this way.
> I was looking at a light table in a shop, and i wondered if any of 
> you have any experiences with these.
> Could i use this to trace embroidery patterns on to fabrics?
> It could save me the work i have with transferring with graphite paper.
> Any thoaghts greatly apreciated.
>

Oh, yes.  I *love* my light table.  I use it for all kinds of things --
not just needlework.

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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Oh that hurts. I had a bad one on concrete about a month ago.

Please let me know which one you have. I've been collecting quite a bit on 
archaeological textiles and costumes (SCA period), but need more on France.

Take care.
Beth

At 10:32 AM 12/17/2005, you wrote:
>Date: Fri, 16 Dec 2005 22:20:25 +0000
>From: roscelinlimoges@comcast.net
>
>Beth,
>
>   I know I have a French costuming book somewhere in my library, let me 
> see if it is the same one or not.  If it is, I like the book except for 
> the fact it is in French - there was a chapter in it that I wanted 
> translated, luckily I had an acquaintance who could translate the chapter 
> for me.   Must go and let arm and wrist rest, had a nasty fall last weekend.
>
>Roscelin

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Please forgive the use of bandwidth..but I'm beginning to sell my books. If I can remember where to post to the Historical Costume sell lists, I'll also post there as well.

Below, please find the list and for those lists that don't block attachments, I'm attaching an excell spread sheet.  Please email me privately at elena_o_tighearnaigh@comcast.net or call me at 425-357-1779 (located in Everett, WA).  For those books that have multiple interested parties, bidding off list could be arranged.

TitleAuthorDate Published / CopyrightedISBN or LLCPrice:Note on Contents
The World of Walls, the middle ages in Western EuropePolly Schoyer Brooks, Nancy Zinsser Walworth1966LCC 66-10039$20.00Gregory the Great, Rise of the Franks, Charlemange, William the Conqueror, Eleanor of Aquitane, Francis of Assis, Simon do Montfort, Chaucer, biblio, index
History of Western Music Rev. Ed. Donald Jay Grout, Cornell Univ1973, 1960ISBN 0-393-09416-2$25.00Gregorian chant, polypony, frend italian music biblio, index
The Scottish Country Dance Book # 25Music arranged by Margaret T W Rae1970none$35.00Published by the Royal Scottish Country Dance Society, includes dance figures and steps
2 COPIES The A cappella singer, # 1682, mixed voicesedited by H. Clough-Leighter1936, 1964none$25.00 EACHA collection of Motets, madrigals, chafons, carols, ayres, ballets, etc
Fifth Book of SongsRobert Foresman1926none$35.00Includes folks songs Hungarian, Morvarian, German
The Timetables of Women's History, a chronologyKaren Greenspan1966ISBN 0-684-81579-6$15.00paperback
Medieval ReaderNorman F. Cantor1994ISBN 0-06-270102-9$15.00first hand accounts of the middle ages including letters essays, state and charch documents, poetry and ballads. Aauthros index.
A Ceremony of CarolsBenjamin Britten1943none$10.00For treble voices and harp or piano
Anglo saxon verseRichard Hamer1970ISBN 571 08765 5$10.00a selection  and parallel verse translations
Everyday life in Ottoman TurkeyRaphaela Lewis1971ISBN 7134 1687 4$10.00from the 5th cent, Glossary of turkish terms, index
Chief Pre-Shekespearean DramasJoseph Quncy Adams. Cornell Univ.1924 (1st ed)none$35.00a selection of plays illustrating the history of the english drama from it’s origin down to shakespeare
Medieval LondonGordon Home1994ISBN 1 85891 131 1$45.00history of london from 457 to date (1927)
Costuming the Amateur ShowDorothy Lynne Saunders1938none$25.00info on the stage costume.
Folk Ballads of the english-speaking worldedited by Albert B. Friedman, Harvard Univ.1968LCC 56-7084$25.00Ballads of England, Scotland, Ireland, Canada, US, West Indies, Australia
The Notebooks of Leomardo da VinciEdward MacCurdy1954none$45.00excellent information
History of CostumeBlanche Payne, University of Washington, Seattle WA1965LCC 65-10419$75.00From the Ancient Egyptians to the 20th Cent.
Fashion Mila Conti1965LCC 65-20567$75.00From the Ancient Egyptians to the present (1965)


Thank you for your patience and understanding...

Gia
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From h-costume-bounces@indra.com  Sun Dec 18 13:08:19 2005
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From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] narnia movie
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E House <formfunc@formfunction.org> wrote
>I thought the witch's dresses towards the beginning looked very odd 
>(especially the weird sticking-out-six-inches-at-the-back thing) but I 
>think the material it was made of was pretty well chosen; it looked 
>more like it was sort of magically grown than made, which strikes me as 
>right.
>
>I did like her last two dresses, though--the strapless dark brown one, 
>and the maned chain mail battle outfit.  Wonder how much that one 
>weighed; to me it actually looked like chain mail rather than that fake 
>metallic knit stuff that some movies use to impersonate chain mail. 
>The mane was a nice touch. It seemed like something Jadis would do.
>
<snip>
>-E House
>
I haven't seen it yet, but I just noticed the chain mail dress on the 
poster at the bus stop I stand at every day (took me a week to notice it 
was mail!)  I believe all the armour and weaponry was done by Weta 
Workshops, who invented plastic chainmail for the Lord of the Rings 
films.  It's made from individual links, so it looks and moves like real 
mail, but the links are plastic, so it's really light.  The main reason 
for using it was the logistics of trying to shift armour for hordes of 
extras all round New Zealand, but I guess it also allows you to do these 
kind of totally fantasy costumes.  IIRC it even pools round her feet - 
do that with metal mail and you'd be completely immobilised!

Jean
-- 
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Subject: Re: [h-cost] light table
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I used to use a light table all the time when I did commercial art way 
back before computers took over. It was very helpful for a number of 
other things as well. But when I stopped working for the ad company and 
didn't have access to their light table, I rigged one at home. I just 
took a pane of glass I had, taped some wax paper to the under side of 
it[to 'frost" the glass], straddled it between two end tables and put a 
directional desk lamp under it pointing up. Worked fine. I didn't need 
it often so I would just set it up when I needed it....and if it was 
daytime, I'd just use a window! My friend and colleague Lisa, who used 
to free lance with me, would just put a light under her glass coffee 
table. I suppose we should have invested in a real light table, but the 
technology was changing fast and we just didn't need to use it as much.

 -----Original Message-----
 From: Bjarne og Leif Drews <drewscph@post12.tele.dk>
 To: h-costume@indra.com
 Sent: Sat, 17 Dec 2005 12:57:55 +0100
 Subject: [h-cost] light table

 Hi,
  I was thinking about wishing a light table for christmas and birthday. 
I have birthday in january and ususally wishes bigger things, and then 
combine the gifts this way.
  I was looking at a light table in a shop, and i wondered if any of you 
have any experiences with these.
 Could i use this to trace embroidery patterns on to fabrics?
  It could save me the work i have with transferring with graphite 
paper.
 Any thoaghts greatly apreciated.

 Bjarne



 Leif og Bjarne Drews
 www.my-drewscostumes.dk

 http://home0.inet.tele.dk/drewscph/
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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] light table
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On Sun, 18 Dec 2005 albertcat@aol.com wrote:

> I just took a pane of glass I had, taped some wax paper to the under
> side of it[to 'frost" the glass], straddled it between two end tables
> and put a directional desk lamp under it pointing up.

My usual workaround is to take the leaf out of my dining room table and
lay a sheet of glass (leftover from a picture frame) over the gap. I've
learned to put masking tape around the edges of the glass so I don't cut
myself. Then a table lamp under the table. I like being able to spread out
all my drawing equipment on the rest of the table!

--Robin

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Robin Netherton wrote:
> My usual workaround is to take the leaf out of my dining room table and
> lay a sheet of glass (leftover from a picture frame) over the gap. I've
> learned to put masking tape around the edges of the glass so I don't cut
> myself. Then a table lamp under the table.

Likewise, but with plexiglas.  (Two 4-yr-olds increases the chaos factor 
enough that it's worth a few bucks for the plastic!)

-- 
Cynthia Virtue and/or Cynthia du Pre Argent

Mindless entertainment is the handmaiden of fascism.  -- Mo/Alison Bechdel
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From: Judy Mitchell <judymitch@theoldforest.net>
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Subject: Re: [h-cost] narnia movie
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Jean Waddie wrote:
> I haven't seen it yet, but I just noticed the chain mail dress on the 
> poster at the bus stop I stand at every day (took me a week to notice it 
> was mail!)  I believe all the armour and weaponry was done by Weta 
> Workshops, who invented plastic chainmail for the Lord of the Rings 
> films. 

	yes. they slice up pvc pipe and use it for the rings in the maille. It 
is very light and looks amazingly good. so much better than 'string 
maille'. It was striking in the way it draped, wasn't it!

	-Judy Mitchell

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Subject: Re: [h-cost] narnia movie
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Judy Mitchell wrote:
> Jean Waddie wrote: I believe all the armour and weaponry was done by Weta 
>> Workshops, who invented plastic chainmail for the Lord of the Rings 
>> films. 
>     yes. they slice up pvc pipe and use it for the rings in the maille. 
> It is very light and looks amazingly good. so much better than 'string 
> maille'. It was striking in the way it draped, wasn't it!

I saw the LoTR stuff when the show came through the Museum of Science in 
Boston.  It was quite believable (I've seen a lot of metal mail of 
varying quality, some quite very good) aside from it having a square 
cross-section.  Which mostly gave it a slightly weird air, not 
unreasonable in a Fantasy movie.

And I had a giggle at the elastic loop yardage glued on the inside of 
Elrond's coronet, clearly for bobby pins or similar to anchor it on. 
Inventive, if a little mystique-bursting!

-- 
Cynthia Virtue and/or Cynthia du Pre Argent

Mindless entertainment is the handmaiden of fascism.  -- Mo/Alison Bechdel
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> yes. they slice up pvc pipe and use it for the rings in the maille. It
> is very light and looks amazingly good. so much better than 'string
> maille'. It was striking in the way it draped, wasn't it!

Though there was string maille in the very background shots of LotR;) I know
some people who wore it... Thus they never knew of the electroplated stuff.

Someone pointed out to me that WETA now have a different process, which
makes for smoother rings:
http://www.wetanz.com/chainmaille/index.html

michaela
http://costumes.glittersweet.com



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From h-costume-bounces@indra.com  Mon Dec 19 09:03:47 2005
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Subject: [h-cost] Happy Holidays!
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Hi,

I wish you all Happy Holiday's!
http://home.kabelfoon.nl/~triade2/X/XB2.jpg

Greetings,
       Deredere

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Subject: [h-cost] OT:wonderful weird headline
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Hello the list.

My attention was first drawn to this headline in a local (Stratford, CT) paper because of the faulty possessive noun and the interesting choice of singular verb.
BUT my attention was then rewarded by realizing that this sports headline manages to use two words (out of a total of five) that also are items of women's historical costume.
So I thought you would all enjoy pondering this:

"STRATFORD GIRLS HOOPS STAYS UNBEATEN"

For those of you unfamiliar with American sports lingo, the Girls' Basketball Team of Stratford High School continues its winning streak.

--Ruth Anne Baumgartner
scholar gypsy and amateur costumer
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Subject: [h-cost] Re: light tables
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A fast cheap way is to get one thats pretty good... (thats more than  
a piece of glass across an end table over a light) of these display  
box frames. Target has them from 9x11 and larger...  They have a  
glass wood framed hinged lid and can be hung up on the wall for  
displaying large  items or a series of little 3-d things... I got  
mine for $9 or so.

  You can get (a cheap couple of tap lights for next to nothing or) a  
small plug in florescent for about $10. Cut a hole in the particle  
board back to pass out any cords, put on some rubber silicone feet.  
Velcro or screw in the lights inside the case. TAH DAH!

You can tape some freezer paper, parchment tracing paper,  or white  
wrapping tissue paper to back side of the glass... you really want  
some diffuser, even it's it's frosted contact paper for windows...   
there are also sheets of ghosted plastic at the fabric stores for  
quilting and stenciling... as well as art stores (sca people never  
seem to go to REAL olde tyme art stores, just craft stores)

The whole thing can come in under $20 if you have a  little time and  
don't need a HUGE one. And most times you don't.

Other good ideas are finding a large frame and put two pieces of  
glass with sheet of your diffuser of choice in between, and keep it  
all in with the push down finegrs on the frame. Then go to the  
hardware store and get some 3 or 4" screw on feet...  just enough to  
slip a trim small florescent under... this works nice as it can be  
all slipped under a couch.




griz, designer.



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Subject: Re: [h-cost] OT:wonderful weird headline
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In a message dated 12/19/2005 2:06:47 P.M. Eastern Standard Time,  
ruthanneb@mindspring.com writes:

"STRATFORD GIRLS HOOPS STAYS UNBEATEN"



************************
 
 
Well, both her stays and her hoops are FILTHY....and need to be taken down  
to the river and BEATEN on a rock!
 
Talk about airy dirty laundry in public!
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I know most folks are probably shopped out by now, but I thought I would 
pass this along for the die-hards. :)

My two local Joann's have placed a lot of those fancy Europa brand 
metallic woven trims on deep clearance. I just bought a bunch at .75 per 
yard. (Down from $4-6) They had some really nice wedding laces marked 
down to ridiculous prices too. It won't last. If you're a trim junkie, 
it's worth looking into.

Also, mid/late-January is when Joann's typically puts the remaining 
spring and summer fashion fabrics on the dollar tables. This means 
there's a chance at cheap linen and silk. So if you need to start 
saving, now would be the time to set some money aside in anticipation. :)



Dawn


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From h-costume-bounces@indra.com  Tue Dec 20 13:59:22 2005
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My Jo Ann's, after their 50% off clearance sale of Europa trim shipped it
off to a sister store for their grand opening. Then at the beginning of Dec.
shipped all of their spring and summer clearance to that store.
So I will not be looking at any linen bargains this January. :(

De

-----Original Message-----
I know most folks are probably shopped out by now, but I thought I would
pass this along for the die-hards. :)

My two local Joann's have placed a lot of those fancy Europa brand
metallic woven trims on deep clearance. I just bought a bunch at .75 per
yard. (Down from $4-6) They had some really nice wedding laces marked
down to ridiculous prices too. It won't last. If you're a trim junkie,
it's worth looking into.

Also, mid/late-January is when Joann's typically puts the remaining
spring and summer fashion fabrics on the dollar tables. This means
there's a chance at cheap linen and silk. So if you need to start
saving, now would be the time to set some money aside in anticipation. :)



Dawn


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I know most folks are probably shopped out by now, but I thought I would

pass this along for the die-hards. :)

My two local Joann's have placed a lot of those fancy Europa brand 
metallic woven trims on deep clearance. I just bought a bunch at .75
per 
yard. (Down from $4-6) They had some really nice wedding laces marked 
down to ridiculous prices too. It won't last. If you're a trim junkie,

it's worth looking into.

Also, mid/late-January is when Joann's typically puts the remaining 
spring and summer fashion fabrics on the dollar tables. This means 
there's a chance at cheap linen and silk. So if you need to start 
saving, now would be the time to set some money aside in anticipation.
:)

Dawn
==============================
I just have to try and get to them before Dawn does, since we share
locale :).

Cy's BIG sale is next Monday!

Catherine

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I have a man's doublet that is too tight for buttons and am looking for 
a period correct way of fastening down the front where the two sides 
just meet. I have not seen any lace up in any paintings. Can anyone help 
my poor tired brain with options?
Mnay thanks, Aylwen
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Subject: RE: [h-cost] men's elizabethan doublet question
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Frogs?

-----Original Message-----
I have a man's doublet that is too tight for buttons and am looking for 
a period correct way of fastening down the front where the two sides 
just meet. I have not seen any lace up in any paintings. Can anyone help 
my poor tired brain with options?
Mnay thanks, Aylwen


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Subject: Re: [h-cost] men's elizabethan doublet question
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At 02:47 PM 12/20/2005, you wrote:
>I have a man's doublet that is too tight for buttons and am looking 
>for a period correct way of fastening down the front where the two 
>sides just meet. I have not seen any lace up in any paintings. Can 
>anyone help my poor tired brain with options?
>Mnay thanks, Aylwen
>_______________________________________________

Hooks and eyes are period.  Just be certain to put them no more than 
1" apart.  Any farther apart and you will have gaps.  And do sew down 
the hook side at the little loops at one end and at the hook end.


Joan Jurancich
joanmj@surewest.net 
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Hooks and eyes?


On Wed, 21 Dec 2005 09:47:43 +1100 A & J Garden
<garden@earthlydelights.com.au> writes:
> I have a man's doublet that is too tight for buttons and am looking 
> for 
> a period correct way of fastening down the front where the two sides 
> 
> just meet. I have not seen any lace up in any paintings. Can anyone 
> help 
> my poor tired brain with options?
> Mnay thanks, Aylwen
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 
> 
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Date: Tue, 20 Dec 2005 15:22:48 -0800
To: Historical Costume <h-costume@indra.com>
From: Chris Laning <claning@igc.org>
Subject: Re: [h-cost] men's elizabethan doublet question
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At 9:47 AM +1100 12/21/05, A & J Garden wrote:
>I have a man's doublet that is too tight for buttons and am looking 
>for a period correct way of fastening down the front where the two 
>sides just meet. I have not seen any lace up in any paintings. Can 
>anyone help my poor tired brain with options?

Hooks and eyes? They're documentably period for front closures of 
men's doublets, as evidenced by the well-known portrait of (IIRC) 
Henry VIII's fool.

They do have to be carefully placed in order to make the edges butt 
up against each other exactly, and don't hesitate to space them at 1 
inch apart or even closer. Commercial hook and eye tape usually has 
its hooks spaced a bit too far apart for this, unfortunately. Also, 
you need to bone, or at least reinforce, the edges they will be sewed 
to, in order to prevent buckling and gapping.

If the tightness is due to the wearer's having gained a few pounds, 
it might be worthwhile to put a hidden lacing  underneath, to pull 
the wearer's girth in just a bit (if he'll put up with that, or feels 
the weight gain is temporary). Then cover it with a plain cloth 
placket and add the hooks and eyes to the outer edges.

I've sometimes heard it recommended that you alternate which side the 
hooks go on (i.e. the first pair would be hook on the left, eye on 
the right, and the next pair eye on the left, hook on the right). But 
I don't know whether that actually makes a smoother closure or not.
-- 
____________________________________________________________

O    Chris Laning <claning@igc.org> - Davis, California
+     http://paternoster-row.org - http://paternosters.blogspot.com
____________________________________________________________
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Subject: [h-cost] men's elizabethan doublet question


>I have a man's doublet that is too tight for buttons and am looking for  a 
>period correct way of fastening down the front where the two sides  just 
>meet. I have not seen any lace up in any paintings. Can anyone help  my 
>poor tired brain with options?
> Mnay thanks, Aylwen

I've got several pictures of doublets that lace or hook up the front.  Most 
of them off the top of my head are leather, but I think there's a few that 
aren't.  If you send me your e-mail I'll see about sending you a few of the 
pictures.

Melusine 

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From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] men's elizabethan doublet question
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At 23:22 20/12/2005, you wrote:
>At 9:47 AM +1100 12/21/05, A & J Garden wrote:
>>I have a man's doublet that is too tight for buttons and am looking 
>>for a period correct way of fastening down the front where the two 
>>sides just meet. I have not seen any lace up in any paintings. Can 
>>anyone help my poor tired brain with options?
>
>Hooks and eyes? They're documentably period for front closures of 
>men's doublets, as evidenced by the well-known portrait of (IIRC) 
>Henry VIII's fool.
>
>They do have to be carefully placed in order to make the edges butt 
>up against each other exactly, and don't hesitate to space them at 1 
>inch apart or even closer. Commercial hook and eye tape usually has 
>its hooks spaced a bit too far apart for this, unfortunately. Also, 
>you need to bone, or at least reinforce, the edges they will be 
>sewed to, in order to prevent buckling and gapping.
>
>If the tightness is due to the wearer's having gained a few pounds, 
>it might be worthwhile to put a hidden lacing  underneath, to pull 
>the wearer's girth in just a bit (if he'll put up with that, or 
>feels the weight gain is temporary). Then cover it with a plain 
>cloth placket and add the hooks and eyes to the outer edges.
>
>I've sometimes heard it recommended that you alternate which side 
>the hooks go on (i.e. the first pair would be hook on the left, eye 
>on the right, and the next pair eye on the left, hook on the right). 
>But I don't know whether that actually makes a smoother closure or not.


When I worked in the theatre, alternate hooks and eyes, or rather 
loops, were important as they do not "spring" open as sometimes same 
side hooks and eyes/loops can. I know some people like and use hook 
and loop tape, and I understand it has improved since I was using it, 
but in the days when God was a lass the old fashioned hook and loop 
tape would come apart with monotonous regularity.

What helps a tight join is to set the "nose" part of the hook back 
from the edge, and only have a small part of the loop showing over 
the edge. Also buttonhole stitching round the loop in a thread to 
match the doublet helps it to grip, and to blend into the fabric.

Suzi


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Subject: Re: [h-cost] men's elizabethan doublet question
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Chris Laning wrote:

> Commercial hook and eye tape usually has its hooks 
> spaced a bit too far apart for this, unfortunately.

I suppose you could run two layers of it, if the thickness weren't a 
problem.

-- 
Cynthia Virtue and/or Cynthia du Pre Argent

Snow ants are of course snow white, travel in huge packs, and are quite 
invisible against the snow. Usually, the only way to know they're nearby 
is when moose disappear in a puff of white with a little spattering of 
red.  "The Great Canadian Wallpaper Festival" by Tempus Peregrinator
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Subject: [h-cost] Re: light tables
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If anybody's got a theatrical lighting supplier near them, a frost gel (looks 
like frosted glass, but is plastic).  Comes in white in different weights for 
different levels of light diffusion.  Not sure what the US term is, but it's 
the stuff used in spotlights for 'soft focus'.

Best of all, it's quite cheap, and you can cut it with scissors.

Debs.
(did stage lighting at college before costume!)

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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] men's elizabethan doublet question - frogs?
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I've seen frogs at http://fingerloop.org/aglet.html - how far apart 
would these have been placed?
Thanks, Aylwen

otsisto wrote:

>Frogs?
>
>-----Original Message-----
>I have a man's doublet that is too tight for buttons and am looking for 
>a period correct way of fastening down the front where the two sides 
>just meet. I have not seen any lace up in any paintings. Can anyone help 
>my poor tired brain with options?
>Mnay thanks, Aylwen
>
>
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
>http://mail.indra.com/mailman/listinfo/h-costume
>
>  
>
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You can make button with loops instead of buttonholes, or simple hook and 
eyes.

----- Original Message ----- 
From: "A & J Garden" <garden@earthlydelights.com.au>
To: "Historical Costume" <h-costume@indra.com>
Sent: Tuesday, December 20, 2005 5:47 PM
Subject: [h-cost] men's elizabethan doublet question


>I have a man's doublet that is too tight for buttons and am looking for a 
>period correct way of fastening down the front where the two sides just 
>meet. I have not seen any lace up in any paintings. Can anyone help my poor 
>tired brain with options?
> Mnay thanks, Aylwen
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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From: "Sue Clemenger" <mooncat@in-tch.com>
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Subject: Re: [h-cost] men's elizabethan doublet question
Date: Tue, 20 Dec 2005 19:25:59 -0700
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Hooks and eyes.  They're quite appropriate as closures on doublets, at least
in the 16th century.
--Sue in cold Montana

----- Original Message -----
From: "A & J Garden" <garden@earthlydelights.com.au>
To: "Historical Costume" <h-costume@indra.com>
Sent: Tuesday, December 20, 2005 3:47 PM
Subject: [h-cost] men's elizabethan doublet question


> I have a man's doublet that is too tight for buttons and am looking for
> a period correct way of fastening down the front where the two sides
> just meet. I have not seen any lace up in any paintings. Can anyone help
> my poor tired brain with options?
> Mnay thanks, Aylwen


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Subject: Re: [h-cost] men's elizabethan doublet question
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In a message dated 12/20/2005 9:01:49 P.M. Eastern Standard Time,  
audreybmorin@gmail.com writes:

You can  make button with loops instead of buttonholes, or simple hook and  
eyes.



This is what I was going to suggest. In "Fashion in Detail" there is a  
doublet with lozenge shaped buttons and loops....the cord also being used for  
decoration in a frog-like manner.
 
And I seem to remember something about two rows of buttons [one on each  
side] that are used to lace a doublet closes....looping the cord around the  
buttons. But that may be just for women's doublet bodices....though I don't know  
why.
 
And of course hooks and eyes are period as has been pointed out. You can  sew 
a button right on the edge of the opening over each hook and eye.
 
I would recommend a placket underneath.....and underlap of the fashion  
fabric to make any small gaps not noticeable.
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From: "otsisto" <otsisto@socket.net>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] men's Elizabethan doublet question - frogs?
Date: Tue, 20 Dec 2005 22:30:17 -0600
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I can't seem to find the pictures (one was definitely "Italian").
I have seen the second "frog" drawing on the site you provided. They were
spaced approx. 1" apart (or a wee bit less).
Would recommend that you go the hook & eye route if a picture can't be
produce, especially if the doublet needs to be authentic in style. The
"frog" length of each piece side looked to be 1 1/2" including the loop and
button/ball.

De

-----Original Message-----
I've seen frogs at http://fingerloop.org/aglet.html - how far apart
would these have been placed?
Thanks, Aylwen

otsisto wrote:



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From h-costume-bounces@indra.com  Wed Dec 21 05:05:39 2005
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Subject: RE: [h-cost] men's Elizabethan doublet question
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Either hooks and eyes - alternately placed (hook then eye, then hook, then 
eye etc), in brass, bronze or iron (recommend Annie the Pedlar).

Or buttons and loops - hand made loops in the old fashioned buttonhole stitch 
method better than cord, being stronger.
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Hello.
First i want to wish all the h-costume members a merry christmas and all the
best of a happy new year. May the new year be prosperous and lucky for all,
and bring a lot of wonderfull meetings and events.
I have nearly finished the long work i have had with the chenille
embroidered robe a la francaise, i have to pack it down and make the
finishing touches to it after christmas. It takes up two much space here,
and i need to make everything ready for christmas.
You can se it on my webpage here:
http://www.my-drewscostumes.dk/chenillestumpwork.htm

Many greetings

Bjarne







Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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From: "Megan M." <megan@benchite.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] greetings
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Bjarne, I am in awe!  That embroidery looks absolutely fantastic!!!!!!!
Makes me wish I had a reason to commission a dress from you someday, the
work is exquisite!  I'm sorry we will have to wait for more updates, but I
hope you have a very merry Christmas and enjoy your holidays.
-Megan

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Bjarne og Leif Drews
Sent: Wednesday, December 21, 2005 6:21 AM
To: h-costume@indra.com
Subject: [h-cost] greetings

Hello.
First i want to wish all the h-costume members a merry christmas and all the
best of a happy new year. May the new year be prosperous and lucky for all,
and bring a lot of wonderfull meetings and events.
I have nearly finished the long work i have had with the chenille
embroidered robe a la francaise, i have to pack it down and make the
finishing touches to it after christmas. It takes up two much space here,
and i need to make everything ready for christmas.
You can se it on my webpage here:
http://www.my-drewscostumes.dk/chenillestumpwork.htm

Many greetings

Bjarne







Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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From h-costume-bounces@indra.com  Wed Dec 21 10:12:09 2005
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From: elena_o_tighearnaigh@comcast.net
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] greetings
Date: Wed, 21 Dec 2005 15:10:59 +0000
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Awesome!!!  Absolutely gorgeous!  Now I want one!

Thank you for sharing your gorgeous work.

Merry Christmas, Happy Holidays and a Wonderful New Year to you!
Elena/Gia

-------------- Original message -------------- 
From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk> 

> Hello. 
> First i want to wish all the h-costume members a merry christmas and all the 
> best of a happy new year. May the new year be prosperous and lucky for all, 
> and bring a lot of wonderfull meetings and events. 
> I have nearly finished the long work i have had with the chenille 
> embroidered robe a la francaise, i have to pack it down and make the 
> finishing touches to it after christmas. It takes up two much space here, 
> and i need to make everything ready for christmas. 
> You can se it on my webpage here: 
> http://www.my-drewscostumes.dk/chenillestumpwork.htm 
> 
> Many greetings 
> 
> Bjarne 
> 
> 
> 
> 
> 
> 
> 
> Leif og Bjarne Drews 
> www.my-drewscostumes.dk 
> 
> http://home0.inet.tele.dk/drewscph/ 
> 
> 
> _______________________________________________ 
> h-costume mailing list 
> h-costume@mail.indra.com 
> http://mail.indra.com/mailman/listinfo/h-costume 
_______________________________________________
h-costume mailing list
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From h-costume-bounces@indra.com  Wed Dec 21 11:01:32 2005
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Subject: [h-cost] Dyes in History and Archaeology
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My husband forwarded this to me ...

"This is the name of the journal which contains papers presented at the 
annual meetings of Dyes in History and Archaeology, formerly known as 
the Association of Researchers into Dyes in History and Archaeology 	
For availability of the journal, contact Archetype Publications "


http://www.chriscooksey.demon.co.uk/dha/index.html



Dawn




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From h-costume-bounces@indra.com  Wed Dec 21 11:37:36 2005
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Holiday greetings to you, Bjarne!  

   18th century costumes are on my list of one day creating.  I just noticed that the pattern company Butterick is putting out patterns of this period now.
   Since, one day I also want to do some stumpwork and have several very good books on the subject, I was curious about some pieces you showed on your website.  I noticed that you did several leaves of the same kind on one piece of fabric.  Do you cut each of these leaves with the fabric still on the back of each one, then stitch them to the dress?

Best regards,
Roscelin

 -------------- Original message ----------------------
From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
> Hello.
> First i want to wish all the h-costume members a merry christmas and all the
> best of a happy new year. May the new year be prosperous and lucky for all,
> and bring a lot of wonderfull meetings and events.
> I have nearly finished the long work i have had with the chenille
> embroidered robe a la francaise, i have to pack it down and make the
> finishing touches to it after christmas. It takes up two much space here,
> and i need to make everything ready for christmas.
> You can se it on my webpage here:
> http://www.my-drewscostumes.dk/chenillestumpwork.htm
> 
> Many greetings
> 
> Bjarne
> 
> 
> 
> 
> 
> 
> 
> Leif og Bjarne Drews
> www.my-drewscostumes.dk
> 
> http://home0.inet.tele.dk/drewscph/ 
> 
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume


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From h-costume-bounces@indra.com  Wed Dec 21 13:12:45 2005
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Dear Bjarne,
   I have the strongest possible faith in the ability of humans to do wonderful things, but it's still hard to believe that that gorgeous gown is the work of human hands in the year 2005! If I hadn't been fortunate enough to watch it being built patiently, piece by lovely piece, I'd be even more amazed than I am. It embodies not only your knowledge and your skill but also, quite obviously, your heart. Thank you for sharing this complex and wonderful project with all of us. May 2006 be as great for you as the work you do.
--Ruth Anne Baumgartner
scholar gypsy and amateur costumer

-----Original Message-----
>From: Bjarne og Leif Drews <drewscph@post12.tele.dk>
>Sent: Dec 21, 2005 6:21 AM
>To: h-costume@indra.com
>Subject: [h-cost] greetings
>
>Hello.
>First i want to wish all the h-costume members a merry christmas and all the
>best of a happy new year. May the new year be prosperous and lucky for all,
>and bring a lot of wonderfull meetings and events.
>I have nearly finished the long work i have had with the chenille
>embroidered robe a la francaise, i have to pack it down and make the
>finishing touches to it after christmas. It takes up two much space here,
>and i need to make everything ready for christmas.
>You can se it on my webpage here:
>http://www.my-drewscostumes.dk/chenillestumpwork.htm
>
>Many greetings
>
>Bjarne
>
>
>
>
>
>
>
>Leif og Bjarne Drews
>www.my-drewscostumes.dk
>
>http://home0.inet.tele.dk/drewscph/ 
>
>
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
>http://mail.indra.com/mailman/listinfo/h-costume

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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: <h-costume@indra.com>
Date: Wed, 21 Dec 2005 20:39:50 +0100
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Re: [h-cost] greetings
roscelinlimoges
Wed, 21 Dec 2005 08:44:08 -0800

Holiday greetings to you, Bjarne!

   18th century costumes are on my list of one day creating.  I just noticed
that the pattern company Butterick is putting out patterns of this period 
now.
   Since, one day I also want to do some stumpwork and have several very 
good
books on the subject, I was curious about some pieces you showed on your
website.  I noticed that you did several leaves of the same kind on one 
piece
of fabric.  Do you cut each of these leaves with the fabric still on the 
back
of each one, then stitch them to the dress?

Best regards,
RoscelinDear Roscelin.Yes i have made all the stumpwork leaves, both green 
leaves and flower leaves on a silk dupioni.When i have made the foundation 
with stabstitching a small wire to the edge, and then buttonhole stitched 
the whole shape, i finally couch on the chenille thread to the 
foundation.Then each leave is cut out, and assembled to the 
embroidery.Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Hi all.
I want to thank you all for all the beautifull words you give me for the 
dress i made.
I must admit that i some times have ben desperate because i have ben 
strugling with the dress. It has ben hard times, when the tedious work had 
to be made. Also my despare because i was so long time to make it. Luckily 
the lady i make it for, has ben very patiente with me, and have had 
understandings when i had to make some breaks in the work.
This is the last robe a la francaise you will se from my hand. This is a 
desition i have made for the last year, i wish in the future to only make 
18th century accessories, aprons, mittens, stomachers, and the like. 
Embroidery gives me so much more joy than sewing dresses...............
Only costumes i shal make is for myself.

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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From: Kathy Page <caitlin_oduibhir@yahoo.ca>
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Happy holidays to everyone on the list!

I was wondering if anyone out there happens to collect
the "The Journal of the Costume Society" published for
the [Costume] Society, Victoria and Albert Museum. I
am looking for a specific article in one of the
volumes. If so, could I get a photocopy or a scan, and
perhaps a review to see if having such a journal in my
possession would be worth it, if that's at all
possible?

Thanks,

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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On Wednesday 21 December 2005 6:21 am, Bjarne og Leif Drews wrote:
> Hello.
> First i want to wish all the h-costume members a merry christmas and all
> the best of a happy new year. 

Merry Christmas and Happy New Year to you too!

> May the new year be prosperous and lucky for 
> all, and bring a lot of wonderfull meetings and events.
> I have nearly finished the long work i have had with the chenille
> embroidered robe a la francaise, i have to pack it down and make the
> finishing touches to it after christmas. It takes up two much space here,
> and i need to make everything ready for christmas.
> You can se it on my webpage here:
> http://www.my-drewscostumes.dk/chenillestumpwork.htm

Stunning, truly stunning, Bjarne.  I envy your talent.


-- 
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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From: Lavolta Press <fran@lavoltapress.com>
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The Costume Society of Great Britain's website is:

http://www.costumesociety.org.uk/

I've been a member for years. I think they are well worth a 
membership/journal subscription, but if not they at least used to sell 
single copies of back issues.

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

Kathy Page wrote:

>
>I was wondering if anyone out there happens to collect
>the "The Journal of the Costume Society" published for
>the [Costume] Society, Victoria and Albert Museum. I
>am looking for a specific article in one of the
>volumes. 
>  
>
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From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] V&A Periodical
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At 05:39 22/12/2005, you wrote:
>Happy holidays to everyone on the list!
>
>I was wondering if anyone out there happens to collect
>the "The Journal of the Costume Society" published for
>the [Costume] Society, Victoria and Albert Museum. I
>am looking for a specific article in one of the
>volumes. If so, could I get a photocopy or a scan, and
>perhaps a review to see if having such a journal in my
>possession would be worth it, if that's at all
>possible?



Kathy

If you mail me off list I will see if I have the copy you want - I 
have about 30, in a run, and a few odd ones.

Suzi


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Date: Thu, 22 Dec 2005 11:36:54 -0800 (PST)
From: Joannah Hansen <Joannah@sluggy.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Chinese Mummies (was Humans in England, 700k years?)
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<--- "penhalion@juno.com" <penhalion@juno.com> wrote:
<
<Well, since the ethnic Chinese who discovered them and the locals in <the area thought it was weird that the mummies were Caucasian, that's <good enough for me. While the Silk and Spice Roads were known to be in <operation 1000 to 2000 years ago, finding these people in that area <put the whole timeline of the area back several thousand years. I have <the book and it makes it quite clear that the AGE of the finds was <what they found remarkable- more recent Caucasian remains wouldn't <have been as odd. Also, these folks appear to be from a Celtic/Proto-<Celtic (in the broadest sense of Celtic, I'm not talking about Irish!) <people judging from their fabric.

You might find this interesting -

https://www5.nationalgeographic.com/genographic/index.html

I'm thinking seriously about joining the project.

Joannah
( just call me the elephant's child :-> )





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From: "Carolann Schmitt" <cschmitt@genteelarts.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] 1880s Hamburg edging
Date: Thu, 22 Dec 2005 21:54:16 -0500
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>From Cole's Encyclopedia of Dry Goods:

"The first machine-made embroidery shipped to the United States was in the
year 1853. The goods were consigned to a New York house by S. Hamel, of
Hamburg, Germany,, who is directly responsible for the adoption in this
country of the name "Hamburgs" as a descriptive term for Swiss embroidery.
It is said he called them by this name in order to make the business world
believe it was in Hamburg the goods were manufactured."

- Cole, George S.  _Cole's Encyclopedia of Dry Goods_.  New York:  Root
Newspaper Association, 1900.

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





Does anyone know exactly what Hamburg embroidery (edging, insertion) was? I
know the basic dictionary "a kind of embroidered work done by machinery on
cambric or muslin" but I'm trying to find out what distinguishes it from
"Swiss embroidery," "fine embroidery" or simply "embroidery" - when
describing cotton embroidered trims and mentioned in 1880s-1900 catalogs and
books. What makes it different?? 
  thanks,
  Melissa





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Hello,
  Does anyone know exactly what Hamburg embroidery (edging, insertion) was? I know the basic dictionary "a kind of embroidered work done by machinery on cambric or muslin" but I'm trying to find out what distinguishes it from "Swiss embroidery," "fine embroidery" or simply "embroidery" - when describing cotton embroidered trims and mentioned in 1880s-1900 catalogs and books. What makes it different?? 
  thanks,
  Melissa

		
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Subject: Re: [h-cost] greetings 
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X-Miltered: at demeter with ID 43ABAE07.000 by Joe's j-chkmail (http://j-chkmail.ensmp.fr)!

It's absolutely gorgeous.

I can't believe you have the patience.  I'm working on an 18th century coat 
(embroidered)  -not for anybody, just for fun - and have been at it for about 
five years now because I keep getting bored with it and stopping for months at 
a time.

But your dress is a masterpiece.


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Subject: [h-cost] gamberson question
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Someone asked me to make a gamberson for him.
Where they made of linnen?
And in what colours?
I get the idea that white was the most common colour.

Greetings,
       Deredere


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From: "otsisto" <otsisto@socket.net>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] gamberson question
Date: Fri, 23 Dec 2005 05:26:18 -0600
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A gambeson is padding worn under the armour. Linen and wool were used,
usually in the medium to heavy weight. If you are a part of the Society for
Creative Anachronism, authenticity is encouraged but not manditory when it
comes to garment fiber content. Try to go for the linen as it breaths better
then cotton. As for colours I do not know.
There are several sites online on how to make them.
This one shows a white
http://www.charlesfleming-sca.com/military/gambeson.htm
http://www.liebaart.org/wambui_e.htm

(?)
http://www.thule.vas.nu/kampanj/tillverkningstips/gambeson.htm

Commercial Pattern
http://www.mediaevalmisc.com/pp101.htm

De
-----Original Message-----
Someone asked me to make a gamberson for him.
Where they made of linnen?
And in what colours?
I get the idea that white was the most common colour.

Greetings,
       Deredere



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h-costume mailing list
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From h-costume-bounces@indra.com  Fri Dec 23 09:21:28 2005
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Thanks!
That is very interesting.
I am probaly going to use the period pattern since I have it.

It is for a 15th century gambeson.
And the person wil only wear a fiew armour parts.
He wants it as korrect as possible.
But likes it to have a colour.
The only colour I have ever seen is red.
But I don't now if a normal soldier would wear it in red.

For filling I am thinking of using loose sheep wool or cotton batting
used for making quilts.
Just sew over the cloth with batting between it is much faster but would
that be right?
He doesn't want a very thick gambeson because he will also use the
costume in play's and it will get hot under the stage lights.

otsisto wrote:

>A gambeson is padding worn under the armour. Linen and wool were used,
>usually in the medium to heavy weight. If you are a part of the Society for
>Creative Anachronism, authenticity is encouraged but not manditory when it
>comes to garment fiber content. Try to go for the linen as it breaths better
>then cotton. As for colours I do not know.
>There are several sites online on how to make them.
>This one shows a white
>http://www.charlesfleming-sca.com/military/gambeson.htm
>http://www.liebaart.org/wambui_e.htm
>
>(?)
>http://www.thule.vas.nu/kampanj/tillverkningstips/gambeson.htm
>
>Commercial Pattern
>http://www.mediaevalmisc.com/pp101.htm
>
>De
>-----Original Message-----
>Someone asked me to make a gamberson for him.
>Where they made of linnen?
>And in what colours?
>I get the idea that white was the most common colour.
>
>Greetings,
>       Deredere
>
>
>
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
>http://mail.indra.com/mailman/listinfo/h-costume
>
>  
>


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From: elena_o_tighearnaigh@comcast.net
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] gamberson question
Date: Fri, 23 Dec 2005 15:31:45 +0000
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I'm not sure what colors would be used, but the wealthy folks (in period) who had armor might (and this is just conjecture) use their heraldic colors, maybe?

Maybe some good places to look would be the paintings and illuminations with Italian City-State wars (or whatever those might be called).  Maybe the painting sourses that have pavilions in them?  I have a vague recollection of seeing paintings with gorgeous pavilions (french bells?) with men in various stages of armoring and fighting?  My memory is very sketchy, so I welcome corrections!

I have a few (ok, a *lot* of) construction tips that I found to be helpful when I made a gambeson for a fellow a few years ago.

Try and use upholstry cotton for the batting.  I found it to be thicker and it washed up pretty darn firm.

I also found that once I determined each pattern piece of the gambeson, (front body, back body, upper arm, lower arm, skirt) I would draw each pieces' cutting line onto the lining fabric, leaving at least *2* inches of fabric space in between *each piece* all the way around.    You should use non wash out marker that will not wash out (sharpie? I actually used a pencil, with a soft lead so it left a rather noticeable line and it didn't wash out) .  And being on 'true grain' isn't really critical, as long as you are 'close enough'.  You'll see why as you read further.

Cut out each pattern piece at least *2* inches away from the pattern actual cutting line.  Take the cut out lining pieces and lay on the outer fabric *wrong sides together*, and cut out the outer fabric using the actual cut edge of the pieces to cut around (same rules for grain alignment as lining).

Lay the cut out pieces of  *outer* gambeson fabric pieces, wrong side down, on the batting and cut.  There is no actual 'grain' for batting, so lay out so as to not make any cabbage (waste); you can even piece the batting, too!

Sandwich the outer fabric (wrong side to batting), batting and lining fabric (wrong side to batting).  

Quilt the each piece *individually*. Quilting each piece separately (front body sandwich, back body sandwich, arm pieces sandwiches) will make handling at the sewing machine a heck of a lot easier!   I used a diamond (60 degree angle) quilting method because it would help with supporting the bias of the fabric, without actually reducing the any of the possible 'stretch' that activity would need.   Zig Zag cut edges enclosing the batting.  If you lay the pattern piece on the quilted pieces, you will notice that the pattern cutting line markings are just a tad to the inside of the pattern piece cutting line, because the quilting 'takes up' some of the materials.  This is why one reason you need to mark the cutting lines on the lining.

Do NOT assemble pieces yet!!

Machine WASH AND DRY every separate piece (which is why you have the 2" all the way around and the cut edges are zig zagged to enclose the batting).  The reason is so that each piece can be pre-shrunk without out the dreaded distortion that would pull adjoining pieces out of wack.  This also *thickens* (fulls?) the batting so that it will be firmer, and more stable prior to the first wearing.  This will also make the gambeson wash and wearable.

Once the pieces are washed and dried, take the PAPER pattern pieces and lay on the OUTER fabric of each piece (make sure you flip the *paper* pattern piece if you have distinct right and left sides) on the outer side of each piece.  Cut the quilted pieces around the *paper* pattern.

Assemble the gambeson as desired, decorate and embellish as desired.  Be sure to have several heavy duty sewing needles to hand.  You might need to change them as they become dulled going through such heavy duty layers.

I hope my tips will be helpful and reduce the difficulties of assembling a gameson that would shrink with the first washing!

Elena/Gia
-------------- Original message -------------- 
From: Deredere Galbraith <Deredere.Galbraith@kabelfoon.nl> 

> Thanks! 
> That is very interesting. 
> I am probaly going to use the period pattern since I have it. 
> 
> It is for a 15th century gambeson. 
> And the person wil only wear a fiew armour parts. 
> He wants it as korrect as possible. 
> But likes it to have a colour. 
> The only colour I have ever seen is red. 
> But I don't now if a normal soldier would wear it in red. 
> 
> For filling I am thinking of using loose sheep wool or cotton batting 
> used for making quilts. 
> Just sew over the cloth with batting between it is much faster but would 
> that be right? 
> He doesn't want a very thick gambeson because he will also use the 
> costume in play's and it will get hot under the stage lights. 
> 
> otsisto wrote: 
> 
> >A gambeson is padding worn under the armour. Linen and wool were used, 
> >usually in the medium to heavy weight. If you are a part of the Society for 
> >Creative Anachronism, authenticity is encouraged but not manditory when it 
> >comes to garment fiber content. Try to go for the linen as it breaths better 
> >then cotton. As for colours I do not know. 
> >There are several sites online on how to make them. 
> >This one shows a white 
> >http://www.charlesfleming-sca.com/military/gambeson.htm 
> >http://www.liebaart.org/wambui_e.htm 
> > 
> >(?) 
> >http://www.thule.vas.nu/kampanj/tillverkningstips/gambeson.htm 
> > 
> >Commercial Pattern 
> >http://www.mediaevalmisc.com/pp101.htm 
> > 
> >De 
> >-----Original Message----- 
> >Someone asked me to make a gamberson for him. 
> >Where they made of linnen? 
> >And in what colours? 
> >I get the idea that white was the most common colour. 
> > 
> >Greetings, 
> > Deredere 
> > 
> > 
> > 
> >_______________________________________________ 
> >h-costume mailing list 
> >h-costume@mail.indra.com 
> >http://mail.indra.com/mailman/listinfo/h-costume 
> > 
> > 
> > 
> 
> 
> _______________________________________________ 
> h-costume mailing list 
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Subject: [h-cost] Calling Susan Farmer of Knoxville Tn..
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Anyone know Susan?  Her secret Sanat gift is waiting for her at the post 
office.  I am unable to contact her via phone or email.

Thanks,
Sg
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Happy Christmas to one and all! I'm signing off now as I shall be away from my computer until 4th January.
On 1/2 Jan. the music group will be playing in one of the old houses at the Weald and Downland Museum 
http://www.wealddown.co.uk/ 

Kate Bunting
Librarian and 17th century reenactor


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To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] gambeson question
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X-Miltered: at demeter with ID 43AC7AC4.001 by Joe's j-chkmail (http://j-chkmail.ensmp.fr)!

Asked around.
Though they had no docs. the outer layer was usually wool but sometimes
linen or hemp (these last two where usually canvas like weight). They know
for sure that the outer layer was in colors in later 1400s - onward. (story
to this: The lord of the manor would buy in bulk the material so that most
of those working for him would be wearing similar if not the same color) The
inner lining is linen and it is commonly white/off white and a medium to
heavy weight.
The padding:
Can be wool batting, a heavy weight wool or linen or if you want to take the
time, hemp cording or rolled up linen pulled through the channels.
This is for a corset but it's to give you a rough idea;
http://homepage.mac.com/festive_attyre/research/cording/cord.html
If the padding doesn't matter to him then go for the cotton as it would make
things easier for you with the sewing.

This info is word of mouth and should be taken with a grain of salt for
periodness

A suggestion: You might want to make him a part of the sewing process and
have him help with putting it together (especially if you go the hemp cord
or rolled linen route). I find fighters appreciate the garment better and
don't throw it down "any ol' place" nor let it rot in the bag for weeks on
end without washing or even airing it out.
De
-----Original Message-----
Thanks!
That is very interesting.
I am probaly going to use the period pattern since I have it.

It is for a 15th century gambeson.
And the person wil only wear a fiew armour parts.
He wants it as korrect as possible.
But likes it to have a colour.
The only colour I have ever seen is red.
But I don't now if a normal soldier would wear it in red.

For filling I am thinking of using loose sheep wool or cotton batting
used for making quilts.
Just sew over the cloth with batting between it is much faster but would
that be right?
He doesn't want a very thick gambeson because he will also use the
costume in play's and it will get hot under the stage lights.



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To: Historical Costume <h-costume@indra.com>, WickedFrau <wickedfrau@msn.com>
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Quoting WickedFrau <wickedfrau@msn.com>:

> Anyone know Susan?  Her secret Sanat gift is waiting for her at the 
> post office.  I am unable to contact her via phone or email.
>

I'm here!  I haven't seen a card from the Post Office, but will check it
out in the morning.  Thanks for letting me know.

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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We want to wish everyone a very Merry Christmas!

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From h-costume-bounces@indra.com  Sat Dec 24 15:41:43 2005
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From: Gail & Scott Finke <gailscott@eos.net>
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Subject: [h-cost] Re: gambeson question
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My husband has numerous gambesons/jacks/arming coats/whatever you want to
call them. I am not a fan of the Period Patterns pattern, but it works and
looks fine, and is a good place to start if you don't want to draft a
pattern. My husband likes a much more fitted look, more like the Charles le
Blois pourpoint, but the construction methods are similar:

He draws the pieces he wants on the fabric, along with the quilting lines,
and then cuts a generous (2 inches at least) around that. He quilts on the
machine, using regular polyester quilt batting. This causes the pieces to
shrink a bit, which is why you need all the extra fabric. He does not bother
washing any of the pieces after quilting, but assembles and finishes them.

As far as fabric goes, he has used all sorts, but usually uses cotton
Trigger (which comes in bright, heraldic colors and is pretty durable). He
wants to make one that's brocade on the outside, and he has the fabric, but
he hasn't gotten around to making it yet. The last one he made is quartered
and painted in various heraldic charges -- very nice looking!

I don't think your friend's plan to use this as a stage costume is a good
idea. Gambesons get very dirty, and they often rip from repeated sword blows
and (more likely) wear from armor. They are not beautiful garments for long,
even if they start out that way! It is much better to wear a fine wool,
brocade, or painted coat over the gambeson and armor. That takes a lot of
wear, too, but it will not get as smelly or ripped, so it is worth more
time, money, and effort.

That has been our experience.

Gail Finke

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From: "Cabbage Rose Costumes" <cabbagerose@sbcglobal.net>
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Happy Chanukah to to everyone! and a very Merry New Year!!!

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

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

----- Original Message ----- 
From: "Kate M Bunting" <K.M.Bunting@derby.ac.uk>
To: <h-costume@indra.com>
Sent: Friday, December 23, 2005 7:47 AM
Subject: Re: [h-cost] greetings


> Happy Christmas to one and all! I'm signing off now as I shall be away 
> from my computer until 4th January.
> On 1/2 Jan. the music group will be playing in one of the old houses at 
> the Weald and Downland Museum
> http://www.wealddown.co.uk/
>
> Kate Bunting
> Librarian and 17th century reenactor
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 


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You might look at the ordinaces of Louis XI.  They require up to 30 layers 
of linen with a final layer of staghide.

Marc


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Wishing the best to one and all this holiday season.  May the season be
bright and the New Year be your best ever.

Jeanine


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From: Ann Catelli <elvestoorder@yahoo.com>
Subject: Re: [h-cost] RE: gambeson question
To: Historical Costume <h-costume@indra.com>
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> You might look at the ordinaces of Louis XI.  They
> require up to 30 layers 
> of linen with a final layer of staghide.
> 
> Marc

Gosh, Marc, you come up with some of the most
interesting sources.  Thank you.

And hopefully any source containing the ordinances
will have footnotes & lead to more interesting
sources.

Ann in CT


	
		
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From: Cin <cinbarnes@gmail.com>
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Subject: [h-cost] Mysterious gift giver on Ringland Rd in Raleigh, NC
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Pardon me for using so public a medium to thank my gift exchange
partner.  I do not actually know the giver's name.  I've received a
lovely beaded purse that cannot possibly have been purchased for less
than the $10 target.  Wow!  I'm thrilled and will happily add it to my
very small collection of vintage bead and chain purses & reticules.
Thanks so much, Dear Sir or Madame!  I hope you'll choose to reveal yourself.

Best Holiday Wishes to all h-costumers and may all your costumes be goregous!
--cin
Cynthia Barnes
CinBarnes@gmail.com

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Subject: Re: [h-cost] RE: gambeson question
Date: Sat, 24 Dec 2005 21:36:37 -0400
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That'd be quite the garment...even with very fine linen!
Kelly/estela
----- Original Message ----- 
From: "Marc Carlson" <marccarlson20@hotmail.com>
To: <h-costume@indra.com>
Sent: Saturday, December 24, 2005 5:39 PM
Subject: [h-cost] RE: gambeson question


> You might look at the ordinaces of Louis XI.  They require up to 30 layers 
> of linen with a final layer of staghide.
>
> Marc
>
>
> _______________________________________________
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Subject: Re: [h-cost] Re: gambeson question
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From: "Gail & Scott Finke"


> call them. I am not a fan of the Period Patterns pattern, but it works and
> looks fine, and is a good place to start if you don't want to draft a
> pattern. My husband likes a much more fitted look, more like the Charles 
> le
> Blois pourpoint, but the construction methods are similar:

I too find the Period Pattern difficult to work with because of it's shape. 
The armhole is  a little on the large and modern side.  That and I  had to 
take in a really large wadge of fabric at the back waist level to get it to 
hang correctly on my spouse...about a 15cm pinch. I haven't found a 
comercial pattern yet, that I'm happy with for this garment, but will keep 
looking.  If using this pattern, make a mock up first, just in case.;->



> Gambesons get very dirty, and they often rip from repeated sword blows
> and (more likely) wear from armor. They are not beautiful garments for 
> long,
> even if they start out that way!

The gambeson should be washable, to protect the wearer from any nasty fungi 
that grow on his armour.  Pierre's is made of linen with a cotton wadding 
interlining, and is machine washable, hang to dry...which is a good thing as 
he soaks through it every fight practice.  He has also taken to wearing the 
new underarmour, under the gambeson, but still washes his gambeson after 
every fight practice. ( I say this, because a friend almost lost his arm to 
a rather nasty infection due to unclean armour...it doesn't take much.) His 
has become rust stained in places, but that adds to the look, not detracts. 
As for it holding up...it's now over two years old and still going strong. 
It was hand quilted and seams were machine sewn, with the inside armscye 
hand finished...that's the only place that has needed a touch up.

Get a good, tightly woven fabric and you should be fine...just read in Juan 
d'Alcega's book that quilters often take up three finger widths when 
quilting up...good rule of thumb, pardon the pun. Cut an extra seam 
allowance when quilting.

Hopefully I make sense, I have a nasty migraine...UG!

Kelly/estela 
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To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Re: gambeson question
Date: Sat, 24 Dec 2005 19:48:09 -0600
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For many years (with JoAnn's bolt labeling reinforcing it) I have believed
that trigger was 100% polyester and the cotton version is called "duck."
This is the second time I have seen trigger stated to have cotton in it.
Could someone please clarify as I have tried to look up trigger's fiber
content and get everything but the material.
De

-----Original Message-----
but usually uses cotton
Trigger (which comes in bright, heraldic colors and is pretty durable).

Gail Finke


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Date: Sat, 24 Dec 2005 19:55:33 -0800
To: Historical Costume <h-costume@indra.com>
From: Joan Jurancich <joanmj@surewest.net>
Subject: RE: [h-cost] Re: gambeson question
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At 05:48 PM 12/24/2005, you wrote:
>For many years (with JoAnn's bolt labeling reinforcing it) I have believed
>that trigger was 100% polyester and the cotton version is called "duck."
>This is the second time I have seen trigger stated to have cotton in it.
>Could someone please clarify as I have tried to look up trigger's fiber
>content and get everything but the material.
>De
>
>-----Original Message-----
>but usually uses cotton
>Trigger (which comes in bright, heraldic colors and is pretty durable).
>
>Gail Finke

"Trigger" is just a weight/weave definition.  It can be made of any 
fiber.  I've usually seen it in cotton.


Joan Jurancich
joanmj@surewest.net 

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From: Avien <aviendiora@gmail.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Re: gambeson question
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Whenever I've seen it at my JoAnn's, trigger is 65% polyester/35% cotton and
duck is 100% cotton.

On 12/24/05, otsisto <otsisto@socket.net> wrote:
>
> For many years (with JoAnn's bolt labeling reinforcing it) I have believed
> that trigger was 100% polyester and the cotton version is called "duck."
> This is the second time I have seen trigger stated to have cotton in it.
> Could someone please clarify as I have tried to look up trigger's fiber
> content and get everything but the material.
> De
>
> -----Original Message-----
> but usually uses cotton
> Trigger (which comes in bright, heraldic colors and is pretty durable).
>
> Gail Finke
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>
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From: Wendy Colbert <rapierlady@earthlink.net>
To: Historical Costume <h-costume@indra.com>
Subject: RE: [h-cost] Re: gambeson question
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Trigger started out as the proprietary name for a bottom weight poly cotton.  It has gotten generalized in the same way as Klenex or Xerox.

Wendy Colbert
Merry Christmas and Happy Hanukah


-----Original Message-----
>From: Joan Jurancich <joanmj@surewest.net>
>Sent: Dec 24, 2005 10:55 PM
>To: Historical Costume <h-costume@indra.com>
>Subject: RE: [h-cost] Re: gambeson question
>"Trigger" is just a weight/weave definition.  It can be made of any 
>fiber.  I've usually seen it in cotton.
>
>
>Joan Jurancich
>joanmj@surewest.net 

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From: "Helen  Pinto" <hpinto@mindspring.com>
To: "Historical Costume" <h-costume@indra.com>
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Subject: [h-cost] Another mysterious gift giver
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All I know about my partner is that the package originated in the 
Netherlands, so I'll just have to thank you here for the nice beads and 
pendants, and wish you all the best for the holidays.
            -Helen/Aidan

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Thank you. This explains much. I also remember being told that Trigger was
better then Duck in keeping it's colors because it was Polyester (I guess
they should have said mostly polyester)

Thank you for the clarification.

De

-----Original Message-----
Trigger started out as the proprietary name for a bottom weight poly cotton.
It has gotten generalized in the same way as Klenex or Xerox.

Wendy Colbert
Merry Christmas and Happy Hanukah


-----Original Message-----
>"Trigger" is just a weight/weave definition.  It can be made of any
>fiber.  I've usually seen it in cotton.
>Joan Jurancich
>joanmj@surewest.net


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Subject: [h-cost] Re: gamby question
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X-Miltered: at demeter with ID 43AF3D9D.001 by Joe's j-chkmail (http://j-chkmail.ensmp.fr)!

ooh, finally a subject I could talk you into the ground on.

I make between 50 and a hundred bits of assorted padding a year.

First of all, depending on which bit of the 15th century you're talking 
about, it's so much more likely to be either a padded jack or an arming doublet 
than a gamby / acheton - gambesons really died out in the 14th century in favour 
of garments similar to the 'coat armour' (my term - nobody's yet agreed on a 
definitive name) of charles IV of france, which were worn over the armour.

The doublet (pourpoint) of charles de blois is often referred to as a piece 
of padded armour, but it's now generally accepted by most to be a civilian 
doublet that's padded to give it the necessary shape, and toughness to maintain 
its corset-like grip on the abdomen of the wearer.

At the end of the 14th century and start of the fifteenth, padding was all 
colours under the sun (green, red, blue and grey seem to have been the most 
popular - but yellows, oranges and assorted others can be seen in manuscript 
illustrations, and the coat armour of the black prince in canterbury cathedral has 
the royal arms on it in velvet).

These were gradually all dropped in favour of white for jacks - although 
arming doublets were still in colours - usually reds, blacks and greys.

There are numerous illustrations of later C15th jacks, most notably the st 
ursula triptych, by memling, which shows one straight quilted and one knotted 
(one of them also has arm chains, though I can't remember which offhand).  jacks 
can be worn with no armour, or with partial armour (for full harness, you'd 
need an arming doublet, as the stresses are completely different).

there are quite a few references to padding at this time (late 14th - late 
15th) - including:
mention of 'northern soldiers' arriving in london during the wars of the 
roses, wearing jacks padded with flax, and another that mentions them being padded 
with 'tow'.
there's a sumptuary law, forbidding the jack makers from using 'rotten linen' 
(some unscrupulous non-guilded types methinks).
there are references in the clothing accounts of the black prince to fustian 
and 'cotton wool' (i.e. raw cotton fibre) being some of the materials used.
references from the french of rows of english archers in white (though it's 
not 100% clear whether this refers to a white english livery, or a jack).
a reference in the accounts of a polish count to the purchase of fustian, 
cotton and black velvet for the making of a padded coat - and chains to run down 
each quilted tube.
records of a booming cotton industry in southern germany.
entries in the records of the docks at plymouth receiving raw cotton in 
quantities that would fill containers today.
records of padding all the way through the middle ages being soaked for weeks 
in assorted liquids to make it stronger / waterproof / more resistant to 
archery and  swordblows (including oil, vinegar, wine, fish oil (they must have 
truly stunk to high heaven!!)).
references to coverings of rich material or leathers (including deerhide, and 
deerhide soaked in various stuffs (as an aside, the chinese used 
rhinoceros)).
obviously, the london guild was the company of tailors and linen armourers - 
thereby indicating that linen was the most frequently used material

as to existing examples, I've already mentioned the two charles's padding, 
and the black prince's - there's also the rothwell jack, and the one in a 
collection at the met. (although they're now both believed to be 16th century - as 
are the fencing doublets in edinburgh and nurnburg).  and of course, the lubeck 
and stendahl jacks, which are all mid 15th. 

the most interesting (because they're made for 'ordinary' people) are the 
lubeck jacks, which are made in fustian and cotton, and painted with some sort of 
black stuff (no one is sure what it is or why it's there, and it could have 
been added at any point in time - one can't be certain when).

although the construction techniques and materials may have varied (silks and 
velvet outer layers for the rich, and fustian or flax for the poor, and 
different paddings - raw cotton, raw flax, tow, straw, raw wool, recycled ripped up 
cloth, layers of cloth (looseweave fustian or flax) - most of the existing 
garments I've mentioned, are made in exactly the same way, the only variation 
being the material of the outer layer.  (I should reiterate that the lubeck / 
stendahl ones are soldiers jacks, not rich ones.)

they're made up as two sandwiches - an outer one and a lining one, and using 
fustian with cotton padding.  The inner layer is fustian, (raw) cotton, 
fustian, and the outer is fustian, (raw) cotton, fustian, and outer layer (either 
more fustian or something richer).  The two sandwiches are made up as completely 
separate garments, each sandwich quilted through individually, using 
incredibly small stitches, and sewn together only around the edges when finishing 
them.  

I can't comment on patterns, as I use the old tailoring 'drawn on the cloth' 
technique, and cut everything from scratch based on measurements.

now when making jacks I use either cotton quilt batting, and pre wash it all 
before cutting it (so much simpler than trying to cut it then wash), or 
woollen blanket type material (which would make a hand wash only jack).

an average jack or gamby would have around four layers of wool, plus the 
outer and lining (I usually use linen or flax, again pre washed), or around 10 
layers of quilt wadding (normal cotton soft and warm, as it comes on big rolls), 
made up in two 'sandwich' layers (won't go under the machine foot in one go).

the cotton is far harder to stitch - the cotton's more dense - but gives the 
quilting a much better definition.

I don't know if they're compatible with US machines, but I use schmetz 
needles in size 120 (the biggest) when making jacks.  I also always hand backstitch 
in the sleeves using waxed flax thread (after I bent the needle carriage on my 
machine I do!).

If you find the company of st george website (gerry embleton's group), you 
can download copies of their newsletter, the dragon, and I'm sure there's an 
article in one on how to make a jack.  

Also, if it has a front (or any other) opening, don't forget the port piece!

Debs.
PS some pics of padding are on my website at www.paddedarmour.com (the bit on 
the history of padding's not done yet (not enough hours in the day :o)  )

PPS several european historians with an interest in this subject are 
currently trying to catalogue all surviving padding in the world.
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Subject: [h-cost] RE: 1880s Hamburg edging 
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I don't know if this will help at all, but these definitions are from The 
Dictionary of Needlework (1882):

Hamburg Point - a lace made at Hamburg by Protestant French refugees, after 
the revocation of the Edict of Nantes. The lace is now obsolete, but was a 
description of Drawn Work, like that described in Dresden Point.

Dresden Point - [much historical info about Germany and lace removed 
here]... Dresden became celebrated during the last part of the seventeenth 
century and for the whole of the eighteenth not for a Pillow lace, but for a 
Drawn lace, an imitation of the Italian Punto Tirato, in which a piece of 
linen was converted into lace by some of its threads being drawn away, some 
retained to form a pattern, and others worked together to form square 
meshes. This Dresden Point was likewise embroidered with fine stitchery, and 
was largely bought by the wealthy during the time of its excellence.


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http://www.PictureTrail.com/uid4238963

Okay....that is the URL...this is a trial account.  If we like it, I'll 
pay for the first upgrade. 

Account:       hcostume
Password:     indra2006.

I have created two photo albums.  One is a place to put a picture of 
your secret santa gift...the other is a place to put a picture and some 
information about yourself.  I will be working on adding my stuff later 
today...gotta go out and try to buy a fake tree--blech...but that is 
what hubby wants!

Sg
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Subject: [h-cost] Basic Picture Trail Instructions: Was: A place to put your
 Secret Santa pictures
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X-Miltered: at demeter with ID 43B0186B.000 by Joe's j-chkmail (http://j-chkmail.ensmp.fr)!

I guess I should have added this:

 From this url:

http://www.PictureTrail.com/uid4238963

Click on Member Login up in the upper right hand corner of the screen

username: hcostume
password: indra2006

This will take you to the main member page

To upload pictures:

Click on Upload Pics
Follow the basic instructions...especially on clicking only once on  
"Upload Pictures Now!"

I have been successful in uploading from this page, but you can also 
download their Photo Editor and Uploader if you want.
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Date: Mon, 26 Dec 2005 13:18:50 -0600
From: "Susan B. Farmer" <sfarmer@goldsword.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] A place to put your Secret Santa pictures
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Quoting WickedFrau <wickedfrau@msn.com>:

>
> I have created two photo albums.  One is a place to put a picture of 
> your secret santa gift...the other is a place to put a picture and 
> some information about yourself.  I will be working on adding my 
> stuff later today...gotta go out and try to buy a fake 
> tree--blech...but that is what hubby wants!
>

We have an artificial tree -- I'm not crazy about it, but I don't spend
the next month with a mondo case of bronchitis.

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


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Subject: [h-cost] Elizabethan Gown question
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I'm planning an Elizabethan gown to wear for dancing. It must allow for 
extremely hot weather, 4-hour long stretches of dancing and yet look 
grand for costume displays. I ned the bodice to be low-cut to allow me 
to cool down.
I've seen a child's dress at 
http://www.marquise.de/en/1500/pics/1542_1.shtml which is similar to 
http://www.marquise.de/en/1500/pics/1540_1.shtml and wondered if it 
possible to make this for an adult? Last night I drafted up a bodice 
from Jean Hunnisett and today I washed some green cotton-cum-polycotton 
brocade (from the curtain section of our local Spotlight store). Would 
it work in a brocade or should I use silk?
Other images I like are:
http://www.marquise.de/en/1500/pics/153x_2.shtml
http://www.marquise.de/en/1600/pics/1610_1.shtml
And I've just found this sketch that looks ideal - 
http://www.davidclaudon.com/Elizabethan/female.jpg as a gown from 1575 - 
I'm wearing this gown in a few weeks time to a Midsummer Night's Dream 
Ball, but am wanting it to fit within the SCA period for when I might go 
to their events.

Many thanks, Aylwen
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Date: Mon, 26 Dec 2005 22:05:16 -0800 (PST)
Subject: Re: [h-cost] Elizabethan Gown question
From: "Diana Habra" <dch@inreach.com>
To: "Historical Costume" <h-costume@indra.com>
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> I'm planning an Elizabethan gown to wear for dancing. It must allow for
> extremely hot weather, 4-hour long stretches of dancing and yet look
> grand for costume displays. I ned the bodice to be low-cut to allow me
> to cool down.
> I've seen a child's dress at
> http://www.marquise.de/en/1500/pics/1542_1.shtml which is similar to
> http://www.marquise.de/en/1500/pics/1540_1.shtml and wondered if it
> possible to make this for an adult?

Aylwen,

The two dresses above are Italian, not Elizabethan.  I am partial to
Italians and if you can get away with it, either style would be lovely.

> Last night I drafted up a bodice
> from Jean Hunnisett and today I washed some green cotton-cum-polycotton
> brocade (from the curtain section of our local Spotlight store). Would
> it work in a brocade or should I use silk?

You don't have to use silk, but do try to use all natural fibers.  A
fabric with even some polyester won't breathe as well.  Even a thin wool
will breathe better than a poly/cotton blend.  I recommend all cotton for
price and comfort.  All linen would be slightly better because it "wicks"
the sweat away from your body to keep it cool.  And it is very sturdy. 
Silk would be lovely but if you plan to sweat a lot, silk may not be the
best way to go.  It can get sweat stains that may not come out.

> Other images I like are:
> http://www.marquise.de/en/1500/pics/153x_2.shtml
> http://www.marquise.de/en/1600/pics/1610_1.shtml
> And I've just found this sketch that looks ideal -
> http://www.davidclaudon.com/Elizabethan/female.jpg as a gown from 1575 -

The first one would get my vote!  It is sexy and lovely at the same time. 
And it looks low cut enough to help you stay cool :~>

Good luck!

Diana

www.RenaissanceFabrics.net
"Everything for the Costumer"

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ooops - yes, they are Italian Renaissance. Its a hot day here and I've 
just had lunch and am almost dozing in front of the computer - such a 
silly mistake!
The brocade is essentially cotton, but the design is woven in polyester. 
My fabric budget is completely blown as I've got at least half a dozen 
men's Elizabethan outfits to make - my dress is from what I can scrounge 
from my cupboard!
Thanks again, Aylwen

Diana Habra wrote:

>>I'm planning an Elizabethan gown to wear for dancing. It must allow for
>>extremely hot weather, 4-hour long stretches of dancing and yet look
>>grand for costume displays. I ned the bodice to be low-cut to allow me
>>to cool down.
>>I've seen a child's dress at
>>http://www.marquise.de/en/1500/pics/1542_1.shtml which is similar to
>>http://www.marquise.de/en/1500/pics/1540_1.shtml and wondered if it
>>possible to make this for an adult?
>>    
>>
>
>Aylwen,
>
>The two dresses above are Italian, not Elizabethan.  I am partial to
>Italians and if you can get away with it, either style would be lovely.
>
>  
>
>>Last night I drafted up a bodice
>>from Jean Hunnisett and today I washed some green cotton-cum-polycotton
>>brocade (from the curtain section of our local Spotlight store). Would
>>it work in a brocade or should I use silk?
>>    
>>
>
>You don't have to use silk, but do try to use all natural fibers.  A
>fabric with even some polyester won't breathe as well.  Even a thin wool
>will breathe better than a poly/cotton blend.  I recommend all cotton for
>price and comfort.  All linen would be slightly better because it "wicks"
>the sweat away from your body to keep it cool.  And it is very sturdy. 
>Silk would be lovely but if you plan to sweat a lot, silk may not be the
>best way to go.  It can get sweat stains that may not come out.
>
>  
>
>>Other images I like are:
>>http://www.marquise.de/en/1500/pics/153x_2.shtml
>>http://www.marquise.de/en/1600/pics/1610_1.shtml
>>And I've just found this sketch that looks ideal -
>>http://www.davidclaudon.com/Elizabethan/female.jpg as a gown from 1575 -
>>    
>>
>
>The first one would get my vote!  It is sexy and lovely at the same time. 
>And it looks low cut enough to help you stay cool :~>
>
>Good luck!
>
>Diana
>
>www.RenaissanceFabrics.net
>"Everything for the Costumer"
>
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
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>
>  
>
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Date: Tue, 27 Dec 2005 08:01:45 +0000
From: rwfranz <rwfranz@hotpop.com>
Subject: Re: [h-cost] Re: gamby question
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Where would I find documentation on this? Not questioning your 
statements - I'd like to know the sources for the information. I went to 
the site (http://paddedarmour.deborahloughcostumes.com/books.html), 
noted the four books mentioned; are those the sources for the 
information you reference below? Or are there others? I'm not interested 
in the padded armor - I'm interested in some of the other details.

Roger

Debloughcostumes@aol.com wrote:

>At the end of the 14th century and start of the fifteenth, padding was all 
>colours under the sun (green, red, blue and grey seem to have been the most 
>popular - but yellows, oranges and assorted others can be seen in manuscript 
>illustrations, and the coat armour of the black prince in canterbury cathedral has 
>the royal arms on it in velvet).
>  
>
snip

>there are references in the clothing accounts of the black prince to fustian 
>and 'cotton wool' (i.e. raw cotton fibre) being some of the materials used.
>references from the french of rows of english archers in white (though it's 
>not 100% clear whether this refers to a white english livery, or a jack).
>a reference in the accounts of a polish count to the purchase of fustian, 
>cotton and black velvet for the making of a padded coat - and chains to run down 
>each quilted tube.
>records of a booming cotton industry in southern germany.
>  
>
snip
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Subject: RE: [h-cost] Elizabethan Gown question
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----Original Message-----
<<<< I need the bodice to be low-cut to allow me to cool down.>>>>

* Low cut does not necessarily mean cooler.

I've seen a child's dress at
http://www.marquise.de/en/1500/pics/1542_1.shtml which is similar to
http://www.marquise.de/en/1500/pics/1540_1.shtml and wondered if it
possible to make this for an adult?

* These are Florentine. Here are more pictures.
http://homepage.mac.com/festive_attyre/research/secondflor/portfolio.html

<<<Last night I drafted up a bodice
from Jean Hunnisett and today I washed some green cotton-cum-polycotton
brocade (from the curtain section of our local Spotlight store). Would
it work in a brocade or should I use silk?>>

*Silk is an insulator so for coolness the cotton/poly is better. 100% cotton
or even better 100% linen would be my recommendation for the chemise.

<<<Other images I like are:
http://www.marquise.de/en/1500/pics/153x_2.shtml>>>

*This is French


<<<http://www.marquise.de/en/1600/pics/1610_1.shtml >>>>>

*Italian. The painting is just outside of SCA period but:
http://homepage.mac.com/festive_attyre/research/wkclass/portfolio.html
These are working class garments and probably not something that would have
been worn to a ball. Now a festive gathering, maybe.

<<<And I've just found this sketch that looks ideal -
http://www.davidclaudon.com/Elizabethan/female.jpg as a gown from 1575 -
I'm wearing this gown in a few weeks time to a Midsummer Night's Dream
Ball, but am wanting it to fit within the SCA period for when I might go to
their events.

Many thanks, Aylwen>>>>

*The are a few flaws in the design. It appears to have a section sewn into
the skirt instead of a forepart. The bodice is a different color from the
rest of the gown. Now you can make this and still wear it to an SCA event as
in their bylaws it basically says an attempt at period garments, not full
blown authentic recreations. This allows one to participate while working
towards more "period" garments. (If that is the person joining's field of
interest.)
Recommend if you can afford it for future Elizabethan gowns
http://www.margospatterns.com/mainframe.htm

If you are interested in "Italian" perhaps something from Venice
http://realmofvenus.renaissancewoman.net/wardrobe/LicinioWWBook.jpg
http://realmofvenus.renaissancewoman.net/wardrobe/TitianLaviniaC1560-65.jpg
http://realmofvenus.renaissancewoman.net/wardrobe/Coccina1571.jpg

How this helps some. Good Luck and hope you have fun at the ball.

De


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Subject: Re: [h-cost] Elizabethan Gown question
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At 09:48 PM 12/26/2005, you wrote:
>I'm planning an Elizabethan gown to wear for dancing. It must allow 
>for extremely hot weather, 4-hour long stretches of dancing and yet 
>look grand for costume displays. I ned the bodice to be low-cut to 
>allow me to cool down.
>I've seen a child's dress at 
>http://www.marquise.de/en/1500/pics/1542_1.shtml which is similar to 
>http://www.marquise.de/en/1500/pics/1540_1.shtml and wondered if it 
>possible to make this for an adult? Last night I drafted up a bodice 
>from Jean Hunnisett and today I washed some green 
>cotton-cum-polycotton brocade (from the curtain section of our local 
>Spotlight store). Would it work in a brocade or should I use silk?
>Other images I like are:
>http://www.marquise.de/en/1500/pics/153x_2.shtml
>http://www.marquise.de/en/1600/pics/1610_1.shtml
>And I've just found this sketch that looks ideal - 
>http://www.davidclaudon.com/Elizabethan/female.jpg as a gown from 
>1575 - I'm wearing this gown in a few weeks time to a Midsummer 
>Night's Dream Ball, but am wanting it to fit within the SCA period 
>for when I might go to their events.
>
>Many thanks, Aylwen

The two dresses from the 1540s are too early for "Elizabethan" 
(Elizabeth was on the throne from 1558 to 1603).  The last sketch you 
showed is right in the middle of her reign, so it would be best.

I would not recommend a partly synthetic blend for the gown if you 
are worried about heat; pure natural fibers are best; so silk would 
be better.  And if at all possible use linen for your shift (it 
breathes better than cotton).  And be certain that you get enough 
water (or fruit juice, but not wine or beer) and and eat light meals.

If you are going to be out of doors for this dancing, you really 
should try to avoid the low-cut bodice unless you wear a 
partlet.  The partlet will help reduce the direct sun exposure that 
would heat you up (though you can get a sunburn through a light layer 
of fabric), and it will help wick the sweat away, adding to your cooling.

I've been doing Renaissance Faires in California for 25 years, so I 
am well versed in dealing with dry heat, often in the 90s F or even above.


Joan Jurancich
joanmj@surewest.net 

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Subject: Re: [h-cost] Elizabethan Gown question
To: h-costume@indra.com
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Boy...we really like Italian don't we. [I must agree...I love it too]
 
But I hate that last sketch. I hate purple...I hate the design, the way  it's 
trimmed and why is the bodice a different color from the rest?
 
As for the little girl's gown, they used to just dress the poor dears like  
adults so...go for it!.
 
If you use silk, and I recommend it, be sure to make a linen chemise to go  
between you and the gown. Actually....do this whatever you make the gown out  
of.
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From: "Kelly Grant" <estela_dufrayse@hotmail.com>
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Subject: RE: [h-cost] Elizabethan Gown question
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Aylwen,
To make a gown close to what you are asking for in regard to coolness in 
wearing, use natural fibres.  Linen and cotton are best, silk is a warm 
fibre, so will keep you warm(think underwear for climbing Everest in the 
19thC). Stay away from polyester at all costs, as it traps your natural body 
heat and moisture, not allowing your skin to breath.

If for 'Costume' you could bone the bodice of the gown, and encorporate a 
hoop or bum roll within the skirts, this would mean fewer layers.  I would 
still recommend a linen shift underneath the gown, as you will want a layer 
you can throw in the wash, that and linen is nice and cool next to your 
skin.

Good luck
Kelly/estela
www.goldenoakinn.com


"Bravery is something you can experience on the spur of the moment, faced 
with danger.  To have courage, you must think about the dangers in advance, 
then weigh the risks, and then do what you have to do, despite your fears"
Caius Merlyn Britannicus





>From: A & J Garden <garden@earthlydelights.com.au>
>Reply-To: Historical Costume <h-costume@indra.com>
>To: Historical Costume <h-costume@indra.com>
>Subject: [h-cost] Elizabethan Gown question
>Date: Tue, 27 Dec 2005 16:48:31 +1100
>
>I'm planning an Elizabethan gown to wear for dancing. It must allow for 
>extremely hot weather, 4-hour long stretches of dancing and yet look grand 
>for costume displays. I ned the bodice to be low-cut to allow me to cool 
>down.
>I've seen a child's dress at 
>http://www.marquise.de/en/1500/pics/1542_1.shtml which is similar to 
>http://www.marquise.de/en/1500/pics/1540_1.shtml and wondered if it 
>possible to make this for an adult? Last night I drafted up a bodice from 
>Jean Hunnisett and today I washed some green cotton-cum-polycotton brocade 
>(from the curtain section of our local Spotlight store). Would it work in a 
>brocade or should I use silk?
>Other images I like are:
>http://www.marquise.de/en/1500/pics/153x_2.shtml
>http://www.marquise.de/en/1600/pics/1610_1.shtml
>And I've just found this sketch that looks ideal - 
>http://www.davidclaudon.com/Elizabethan/female.jpg as a gown from 1575 - 
>I'm wearing this gown in a few weeks time to a Midsummer Night's Dream 
>Ball, but am wanting it to fit within the SCA period for when I might go to 
>their events.
>
>Many thanks, Aylwen
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
>http://mail.indra.com/mailman/listinfo/h-costume


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Are we not going to have the traditional discussion of what 
costume-related gifts everyone got?

Fran
Lavolta Press
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Subject: Re: [h-cost] Holiday gifts
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> Are we not going to have the traditional discussion of what
> costume-related gifts everyone got?

     Certainly - you start!  My H-cost Secret Santa has not arrived yet,
and I spent a cash gift on tea and tea toys.  So nothing
costume-related for me to talk about.

     -Carol

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In a message dated 12/27/2005 12:32:39 P.M. Eastern Standard Time,  
fran@lavoltapress.com writes:

Are we  not going to have the traditional discussion of what 
costume-related gifts  everyone got?



I'm ready!  My husband gave me a paisley shawl in shades of brown,  orange, 
and turquoise.  I decided I "had" to go to G Street Fabrics (they  extended 
their sale through Jan. 2) and buy some suitable wool for a period  dress.  Found 
a pretty good match--brown with hints of the orange.
 
Sort of costume-related, I bought my husband a vintage Pendleton wool  
bathrobe on eBay.  It looks new.  I didn't want to get him the  terry/velour style 
that everyone, even the expensive men's stores, seem to carry  these days, so 
found this gem on eBay, and it was cheaper than many new  ones!  It is an ombre 
stripe in blues and greens, and is well-tailored--has  a breast pocket in 
addition to the skirt pockets, and a faux buttoned  cuff.
 
Ann Wass
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From: "Kelly Grant" <estela_dufrayse@hotmail.com>
To: h-costume@indra.com
Subject: RE: [h-cost] Holiday gifts
Date: Tue, 27 Dec 2005 14:50:46 -0400
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I got Juan dálcega, Jean Hunnisett's medieval-1500, and a really good book 
on modern flat pattern drafting, I forget the Author sorry, and it's two 
flights up;->

A really good year for me!  I never get books for christmas!
Kelly



"Bravery is something you can experience on the spur of the moment, faced 
with danger.  To have courage, you must think about the dangers in advance, 
then weigh the risks, and then do what you have to do, despite your fears"
Caius Merlyn Britannicus





>From: Lavolta Press <fran@lavoltapress.com>
>Reply-To: Historical Costume <h-costume@indra.com>
>To: h-costume@indra.com
>Subject: [h-cost] Holiday gifts
>Date: Tue, 27 Dec 2005 09:30:53 -0800
>
>Are we not going to have the traditional discussion of what costume-related 
>gifts everyone got?
>
>Fran
>Lavolta Press
>http://www.lavoltapress.com
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
>http://mail.indra.com/mailman/listinfo/h-costume


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To: "Historical Costume" <h-costume@indra.com>
References: <IDEHICPIJOEBPADHEOGPCECCFIAA.otsisto@socket.net>
Subject: Re: [h-cost] Elizabethan Gown question
Date: Tue, 27 Dec 2005 08:51:17 -0500
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Simplicity has several Renaissance patterns at local fabric stores. They are 
very similar to these and in adult sizes. Check there.
----- Original Message ----- 
From: "otsisto" <otsisto@socket.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Tuesday, December 27, 2005 3:05 AM
Subject: RE: [h-cost] Elizabethan Gown question


> ----Original Message-----
> <<<< I need the bodice to be low-cut to allow me to cool down.>>>>
>
> * Low cut does not necessarily mean cooler.
>
> I've seen a child's dress at
> http://www.marquise.de/en/1500/pics/1542_1.shtml which is similar to
> http://www.marquise.de/en/1500/pics/1540_1.shtml and wondered if it
> possible to make this for an adult?
>
> * These are Florentine. Here are more pictures.
> http://homepage.mac.com/festive_attyre/research/secondflor/portfolio.html
>
> <<<Last night I drafted up a bodice
> from Jean Hunnisett and today I washed some green cotton-cum-polycotton
> brocade (from the curtain section of our local Spotlight store). Would
> it work in a brocade or should I use silk?>>
>
> *Silk is an insulator so for coolness the cotton/poly is better. 100% 
> cotton
> or even better 100% linen would be my recommendation for the chemise.
>
> <<<Other images I like are:
> http://www.marquise.de/en/1500/pics/153x_2.shtml>>>
>
> *This is French
>
>
> <<<http://www.marquise.de/en/1600/pics/1610_1.shtml >>>>>
>
> *Italian. The painting is just outside of SCA period but:
> http://homepage.mac.com/festive_attyre/research/wkclass/portfolio.html
> These are working class garments and probably not something that would 
> have
> been worn to a ball. Now a festive gathering, maybe.
>
> <<<And I've just found this sketch that looks ideal -
> http://www.davidclaudon.com/Elizabethan/female.jpg as a gown from 1575 -
> I'm wearing this gown in a few weeks time to a Midsummer Night's Dream
> Ball, but am wanting it to fit within the SCA period for when I might go 
> to
> their events.
>
> Many thanks, Aylwen>>>>
>
> *The are a few flaws in the design. It appears to have a section sewn into
> the skirt instead of a forepart. The bodice is a different color from the
> rest of the gown. Now you can make this and still wear it to an SCA event 
> as
> in their bylaws it basically says an attempt at period garments, not full
> blown authentic recreations. This allows one to participate while working
> towards more "period" garments. (If that is the person joining's field of
> interest.)
> Recommend if you can afford it for future Elizabethan gowns
> http://www.margospatterns.com/mainframe.htm
>
> If you are interested in "Italian" perhaps something from Venice
> http://realmofvenus.renaissancewoman.net/wardrobe/LicinioWWBook.jpg
> http://realmofvenus.renaissancewoman.net/wardrobe/TitianLaviniaC1560-65.jpg
> http://realmofvenus.renaissancewoman.net/wardrobe/Coccina1571.jpg
>
> How this helps some. Good Luck and hope you have fun at the ball.
>
> De
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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From: "Rebecca Schmitt" <lotsofteapots@charter.net>
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X-Miltered: at demeter with ID 43B19959.003 by Joe's j-chkmail (http://j-chkmail.ensmp.fr)!

I got  "Fashions of the Gilded Age" Vol 1 and 2 - just started to read the
first one today :-)
Also, a Barnes & Noble gift card that will most likely go to something
costume related.

Oh, and my secret Santa sent me lucet cords - just beautiful colors. I
really have to learn how to do that for myself...

*******************************************************************
Rebecca Schmitt
aka Agness Cabot, Guilde of St. Lawrence
Bristol Renaissance Faire
 
My arms are too short to box with God.  --Johnny Cash
*******************************************************************



> >
> >Are we not going to have the traditional discussion of what 
> >costume-related gifts everyone got?
> >
> >Fran

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The best gift was from my husband--two bound annual volumes of _La Mode 
Illustree_, complete with all issues, pattern sheets, and color fashion 
plates, pristine, looking like they've never been opened before.

My Secret Santa, Carolann Schmidt, gave me a couple of dozen like-new 
vintage Art Deco coat buttons, in several small sets.

Other than that, I got a Christmas tree ornament of a woman in circa 
1880 costume, except for a loose nylon skirt befitting its status as 
ornament rather than costume item.  It's pretty, but you may have it if 
you like, since my husband and I never have a Christmas tree.  And if 
you like I will wrap it in a modern medium red tussah-type silk scarf 
with black woven-in accents I also received--not my color combination.

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

>     Certainly - you start!  My H-cost Secret Santa has not arrived yet,
>and I spent a cash gift on tea and tea toys.  So nothing
>costume-related for me to talk about.
>
>     -
>  
>
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From: "otsisto" <otsisto@socket.net>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Elizabethan Gown question
Date: Tue, 27 Dec 2005 16:37:37 -0600
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X-Miltered: at demeter with ID 43B1C245.000 by Joe's j-chkmail (http://j-chkmail.ensmp.fr)!

Yes Simplicity has patterns that they have labeled Renaissance.
IMHO, They work for when you need something in a hurry and just want
something that sort of looks like 1500s gowns.
If you know how to remove darts you can improve upon some of the patterns.
With the exception of the kirtle and sideless they produced and silly them
discontinued, you have to alter their patterns to make them more "period" in
construction. (Only talking about their "Medieval" and "Renaissance"
patterns)

De


-----Original Message-----
Becky wrote:
Simplicity has several Renaissance patterns at local fabric stores. They are
very similar to these and in adult sizes. Check there.


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Subject: [h-cost] Christmas costuming haul
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X-Miltered: at demeter with ID 43B1C4BF.002 by Joe's j-chkmail (http://j-chkmail.ensmp.fr)!

I got quite a bit of costume related stuff this year.  
1.  A set of 3 knit-in-the-round things I'm probably going to use for
kumihimo looms.  I can knit in the round faster than I can move yarn from one
bump to another.
2. Ramdom fabric remnants.  These aren't all useful for costuming because
they have a lot of polyester in them, but are great for bag making.
3. A lighted seam ripper, you can never have too many seam rippers!
4. A package of Schmertz needles
and finally, my favorite...
5.  A knitting machine.  It's inexpensive, but it's very cool for doing
rows and rows of stockinette stitch!

The next most popular category of present was "kitchen stuff" for me.

Kate
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From: purplkat@optonline.net
Subject: Re: [h-cost] Holiday gifts
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I must send an appology to my Secret Santa, due to working in a Dept Store these past few weeks, I sent out my box a few days after the deadline.
All I'm telling is it was sent from NJ to CA.

As for recieving a box - not yet,,, but I like surprises.

On the Homefront - my hubby made me a Yarn Swift* (Mark 2), he disassembled the first one he made and tried to make another one - however he ran out of materials so I have to wait to use it till sometime Mid-January. 

Katheryne
* a Yarn Swift is a piece of equipment for people who spin their own yarn, it helps turn a ball of yarn into a neat-and-tidy skein

From: Lavolta Press <fran@lavoltapress.com>
My Secret Santa, Carolann Schmidt, gave me a couple of dozen like-new vintage Art Deco coat buttons, in several small sets.
Fran
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Hi, thanks for all the help - after spending more time overnight I've 
decided to use wine red cotton velveteen as the dress and a different 
brocade for the sleeves and underskirt. I'm still using Jean Hunnisett - 
I have all the other patterns mentioned but am at a stage these days of 
wanting to draft for myself - and I love the style I'm using from Jean's 
book. I've got lots of handkerchief linen so will be lining with that, 
and a friend made me a tudor chemise earlier this year. I'll be using a 
bumroll - I've got a small one from my 18th century gown so I'll see if 
that works or make another. I already have a very natural bum/hip/roll!
I will be making a fine lawn partlet and a neck ruff. Its from 
experience that I know to have a low neck - even a high necked cotton 
blouse makes me overheat - I need air on my skin! I hate thick sleeves 
so will have to think about the style there.
Many thanks, Aylwen
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To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Christmas costuming haul
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I got a Kromski harp table loom (24") so I can try my hand at simple
weaving, and some knitting related stuff.  A book on pattern draping.  A
very nice shawl from Myanmar. And a very fancy waffle iron (gotta eat, after
all).
-Megan




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Subject: Re: [h-cost] Elizabethan Gown question
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I'm not sure if it will work with your design, but it was relatively
common to put a  light silk organza-type sleeve over an embroidered
(blackworked) chemise. 


Karen
Seamstrix


On Wed, 28 Dec 2005 10:04:21 +1100 A & J Garden
<garden@earthlydelights.com.au> writes:
> Hi, thanks for all the help - after spending more time overnight I've 
> 
> decided to use wine red cotton velveteen as the dress and a 
> different 
> brocade for the sleeves and underskirt. I'm still using Jean 
> Hunnisett - 
> I have all the other patterns mentioned but am at a stage these days 
> of 
> wanting to draft for myself - and I love the style I'm using from 
> Jean's 
> book. I've got lots of handkerchief linen so will be lining with 
> that, 
> and a friend made me a tudor chemise earlier this year. I'll be 
> using a 
> bumroll - I've got a small one from my 18th century gown so I'll see 
> if 
> that works or make another. I already have a very natural 
> bum/hip/roll!
> I will be making a fine lawn partlet and a neck ruff. Its from 
> experience that I know to have a low neck - even a high necked 
> cotton 
> blouse makes me overheat - I need air on my skin! I hate thick 
> sleeves 
> so will have to think about the style there.
> Many thanks, Aylwen
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 
> 
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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Holiday gifts
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Few people dare to get me costume-related gifts because I don't need
fabrics/trims/patterns (I have a huge stash and extremely particular
needs, plus I sew relatively few things these days). And I buy my
research-related materials outright so I can deduct them on my taxes.
So nearly all my holiday gifts were very routine (pleasure reading,
cologne, etc.).

The exception was my h-cost Secret Santa gift. I was delighted to find I
was assigned to Jonnalyhn Hall, with whom I've already had a
correspondence and who happened to buy some wool from me a while back,
which ended up being part of her wedding costume. So for my gift she made
me a handsewn pouch from a scrap of that wool, with a drawstring that I
believe is hand-twisted from wool yarn. Inside the pouch were two lovely
strands of gemstones (one malachite, one lapis) that I can use for my
other hobby/business (jewelry-making). All in a little tin that stared at
me evilly while I decided whether to open it early ;-)

--Robin

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To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] Elizabethan Gown question
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I'm new to costumes or Renaissance clothing so it works for me. I can make 
just about anything I want to from a picture or sketch. I make my own 
patterns and styles from other sources. I use the patterns for the basis or 
beginning foundations of any design. I seldom make one without altering it 
to the situation.
I don't do many message boards... what is IMHO?
----- Original Message ----- 
From: "otsisto" <otsisto@socket.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Tuesday, December 27, 2005 5:37 PM
Subject: RE: [h-cost] Elizabethan Gown question


> Yes Simplicity has patterns that they have labeled Renaissance.
> IMHO, They work for when you need something in a hurry and just want
> something that sort of looks like 1500s gowns.
> If you know how to remove darts you can improve upon some of the patterns.
> With the exception of the kirtle and sideless they produced and silly them
> discontinued, you have to alter their patterns to make them more "period" 
> in
> construction. (Only talking about their "Medieval" and "Renaissance"
> patterns)
>
> De
>
>
> -----Original Message-----
> Becky wrote:
> Simplicity has several Renaissance patterns at local fabric stores. They 
> are
> very similar to these and in adult sizes. Check there.
>
>
> _______________________________________________
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> h-costume@mail.indra.com
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> 
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To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Elizabethan Gown question
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Here is an exception to cotton, cotton velveteen (from my experience) is a
warm material like corduroy (which is usually cotton).
A handkerchief weight linen would be great for the partlet.
The purple dress sleeves looks "Frenchish" in style.
I think it is trying to be like this:
http://www.tudor-portraits.com/UnknownLady50.jpg
You might want to pink or slash the sleeves for ventilation like this
http://www.tudor-portraits.com/UnknownLady47.jpg
or http://www.tudor-portraits.com/UnknownChild6.jpg ("Italian")

De
-----Original Message-----
Hi, thanks for all the help - after spending more time overnight I've
decided to use wine red cotton velveteen as the dress and a different
brocade for the sleeves and underskirt. I'm still using Jean Hunnisett -
I have all the other patterns mentioned but am at a stage these days of
wanting to draft for myself - and I love the style I'm using from Jean's
book. I've got lots of handkerchief linen so will be lining with that,
and a friend made me a tudor chemise earlier this year. I'll be using a
bumroll - I've got a small one from my 18th century gown so I'll see if
that works or make another. I already have a very natural bum/hip/roll!
I will be making a fine lawn partlet and a neck ruff. Its from
experience that I know to have a low neck - even a high necked cotton
blouse makes me overheat - I need air on my skin! I hate thick sleeves
so will have to think about the style there.
Many thanks, Aylwen


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In a message dated 12/27/2005 5:48:44 P.M. Eastern Standard Time,  
saka@toysmakeuspowerful.com writes:

3. A  lighted seam ripper, you can never have too many seam  rippers!



Ohhhh, I've never seen a LIGHTED one!  How cool is that!
 
Ann Wass
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And I guess I need to say what my Secret Santa sent me, as I said I liked  to 
play with trims--a very nice length of knitted lace, some olive green velvet  
ribbon, and a sheer trim with pink/olive flowers, all wound around a very 
nice  European chocolate bar!
 
Ann Wass
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Subject: Abbreviation, was Re: [h-cost] Elizabethan Gown question
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At 03:46 PM 12/27/2005, you wrote:
>I'm new to costumes or Renaissance clothing so it works for me. I 
>can make just about anything I want to from a picture or sketch. I 
>make my own patterns and styles from other sources. I use the 
>patterns for the basis or beginning foundations of any design. I 
>seldom make one without altering it to the situation.
>I don't do many message boards... what is IMHO?
>[snip]

IMHO = In My Humble Opinion


Joan Jurancich
joanmj@surewest.net 

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Subject: [h-cost] re: Elizabethan Gown question
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>I'm planning an Elizabethan gown to wear for dancing. It must allow for
>extremely hot weather, 4-hour long stretches of dancing and yet look
>grand for costume displays. I ned the bodice to be low-cut to allow me
>to cool down.

My favorite activity, too!  I do alot of vintage (15th c - early 20th
c) dance.  All those who said "natural fabrics" are right.  There is
no other solution.  Besides they look & feel wonderful.

My Elizabethan, like your design, is open necked and I highly
recommend it.  I saw someone else write suggesting "false bummes".  If
you do one, fill it in COTTON batting or you will be horriblly damp
where the roll rests.  Do not use poly fiberfill even if you think
it's lighter & wil be cooler.  T'wont!

If you can handle a drum fartingale, wow, this is the ticket. My 1600
dress was designed for a muggy August ball.  Light & cool, amazing to
dance in. Most people prefer the earlier, Spanish style conical
farthingales.

Headgear is your next ticket to cool dancewear. If you sport enough
hair pile it high and cover with the lightest silk organdy veiling. 
It can be like a ruff, it could be on a jeweled band.  Sadly, I'm
forced to wear a wig. This is the warmest thing in my dance wardrobe.

>I've seen a child's dress at
>http://www.marquise.de/en/1500/pics/1542_1.shtml which is similar to

If you've got "Queen Elizabeth's Wardrobe Unlock'd" you'll know that
QEI was fond of and vastly interested in gowns from many other
countries, particularly France & Italy.
If you like Florentine 16th c, get out your copy of "Stylo di
Eleanora".  There's contemporary pics and an extant 1560s gown worth
copying.  Also, in the interest of dancers & dancewear, there are cute
embroidered linen drawers for women.  No sticky legs!

>... Last night I drafted up a bodice
>from Jean Hunnisett and today I washed some green cotton-cum-polycotton
>brocade (from the curtain section of our local Spotlight store). Would
>it work in a brocade or should I use silk?

Silk is a fiber, brocade a weave, so by all means use both.  Actually,
I wouldnt recommend any other fiber.  Let's talk weaves.  Taffeta is
nice, it's lovely & crisp tho' QEI's contemporaries called it
"sarceonet".  Damasks are also lightweight when done in silk.
Brocatelle will give you a bit of glimmer.

Finally, what's Elizabethan without gobs of jewelry?  Unfortunately
for most dancers, it's a bouncing, clanking, dress-snagging,
strand-of-beads-breaking-on-the-floor hazzard.  Plan accordingly!

--cin
Cynthia Barnes
CinBarnes@gmail.com

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Subject: RE: [h-cost] Elizabethan Gown question
Date: Tue, 27 Dec 2005 19:23:01 -0600
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In My Honest Opinion. :)

-----Original Message-----
I don't do many message boards... what is IMHO?


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Ah. I thought you were wanting the melons on a platter low cut. basically
you want the average neckline, not a high collar neckline.
Okay, I understand now. :)

De


----Original Message-----
<<<< I need the bodice to be low-cut to allow me to cool down.>>>>



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And that too. :)

-----Original Message-----
IMHO = In My Humble Opinion


Joan Jurancich
joanmj@surewest.net 



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My costume-related gifts included several books, a lovely selection of
ribbons and braids from my h-costume secret Santa, Ann Wass, and
sock-knitting pattern software. I'm anxious to see how it interprets
original mid-19th century patterns. :-)

Carolann Schmitt




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----- Original Message ----- 
From: "A & J Garden" <garden@earthlydelights.com.au>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, December 28, 2005 10:04 AM
Subject: Re: [h-cost] Elizabethan Gown question


> Hi, thanks for all the help - after spending more time overnight I've 
> decided to use wine red cotton velveteen as the dress and a different 
> brocade for the sleeves and underskirt. I'm still using Jean Hunnisett - I 
> have all the other patterns mentioned but am at a stage these days of 
> wanting to draft for myself - and I love the style I'm using from Jean's 
> book. I've got lots of handkerchief linen so will be lining with that, and 
> a friend made me a tudor chemise earlier this year. I'll be using a 
> bumroll - I've got a small one from my 18th century gown so I'll see if 
> that works or make another. I already have a very natural bum/hip/roll!
> I will be making a fine lawn partlet and a neck ruff. Its from experience 
> that I know to have a low neck - even a high necked cotton blouse makes me 
> overheat - I need air on my skin! I hate thick sleeves so will have to 
> think about the style there.
> Many thanks, Aylwen

I'd say the poly/cotton brocade would create about the same heat as the 
cotton velveteen, but I'm aware of the difficulty of obtaining 100% cotton 
brocades (I've never seen a 100% cotton fabric with a period motif in any of 
the fabric shops around here and I've heard it's much the same elsewhere in 
Australia too) For cool sleeves there's always the ever popular Helena 
Snakeborg portrait that is so heavily copied by costumers 
http://tudor-portraits.com/HelenaSnakeborg.jpg in which the sleeves appear 
to be made of the same fabric as the partlet. Much the same style can be 
seen in thse portraits of Queen Elizabeth 
http://tudor-portraits.com/Elizabeth22.jpg (the famous Pelican portrait of 
1575) http://www.tudorplace.com.ar/images/Elizamin01.jpg (a miniature of 
1572) http://www.tudorplace.com.ar/images/Eliza40.jpg (in which the sheer 
oversleeves are just visible) I'm not sure what you'd do about the 
embroidery but it would certainly be cool.
HTH
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  Tue Dec 27 21:32:42 2005
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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Holiday gifts
Date: Tue, 27 Dec 2005 21:35:56 -0500
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On Tuesday 27 December 2005 8:41 pm, Carolann Schmitt wrote:
> My costume-related gifts included several books, a lovely selection of
> ribbons and braids from my h-costume secret Santa, Ann Wass, and
> sock-knitting pattern software. I'm anxious to see how it interprets
> original mid-19th century patterns. :-)

Very nice.

I got lucky this year too.  I got copies of the following books:

"Chinese Textiles," by Verity Wilson.
"Nineteenth Century Fashion in Detail" (which has been discussed on this list)
"A Perfect Red," by Amy Butler Greenfield (a history of the red dyes used in 
textile production in Europe, particularly cochineal)
"Mauve," by Simon Garfield (a history of the invention of that particular dye)
"Living Colors," which purports to be a manual of historically-used color 
palettes but is mostly good for its anecdotal details.

In addition, my sister-in-law, who is working near Beijing as an art teacher, 
gave me a genuine pair of embroidered lotus shoes, a pair of embroidered 
antique Chinese baby shoes, and two embroidered pieces that I plan to have 
framed.  


-- 
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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From h-costume-bounces@indra.com  Tue Dec 27 21:35:06 2005
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Date: Tue, 27 Dec 2005 18:33:54 -0800
To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
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Subject: [h-cost] Holiday/Secret Santa gifts
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I didn't really get any costume-related holiday gifts.  I got a lovely 
little  1906 how-to book on book binding, including how to make all those 
period-pattern marbleized papers.  I'm also getting new glasses, which I'm 
having put into frames that are much more period-looking than the ones I 
have now.  But nothing any more costume-related than that.

I got a mysterious envelope with many cancelled stamps, for my collection, 
and two skeins of really interesting thread suitable for either doll hair 
or for making small crochet pouches with.  Was that the secret Santa gift 
to me?

I did finally get the Secret Santa gift I owed mailed today, to someone in 
Erie, PA, who says she likes non-usual SCA costumes.  I hope she doesn't 
have anything like this...

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

              //// \\\
             ////-@@\\\
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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Holiday gifts
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On Tue, 27 Dec 2005, Catherine Olanich Raymond wrote:

> "A Perfect Red," by Amy Butler Greenfield (a history of the red dyes used in 
> textile production in Europe, particularly cochineal)
> "Mauve," by Simon Garfield (a history of the invention of that particular dye)

I heard an interview with the author of "Mauve" on NPR when the book first
came out -- it sounded fascinating. I hadn't heard of the Red book; let us
know how these are!

--Robin

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Subject: [h-cost] Gift exchange
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Dawn,

Could you give me the email address of my Secret Santa gift recipient?  I 
just got an email from the vendor I bought the gift from, saying that 
Australian customs had refused to pass it through (though according to their 
rules, it should have passed).  I'd like to email my recipient to see if the 
two of us can figure out how to get her the gift!

My recipient's name is Sharon Nevin.

Thanks, and sorry to bother you with this--it seemed better to do it 
off-list. Hope I was right. =}

E House

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E House wrote:
  I'd like to email my recipient to
> see if the two of us can figure out how to get her the gift!
> 


Argh! Sorry to hear about the problem. Hope you can get it resolved 
quickly.

sharon.nevin@gmail.com



Dawn


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Date: Tue, 27 Dec 2005 23:30:48 -0500
To: Historical Costume <h-costume@indra.com>
From: Carol Kocian <aquazoo@patriot.net>
Subject: Re: [h-cost] Holiday/Secret Santa gifts
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      Naturally mine was waiting for me today when I got home. :-) 
Sue Clemenger sent some chocolate truffles (Yum!) and a beautiful 
blank book covered in green velvet, with a Celtic knotwork animal 
design embossed into it.  Very cool, thank you!

      -Carol
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Subject: Re: [h-cost] Holiday/Secret Santa gifts
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X-Miltered: at demeter with ID 43B2185C.002 by Joe's j-chkmail (http://j-chkmail.ensmp.fr)!

Not too many costuming presents from friends and family although my
friend Jay got me a really cool reproduction of a Mesopotamian cylinder
seal designed to be worn as a necklace.

My Secret Santa was Jayne Thomas from England who sent me some lovely
lengths of fabric- one in a silky, dusty purple/lavender and another in a
gorgeous red damask- I think this one is silk. She also sent me pictures
of her family and a lovely letter telling me all about herself. Thanks so
much, Jayne! Everything got here in plenty of time!

Karen
Seamstrix


On Tue, 27 Dec 2005 23:30:48 -0500 Carol Kocian <aquazoo@patriot.net>
writes:
> 
>       Naturally mine was waiting for me today when I got home. :-) 
> Sue Clemenger sent some chocolate truffles (Yum!) and a beautiful 
> blank book covered in green velvet, with a Celtic knotwork animal 
> design embossed into it.  Very cool, thank you!
> 
>       -Carol
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 
> 
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Date: Tue, 27 Dec 2005 20:48:55 -0800
To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
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X-Miltered: at demeter with ID 43B21970.000 by Joe's j-chkmail (http://j-chkmail.ensmp.fr)!

I didn't really get any costume-related holiday gifts.  I got a lovely 
little  1906 how-to book on book binding, including how to make all those 
period-pattern marbleized papers.  I'm also getting new glasses, which I'm 
having put into frames that are much more period-looking than the ones I 
have now.  But nothing any more costume-related than that.

I got a mysterious envelope with many cancelled stamps, for my collection, 
and two skeins of really interesting thread suitable for either doll hair 
or for making small crochet pouches with.  Was that the secret Santa gift 
to me?

I did finally get the Secret Santa gift I owed mailed today, to someone in 
Erie, PA, who says she likes non-usual SCA costumes.  I hope she doesn't 
have anything like this...

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

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

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From: "E House" <formfunc@formfunction.org>
To: "Historical Costume" <h-costume@indra.com>
References: <435BE60A.4000403@reddawn.net>	<1211.67.188.164.116.1130102805.squirrel@webmail.inreach.com>	<435C1139.8040201@reddawn.net>	<BAY0-SMTP0706E6317BDB96AA7E77E2A9740@phx.gbl><6.2.1.2.0.20051024084656.01de0000@pop.gmail.com><435DA283.1000300@reddawn.net>
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OOOooooops.  I sure did fail to do this offlist.  Sorry, folks.

E House
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From h-costume-bounces@indra.com  Wed Dec 28 00:57:34 2005
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Subject: [h-cost] Re: Holiday gifts
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X-Miltered: at demeter with ID 43B22942.001 by Joe's j-chkmail (http://j-chkmail.ensmp.fr)!

This was a literary Christmas for me - I got  "Memoirs of a Geisha - 
a Portrait of the Film"  which has lovely pics - I do a lot of 
oriental -inspired costumes so this will give me more ideas...
I also got 3 books (2 wrapped and one still in transit) from my 
research list for my Empress Theodora costume I'm doing this 
spring.  I got a lovely vintage-look tree ornament, and several 
modern paperbacks and one hard cover book in my favorite genres, 
military science fiction and alternate history.  Plus a bookstore 
gift card.  The only non-literary gift besides the ornament was a new 
set of sheets (needed - but it's still 'fabric' <g>).
Reference alternate history - one of those I got was part of a series 
by Harry Turtledove - who is an historian by education and when he's 
not writing fiction.  The series is called "Crosstime Traffic" and 
deals with a company which sends observers across dimensions to 
places where Earth's history came out differently.  This one I got 
postulates that the Kaiser's Germany never fell and rules North 
America (this from the back cover).  The previous ones did give some 
interesting insights into how the historical culture might have 
evolved (or stagnated), along with details like cooking, commerce, 
clothing, etc.  Fun reads!

Happy New Year,
Sandy

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

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

Andromeda  


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From h-costume-bounces@indra.com  Wed Dec 28 08:25:46 2005
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From: elena_o_tighearnaigh@comcast.net
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Holiday/Secret Santa gifts
Date: Wed, 28 Dec 2005 13:24:45 +0000
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X-Miltered: at demeter with ID 43B29252.003 by Joe's j-chkmail (http://j-chkmail.ensmp.fr)!

Hello!  My gift was from Carol Kocian, who gave me the book by Mara Riley, "Whatever Shall I Wear?" and several small lengths of basic cotton and linen "twill type" tapes.  And also pieces of a pale green toile cotton for my quilting, too!

Since I have decided to start playing in the era generally associated with the civil war of the US, I'm definitely going to be using everything!

Thank you Carol, for these thoughtful gifts!

Elena, Gia

-------------- Original message -------------- 
From: Carol Kocian <aquazoo@patriot.net> 

> 
> Naturally mine was waiting for me today when I got home. :-) 
> Sue Clemenger sent some chocolate truffles (Yum!) and a beautiful 
> blank book covered in green velvet, with a Celtic knotwork animal 
> design embossed into it. Very cool, thank you! 
> 
> -Carol 
> _______________________________________________ 
> 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 Dec 28 09:04:19 2005
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Subject: Re: [h-cost] Holiday/Secret Santa gifts
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Glad it arrived safely! I was horribly late in sending it--we've had really
vile, icey weather (although it's mostly just drippy/wet now), and it made
navigating my way to the post office a bit difficult!
--Sue, in rapidly thawing Montana

----- Original Message -----
From: "Carol Kocian" <aquazoo@patriot.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Tuesday, December 27, 2005 9:30 PM
Subject: Re: [h-cost] Holiday/Secret Santa gifts


>
>       Naturally mine was waiting for me today when I got home. :-)
> Sue Clemenger sent some chocolate truffles (Yum!) and a beautiful
> blank book covered in green velvet, with a Celtic knotwork animal
> design embossed into it.  Very cool, thank you!
>
>       -Carol
> _______________________________________________
> 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 Dec 28 09:20:18 2005
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: [h-cost] holliday gift exchange
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X-Miltered: at demeter with ID 43B29F1A.001 by Joe's j-chkmail (http://j-chkmail.ensmp.fr)!

My gift exchanger, Tara Broadway got an embroidered purse with a Shorleyker 
pattern, mirrored and flipped to make a motif for renaissance use. It was 
embroidered on ivory silk taffeta with silk threads.
http://www.my-drewscostumes.dk/purseembroideries19.htm
I didnt get her gift yeat, she emailed me and told me she had broken a leg 
and therefore my gift wasnt send until last monday.
But always nice to waite for surprises.
>From Leif i got a ligtbox, wich i have already taken in use, drafted pattern 
for a ladys gusset bag embroidered with silk pansies, if it gets nice, i 
want to give it for my sister.
Then i finally will be able to send away the francaise dress at the end of 
this week for the lady i made it for in New York.
So i will be looking forwards to a time without any bonds........

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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Subject: Re: [h-cost] Holiday/Secret Santa gifts
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So far all of my gifts from friends and family have been for the geeky 
side of me.  (I will be meeting with my sewing/costume friends this 
Friday)  I got an MP3 player and a new printer/scanner/copier/fax.  But 
my Secret Santa, Diana Habra, sent me the most beautiful German goller 
made from black wool and linen, decorated with a hand stitched border of 
luscious fawn colored silk!

I will put pictures of it up soon on the h-costume picturetrail!

Sg


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From h-costume-bounces@indra.com  Wed Dec 28 10:14:01 2005
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Subject: Re: [h-cost] Holiday gifts
Date: Wed, 28 Dec 2005 08:18:58 -0700
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X-Miltered: at demeter with ID 43B2ABB0.006 by Joe's j-chkmail (http://j-chkmail.ensmp.fr)!

I didn't really get any this year, and haven't yet received my Secret Santa
present from the list exchange.  I got lots of other very nice things,
though...several kinds of chocolate, a nice teapot, cat toys for my kitties,
a historical cookbook, etc.
Oh, wait....I did buy myself a kit from Philosopher's Wool for a Fair Isle
Cardigan.  Luscious, luscious colors...mmmm....Not "costume," but definitely
clothing, if that counts.  And my sister's MiL sent me a hand-dyed silk
scarf from Bejing.
I gave a couple of textile-related things as gifts--one friend got a small
purse done in a fair isle pattern (knitted), and my BiL got a seaman's scarf
(knitted).  My SiL, Beth, who is the other knitter in the family, is getting
handspun yarn from me for her projects.
Oh, ack, wait....I actually *did* get something costume-related.  A friend
gave me some wood-carving tools.  I'm wanting to learn how to do basic
pewter casting, so I can make my own buttons for fitted gowns, and maybe
some pilgrims' badges, and you can use the carving tools to carve your stone
molds.
--Sue in drippy-cold Montana

----- Original Message -----
From: "Lavolta Press" <fran@lavoltapress.com>
To: <h-costume@indra.com>
Sent: Tuesday, December 27, 2005 10:30 AM
Subject: [h-cost] Holiday gifts


> Are we not going to have the traditional discussion of what
> costume-related gifts everyone got?
>
> Fran
> Lavolta Press
> http://www.lavoltapress.com
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume

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From: ruthanneb@mindspring.com
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Holiday gifts
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X-Miltered: at demeter with ID 43B2B3FC.001 by Joe's j-chkmail (http://j-chkmail.ensmp.fr)!

Costume-related: one of my sisters gave me half a yard of deep claret cotton velvet "for costumes"--she said it was an odd present, but I can already think of three ways I could use it for this summer's production!

Textile: my other sister gave me a throw, Lord Ganesha batiked on hand-woven cotton (made in India)--Ganesh happens to be this agnostic's (i.e., my) favorite god and also looms large in my legend since I have directed two productions of Terrence McNally's A Perfect Ganesh.

Sewing: my sister-in-law gave me a small three-drawer chest which will sit on my sewing table and hold, probably, 1) snaps, 2) hooks, and 3) decorative fasteners.

MOST EXCELLENT: Kimiko Small was my h-cost santa. I'll post a picture of what she sent so that all can enjoy it; for now, I'll quote the description she included: "The sweet-bag style purse is hand made by me. It is made of black cotton velvet, with gold metallic dupionni silk applique, couched by hand with red silk cord. Freshwater pearls, red glass seed beads and a dark red garnet bead add final touches to the applique. The gold cording closure is held in place by hand-sewn loops. The bag is lined with red silk shantung."  I will carry this when I serve as Queen at a medieval/ren banquet fundraiser late in January. As a creation and as an accessory, its value to me goes FAR beyond the h-cost exchange "limit"!

Ending of semester (English prof!) plus a holiday production outpaced my imagination, and I santa-ed a gift certificate from a supplier I'm confident my partner can use. But wish I had been able to rise to the level of creativity I'm seeing in so many of the gift descriptions!

In the next few days (as soon as I get the thing uploaded) I'll be posting a link to a photo I took after our recent (early December) snowfall. It will serve as my holiday greeting card to you all....

Meanwhile, ho ho ho!
--Ruth Anne Baumgartner
scholar gypsy and amateur costumer 

-----Original Message-----
>From: Lavolta Press <fran@lavoltapress.com>
>Sent: Dec 27, 2005 12:30 PM
>To: h-costume@indra.com
>Subject: [h-cost] Holiday gifts
>
>Are we not going to have the traditional discussion of what 
>costume-related gifts everyone got?
>
>Fran
>Lavolta Press
>http://www.lavoltapress.com
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
>http://mail.indra.com/mailman/listinfo/h-costume
_______________________________________________
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From h-costume-bounces@indra.com  Wed Dec 28 10:58:34 2005
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Date: Wed, 28 Dec 2005 16:57:41 +0100
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Subject: [h-cost] Tudor taylor
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Hi,
I found this information on living history uk.
Its a new book released the coming spring, and i recon that many of you 
would be interrested:
http://www.tudortailor.com/

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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From: "Lori Alston" <asl@iw.net>
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Subject: Re: [h-cost] Tudor taylor
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Tudur Tailor I ordered 2 just before Christmas one for me one for gift next 
christmas.

Lori

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Date: Wed, 28 Dec 2005 11:44:17 -0500
From: Elizabeth Western <contessaisabel@optonline.net>
Subject: Re: [h-cost] Tudor taylor
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X-Miltered: at demeter with ID 43B2C11A.000 by Joe's j-chkmail (http://j-chkmail.ensmp.fr)!

I ordered mine just before Christmas and am really looking forward to
receiving the book.  LJ users got the notice of the site going live last
week.  

ELizabeth


On 12/28/05 10:57 AM, "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
wrote:

> Hi,
> I found this information on living history uk.
> Its a new book released the coming spring, and i recon that many of you
> would be interrested:
> http://www.tudortailor.com/
> 
> Bjarne
> 
> 
> 
> 
> 
> Leif og Bjarne Drews
> www.my-drewscostumes.dk
> 
> http://home0.inet.tele.dk/drewscph/
> 
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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Date: Wed, 28 Dec 2005 11:27:51 -0500
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We moved my website to a new server and had a problem getting the mail 
working.  Please accept my apologies for any bounced messages and to 
those who get this more than once.

Jeanine

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Subject: Re: [h-cost] Holiday/Secret Santa gifts
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X-Miltered: at demeter with ID 43B2C4E0.001 by Joe's j-chkmail (http://j-chkmail.ensmp.fr)!

My husband thoughtfully gave me several books from my costuming 
wish-list, "The Little Hat Book", "How the West was Worn", and a book on 
making victorian style ribbon trim (coincidentally I had been drooling 
over the very title a week before because I bought it for my exchange 
recipient).

Cynthia, from the list, sent a box of assorted quilting fabrics and some 
nifty buttons, for my other textile hobby.



Dawn


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From: "Jeanine E. Swick" <jeanine@woollycat.net>
Subject: Re: [h-cost] Holiday/Secret Santa gifts
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X-Miltered: at demeter with ID 43B2D444.001 by Joe's j-chkmail (http://j-chkmail.ensmp.fr)!

I received a box from Germany that contained a lovely porcelain Faberge 
egg.  I'm having tourble figuring out the giver's name.  Thank you 
Secret Santa, who ever you are.

The closest costuming item I received was that my daughter & I spent 
part of the weekend updating my website and moving it over to a new 
server.  The only down part was the problem getting the e-mail 
reestablished, I had 2 dayswith no mail hopefully there weren't that 
many bounced messages.  As soon as we found the problem I changed all 
(where possible with out unscribing) my list settings to no mail.

A thought for next year if we do this again.  I included a copy of the 
information I submitted to Dawn in the package that went to my gift 
recipient so she would get to know a bit about me.

Jeanine
in MA


Karen R Bergquist wrote:

>Not too many costuming presents from friends and family although my
>friend Jay got me a really cool reproduction of a Mesopotamian cylinder
>seal designed to be worn as a necklace.
>
>My Secret Santa was Jayne Thomas from England who sent me some lovely
>lengths of fabric- one in a silky, dusty purple/lavender and another in a
>gorgeous red damask- I think this one is silk. She also sent me pictures
>of her family and a lovely letter telling me all about herself. Thanks so
>much, Jayne! Everything got here in plenty of time!
>
>Karen
>Seamstrix
>
>
>On Tue, 27 Dec 2005 23:30:48 -0500 Carol Kocian <aquazoo@patriot.net>
>writes:
>  
>
>>      Naturally mine was waiting for me today when I got home. :-) 
>>Sue Clemenger sent some chocolate truffles (Yum!) and a beautiful 
>>blank book covered in green velvet, with a Celtic knotwork animal 
>>design embossed into it.  Very cool, thank you!
>>
>>      -Carol
>>_______________________________________________
>>h-costume mailing list
>>h-costume@mail.indra.com
>>http://mail.indra.com/mailman/listinfo/h-costume
>>
>>
>>    
>>
>_______________________________________________
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>http://mail.indra.com/mailman/listinfo/h-costume
>
>
>  
>
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Subject: [h-cost] Re: Holiday/Secret Santa Gifts
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Hi!
   
  I received a child mannnequin from my parents this Christmas, so I now have a 'set' - the baby, toddler and child.  I also received a copy of 'The Tudor Housewife' by Alison Sim, which has a chapter on housework, which includes the Tudor way of doing the laundry and stain removal!  I got a copy of 'Shakespeare in Love' as I like Judi Dench, and of course, the costumes!
   
  My secret Santa present hasn't arrived yet (the Royal Mail can be so slow sometimes!), so I have something to look forward to!
   
  Wishing everybody the best for 2006!
  Jayne

		
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From: Lalah <lalahcatlady@netscape.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Re: Holiday/Secret Santa Gifts
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X-Miltered: at demeter with ID 43B3263D.005 by Joe's j-chkmail (http://j-chkmail.ensmp.fr)!

I received a book on beading, and my secret Santa gift was a
beautiful bookmark from Rebecca Schmitt.  It is done in
meticulous blackwork and is too pretty to use (but I will
probably use it carefully - maybe in QEW Unlocked).  Most of my
gifts were more cat than costume oriented.  Oh well, most of my
friends and family know I love cats and they don't know much about
costuming.

Lalah, 
Never give up, Never surrender


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I am embarrassed to say that I threw the box away before I had a chance to 
copy the name off it.  I think she was from Oregon or Washington. It was a 
great fur shrug like they have in all the stores now. The ribbon was a 
chartreuse color. I just love it.  If you recognize yourself, please email 
me and thank you for your lovely gift.
Sue Shatto
Sue@VictorianMillinery.com
401 Fairview Ave.
Frederick, MD 21701
www.victorianmillinery.com
301-694-8950 


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X-Miltered: at demeter with ID 43B34A58.000 by Joe's j-chkmail (http://j-chkmail.ensmp.fr)!

My secret Santa was Catherine Kinsey, who made the most wonderful needlebook 
out of handdyed linen, with a mermaid embroidered in silk floss.  As if that 
wasn't enough, she enclosed a brass pin dating from the late 1600's.

Since I do a LOT of handsewing, I've already put both items to use, and am 
the envy of my sewing friends.

The only other costume oriented gifts I recieved were TWO reproduction 
sewing birds.  One is now permanently mounted on the counter next to my 
sewing machine, and the other is in my traveling sewing kit.  I've used them 
both already and they really do make handsewing easier.

Melusine 

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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Re: Holiday/Secret Santa Gifts
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On Wed, 28 Dec 2005, Carmen Beaudry wrote:

> The only other costume oriented gifts I recieved were TWO reproduction
> sewing birds.  One is now permanently mounted on the counter next to
> my sewing machine, and the other is in my traveling sewing kit.  I've
> used them both already and they really do make handsewing easier.

What is a sewing bird?

--Robin

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Date: Wed, 28 Dec 2005 21:21:14 -0600
From: "Susan B. Farmer" <sfarmer@goldsword.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Re: Holiday/Secret Santa Gifts
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X-Miltered: at demeter with ID 43B35686.005 by Joe's j-chkmail (http://j-chkmail.ensmp.fr)!

IL got two dress forms -- a nifty one for my sewing table from SaraGrace
(thanks!), and a Uniquely You for *me* from eBay.  and books --
embroidery books, mostly.   :-)

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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> What is a sewing bird?
>
> --Robin

It's a clamp that fastens onto a table or counter, with a bird shaped clamp 
on top of that.  The bird holds the edge of the fabric in its beak (clamp), 
acting as a third hand.  It makes handsewing much easier and faster, 
especially things like hemming.

This is what I have, one in brass, one in silver.

http://www.lacis.com/catalog/data/n_sewingbird.html#LV10

Melusine 

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From: "Helen  Pinto" <hpinto@mindspring.com>
To: "Historical Costume" <h-costume@indra.com>
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Subject: [h-cost] Was gifts, now sewing birds
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Robin wrote:
> What is a sewing bird?
>

They're also known as sewing clamps or "third hands".  They go back at least 
as far as the 18th c. in the west and also turn up in traditional Japanese 
sewing.  It's a clamp which is attached to a stationery object, like a 
table.  The clamp holds one end of your sewing, while you hold the other end 
taut with your non-stitching hand.  You get some tension control and it 
speeds up the hand-sewing.  There are some incredibly fanciful antique ones 
out there, a lot of which look like birds- hence the name, I guess.  I have 
a couple of modern ones made by Clover- they came from Clotilde.
http://www.clotilde.com/cl/product_group.asp?listtype=search&searchterm=third+hand&dept_name=Search+Result%3A+third+hand&g_id=146919
I that URL doesn't work for you, just go to Clotilde and look up "third 
hand".

                      -Helen/Aidan

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To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] Holiday gifts
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> Are we not going to have the traditional discussion of what 
> costume-related gifts everyone got?

I got Nora Waugh's Cut of Men's Clothes! Yay!

But that's all for costume-related stuff. Non-costume, I got A Series of 
Unfortunate Events tomes 4-5-6, the whole Narnya series, a couple of DVDs, 
Japanese tea cups and chopsticks, and cooking books. 

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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Re: Holiday/Secret Santa Gifts
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On Wed, 28 Dec 2005, Carmen Beaudry wrote:

> > What is a sewing bird?
> 
> It's a clamp that fastens onto a table or counter, with a bird shaped clamp 
> on top of that.  The bird holds the edge of the fabric in its beak (clamp), 
> acting as a third hand.  It makes handsewing much easier and faster, 
> especially things like hemming.

Oh, that sounds so useful!

--Robin

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Subject: Re: [h-cost] Re: Holiday/Secret Santa Gifts
Date: Wed, 28 Dec 2005 21:22:25 -0700
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It's a fancy clamp-thingy, that functions almost as a third hand, to help
you with some sorts of handsewing tasks, when a third hand would be really
handy (no pun intended, truly...just feeling the lack of a good vocabulary
tonight).
I don't own one, but I've seen them in the occasional catalogue over the
years.  I *think* they're Victorian in origin.
--sue

----- Original Message -----
From: "Robin Netherton" <robin@shell.nightowl.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, December 28, 2005 8:07 PM
Subject: Re: [h-cost] Re: Holiday/Secret Santa Gifts


>
> On Wed, 28 Dec 2005, Carmen Beaudry wrote:
>
> > The only other costume oriented gifts I recieved were TWO reproduction
> > sewing birds.  One is now permanently mounted on the counter next to
> > my sewing machine, and the other is in my traveling sewing kit.  I've
> > used them both already and they really do make handsewing easier.
>
> What is a sewing bird?
>
> --Robin


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To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Was gifts, now sewing birds
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>>What is a sewing bird?
>
>They're also known as sewing clamps or "third hands".  They go back at 
>least as far as the 18th c. in the west and also turn up in traditional 
>Japanese sewing.

Sailors, or at least the sail-repairers on sailing ships, used a hook to 
hold the work taut.  These have a length of twine at the non-hook end, so 
they can be tied to something.


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

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Subject: [h-cost] Girls Flamenco Dress Pattern
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Hi!
   
  I would like to make a flamenco dress for my 3 and half year old daughter, sort of a mini version of the Folkwear pattern I have seen on their site - with a small split at the front and a tiny train.  I doubt whether anyone produces anything like this that small, but I wondered if anyone had any suggestions of a pattern I could easily adapt (I need something to ease me back into sewing, as I have had to put all my sewing stuff away to make room for the Christmas tree, so I haven't done anything for a few weeks!).  Do any of the big pattern companies do any thing?  Any help much appreciated!
   
  Best Wishes
  Jayne

		
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Subject: [h-cost] book recommendations for beginner making an 18th century
	polonaise
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Merry Christmas and Happy New year to everyone,
A freind of mine has just gotten engaged (3 days ago) and has decided she 
wants to base her wedding gown on an 18th century Robe à l' Anglaise (I 
think her main source of inspiration is Pirates of the Carribean) she 
doesn't really want an authentic reproduction but she asked me to recommend 
some books to help her work out how to do it. So far I've suggested Jean 
Hunnisett's _Period_Costume_for_Stage_&_Screen_1500-1800_ Janet Arnold's 
_Patterns_of_Fashion_1_ (1660-1860) As I've used both of these books in the 
past (although not for this era) but is there another source you would 
recommend, keeping in mind that she doesn't really want an authentic 
reproduction and her sewing skills are still fairly basic (I can't help her 
hands on as she lives in another city but she's got SCA friends there who 
can help her if her skills aren't up to it). Pattern suggestions are also 
welcome, I don't know how authentic she wants this dress to be but I'd like 
to show her  that there is an alternative to the butterick patterns with 
princess seams. Also is there a good collection of images from this period 
other than www.marquise.de ? I haven't got around to making anything 18th 
century (yet) so my research on that era has barely advanced past skimming 
over that section of Patterns of Fashion on my way to another era.
thanks
Elizabeth
P.S. on the topic of holliday gifts, I got Henry V (the version with Kenneth 
Branagh) and Sense and Sensibility (the version with Emma Thompson) on DVD 
but nothing specifically for costume making.
--------------------------------------------
Elizabeth Walpole
Canberra Australia
ewalpole[at]tpg.com.au
http://au.geocities.com/e_walpole/

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Subject: Re: [h-cost] book recommendations for beginner making an 18th century
	polonaise
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If you want to drop around, I've got quite a few books on 18C costumes 
with patterns - have a look and you might then be able to recommend some 
to your friend - I've got Fitting and Proper and Costume in Detail and 
more but forgotten their names. As for patterns, I like Millfarm 
patterns, have used Period Impressions and others. Can show you them as 
well.
And- you can see the fabric I've finally chosen for my elizabethan - but 
I may start making that tonight. Itchy fingers - just been swimming at 
Casuarina Sands and feel nice and fresh after today's heat.
Cheers, Aylwen Garden

Elizabeth Walpole wrote:

> Merry Christmas and Happy New year to everyone,
> A freind of mine has just gotten engaged (3 days ago) and has decided 
> she wants to base her wedding gown on an 18th century Robe à l' 
> Anglaise (I think her main source of inspiration is Pirates of the 
> Carribean) she doesn't really want an authentic reproduction but she 
> asked me to recommend some books to help her work out how to do it. So 
> far I've suggested Jean Hunnisett's 
> _Period_Costume_for_Stage_&_Screen_1500-1800_ Janet Arnold's 
> _Patterns_of_Fashion_1_ (1660-1860) As I've used both of these books 
> in the past (although not for this era) but is there another source 
> you would recommend, keeping in mind that she doesn't really want an 
> authentic reproduction and her sewing skills are still fairly basic (I 
> can't help her hands on as she lives in another city but she's got SCA 
> friends there who can help her if her skills aren't up to it). Pattern 
> suggestions are also welcome, I don't know how authentic she wants 
> this dress to be but I'd like to show her  that there is an 
> alternative to the butterick patterns with princess seams. Also is 
> there a good collection of images from this period other than 
> www.marquise.de ? I haven't got around to making anything 18th century 
> (yet) so my research on that era has barely advanced past skimming 
> over that section of Patterns of Fashion on my way to another era.
> thanks
> Elizabeth
> P.S. on the topic of holliday gifts, I got Henry V (the version with 
> Kenneth Branagh) and Sense and Sensibility (the version with Emma 
> Thompson) on DVD but nothing specifically for costume making.
> --------------------------------------------
> 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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Hi Elizabeth.
I have some few pictures uploaded on how i made a robe anglaise last year. 
It was made for a masquerade, so dont mind the vivid colour. The base of 
this pattern is original anglaise dress.
http://www.my-drewscostumes.dk/maskebal.htm

Bjarne
----- Original Message ----- 
From: "Elizabeth Walpole" <ewalpole@tpg.com.au>
To: "Historic Costume" <h-costume@indra.com>
Sent: Thursday, December 29, 2005 11:31 AM
Subject: [h-cost] book recommendations for beginner making an 18th 
centurypolonaise


> Merry Christmas and Happy New year to everyone,
> A freind of mine has just gotten engaged (3 days ago) and has decided she 
> wants to base her wedding gown on an 18th century Robe à l' Anglaise (I 
> think her main source of inspiration is Pirates of the Carribean) she 
> doesn't really want an authentic reproduction but she asked me to 
> recommend some books to help her work out how to do it. So far I've 
> suggested Jean Hunnisett's _Period_Costume_for_Stage_&_Screen_1500-1800_ 
> Janet Arnold's _Patterns_of_Fashion_1_ (1660-1860) As I've used both of 
> these books in the past (although not for this era) but is there another 
> source you would recommend, keeping in mind that she doesn't really want 
> an authentic reproduction and her sewing skills are still fairly basic (I 
> can't help her hands on as she lives in another city but she's got SCA 
> friends there who can help her if her skills aren't up to it). Pattern 
> suggestions are also welcome, I don't know how authentic she wants this 
> dress to be but I'd like to show her  that there is an alternative to the 
> butterick patterns with princess seams. Also is there a good collection of 
> images from this period other than www.marquise.de ? I haven't got around 
> to making anything 18th century (yet) so my research on that era has 
> barely advanced past skimming over that section of Patterns of Fashion on 
> my way to another era.
> thanks
> Elizabeth
> P.S. on the topic of holliday gifts, I got Henry V (the version with 
> Kenneth Branagh) and Sense and Sensibility (the version with Emma 
> Thompson) on DVD but nothing specifically for costume making.
> --------------------------------------------
> 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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Today i received my gift from Tara Broadway.
A wonderfull book: Thoughts on Mens Shirts in America 1750- 1900. and also a 
Blanket Capote Pattern.
The shirt book has lots of gorgeous patterns, this came in right after my 
heart.
Thankyou soo much Tara for the wonderfull gifts.

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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From: "otsisto" <otsisto@socket.net>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Girls Flamenco Dress Pattern
Date: Thu, 29 Dec 2005 07:22:50 -0600
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folkwear pattern #140?
http://birchstreet-folkwear.com/fw_140.gif

Dress styles to get a rough idea
https://www.flamenco-world.com/tienda/shop.php?&op_shop=shop&id_cat=12

http://www.onstagedancewear.com/allproducts.asp?svl=Ad&category=flamenco

-----Original Message-----
Hi!

  I would like to make a flamenco dress for my 3 and half year old daughter,
sort of a mini version of the Folkwear pattern I have seen on their site -
with a small split at the front and a tiny train.  I doubt whether anyone
produces anything like this that small, but I wondered if anyone had any
suggestions of a pattern I could easily adapt (I need something to ease me
back into sewing, as I have had to put all my sewing stuff away to make room
for the Christmas tree, so I haven't done anything for a few weeks!).  Do
any of the big pattern companies do any thing?  Any help much appreciated!

  Best Wishes
  Jayne


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From: AnnBWass@aol.com
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Date: Thu, 29 Dec 2005 12:54:17 EST
Subject: Re: [h-cost] Girls Flamenco Dress Pattern
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In a message dated 12/29/2005 12:38:42 P.M. Eastern Standard Time,  
otsisto@socket.net writes:

Do
any of the big pattern companies do any thing?  Any help much  appreciated!



Look at Simplicity 4445--it may be too costume-y for what you want, but  
maybe you can use it as a starting point.  I think true flamenco costumes  are 
modified sheath dresses with the ruffles and train added, and I don't think  
there is a little girl's sheath dress pattern to be had, or you could start  there.
 
Ann Wass
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In a message dated 12/29/2005 9:09:56 A.M. Eastern Standard Time,  
drewscph@post12.tele.dk writes:

A  wonderfull book: Thoughts on Mens Shirts in America 1750-  1900.


This is a great book!  I understand the author,  Bill Brown, is working on 
men's coats now.
 
Ann Wass
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Subject: [h-cost] Tudor costuming book
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Thought that I'd pass this new book along:
	http://www.tudortailor.com/sales.htm

Usual disclaimer: Don't know the people and have never done business with them.

Beth Matney

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Subject: [h-cost] Re: Holiday/Secret Santa Gifts
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The dress form is actully a pincusion and the rest, a sewing 
caddy...didn't know if you realized that.  The soft sculpted jester head 
comes off the spool holder, the beaded chain is for clipping a pair of 
small scissors to,  the glass & wire cup (actually a votive candle 
holder) is to hold small items like hooks & eyes, buttons etc, and the 
little wooden cup holds "Thread Heaven" to condition  your thread.  I 
use mine alot when spending that wonderful "quality" time with my 
husband in front of the boob tube.  He watches, I sew!

Sg
Susan B. Farmer wrote:

> IL got two dress forms -- a nifty one for my sewing table from SaraGrace
> (thanks!), and a Uniquely You for *me* from eBay.  and books --
> embroidery books, mostly.   :-)
>
> Susan


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Subject: Re: [h-cost] holliday exchange gifts.
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I believe the title of Bill's next book is "Thoughts on Men's Vests". However, he 
will be speaking on men's coats c.1800-1870 at the Conference in 2006. Further 
details may be found in the link in the signature line.

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




On Thu Dec 29 12:56 , AnnBWass@aol.com sent:

>
>A  wonderfull book: Thoughts on Mens Shirts in America 1750-  1900.
>
>
>This is a great book!  I understand the author,  Bill Brown, is working on 
>men's coats now.
> 
>Ann Wass


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From: "Catherine Kinsey" <ckinsey@kumc.edu>
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Subject: [h-cost] Re: Holiday/Secret Santa Gifts
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X-Miltered: at demeter with ID 43B43674.001 by Joe's j-chkmail (http://j-chkmail.ensmp.fr)!

My secret Santa was Catherine Kinsey, who made the most wonderful
needlebook 
out of handdyed linen, with a mermaid embroidered in silk floss.  As if
that 
wasn't enough, she enclosed a brass pin dating from the late 1600's.

Since I do a LOT of handsewing, I've already put both items to use, and
am 
the envy of my sewing friends.

Melusine 
=========================
Glad you liked it, the mermaid was fun to do :).

I received a set of reproduction stitching tools from DH for Christmas.
 I finally decided I wanted all the little toys to play with in my
stitching box :).  Subscriptions to Piecework and Sample & Antigue
Needlework were also renewed.  And it looks like the cash from the
in-laws may be going to that new Tudor Tailor book........

Happy Holidays to everyone and Best Wishes for the New Year!
Catherine

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From h-costume-bounces@indra.com  Thu Dec 29 14:47:36 2005
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From: Deredere Galbraith <Deredere.Galbraith@kabelfoon.nl>
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Subject: [h-cost] A holiday gift for you all
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Hi,

I have made some pictures in a museum a lot of you will probably like.
Since they are taking a lot of space I will keep them up for only a week.
You may use them for peronal use.
If you want some information about a picture feel free to ask.
I'll try to answer them as best I can.

Endjoy looking!

http://mystictimes.nl/Gallery/Gallery.html

Greetings,
       Deredere

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From h-costume-bounces@indra.com  Thu Dec 29 14:51:44 2005
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I am glad you like them!
Greetings,
       Deredere

Helen Pinto wrote:

> All I know about my partner is that the package originated in the 
> Netherlands, so I'll just have to thank you here for the nice beads 
> and pendants, and wish you all the best for the holidays.
>            -Helen/Aidan
>
> _______________________________________________
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X-Miltered: at demeter with ID 43B442BD.001 by Joe's j-chkmail (http://j-chkmail.ensmp.fr)!

I got The Cut of womens clothing and The Cut of man's clothing by Nora 
Waugh from my husband.
A nice book from a special exebithion Rijk Gekleed (well dressed) and 
visited it (the pictures are from there)

 From my mother in law a dremel (small hand drill machine) perfect for 
making moulds for casting or jewelry.
And some more power tools.
Not really for making historical costumes but perfect for a centour 
costume I still would like to make...

Bought myself very nice batist for a regency dress.

Made myself a beautifull coat. I can wear it over a bustle dress but I 
like to wear it also as my "normal" winter coat.
I'll have to make pictures of it. It is black wool so it is a bit 
difficult to make pictures of.
But it is probably going to snow some more tomorrow :-) .

And From my secret Santa I've got a nice piece of old lace and a 
handmade bowl from fabric and thread.
Thank you Pamela!

And my bunny got a x-mas hat and scarf and a very little stuffed Icebear 
;-)

Greetings,
       Deredere



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Hi Deredere,
You almost make me cry! One of these dresses has ben something i have 
dreamed of must excist, and now i know it excists. Oh boy, and i have 
....well actually i desided to stop making costumes, but when i se this 
dress, i dont know!
This was the best gift i got this christmass, thanks a lot!
By the way wich museum was this?

Bjarne


----- Original Message ----- 
From: "Deredere Galbraith" <Deredere.Galbraith@kabelfoon.nl>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, December 29, 2005 8:46 PM
Subject: [h-cost] A holiday gift for you all


> Hi,
>
> I have made some pictures in a museum a lot of you will probably like.
> Since they are taking a lot of space I will keep them up for only a week.
> You may use them for peronal use.
> If you want some information about a picture feel free to ask.
> I'll try to answer them as best I can.
>
> Endjoy looking!
>
> http://mystictimes.nl/Gallery/Gallery.html
>
> Greetings,
>       Deredere
>
> _______________________________________________
> 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: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] A holiday gift for you all
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At 19:46 29/12/2005, you wrote:
>Hi,
>
>I have made some pictures in a museum a lot of you will probably like.
>Since they are taking a lot of space I will keep them up for only a week.
>You may use them for peronal use.
>If you want some information about a picture feel free to ask.
>I'll try to answer them as best I can.
>
>Endjoy looking!
>
>http://mystictimes.nl/Gallery/Gallery.html


Thank you so much for a lovely gift. I shall enjoy looking more 
thoroughly later.

Suzi


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From: "otsisto" <otsisto@socket.net>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Girls Flamenco Dress Pattern
Date: Thu, 29 Dec 2005 15:40:48 -0600
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Simplicity 4721
You could adapt this pattern.

Butterick 4385
Add gores?

B3920
Could use to figure out the ruffles

M4907
Lengthen the skirt and add ruffles.

-----Original Message-----
Hi!

  I would like to make a flamenco dress for my 3 and half year old daughter,
sort of a mini version of the Folkwear pattern I have seen on their site -
with a small split at the front and a tiny train.  I doubt whether anyone
produces anything like this that small, but I wondered if anyone had any
suggestions of a pattern I could easily adapt (I need something to ease me
back into sewing, as I have had to put all my sewing stuff away to make room
for the Christmas tree, so I haven't done anything for a few weeks!).  Do
any of the big pattern companies do any thing?  Any help much appreciated!

  Best Wishes
  Jayne


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----- Original Message ----- 
From: "Deredere Galbraith" <Deredere.Galbraith@kabelfoon.nl>

> I have made some pictures in a museum a lot of you will probably like.
> Since they are taking a lot of space I will keep them up for only a week.
> You may use them for peronal use.
> If you want some information about a picture feel free to ask.
> I'll try to answer them as best I can.
>
> Endjoy looking!
>
> http://mystictimes.nl/Gallery/Gallery.html

Great but... uh... where were they taken? It would help me at least to be 
able to name the folder correctly :-)

They're amazing, by the way. 

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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] A holiday gift for you all
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Great  pictures.   Where  is this museum?  Wish it was close to
me.  Thanks for sharing.

Lalah, Never give up, Never surrender
--- Deredere Galbraith <Deredere.Galbraith@kabelfoon.nl> wrote:
From: Deredere Galbraith <Deredere.Galbraith@kabelfoon.nl>
Date: Thu, 29 Dec 2005 20:46:48 +0100
To: Historical Costume <h-costume@indra.com>
Subject: [h-cost] A holiday gift for you all
Hi,
I  have  made  some  pictures  in  a  museum  a lot of you will
probably like.
Since  they  are  taking a lot of space I will keep them up for
only a week.
You may use them for peronal use.
If you want some information about a picture feel free to ask.
I'll try to answer them as best I can.
Endjoy looking!
http://mystictimes.nl/Gallery/Gallery.html
Greetings,
Deredere
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It is a small museum in Amsterdam, Netherlands. It is in a 17th century
canalside house on the Gentelmans Canal.
It is a special exebithion that runs to the 22 of January. The
Willet-Holthuysen museum is part of the Amsterdam Historical Museum.
The book from the exebition is called " Rijk Gekleed, van doopjurk tot
baljapon 1750-1940"  by Annemarie Dekker
ISBN 90 68683985 it is in Dutch. Publisher http://www.thoth.nl/.




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The url for the site is 
http://www.willetholthuysen.nl/tentoonstelling.php?id=8

Deredere Galbraith wrote:

> It is a small museum in Amsterdam, Netherlands. It is in a 17th century
> canalside house on the Gentelmans Canal.
> It is a special exebithion that runs to the 22 of January. The
> Willet-Holthuysen museum is part of the Amsterdam Historical Museum.
> The book from the exebition is called " Rijk Gekleed, van doopjurk tot
> baljapon 1750-1940"  by Annemarie Dekker
> ISBN 90 68683985 it is in Dutch. Publisher http://www.thoth.nl/.
>
>
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>

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Subject: [h-cost] dress form / sewing caddy
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> The dress form is actully a pincusion and the rest, a sewing 
> caddy...didn't know if you realized that.  The soft sculpted jester head 
> comes off the spool holder, the beaded chain is for clipping a pair of 
> small scissors to,  the glass & wire cup (actually a votive candle holder) 
> is to hold small items like hooks & eyes, buttons etc, and the little 
> wooden cup holds "Thread Heaven" to condition  your thread.  I

Do you have a photo on-line somewhere? I'd be very interested in making 
something like this.

Thanks
Denise 

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Subject: [h-cost] More costume notes 1662 Pepys
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Today's episode:

After they were come in, I went down and got through the croude almost 
as high as the King and the Embassadors, where I saw all the presents, 
being rich furs, hawks, carpets, cloths of tissue, and sea-horse teeth. 
The King took two or three hawks upon his fist, having a glove on, 
wrought with gold, given him for the purpose. The son of one of the 
Embassadors was in the richest suit for pearl and tissue, that ever I 
did see, or shall, I believe.

And later:

... being in great pain that my wife hath never a winter gown, being 
almost ashamed of it, that she should be seen in a taffeta one; when all 
the world wears moyre (mohair); so to prayers and to bed, but we could 
not come to any resolution what to do therein, other than to appear as 
she is.

More at: http://www.pepysdiary.com/archive/1662/12/29/

The notes there have another account of the same ambassadors:

John Evelyn’s Diary

“To Lond: Saw the Audience of the Moscovy Ambassador, which was with 
extraordinary state: for his retinue being numerous, all clad in vests 
of several Colours, & with buskins after the Eastern manner: Their Caps 
of furr, & Tunicks richly embrodrd with gold & pearle, made a glorious 
shew: The King being sate under the Canopie in the banqueting house, 
before the Ambassador went in a grave march the Secretary of the 
Embassy, holding up his Masters letter of Credence in a crimson-taffaty 
scarfe before his forehead: The Ambassador then deliverd it, with a 
profound reverence to the King, the King to our Secretary of State; it 
was written in a long & lofty style: Then came in the present borne by 
165 of his retinue, consisting Mantles & other large pieces lined with 
Sable, Black fox, Ermine, Persian Carpets, the ground cloth of Gold and 
Velvet, Sea-morce teeth aboundance, Haukes, such as they sayd never came 
the like: Horses, said to be Persian, Bowes & Arrows &c: which borne by 
so long a traine rendred it very extraordinary: Wind musick playing all 
the while in the Galleries above: This finish’d & the Ambassador 
conveyed by the Master of Ceremonies to York house, he was treated with 
a banquet, that cost 200 pounds, as I was assured, &c:..” 
ftp://ftp.cac.psu.edu/pub/humanities/John_Evelyn/#Evelyn


-- 
Cynthia Virtue and/or Cynthia du Pre Argent

Snow ants are of course snow white, and travel in huge packs, are quite 
invisible against the snow. Usually, the only way to know they're nearby 
is when moose disappear in a puff of white with a little spattering of 
red.  "The Great Canadian Wallpaper Festival" by Tempus Peregrinator
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Date: Thu, 29 Dec 2005 19:39:31 -0600
From: "Susan B. Farmer" <sfarmer@goldsword.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Re: Holiday/Secret Santa Gifts
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Quoting WickedFrau <wickedfrau@msn.com>:

> The dress form is actully a pincusion and the rest, a sewing 
> caddy...didn't know if you realized that.  The soft sculpted jester 
> head comes off the spool holder, the beaded chain is for clipping a 
> pair of small scissors to,  the glass & wire cup (actually a votive 
> candle holder) is to hold small items like hooks & eyes, buttons etc, 
> and the little wooden cup holds "Thread Heaven" to condition  your 
> thread.  I use mine alot when spending that wonderful "quality" time 
> with my husband in front of the boob tube.  He watches, I sew!

I wasn't sure about the stuff in the little wooden "flower pot/thimble"
thingie.  Everything else, looks like I was right on.  I've never used
that kind of thread.  How is it to work with?  I have it in my brain
that it's primarily for machine embroidery -- is this truth?

I don't know if SaraGrace has a photo, I'll see if I can get a picture
taken and posted.  I think it's *nifty*

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: purplkat@optonline.net
Subject: [h-cost] Re: Holiday/Secret Santa Gifts
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wwwaaaaaaaahhhhooooooooo!!!!!!

My package arrived today... All I can say is WOW!!!

Blue wool, Fuscia wool, AND the book Hollywood and History!!

I am already planning what to make out of the fuscia (lined - cause I'm alergic to wool), and I'm already a 1/4 of the way through the book.

The book is even more meaningfull because it is written by someone with the same last name as my parents (Maeder). This seems to be an unusual spelling of a Germanic name and I have seen very few people with that particular spelling.

Hmmm now I am wondering where I can get fuscia linen to make something for an event on Jan 14th....

Katheryne
who is wondering if my secret santa in CA opened her box yet.....
I forgot to make notice that it was from h-costume......
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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Re: Holiday/Secret Santa Gifts
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On Thu, 29 Dec 2005 purplkat@optonline.net wrote:

> Blue wool, Fuscia wool, AND the book Hollywood and History!!

Who was your generous giver?

(Still waiting for my recipient to check in...)

> Hmmm now I am wondering where I can get fuscia linen to make something
> for an event on Jan 14th....

I have loads, leftover from the infamous Fuchsia Linen Stampede of a few
years back. If you can't find something, e-mail me and we'll work
something out.

--Robin


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From: purplkat@optonline.net
Subject: Re: [h-cost] Re: Holiday/Secret Santa Gifts
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uummm sorry.....

rummage....... rummage.......
now where is that box?? AH!!

Agnes G. from Seattle WA

Katheryne

----- Original Message -----
From: Robin Netherton <robin@shell.nightowl.net>
> 
> On Thu, 29 Dec 2005 purplkat@optonline.net wrote: 
> > Blue wool, Fuscia wool, AND the book Hollywood and History!!
> 
> Who was your generous giver?
> 
> (Still waiting for my recipient to check in...) --Robin
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Hi all,
I got an awesome assortment of Eterna Silks.  A very appreciated gift 
since I have decided I can't stand the way cheep cotton floss lays 
when embroidered.

Sorry, the name was on the wrapping paper and my hubby threw it all 
away before I could write it down.
Thanks, though
Genie

(My person still hasn't checked in either, Robin :) )
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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] Have you seen this painting?
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I found this painting in an Italian book (funny, that
given the language the citation I can't read below the
painting is written in. *G*) And fell in love with
this dress, but I can't find barely anything about the
painter, the sitter or the location of the painting in
vain hope of finding a colour copy. Does anyone have
any clues?
http://ca.geocities.com/absynthe30/avatars/bahuet.jpg

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


	

	
		
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Date: Thu, 29 Dec 2005 23:19:28 -0600
From: "Susan B. Farmer" <sfarmer@goldsword.com>
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Subject: Re: [h-cost] Have you seen this painting?
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Quoting Kathy Page <caitlin_oduibhir@yahoo.ca>:

> I found this painting in an Italian book (funny, that
> given the language the citation I can't read below the
> painting is written in. *G*) And fell in love with
> this dress, but I can't find barely anything about the
> painter, the sitter or the location of the painting in
> vain hope of finding a colour copy. Does anyone have
> any clues?
> http://ca.geocities.com/absynthe30/avatars/bahuet.jpg

Ooh, cool!  No, I haven't.  What can you tell me about the book?

I've looked at enough Italian paintings to be able to pigeon out the
title and stuff.

"Attributed  A. Jean Bahuet -- Portrait of lady of the court of Isabella
-- dated ? before ? 1540 -- Palazzo Ducale, Mantova (Ducal Palace,
Mantova).  I can't wait to see if you can track down a color copy!

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: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Have you seen this painting?
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On Thu, 29 Dec 2005, Kathy Page wrote:

> I found this painting in an Italian book (funny, that given the
> language the citation I can't read below the painting is written in.
> *G*) And fell in love with this dress, but I can't find barely
> anything about the painter, the sitter or the location of the painting
> in vain hope of finding a colour copy. Does anyone have any clues?
> http://ca.geocities.com/absynthe30/avatars/bahuet.jpg

No clues, but something doesn't feel right about the portrait; the face
seems Victorian. It may be a later copy, or perhaps if this is an older
book (pre-photography), it is an engraving intended to show the painting.
I can't tell from the online version whether it is an engraving, but that
should be obvious from the book itself. At worst it is a forgery, but that
is less likely than the alternatives. At best it is indeed c. 1540, and
just an unusual style for the time. A citation for the book you found this
in, with year, might be useful.

I can't find Jean Bahuet in my dictionary of artists, nor on a websearch,
save in 18th and 19th c. geneaologies, which might of course be referring
to some other Jean Bahuet(s).

--Robin

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Robin Netherton wrote:
> No clues, but something doesn't feel right about the portrait; the face
> seems Victorian.

That was my first thought, due to the face, but the rest of it seems 
less so.

> It may be a later copy, or perhaps if this is an older
> book (pre-photography), it is an engraving intended to show the painting.

That would be my guess -- a tantalizing lead for the real painting. 
What marvelous sleeves!

-- 
Cynthia Virtue and/or Cynthia du Pre Argent

Mindless entertainment is the handmaiden of fascism.  -- Mo/Alison Bechdel
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Subject: Re: [h-cost] holliday exchange gifts.
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In a message dated 12/29/2005 1:45:53 P.M. Eastern Standard Time,  
cschmitt@genteelarts.com writes:

However,  he 
will be speaking on men's coats c.1800-1870 at the Conference in 2006.  
Further 
details may be found in the link in the signature  line.



Thanks, Carolann--that's where I read about the coats, of course!
 
Ann Wass
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To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Have you seen this painting?
Date: Fri, 30 Dec 2005 07:00:00 -0600
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-----Original Message-----
> http://ca.geocities.com/absynthe30/avatars/bahuet.jpg

<<<No clues, but something doesn't feel right about the portrait; the face
seems Victorian. It may be a later copy, or perhaps if this is an older
book (pre-photography), it is an engraving intended to show the painting.
I can't tell from the online version whether it is an engraving, but that
should be obvious from the book itself. At worst it is a forgery, but that
is less likely than the alternatives. At best it is indeed c. 1540, and just
an unusual style for the time. A citation for the book you found this in,
with year, might be useful.
I can't find Jean Bahuet in my dictionary of artists, nor on a websearch,
save in 18th and 19th c. geneaologies, which might of course be referring
to some other Jean Bahuet(s).

--Robin>>>>>>
***
Probably because it is Giovanni Bahuet in which many of his paintings are in
a private collection in Mantua.
http://www1.cuny.edu/portal_ur/news/cuny_matters/march_04/gallery_center.htm
l
"Another type of ceremonial costume is Vincenzo Gonzaga's attire for his
1587 coronation as Duke of Mantua. A great deal of research was necessary to
recreate a costume which is described at length in contemporary chronicles
and depicted in paintings by Giovanni Bahuet (private Collection, Mantua)
and Rubens (Palazzo Ducale, Mantua). Made of white satin, embroidered gold,
silver, and pearls and topped with an ermine cape, it is the most lavish and
costly of all the costumes in the exhibition."

De


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  I saw it, and liked it as eye candy.  It's not a time or place (1753, 
Venice) that I know much about, but superficially the costumes seem OK (and 
pretty).  I was curious to hear opinions about accuracy.
Laura Dickerson


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From: "E House" <formfunc@formfunction.org>
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References: <Pine.LNX.4.10.10512300237190.19040-100000@shell.nightowl.net>
Subject: Re: [h-cost] Have you seen this painting?
Date: Fri, 30 Dec 2005 07:09:17 -0600
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I don't know how much this will help, but here's the museum mentioned in the 
caption as its home:
http://www.mantovaducale.it/eng_museo.htm
I couldn't find any info about it on their English site (couldn't get the 
Italian version to load) but it couldn't hurt to try emailing/writing them.

-E House 

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Subject: Re: [h-cost] Have you seen this painting?
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To: Kathy, The artist is also knows as Giovanni Bahuet, a Renaissance 
painter. 
http://www1.cuny.edu/portal_ur/news/cuny_matters/march_04/gallery_center.html
I looked for Bahuet and Renaissance painting in a search. The place is the 
same in the listing and other paintings look similar. I hope this is the 
same peson. At least I found a really neat site for additional costumes and 
ideas.

----- Original Message ----- 
From: "Susan B. Farmer" <sfarmer@goldsword.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, December 30, 2005 12:19 AM
Subject: Re: [h-cost] Have you seen this painting?


> Quoting Kathy Page <caitlin_oduibhir@yahoo.ca>:
>
>> I found this painting in an Italian book (funny, that
>> given the language the citation I can't read below the
>> painting is written in. *G*) And fell in love with
>> this dress, but I can't find barely anything about the
>> painter, the sitter or the location of the painting in
>> vain hope of finding a colour copy. Does anyone have
>> any clues?
>> http://ca.geocities.com/absynthe30/avatars/bahuet.jpg
>
> Ooh, cool!  No, I haven't.  What can you tell me about the book?
>
> I've looked at enough Italian paintings to be able to pigeon out the
> title and stuff.
>
> "Attributed  A. Jean Bahuet -- Portrait of lady of the court of Isabella
> -- dated ? before ? 1540 -- Palazzo Ducale, Mantova (Ducal Palace,
> Mantova).  I can't wait to see if you can track down a color copy!
>
> 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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	<20051229231928.8hjy3tn4urfk0cgc@www.goldsword.com>
Subject: Re: [h-cost] Have you seen this painting?
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Also: http://www.rsa.org/pdfs/RNN-XV-2.pdf

----- Original Message ----- 
From: "Susan B. Farmer" <sfarmer@goldsword.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, December 30, 2005 12:19 AM
Subject: Re: [h-cost] Have you seen this painting?


> Quoting Kathy Page <caitlin_oduibhir@yahoo.ca>:
> 
>> I found this painting in an Italian book (funny, that
>> given the language the citation I can't read below the
>> painting is written in. *G*) And fell in love with
>> this dress, but I can't find barely anything about the
>> painter, the sitter or the location of the painting in
>> vain hope of finding a colour copy. Does anyone have
>> any clues?
>> http://ca.geocities.com/absynthe30/avatars/bahuet.jpg
> 
> Ooh, cool!  No, I haven't.  What can you tell me about the book?
> 
> I've looked at enough Italian paintings to be able to pigeon out the
> title and stuff.
> 
> "Attributed  A. Jean Bahuet -- Portrait of lady of the court of Isabella
> -- dated ? before ? 1540 -- Palazzo Ducale, Mantova (Ducal Palace,
> Mantova).  I can't wait to see if you can track down a color copy!
> 
> 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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> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
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From: Kay Shelton <delasue@yahoo.com>
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Subject: [h-cost] Secret Santa and Christmas Gifts
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My Secret Santa, Justin Barrett, sent me a lovely
purse made from black silk with beautiful butterflies
on it and containing a very useful small pair of
scissors.  Thank you, Justin!

My husband has given up on trying to find which
costuming books I want.  (Despite the fact that I make
a list on Amazon for him.)  He gives me books about
the period.  Last year it was The Structures of
Everyday Life by Fernand Braudel and Power and Profit:
The Merchant in Medieveal Europe by Peter Spufford,
both of which are very interesting.  

This year I'm looking at moving into Victorian.  So he
gave me What Jane Austen Ate And Charles Dickens Knew
by Daniel Pool, Queen Victoria by Elizabeth Longford,
the Victorians by A. N. Wilson, Queen Victoria at Home
by Michael De-la-Noy, and Design for Tea: Tea Wares
from the Dragon Court to Afternoon Tea by Jane
Pettigrew.  I think I'm just an excuse to run rampant
through the book stores.

My daughter gave me a book on Japanese Lolita clothes,
with patterns.  I'd write down the title, but it's in
Japanese.

I hope everyone is ready for a new year of costuming. 
Love, Kay


		
__________________________________________ 
Yahoo! DSL – Something to write home about. 
Just $16.99/mo. or less. 
dsl.yahoo.com 

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From: "E House" <formfunc@formfunction.org>
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Subject: [h-cost] Tristan & Isolde
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Speaking of Casanova, does anyone have any thoughts on the Tristan & Isolde 
movie coming out soon?  Their website doesn't show the costumes any better 
than the commercials did, or in fact much at all:
http://www.tristanandisoldemovie.com/
>From what little I've seen, the costumes strike me as very Pre-Raph, which 
frankly works pretty well for me.  I associate T&I more with the Victorian 
romantics than with the actual original medieval stories. Am I just weird?

-E House 

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Subject: Re: [h-cost] dress form / sewing caddy
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Here is the tiny url:  *http://tinyurl.com/dxjmd*
and the regular one in case that doesn't work:
http://www.picturetrail.com/gallery/view?p=999&gid=8892003&uid=4238963&members=1 
<http://www.picturetrail.com/gallery/view?p=999&gid=8892003&uid=4238963&members=1>

This is like the one I sent Susan except the colors are different...I 
forgot to take a picture of hers!  Doi! 

I made the pattern up from an old purchased dress form that they now 
want $24 for!  The pattern for the little jester head comes from Julie 
McCullough's
Fisherman pattern (http://dollmakersjourney.com/mccullough.html  you'll 
have to scroll about 2/3s of the way down the page)

The most of the rest of it is/are wooden parts from a craft store like 
Jo Annes, or Michaels.  Wooden candlestick, mini flower pot, wood cap, 
dowels etc.
If you would like a copy of the pattern I used I will send it to you - 
contact me off list.  Of course, unfortunately I can't give Julies 
pattern away....it is worth the money though...I have made several of 
these fisherman for gifts...they are delightful. 

I gave away partially used spools of thread on them so folks would 
understand what the little dowell/jester head was for.  Yes, Susan-that 
is machine embroidery thread...not great to hand sew with, but it looked 
good with your caddy!  :-)

Land of Oz wrote:

> Do you have a photo on-line somewhere? I'd be very interested in 
> making something like this.


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Subject: Re: [h-cost] Tristan & Isolde
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In a message dated 12/30/2005 8:34:56 A.M. Eastern Standard Time,  
formfunc@formfunction.org writes:

>From  what little I've seen, the costumes strike me as very Pre-Raph, which  
frankly works pretty well for me.  I associate T&I more with the  Victorian 
romantics than with the actual original medieval stories. Am I  just weird?



************************
 
Nah...Of course you associate it with Victorians...because Wagner gets more  
play than the original...which we had to read in school [did you know there 
are  3 Isoldes?]
 
The trailer looks like 1000 other trailers. It all looks like they could've  
just pulled it from "Lord of the Rings", "Kind Arthur" and "Robin Hood, Prince 
 of Thieves" leftovers.  Zzzzzzzzzzzzzzzzzzzzzzzzzz
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Bjarne, I think you're a little mixed up. I sent you your gift, but you were supposed to send a gift to someone else. You sent it before I e-mailed you, so I'm sure the correct person got the lovely little purse... sigh....
 
I got a wonderful Elizabethan hat, though! I think it's called a tall hat with an arched brim. It's made of black velvet, and it may be just the spur I need to finally make myself an upper-class Elizabethan. I also got some gorgeous fabric scraps and some great pictures of my Santa and some costumes she has made. Unfortunately, I'm at work as I write this and the stuff with her name on it is at home, so I've forgotten who it was. I do plan to send her a nice long e-mail of thanks, just as soon as my in-laws go home. :)
 
Tea Rose/Tara Broadway
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Subject: [h-cost] Re: holliday exchange gifts.
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Figures, I missed the digest with Bjarne's reply to my gift before I sent my last message. Oh well.
 
I'm glad you like the book, Bjarne! I wanted to get you something American, and the local reenactors' shop is mainly American Civil War, which is too late for your period of interest, so that book was the only thing they had that I thought you would like. And I believe the capote pattern is within your period, so if you ever get bored with court dress and want to do a Native American costume, or if you have to dress an eccentric character, you'll have something to start with. If not, at least it's probably something you hadn't seen before. :)
 
Happy Holidays!
 
Tea Rose/Tara Broadway


==========================================================

Date: Thu, 29 Dec 2005 15:06:13 +0100
From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
Subject: [h-cost] holliday exchange gifts.
To: <h-costume@indra.com>
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Today i received my gift from Tara Broadway.
A wonderfull book: Thoughts on Mens Shirts in America 1750- 1900. and also a 
Blanket Capote Pattern.
The shirt book has lots of gorgeous patterns, this came in right after my 
heart.
Thankyou soo much Tara for the wonderfull gifts.

Bjarne
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From: "Susan B. Farmer" <sfarmer@goldsword.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Have you seen this painting?
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Quoting Robin Netherton <robin@shell.nightowl.net>:

>
> On Thu, 29 Dec 2005, Kathy Page wrote:
>
>> I found this painting in an Italian book (funny, that given the
>> language the citation I can't read below the painting is written in.
>> *G*) And fell in love with this dress, but I can't find barely
>> anything about the painter, the sitter or the location of the painting
>> in vain hope of finding a colour copy. Does anyone have any clues?
>> http://ca.geocities.com/absynthe30/avatars/bahuet.jpg
>
> No clues, but something doesn't feel right about the portrait; the face
> seems Victorian. It may be a later copy, or perhaps if this is an older
> book (pre-photography), it is an engraving intended to show the painting.
> I can't tell from the online version whether it is an engraving, but that
> should be obvious from the book itself. At worst it is a forgery, but that
> is less likely than the alternatives. At best it is indeed c. 1540, and
> just an unusual style for the time. A citation for the book you found this
> in, with year, might be useful.

I have to say that I've given up trying to "feel" out paintings.  There
are more than a few that I've seen that individually "feel" like later
works (and I can't call any to mind at the moment, I'm sure that
they'll come to me -- ah, this one by Paris Bordone
http://realmofvenus.renaissancewoman.net/wardrobe/BordoneHandkerchief.jpg
has a Victorian feel to it, but so do many of his other works) but when
taken as a body of work, it's easy to see that it's probably just a
stylistic thing.

>
> I can't find Jean Bahuet in my dictionary of artists, nor on a websearch,
> save in 18th and 19th c. geneaologies, which might of course be referring
> to some other Jean Bahuet(s).

Actually, it's Giovanni Bahuet.  He also did this portrait of Vincenzo
Gonzaga

http://www.kingstudio.it/pagine%20Abiti%20ricostriti/vincenzo-abito.htm

And according to the program booklet for the "Splendors of the
Renaissance: Prncely attire in Italy" exhibit, "the most spectacular is
the cronation regalia of the 25-year old Vincenzo, who was invested as
Duke of Mantua on 22 Septamber 1587.  His sumptuous and extremely
costly costume is described in a contemporary chronicle by Federigo
Amadei (see p. 14).  It is precisely recorded in the official
coronation portrait by Giovanni Bahuet, which memorializes the
significant event and the clothing worn for it.  Knows as "Giovanni
Fiamengo pittore," Bauhet was a noted Flemish portratist who was in
Vincenzo's service from 1585 to 1597 (Pagani)."
>
> --Robin
>
> _______________________________________________
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-----
Susan Farmer
sfarmer@goldsword.com
University of Tennessee
Department of Ecology and Evolutionary Biology
http://www.goldsword.com/sfarmer/Trillium/


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From: "Susan B. Farmer" <sfarmer@goldsword.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] dress form / sewing caddy
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Quoting WickedFrau <wickedfrau@msn.com>:

> Here is the tiny url:  *http://tinyurl.com/dxjmd*
> and the regular one in case that doesn't work:
> http://www.picturetrail.com/gallery/view?p=999&gid=8892003&uid=4238963&members=1 
> <http://www.picturetrail.com/gallery/view?p=999&gid=8892003&uid=4238963&members=1>
>
> This is like the one I sent Susan except the colors are different...I 
> forgot to take a picture of hers!  Doi!

Mine is red and black instead of blue/green.

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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Date: Fri, 30 Dec 2005 13:25:03 -0500 (EST)
From: Kathy Page <caitlin_oduibhir@yahoo.ca>
Subject: Re: [h-cost] Have you seen this painting?
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Susan wrote:

> Ooh, cool!  No, I haven't.  What can you tell me
> about the book?

Storia del costume in Italia by Rosita Levi Pisetzky.
Volume 3 or 4, IIRC. Milano : Istituto editoriale
italiano, 1964-1969

I can't wait to see if you can track down
> a color copy!

Me too! It would help clarify an awful lot.

Robin wrote:

> No clues, but something doesn't feel right about the
> portrait; the face
> seems Victorian. It may be a later copy, or perhaps
> if this is an older
> book (pre-photography), it is an engraving intended
> to show the painting.

It *is* attributed, so it may be possible. I don't
think it an engraving though.

> I can't tell from the online version whether it is
> an engraving, but that
> should be obvious from the book itself. 

It looks pretty much the same. The paper is typical
glossy print. None of the other paintings in this tome
are engraved; they are all originals, to the best of
my knowledge. On another list I posted this request
to, someone said the caption below it discussed mostly
jewellry. She offered to translate it for me, which
I'll take her up on and see just what it's referring
to this painting for.

At best it is
> indeed c. 1540, and
> just an unusual style for the time.

I have found pretty much the same stuff as the others
whom had responded, and apparently he had done another
court painting of note. I'd very much like to find a
larger image of that painting and compare the artist
styles, even if to satisfy myself that his style is
simply unique.

Cynthia wrote:

> That would be my guess -- a tantalizing lead for the
> real painting. 
> What marvelous sleeves!

Yes! That is what caught my attention. That and the
rather unsual flat front bodice that appears to run
down the length of the gown, yet the hips are clearly
fuller. I'm still trying to wrap my head around the
engineering of this silhouette based on contemporary
styles from other paintings. 

De wrote:

> Probably because it is Giovanni Bahuet in which many
> of his paintings are in
> a private collection in Mantua.

I just wish they had a few more in an online gallery
for comparative purposes.

> "Another type of ceremonial costume is Vincenzo
> Gonzaga's attire for his
> 1587 coronation as Duke of Mantua....

Having done a dig on Gonzaga I finally found a pic of
that painting large enough to get a general feel for
his style - it seems relative. And since this painting
is solidly dated... well, *shrug*
http://www.kingstudio.it/pagine%20Abiti%20ricostriti/vincenzo-abito.htm
http://www.sapere.it/tca/minisite/arte/nonsolomostre/images/tramaoro5.jpg
It's interesting that they used Bahuet's painting as
being more correct than Reubens' work. However it's
important to note that the painting I am searching for
and this one are nearly 40 years apart and his style
may have evolved. They seem reasonably close at this
point though.
I found this too, for anyone interested in a complete
series of costumes made based on Gonzaga's marriage
portrait:
www.a-mantova.com/News/kingstudio.html
It looks like the Toledo repro is in there too. For
some reason this collection looks suspiciously
familiar.

E House wrote:

> http://www.mantovaducale.it/eng_museo.htm
> I couldn't find any info about it on their English
> site (couldn't get the 
> Italian version to load) but it couldn't hurt to try
> emailing/writing them.

Absolutely. I had found this too, but my only
reservation is that in the past I have had extremely
poor luck getting a reply to any of my queries in
Italy. I have tried on repeated occasions to locate
items, ask more information on a painting, all
answered with silence. Most frustrating. Not that I
won't bang my head yet again against this particular
Italian wall...

Becky wrote:
The artist is also knows as Giovanni
> Bahuet, a Renaissance 
> painter. 

The thing I find most odd about this is that this
painter apparently worked in Gonzaga's court his
entire career. My first thought was this was a woman
from Vincenzo's childhood - his mother's court, but
that isn't possible since his mother was Eleonora von
Habsburg, from what I can find she is from the
Viennese branch (looks like she was born in Wien?). 
*does a little rummaging*
Ohhhhh.... I know who the Isabella is they are talking
about. It's great-great grandma, Isabella d'Este
(1474-1539), married to Francesco II Gonzaga
(1466-1519). This puts this painting, and the rather
young woman sitter right at the very last days of
Isabella's life.
Moreover, the painter's last name rings familiar to
French, not Italian. And if he did such notable
sitters, why does this painter not exist historically
in his own right? He must've seriously annoyed someone
to have been this well erased from history.
Having read over the history of the mantova ducale, it
mentions that a good portion of the paintings they
have are not at all related to the history of the
palace since Vincenzo II spent Mantua into oblivion.
Now that I found the Isabella connection, it is indeed
related, it just took several hours of rooting to find
it.

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


	

	
		
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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: RE: [h-cost] Have you seen this painting?
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De and others wrote:

> ... Giovanni Bahuet ...

That would explain that! I wonder why an Italian book used the French form
of the name.

> "Another type of ceremonial costume is Vincenzo Gonzaga's attire for
> his 1587 coronation as Duke of Mantua. A great deal of research was
> necessary to recreate a costume which is described at length in
> contemporary chronicles and depicted in paintings by Giovanni Bahuet
> (private Collection, Mantua) and Rubens (Palazzo Ducale, Mantua). Made
> of white satin, embroidered gold, silver, and pearls and topped with
> an ermine cape, it is the most lavish and costly of all the costumes
> in the exhibition."

Looks like that might be this?

http://www.sapere.it/tca/minisite/arte/nonsolomostre/images/tramaoro6.jpg

The few other portraits by Bahuet I can find online are too small for me
to get a sense of the style. But I'd be interested in knowing the date of
the book that has the b/w version of the portrait. More than once I've
seen 18th and 19th c. books show an engraving of a work and cite the work
to the original artist -- often these reproductions are very faithful, and
it's usually the face that gives it away. This makes sense before
photography; however, sometimes these b/w engravings are reprinted in much
later books, with the credit to the original artist, and no indication
that it's essentially a redrawing. Ouch.

Also, it's worth seeing if there's a list of image credits in the front or
back of the book. This is more common in more recent books, though.

--Robin


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I was there when they were shooting the movie.  My husband and I walked out 
of our hotel across the little courtyard and into St. Mark's Square one 
morning, and there were folks in costume everywhere!  We mused that it might 
be some sort of Italian "Renn" Faire (in another time period of course) or 
he even thought perhaps Venice always has people dressed in costume for 
tourists.

Shortly afterwards, we found out that they were shooting a movie.  Took a 
few more days to find out it was "Casanova" and didn't realize it featured 
Heath Ledger and Sienna Miller until we arrived back in the states.  I took 
oodles of pictures of the extras, there was one little boy in particular who 
was absolutely darling in his period attire, but who was constantly 
torturing pigeons by kicking at them while they ate.  Face of a saint, 
though.

We took the tour of Casanova's cell and the Doge's palace, the day they were 
shooting scenes in front of it.  It will be fun to reminisce since we 
watched a bit of the shooting.  I did get a giggle out of everyone being in 
costume, what with me having left mine at home....  My DH and I will 
probably catch the movie on Monday.

angela
+++++
Angela F. Lazear
Cabbage Rose Costumes
Theatrical Costume Design
"Love all, trust a few, do wrong to none:
be able for thine enemy rather in power than use,
and keep thy friend under thy own life's key:
be checked for silence, but never taxed for speech..."
All's Well That Ends Well 1.1.65-6, Countess to Bertram
W. Shakespeare

http://www.cabbagerosecostumes.com

----- Original Message ----- 
From: "Laura Dickerson" <lauradi7@hotmail.com>
To: <h-costume@mail.indra.com>
Sent: Friday, December 30, 2005 5:08 AM
Subject: [h-cost] "Casanova"


>  I saw it, and liked it as eye candy.  It's not a time or place (1753, 
> Venice) that I know much about, but superficially the costumes seem OK 
> (and pretty).  I was curious to hear opinions about accuracy.
> Laura Dickerson
>
>
> _______________________________________________
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Susan B. Farmer wrote:

> I have to say that I've given up trying to "feel" out paintings.  There
> are more than a few that I've seen that individually "feel" like later
> works (and I can't call any to mind at the moment, I'm sure that
> they'll come to me -- ah, this one by Paris Bordone
> http://realmofvenus.renaissancewoman.net/wardrobe/BordoneHandkerchief.jpg
> has a Victorian feel to it, but so do many of his other works) but when
> taken as a body of work, it's easy to see that it's probably just a
> stylistic thing.

It's still fun, even if I end up wrong. ;)

The one you cited -- the skin tone on the hands vs. the chest & face is 
so different, I'm wondering if there's any chance it was redone at a 
later time?

One of my favorite paintings had some rework done on it at some point -- 
St. Elegius and the lovers had a halo put on St. E. but it was taken off 
in conservation a few years ago.

-- 
Cynthia Virtue and/or Cynthia du Pre Argent

Snow ants are of course snow white, and travel in huge packs, are quite 
invisible against the snow. Usually, the only way to know they're nearby 
is when moose disappear in a puff of white with a little spattering of 
red.  "The Great Canadian Wallpaper Festival" by Tempus Peregrinator
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Subject: [h-cost] Re: Have you seen this painting?
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Someone on another list just presented a really
compelling comparison:

http://homepage.mac.com/festive_attyre/research/diary/images/bronzino.jpg
http://www.asn-ibk.ac.at/bildung/faecher/geschichte/maike/treffpunkt/buch2-96.htm

It supports the opinion that my version is a later
copy, but they have misdated it, if they have. The
details have been exaggerated it would appear if this
is true.
One of these paintings is by Alessandro Allori
apparently. I've seen it attributed to Bronzino as
well. I'm gonna throw a reallllllly wild thought out
there : would the "A" in the Jean Bahuet attribution
have some relevance?! Doubtful, frankly. I think
trying to unearth who this Bahuet guy is will give me
most of the answers. I did find an Alfred-Louis Bahuet
Born in Paris, France, 1862 listed as a largely
unknown artist, but that's it. I have him listed in a
collection that has him with their Engravings,
Etchings, Lithographs and Â­Prints. 

There is another one though.
http://www.comanducci.it/english/Risultati.asp?Ricerca=bahuet
Also shows a Jeannin Bahuet, in the 16th century. 

Okay, my head is spinnning. time to go have a shower
and go see Narnia with my daughter. :-)

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


	

	
		
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From: "Susan B. Farmer" <sfarmer@goldsword.com>
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Subject: RE: [h-cost] Have you seen this painting?
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Quoting Robin Netherton <robin@shell.nightowl.net>:

>
>> "Another type of ceremonial costume is Vincenzo Gonzaga's attire for
>> his 1587 coronation as Duke of Mantua. A great deal of research was
>> necessary to recreate a costume which is described at length in
>> contemporary chronicles and depicted in paintings by Giovanni Bahuet
>> (private Collection, Mantua) and Rubens (Palazzo Ducale, Mantua). Made
>> of white satin, embroidered gold, silver, and pearls and topped with
>> an ermine cape, it is the most lavish and costly of all the costumes
>> in the exhibition."
>
> Looks like that might be this?
>
> http://www.sapere.it/tca/minisite/arte/nonsolomostre/images/tramaoro6.jpg

That would be it.  This page
http://www.kingstudio.it/pagine%20Abiti%20ricostriti/vincenzo-abito.htm
shows the original painting and the reconstructed costume.

I'm pretty sure that I have some other things with similar sleeves --
I'll have to have a look and see.

>
> The few other portraits by Bahuet I can find online are too small for me
> to get a sense of the style. But I'd be interested in knowing the date of
> the book that has the b/w version of the portrait. More than once I've
> seen 18th and 19th c. books show an engraving of a work and cite the work
> to the original artist -- often these reproductions are very faithful, and
> it's usually the face that gives it away. This makes sense before
> photography; however, sometimes these b/w engravings are reprinted in much
> later books, with the credit to the original artist, and no indication
> that it's essentially a redrawing. Ouch.

Yeah.  I'm with you there.

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: "Susan B. Farmer" <sfarmer@goldsword.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Have you seen this painting?
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Quoting Kathy Page <caitlin_oduibhir@yahoo.ca>:

> Susan wrote:
>
>> Ooh, cool!  No, I haven't.  What can you tell me
>> about the book?
>
> Storia del costume in Italia by Rosita Levi Pisetzky.
> Volume 3 or 4, IIRC. Milano : Istituto editoriale
> italiano, 1964-1969
>
> I can't wait to see if you can track down
>> a color copy!
>
> Me too! It would help clarify an awful lot.
>
>

ooooh.  I've heard about that book.  My university library doesn't have
it, so it was going to have to come from ILL and I don't have the time
to spend right now going through it!  However, .....

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: "Susan B. Farmer" <sfarmer@goldsword.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Have you seen this painting?
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Quoting Cynthia Virtue <cvirtue+dated+1151519366.a1119f@thibault.org>:

> Susan B. Farmer wrote:
>
>> I have to say that I've given up trying to "feel" out paintings.  There
>> are more than a few that I've seen that individually "feel" like later
>> works (and I can't call any to mind at the moment, I'm sure that
>> they'll come to me -- ah, this one by Paris Bordone
>> http://realmofvenus.renaissancewoman.net/wardrobe/BordoneHandkerchief.jpg
>> has a Victorian feel to it, but so do many of his other works) but when
>> taken as a body of work, it's easy to see that it's probably just a
>> stylistic thing.
>
> It's still fun, even if I end up wrong. ;)

Oh, but yes!

>
> The one you cited -- the skin tone on the hands vs. the chest & face 
> is so different, I'm wondering if there's any chance it was redone at 
> a later time?

You know, it could be.  I had originally assumed that she was wearing
gloves, but it doesn't appear to be so.  Most of his other women's
overall "shape" is boxier that this lady, but that could just be the
play of the shadow as well.  *sigh*  I'd like to know where Bella got
that particular image. Most of the Bordones that I have in my
e-collection are B&W, so I don't know if they're still around or if
nobody's done a recent "study" so we can have pretty color pictures.

>
> One of my favorite paintings had some rework done on it at some point 
> -- St. Elegius and the lovers had a halo put on St. E. but it was 
> taken off in conservation a few years ago.

Some of the newer conservarion efforts are undoing the changes that had
been done over the years.  And you know there is still the occasional
controversy over the restoration of the Sistine Chapel.

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


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Subject: Re: [h-cost] "Casanova"
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Hi Laura.
I am dying to se this movie, but it wont get to the danish cinemas until 
march, so i have to be patiente.
My swedish friends of the gustavian society are going full dressed to the 
premiere opening in Stockholm later in january because the director is 
swedish. They were invited to come because they are so well dressed.

Bjarne
----- Original Message ----- 
From: "Laura Dickerson" <lauradi7@hotmail.com>
To: <h-costume@mail.indra.com>
Sent: Friday, December 30, 2005 2:08 PM
Subject: [h-cost] "Casanova"


>  I saw it, and liked it as eye candy.  It's not a time or place (1753, 
> Venice) that I know much about, but superficially the costumes seem OK 
> (and pretty).  I was curious to hear opinions about accuracy.
> Laura Dickerson
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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Quoting Kathy Page <caitlin_oduibhir@yahoo.ca>:

> Someone on another list just presented a really
> compelling comparison:
>
> http://homepage.mac.com/festive_attyre/research/diary/images/bronzino.jpg
> http://www.asn-ibk.ac.at/bildung/faecher/geschichte/maike/treffpunkt/buch2-96.htm
>
> It supports the opinion that my version is a later
> copy, but they have misdated it, if they have. The
> details have been exaggerated it would appear if this
> is true.
> One of these paintings is by Alessandro Allori
> apparently. I've seen it attributed to Bronzino as
> well.

*snippage*

Allori was Bronzino's pupil -- and Bronzino was made his guardian as
well so there was a close relationship between the two.  In fact, if
you see an attribution of Allesandro Bronzino, it is in fact Allori
rather than Agnolo Bronzino who was the artist.  He is known to have
taken Bronzino's name from time to time.

Here's a brief bio.
http://www.wga.hu/bio/a/allori/alessand/biograph.html
and one for Bronzino
http://www.wga.hu/bio/b/bronzino/biograph.html

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


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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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	<8C7DB721CE5B918-444-677C@mblk-d35.sysops.aol.com>
Subject: Re: [h-cost] Re: Christmas presents
Date: Fri, 30 Dec 2005 23:01:42 +0100
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Hi Tara,
How typpical of me to compleately misunderstand everything.
I think i have learned now :-)
Thanks Tara.............

Bjarne


----- Original Message ----- 
From: <tearoses@aol.com>
To: <h-costume@indra.com>
Sent: Friday, December 30, 2005 5:06 PM
Subject: [h-cost] Re: Christmas presents


> Bjarne, I think you're a little mixed up. I sent you your gift, but you 
> were supposed to send a gift to someone else. You sent it before I 
> e-mailed you, so I'm sure the correct person got the lovely little 
> purse... sigh....
>
> I got a wonderful Elizabethan hat, though! I think it's called a tall hat 
> with an arched brim. It's made of black velvet, and it may be just the 
> spur I need to finally make myself an upper-class Elizabethan. I also got 
> some gorgeous fabric scraps and some great pictures of my Santa and some 
> costumes she has made. Unfortunately, I'm at work as I write this and the 
> stuff with her name on it is at home, so I've forgotten who it was. I do 
> plan to send her a nice long e-mail of thanks, just as soon as my in-laws 
> go home. :)
>
> Tea Rose/Tara Broadway
> _______________________________________________
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: "Historical Costume" <h-costume@indra.com>
References: <20051230191703.76617.qmail@web52106.mail.yahoo.com>
Subject: Re: [h-cost] Re: Have you seen this painting?
Date: Fri, 30 Dec 2005 23:05:42 +0100
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Hi,
I stumped over this stunning mans renaissance clothes.
How is his doublet buttoned down the front. I only se 3 buttons at the top, 
where is the rest?
Is it laced at the back?

http://www.asn-ibk.ac.at/bildung/faecher/geschichte/maike/treffpunkt/abb81a.htm

Bjarne
----- Original Message ----- 
From: "Kathy Page" <caitlin_oduibhir@yahoo.ca>
To: <h-costume@indra.com>
Sent: Friday, December 30, 2005 8:17 PM
Subject: [h-cost] Re: Have you seen this painting?


> Someone on another list just presented a really
> compelling comparison:
>
> http://homepage.mac.com/festive_attyre/research/diary/images/bronzino.jpg
> http://www.asn-ibk.ac.at/bildung/faecher/geschichte/maike/treffpunkt/buch2-96.htm
>
> It supports the opinion that my version is a later
> copy, but they have misdated it, if they have. The
> details have been exaggerated it would appear if this
> is true.
> One of these paintings is by Alessandro Allori
> apparently. I've seen it attributed to Bronzino as
> well. I'm gonna throw a reallllllly wild thought out
> there : would the "A" in the Jean Bahuet attribution
> have some relevance?! Doubtful, frankly. I think
> trying to unearth who this Bahuet guy is will give me
> most of the answers. I did find an Alfred-Louis Bahuet
> Born in Paris, France, 1862 listed as a largely
> unknown artist, but that's it. I have him listed in a
> collection that has him with their Engravings,
> Etchings, Lithographs and Â­Prints.
>
> There is another one though.
> http://www.comanducci.it/english/Risultati.asp?Ricerca=bahuet
> Also shows a Jeannin Bahuet, in the 16th century.
>
> Okay, my head is spinnning. time to go have a shower
> and go see Narnia with my daughter. :-)
>
> 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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> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume 

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Subject: Re: [h-cost] Re: Have you seen this painting?
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This thing has been on my mind all day. I've looked all over the Internet 
for similar pictures or images. I've found so many more than I knew about 
and still now that are this one picture.
I''ve looked under all Renaissance artists around 1540 and not look close. 
It looks like the Flemish artists and Ruebens paiintings but not the same 
background treatment. So as an art teacher, this has me baffled.
I'd like to know more about the Renaissance Period of art is my favorite. I 
have lots to learn about the clothing of that time. So now it has become a 
mission to learn more about this wonderful period of art.
Please keep us informed about this painting. Where did you get the picture? 
Can you write the publisher for more information? Maybe they can refer you 
to the original owner or museum. It's worth a trty.
----- Original Message ----- 
From: "Susan B. Farmer" <sfarmer@goldsword.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, December 30, 2005 2:57 PM
Subject: Re: [h-cost] Re: Have you seen this painting?


> Quoting Kathy Page <caitlin_oduibhir@yahoo.ca>:
>
>> Someone on another list just presented a really
>> compelling comparison:
>>
>> http://homepage.mac.com/festive_attyre/research/diary/images/bronzino.jpg
>> http://www.asn-ibk.ac.at/bildung/faecher/geschichte/maike/treffpunkt/buch2-96.htm
>>
>> It supports the opinion that my version is a later
>> copy, but they have misdated it, if they have. The
>> details have been exaggerated it would appear if this
>> is true.
>> One of these paintings is by Alessandro Allori
>> apparently. I've seen it attributed to Bronzino as
>> well.
>
> *snippage*
>
> Allori was Bronzino's pupil -- and Bronzino was made his guardian as
> well so there was a close relationship between the two.  In fact, if
> you see an attribution of Allesandro Bronzino, it is in fact Allori
> rather than Agnolo Bronzino who was the artist.  He is known to have
> taken Bronzino's name from time to time.
>
> Here's a brief bio.
> http://www.wga.hu/bio/a/allori/alessand/biograph.html
> and one for Bronzino
> http://www.wga.hu/bio/b/bronzino/biograph.html
>
> 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: Re: [h-cost] Have you seen this painting?
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Was there a specific area of Europe that had this kind of slashing and 
ribbon flaps The hair style might be a clue to it's origins.
I never had to look so close to clothing before.
I'm making a Renaissance costume for myself but now I don't know what period 
I want to reconstruct. I have 10 yards of a wine velvet with gold arebesque 
scrolls all over it. I am looking for a more glamour damask or brocade for 
the front panel. Any suggestions? I like the puffy sleeves and the chemise 
showing through. I don't like the high necklines of the later periods, and 
am not really wanting the "melons on a platter" as some said earlier.  I 
want to make sure the hat and hair match the period of my dress. I like the 
hair pulled back and the bejeweled snoods but also the French cap with the 
veil (the one that looks like an upturned duck bill, but with embellishments 
to make it richly decorated).
Anyone got a picture that might inspire me and guide me to a magnificant 
costume.. BEFORE I cut my fabric.
----- Original Message ----- 
From: "otsisto" <otsisto@socket.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, December 30, 2005 8:00 AM
Subject: RE: [h-cost] Have you seen this painting?


> -----Original Message-----
>> http://ca.geocities.com/absynthe30/avatars/bahuet.jpg
>
> <<<No clues, but something doesn't feel right about the portrait; the face
> seems Victorian. It may be a later copy, or perhaps if this is an older
> book (pre-photography), it is an engraving intended to show the painting.
> I can't tell from the online version whether it is an engraving, but that
> should be obvious from the book itself. At worst it is a forgery, but that
> is less likely than the alternatives. At best it is indeed c. 1540, and 
> just
> an unusual style for the time. A citation for the book you found this in,
> with year, might be useful.
> I can't find Jean Bahuet in my dictionary of artists, nor on a websearch,
> save in 18th and 19th c. geneaologies, which might of course be referring
> to some other Jean Bahuet(s).
>
> --Robin>>>>>>
> ***
> Probably because it is Giovanni Bahuet in which many of his paintings are 
> in
> a private collection in Mantua.
> http://www1.cuny.edu/portal_ur/news/cuny_matters/march_04/gallery_center.htm
> l
> "Another type of ceremonial costume is Vincenzo Gonzaga's attire for his
> 1587 coronation as Duke of Mantua. A great deal of research was necessary 
> to
> recreate a costume which is described at length in contemporary chronicles
> and depicted in paintings by Giovanni Bahuet (private Collection, Mantua)
> and Rubens (Palazzo Ducale, Mantua). Made of white satin, embroidered 
> gold,
> silver, and pearls and topped with an ermine cape, it is the most lavish 
> and
> costly of all the costumes in the exhibition."
>
> De
>
>
> _______________________________________________
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> h-costume@mail.indra.com
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> 
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Date: Fri, 30 Dec 2005 14:22:11 -0800
To: Historical Costume <h-costume@indra.com>
From: Joan Jurancich <joanmj@surewest.net>
Subject: Man's Doublet closure, was Re: [h-cost] Have you seen this painting?
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At 02:05 PM 12/30/2005, you wrote:
>Hi,
>I stumped over this stunning mans renaissance clothes.
>How is his doublet buttoned down the front. I only se 3 buttons at 
>the top, where is the rest?
>Is it laced at the back?
>
>http://www.asn-ibk.ac.at/bildung/faecher/geschichte/maike/treffpunkt/abb81a.htm
>
>Bjarne

My guess would be that the buttons are purely decorative and the 
actual closure is by hooks and eyes.


Joan Jurancich
joanmj@surewest.net 

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From h-costume-bounces@indra.com  Fri Dec 30 17:49:07 2005
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Subject: Re: [h-cost] "Casanova" (possible spoiler)
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I feel compelled to comment here. I saw Casanova last Sunday and for the 
most part the costumes are lovely. Not perfect, but quite good. With one 
rather glaring exception. This could be considered a spoiler, so I'll skip 
some space
:
:
:
:
:
:
:
:
:
:
:
:
At the climactic scene of the movie, Francesca is wearing her shift, 
petticoat and a corset. But it is the weirdest corset I've ever seen! The 
style and cut was correct, but you could see both or her breasts clearly 
outlined in the cloth, right down to her nipples! And detailed enough to 
tell that her right breast is lower than her left. I can't figure out why 
it looks like that, or even how they achieved that look. I suppose if you 
left out all the boning you might get that, but still, with at least two 
layers of coutil (or some other sturdy fabric) you shouldn't be able to see 
her breasts like that. Granted, earlier in the film the character has a 
comment about how hideous corsets are, so if that's the point they're 
trying to underline, why have her in a corset at all?

I'm stumped, and it really yanked me out of the movie at that point. I'm 
curious to hear anyone elses comments after they've seen it.

Julie

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From: "Susan B. Farmer" <sfarmer@goldsword.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Re: Have you seen this painting?
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Quoting Becky <zeartiste@hotmail.com>:

> This thing has been on my mind all day. I've looked all over the 
> Internet for similar pictures or images. I've found so many more than 
> I knew about and still now that are this one picture.

Got 'em!  I knew that I had pictures of those sleeves.  :-)  Both of
these paintings are in the new book "Moda a Firenze" on the influence
of Eleanor of Toledo.  The book covers Florentine Style from 1540-1580.
It's *wonderful*  My copy of the book isn't here yet, (I fondled an ILL
copy) but the best place that I found to get it was from this site in
Italy.

http://www.polistampa.com/asp/sl.asp?id=3653

Gorgeous book -- lots of paintings that I've never seen any where else. 
In fact, most of them I'd never seen before.

This painting
http://epee.goldsword.com/sfarmer/SCA/Paintings/florentine_PortraitWoman-landinFig39.jpg
or
http://tinyurl.com/byswr

is simply listed as "Florentine" with no specific artist attributed. 
It's almost *identical* to the painting from Rosa's book currently
under discussion.  This other painting

http://epee.goldsword.com/sfarmer/SCA/Paintings/bronzinoWorkshop_PortraitWoman-landinFig57.jpg
or
http://tinyurl.com/dunbm
is attributed to "Workshop of Bronzino"

Susan, Florentine 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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Quoting Becky <zeartiste@hotmail.com>:

> Was there a specific area of Europe that had this kind of slashing 
> and ribbon flaps The hair style might be a clue to it's origins.
> I never had to look so close to clothing before.

I flunked Art History as a college freshman a hundred years or so ago;
but I've learned more in the past few years looking at paintings for
clothing details.

*snippage*

> Anyone got a picture that might inspire me and guide me to a 
> magnificant costume.. BEFORE I cut my fabric.

There are 2 sets of web sites to see -- both have Italian Gallieries,
but neither one of them cover the Florentine period from 1550-1580 like
the "Mda a Firenza" book does.

The first is Jen Thompson's Festive Attyre.
http://homepage.mac.com/festive_attyre/research/index.html
You want the first four pages under Image Galleries -- she does have a
"working woman" from 1575-1600 Gallery that I had forgotten about. Most 
of her stuff is oriented towards Florentine Fashion.  The "court"
galleries cover the period from 1475-1550.

If you want to go the Venetian route (and I don't care for the later
period Venetian fashion), you need Bella's site.
http://realmofvenus.renaissancewoman.net/wardrobe/wardrobe.htm
Here she has galleries that span 1490 to post 1600.  I really like the
early Venetian stuff.

And do poke around both of those sites.  I just included the link for
the top of the "Gallery Stuff."

If this is the style that you like, do get a copy of "Moda a Firenza." 
ILL it first if you're not sure that you want to spend the money.  I
still like Tudor and early Elizabethan -- and I want to make Viking,
and a bliaut (whatever it really was) and a GFD -- but my heart has
been stolen by Venetian and Florentine fashion.

There are another couple of books that folks reference for the Italian
Renaissance -- one is by Birbari.  I looked at this one, and decided it
wasn't for me.  It was earlier than my primary focus.  The other one is
by Jacqueline Herald -- it's *wonderful*  There's a set of books at my
university library (in Italian) by C. Bestetti, C.  (published in
1962.) Abbigliamento e costume nella pittura italiana: Rinascimento. Or 
maybe it was this set by Pirovano (pub 1987) La pittura in Italia. 
(these are done by century)  Unfortunately, most of the paintings in
here are in B/W (as in the two other books).  Bernard Berenson has some
nice books -- agian mostly B/W; Italian pictures of the renaissance:
Venetian School; Italian pictures of the renaissance: Florentine
School; and Central I talian and north Italian pictures of the
renaissance.

Other books that have some nice Italian paintings in them (in addition
to books about specific artists)
     Brown, D.A.  2001.  Virtue and Beauty: Leonardo’s Ginerva de’ Benci
and renaissance portraits of Women.
     Campbell, L.  1990.  Renaissance portraits: European
portrait-painting in the 14th, 15th, and 16th centuries.
     Thornton, P.  1991.  the Italian Renaissance Interiors: 1400-1600

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



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From: Gail & Scott Finke <gailscott@eos.net>
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Subject: [h-cost] Re: Duke of Mantua costume
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on 12/30/05 4:19 PM, h-costume-request@indra.com at
h-costume-request@indra.com wrote:

>> "Another type of ceremonial costume is Vincenzo Gonzaga's attire for
>> his 1587 coronation as Duke of Mantua. A great deal of research was
>> necessary to recreate a costume which is described at length in
>> contemporary chronicles and depicted in paintings by Giovanni Bahuet
>> (private Collection, Mantua) and Rubens (Palazzo Ducale, Mantua). Made
>> of white satin, embroidered gold, silver, and pearls and topped with
>> an ermine cape, it is the most lavish and costly of all the costumes
>> in the exhibition."
> 
> Looks like that might be this?
> 
> http://www.sapere.it/tca/minisite/arte/nonsolomostre/images/tramaoro6.jpg


WOW!!! Thanks for posting that.

And Deredere, thanks for posting your photos from the museum. That must be a
wonderful exhibit to see in person!

Gail Finke

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From: Cin <cinbarnes@gmail.com>
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Subject: Re: [h-cost] Have you seen this painting?
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>I don't know how much this will help, but here's the museum mentioned in the
>caption as its home:
>http://www.mantovaducale.it/eng_museo.htm
>I couldn't find any info about it on their English site (couldn't get the
>Italian version to load) but it couldn't hurt to try emailing/writing them.

I was at both the Palazzo Te & Palazzo Ducale in Mantova this summer. 
I was not impressed with the collection or the staff in either
location.  There was no catalog for sale either.  Apparently the
Gonzaga heirs quietly got rid of/ sold off all the stuff. There's
nearly nothing remaining of the once vast collections.  The city owns
both palazzos and runs one as a museum, the other as a semi-outdoor
concert space.  There had been one the nite before; the place was
absolutely trashy. Some of the frescoes remain, others are in the
early stages of restoration. A whole lot of work remains.  Someday it
will be a lovely site, I hope.

As for the paintings, the gown is quite similar to most every other
one in the 1560s. I'm sure you'll find something equally wonderful, if
not more so.
--cin
Cynthia Barnes
CinBarnes@gmail.com

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http://www.vivoscuola.it/us/dlllsn3095/alad/030527.htm
A quick search for bahuet and ritratto found this. No more info, but it
gives an Italian spelling of his name.
He seems to be variously called Giovanni and Gioninni. Jeannin and Jean
would be the French spellings of his name. It all makes sense, in English it
would be John;) Or some diminuitive?

The original imge looks like it just had the wrong date for it. Possibly it
was also taken from a photogravure. It's an early photogrpahic process that
is a little grainier. I have several books from the start of the 20thC that
uses this process.
http://www.curtis-collection.com/process.html
http://www.vam.ac.uk/vastatic/microsites/photography/processframe.php?processid=pr017

> Got 'em!  I knew that I had pictures of those sleeves.  :-)  Both of
> these paintings are in the new book "Moda a Firenze" on the influence
> of Eleanor of Toledo.  The book covers Florentine Style from 1540-1580.
> It's *wonderful*  My copy of the book isn't here yet, (I fondled an ILL
> copy) but the best place that I found to get it was from this site in
> Italy.

Sigh, I so need to get this book out on ILL. I "do" German and Netherlands,
but it's always exciting to see good clear images from other countries as
well.


>  http://tinyurl.com/byswr
>  http://tinyurl.com/dunbm

Thanks for those:) Actually I spotted a few more in that style on bildindex.
I did a search for bildnis with the date ranges 1500 - 1600 and trawled
through over 3000 images;)

http://www.bildindex.de/bilder/be00068a05a.jpg
Niederlande?, Bildnis der Lavinia Fontana, 1501/1600?, Bild, Brüssel,
Sammlung unbekannt

http://www.bildindex.de/bilder/mi00235e12a.jpg
Bronzino, Agnolo (Zuschreibung), Bildnis einer Dame, Bild, Berlin, Sammlung
Schmidt, Carl (?)

http://www.bildindex.de/bilder/koeln_2577027b.jpg
Bronzino, Agnolo (Nachahmer), Bildnis einer Frau / Bildnis einer Frau
(Bianca Capello?), Bild, Köln, Wallraf-Richartz-Museum, WRM 3473


http://www.bildindex.de/bilder/it00148g08a.jpg
Bronzino, Agnolo, Bildnis einer adeligen Dame, Bild, Florenz, Galleria degli
Uffizi, Pinacoteca
Ya, got me, she's not at all dressed the smae;) I just like her partlet.

michaela de bruce
http://glittersweet.com



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Thank you so much for sharing ...what wonderful gowns and what a great 
way to display them.  What museum is this?
Sg
Deredere Galbraith wrote:

> Hi,
>
> Endjoy looking!
>
> http://mystictimes.nl/Gallery/Gallery.html
>
> Greetings,
>       Deredere


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From: "Susan B. Farmer" <sfarmer@goldsword.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Re: Have you seen this painting?
References: <20051230191703.76617.qmail@web52106.mail.yahoo.com><20051230135710.4qyi2tmzjn5wkgo8@www.goldsword.com><BAY101-DAV4785DB8DA1561A8068E17BC280@phx.gbl>
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Quoting michaela <thebruce@ihug.co.nz>:

*snippage*

>
>> Got 'em!  I knew that I had pictures of those sleeves.  :-)  Both of
>> these paintings are in the new book "Moda a Firenze" on the influence
>> of Eleanor of Toledo.  The book covers Florentine Style from 1540-1580.
>> It's *wonderful*  My copy of the book isn't here yet, (I fondled an ILL
>> copy) but the best place that I found to get it was from this site in
>> Italy.
>
> Sigh, I so need to get this book out on ILL. I "do" German and Netherlands,
> but it's always exciting to see good clear images from other countries as
> well.
>
>
>>  http://tinyurl.com/byswr
>>  http://tinyurl.com/dunbm
>
> Thanks for those:) Actually I spotted a few more in that style on bildindex.
> I did a search for bildnis with the date ranges 1500 - 1600 and trawled
> through over 3000 images;)

Cool.  I haven't figured out how to search that site yet.  At one time,
I was pointed to an enormous collection of Sofonisba Anguissola
paintings there, but everything that I pull up on her now from that
site  has much fewer paintings.  How did you set up your search?

>
> http://www.bildindex.de/bilder/be00068a05a.jpg
> Niederlande?, Bildnis der Lavinia Fontana, 1501/1600?, Bild, Brüssel,
> Sammlung unbekannt

I like Lavinia.  :-)  the gown is black, the underskirt is gold, and
those are pearls on her sleeves.

>
> http://www.bildindex.de/bilder/mi00235e12a.jpg
> Bronzino, Agnolo (Zuschreibung), Bildnis einer Dame, Bild, Berlin, Sammlung
> Schmidt, Carl (?)

One very similar to this on is in the book (attributed to Pulzone) --
looks like the same face.  The body of the gown looks like it might be
needlepoint or cross-stitch in the book image.

>
> http://www.bildindex.de/bilder/koeln_2577027b.jpg
> Bronzino, Agnolo (Nachahmer), Bildnis einer Frau / Bildnis einer Frau
> (Bianca Capello?), Bild, Köln, Wallraf-Richartz-Museum, WRM 3473

There's one similar to this by Allori.  The sleeve puffs are different
-- in the Allori portrait, they're not lined up.  The fabric in the
Allori portrait is black with a gold stripe in it.

>
> http://www.bildindex.de/bilder/it00148g08a.jpg
> Bronzino, Agnolo, Bildnis einer adeligen Dame, Bild, Florenz, Galleria degli
> Uffizi, Pinacoteca
> Ya, got me, she's not at all dressed the smae;) I just like her partlet.

This one is in color in the book.  Isn't that partlet just too cool?

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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My daughter LOVES the blue one with the lace collar or frilly collar. Do you 
have a complete view of that one?
I love the picture of Elenora http://www.polistampa.com/asp/se.asp?id=106. 
That is how I want the top of my dress. Thanks for the link I will go see if 
I can find it at the local bookstores... we have so many around here. One 
might actually have the book or be able to get it for me.
----- Original Message ----- 
From: "Susan B. Farmer" <sfarmer@goldsword.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, December 30, 2005 5:59 PM
Subject: Re: [h-cost] Re: Have you seen this painting?


> Quoting Becky <zeartiste@hotmail.com>:
>
>> This thing has been on my mind all day. I've looked all over the Internet 
>> for similar pictures or images. I've found so many more than I knew about 
>> and still now that are this one picture.
>
> Got 'em!  I knew that I had pictures of those sleeves.  :-)  Both of
> these paintings are in the new book "Moda a Firenze" on the influence
> of Eleanor of Toledo.  The book covers Florentine Style from 1540-1580.
> It's *wonderful*  My copy of the book isn't here yet, (I fondled an ILL
> copy) but the best place that I found to get it was from this site in
> Italy.
>
> http://www.polistampa.com/asp/sl.asp?id=3653
>
> Gorgeous book -- lots of paintings that I've never seen any where else. In 
> fact, most of them I'd never seen before.
>
> This painting
> http://epee.goldsword.com/sfarmer/SCA/Paintings/florentine_PortraitWoman-landinFig39.jpg
> or
> http://tinyurl.com/byswr
>
> is simply listed as "Florentine" with no specific artist attributed. It's 
> almost *identical* to the painting from Rosa's book currently
> under discussion.  This other painting
>
> http://epee.goldsword.com/sfarmer/SCA/Paintings/bronzinoWorkshop_PortraitWoman-landinFig57.jpg
> or
> http://tinyurl.com/dunbm
> is attributed to "Workshop of Bronzino"
>
> Susan, Florentine 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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Hi all

I am just now catching up on emails, and still have a lot to go through.

To Ruth Ann, you are most welcome. I hadn't made anything like that before, 
and I really enjoyed making your gift, that I am going to make one for me, 
too, ... someday.

I received the Secret Santa gift from Katheryne Grossberg that came in 
today. She sent me a beautiful silk knitted purse, 2oz of hand dyed romney 
wool from red onion skins, a box of miniature ornaments, and they all came 
wrapped in a bit of fabric that will go great with a costume idea I've been 
collecting fabric for that will get into three dimensional fabric imaging 
(flames, lots of flames.) Thank you so very much Katheryne! I really love 
the gifts you sent. I did a little happy dance that made my husband and 
friends look at me funny.

As for what else I got for Christmas that is costume related... not much. 
My husband got me garnet earrings and a garnet and opal bracelet from my 
favorite jewelry store (The Dragon's Treasure - www.dragont.com). They will 
go well with my faire costume, and for special nights out. Otherwise, I 
mostly got gift certificates and cash that I've spent buying costume and 
embroidery books. Even with a wish list on Amazon.com, people are scared I 
won't like what they chose for me.

These are the costume or faire related books I just ordered. They are all 
in transit, so I hope they will come in next week or sooner, like yesterday!
_Nineteenth-Century Fashion in Detail_ by Lucy Johnston
_Pleasures and Pastimes in Tudor England_ by Alison Sim
_Hispanic Costume, 1480 - 1530_ by Ruth Matilda Anderson
_German Renaissance Patterns for Embroidery (1568)_  Nicholas Bassee
_The New Carolingian Modelbook, Counted Embroidery Patterns From Before 
1600_ by Kim Brody Salazar

For us, the main gifts are for our kids, and they got plenty. My son so 
loves Thomas the Tank Engine and he got plenty on that. I also made his 
first Christmas stocking with a Santa Pooh Bear. I have to finish my 
husbands, and then come up with something for me and for our daughter.

Speaking of which, my little girl is up and needing my attention. Happy New 
Year everyone!!

Kimiko
Kimiko Small
http://www.kimiko1.com
Fresno, CA, USA

"Lady of the Wardrobe" for Isle of Mann Guild
Portraying at California's Central Valley Renaissance Faires
Lady Clifford, Countess of Cumberland
  (Margaret Percy, Eleanor Brandon, or Margaret Russell)

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Date: Fri, 30 Dec 2005 21:49:46 -0500
From: monica spence <monicaspence@optonline.net>
Subject: RE: Man's Doublet closure,
	was Re: [h-cost] Have you seen this painting?
In-reply-to: <7.0.0.16.2.20051230142051.022e27b0@surewest.net>
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Hooks and eyes? This is Francesco de Medici, Cosimo I de Medici and Eleonora
de Toledo's oldest son.
Dame Catriona MacDuff

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of Joan Jurancich
Sent: Friday, December 30, 2005 5:22 PM
To: Historical Costume
Subject: Man's Doublet closure, was Re: [h-cost] Have you seen this
painting?


At 02:05 PM 12/30/2005, you wrote:
>Hi,
>I stumped over this stunning mans renaissance clothes.
>How is his doublet buttoned down the front. I only se 3 buttons at
>the top, where is the rest?
>Is it laced at the back?
>
>http://www.asn-ibk.ac.at/bildung/faecher/geschichte/maike/treffpunkt/abb81a
.htm
>
>Bjarne

My guess would be that the buttons are purely decorative and the
actual closure is by hooks and eyes.


Joan Jurancich
joanmj@surewest.net

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Date: Fri, 30 Dec 2005 21:49:46 -0500
From: monica spence <monicaspence@optonline.net>
Subject: RE: [h-cost] Re: Duke of Mantua costume
In-reply-to: <BFDB3B8C.1B5F6%gailscott@eos.net>
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I saw this costume in New York . It was pretty spectacular. Janet Cox
Rearick was the organizer of the exhibit. It also had the famous black white
gold Eleonora of Toledo gown and Federico Gonzaga outfit among others. The
fabric was amazing the reproduced it for the exhibit... Sigh.... The women
in charge of the exhibit let me play with the Eleonora gown....Double
sigh...

Dame Catriona Mac Duff.

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of Gail & Scott Finke
Sent: Friday, December 30, 2005 6:31 PM
To: h-costume@indra.com
Subject: [h-cost] Re: Duke of Mantua costume


on 12/30/05 4:19 PM, h-costume-request@indra.com at
h-costume-request@indra.com wrote:

>> "Another type of ceremonial costume is Vincenzo Gonzaga's attire for
>> his 1587 coronation as Duke of Mantua. A great deal of research was
>> necessary to recreate a costume which is described at length in
>> contemporary chronicles and depicted in paintings by Giovanni Bahuet
>> (private Collection, Mantua) and Rubens (Palazzo Ducale, Mantua). Made
>> of white satin, embroidered gold, silver, and pearls and topped with
>> an ermine cape, it is the most lavish and costly of all the costumes
>> in the exhibition."
>
> Looks like that might be this?
>
> http://www.sapere.it/tca/minisite/arte/nonsolomostre/images/tramaoro6.jpg


WOW!!! Thanks for posting that.

And Deredere, thanks for posting your photos from the museum. That must be a
wonderful exhibit to see in person!

Gail Finke

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Date: Fri, 30 Dec 2005 20:08:39 -0600
Subject: Re: Man's Doublet closure,
	was Re: [h-cost] Have you seen this painting?
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Hooks and eyes are a perfectly period closing for the 16th century- why
wouldn't Francesco de Medici have a doublet that closed with hooks and
eyes?

Karen
Seamstrix


On Fri, 30 Dec 2005 21:49:46 -0500 monica spence
<monicaspence@optonline.net> writes:
> Hooks and eyes? This is Francesco de Medici, Cosimo I de Medici and 
> Eleonora
> de Toledo's oldest son.
> Dame Catriona MacDuff
> 
> -----Original Message-----
> From: h-costume-bounces@indra.com 
> [mailto:h-costume-bounces@indra.com]On
> Behalf Of Joan Jurancich
> Sent: Friday, December 30, 2005 5:22 PM
> To: Historical Costume
> Subject: Man's Doublet closure, was Re: [h-cost] Have you seen this
> painting?
> 
> 
> At 02:05 PM 12/30/2005, you wrote:
> >Hi,
> >I stumped over this stunning mans renaissance clothes.
> >How is his doublet buttoned down the front. I only se 3 buttons at
> >the top, where is the rest?
> >Is it laced at the back?
> >
>
>http://www.asn-ibk.ac.at/bildung/faecher/geschichte/maike/treffpunkt/abb
81a
> .htm
> >
> >Bjarne
> 
> My guess would be that the buttons are purely decorative and the
> actual closure is by hooks and eyes.
> 
> 
> Joan Jurancich
> joanmj@surewest.net
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 
> 
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I found the perfect dress for my fabric!!!!! That is about the closest I've 
found to any design for the fabric I have. Any idea of what kind of pattern 
I'd need to make it?
http://www.tudor-portraits.com/ElenoraToledo5.jpg

----- Original Message ----- 
From: "Susan B. Farmer" <sfarmer@goldsword.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, December 30, 2005 5:59 PM
Subject: Re: [h-cost] Re: Have you seen this painting?


> Quoting Becky <zeartiste@hotmail.com>:
>
>> This thing has been on my mind all day. I've looked all over the Internet 
>> for similar pictures or images. I've found so many more than I knew about 
>> and still now that are this one picture.
>
> Got 'em!  I knew that I had pictures of those sleeves.  :-)  Both of
> these paintings are in the new book "Moda a Firenze" on the influence
> of Eleanor of Toledo.  The book covers Florentine Style from 1540-1580.
> It's *wonderful*  My copy of the book isn't here yet, (I fondled an ILL
> copy) but the best place that I found to get it was from this site in
> Italy.
>
> http://www.polistampa.com/asp/sl.asp?id=3653
>
> Gorgeous book -- lots of paintings that I've never seen any where else. In 
> fact, most of them I'd never seen before.
>
> This painting
> http://epee.goldsword.com/sfarmer/SCA/Paintings/florentine_PortraitWoman-landinFig39.jpg
> or
> http://tinyurl.com/byswr
>
> is simply listed as "Florentine" with no specific artist attributed. It's 
> almost *identical* to the painting from Rosa's book currently
> under discussion.  This other painting
>
> http://epee.goldsword.com/sfarmer/SCA/Paintings/bronzinoWorkshop_PortraitWoman-landinFig57.jpg
> or
> http://tinyurl.com/dunbm
> is attributed to "Workshop of Bronzino"
>
> Susan, Florentine junkie
> -----
> Susan Farmer
> sfarmer@goldsword.com
> University of Tennessee
> Department of Ecology and Evolutionary Biology
> http://www.goldsword.com/sfarmer/Trillium/
>
>
> _______________________________________________
> h-costume mailing list
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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Holiday gifts
Date: Fri, 30 Dec 2005 23:20:48 -0500
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On Tuesday 27 December 2005 10:05 pm, Robin Netherton wrote:
> On Tue, 27 Dec 2005, Catherine Olanich Raymond wrote:
> > "A Perfect Red," by Amy Butler Greenfield (a history of the red dyes used
> > in textile production in Europe, particularly cochineal)
> > "Mauve," by Simon Garfield (a history of the invention of that particular
> > dye)
>
> I heard an interview with the author of "Mauve" on NPR when the book first
> came out -- it sounded fascinating. I hadn't heard of the Red book; let us
> know how these are!

I will.  I've started "Red" and it looks somewhat lightweight and more 
interested in the politics of cochineal importation than I wanted.  I have 
higher hopes for "Mauve."


-- 
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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References: <20051230191703.76617.qmail@web52106.mail.yahoo.com><20051230135710.4qyi2tmzjn5wkgo8@www.goldsword.com><BAY101-DAV4785DB8DA1561A8068E17BC280@phx.gbl><20051230165928.ifujurmc4ug4g0ss@www.goldsword.com>
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Subject: Pattern for Eleanor Painting was Re: [h-cost] Re: Have you seen this
	painting?
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Hi, Becky.  That is an amazing portrait, isn't it? I got to spend some time
with the book this summer (ILL is *such* a gift from the costuming/research
gods!), and got some scans of it.  <weg>
I'd use the pattern taken from the extant "Eleanor," if I were doing the
dress in the portrait.  It's in Janet Arnold's _Patterns of Fashion,
1560-1620_.  Similar dresses show up in Alcega, if I'm not mistaken (it's
been years since I've looked at my copy).
Alcega and Arnold would also be pretty good sources for ideas on how to make
the overgown/surcoat.
You might check out the Realmofvenus website (not sure of exact web addy,
but someone else might have it).  The owner/host specializes in Italian
stuff--more heavily oriented towards Venetian, but lotses and lotses of
yummy ideas, nonetheless!
Good luck with the outfit!
--Sue, still tempted to rejoin the "dark side" of 1500 ;-P

----- Original Message -----
From: "Becky" <zeartiste@hotmail.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, December 30, 2005 8:20 PM
Subject: Re: [h-cost] Re: Have you seen this painting?


> I found the perfect dress for my fabric!!!!! That is about the closest
I've
> found to any design for the fabric I have. Any idea of what kind of
pattern
> I'd need to make it?
> http://www.tudor-portraits.com/ElenoraToledo5.jpg


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X-Miltered: at demeter with ID 43B60FF5.002 by Joe's j-chkmail (http://j-chkmail.ensmp.fr)!

I have to chime in here and thank my secret Santa-Stephen--- for the lovely
trim.  Although He apologized for being late, the package came at just the
right time:  Christmas Eve around four in the afternoon.  I have not decided
what to do with the French trim yet and fortunately (or unfortunately) one
of my best friends saw the roll of blue with silver trim and is trying to
claim it for her wedding gown she wants me to make for her.  We'll see:  I
have some lovely blue velvet that I am envisioning a new gown with that trim
for myself.   Thank you very much Stephen.  I will try to get pictures so
you can see what I end up making with the trims.  And, Tara, the hat was
made by me.  I hope you like it.  I feel totally inadequate compared to the
rest of the members on this list.

 

Diane

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Subject: Re: Pattern for Eleanor Painting was Re: [h-cost] Re: Have you seen
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>>>You might check out the Realmofvenus website (not sure of exact web addy,
but someone else might have it).  The owner/host specializes in Italian
stuff--more heavily oriented towards Venetian, but lotses and lotses of
yummy ideas, nonetheless!<<<<

Here is the url for the site.
http://realmofvenus.renaissancewoman.net/
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Date: Fri, 30 Dec 2005 23:40:22 -0600
To: Historical Costume <h-costume@indra.com>
From: Genie Barrett <maggie.gene@justinanimator.com>
Subject: Re: [h-cost] Secret Santa and Christmas Gifts
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The highway billboard showed Kay Shelton smiling proudly and saying:
>My Secret Santa, Justin Barrett, sent me a lovely
>purse made from black silk with beautiful butterflies
>on it and containing a very useful small pair of
>scissors.  Thank you, Justin!

Um.. That's actually me... Genie Barrett.  Don't know how you got his 
name.... GRIN

>snip
>This year I'm looking at moving into Victorian.  So he
>gave me What Jane Austen Ate And Charles Dickens Knew
>by Daniel Pool,

Awesome book!  I read it from cover to cover, as it was a library 
book, and wish I had it for a reference every time I read a book from 
the time period now.  I'll have to get myself a copy one of these days.

Have a great new year, and one can never have too many pairs of scissors.

Genie 
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Subject: RE: [h-cost] Have you seen this painting?
Date: Sat, 31 Dec 2005 00:04:54 -0600
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Don't worry, everything will work out. The melons on a platter was what I
originally thought you were saying you wanted when you said low neckline. I
now understand that you were wanting the average neckline.
Please look through the sites given and you will find that most of the gowns
are not high neckline.
Besides the two "Italian" sites recommended to peruse for style, time, and
location, here are a few paintings non Italia. for ideas.
A bit early, 1535, Saxony.
http://www.wga.hu/frames-e.html?/html/c/cranach/lucas_e/7/04prince.html
The puff and slash look is very Saxon early 1500s.

1505
http://www.museothyssen.org/museovirtual/fichas/obraampliada.asp?codigo=620

French 1540(?)
http://www.picassomio.com/poster/c9250,i142938/en/

This is from the Realm of Venice site
http://realmofvenus.renaissancewoman.net/wardrobe/Music1560s.jpg
You mentioned wine colored velvet with scroll/arabesque. Perhaps this style
would be nice.
or this
http://realmofvenus.renaissancewoman.net/wardrobe/Fresco2.JPG

Good Luck with your gown.
De
-----Original Message-----
Was there a specific area of Europe that had this kind of slashing and
ribbon flaps The hair style might be a clue to it's origins.
I never had to look so close to clothing before.
I'm making a Renaissance costume for myself but now I don't know what period
I want to reconstruct. I have 10 yards of a wine velvet with gold arebesque
scrolls all over it. I am looking for a more glamour damask or brocade for
the front panel. Any suggestions? I like the puffy sleeves and the chemise
showing through. I don't like the high necklines of the later periods, and
am not really wanting the "melons on a platter" as some said earlier.  I
want to make sure the hat and hair match the period of my dress. I like the
hair pulled back and the bejeweled snoods but also the French cap with the
veil (the one that looks like an upturned duck bill, but with embellishments
to make it richly decorated).
Anyone got a picture that might inspire me and guide me to a magnificant
costume.. BEFORE I cut my fabric.


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From: "E House" <formfunc@formfunction.org>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] Christmas presents
Date: Sat, 31 Dec 2005 01:13:55 -0600
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I should have chimed in earlier: Helen Pinto sent me a lovely Christmas 
gift!  A beautiful pair of earrings, some matching freshwater pearls, in the 
neatest decorated paper box.  I'll have to take pictures; I can't possibly 
describe it.  Thank you again, Helen!

I'm still waiting on the rest of my costume related gifts.  One is this:
http://www.amazon.com/gp/product/190199239X/104-2702716-3235141
along with several other costume books from my long wish list; I just don't 
know which yet.  My Christmas present to _me_ is 16 meters of the most 
beeyootiful gold-on-red damask which is shipping from the UK and will 
probably be here sometime around Valentine's day.

-E House 

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To: Historical Costume <h-costume@indra.com>
From: Kimiko Small <kimiko@kimiko1.com>
Subject: Re: [h-cost] Christmas presents
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At 11:13 PM 12/30/2005, you wrote:
>I'm still waiting on the rest of my costume related gifts.  One is this:
>http://www.amazon.com/gp/product/190199239X/104-2702716-3235141

Material Culture in London in an Age of Transititon: Tudor And Stuart 
Period Finds C. 1450-c. 1700 from Excavations at Riverside Sites in 
Southwark (The Way We Were) (Paperback)
by Geoff Egan

Oh? I hadn't seen this one before, and it isn't released yet I see. Would 
you mind telling us more about what you know about the book?

Thank you.

Kimiko


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From: "E House" <formfunc@formfunction.org>
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Subject: Re: [h-cost] Christmas presents
Date: Sat, 31 Dec 2005 02:53:24 -0600
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I don't know much more about it than what shows up on Amazon and on Oxbow, 
except that Robin Netherton asked the publisher about it, and heard that 
they're hoping to get it out by the end of the year. Hopefully it will be 
close to that, because I'm very impatient!

Here's the Oxbow description:
"Material culture in London in an age of transition is a major new 
illustrated catalogue of a rare assemblage of items from the Tudor and 
Stuart periods, mostly from waterlogged riverside sites. Objects of leather, 
bone, wood and glass as well as metal (with metallurgical analyses) include 
clothing and accessories; household equipment, fixtures and fittings; and 
items attesting writing, reading and leisure pursuits, as well as textile 
working, non-ferrous and ferrous metalworking, leather working, woodworking, 
bone, antler and glass working, ship building and fishing. There are 
weights; coins, tokens and jettons; pilgrim souvenirs and secular badges; 
horse equipment, arms and armour fragments. The discussion considers 
specific chronological trends as well as more general aspects of production, 
trade and changing styles."

-E House 

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From h-costume-bounces@indra.com  Sat Dec 31 04:36:36 2005
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Date: Sat, 31 Dec 2005 04:03:55 -0600 (CST)
From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Christmas presents
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On Sat, 31 Dec 2005, E House wrote, about Geoff Egan's new Tudor
artifacts book:

> I don't know much more about it than what shows up on Amazon and on
> Oxbow, except that Robin Netherton asked the publisher about it, and
> heard that they're hoping to get it out by the end of the year.

And now you all know what I know ;-) We'll be reviewing it in the next
issue of Medieval Clothing & Textiles, along with a bunch of other new
releases, most of which have been mentioned here already.

One that hasn't is a new history of the Mercers' Company of London, by
Anne Sutton:

https://www.ashgate.com/shopping/title.asp?key1=&key2=&orig=results&isbn=0%207546%205331%205

At that price, not for everyone! I just got my review copy and am saving
it for my trip to Portland in March. I'll have 8 hours of plane travel
each way, so I should be able to make a dent in it. (It's 670 pages, and
not large type either.)

--Robin

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From h-costume-bounces@indra.com  Sat Dec 31 06:47:53 2005
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From: Deredere Galbraith <Deredere.Galbraith@kabelfoon.nl>
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Subject: [h-cost] More info museum pictures
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Some more info on the pictures
http://mystictimes.nl/Gallery/Gallery.html

It was great to see the clothing.
They were so tiny!
But maby I am just tall.
In F1 you see me standing beside a dress.
And the stiches were much smaller than my machine can make them.
Most of the costumes where displayd so that you can see all sides.
I can't wait to next year when I hopefully go to the Kyoto museum.

Willet-Holthuysen museum
It is a small museum in Amsterdam, Netherlands. It is in a 17th century
canalside house on the Gentelmans Canal.
It is a special exebithion that runs to the 22 of January. The
Willet-Holthuysen museum is part of the Amsterdam Historical Museum.
http://www.willetholthuysen.nl/tentoonstelling.php?id=8
The book from the exebition is called " Rijk Gekleed, van doopjurk tot
baljapon 1750-1940"  by Annemarie Dekker
ISBN 90 68683985 it is in Dutch. Publisher http://www.thoth.nl/.

All the clothing are real and not reproductions.
Most of the pieces are given to the Amsterdam Historical museum from 
private collections.

I tried to translate some info on the costumes.

A1-3
Robe a la francaise 1755-1760
West European, Handpainted silk.
More than 80 different flowers, 11 butterflies, some insects and a bird.
The interesting thing about this dress is that the painting is not 
random but carefully placed on the pattern pieces.

B1-7
Robe a la Francaise 1770
Silk with woven stripes and embroidered flowers.
Body lined in linnen

C1
Robe a la Francaise 1775 (altered Around 1900 used for costume balls)
Silk with woven pattern.
It is made shorter and the bodice a bit looser.
But basic shape is left intact

D1
Robe al la langlaise 1770 (altered around 1900 used for costume balls)
This gown has changed a lot!

E1-4
Robe a la Francaise 1780
Silk with satin applique
petticoat and stomacher are not the original.
In the musee Les Arts Decorative in paris is a simular gown wich is 
complete.

F1-2
1750-1775
Ribsilk, top part body lined with linnen

G1
European stamped cotton lined in linnen

H1-H6
Robe al la langlaise 1780 (silk 1760)
(Gebrocheerde)?? silk damast, Tablier?? woolen lining, body lined in linnen.
Probably Altered from a gown from 1760

I1
Two piece dress 1795-1800
Hand painted cotton
Probably an alteration from a Robe a la Francaise from 1770

J1
1795-1800
Silk damast from 1750-1760
Altered

K1-2
1795-1800
Silk embroidered with gold en silver thread and sprangles lined in linnen
Silk from 1785-1790
Altered
Sorry forgot to take pictures of whole dress :-[ .
It is in the book.

L1-10
Empire dress 1800-1815
Cotton batist
Note the very tiny seams.
About 3mm.

La1 Lb1
I don't have any information from these dresses

M1
Stamped cotton 1838

N1-4
Changeant silk with woven stripes. 1840
Note. Front is knife pleated back is carderidge pleated.

Na1
No information

O1-2
Silk woven stripes, cotton lining 1847
 From Geertruide Springer-ten Cate (1819-1902)
Note. Front is knife pleated back is carderidge pleated.

P1-2
P2 is on the bottom of page
stamped cotton 1855

Q1-2
three piece dress 1865
Tafetta silk *machine embroidered!*

R1-4
1870
Linnen

S1-4
three piece bustle gown 1873
Cotton, brodery anglaise

T1-4
wool and taft silk

U1
No info on adult dress
Childs dress 1880-1890
Ribsilk cotton lining

V1-3
silk 1895
Body and skirt don't belong togheter.

W1
Velvet, oistrich feathers
Original it had short puffy sleaves but was alered to wear the gown for 
a different ocasion.
Lacing in the back

X1-3
ribsilk 1902

Y1-2
silk voile woven flower motif, machine made lace.

Uw1-Uw3
Corsets 1875-1900

Uw4-5
Dobble crinoline 1865
Cotton with metal hoops.
It is one small hoopskirt for walking and trevaling.
And a "tail" piece that is attached to buttons on the smaller crinoline 
for evening and ball dresses.
The circumference is 3,5meter

Uw6
Under skirt 1725-1775
Linnen

1M
Empire 1800-1815
silk with linnen, Linnen lining

1M2-3-4-6
1770-1810

1M5
Habit a la francaise 1800
Velvet, silverthread, silk sprangles (Coat)
Silk with linnen lining (trousers)
Satin, silverthread, Sprangles linnen and silk lining (vest)

1M7
1780-1790
Silk, laken silk lining

Greetings,
       Deredere






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The high collar is a part of the partlet. She is wearing a kind of coat over
a gown.
Something a kin to this ensemble.
http://realmofvenus.renaissancewoman.net/wardrobe/countesslivia.JPG
or this
http://realmofvenus.renaissancewoman.net/wardrobe/EMILIA1560.jpg
only a little more fitted in the bodice region.
Will this be a problem?
There is this pattern that can be adapted
http://www.reconstructinghistory.com/patterns/loosegowns.html
and I know there are some dress diaries online that deal with making the
"coat" (sorry it's my bed time and brain is shutting down)
Note just because a dress is a solid color does not necessarily mean you
can't use your material to make that style, unless you are entering is in a
competition where authenticity is a part of the score.
De
Whos not sure she's making sense.

-----Original Message-----
I found the perfect dress for my fabric!!!!! That is about the closest I've
found to any design for the fabric I have. Any idea of what kind of pattern
I'd need to make it?
http://www.tudor-portraits.com/ElenoraToledo5.jpg



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Subject: [h-cost] Other paintings on this site, was  Man's Doublet closure
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If you have the time and patience, there are a number of paintings on 
this site that I've not seen before:
One example (besides the one Bjarne shared) : 
http://www.kleio.org/frauen/abb17a.htm
And if this is truely a self portrait of Leonardo....whoo hoo!
http://www.kleio.org/leonardo/leonardo.htm
Wish I'd known that boy!  (Ahem!  Did I say that outloud?)
Very cool...sure would love to see the colored ones!

There are several other interesting areas, but one of the easiest ways 
to get to some of these is here:
http://www.kleio.org/frauenrenaissance.html
Click on the person of interest and then look for links (especially 
those with the abbreviations Abb. #)

Sg


Joan Jurancich wrote:

> At 02:05 PM 12/30/2005, you wrote:
>
>> Hi,
>> I stumped over this stunning mans renaissance clothes.
>> How is his doublet buttoned down the front. I only se 3 buttons at 
>> the top, where is the rest?
>> Is it laced at the back?
>>
>> http://www.asn-ibk.ac.at/bildung/faecher/geschichte/maike/treffpunkt/abb81a.htm 
>>
>>
>> Bjarne
>
>
> My guess would be that the buttons are purely decorative and the 
> actual closure is by hooks and eyes.
>
>
> Joan Jurancich
> joanmj@surewest.net
> _______________________________________________
> h-costume mailing list
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>

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Subject: [h-cost] Re: memling book
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Has anyone seen the book "Memling's Portraits"? It's a catalogue of an
exhibit at the Frick Museum, which I just heard about today. Today is the
last day of the show, which is a traveling exhibit of 30 Memling portraits
making its only US stop. The Frick's website lists the book in its shop
section, but doesn't say how much it is. There are about 8 or 9 images of
the portraits on the site.

Gail Finke

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I found this image on IMDB:
  
  <http://imdb.com/gallery/ss/0402894/Ss/0402894/001.jpg?path=gallery&path_key=0402894>
  
  Not the best photo, but you can definitely see her corset (and her thru it!!)
  
  ~mary
  
h-costume-request@indra.com wrote:Message: 1
Date: Fri, 30 Dec 2005 14:43:17 -0800
From: Kiloran@worldnet.att.net
Subject: Re: [h-cost] "Casanova" (possible spoiler)

I feel compelled to comment here. I saw Casanova last Sunday and for the 
most part the costumes are lovely. Not perfect, but quite good. With one 
rather glaring exception. This could be considered a spoiler, so I'll skip 
some space
:
:
:
:
:
:
:
:
:
:
:
:
At the climactic scene of the movie, Francesca is wearing her shift, 
petticoat and a corset. But it is the weirdest corset I've ever seen! The 
style and cut was correct, but you could see both or her breasts clearly 
outlined in the cloth, right down to her nipples! And detailed enough to 
tell that her right breast is lower than her left. I can't figure out why 
it looks like that, or even how they achieved that look. I suppose if you 
left out all the boning you might get that, but still, with at least two 
layers of coutil (or some other sturdy fabric) you shouldn't be able to see 
her breasts like that. Granted, earlier in the film the character has a 
comment about how hideous corsets are, so if that's the point they're 
trying to underline, why have her in a corset at all?

I'm stumped, and it really yanked me out of the movie at that point. I'm 
curious to hear anyone elses comments after they've seen it.

Julie






«:*´`´`*:»§«.»§«:*´`´`*:».«:*´`´`*:»§«.»§«:*´`´`*:»

"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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otsisto wrote:

> or this
> http://realmofvenus.renaissancewoman.net/wardrobe/EMILIA1560.jpg
> only a little more fitted in the bodice region.

What is that she is holding in her right hand? It looks like some part 
of her coat. A belt? Or is she holding the hem up? Or is it something else?


Dawn



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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Re: "Casanova" (possible spoiler)
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Looks like the corset is made out of foam.

Mary wrote:

>I found this image on IMDB:
>  
>  <http://imdb.com/gallery/ss/0402894/Ss/0402894/001.jpg?path=gallery&path_key=0402894>
>  
>  Not the best photo, but you can definitely see her corset (and her thru it!!)
>  
>  ~mary
>  
>h-costume-request@indra.com wrote:Message: 1
>Date: Fri, 30 Dec 2005 14:43:17 -0800
>From: Kiloran@worldnet.att.net
>Subject: Re: [h-cost] "Casanova" (possible spoiler)
>
>I feel compelled to comment here. I saw Casanova last Sunday and for the 
>most part the costumes are lovely. Not perfect, but quite good. With one 
>rather glaring exception. This could be considered a spoiler, so I'll skip 
>some space
>:
>:
>:
>:
>:
>:
>:
>:
>:
>:
>:
>:
>At the climactic scene of the movie, Francesca is wearing her shift, 
>petticoat and a corset. But it is the weirdest corset I've ever seen! The 
>style and cut was correct, but you could see both or her breasts clearly 
>outlined in the cloth, right down to her nipples! And detailed enough to 
>tell that her right breast is lower than her left. I can't figure out why 
>it looks like that, or even how they achieved that look. I suppose if you 
>left out all the boning you might get that, but still, with at least two 
>layers of coutil (or some other sturdy fabric) you shouldn't be able to see 
>her breasts like that. Granted, earlier in the film the character has a 
>comment about how hideous corsets are, so if that's the point they're 
>trying to underline, why have her in a corset at all?
>
>I'm stumped, and it really yanked me out of the movie at that point. I'm 
>curious to hear anyone elses comments after they've seen it.
>
>Julie
>
>
>
>
>
>
>«:*´`´`*:»§«.»§«:*´`´`*:».«:*´`´`*:»§«.»§«:*´`´`*:»
>
>"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
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
>http://mail.indra.com/mailman/listinfo/h-costume
>
>  
>

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From h-costume-bounces@indra.com  Sat Dec 31 11:25:43 2005
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: [h-cost] stays question
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Hi, sorry for the crossposting.
In Revolution in Fashion on page 100 there is a pair of stays wich always 
has made me wonder how it was worn.
Its a covered pair of stays very beautifully covered with a floral brocade. 
It has tied on sleaves and it closes in the center front with lacing. Only 
the tabs are not covered with brokade.
My gues is that it was worn to show. But how would they put the skirt to it. 
If only the tabs are going to be hided under the skirt, you would have to 
have the skirt opening very big. How would they have kept the skirt in 
place?
Could the skirt have ben pinned to the tabs somehow?
I definately think it was supposed to show the full busk piece in the front, 
it would be a shame to hide it away under a skirt.
This has always made me wonder how on earth it would have ben worn.
Could someone please enlightening me?

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>
References: <20051231153421.48315.qmail@web36506.mail.mud.yahoo.com>
Subject: Re: [h-cost] Re: "Casanova" (possible spoiler)
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Hi Mary,
It definately shows, how odd. I think not they have boned the stays, at 
least not in the front. You can also see the fabric is wrinking on the 
stomacher point. Perhaps they think they wore stays without bones?

Bjarne


----- Original Message ----- 
From: "Mary" <hanstar88@yahoo.com>
To: <h-costume@indra.com>
Sent: Saturday, December 31, 2005 4:34 PM
Subject: [h-cost] Re: "Casanova" (possible spoiler)


>
> I found this image on IMDB:
>
> 
> <http://imdb.com/gallery/ss/0402894/Ss/0402894/001.jpg?path=gallery&path_key=0402894>
>
>  Not the best photo, but you can definitely see her corset (and her thru 
> it!!)
>
>  ~mary
>
> h-costume-request@indra.com wrote:Message: 1
> Date: Fri, 30 Dec 2005 14:43:17 -0800
> From: Kiloran@worldnet.att.net
> Subject: Re: [h-cost] "Casanova" (possible spoiler)
>
> I feel compelled to comment here. I saw Casanova last Sunday and for the
> most part the costumes are lovely. Not perfect, but quite good. With one
> rather glaring exception. This could be considered a spoiler, so I'll skip
> some space
> :
> :
> :
> :
> :
> :
> :
> :
> :
> :
> :
> :
> At the climactic scene of the movie, Francesca is wearing her shift,
> petticoat and a corset. But it is the weirdest corset I've ever seen! The
> style and cut was correct, but you could see both or her breasts clearly
> outlined in the cloth, right down to her nipples! And detailed enough to
> tell that her right breast is lower than her left. I can't figure out why
> it looks like that, or even how they achieved that look. I suppose if you
> left out all the boning you might get that, but still, with at least two
> layers of coutil (or some other sturdy fabric) you shouldn't be able to 
> see
> her breasts like that. Granted, earlier in the film the character has a
> comment about how hideous corsets are, so if that's the point they're
> trying to underline, why have her in a corset at all?
>
> I'm stumped, and it really yanked me out of the movie at that point. I'm
> curious to hear anyone elses comments after they've seen it.
>
> Julie
>
>
>
>
>
>
> «:*´`´`*:»§«.»§«:*´`´`*:».«:*´`´`*:»§«.»§«:*´`´`*:»
>
> "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
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume 

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From: Kay Shelton <delasue@yahoo.com>
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Subject: [h-cost] Re: ecret Santa and Christmas Gifts
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X-Miltered: at demeter with ID 43B6B340.000 by Joe's j-chkmail (http://j-chkmail.ensmp.fr)!

Whoops!  Well, Justin's name is the one that was on
the shipping label.  And I certainly didn't want to be
sexist about this.  We have several talented male
costumers on the list.  But I want to be accurate
(that research thing coming up again) and thank you,
Genie.  And I am enjoying
What Jane Austen Ate And Charles Dickens Knew.  It's a
fun read.

Craig and I went to a magic show/seance last night for
our anniversary.  I looked at the picture of the
spirit guide and thought, "Hum, that dress doesn't
look right for a Victorian child."   Historic
costuming coming to the fore.

Kay

The highway billboard showed Kay Shelton smiling 
proudly and saying:
>My Secret Santa, Justin Barrett, sent me a lovely
>purse made from black silk with beautiful butterflies
>on it and containing a very useful small pair of
>scissors.  Thank you, Justin!

Um.. That's actually me... Genie Barrett.  Don't know 
how you got his 
name.... GRIN

>snip
>This year I'm looking at moving into Victorian.  So 
he
>gave me What Jane Austen Ate And Charles Dickens Knew
>by Daniel Pool,

Awesome book!  I read it from cover to cover, as it 
was a library 
book, and wish I had it for a reference every time I 
read a book from 
the time period now.  I'll have to get myself a copy 
one of these days.

Have a great new year, and one can never have too many

pairs of scissors.

Genie 


	
		
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Date: Sat, 31 Dec 2005 08:37:16 -0800 (PST)
From: Kathryn Parke <kjp1685@yahoo.com>
Subject: Re: [h-cost] Other paintings on this site, was  Man's Doublet closure
To: Historical Costume <h-costume@indra.com>
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Leonardo looks a little Orlando Bloom-ish, doesn't he?  Especially around the eyes.
   
  

WickedFrau <wickedfrau@msn.com> wrote:
  If you have the time and patience, there are a number of paintings on 
this site that I've not seen before:
One example (besides the one Bjarne shared) : 
http://www.kleio.org/frauen/abb17a.htm
And if this is truely a self portrait of Leonardo....whoo hoo!
http://www.kleio.org/leonardo/leonardo.htm
Wish I'd known that boy! (Ahem! Did I say that outloud?)
Very cool...sure would love to see the colored ones!

There are several other interesting areas, but one of the easiest ways 
to get to some of these is here:
http://www.kleio.org/frauenrenaissance.html
Click on the person of interest and then look for links (especially 
those with the abbreviations Abb. #)

Sg


Joan Jurancich wrote:

> At 02:05 PM 12/30/2005, you wrote:
>
>> Hi,
>> I stumped over this stunning mans renaissance clothes.
>> How is his doublet buttoned down the front. I only se 3 buttons at 
>> the top, where is the rest?
>> Is it laced at the back?
>>
>> http://www.asn-ibk.ac.at/bildung/faecher/geschichte/maike/treffpunkt/abb81a.htm 
>>
>>
>> Bjarne
>
>
> My guess would be that the buttons are purely decorative and the 
> actual closure is by hooks and eyes.
>
>
> Joan Jurancich
> joanmj@surewest.net
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
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>

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	<20051231162059.2C145BE74D@cardassian.kabelfoon.nl>
Subject: Re: [h-cost] Re: "Casanova" (possible spoiler)
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>>I found this image on IMDB:
>> 
>> <http://imdb.com/gallery/ss/0402894/Ss/0402894/001.jpg?path=gallery&path_key=0402894>
>>  Not the best photo, but you can definitely see her corset (and her thru 
>> it!!)

It looks like girdle-weight lycra stretched tight.  Her bosom is certainly 
squashed, and it certainly doesn't leave anything to the imagination!

Denise 

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     Oh, that picture!  I saw it earlier online.  When Julie first
described it, it sounded like the thing was sheer!  But I see what
you mean about seeing the outline of her breast.

     It definitely looks like it's made of fabric only with no boning. 
Yes, Hollywood costumers know better - there are plenty of movies out
there with decent stays and corsets!

     Something exists in the 18thC called jumps - described as "lightly
boned stays", although there are lots of questions about various
extant items and what, exactly they were and who wore them when.

     Anyway, I have not seen the movie, but from the ads it seems that she
is an upper class lady?  The less shaping, the lower the class,
unless of course  she was relaxing at home and would not ordinarily
have been seen in public that way.

     Obviously it is shaping her somewhat.  I think it's unattractive,
especially for a leading lady.

     My take on it (as an 18thC type) - that type of thing may well have
existed.  She is not "properly" dressed wearing it (maybe she is not
supposed to be "proper" in that scene or she is not a "proper" sort
of character) or it's possible that it's not used correctly.

     Also Venice was it's own animal and some of the conventions of
costume we have (from predominantly English sources) don't apply.  I
wonder how much research the costume designer did?

     Don't let it ruin the movie - at least she's not wearing powder blue
eyeshadow.  :-)

     -Carol


> I found this image on IMDB:
>
>   <http://imdb.com/gallery/ss/0402894/Ss/0402894/001.jpg?path=gallery&path_key=0402894>
>
>   Not the best photo, but you can definitely see her corset (and her thru
> it!!)
>
>   ~mary

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Thanks for the pictures and the extra info on the garments.  It was great to 
see.
              -Helen/Aidan 

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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Re: Have you seen this painting?
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Dawn wrote:

> otsisto wrote:
> 
>> or this
>> http://realmofvenus.renaissancewoman.net/wardrobe/EMILIA1560.jpg
>> only a little more fitted in the bodice region.
> 
> 
> What is that she is holding in her right hand? It looks like some part 
> of her coat. A belt? Or is she holding the hem up? Or is it something else?

Really narrow hanging oversleeve?
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From: "kelly grant" <estela_dufrayse@hotmail.com>
To: "Historical Costume" <h-costume@indra.com>
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	<BAY101-DAV11A0DC973D24C68DDD47B5BC280@phx.gbl>
Subject: Re: [h-cost] Have you seen this painting?
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> am not really wanting the "melons on a platter" as some >said earlier.

Hi Becky,
I think of the melons on a platter in the 18th Century, not Elizabethan, as 
the corsets are shaped differently.  The Renn and Elizabethan are more 
tubular in shape to the 18thC cone shape that gives you a higher bustline. 
That and the 18thC women showed them off a bit more than earlier women, what 
with the partlets of the earliers times.

Make sure when you are working on your stays, not to have a shelf at your 
bustline, this means your stays are cut too short and possibly too tight, 
this will also aid you in not having the melon effect.  You want a nice 
rounding from the edge of your stays over your bustline, but not as much as 
with an 18thC corset. Your nipples should also sit lower in your stays than 
for an 18thC corset.

And before you cut your fabric, make sure all of the underpinnings are 
finished and fit you well...otherwise you'll never be happy with the dress.

I am battling this right now, as I am building a new outfit that is slightly 
earlier than the time period I usually dress, so new stays, farthingale 
first, before I get to start the fun stuff.  My Mum wants to know what kind 
of jewelery I'd like to have, but I can't even think about that until I get 
the other bits done!  It's be like putting on your makeup, before you've 
showered! UG!
Kelly/Estela
www.goldenoakinn.com 
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Elena wrote:
> , in the neatest decorated paper box.

The box has a great back-story.  It's called a "Mrs Yabe box" and I learned 
the pattern from Barry Morentz, another calligrapher.  He was studying 
paper-making in Japan for several months, and when he left, his landlady 
(Mrs Yabe) gave him a gift of those Japanese sweets that are just too 
beautiful to eat, in a box she had made herself.  Of course, he took it 
apart when he got home- the stiffener was a recycled yoghurt container.  The 
pattern's been getting passed along ever since.
                   -Helen/Aidan 

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Subject: Re: Man's Doublet closure,
	was Re: [h-cost] Have you seen this painting?
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>>Is it laced at the back?
>>
>>http://www.asn-ibk.ac.at/bildung/faecher/geschichte/maike/treffpunkt/abb81a.htm
>>
>>Bjarne
Hi Bjarne,
I haven't yet seen a doublet that laces up the back, doesn't mean they 
didn't exist, just that I haven't seen any. My thought is that the fastening 
is up centrefront, but hidden, possibly hook and eyes.
Kelly/estela 
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Subject: Re: [h-cost] Bosoms was: Have you seen this painting?
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kelly grant wrote:

> 
>> am not really wanting the "melons on a platter" as some >said earlier.
> 
> I think of the melons on a platter in the 18th Century, not Elizabethan, 
> as the corsets are shaped differently.  The Renn and Elizabethan are 
> more tubular in shape to the 18thC cone shape that gives you a higher 
> bustline. That and the 18thC women showed them off a bit more than 
> earlier women, what with the partlets of the earliers times.

I'm not the person to do it, but someone may have the time, someday, to 
do a photo essay about corseted bosom shapes through time, starting with 
Tudor and going up through some of the less, er, skilled tailoring of 
newer-to-historic-costuming folks where the bosom seems to be supported 
as if horizontal acreage was key.

It would probably help a lot of newer folks to know what they were 
aiming for.

cv
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From: "kelly grant" <estela_dufrayse@hotmail.com>
To: "Historical Costume" <h-costume@indra.com>
References: <20051231153421.48315.qmail@web36506.mail.mud.yahoo.com>
Subject: Re: [h-cost] Re: "Casanova" (possible spoiler)
Date: Sat, 31 Dec 2005 14:06:56 -0400
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Doesn't look well boned enough for the period!  That and it's fitting wonkie 
through her mid section, which also could be the result of not enough 
boning.

I hate it when modern veiws are voiced in period movies.

Like a woman in the 18thC would think about going without her corset in 
public if she was of society. it would be considered loose, or beneath her 
station, unfashionable. Most of society was trying to appear higher than 
their station.

Sure we complain about our bras, but the idea of comfortable clothing is a 
really modern idea...like less than 40 years.
UG!
I'll still see the movie, I enjoy the comedic plotline.
My spouse even wants to go!
Kelly/estela

  <http://imdb.com/gallery/ss/0402894/Ss/0402894/001.jpg?path=gallery&path_key=0402894>
>
>  Not the best photo, but you can definitely see her corset (and her thru 
> it!!)
>
>  ~mary
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Subject: Re: [h-cost] Re: "Casanova" (possible spoiler)
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Sometimes it's not up to the designer, or the costumier...as a former 
theatre type, I've witnessed actress throwing temper tantrums over costumes. 
It's not pretty, but sometimes happens, and if the actress had the producers 
or director in her back pocket, she may have gotten away with a lot.

Kelly/estela
>     Also Venice was it's own animal and some of the conventions of
> costume we have (from predominantly English sources) don't apply.  I
> wonder how much research the costume designer did?
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Subject: Re: [h-cost] Bosoms was: Have you seen this painting?
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I could probably put on my 18thC stays, and the earlier ones I've made, and 
put photos up on the website, it may take a little bit of time, as I have 
been feeling trashed of late and so the website is slow to update with my 
stuff...Pierre can only mind read so well.

Long and short, let me see what I can do.
Kelly
----- Original Message ----- 
From: "Cynthia Virtue" <cvirtue+dated+1151603173.47fd7d@thibault.org>
To: "Historical Costume" <h-costume@indra.com>
Sent: Saturday, December 31, 2005 1:55 PM
Subject: Re: [h-cost] Bosoms was: Have you seen this painting?


> kelly grant wrote:
>
>>
>>> am not really wanting the "melons on a platter" as some >said earlier.
>>
>> I think of the melons on a platter in the 18th Century, not Elizabethan, 
>> as the corsets are shaped differently.  The Renn and Elizabethan are more 
>> tubular in shape to the 18thC cone shape that gives you a higher 
>> bustline. That and the 18thC women showed them off a bit more than 
>> earlier women, what with the partlets of the earliers times.
>
> I'm not the person to do it, but someone may have the time, someday, to do 
> a photo essay about corseted bosom shapes through time, starting with 
> Tudor and going up through some of the less, er, skilled tailoring of 
> newer-to-historic-costuming folks where the bosom seems to be supported as 
> if horizontal acreage was key.
>
> It would probably help a lot of newer folks to know what they were aiming 
> for.
>
> cv
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 
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Subject: Color copies (was Re: [h-cost] Other paintings)
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Saragrace said:

> If you have the time and patience, there are a number of paintings on
> this site that I've not seen before:
> One example (besides the one Bjarne shared) :
> http://www.kleio.org/frauen/abb17a.htm

There's a color copy of this one at
http://englishhistory.net/tudor/relative/brandon.html

and isn't that beadwork on her sleeves *gorgeous*

> And if this is truely a self portrait of Leonardo....whoo hoo!
> http://www.kleio.org/leonardo/leonardo.htm
> Wish I'd known that boy!  (Ahem!  Did I say that outloud?)
> Very cool...sure would love to see the colored ones!
>

I looked through my (well the libraries copy) of Renaissance
Self-Portraiture and it's not in there.  It's not in my copy of
Campbell's Renaissance Portraits either.  Neither one of those things
really means anything.  I've never seen that painting either -- and of
my sources, those are the places where I'd expect to find it.

He's alleged to have used his own face for the Mona Lisa.  He's also
supposed to have been the model for Donatello's David.

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


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Subject: [h-cost] Re:"Casanova" (possible spoiler)
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At 09:05 AM 12/31/2005, you wrote:
>I found this image on IMDB:
>
> 
><http://imdb.com/gallery/ss/0402894/Ss/0402894/001.jpg?path=gallery&path_key=0402894>
>
>   Not the best photo, but you can definitely see her corset (and her thru 
> it!!)
>
>   ~mary

Yes!! That's it exactly.  And that's as good a look at the corset as any 
you get in the movie. You can see =very= clearly what I'm complaining about.

The costume designer is Jenny Beavan, who certainly knows better. She 
=knows= how to make a proper corset, she's proved that countless times. So 
the error isn't through ignorance. The only thing I can think of is, as I 
mentioned in my earlier post, Francesca states earlier in the film that 
corsets are abhorrent and terrible, and so on. Maybe by putting her in an 
unboned corset they were trying to reflect that character trait. But if 
that's the case, I wonder why they put her in a corset at all? The way they 
compromised (if that's what it is) looks just awful.

Julie 

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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Re: Have you seen this painting?
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On Sat, 31 Dec 2005, Dawn wrote:

> otsisto wrote:
> 
> > or this
> > http://realmofvenus.renaissancewoman.net/wardrobe/EMILIA1560.jpg
> > only a little more fitted in the bodice region.
> 
> What is that she is holding in her right hand? It looks like some part 
> of her coat. A belt? Or is she holding the hem up? Or is it something else?

I'm 95% certain it's a zibellino (sable pelt, sometimes called "flea fur"
modernly). I've just sent this URL off to Tawny Sherrill, who has spent
many years cataloguing images of zibellini. (She has an article about them
in the next volume of Medieval Clothing & Textiles, due out in the
spring.) She will confirm whether I've got it right; I'm *not* an expert
in reading this period's paintings. I would be very tickled if I've
managed to spot one that she doesn't already have!

--Robin

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From: Robin Netherton <robin@shell.nightowl.net>
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Subject: Re: [h-cost] Re: Have you seen this painting?
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On Sat, 31 Dec 2005, Robin Netherton wrote:

> I'm 95% certain it's a zibellino ...

Nope. Tawny points out that when you blow it up, you can see clearly it's
fabric. I didn't see that on my browser, but when I saved and enlarged the
image, I could see clearly that it loops up behind her hand, and you can
see a little of the embellishment of the dress fabric in the front of hte
fold. I think it's a fold of her skirt that she's lifting.

--Robin


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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Re: Have you seen this painting?
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On Fri, 30 Dec 2005, Susan B. Farmer wrote:

> This painting
> http://epee.goldsword.com/sfarmer/SCA/Paintings/florentine_PortraitWoman-landinFig39.jpg
> or
> http://tinyurl.com/byswr
> 
> is simply listed as "Florentine" with no specific artist attributed. 
> It's almost *identical* to the painting from Rosa's book currently
> under discussion. 

By George, I think you've got it. Note especially the little curl of hair
in front of her left ear -- only in the b/w image, it goes down along her
neck.

I'll go out on a little limb here. Here's my guess at a scenario:

The b/w image started as an engraving (photogravure) made for a French
book in the early 1800s. The engraver used the image Susan cites as a
base, but made some adjustments/embellishments based on other portraits
(including the addition of the dog, jewels on the sleeves, etc.). The
French book captioned the image with the French version of the name of a
Renaissance artist who was at that time thought to be the artist of at
least one of the prints the engraver worked from. Levi-Pisetsky picked up
the engraving, and the attribution, without verification, and analyzed it
as though it were an accurate original. The "a" in the attribution is a
leftover preposition from the original French caption.

--Robin

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To: Historical Costume <h-costume@indra.com>
Subject: Re: Color copies (was Re: [h-cost] Other paintings)
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Susan B. Farmer wrote:

> There's a color copy of this one at
> http://englishhistory.net/tudor/relative/brandon.html
>
> and isn't that beadwork on her sleeves *gorgeous*
>
Ooooo!  Thanks!  Yes the sleeves are great!
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To: h-costume@indra.com
Date: Sat, 31 Dec 2005 14:12:45 -0600
Subject: Re: [h-cost] Re: Have you seen this painting?
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My tuppence on this one is that it is a decorative, vestigial hanging
sleeve. You can see something like it in Queen Elizabeth's Pelican
portrait. I agree that it is fabric and not fur, but I don't think it's
part of the skirt.

Karen
Seamstrix


On Sat, 31 Dec 2005 14:20:10 -0600 (CST) Robin Netherton
<robin@shell.nightowl.net> writes:
> 
> On Sat, 31 Dec 2005, Robin Netherton wrote:
> 
> > I'm 95% certain it's a zibellino ...
> 
> Nope. Tawny points out that when you blow it up, you can see clearly 
> it's
> fabric. I didn't see that on my browser, but when I saved and 
> enlarged the
> image, I could see clearly that it loops up behind her hand, and you 
> can
> see a little of the embellishment of the dress fabric in the front 
> of hte
> fold. I think it's a fold of her skirt that she's lifting.
> 
> --Robin
> 
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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> 
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Subject: Re: [h-cost] Re:"Casanova" (possible spoiler)
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The first thing I thought of when I looked at the picture was that the actress bought into the corsets are horrible arguement and insisted on something different... because it looks like a compromise like Julie says.   Just my 2 cents.  Kathy

Kiloran@worldnet.att.net wrote:  
Yes!! That's it exactly. And that's as good a look at the corset as any 
you get in the movie. You can see =very= clearly what I'm complaining about.

The costume designer is Jenny Beavan, who certainly knows better. She 
=knows= how to make a proper corset, she's proved that countless times. So 
the error isn't through ignorance. The only thing I can think of is, as I 
mentioned in my earlier post, Francesca states earlier in the film that 
corsets are abhorrent and terrible, and so on. Maybe by putting her in an 
unboned corset they were trying to reflect that character trait. But if 
that's the case, I wonder why they put her in a corset at all? The way they 
compromised (if that's what it is) looks just awful.

Julie 

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I got this packet from Australia two weeks before Christmas and had to put it 
away so I would be good and not open it before I was supposed to.  My secret 
Santa was Sharon Nevin who sent a cross stitched beaded Christmas card (very 
lovely) and a hand made green velveteen pouch with gold tassels (such 
elegance!) and inside were (wrapped in tissue) two strands of freshwater pearls that 
will definitely be used to adorn something on my next Elizabethan gown.  Thank 
you muchly Sharon!

Donna Scarfe (Mistress Felicity)
Fyne Hats By Felicity
Period Headgear for Past Ages
www.fynehatsbyfelicity.com
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Subject: Re: [h-cost] Re: "Casanova" (possible spoiler)
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At 11:00 AM 12/31/2005, you wrote:
>Oh, that picture!  I saw it earlier online.  When Julie first
>described it, it sounded like the thing was sheer!  But I see what
>you mean about seeing the outline of her breast.
>
>      It definitely looks like it's made of fabric only with no boning.
>Yes, Hollywood costumers know better - there are plenty of movies out
>there with decent stays and corsets!
>
>      Something exists in the 18thC called jumps - described as "lightly
>boned stays", although there are lots of questions about various
>extant items and what, exactly they were and who wore them when.
>
>      Anyway, I have not seen the movie, but from the ads it seems that she
>is an upper class lady?  The less shaping, the lower the class,
>unless of course  she was relaxing at home and would not ordinarily
>have been seen in public that way.
>
>      Obviously it is shaping her somewhat.  I think it's unattractive,
>especially for a leading lady.
>
>      My take on it (as an 18thC type) - that type of thing may well have
>existed.  She is not "properly" dressed wearing it (maybe she is not
>supposed to be "proper" in that scene or she is not a "proper" sort
>of character) or it's possible that it's not used correctly.
>
>      Also Venice was it's own animal and some of the conventions of
>costume we have (from predominantly English sources) don't apply.  I
>wonder how much research the costume designer did?
>
>      Don't let it ruin the movie - at least she's not wearing powder blue
>eyeshadow.  :-)


Well, for what it's worth (and this includes spoilers) the character of 
Francesca is definitely upper class, I think her family is supposed to be 
old Venetian nobility, the kind with lots of blue blood but no money. And 
the scene where she wears that corset is on the scaffold. She (and 
Casanova) have been condemned to death and this is what she's 
wearing/allowed to wear to her hanging. If you look at the picture, she's 
wearing a lovely quilted petticoat, and even the corset itself looks to be 
constructed accurately. Just no bones and I think the wrong kind of 
material (it almost has to be for it to shape itself so closely to the 
actress's curves).

It didn't ruin the movie for me, but it did kind of yank me out of the 
scene. And being a costumer all I could think of was "what WAS she 
thinking???" (the costumer, I mean).

I would really like to contact the costume designer and ask about this.

Julie


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Subject: [h-cost] Re: Bosoms
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> I think of the melons on a platter in the 18th Century, not Elizabethan,
> as the corsets are shaped differently.  The Renn and Elizabethan are
> more tubular in shape to the 18thC cone shape that gives you a higher
> bustline. That and the 18thC women showed them off a bit more than
> earlier women, what with the partlets of the earliers times.

     It depends on what you mean by melons on a platter.  In both time
periods, I think you see a lot more at Ren Faires and reenactments
than the ideal for the time period.  18thC is supposed to produce
"pleasing mounds", and I have not seen paintings where they show a
cleavage line (the actual line from breasts pressed together). 
Winterthur Museum in Delaware has a portrait of a lady who is rather
large busted, and still no line!  Bet she wasn't like that in real
life, but we're talking about the ideal.

     And while Elizabethans had partlets, 18thC have handkerchiefs, a
folded square or triangle of cloth that covers the shoulders and
bosom.  Sometimes they were sheer and some were embroidered.  Wearing
one depended on time of day and age.  They protect from the sun, and
young women would tend to go without while those with wrinkles could
keep covered.

     And in both centuries there was a gamut of class distinctions,
ethnicities, yadda yadda.

     -Carol

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From: "Susan B. Farmer" <sfarmer@goldsword.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Re: Have you seen this painting?
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Quoting Robin Netherton <robin@shell.nightowl.net>:

>
> On Fri, 30 Dec 2005, Susan B. Farmer wrote:
>
>> This painting
>> http://epee.goldsword.com/sfarmer/SCA/Paintings/florentine_PortraitWoman-landinFig39.jpg
>> or
>> http://tinyurl.com/byswr
>>
>> is simply listed as "Florentine" with no specific artist attributed.
>> It's almost *identical* to the painting from Rosa's book currently
>> under discussion.
>
> By George, I think you've got it. Note especially the little curl of hair
> in front of her left ear -- only in the b/w image, it goes down along her
> neck.
>
> I'll go out on a little limb here. Here's my guess at a scenario:

I think you've nailed it spot on (as my overseas friends would say). 
Every now and then you'll see a painter do more than one copy of a
given painting that's slightly different -- Artemesia Gentilishi's
"Judith with the head of Holofernes" comes to mind.  You'll often see a
student copy a teacher -- I've seen them, but I can't call them to mind.
But this does remind me very much of the very similar copies that you
can see in Braun and Schneider and some of the other Victorian books of
historic costume.  You can usually/frequently identify the original
painting -- sometimes they are virtually identical, othertimes they've
been embellished.

High fives!  (we need a smiley for that!)  :-D

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


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Subject: [h-cost] "casanova"  includes marked plot spoilers
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  The stays or corset or whatever it is in the picture may be foam lined, 
but for the rest  of the movie, most of the women have the right shape for 
those clothes, so they are wearing something underneath that makes them 
smooth instead of bumpy, shall we say.  We don't see much in the way of 
undergarments, or nudity for that matter.  For an R rated movie, it's very 
tame, and I saw the conjecture somewhere that it's rated R because of 
blatant anti-Catholic sentiment.  Hard to believe.


plot
s
p
o
i
l
e
r
s


   There are parts of the movie in which the character played by Sienna 
Miller disguised as a man, including a glued-on mustache.   Her chest is 
flat enough during those parts that she must have had something binding her 
breasts,  but we don't see what.

Laura Dickerson


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From: "michaela" <thebruce@ihug.co.nz>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: Man's Doublet closure,
	was Re: [h-cost] Have you seen this painting?
Date: Sun, 1 Jan 2006 10:46:29 +1300
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> >>Is it laced at the back?

> Hi Bjarne,
> I haven't yet seen a doublet that laces up the back, doesn't mean they
> didn't exist, just that I haven't seen any. My thought is that the
fastening
> is up centrefront, but hidden, possibly hook and eyes.

There is a jerkin in the Met Museum that laces in the back. I don't know if
there is a photo of the back of it, but you can clearly see that it does in
the pattern (first ed. Blanche Payne's History of Costume.)

I have not seen it mentioned whether it is for a man or woman, it fit me
with but a few tweaks, but I don't know if that proves anything;)

http://www.metmuseum.org/toah/hd/expl/hob_26.196.htm


michaela de bruce
http://glittersweet.com



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From: "michaela" <thebruce@ihug.co.nz>
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Subject: Re: [h-cost] Other paintings on this site, was  Man's Doublet closure
Date: Sun, 1 Jan 2006 10:57:13 +1300
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> If you have the time and patience, there are a number of paintings on
> this site that I've not seen before:
> One example (besides the one Bjarne shared) :
> http://www.kleio.org/frauen/abb17a.htm
> And if this is truely a self portrait of Leonardo....whoo hoo!
> http://www.kleio.org/leonardo/leonardo.htm


Yep. This is the new site of someone I link to frequently in my Frazzled
Frau site:
http://www.asn-ibk.ac.at/bildung/faecher/geschichte/maike/treffpunkt/buch2-29.htm
http://www.asn-ibk.ac.at/bildung/faecher/geschichte/maike/bilderkatalog/habsburger/abb10s.htm

The new site is easier to remember for sure;)

> There's a color copy of this one at
> http://englishhistory.net/tudor/relative/brandon.html
>
> and isn't that beadwork on her sleeves *gorgeous*

Oh yes:) I've had a copy in my book on Henry VIII for years. It's on my to
do list;) There is a portrait of the middle-late 16thC in Koeln that has
undersleeves just like it. Except the whole ensemble is in dusty pinky grey
shades.

I'm thinking I could wrangle two gowns with a pair of undersleeves;)

I even have a goodly number of glass pearls for this one as well.....


michaela de bruce
http://glittersweet.com



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Subject: [h-cost] Brown Velvet Jerkin-was: Man's Doublet closure
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Ooooh Ahhhh, I didn't realize this one had metallic bobbin lace on it!  
Yeah!  Justification!  Weeeee.
Sg
michaela wrote:

>http://www.metmuseum.org/toah/hd/expl/hob_26.196.htm
>
>
>  
>

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From: Genie Barrett <maggie.gene@justinanimator.com>
Subject: Re: [h-cost] Re:"Casanova" (possible spoiler)
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Another take on the movie, is what Heath Ledger says in the first 
five minutes of the first clip on this page...

http://movies.aol.com/movie/main.adp?tab=trailers&mid=22797

Basically, he wasn't trying to portray the character historically 
since the movie wasn't.  I don't think they wanted to make it 
perfectly period.  It's a problem with a lot of movies these 
days.  They are more concerned with making a good selling film rather 
than an historical one.  Thus, they didn't care if the corset looked, 
or even was, right.

Sad fact about most movies these days.

Genie 
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On Saturday 31 December 2005 4:07 pm, Kiloran@worldnet.att.net wrote:
> At 11:00 AM 12/31/2005, you wrote:
> >Oh, that picture!  I saw it earlier online.  When Julie first
> >described it, it sounded like the thing was sheer!  But I see what
> >you mean about seeing the outline of her breast.
> >
> >      It definitely looks like it's made of fabric only with no boning.
> >Yes, Hollywood costumers know better - there are plenty of movies out
> >there with decent stays and corsets!

Indeed there are.  But what she's wearing in the still to which the URL was 
provided looks like it was made of spandex to me.  :-(
[rest snipped]

-- 
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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From: "kelly grant" <estela_dufrayse@hotmail.com>
To: "Historical Costume" <h-costume@indra.com>
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	<006b01c60e53$a8ac0cc0$0401010a@michaela>
Subject: Re: Man's Doublet closure,
	was Re: [h-cost] Have you seen this painting?
Date: Sat, 31 Dec 2005 19:11:23 -0400
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Very cool! thank you!  You didn't actually have it on your body did you???
Kelly/estela
----- Original Message ----- 
From: "michaela" <thebruce@ihug.co.nz>
To: "Historical Costume" <h-costume@indra.com>
Sent: Saturday, December 31, 2005 5:46 PM
Subject: Re: Man's Doublet closure,was Re: [h-cost] Have you seen this 
painting?


>> >>Is it laced at the back?
>
>> Hi Bjarne,
>> I haven't yet seen a doublet that laces up the back, doesn't mean they
>> didn't exist, just that I haven't seen any. My thought is that the
> fastening
>> is up centrefront, but hidden, possibly hook and eyes.
>
> There is a jerkin in the Met Museum that laces in the back. I don't know 
> if
> there is a photo of the back of it, but you can clearly see that it does 
> in
> the pattern (first ed. Blanche Payne's History of Costume.)
>
> I have not seen it mentioned whether it is for a man or woman, it fit me
> with but a few tweaks, but I don't know if that proves anything;)
>
> http://www.metmuseum.org/toah/hd/expl/hob_26.196.htm
>
>
> michaela de bruce
> http://glittersweet.com
>
>
>
> -- 
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From: "Susan B. Farmer" <sfarmer@goldsword.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Other paintings on this site, was  Man's Doublet closure
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Quoting michaela <thebruce@ihug.co.nz>:

>> If you have the time and patience, there are a number of paintings on
>> this site that I've not seen before:
>> One example (besides the one Bjarne shared) :
>> http://www.kleio.org/frauen/abb17a.htm
>> And if this is truely a self portrait of Leonardo....whoo hoo!
>> http://www.kleio.org/leonardo/leonardo.htm
>
>
> Yep. This is the new site of someone I link to frequently in my Frazzled
> Frau site:
> http://www.asn-ibk.ac.at/bildung/faecher/geschichte/maike/treffpunkt/buch2-29.htm
> http://www.asn-ibk.ac.at/bildung/faecher/geschichte/maike/bilderkatalog/habsburger/abb10s.htm

Do you know if there's a color copy of this painting around anywhere?  I
have the idea that the girl's dresses are red ....

>
> The new site is easier to remember for sure;)
>
>> There's a color copy of this one at
>> http://englishhistory.net/tudor/relative/brandon.html
>>
>> and isn't that beadwork on her sleeves *gorgeous*
>
> Oh yes:) I've had a copy in my book on Henry VIII for years. It's on my to
> do list;) There is a portrait of the middle-late 16thC in Koeln that has
> undersleeves just like it. Except the whole ensemble is in dusty pinky grey
> shades.

ooooh,  Do you have a link (or search string) to that picture?  I'd
*love* to see it!

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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I just sent my Secret Santa what I had around the house. I haven't even gotten to making my first Tudor Bodice or even thinking of my 6 sets of Choli's from India that I want to make.

I feel inadequate compared to you - you actually made a HAT!!

I haven't done anything more complex than a drawstring skirt with gores.

Katheryne


----- Original Message -----
From: Diane Maynard <camelothorse@earthlink.net>

<Snippage>

> made by me.  I hope you like it.  I feel totally inadequate 
> compared to the rest of the members on this list.
> Diane
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> I think you've nailed it spot on (as my overseas friends would say).
> Every now and then you'll see a painter do more than one copy of a
> given painting that's slightly different -- Artemesia Gentilishi's
> "Judith with the head of Holofernes" comes to mind.  You'll often see a
> student copy a teacher -- I've seen them, but I can't call them to mind.

Holbein's Jane Seymour for instance;)
http://www.artcyclopedia.com/commons/hans-holbein-the-younger.html
(Though there is a third somewhere.)

Corneille de Lyon painted a few copies of a girl. I'll see if I can hunt
them all down.
http://www.clevelandart.org/oci/magnify/1942/1942.48.jpg
http://www.bildindex.de/bilder/gggg2165b.jpg
http://www.metmuseum.org/toah/hd/refo/hod_29.100.197.htm (though there are
some larger differences bwtween this and the other two.)

The Cranach family painted Hercules at the Court of Ophale several times.
I have a few copies linked online, but I have found more.
http://www.artunframed.com/cranach2.htm
http://www.museothyssen.org/museovirtual/fichas/obraampliada.asp?codigo=468
(will resize your window)

http://frazzledfrau.glittersweet.com/gabriuscran.htm
A few on Gabrius.

http://www.internationalauctioneers.com/int/lot_detail.asp?LotID=207&AucID=5885
Though this is an imitator.


And let's not go near the multitudinous Salomes and Judiths which were
excuses to paint pretty girls (from imagination I'm sure.)

michaela de bruce
http://glittersweet.com



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To: Historical Costume <h-costume@indra.com>
From: Sharon Nevin <sharon.nevin@gmail.com>
Subject: Re: multiple copies Re: [h-cost] Re: Have you seen this
  painting?
In-Reply-To: <008901c60e60$f8987c70$0401010a@michaela>
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At 10:21 AM 1/01/2006, you wrote:

>Holbein's Jane Seymour for instance;)
>http://www.artcyclopedia.com/commons/hans-holbein-the-younger.html
>(Though there is a third somewhere.)

I thought there was four?  IIRC Janet Arnold in a Handbook of Costume has 
the different portraits side by side.

Sharon Nevin 

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Subject: Re: [h-cost] Re: Bosoms
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Just a bit of wondering....In addition to Sheer Bad Taste (tm) and
inaccurate information on the part of a fair number of modern reenactors and
RenFairies, could some of the TOAP effect be coming from our larger bodies?
I'm not referring to the largely mythical
we're-so-much-taller-than-they-were idea, but the reality of a lot of 21st
century Americans being, well, *koff* heavier than optimal health would have
us.  Myself included, so no slam meant.  You get somebody who's well-endowed
to begin with, like me, and add some overweight to it, and I *can't* avoid
having a shelf.  Even in a modern bra, I've got a shelf.  In a corset,
though, it's quite a bit more obvious, especially when compared to the same
area on a woman less rounded and endowed.
The best (historical) support I've had that didn't present a huge shelf was
the shell for the fitted gown from Robin's workshop.  I suspect that's from
a different sort of support/compression going on than with a corset.
Oh, and Happy New Year, everyone! ;o)
--Sue in foggy-drippy Montana

----- Original Message -----
From: <aquazoo@patriot.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Saturday, December 31, 2005 2:08 PM
Subject: [h-cost] Re: Bosoms


>
> > I think of the melons on a platter in the 18th Century, not Elizabethan,
> > as the corsets are shaped differently.  The Renn and Elizabethan are
> > more tubular in shape to the 18thC cone shape that gives you a higher
> > bustline. That and the 18thC women showed them off a bit more than
> > earlier women, what with the partlets of the earliers times.
>
>      It depends on what you mean by melons on a platter.  In both time
> periods, I think you see a lot more at Ren Faires and reenactments
> than the ideal for the time period.  18thC is supposed to produce
> "pleasing mounds", and I have not seen paintings where they show a
> cleavage line (the actual line from breasts pressed together).
> Winterthur Museum in Delaware has a portrait of a lady who is rather
> large busted, and still no line!  Bet she wasn't like that in real
> life, but we're talking about the ideal.
>
>      And while Elizabethans had partlets, 18thC have handkerchiefs, a
> folded square or triangle of cloth that covers the shoulders and
> bosom.  Sometimes they were sheer and some were embroidered.  Wearing
> one depended on time of day and age.  They protect from the sun, and
> young women would tend to go without while those with wrinkles could
> keep covered.
>
>      And in both centuries there was a gamut of class distinctions,
> ethnicities, yadda yadda.
>
>      -Carol


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Subject: [h-cost] Looking for a fabric store in MI
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Hello,

I was told there is an absolutely amazing fabric store in Bay City, 
Michigan.  The friend who told me about it couldn't recall the store 
name.  I was wondering if anyone on this board would be able to help me 
out?  I'm not from Michigan, but have been considering a trip and would 
love to make a visit to "an amazing fabric store".  Does this ring a bell 
for anyone and if you may know of the store could you also include an 
approximate location if you're able?  There's such a wide expanse of 
knowledge on this list, I just thought it might be worth asking.

Thanks so much!
Dawn


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Tubular to me means straight like a toilet paper roll. Elizabethan is cone.
http://www.tudor-portraits.com/Elizabeth15.jpg
http://www.tudor-portraits.com/Elizabeth25.jpg
http://www.tudor-portraits.com/Elizabeth.jpg

my def. on MoaP
this is not (though loud) MoaP
http://photobucket.com/albums/v314/Maestro01/PSClaudeandPetronella/?action=v
iew&current=PC36.jpg

It's when the bodice is cinched in such a way that the bosoms have no room
but to pop out.
http://www.printroom.com/ViewGalleryPhoto.asp?userid=jmstrange&gallery_id=25
2009&image_id=11
Though these are wenches, I have seen women suppose to be nobility and
looking like tarts.
http://photobucket.com/albums/v314/Maestro01/CommercialShoot/?action=view&cu
rrent=Commercial95.jpg
This isn't as bad as I have seen in the past.
Now I have no problem MoaPs except that it has become the belief that this
was the norm for women of that century. This is not saying that the blooming
bosom wasn't seen but it wasn't common.

De

-----Original Message-----
> am not really wanting the "melons on a platter" as some >said earlier.

Hi Becky,
I think of the melons on a platter in the 18th Century, not Elizabethan, as
the corsets are shaped differently.  The Renn and Elizabethan are more
tubular in shape to the 18thC cone shape that gives you a higher bustline.
That and the 18thC women showed them off a bit more than earlier women, what
with the partlets of the earliers times.

Kelly/Estela


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The big bosom thing is something I've been wondering about for a while too. I've seen very few portraits, if any, that show women with large breasts pre-19th C even in portraits where the women are robust. 

Clothing styles definately didn't encourage large bosoms, I know a lot of women who have trouble making garb that fits. They either use a princess style cut, which isn't appropriate, or squish themselves (which is not flattering or, I imagine, comfortable)

Could large breasts be a modern occurance? Our food is pumped full of hormones and other chemicals. In the last few decades, girls are physically maturing faster than they used too. My friends and I started menstrating around 14-15 years old, now girls are 11-12. 

In the past, ideal beauty may have been small breasts as compared to now, where bigger is not big enough (I was so born in the wrong century); but not all portraits were idealized.

Wendy


 --- On Sat 12/31, Sue Clemenger < mooncat@in-tch.com > wrote:
From: Sue Clemenger [mailto: mooncat@in-tch.com]
To: h-costume@indra.com
Date: Sat, 31 Dec 2005 18:59:50 -0700
Subject: Re: [h-cost] Re: Bosoms

Just a bit of wondering....In addition to Sheer Bad Taste (tm) and<br>inaccurate information on the part of a fair number of modern reenactors and<br>RenFairies, could some of the TOAP effect be coming from our larger bodies?<br>I'm not referring to the largely mythical<br>we're-so-much-taller-than-they-were idea, but the reality of a lot of 21st<br>century Americans being, well, *koff* heavier than optimal health would have<br>us.  Myself included, so no slam meant.  You get somebody who's well-endowed<br>to begin with, like me, and add some overweight to it, and I *can't* avoid<br>having a shelf.  Even in a modern bra, I've got a shelf.  In a corset,<br>though, it's quite a bit more obvious, especially when compared to the same<br>area on a woman less rounded and endowed.<br>The best (historical) support I've had that didn't present a huge shelf was<br>the shell for the fitted gown from Robin's workshop.  I suspect that's from<br>a different sort of support/compression 
going on than with a corset.<br>Oh, and Happy New Year, everyone! ;o)<br>--Sue in foggy-drippy Montana<br><br>----- Original Message -----<br>From: <aquazoo@patriot.net><br>To: "Historical Costume" <h-costume@indra.com><br>Sent: Saturday, December 31, 2005 2:08 PM<br>Subject: [h-cost] Re: Bosoms<br><br><br>><br>> > I think of the melons on a platter in the 18th Century, not Elizabethan,<br>> > as the corsets are shaped differently.  The Renn and Elizabethan are<br>> > more tubular in shape to the 18thC cone shape that gives you a higher<br>> > bustline. That and the 18thC women showed them off a bit more than<br>> > earlier women, what with the partlets of the earliers times.<br>><br>>      It depends on what you mean by melons on a platter.  In both time<br>> periods, I think you see a lot more at Ren Faires and reenactments<br>> than the ideal for the time period.  18thC is supposed to produce<br>> "pleasing mounds", and I have not seen paintings where they show a<br>> 
cleavage line (the actual line from breasts pressed together).<br>> Winterthur Museum in Delaware has a portrait of a lady who is rather<br>> large busted, and still no line!  Bet she wasn't like that in real<br>> life, but we're talking about the ideal.<br>><br>>      And while Elizabethans had partlets, 18thC have handkerchiefs, a<br>> folded square or triangle of cloth that covers the shoulders and<br>> bosom.  Sometimes they were sheer and some were embroidered.  Wearing<br>> one depended on time of day and age.  They protect from the sun, and<br>> young women would tend to go without while those with wrinkles could<br>> keep covered.<br>><br>>      And in both centuries there was a gamut of class distinctions,<br>> ethnicities, yadda yadda.<br>><br>>      -Carol<br><br><br>_______________________________________________<br>h-costume mailing list<br>h-costume@mail.indra.com<br>http://mail.indra.com/mailman/listinfo/h-costume<br>

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From: Alex Doyle <garbaholic@sbcglobal.net>
Subject: Re: [h-cost] Re: Bosoms
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Another thought also is, could the English women of the 16th century been more likely to be less endowed as a general trait?  I wonder sometimes if this was the reason that the corset was an okay thing for the English, while other areas of the world at that time, like the Germans were developing a soft line that allowed the curved of the bust, and is easier for the more well endowed to wear.

  alex
Wendy <emmajean@myway.com> wrote:
  
The big bosom thing is something I've been wondering about for a while too. I've seen very few portraits, if any, that show women with large breasts pre-19th C even in portraits where the women are robust. 

Clothing styles definately didn't encourage large bosoms, I know a lot of women who have trouble making garb that fits. They either use a princess style cut, which isn't appropriate, or squish themselves (which is not flattering or, I imagine, comfortable)

Could large breasts be a modern occurance? Our food is pumped full of hormones and other chemicals. In the last few decades, girls are physically maturing faster than they used too. My friends and I started menstrating around 14-15 years old, now girls are 11-12. 

In the past, ideal beauty may have been small breasts as compared to now, where bigger is not big enough (I was so born in the wrong century); but not all portraits were idealized.

Wendy


--- On Sat 12/31, Sue Clemenger < mooncat@in-tch.com > wrote:
From: Sue Clemenger [mailto: mooncat@in-tch.com]
To: h-costume@indra.com
Date: Sat, 31 Dec 2005 18:59:50 -0700
Subject: Re: [h-cost] Re: Bosoms

Just a bit of wondering....In addition to Sheer Bad Taste (tm) and
inaccurate information on the part of a fair number of modern reenactors and
RenFairies, could some of the TOAP effect be coming from our larger bodies?
I'm not referring to the largely mythical
we're-so-much-taller-than-they-were idea, but the reality of a lot of 21st
century Americans being, well, *koff* heavier than optimal health would have
us. Myself included, so no slam meant. You get somebody who's well-endowed
to begin with, like me, and add some overweight to it, and I *can't* avoid
having a shelf. Even in a modern bra, I've got a shelf. In a corset,
though, it's quite a bit more obvious, especially when compared to the same
area on a woman less rounded and endowed.
The best (historical) support I've had that didn't present a huge shelf was
the shell for the fitted gown from Robin's workshop. I suspect that's from
a different sort of support/compression 
going on than with a corset.
Oh, and Happy New Year, everyone! ;o)
--Sue in foggy-drippy Montana

----- Original Message -----
From: 
To: "Historical Costume" 
Sent: Saturday, December 31, 2005 2:08 PM
Subject: [h-cost] Re: Bosoms


>
> > I think of the melons on a platter in the 18th Century, not Elizabethan,
> > as the corsets are shaped differently. The Renn and Elizabethan are
> > more tubular in shape to the 18thC cone shape that gives you a higher
> > bustline. That and the 18thC women showed them off a bit more than
> > earlier women, what with the partlets of the earliers times.
>
> It depends on what you mean by melons on a platter. In both time
> periods, I think you see a lot more at Ren Faires and reenactments
> than the ideal for the time period. 18thC is supposed to produce
> "pleasing mounds", and I have not seen paintings where they show a
> 
cleavage line (the actual line from breasts pressed together).
> Winterthur Museum in Delaware has a portrait of a lady who is rather
> large busted, and still no line! Bet she wasn't like that in real
> life, but we're talking about the ideal.
>
> And while Elizabethans had partlets, 18thC have handkerchiefs, a
> folded square or triangle of cloth that covers the shoulders and
> bosom. Sometimes they were sheer and some were embroidered. Wearing
> one depended on time of day and age. They protect from the sun, and
> young women would tend to go without while those with wrinkles could
> keep covered.
>
> And in both centuries there was a gamut of class distinctions,
> ethnicities, yadda yadda.
>
> -Carol


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>  You get somebody who's well-endowed
> to begin with, like me, and add some overweight to it, >and I *can't* 
> avoid
> having a shelf.  Even in a modern bra, I've got a shelf.  >In a corset,
> though, it's quite a bit more obvious, especially when >compared to the 
> same
> area on a woman less rounded and endowed.

I can understand your point. We are a bit heavier in general, but I think 
it'd effect the cleavage line than anything.

You are getting a shelf in you corset because it doesn't fit quite right, 
comercial pattern?  Your modern bra is because of the same problem.  Often 
times comercial pattern makers will scale up from the perfect sixe 12 
manikin.  Not many people are that perfect.  Store bought bras are the same 
way.  They don't actually make my size in bra...a 34DDD1/2, so I usually 
have the four boob effect, or the band moves around too much, or I alter.

For your corset, try raising the front a bit.  Make a mock up, too long in 
height from the armhole depth line up.  Try it on, adjust where you want 
your breasts to sit, and then get someone else to mark your top of corset 
line. You should have a nice rounding, but no spillage/shelving.

Hope that helps, and I'm not offending anyone.
Kelly/estela 
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From: "Beth Chamberlain" <bchamber@suffolk.lib.ny.us>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Re: Bosoms
Date: Sun, 1 Jan 2006 14:17:02 -0500
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A few years ago I read a research study discussing the effects of diet on
body shape, if I remember right it was about modern diet but touched on
historic times (I might have that reversed) today's diet is much higher in
fat (which we don't burn off) and women do in fact have proportionally
larger breasts. I believe if you look at older standardized size charts that
can be confirmed. Combine that with the numerous chemicals which we consume
with estrogen-like properties and it really does seem like breasts are
getting larger. Look at a bunch of 16 years old girls - twig thin and huge
bustlines, my friends didn't look like that 25 years ago. One of the
differences between the early American diet and the European diet was also
the amount of fat (more meat being available to the average person in the
U.S. in the 18th & 19th centuries). Supposedly the first generation of women
raised here had larger breast than their mother's did, one generation is too
fast for it to be genetic. I'll see if I can find the article so I've got
citations.

Beth

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Wendy
Sent: Sunday, January 01, 2006 11:20 AM
To: h-costume@indra.com
Subject: Re: [h-cost] Re: Bosoms


The big bosom thing is something I've been wondering about for a while too.
I've seen very few portraits, if any, that show women with large breasts
pre-19th C even in portraits where the women are robust. 

Clothing styles definately didn't encourage large bosoms, I know a lot of
women who have trouble making garb that fits. They either use a princess
style cut, which isn't appropriate, or squish themselves (which is not
flattering or, I imagine, comfortable)

Could large breasts be a modern occurance? Our food is pumped full of
hormones and other chemicals. In the last few decades, girls are physically
maturing faster than they used too. My friends and I started menstrating
around 14-15 years old, now girls are 11-12. 

In the past, ideal beauty may have been small breasts as compared to now,
where bigger is not big enough (I was so born in the wrong century); but not
all portraits were idealized.

Wendy


 --- On Sat 12/31, Sue Clemenger < mooncat@in-tch.com > wrote:
From: Sue Clemenger [mailto: mooncat@in-tch.com]
To: h-costume@indra.com
Date: Sat, 31 Dec 2005 18:59:50 -0700
Subject: Re: [h-cost] Re: Bosoms

Just a bit of wondering....In addition to Sheer Bad Taste (tm)
and<br>inaccurate information on the part of a fair number of modern
reenactors and<br>RenFairies, could some of the TOAP effect be coming from
our larger bodies?<br>I'm not referring to the largely
mythical<br>we're-so-much-taller-than-they-were idea, but the reality of a
lot of 21st<br>century Americans being, well, *koff* heavier than optimal
health would have<br>us.  Myself included, so no slam meant.  You get
somebody who's well-endowed<br>to begin with, like me, and add some
overweight to it, and I *can't* avoid<br>having a shelf.  Even in a modern
bra, I've got a shelf.  In a corset,<br>though, it's quite a bit more
obvious, especially when compared to the same<br>area on a woman less
rounded and endowed.<br>The best (historical) support I've had that didn't
present a huge shelf was<br>the shell for the fitted gown from Robin's
workshop.  I suspect that's from<br>a different sort of support/compression 
going on than with a corset.<br>Oh, and Happy New Year, everyone!
;o)<br>--Sue in foggy-drippy Montana<br><br>----- Original Message
-----<br>From: <aquazoo@patriot.net><br>To: "Historical Costume"
<h-costume@indra.com><br>Sent: Saturday, December 31, 2005 2:08
PM<br>Subject: [h-cost] Re: Bosoms<br><br><br>><br>> > I think of the melons
on a platter in the 18th Century, not Elizabethan,<br>> > as the corsets are
shaped differently.  The Renn and Elizabethan are<br>> > more tubular in
shape to the 18thC cone shape that gives you a higher<br>> > bustline. That
and the 18thC women showed them off a bit more than<br>> > earlier women,
what with the partlets of the earliers times.<br>><br>>      It depends on
what you mean by melons on a platter.  In both time<br>> periods, I think
you see a lot more at Ren Faires and reenactments<br>> than the ideal for
the time period.  18thC is supposed to produce<br>> "pleasing mounds", and I
have not seen paintings where they show a<br>> 
cleavage line (the actual line from breasts pressed together).<br>>
Winterthur Museum in Delaware has a portrait of a lady who is rather<br>>
large busted, and still no line!  Bet she wasn't like that in real<br>>
life, but we're talking about the ideal.<br>><br>>      And while
Elizabethans had partlets, 18thC have handkerchiefs, a<br>> folded square or
triangle of cloth that covers the shoulders and<br>> bosom.  Sometimes they
were sheer and some were embroidered.  Wearing<br>> one depended on time of
day and age.  They protect from the sun, and<br>> young women would tend to
go without while those with wrinkles could<br>> keep covered.<br>><br>>
And in both centuries there was a gamut of class distinctions,<br>>
ethnicities, yadda yadda.<br>><br>>
-Carol<br><br><br>_______________________________________________<br>h-costu
me mailing
list<br>h-costume@mail.indra.com<br>http://mail.indra.com/mailman/listinfo/h
-costume<br>

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Subject: Re: [h-cost] Re: Bosoms
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Uh, nope.  Custom-made corset (by me, and it's fair to say that I know what
I'm doing with 16th century costuming, at least for myself...got recognized
for it mumblety-mumble years ago with an SCA peerage).  It's more the effect
that proper lift and support will have on a 56G chest.  <weg>
I do get minor spillage (*koff*) if the outfit I'm wearing isn't properly
fitted, or if I've wiggled the corset too low, but the shelf's there,
regardless.  There's just too much to squish flat into the proper 16th
century silhouette.  Or 21st century, for that matter.  I'm not quite this
large (thank goodness!) at a lower weight, but structurally, the ratio
remains the same.
No offense taken, either, over your advice.  Many of us appreciate hearing
about different fitting techniques! ;o)
--Sue


----- Original Message -----
From: "kelly grant" <estela_dufrayse@hotmail.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Sunday, January 01, 2006 8:35 AM
Subject: Re: [h-cost] Re: Bosoms


> >  You get somebody who's well-endowed
> > to begin with, like me, and add some overweight to it, >and I *can't*
> > avoid
> > having a shelf.  Even in a modern bra, I've got a shelf.  >In a corset,
> > though, it's quite a bit more obvious, especially when >compared to the
> > same
> > area on a woman less rounded and endowed.
>
> I can understand your point. We are a bit heavier in general, but I think
> it'd effect the cleavage line than anything.
>
> You are getting a shelf in you corset because it doesn't fit quite right,
> comercial pattern?  Your modern bra is because of the same problem.  Often
> times comercial pattern makers will scale up from the perfect sixe 12
> manikin.  Not many people are that perfect.  Store bought bras are the
same
> way.  They don't actually make my size in bra...a 34DDD1/2, so I usually
> have the four boob effect, or the band moves around too much, or I alter.
>
> For your corset, try raising the front a bit.  Make a mock up, too long in
> height from the armhole depth line up.  Try it on, adjust where you want
> your breasts to sit, and then get someone else to mark your top of corset
> line. You should have a nice rounding, but no spillage/shelving.
>
> Hope that helps, and I'm not offending anyone.
> Kelly/estela


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From: "Nick &/or Jamie" <niknjami@nouveauwest.com>
To: <h-costume@indra.com>
Subject: Man's Doublet closure, was Re: [h-cost] Have you seen this
Date: Sat, 31 Dec 2005 12:13:15 -0800
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Bjarne:

It could be exactly as you see it - Three buttons closing it at the top, and
one or two closing it at the waist.  Note that the entire body of the
doublet is slashed into panes.

You see this quite a lot in German woodcuts of the era, and not a few
English portraits - Although in both cases this kind of closure tends to
appear on leather jerkins.

I've actually made a jerkin in this manner.  It closes with a point at the
waist, and two points at the top.  Works quite well.  The gaps between the
panes open and close to show the doublet below.

Of course it is possible that in the portrait in question the doublet is
mimicking this style.  Since the image is in black & white it's difficult to
know what the full details are.

Best Guess:  Either exactly what you see, or hidden hooks and eyes.  Would
depend on the effect trying to be achieved.

Nicholas Worthington


-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of Joan Jurancich
Sent: Friday, December 30, 2005 5:22 PM
To: Historical Costume
Subject: Man's Doublet closure, was Re: [h-cost] Have you seen this
painting?


At 02:05 PM 12/30/2005, you wrote:
>Hi,
>I stumped over this stunning mans renaissance clothes.
>How is his doublet buttoned down the front. I only se 3 buttons at
>the top, where is the rest?
>Is it laced at the back?
>
>http://www.asn-ibk.ac.at/bildung/faecher/geschichte/maike/treffpunkt/abb81a
.htm
>
>Bjarne


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From: "kelly grant" <estela_dufrayse@hotmail.com>
To: "Historical Costume" <h-costume@indra.com>
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Subject: [h-cost] corset construction help
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When constructing a corset, you really have to start with a good fitting basic block.  This first step is crucial to obtaining a good fit in the final dress stage.  Some commercial pattern companies still carry block, or slopers in their line.  Build one in cotton muslin and get it fitted, by someone else. It is essential to have someone else take your measurments and do the fittings. No matter how much experience you have, or how much education or training you have, it is physically impossible to do accurate measurements on your own body.

Once you have this block, you can then begin to develope your corset pattern to fit you. Norah Waugh's "Corsets and Crinolines" and Robert Doyle's "Waisted Efforts" have good methods for determining the pattern, but you can also use the diagram of a period corset as a guide, and remove darts to achieve the desired look.

If you have a large bustline, it may be necessary to carve out an 'armhole' along the top edge, and raise that top edge over the center front/bust area.  It really is that easy to prevent spilling over.  A good shoulder strap, well placed will add to the support needed.  Tabbed corsets are much more comfortable to wear over the waist and hipline.

I am willing to help anyone with corset problems. I want to help stamp out any myths about uncomfortable corsets. Properly fitted and constructed corsets are comfortable.  I teach historical tailoring and cutting for the modern body.

Kelly Grant
Dalhousie University Costume Studies dept.
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] holiday exchange gifts
Date: Mon, 02 Jan 2006 00:46:13 +0000
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   I would like to thank Joanne Jones for the lovely gifts that she sent me.  She gifted me with a blackwork book, black silk thread to do blackwork with (wonderful thread, Joanne!), and a paternoster (it's even made up of the colors of my device).

    The gift I was supposed to send out before Christmas is delayed because I took a nasty fall - luckily my right hand and wrist is improving and I have been able to work diligently to finish the holiday exchange gift.  It will be sent out this week.  It'll end up as a 12th Night gift instead of a Christmas gift.  ;-)

Roscelin
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From h-costume-bounces@indra.com  Sun Jan  1 20:25:50 2006
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Hoo-rah, my Secret Santa package arrived this weekend! Debbie from West
Yorkshire sent me a lovely package (twice...it's quite the story!) with
several nice skeins of naturally-dyed silk and wool embroidery threads made
by a lady in Wales, a small bag of dyed merino-cross wool for my spinning, a
cute little book on York, and a frame-able scroll/poster on the highlights
of the history of York.  Very cool, since I'm big on embroidery (and like to
experiment with natural dyes), AND York is one of my favorite places in
Britain.
Poor Debbie had to send the package twice, because the eejits at the Royal
Mail somehow misunderstood the customs declaration label AND the address
label for the U.S., and sent it *back* to her (at the return address).  It
must have had quite the trip, because I'd managed to goof up the address
info when I sent it to Dawn, so it's more than a little bit of a miracle
that it made it at all!
I'm going to have lots of fun spinning my dyed merino fluff at the next SCA
event I attend--I have a modern wheel that I use a lot at home, but use my
little dropspindle at events.  ;o)
--Sue in Montana



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References: <20051230191703.76617.qmail@web52106.mail.yahoo.com><20051230135710.4qyi2tmzjn5wkgo8@www.goldsword.com><BAY101-DAV4785DB8DA1561A8068E17BC280@phx.gbl><20051230165928.ifujurmc4ug4g0ss@www.goldsword.com><BAY101-DAV109DC2321E3F6482B357B3BC2B0@phx.gbl>
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Subject: Re: Pattern for Eleanor Painting was Re: [h-cost] Re: Have you seen
	thispainting?
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>> I found the perfect dress for my fabric!!!!! That is about the closest
> I've
>> found to any design for the fabric I have. Any idea of what kind of
> pattern
>> I'd need to make it?
>> http://www.tudor-portraits.com/ElenoraToledo5.jpg

Try www.margospatterns.com or www.reconstructinghistory.com . They'll need a 
little bit of fiddling, but both should work fine. 

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From: "Audrey Bergeron-Morin" <audreybmorin@gmail.com>
To: "Historical Costume" <h-costume@indra.com>
References: <20051231153421.48315.qmail@web36506.mail.mud.yahoo.com>
Subject: Re: [h-cost] Re: "Casanova" (possible spoiler)
Date: Mon, 2 Jan 2006 00:30:21 -0500
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X-Miltered: at demeter with ID 43B8BA7A.001 by Joe's j-chkmail (http://j-chkmail.ensmp.fr)!

> I found this image on IMDB:
>
> 
> <http://imdb.com/gallery/ss/0402894/Ss/0402894/001.jpg?path=gallery&path_key=0402894>
>
>  Not the best photo, but you can definitely see her corset (and her thru 
> it!!)

Frankly, I find the look very unflattering. Not alluring at all to see her 
breasts squished like that. Weird. 

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From: "Audrey Bergeron-Morin" <audreybmorin@gmail.com>
To: "Historical Costume" <h-costume@indra.com>
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	<004201c60e77$0de13d40$11bfa6d8@pavilion>
Subject: Re: [h-cost] Re: Bosoms
Date: Mon, 2 Jan 2006 00:42:20 -0500
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> You get somebody who's well-endowed
> to begin with, like me, and add some overweight to it, and I *can't* avoid
> having a shelf.

Maybe. But a shelf in itself doesn't bother me. What bothers me is when they 
overflow over the top of the bodice, or when the bodice is cut so low they 
actually fall out. Or when they push their breasts high enough that they end 
up  higher than their armpits. I mean... with a correctly cut and sized 
corset, the most you'll get is a horizontal plane on top... 

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From: "Audrey Bergeron-Morin" <audreybmorin@gmail.com>
To: "Historical Costume" <h-costume@indra.com>
References: <IDEHICPIJOEBPADHEOGPKEKNFIAA.otsisto@socket.net>
Subject: Re: [h-cost] bosoms was: Have you seen this painting?
Date: Mon, 2 Jan 2006 00:45:57 -0500
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> Tubular to me means straight like a toilet paper roll. Elizabethan is 
> cone.
> http://www.tudor-portraits.com/Elizabeth15.jpg
> http://www.tudor-portraits.com/Elizabeth25.jpg
> http://www.tudor-portraits.com/Elizabeth.jpg

Yes, but those are all later Elizabethans. The conical shape is really 
empasized in later years. Earlier is closer to tubular than those late 
examples - especially if you're like me and have size 0 shoulders and size 4 
hips! 

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From: "Sue Clemenger" <mooncat@in-tch.com>
To: "Historical Costume" <h-costume@indra.com>
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	<020c01c60f5f$4c8bd4e0$0302a8c0@p4audrey>
Subject: Re: [h-cost] Re: Bosoms
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That would be the Truly Bad Taste (tm) part <g>.
--Sue

----- Original Message -----
From: "Audrey Bergeron-Morin" <audreybmorin@gmail.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Sunday, January 01, 2006 10:42 PM
Subject: Re: [h-cost] Re: Bosoms


> > You get somebody who's well-endowed
> > to begin with, like me, and add some overweight to it, and I *can't*
avoid
> > having a shelf.
>
> Maybe. But a shelf in itself doesn't bother me. What bothers me is when
they
> overflow over the top of the bodice, or when the bodice is cut so low they
> actually fall out. Or when they push their breasts high enough that they
end
> up  higher than their armpits. I mean... with a correctly cut and sized
> corset, the most you'll get is a horizontal plane on top...


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Subject: RE: [h-cost] bosoms was: Have you seen this painting?
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I still consider this conical.
http://www.tudor-portraits.com/Mary1.jpg
http://www.tudor-portraits.com/Mary.jpg
http://www.tudor-portraits.com/Elizabeth5.jpg
http://www.tudor-portraits.com/IsabelPortugal.jpg
this almost can be tubilar
http://www.tudor-portraits.com/TBBodenham.jpg
http://www.tudor-portraits.com/ElenoraToledo.jpg

-----Original Message-----
Yes, but those are all later Elizabethans. The conical shape is really
empasized in later years. Earlier is closer to tubular than those late
examples - especially if you're like me and have size 0 shoulders and size 4
hips!

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From: "otsisto" <otsisto@socket.net>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Re: Bosoms
Date: Mon, 2 Jan 2006 00:49:03 -0600
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You do have these
http://realmofvenus.renaissancewoman.net/wardrobe/ApotheosisDetail.jpg
http://realmofvenus.renaissancewoman.net/wardrobe/Montemezzano2.jpg
note she is a bit hunched over.
http://realmofvenus.renaissancewoman.net/wardrobe/BassanoConcert1.jpg
http://realmofvenus.renaissancewoman.net/wardrobe/MadonnadelleRose.jpg
among the working class
http://homepage.mac.com/festive_attyre/research/wkclass/wk8.html
http://homepage.mac.com/festive_attyre/research/wkclass/wk9.html
The thing is that these are all "Italian". There are a rare few Landsknecht.
I have a hard time finding the sort of squeezed melons on a platter in other
countries until the early to mid 1600s.
I think that the reason that women from the RenFaires like to wear the MoaP
is because 1. they are told the myth that that is how it was worn and 2. It
makes them feel a bit sexy.
A note on a previous post about modern women having bigger breast and
heavier weight then they did back when. I don't think that the person who
wrote the article you read had a look at late 1500s "Italian" paintings. IMO

De




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Date: Mon, 02 Jan 2006 06:53:33 +0000
From: rwfranz <rwfranz@hotpop.com>
Subject: Re: [h-cost] More info museum pictures
In-reply-to: <20051231114700.1D22131970C@pelian.kabelfoon.nl>
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Thanks! That helped.

Deredere Galbraith wrote:

> Some more info on the pictures
> http://mystictimes.nl/Gallery/Gallery.html


Roger

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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Take a look at the movie : "Let them eat Cake" with French and Saunders. The 
big lady is laced in a beautifull 18th century corset, and it is so well 
done. I have always admired the costumer who made that.

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

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

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Subject: Re: [h-cost] bosoms was: Have you seen this painting?
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----- Original Message ----- 
From: "otsisto" <otsisto@socket.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Monday, January 02, 2006 5:32 PM
Subject: RE: [h-cost] bosoms was: Have you seen this painting?


>I still consider this conical.
> http://www.tudor-portraits.com/Mary1.jpg
> http://www.tudor-portraits.com/Mary.jpg
> http://www.tudor-portraits.com/Elizabeth5.jpg
> http://www.tudor-portraits.com/IsabelPortugal.jpg
> this almost can be tubilar
> http://www.tudor-portraits.com/TBBodenham.jpg
> http://www.tudor-portraits.com/ElenoraToledo.jpg
>

I think the point Audrey is trying to make is that although the earlier 
tudor styles were not entirely cylindrical there was less emphasis on the 
small waist and large bosom that the later Elizabethan (or 18th Century) 
styles although much of the cone shaped appearance is an optical illusion 
caused by things like triangular stomachers and long points.
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>
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	<021501c60f5f$ce0bfe00$0302a8c0@p4audrey>
Subject: Re: [h-cost] bosoms was: Have you seen this painting?
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That and there is a huge difference in cut between the early elizabethan 
stays and the 18thC stays.  Even the effigy stays are cut with only three 
pieces...the 18thC ones are cut in five or more. That seaming adds a lot to 
the position of the breast within the stays.
Kelly/estela
----- Original Message ----- 
From: "Audrey Bergeron-Morin" <audreybmorin@gmail.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Monday, January 02, 2006 1:45 AM
Subject: Re: [h-cost] bosoms was: Have you seen this painting?


>> Tubular to me means straight like a toilet paper roll. Elizabethan is 
>> cone.
>> http://www.tudor-portraits.com/Elizabeth15.jpg
>> http://www.tudor-portraits.com/Elizabeth25.jpg
>> http://www.tudor-portraits.com/Elizabeth.jpg
>
> Yes, but those are all later Elizabethans. The conical shape is really 
> empasized in later years. Earlier is closer to tubular than those late 
> examples - especially if you're like me and have size 0 shoulders and size 
> 4 hips!
> _______________________________________________
> 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: Bosoms
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That was my post, and I didn't read an article to come to that conclusion.
In fact, it wasn't a conclusion, really, just a "toss it out there" idea,
based on my own personal experience and observation.
I'm aware of the paintings in which fleshier women appear (some of the Dutch
ones in that same time period show the same sort of voluptuousness, too),
but when you look at the nudes, it always seems to come down to an
exaggeration of the sitter's hips/thighs.  It's also an obsession that
didn't show up everywhere, even in Europe, and certainly didn't maintain its
presence in later centuries.  I don't seem to recall something similar
showing up at all until the lateish 19th century.
I'm really trying to avoid starting some sort of hot-and-bothered, flaming
thread here.  It's not my business to be berating modern people for weight
issues, and I wouldn't, anyways, having suffered from society's reaction to
my own shape most of my life.  So no value judgements.  I was just wondering
if the reason some of us see so many badly fitting bodices on women now is a
combination of many of the women simply being larger, combined with some
amount of bad taste, and a fair quantity of misinformation.  I've done a lot
of historical costuming over the last 2 decades (much of it for myself), and
I know how many fittings of patterns and whatnot I've had to do to get the
right look with my modern body.
--Sue, in grey pre-dawn Montana, where it looks like our unseasonably warm
weather has gone away again, alas!

----- Original Message -----
From: "otsisto" <otsisto@socket.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Sunday, January 01, 2006 11:49 PM
Subject: RE: [h-cost] Re: Bosoms

<snipped>

> The thing is that these are all "Italian". There are a rare few
Landsknecht.
> I have a hard time finding the sort of squeezed melons on a platter in
other
> countries until the early to mid 1600s.
> I think that the reason that women from the RenFaires like to wear the
MoaP
> is because 1. they are told the myth that that is how it was worn and 2.
It
> makes them feel a bit sexy.
> A note on a previous post about modern women having bigger breast and
> heavier weight then they did back when. I don't think that the person who
> wrote the article you read had a look at late 1500s "Italian" paintings.
IMO
>
> De


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Subject: Re: [h-cost] bossoms
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I haven't seen that movie! Is it an American production, or done by another
country? (I'm asking because my local video stores tend to put American
drama in a "drama" section, and non-American films in a "Foreign" section.)
I'm in the mood for a few costume movies <g>...have "Restoration" on my
list, since I haven't seen that in a while. And "Dangerous Liaisons."
--Sue, in a mood to watch and sew ;-D

----- Original Message -----
From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: <h-costume@indra.com>
Sent: Monday, January 02, 2006 12:44 AM
Subject: [h-cost] bossoms


> Take a look at the movie : "Let them eat Cake" with French and Saunders.
The
> big lady is laced in a beautifull 18th century corset, and it is so well
> done. I have always admired the costumer who made that.
>
> Bjarne


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"Let Them Eat Cake" was a very short-run British comedy set at the cusp of 
the French Revolution, starring the comedy team of Dawn French and Jennifer 
Saunders (of Ab-Fab fame).  It's out on DVD, but not in the US.
                  -Helen/Aidan 

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Subject: Re: [h-cost] bossoms
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Bummer!
*sigh* (sue scratches it off her list)....
--Sue

----- Original Message -----
From: "Helen Pinto" <hpinto@mindspring.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Monday, January 02, 2006 8:55 AM
Subject: Re: [h-cost] bossoms


> "Let Them Eat Cake" was a very short-run British comedy set at the cusp of
> the French Revolution, starring the comedy team of Dawn French and
Jennifer
> Saunders (of Ab-Fab fame).  It's out on DVD, but not in the US.
>                   -Helen/Aidan


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From: jordana robinson <mylaar@gmail.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Re: "Casanova" (possible spoiler)
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this is another plot spoiler, so...



spoiler space...



another reason for the weirdness of that corset may be that there were
some action scenes coming up, as she and casanova make a dramatic
escape from the scaffold.  there may have been need for a harness or
some sort of safety gear or padding underneath? (they jump from the
scaffold onto a moving carriage/horses.)  i was watching a sort of
"behind the scenes" thing the other day, and it looked like they were
doing their own stunts, but i fully admit i was only really giving
close attention to heath ledger at that point :)  just playing devil's
advocate, as i agree it looks really ugly in that photo.

i wish i were an actress in these movies -- i would be so happy to get
to wear corsets and get paid for it!

i loved the film, and because the plot and humor were a bit
anachronistic in flavor, i expected and allowed for inaccuracies in
the costuming.  (there was also a dress at one point with a very
19th-century-looking back bustle thing going on, which also jarred me
for a second.)  i think since the film as a whole was not aiming to be
a recreation of real historical events, then just giving the "look and
feel" of the period is appropriate.  it's just supposed to be a fun
romantic comedy with pretty outfits, after all :)

-jordana

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From: "otsisto" <otsisto@socket.net>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Re: Bosoms
Date: Mon, 2 Jan 2006 19:23:24 -0600
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Thank you for reminding me of the Dutch paints, I had forgotten about them.
:)
Though I am bias I do not think that my post was flaming.
Your statement is not the first time I have heard about comparison of weight
from the Renaissance to modern. I may have assumed that you had read the
article that someone told me about a few months back.
I may not be a big wompin' momma but I come in a close second, so it isn't a
weight issue, it's an information issue, with me.
I don't think that it matters of the size of the woman but I think you are
correct about poor fit, and poor information.
My friend who is into fetish and historic costume corsetry once told me many
of the women she encounters from RenFairs have ill-fitted corsets.(roughly
60% have the wrong century corset)
She has had women come to her and ask how can she wear that corset because
they wore a corset for a RenFaire and was so uncomfortable. After explaining
proper fit, she would offer to either fit them with a store bought corset or
make one. 99% of those who take up her offer are satisfied with the results.
I hear many think that the bawdy look is the norm and rampantly crosses the
classes.
Many assume that the head costumer is well read in historic costuming
(usually they are) there are also those that show up to the RenFaire who
have copied a gown that they saw at the faire the previous year not knowing
whether it is period or another person perpetuating another person's
fantasy.
And then there are the major pattern companies and their "Renaissance"
patterns that don't help the matter.
Now this is my opinion and doesn't mean that it is 100% fact.
De

-----Original Message-----
That was my post, and I didn't read an article to come to that conclusion.
In fact, it wasn't a conclusion, really, just a "toss it out there" idea,
based on my own personal experience and observation.
I'm aware of the paintings in which fleshier women appear (some of the Dutch
ones in that same time period show the same sort of voluptuousness, too),
but when you look at the nudes, it always seems to come down to an
exaggeration of the sitter's hips/thighs.  It's also an obsession that
didn't show up everywhere, even in Europe, and certainly didn't maintain its
presence in later centuries.  I don't seem to recall something similar
showing up at all until the lateish 19th century.
I'm really trying to avoid starting some sort of hot-and-bothered, flaming
thread here.  It's not my business to be berating modern people for weight
issues, and I wouldn't, anyways, having suffered from society's reaction to
my own shape most of my life.  So no value judgements.  I was just wondering
if the reason some of us see so many badly fitting bodices on women now is a
combination of many of the women simply being larger, combined with some
amount of bad taste, and a fair quantity of misinformation.  I've done a lot
of historical costuming over the last 2 decades (much of it for myself), and
I know how many fittings of patterns and whatnot I've had to do to get the
right look with my modern body.
--Sue, in grey pre-dawn Montana, where it looks like our unseasonably warm
weather has gone away again, alas!



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Gack! I wasn't, really, trying to aim the "flaming" reference at you!
Heavens, no.  I'm sorry that wasn't clear (mea culpa!).
What I was trying to say, in my clumsy/wordy fashion, was that I really
didn't want this thread to degenerate into another tirade on fat Americans.
We've had those on this list, unfortunately, and I'd be pretty content if
they didn't occur in the future.
I'm laughing at your description of a "big wompin' mama" <weg>.  I qualify,
although I'm more fire-plug shaped, being short and not amazonian-tall. ;o)
I don't have much experience at all with RenFaires (they just don't occur in
my part of the world, so what I know is all 2nd-hand), but I've seen plenty
of the same sort of ill-fitting bodices and bad information occur at SCA
events.
Not at all familiar with the article you're mentioning--if you remember more
specifics, it'd be great if you'd post them.  I'd like to read it.
--Sue

----- Original Message -----
From: "otsisto" <otsisto@socket.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Monday, January 02, 2006 6:23 PM
Subject: RE: [h-cost] Re: Bosoms


> Thank you for reminding me of the Dutch paints, I had forgotten about
them.
> :)
> Though I am bias I do not think that my post was flaming.
> Your statement is not the first time I have heard about comparison of
weight
> from the Renaissance to modern. I may have assumed that you had read the
> article that someone told me about a few months back.
> I may not be a big wompin' momma but I come in a close second, so it isn't
a
> weight issue, it's an information issue, with me.
> I don't think that it matters of the size of the woman but I think you are
> correct about poor fit, and poor information.
> My friend who is into fetish and historic costume corsetry once told me
many
> of the women she encounters from RenFairs have ill-fitted corsets.(roughly
> 60% have the wrong century corset)
> She has had women come to her and ask how can she wear that corset because
> they wore a corset for a RenFaire and was so uncomfortable. After
explaining
> proper fit, she would offer to either fit them with a store bought corset
or
> make one. 99% of those who take up her offer are satisfied with the
results.
> I hear many think that the bawdy look is the norm and rampantly crosses
the
> classes.
> Many assume that the head costumer is well read in historic costuming
> (usually they are) there are also those that show up to the RenFaire who
> have copied a gown that they saw at the faire the previous year not
knowing
> whether it is period or another person perpetuating another person's
> fantasy.
> And then there are the major pattern companies and their "Renaissance"
> patterns that don't help the matter.
> Now this is my opinion and doesn't mean that it is 100% fact.
> De


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Subject: RE: [h-cost] Re: Bosoms
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Oh, okay. :)
I don't recall the magazine she said it came from I just remember that what
my friend relayed to me sounded like the person didn't do very good
research. Also had the myth in the article about people in the Renaissance
never bathing.
De
-----Original Message-----
Gack! I wasn't, really, trying to aim the "flaming" reference at you!
Heavens, no.  I'm sorry that wasn't clear (mea culpa!).
What I was trying to say, in my clumsy/wordy fashion, was that I really
didn't want this thread to degenerate into another tirade on fat Americans.
We've had those on this list, unfortunately, and I'd be pretty content if
they didn't occur in the future.
I'm laughing at your description of a "big wompin' mama" <weg>.  I qualify,
although I'm more fire-plug shaped, being short and not amazonian-tall. ;o)
I don't have much experience at all with RenFaires (they just don't occur in
my part of the world, so what I know is all 2nd-hand), but I've seen plenty
of the same sort of ill-fitting bodices and bad information occur at SCA
events.
Not at all familiar with the article you're mentioning--if you remember more
specifics, it'd be great if you'd post them.  I'd like to read it.
--Sue


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Subject: [h-cost] Ten Years!
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The Costume Gallery website's 10th year Anniversary is Jan. 6, 2006.

Many, many thanks to all of you for making my dream job come true.  A very heartfelt thanks to the h-costumers who have been around for all these years.  You encouraged me and gave so much guidance from the very beginning.

For our anniversary,  I am opening up the online Library for free access from Jan. 3 - 6.   You may invite your family and friends to use our Library during the free access period.  The passwords are only good for our Library section of our website.  These passwords will change on Jan. 7 at 12 am.  The new passwords will only be available to subscribers at that time.  

Go to www.costumelibrary.com and click on the SUBSCRIBER LOGIN button.
Library Passwords good only from Jan. 3 - 6:
Login: cg2003
Password: budnan5  
NOTE: Remember to use all lower case letters and no blank spaces before, after, or in-between the passwords.  Blank spaces are recognized as characters and will give you an error message.

It is so hard for me to believe it has been 10 years!  In 1996, the website was called Historic Costume Research and  the Library was all that was on the site.  The growth continued with The Costume Gallery in 1997,  Online Costume Ball in 1997, the Costume Classroom in 2000,  A Year in Fashion series in 2000,  Designer's of Their Time series in 2003, and Fashion Color Database in 2005. 

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