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From: "Sharon at Collierfam.com" <sharon@collierfam.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Clothes fitting
Date: Sat, 1 Apr 2006 00:39:25 -0800
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Status: RO

A friend of mine works at Levi and says they have MANY more sizes available,
which you can try, and then they will tweak the closest fit for you and keep
the info, so that whenever you want another pair, you just phone and have
them sent.

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Marie Stewart
Sent: Friday, March 31, 2006 10:30 AM
To: Historical Costume
Subject: Re: [h-cost] Clothes fitting


Yeup... and I thought seriously about trying a pair... but in the end found
another maker of jeans that fit - sigh - well enough,  although I am always
wanting the denim to be of a heavier weight.

On 3/31/06, Sharon at Collierfam.com <sharon@collierfam.com> wrote:
> Mari, do you know of the custom fit jeans available from Levis? Sharon
>
> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] 
> On Behalf Of Marie Stewart
> Sent: Friday, March 31, 2006 6:39 AM
> To: Historical Costume
> Subject: Re: [h-cost] Clothes fitting
>
>
> Thank you for that article... very interesting.
>
> Now what the retailers are missing is the opportunity to expand, and 
> raise their sales.
>
> Imagine...  A large chain adopts the Fitlogic system.   Inside their
> stores,  they create separate boutiques, or even a small independent 
> entity. One for each body type.  Stock the items that flatter that 
> body type the most in their respective sections.  In larger chains you 
> could even have different stock for a particular body type in 
> different stores.  If a customer  finds something they like in one 
> section, but it is not their body type,  allow them to order (or
> request from another store) that item in the fit they want.   This
> wouldn't be anything revolutionary,  major chains already swap 
> clothing around between stores.
>
> How many women would love to have a store that they knew the items 
> would be a better fit.  You see it already, women have brand loyalty, 
> if a line provides better fit.
>
> Oooooh,  just think about it... stores might actually have to sell 
> more items on style and quality if they took out the fit roulette.
>
> Mari  -  still irked that Banana Republic stopped making "the perfect 
> fitting jean" in 1992.
>
> >Clothes That Fit the Woman, Not the Store
> > By MICHAEL BARBARO
> > Published: March 31, 2006
>
> _______________________________________________
> 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: Susan Data-Samtak <pasovasz@aol.com>
Subject: Re: [h-cost] Clothes fitting
Date: Sat, 1 Apr 2006 09:00:27 -0500
To: Historical Costume <h-costume@indra.com>
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Status: RO

Sharon,

That is great news!  How do we go about fitting ourselves for the "MANY 
more sizes"?  Who do we contact?  Any idea of the cost?

Susan

"Slow down. The trail is the thing, not the end of the trail. Travel
too fast and you miss all you are traveling for".  - "Ride the Dark
Trail" by Louis L'Amour

On Apr 1, 2006, at 3:39 AM, Sharon at Collierfam.com wrote:

> A friend of mine works at Levi and says they have MANY more sizes 
> available,
> which you can try, and then they will tweak the closest fit for you 
> and keep
> the info, so that whenever you want another pair, you just phone and 
> have
> them sent.
>
> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] 
> On
> Behalf Of Marie Stewart
> Sent: Friday, March 31, 2006 10:30 AM
> To: Historical Costume
> Subject: Re: [h-cost] Clothes fitting
>
>
> Yeup... and I thought seriously about trying a pair... but in the end 
> found
> another maker of jeans that fit - sigh - well enough,  although I am 
> always
> wanting the denim to be of a heavier weight.
>
> On 3/31/06, Sharon at Collierfam.com <sharon@collierfam.com> wrote:
>> Mari, do you know of the custom fit jeans available from Levis? Sharon
>>
>> -----Original Message-----
>> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
>> On Behalf Of Marie Stewart
>> Sent: Friday, March 31, 2006 6:39 AM
>> To: Historical Costume
>> Subject: Re: [h-cost] Clothes fitting
>>
>>
>> Thank you for that article... very interesting.
>>
>> Now what the retailers are missing is the opportunity to expand, and
>> raise their sales.
>>
>> Imagine...  A large chain adopts the Fitlogic system.   Inside their
>> stores,  they create separate boutiques, or even a small independent
>> entity. One for each body type.  Stock the items that flatter that
>> body type the most in their respective sections.  In larger chains you
>> could even have different stock for a particular body type in
>> different stores.  If a customer  finds something they like in one
>> section, but it is not their body type,  allow them to order (or
>> request from another store) that item in the fit they want.   This
>> wouldn't be anything revolutionary,  major chains already swap
>> clothing around between stores.
>>
>> How many women would love to have a store that they knew the items
>> would be a better fit.  You see it already, women have brand loyalty,
>> if a line provides better fit.
>>
>> Oooooh,  just think about it... stores might actually have to sell
>> more items on style and quality if they took out the fit roulette.
>>
>> Mari  -  still irked that Banana Republic stopped making "the perfect
>> fitting jean" in 1992.
>>
>>> Clothes That Fit the Woman, Not the Store
>>> By MICHAEL BARBARO
>>> Published: March 31, 2006
>>
>> _______________________________________________
>> h-costume mailing list
>> h-costume@mail.indra.com
>> http://mail.indra.com/mailman/listinfo/h-costume
>>
>>
>> _______________________________________________
>> h-costume mailing list
>> h-costume@mail.indra.com
>> http://mail.indra.com/mailman/listinfo/h-costume
>>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com 
> http://mail.indra.com/mailman/listinfo/h-costume
>
>
> _______________________________________________
> 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] droolworthy victorian
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Sigh, if only I had a horse!  (And had ridden more recently than 16 or 17 
years ago.)  I can shoot and I can sew...

-E House

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Date: Sat, 01 Apr 2006 18:35:55 -0500
From: monica spence <monicaspence@optonline.net>
Subject: RE: [h-cost] Clothes fitting - gotta start somewhere
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Status: RO


Though the article /link is still not available for some reason, this is
something that I have dealt with MANY times in my fashion classes with my
students.

The problem is that many stores have a fit model and makes everything to fit
that one person or dressform. The other problem is that there are economic
considerations. Large sizes cost more to make and more time to sew. So,
stores come up with an "image" that they work with in conjunction with their
fit--- think of Abercrombie and Fitch.

Where many stores or clothing lines start trying to service many sizes, but
when it doesn't fit the image they drop the sizes. For instance, the Limited
does not sell men's pants larger than size 36.

It seems to me that there is an awfully large market for clothes for those
of us who are not "perfect"...

Monica Spence





-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of Susan Data-Samtak
Sent: Friday, March 31, 2006 8:57 PM
To: Historical Costume
Subject: Fwd: [h-cost] Clothes fitting - gotta start somewhere


<<
> From: "Marie Stewart" <maricelt@gmail.com>
> Date: March 31, 2006 1:25:19 PM EST
> To: "Susan Data-Samtak" <pasovasz@aol.com>
> Subject: Re: [h-cost] Clothes fitting - gotta start somewhere
>
> Great Idea!   Thank you!  Mari
>
> On 3/31/06, Susan Data-Samtak <pasovasz@aol.com> wrote:
>> I only replied to you.  Shall I forward your reply to me, back to the
>> list?
>>
>> We can start with articulate people who know sewing and fit, to get
>> the
>> ball rolling.
>>
>> Susan
>>
>> "Slow down. The trail is the thing, not the end of the trail. Travel
>> too fast and you miss all you are traveling for". - "Ride the Dark
>> Trail" by Louis L'Amour
>>
>> On Mar 31, 2006, at 10:06 AM, Marie Stewart wrote:
>>
>>> That's an excellent question...  Let me think about this a bit.
>>>
>>> Right off the top of my head I say Write to them.   You know most of
>>> the big chain department stores,  Macy's, Hechts, Belk's, Ivy's,
>>> Nordstrom's have websites.   Let's write to them.   Letters always
>>> seem to carry more weight, but more people are willing to dash off a
>>> 30 second email.
>>>
>>> Also, let's focus.  If we scatter our efforts we dilute our impact.
>>> Let's choose one or two chains that are densely packed regionally.
>>> That will facilitate women getting to the stores, and the stores
>>> swapping garments.   Also, I would guess focus on the mid-range to
>>> mid-upper range stores.  Especially stores that cater to the
>>> professional woman - Talbot's perhaps,  or a similar chain.  Stores
>>> catering to the lower income people might not feel that their
>>> clientel
>>> want or value fit as much.
>>>
>>> Also,  let's get more articles about this system - out there.
>>> Magazines, web sites, newspaper articles.   Letters to the editors.
>>> The more people who know, the more women who value fit will be
>>> interested in seeing this system implemented.
>>>
>>> Emphasize the time saving strategy of this way of shopping, not just
>>> the better fit.  Personal note... If I knew I could pick up 3 pairs
>>> of
>>> pants that I liked the look of and that they would fit,  and not have
>>> to try all three pairs on... you have just save me 10-15 minutes in
>>> the dressing room.  I have more time to shop.
>>>
>>> Stores follow the money,  and the primary way the consumer makes an
>>> impact is by withholding the money.
>>>
>>> Now that we know this system is out there... have people ask for it.
>>> Word of mouth.   Every time they walk into a store.   "Where are the
>>> FitLogic clothes?"...  "Do you carry FitLogic clothes?"
>>>
>>> Educate the sales people,  who will tell their managers, who will
>>> tell
>>> their supeervisors, who will talk to the director....    and up and
>>> so
>>> on.
>>>
>>> That's off the top of my head.  Other ideas?
>>>
>>> On 3/31/06, Susan Data-Samtak <pasovasz@aol.com> wrote:
>>>> So, Marie, how do we tell THEM how we feel?
>>>>
>>>> Susan
>>>>
>>>> "Slow down. The trail is the thing, not the end of the trail. Travel
>>>> too fast and you miss all you are traveling for". - "Ride the Dark
>>>> Trail" by Louis L'Amour
>>>>
>>>> On Mar 31, 2006, at 9:39 AM, Marie Stewart wrote:
>>>>
>>>>> Thank you for that article... very interesting.
>>>>>
>>>>> Now what the retailers are missing is the opportunity to expand,
>>>>> and
>>>>> raise their sales.
>>>>>
>>>>> Imagine...  A large chain adopts the Fitlogic system.   Inside
>>>>> their
>>>>> stores,  they create separate boutiques, or even a small
>>>>> independent
>>>>> entity.  One for each body type.  Stock the items that flatter that
>>>>> body type the most in their respective sections.  In larger chains
>>>>> you
>>>>> could even have different stock for a particular body type in
>>>>> different stores.  If a customer  finds something they like in one
>>>>> section, but it is not their body type,  allow them to order (or
>>>>> request from another store) that item in the fit they want.   This
>>>>> wouldn't be anything revolutionary,  major chains already swap
>>>>> clothing around between stores.
>>>>>
>>>>> How many women would love to have a store that they knew the items
>>>>> would be a better fit.  You see it already, women have brand
>>>>> loyalty,
>>>>> if a line provides better fit.
>>>>>
>>>>> Oooooh,  just think about it... stores might actually have to sell
>>>>> more items on style and quality if they took out the fit roulette.
>>>>>
>>>>> Mari  -  still irked that Banana Republic stopped making "the
>>>>> perfect
>>>>> fitting jean" in 1992.
>>>>>
>>>>>> Clothes That Fit the Woman, Not the Store
>>>>>> By MICHAEL BARBARO
>>>>>> Published: March 31, 2006
>>>>>
>>>>> _______________________________________________
>>>>> 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 Apr  1 18:46:09 2006
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From: "Glenda Robinson" <glendarob@exemail.com.au>
To: "Historical Costume" <h-costume@indra.com>
References: <NJEJJAKCDDIJCJLBNKFIAEKBCPAA.monicaspence@optonline.net>
Subject: Re: [h-cost] Clothes fitting - gotta start somewhere
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You mean that somewhere in the world there's someone that might sell size 30 
pants as standard? Both my husband and older son (and my younger son's 
heading that way) are this size, and they mostly have to end up in 32s with 
a belt (or in my 16yo's case, size 32 around his hips with his underpants 
showing, but that style can't be worn forever!) There are about one pair of 
size 30s here in a blue moon.

We're heading off to the UK for a month in a week or so, I'm hoping they 
have some there. I've already got to go shopping for warm women's clothing 
(and jeans with a decent range of leg lengths) - Our midwinter averages are 
still 3-4 celcius above the UK Spring averages, and the local shops just 
don't have anything useful at all in their autumn collections.

Glenda.


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Subject: Re: [h-cost] droolworthy victorian
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Status: RO

You don't need a horse.

This is Action Shooting, not Mounted Shooting.Go for it!

Susan

"Slow down. The trail is the thing, not the end of the trail. Travel
too fast and you miss all you are traveling for".  - "Ride the Dark
Trail" by Louis L'Amour

On Apr 1, 2006, at 11:08 AM, E House wrote:

> Sigh, if only I had a horse!  (And had ridden more recently than 16 or 
> 17 years ago.)  I can shoot and I can sew...
>
> -E House
>
> _______________________________________________
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From: purplkat@optonline.net
Subject: RE: [h-cost] Clothes fitting - gotta start somewhere
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I quite agree - I am a very strange shaped person, the upper half of my body can fit in a boys 18-20 fairly well, the lower half needs a ladies 10 short rise 32" inseam (or a Petite sz 10 with extra leg length). 
I need boy's shirts because they have 4 extra inches in the torso, 3 extra inches across the shoulders, and 2" longer sleeve length. 

The distance from my hip bone to my natural waist is only 3" - most comercially made jeans have a 5-6" distance.

And I won't tell you about my scooped back, protrouding tummy, and extra long torso.
BTW I am a 40 yr old 5' 6" woman!!! 

Once I joined the SCA I found out that I have the skills to create simple dresses made to *MY* measurements. Too bad I can't find anything off-the-rack to fit me.... <sigh>

If anyone can tell me where to find cheap jeans for a men's 48x30 I would apopreciate it.

Katheryne 

From: monica spence <monicaspence@optonline.net>
The problem is that many stores have a fit model and makes everything to fit
that one person or dressform. 
Where many stores or clothing lines start trying to service many sizes, but
when it doesn't fit the image they drop the sizes. For instance, the Limited
does not sell men's pants larger than size 36.

It seems to me that there is an awfully large market for clothes for those
of us who are not "perfect"...

Monica Spence
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Subject: Re: [h-cost] Clothes fitting - gotta start somewhere
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Status: RO

An observation that I thought interesting-  We live in NJ.  It is easy 
to find inseam lengths for men that are 36 inches.  VERY difficult to 
find 28 or 30 inch inseams.  Years ago, we took a vacation to Hawaii.  
We stopped by the Alamoana Mall's Sears store.  Lo and behold- LOTS of 
28 inseam men's pants!  My husband says it's time to go back!  He needs 
more 28 inseam pants.

We think that many of the Oriental men are short, so Sears stocks 
inseams that they can actually SELL to their clients.  WHat do you 
think?

Susan

"Slow down. The trail is the thing, not the end of the trail. Travel
too fast and you miss all you are traveling for".  - "Ride the Dark
Trail" by Louis L'Amour

On Apr 1, 2006, at 6:45 PM, Glenda Robinson wrote:

> You mean that somewhere in the world there's someone that might sell 
> size 30 pants as standard? Both my husband and older son (and my 
> younger son's heading that way) are this size, and they mostly have to 
> end up in 32s with a belt (or in my 16yo's case, size 32 around his 
> hips with his underpants showing, but that style can't be worn 
> forever!) There are about one pair of size 30s here in a blue moon.
>
> We're heading off to the UK for a month in a week or so, I'm hoping 
> they have some there. I've already got to go shopping for warm women's 
> clothing (and jeans with a decent range of leg lengths) - Our 
> midwinter averages are still 3-4 celcius above the UK Spring averages, 
> and the local shops just don't have anything useful at all in their 
> autumn collections.
>
> Glenda.
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
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From: "Elizabeth Walpole" <ewalpole@tpg.com.au>
To: "Historic Costume" <h-costume@indra.com>
Date: Sun, 2 Apr 2006 16:02:03 +1000
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Subject: [h-cost] GFD related question - tracing final pieces onto paper
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Hi everyone,
I'm helping a friend to fit an early 16th century Venetian bodice (what's 
often referred to as the 'Italian ren' style) and I want it to support her 
bust without a bra so I'm basically working from Robin's worksheets to get 
an idea of how to do that (though it's obviously somewhat different to suit 
the different style of bodice). My question is about the point after the 
lining is fitted and you've now got a shape you can trace to cut a second 
layer, or even a new bodice. If you're tracing that shape onto a piece of 
paper (so you don't have to go through the fitting process again next time) 
do you have to wait a while for the fabric to shrink back into it's normal 
cold shape or can you trace the pieces as soon as you take it off? I also 
thought that maybe you need to take it a step further and put it through the 
wash (after finishing the edges of course) to get it back to it's normal 
size.
I've made this style of bodice for myself but I forgot to trace my final 
pieces onto a paper pattern to re-use them later so this wasn't an issue.
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] Clothes fitting - gotta start somewhere
Date: Sat, 1 Apr 2006 22:36:00 -0800
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Phone Sears and ask them to send shorter jeans to your local store.

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Susan Data-Samtak
Sent: Saturday, April 01, 2006 6:45 PM
To: Historical Costume
Subject: Re: [h-cost] Clothes fitting - gotta start somewhere


An observation that I thought interesting-  We live in NJ.  It is easy 
to find inseam lengths for men that are 36 inches.  VERY difficult to 
find 28 or 30 inch inseams.  Years ago, we took a vacation to Hawaii.  
We stopped by the Alamoana Mall's Sears store.  Lo and behold- LOTS of 
28 inseam men's pants!  My husband says it's time to go back!  He needs 
more 28 inseam pants.

We think that many of the Oriental men are short, so Sears stocks 
inseams that they can actually SELL to their clients.  WHat do you 
think?

Susan

"Slow down. The trail is the thing, not the end of the trail. Travel too
fast and you miss all you are traveling for".  - "Ride the Dark Trail" by
Louis L'Amour

On Apr 1, 2006, at 6:45 PM, Glenda Robinson wrote:

> You mean that somewhere in the world there's someone that might sell
> size 30 pants as standard? Both my husband and older son (and my 
> younger son's heading that way) are this size, and they mostly have to 
> end up in 32s with a belt (or in my 16yo's case, size 32 around his 
> hips with his underpants showing, but that style can't be worn 
> forever!) There are about one pair of size 30s here in a blue moon.
>
> We're heading off to the UK for a month in a week or so, I'm hoping
> they have some there. I've already got to go shopping for warm women's 
> clothing (and jeans with a decent range of leg lengths) - Our 
> midwinter averages are still 3-4 celcius above the UK Spring averages, 
> and the local shops just don't have anything useful at all in their 
> autumn collections.
>
> Glenda.
>
>
> _______________________________________________
> 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] GFD related question - tracing final pieces onto paper
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On Sun, 2 Apr 2006, Elizabeth Walpole wrote:

> ... My question is about the point after the lining is fitted and
> you've now got a shape you can trace to cut a second layer, or even a
> new bodice. If you're tracing that shape onto a piece of paper (so you
> don't have to go through the fitting process again next time)  do you
> have to wait a while for the fabric to shrink back into it's normal
> cold shape or can you trace the pieces as soon as you take it off?

I can't help you there, as I never transfer to paper. I keep the original
linen pieces. When I use them as a template, I iron them out and
straighten out the grain lines, and match them to the grain lines on the
new fabric.

I think I generally distrust the ability of paper to capture the nuances
of what fabric does; if you're off a little bit when you trace (because of
the fabric being a bit warped, stretched whatever) that's what gets
preserved on the paper, and you lose the information of grain lines.

I scribble all over my templates with a sharpie, labeling pieces, marking
waist and hip, etc.

--Robin

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From: "Elizabeth Walpole" <ewalpole@tpg.com.au>
To: "Historical Costume" <h-costume@indra.com>
References: <Pine.LNX.4.10.10604020108470.11617-100000@shell.nightowl.net>
Subject: Re: [h-cost] GFD related question - tracing final pieces onto paper
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<snip>
> I can't help you there, as I never transfer to paper. I keep the original
> linen pieces. When I use them as a template, I iron them out and
> straighten out the grain lines, and match them to the grain lines on the
> new fabric.
>
<snip> --Robin

Gee, that was fast.
But if you're using the pieces that you've fitted as the lining of your 
final dress then you've just lost your pattern and you've got to start the 
fitting process again from scratch next time you want to recreate that 
dress.
Re-doing it from scratch makes sense from a medieval point of view when 
you've got a household/neighbourhood full of women who all know how to sew 
and how to do this sort of fitting (especially given the cost of paper). But 
in a modern re-enactor's world where it's often hard to find somebody who 
knows how to sew & is willing to try this unfamiliar technique it makes 
sense to have something that is almost right and requires only the sort of 
minor fitting that you can get a non-sewer or a modern only sewer to do for 
you while you give them instructions.
Or are you suggesting that you keep the original pieces permanently instead 
of using them as a lining?
I'll pass on your ideas on ironing the pieces to straighten out the grain 
lines.
thanks
Elizabeth
--------------------------------------------
Elizabeth Walpole
Canberra Australia
ewalpole[at]tpg.com.au
http://au.geocities.com/e_walpole/

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From: Susan Data-Samtak <pasovasz@aol.com>
Subject: Re: [h-cost] Clothes fitting - gotta start somewhere
Date: Sun, 2 Apr 2006 09:04:44 -0400
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Thanks.

Susan

"Slow down. The trail is the thing, not the end of the trail. Travel
too fast and you miss all you are traveling for".  - "Ride the Dark
Trail" by Louis L'Amour

On Apr 2, 2006, at 1:36 AM, Sharon at Collierfam.com wrote:

> Phone Sears and ask them to send shorter jeans to your local store.
>
> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] 
> On
> Behalf Of Susan Data-Samtak
> Sent: Saturday, April 01, 2006 6:45 PM
> To: Historical Costume
> Subject: Re: [h-cost] Clothes fitting - gotta start somewhere
>
>
> An observation that I thought interesting-  We live in NJ.  It is easy
> to find inseam lengths for men that are 36 inches.  VERY difficult to
> find 28 or 30 inch inseams.  Years ago, we took a vacation to Hawaii.
> We stopped by the Alamoana Mall's Sears store.  Lo and behold- LOTS of
> 28 inseam men's pants!  My husband says it's time to go back!  He needs
> more 28 inseam pants.
>
> We think that many of the Oriental men are short, so Sears stocks
> inseams that they can actually SELL to their clients.  WHat do you
> think?
>
> Susan
>
> "Slow down. The trail is the thing, not the end of the trail. Travel 
> too
> fast and you miss all you are traveling for".  - "Ride the Dark Trail" 
> by
> Louis L'Amour
>
> On Apr 1, 2006, at 6:45 PM, Glenda Robinson wrote:
>
>> You mean that somewhere in the world there's someone that might sell
>> size 30 pants as standard? Both my husband and older son (and my
>> younger son's heading that way) are this size, and they mostly have to
>> end up in 32s with a belt (or in my 16yo's case, size 32 around his
>> hips with his underpants showing, but that style can't be worn
>> forever!) There are about one pair of size 30s here in a blue moon.
>>
>> We're heading off to the UK for a month in a week or so, I'm hoping
>> they have some there. I've already got to go shopping for warm women's
>> clothing (and jeans with a decent range of leg lengths) - Our
>> midwinter averages are still 3-4 celcius above the UK Spring averages,
>> and the local shops just don't have anything useful at all in their
>> autumn collections.
>>
>> Glenda.
>>
>>
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Welcome back, Robin!  Thanks again for coming to our neck of the woods
and presenting a fascinating and inspiring lecture series. :-)

One of the ladies in my music group is now working on a Gothic fitted
dress for herself and a friend, and hopes to outfit all of us in Musica
Draconis, our local women's consort. I'm tickled to pieces to know how to
finally correctly construct a sideless surcoat! :D

Even for a non-costumer like myself, this series is great! It's wonderful
to gain not only construction information but contextual insights into
clothing. There was a lot of stuff which never quite made sense before
and does now. You're an excellent researcher and presenter--keep up the
good work! :-)

Arlys
in Dragon's Mist


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Subject: [h-cost] regency dress closures
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An early 19th c. simple day dress just finished on ebay which shows
the bodice lining and the overlayer with drawstring waist, might shed
some light on dress closures.  No visible hooks or anything.

http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&rd=1&item=8400391523&ssPageName=STRK:MEWA:IT

Katy

--
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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Susan Data-Samtak wrote:


> 
> We think that many of the Oriental men are short, so Sears stocks 
> inseams that they can actually SELL to their clients.  WHat do you think?
> 

I think there are lots of size 28 people where you live and not in 
Hawaii. Thus, that size is always sold out. At least that's how it works 
when I need pants. We should definitely go to Hawaii to confirm this 
theory though. :)


Dawn



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From: "Sue Clemenger" <mooncat@in-tch.com>
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Subject: Re: [h-cost] GFD related question - tracing final pieces onto paper
Date: Sun, 2 Apr 2006 08:56:15 -0600
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For my ItalianRen bodices, I just made them extra snug, and they held me up
just fine (and I'm a BIG girl, that way).  I've never used a fragile fabric,
though (usually cotton or linen, as they were intended for summer/camping
use), and always did a good, sturdy interlining, often with a heavy-weight
linen.  On my linen gowns, I did lace into them, wait for the fabric to warm
up, and then pull them snug, but that was about it....
--Sue

----- Original Message -----
From: "Elizabeth Walpole" <ewalpole@tpg.com.au>
To: "Historic Costume" <h-costume@indra.com>
Sent: Sunday, April 02, 2006 12:02 AM
Subject: [h-cost] GFD related question - tracing final pieces onto paper


> Hi everyone,
> I'm helping a friend to fit an early 16th century Venetian bodice (what's
> often referred to as the 'Italian ren' style) and I want it to support her
> bust without a bra so I'm basically working from Robin's worksheets to get
> an idea of how to do that (though it's obviously somewhat different to
suit
> the different style of bodice). My question is about the point after the
> lining is fitted and you've now got a shape you can trace to cut a second
> layer, or even a new bodice. If you're tracing that shape onto a piece of
> paper (so you don't have to go through the fitting process again next
time)
> do you have to wait a while for the fabric to shrink back into it's normal
> cold shape or can you trace the pieces as soon as you take it off? I also
> thought that maybe you need to take it a step further and put it through
the
> wash (after finishing the edges of course) to get it back to it's normal
> size.
> I've made this style of bodice for myself but I forgot to trace my final
> pieces onto a paper pattern to re-use them later so this wasn't an issue.
> thanks
> Elizabeth


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From: Ann Catelli <elvestoorder@yahoo.com>
Subject: Re: [h-cost] regency dress closures
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Thanks, Katy,

That is a neat dress.

Ann in CT
--- Katy Bishop <katybishop64@gmail.com> wrote:

> An early 19th c. simple day dress just finished on
> ebay which shows the bodice lining and the overlayer
> with drawstring waist, might shed some light on
dress
> closures.  No visible hooks or anything.
>
http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&rd=1&item=8400391523&ssPageName=STRK:MEWA:IT
> 
> Katy


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Subject: Re: [h-cost] GFD related question - tracing final pieces onto paper
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That's what I did with my "shell" pieces (made from heavy-weight linen) from
a workshop Robin held a few years back....Sort of a compromise between
doing-it-from-scratch and having an actual pattern.  Got the notes scribbled
on it, etc.  Unfortunately, I put it "somewhere safe" when I moved, and now
it's gone AWOL....grrrrrr.....
--Sue

----- Original Message -----
From: "Elizabeth Walpole" <ewalpole@tpg.com.au>
To: "Historical Costume" <h-costume@indra.com>
Sent: Sunday, April 02, 2006 1:33 AM
Subject: Re: [h-cost] GFD related question - tracing final pieces onto paper


> <snip>
> Or are you suggesting that you keep the original pieces permanently
instead
> of using them as a lining?
> I'll pass on your ideas on ironing the pieces to straighten out the grain
> lines.
> thanks
> Elizabeth


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Date: Sun, 2 Apr 2006 12:19:32 -0500 (CDT)
From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] GFD related question - tracing final pieces onto paper
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I wrote:
> > I can't help you there, as I never transfer to paper. I keep the original
> > linen pieces. When I use them as a template, I iron them out and
> > straighten out the grain lines, and match them to the grain lines on the
> > new fabric.

Elizabeth replied:

> But if you're using the pieces that you've fitted as the lining of
> your final dress then you've just lost your pattern and you've got to
> start the fitting process again from scratch next time you want to
> recreate that dress.

If I intend to make only one dress for a person, I cut and fit the lining,
and it goes into the dress, and that's that.

If I intend to make more than one dress, I fit a linen template using the
same sort of fabric as the lining. I fit with panels that go about to
mid-thigh (long enough to fit all the necessary bits, and to mark the
angle of flare on the pieces for purposes of cutting out full-length ones
later). I use these then as a guide to cutting a full-length lining, which
I can then assemble and tweak, and in turn use that to cut the outer
fabric. Note that the template is not a pattern -- it's a starting point,
and you have to check (and if necessary adjust)  the fit on everything you
cut based on it.

You can use a full dress as a starting point as well, though it's not as
convenient. 

> Re-doing it from scratch makes sense from a medieval point of view
> when you've got a household/neighbourhood full of women who all know
> how to sew and how to do this sort of fitting (especially given the
> cost of paper). But in a modern re-enactor's world where it's often
> hard to find somebody who knows how to sew & is willing to try this
> unfamiliar technique it makes sense to have something that is almost
> right and requires only the sort of minor fitting that you can get a
> non-sewer or a modern only sewer to do for you while you give them
> instructions.

Yes, this is one of many differences between our situation and that of the
medieval woman. If this was simply "the way clothes were made," it would
have been a standard approach that everyone who sewed had experience with.
A modern re-enactor learns many techniques for different styles/periods --
but the medieval person lived in one place and time and would learn only
the methods that were common at that place and time. When you do it a lot,
you get really quite good at it. When I'm not teaching, I can do a fitting
pretty quickly, because I can make a lot of the fitting decisions by sight
and feel, skipping some of the preliminary steps that I have to teach to
someone who is not so experienced. (Think of the stories of Korean or
Vietnamese tailors who can look at you when you walk in the shop, and then
produce a suit that fits you a week later.)

Consider also: Most medieval women would not have had more than one fitted
gown, so there would not be the issue of needing to reproduce the dress
many times. For a second dress or a replacement, you would use your old
one as your model. If you had changed size or shape, you could probably
guess at the adjustment based on what you had originally. Or (say in the
case of a growing girl who's just developed a new figure) you could try on
dresses belonging to sisters, cousins, or friends till you found one close
to your size, and adjust that as necessary.

In other words, the use of the template is a modern solution to a modern
problem of "I want lots of these dresses."  It preserves most of the
benefits of on-the-body fitting without turning it into a modern
paper-pattern approach.

--Robin


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On Sun, 2 Apr 2006, Cynthia J Ley wrote:

> Welcome back, Robin!  Thanks again for coming to our neck of the woods
> and presenting a fascinating and inspiring lecture series. :-)

I have to say the Portland area produced an incredible audience. There was
a lot of energy and excitement in that room, and I had a blast :-)

> Even for a non-costumer like myself...

You've been on h-cost so long, it astonished me when you told me you don't
sew.

> this series is great! It's wonderful to gain not only construction
> information but contextual insights into clothing. There was a lot of
> stuff which never quite made sense before and does now. You're an
> excellent researcher and presenter--keep up the good work! :-)

<blush>

It should be obvious by now that my lectures are really all just "research
methods" classes in disguise. Talking about sewing the clothing is a very
minor part of them -- it's all about looking at art, documents, artifacts,
etc. to determine social context, aesthetic sensibility, and development
of a style. The mechanics are only one small part of that understanding.

--Robin


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In a message dated 3/31/2006 1:17:46 P.M. Eastern Standard Time,  
pasovasz@aol.com writes:

My  husband can 
shoot off his back.
***********************************



If he does that, where will you put the saddle???
 
 
Badda bing!
 
 
sorry....I couldn't resist.
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Hi Robin and all,

The most recent bits about creating linen "template" pieces is extremely 
helpful.  I am the lady Arlys referred to  (digest 310, message 11) who 
is making all those GFDs.....

I recently wrote you and Tasha personally with some fit questions which 
your most recent post here has answered beautifully.  Thank you!   And 
may I echo Arlys's remarks regarding your lecture last weekend!  It was 
truly inspiring!  (Enough to inspire 7 GFDs on assorted body shapes and 
sizes- ;-) )  

The only thing I still need some advice on is the shape of the front and 
rear gores.  There seems to be some issues with bias to bias seams and 
the possibility of these stretching.

If anyone has any thoughts on this matter, I would  be grateful to hear 
them BEFORE I get too far on all 7 of these GFDs.  Obviously, each dress 
will  have its own unique shape of gores, panels, etc., but I am curious 
as to whether the center front and rear gores are symmetrical or "right 
angle" shaped.

Thanks!

Laurie

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Subject: Re: [h-cost] re:  GFD fittings, etc.
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On Sun, 2 Apr 2006, Lorraine Herr wrote:

> I recently wrote you and Tasha personally with some fit questions
> which your most recent post here has answered beautifully ...

Sorry I haven't caught up on all my personal e-mail -- I'm way snowed
under. Quick notes to the list are easy to knock off, but your gores
question required a longer answer, so I hadn't gotten to it yet.

But since you have asked again on the list, I'll answer on the list,
picking up parts of your earlier message so I get it all.

> The only thing I still need some advice on is the shape of the front
> and rear gores.  There seems to be some issues with bias to bias seams
> and the possibility of these stretching.

OK. First off, it seems that a lot of people have gotten the idea that
bias should ideally be placed next to straight grain. Some of this has no
doubt come from some comments made in various costume books about the
Greenland gowns, for example in the Museum of London book, which refers to
"some seams on the straight grain of the fabric and others on a partial
bias." It adds, "The justaposition of bias and straight edges would give
an elegant movement to the garment in wear." 

There are several problems with using this as the basis of a "bias to
straight" rule. To begin with, it's not clear from the statement that the
author means bias meets straight on a single seam -- it sounds more like
the author is saying some seams are straight/straight and some are on a
slight slant ("partial bias") -- which makes sense given that the
narrowness of the panels in this dress mean that the slant is only about
15 degrees -- nowhere near true "bias." However, it is true that at least
some of the seams in this dress are slant-to-stright, for the simple
mathematical fact that of the 32 edges that meet in the 16 seams, 20 are
on the straight and 12 are on a slant. So not all of the seams can be
evenly matched. This does not mean, however, that it's desirable to mix
edges when you don't have to. The third problem, of course, is that this
is a dress from Greenland, and anyone who's heard me talk about this knows
that it doesn't have a whole lot of relevance for the construction of the
GFD.

So, let's drop the unsupported assumption that "medieval people preferred
to put bias against grain." As far as I'm concerned, there's ABSOLUTELY
NOTHING WRONG with putting bias to bias in the 14th and 15th centuries.
(This probably changed by the 16th c. and different needs involved in
skirt construction.) In fact I prefer to match grain angles, because I
want the two sides of the seam to drape equally. When you put slant
against straight, you run the risk of the slanted side sagging against the
seam -- very unattractive. And in the GFD, you can choose to place those
stretchable seams where you want the dress to mold over curves -- say,
over the sides of the waist and hips. Putting a straight grain there
prevents the fabric from stretching and adapting -- remember what I said
in the lecture about using stretch as a tool and not trying to prevent it.

Sure, some of the hem will sag. So let the dress hang overnight and try it
on, and mark the hem. And when you do, on your first pass, mark the saggy
bits a little long. Then cut it off and check it, and trim more only if
you need. Sometimes the weight of the fabric before the hem is cut
stretches the length out a bit, and you don't want it to spring back too
far once you've cut off the excess.

> I am curious as to whether the center front and rear gores are
> symmetrical or "right angle" shaped.

Remember that you want two gores in the center front, and two in the
center back.  Add the gore to the panel, and then treat the resulting
piece as one large flared panel, as though the seam that attaches
gore-to-panel is now invisible. This leaves a single long seam down the
center front; you'll be putting eyelets down that front center, and some
of those eyelets will fall in the gore portion.

Your side gores can be singles or pairs. If you happen to create your
gores by folding a piece vertically and cutting a single
diagonal, you'll get one double-size isoceles triangle that's on the fold,
and two right triangles that are the remaining pieces. You can use the
right triangles as the center front gores and the isoceles triangle as a
side gore. Then repeat to create the two back gores and the larger single
gore for the other side.

Going back to your earlier note to me for anything I've missed so far (I'm
hoping you won't mind if I repeat this in public even though it came in a
private e-mail!):

> Re:  the gores.  Looking at some of the line drawings on some of the web 
> sites, it looks as if the body pattern pieces flare out at the side 
> seams to begin to produce the beautiful flared skirt.  So,
>     * Is there a gore that is INSET into that side seam in addition to
>       the flared out front and back panels?

In my case, typically the gore is part of what creates that flared piece.
You can also flare the body piece if you like, but I like to put the
straight grain of the gore against the straight of the body panel, in
essence extending the fabric and maintaining the grain structure across
the seam. But I've done it lots of ways. In any case, the flare typically
starts in the body panel and shoots right off the edge of that panel,
which is where the gore takes over to supply more width to the piece.

And I think I've answered the rest of your questions already.

Hope this helps,

Robin

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> So, let's drop the unsupported assumption that "medieval people preferred
> to put bias against grain." As far as I'm concerned, there's ABSOLUTELY
> NOTHING WRONG with putting bias to bias in the 14th and 15th centuries.

Wasn't the golden gown made from four shaped pieces? The side seams at least
were cut on a slope. While it too is from rather far north in Europe it does
show there was at least one gown that was cut with the sides on angles.
Regardless of how fitted it was, there will still be the same stretching on
those skirt seams.

> (This probably changed by the 16th c. and different needs involved in
> skirt construction.)

While there are other different needs for tairloring in general, none of the
skirts in PoF or the Alcega book bother about straight to bias. The only
instances where this happens seems to be in shirt construction and the
farthingale pattern of Alcega. In the shirt patterns I can see why it's
helpful. Difficult to explain though;) Basically helpful in cutting without
waste and getting an even hem.

What you do see is a lot of piecing straight to straight to extend pieces
(and then smaller pieces cut from whatever fabric is there) but the skirt
shapes are generally cut on a slant at the sides so you get slant to slant
in the side seams. Straight to straight usually in the back seams (or the
back is cut on the fold etc.)

I've never had a problem with the stretching of those seams. If I have a
train it's often not noticeable if the seams stretch a bit and if I've got a
skirt that clears the ground then I will leave it to hang  for a while and
clip it to shape after. Usually I have fabrics that are woven firmly enough
so as not to worry.

Later 19thC skirts through often go straight to slant. I suspect this has a
lot to do with aesthetic appeal as you can see it looks neater when you have
stripes;) There is a perfect example of it in PoF 2 of the early 1870s.

michaela de bruce
http://glittersweet.com



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Can anyone tell me what kind of lace this is?

www.reddawn.net/temp/lace.jpg


I looked in my book on the history of lace, but all the pictures started 
to look alike to me. :(



Dawn


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	<002f01c656b7$493f58d0$0301010a@michaela>
Subject: Re: [h-cost] re:  GFD fittings, etc.
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 Actually, by putting bias to straight in the mid 19thC they created a hoop 
that would balance itself, and a skirt that would flow away from the legs 
when walking.  Pretty cool.

A lot of our modern clothing construction method were developed in the 
19thC. Some seriously inovative cutting to upholster the body.

Kelly

> Later 19thC skirts through often go straight to slant. I suspect this has 
> a
> lot to do with aesthetic appeal as you can see it looks neater when you 
> have
> stripes;) There is a perfect example of it in PoF 2 of the early 1870s.
>
> michaela de bruce
> http://glittersweet.com
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From: "Onaree Berard" <msberard@gmail.com>
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Subject: [h-cost] Re: lace question
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Not enough detail to know for sure.

Did you scan this?

If so could you scan a very small section at a high res (like 200-250)
so that we could see the path the the thread(s) take.

I could tell if I know how the threads are moving.

Onaree

On 4/2/06, Dawn <dawn@reddawn.net> wrote:
> Can anyone tell me what kind of lace this is?
>
> www.reddawn.net/temp/lace.jpg
>
>
> I looked in my book on the history of lace, but all the pictures started
> to look alike to me. :(
>
>
>
> Dawn
>
>
> _______________________________________________
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Subject: RE: [h-cost] re:  GFD fittings, etc.
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Please excuse my ignorance, but what do you mean "creates a hoop"? How?
Sharon

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of kelly grant
Sent: Sunday, April 02, 2006 6:06 PM
To: Historical Costume
Subject: Re: [h-cost] re: GFD fittings, etc.


 Actually, by putting bias to straight in the mid 19thC they created a hoop 
that would balance itself, and a skirt that would flow away from the legs 
when walking.  Pretty cool.

A lot of our modern clothing construction method were developed in the 
19thC. Some seriously inovative cutting to upholster the body.

Kelly

> Later 19thC skirts through often go straight to slant. I suspect this 
> has
> a
> lot to do with aesthetic appeal as you can see it looks neater when you 
> have
> stripes;) There is a perfect example of it in PoF 2 of the early 1870s.
>
> michaela de bruce
> http://glittersweet.com
_______________________________________________
h-costume mailing list
h-costume@mail.indra.com http://mail.indra.com/mailman/listinfo/h-costume


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Onaree Berard wrote:

> Not enough detail to know for sure.
> 
> Did you scan this?
> 
> If so could you scan a very small section at a high res (like 200-250)
> so that we could see the path the the thread(s) take.
> 
> I could tell if I know how the threads are moving.
> 

It's a photo.

There's a 1600x1200 (450k) image at www.reddawn.net/temp/biglace.jpg



Dawn




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From: "otsisto" <otsisto@socket.net>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Re: lace question
Date: Sun, 2 Apr 2006 22:36:21 -0500
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Possibly Milanese
http://www.gulliver-pp.com/pages/milanese-pix.htm
or
Irish crochet
http://www.irishlacemuseum.com/Museum/Crochetpg.html
http://lacismuseum.org/exhibit/Irish%20Crochet%20Lace.pdf
http://www.mendes.co.uk/19thc.lace.html#IRISH%20%20CROCHET

De

-----Original Message-----
On 4/2/06, Dawn <dawn@reddawn.net> wrote:
> Can anyone tell me what kind of lace this is?
>
> www.reddawn.net/temp/lace.jpg
>
>
> I looked in my book on the history of lace, but all the pictures started
> to look alike to me. :(
>
>
>
> Dawn


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From: "Onaree Berard" <msberard@gmail.com>
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Subject: [h-cost] Re: lace question
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Not irish crochet, looks like some form crochet or possibly bobbin
lace. The type of ground and tallys are commonly seen in bobbin lace,
but crochet has been used to copy every type of lace known so that
wouldn't rule out crochet.

I'm favouring crochet as it looks like round motifs joined together,
and the tally's (diamond shaped leaves) don't look woven as you would
see in bobbin lace. They look more like they were done in two rounds.

But the 'starburst' centres, for lack of a better term, look strange
and I can't figure out how they were done.

Sorry I couldn't be more help. Usually I can at least figure out what
type of technique.

Onaree


On 4/2/06, otsisto <otsisto@socket.net> wrote:
> Possibly Milanese
> http://www.gulliver-pp.com/pages/milanese-pix.htm
> or
> Irish crochet
> http://www.irishlacemuseum.com/Museum/Crochetpg.html
> http://lacismuseum.org/exhibit/Irish%20Crochet%20Lace.pdf
> http://www.mendes.co.uk/19thc.lace.html#IRISH%20%20CROCHET
>
> De
>
> -----Original Message-----
> On 4/2/06, Dawn <dawn@reddawn.net> wrote:
> > Can anyone tell me what kind of lace this is?
> >
> > www.reddawn.net/temp/lace.jpg
> >
> >
> > I looked in my book on the history of lace, but all the pictures started
> > to look alike to me. :(
> >
> >
> >
> > Dawn
--
Proud List Mom of Irish_Crochet_Lovers
http://groups.yahoo.com/group/Irish_Crochet_Lovers/

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> You've been on h-cost so long, it astonished me when you told me you 
> don't sew.

I made the mistake of being a female and a Laurel (music stuff). Getting
constantly bombarded with costuming questions made me determined to learn
as much about it as possible without sewing which I don't have time
for--see aforementioned music stuff. ;)

The historian and researcher in me wants to know and understand both
conceptual and practical approaches. I've learned a lot from a number of
Ithra classes and tons of good info from this list. :-)

> It should be obvious by now that my lectures are really all just 
> "research
> methods" classes in disguise. Talking about sewing the clothing is a 
> very
> minor part of them -- it's all about looking at art, documents, 
> artifacts,
> etc. to determine social context, aesthetic sensibility, and 
> development
> of a style. The mechanics are only one small part of that 
> understanding.

You're singing my song, Sister! :-)

Arlys
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From: "kelly grant" <estela_dufrayse@hotmail.com>
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Subject: [h-cost] Hoops, was GFD fittings, etc.
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Status: RO

The Spanish farthingale is similar in that it balances, but uses a series of 
rectangles that you adjust to the wearer.  In the 19thC, the full fabric 
crinolines were often drafted with shaped pieces. By putting the piece with 
more bias to the one with less, the straighter piece pulls the hoop 
backwards, balancing it.

Did I make better sense this time? There are days when language escapes me!
Kelly

----- Original Message ----- 
From: "Sharon at Collierfam.com" <sharon@collierfam.com>
To: "'Historical Costume'" <h-costume@indra.com>
Sent: Sunday, April 02, 2006 11:19 PM
Subject: RE: [h-cost] re: GFD fittings, etc.


> Please excuse my ignorance, but what do you mean "creates a hoop"? How?
> Sharon
>
> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
> Behalf Of kelly grant
> Sent: Sunday, April 02, 2006 6:06 PM
> To: Historical Costume
> Subject: Re: [h-cost] re: GFD fittings, etc.
>
>
> Actually, by putting bias to straight in the mid 19thC they created a hoop
> that would balance itself, and a skirt that would flow away from the legs
> when walking.  Pretty cool.
>
> A lot of our modern clothing construction method were developed in the
> 19thC. Some seriously inovative cutting to upholster the body.
>
> Kelly
>
>> Later 19thC skirts through often go straight to slant. I suspect this
>> has
>> a
>> lot to do with aesthetic appeal as you can see it looks neater when you
>> have
>> stripes;) There is a perfect example of it in PoF 2 of the early 1870s.
>>
>> michaela de bruce
>> http://glittersweet.com
> _______________________________________________
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Subject: [h-cost] Turcopoliers-what they wore
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Hi all, I have been asked to do some research on what Turcopoliers wore 
in the 11th and 12th centuries.  I have gone through Worldcat, and of 
course nothing comes up about them directly.  I am sure I will have to 
start in some general arms/armour book and was wondering if anyone on 
the list could point me to a good one.

Turcopoliers were supposedly a mixed breed Greek/Turk or Saracen who 
sometimes fought for the crusaders.  When I looke in the OED to find out 
what they were, I was surprised to find that the term only went back as 
far as the 15th century...not sure how that could be, but.  Here is the 
the link to that.

http://tinyurl.com/gxjls

Thanks for any pointers!

Sg*
*
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Subject: Re: [h-cost] GFD related question - tracing final pieces onto paper
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----- Original Message ----- 
From: "Sue Clemenger" <mooncat@in-tch.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Monday, April 03, 2006 12:56 AM
Subject: Re: [h-cost] GFD related question - tracing final pieces onto paper


> For my ItalianRen bodices, I just made them extra snug, and they held me 
> up
> just fine (and I'm a BIG girl, that way).  I've never used a fragile 
> fabric,
> though (usually cotton or linen, as they were intended for summer/camping
> use), and always did a good, sturdy interlining, often with a heavy-weight
> linen.  On my linen gowns, I did lace into them, wait for the fabric to 
> warm
> up, and then pull them snug, but that was about it....
> --Sue

Well that's roughly what we're doing tomorrow night (at our regular meeting) 
I'm starting from a commercial pattern cutting an inch outside the lines and 
then fitting it. But I thought that as I'm doing this on somebody else I 
might try out Robin's techniques given that they work so well in a similar 
situation (i.e. making an unboned dress that supports the bust) and that 
this style evolved out of the style Robin is recreating. I'm also interested 
in maybe one day making a GFD for myself so if I can experiment with the 
style that my friend wants I'm happy to get the experience so I can find out 
how Robin's techniques work. In reality making your bodices 'extra snug' is 
not that dissimilar to Robin's basic concept, stopping your boobs from 
falling down by making the bodice tight below the bust, and that's roughly 
what I'm trying to achieve at this fitting session.
Elizabeth
--------------------------------------------
Elizabeth Walpole
Canberra Australia
ewalpole[at]tpg.com.au
http://au.geocities.com/e_walpole/

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From: "Katy Bishop" <katybishop64@gmail.com>
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Subject: Re: [h-cost] lace question
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It looks like a rayon chemical lace, where the embroidery is done on
cloth then the cloth is eaten away by chemicals leaving the
embroidered lace pattern.  Chemical lace techniques achieved very good
imitations of handmade lace styles in the 19th century.

I can't place what type of lace this style is trying to replicate, if
any, but the feel is late 19th early 20th century to me, with a
crochet or tatted feel.

One of my favorite lace identification books is Guide to lace and
Linens by Elizabeth M. Kurella, isbn 0-930625-89-7 (1989).  It is very
well organized, with lots of pictures, and has sections on stitches,
parts of lace and names.  And also anything by Pat Earnshaw.

Katy

On 4/2/06, Dawn <dawn@reddawn.net> wrote:
> Can anyone tell me what kind of lace this is?
>
> www.reddawn.net/temp/lace.jpg
>
>
> I looked in my book on the history of lace, but all the pictures started
> to look alike to me. :(
>
>
>
> Dawn
>
>
> _______________________________________________
> 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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From: Ruth Anne Baumgartner <ruthanneb@mindspring.com>
Subject: Re: [h-cost] Re: lace question
Date: Mon, 3 Apr 2006 08:50:39 -0400
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To me it looks like very elaborate bobbin lace. Those "starburst" 
centers are called, in my books, "spiders." I have a lace insert saved 
from one of my aunt's blouses that is this complex. I admit the leaves 
look denser than bobbin-lace leaves I've seen generally, but the work 
itself is very dense and the thread seems to lend itself to a dense 
look.

As for period, I wouldn't hazard a guess.

Bjarne would be the best authority on this question, I think.

--Ruth Anne Baumgartner
gypsy scholar and amateur costumer

On Apr 2, 2006, at 11:54 PM, Onaree Berard wrote:

> Not irish crochet, looks like some form crochet or possibly bobbin
> lace. The type of ground and tallys are commonly seen in bobbin lace,
> but crochet has been used to copy every type of lace known so that
> wouldn't rule out crochet.
>
> I'm favouring crochet as it looks like round motifs joined together,
> and the tally's (diamond shaped leaves) don't look woven as you would
> see in bobbin lace. They look more like they were done in two rounds.
>
> But the 'starburst' centres, for lack of a better term, look strange
> and I can't figure out how they were done.
>
> Sorry I couldn't be more help. Usually I can at least figure out what
> type of technique.
>
> Onaree
>
>
> On 4/2/06, otsisto <otsisto@socket.net> wrote:
>> Possibly Milanese
>> http://www.gulliver-pp.com/pages/milanese-pix.htm
>> or
>> Irish crochet
>> http://www.irishlacemuseum.com/Museum/Crochetpg.html
>> http://lacismuseum.org/exhibit/Irish%20Crochet%20Lace.pdf
>> http://www.mendes.co.uk/19thc.lace.html#IRISH%20%20CROCHET
>>
>> De
>>
>> -----Original Message-----
>> On 4/2/06, Dawn <dawn@reddawn.net> wrote:
>>> Can anyone tell me what kind of lace this is?
>>>
>>> www.reddawn.net/temp/lace.jpg
>>>
>>>
>>> I looked in my book on the history of lace, but all the pictures 
>>> started
>>> to look alike to me. :(
>>>
>>>
>>>
>>> Dawn
> --
> Proud List Mom of Irish_Crochet_Lovers
> http://groups.yahoo.com/group/Irish_Crochet_Lovers/
>
> _______________________________________________
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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>
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Subject: Re: [h-cost] lace question
Date: Mon, 3 Apr 2006 15:48:14 +0200
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Hi,
I tryed several times but the picture wont upload on my monitor. Tryed this 
morning, and now several hours later, no luck, so i cant be of any help!

Bjarne


----- Original Message ----- 
From: "Dawn" <dawn@reddawn.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Monday, April 03, 2006 2:59 AM
Subject: [h-cost] lace question


> Can anyone tell me what kind of lace this is?
>
> www.reddawn.net/temp/lace.jpg
>
>
> I looked in my book on the history of lace, but all the pictures started 
> to look alike to me. :(
>
>
>
> Dawn
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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not truely sure the center looks like crochet but the outer edge looks 
like a tatted picot edge.  And I think I have been told neither are SCA 
time frame.  But it is very pretty  theresa

-----Original Message-----
From: Dawn <dawn@reddawn.net>
To: Historical Costume <h-costume@indra.com>
Sent: Sun, 02 Apr 2006 19:59:04 -0500
Subject: [h-cost] lace question

  Can anyone tell me what kind of lace this is?

 www.reddawn.net/temp/lace.jpg

  I looked in my book on the history of lace, but all the pictures 
started to look alike to me. :(


 Dawn

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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Turcopoliers-what they wore
Date: Mon, 03 Apr 2006 17:10:43 +0000
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Sorry, Sg, I went through all of my books but could not find anything except for what I have mentioned in my previous message.  I'll keep looking though.

Roscelin

 -------------- Original message ----------------------
From: WickedFrau <wickedfrau@msn.com>
> Hi all, I have been asked to do some research on what Turcopoliers wore 
> in the 11th and 12th centuries.  I have gone through Worldcat, and of 
> course nothing comes up about them directly.  I am sure I will have to 
> start in some general arms/armour book and was wondering if anyone on 
> the list could point me to a good one.
> 
> Turcopoliers were supposedly a mixed breed Greek/Turk or Saracen who 
> sometimes fought for the crusaders.  When I looke in the OED to find out 
> what they were, I was surprised to find that the term only went back as 
> far as the 15th century...not sure how that could be, but.  Here is the 
> the link to that.
> 
> http://tinyurl.com/gxjls
> 
> Thanks for any pointers!
> 
> Sg*
> *
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume


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From: roscelinlimoges@comcast.net
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Turcopoliers-what they wore
Date: Mon, 03 Apr 2006 17:02:49 +0000
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Sg,

  I did a Google and found that the Turcopoliers were mounted archers who assisted the Crusaders during the 11th and 12th centuries.  Let me see if I can find anything in my books on the Crusades.  I have quite a few books on arms and armour.

Roscelin

 -------------- Original message ----------------------
From: WickedFrau <wickedfrau@msn.com>
> Hi all, I have been asked to do some research on what Turcopoliers wore 
> in the 11th and 12th centuries.  I have gone through Worldcat, and of 
> course nothing comes up about them directly.  I am sure I will have to 
> start in some general arms/armour book and was wondering if anyone on 
> the list could point me to a good one.
> 
> Turcopoliers were supposedly a mixed breed Greek/Turk or Saracen who 
> sometimes fought for the crusaders.  When I looke in the OED to find out 
> what they were, I was surprised to find that the term only went back as 
> far as the 15th century...not sure how that could be, but.  Here is the 
> the link to that.
> 
> http://tinyurl.com/gxjls
> 
> Thanks for any pointers!
> 
> Sg*
> *
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume


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theresathreadgi@aol.com wrote:
> not truely sure the center looks like crochet but the outer edge looks 
> like a tatted picot edge.  And I think I have been told neither are SCA 
> time frame.  But it is very pretty  theresa
> 

The jury seems be be out for this one. I was hoping to find out what it 
was before I put it on an 18th century shirt. I know it's probably not 
right for that timeframe, but it *is* pretty, as you say, and it was 
practically free as a remnant.

Thanks to everyone who took a stab at it.


Dawn

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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: <h-costume@indra.com>
Date: Tue, 4 Apr 2006 00:46:28 +0200
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Subject: [h-cost] 18th century stays
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Hi,
These are rather interresting:
http://tinyurl.com/makg8
Notice the tape at the waist inside, and also the small triangular piece in 
the linning that holds the bulged out front.
Excatly that type of stays i am going to make soon!

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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Do you have a picture/illustration?


-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of kelly grant
Sent: Monday, April 03, 2006 3:32 AM
To: Historical Costume
Subject: [h-cost] Hoops, was GFD fittings, etc.


The Spanish farthingale is similar in that it balances, but uses a series of

rectangles that you adjust to the wearer.  In the 19thC, the full fabric 
crinolines were often drafted with shaped pieces. By putting the piece with 
more bias to the one with less, the straighter piece pulls the hoop 
backwards, balancing it.

Did I make better sense this time? There are days when language escapes me!
Kelly

----- Original Message ----- 
From: "Sharon at Collierfam.com" <sharon@collierfam.com>
To: "'Historical Costume'" <h-costume@indra.com>
Sent: Sunday, April 02, 2006 11:19 PM
Subject: RE: [h-cost] re: GFD fittings, etc.


> Please excuse my ignorance, but what do you mean "creates a hoop"? 
> How? Sharon
>
> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] 
> On Behalf Of kelly grant
> Sent: Sunday, April 02, 2006 6:06 PM
> To: Historical Costume
> Subject: Re: [h-cost] re: GFD fittings, etc.
>
>
> Actually, by putting bias to straight in the mid 19thC they created a 
> hoop that would balance itself, and a skirt that would flow away from 
> the legs when walking.  Pretty cool.
>
> A lot of our modern clothing construction method were developed in the 
> 19thC. Some seriously inovative cutting to upholster the body.
>
> Kelly
>
>> Later 19thC skirts through often go straight to slant. I suspect this 
>> has a
>> lot to do with aesthetic appeal as you can see it looks neater when you
>> have
>> stripes;) There is a perfect example of it in PoF 2 of the early 1870s.
>>
>> michaela de bruce
>> http://glittersweet.com
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When I asked about it a couple of years ago, the cost was about $60. Which
isn't bad for custom jeans. I think you can just call Levi Strauss in San
Francisco. 

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Susan Data-Samtak
Sent: Saturday, April 01, 2006 6:00 AM
To: Historical Costume
Subject: Re: [h-cost] Clothes fitting


Sharon,

That is great news!  How do we go about fitting ourselves for the "MANY 
more sizes"?  Who do we contact?  Any idea of the cost?

Susan

"Slow down. The trail is the thing, not the end of the trail. Travel too
fast and you miss all you are traveling for".  - "Ride the Dark Trail" by
Louis L'Amour

On Apr 1, 2006, at 3:39 AM, Sharon at Collierfam.com wrote:

> A friend of mine works at Levi and says they have MANY more sizes 
> available, which you can try, and then they will tweak the closest fit 
> for you and keep
> the info, so that whenever you want another pair, you just phone and 
> have
> them sent.
>
> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
> On
> Behalf Of Marie Stewart
> Sent: Friday, March 31, 2006 10:30 AM
> To: Historical Costume
> Subject: Re: [h-cost] Clothes fitting
>
>
> Yeup... and I thought seriously about trying a pair... but in the end 
> found another maker of jeans that fit - sigh - well enough,  although 
> I am always
> wanting the denim to be of a heavier weight.
>
> On 3/31/06, Sharon at Collierfam.com <sharon@collierfam.com> wrote:
>> Mari, do you know of the custom fit jeans available from Levis?
>> Sharon
>>
>> -----Original Message-----
>> From: h-costume-bounces@indra.com
>> [mailto:h-costume-bounces@indra.com]
>> On Behalf Of Marie Stewart
>> Sent: Friday, March 31, 2006 6:39 AM
>> To: Historical Costume
>> Subject: Re: [h-cost] Clothes fitting
>>
>>
>> Thank you for that article... very interesting.
>>
>> Now what the retailers are missing is the opportunity to expand, and
>> raise their sales.
>>
>> Imagine...  A large chain adopts the Fitlogic system.   Inside their
>> stores,  they create separate boutiques, or even a small independent
>> entity. One for each body type.  Stock the items that flatter that 
>> body type the most in their respective sections.  In larger chains 
>> you could even have different stock for a particular body type in 
>> different stores.  If a customer  finds something they like in one 
>> section, but it is not their body type,  allow them to order (or
>> request from another store) that item in the fit they want.   This
>> wouldn't be anything revolutionary,  major chains already swap 
>> clothing around between stores.
>>
>> How many women would love to have a store that they knew the items
>> would be a better fit.  You see it already, women have brand loyalty, 
>> if a line provides better fit.
>>
>> Oooooh,  just think about it... stores might actually have to sell
>> more items on style and quality if they took out the fit roulette.
>>
>> Mari  -  still irked that Banana Republic stopped making "the perfect
>> fitting jean" in 1992.
>>
>>> Clothes That Fit the Woman, Not the Store
>>> By MICHAEL BARBARO
>>> Published: March 31, 2006
>>
>> _______________________________________________
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>> h-costume@mail.indra.com
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>>
>>
>> _______________________________________________
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>>
>
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>
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In a message dated 4/3/2006 9:47:12 P.M. Eastern Standard Time,  
sharon@collierfam.com writes:

In the  19thC, the full fabric 
crinolines were often drafted with shaped pieces.  By putting the piece with 
more bias to the one with less, the straighter  piece pulls the hoop 
backwards, balancing it.



**********************
 
Only in the mid 1860s to the end of the era before it goes into  bustle. The 
effect of cutting a gore with the front edge on the straight and the  back on 
some kind of bias is to push the fullness to the back because the  straight 
will fall vertically and the bias will give way. [You see this  construction, 
w/out hoops of course, in 1890s and 1900s fashion skirts as  well....the effect 
pushing the fullness to the back] But it was also  achieved with just a 
cage....by adding extra vertical tapes at strategic places  in the back part of the 
cage crinoline. And cage or petticoat, these shaped  hoops almost always used 
a pad at the back to keep them balanced.
 
Remember the early hoops were used to relieve the wearer of the multitude  of 
petticoats worn to get the dome shape of the 1830s, 40s and 50s. They  were 
often small....a little more than a stride...and the hoops started at about  
knee level. Throw one or two petticoats over these and you have the same shape  
as just 5 or 6 petticoats. Looked at from above, the shape was  basically a 
circle with the wearer in the center. Of course some small pad  or wadding might 
be added to the petticoat or even the skirt to give the back  more bulk. 
These early hoops were not meant to change the silhouette.
But later, as the hoop comes into its own, it and its cut actually  determine 
the silhouette and you get the hoop which sweeps to the  back....looking from 
above, an egg shape with the small end at the back and the  wearer in the 
center of the widest part. The dome shape gives way to a more  triangular 
silhouette achieved by flat pleating the skirt to the waist, as  opposed to gathers 
or cartridge pleats.
 
I suppose you could use one of the earlier hoops as a farthingale and get  
away with it. But a real farthingale would not be of watch spring steel. Cane,  
rather, and not as flexible or light. And farthingales usually have hoops that 
 start higher than knee level. And the farthingale look is triangular. In 
Janet  Arnold there are flat pleated skirts in many of the Renaissance gowns. And 
some  are gored, not just straight panels, to get that triangular  silhouette.
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Subject: [h-cost] My copy of The Tudor Tailor arrived!
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My copy of The Tudor Tailor arrived in today's mail.  Yippee!  I've 
only glanced through it, but I like the fact that the photographed 
models look like real people, not skinny models.  This will be some 
nice reading (and re-reading) in the evenings.

Joan Jurancich
joanmj@surewest.net 
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Date: Tue, 4 Apr 2006 17:26:49 -0700
From: "Lynn Downward" <lynndownward@gmail.com>
To: "Historical Costume" <h-costume@indra.com>
Subject: Re: [h-cost] Clothes fitting-link- here it is
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Thanks!

LynnD

On 3/31/06, Susan Data-Samtak <pasovasz@aol.com> wrote:
> <<
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
> This page was sent to you by: jsamtak@patmedia.net
>
> Message from sender:
>   FYI
>
>   BUSINESS | March 31, 2006
>   Clothes That Fit the Woman, Not the Store
> By MICHAEL BARBARO
> A Dallas company has developed a sizing system it hopes will allow
> consumers to better navigate the world of off-the-rack apparel.
>
>
>
>
>
>
>
>
>
>
>   1. Scans Show Different Growth for Intelligent Brains
>   2. Long-Awaited Medical Study Questions the Power of Prayer
>   3. A Preacher's Credo: Eliminate the Negative, Accentuate Prosperity
>   4. Personal Health: A Chance Find, and Voilà! Goodbye, Hot Flashes.
> Hello, Sleep.
>   5. Op-Ed Contributor: A Poverty of the Mind
>
> »  Go to Complete List
>
>
>   >>
> Susan
>
> "Slow down. The trail is the thing, not the end of the trail. Travel
> too fast and you miss all you are traveling for". - "Ride the Dark
> Trail" by Louis L'Amour
>
> On Mar 31, 2006, at 7:46 PM, Lynn Downward wrote:
>
> > What magazine/journal was this article from? I have gmail and I didn't
> > see any reference to links or anything.  I'd like to be able to search
> > for the article in an online library and get the links.
> >
> > TIA,
> > LynnD
> >
> > On 3/31/06, Kimiko Small <kimiko@kimiko1.com> wrote:
> >> At 06:19 AM 3/31/2006, you wrote:
> >>> It is a noble pursuit that has long eluded the clothing industry: a
> >>> standardized sizing system that would allow consumers to navigate the
> >>> frustrating world of off-the-rack apparel, where size varies from
> >>> retailer
> >>> to retailer.
> >>>
> >
> > _______________________________________________
> > h-costume mailing list
> > h-costume@mail.indra.com
> > http://mail.indra.com/mailman/listinfo/h-costume
>
>
> _______________________________________________
> h-costume mailing list
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>
>

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From h-costume-bounces@indra.com  Tue Apr  4 20:41:47 2006
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Subject: [h-cost] beaded fringe
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Dear Designer/Artisan,
 
Looking for TOP QUALITY  handmade beaded fringes at very  reasonable prices. 
Look no more! You are invited to visit my web site to  see many styles and 
colors for you and your design needs. Simply click  on  
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browsing. Many TOP QUALITY custom HANDMADE beaded items now available. 
 
Custom orders welcome for 10 yards or more per style/color. Any questions  
please email me at  _lkaycelaya@aol.com_ (mailto:lkaycelaya@aol.com) 
 
Thank you,
Kay


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Subject: Re: [h-cost] My copy of The Tudor Tailor arrived!
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On Tuesday 04 April 2006 5:39 pm, Joan Jurancich wrote:
> My copy of The Tudor Tailor arrived in today's mail.  Yippee!  I've
> only glanced through it, but I like the fact that the photographed
> models look like real people, not skinny models.  This will be some
> nice reading (and re-reading) in the evenings.

Joan, where do you live?  I'm wondering how soon I'll get mine.  I live in the 
US, near Philadelphia.

-- 
Cathy Raymond <cathy@thyrsus.com>

"I'm starting to like the cut of this man's gibberish."
--General Fillmore (from "The Tick," episode 2)

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Date: Tue, 04 Apr 2006 20:24:35 -0700
To: Historical Costume <h-costume@indra.com>
From: Joan Jurancich <joanmj@surewest.net>
Subject: Re: [h-cost] My copy of The Tudor Tailor arrived!
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At 08:23 PM 4/4/2006, you wrote:
>On Tuesday 04 April 2006 5:39 pm, Joan Jurancich wrote:
> > My copy of The Tudor Tailor arrived in today's mail.  Yippee!  I've
> > only glanced through it, but I like the fact that the photographed
> > models look like real people, not skinny models.  This will be some
> > nice reading (and re-reading) in the evenings.
>
>Joan, where do you live?  I'm wondering how soon I'll get mine.  I 
>live in the
>US, near Philadelphia.
>
>--
>Cathy Raymond <cathy@thyrsus.com>
>
>"I'm starting to like the cut of this man's gibberish."
>--General Fillmore (from "The Tick," episode 2)

I'm in Sacramento, CA.


Joan Jurancich
joanmj@surewest.net 

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From: "Susan B. Farmer" <sfarmer@goldsword.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] My copy of The Tudor Tailor arrived!
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Quoting Catherine Olanich Raymond <cathy@thyrsus.com>:

> On Tuesday 04 April 2006 5:39 pm, Joan Jurancich wrote:
>> My copy of The Tudor Tailor arrived in today's mail.  Yippee!  I've
>> only glanced through it, but I like the fact that the photographed
>> models look like real people, not skinny models.  This will be some
>> nice reading (and re-reading) in the evenings.
>
> Joan, where do you live?  I'm wondering how soon I'll get mine.  I 
> live in the
> US, near Philadelphia.
>

I don't remember if it was on this list or another one.  Ninya shipped
*all* the US books to her mother *somewhere* in California.  All the
books that I've seen across my various lists arrived today in
California.  I'm figuring *maybe* Saturday -- probably first of Next
Week for the eastern US.

The book also covers both Henry 8 and Elizabeth I

Jerusha, waiting patiently
-----
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: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] My copy of The Tudor Tailor arrived!
Date: Tue, 4 Apr 2006 23:23:33 -0500
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On Tuesday 04 April 2006 11:30 pm, Susan B. Farmer wrote:
> Quoting Catherine Olanich Raymond <cathy@thyrsus.com>:
> > On Tuesday 04 April 2006 5:39 pm, Joan Jurancich wrote:
> >> My copy of The Tudor Tailor arrived in today's mail.  Yippee!  I've
> >> only glanced through it, but I like the fact that the photographed
> >> models look like real people, not skinny models.  This will be some
> >> nice reading (and re-reading) in the evenings.
> >
> > Joan, where do you live?  I'm wondering how soon I'll get mine.  I
> > live in the
> > US, near Philadelphia.
>
> I don't remember if it was on this list or another one.  Ninya shipped
> *all* the US books to her mother *somewhere* in California.  All the
> books that I've seen across my various lists arrived today in
> California.  I'm figuring *maybe* Saturday -- probably first of Next
> Week for the eastern US.

Ah, now *that* answers my next question!  So those of us in the Eastern US 
will probably get ours last.  Now I know!  Thanks.

-- 
Cathy Raymond <cathy@thyrsus.com>

"I'm starting to like the cut of this man's gibberish."
--General Fillmore (from "The Tick," episode 2)

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Subject: Re: [h-cost] My copy of The Tudor Tailor arrived!
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I'm near Harrisburg. I'm hoping to find someone close to chech in with about 
Ren dress making.
----- Original Message ----- 
From: "Joan Jurancich" <joanmj@surewest.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Tuesday, April 04, 2006 11:24 PM
Subject: Re: [h-cost] My copy of The Tudor Tailor arrived!


> At 08:23 PM 4/4/2006, you wrote:
>>On Tuesday 04 April 2006 5:39 pm, Joan Jurancich wrote:
>> > My copy of The Tudor Tailor arrived in today's mail.  Yippee!  I've
>> > only glanced through it, but I like the fact that the photographed
>> > models look like real people, not skinny models.  This will be some
>> > nice reading (and re-reading) in the evenings.
>>
>>Joan, where do you live?  I'm wondering how soon I'll get mine.  I live in 
>>the
>>US, near Philadelphia.
>>
>>--
>>Cathy Raymond <cathy@thyrsus.com>
>>
>>"I'm starting to like the cut of this man's gibberish."
>>--General Fillmore (from "The Tick," episode 2)
>
> I'm in Sacramento, CA.
>
>
> 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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I received my copy two days ago, and have already thumbed through it on  
multiple occasions.  
 
I have to say that it is wonderful, beautifully illustrated and richly  
detailed.  The documentation brought a smile, and I was thrilled to see so  many 
examples of common folk clothes, as opposed to just high fashion.   Portraits 
are great as are extant examples of clothing.  
 
I would highly recommend this book to anyone attempting to recreate 16th  
century clothing. 
 
Clothing, not costumes, yay!
 
:)
~Kimberley
Jacksonville, Florida
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Date: Wed, 05 Apr 2006 17:38:50 +0200
From: Deredere Galbraith <Deredere.Galbraith@kabelfoon.nl>
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Subject: [h-cost] Picture of my silk bliaut
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Finally a picture of the bliaut I am working on.
Made from natural dyed silk and the belt from natural dyed wool
http://mystictimes.nl/Bliaut/ZijdeBliaut.jpg

Greetings,
       Deredere

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From: "kelly grant" <estela_dufrayse@hotmail.com>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] Picture of my silk bliaut
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That looks fabulous!  Just what I imagined bliaut to look like in person!

Very cool
Kelly
----- Original Message ----- 
From: "Deredere Galbraith" <Deredere.Galbraith@kabelfoon.nl>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, April 05, 2006 12:38 PM
Subject: [h-cost] Picture of my silk bliaut


> Finally a picture of the bliaut I am working on.
> Made from natural dyed silk and the belt from natural dyed wool
> http://mystictimes.nl/Bliaut/ZijdeBliaut.jpg
> 
> Greetings,
>       Deredere
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: Re: [h-cost] Picture of my silk bliaut
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Hi Deredere,
You look just like the paintings from the time, very very nice!
Congratulations

Bjarne
 
----- Original Message ----- 
From: "Deredere Galbraith" <Deredere.Galbraith@kabelfoon.nl>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, April 05, 2006 5:38 PM
Subject: [h-cost] Picture of my silk bliaut


> Finally a picture of the bliaut I am working on.
> Made from natural dyed silk and the belt from natural dyed wool
> http://mystictimes.nl/Bliaut/ZijdeBliaut.jpg
> 
> Greetings,
>       Deredere
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>

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Greetings--

Deredere Galbraith wrote:
> Finally a picture of the bliaut I am working on.
> Made from natural dyed silk and the belt from natural dyed wool
> http://mystictimes.nl/Bliaut/ZijdeBliaut.jpg
Very spiff!  You've definitely got "the look" down.  Which construction 
method did you use? (For the uninitiated, there are several theories of 
bliaut construction, including simple side lacing, side lacing with 
added length through the body to get the folds across the belly, 
bias-cut, separate skirt piece, and various types of 
pleating/smocking--not to mention the largely discredited "corselet" cut).



Susan
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Picture of my silk bliaut
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	<4433EB6C.8030909@rogers.com>
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It is the very basic construction. with gores to make the skirt wider
and side lacing with added lengt.
The pleating is done by moisting the silk, pleat and let it dry for a day.
Here is the rest of the website.
It is in Dutch
http://mystictimes.nl/Bliaut/Bliaut.html

Susan Carroll-Clark wrote:

> Greetings--
>
> Deredere Galbraith wrote:
>
>> Finally a picture of the bliaut I am working on.
>> Made from natural dyed silk and the belt from natural dyed wool
>> http://mystictimes.nl/Bliaut/ZijdeBliaut.jpg
>
> Very spiff!  You've definitely got "the look" down.  Which 
> construction method did you use? (For the uninitiated, there are 
> several theories of bliaut construction, including simple side lacing, 
> side lacing with added length through the body to get the folds across 
> the belly, bias-cut, separate skirt piece, and various types of 
> pleating/smocking--not to mention the largely discredited "corselet" 
> cut).
>
>
>
> Susan
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>


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Subject: Re: [h-cost] My copy of The Tudor Tailor arrived!
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----- Original Message ----- 
From: "Becky" <zeartiste@hotmail.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, April 05, 2006 7:19 AM
Subject: Re: [h-cost] My copy of The Tudor Tailor arrived!


> I'm near Harrisburg. I'm hoping to find someone close to chech in with 
> about Ren dress making.

Hi Becky--I live near Harrisburg, in York. I'd be more than happy to help 
you drool over the book!

Dianne

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Subject: [h-cost] Pilgrim shoes (x-post)
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Does anyone know if Pilgrim Shoes is still in business/taking orders? 

-E House
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Date: Wed, 5 Apr 2006 21:00:30 +0100
To: Historical Costume <h-costume@indra.com>
From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] Picture of my silk bliaut
References: <20060405153851.22C7031937B@pelian.kabelfoon.nl>
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You really have got the look, it's lovely.  Some time I will take the 
time to read through your site with my Dutch dictionary.  But I do like 
the picture of the dress all twisted up - it looks as if it would go 
through a wedding ring, like a Christening shawl was meant to do!

Jean


Deredere Galbraith <Deredere.Galbraith@kabelfoon.nl> wrote
>It is the very basic construction. with gores to make the skirt wider
>and side lacing with added lengt.
>The pleating is done by moisting the silk, pleat and let it dry for a day.
>Here is the rest of the website.
>It is in Dutch
>http://mystictimes.nl/Bliaut/Bliaut.html
>
>Susan Carroll-Clark wrote:
>
>> Greetings--
>>
>> Deredere Galbraith wrote:
>>
>>> Finally a picture of the bliaut I am working on.
>>> Made from natural dyed silk and the belt from natural dyed wool
>>> http://mystictimes.nl/Bliaut/ZijdeBliaut.jpg
>>
>> Very spiff!  You've definitely got "the look" down.  Which 
>>construction method did you use? (For the uninitiated, there are 
>>several theories of bliaut construction, including simple side lacing, 
>>side lacing with added length through the body to get the folds across 
>>the belly, bias-cut, separate skirt piece, and various types of 
>>pleating/smocking--not to mention the largely discredited "corselet"  cut).
>>
>>
>>
>> Susan
>> _______________________________________________
>> h-costume mailing list
>> h-costume@mail.indra.com
>> http://mail.indra.com/mailman/listinfo/h-costume
>>
>
>
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
>http://mail.indra.com/mailman/listinfo/h-costume

-- 
Jean Waddie
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From: roscelinlimoges@comcast.net
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Picture of my silk bliaut
Date: Wed, 05 Apr 2006 20:09:32 +0000
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It is a lovely dress.  I wish I could read Dutch so I could make a dress just like this.

Roscelin

 -------------- Original message ----------------------
From: Deredere Galbraith <Deredere.Galbraith@kabelfoon.nl>
> Finally a picture of the bliaut I am working on.
> Made from natural dyed silk and the belt from natural dyed wool
> http://mystictimes.nl/Bliaut/ZijdeBliaut.jpg
> 
> Greetings,
>        Deredere
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume


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Subject: [h-cost] Set Editor wanted
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swiped from another list - Arlys

On Wed, 05 Apr 2006 14:31:26 -0400 Sarah Toich <barjavel@earthlink.net>
writes:
> CSA E-News
> Volume 5 No. 4
> APRIL 2006 Edition
> Costume Society of America
> http://www.costumesocietyamerica.com
> SUBMISSION DEADLINE: APRIL 20, 2006 (for May Edition)
> >>
> >>
>  B. SET EDITOR WANTED: A major academic publisher is looking
> for a set editor for a new project on folk/national
> clothing. The four-volume set will be organized by regions
> of the world, and will identify clothing and accessories
> representative of cultures and countries around the world.
> The set will be geared to undergraduates and an adult
> popular audience. The set editor will identify authors or
> contributors to write entries, review submissions, and
> prepare the final manuscript for production. The project is
> scheduled to be completed within two years. Email your CV to
> mailto:debra.adams@greenwood.com, along with any questions.
> 
> 
> 
> _______________________________________________
> SCA-Laurels mailing list
> SCA-Laurels@ansteorra.org
> http://www.ansteorra.org/mailman/listinfo/sca-laurels
> 

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Subject: [h-cost] Re: Bliaut
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While in Angers recently I saw a great statue of a woman wearing a  bliaut.  
The picture I took shows the lacing on the side.  Since this  isn't my time 
period, I don't know is this is well known statue or not.  If  people are 
interested, please let me know.
 
Nancy
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Date: Wed, 05 Apr 2006 17:14:43 -0400
From: monica spence <monicaspence@optonline.net>
Subject: RE: [h-cost] Re: Bliaut
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Hi Nancy--
Do you have a photo?
Regards
Monica (Catriona)


-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of MaddNancy@aol.com
Sent: Wednesday, April 05, 2006 5:06 PM
To: h-costume@indra.com
Subject: [h-cost] Re: Bliaut


While in Angers recently I saw a great statue of a woman wearing a  bliaut.
The picture I took shows the lacing on the side.  Since this  isn't my time
period, I don't know is this is well known statue or not.  If  people are
interested, please let me know.

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


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Date: Wed, 5 Apr 2006 14:18:20 -0700 (PDT)
From: "Diana Habra" <dch@inreach.com>
To: "Historical Costume" <h-costume@indra.com>
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Subject: [h-cost] Visiting Washington DC soon take II...
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I forgot to mention that I will also be visiting Colonial
Williamsburg....does anybody know how I can get in to take a look at their
costume collection up close?

Thanks!

Diana

www.RenaissanceFabrics.net
"Everything for the Costumer"

"Become the change you want to see in the world."
--Ghandi

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Date: Wed, 5 Apr 2006 14:16:14 -0700 (PDT)
From: "Diana Habra" <dch@inreach.com>
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Hello all,

I will be traveling to Washington DC soon and wanted to hear
recommendations from folks on the list about what to see.  My interests
are existing costumes from Europe 1100-1890 and paintings of the
Renaissance & Baroque periods.

Thanks!

Diana

www.RenaissanceFabrics.net
"Everything for the Costumer"

"Become the change you want to see in the world."
--Ghandi

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Subject: Re: [h-cost] My copy of The Tudor Tailor arrived!
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In a message dated 4/5/06 7:02:05 PM GMT Daylight Time, 
h-costume-request@indra.com writes:

> I've only glanced through it, but I like the fact that the photographed 
> models look like real people, not skinny models.  

That's cos they are real people (including lots of UK re-enactors!!), but I 
agree.

Debbie
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From h-costume-bounces@indra.com  Wed Apr  5 18:26:48 2006
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From: Jayne Thomas <dresspattern@yahoo.co.uk>
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Subject: [h-cost] Jean Hunnisett Dress
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 Hi!
   
  I would like to make the 1569 Elizabethan dress (or something near as possible!) that is illustrated on page 63 (the one in the middle of the group) of 'Patterns for Women's Dress 1500-1800 for my nearly four year daughter. Yes, I'm being very ambitious here!  The thing is, how would scale the pattern (on page 68 onwards) to fit her?  Am I being a bit too ambitious?!
   
  All the best!
  Jayne

		
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From h-costume-bounces@indra.com  Wed Apr  5 18:54:17 2006
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Subject: [h-cost] book on Stuart costumes
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The following book review was in a recent Library Journal.
I thought some of the list members might be interested.
The book just came out.

Sheryl N-D


Ribeiro, Aileen.
Fashion and Fiction:
Dress in Art and Literature in Stuart England.
Yale Univ. in assoc. with the Paul Mellon
Centre for Studies in British Art.
2006. 387p. photogs. bibliog. index.
ISBN 0-300-10999-7. $65.  FINE ARTS

Fashion books are often large, but Ribeiro's (history of art, Courtauld
Inst. of Art, Univ. of London; The Art of Dress: Fashion in England and
France, 1750-1820) is also otherwise substantial. Flipping through the
pages is a treat enough, with their sumptuous reproductions of
17th-century English paintings, etchings, costume plates, clothing
receipts, and fabric. But Ribeiro's clear text is a refreshing
companion, deftly interweaving poetry, theater, philosophy, politics,
and art into a generalized but engaging chronological survey of how
dress can reflect society, literally becoming a part of its language and
economy. This book delivers its evidence with humor and historical
empathy, reveling in its discussion of the importance of men's garters
and the close connection between emotion (particularly melancholy) and
states of dress (or undress). Despite the author's scholarly background,
the art historical potency of the works is sometimes subsumed by their
role as illustration of fact. However, Ribeiro presents a banquet of
fascinating images, from the most famous Anthony van Dyck royal
portraits to the shockingly modern still life of Wenceslaus Hollar, and
her book is not to be put down lightly. Recommended.

~~~~~~~~

By Prudence Peiffer, Cambridge, MA


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Subject: [h-cost] Henry VIII movie question
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Hey all,

I am thinking of getting a movie, A Man For All Seasons 
(http://www.imdb.com/title/tt0060665/), to watch while I am working on my 
Henrician gown. Our Henry VIII faires are often set during the marriage 
question. But I have never seen the movie. Is it worth getting? How is the 
storyline? How good/bad are the costumes? Is my money better spent on a 
different movie of a similar time frame?

Thanks for any thoughts on this.

Kimiko

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Subject: Re: [h-cost] Jean Hunnisett Dress
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I have that book and will look at it again. I have LOTS of patterns from 
various sources and see if I have one like it.
Enlarging a book pattern: Copy it on a xerox. Draw a grid on it to make an 
enlarging system. Measure something such as the front seam of a bodice- 
write it down on the copy. I good way to make it simpler it to put 10 
squares on top of the pattern piece. If it's 2 inches, put 10. If it's 1 
inch put 10. It's easier to multiply a number by 10. Then measure your own 
body where the pattern will fit. Compare the numbers.( I'm trying to put it 
into words and am finding it difficult) If your body part area is 12 inches 
then each square will be 1.2 inches for the enlarged pattern. It doesn't 
matter how big the copy squares are.. they are just a starting point. They 
are for placement. The enlargement pattern is where the inches counts.
Either way, enlarging a pattern in such a way takes time.
I hope that helps. Feel free to ask me if you need more help. Sorry I can't 
explain it better. I'm a visual person and putting things in words is 
sometimes harder. I can draw a picture if you'd like....
----- Original Message ----- 
From: "Jayne Thomas" <dresspattern@yahoo.co.uk>
To: <h-costume@mail.indra.com>
Sent: Wednesday, April 05, 2006 6:25 PM
Subject: [h-cost] Jean Hunnisett Dress


> Hi!
>
>  I would like to make the 1569 Elizabethan dress (or something near as 
> possible!) that is illustrated on page 63 (the one in the middle of the 
> group) of 'Patterns for Women's Dress 1500-1800 for my nearly four year 
> daughter. Yes, I'm being very ambitious here!  The thing is, how would 
> scale the pattern (on page 68 onwards) to fit her?  Am I being a bit too 
> ambitious?!
>
>  All the best!
>  Jayne
>
>
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Subject: Re: [h-cost] Jean Hunnisett Dress
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In a message dated 4/5/2006 6:26:48 P.M. Eastern Standard Time,  
dresspattern@yahoo.co.uk writes:

I would  like to make the 1569 Elizabethan dress (or something near as 
possible!) that  is illustrated on page 63 (the one in the middle of the group) of 
'Patterns  for Women's Dress 1500-1800 for my nearly four year daughter. Yes, 
I'm being  very ambitious here!  The thing is, how would scale the pattern (on 
page  68 onwards) to fit her?  Am I being a bit too  ambitious?!



One technique that might work is to use a different size square, rather  than 
1", to enlarge the pattern--start with, say, her chest measurement and  
decide how big it needs to be, then use squares of that size--does that make  
sense?  I'm imagining more like 3/4" rather than 1".  However, keep in  mind that a 
4 year old's body shape is different from a grown woman's, so you  would have 
to make some other modifications.
 
Ann Wass
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Date: Wed, 5 Apr 2006 17:33:50 -0700 (PDT)
Subject: Re: [h-cost] Henry VIII movie question
From: "Diana Habra" <dch@inreach.com>
To: "Historical Costume" <h-costume@indra.com>
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> Hey all,
>
> I am thinking of getting a movie, A Man For All Seasons
> (http://www.imdb.com/title/tt0060665/), to watch while I am working on my
> Henrician gown. Our Henry VIII faires are often set during the marriage
> question. But I have never seen the movie. Is it worth getting? How is the
> storyline? How good/bad are the costumes? Is my money better spent on a
> different movie of a similar time frame?

One of my early favorites is "Anne of the Thousand Days".  The costumes
are pretty good, the story is entertaining if it isn't strictly true.

This has been a favorite of mine for years.  Then I tried to watch "A Man
for All Seasons" and didn't like it much.

Another great Tudor style movie is "Lady Jane".  AWESOME costumes if not a
little later than you are portraying.  Early Helena Bonham Carter and Cary
Elwes.  Also has Patrick Stewart.

Diana

www.RenaissanceFabrics.net
"Everything for the Costumer"

"Become the change you want to see in the world."
--Ghandi

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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] Jean Hunnisett Dress
Date: Thu, 6 Apr 2006 10:38:20 +1000
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----- Original Message ----- 
From: "Jayne Thomas" <dresspattern@yahoo.co.uk>
To: <h-costume@mail.indra.com>
Sent: Thursday, April 06, 2006 8:25 AM
Subject: [h-cost] Jean Hunnisett Dress


> Hi!
>
>  I would like to make the 1569 Elizabethan dress (or something near as 
> possible!) that is illustrated on page 63 (the one in the middle of the 
> group) of 'Patterns for Women's Dress 1500-1800 for my nearly four year 
> daughter. Yes, I'm being very ambitious here!  The thing is, how would 
> scale the pattern (on page 68 onwards) to fit her?  Am I being a bit too 
> ambitious?!
>
>  All the best!
>  Jayne
>
Would that be the pattern based on this portrait 
http://tudor-portraits.com/HelenaSnakeborg.jpg ?
The best way might be to take a pattern that's fitted to her measurements 
and then re-draw some of the seams to make it look like the pattern you're 
trying to recreate. Look through the regular pattern catalogues for 
something with a fairly fitted bodice, a waist seam, and a high neckline (so 
it's easy to cut down to the square neckline of the mid 16th century) then 
trace this pattern onto tissue paper and copy the lines you see in the book 
onto your full sized pattern. Fortunately you don't have to deal with 
removing darts/princess seams as people who try to do this with adult 
patterns do.
The other option would be to copy it onto an overhead transparency and blow 
it up using an overhead projector, then you just pick one measurement (e.g. 
the centre front) blow it up to that size trace off the pattern and adjust 
the rest of the pattern to match her measurements (you'll almost certainly 
need to reduce the difference between the bust and the waist for a child)
Elizabeth
--------------------------------------------
Elizabeth Walpole
Canberra Australia
ewalpole[at]tpg.com.au
http://au.geocities.com/e_walpole/

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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] My copy of The Tudor Tailor arrived!
Date: Wed, 5 Apr 2006 21:40:25 -0500
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On Wednesday 05 April 2006 1:42 pm, Dianne & Greg Stucki wrote:
> ----- Original Message -----
> From: "Becky" <zeartiste@hotmail.com>
> To: "Historical Costume" <h-costume@indra.com>
> Sent: Wednesday, April 05, 2006 7:19 AM
> Subject: Re: [h-cost] My copy of The Tudor Tailor arrived!
>
> > I'm near Harrisburg. I'm hoping to find someone close to chech in with
> > about Ren dress making.
>
> Hi Becky--I live near Harrisburg, in York. I'd be more than happy to help
> you drool over the book!

I'm about 2 hours east of Harrisburg; Dianne is definitely closer. 

But for what it's worth, my copy arrived today.  It truly is droolworthy--even 
though my real love is the Viking era!  What spurred me to buy the book was 
the hope of enabling the authors' proposed next project--The Stuart Tailor.  
People able and willing to prepare works like these are to be encouraged.  
Viva Ninya and Jane, and their whole team!

-- 
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Subject: [h-cost] need help with dress...
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Here is my problem:

I have a GFD but want to put another layer on over top.

Would it be appropriate to have something like a semi-fitted T-tunic dress over it? I am looking for something knee-length or longer with 'flowy' mid forearm length sleeves.

Is there anything appropriate that I can make? I want to stay more in the same time period to the form-fitted GFD.

Thanks
Katheryne
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Subject: Re: [h-cost] Visiting Washington DC soon take II...
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I just got back from DC.
 
This has nothing to do with costume, but there is a Grant Wood exhibit at  
the Renwick Gallery... diagonally across the street from the White House.  It's 
not a big all day thing, so if you have an hour or so, see if you can catch  
it. It's full of wonderful stuff....his "craft" works...like iron gates and a  
wonderful "corn cob" chandelier. "American Gothic" is there on loan from the  
Chicago Art Inst. It a masterpiece, quite amazing in person no matter how many 
 times you've seen it printed or spoofed somewhere. And other great paintings 
as  well like his portrait of members of the DAR and "The Midnight Ride of 
Paul  Revere" and "Parson Weem's Fable".
 
It's there until July I think.
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To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] Re: Bliaut
Date: Wed, 5 Apr 2006 23:31:48 -0400
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Yes, we are always interested in more bliaut pictures!  Especially if it shows the lacing!  Could you post it somewhere?  Do you have a date?

Janet
  ----- Original Message ----- 
  From: MaddNancy@aol.com 
  To: h-costume@indra.com 
  Sent: Wednesday, April 05, 2006 5:05 PM
  Subject: [h-cost] Re: Bliaut


  While in Angers recently I saw a great statue of a woman wearing a  bliaut.  
  The picture I took shows the lacing on the side.  Since this  isn't my time 
  period, I don't know is this is well known statue or not.  If  people are 
  interested, please let me know.
   
  Nancy
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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] need help with dress...
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On Wed, 5 Apr 2006 purplkat@optonline.net wrote:

> I have a GFD but want to put another layer on over top.
> 
> Would it be appropriate to have something like a semi-fitted T-tunic
> dress over it? I am looking for something knee-length or longer with
> 'flowy' mid forearm length sleeves.
> 
> Is there anything appropriate that I can make? I want to stay more in
> the same time period to the form-fitted GFD.

The Gothic fitted dress existed in some from from roughly 1350 to 1450,
and there are a variety of overdresses to choose from in that period. To
my knowledge they are all full-length, so I wouldn't suggest going
shorter.

The body could be fitted (like the underdress), seen throughout this
period (though details of the fitted silhouette change). It might be
rather looser, as a basic gown -- rather like you describe above; this is
not often seen in art, but it does show up in the 1380s or so, in English
brasses.  By the end of the 1300s that loose gown had morphed into the
houppelande, which is very very full in the body (flaring from a closer
fit at the shoulder).

Sleeves range as well, usually tight with the tight bodies, and wide or
bagged with the houppelandes, but sometimes done otherwise. The rare
instances when you see the loose mid-width gown, it often has semi-wide
sleeves that look rather like a modern blazer's in width and length, with
the cuffs of the long underdress sleeves showing at the wrists. So yes, if
you hunt, you can find some examples of a semi-fitted tunic-style gown
with sleeves that come just a bit short of the wrist.  But it's rare. One
example I'm looking at is the brass of Marion Grevel, c. 1386, in Margaret
Scott's _Visual History of Costume: The 14th and 15th centuries_. This one
already has the high collar of the houppelande, and really looks like an
early houppelande.

I suspect you can find more examples of these mid-sized bodies and looser
sleeves on middle-class rather than upper-class women. I don't have time
to go hunting for you right now, but I would suggest you look at the
health handbooks (Tacuinum Sanitatus); these are Lombardic with French
influence. You might have a shot of finding "flowy" sleeves there too.

--Robin


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Hi everyone,
I've just come across a new picture the central portrait at the top of this 
page http://www.tudorplace.com.ar/Documents/the_marriage_of_queen_mary.htm 
I'm interested because it's a side view of a French hood (and more portraits 
are always good) but I can't find a larger picture, has anybody else seen 
this portrait before and know where I can find a better picture of it? This 
website doesn't provide any details on where it is or who painted it, and 
from what I've read elsewhere on this site I think the images are all taken 
from the web so there's no chance of looking it up in a book.
thanks
Elizabeth
--------------------------------------------
Elizabeth Walpole
Canberra Australia
ewalpole[at]tpg.com.au
http://au.geocities.com/e_walpole/

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From: Jayne Thomas <dresspattern@yahoo.co.uk>
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Hi!
   
  Just to say 'Thanks' for all the suggestions for scaling the Elizabethan dress!  I will certainly have a go!  I can see the costume in my mind, black velvet with a pearl trim(I have seen a fabric for the contrast in the skirt, white with a black Elizabethan style pattern), white parlet, white ruff with a black edging (with more pearls!), and a black hat with a white feather! Better get on with it....!
   
  All the Best
  Jayne
  PS  No doubt I'll be posting more questions! 

		
---------------------------------
Yahoo! Messenger  NEW - crystal clear PC to PC calling worldwide with voicemail 
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Subject: RE: [h-cost] My copy of The Tudor Tailor arrived!
Date: Thu, 6 Apr 2006 02:09:46 -0700
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Oh, yes, a whole series.........sign me up!
Sharon

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Catherine Olanich Raymond
Sent: Wednesday, April 05, 2006 7:40 PM
To: Historical Costume
Subject: Re: [h-cost] My copy of The Tudor Tailor arrived!


On Wednesday 05 April 2006 1:42 pm, Dianne & Greg Stucki wrote:
> ----- Original Message -----
> From: "Becky" <zeartiste@hotmail.com>
> To: "Historical Costume" <h-costume@indra.com>
> Sent: Wednesday, April 05, 2006 7:19 AM
> Subject: Re: [h-cost] My copy of The Tudor Tailor arrived!
>
> > I'm near Harrisburg. I'm hoping to find someone close to chech in 
> > with about Ren dress making.
>
> Hi Becky--I live near Harrisburg, in York. I'd be more than happy to 
> help you drool over the book!

I'm about 2 hours east of Harrisburg; Dianne is definitely closer. 

But for what it's worth, my copy arrived today.  It truly is
droolworthy--even 
though my real love is the Viking era!  What spurred me to buy the book was 
the hope of enabling the authors' proposed next project--The Stuart Tailor.

People able and willing to prepare works like these are to be encouraged.  
Viva Ninya and Jane, and their whole team!

-- 
Cathy Raymond <cathy@thyrsus.com>

"I'm starting to like the cut of this man's gibberish." --General Fillmore
(from "The Tick," episode 2)

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From: "Sharon at Collierfam.com" <sharon@collierfam.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] need help with dress...
Date: Thu, 6 Apr 2006 02:10:35 -0700
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What's a GFD?

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of purplkat@optonline.net
Sent: Wednesday, April 05, 2006 7:40 PM
To: h-costume@indra.com
Subject: [h-cost] need help with dress...


Here is my problem:

I have a GFD but want to put another layer on over top.

Would it be appropriate to have something like a semi-fitted T-tunic dress
over it? I am looking for something knee-length or longer with 'flowy' mid
forearm length sleeves.

Is there anything appropriate that I can make? I want to stay more in the
same time period to the form-fitted GFD.

Thanks
Katheryne
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Date: Thu, 06 Apr 2006 10:31:58 +0100
From: "Kate M Bunting" <K.M.Bunting@derby.ac.uk>
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Subject: Re: [h-cost] book on Stuart costumes
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Sounds fantastic! Must look out for it.

Kate Bunting
Librarian and 17th century reenactor

>>> sherylnd@kc.rr.com 05/04/2006 23:53 >>>
The following book review was in a recent Library Journal.
I thought some of the list members might be interested.
The book just came out.

Sheryl N-D


Ribeiro, Aileen.
Fashion and Fiction:
Dress in Art and Literature in Stuart England.
Yale Univ. in assoc. with the Paul Mellon
Centre for Studies in British Art.
2006. 387p. photogs. bibliog. index.
ISBN 0-300-10999-7. $65.  FINE ARTS




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From: "Becky" <zeartiste@hotmail.com>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] My copy of The Tudor Tailor arrived!
Date: Thu, 6 Apr 2006 07:17:32 -0400
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I'm well underway into making my first Renaissance garb. My daughter has 
chosen the portrait of Princess Elizabeth in the pink/orange dress. I'll 
post a diary somewhere when it's done. I have paid way more than I should 
have to gather all the correct fabrics and assessories. I plan on her 
wearing it for quite a while, too. When hers is done, I'll have to make 
myself one so we are in the same time frame. Since I'll be taking her with 
me at the same time, makes sense to me to be within reason on our garments.
One thing about having to pay so much for all this stuff... I buy in bulk 
when I can. I'm all set to make a whole wardrobe one day. Now, How do I 
organize it all so I can find something. that is the next major task I need 
to get done one day soon.
Any one able to come help me do that?
----- Original Message ----- 
From: "Catherine Olanich Raymond" <cathy@thyrsus.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, April 05, 2006 10:40 PM
Subject: Re: [h-cost] My copy of The Tudor Tailor arrived!


> On Wednesday 05 April 2006 1:42 pm, Dianne & Greg Stucki wrote:
>> ----- Original Message -----
>> From: "Becky" <zeartiste@hotmail.com>
>> To: "Historical Costume" <h-costume@indra.com>
>> Sent: Wednesday, April 05, 2006 7:19 AM
>> Subject: Re: [h-cost] My copy of The Tudor Tailor arrived!
>>
>> > I'm near Harrisburg. I'm hoping to find someone close to chech in with
>> > about Ren dress making.
>>
>> Hi Becky--I live near Harrisburg, in York. I'd be more than happy to help
>> you drool over the book!
>
> I'm about 2 hours east of Harrisburg; Dianne is definitely closer.
>
> But for what it's worth, my copy arrived today.  It truly is 
> droolworthy--even
> though my real love is the Viking era!  What spurred me to buy the book 
> was
> the hope of enabling the authors' proposed next project--The Stuart 
> Tailor.
> People able and willing to prepare works like these are to be encouraged.
> Viva Ninya and Jane, and their whole team!
>
> -- 
> Cathy Raymond <cathy@thyrsus.com>
>
> "I'm starting to like the cut of this man's gibberish."
> --General Fillmore (from "The Tick," episode 2)
>
> _______________________________________________
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> 
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From h-costume-bounces@indra.com  Thu Apr  6 08:12:15 2006
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Date: Thu, 06 Apr 2006 07:59:03 -0400
From: Gail & Scott Finke <gailscott@eos.net>
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Subject: [h-cost] Re: bliaut
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Derdere:

It looks great in the photo. Also, although I don't read Dutch, I had no
trouble following the site and understanding what you did.

I do have one practical question. The silk you used seems to be very light.
Do you think that the bliauts of the time were made of such light silk?
Would it have been warm enough for clothing when there was no central
heating? Is the skirt heavy enough to stay down, or does it "float" up?

But I am not criticizing! It looks great, and you look great in it!

Gail Finke

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Subject: Re: [h-cost] My copy of The Tudor Tailor arrived!
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----- Original Message ----- 
From: "Becky" <zeartiste@hotmail.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, April 06, 2006 7:17 AM
Subject: Re: [h-cost] My copy of The Tudor Tailor arrived!


> I'm well underway into making my first Renaissance garb. My daughter has 
> chosen the portrait of Princess Elizabeth in the pink/orange dress. I'll 
> post a diary somewhere when it's done. I have paid way more than I should 
> have to gather all the correct fabrics and assessories. I plan on her 
> wearing it for quite a while, too. When hers is done, I'll have to make 
> myself one so we are in the same time frame. Since I'll be taking her with 
> me at the same time, makes sense to me to be within reason on our 
> garments.
> One thing about having to pay so much for all this stuff... I buy in bulk 
> when I can. I'm all set to make a whole wardrobe one day. Now, How do I 
> organize it all so I can find something. that is the next major task I 
> need to get done one day soon.
> Any one able to come help me do that?

Organize? ORGANIZE?

(runs away screaming)

Dianne

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Subject: [h-cost] Organising the fabric stash (was Re: My copy of The Tudor
	Tailor arrived!
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<snip> I'm all set to make a whole wardrobe one day. Now, How do I
> organize it all so I can find something. that is the next major task I 
> need to get done one day soon.
> Any one able to come help me do that?

try http://seworganized.com/index.shtml  I know there's another page out 
there written by a guy in the SCA about how he organised his fabric stash 
but I can't find it so I'll summarise. Basically he put all his fabric in 
boxes and had index cards with a sample of the fabric, and it's details 
(e.g. how much of the fabric there was, fibre content, price, if it was 
intended for a specific project etc) in a separate box so he could put his 
fabric in storage but still know what he had and where to find it without 
going through his entire stash.
Aha! A search through the H-cost archives turned up this message 
http://sca.uwaterloo.ca/Fashion/index.cgi?l=ALL&s=stash&Cmd=Match+9 and 
although the link in that message seems to be broken a web search for the 
author's name turned up this 
http://www.florilegium.org/files/TEXTILES/Fnd-Tme-2-Sew-art.rtf
Elizabeth
--------------------------------------------
Elizabeth Walpole
Canberra Australia
ewalpole[at]tpg.com.au
http://au.geocities.com/e_walpole/

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Gothic Fitted Gown (or, alternately, "GFD," for Gothic Fitted Dress)....that
ubiquitous dress found, uhm, roughly from late 13th century through the 15th
on many European women (that's a REALLY rough time frame).  They tend to
have a snug fit from the shoulders to the hips, at which point they widen
into full skirts.  Necklines vary with time and style.  Sleeves often
close-fitting.  If done properly, these gowns can actually function
admirably as a support for one's, uhm, feminine charms ;o).  Even work with
a very large bust (personal experience--I'm REALLY large chested, and the
girls don't *move* in one of them AND I can still breathe...it's amazing).
Most often made in a good, flexible wool fabric like gabardine, and lined
with a sturdy linen, but other fashion fabrics have been used.  Wool and
linen just make a marvelous team for them...
Often known as "cotehardies" in costuming texts, but they're really, more
properly, only the first of one's outer layers.  (Think shift, then gown,
and then another layer--another gown, or a surcoat, or a houpelande.)
In the original post, the author's asking about appropriate outer layers to
go over her gown.
Does that help? or just confuse?  Fitted gowns are an off-and-on again topic
on the list, not in the least because we've got Robin, who's done a lot of
research on them, and a lot of teaching and lecturing on them as well.
--Sue, in "will it ever stop raining, yes I KNOW it's April" Montana ;o)

----- Original Message -----
From: "Sharon at Collierfam.com" <sharon@collierfam.com>
To: "'Historical Costume'" <h-costume@indra.com>
Sent: Thursday, April 06, 2006 3:10 AM
Subject: RE: [h-cost] need help with dress...


> What's a GFD?
>
> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
> Behalf Of purplkat@optonline.net
> Sent: Wednesday, April 05, 2006 7:40 PM
> To: h-costume@indra.com
> Subject: [h-cost] need help with dress...
>
>
> Here is my problem:
>
> I have a GFD but want to put another layer on over top.
>
> Would it be appropriate to have something like a semi-fitted T-tunic dress
> over it? I am looking for something knee-length or longer with 'flowy' mid
> forearm length sleeves.
>
> Is there anything appropriate that I can make? I want to stay more in the
> same time period to the form-fitted GFD.
>
> Thanks
> Katheryne
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com http://mail.indra.com/mailman/listinfo/h-costume
>
> _______________________________________________
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Elizabeth wrote:
> I've just come across a new picture the central portrait at the top of 
> this page 
> http://www.tudorplace.com.ar/Documents/the_marriage_of_queen_mary.htm I'm 
> interested because it's a side view of a French hood (and more portraits 
> are always good) but I can't find a larger picture, has anybody else seen 
> this portrait before and know where I can find a better picture of it? 
> This website doesn't provide any details on where it is or who painted it, 
> and from what I've read elsewhere on this site I think the images are all 
> taken from the web so there's no chance of looking it up in a book.


This is a small panel portrait by an anonymous artist of the English school 
held at the Denver Art Museum in the Berger Collection.  A somewhat larger 
version can be found here: 
http://www.bridgeman.co.uk/search/view_image2.asp?image_id=119972

This link will take you directly to the image in the museum collection: 
http://www.bergercollection.org/artwork_detail.php?i=37   You can enlarge 
it, but the resolution is very fuzzy.

Good luck,

               -Helen/Aidan 

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The silk is very thin but it is warmer than I expected.
I don't think it will float up. It tends to kling a bit to the
underdress probably because of the pleating.

On 17 April I will be wearing the dress.
It should be spring but the weather is still cold so I will find out if
the dress will be warm enough...



Gail & Scott Finke wrote:

>Derdere:
>
>It looks great in the photo. Also, although I don't read Dutch, I had no
>trouble following the site and understanding what you did.
>
>I do have one practical question. The silk you used seems to be very light.
>Do you think that the bliauts of the time were made of such light silk?
>Would it have been warm enough for clothing when there was no central
>heating? Is the skirt heavy enough to stay down, or does it "float" up?
>
>But I am not criticizing! It looks great, and you look great in it!
>
>Gail Finke
>
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>  
>


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Subject: Re: [h-cost] Henry VIII movie question
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I saw the film of A Man for All Seasons when it first came out; subsequently I was in a production of the play, at my college, in the role of Lady Alice More. Then, a few years later, I saw the film again.

I found the film enormously moving (both times) and the play even more so. I saw the film long before I had much idea of genuine period clothing, but I remember the costuming as rich, textured, and appropriate to the characters. I haven't seen the film in many years so can't update that impression.

Paul Scofield was, I thought, great; opposite Wendy Hiller (Alice), who could ask for anything more. Was this the film where Vanessa Redgrave played Anne Boleyn? She is forevermore my image of Anne--that eagerness in her face is still with me.

What the play has that the film lacks is a character called The Common Man--a protean who takes a number of the small roles and also narrates to the audience. In his minor roles he greases the wheels of the catastrophe in the course of protecting his own interests: hence the chill of his last line to the audience, "Remember me." What the film has that the play lacks is gorgeous, gorgeous scenery. (and of course Scofield!)

This is a play by one of England's great latter-20th-c playwrights, Robert Bolt. The text is drawn partly from More's writings and is uniformly vivid in its use of language, as well as thought-provoking and reasonably responsible historically. I would say that the film is DEFINITELY worth seeing, even though, as I suggest above, I can't vouch for the historical accuracy of the costuming beyond saying that More's family's clothing in the Holbein portraits matches my recollection of More's family's clothing in the film.

--Ruth Anne Baumgartner
scholar gypsy and amateur costumer

-----Original Message-----
>From: Diana Habra <dch@inreach.com>
>Sent: Apr 5, 2006 8:33 PM
>To: Historical Costume <h-costume@indra.com>
>Subject: Re: [h-cost] Henry VIII movie question
>
>
>> Hey all,
>>
>> I am thinking of getting a movie, A Man For All Seasons
>> (http://www.imdb.com/title/tt0060665/), to watch while I am working on my
>> Henrician gown. Our Henry VIII faires are often set during the marriage
>> question. But I have never seen the movie. Is it worth getting? How is the
>> storyline? How good/bad are the costumes? Is my money better spent on a
>> different movie of a similar time frame?
>
>One of my early favorites is "Anne of the Thousand Days".  The costumes
>are pretty good, the story is entertaining if it isn't strictly true.
>
>This has been a favorite of mine for years.  Then I tried to watch "A Man
>for All Seasons" and didn't like it much.
>
>Another great Tudor style movie is "Lady Jane".  AWESOME costumes if not a
>little later than you are portraying.  Early Helena Bonham Carter and Cary
>Elwes.  Also has Patrick Stewart.
>
>Diana
>
>www.RenaissanceFabrics.net
>"Everything for the Costumer"
>
>"Become the change you want to see in the world."
>--Ghandi
>
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Subject: Re: [h-cost] Picture of my silk bliaut
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I agree with you it is just fantastic. theresa

-----Original Message-----
From: roscelinlimoges@comcast.net
To: Historical Costume <h-costume@indra.com>
Sent: Wed, 05 Apr 2006 20:09:32 +0000
Subject: Re: [h-cost] Picture of my silk bliaut

   It is a lovely dress.  I wish I could read Dutch so I could make a 
dress just
like this.

Roscelin

 -------------- Original message ----------------------
From: Deredere Galbraith <Deredere.Galbraith@kabelfoon.nl>
> Finally a picture of the bliaut I am working on.
> Made from natural dyed silk and the belt from natural dyed wool
> http://mystictimes.nl/Bliaut/ZijdeBliaut.jpg
>
> Greetings,
>        Deredere
>
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Nancy would you please post the picture I am very much interested in 
seeing it. thanks theresa

-----Original Message-----
From: MaddNancy@aol.com
To: h-costume@indra.com
Sent: Wed, 5 Apr 2006 17:05:43 EDT
Subject: [h-cost] Re: Bliaut

   While in Angers recently I saw a great statue of a woman wearing a  
bliaut.
The picture I took shows the lacing on the side.  Since this  isn't my 
time
period, I don't know is this is well known statue or not.  If  people 
are
interested, please let me know.

Nancy
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I have uploaded the pictures to an album  named bliaut.  I hope  they help.  
Most of the cathedral was built in the 12th and 13th  centuries.
 
If you ever get the chance, I really recommend visiting Angers.  The  
cathedral is very nice, and the chateau is really lovely.  It also has the  wonderful 
Apocalypse Tapestry!
 
http://pictures.aol.com/ap/myAlbums.do?albumId=48138.968.1144345462753.1
 
Nancy
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Date: Thu,  6 Apr 2006 15:11:32 -0400
From: "Susan B. Farmer" <sfarmer@goldsword.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Re: Bliaut
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Quoting MaddNancy@aol.com:

> I have uploaded the pictures to an album  named bliaut.  I hope  they help.
> Most of the cathedral was built in the 12th and 13th  centuries.
>
> If you ever get the chance, I really recommend visiting Angers.  The
> cathedral is very nice, and the chateau is really lovely.  It also 
> has the  wonderful
> Apocalypse Tapestry!
>
> http://pictures.aol.com/ap/myAlbums.do?albumId=48138.968.1144345462753.1

It tells me I have to log on to see them.  Am I just *special* today?

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 have uploaded the pictures to an album  named bliaut.  I 
> hope  they help.
> > Most of the cathedral was built in the 12th and 13th  centuries.
> >
> > If you ever get the chance, I really recommend visiting 
> Angers.  The 
> > cathedral is very nice, and the chateau is really lovely.  
> It also has 
> > the  wonderful Apocalypse Tapestry!
> >
> > 
> http://pictures.aol.com/ap/myAlbums.do?albumId=48138.968.1144345462753
> > .1
> 
> It tells me I have to log on to see them.  Am I just *special* today?

Susan,

No, I'm in the same boat.  And once you log in (assuming you have some kind
of AOL sign-on) it will take you to your own album space rather than hers.
I haven't found a way to find the images on AOL's system.

Dan


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From: "Elizabeth Walpole" <ewalpole@tpg.com.au>
To: "Historical Costume" <h-costume@indra.com>
References: <007501c65938$a256dc80$17d4f5dc@user4712b7d135>
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Subject: Re: [h-cost] Picture of Queen Mary I
Date: Fri, 7 Apr 2006 10:53:13 +1000
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<snip>
> This is a small panel portrait by an anonymous artist of the English 
> school held at the Denver Art Museum in the Berger Collection.  A somewhat 
> larger version can be found here: 
> http://www.bridgeman.co.uk/search/view_image2.asp?image_id=119972
>
> This link will take you directly to the image in the museum collection: 
> http://www.bergercollection.org/artwork_detail.php?i=37   You can enlarge 
> it, but the resolution is very fuzzy.
>
> Good luck,
>
>               -Helen/Aidan

Thanks for that, especially the second one (I didn't get any problems with 
fuzziness, though you've got to give it a few moments to clear up when you 
zoom) That French hood is certainly interesting, if you zoom in to the area 
at the bottom of her ear you can see that the black band at the front is 
laid over an 'ordinary' French Hood coz you can just see the end of her 
jewelled blimmet sticking out from the bottom plus you can also see a white 
band going underneath her jaw. The other interesting point is I think the 
back blimmet might curve under at the back of her neck, which makes me 
wonder how far it extends towards the back of her neck and whether perhaps 
it helps to keep it on and maybe it extends all the way across.
Elizabeth
--------------------------------------------
Elizabeth Walpole
Canberra Australia
ewalpole[at]tpg.com.au
http://au.geocities.com/e_walpole/

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Subject: RE: [h-cost] need help with dress...
Date: Thu, 6 Apr 2006 18:53:09 -0700
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Thanks. In college, our costume teacher made one on the bias. She had the
actress lay down on the fabric and traced around her. I wish I'd examined it
more closely. Would bias have been period, or was it just theatrical
license? The dress moved beautifully.
Sharon

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Sue Clemenger
Sent: Thursday, April 06, 2006 7:15 AM
To: Historical Costume
Subject: Re: [h-cost] need help with dress...


Gothic Fitted Gown (or, alternately, "GFD," for Gothic Fitted Dress)....that
ubiquitous dress found, uhm, roughly from late 13th century through the 15th
on many European women (that's a REALLY rough time frame).  They tend to
have a snug fit from the shoulders to the hips, at which point they widen
into full skirts.  Necklines vary with time and style.  Sleeves often
close-fitting.  If done properly, these gowns can actually function
admirably as a support for one's, uhm, feminine charms ;o).  Even work with
a very large bust (personal experience--I'm REALLY large chested, and the
girls don't *move* in one of them AND I can still breathe...it's amazing).
Most often made in a good, flexible wool fabric like gabardine, and lined
with a sturdy linen, but other fashion fabrics have been used.  Wool and
linen just make a marvelous team for them... Often known as "cotehardies" in
costuming texts, but they're really, more properly, only the first of one's
outer layers.  (Think shift, then gown, and then another layer--another
gown, or a surcoat, or a houpelande.) In the original post, the author's
asking about appropriate outer layers to go over her gown. Does that help?
or just confuse?  Fitted gowns are an off-and-on again topic on the list,
not in the least because we've got Robin, who's done a lot of research on
them, and a lot of teaching and lecturing on them as well. --Sue, in "will
it ever stop raining, yes I KNOW it's April" Montana ;o)

----- Original Message -----
From: "Sharon at Collierfam.com" <sharon@collierfam.com>
To: "'Historical Costume'" <h-costume@indra.com>
Sent: Thursday, April 06, 2006 3:10 AM
Subject: RE: [h-cost] need help with dress...


> What's a GFD?
>
> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] 
> On Behalf Of purplkat@optonline.net
> Sent: Wednesday, April 05, 2006 7:40 PM
> To: h-costume@indra.com
> Subject: [h-cost] need help with dress...
>
>
> Here is my problem:
>
> I have a GFD but want to put another layer on over top.
>
> Would it be appropriate to have something like a semi-fitted T-tunic 
> dress over it? I am looking for something knee-length or longer with 
> 'flowy' mid forearm length sleeves.
>
> Is there anything appropriate that I can make? I want to stay more in 
> the same time period to the form-fitted GFD.
>
> Thanks
> Katheryne
> _______________________________________________
> 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] Picture of Queen Mary I
Date: Thu, 6 Apr 2006 18:57:59 -0700
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I find it interesting that you can clearly see a cord/tie that goes under
her chin to keep it on. I always thought they just balanced.

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Elizabeth Walpole
Sent: Thursday, April 06, 2006 5:53 PM
To: Historical Costume
Subject: Re: [h-cost] Picture of Queen Mary I


<snip>
> This is a small panel portrait by an anonymous artist of the English
> school held at the Denver Art Museum in the Berger Collection.  A somewhat

> larger version can be found here: 
> http://www.bridgeman.co.uk/search/view_image2.asp?image_id=119972
>
> This link will take you directly to the image in the museum collection: 
> http://www.bergercollection.org/artwork_detail.php?i=37   You can enlarge 
> it, but the resolution is very fuzzy.
>
> Good luck,
>
>               -Helen/Aidan

Thanks for that, especially the second one (I didn't get any problems with 
fuzziness, though you've got to give it a few moments to clear up when you 
zoom) That French hood is certainly interesting, if you zoom in to the area 
at the bottom of her ear you can see that the black band at the front is 
laid over an 'ordinary' French Hood coz you can just see the end of her 
jewelled blimmet sticking out from the bottom plus you can also see a white 
band going underneath her jaw. The other interesting point is I think the 
back blimmet might curve under at the back of her neck, which makes me 
wonder how far it extends towards the back of her neck and whether perhaps 
it helps to keep it on and maybe it extends all the way across. Elizabeth
--------------------------------------------
Elizabeth Walpole
Canberra Australia
ewalpole[at]tpg.com.au
http://au.geocities.com/e_walpole/

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On Thu, 6 Apr 2006, Sharon at Collierfam.com wrote:

> Thanks. In college, our costume teacher made one on the bias. She had
> the actress lay down on the fabric and traced around her. I wish I'd
> examined it more closely. Would bias have been period, or was it just
> theatrical license? The dress moved beautifully.

Definitely theatrical license. I've seen absolutely no evidence for that
sort of cut in the Middle Ages. Plus, if you want the dress actually to
support you and manipulate your figure (rather than just clinging to
what's already there) you need the strength of straight grain at crucial
points.

There's some information about this dress, including likely constructions,
on my not-quite-a-webpage: http://www.netherton.net/robin . Look for the
.pdf "FAQ" and the collection of previous h-cost posts.

Sue saved me a lot of work by answering your earlier question! Only one
slight fix to her excellent summary:

> Gothic Fitted Gown (or, alternately, "GFD," for Gothic Fitted
> Dress)....that ubiquitous dress found, uhm, roughly from late 13th
> century through the 15th on many European women (that's a REALLY rough
> time frame).

More like mid-14th to mid-15th centuries, I'd say.

I think I'm to blame for the term "gothic fitted dress," which was a
generic I came up with to deal with the terminology problem (there are
many terms used for this general category of dress in the period, varying
by time and place, and the terms used by modern costumers are often not
the ones used in the period). It coincides with the style art historians
call "International Gothic," its key feature is that it's fitted, and it's
a dress. It was people on this list who began abbreviating it as GFD,
which I would never have anticipated!

It was at the Chicago CostumeCon that someone from this list came up to me
while I was in costume, and said "A GFD! It's a BFD!" Fortunately she was
grinning.

(For our non-American readers, "BFD" is an abbreviation for a phrase that
begins with "big" and ends with "deal.")

--Robin


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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] My copy of The Tudor Tailor arrived!
Date: Thu, 6 Apr 2006 23:19:09 -0500
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On Thursday 06 April 2006 7:17 am, Becky wrote:
> I'm well underway into making my first Renaissance garb. My daughter has
> chosen the portrait of Princess Elizabeth in the pink/orange dress. I'll
> post a diary somewhere when it's done. I have paid way more than I should
> have to gather all the correct fabrics and assessories. I plan on her
> wearing it for quite a while, too. When hers is done, I'll have to make
> myself one so we are in the same time frame. Since I'll be taking her with
> me at the same time, makes sense to me to be within reason on our garments.
> One thing about having to pay so much for all this stuff... I buy in bulk
> when I can. I'm all set to make a whole wardrobe one day. Now, How do I
> organize it all so I can find something. that is the next major task I need
> to get done one day soon.
> Any one able to come help me do that?

Ah, Becky, if I could only organize my *own* stuff, I'd be ahead of the 
game.  :-)

-- 
Cathy Raymond <cathy@thyrsus.com>

"I'm starting to like the cut of this man's gibberish."
--General Fillmore (from "The Tick," episode 2)

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No Susan it tells me I have no pictures in aol theresa

-----Original Message-----
From: Susan B. Farmer <sfarmer@goldsword.com>
To: Historical Costume <h-costume@indra.com>
Sent: Thu,  6 Apr 2006 15:11:32 -0400
Subject: Re: [h-cost] Re: Bliaut

  Quoting MaddNancy@aol.com:

  > I have uploaded the pictures to an album named bliaut. I hope they 
help.
 > Most of the cathedral was built in the 12th and 13th centuries.
 >
 > If you ever get the chance, I really recommend visiting Angers. The
  > cathedral is very nice, and the chateau is really lovely. It also > 
has the wonderful
 > Apocalypse Tapestry!
 >
  > 
http://pictures.aol.com/ap/myAlbums.do?albumId=48138.968.1144345462753.1 


 It tells me I have to log on to see them. Am I just *special* today?

 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] My copy of The Tudor Tailor arrived!
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<---zeartiste@hotmail.com wrote:
<
<One thing about having to pay so much for all this stuff... I buy in bulk 
<when I can. I'm all set to make a whole wardrobe one day. Now, How do I 
<organize it all so I can find something. that is the next major task I need 
<to get done one day soon.
<Any one able to come help me do that?

You may this article useful -

http://www.bitwizards.com/norborough/timetosew.html

I have plans to use this method myself, when I finally unpack my fabric ( we only moved house this time last year!;-\ ).

Joannah

~*~ Practice random acts of kindness, and senseless acts of beauty. ~*~



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Today I recieved a lesser quality made dress-up gown of Elizabethan era. My 
daughter tried it on at the fair last year and wanted it so badly. I had no 
more money then so we didn't get it. I found the same thing online and 
ordered it when I did get the money. It's a velour type fabric with attached 
collar that stands up. She'll love playing dress-up in it until I can finish 
her Princess Elizabeth costume. I cut the pin fabric tomorrow!!!!! I am 
waiting to cut the velvet sleeves until I can make a mock-up of it BEFORE 
cuutting that fabaulour fabric I found.
----- Original Message ----- 
From: "Catherine Olanich Raymond" <cathy@thyrsus.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, April 05, 2006 10:40 PM
Subject: Re: [h-cost] My copy of The Tudor Tailor arrived!


> On Wednesday 05 April 2006 1:42 pm, Dianne & Greg Stucki wrote:
>> ----- Original Message -----
>> From: "Becky" <zeartiste@hotmail.com>
>> To: "Historical Costume" <h-costume@indra.com>
>> Sent: Wednesday, April 05, 2006 7:19 AM
>> Subject: Re: [h-cost] My copy of The Tudor Tailor arrived!
>>
>> > I'm near Harrisburg. I'm hoping to find someone close to chech in with
>> > about Ren dress making.
>>
>> Hi Becky--I live near Harrisburg, in York. I'd be more than happy to help
>> you drool over the book!
>
> I'm about 2 hours east of Harrisburg; Dianne is definitely closer.
>
> But for what it's worth, my copy arrived today.  It truly is 
> droolworthy--even
> though my real love is the Viking era!  What spurred me to buy the book 
> was
> the hope of enabling the authors' proposed next project--The Stuart 
> Tailor.
> People able and willing to prepare works like these are to be encouraged.
> Viva Ninya and Jane, and their whole team!
>
> -- 
> Cathy Raymond <cathy@thyrsus.com>
>
> "I'm starting to like the cut of this man's gibberish."
> --General Fillmore (from "The Tick," episode 2)
>
> _______________________________________________
> 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 Apr  8 19:33:53 2006
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From: Robin Netherton <robin@shell.nightowl.net>
To: Historic Costume List <h-costume@indra.com>
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Someone mentioned this to me:

http://www.costumesociety.org.uk/newstuff/Awards/patterns.html

Deadline April 30, but there are so many people here who use these books,
the winning piece might be in an h-costumer's closet already.

The hitch: If I read this right you have to be a student in a
costume/fashion-related line of study (full or part time).

--Robin

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MaddNancy@aol.com wrote:

> I have uploaded the pictures to an album  named bliaut.  I hope  they help.  
> Most of the cathedral was built in the 12th and 13th  centuries.
>  

>  
> http://pictures.aol.com/ap/myAlbums.do?albumId=48138.968.1144345462753.1

I don't think AOL is allowing that album to be shared. I even logged in 
with my AOL account and it won't let me see them.



Dawn



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Subject: [h-cost] Re: organizing (was: My copy of the Tudor Tailor arrived!)
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I'll come help organize your stash if you come help organize mine! :)
 
Tea Rose
 
 
 Date: Thu, 6 Apr 2006 07:17:32 -0400
From: "Becky" <zeartiste@hotmail.com>
Subject: Re: [h-cost] My copy of The Tudor Tailor arrived!
To: "Historical Costume" <h-costume@indra.com>

Now, How do I organize it all so I can find something. that is the next major task I need to get done one day soon. Any one able to come help me do that?
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From: "Sue Clemenger" <mooncat@in-tch.com>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] GFD, was: need help with dress...
Date: Thu, 6 Apr 2006 21:22:07 -0600
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I went early on that, thinking of those gowns in the Manesse Codex, which I
think are early 14th? late 13th?  I seem to have tagged them in my own mind
as sort of proto-GFD's because of the sleeves, but of course, the gowns
themselves not very close-fitting....
--Sue, pulling out the old "blame it on a lack of caffeine" excuse ;o)

----- Original Message -----
From: "Robin Netherton" <robin@shell.nightowl.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, April 06, 2006 8:40 PM
Subject: [h-cost] GFD, was: need help with dress...


> Sue saved me a lot of work by answering your earlier question! Only one
> slight fix to her excellent summary:
>
> > Gothic Fitted Gown (or, alternately, "GFD," for Gothic Fitted
> > Dress)....that ubiquitous dress found, uhm, roughly from late 13th
> > century through the 15th on many European women (that's a REALLY rough
> > time frame).
>
> More like mid-14th to mid-15th centuries, I'd say.


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Subject: [h-cost] Wool Disaster!!
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A cashmere(?) knit, silk-lined Valentino coat was
brought into my shop today.  A very sweet old lady's
maid had tried to wash it for her.  Suffice it to say,
the coat is now 15" shorter than the lining!!  It
hasn't been dried, and is still damp.

ANYONE have any suggestions?  We were thinking of
keeping it wet and trying to stretch it out as best we
can using some weights (chain?).  Obviously the
garment is a loss if it doesn't work so we're welcome
to try any method at all to make it any better...
because we can't make it much worse!  I'm just not
sure if the fact that it's knit makes it any more
possible to save.

Thanks,
--Rachel

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Date: Fri, 7 Apr 2006 22:45:21 +0100
To: Historical Costume <h-costume@indra.com>
From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] Picture of Queen Mary I
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My research on gable hoods suggested that gables just balance, but 
french hoods usually tie.  I didn't find any gables where you could 
clearly see a tie, but it's quite common with french hoods.

I like that, when I looked at the small image I thought the hood seemed 
to have a round bag at the back, but with more detail you can see it is 
a falling veil, just painted a bit lighter than the part closest to her 
head.

Jean


Sharon at Collierfam.com <sharon@collierfam.com> wrote
>I find it interesting that you can clearly see a cord/tie that goes under
>her chin to keep it on. I always thought they just balanced.
>
>-----Original Message-----
>From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
>Behalf Of Elizabeth Walpole
>Sent: Thursday, April 06, 2006 5:53 PM
>To: Historical Costume
>Subject: Re: [h-cost] Picture of Queen Mary I
>
>
><snip>
>> This is a small panel portrait by an anonymous artist of the English
>> school held at the Denver Art Museum in the Berger Collection.  A somewhat
>
>> larger version can be found here:
>> http://www.bridgeman.co.uk/search/view_image2.asp?image_id=119972
>>
>> This link will take you directly to the image in the museum collection:
>> http://www.bergercollection.org/artwork_detail.php?i=37   You can enlarge
>> it, but the resolution is very fuzzy.
>>
>> Good luck,
>>
>>               -Helen/Aidan
>
>Thanks for that, especially the second one (I didn't get any problems with
>fuzziness, though you've got to give it a few moments to clear up when you
>zoom) That French hood is certainly interesting, if you zoom in to the area
>at the bottom of her ear you can see that the black band at the front is
>laid over an 'ordinary' French Hood coz you can just see the end of her
>jewelled blimmet sticking out from the bottom plus you can also see a white
>band going underneath her jaw. The other interesting point is I think the
>back blimmet might curve under at the back of her neck, which makes me
>wonder how far it extends towards the back of her neck and whether perhaps
>it helps to keep it on and maybe it extends all the way across. Elizabeth
>--------------------------------------------
>Elizabeth Walpole
>Canberra Australia
>ewalpole[at]tpg.com.au
>http://au.geocities.com/e_walpole/
>
>_______________________________________________
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>
>_______________________________________________
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-- 
Jean Waddie
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From: Kimiko Small <kimiko@kimiko1.com>
Subject: RE: [h-cost] Picture of Queen Mary I
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At 06:57 PM 4/6/2006, you wrote:
>I find it interesting that you can clearly see a cord/tie that goes under
>her chin to keep it on. I always thought they just balanced.


There are several images of women wearing French hoods where you can see 
the ties. I have a number of images on my French hood research site
http://www.kimiko1.com/research-16th/FrenchHood/index.html

I have a few of Queen Mary as well, and the ones on the coins clearly show 
the ties. I need to scan a few more of her from my books, but I have a 
number of images online, and they are broken down by decade so you can see 
the progression.

Kimiko


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Am I the only one who goes shopping for new curtains thinking, "And when 
I get tired of these I can use them for costumes!" ?

LOL!


Dawn

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Subject: [h-cost] My copy of The Tudor Tailor arrived!
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My copy arrived here in Arkansas today. Excellent book!

Beth

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From: Susan Data-Samtak <pasovasz@aol.com>
Subject: Re: [h-cost] Re: Bliaut
Date: Sat, 8 Apr 2006 20:54:17 -0400
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AOL is not letting me access your photos, either.


Susan
"My treasures do not clink together or glitter,
they gleam in the sun and neigh in the night."
Bedouin proverb


On Apr 6, 2006, at 3:17 PM, Dawn wrote:

> MaddNancy@aol.com wrote:
>
>> I have uploaded the pictures to an album  named bliaut.  I hope  they  
>> help.  Most of the cathedral was built in the 12th and 13th   
>> centuries.
>>
>
>>   
>> http://pictures.aol.com/ap/myAlbums.do? 
>> albumId=48138.968.1144345462753.1
>
> I don't think AOL is allowing that album to be shared. I even logged  
> in with my AOL account and it won't let me see them.
>
>
>
> Dawn
>
>
>
> _______________________________________________
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From: Susan Data-Samtak <pasovasz@aol.com>
Subject: Re: [h-cost] curtains
Date: Sat, 8 Apr 2006 20:55:38 -0400
To: Historical Costume <h-costume@indra.com>
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NO !  Absolutely not!

Susan

"Slow down. The trail is the thing, not the end of the trail. Travel
too fast and you miss all you are traveling for".  - "Ride the Dark
Trail" by Louis L'Amour

On Apr 8, 2006, at 12:25 PM, Dawn wrote:

> Am I the only one who goes shopping for new curtains thinking, "And 
> when I get tired of these I can use them for costumes!" ?
>
> LOL!
>
>
> Dawn
>
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In a message dated 4/8/2006 8:56:23 P.M. Eastern Standard Time,  
pasovasz@aol.com writes:

Am I the  only one who goes shopping for new curtains thinking, "And 
> when I get  tired of these I can use them for costumes!" 


I just buy curtains to make costumes in the first place--Indian cotton  
sheers make great Regency-era dresses.
 
Ann Wass
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Elizabeth Walpole wrote:

> 
> 
> but it's really hard to get curtains without rubber backing (unless you 
> make them yourself but that's time you could be spending on garb)
> Elizabeth

Here in the US they come without rubber backings, and I saw quite a 
number of "velvets" and "brocades" at a home store Friday. Ended up with 
lovely (polyester) matelasse panels for the bedroom. No rubber backs. :)


Dawn


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No, but if I go to the goodwill store or salvation army store I look for
curtains thinking these might work well for a costume. The way my house
looks inside and out, just doesn't work well with formal or fancy that could
be used later for any costumes. 1970s style house.
De

-----Original Message-----
Am I the only one who goes shopping for new curtains thinking, "And when
I get tired of these I can use them for costumes!" ?

LOL!
Dawn


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From: "E House" <formfunc@formfunction.org>
To: "Historical Costume" <h-costume@indra.com>
References: <20060407011057.30771.qmail@web32911.mail.mud.yahoo.com>
Subject: Re: [h-cost] Wool Disaster!!
Date: Sat, 8 Apr 2006 23:22:38 -0500
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I don't have any particularly new advice to give you, but don't give up 
(yet)... I've successfully un-shrunken a nice wool cardigan, by stretching 
it every few minutes as it dried, though it hadn't shrunk that 
much--actually it wound up a bit bigger than when I started.  Good luck!

-E House

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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] curtains
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----- Original Message ----- 
From: "Dawn" <dawn@reddawn.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Sunday, April 09, 2006 2:25 AM
Subject: [h-cost] curtains


> Am I the only one who goes shopping for new curtains thinking, "And when I 
> get tired of these I can use them for costumes!" ?
>
> LOL!
> Dawn
>

but it's really hard to get curtains without rubber backing (unless you make 
them yourself but that's time you could be spending on garb)
Elizabeth
--------------------------------------------
Elizabeth Walpole
Canberra Australia
ewalpole[at]tpg.com.au
http://au.geocities.com/e_walpole/

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From: "Sharon at Collierfam.com" <sharon@collierfam.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Wool Disaster!!
Date: Sat, 8 Apr 2006 18:32:09 -0700
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Someone once told me that if you put a shrunken garment into crème rinse, it
will relax-but how much, I don't know.
Sharon, who as a stupid teenager washed a cashmere sweater, which shrank in
the body, in length and in the arms, in width, leaving me with a great
sweater for an orangutan

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Galadriel Lothlorien
Sent: Thursday, April 06, 2006 6:11 PM
To: h-costume@indra.com
Subject: [h-cost] Wool Disaster!!


A cashmere(?) knit, silk-lined Valentino coat was
brought into my shop today.  A very sweet old lady's
maid had tried to wash it for her.  Suffice it to say,
the coat is now 15" shorter than the lining!!  It
hasn't been dried, and is still damp.

ANYONE have any suggestions?  We were thinking of
keeping it wet and trying to stretch it out as best we
can using some weights (chain?).  Obviously the
garment is a loss if it doesn't work so we're welcome
to try any method at all to make it any better...
because we can't make it much worse!  I'm just not
sure if the fact that it's knit makes it any more
possible to save.

Thanks,
--Rachel

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From: "Elizabeth Walpole" <ewalpole@tpg.com.au>
To: "Historic Costume" <h-costume@indra.com>
Date: Sun, 9 Apr 2006 16:52:04 +1000
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Subject: [h-cost] 16th century term for cartridge pleats
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Hiya everyone,
I just read a bit of info that says the term cartridge pleats has it's roots 
in the late 19th century so what is the correct term for the 16th century. I 
know it was gauging in the mid 19th century but do we have a record of what 
it was called prior to that?
Elizabeth
--------------------------------------------
Elizabeth Walpole
Canberra Australia
ewalpole[at]tpg.com.au
http://au.geocities.com/e_walpole/

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Hi! Dawn
   
  I will put my hand up and admit that I am the same!  I have even bought a pair of second hand curtains to make into an Elizabethan costume - I had little to spend on fabric, as Christmas was coming up.  The same costume had what was a luxury bedding sheet as the skirt contrast!  I have a pair of red velvet curtains in my lounge which I am dying to cut up, but I won't as it belonged to my late Grandmother, though every so often when I open them, I imagine the Elizabethan I could make!
   
  All the best
  Jayne

		
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In a message dated 4/9/2006 3:46:38 A.M. Eastern Standard Time,  
dresspattern@yahoo.co.uk writes:

I have a  pair of red velvet curtains in my lounge which I am dying to cut 
up, but I  won't as it belonged to my late Grandmother, though every so often 
when I open  them, I imagine the Elizabethan I could make!




Shades of Scarlett O'Hara!
 
Ann Wass
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Date: Sun, 09 Apr 2006 11:42:47 +0100
To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] Re:Curtains
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At 11:00 09/04/2006, you wrote:
>
>In a message dated 4/9/2006 3:46:38 A.M. Eastern Standard Time,
>dresspattern@yahoo.co.uk writes:
>
>I have a  pair of red velvet curtains in my lounge which I am dying to cut
>up, but I  won't as it belonged to my late Grandmother, though every so often
>when I open  them, I imagine the Elizabethan I could make!
>
>
>
>
>Shades of Scarlett O'Hara!


I have green velvet curtains, but I don't have the tassels - and it 
would be a very "mini" Scarlett! (And I have the cock feathers for the hat!)

Suzi


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Date: Sun, 9 Apr 2006 05:13:59 -0700 (PDT)
From: Tania Gruning <tania_gr17@yahoo.com>
Subject: Re: [h-cost] curtains
To: Historical Costume <h-costume@indra.com>
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Nope.
  My curtains are a 100% cotton brocade with a period 16'th century design. Once I get tired of them, they are going to get dyed and made into a Tudor dress.
   
  Tania

Dawn <dawn@reddawn.net> wrote:
  Am I the only one who goes shopping for new curtains thinking, "And when 
I get tired of these I can use them for costumes!" ?

LOL!


Dawn

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Subject: Re: [h-cost] curtains
Date: Sun, 9 Apr 2006 08:25:44 -0400
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What a great idea!  I am always having trouble finding cotton shear enough!
Dharma carries the right weight, but only in sarongs (72" lengths). Their
other cottons are quite wonderful, but heavier than one needs for a nice
Regency.

Kathleen

----- Original Message ----- 
From: <AnnBWass@aol.com>
To: <h-costume@indra.com>
Sent: Saturday, April 08, 2006 9:09 PM
Subject: Re: [h-cost] curtains


>
> In a message dated 4/8/2006 8:56:23 P.M. Eastern Standard Time,
> pasovasz@aol.com writes:
>
> Am I the  only one who goes shopping for new curtains thinking, "And
> > when I get  tired of these I can use them for costumes!"
>
>
> I just buy curtains to make costumes in the first place--Indian cotton
> sheers make great Regency-era dresses.
>
> 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] curtains
Date: Sun, 9 Apr 2006 08:34:05 -0400
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I have wanted to try these panels or coverlet for an 18thC petticoat.  I
have an older one cut (It was shabby and I suppose could have been used for
a quilt batt) but this is a little heavier than the contemporary
bedding/drapery.  It will be somewhat bulky I anticipate...
Kathleen
----- Original Message ----- 
From: "Dawn" <dawn@reddawn.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Saturday, April 08, 2006 11:12 PM
Subject: Re: [h-cost] curtains


> Elizabeth Walpole wrote:
>
> >
> >
> > but it's really hard to get curtains without rubber backing (unless you
> > make them yourself but that's time you could be spending on garb)
> > Elizabeth
>
> Here in the US they come without rubber backings, and I saw quite a
> number of "velvets" and "brocades" at a home store Friday. Ended up with
> lovely (polyester) matelasse panels for the bedroom. No rubber backs. :)
>
>
> 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] Re:Curtains
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Original Message ----- 
From: "Jayne Thomas" <dresspattern@yahoo.co.uk>
To: <h-costume@mail.indra.com>
Sent: Sunday, April 09, 2006 3:45 AM
Subject: [h-cost] Re:Curtains


> Hi! Dawn
>
>  I will put my hand up and admit that I am the same!  I have even bought a 
> pair of second hand curtains to make into an Elizabethan costume - I had 
> little to spend on fabric, as Christmas was coming up.  The same costume 
> had what was a luxury bedding sheet as the skirt contrast!  I have a pair 
> of red velvet curtains in my lounge which I am dying to cut up, but I 
> won't as it belonged to my late Grandmother, though every so often when I 
> open them, I imagine the Elizabethan I could make!
>
>  All the best
>  Jayne


I have a red velvet bedspread that's going to magically transform into a 
German gown!

Dianne 

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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] "Patterns of Fashion" award
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The Costume Society offers a number of different awards/grants.  Some of 
which do not require being a student.

Sg
Robin Netherton wrote:

>Someone mentioned this to me:
>
>http://www.costumesociety.org.uk/newstuff/Awards/patterns.html
>
>Deadline April 30, but there are so many people here who use these books,
>the winning piece might be in an h-costumer's closet already.
>
>The hitch: If I read this right you have to be a student in a
>costume/fashion-related line of study (full or part time).
>
>--Robin
>
>_
>

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From: Susan Data-Samtak <pasovasz@aol.com>
Subject: Re: [h-cost] Re:Curtains
Date: Sun, 9 Apr 2006 10:27:14 -0400
To: Historical Costume <h-costume@indra.com>
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A friend had red curtains that were beginning to fade from the sun.  
She replaced them but couldn't part with the fabric.  Opportunity 
knocked.  She made a Wooden Soldier Costume for a Christmas Parade from 
them.

As one of our members says-"Creative Clutter is Better Than Idle 
Neatness" Carol H.

Susan

On Apr 9, 2006, at 3:45 AM, Jayne Thomas wrote:

> Hi! Dawn
>
>   I will put my hand up and admit that I am the same!  I have even 
> bought a pair of second hand curtains to make into an Elizabethan 
> costume - I had little to spend on fabric, as Christmas was coming up. 
>  The same costume had what was a luxury bedding sheet as the skirt 
> contrast!  I have a pair of red velvet curtains in my lounge which I 
> am dying to cut up, but I won't as it belonged to my late Grandmother, 
> though every so often when I open them, I imagine the Elizabethan I 
> could make!
>
>   All the best
>   Jayne
>
>
> ---------------------------------
> Win a BlackBerry device from O2 with Yahoo!. Enter now.
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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In a message dated 4/9/2006 8:23:58 A.M. Eastern Standard Time,  
rmitchell@washjeff.edu writes:

What a  great idea! 


Restoration Hardware and Pier One both had really nice Indian cotton panels  
a few years ago--sheer with a heavier thread woven in.  Four 84" panels  were 
plenty for a Regency dress.  They don't seem to carry them any  more.  Got a 
set from Target last year--they are okay, but not as good a  quality as the 
others (of course, they were a lot cheaper, too).  But I  guess quality varied 
significantly during the era, too.  Didn't Jane Austen  complain in one of her 
letters that if you buy the cheap muslin, it falls apart  in washing?
 
Ann Wass
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Date: Sun, 9 Apr 2006 07:57:12 -0700 (PDT)
Subject: Re: [h-cost] 16th century term for cartridge pleats
From: "Diana Habra" <dch@inreach.com>
To: "Historical Costume" <h-costume@indra.com>
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> Hiya everyone,
> I just read a bit of info that says the term cartridge pleats has it's
> roots
> in the late 19th century so what is the correct term for the 16th century.
> I
> know it was gauging in the mid 19th century but do we have a record of
> what
> it was called prior to that?

Have you tried looking at the Juan de Alcega book?  There might be a clue
in there.

But my guess is that trying to name pleats is like trying to name
historical dress styles.  What we call a "Cranach" dress or a "gothic
fitted dress" was most likely just called a "dress" at the time it was
worn.

Diana

www.RenaissanceFabrics.net
"Everything for the Costumer"

"Become the change you want to see in the world."
--Ghandi

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From: "Sue Clemenger" <mooncat@in-tch.com>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] Re:Curtains
Date: Sun, 9 Apr 2006 09:07:53 -0600
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Oh, man....suddenly, I'm overcome with the memory of watching a particular
Carol Burnett sketch, many years ago....
(For those of you on other shores who may not be familiar with her, Carol is
an *amazingly funny* American comedian, who used to have a sort of variety
show on t.v., with a wonderful ensemble cast.  At one point, they did a
"Gone with the Wind" sendup, and Carol wore a spoof of Scarlett's curtain
outfit....complete with curtain rod sticking out past her shoulder
blades....)
--Sue
----- Original Message -----
From: <AnnBWass@aol.com>
To: <h-costume@indra.com>
Sent: Sunday, April 09, 2006 4:00 AM
Subject: Re: [h-cost] Re:Curtains


>
> In a message dated 4/9/2006 3:46:38 A.M. Eastern Standard Time,
> dresspattern@yahoo.co.uk writes:
>
> I have a  pair of red velvet curtains in my lounge which I am dying to cut
> up, but I  won't as it belonged to my late Grandmother, though every so
often
> when I open  them, I imagine the Elizabethan I could make!
>
>
>
>
> Shades of Scarlett O'Hara!
>
> Ann Wass
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume

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From: "N Kipar" <marquesate@hotmail.com>
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Subject: RE: [h-cost] "Patterns of Fashion" award
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Yes, you have to be a student and you have to be in Higher Education (not 
Further Education).

Nicole

--------------------
"If you think education is expensive, try ignorance."




>From: Robin Netherton <robin@shell.nightowl.net>
>Reply-To: Historical Costume <h-costume@indra.com>
>To: Historic Costume List <h-costume@indra.com>
>Subject: [h-cost] "Patterns of Fashion" award
>Date: Thu, 6 Apr 2006 12:57:32 -0500 (CDT)
>
>
>Someone mentioned this to me:
>
>http://www.costumesociety.org.uk/newstuff/Awards/patterns.html
>
>Deadline April 30, but there are so many people here who use these books,
>the winning piece might be in an h-costumer's closet already.
>
>The hitch: If I read this right you have to be a student in a
>costume/fashion-related line of study (full or part time).
>
>--Robin
>
>_______________________________________________
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Subject: [h-cost] Me and Washington (O.T.mostly)
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Dear All

I am having a senior moment, and cannot find all my mail on visiting 
Washington. I have booked the Hotel Harrington, as recommended. We 
are planning a visit to the DAR Museum, as time is so 
limited.  However, I have had correspondence with several of you, and 
cannot find all the replies. Doh!

Could anyone who wrote, and hoped to be able to meet with us on 
Friday 23rd, and have supper at the hotel, please contact me off list 
to make firmer arrangements. If anyone else would like to visit too, 
please do get in touch. My husband and I will be happy to meet anyone 
from the list. We would love to be able to invite you as our guests, 
but I'm afraid it will be every person for him or herself.

Thank you - I now return you to your scheduled programme.

Suzi


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Subject: Re: [h-cost] curtains
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I have 2 sets of silk curtains I got at the flea market just to make  
costumes. I don't know what palatial estate they came from but they are both  silk 
lined with silk and HUGE...lots of yardage. One is a light coffee brown  taffeta 
with a small orange and white stripe...lined in white. The other is a  chrome 
yellow Jacquard with a large scrolling pattern of leaves and  flowers...lined 
in off white.
 
They've been in a box for years....I must take them out and take them apart  
and have the pieces dry cleaned. Then DO SOMETHING WITH  THEM!
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Subject: [h-cost] Question Regrading Houndstooth Check
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I was wondering how far back in history one can document the
weaving/wearing of houndstooth check? 

Anybody have any information? Inquiring historical minds want to know!


Karen
Seamstrix
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To: Historical Costume <h-costume@indra.com>
From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] curtains
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Never mind going shopping - it's sitting in restaurants, or town halls, 
thinking "would they notice if I made away with those curtains?"

Jean


Susan Data-Samtak <pasovasz@aol.com> wrote
>NO !  Absolutely not!
>
>Susan
>
>"Slow down. The trail is the thing, not the end of the trail. Travel
>too fast and you miss all you are traveling for".  - "Ride the Dark
>Trail" by Louis L'Amour
>
>On Apr 8, 2006, at 12:25 PM, Dawn wrote:
>
>> Am I the only one who goes shopping for new curtains thinking, "And 
>>when I get tired of these I can use them for costumes!" ?
>>
>> LOL!
>>
>>
>> Dawn
>>
>> _______________________________________________
>> h-costume mailing list
>> h-costume@mail.indra.com
>> http://mail.indra.com/mailman/listinfo/h-costume
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
>http://mail.indra.com/mailman/listinfo/h-costume

-- 
Jean Waddie
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From: Gail & Scott Finke <gailscott@eos.net>
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Sue wrote:

> Oh, man....suddenly, I'm overcome with the memory of watching a particular
> Carol Burnett sketch, many years ago....
> (For those of you on other shores who may not be familiar with her, Carol is
> an *amazingly funny* American comedian, who used to have a sort of variety
> show on t.v., with a wonderful ensemble cast.  At one point, they did a
> "Gone with the Wind" sendup, and Carol wore a spoof of Scarlett's curtain
> outfit....complete with curtain rod sticking out past her shoulder
> blades....)

And then she said, "I saw it in a window and I just couldn't resist."
HA HA HA HA HA

Gail Finke

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From: Althea Turner <althea@alfalfapress.com>
Subject: Re: [h-cost] Re: Curtains
Date: Sun, 9 Apr 2006 18:38:48 -0700
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A friend and were traveling a couple years ago when we walked into  
our hotel room.  We took one look at the curtains and looked at each  
other then at the curtains, then at each other.

I asked her, "Are you thinking what I'm thinking, Pinky?"
:D

It was a gorgeous red velvet with a gold floating thread in the  
traditional pomegranate pattern. yum!
Althea


On Apr 9, 2006, at 5:22 PM, Gail & Scott Finke wrote:

> Sue wrote:
>
>> Oh, man....suddenly, I'm overcome with the memory of watching a  
>> particular
>> Carol Burnett sketch, many years ago....
>> (For those of you on other shores who may not be familiar with  
>> her, Carol is
>> an *amazingly funny* American comedian, who used to have a sort of  
>> variety
>> show on t.v., with a wonderful ensemble cast.  At one point, they  
>> did a
>> "Gone with the Wind" sendup, and Carol wore a spoof of Scarlett's  
>> curtain
>> outfit....complete with curtain rod sticking out past her shoulder
>> blades....)
>
> And then she said, "I saw it in a window and I just couldn't resist."
> HA HA HA HA HA
>
> Gail Finke
>
> _______________________________________________
> 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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Subject: [h-cost] Re: Question Regarding Houndstooth Check
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If memory serves, I believe that houndstooth twill is in:
North European Textiles Until AD 1000 by Lise Bender Jorgensen. Aarhus Univ 
Pr (1992), Hardcover ISBN 8772884169

I can check for you tomorrow if needed.

Beth

At 01:00 PM 4/9/2006, you wrote:
>Message: 9
>Date: Sun, 9 Apr 2006 12:18:33 -0500
>From: Karen R Bergquist <penhalion@juno.com>
>Subject: [h-cost] Question Regrading Houndstooth Check
>To: h-costume@indra.com
>Message-ID: <20060409.121833.-1188455.0.penhalion@juno.com>
>Content-Type: text/plain; charset=us-ascii
>
>I was wondering how far back in history one can document the
>weaving/wearing of houndstooth check?
>
>Anybody have any information? Inquiring historical minds want to know!
>
>
>Karen
>Seamstrix

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Subject: Re: [h-cost] Re: Question Regarding Houndstooth Check
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On Sunday 09 April 2006 11:03 pm, Beth and Bob Matney wrote:
> If memory serves, I believe that houndstooth twill is in:
> North European Textiles Until AD 1000 by Lise Bender Jorgensen. Aarhus Univ
> Pr (1992), Hardcover ISBN 8772884169
>
> I can check for you tomorrow if needed.

There's a nice picture of houndstooth in Margrethe Hald's "Ancient Danish 
Textiles" also.  The picture looks as though the check is in a contrasting 
color (it's a black and white photo), but the text claims that the effect 
comes from using threads of different spin directions instead (a kind of 
shadow check effect, I suppose).

-- 
Cathy Raymond <cathy@thyrsus.com>

"I'm starting to like the cut of this man's gibberish."
--General Fillmore (from "The Tick," episode 2)

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Subject: [h-cost] Re: Curtain Dress
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And I believe it was designed by Bob Mackie, no less!!

Sandy

At 01:00 PM 4/9/2006, you wrote:

>Date: Sun, 9 Apr 2006 09:07:53 -0600
>From: "Sue Clemenger" <mooncat@in-tch.com>
>Subject: Re: [h-cost] Re:Curtains
>
>Oh, man....suddenly, I'm overcome with the memory of watching a particular
>Carol Burnett sketch, many years ago....(For those of you on other 
>shores who may not be familiar with her, Carol is an *amazingly 
>funny* American comedian, who used to have a sort of variety show on 
>t.v., with a wonderful ensemble cast.  At one point, they did a 
>"Gone with the Wind" sendup, and Carol wore a spoof of Scarlett's curtain
>outfit....complete with curtain rod sticking out past her shoulder blades....)
>--Sue

"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: [h-cost] Ruff directions
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I finally have all the materials for my son's
Frobisher garb together.

Does anybody have a tried and true method of making
ruffs that they can recommend?  I have found about 5
different methods at various sites online.  The one I
need to make should replicate the ruff in the portrait
of Martin Frobisher found here:

http://en.wikipedia.org/wiki/Martin_Frobisher

Any and all advice appreciated.

Rebecca Burch
Center Valley Farm
Duncan Falls, Ohio, USA
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To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Re:Curtains
Date: Sun, 9 Apr 2006 22:34:48 -0700
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Status: RO

And her line was something like, "I saw them in the window and I just
couldn't resist."

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Sue Clemenger
Sent: Sunday, April 09, 2006 8:08 AM
To: Historical Costume
Subject: Re: [h-cost] Re:Curtains


Oh, man....suddenly, I'm overcome with the memory of watching a particular
Carol Burnett sketch, many years ago.... (For those of you on other shores
who may not be familiar with her, Carol is an *amazingly funny* American
comedian, who used to have a sort of variety show on t.v., with a wonderful
ensemble cast.  At one point, they did a "Gone with the Wind" sendup, and
Carol wore a spoof of Scarlett's curtain outfit....complete with curtain rod
sticking out past her shoulder
blades....)
--Sue
----- Original Message -----
From: <AnnBWass@aol.com>
To: <h-costume@indra.com>
Sent: Sunday, April 09, 2006 4:00 AM
Subject: Re: [h-cost] Re:Curtains


>
> In a message dated 4/9/2006 3:46:38 A.M. Eastern Standard Time, 
> dresspattern@yahoo.co.uk writes:
>
> I have a  pair of red velvet curtains in my lounge which I am dying to 
> cut up, but I  won't as it belonged to my late Grandmother, though 
> every so
often
> when I open  them, I imagine the Elizabethan I could make!
>
>
>
>
> Shades of Scarlett O'Hara!
>
> Ann Wass
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com 
> http://mail.indra.com/mailman/listinfo/h-costume

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Date: Sun, 09 Apr 2006 23:31:28 -0700
To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Ruff directions
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>The one I
>need to make should replicate the ruff in the portrait
>of Martin Frobisher found here:
>
>http://en.wikipedia.org/wiki/Martin_Frobisher

Where's the portrait?  I couldn't find it on the wiki page.


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

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----- Original Message ----- 
From: "Kimiko Small" <kimiko@kimiko1.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, April 06, 2006 9:07 AM
Subject: [h-cost] Henry VIII movie question


> Hey all,
>
> I am thinking of getting a movie, A Man For All Seasons 
> (http://www.imdb.com/title/tt0060665/), to watch while I am working on my 
> Henrician gown. Our Henry VIII faires are often set during the marriage 
> question. But I have never seen the movie. Is it worth getting? How is the 
> storyline? How good/bad are the costumes? Is my money better spent on a 
> different movie of a similar time frame?
>
> Thanks for any thoughts on this.
>
> Kimiko

Well I remember watching it a few years ago but I only remember bits (my 
friend who was watching it with me wasn't interested and distracted me) 
unfortunately it was before I started researching Tudor clothing so I can't 
give an opinion on the costumes. But an image search using the title turned 
up this page 
http://www.moviegoods.com/movie_product.asp?sku=149316&master_movie_id=2499&MGAID=U7JD1194 
they seem to have got the overall lines right but you can't see the details.
If you're interested in Tudor films I found a pretty comprehensive list here 
http://www.tudorplace.com.ar/Documents/TudorsMoviesTV.htm
Elizabeth
--------------------------------------------
Elizabeth Walpole
Canberra Australia
ewalpole[at]tpg.com.au
http://au.geocities.com/e_walpole/

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Kathleen wrote:
> 
> 
> What a great idea!  I am always having trouble finding cotton shear enough!
> Dharma carries the right weight, but only in sarongs (72" lengths). Their
> other cottons are quite wonderful, but heavier than one needs for a nice
> Regency.

Have gotten a sample of their cotton lawn?  It is not quite sheer enough to read through, but it isn't far off.  

-Katie

-- 
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Status: RO

Cost Plus has nice cotton curtains.

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of AnnBWass@aol.com
Sent: Sunday, April 09, 2006 7:48 AM
To: h-costume@indra.com
Subject: Re: [h-cost] curtains


 
In a message dated 4/9/2006 8:23:58 A.M. Eastern Standard Time,  
rmitchell@washjeff.edu writes:

What a  great idea! 


Restoration Hardware and Pier One both had really nice Indian cotton panels

a few years ago--sheer with a heavier thread woven in.  Four 84" panels
were 
plenty for a Regency dress.  They don't seem to carry them any  more.  Got a

set from Target last year--they are okay, but not as good a  quality as the 
others (of course, they were a lot cheaper, too).  But I  guess quality
varied 
significantly during the era, too.  Didn't Jane Austen  complain in one of
her 
letters that if you buy the cheap muslin, it falls apart  in washing?
 
Ann Wass
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Subject: Re: [h-cost] curtains
Date: Mon, 10 Apr 2006 08:55:52 -0400
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I have used this one. It was the best that I could find for the project.
Bought the sarong at the same time and inquired how I might get a bolt of
That fabric.  The response was NA.  Sigh...
Kathleen
----- Original Message ----- 
From: "Katie Lewis" <katie_lewis@lycos.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Monday, April 10, 2006 3:04 AM
Subject: Re: [h-cost] curtains


> Kathleen wrote:
> >
> >
> > What a great idea!  I am always having trouble finding cotton shear
enough!
> > Dharma carries the right weight, but only in sarongs (72" lengths).
Their
> > other cottons are quite wonderful, but heavier than one needs for a nice
> > Regency.
>
> Have gotten a sample of their cotton lawn?  It is not quite sheer enough
to read through, but it isn't far off.
>
> -Katie
>
> -- 
> _______________________________________________
>
> Search for businesses by name, location, or phone number.  -Lycos Yellow
Pages
>
>
http://r.lycos.com/r/yp_emailfooter/http://yellowpages.lycos.com/default.asp?SRC=lycos10
>
>
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From: Sylvia Rognstad <sylvia@ntw.net>
Subject: Re: [h-cost] Henry VIII movie question
Date: Mon, 10 Apr 2006 08:07:12 -0600
To: Historical Costume <h-costume@indra.com>
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I loved the movie.  It is well worth watching.  Can't remember how the  
costumes were though.

Sylrog

On Apr 9, 2006, at 11:20 PM, Elizabeth Walpole wrote:

>
> ----- Original Message ----- From: "Kimiko Small" <kimiko@kimiko1.com>
> To: "Historical Costume" <h-costume@indra.com>
> Sent: Thursday, April 06, 2006 9:07 AM
> Subject: [h-cost] Henry VIII movie question
>
>
>> Hey all,
>>
>> I am thinking of getting a movie, A Man For All Seasons  
>> (http://www.imdb.com/title/tt0060665/), to watch while I am working  
>> on my Henrician gown. Our Henry VIII faires are often set during the  
>> marriage question. But I have never seen the movie. Is it worth  
>> getting? How is the storyline? How good/bad are the costumes? Is my  
>> money better spent on a different movie of a similar time frame?
>>
>> Thanks for any thoughts on this.
>>
>> Kimiko
>
> Well I remember watching it a few years ago but I only remember bits  
> (my friend who was watching it with me wasn't interested and  
> distracted me) unfortunately it was before I started researching Tudor  
> clothing so I can't give an opinion on the costumes. But an image  
> search using the title turned up this page  
> http://www.moviegoods.com/movie_product.asp? 
> sku=149316&master_movie_id=2499&MGAID=U7JD1194 they seem to have got  
> the overall lines right but you can't see the details.
> If you're interested in Tudor films I found a pretty comprehensive  
> list here http://www.tudorplace.com.ar/Documents/TudorsMoviesTV.htm
> Elizabeth
> --------------------------------------------
> Elizabeth Walpole
> Canberra Australia
> ewalpole[at]tpg.com.au
> http://au.geocities.com/e_walpole/
>
> _______________________________________________
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From: "Katy Bishop" <katybishop64@gmail.com>
To: "Historical Costume" <h-costume@indra.com>
Subject: Re: [h-cost] Re:Curtains
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A few years ago when I needed a mermaid costume, I looked at my
bedroom curtains, which needed replacing anyway, and had a Scarlett
O'Hara moment.  The fabric was blue with a fan shape pattern, which
when turned upside down created a perfect fishscale motif.  It became
a very effective fish tail skirt....

Katy

On 4/9/06, Susan Data-Samtak <pasovasz@aol.com> wrote:
> A friend had red curtains that were beginning to fade from the sun.
> She replaced them but couldn't part with the fabric.  Opportunity
> knocked.  She made a Wooden Soldier Costume for a Christmas Parade from
> them.
>
> As one of our members says-"Creative Clutter is Better Than Idle
> Neatness" Carol H.
>
> Susan
>
> On Apr 9, 2006, at 3:45 AM, Jayne Thomas wrote:
>
> > Hi! Dawn
> >
> >   I will put my hand up and admit that I am the same!  I have even
> > bought a pair of second hand curtains to make into an Elizabethan
> > costume - I had little to spend on fabric, as Christmas was coming up.
> >  The same costume had what was a luxury bedding sheet as the skirt
> > contrast!  I have a pair of red velvet curtains in my lounge which I
> > am dying to cut up, but I won't as it belonged to my late Grandmother,
> > though every so often when I open them, I imagine the Elizabethan I
> > could make!
> >
> >   All the best
> >   Jayne
> >
> >
> > ---------------------------------
> > Win a BlackBerry device from O2 with Yahoo!. Enter now.
> > _______________________________________________
> > h-costume mailing list
> > h-costume@mail.indra.com
> > http://mail.indra.com/mailman/listinfo/h-costume
> _______________________________________________
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>


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

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Subject: RE: [h-cost] Jean Hunnisett Dress
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Status: RO

 Jame:

  When I did the Eleanor of Toledo dress in Janet Arnold for myself, I
doubled the size of the pattern to 1/4" scale first. I only dress dolls,
so this was a big project for me. Then I went to my fabric store,
checked all the costumes to find one or more patterns with pattern
piece(s) close to the Hunnisett diagrams. I then fitted the bodice
pieces of the two commercial patterns to me and then using the Hunnisett
diagrams as guide, altered and recut them using sew in interfacing(lies
much nicer on fabric than the commerical tissue paper. In some cases,
using commercial pattern pieces for fit, allowed me to keep some of the
grainlines and notches/balance marks.

 You may have some luck in enlarging the Hunisett bodice diagram which
is already larger than the usual 1/8=1" to roughly fit your daughter.

I would put your daughter in all undergarments she is to wear first.
However I did cheat on the Eleanor of Toledo dress(which I'm going to
alter to make more accurate). Because our Nebraska/Iowa Renfaires can be
hot and steamy and subject to sudden downpours, I built the Elizabethan
corset right into the bodice. The original dress laces on the side
backs, so this allows me to loosen/tighten the fit for weather and
weight loss/gain.  You could alter the 1569 dress bodice to allow for
this. I worked all the eyelets by hand using large jewerly jump rings on
either side of each hole made with an awl and covering rings and
reinforcing each hole with a button hole stitch. Time consuming but
worth it. But since your daughter is a growing girl, metal eyelets would
work. Also put grow tucks in the skirt, and pleat it to the waistband
deeply enough to allow for horizontal growth. Make the bodice separate
and alter the shoulder straps so they can be extended for growth, if you
wish.

Elizabethan clothes are great as they were designed to be in pieces to
mix and match. 

I hope this is a rewarding project for you both! Your daughter in bound
to become quite a little expert in knowing how many pieces of clothing
children "way back when" had to wear!

Cindy Abel

 
 Hi!
   
  I would like to make the 1569 Elizabethan dress (or something near as
possible!) that is illustrated on page 63 (the one in the middle of the
group) of 'Patterns for Women's Dress 1500-1800 for my nearly four year
daughter. Yes, I'm being very ambitious here!  The thing is, how would
scale the pattern (on page 68 onwards) to fit her?  Am I being a bit too
ambitious?!
   
  All the best!
  Jayne

		
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Date: Mon, 10 Apr 2006 10:32:50 EDT
Subject: [h-cost] Re:Curtains 
To: h-costume@indra.com
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My theatre studies exam costume was made out of two pairs of curtains from a 
charity shop.

Brown velvet and yellow brocade.

Cost three pounds a pair.

(Got extra marks for being 'cost aware').

Debbie



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Date: Mon, 10 Apr 2006 08:49:32 -0700 (PDT)
From: REBECCA BURCH <ctrvlyfarm@sbcglobal.net>
Subject: Re: [h-cost] Ruff directions
To: Historical Costume <h-costume@indra.com>
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Should be right on that page on the righthand side. 
He's wearing a buttery tan outfit.  If for some reason
it still doesn't come up you could try the Google
image search.  It is the only full length portrait of
him.
Rebecca

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

> 
> >The one I
> >need to make should replicate the ruff in the
> portrait
> >of Martin Frobisher found here:
> >
> >http://en.wikipedia.org/wiki/Martin_Frobisher
> 
> Where's the portrait?  I couldn't find it on the
> wiki page.
> 
> 
>         CarolynKayta Barrows
> dollmaker, fibre artist, textillian
>           www.FunStuft.com
> 
>               ///\\\\\
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> _______________________________________________
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Rebecca Burch
Center Valley Farm
Duncan Falls, Ohio, USA
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Subject: [h-cost] Dharma Trading wants fabric suggestions!
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Here's our chance, folks, to help Dharma Trading carry some really 
costume-worthy fabrics!
Michelle


"Expanding Our Fabric Collection
Attention fabric lovers!
We are continuing to expand our selection of fabrics aiming for a 
'plethora' of fabrics instead of our current 'lots and lots'. To that 
end, we are asking you, our most valued and esteemed customers (who are 
also very intelligent and shockingly good looking, by the way) to weigh 
in on what new fabrics you would like to see us add.
Wool fabrics? Bamboo fabrics? Fabrics woven from the back hair of a 
yeti, perhaps?
Whatever! Please send any suggestions to the following e-mail address 
and we will consider all your ideas.
fabricideas@dharmatrading.com"
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>Should be right on that page on the righthand side.
>He's wearing a buttery tan outfit.  If for some reason
>it still doesn't come up you could try the Google
>image search.  It is the only full length portrait of
>him.

With a gun in his hand, right?  I've seen the portrait, but couldn't get to 
it by the wiki page.

Conventional wisdom says to knife pleat the ruff material then like 
cartridge pleat it to the neck band piece.  This produces a "mill wheel" 
ruff, like the ones in the 16th century and painted by folks like Reubens, 
but does not produce a ruff like Frobisher wears.

The best example of Frobisher's kind of ruff is found in portraits of Mary, 
Queen of Scots.  In some of these you can see the same ruff from the side 
as well as from straight on to the edge, since the shirt with the ruff on 
it is worn open at the neck.  These Mary portraits show the ruff material 
gathered super-tightly at the inner edges and coaxed into the shape we 
recognize at the outer edges.  The inner edge of these ruffs is narrow, and 
you can see this inner-edge narrowness in some other portraits showing 
ruff-wearers.  Compare this inner-edge narrowness with the inner-edge 
thickness of the later ruffs and you'll see what I mean.

Compare also the way the artist paints the inside of the pleats of the 
ruff.  In the earlier ones the insides scrunch up to nothing, while in the 
later ones the insides make flat vertical pleats.

Compare also the angle at which the two kinds of ruff sit relative to the 
body, especially at the wrists.  The "mill-wheel" kinds sit perpendicular 
to their nearest body part, while the earlier ones sit at an angle to them.

Try the two methods out in sample pieces and compare them.  Also remember 
that these ruffs were held stiff as cardboard by the use of starch.

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

              ///\\\\\
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Date: Mon, 10 Apr 2006 13:19:17 -0700 (PDT)
From: Leslie Mundy <LizzieM@rocketmail.com>
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Subject: [h-cost] Re: Wool Disaster!! 
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Status: RO

Hi. 

I had some luck with stretching out a wool knit
sweater that had inadvertently gone through the washer
and dryer.

Put it in a bath of warm salt water, then stretch it
out as best you can. Once it's stretched, block it and
let it dry. 

When you're stretching it, remember to stretch for
width as well as length. If you can find something
suitable, put some sort of stretcher (tubular) in the
sleeves so they get back their width during the
stretch. 

Good luck!

--Leslie


> Message: 7
> Date: Thu, 6 Apr 2006 18:10:57 -0700 (PDT)
> From: Galadriel Lothlorien
> <galadrielfinwe@yahoo.com>
> Subject: [h-cost] Wool Disaster!!
> To: h-costume@indra.com
> Message-ID:
>
<20060407011057.30771.qmail@web32911.mail.mud.yahoo.com>
> Content-Type: text/plain; charset=iso-8859-1
> 
> A cashmere(?) knit, silk-lined Valentino coat was
> brought into my shop today.  A very sweet old lady's
> maid had tried to wash it for her.  Suffice it to
> say, the coat is now 15" shorter than the lining!!  
> It hasn't been dried, and is still damp.
> 
> ANYONE have any suggestions?  We were thinking of
> keeping it wet and trying to stretch it out as best
> we can using some weights (chain?).  Obviously the
> garment is a loss if it doesn't work so we're
> welcome to try any method at all to make it any 
> better... because we can't make it much worse!  I'm 
> just not sure if the fact that it's knit makes it 
> any more possible to save.
> 
> Thanks,
> --Rachel
> 


Leslie Mundy, DCC  Office Hours: M-W-F Noon-5:00
John Carter Brown Library, Box 1894, Brown University
Providence, RI 

Just think...
"Somewhere a butterfly, dreaming that it is Chuang Chou,
flutters its wings and creates a distant hurricane."
http://NewMoon2000.tripod.com/oneway/indexnavigator.html

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Subject: Re: [h-cost] Ruff directions
Date: Mon, 10 Apr 2006 17:25:58 -0400
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Is that the ruff with the inner layer and outter layer? We had a discussion 
some time ago about how to make that special ruff. We all came to the 
conclusion that it took at least 3 layers of fabric. 2 lighter weight outer 
layers and 1 thinker inner layer. Make the usual ruff, then mold the lighter 
weight outer layers inward to form the details inside the larger ruff loops. 
Pulling the lighter weight fabric edge to the center created the small heart 
shaped deep-inside loops. That is as best I can describe how to do it... if 
that is the same ruff we talked about earlier.
----- Original Message ----- 
From: "REBECCA BURCH" <ctrvlyfarm@sbcglobal.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Monday, April 10, 2006 11:49 AM
Subject: Re: [h-cost] Ruff directions


> Should be right on that page on the righthand side.
> He's wearing a buttery tan outfit.  If for some reason
> it still doesn't come up you could try the Google
> image search.  It is the only full length portrait of
> him.
> Rebecca
>
> --- Carolyn Kayta Barrows <kayta@frys.com> wrote:
>
>>
>> >The one I
>> >need to make should replicate the ruff in the
>> portrait
>> >of Martin Frobisher found here:
>> >
>> >http://en.wikipedia.org/wiki/Martin_Frobisher
>>
>> Where's the portrait?  I couldn't find it on the
>> wiki page.
>>
>>
>>         CarolynKayta Barrows
>> dollmaker, fibre artist, textillian
>>           www.FunStuft.com
>>
>>               ///\\\\\
>>              ////-@@\\\
>>             ((((   7 )))
>>              )((  <> ))(
>>               * )   ( *
>>            /----\   /---\
>>
>> _______________________________________________
>> h-costume mailing list
>> h-costume@mail.indra.com
>> http://mail.indra.com/mailman/listinfo/h-costume
>>
>
>
> Rebecca Burch
> Center Valley Farm
> Duncan Falls, Ohio, USA
> _______________________________________________
> 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] Ruff directions
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It's here:
http://en.wikipedia.org/wiki/Image:Martin_Frobisher_by_Ketel.jpg

When the page came up, there was no image, but there was a link.

kate
----- Original Message ----- 
From: "REBECCA BURCH" <ctrvlyfarm@sbcglobal.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Monday, April 10, 2006 11:49 AM
Subject: Re: [h-cost] Ruff directions


> Should be right on that page on the righthand side. 
> He's wearing a buttery tan outfit.  If for some reason
> it still doesn't come up you could try the Google
> image search.  It is the only full length portrait of
> him.
> Rebecca
> 
> --- Carolyn Kayta Barrows <kayta@frys.com> wrote:
> 
>> 
>> >The one I
>> >need to make should replicate the ruff in the
>> portrait
>> >of Martin Frobisher found here:
>> >
>> >http://en.wikipedia.org/wiki/Martin_Frobisher
>> 
>> Where's the portrait?  I couldn't find it on the
>> wiki page.
>> 
>> 
>>         CarolynKayta Barrows
>> dollmaker, fibre artist, textillian
>>           www.FunStuft.com
>> 
>>               ///\\\\\
>>              ////-@@\\\
>>             ((((   7 )))
>>              )((  <> ))(
>>               * )   ( *
>>            /----\   /---\
>> 
>> _______________________________________________
>> h-costume mailing list
>> h-costume@mail.indra.com
>> http://mail.indra.com/mailman/listinfo/h-costume
>> 
> 
> 
> Rebecca Burch
> Center Valley Farm
> Duncan Falls, Ohio, USA
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>

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Subject: [h-cost] Welt pocket wonders
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If you have ever been intimidated by making welt pockets, Threads issue 
122 has a solution.  I have tried many welt pocket techniques over the 
years, and this works beautifully.   It uses a silk organza facing and 
fabric glue (yes....).  Try it, you'll like it!  It completely takes the 
mystery and challenge away!



Sg
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Subject: [h-cost] need roommate for Hartford Symposium
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I will need someone to share a room. I will be there from May30, 31, June 1, 
2.
Please contact me if you have any leads.
Thank you,
Sue Shatto
Sue@VictorianMillinery.com
401 Fairview Ave.
Frederick, MD 21701
www.victorianmillinery.com
301-694-8950 

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Subject: RE: [h-cost] Ruff directions
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For a ruff that looks ok, but isn't made period, cartridge pleat grosgrain
ribbon onto a flat neckband. The ribbon is stiff enough to hold shape. You
may have to stitch the points where each loop touches another.

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Carolyn Kayta Barrows
Sent: Monday, April 10, 2006 11:35 AM
To: Historical Costume
Subject: Re: [h-cost] Ruff directions



>Should be right on that page on the righthand side.
>He's wearing a buttery tan outfit.  If for some reason
>it still doesn't come up you could try the Google
>image search.  It is the only full length portrait of
>him.

With a gun in his hand, right?  I've seen the portrait, but couldn't get to 
it by the wiki page.

Conventional wisdom says to knife pleat the ruff material then like 
cartridge pleat it to the neck band piece.  This produces a "mill wheel" 
ruff, like the ones in the 16th century and painted by folks like Reubens, 
but does not produce a ruff like Frobisher wears.

The best example of Frobisher's kind of ruff is found in portraits of Mary, 
Queen of Scots.  In some of these you can see the same ruff from the side 
as well as from straight on to the edge, since the shirt with the ruff on 
it is worn open at the neck.  These Mary portraits show the ruff material 
gathered super-tightly at the inner edges and coaxed into the shape we 
recognize at the outer edges.  The inner edge of these ruffs is narrow, and 
you can see this inner-edge narrowness in some other portraits showing 
ruff-wearers.  Compare this inner-edge narrowness with the inner-edge 
thickness of the later ruffs and you'll see what I mean.

Compare also the way the artist paints the inside of the pleats of the 
ruff.  In the earlier ones the insides scrunch up to nothing, while in the 
later ones the insides make flat vertical pleats.

Compare also the angle at which the two kinds of ruff sit relative to the 
body, especially at the wrists.  The "mill-wheel" kinds sit perpendicular 
to their nearest body part, while the earlier ones sit at an angle to them.

Try the two methods out in sample pieces and compare them.  Also remember 
that these ruffs were held stiff as cardboard by the use of starch.

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

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Subject: [h-cost] ideas on making body-shape suit or adding weight to an
	actress
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Recently we costumed for the play "A Little Princess."  One of the characters is a young girl with a bit of a weight problem.  She was superbly portrayed by a rather thin young girl.  We stuffed a bodystocking with fiberfill at first during rehearsals but it was so hot she nearly passed out and became very flushed.  So we tried having her wear three cotton teeshirts but that didn't work too well either.  We finally just used the fiberfill & stuffed her blouse, a fitted Victorian high-collared style, after she put it on to fill out the necessary areas.  That didn't work really either, because after every scene we had to readjust the fiberfill because it kept shifting & even falling out below the skirt.  She left puff-bunnies all over backstage but fortunately none fell out on stage --although in one of the final scenes she suddenly developed a "hernia" on her left side.
   
  Please --we may do this play again for the lower schools.  Can anyone give us any ideas on making a Mrs. Doubtfire-type removable bodyshape suit on a low budget that won't cause the young actress to expire with heat?
   
  Thanks for any & all suggestions.
   
  Blessings,
  Susannah

		
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> Recently we costumed for the play "A Little Princess."  One of the
> characters is a young girl with a bit of a weight problem.  She was
> superbly portrayed by a rather thin young girl.  We stuffed a bodystocking
> with fiberfill at first during rehearsals but it was so hot she nearly
> passed out and became very flushed.  So we tried having her wear three
> cotton teeshirts but that didn't work too well either.  We finally just
> used the fiberfill & stuffed her blouse, a fitted Victorian high-collared
> style, after she put it on to fill out the necessary areas.  That didn't
> work really either, because after every scene we had to readjust the
> fiberfill because it kept shifting & even falling out below the skirt.
> She left puff-bunnies all over backstage but fortunately none fell out on
> stage --although in one of the final scenes she suddenly developed a
> "hernia" on her left side.
>
>   Please --we may do this play again for the lower schools.  Can anyone
> give us any ideas on making a Mrs. Doubtfire-type removable bodyshape
> suit on a low budget that won't cause the young actress to expire with
> heat?
>
>   Thanks for any & all suggestions.
>
>   Blessings,
>   Susannah
>
>
> ---------------------------------
> Love cheap thrills? Enjoy PC-to-Phone  calls to 30+ countries for just
> 2¢/min with Yahoo! Messenger with Voice.
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>


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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Ruff directions
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Status: RO

Hi, All. For excellent ruff info, I regard Lisa Sinervo's site 
www.thrednedlestrete.com as being quite useful. She has done 
considerable research into creating a working setup for starching ruffs 
and has considerable knowledge as to their construction. I also know 
that Ninya and Jane have done so much work in the area that they would 
also be a great source for info. Between the two, I don't think you can 
go wrong...Cheers, Mike T.


>  
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] ideas on making body-shape suit or adding weight to
	an	actress
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Status: RO

Hi. Was the issue the weight or the breathability of the garment? If 
weight, you can get inflatable bags from your local stationary supply 
(Staples, etc.), used for shipping padding, and make a bodyform where 
the bags are taped in. If you do this make sure none of the plastic is 
on her skin, it gets hot and sweaty. If the heat is an issue, remember 
that insulation results where there is a place for air to accumulate and 
warm. You can probably find some modern materials that are good at 
wicking out moisture (sweat), but heat, esp. under theatrical lights, is 
another thing. Best to do is have her rehearse in it to become 
acclimatized, and make sure she is in it as little as necessary. 
Handheld or table fans while offstage are helpful, as are cooling cloths 
(alcohol evaporates faster than water, BTW) and keep her head uncovered 
if at all possible. Clothing should be light colored to avoid absorbing 
heat radiation and, of course, lightweight natural materials are better 
than synthetics that do not breathe. Anything more will probably require 
a complex, expensive cooling system unless you can make some sort of 
balloon suit with a fan in it that both swells out the body and cools 
it...sort of being inside a Macy's Thanksgiving Day balloon. Hmmm, this 
might be workable, something to think about....Cheers, Mike T. (now 
thinking about computer fans and DC power sources, hehehehehehe!)


>  
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Date: Mon, 10 Apr 2006 23:42:14 -0400
From: monica spence <monicaspence@optonline.net>
Subject: RE: [h-cost] ideas on making body-shape suit or adding weight to	an
	actress
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Status: RO

This is a tough one, but maybe cotton batting would work better because
cotton breathes, polyester does not. If you "build" your shape using a
cotton T-shirt as a base, layering your batting,to get the proper shape, it
won't shift much and you can make it look very realistic. It will be
flexible, also. Then tack all the together with large running stitches
through all the layers. Then put another (larger ) T shirt over all the
layers . tack again, and also stitch around arms, hem, neck to keep
everything closed-- and you have a 1 piece garment that she can put on over
her head. You could also split the back and add ties or hooks or velcro for
closures...

Just a thought.

Monica Spence

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of Diana Habra
Sent: Monday, April 10, 2006 11:15 PM
To: Historical Costume
Subject: Re: [h-cost] ideas on making body-shape suit or adding weight
to an actress



> Recently we costumed for the play "A Little Princess."  One of the
> characters is a young girl with a bit of a weight problem.  She was
> superbly portrayed by a rather thin young girl.  We stuffed a bodystocking
> with fiberfill at first during rehearsals but it was so hot she nearly
> passed out and became very flushed.  So we tried having her wear three
> cotton teeshirts but that didn't work too well either.  We finally just
> used the fiberfill & stuffed her blouse, a fitted Victorian high-collared
> style, after she put it on to fill out the necessary areas.  That didn't
> work really either, because after every scene we had to readjust the
> fiberfill because it kept shifting & even falling out below the skirt.
> She left puff-bunnies all over backstage but fortunately none fell out on
> stage --although in one of the final scenes she suddenly developed a
> "hernia" on her left side.
>
>   Please --we may do this play again for the lower schools.  Can anyone
> give us any ideas on making a Mrs. Doubtfire-type removable bodyshape
> suit on a low budget that won't cause the young actress to expire with
> heat?
>
>   Thanks for any & all suggestions.
>
>   Blessings,
>   Susannah
>
>
> ---------------------------------
> Love cheap thrills? Enjoy PC-to-Phone  calls to 30+ countries for just
> 2¢/min with Yahoo! Messenger with Voice.
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>


www.RenaissanceFabrics.net
"Everything for the Costumer"

"Become the change you want to see in the world."
--Ghandi

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Kathleen wrote:

> Bought the sarong at the same time and inquired how I might get a bolt of
> That fabric.  The response was NA.  Sigh...

Coincidentally, I just got an email from Dharma asking for suggestions about what new fabrics people want to see, so it might be worthwhile to email them.

-Katie

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Subject: [h-cost] Steam Iron source
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Does anyone know where an American friend can buy a steam iron with a 
separate reservoir in the U.S. She says she has not been able to find 
one. Also, if there is a source, any recommendations as to brand. I 
have a Tefal bought here in the U.K. and it *loves* ironing linen 
(which is more than I do!)

Suzi (who really needs to find a new job - I hate ironing, and I hate 
machining!!)


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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Date: Tue, 11 Apr 2006 11:36:33 +0200
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Hi,
Im trying to make the stays with the laced stomacher 1740-50. I found a 
lovely silk brocade for this in a period collour.
The pattern has not laced shouder pieces. Do you think they were just sewn 
finished?
Anyway here´s a link:
 http://home0.inet.tele.dk/drewscph/stays_1740.htm

Bjarne




Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] 1740-50 stays.
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At 10:36 11/04/2006, you wrote:
>Hi,
>Im trying to make the stays with the laced 
>stomacher 1740-50. I found a lovely silk brocade for this in a period collour.
>The pattern has not laced shouder pieces. Do you 
>think they were just sewn finished?
>Anyway here´s a link:
>http://home0.inet.tele.dk/drewscph/stays_1740.htm
>
>Bjarne



These stays work fine if they are laced. See the 
ones on my web site from the same pattern. I 
don't know about these particular ones in real 
life, but all the other stays I have looked at are laced.

http://www.suziclarke.co.uk/viewimage.php?image=1750_corset.jpg

Suzi 



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Subject: Re: [h-cost] 1740-50 stays.
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Status: RO

It's difficult to tell from the line drawing.  Do you have access to a photo 
of the original stays?  I would hazzard to guess, that with the rounded tip 
to the strap, that the artist was looking at a laced strap, just didn't draw 
in the eyelet.

By the way, it looks fabulous!  Where do you get the wiessner boning? I'd 
love to try some for my next stays.

Kelly
----- Original Message ----- 
From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: <h-costume@indra.com>
Sent: Tuesday, April 11, 2006 6:36 AM
Subject: [h-cost] 1740-50 stays.


> Hi,
> Im trying to make the stays with the laced stomacher 1740-50. I found a 
> lovely silk brocade for this in a period collour.
> The pattern has not laced shouder pieces. Do you think they were just sewn 
> finished?
> Anyway here´s a link:
> http://home0.inet.tele.dk/drewscph/stays_1740.htm
>
> Bjarne
>
>
>
>
> Leif og Bjarne Drews
> www.my-drewscostumes.dk
>
> http://home0.inet.tele.dk/drewscph/
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 
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Subject: Re: [h-cost] Steam Iron source
Date: Tue, 11 Apr 2006 08:11:09 -0400
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Status: RO

Rowena used to have a small iron with a removable reservoir.  I know
Greenberg and Hammer carry the commercial steamer.  Also other
'Shop'supplies.  If she goes online she will find more sources than she has
time to search.  Perhaps starting with eBay?...
Kathleen
----- Original Message ----- 
From: "Suzi Clarke" <suzi@suziclarke.co.uk>
To: "Historical Costume" <h-costume@indra.com>
Sent: Tuesday, April 11, 2006 5:33 AM
Subject: [h-cost] Steam Iron source


>
> Does anyone know where an American friend can buy a steam iron with a
> separate reservoir in the U.S. She says she has not been able to find
> one. Also, if there is a source, any recommendations as to brand. I
> have a Tefal bought here in the U.K. and it *loves* ironing linen
> (which is more than I do!)
>
> Suzi (who really needs to find a new job - I hate ironing, and I hate
> machining!!)
>
>
> _______________________________________________
> 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] Steam Iron source
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There were 2 or 3 models advertised a couple of years ago in one of my 
quilting magazines, but for the life of me I can't remember at the 
moment which one.  But check Quilting Today that one seems to stick in 
my head.  Hope this helps. theresa

-----Original Message-----
From: Suzi Clarke <suzi@suziclarke.co.uk>
To: Historical Costume <h-costume@indra.com>
Sent: Tue, 11 Apr 2006 10:33:08 +0100
Subject: [h-cost] Steam Iron source

   Does anyone know where an American friend can buy a steam iron with a 
separate reservoir in the U.S. She says she has not been able to find 
one. Also, if there is a source, any recommendations as to brand. I 
have a Tefal bought here in the U.K. and it *loves* ironing linen 
(which is more than I do!)

  Suzi (who really needs to find a new job - I hate ironing, and I hate 
machining!!)

 _______________________________________________
 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] Steam Iron source
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Greenberg and Hammer in New York city carry all kinds of tailoring equipment 
like irons and such.

Kelly
----- Original Message ----- 
From: "Suzi Clarke" <suzi@suziclarke.co.uk>
To: "Historical Costume" <h-costume@indra.com>
Sent: Tuesday, April 11, 2006 6:33 AM
Subject: [h-cost] Steam Iron source


>
> Does anyone know where an American friend can buy a steam iron with a 
> separate reservoir in the U.S. She says she has not been able to find one. 
> Also, if there is a source, any recommendations as to brand. I have a 
> Tefal bought here in the U.K. and it *loves* ironing linen (which is more 
> than I do!)
>
> Suzi (who really needs to find a new job - I hate ironing, and I hate 
> machining!!)
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 
_______________________________________________
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References: <20060411052153.2AF373384B@ws7-3.us4.outblaze.com>
Subject: Re: [h-cost] curtains
Date: Tue, 11 Apr 2006 08:05:38 -0400
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I got it too, but haven't had time to reply.Can do it later today!
Kathleen
----- Original Message ----- 
From: "Katie Lewis" <katie_lewis@lycos.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Tuesday, April 11, 2006 1:21 AM
Subject: Re: [h-cost] curtains


> Kathleen wrote:
>
> > Bought the sarong at the same time and inquired how I might get a bolt
of
> > That fabric.  The response was NA.  Sigh...
>
> Coincidentally, I just got an email from Dharma asking for suggestions
about what new fabrics people want to see, so it might be worthwhile to
email them.
>
> -Katie
>
> -- 
> _______________________________________________
>
> Search for businesses by name, location, or phone number.  -Lycos Yellow
Pages
>
>
http://r.lycos.com/r/yp_emailfooter/http://yellowpages.lycos.com/default.asp?SRC=lycos10
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>

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Subject: Re: [h-cost] curtains
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Went to the Daarma site yesterday and asked for light weight wool, had 
to go to Hancocks to pick up tapestry needles for some needlepoint I 
was working on and they had some really nice 100% light weight wool, 
only a couple of pieces that could be period but since I hadn't bought 
new fabric in almost a month bought all they had that was period.  Talk 
about luck theresa

-----Original Message-----
From: Katie Lewis <katie_lewis@lycos.com>
To: Historical Costume <h-costume@indra.com>
Sent: Tue, 11 Apr 2006 00:21:53 -0500
Subject: Re: [h-cost] curtains

  Kathleen wrote:

> Bought the sarong at the same time and inquired how I might get a 
bolt of
> That fabric.  The response was NA.  Sigh...

Coincidentally, I just got an email from Dharma asking for suggestions 
about
what new fabrics people want to see, so it might be worthwhile to email 
them.

-Katie

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Subject: RE: [h-cost] Steam Iron source
Date: Tue, 11 Apr 2006 08:45:14 -0500
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I have a very nice Euro-Pro with separate reservoir. I got it at Jo-Anne
Fabrics. I've also seen them on line.

Kim 

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Suzi Clarke
Sent: Tuesday, April 11, 2006 4:33 AM
To: Historical Costume
Subject: [h-cost] Steam Iron source


Does anyone know where an American friend can buy a steam iron with a
separate reservoir in the U.S. She says she has not been able to find one.
Also, if there is a source, any recommendations as to brand. I have a Tefal
bought here in the U.K. and it *loves* ironing linen (which is more than I
do!)

Suzi (who really needs to find a new job - I hate ironing, and I hate
machining!!)


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Subject: Re: [h-cost] 1740-50 stays.
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----- Original Message ----- 
From: "kelly grant" <estela_dufrayse@hotmail.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Tuesday, April 11, 2006 12:19 PM
Subject: Re: [h-cost] 1740-50 stays.


> It's difficult to tell from the line drawing.  Do you have access to a 
> photo of the original stays?  I would hazzard to guess, that with the 
> rounded tip to the strap, that the artist was looking at a laced strap, 
> just didn't draw in the eyelet.
>
> By the way, it looks fabulous!  Where do you get the wiessner boning? I'd 
> love to try some for my next stays.
>
> Kelly
Hi Kelly,
Well i ordered directly from the firm in Germany. You got to take 250 meters 
of it, but i wouldnt mind because i use it a lot.
I have heard that there are usa importers, but i dont know who, sorry.....

Bjarne 


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	<6.2.3.4.0.20060411110629.01e18a50@127.0.0.1>
Subject: Re: [h-cost] 1740-50 stays.
Date: Tue, 11 Apr 2006 16:20:28 +0200
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Hi Suzi,
How nice to see it live!
Thanks for posting it, yours is very nice, lovely collours two.
Do you like the shape it gives?

Bjarne
----- Original Message ----- 
From: "Suzi Clarke" <suzi@suziclarke.co.uk>
To: "Historical Costume" <h-costume@indra.com>
Sent: Tuesday, April 11, 2006 12:08 PM
Subject: Re: [h-cost] 1740-50 stays.


> At 10:36 11/04/2006, you wrote:
>>Hi,
>>Im trying to make the stays with the laced stomacher 1740-50. I found a 
>>lovely silk brocade for this in a period collour.
>>The pattern has not laced shouder pieces. Do you think they were just sewn 
>>finished?
>>Anyway here´s a link:
>>http://home0.inet.tele.dk/drewscph/stays_1740.htm
>>
>>Bjarne
>
>
>
> These stays work fine if they are laced. See the ones on my web site from 
> the same pattern. I don't know about these particular ones in real life, 
> but all the other stays I have looked at are laced.
>
> http://www.suziclarke.co.uk/viewimage.php?image=1750_corset.jpg
>
> Suzi
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 


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Date: Tue, 11 Apr 2006 15:28:48 +0100
To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] 1740-50 stays.
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At 15:20 11/04/2006, you wrote:
>Hi Suzi,
>How nice to see it live!
>Thanks for posting it, yours is very nice, lovely collours two.
>Do you like the shape it gives?


It works very well for the period. But it is very period specific and 
would not be suitable for all 18th century stuff. You can of course 
make it either with or without the separate stomacher.. I have a 
Hunnisett version of the pattern which is what I used, (not exactly 
as in her book,) and which is without the separate stomacher.

Suzi 


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Date: Tue, 11 Apr 2006 14:41:38 -0400 (EDT)
Subject: Re: [h-cost] 1740-50 stays.
From: aquazoo@patriot.net
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Hi Bjarne,

     I'm trying to remember if I've seen any extant 18thC stays, with
straps, that were not tied.  Tying them seems to be the normal thing
to do.  Has anyone seen originals with solid straps?

     The pattern looks to me like it's two different pieces where the
strap meets the front, not sewn together.  I think they just did not
bother to draw in the eyelets for the lacing.

     Also it seems that when stays have lacing in the front and back,
women in the 18thC would lace the back when putting them on, and the
front would stay as is.  But that's not the way we do it today,
because if we have the convenience of the front lacing we want to use
it!

     Here is why the straps work better when laced: Generally we put the
stays on and they hang from the shoulders as we lace them up.  But
then I discover the shoulder straps are loose.  So I think the
purpose of the lacing on the straps was to snug them to a better fit
once the stays are laced.  The best way to wear them is to loosen the
straps a bit, lace the stays, and then tighten the straps.  And be
sure the lady puts on shoes and does her hair before putting on
stays!

     So definitely make the straps with a lacing, and a length that does
allows for some adjustment as Suzi did them.

     -Carol


> Hi,
> Im trying to make the stays with the laced stomacher 1740-50. I found a
> lovely silk brocade for this in a period collour.
> The pattern has not laced shouder pieces. Do you think they were just sewn
> finished?
> Anyway here´s a link:
>  http://home0.inet.tele.dk/drewscph/stays_1740.htm
>
> Bjarne

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Subject: Re: [h-cost] 1740-50 stays.
Date: Tue, 11 Apr 2006 20:50:00 +0200
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Hello Carol,
Many thanks for your informations, ill keep this in mind, and ill pass along 
the tips to my client.
Oh yes i had another question. Do you think i should use a linnen binding 
for the tabs and the bustline, straps?
Thanks again.

Bjarne
----- Original Message ----- 
From: <aquazoo@patriot.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Tuesday, April 11, 2006 8:41 PM
Subject: Re: [h-cost] 1740-50 stays.


> Hi Bjarne,
>
>     I'm trying to remember if I've seen any extant 18thC stays, with
> straps, that were not tied.  Tying them seems to be the normal thing
> to do.  Has anyone seen originals with solid straps?
>
>     The pattern looks to me like it's two different pieces where the
> strap meets the front, not sewn together.  I think they just did not
> bother to draw in the eyelets for the lacing.
>
>     Also it seems that when stays have lacing in the front and back,
> women in the 18thC would lace the back when putting them on, and the
> front would stay as is.  But that's not the way we do it today,
> because if we have the convenience of the front lacing we want to use
> it!
>
>     Here is why the straps work better when laced: Generally we put the
> stays on and they hang from the shoulders as we lace them up.  But
> then I discover the shoulder straps are loose.  So I think the
> purpose of the lacing on the straps was to snug them to a better fit
> once the stays are laced.  The best way to wear them is to loosen the
> straps a bit, lace the stays, and then tighten the straps.  And be
> sure the lady puts on shoes and does her hair before putting on
> stays!
>
>     So definitely make the straps with a lacing, and a length that does
> allows for some adjustment as Suzi did them.
>
>     -Carol


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Subject: [h-cost] Henry VIII book
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There is a new book coming out later this year that sounds pretty good.

Beth Matney

Dress at the Court of King Henry VIII by Maria Hayward. Maney Pub. (2006). 
Clothbound with full colour dustjacket, ca 384 pages with ca 150 b&w and 30 
colour illustrations. ISBN 1 904350 70 4. 
http://www.maney.co.uk/search?fwaction=show&fwid=649

"Henry VIII used his wardrobe, and that of his family and household, as a 
way of expressing his wealth and magnificence. This book will encompass the 
first detailed study of male and female dress worn at the court of Henry 
VIII (1509-47) and will cover the dress of the king and his immediate 
family, the royal household and the broader court circle consisting of the 
nobility and clergy.

Evidence will be drawn primarily from the Great Wardrobe accounts, wardrobe 
warrants, and inventories, and it will be interpreted using evidence from 
narrative sources, paintings, drawings and surviving garments. Key areas 
for consideration will include the cut and construction of garments, 
materials and colours, the function of livery and the hierarchy of dress 
amongst the social elite, and the network of craftsmen and merchants 
working for the court. "

Maria Hayward (FSA, Reader in Textile Conservation, University of 
Southampton, UK) is also Assistant Editor of Costume - Journal of The 
Costume Society  

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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: [h-cost] spiral lacing
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Hi,
Have any of you ever seen extra tapes sewed to the top and bottom center 
backs, for tying on if you use spiral lacing?

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>
To: Historical Costume List <h-costume@mail.indra.com>
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Subject: [h-cost] Wanting some pix 
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Greetings,

I am gathering together information for a new project
that some photography would greatly benefit from. 

I was hoping some sympathetic soul somewhere close to
Manchester Square, London would be willing to do a
quick (of course, if allowed) photo tour of the
Wallace Collection for a particular cast collar. I
have emailed Hertford House, and received no response
to my request for more information regarding this
item. I am at this point assuming the object (The
"Archer's Guild Collar" is the object of my interest)
is still in their collection and on display at
Hertford House.

If anyone in the London UK area is willing to take a
few photos, email me offlist, and I will give you more
details.

Thanks,

Kathy

Ermine, a lion rampant tail nowed gules charged on the shoulder with a rose Or barbed, seeded, slipped and leaved vert
(Fieldless) On a rose Or barbed vert a lion's head erased gules.

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: Tue, 11 Apr 2006 17:49:32 EDT
Subject: [h-cost] Steam Iron source
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In a message dated 4/11/06 8:52:08 PM GMT Daylight Time, 
h-costume-request@indra.com writes:

> (who really needs to find a new job - I hate ironing, and I hate 
> machining!!)

sorry - don't know source, but glad it's not just me then...:-)
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Subject: [h-cost] movie props and costumes on auction
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On ebay:

http://cgi3.ebay.com/ws/eBayISAPI.dll?ViewUserPage&userid=premiereprops5

Includes items from Chicago, Dracula, Gangs of New York, Shakespeare in 
Love, and more.


Unfortunately a lot of it ends tonight, but you should be able to search 
completed auctions for items from this seller.


Dawn


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From: Kay Shelton <delasue@yahoo.com>
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Subject: [h-cost] steam iron source in US
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I bought my EuroPro, which has a separate steam
reservoir, at Tuesday Morning.  I like it a lot!
Kay


Does anyone know where an American friend can buy a 
steam iron with a separate reservoir in the U.S. She
says she has not 
been able to find one. Also, if there is a source, any
recommendations 
as to brand. I have a Tefal bought here in the U.K.
and it *loves* 
ironing linen (which is more than I do!)

Suzi (who really needs to find a new job - I hate
ironing, and I hate 
machining!!)

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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] Wanting some pix 
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At 21:35 11/04/2006, you wrote:
>Greetings,
>
>I am gathering together information for a new project
>that some photography would greatly benefit from.
>
>I was hoping some sympathetic soul somewhere close to
>Manchester Square, London would be willing to do a
>quick (of course, if allowed) photo tour of the
>Wallace Collection for a particular cast collar. I
>have emailed Hertford House, and received no response
>to my request for more information regarding this
>item. I am at this point assuming the object (The
>"Archer's Guild Collar" is the object of my interest)
>is still in their collection and on display at
>Hertford House.
>
>If anyone in the London UK area is willing to take a
>few photos, email me offlist, and I will give you more
>details.
>
>Thanks,
>
>Kathy
Kathy

The Wallace Collection does not allow photographs to be taken in any 
of its collection.  If it is Arms and Armour, you should contact the 
specific department. The curator was of A and A (may still be) David 
Edge, but I only have a personal address for him - sorry.

Suzi 


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Date: Wed, 12 Apr 2006 00:13:25 +0100
To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] spiral lacing
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At 20:16 11/04/2006, you wrote:
>Hi,
>Have any of you ever seen extra tapes sewed to the top and bottom 
>center backs, for tying on if you use spiral lacing?
>
>Bjarne

Not in any extant corsets I've seen - certainly in museums they don't 
usually even bother to lace them properly.

Suzi 


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Date: Tue, 11 Apr 2006 15:22:37 -0400 (EDT)
Subject: Re: [h-cost] 1740-50 stays.
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> Oh yes i had another question. Do you think i should use a linnen binding
> for the tabs and the bustline, straps?
> Thanks again.

     I think fully boned stays in such an elegant fabric deserve white kid
leather for a binding.

     -Carol

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Date: Tue, 11 Apr 2006 19:53:36 -0400
From: "Jeanine E. Swick" <jeanine@woollycat.net>
Subject: Re: [h-cost] curtains
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May be if every one on the list sent a similar request they'll think 
about it. 

    Jeanine

Lloyd Mitchell wrote:

>I got it too, but haven't had time to reply.Can do it later today!
>Kathleen
>----- Original Message ----- 
>From: "Katie Lewis" <katie_lewis@lycos.com>
>To: "Historical Costume" <h-costume@indra.com>
>Sent: Tuesday, April 11, 2006 1:21 AM
>Subject: Re: [h-cost] curtains
>
>
>  
>
>>Kathleen wrote:
>>
>>    
>>
>>>Bought the sarong at the same time and inquired how I might get a bolt
>>>      
>>>
>of
>  
>
>>>That fabric.  The response was NA.  Sigh...
>>>      
>>>
>>Coincidentally, I just got an email from Dharma asking for suggestions
>>    
>>
>about what new fabrics people want to see, so it might be worthwhile to
>email them.
>  
>
>>-Katie
>>
>>-- 
>>_______________________________________________
>>
>>Search for businesses by name, location, or phone number.  -Lycos Yellow
>>    
>>
>Pages
>  
>
>>    
>>
>http://r.lycos.com/r/yp_emailfooter/http://yellowpages.lycos.com/default.asp?SRC=lycos10
>  
>
>>_______________________________________________
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Susannah,
My Masters Thesis in Theatre Costume in Dec. 2000 was "The Emperor's New Clothes," set in ancient China, for children's theatre.  We made a  fat suit of foam sheeting for the actor who played the Emperor.  It was actually built by Kent Parker, who was the manager of the Costume Shop at that time.  He had lots of experience in making fantasy characters.  

If you'd like to take a look at the process and some pictures, my thesis is online.  I'm going to give you rather convoluted instructions on how to get there.  You can also get to it through UMI, but they make you email the pdf  to yourself.  It is 28 Mb since there are so many pictures.  If you can pull it up, the instructions below might actually be easier.  

Go to: 
http://www.libraries.wvu.edu 
click on MountainLynx Catalog in the top right corner
search by author: Hoover, Kathleen M.
click the link in the record
click again on the next record
click the web link at the bottom of the page
click "Access Document"
click "Hoover_Kathleen.pdf
the section on the Fat Suit starts on page 253 
(there are some messages about missing fonts, but if you just click OK, it'll come up)
There are embedded pictures in the text or you can scroll to all the pictures in the appendix at the end.

*I realize we used a regular-sized college-age male actor, who could better withstand the heat than a young, thin girl,  but here's what we did to help him.  He wore a cotton flannel "jumpsuit" as the innermost layer, and, since the fat suit was meant to make him look quite LARGE, there was some air space between the flannel and the foam.  We also had water and electric fans ready backstage  whenever he came off.  He had costume changes to go over the fat suit, and of course he appeared (nearly) naked in the last scene.  And while it *was* hot to wear, it wasn't unbearable.

I hope this helps you,
Kathy Hoover


>>> susannaheanes@yahoo.com 04/10/06 11:04 PM >>>
Recently we costumed for the play "A Little Princess."  One of the characters is a young girl with a bit of a weight problem.  She was superbly portrayed by a rather thin young girl.  We stuffed a bodystocking with fiberfill at first during rehearsals but it was so hot she nearly passed out and became very flushed.  So we tried having her wear three cotton teeshirts but that didn't work too well either.  We finally just used the fiberfill & stuffed her blouse, a fitted Victorian high-collared style, after she put it on to fill out the necessary areas.  That didn't work really either, because after every scene we had to readjust the fiberfill because it kept shifting & even falling out below the skirt.  She left puff-bunnies all over backstage but fortunately none fell out on stage --although in one of the final scenes she suddenly developed a "hernia" on her left side.
   
  Please --we may do this play again for the lower schools.  Can anyone give us any ideas on making a Mrs. Doubtfire-type removable bodyshape suit on a low budget that won't cause the young actress to expire with heat?
   
  Thanks for any & all suggestions.
   
  Blessings,
  Susannah

		
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Subject: [h-cost] Steam Iron source
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Suzi (who really needs to find a new job - I hate ironing, and I hate 
machining!!)

ps - meant glad it's not just me that feels like that :-)))
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To: Historical Costume <h-costume@indra.com>
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Subject: Re: [h-cost] Steam Iron source
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At 02:33 AM 4/11/2006, you wrote:

>Does anyone know where an American friend can buy a steam iron with a 
>separate reservoir in the U.S. She says she has not been able to find one. 
>Also, if there is a source, any recommendations as to brand. I have a 
>Tefal bought here in the U.K. and it *loves* ironing linen (which is more 
>than I do!)
>
>Suzi (who really needs to find a new job - I hate ironing, and I hate 
>machining!!)


I have heard of Euro-Pro and Rowenta that carries a separate tank. I plan 
on getting the Rowenta, as I have heard better reviews on that particular 
brand from a few of my friends and fiber arts teachers.

Doing a google search, I am finding two different model numbers:
ROWENTA DG-980 Expert Steam Generator
Rowenta DG-580 Steam Generator ("Does not have the removable water tank for 
refilling while ironing like the Rowenta DG-980 does.")

Looking at Allbrands site, they have several different steam irons with 
tanks at different price marks and quality, from home use to pro use.
http://www.allbrands.com/products/abc0083.html

hth,

Kimiko


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Date: Wed, 12 Apr 2006 02:29:20 +0000
From: rwfranz <rwfranz@hotpop.com>
Subject: Re: [h-cost] steam iron source in US
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JoAnn's? Sometimes Hancock's? They carry the Rowenta version.

http://www.joann.com/catalog.jhtml?CATID=95070&PRODID=70935&source=search
Right now it's on sale.

I don't have one of those yet, and am not really considering it right 
now, so cannot comment on how well it works.

Roger

Kay Shelton wrote:

>I bought my EuroPro, which has a separate steam
>reservoir, at Tuesday Morning.  I like it a lot!
>Kay
>
>
>Does anyone know where an American friend can buy a 
>steam iron with a separate reservoir in the U.S. She
>says she has not 
>been able to find one. Also, if there is a source, any
>recommendations 
>as to brand. I have a Tefal bought here in the U.K.
>and it *loves* 
>ironing linen (which is more than I do!)
>
>Suzi (who really needs to find a new job - I hate
>ironing, and I hate 
>machining!!)
>
>__________________________________________________
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Subject: RE: [h-cost] ideas on making body-shape suit or adding weight to
	anactress
Date: Wed, 12 Apr 2006 02:43:57 -0700
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You could use those air filled plastic bladders they use as filler for
packages. They are very lightweight, and if you keep a layer of cotton
between the body and the bladders, it should be ok. I just got some today in
my box from Amazon. You could blow up zip lock bags and get the same
effect-more sizes, too. They're so lightweight you can just use gaffers tape
to hold them in place. Plus they're super cheap.

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of susannah eanes
Sent: Monday, April 10, 2006 8:04 PM
To: h-costume@mail.indra.com
Subject: [h-cost] ideas on making body-shape suit or adding weight to
anactress


Recently we costumed for the play "A Little Princess."  One of the
characters is a young girl with a bit of a weight problem.  She was superbly
portrayed by a rather thin young girl.  We stuffed a bodystocking with
fiberfill at first during rehearsals but it was so hot she nearly passed out
and became very flushed.  So we tried having her wear three cotton teeshirts
but that didn't work too well either.  We finally just used the fiberfill &
stuffed her blouse, a fitted Victorian high-collared style, after she put it
on to fill out the necessary areas.  That didn't work really either, because
after every scene we had to readjust the fiberfill because it kept shifting
& even falling out below the skirt.  She left puff-bunnies all over
backstage but fortunately none fell out on stage --although in one of the
final scenes she suddenly developed a "hernia" on her left side.
   
  Please --we may do this play again for the lower schools.  Can anyone give
us any ideas on making a Mrs. Doubtfire-type removable bodyshape suit on a
low budget that won't cause the young actress to expire with heat?
   
  Thanks for any & all suggestions.
   
  Blessings,
  Susannah

		
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Hi,
Carol suggested me to use kid skin on the binding of the stays i make. Only 
i dont know what that is.
Is it goat skin?

Bjarne




Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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Subject: Re: [h-cost] ideas on making body-shape suit or adding weight to an
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In a message dated 4/11/2006 8:11:49 P.M. Eastern Standard Time,  
khoover@wvu.edu writes:

We made a  fat suit of foam sheeting for the actor who played the  Emperor. 


When I worked at the Washington Shakespeare Theatre, we also made a foam  
suit for Falstaff.  I didn't mention it originally because the poster said  she 
needed something cheap, and the foam isn't!  It is the dark gray foam  
generally used, I believe, for HVAC purposes, and it was something like $100 a  sheet 
then, over 10 years ago.  I also can't attest to how comfortable it  was for 
the actor to wear, but I know it is very lightweight.
 
Ann Wass
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From: stilskin@netspace.net.au
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] kid skin
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Kid skin is very soft, very supple, has a little stretch. You get it from 
children,

-C.

 kid skin
> i dont know what that is.
> Is it goat skin?



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

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Subject: Re: [h-cost] kid skin
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Gosh if that is the case, ill have to skip it dont i?

Bjarne


----- Original Message ----- 
From: <stilskin@netspace.net.au>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, April 12, 2006 2:48 PM
Subject: Re: [h-cost] kid skin


> Kid skin is very soft, very supple, has a little stretch. You get it from
> children,
>
> -C.
>
> kid skin
>> i dont know what that is.
>> Is it goat skin?
>
>
>
> ------------------------------------------------------------
> This email was sent from Netspace Webmail: http://www.netspace.net.au
>
> _______________________________________________
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> 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] Steam Iron source
Date: Wed, 12 Apr 2006 13:09:27 +0000
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Walmart has one and it's on their webpage, too...I tried to send the info in an email I sent yesterday, but my email didn't post...

Elena/Gia

-------------- Original message -------------- 
From: Debloughcostumes@aol.com 

> 
> Suzi (who really needs to find a new job - I hate ironing, and I hate 
> machining!!) 
> 
> ps - meant glad it's not just me that feels like that :-))) 
> _______________________________________________ 
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Is it like washing leather?

Bjarne 





Leif og Bjarne Drews
www.my-drewscostumes.dk

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

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Date: Wed, 12 Apr 2006 09:15:59 -0400
From: monica spence <monicaspence@optonline.net>
Subject: RE: [h-cost] Steam Iron source
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I use the Rowenta iron with the separate reservoir and it is fabulous!
Monica Spence

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of Kimiko Small
Sent: Tuesday, April 11, 2006 10:01 PM
To: Historical Costume
Subject: Re: [h-cost] Steam Iron source


At 02:33 AM 4/11/2006, you wrote:

>Does anyone know where an American friend can buy a steam iron with a
>separate reservoir in the U.S. She says she has not been able to find one.
>Also, if there is a source, any recommendations as to brand. I have a
>Tefal bought here in the U.K. and it *loves* ironing linen (which is more
>than I do!)
>
>Suzi (who really needs to find a new job - I hate ironing, and I hate
>machining!!)


I have heard of Euro-Pro and Rowenta that carries a separate tank. I plan
on getting the Rowenta, as I have heard better reviews on that particular
brand from a few of my friends and fiber arts teachers.

Doing a google search, I am finding two different model numbers:
ROWENTA DG-980 Expert Steam Generator
Rowenta DG-580 Steam Generator ("Does not have the removable water tank for
refilling while ironing like the Rowenta DG-980 does.")

Looking at Allbrands site, they have several different steam irons with
tanks at different price marks and quality, from home use to pro use.
http://www.allbrands.com/products/abc0083.html

hth,

Kimiko


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From: "Kate M Bunting" <K.M.Bunting@derby.ac.uk>
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Subject: Re: [h-cost] kid skin
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"Kid gloves" were commonly worn with smart clothing in the 19th century. A kid is a young goat.

We also have a saying "to handle something/someone with kid gloves" meaning very carefully or tactfully, kid gloves being thinner and more supple than ordinary leather ones.

Kate Bunting
Librarian and 17th century reenactor


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Date: Wed, 12 Apr 2006 14:34:56 +0100
To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] kid skin
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At 14:07 12/04/2006, you wrote:
>Gosh if that is the case, ill have to skip it dont i?
>
>Bjarne
>
>
>----- Original Message ----- From: <stilskin@netspace.net.au>
>To: "Historical Costume" <h-costume@indra.com>
>Sent: Wednesday, April 12, 2006 2:48 PM
>Subject: Re: [h-cost] kid skin
>
>
>>Kid skin is very soft, very supple, has a little stretch. You get it from
>>children,
>>
>>-C.


Bjarne

Many extant corsets use chamois leather, like the leather you can use 
to wash a car with. There is often a small piece, about an inch deep 
inside and out, (sort of crescent shaped) under the arm towards the 
front armscye, to prevent chafing. The 178-0s corset from Hunnisett 
had this, and it made a lot of difference - no rubbing. Once upon a 
time that corset fitted me, and was soooo comfortable!

Suzi 


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Subject: Re: [h-cost] kid skin
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*sigh*
Bjarne, the original poster was either teasing you or ignorant, and my bet's
on the teasing.
"Kid skin" is the skin of young, immature goats.  A reasonable substitute
might be chamois, if you can find it.  We can buy it here in the US in the
automotive care section of some stores, since it's used as a "cloth" with
which to dry or polish cars.  It's a thin, flexible, and relatively
inexpensive leather.  I've got some in my stash for the binding of a 16th
century corset, and for a trial pair of gloves, if I ever get my head out of
the 14th century and back to the 16th.....
--Sue in Montana (it's Spring!)

----- Original Message -----
From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, April 12, 2006 7:07 AM
Subject: Re: [h-cost] kid skin


> Gosh if that is the case, ill have to skip it dont i?
>
> Bjarne
>
>
> ----- Original Message -----
> From: <stilskin@netspace.net.au>
> To: "Historical Costume" <h-costume@indra.com>
> Sent: Wednesday, April 12, 2006 2:48 PM
> Subject: Re: [h-cost] kid skin
>
>
> > Kid skin is very soft, very supple, has a little stretch. You get it
from
> > children,
> >
> > -C.
> >
> > kid skin
> >> i dont know what that is.
> >> Is it goat skin?


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In a message dated 4/12/2006 9:36:06 A.M. Eastern Standard Time,  
suzi@suziclarke.co.uk writes:

Many  extant corsets use chamois leather, like the leather you can use 
to wash a  car with. There is often a small piece, about an inch deep 
inside and out,  (sort of crescent shaped) under the arm towards the 
front armscye, to  prevent chafing.


***************
 
I've also seen an early 19th century waistcoat with a strip of chamois  
[about maybe 3/4 of an inch wide] lining the bottom of the fronts.
 
The shirt Daniel Day-Lewis wears in "Last of the Mohicans" is of chamois  
leather.
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Date: Wed, 12 Apr 2006 10:46:19 -0400
From: "Susan B. Farmer" <sfarmer@goldsword.com>
To: Historical Costume <h-costume@indra.com>
Subject: RE: [h-cost] ideas on making body-shape suit or adding weight to
	anactress
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Quoting "Sharon at Collierfam.com" <sharon@collierfam.com>:

> You could use those air filled plastic bladders they use as filler for
> packages. They are very lightweight, and if you keep a layer of cotton
> between the body and the bladders, it should be ok. I just got some today in
> my box from Amazon. You could blow up zip lock bags and get the same
> effect-more sizes, too. They're so lightweight you can just use gaffers tape
> to hold them in place. Plus they're super cheap.

But wouldn't all that plastic be rather *hot*?

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: Wed, 12 Apr 2006 11:08:30 -0400 (EDT)
Subject: Re: [h-cost] kid skin
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> In a message dated 4/12/2006 9:36:06 A.M. Eastern Standard Time,
> suzi@suziclarke.co.uk writes:
>
> Many  extant corsets use chamois leather, like the leather you can use
> to wash a  car with. There is often a small piece, about an inch deep
> inside and out,  (sort of crescent shaped) under the arm towards the
> front armscye, to  prevent chafing.


     I've heard about using a wider piece of leather under the arms,
although I haven't seen the originals with it.  The extant stays I've
seen have a thin white leather for binding, with a smooth surface. 
The chamois that I've seen is yellow, and has a suede-like surface. 
I know people like to use chamois because they can find it easily and
it's thin (nicer for hand stitching).  But I would like to hear more
about the extant stays that use chamois leather for binding, and also
those with the underarm reinforcement.  Where are they?  How often do
those features show up in extant stays?

     Or do you mean something different for chamois - is it available
white and with a smooth surface?

     -Carol

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From h-costume-bounces@indra.com  Wed Apr 12 12:24:27 2006
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Thread-Topic: Innocent Traitor(fiction)by Alison Weir
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Subject: [h-cost] Innocent Traitor(fiction)by Alison Weir
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Oh, darn "Dress at the Court of King Henry VIII" yet another book from
the other side of the pond I just have to have!  And Amazon.uk doesn't
even list it yet on their site!  Double darn!
 
Just got from Amazon.uk, my preordered copy of Innocent Traitor, the
first novel by Alison Weir. It is based on the life of Lady Jane Grey,
Nine Days' Queen of England. No U.S. publication date as yet for us
Tudor fanatics on the west side of the pond.

I only have read the first two chapters. So far it is by multiple
narrators recording in first person present tense. So far the narrators
are Jane herself, her mother, Frances Brandon, and Queen Jane Seymour.
Interesting format. It will be interesting to see how Weir as a
historian sticks to history.

On the cover is a photograph of a girl dressed in a close approximation
of the ensemble worn by young Princess Elizabeth(crimson gown portrait).
We purists may be quick to spot that the girl has blonde, not auburn
hair, and the sleeves of her gown,(all layers)are less structured and
more droopy at worst, and seem more earlier 16th century at best, but at
least it is serious cover art, including an overprint of Jane's actual
handwriting, rather than the historical romance cover art which is often
snicker-worthy!

Cindy Abel

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Date: Wed, 12 Apr 2006 17:24:15 +0100
To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] kid skin
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At 16:08 12/04/2006, you wrote:
> > In a message dated 4/12/2006 9:36:06 A.M. Eastern Standard Time,
> > suzi@suziclarke.co.uk writes:
> >
> > Many  extant corsets use chamois leather, like the leather you can use
> > to wash a  car with. There is often a small piece, about an inch deep
> > inside and out,  (sort of crescent shaped) under the arm towards the
> > front armscye, to  prevent chafing.
>
>
>      I've heard about using a wider piece of leather under the arms,
>although I haven't seen the originals with it.  The extant stays I've
>seen have a thin white leather for binding, with a smooth surface.
>The chamois that I've seen is yellow, and has a suede-like surface.
>I know people like to use chamois because they can find it easily and
>it's thin (nicer for hand stitching).  But I would like to hear more
>about the extant stays that use chamois leather for binding, and also
>those with the underarm reinforcement.  Where are they?  How often do
>those features show up in extant stays?
>
>      Or do you mean something different for chamois - is it available
>white and with a smooth surface?


The stays that I wore belonged to Jean Hunnisett and were sold some 
years ago. If I  had realised they were for sale I might have bid for 
them. I will look through my photos of originals and see whether the 
chamois shows up in any of them. Probably that chamois ones will be 
the ones I couldn't photo!

Suzi


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what about theexpandingspray foam 1 can would be more than enough and it can be shaped and molded to be most anything you need theresa 
 
-----Original Message-----
From: AnnBWass@aol.com
To: h-costume@indra.com
Sent: Wed, 12 Apr 2006 05:58:08 EDT
Subject: Re: [h-cost] ideas on making body-shape suit or adding weight to an actress


 
In a message dated 4/11/2006 8:11:49 P.M. Eastern Standard Time,  
khoover@wvu.edu writes:

We made a  fat suit of foam sheeting for the actor who played the  Emperor. 


When I worked at the Washington Shakespeare Theatre, we also made a foam  
suit for Falstaff.  I didn't mention it originally because the poster said  she 
needed something cheap, and the foam isn't!  It is the dark gray foam  
generally used, I believe, for HVAC purposes, and it was something like $100 a  
sheet 
then, over 10 years ago.  I also can't attest to how comfortable it  was for 
the actor to wear, but I know it is very lightweight.
 
Ann Wass
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I can feel for you it has only been in the last year or so that I have had to admit if I'm going to sew I have to iron , seams open, and all that other stuff that makes your work look right. but I still don't iron anything that is complete it goes to the professionals, or at least the lady down the street that seems to like to iron.  I think she is a bit weird but then I dress up funny and shoot a bow and arrow so who am I to say who is weird. theresa
 
-----Original Message-----
From: Debloughcostumes@aol.com
To: h-costume@indra.com
Sent: Tue, 11 Apr 2006 21:20:00 EDT
Subject: [h-cost] Steam Iron source



Suzi (who really needs to find a new job - I hate ironing, and I hate 
machining!!)

ps - meant glad it's not just me that feels like that :-)))
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I have posted my pictures of the statue with the bliaut from Angers to  
Flickr as well as some from Chartres, also with bliaut.  Additionally in  the 
Chartres set are pictures I took of the St. Louis shirt in Notre Dame.   There is 
also a set of pictures from the Costume Museum in Bath.
 
http://www.flickr.com/photos/maddnancyphotos/
 
Nancy
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Subject: [h-cost] girdle?  was:] Photos
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Just recently a friend came up to me and asked how the girdle was made  with
a bliaut as she was going to make it for her daughter. She was not meaning
the belt but the section of horizontal lines between the hips and just under
the breast. Her two sources for this being a separate piece from the
dress/bliaut is "The Encyclopedia of historic costume" and a manuscript
showing it in a different color.
When I tried to inform her that usually that area is a part of the dress she
promptly said well I'm not trying to be an authenticity nazi my daughter
likes it and she's of an age that she wants to show off her figure.
So my question, just for my knowledge, is there docs on the horizontal lines
on the bliaut ever being a separate piece from the garment?
-----Original Message-----
http://www.flickr.com/photos/maddnancyphotos/

Nancy


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There are many, many theories about bliauts.  I have a few myself. 
However just to stick with the question...  is there docs on the
horizontal lines on the bliaut ever being a separate piece from the
garment?

Some say yes. Some say no.   I used to be in the "probably no, but it
is vaguely possible" camp... until Nancy's photos showed me something
new.

look at the photo called PDRM0061in the Chartres collection.  Look at
the belt knot, then look just above the belt knot.  There you will see
a repeating decorative pattern, that resembles trim, either woven or
embroidered.  Now... notice that the "trim" appears to lie flat and
follow the curve of the body,  lines above it run in the horizontal
direction, lines below it run vertically.

To me this is really starting to suggest a separate layer.  Could be. 
Can I be positive, not yet, but I am intrigued.

Could this be the "corsetum" mentioned in the English inventories of
the early 1300s, which was fashionably "behind the times" -  or an
ancestor of that garment?   Are the two even linked at all?

Some folks might postulate that the trim is a product or a decoration
to highlight construction of the garment.  Covering the joining of a
bodice to a skirt...   Personally I find that theory to be too
speculative for me, and not in keeping with examples of garment
shaping of the day.   But some people do advocate that style of
construction.

I'm going to go back to pondering this question... but I am
considering a move to the "possible, quite possible"  camp on this
question.

Mari  /  Bridgette

> http://www.flickr.com/photos/maddnancyphotos/
>
> Nancy

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Date: Wed, 12 Apr 2006 11:27:02 -0700
From: Elizabeth Young <lizyoung@fenris.net>
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Steam Iron source
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Kimiko Small wrote in part:
> At 02:33 AM 4/11/2006, you Suzi wrote:
> 
>> Does anyone know where an American friend can buy a steam iron with a 
>> separate reservoir in the U.S.
> 
> I have heard of Euro-Pro and Rowenta that carries a separate tank. I 
> plan on getting the Rowenta, as I have heard better reviews on that 
> particular brand from a few of my friends and fiber arts teachers.
> 
> Doing a google search, I am finding two different model numbers:
> ROWENTA DG-980 Expert Steam Generator
> Rowenta DG-580 Steam Generator ("Does not have the removable water tank 
> for refilling while ironing like the Rowenta DG-980 does.")
> 
> Looking at Allbrands site, they have several different steam irons with 
> tanks at different price marks and quality, from home use to pro use.
> http://www.allbrands.com/products/abc0083.html

I got my Rowenta dg-980 through the allbrands site.
No problems ordering, fast delivery, and I love the iron.

liz young

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From: "Susan B. Farmer" <sfarmer@goldsword.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] girdle?  was:] Photos
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Quoting otsisto <otsisto@socket.net>:

> Just recently a friend came up to me and asked how the girdle was made  with
> a bliaut as she was going to make it for her daughter. She was not meaning
> the belt but the section of horizontal lines between the hips and just under
> the breast. Her two sources for this being a separate piece from the
> dress/bliaut is "The Encyclopedia of historic costume" and a manuscript
> showing it in a different color.

Do you have any additional information on The Manuscript?  I'd *really*
like to see that (as would a number of other folks, I"m sure!)

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] girdle? was:] Photos
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Quoting Marie Stewart <maricelt@gmail.com>:

> There are many, many theories about bliauts.  I have a few myself.
> However just to stick with the question...  is there docs on the
> horizontal lines on the bliaut ever being a separate piece from the
> garment?
>
> Some say yes. Some say no.   I used to be in the "probably no, but it
> is vaguely possible" camp... until Nancy's photos showed me something
> new.
>
> look at the photo called PDRM0061in the Chartres collection.  Look at
> the belt knot, then look just above the belt knot.  There you will see
> a repeating decorative pattern, that resembles trim, either woven or
> embroidered.  Now... notice that the "trim" appears to lie flat and
> follow the curve of the body,  lines above it run in the horizontal
> direction, lines below it run vertically.

You can also see this line of trip just above the belt on some statues
from St. Loup de Naud.  This is a large scan (ca. 1 MB in size) so that
you can see the details quite nicely.

http://epee.goldsword.com/sfarmer/SCA/Paintings/stLoupDeNaud_LeftPortal-detai2l.jpg
or
http://tinyurl.com/6qse5

The other thing that is telling to me is the "knife-pleats."  Look at
how they disappear behind the neckline trim ... look at how they
"reappear" out from under the wide trim above the belt.  IMO, this is
the source of the garments that we see in later symbolic art where the
woman has on a hip-length "vest" or "corsage" or whatever you want to
call it.

>
> To me this is really starting to suggest a separate layer.  Could be.
> Can I be positive, not yet, but I am intrigued.
>
> Could this be the "corsetum" mentioned in the English inventories of
> the early 1300s, which was fashionably "behind the times" -  or an
> ancestor of that garment?   Are the two even linked at all?

Well, wasn't France leading the Fashion World (tm) at that time?  I
don't have a problem with the English lagging behind.

>
> Some folks might postulate that the trim is a product or a decoration
> to highlight construction of the garment.  Covering the joining of a
> bodice to a skirt...   Personally I find that theory to be too
> speculative for me, and not in keeping with examples of garment
> shaping of the day.   But some people do advocate that style of
> construction.

Yeah, I think that's a little too sketchy for me too.

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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After I sent the email I found the Chartres statue you speak of and
remembered that when I was once, long ago researching bliauts I came across
this statue and saw the "corset/girdle".
Old timers strikes again. :P

De

-----Original Message-----
There are many, many theories about bliauts.  I have a few myself.
However just to stick with the question...  is there docs on the
horizontal lines on the bliaut ever being a separate piece from the
garment?

Some say yes. Some say no.   I used to be in the "probably no, but it
is vaguely possible" camp... until Nancy's photos showed me something
new.

look at the photo called PDRM0061in the Chartres collection.  Look at
the belt knot, then look just above the belt knot.  There you will see
a repeating decorative pattern, that resembles trim, either woven or
embroidered.  Now... notice that the "trim" appears to lie flat and
follow the curve of the body,  lines above it run in the horizontal
direction, lines below it run vertically.

snip
I'm going to go back to pondering this question... but I am
considering a move to the "possible, quite possible"  camp on this
question.

Mari  /  Bridgette

> http://www.flickr.com/photos/maddnancyphotos/
>
> Nancy


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To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] girdle? was:] Photos
Date: Wed, 12 Apr 2006 14:23:32 -0500
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This one seems a bit different from the Chartres.
In the Chartres it seems to stops under the bust but in this one it looks as
if it is a bodice that goes to the hips and the skirt is a part of the
garment you see at the neck.
A sort of "jacket" over the gathered garment and laced to creat the
horizonatl lines at the waist.

De

-----Original Message-----
You can also see this line of trip just above the belt on some statues
from St. Loup de Naud.  This is a large scan (ca. 1 MB in size) so that
you can see the details quite nicely.

http://epee.goldsword.com/sfarmer/SCA/Paintings/stLoupDeNaud_LeftPortal-deta
i2l.jpg
or
http://tinyurl.com/6qse5

The other thing that is telling to me is the "knife-pleats."  Look at
how they disappear behind the neckline trim ... look at how they
"reappear" out from under the wide trim above the belt.  IMO, this is
the source of the garments that we see in later symbolic art where the
woman has on a hip-length "vest" or "corsage" or whatever you want to
call it.

Susan
-----


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To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] ideas on making body-shape suit or adding weight
	toanactress
Date: Wed, 12 Apr 2006 12:42:59 -0700
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That's why you line with cotton, so the plastic doesn't touch the skin.
Better than foam, or polyfill, which is , after all, plastic too.

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Susan B. Farmer
Sent: Wednesday, April 12, 2006 7:46 AM
To: Historical Costume
Subject: RE: [h-cost] ideas on making body-shape suit or adding weight
toanactress


Quoting "Sharon at Collierfam.com" <sharon@collierfam.com>:

> You could use those air filled plastic bladders they use as filler for 
> packages. They are very lightweight, and if you keep a layer of cotton 
> between the body and the bladders, it should be ok. I just got some 
> today in my box from Amazon. You could blow up zip lock bags and get 
> the same effect-more sizes, too. They're so lightweight you can just 
> use gaffers tape to hold them in place. Plus they're super cheap.

But wouldn't all that plastic be rather *hot*?

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] girdle? was:] Photos
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Any possibility that the line of trim is what we would call a waistband,
attached to the vertical pleated skirt, the whole worn over the horizontally
pleated underdress?

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Susan B. Farmer
Sent: Wednesday, April 12, 2006 11:43 AM
To: Historical Costume
Subject: Re: [h-cost] girdle? was:] Photos


Quoting Marie Stewart <maricelt@gmail.com>:

> There are many, many theories about bliauts.  I have a few myself. 
> However just to stick with the question...  is there docs on the 
> horizontal lines on the bliaut ever being a separate piece from the 
> garment?
>
> Some say yes. Some say no.   I used to be in the "probably no, but it
> is vaguely possible" camp... until Nancy's photos showed me something 
> new.
>
> look at the photo called PDRM0061in the Chartres collection.  Look at 
> the belt knot, then look just above the belt knot.  There you will see 
> a repeating decorative pattern, that resembles trim, either woven or 
> embroidered.  Now... notice that the "trim" appears to lie flat and 
> follow the curve of the body,  lines above it run in the horizontal 
> direction, lines below it run vertically.

You can also see this line of trip just above the belt on some statues from
St. Loup de Naud.  This is a large scan (ca. 1 MB in size) so that you can
see the details quite nicely.

http://epee.goldsword.com/sfarmer/SCA/Paintings/stLoupDeNaud_LeftPortal-deta
i2l.jpg
or
http://tinyurl.com/6qse5

The other thing that is telling to me is the "knife-pleats."  Look at how
they disappear behind the neckline trim ... look at how they "reappear" out
from under the wide trim above the belt.  IMO, this is the source of the
garments that we see in later symbolic art where the woman has on a
hip-length "vest" or "corsage" or whatever you want to call it.

>
> To me this is really starting to suggest a separate layer.  Could be. 
> Can I be positive, not yet, but I am intrigued.
>
> Could this be the "corsetum" mentioned in the English inventories of 
> the early 1300s, which was fashionably "behind the times" -  or an
> ancestor of that garment?   Are the two even linked at all?

Well, wasn't France leading the Fashion World (tm) at that time?  I don't
have a problem with the English lagging behind.

>
> Some folks might postulate that the trim is a product or a decoration 
> to highlight construction of the garment.  Covering the joining of a
> bodice to a skirt...   Personally I find that theory to be too
> speculative for me, and not in keeping with examples of garment
> shaping of the day.   But some people do advocate that style of
> construction.

Yeah, I think that's a little too sketchy for me too.

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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Nancy, thank you for going to the trouble of finding a way to post your photos.  The statue from Angers is very interesting and I appreciate your nice sharp detail shots.

Janet


  I have posted my pictures of the statue with the bliaut from Angers to  
  Flickr as well as some from Chartres, also with bliaut.  Additionally in  the 
  Chartres set are pictures I took of the St. Louis shirt in Notre Dame.   There is 
  also a set of pictures from the Costume Museum in Bath.
   
  http://www.flickr.com/photos/maddnancyphotos/
   
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Quoting "Sharon at Collierfam.com" <sharon@collierfam.com>:

> Any possibility that the line of trim is what we would call a waistband,
> attached to the vertical pleated skirt, the whole worn over the horizontally
> pleated underdress?

It's *always* possible.  But a couple of Garb Laurels that I know point
out that the waist seam is such a useful thing, why would it appear
*briefly* here in the 12th century and then disappear until the 15th
century (I think I"m getting my centuries straight).  You don't see it
again (other than in Italian garb) until Tudor fashion IIRC.  I'd just
*love* to have a Time Mschine if for no other reason than to answer
this very question!

Their line of thinking is that you have to draw on what was before and
what comes after -- since fashion, back then, didn't change just
because The Great Design Houses issued their new fall collection.  It
sort of oozed between styles.  Everything before and after the bliaut
is a simple tunic-type garment (yeah, the fit and support are different
between the 11th and the later garments), but they're still 2 or 4 panel
garments (unless you count some of the Herjolfernes garments [and I sure
hope I spelled that correctly!]).  It's easier for me to see a shorter
overgarment (we do see shorter tunics -- maybe only a foot or so, but
they're shorter over-tunics) than a waist seam appear out of nowhere
just to disappear again.

It's also possible that the trip is some sort of stabilizer on a single
piece gown to keep the shirring caused by the lacing in place. However, 
there's definately 2 layers at the neck (well, as definate as
one can be from looking at a piece of stone .....)

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 the Chartres it seems to stops under the bust

Some of the pleating on this one goes across the line which delineates the 
lower edge of the bust.  Look closely to find the exact pleats which do this.


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

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Subject: Re: [h-cost] girdle? was:] Photos
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>look at the photo called PDRM0061in the Chartres collection.  Look at
>the belt knot, then look just above the belt knot.  There you will see
>a repeating decorative pattern, that resembles trim, either woven or
>embroidered.  Now... notice that the "trim" appears to lie flat and
>follow the curve of the body,  lines above it run in the horizontal
>direction, lines below it run vertically.

PDRM0062 shows the same trim-like decoration at the neck of the outermost 
garment.  I'm ready to stand corrected.


        CarolynKayta Barrows
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          www.FunStuft.com

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Subject: [h-cost] Re. leather and stays
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The leather that I've seen binding the edges of 18th century stays is smooth
on the outside and rough on the reverse - like a pair of dressy gloves. (as
mentioned -kid gloves) This looks to be the same leather that was also used
on 19th century corsets I've seen.  Though I can't swear to their animal
origins, I suspect kid.  That was definitely called "wash leather" in the
19th century.
If you want to see the crescent pad under the arm go to the Kent State site.
Two of the ones there have this feature, though it's easier to see on one
than the other.
http://dept.kent.edu/museum/costume/bonc/4subjectsearch/lingerie/lingerie18t
h/lingerie18.html
on the first stays - "colonial brown quilted" - you can see it best in the
profile view. It's quite small and looks to be twisted.
on the sixth stays you can see it best (the ones right after the busk.)
The Museum of the City of New York has a set of stays with this underarm
shield made up of several layers of linen rather than leather.
My question - does anyone know the proper name for this underarm piece?

Martha


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Greetings--

Susan B. Farmer wrote:
> Their line of thinking is that you have to draw on what was before and
> what comes after -- since fashion, back then, didn't change just
> because The Great Design Houses issued their new fall collection.  It
> sort of oozed between styles.  Everything before and after the bliaut
> is a simple tunic-type garment (yeah, the fit and support are different
> between the 11th and the later garments), but they're still 2 or 4 panel
> garments (unless you count some of the Herjolfernes garments [and I sure
> hope I spelled that correctly!]).  It's easier for me to see a shorter
> overgarment (we do see shorter tunics -- maybe only a foot or so, but
> they're shorter over-tunics) than a waist seam appear out of nowhere
> just to disappear again.
This is generally my line of thought as well, and illustrates one of the 
problems of using statuary as a source for clothing history.  Statuary 
is *always* a secondary source, as the detail is subject to artistic 
interpretation--although it's also often one of the best sources we've 
got.  Statues are not photographs, any more than paintings are, even 
when there is a fair degree of realism.  Sculptors likely did not have 
live models posing for them as they chipped away at the stone; even when 
they are being realistic, there was always the challenge of representing 
what the fabric does in stone, a very different medium.  Just as we know 
painters "got it wrong", it is possible that so did sculptors.  This is 
where trying to verify what you see in the statues with other 
sources--extant garments, cutting techniques, literary sources, and 
other visual sources--leads to a more complete picture.  We can't take 
any of these sources in the twelfth century in isolation to understand 
what's going on.

The problem, of course, is that we lack an extant "bliaut", so theories 
are going to remain theories unless someone unearths a big trove of 
bliauts somewhere.  And I suspect even then there would be questions.....

Susan
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Subject: Re: [h-cost] girdle? was:] Photos
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>Sculptors likely did not have live models posing for them as they chipped 
>away at the stone; even when they are being realistic, there was always 
>the challenge of representing what the fabric does in stone, a very 
>different medium.

At least they were closer to the real thing than we are.  And, presumably, 
they saw a real one at some point.


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

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Subject: Re: [h-cost] Re. leather and stays
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By the way, I've seen kidskin for sale as a bookbinding supply--in fact, at 
the moment there's some up for sale on ebay:
http://stores.ebay.com/LEATHER-OUTLET
(click on kid skins under the store categories on the left)
It's about the same cost as buying a similar amount of chamois.

-E House 

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     Oooh, check out those metallics!!  I didn't see any white, but then
again I didn't look past the first page.  It would be worth
contacting the seller to find out how thin the kid leather is.

     At one point, the Silly Sisters (18thC clothing makers & merchants)
had stay binding leather available in a 1/2" strip, sold by the foot.
 I'm not sure if it was kid, but it was definitely thin enough to
sew.

     I hate the idea of cutting up antiques, but there are kid leather
gloves around where the hand is about 2" across and they would only
fit ET.  Or if you can find them as single gloves (unpaired) or
damaged.

     -Carol

> By the way, I've seen kidskin for sale as a bookbinding supply--in fact,
> at the moment there's some up for sale on ebay:
> http://stores.ebay.com/LEATHER-OUTLET
> (click on kid skins under the store categories on the left)
> It's about the same cost as buying a similar amount of chamois.
>
> -E House


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>So my question, just for my knowledge, is there docs on the horizontal lines
>on the bliaut ever being a separate piece from the garment?

SCA people sometimes make this as a separate garment, but that's partly 
because of bad reproductions of the original image.  The carving shows this 
as part of a single garment.  BTW, you can tell your friends that Nazi's 
haven't been invented yet, so she can stop calling you one.


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

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Subject: Re: [h-cost] girdle? was:] Photos
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I'd love to see the image where the 'girdle' section is a different color 
from the rest of the gown--I'm in the 
collecting-all-theories-and-evidence-so-I-can-make-test-garments-someday 
camp!

-E House
PS--thanks for the great photos 

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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Hi,
Thanks for all your help with this question. I would try to find some of 
this stuf and i hope not it is difficult to sew with, as i hate binding for 
the guts of my heart.

Bjarne




Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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Subject: RE: [h-cost] girdle?  was:] Photos
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Well.....she may get me the info which makes me wonder if it isn't a SCA
award scroll.
I have asked as I am interested as well.
De

-----Original Message-----
Do you have any additional information on The Manuscript?  I'd *really*
like to see that (as would a number of other folks, I"m sure!)

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. leather and stays
Date: Wed, 12 Apr 2006 19:16:10 -0500
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I looked around a bit more on ebay, and there's several other sellers 
offering it--do a search for kid skin, and be sure to check the stores as 
well as the normal listings.  There's a shoeseller who's retiring from the 
business and is selling off his inventory (id: parkridge101) who has a cream 
colored hide and a partial white hide, both big enough to get several stays 
worth of binding.

It's a pity that I don't seem likely to have time anyday soon to make 18thC 
stays--I'm all in the mood, now!

-E House

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From: Elizabeth Young <lizyoung@fenris.net>
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Subject: Re: [h-cost] kid scin
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Bjarne og Leif Drews wrote:
> Is it like washing leather?
> 
> Bjarne
> 
Possibly, if "washing leather" is what one uses to wash surfaces that 
one does not want scratched.

Gosh, what a tortured sentence!

liz young

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Subject: Re: [h-cost] Re. leather and stays
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 well as the normal listings.  There's a shoeseller who's retiring from the
> business and is selling off his inventory (id: parkridge101) 


Mmm, I wish I was there!

A few years ago, a shoe making factory here inMmelbourne closed down and all 
was being sold. People walked out with great machinery and tools and many 
businesses bought up a lot of the leather stock before auction they thought may 
be useful. At the bottom of the leather racks, unpurchased until I came along, 
was all the stock they thought would never be of use...1960s and '70s fashion 
leathers in pretty good condition: hot pink patents, '70s muscle-car-purples, 
maroons, crazy lizard prints, bright orange, flame effects, blue suedes... You 
get the picture.

I still have some but I am never using it because it is mine, mine, ALL 
MINE!!!!!!!!!!!!!!!!!!

-C.


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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] girdle? was:] Photos
Date: Wed, 12 Apr 2006 20:02:33 -0400
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On Wednesday 12 April 2006 5:05 pm, Carolyn Kayta Barrows wrote:
> >look at the photo called PDRM0061in the Chartres collection.  Look at
> >the belt knot, then look just above the belt knot.  There you will see
> >a repeating decorative pattern, that resembles trim, either woven or
> >embroidered.  Now... notice that the "trim" appears to lie flat and
> >follow the curve of the body,  lines above it run in the horizontal
> >direction, lines below it run vertically.
>
> PDRM0062 shows the same trim-like decoration at the neck of the outermost
> garment.  I'm ready to stand corrected.


Or both could be the same pattern of tablet woven trim--sewn on at the neck, 
used as a belt below.  I'm not convinced....


-- 
Cathy Raymond <cathy@thyrsus.com>

"I'm starting to like the cut of this man's gibberish."
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Greetings--

Carolyn Kayta Barrows wrote:
>> Sculptors likely did not have live models posing for them as they 
>> chipped away at the stone; even when they are being realistic, there 
>> was always the challenge of representing what the fabric does in 
>> stone, a very different medium.
>
> At least they were closer to the real thing than we are.  And, 
> presumably, they saw a real one at some point.
That's why sculpture does have its attractions as a source.  You just 
have to know and work with the caveats, as you would any source, and 
never assume they're being photographic-perfect in their 
representations.  Most of the twelfth century sculptures have a fair bit 
of stylization, so you have to ask yourself what's accurate, what's 
stylized, and what is limited by the limits of the medium itself.

One of the things I find fascinating about a lot of medieval sculpture 
(and apparently, a fair bit of the classical stuff as well) is that it 
was painted!  I have no idea of whether these particular examples were 
painted, but boy, wouldn't that have added an interesting layer of 
detail....

Susan

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Subject: Re: [h-cost] spiral lacing
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Do you mean for where you start and end the lacing?  Like-an "extra" 
lace to tie off to? Hmmm, I wonder why it would be necessary?  When we 
spiral lace we just tie off in the last hole......

Sg

Curious in Buckwheat, AZ
Bjarne og Leif Drews wrote:

> Hi,
> Have any of you ever seen extra tapes sewed to the top and bottom 
> center backs, for tying on if you use spiral lacing?
>
> Bjarne


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Oooh Ahhh, are you in for a treat.  http://www.hidehouse.com/  You can 
request a catalog, though I can't believe they don't have something 
comperable in Europe.  (Probably better, I mean after all, there is 
where it all started!)  

This is where I bought my "lipstick red"  lambskin for the corset I made 
for the "Suitable Gown for Her Majesty" 
http://www.saragrace.us/3E_4_QEW_Corset.html

While there in Napa, I also bought the most wonderful "celery green" 
hide....It comes in a number of lovely colors.  Also, deer skin is very 
soft and supple. (my hubby lets me have his hides he hunts)  It is 
perfect for edging the corsets.   I have found also, that ultrasuede 
lite, works beautifully, but you must cut it as a facing rather than a 
binding....does that make sense?  This is awesome stuff for leather 
guards on the bottom of gowns....it washes beautifully!

Sg

P.S.  Let me know if you have any trouble getting what you want.  I can 
order it and send it to you....



Bjarne og Leif Drews wrote:

> Is it like washing leather?


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Subject: Re: [h-cost] Steam Iron source
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Research the stuff on Rowenta - I have one for everyday ironing and it 
is okay, but as they age they spit etc.  The commercial ones that 
Greenberg and Hammer offer are awesome...pricey.... but awesome.  I have 
heard good things about the Euro-pro, but have not used those myself.
Kim Baird wrote:

>I have a very nice Euro-Pro with separate reservoir. I got it at Jo-Anne
>Fabrics. I've also seen them on line.
>
>Kim 
>  
>

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Subject: [h-cost] Missed the original post- was  Photos
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Nancy, thank you so much for posting these pictures.  I am sorry I 
missed the original post.  Can you explain again the information on the 
white linen garment (from Chartres?)  and the last colored picture 
http://www.flickr.com/photos/maddnancyphotos/127491641/?
Thanks,

Sg
MaddNancy@aol.com wrote:

>I have posted my pictures of the statue with the bliaut from Angers to  
>Flickr as well as some from Chartres, also with bliaut.  Additionally in  the 
>Chartres set are pictures I took of the St. Louis shirt in Notre Dame.   There is 
>also a set of pictures from the Costume Museum in Bath.
> 
>http://www.flickr.com/photos/maddnancyphotos/
> 
>Nancy
>_______________________________________________
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>
>  
>

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Subject: Re: [h-cost] girdle? was:] Photos
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On Wednesday 12 April 2006 9:10 pm, Susan Carroll-Clark wrote:
> Greetings--
>
> Carolyn Kayta Barrows wrote:
> >> Sculptors likely did not have live models posing for them as they
> >> chipped away at the stone; even when they are being realistic, there
> >> was always the challenge of representing what the fabric does in
> >> stone, a very different medium.
> >
> > At least they were closer to the real thing than we are.  And,
> > presumably, they saw a real one at some point.
>
> That's why sculpture does have its attractions as a source.  You just
> have to know and work with the caveats, as you would any source, and
> never assume they're being photographic-perfect in their
> representations.  Most of the twelfth century sculptures have a fair bit
> of stylization, so you have to ask yourself what's accurate, what's
> stylized, and what is limited by the limits of the medium itself.
>
> One of the things I find fascinating about a lot of medieval sculpture
> (and apparently, a fair bit of the classical stuff as well) is that it
> was painted!  

Yes, indeed.  The Philadelphia Museum of Art is built on the model of an 
ancient Greek temple, complete with sculptures in friezes around the walls, 
just under the roof eaves.  Their sculptures are painted--bright primary 
colors--reds, blues.  Flesh tones.  It's a very different aesthetic than 
we're accustomed to, knowing only the paintless statues as they've come down 
to us, but once you get used to the idea, it seems quite natural.  

I've seen a number of medieval sculptures that still retained noticeable 
amounts of pigment.  The main surprise about the sculptures I've seen is that 
the favorite color for the Virgin Mary's tunic is red, usually with a dark 
blue mantle (that scheme shows up in minatures and paintings of the period as 
well, now that I think about it).


> I have no idea of whether these particular examples were 
> painted, but boy, wouldn't that have added an interesting layer of
> detail....

Yes, it would.  Of course, there would still be art interpretation issues, 
much as there are for miniatures (e.g., was this color chosen for its 
symbolism?  or because it was an easily available paint pigment? or because 
people actually wore it?)  But I always prefer more information to less, even 
when the new information raises more questions than it answers.

--
Cathy Raymond <cathy@thyrsus.com>

"I'm starting to like the cut of this man's gibberish."
--General Fillmore (from "The Tick," episode 2)

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In a message dated 4/12/2006 9:41:32 P.M. EST, Susan wrote:
 
One of the things I find fascinating about a lot of medieval sculpture  
(and apparently, a fair bit of the classical stuff as well) is that it  
was painted!  I have no idea of whether these particular examples were  
painted, but boy, wouldn't that have added an interesting layer of  detail....

 
 
 
I took some pictures of statues in various museums that were  painted.  I 
mainly took the pictures because they were painted and, we're  so unused to that 
idea.  The one I remember off the top of my head had  bright blue, red, and 
yellow robes.  
 
In addition to the statues, the walls might also be brightly  painted.  One 
of the rooms in one of the buildings at the Tower of London  is currently in 
the process of being painted as it might have been at the time  it was 
constructed.  It looks likes a whitewash with a painted pattern on  it.  It's very 
attractive and really brightens up the room.
 
Nancy (Maddalena)




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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: RE: [h-cost] girdle? was:] Photos
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On Wed, 12 Apr 2006, Sharon at Collierfam.com wrote:

> Any possibility that the line of trim is what we would call a
> waistband, attached to the vertical pleated skirt, the whole worn over
> the horizontally pleated underdress?

One of the more believable theories I've heard for this is that the line
of trim (which is indeed distinct from the double-looped belt, and is
visible on several statues that I know of) is the waistband of a
decorative apron, and everything visible below that line is the apron
itself, forming a layer that goes over the full dress layer. That at least
would give us another alternative to the options of "waistband seam" and
"corselet."

Me, I frankly think the "bliaut problem" (meaning specifically how to
interpret the lines in the statuary in terms of specific garments and
construction) is fundamentally unsolvable given the present body of data.
People can argue about this till the cows come home, and there is still no
theory I've heard yet that's anything better than speculation and is
consistent with what we know of garments at this time from other media and
documents.

It's also important to recognize that the Chartres-style statues are not a
good set of sources to base any construction theories on. They're all from
a very small time/place slice, in a single medium. The mysterious lines do
not seem to occur in any other medium or locale at this time (at least
that I know of -- I'd be glad to see examples.) Plus, as far as I know,
every one of them is of an allegorical or historical figure. This raises
the very real possibility that what we are looking at is not an attempt to
reproduce real garments as worn by real women, but might be simply a style
for artistic representation unique to sculptors from a single artistic
school in this small part of France.

When we see the same details popping up in other media or over a broader
area, then I'll be more willing to speculate. But as it stands, I'm
staying out of it; the chances are far too good that this is all a blind
alley for costume evidence.

--Robin


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First: Can anyone tell me how to stretch a cotton/rayon "cowboy" hat from a size 6 3/4 to a size 7? 
Second: A friend of mine (same guy that has the hat) has purchased an antique mini revolver called a Velo-dogs pistol. It is a tiny gun made to fit in a vest pocket of a bike rider circa 1890 (plus or minus ten years). Apparently it was customary for ladies and gentlemen of the day to go riding in the country and at times they would be set upon by packs of wild dogs.  The little gun was loaded with something akin to shotgun shells, but finer (like sand) that would sting and scare the dogs off without injuring them.  What would the bike riding vest look like and how would the pocket be made so that the little gun could slip in and out easily? Anyone have a clue about this? Thanks

Lalah, Never give up, Never surrender


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In a message dated 4/13/2006 12:36:02 AM Eastern Standard Time,  
lalahcatlady@netscape.com writes:

Can  anyone tell me how to stretch a cotton/rayon "cowboy" hat from a size 6 
3/4 to  a size 7? 



Does it have an interior band?  If so, you may have to remove  it.  If not, 
just try steaming, steaming, with a teakettle if you don't  have a proper 
steamer, then putting it on the right size form (or maybe even the  head will 
work).  However, sounds like said hat is cheap enough not to  bother, nor might 
that steaming will even work.  But you aren't out much if  it doesn't.  There are 
lots of sources for cheap cowboy hats out  there.  On-line, try Shepler's.  
Around here, the Latino stores stock  straw ones--not felt, so much.
 
Ann Wass 
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Subject: Re: [h-cost] girdle? was:] Photos
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>Of course, there would still be art interpretation issues,
>much as there are for miniatures (e.g., was this color chosen for its
>symbolism?  or because it was an easily available paint pigment? or because
>people actually wore it?)

There's always a difference between dyestuff, for fabric, and paint 
pigment.  And what's good for one isn't necessarily good for the other.


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

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I found the link in a friend's blog - fabric made from corn. Really!

http://msnbc.msn.com/id/12225701/site/newsweek/

Wonder how much it truly costs...

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To: Historical Costume <h-costume@indra.com>
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>I found the link in a friend's blog - fabric made from corn. Really!

There are knitting yarns made of this already, and yarns made of milk.  In, 
I believe, the 1880s, the new fiber was one made of wood (Rayon).


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

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Date: Thu, 13 Apr 2006 02:07:53 -0700 (PDT)
From: Tania Gruning <tania_gr17@yahoo.com>
Subject: Re: [h-cost] Re. leather and stays
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I would not use those for binding corsets. I do bookbinding as a hobby and those skins are vegetable tanned and very stiff and non stretchy as that is the qualities useful in bookbinding. I believe washing skins are alumtanned or something like that. At least they are much softer and pliable that bookbinding skins
   
  Tania

E House <formfunc@formfunction.org> wrote:
  By the way, I've seen kidskin for sale as a bookbinding supply--in fact, at 
the moment there's some up for sale on ebay:
http://stores.ebay.com/LEATHER-OUTLET
(click on kid skins under the store categories on the left)
It's about the same cost as buying a similar amount of chamois.

-E House 

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Milk???  Hmmm, now I have heard of textiles made from the cellulose in 
soy, but milk?  I can't remember right now which product, but either 
"Silk" soy milk, or "Vitasoy" has a little history of all the textile 
stuff that Henry Ford tried to use soy for.  Some of my spinner friends 
don't particularly like spinning with soy silk, but then I suppose it is 
all what you get used to and what you have access to. 

Funny, when I tried to google on soy silk, I got this:
Soy Silk and Ingeo Corn Fiber 
<http://www.earthguild.com/products/spinning/spsoycor.htm> Soy Silk is 
made of left-overs from the tofu manufacturing process. ... Blending 75% 
Soy Silk with 25% fine wool adds memory and bounce while maintaining 
...www.earthguild.com/products/spinning/spsoycor.htm - 4k -

But when I clicked on it, I couldn't find anything else about the 
Inego.....I wonder how long it has been around?   Bummer that it can 
melt when it gets ironed...I wonder how bad it is....thanks for sharing!

Sg


Carolyn Kayta Barrows wrote:

>
>> I found the link in a friend's blog - fabric made from corn. Really!
>
>
> There are knitting yarns made of this already, and yarns made of 
> milk.  In, I believe, the 1880s, the new fiber was one made of wood 
> (Rayon).
>

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In a message dated 4/13/2006 6:18:39 A.M. Eastern Standard Time,  
wickedfrau@msn.com writes:

now I  have heard of textiles made from the cellulose in 
soy, but  milk? 


Actually, these are regenerated PROTEIN fibers, as rayon is a  regenerated 
cellulose fiber.  Milk protein fabrics were big in the  1930s.  So the milk and 
soy fibers are akin to silk and wool, as rayon  is akin to cotton.
 
Ann Wass
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Susan B. Farmer wrote:
>  
> You can also see this line of trip just above the belt on some statues
> from St. Loup de Naud.  This is a large scan (ca. 1 MB in size) so that
> you can see the details quite nicely.
> 
> http://epee.goldsword.com/sfarmer/SCA/Paintings/stLoupDeNaud_LeftPortal-detai2l.jpg

This is very interesting--where is St. Loup de Naud, and is it known 
when the statuary was done?

Thanks,
Melanie Schuessler

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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] girdle? was:] Photos
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On Thu, 13 Apr 2006, Melanie Schuessler wrote:

> Susan B. Farmer wrote:
> >  
> > You can also see this line of trip just above the belt on some statues
> > from St. Loup de Naud.  This is a large scan (ca. 1 MB in size) so that
> > you can see the details quite nicely.
> > 
> > http://epee.goldsword.com/sfarmer/SCA/Paintings/stLoupDeNaud_LeftPortal-detai2l.jpg
> 
> This is very interesting--where is St. Loup de Naud, and is it known 
> when the statuary was done?

It's by Provins -- e.g. not far from Paris or Chartres. The portals are
12th c. See
http://perso.magic.fr/relet/StLoup/Saint_Loup_de_Naud/Saint_Loup_de_Naud.htm
for some discussion of the portals
For the French-impaired, that's
http://translate.google.com/translate?hl=en&sl=fr&u=http://perso.magic.fr/relet/StLoup/Saint_Loup_de_Naud/Saint_Loup_de_Naud.htm&prev=/search%3Fq%3DLoup%2Bde%2BNaud%26hl%3Den%26lr%3D%26client%3Dgooglet
but as usual this is a little cockeyed! First time I've seen "Moyen Age"
(Middle Ages) translated as "the Average Age" ;-)

The page says that the portal is not precisely dateable, but probably is
around 1160, when the church received a major relic.

The female figure is probably the Queen of Sheba (biblical, royal,
foreign). There's a Queen of Sheba image in some costume books -- I think
it's in Payne, among others, or maybe it was Davenport? -- but I don't
know if it's the same one.

--Robin


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Subject: [h-cost] Arrowhead Reinforcement?
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Dear All,

Long time, no write. Sorry.

I'm looking for information on how to make something I
think is called Arrowhead Reinforcement. It's a
finishing technique where the top of a slit (usually
on shirt tails, I think) is reinforced at the end by a
hand stitched arrowhead style design. 

Does anyone have information on how to make these?

Thanks a bunch,
Cynthia

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Date: Thu, 13 Apr 2006 09:00:45 -0400
From: monica spence <monicaspence@optonline.net>
Subject: RE: [h-cost] Re: h-costume Digest, Vol 5, Issue 331
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Hi Nancy--
Yes I've heard that classical statues were painted. Does anyone know if any
survived with the paint intact? I know that we have both seen tons of
medieval painted statues in the Met.

Your comment about walls with a painted pattern reminded me of one. In
Florence there is a room in the Palazzo Vecchio called the "Sala dei Gigli
(Room of Lilies-- lilies/ fleur de lis being the symbol of the city of
Florence) The walls are painted deep blue and there are gold fleur de lis
all over it. Looks like wallpaper.

Monica (Catriona)

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of MaddNancy@aol.com
Sent: Wednesday, April 12, 2006 11:16 PM
To: h-costume@indra.com
Subject: [h-cost] Re: h-costume Digest, Vol 5, Issue 331



In a message dated 4/12/2006 9:41:32 P.M. EST, Susan wrote:

One of the things I find fascinating about a lot of medieval sculpture
(and apparently, a fair bit of the classical stuff as well) is that it
was painted!  I have no idea of whether these particular examples were
painted, but boy, wouldn't that have added an interesting layer of
detail....




I took some pictures of statues in various museums that were  painted.  I
mainly took the pictures because they were painted and, we're  so unused to
that
idea.  The one I remember off the top of my head had  bright blue, red, and
yellow robes.

In addition to the statues, the walls might also be brightly  painted.  One
of the rooms in one of the buildings at the Tower of London  is currently in
the process of being painted as it might have been at the time  it was
constructed.  It looks likes a whitewash with a painted pattern on  it.
It's very
attractive and really brightens up the room.

Nancy (Maddalena)




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From: "Land of Oz" <landofoz@netins.net>
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Subject: Re: [h-cost] kid skin and arrowheads
Date: Thu, 13 Apr 2006 08:57:55 -0500
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> The chamois that I've seen is yellow, and has a suede-like surface.
> I know people like to use chamois because they can find it easily and
> it's thin (nicer for hand stitching).
>
>     Or do you mean something different for chamois - is it available
> white and with a smooth surface?

I think the identity problem is with manufacturers taking a name for a 
specific thing and using it for a wide variety of other, similar things. 
Unless I'm mistaken, a "true" Chamois is fine, absorbent leather made from 
the skin of a kind of mountain goat (with the same name, I think) and it's 
usually very light cream colored (and very expensive). People didn't buy 
them to polish their Chevy, they used them on their Lamborghini. :-)  The 
yellow leather chamois polishing pieces sold in mass-market stores are 
inexpensive because they are not Chamois -- they are similar in use to 
Chamois: polishing your Ford. Absorbent chamois with a small "c" I suppose.

----------------------
>> I'm looking for information on how to make something I
think is called Arrowhead Reinforcement. It's a
finishing technique where the top of a slit (usually
on shirt tails, I think) is reinforced at the end by a
hand stitched arrowhead style design.

=
I've seen these on western shirts at each end of a breast pocket. Sometimes 
they are machine embroidered (simple straight lines with the wide end over 
edge of the slit) but usually they are small triangles of felt or leather 
that are machine stitched over each end of the slit.


hope that helps
Denise
Iowa

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Subject: Re: [h-cost] Has anyone heard of the new fabric?
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Ingeo? It's been around for a few years now, at least for the spinning and
knitting communities.  They're also making fiber for
spinning/weaving/knitting out of soy.  They're apparently similar to silk in
the handle.  Very inventive, <shrugs> but I've got enough on my plate just
working with wool and silk and linen! ;o)
Heck, you can even get yarn/fiber made from bamboo!
--Sue

----- Original Message -----
From: "Ailith Mackintosh" <ailith@neo.rr.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, April 13, 2006 12:57 AM
Subject: [h-cost] Has anyone heard of the new fabric?


> I found the link in a friend's blog - fabric made from corn. Really!
>
> http://msnbc.msn.com/id/12225701/site/newsweek/
>
> Wonder how much it truly costs...


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Subject: Re: [h-cost] kid leather
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In a message dated 4/12/2006 8:06:02 P.M. Eastern Standard Time,  
drewscph@post12.tele.dk writes:

as i  hate binding for 
the guts of my heart.



************************
 
 
Hahahaha! Yes! Oh yes!
 
I doubt you would need a leather needle to sew Kid, but you might get one  
just in case....for the machine I mean. And since it stretches a bit, if you  
have a walking foot...one with "feed dogs" to move the fabric on top as well as  
underneath, you might find that helpful. This assuming you're doing it by  
machine.
If you plan to bind it by hand....never mind...
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I've been asked to help find sources for  costumes for a school play... 
I believe they are doing the Columbus story. My information on Portugese 
clothing of that time is very thin... would it be safe to use Spanish 
sources? English?



Dawn


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Date: Thu, 13 Apr 2006 12:04:12 -0400 (EDT)
Subject: Re: [h-cost] kid leather & binding stays
From: aquazoo@patriot.net
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> I doubt you would need a leather needle to sew Kid, but you might get one
> just in case....for the machine I mean. And since it stretches a bit, if
> you have a walking foot...one with "feed dogs" to move the fabric on top
> as well as underneath, you might find that helpful. This assuming you're
> doing it by machine.
> If you plan to bind it by hand....never mind...

     There is that small matter of the boning...

     I did do a binding on lightly boned stays by machine - stitch for two
inches, skip the 1/4 inch over the bone, stitch another 2"...  then I
went back and hand-stitched where the bones were.

     The idea, of course, is to enclose the end of the bone in leather,
otherwise it will wear and poke through just below the leather.

     I suppose with light plastic boning you can sew right through it, but
the Wissner is a harder plastic.  I'm not sure you could put a needle
through it without breaking the plastic, even if you have an
industrial machine that could sew through it!

     By the way, some original stays have a single stitch through each
bone (whalebone) about an inch from the top and an inch from the
bottom to anchor it in the channel and keep it from sliding.

     -Carol

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Subject: Re: [h-cost] Portugal clothing in the 15th century
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----- Original Message ----- 
From: "Dawn" <dawn@reddawn.net>
> I've been asked to help find sources for  costumes for a school play... I 
> believe they are doing the Columbus story. My information on Portugese 
> clothing of that time is very thin... would it be safe to use Spanish 
> sources? English?

>From what I've seen, they look a lot closer to Spanish than anything 
else--you might want to look through
http://jessamynscloset.com/
which has a collection of Spanish and Portuguese images.

-E House

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From h-costume-bounces@indra.com  Thu Apr 13 12:20:32 2006
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Wicked Frau writes:

I am  sorry I 
missed the original post.  Can you explain again the  information on the 
white linen garment (from Chartres?)  and the last  colored picture  
http://www.flickr.com/photos/maddnancyphotos/127491641/?
Thanks,       






The white linen garment is the St. Louis tunic that is in the Treasury at  
Notre Dame.
 
The colored picture is from the choir of Notre Dame.  I have more info  on it 
on my other computer.  I included it because I always like to see  examples 
of striped clothing.
 
Nancy (Maddalena)
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Date: Thu, 13 Apr 2006 17:37:35 +0100
To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] 16th  century men query/clarification
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At 17:32 13/04/2006, you wrote:

>O.K. I give up! I have searched all the usual suspects, Arnold, 
>Mikhaila, Waugh, Tudor Images, Costume in the Western World, 
>Davenport, Ashelford etc., the costume books edited by James Laver, 
>a beautiful Czech book I have and so on. I cannot find an image of a 
>gentleman in breeches and skirted doublet for about 1560-80.
>
>It is for my husband to wear to an SCA event we have been invited to 
>in the summer. I have all the garb for me for gentry, and my husband 
>has a pair of wool breeches and  a pair of slightly non-authentic 
>boots that will have to do. However, as he is only going to be 
>wearing this doublet once, and i am totally tight for time, I need 
>something simple and thought that a plain but rich wool skirted 
>doublet would be ideal. He has his own peascod belly so won't need 
>padding, but the only images I can find are of upper class servants, 
>or peasants, and my husband would not have been a peasant!! 
>(Me?  marry a peasant? - bah!)


Sorry, I should have made it clear that I can easily find images of 
the doublet with trunk hose or plain hose, but not with breeches. 
That is what I need.

>I may have to go with what I want rather than what is strictly 
>authentic, but any advice or images would be most welcome.
>
>Suzi
>
>http://images.google.co.uk/imgres?imgurl=http://vassun.vassar.edu/~jasaeger/img/maps/hoefnagel_1024x-2g.jpeg&imgrefurl=http://vassun.vassar.edu/~jasaeger/img/maps/london-a.html&h=768&w=973&sz=166&tbnid=5x31pXSylFzxVM:&tbnh=116&tbnw=148&hl=en&start=14&prev=/images%3Fq%3DHoefnagel%26svnum%3D10%26hl%3Den%26lr%3D%26sa%3DG
>
>The young man on the left is wearing the kind of doublet I mean. 
>(Sorry I don't know how to compress the url.) 
>_______________________________________________
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>
>


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H-costumers,
A friend just came back from a trip to Spain & reported .a new costume
museum in Madrid; it just opened in 2004.  There's very very little
from before the 18th c, but what there is, is new & interesting.
museodeltraje.mcu.es
On the side bar click: indumentaria histórica
Noodle around and you will find an unusual sleeveless woman's doublet
(jubon femenino) circa 1590-1620.  I've never seen this particular
garment before. The stripey skirtings are really fun. It reminded me
of the red & white arches of Seville cathedral.
There's also an early pocket, I think, under the "joyeria" (jewelry)
section with what may be couched silver thread. Pretty, but a very
small picture.
--cin
Cynthia Barnes
CinBarnes@gmail.com

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I only know of two types that have been call "Arrowhead". One is embroidery
in which you embroider a triangle shape at the top of the slit uses either
split stitch, darning stitch or a stitch that I can't remember what its
called.
The other method was taking triangular piece of the same  material as the
garment or item to be "arrowheaded", fold in a bit of the tips, then the
sides. Stitch down the turned under sides with a point facing up and a side
going across the top of the slit. Think of the slit as the shaft of an arrow
and the triangular piece the arrowhead and that is how it should look in
alignment. You will want to stitch the interior of the arrowhead, this I
have seen artistic license as from simple triangle within triangle to
initials to geometrics.
There is the option of satin stitching instead of hemming the triangle for
less bulk.
This is my understanding of Arrowhead and may not be what you are looking
for or the "real" arrowhead for slits.

De




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Those with digest please try to put something in the subject heading so that
those of us who glean through will know ahead of time what subject you are
commenting on or if it is a new topic.

Thank you,
De


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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
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Subject: [h-cost] 16th  century men query
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O.K. I give up! I have searched all the usual suspects, Arnold, 
Mikhaila, Waugh, Tudor Images, Costume in the Western World, 
Davenport, Ashelford etc., the costume books edited by James Laver, a 
beautiful Czech book I have and so on. I cannot find an image of a 
gentleman in breeches and skirted doublet for about 1560-80.

It is for my husband to wear to an SCA event we have been invited to 
in the summer. I have all the garb for me for gentry, and my husband 
has a pair of wool breeches and  a pair of slightly non-authentic 
boots that will have to do. However, as he is only going to be 
wearing this doublet once, and i am totally tight for time, I need 
something simple and thought that a plain but rich wool skirted 
doublet would be ideal. He has his own peascod belly so won't need 
padding, but the only images I can find are of upper class servants, 
or peasants, and my husband would not have been a peasant!! 
(Me?  marry a peasant? - bah!)

I may have to go with what I want rather than what is strictly 
authentic, but any advice or images would be most welcome.

Suzi

http://images.google.co.uk/imgres?imgurl=http://vassun.vassar.edu/~jasaeger/img/maps/hoefnagel_1024x-2g.jpeg&imgrefurl=http://vassun.vassar.edu/~jasaeger/img/maps/london-a.html&h=768&w=973&sz=166&tbnid=5x31pXSylFzxVM:&tbnh=116&tbnw=148&hl=en&start=14&prev=/images%3Fq%3DHoefnagel%26svnum%3D10%26hl%3Den%26lr%3D%26sa%3DG

The young man on the left is wearing the kind of doublet I mean. 
(Sorry I don't know how to compress the url.) 
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Subject: Re: [h-cost] kid skin and arrowheads
Date: Thu, 13 Apr 2006 20:54:32 +0200
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Arrowheads are very beautifull when made by hand. These are usually worked 
with the same buttonhole thread as the buttonholes.
There must be a place they show it online, but i dont know where.
My Burda Sewing book has very nice instruktions to make them.

Bjarne


----- Original Message ----- 
From: "Land of Oz" <landofoz@netins.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, April 13, 2006 3:57 PM
Subject: Re: [h-cost] kid skin and arrowheads


>> The chamois that I've seen is yellow, and has a suede-like surface.
>> I know people like to use chamois because they can find it easily and
>> it's thin (nicer for hand stitching).
>>
>>     Or do you mean something different for chamois - is it available
>> white and with a smooth surface?
>
> I think the identity problem is with manufacturers taking a name for a 
> specific thing and using it for a wide variety of other, similar things. 
> Unless I'm mistaken, a "true" Chamois is fine, absorbent leather made from 
> the skin of a kind of mountain goat (with the same name, I think) and it's 
> usually very light cream colored (and very expensive). People didn't buy 
> them to polish their Chevy, they used them on their Lamborghini. :-)  The 
> yellow leather chamois polishing pieces sold in mass-market stores are 
> inexpensive because they are not Chamois -- they are similar in use to 
> Chamois: polishing your Ford. Absorbent chamois with a small "c" I 
> suppose.
>
> ----------------------
>>> I'm looking for information on how to make something I
> think is called Arrowhead Reinforcement. It's a
> finishing technique where the top of a slit (usually
> on shirt tails, I think) is reinforced at the end by a
> hand stitched arrowhead style design.
>
> =
> I've seen these on western shirts at each end of a breast pocket. 
> Sometimes they are machine embroidered (simple straight lines with the 
> wide end over edge of the slit) but usually they are small triangles of 
> felt or leather that are machine stitched over each end of the slit.
>
>
> hope that helps
> Denise
> Iowa
>
> _______________________________________________
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> 


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Subject: Re: [h-cost] kid leather & binding stays
Date: Thu, 13 Apr 2006 21:10:36 +0200
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Hi Carol.
Thanks for your informations. I didnt know that some bones were anchored to 
the channels.
Wiessner boning is hard plastic, but you actually can sew trough it with a 
strong sewing needle on the machine.
But i plan to bind all the edges by hand, i also sewed all the sections 
together by hand. I cant do it on a machine, because i use bones in all the 
channels of the tabs, and it s very difficult to control the sewingmachine 
on top of the bones.
Its a comission and i think i just want to bind the edges with ivory silk 
taffeta i have. I dont have the time to find kid, and i think i would have 
to praktise a lot with it before i use it on a pair of stays.
But thanks all for helping  me with the questions i had about kid skin.

Bjarne

----- Original Message ----- 
From: <aquazoo@patriot.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, April 13, 2006 6:04 PM
Subject: Re: [h-cost] kid leather & binding stays


>> I doubt you would need a leather needle to sew Kid, but you might get one
>> just in case....for the machine I mean. And since it stretches a bit, if
>> you have a walking foot...one with "feed dogs" to move the fabric on top
>> as well as underneath, you might find that helpful. This assuming you're
>> doing it by machine.
>> If you plan to bind it by hand....never mind...
>
>     There is that small matter of the boning...
>
>     I did do a binding on lightly boned stays by machine - stitch for two
> inches, skip the 1/4 inch over the bone, stitch another 2"...  then I
> went back and hand-stitched where the bones were.
>
>     The idea, of course, is to enclose the end of the bone in leather,
> otherwise it will wear and poke through just below the leather.
>
>     I suppose with light plastic boning you can sew right through it, but
> the Wissner is a harder plastic.  I'm not sure you could put a needle
> through it without breaking the plastic, even if you have an
> industrial machine that could sew through it!
>
>     By the way, some original stays have a single stitch through each
> bone (whalebone) about an inch from the top and an inch from the
> bottom to anchor it in the channel and keep it from sliding.
>
>     -Carol
>
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Subject: Re: [h-cost] Museo de Traje
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Wow, they have some really interesting 18thC stuff that I've never seen 
before!

By the way, there's an English version of the site--on the front page, near 
the middle, you'll see a link that says 'Welcome' which will lead you to it. 
Also, you have to go to Gallery under Collections before you can get to the 
indumentaria histórica/ historical dress section, and you may want to go 
straight to the catalog section (under Collections) where you can search for 
images.  Unfortunately, there's no English version of the search engine.

-E House USED to be a fluent Spanish-speaker... 

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Date: Thu, 13 Apr 2006 15:50:01 -0400 (EDT)
Subject: Re: [h-cost] kid leather & binding stays
From: aquazoo@patriot.net
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     Glad I could help!  I've seen the Wissner in a thicker weight
(probably for hoops rather than boning) which I can't imagine sewing
through.  If the standard weight can be sewn, all the better!

     I would suggest a nice cotton or linen tape for binding rather than
silk.  Silk has poor abrasion resistance, and the edges of stays will
get a lot of wear.

     -Carol

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Subject: Re: [h-cost] Museo de Traje
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Ahh,
Would someone please send the URL again?
Clumsy Bjarne who delited it!

Bjarne


----- Original Message ----- 
From: "E House" <formfunc@formfunction.org>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, April 13, 2006 9:39 PM
Subject: Re: [h-cost] Museo de Traje


> Wow, they have some really interesting 18thC stuff that I've never seen 
> before!
>
> By the way, there's an English version of the site--on the front page, 
> near the middle, you'll see a link that says 'Welcome' which will lead you 
> to it. Also, you have to go to Gallery under Collections before you can 
> get to the indumentaria histórica/ historical dress section, and you may 
> want to go straight to the catalog section (under Collections) where you 
> can search for images.  Unfortunately, there's no English version of the 
> search engine.
>
> -E House USED to be a fluent Spanish-speaker...
> _______________________________________________
> 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] kid leather & binding stays
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Status: RO

Bjarne, this place is local for me, but they mail order.  They have a nice supply of kid leather in their bridal/specialty department.  It's reasonable as well:

Mill End Retail Fabric Store
(503) 786-1234
9701 SE McLoughlin Blvd
Portland, OR 97222

www.millendstore.com<http://www.millendstore.com/>


HTH--

LuAnn in Washington


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In a message dated 4/13/2006 3:40:31 P.M. Eastern Standard Time,  
formfunc@formfunction.org writes:

Wow,  they have some really interesting 18thC 


*******************
 
Yes, that beautiful embroidered 1740 woman's jacket! And the very BLUE  man's 
suit from the 1760s.
 
And the woman's jerkin is really beautiful [ like "cinbarnes" said]
 
What fun! Let's all go!
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Subject: Re: [h-cost] Museo de Traje
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In a message dated 4/13/2006 2:00:53 P.M. Eastern Standard Time,  
cinbarnes@gmail.com writes:

museodeltraje.mcu.es



*****************
 
 
there ya go, Bjarne.
 
BTW....check out the wonderful stuff under "Popular Costume" [Indumentaria  
popular]
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Subject: RE: [h-cost] 16th  century men query
Date: Thu, 13 Apr 2006 18:06:49 -0700
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The new book, "The Tudor Tailor" has a line drawing of almost exactly what
you want, on page 63. You would just have to make the hanging sleeves.

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Suzi Clarke
Sent: Thursday, April 13, 2006 9:32 AM
To: Historical Costume
Subject: [h-cost] 16th century men query



O.K. I give up! I have searched all the usual suspects, Arnold, 
Mikhaila, Waugh, Tudor Images, Costume in the Western World, 
Davenport, Ashelford etc., the costume books edited by James Laver, a 
beautiful Czech book I have and so on. I cannot find an image of a 
gentleman in breeches and skirted doublet for about 1560-80.

It is for my husband to wear to an SCA event we have been invited to 
in the summer. I have all the garb for me for gentry, and my husband 
has a pair of wool breeches and  a pair of slightly non-authentic 
boots that will have to do. However, as he is only going to be 
wearing this doublet once, and i am totally tight for time, I need 
something simple and thought that a plain but rich wool skirted 
doublet would be ideal. He has his own peascod belly so won't need 
padding, but the only images I can find are of upper class servants, 
or peasants, and my husband would not have been a peasant!! 
(Me?  marry a peasant? - bah!)

I may have to go with what I want rather than what is strictly 
authentic, but any advice or images would be most welcome.

Suzi

http://images.google.co.uk/imgres?imgurl=http://vassun.vassar.edu/~jasaeger/
img/maps/hoefnagel_1024x-2g.jpeg&imgrefurl=http://vassun.vassar.edu/~jasaege
r/img/maps/london-a.html&h=768&w=973&sz=166&tbnid=5x31pXSylFzxVM:&tbnh=116&t
bnw=148&hl=en&start=14&prev=/images%3Fq%3DHoefnagel%26svnum%3D10%26hl%3Den%2
6lr%3D%26sa%3DG

The young man on the left is wearing the kind of doublet I mean. 
(Sorry I don't know how to compress the url.) 
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In a message dated 4/13/2006 9:07:36 P.M. Eastern Standard Time,  
sharon@collierfam.com writes:

The new  book, "The Tudor Tailor" has a line drawing of almost exactly what
you  want, on page 63. You would just have to make the hanging  sleeves.



**************
I don't see any breeches on page 63.
 
I thought her dilemma was she cannot find a pictorial reference to a  doublet 
with long skirts worn with "breeches"....by which I think she means  
Venetians. There is a rendering of a man in a skirted doublet [one looks like a  
jerkin] with paned hosen that come to just above the knee on pages 11, 15  and 19.
The paintings these details are from are
 
"The Fete at Bermondsey"  by Joris Hoefnagel c1570 [page 11]
"The Embarkation at Dover" in the Royal Collection [page 15]
and
"The Field of the Cloth of Gold", also in the Royal Collection [Page  19]
 
The whole paintings [I think] are on the "Contents" page....but get your  
magnifying glass out.
 
But that's the problem isn't it? Most renderings of a doublet with  Venetians 
are of the later short doublet with tassets.
 
And again, these men all appear to be servants of some kind holding arms or  
something. But some are just dancing or socializing so you cannot really  tell.
 
 
 
 
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Corn - the new peanut.  Sounds like they are trying to make corn into everything from clothes to gas.
However, thin, not stretcy fabric sounds good and the dress in the picture looks floaty enough for anyone.  Hope they don't use all the corn up - I like eating it.
Lalah, Never give up, Never surrender



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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: Re: [h-cost] Portugal clothing in the 15th century
Date: Thu, 13 Apr 2006 20:56:40 +0200
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Hi Dawn,
I think that a little later, portugal was ruled by a spanish king, so i 
would guess they not only are very close together regionally, but also 
fashionable.

Bjarne


----- Original Message ----- 
From: "Dawn" <dawn@reddawn.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, April 13, 2006 4:57 PM
Subject: [h-cost] Portugal clothing in the 15th century


> I've been asked to help find sources for  costumes for a school play... I 
> believe they are doing the Columbus story. My information on Portugese 
> clothing of that time is very thin... would it be safe to use Spanish 
> sources? English?
>
>
>
> Dawn
>
>
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Subject: Re: [h-cost] kid leather & binding stays
Date: Thu, 13 Apr 2006 21:56:06 +0200
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Hi Carol,
Yes i know it would be best with cotton or linnen, but really for reenacting 
will it really be worned this much?

Bjarne

----- Original Message ----- 
From: <aquazoo@patriot.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, April 13, 2006 9:50 PM
Subject: Re: [h-cost] kid leather & binding stays


>
>     Glad I could help!  I've seen the Wissner in a thicker weight
> (probably for hoops rather than boning) which I can't imagine sewing
> through.  If the standard weight can be sewn, all the better!
>
>     I would suggest a nice cotton or linen tape for binding rather than
> silk.  Silk has poor abrasion resistance, and the edges of stays will
> get a lot of wear.
>
>     -Carol
>
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Subject: Re: [h-cost] Museo de Traje
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In a message dated 4/13/2006 2:01:05 P.M. Eastern Standard Time,  
cinbarnes@gmail.com writes:

On the  side bar click: indumentaria histórica



Thanks for the lead, but I didn't see this on the initial sidebar.   Can you 
tell us what heading it is under?
 
Ann Wass
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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] Museo de Traje
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At 20:39 13/04/2006, you wrote:
>Wow, they have some really interesting 18thC 
>stuff that I've never seen before!
>
>By the way, there's an English version of the 
>site--on the front page, near the middle, you'll 
>see a link that says 'Welcome' which will lead 
>you to it. Also, you have to go to Gallery under 
>Collections before you can get to the 
>indumentaria histórica/ historical dress 
>section, and you may want to go straight to the 
>catalog section (under Collections) where you 
>can search for images.  Unfortunately, there's 
>no English version of the search engine.
>
>-E House USED to be a fluent Spanish-speaker...


I wish I'd known when I was in Madrid last year. 
I only managed two days at the Prado, one at the 
Borne Misza and two exhibitions in the Palacio 
Real during my 6 days there. I could have had 
another museum day! Seriously, I do wish I'd known.

Suzi



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----- Original Message ----- 
From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
<<Would someone please send the URL again?
Clumsy Bjarne who delited it!>>

http://museodeltraje.mcu.es

-E House

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Subject: [h-cost] Boise, Idaho, USA
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I find myself going to Boise the end of next month, and I'm wondering if there's anything of interest to costumers there?  I know the University of Idaho is there, but I have no idea what kind of library or museum they might have, or if there's anything else in town.  I'll be there on a weekday, and have most of the day to myself.

Melusine
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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] girdle? was:] Photos
Date: Thu, 13 Apr 2006 22:08:17 -0400
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On Thursday 13 April 2006 2:50 am, Carolyn Kayta Barrows wrote:
> >Of course, there would still be art interpretation issues,
> >much as there are for miniatures (e.g., was this color chosen for its
> >symbolism?  or because it was an easily available paint pigment? or
> > because people actually wore it?)
>
> There's always a difference between dyestuff, for fabric, and paint
> pigment.  And what's good for one isn't necessarily good for the other.

That's true.  But I was thinking more along the lines of "certain shades are 
possible in paint that may not be possible in textile dyes, and vice versa."

-- 
Cathy Raymond <cathy@thyrsus.com>

"I'm starting to like the cut of this man's gibberish."
--General Fillmore (from "The Tick," episode 2)

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To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Portugal clothing in the 15th century
Date: Thu, 13 Apr 2006 22:15:11 -0500
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During the 1500s I do believe that Portugal and Spain did not get along with
each other. Said to be like siblings trying to one up the other.
Then in 1580, Philip of Spain invaded and conquered Portugal. It was not
many years after this that you get the Jewish exodus from Spain and
Portugal. I think sometime after Holland became free of the Spanish rule as
many of the refugees went there.
I was told by someone who has research the 1500s Spain and Portugal but not
the 1400s said that the fashions were similar but there were differences.
Probably not much help but maybe something.
De


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Subject: [h-cost] Naming kids
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> 
> I think the identity problem is with 

Yes, the problem we will always have here is different names used by 
manufacturers and across national borders.

Here on the correct side of the Pacific, for instance, a bang, cotton, and a 
fringe have different meanings than are usual in North America.

When I go to the dealers to buy kid (leather, not half-built people) I expect a 
thinner, soft leather with a little bit of stretch to it. A skin will be around 
6 square feet in size and come from a young goat. One side is shiney in the 
traditional leather look, the reverse is more fibrous like suede. Colours can 
be standards like brown and black through to outrageous hot ones, all depending 
upon what has been done at the tannery. If you get lucky enough, you will find 
some that has been printed or stamped with a pattern.

Chamois is another kind of kid skin to my thinking, sometimes used for binding 
of clothing, often for gloves and so forth, but most commonly used for cleaning 
gooey bits of kangaroo off the grill of the Ford Falcon. It was marketed 
as "shammee" for many years.

Unfortunately, these are available in synthetics now. Fake chamois can be 
bought for cleaning purposes, it is somewhere between a loosely woven soft 
cloth and felt. Upholsterers have been using fake leathers for some time now 
including very soft vinyl they claim to be as close as kid as you can get -- of 
course, they can never show a kid skin with criss-cross fibres just under the 
surface!

Yeah, I know, all this is boring for most but we are all gonna keep an eye on 
language differences or we will be like the five blind men trying to describe 
an elephant.

By the way, kangaroo? Did I say kangaroo? If you like kid you will love 
kangaroo hide!

-C.


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I am selling a cotton ikat sari, approximately 5.5 yards long.  If interested please email me off list.

-Katie

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From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] 16th  century men query
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>
>The new  book, "The Tudor Tailor" has a line drawing of almost exactly what
>you  want, on page 63. You would just have to make the hanging  sleeves.
>
>
>
>**************
>I don't see any breeches on page 63.
>
>I thought her dilemma was she cannot find a pictorial reference to a  doublet
>with long skirts worn with "breeches"....by which I think she means
>Venetians.

That is precisely it - and they are breeches that we have. (My 
husband used them for "any" period when required by the Royal 
Shakespeare Company for whom he worked.) They have a button fly, 
which I want to hide with the doublet.

>There is a rendering of a man in a skirted doublet [one looks like a
>jerkin] with paned hosen that come to just above the knee on pages 
>11, 15  and 19.
>The paintings these details are from are
>
>"The Fete at Bermondsey"  by Joris Hoefnagel c1570 [page 11]
>"The Embarkation at Dover" in the Royal Collection [page 15]
>and
>"The Field of the Cloth of Gold", also in the Royal Collection [Page  19]
>
>The whole paintings [I think] are on the "Contents" page....but get your
>magnifying glass out.

I have done this with all the paintings!! I have detailed blow up 
pictures of the two Henry Vlll paintings, but they are really too early.

>
>But that's the problem isn't it? Most renderings of a doublet with  Venetians
>are of the later short doublet with tassets.

Exactly.

>
>And again, these men all appear to be servants of some kind holding arms or
>something. But some are just dancing or socializing so you cannot 
>really  tell.

Like I said - me consort with a servant? I understand it's a very 
posh do we are invited to.

Ah well, someone somewhere must have worn them sometimes. Lack of 
evidence is not lack of fact, and there were an *awful lot* of people 
who were not painted.

Suzi





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Sorry, thought she needed a doublet.

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of AlbertCat@aol.com
Sent: Thursday, April 13, 2006 7:13 PM
To: h-costume@indra.com
Subject: Re: [h-cost] 16th century men query


 
In a message dated 4/13/2006 9:07:36 P.M. Eastern Standard Time,  
sharon@collierfam.com writes:

The new  book, "The Tudor Tailor" has a line drawing of almost exactly what
you  want, on page 63. You would just have to make the hanging  sleeves.



**************
I don't see any breeches on page 63.
 
I thought her dilemma was she cannot find a pictorial reference to a
doublet 
with long skirts worn with "breeches"....by which I think she means  
Venetians. There is a rendering of a man in a skirted doublet [one looks
like a  
jerkin] with paned hosen that come to just above the knee on pages 11, 15
and 19. The paintings these details are from are
 
"The Fete at Bermondsey"  by Joris Hoefnagel c1570 [page 11] "The
Embarkation at Dover" in the Royal Collection [page 15] and "The Field of
the Cloth of Gold", also in the Royal Collection [Page  19]
 
The whole paintings [I think] are on the "Contents" page....but get your  
magnifying glass out.
 
But that's the problem isn't it? Most renderings of a doublet with
Venetians 
are of the later short doublet with tassets.
 
And again, these men all appear to be servants of some kind holding arms or

something. But some are just dancing or socializing so you cannot really
tell.
 
 
 
 
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From: Kimiko Small <kimiko@kimiko1.com>
Subject: Re: [h-cost] 16th  century men query
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At 09:32 AM 4/13/2006, you wrote:
>I cannot find an image of a gentleman in breeches and skirted doublet for 
>about 1560-80.


When in doubt, I check Norris for leads. I know he redraws, but its a 
redraw from something original, even if it is partly made up or modified.

In this case, Charles IX by Francois Clouet, 1569.

http://tinyurl.com/hnlo7

There are a lot of his images. Go down just a little bit, and images #9 and 
#10 should do you right.

Seems that style is not much in fashion at that time, because it was the 
only one with such long skirts that I could find. Norris does show a 
Scottish nobleman, 1567 with skirts almost as long, but I don't know where 
the original image would be located to confirm.

Kimiko


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Subject: Re: [h-cost] Museo de Traje
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In a message dated 4/13/2006 10:33:59 P.M. Eastern Standard Time,  
suzi@suziclarke.co.uk writes:

I could  have had 
another museum day! Seriously, I do wish I'd  known.



Well, now we all have another excuse to go back to Madrid!
 
Ann Wass
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Date: Fri, 14 Apr 2006 11:43:23 +0100
To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] 16th  century men query
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At 08:20 14/04/2006, you wrote:
>At 09:32 AM 4/13/2006, you wrote:
>>I cannot find an image of a gentleman in breeches and skirted 
>>doublet for about 1560-80.
>
>
>When in doubt, I check Norris for leads. I know he redraws, but its 
>a redraw from something original, even if it is partly made up or modified.
>
>In this case, Charles IX by Francois Clouet, 1569.
>
>http://tinyurl.com/hnlo7
>
>There are a lot of his images. Go down just a little bit, and images 
>#9 and #10 should do you right.
>
>Seems that style is not much in fashion at that time, because it was 
>the only one with such long skirts that I could find. Norris does 
>show a Scottish nobleman, 1567 with skirts almost as long, but I 
>don't know where the original image would be located to confirm.
>
>Kimiko
Thanks Kimiko, but I don't think it's quite what I am after - I 
trawled the Clouets already. I have a picture of a shorter doublet 
and Venetians which I may have to go with.

Suzi 


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Date: Fri, 14 Apr 2006 10:58:07 -0400 (EDT)
Subject: Re: [h-cost] kid leather & binding stays
From: aquazoo@patriot.net
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> Hi Carol,
> Yes i know it would be best with cotton or linnen, but really for
> reenacting will it really be worned this much?
>
> Bjarne

     I haven't reenacted much lately, but three years back I was wearing
the stays I made 15 and 20 years ago.  With the older set, I
reinforced the binding under the arms and repaired them a few times. 
Yes, we wear them quite a lot!

     I don't know how much your client will be wearing her stays.  A dance
once a year, or 30 weekends per year, or somewhere in-between?  I've
seen originals bound in linen tape (late 18thC) but I have not seen
any bound with silk.

     -Carol

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Did you ever read a graphic novel called "Motel of the Mysteries," 
featuring the archaelogical discovery of a 20th-century motel?

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

aquazoo@patriot.net wrote:
>      I'm imagining the reenactor of the future doing light research about
> people in the early 21stC wearing corn.  They will do extensive
> experiments with spinning and weaving the corn silk - we must have
> l
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Date: Fri, 14 Apr 2006 13:00:39 -0400 (EDT)
Subject: Re: [h-cost] Has anyone heard of the new fabric?
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     I'm imagining the reenactor of the future doing light research about
people in the early 21stC wearing corn.  They will do extensive
experiments with spinning and weaving the corn silk - we must have
lost that technology!

     And then someone will find a corn-husk doll and understand that it
was a realistic representation of dress.  But did people wear giant
corn husks, or make "feathered" garments with them?  What base fabric
did they use?  Can anyone help me with this research, someone said
they did not grow corn as large as we do today, but then I saw this
movie called "Sleeper" where obviously they did...

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Hi,
Have you seen the news about they want to find out the mystery of the new 
pyramids in Bosnia made 2000 years ago? Pyramids in Europe?

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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Subject: Re: [h-cost] off topic pyramids
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In a message dated 4/14/2006 3:10:10 P.M. Eastern Standard Time,  
drewscph@post12.tele.dk writes:

Pyramids  in Europe?



****************
 
well they've got 'em in South and Central America too,  y'know.
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From: Sylvia Rognstad <sylvia@ntw.net>
Subject: Re: [h-cost] Two questions
Date: Fri, 14 Apr 2006 15:41:19 -0600
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Speaking of stretching hats, is there any way to stretch out a leather 
cowboy hat?  I left mine in the back of my car on a hot summer day and 
it shrank. to where it won't fit any more.

Sylrog

On Apr 12, 2006, at 11:45 PM, AnnBWass@aol.com wrote:

>
> In a message dated 4/13/2006 12:36:02 AM Eastern Standard Time,
> lalahcatlady@netscape.com writes:
>
> Can  anyone tell me how to stretch a cotton/rayon "cowboy" hat from a 
> size 6
> 3/4 to  a size 7?
>
>
>
> Does it have an interior band?  If so, you may have to remove  it.  If 
> not,
> just try steaming, steaming, with a teakettle if you don't  have a 
> proper
> steamer, then putting it on the right size form (or maybe even the  
> head will
> work).  However, sounds like said hat is cheap enough not to  bother, 
> nor might
> that steaming will even work.  But you aren't out much if  it doesn't. 
>  There are
> lots of sources for cheap cowboy hats out  there.  On-line, try 
> Shepler's.
> Around here, the Latino stores stock  straw ones--not felt, so much.
>
> Ann Wass
> _______________________________________________
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> h-costume@mail.indra.com
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In a message dated 4/14/2006 5:44:19 P.M. Eastern Standard Time,  
sylvia@ntw.net writes:

Speaking  of stretching hats, is there any way to stretch out a leather 
cowboy  hat? 
***********************
 
I'm sure you can do that. They stretch gloves and shoes. You need to make  
the leather supple. I'm sure a shoe repair place [that stretches shoes] can help 
 you with what product will do that. Then you need some kind of form to 
stretch  the hat on. Are there no places that blocks hats in your area?



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I live in the Denver area and haven't come across any such place.  
Maybe I'll check a shoe repair shop.

On Apr 14, 2006, at 4:16 PM, AlbertCat@aol.com wrote:

> In a message dated 4/14/2006 5:44:19 P.M. Eastern Standard Time,
> sylvia@ntw.net writes:
>
> Speaking  of stretching hats, is there any way to stretch out a leather
> cowboy  hat?
> ***********************
>
> I'm sure you can do that. They stretch gloves and shoes. You need to 
> make
> the leather supple. I'm sure a shoe repair place [that stretches 
> shoes] can help
>  you with what product will do that. Then you need some kind of form to
> stretch  the hat on. Are there no places that blocks hats in your area?
>
>
>
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Subject: [h-cost] OT- reenacting was new fabric
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-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of h-costume-request@indra.com
Sent: Friday, April 14, 2006 11:14 AM
To: h-costume@mail.indra.com
Subject: h-costume Digest, Vol 5, Issue 335

Send h-costume mailing list submissions to
	h-costume@mail.indra.com

To subscribe or unsubscribe via the World Wide Web, visit
	http://mail.indra.com/mailman/listinfo/h-costume
or, via email, send a message with subject or body 'help' to
Is that the one where they discover a toilet and decide it must have been an
altar for worship...gave lots of interesting reasons, one of them being its
important location in the house.  I think about that when we're all
discussing some artifact that we have absolutely no clue what it might have
been used for and wonder just how much our ancient ancestors must be
laughing at how far off we are <G>
Julie	
*****************
Did you ever read a graphic novel called "Motel of the Mysteries," 
featuring the archaelogical discovery of a 20th-century motel?

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

aquazoo@patriot.net wrote:
>      I'm imagining the reenactor of the future doing light research about
> people in the early 21stC wearing corn.  They will do extensive
> experiments with spinning and weaving the corn silk - we must have
> l



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Subject: Re: [h-cost] Has anyone heard of the new fabric?
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In a message dated 4/14/2006 3:30:00 P.M. Eastern Standard Time,  
fran@lavoltapress.com writes:

Did you  ever read a graphic novel called "Motel of the Mysteries," 
featuring the  archaelogical discovery of a 20th-century motel?
 
Rather OT, but required reading for all historians!
 
Ann Wass
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From: "Carolann Schmitt" <cschmitt@genteelarts.com>
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Subject: RE: [h-cost] Two questions
Date: Fri, 14 Apr 2006 20:35:47 -0400
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-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Sylvia Rognstad
Sent: Friday, April 14, 2006 5:41 PM
To: Historical Costume
Subject: Re: [h-cost] Two questions
You can use a hat stretcher like this one:
http://www.benderhats.com/hatstretcher.html

I would try using just the stretcher first before adding a softener like
Lexol.

Carolann Schmitt
cschmitt@genteelarts.com
www.genteelarts.com
Ladies & Gentlemen of the 1860s Conference, March 1-4, 2007




Speaking of stretching hats, is there any way to stretch out a leather 
cowboy hat?  I left mine in the back of my car on a hot summer day and 
it shrank. to where it won't fit any more.

Sylrog




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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: Re: [h-cost] off topic pyramids
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Hi again,
Its a small town in Bosnia where the mountain outside has the shape of a 
pyramid. They found out they have long cave paths to other pyramids. Now 
they want to examin those for real. I really dont believe it, because that 
mountain (wich i saw in the tele) is huge, and it would be the worlds 
biggest pyramid then.

Bjarne

----- Original Message ----- 
From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: <h-costume@indra.com>
Sent: Friday, April 14, 2006 9:08 PM
Subject: [h-cost] off topic pyramids


> Hi,
> Have you seen the news about they want to find out the mystery of the new 
> pyramids in Bosnia made 2000 years ago? Pyramids in Europe?
>
> Bjarne
>
>
>
>
>
> Leif og Bjarne Drews
> www.my-drewscostumes.dk
>
> http://home0.inet.tele.dk/drewscph/
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 


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Subject: Re: [h-cost] Has anyone heard of the new fabric?
From: aquazoo@patriot.net
To: "Historical Costume" <h-costume@indra.com>
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Yes.  Does it show?  :-D

I especially liked the ceremonial collar.  (See, I knew it had some
costume content!)

     -Carol

> Did you ever read a graphic novel called "Motel of the Mysteries,"
> featuring the archaelogical discovery of a 20th-century motel?
>
> Fran
> Lavolta Press
> http://www.lavoltapress.com
>
> aquazoo@patriot.net wrote:
>>      I'm imagining the reenactor of the future doing light research
>> about
>> people in the early 21stC wearing corn.  They will do extensive
>> experiments with spinning and weaving the corn silk - we must have
>> l


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Subject: [h-cost] Dyed fur-history?
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Have you seen any references to dying fur, not just the leather, in 
anything from 1100-1600?    I've only seen one reference to fur of 
purple, but I am not sure it was dyed. I figured they dyed leather, 
hair, and cloth...you'd think someone would have thought of it....

Thanks,

Sg

I've asked this before (a few years ago) and not gotten any leads, but I 
know there are new people on the list whose experiences and reading 
might have come across this.
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Subject: Re: [h-cost] Two questions
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my (almost) local hat store will stretch hats.

liz young (near sacramento)

Sylvia Rognstad wrote:
> I live in the Denver area and haven't come across any such place.  Maybe 
> I'll check a shoe repair shop.
> 
> On Apr 14, 2006, at 4:16 PM, AlbertCat@aol.com wrote:
> 
>> In a message dated 4/14/2006 5:44:19 P.M. Eastern Standard Time,
>> sylvia@ntw.net writes:
>>
>> Speaking  of stretching hats, is there any way to stretch out a leather
>> cowboy  hat?
>> ***********************
>>
>> I'm sure you can do that. They stretch gloves and shoes. You need to make
>> the leather supple. I'm sure a shoe repair place [that stretches 
>> shoes] can help
>>  you with what product will do that. Then you need some kind of form to
>> stretch  the hat on. Are there no places that blocks hats in your area?
>>
>>
>>
>> _______________________________________________
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> 
> _______________________________________________
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Subject: Re: [h-cost] Two questions
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Curious...when we were in Austin, TX. in the '90s, I was amazed to see as
many shoe/hat reconditioning/ cleaning establishments as Cleaners!  Or so it
seemed.  I made the assumption that this might be typical of most Western
states. Once or twice I have seen discreet signs where one might be buying
Stetsons, of a hat cleaning service available...
Kathleen
----- Original Message ----- 
From: "Elizabeth Young" <lizyoung@fenris.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Saturday, April 15, 2006 1:04 PM
Subject: Re: [h-cost] Two questions


> my (almost) local hat store will stretch hats.
>
> liz young (near sacramento)
>
> Sylvia Rognstad wrote:
> > I live in the Denver area and haven't come across any such place.  Maybe
> > I'll check a shoe repair shop.
> >
> > On Apr 14, 2006, at 4:16 PM, AlbertCat@aol.com wrote:
> >
> >> In a message dated 4/14/2006 5:44:19 P.M. Eastern Standard Time,
> >> sylvia@ntw.net writes:
> >>
> >> Speaking  of stretching hats, is there any way to stretch out a leather
> >> cowboy  hat?
> >> ***********************
> >>
> >> I'm sure you can do that. They stretch gloves and shoes. You need to
make
> >> the leather supple. I'm sure a shoe repair place [that stretches
> >> shoes] can help
> >>  you with what product will do that. Then you need some kind of form to
> >> stretch  the hat on. Are there no places that blocks hats in your area?
> >>
> >>
> >>
> >> _______________________________________________
> >> h-costume mailing list
> >> h-costume@mail.indra.com
> >> http://mail.indra.com/mailman/listinfo/h-costume
> >>
> >
> > _______________________________________________
> > h-costume mailing list
> > h-costume@mail.indra.com
> > http://mail.indra.com/mailman/listinfo/h-costume
> >
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>

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Okay, following on from that information, was houndstooth check used
during the 18th century?


Karen
Seamstrix



On Sun, 9 Apr 2006 22:25:29 -0400 Catherine Olanich Raymond
<cathy@thyrsus.com> writes:
> On Sunday 09 April 2006 11:03 pm, Beth and Bob Matney wrote:
> > If memory serves, I believe that houndstooth twill is in:
> > North European Textiles Until AD 1000 by Lise Bender Jorgensen. 
> Aarhus Univ
> > Pr (1992), Hardcover ISBN 8772884169
> >
> > I can check for you tomorrow if needed.
> 
> There's a nice picture of houndstooth in Margrethe Hald's "Ancient 
> Danish 
> Textiles" also.  The picture looks as though the check is in a 
> contrasting 
> color (it's a black and white photo), but the text claims that the 
> effect 
> comes from using threads of different spin directions instead (a 
> kind of 
> shadow check effect, I suppose).
> 
> -- 
> Cathy Raymond <cathy@thyrsus.com>
> 
> "I'm starting to like the cut of this man's gibberish."
> --General Fillmore (from "The Tick," episode 2)
> 
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> 
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Date: Sat, 15 Apr 2006 22:53:16 -0400
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Subject: [h-cost] Arrowhead Reinforcement
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There are clear diagrams and instructions for arrowheads in these:

The New Butterick Dressmaker  by Jacques Worth, Butterick Publishing 
Co. 1927  on pages 204-5

Sewing Made Easy  by Mary Lynch & Dorothy Sara  Garden City Books  
1950, 1952 & 1960  page 247

Almost every sewing book that I've seen pubbed in the 1st half of the 
20th century has these.  They may be hidden away in some obscure & 
unlikely spot, but they are usually there.  Sometimes in the 
embroidery section, sometimes in with the pockets (to reinforce the 
ends of the slit), sometimes in with the weird little things to do 
with darts.

If you can't find good instructions, let me know, & I'll send 
photocopies. 

Yours, 

Mary

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Subject: [h-cost] Tudor Tailor
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Greetings,

Would someone in the US who's received their copy of the Tudor Tailor 
and is willing to share information please contact me offlist?  Mine has 
been "delayed," and I need to check on something...

Many thanks,
Melanie Schuessler

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Date: Sun, 16 Apr 2006 13:19:22 EDT
Subject: Re: [h-cost] Tudor Tailor....a review
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I don't mean to be a stick in the mud but:
 
All this oooing and ahhhing over this book has me stumped. I find it a  
mediocre affair. Not awful or anything, but certainly not great. All the info  can 
be had elsewhere without much effort. And, though the men's things look  
pretty good, there is something unconvincing about all the clothes. They look  
costume-y to me. I can't quite put my finger on why. Maybe it's because  
everything looks like it's hot off the sewing machine. Maybe it's what to me  looks 
like skimpy yardages... especially in the French Farthingale gowns  department. 
Maybe it's the store bought trim on the Henry VIII doublet.
 
I find the patterns basic at best. Very unsophisticated. I could have  
drafted most of the men's stuff by looking at paintings. And the women's  patterns 
can just about all be found in Janet Arnold [plus some of the men's] or  Jean 
Hunnisette.
I think if you can understand such patterns, you are to a point where you  
don't need instructions to put the things together.
And speaking of instructions, they are very uneven. You get complete  
pictorial directions for fitting men's hose [the best thing in the book....very  very 
helpful!!!] but their instructions for making a ruff are: "Starch ruff  using 
preferred method. Set pleats using curling tongs". Geee...thanks!
 
Ok ok...some praise.  Like the men's hose section, the headdress  section is 
very inclusive and helpful for the most part. But, again, I find the  Gable 
hood pictured not convincing at all. It stands away from the head too much  and 
the crossed, striped pieces over the forehead look nothing like  paintings.
 
Some other problems...like I mentioned, the French Farthingale gowns look  
skimpy in the skirts....and on top of that the whole ensembles look unruly. This 
 can be because we modern folk just don't have it down when it comes to 
pinning  and tacking these complicated contraptions together....a daily chore in 
the  period.
And the back view of the early Tudor gown on page 110....look at it. The  
side back pieces are not cut symmetrically. That bold pattern is off by what  
must be 1/2 an inch or more!
 
To sum up this rant:
The book has some very useful info in it, especially concerning men's hose  
and ladies' head gear. And it's convenient to have it all in one place....men  
and women. 
But it's very basic and uneven. Honnisette's book has better instructions  
for what are practically identical patterns....which if you can understand from  
this book, you probably don't need instructions.
Examples in the book look costume-y and have skimpy yardages and even  cutt
ing boo-boos.
 
It's well worth having the book. But it's not my favorite by a long  shot.
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Date: Sun, 16 Apr 2006 12:47:23 -0500
From: "Marie Stewart" <maricelt@gmail.com>
To: "Historical Costume" <h-costume@indra.com>
Subject: Re: [h-cost] Tudor Tailor....a review
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I agree.  ;>

The book does however, just cover that area of teaching that I needed
it to cover, the "I'm curious and want to look right(er),  but I don't
really want to learn the skills to make it" personality that I
occaisionally run across.

I'll use it as a teaching tool....

Mari / Bridgette

On 4/16/06, AlbertCat@aol.com <AlbertCat@aol.com> wrote:
> I don't mean to be a stick in the mud but:
<snip>
> The book has some very useful info in it, especially concerning men's hose
> and ladies' head gear. And it's convenient to have it all in one place....men
> and women.
> But it's very basic and uneven. Honnisette's book has better instructions
> for what are practically identical patterns....which if you can understand from
> this book, you probably don't need instructions.
> Examples in the book look costume-y and have skimpy yardages and even  cutt
> ing boo-boos.
>

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Subject: Re: [h-cost] Tudor Tailor....a review
Date: Sun, 16 Apr 2006 13:08:02 -0500
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I haven't received my copy yet--I've been having really bad luck with 
pre-orders lately!--but I want to make a few comments anyway, particularly 
on the skimpy yardage issue.  I think we have a false idea of how much 
yardage they did use; this might not be surprising, considering how lush 
many paintings make dresses look, but if you examine the yardage given in 
inventories and in the few survivng pattern books, you might find those very 
skimpy indeed, in terms of the modern yardage used to make the same styles. 
In other words, I think Ninya et al have research to back up the skimpiness. 
Speaking of which, there's certainly a lot of evidence to back up mismatched 
patterns on fabric as well!

The headwear, though, based on what I've seen of their work in general, I do 
have serious reservations about.  I fall into the 
French-hoods-lay-flat-or-at-least-flattER camp, and though I have seen one 
or two paintings/images of hoods that stand up a bit (like the recent 
profile portrait of Mary that was discussed here a few weeks back), it's 
generally like nails on a chalkboard for me to see an otherwise accurate 
recreation of a style spoiled by a hood that stands up like that, especially 
when it clearly doesn't in the original.  Also, I am bothered by the 
whatchamacallits, the striped and crossed strips 'padding' on the gable 
headdresses. I have yet to see a recreation of those that looked RIGHT to 
me, and it's frustrating, since I don't have any bright ideas for how to 
make them look right, either, apart from actually stuffing them in some 
complicated way to make them puffy but not TOO puffy.

But I'm still very much looking forward to finally getting the book!  And 
I'm a bit relieved that I'm not the only one who has yet to receive her 
pre-ordered copy--anyone else not have theirs yet?  I just sent a slightly 
panicky email to Ninya because I couldn't find any record of the order in my 
Paypal account!

-E House
PS--I don't have my pre-ordered new Geoff Egan book, either.  Talked to 
Amazon, and it turns out that they basically put the non-preorders ahead of 
the pre-orders in line, because the pre-orders had been bought at a 
discounted price.  Then they ran out before they got around to filling all 
the pre-orders.  Infuriating!  So now my book, pre-ordered sometime around 
the beginning of Dec 2005, will arrive at the earliest by the middle of May 
2006. I don't think I'm going to bother to pre-order anymore. 

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Subject: Re: [h-cost] Tudor Tailor....a review
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In a message dated 4/16/2006 2:09:55 P.M. Eastern Standard Time,  
formfunc@formfunction.org writes:

In other  words, I think Ninya et al have research to back up the skimpiness. 
 
Speaking of which, there's certainly a lot of evidence to back up  mismatched 
patterns on fabric as well!



*****************
 
I will agree with you wholeheartedly.
 
But, accurate or not...it still looks bad. What about the way it looks?  
Doesn't that matter to reenactors too?
 
And there's no excuse for a 1/2 inch miss-match unless you're cutting from  
scraps....and they weren't. [I have been guilty of it  too]
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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Tudor Tailor....a review
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OK, now I'm curious. I haven't seen the book, and the descriptions I've
seen range so far that it's hard to figure out that they're all talking
about the same thing.

So. In terms of approach (not subject matter), is this book closer to
Janet Arnold, e.g. "here's detailed, strictly documented information on
specific existing pieces of clothing, which may or may not be
representative, and which may or may not work for you in practice,
depending on your understanding of period techniques"? Or is it closer to
Sarah Thursfield, e.g. "here's how to make various style of period
clothing, based on what I understand of period practice, but with some
gaps filled in for purposes of the modern costumer"? Or something else?

--Robin


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Subject: Re: [h-cost] Tudor Tailor....a review
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----- Original Message ----- 
From: <AlbertCat@aol.com>
> But, accurate or not...it still looks bad. What about the way it looks?
> Doesn't that matter to reenactors too?
>
> And there's no excuse for a 1/2 inch miss-match unless you're cutting from
> scraps....and they weren't. [I have been guilty of it  too]

Well, I definitely prefer the fuller look myself!  But I want to at least 
know what the skimpy-but-accurate look actually looks like before I go on to 
try to get a 9yd+ hem out of 5 yds fabric. =}  I also go to great lengths to 
match patterns on fabric, sigh.  I wonder if they got a hunk of fabric like 
the one I am saving for a special project, where the pattern is off-center 
on the cloth by two or three inches?  If I were to double it over and cut 
both right and left at once, I'd wind up very off-kilter, unless I 
remembered to waste that 2 or 3 inches by not folding the cloth exactly in 
half.  I hate matching patterns.  Hate.

-E House





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Subject: [h-cost] Tudor Tailor....a review 
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-----Original Message-----
**No relations here, but my comments below**
 
All this oooing and ahhhing over this book has me stumped. I find it a  
mediocre affair. Not awful or anything, but certainly not great. 

**I find it clear with good diagrams and lots of color pictures**
 
I find the patterns basic at best. Very unsophisticated. I could have  
drafted most of the men's stuff by looking at paintings. And the women's
patterns 
can just about all be found in Janet Arnold [plus some of the men's] or
Jean 
Hunnisette.

**Maybe -you- can draft them, I can't.  I own Hunnisette, Arnold, QEWU,
Medieval Tailor's Assistant, and several others.  I've been looking back and
forth among them to finally understand what I want to make and how to go
about it.  I'm finding the Tudor Tailor much friendlier to a novice
costumer.**

I think if you can understand such patterns, you are to a point where you  
don't need instructions to put the things together.
**I wish**

And speaking of instructions, they are very uneven. You get complete  
pictorial directions for fitting men's hose [the best thing in the
book....very  very 
helpful!!!] but their instructions for making a ruff are: "Starch ruff
using 
preferred method. Set pleats using curling tongs". Geee...thanks!

**I have to admit to disappointment with the ruff instructions and I have
discussed this with the author.  I'm on the Tudor Tailor-specific Yahoo
group, which has been also very informative.**
 
Ok ok...some praise.  Like the men's hose section, the headdress  section is

very inclusive and helpful for the most part. But, again, I find the  Gable 
hood pictured not convincing at all. It stands away from the head too much
and 
the crossed, striped pieces over the forehead look nothing like  paintings.
 
It's well worth having the book. But it's not my favorite by a long  shot.

**I'm thrilled with it.  I preordered, and wasn't disappointed.**

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

The book does however, just cover that area of teaching that I needed
it to cover, the "I'm curious and want to look right(er),  but I don't
really want to learn the skills to make it" personality that I
occaisionally run across.  I'll use it as a teaching tool....

**If we could get our group to look this good we'd be better than most of
what I'm seeing out there.**

Julie in San Diego
(Melanie - I have mine and I'll share info)

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Subject: Re: [h-cost] Has anyone heard of the new fabric?
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What I liked was the toothbrush earrings.  That book is priceless.

Fran

aquazoo@patriot.net wrote:
> Yes.  Does it show?  :-D
> 
> I especially liked the ceremonial collar.  (See, I knew it had some
> costume content!)
> 
>      -Carol
> 
> 
>>Did you ever read a graphic novel called "Motel of the Mysteries,"
>>featuring the archaelogical discovery of a 20th-century motel?
>>
>>Fran
>>Lavolta Press
>>http://www.lavoltapress.com
>>
>>aquazoo@patriot.net wrote:
>>
>>>     I'm imagining the reenactor of the future doing light research
>>>about
>>>people in the early 21stC wearing corn.  They will do extensive
>>>experiments with spinning and weaving the corn silk - we must have
>>>l
> 
> 
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 
> 
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Subject: Re: [h-cost] Tudor Tailor....a review
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I think, closer to Thursfield from your description (although I've not
actually heard of Thursfield before?), given what I saw of the book (haven't
ordered my copy yet).  They were definitely assuming some basic sewing
knowledge, so it's not as basic as, say, Winter and Savoy, but it's not the
archaeological/historical text that Arnold is, either.
I didn't spend more than 5 or 10 minutes looking at my friend's copy, but
these are the impressions I got:
--At cursory glance, the people and outfits looked pretty good--at least
like really good theatrical stuff without the shortcuts
--It was particularly nice to see clothing that was not entirely royal/upper
class, and of both genders
--They covered a good part of Tudor/Elizabethan clothing
--It seemed, at cursory glance, to be skimpy in the juicy details.  Almost
more like a coffee table costuming book than a down-and-dirty-in-the-sewing
room how-to book
--I will definitely purchase one, but I wouldn't rely on it as my sole
source for 16th century English clothing by any means
--I don't recall seeing an extensive bibliography or list of sources, but it
may have been in there and I just didn't catch it.  If not, it would have
been nice to see--say, available articles on knitting one's own stockings,
or sources for fabrics, etc., as well as primary sources (extant garments,
portraiture, etc.)
--I also thought "dang, but it's a shame we don't have something like this
for earlier time periods.  ;o)"
--Sue's two pence worth (handily fueled by Dove chocolate eggs and Easter
brunch....mmm....lamb...mmmm)
----- Original Message -----
From: "Robin Netherton" <robin@shell.nightowl.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Sunday, April 16, 2006 1:40 PM
Subject: Re: [h-cost] Tudor Tailor....a review


>
> OK, now I'm curious. I haven't seen the book, and the descriptions I've
> seen range so far that it's hard to figure out that they're all talking
> about the same thing.
>
> So. In terms of approach (not subject matter), is this book closer to
> Janet Arnold, e.g. "here's detailed, strictly documented information on
> specific existing pieces of clothing, which may or may not be
> representative, and which may or may not work for you in practice,
> depending on your understanding of period techniques"? Or is it closer to
> Sarah Thursfield, e.g. "here's how to make various style of period
> clothing, based on what I understand of period practice, but with some
> gaps filled in for purposes of the modern costumer"? Or something else?
>
> --Robin


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Subject: Re: [h-cost] Tudor Tailor....a review 
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In a message dated 4/16/2006 3:48:46 P.M. Eastern Standard Time,  
jtknits@jtknits.cts.com writes:

I think  if you can understand such patterns, you are to a point where you   
don't need instructions to put the things together.
**I  wish**



********************
 
 
I'm sure you are greatly underestimating your abilities!
 
I remember when I was learning in school. I used to think how complicated  
and overwhelming these strange and elaborate ensembles were. And in a way they  
certainly are. But, it's just like when a student asked the designer of  
"Nutcracker" there at the time: 'How do you design this monster?" She said "Well  
how do you eat an elephant? One bite at a time."
 
 It was a great help to me when I started thinking in terms of  [what the 
Brits like to call] "bits". You do each little bit of a costume, then  assemble 
the whole thing out of finished [or almost finished] bits. 
 
The sleeve, the bodice, the skirt...all bits you can usually tackle like  
each was a solo project. [especially in this period]  But  they aren't solo 
projects so that's why the design needs to be rendered and  worked out before hand. 
We've all seen the results of not thinking it  through.
 
 
But don't misunderstand my picky criticism of the "The Tudor Tailor". It is  
a genuinely helpful volume that will be a gold mine to many. It's just a lot 
of  it was old hat to me.
 
All these volumes, Arnold, Hunnisett, and so on compliment each other and I  
recommend consulting all of them if you can. Everyone works differently and 
will  glean different things from a combination of great and helpful  sources.
 
Now...stop knocking your sewing skills and cut that gown  out!
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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Tudor Tailor....a review
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On Sun, 16 Apr 2006, Sue Clemenger wrote:

> I think, closer to Thursfield from your description (although I've not
> actually heard of Thursfield before?),

The Medieval Tailor's Assistant.

> --I also thought "dang, but it's a shame we don't have something like this
> for earlier time periods.  ;o)"

That would be Thursfield.

--Robin

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From: "Sue Clemenger" <mooncat@in-tch.com>
To: "Historical Costume" <h-costume@indra.com>
References: <Pine.LNX.4.10.10604161626130.1762-100000@shell.nightowl.net>
Subject: Re: [h-cost] Tudor Tailor....a review
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Ahh...thanks.  That's one I've heard of, but not seen/purchased.
--Sue

----- Original Message -----
From: "Robin Netherton" <robin@shell.nightowl.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Sunday, April 16, 2006 3:26 PM
Subject: Re: [h-cost] Tudor Tailor....a review


>
> On Sun, 16 Apr 2006, Sue Clemenger wrote:
>
> > I think, closer to Thursfield from your description (although I've not
> > actually heard of Thursfield before?),
>
> The Medieval Tailor's Assistant.
>
> > --I also thought "dang, but it's a shame we don't have something like
this
> > for earlier time periods.  ;o)"
>
> That would be Thursfield.
>
> --Robin
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume

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These are interesting comments -  I got my copy and am happy with it.  I 
don't think it was meant to be a scholarly book, nor a step by step 
guide to how to make these articles of clothing.  I don't think you can 
convey all the things you need to make excellent garments in a book.  
Even Margo's patterns, which have detailed instructions, will not get 
you a great fitting, beautiful garment.  I have all of the books 
mentioned before, but what it really takes is lots of practice, lots of 
fiddling, and/or a skilled person to study with to produce excellent 
garments.

What I like about the book is that it is inspiring.  It is another 
example (I am thinking of Drea, and Margo here) of someone starting out 
where we all do, and then moving to a different level.  It is a great 
example of how hard work can get you, doing for a living,  what you love 
to do and how self publishing really is attainable for the 'average' guy. 

I don't need the book to help me figure what to do out anymore, but am 
very happy to have it in my collection as a reference to how other 
people "do it."  Are the gowns absolutely perfect?  No, but I can find 
faults with lots of other reconstructions - even the goddess Arnold's - 
the question may be, can I do them any better?

Further more, Ninya is generous, encouraging, and lacks some of the 
snoberism I have detected in some other people who have moved "up a 
notch" in the historical reconstruction world.

Sg



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To: Historical Costume <h-costume@indra.com>
From: Kimiko Small <kimiko@kimiko1.com>
Subject: Re: [h-cost] Tudor Tailor....a review
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At 12:40 PM 4/16/2006, you wrote:
>Or is it closer to
>Sarah Thursfield, e.g. "here's how to make various style of period
>clothing, based on what I understand of period practice, but with some
>gaps filled in for purposes of the modern costumer"?

Hi Robin,

It's closer to Sarah Thursfield recreation of a garment based on what we 
know, and that appears rather extensive on what they know. Not perfect, as 
some garments cannot be made from extent garments that don't exist (or are 
hiding really well). But they did do their research, and not just looking 
at paintings or illuminations, but effigies, letters, and wills as well.

Not perfect, but a damn site better than Winter/Savoy for beginners in 
making up garments that look truer to the period.

Kimiko


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At 01:32 PM 4/16/2006, you wrote:
>--I don't recall seeing an extensive bibliography or list of sources, but it
>may have been in there and I just didn't catch it.  If not, it would have
>been nice to see--say, available articles on knitting one's own stockings,
>or sources for fabrics, etc., as well as primary sources (extant garments,
>portraiture, etc.)


There is a very extensive bibliography in the back, several pages that 
follow along with the noted numbers in the front sections. Even the various 
redrawn images have notes as to where they originated from. There is even 
some sources for where to get supplies, both UK and US based.

Kimiko


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Date: Sun, 16 Apr 2006 15:50:34 -0700
To: Historical Costume <h-costume@indra.com>
From: Kimiko Small <kimiko@kimiko1.com>
Subject: Re: [h-cost] Tudor Tailor....a review
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Hello,

It's ok that you have a negative perspective on the book, and I thank you 
for sharing that as we all needed a critical and honest look. I actually 
was rather pleased with the book.

At 10:19 AM 4/16/2006, you wrote:
><snip>>
>pretty good, there is something unconvincing about all the clothes. They 
>look
>costume-y to me. I can't quite put my finger on why. Maybe it's because
>everything looks like it's hot off the sewing machine.

They look like clothes to me, compared to the many costume-y garments I see 
at various faires in my area. And reading the book, there is a lot of hand 
sewing going on in the directions. About the only machine sewing I am 
reading (and I am by no means done reading) is the side and back seams, the 
lining is noted as going in by hand.

>  I find the patterns basic at best. Very unsophisticated. I could have
>drafted most of the men's stuff by looking at paintings.

To my perspective, all patterns at it's root during this time are basic. 
Rectangles, form fitting shapes, draped sleeves based again on rectangles. 
Looking at Bruegel recently I noted a number of rectangles and basic 
patterns at the root of the peasant's garments.

>And the women's  patterns
>can just about all be found in Janet Arnold [plus some of the men's] or  Jean
>Hunnisette.

Agreed. Which is a good thing to my mind as I would be a bit concerned if 
her patterns didn't look similar.

>I think if you can understand such patterns, you are to a point where you
>don't need instructions to put the things together.

Perhaps for some of us who have done this for awhile, but I see this as a 
good book for beginners to learn from as well.

><snip>> but their instructions for making a ruff are: "Starch ruff  using
>preferred method. Set pleats using curling tongs". Geee...thanks!

They also include a picture of a woman setting a ruff, which helps more 
than just words can sometimes do. But that last part was at the end of 
basic instructions for how to make the ruff to begin with.

><snip>>But, again, I find the  Gable
>hood pictured not convincing at all. It stands away from the head too 
>much  and
>the crossed, striped pieces over the forehead look nothing like  paintings.

That is the gable hood without the "undercap front", which is why it looks 
odd. I think they did that to show the bound hair crossed over the head, 
which is one theory of what those striped pieces were supposed to be, 
covered or just with a ribbon binding. Her directions actually call for 
striped silk for the hair casings.

>  Some other problems...like I mentioned, the French Farthingale gowns look
>skimpy in the skirts....and on top of that the whole ensembles look 
>unruly. This
>  can be because we modern folk just don't have it down when it comes to
>pinning  and tacking these complicated contraptions together....a daily 
>chore in
>the  period.

Could be. A friend made up the Hunnisett gown, and it looked just as 
unruly, and skimpy in some ways.

>And the back view of the early Tudor gown on page 110....look at it. The
>side back pieces are not cut symmetrically. That bold pattern is off by what
>must be 1/2 an inch or more!

Wouldn't that be for the seam allowance for the back and side back pieces? 
Although I understand where that arrangement of pattern pieces comes from, 
I personally don't understand what they are supposed to do to the garment.

>  To sum up this rant:
>The book has some very useful info in it, especially concerning men's hose
>and ladies' head gear. And it's convenient to have it all in one 
>place....men
>and women.

Agreed. It also has a lot of background info all in one place, along with 
the patterns, which is great if you don't have Arnold or Hunnisett in your 
library already (which Hunnisett's books are getting harder and more 
expensive to buy, especially if you are new).

>But it's very basic and uneven. Honnisette's book has better instructions
>for what are practically identical patterns....which if you can understand 
>from
>this book, you probably don't need instructions.

While I have had a couple of items that I found confusing, for the most 
part I have been able to easily follow the directions in the book. The 
question is, how easy would beginners find the instructions? That I can't 
answer.

>Examples in the book look costume-y and have skimpy yardages and even  cutt
>ing boo-boos.

I don't agree, as at least in my area, if we could create and wear garments 
to this level, the look of the events would greatly increase. Perhaps it is 
the perspective of the areas we live and work for.

>It's well worth having the book. But it's not my favorite by a long  shot.
>_______________________________________________

For me, it has become a favorite for many reasons. A big part is the decent 
price and updated info all in one book.

There is a quote from the book that explains the writers' aim with this 
book. "There is an identifiable hierarchy of activities: replication, 
reconstruction and re-creation. The first is an attempt to duplicate an 
extant item exactly; the second involves some justifiable speculation; and 
the third uses guesswork and imagination. This book is primarily concerned 
with reconstruction."
I think they succeeded in their aim.

No, it isn't perfect, but it is a darn site better than most books 
available to the beginning to intermediate costumer, which either can be 
overwhelming in the amount of info, too expensive to buy unless you are 
serious, or feeds you wrong information in the guise of helping you to just 
get started. I have learned a bit more than I already did, and that is 
always a good thing.

Just my perspective.

Kimiko


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Subject: Re: [h-cost] Tudor Tailor....a review
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Thanks for pointing that out! I'll be looking forward to seeing it when I
get to order my own copy!  (Guess that's what I get for not getting to do an
in-depth look at the one my friend has, huh? <g>)
--Sue, who sometimes thinks that biblios are the best parts of books ;o)

----- Original Message -----
From: "Kimiko Small" <kimiko@kimiko1.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Sunday, April 16, 2006 4:10 PM
Subject: Re: [h-cost] Tudor Tailor....a review


> At 01:32 PM 4/16/2006, you wrote:
> >--I don't recall seeing an extensive bibliography or list of sources, but
it
> >may have been in there and I just didn't catch it.  If not, it would have
> >been nice to see--say, available articles on knitting one's own
stockings,
> >or sources for fabrics, etc., as well as primary sources (extant
garments,
> >portraiture, etc.)
>
>
> There is a very extensive bibliography in the back, several pages that
> follow along with the noted numbers in the front sections. Even the
various
> redrawn images have notes as to where they originated from. There is even
> some sources for where to get supplies, both UK and US based.
>
> Kimiko


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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Tudor Tailor....a review
Date: Sun, 16 Apr 2006 21:40:00 -0400
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On Sunday 16 April 2006 4:32 pm, Sue Clemenger wrote:
[snip]
> --I don't recall seeing an extensive bibliography or list of sources, but
> it may have been in there and I just didn't catch it. 

The formally named "Bibliography" is short but the authors say that most of 
their sources are cited in full in the endnotes, of which there are nearly 3 
pages, written three columns to a page in very small type. (pages 156-158 
inclusive).


-- 
Cathy Raymond <cathy@thyrsus.com>

"I'm starting to like the cut of this man's gibberish."
--General Fillmore (from "The Tick," episode 2)

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Subject: Re: [h-cost] Tudor Tailor....a review
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On Sunday 16 April 2006 6:50 pm, Kimiko Small wrote:
[snip]
> At 10:19 AM 4/16/2006, you [AlbertCat] wrote:
> ><snip>>
> >pretty good, there is something unconvincing about all the clothes. They
> >look
> >costume-y to me. I can't quite put my finger on why. Maybe it's because
> >everything looks like it's hot off the sewing machine.
>
> They look like clothes to me, compared to the many costume-y garments I see
> at various faires in my area. And reading the book, there is a lot of hand
> sewing going on in the directions. About the only machine sewing I am
> reading (and I am by no means done reading) is the side and back seams, the
> lining is noted as going in by hand.

I agree with Kimiko here.  The few outfits where I disagree I believe the 
problem can be attributed to a less than optimal fabric choice.  I would like 
to see more information about how to choose fabrics that are likely to look 
and behave appropriate in the next edition (assuming there is one!).

[snip]

> ><snip>>But, again, I find the  Gable
> >hood pictured not convincing at all. It stands away from the head too
> >much  and
> >the crossed, striped pieces over the forehead look nothing like 
> > paintings.
>
> That is the gable hood without the "undercap front", which is why it looks
> odd. I think they did that to show the bound hair crossed over the head,
> which is one theory of what those striped pieces were supposed to be,
> covered or just with a ribbon binding. Her directions actually call for
> striped silk for the hair casings.

The biggest problem I found so far is that the comments in the text on French 
hoods appear to disagree with directions given in the back for making the 
French hood.  The text says, for example, at page 28 that the foundation of 
all hoods was a separate linen undercap "which could be washed."  The French 
hood pattern makes a hood with an integral "bag cap" and implies that the 
"bag cap" part could be used to make a separate "undercap" instead.  

I'm also wondering what the evidence is for the "separate undercap" 
interpretation (though it seems rational enough) but it's possible it's 
included in the endnotes, which are written in teensy print which I haven't 
yet tried to read.


> >  Some other problems...like I mentioned, the French Farthingale gowns
> > look skimpy in the skirts....and on top of that the whole ensembles look
> > unruly. This
> >  can be because we modern folk just don't have it down when it comes to
> >pinning  and tacking these complicated contraptions together....a daily
> >chore in the  period.

I agree, but I also suspect it's a fabric choice problem.  


> No, it isn't perfect, but it is a darn site better than most books
> available to the beginning to intermediate costumer, which either can be
> overwhelming in the amount of info, too expensive to buy unless you are
> serious, or feeds you wrong information in the guise of helping you to just
> get started. I have learned a bit more than I already did, and that is
> always a good thing.

I agree with this opinion also.  No one book is, or should be, the be-all and 
end-all on any area of historic costume.  That doesn't mean that some books 
aren't worthy of praise for trying to support the efforts of those of us 
interested in reconstructing period costume.

-- 
Cathy Raymond <cathy@thyrsus.com>

"I'm starting to like the cut of this man's gibberish."
--General Fillmore (from "The Tick," episode 2)

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Date: Sun, 16 Apr 2006 23:40:10 -0400 (EDT)
From: Edith Reardon <edithreardon@yahoo.ca>
Subject: Re: [h-cost] Tudor Tailor....a review
To: Historical Costume <h-costume@indra.com>
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Amazon just keeps giving me a longer estimated date of delivery for Tudor Tailor.  After going thru my previous orders with Amazon I found out I had never received a book with estimated time of delivery date May 17 2002 -July 2 2002.  This book is still offered on their site?? and now it's cheaper than what I paid 4 yrs. ago.  I plan to cancel the order as soon as I get an explanation of why it wasn't shipped sometime in the last 4 yrs..  So far all I've got is past the buck and standard form returns.  Now I'm worried about getting this book so I email often.  
   
  Brin Kendall

E House <formfunc@formfunction.org> wrote:
  I haven't received my copy yet--I've been having really bad luck with 
pre-orders lately!--but I want to make a few comments anyway, particularly 
on the skimpy yardage issue. I think we have a false idea of how much 
yardage they did use; this might not be surprising, considering how lush 
many paintings make dresses look, but if you examine the yardage given in 
inventories and in the few survivng pattern books, you might find those very 
skimpy indeed, in terms of the modern yardage used to make the same styles. 
In other words, I think Ninya et al have research to back up the skimpiness. 
Speaking of which, there's certainly a lot of evidence to back up mismatched 
patterns on fabric as well!

The headwear, though, based on what I've seen of their work in general, I do 
have serious reservations about. I fall into the 
French-hoods-lay-flat-or-at-least-flattER camp, and though I have seen one 
or two paintings/images of hoods that stand up a bit (like the recent 
profile portrait of Mary that was discussed here a few weeks back), it's 
generally like nails on a chalkboard for me to see an otherwise accurate 
recreation of a style spoiled by a hood that stands up like that, especially 
when it clearly doesn't in the original. Also, I am bothered by the 
whatchamacallits, the striped and crossed strips 'padding' on the gable 
headdresses. I have yet to see a recreation of those that looked RIGHT to 
me, and it's frustrating, since I don't have any bright ideas for how to 
make them look right, either, apart from actually stuffing them in some 
complicated way to make them puffy but not TOO puffy.

But I'm still very much looking forward to finally getting the book! And 
I'm a bit relieved that I'm not the only one who has yet to receive her 
pre-ordered copy--anyone else not have theirs yet? I just sent a slightly 
panicky email to Ninya because I couldn't find any record of the order in my 
Paypal account!

-E House
PS--I don't have my pre-ordered new Geoff Egan book, either. Talked to 
Amazon, and it turns out that they basically put the non-preorders ahead of 
the pre-orders in line, because the pre-orders had been bought at a 
discounted price. Then they ran out before they got around to filling all 
the pre-orders. Infuriating! So now my book, pre-ordered sometime around 
the beginning of Dec 2005, will arrive at the earliest by the middle of May 
2006. I don't think I'm going to bother to pre-order anymore. 

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Subject: [h-cost] Re: Unruly Skirts-was Tudor Tailor....a review
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I overlooked this in my original response, and I am not exactly sure 
which items you mean, but...  When researching my late Elizabethan, and 
trying to make a decieison on how to attach the skirt, I found that 
there were some gowns which had "highly regulated" pleated attachment, 
(with the pleats arranged very neatly, and consicely) 
(*http://tinyurl.com/hcceb)*, and others where the skirt appeared to 
simply be gathered, or arranged in varying sized pleats (though usually 
symetrically arranged), with the pinning done almost "free form."  
(*http://tinyurl.com/hqvss )*   This was a surprise to me when I really 
started looking hard at them.  In my mind, the "icon" had been only 
those with highly regulated pleating.

And depending on what you mean by "French Farthingale gowns" for 
yardage, there are examples of statuary with prettty small skirts (I 
mean if you compared the diameters of the "circles.")  On some, with a 
woman's arm next to them, their fingers would just reach the end of the 
skirt top, if they had their elbows right at their sides.  There are 
others, where if you compare the skirt top to the brim of hat, they only 
appear to be ~ six inches wide or so.  As I recall we used 11 yards of 
fabric for the inner gown (there were a total 44 in the entire 
ensemble),  At least-3 went into the bodice and sleeves, but that was a 
pretty big dang skirt.  *http://tinyurl.com/me7tq*

I also had thought the drum farthingale was alway symetrically round.  
Clearly this is not the case, though there is one gown on her site  
http://www.ninyamikhaila.com/Siobhan.html  (and her book)  where the 
flat side of the farthingale apears to be in back which I have never 
seen in portraiture....but then it wouldn't surprise me if they did 
that.  They had to get to the flat panier style of the late 1700's some 
how and it makes sense to me that the transition started by just 
whacking off the front and backs of the cartwheel farthingales, because 
they wanted to put their arms down, or be able to sit in a chair with a 
back on it!

Sg

AlbertCat@aol.com wrote:

>Some other problems...like I mentioned, the French Farthingale gowns look  
>skimpy in the skirts....and on top of that the whole ensembles look unruly. 
>
>  
>

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Subject: Re: [h-cost] Tudor Tailor....a review
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In a message dated 4/16/2006 6:01:47 P.M. Eastern Standard Time,  
wickedfrau@msn.com writes:

and  lacks some of the 
snoberism I have detected in some other people who have  moved "up a 
notch" in the historical reconstruction  world.



****************
Now that I can agree with. The book is not unapproachable.
 
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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] Tudor Tailor....a review
Date: Sun, 16 Apr 2006 20:25:07 -0400
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Status: RO

I have to add that after examining extant 18th C garments, I am amazed at
all the piecing that was used to get the whole costume out of a given fabric
yardage.Lots!! Matching patterns, never mind grain, did not seem to be a
high priority. Using today's fabric widths often prompts wider skirts or
fuller sleeves because our aesthetic consciousness allows for an opulence
that may never have been possible in times past.
Kathleen
----- Original Message ----- 
From: "E House" <formfunc@formfunction.org>
To: "Historical Costume" <h-costume@indra.com>
Sent: Sunday, April 16, 2006 3:26 PM
Subject: Re: [h-cost] Tudor Tailor....a review


> ----- Original Message ----- 
> From: <AlbertCat@aol.com>
> > But, accurate or not...it still looks bad. What about the way it looks?
> > Doesn't that matter to reenactors too?
> >
> > And there's no excuse for a 1/2 inch miss-match unless you're cutting
from
> > scraps....and they weren't. [I have been guilty of it  too]
>
> Well, I definitely prefer the fuller look myself!  But I want to at least
> know what the skimpy-but-accurate look actually looks like before I go on
to
> try to get a 9yd+ hem out of 5 yds fabric. =}  I also go to great lengths
to
> match patterns on fabric, sigh.  I wonder if they got a hunk of fabric
like
> the one I am saving for a special project, where the pattern is off-center
> on the cloth by two or three inches?  If I were to double it over and cut
> both right and left at once, I'd wind up very off-kilter, unless I
> remembered to waste that 2 or 3 inches by not folding the cloth exactly in
> half.  I hate matching patterns.  Hate.
>
> -E House
>
>
>
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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Subject: Re: [h-cost] Tudor Tailor....a review
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----- Original Message ----- 
From: "Edith Reardon" <edithreardon@yahoo.ca>
> So far all I've got is past the buck and standard form returns.  Now I'm 
> worried about getting this book so I email often.  >>

You might try calling, as someone suggested on here for my problem a while 
back.  The number is 1-800-201-7575, and I got through with no waiting.  The 
person I talked to was helpful, and upgraded my shipping to 2-day mail.  Of 
course I'm still a bit fussed at Amazon for being kind of underhanded, but 
it was definitely worth calling--they never would have (hopefully) fixed the 
problem if I hadn't.

-E House



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From: Elizabeth <contessaisabel@optonline.net>
Subject: Re: [h-cost] Tudor Tailor....a review
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"Further more, Ninya is generous, encouraging, and lacks some of the
snoberism I have detected in some other people who have moved "up a
notch" in the historical reconstruction world."

Well said.
Elizabeth


On 4/16/06 6:01 PM, "WickedFrau" <wickedfrau@msn.com> wrote:

> These are interesting comments -  I got my copy and am happy with it.  I
> don't think it was meant to be a scholarly book, nor a step by step
> guide to how to make these articles of clothing.  I don't think you can
> convey all the things you need to make excellent garments in a book.
> Even Margo's patterns, which have detailed instructions, will not get
> you a great fitting, beautiful garment.  I have all of the books
> mentioned before, but what it really takes is lots of practice, lots of
> fiddling, and/or a skilled person to study with to produce excellent
> garments.
> 
> What I like about the book is that it is inspiring.  It is another
> example (I am thinking of Drea, and Margo here) of someone starting out
> where we all do, and then moving to a different level.  It is a great
> example of how hard work can get you, doing for a living,  what you love
> to do and how self publishing really is attainable for the 'average' guy.
> 
> I don't need the book to help me figure what to do out anymore, but am
> very happy to have it in my collection as a reference to how other
> people "do it."  Are the gowns absolutely perfect?  No, but I can find
> faults with lots of other reconstructions - even the goddess Arnold's -
> the question may be, can I do them any better?
> 
> Further more, Ninya is generous, encouraging, and lacks some of the
> snoberism I have detected in some other people who have moved "up a
> notch" in the historical reconstruction world.
> 
> Sg
> 
> 
> 
> _______________________________________________
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> h-costume@mail.indra.com
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Subject: Re: [h-cost] Tudor Tailor....a review
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In a message dated 4/17/2006 8:57:04 A.M. Eastern Standard Time,  
rmitchell@washjeff.edu writes:

Matching  patterns, never mind grain, did not seem to be a
high priority. 


*********************
 
I disagree. Just look at the 1st gowns in the Kyoto book. And there are  
period written accounts about the skills of tailors matching fabrics.
Of course lots of piecing goes on....especially if the gown is cut from  
another gown [and I'll bet the original gown matched], but I bet a lot of effort  
went into disguising piecing and matching things up whenever  possible.
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Subject: RE: [h-cost] Tudor Tailor....a review
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From: "Abel, Cynthia" <CynthiaAbel@creighton.edu>
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Yes, the Fashion in Detail digrams in the 17th-18th volume and 19th
volume, detail that a lot of piecing was necessary whether a new garment
or one remodled or made from an older one. Fabric was very expensive and
labor was cheap which is the opposite of today. Every little bit of
fabric possible was used when needed and fashions, of course, changed
much more slowly than today.

I find often that the given yardage in today's patterns is often very
generous and I can often cut a garment for a doll or the rare times when
I sew for myself(where the fabric will work for a doll too)with enough
yardage to spare for said doll.  If you are 5'4" or less, you often need
less yardage, a rare benefit for us shorties out there!

Cindy Abel 

 

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From: "Catherine Kinsey" <ckinsey@kumc.edu>
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Subject: [h-cost] Re: Tudor Tailor....a review
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"Further more, Ninya is generous, encouraging, and lacks some of the
snoberism I have detected in some other people who have moved "up a
notch" in the historical reconstruction world."

Well said.
Elizabeth
===================================
Jane too :).

Catherine
who is still waiting for her copy too.


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From: "Catherine Kinsey" <ckinsey@kumc.edu>
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Date: Mon, 17 Apr 2006 11:38:48 -0500
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Subject: [h-cost] Help identifying something
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Status: RO

Is anyone familiar with this painting: 
http://www.joslyn.org/permcol/euro/pages/veronese.html 

or have access to a larger or more detailed image?

I am trying to identify what that is dangling under her left arm.  My
initial guess is part of a chemise, since she appears to have shrugged
off a loose gown and there is no other layer in site.  Also, other
portraits of Venus around this time tend to have a chemise lying around
if she is nude :).

Any ideas?  Thanks,
Catherine
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From: "Lonnie D. Harvel" <aoghann@gmail.com>
To: h-costume@indra.com
Subject: Re: [h-cost] Tudor Tailor....a review
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Status: RO

> Perhaps for some of us who have done this for awhile, but I see this as a
> good book for beginners to learn from as well.

First, let me say that I am thoroughly enjoying my copy of the book.
But, I would never put it in the hands of a beginner. Well, let me be
careful, that would be based on what you mean by a beginner. If it is
a competent costumer who has not worked in the Tudor period, I would
have no problem at all. However, If you are talking about a competent
sewer, who has never worked in period costuming (or someone who has
never done much sewing at all), then this book would be a problem for
them. There are many assumptions about technique and terminology that
would completely lose a non-costumer. Things like "grown-in" collars
and such. More importantly, there is no clear indication of what
patterns go with what instructions and with what pictures of actual
clothing. Experienced costumers can sort it out, but beginners would
be absolutely lost.

For example, there is a picture of a man wearing a jerkin over a
doublet and hose that are slashed at the knee. The jerkin has a
collar, but the jerkin pattern does not. Also, the jerkin has puffed
sleeve caps, which the pattern also lacks. The doublet pattern is a
little easier to connect with the image. In both cases, you will need
to figure out which instructions apply to what. And so on. The text
does not even give hints as to which figure/diagram the instruction
applies to. If I was going to hand a doublet/jerkin pattern to a
beginner, it would probably be Simplicity 5574. The pattern is
identical to what is in the Tudor Tailer (and the Janet Arnold) but
with most of the guess work (and therefore some of the fit) taken out.
In fact, out of curiosity, I took the doublet I cut from the TT and
laid it on top of my copy of 5574 (which was real fun digging out of
my boxes, found lots of other neat stuff I had forgotton was in
there). Anyway, they lined up almost exactly.

Aoghann

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At 16:08 12/04/2006, you wrote:
> > In a message dated 4/12/2006 9:36:06 A.M. Eastern Standard Time,
> > suzi@suziclarke.co.uk writes:
> >
> > Many  extant corsets use chamois leather, like the leather you can use
> > to wash a  car with. There is often a small piece, about an inch deep
> > inside and out,  (sort of crescent shaped) under the arm towards the
> > front armscye, to  prevent chafing.
>
>
>      I've heard about using a wider piece of leather under the arms,
>although I haven't seen the originals with it.  The extant stays I've
>seen have a thin white leather for binding, with a smooth surface.
>The chamois that I've seen is yellow, and has a suede-like surface.
>I know people like to use chamois because they can find it easily and
>it's thin (nicer for hand stitching).  But I would like to hear more
>about the extant stays that use chamois leather for binding, and also
>those with the underarm reinforcement.  Where are they?  How often do
>those features show up in extant stays?
>
>      Or do you mean something different for chamois - is it available
>white and with a smooth surface?


I have found 5 photos of corsets that show the underarm piece I 
referred to. (Two are of the same corset.) As they are research 
photos, I cannot post them on a photo site, but am happy to send a 
jpeg to anyone who contacts me off list.

One is probably chamois, one may be chamois, one appears black in the 
photo, and one is ? They were mostly taken in museums with poor 
lighting so the colour is no guide.

Suzi


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Subject: Re: [h-cost] Innocent Traitor(fiction)by Alison Weir
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In a message dated 4/17/2006 12:58:43 P.M. Eastern Standard Time,  
CynthiaAbel@creighton.edu writes:

Oh, darn  "Dress at the Court of King Henry VIII" yet another book from
the other  side of the pond I just have to have!  


*********************
 
 Is this the period du jour or what!
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Subject: [h-cost] 18thC stays crescent, was: kid skin
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> I have found 5 photos of corsets that show the underarm piece I
> referred to. (Two are of the same corset.) As they are research
> photos, I cannot post them on a photo site, but am happy to send a
> jpeg to anyone who contacts me off list.
>
> One is probably chamois, one may be chamois, one appears black in the
> photo, and one is ? They were mostly taken in museums with poor
> lighting so the colour is no guide.

Hi Suzi,

     We were talking about this underarm crescent on Historic Corsets. 
Martha mentioned two that used a plush fabirc, one that was quilted
linen, and one that was quilted chamois.  (Is that right, Martha?)
Also I noticed on the Bisonette page the crescent was at the back of
the armscey, not center and forward where you would place a sweat
sheild.  Plus they do not cover the edge of the stays, so it does not
offer extra reinforcement to the binding.

     So what was it for?

     I wonder if the plush or suede side leather was to hold the gown
fabric in that area?  Is there ever a bagging of the fabric there?

     Also, was it perhaps to compensate for a bit of back/arm flab?  Were
these particular stays large?  (Although a small person can have
flab, too.)

     Is there anything else about the stays that would indicate a
customization?  Alterations for better fit, or were they higher
quality stays?

     -Carol

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Subject: Re: [h-cost] Tudor Tailor...possitive stuff
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It's me again.
 
Was looking at my book this AM. Just to drive home that I do not hate this  
book or anything, and having gotten over the disappointments I had about it, I  
thought I'd point out some [more] things I like, beside those great pictorial 
 instructions for men's hose.
 
Remember the dress with the annoyingly just off, miss-matched back? [pg.  
110] Looking at it this morning, I find it one of the most convincing costumes  
in the book. [Hey...the veil covers the back anyway] The scale and proportions  
are harmonious and the yardages seem fine. The fabrics are OK [but almost a  
little too curtain-like....a real problem for designers these days. I once 
heard  a criticism of "Dangerous Liaisons" that "they all looked like they were 
wearing  curtains."]. And one thing I admire is how these girls really get that 
Henry  VIII female silhouette right. Not an easy silhouette either.
 
The man's costume that looks the most real to me is on page 103...the white  
doublet with the red paned hosen. Very good work [though I don't like that 
brown  lining to the hosen]. Not a fancy garment but again good proportions and 
it  looks livable. Much better than the fancy-schmancy outfit on page 98, with 
it's  sloppy canions and sagging jerkin.
 
Oops! got negative there for a minute. Sorry.
 
Being someone who has worked on period films and in lots of theatres, as  
well as made things out of the dinning room for community events, I'd definitely  
keep this book around the shop. If you had experienced people [even 
moderately  so] they could pick this volume up and churn out a very nice garment for 
that  costume they just added at the last minute....right from the book. And 
even for  that gown you have 3 week to do, this book is a good place to start. 
Most of my  complaints have to do with personal taste, and simply changing 
fabrics, or  adding yardage fixes most of those.
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This is a rather late response, but I would recommend _Hispanic Costume: 1480-1530_ by Ruth M. Anderson. It covers both Spanish and Portuguese fashion, apparently at the time they weren't very different. (And besides the appropriateness of the subject, the book's organization and detail pictures are amazing, _and_ it's in print for $29.00!) One caveat: it does focus on upper class garb; it works a lot with royal inventories as well as the pictorial sources.
	-s

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Date: Mon, 17 Apr 2006 19:23:30 +0100
To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] 18thC stays crescent, was: kid skin
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At 18:45 17/04/2006, you wrote:
> > I have found 5 photos of corsets that show the underarm piece I
> > referred to. (Two are of the same corset.) As they are research
> > photos, I cannot post them on a photo site, but am happy to send a
> > jpeg to anyone who contacts me off list.
> >
> > One is probably chamois, one may be chamois, one appears black in the
> > photo, and one is ? They were mostly taken in museums with poor
> > lighting so the colour is no guide.
>
>Hi Suzi,
>
>      We were talking about this underarm crescent on Historic Corsets.
>Martha mentioned two that used a plush fabirc, one that was quilted
>linen, and one that was quilted chamois.  (Is that right, Martha?)
>Also I noticed on the Bisonette page the crescent was at the back of
>the armscey, not center and forward where you would place a sweat
>sheild.  Plus they do not cover the edge of the stays, so it does not
>offer extra reinforcement to the binding.
>
>      So what was it for?
>
>      I wonder if the plush or suede side leather was to hold the gown
>fabric in that area?  Is there ever a bagging of the fabric there?
>
>      Also, was it perhaps to compensate for a bit of back/arm flab?  Were
>these particular stays large?  (Although a small person can have
>flab, too.)
>
>      Is there anything else about the stays that would indicate a
>customization?  Alterations for better fit, or were they higher
>quality stays?


All the corsets that I have photos of, including the one I am 
wearing, have the crescent in the front armscye, which to my mind 
would stop any chafing. I don't believe they are sweat shields - that 
never occurred to me - but to protect against rubbing, and the 
possibility of whalebone poking through, as the leather type ones are 
tougher than the linen.

Suzi 


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Subject: RE: [h-cost] Innocent Traitor(fiction)by Alison Weir
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 Is this the period du jour or what!


I think so! HBO(which I don't subscribe to) is airing a miniseries about
the latter part of the reign of Elizabeth I, starring Helen Mirren, this
Saturday  Has this been seen in the UK yet?

Also novelist Philippa Gregory has a novel coming out in Sept in the
UK(The Last Boleyn)about a relative of the Boleyns during the time of
Elizabeth I(not Lettice Knollys)whom I'm not sure is based on a real
Boleyn descendant or not.  This book will be published later in the US
as "The Boleyn Legacy"

There is always some Tudor book or whatever in the pipeline somewhere
and I've bought or read most of them I think!

Cindy Abel

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Catherine Kinsey wrote:
> Is anyone familiar with this painting: 
> http://www.joslyn.org/permcol/euro/pages/veronese.html 
> 
> or have access to a larger or more detailed image?
> 
> I am trying to identify what that is dangling under her left arm.  My
> initial guess is part of a chemise, since she appears to have shrugged
> off a loose gown and there is no other layer in site.  Also, other
> portraits of Venus around this time tend to have a chemise lying around
> if she is nude :).


It doesn't seem as if there is enough fabric for a chemise, but the 
image is so dark it's hard to make out how much might be in the shadow 
there. I enlarged it and lightened it, and can't quite tell. My guess 
would be it's a veil and some ribbons attached to her hair, if it's not 
just some random draping added for artistic value.

I want to know what the round thing under her left foot is. She seems to 
be standing on it. It looks like the ball foot of a chair, but the 
position she is in makes that impossible...



Dawn

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AlbertCat@aol.com wrote:

> It's me again.
>  
> Was looking at my book this AM. Just to drive home that I do not hate this  
> book or anything, and having gotten over the disappointments I had about it, I  
> thought I'd point out some [more] things I like, beside those great pictorial 
>  instructions for men's hose.


Thanks for posting your review. You brought up a number of points about 
the book, and so did the others in the discussion, that it's helped me 
get a good feel for the content. It's nice to know what we're getting, 
and not getting, before we spend money. I was hoping for something new, 
some as-yet unknown secrets of costuming this period, so I think if I 
had bought it I'd have been disappointed too. I'll probably end up with 
the book eventually, but now that I know what's really in it, it's 
farther down my list.



Dawn


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Date: Mon, 17 Apr 2006 22:09:29 +0100
To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: RE: [h-cost] Innocent Traitor(fiction)by Alison Weir
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At 19:15 17/04/2006, you wrote:
>
>
>  Is this the period du jour or what!
>
>
>I think so! HBO(which I don't subscribe to) is airing a miniseries about
>the latter part of the reign of Elizabeth I, starring Helen Mirren, this
>Saturday  Has this been seen in the UK yet?

Yes, but my comments are unprintable, as liberties, as usual, were 
taken with the facts.  And I like my historical films about real 
people, if purporting to be the real thing, to at least look 
something like the portraits, even if it doesn't matter to other viewers.


>Also novelist Philippa Gregory has a novel coming out in Sept in the
>UK(The Last Boleyn)about a relative of the Boleyns during the time of
>Elizabeth I(not Lettice Knollys)whom I'm not sure is based on a real
>Boleyn descendant or not.  This book will be published later in the US
>as "The Boleyn Legacy"

I am reading her book on Elizabeth "The Virgin's Lover". I suppose 
it's not bad, as a work of fiction, but i am not keen on her view of history.

>There is always some Tudor book or whatever in the pipeline somewhere
>and I've bought or read most of them I think!


Suzi


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Subject: RE: [h-cost] Innocent Traitor(fiction)by Alison Weir
Date: Mon, 17 Apr 2006 17:11:16 -0500
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From: "Abel, Cynthia" <CynthiaAbel@creighton.edu>
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Yes, Suzi, I like my historic novels to stick to the facts when they
exist and not ignore them and the characters not to speak and think in
today's slang and psycho-babble. While I applaud Gregory and others for
taking a new slant on what-might-have-been, they go to far for us
historic purists in assigning today's "ripped from the headlines"
attitudes and thought processes.  But you gotta sell those novels and
appeal to as broad an audience as possible to make a living, I suppose.

Cindy Abel 

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
On Behalf Of Suzi Clarke
Sent: Monday, April 17, 2006 4:09 PM
To: Historical Costume
Subject: RE: [h-cost] Innocent Traitor(fiction)by Alison Weir

At 19:15 17/04/2006, you wrote:
>
>
>  Is this the period du jour or what!
>
>
>I think so! HBO(which I don't subscribe to) is airing a miniseries 
>about the latter part of the reign of Elizabeth I, starring Helen 
>Mirren, this Saturday  Has this been seen in the UK yet?

Yes, but my comments are unprintable, as liberties, as usual, were taken
with the facts.  And I like my historical films about real people, if
purporting to be the real thing, to at least look something like the
portraits, even if it doesn't matter to other viewers.


>Also novelist Philippa Gregory has a novel coming out in Sept in the 
>UK(The Last Boleyn)about a relative of the Boleyns during the time of 
>Elizabeth I(not Lettice Knollys)whom I'm not sure is based on a real 
>Boleyn descendant or not.  This book will be published later in the US 
>as "The Boleyn Legacy"

I am reading her book on Elizabeth "The Virgin's Lover". I suppose it's
not bad, as a work of fiction, but i am not keen on her view of history.

>There is always some Tudor book or whatever in the pipeline somewhere 
>and I've bought or read most of them I think!


Suzi


_______________________________________________
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From: Cin <cinbarnes@gmail.com>
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Subject: [h-cost] Motel of the Mysteries/ the Nacirema
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> I especially liked the ceremonial collar.  (See, I knew it had some
> costume content!)
>
>      -Carol
Sounds very much like the old "Body Ritual Among the Nacirema" an old
50s article spoofing Anthropology.
http://oak.cats.ohiou.edu/~thompsoc/Body.html
--cin
Cynthia Barnes
CinBarnes@gmail.com

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From: Susan Data-Samtak <pasovasz@aol.com>
Subject: Re: [h-cost] Motel of the Mysteries/ the Nacirema
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Status: RO

That was great!  I never saw that one.

Thanks,

Susan

"Slow down. The trail is the thing, not the end of the trail. Travel
too fast and you miss all you are traveling for".  - "Ride the Dark
Trail" by Louis L'Amour

On Apr 17, 2006, at 9:01 PM, Cin wrote:

>> I especially liked the ceremonial collar.  (See, I knew it had some
>> costume content!)
>>
>>      -Carol
> Sounds very much like the old "Body Ritual Among the Nacirema" an old
> 50s article spoofing Anthropology.
> http://oak.cats.ohiou.edu/~thompsoc/Body.html
> --cin
> Cynthia Barnes
> CinBarnes@gmail.com
>
> _______________________________________________
> 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 4/16/06 7:01:53 PM GMT Daylight Time, 
h-costume-request@indra.com writes:

> And, though the men's things look  
> pretty good, there is something unconvincing about all the clothes. They 
> look  
> costume-y to me. I can't quite put my finger on why. Maybe it's because  
> everything looks like it's hot off the sewing machine. Maybe it's what to me 
>  looks 
> like skimpy yardages...

Although I agree that an awful lot of people who buy the book may not have 
need of the patterns (I myself don't), but I do know of quite a lot of people 
who have used the patterns to date, who don't have the ability to cut patterns 
from scratch using only paintings, etc (not everybody has that kind of 
'spatial' (for want of a better word) awareness - for them it has been helpful.

As to the above statement - this is harsh to say the least - not to mention 
fairly unfounded.

Ninya Mikhaila is one of the best historical costumers in the UK, if not the 
world (and no, she's not a friend - I have never met her).

And having seen several of the costumes 'in the flesh' I can attest that the 
fabric has not been skimped on (at least not in the outfits I've seen).  They 
may be machine made (I didn't look closely enough to pull the seams apart), 
but I believe they are, like all of Ninya's clothing, hand finished (if this is 
incorrect, no doubt someone will put me right).

Debbie.
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Here the picture of me while I am wearing it at the open air museum.
And an other one with my friend.
http://mystictimes.nl/Bliaut/Bliautaf.jpg
http://mystictimes.nl/Bliaut/Benf.jpg

Greetings,
       Deredere

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From: "Susan B. Farmer" <sfarmer@goldsword.com>
To: Historical Costume <h-costume@indra.com>
Subject: yardage required (Tudor Tailor Review) (was Re: [h-cost] Re:
	h-costume Digest, Vol 5, Issue 337
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> In a message dated 4/16/06 7:01:53 PM GMT Daylight Time,
> h-costume-request@indra.com writes:
>
>> And, though the men's things look
>> pretty good, there is something unconvincing about all the clothes. They
>> look
>> costume-y to me. I can't quite put my finger on why. Maybe it's because
>> everything looks like it's hot off the sewing machine. Maybe it's what to me
>>  looks
>> like skimpy yardages...
>

I don't think I saw this original mesage -- ah well.

Anyway, I find it interesting that somebody would think that the clothes
are make from "skimpy yardage."  I don't know who made the original post
or what their experience is, but many of the gowns that I see at SCA
events (and I'm only picking on us) or in Dress Diaries on the web --
to my eyes at least -- use way too *much* fabric.  If you look at Juan
de Alcega (and similar books), you can see how much yardage is
generally required for various types of gowns.  I saw a mid-16th
century Italian Gown once (it *might* have been a Bronzino replication)
-- it was a *beautifully* done gown, but it looked like the wearer had
on Civil War Hoops underneath, the skirt was so full.

Based on what I see -- particularly us as Americans in the SCA -- think
that all medieval/renaissance gowns need 10+ yards of fabric, and they
don't.

just my $0.02
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: yardage required (Tudor Tailor Review) (was Re: [h-cost] Re:
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In a message dated 4/18/2006 10:30:41 A.M. Eastern Standard Time,  
sfarmer@goldsword.com writes:

If you  look at Juan
de Alcega (and similar books), you can see how much yardage  is
generally required for various types of  gowns. 


*****************
 
Well, you get Juan's idea of what yardages should be.
 
And, accurate or not, if it's skimpy, it's  skimpy.
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	<20060418102745.uxcnv6njksc0ck0k@www.goldsword.com>
Subject: Re: yardage required (Tudor Tailor Review) (was Re: [h-cost]
	Re:h-costume Digest, Vol 5, Issue 337
Date: Tue, 18 Apr 2006 12:04:31 -0400
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This has been my take on the subject too. Years ago when I first connected
with the idea of historical costuming, I tended to use the yardages quoted
in novels and inventories in trying to construct, say a mid nineteenth
Century gown, which was often  10 yards.  It wasn't until I had opportunity
to view antique garments and to learn more about fabric production, that I
finally put it together that with average widths of 26/28", that the
garments in reconstruction would only be 5/6 yards of contemporary widths.
This made a huge impression on my research and craft. The CW garments that I
have, or have examined, average 4/5 yards around the bottom, which is about
3 1/2 or four panels of 45" fabric. With another yard and a half or two,
depending on the sleeve style, one can easily do the project with 5 1/2 or
six yards.
The same principle applies for some other historical periods.  Once the
shaping became the'cut 'and not the 'fit'does one need to allow for more
yardages...and expect to have a fair 'waste' pile.  This idea tells us
something about the availability of fabric in any width as well as something
about the wealth of the wearer.
I think the idea of 'skimpy' reflects perhaps some of the present aesthetic
view that revels in the volume of the drape.

Kathleen
----- Original Message ----- 
From: "Susan B. Farmer" <sfarmer@goldsword.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Tuesday, April 18, 2006 10:27 AM
Subject: yardage required (Tudor Tailor Review) (was Re: [h-cost]
Re:h-costume Digest, Vol 5, Issue 337


>
> > In a message dated 4/16/06 7:01:53 PM GMT Daylight Time,
> > h-costume-request@indra.com writes:
> >
> >> And, though the men's things look
> >> pretty good, there is something unconvincing about all the clothes.
They
> >> look
> >> costume-y to me. I can't quite put my finger on why. Maybe it's because
> >> everything looks like it's hot off the sewing machine. Maybe it's what
to me
> >>  looks
> >> like skimpy yardages...
> >
>
> I don't think I saw this original mesage -- ah well.
>
> Anyway, I find it interesting that somebody would think that the clothes
> are make from "skimpy yardage."  I don't know who made the original post
> or what their experience is, but many of the gowns that I see at SCA
> events (and I'm only picking on us) or in Dress Diaries on the web --
> to my eyes at least -- use way too *much* fabric.  If you look at Juan
> de Alcega (and similar books), you can see how much yardage is
> generally required for various types of gowns.  I saw a mid-16th
> century Italian Gown once (it *might* have been a Bronzino replication)
> -- it was a *beautifully* done gown, but it looked like the wearer had
> on Civil War Hoops underneath, the skirt was so full.
>
> Based on what I see -- particularly us as Americans in the SCA -- think
> that all medieval/renaissance gowns need 10+ yards of fabric, and they
> don't.
>
> just my $0.02
> Susan
> -----
> Susan Farmer
> sfarmer@goldsword.com
> University of Tennessee
> Department of Ecology and Evolutionary Biology
> http://www.goldsword.com/sfarmer/Trillium/
>
>
> _______________________________________________
> h-costume mailing list
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Date: Tue, 18 Apr 2006 12:40:04 EDT
Subject: Re: yardage required (Tudor Tailor Review) (was Re: [h-cost]
	Re:h-costume Dig...
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In a message dated 4/18/2006 12:10:04 P.M. Eastern Standard Time,  
rmitchell@washjeff.edu writes:

The CW  garments that I
have, or have examined, average 4/5 yards around the  bottom, which is about
3 1/2 or four panels of 45" fabric. 


*******************
1830's skirts will have a mere 3 1/2 yard hem sometimes. This looks  right if 
in proportion with the top...huge sleeves and such. 
It depends on the scale and balance of the whole garment.
When I make an 1860s gown, 3,  45" panels are usually plenty for  a skirt. 
But then the hoop underneath has to be the right scale. [interestingly,  
sometimes an 1840s or 50s gown requires more to look right]
Bustle gown regularly suffer from too full a drape or ruffle. There is  
something more realistic about skimpier ruffles sometimes.
 
I've seen lots of garments [usually on stage] that are too full.
 
It's balance and proportion....of the WHOLE OUTFIT that can make the  
difference.
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From h-costume-bounces@indra.com  Tue Apr 18 14:52:36 2006
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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I can understand from the many posts about this new book, that many are 
making this period.
May i ask you, have you considered to make something new from the book?
Is it going to be another style, than you normally do?

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

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One thing i also wonder about this, is why did Diderot not show this in his 
encyklopedia?

Bjarne





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From: "Lloyd Mitchell" <rmitchell@washjeff.edu>
To: "Historical Costume" <h-costume@indra.com>
References: <362.2dacc67.31767064@aol.com>
Subject: Re: yardage required (Tudor Tailor Review) (was Re:
	[h-cost]Re:h-costume Dig...
Date: Tue, 18 Apr 2006 15:26:26 -0400
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Status: RO

I have an antique hoop from family that I use and my skirts re about 3
panels.  It fits just right.
Proportion says it all! One of the problems I have with the 'new' patterns
is that the bodice is usually for a modern fit and is too long for the
proportions viewed in Godey's and Peterson's. The two extant whole gowns I
own are slightly short waisted for me (re modern fit) but perfect for 19thC
wear.
In making Plus Size gowns,
 etc. for customers, it is sometimes a little dicey getting the right
proportion for the period.  For waisted gowns they usually think their waist
is somewhere ...(male or female)below the navel.

Kathleen
----- Original Message ----- 
From: <AlbertCat@aol.com>
To: <h-costume@indra.com>
Sent: Tuesday, April 18, 2006 12:40 PM
Subject: Re: yardage required (Tudor Tailor Review) (was Re:
[h-cost]Re:h-costume Dig...


>
> In a message dated 4/18/2006 12:10:04 P.M. Eastern Standard Time,
> rmitchell@washjeff.edu writes:
>
> The CW  garments that I
> have, or have examined, average 4/5 yards around the  bottom, which is
about
> 3 1/2 or four panels of 45" fabric.
>
>
> *******************
> 1830's skirts will have a mere 3 1/2 yard hem sometimes. This looks  right
if
> in proportion with the top...huge sleeves and such.
> It depends on the scale and balance of the whole garment.
> When I make an 1860s gown, 3,  45" panels are usually plenty for  a skirt.
> But then the hoop underneath has to be the right scale. [interestingly,
> sometimes an 1840s or 50s gown requires more to look right]
> Bustle gown regularly suffer from too full a drape or ruffle. There is
> something more realistic about skimpier ruffles sometimes.
>
> I've seen lots of garments [usually on stage] that are too full.
>
> It's balance and proportion....of the WHOLE OUTFIT that can make the
> difference.
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>

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Date: Tue, 18 Apr 2006 17:05:42 -0500 (CDT)
From: Robin Netherton <robin@shell.nightowl.net>
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Subject: [h-cost] Quick lace question
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I'm out of my period on this one. Can anyone give me a rough date/place
for when lace appears -- meaning something that would be recognized by a
modern person as "lace"? (I mean the trimming, not lacing cord or points.)

--Robin

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Subject: Re: [h-cost] Quick lace question
Date: Tue, 18 Apr 2006 23:54:16 +0200
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Hi Robin,
If you look in the archives, i have posted a coupple of times about the 
first written proof of bobbin lace.
Dont remember the year and date for it. It was an italian letter and the 
lace worked on had 6 pairs of bobbins.

Bjarne

Original Message ----- 
From: "Robin Netherton" <robin@shell.nightowl.net>
To: "Historic Costume List" <h-costume@indra.com>
Sent: Wednesday, April 19, 2006 12:05 AM
Subject: [h-cost] Quick lace question


>
> I'm out of my period on this one. Can anyone give me a rough date/place
> for when lace appears -- meaning something that would be recognized by a
> modern person as "lace"? (I mean the trimming, not lacing cord or points.)
>
> --Robin
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 


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From: "Marie Stewart" <maricelt@gmail.com>
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Subject: Re: [h-cost] Quick lace question
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Hey there Robin...

There are two main ways to make lace...  start with cloth and put
holes into it to form the lace (punti tagliati, hedebo work, cut work,
embroidered lace) and the other way is to form lace from string by
forming a repetitive pattern that becomes the body of the work (bobbin
lace, tatting, knitted, knotwork)

All can create lace... cloth with a pattern of holes in it.  Woven
techniques are <i>perhaps</i> the oldest.  So can you give a little
more information of what you are looking for...  I'll dig through the
library.

Bridgette

On 4/18/06, Robin Netherton <robin@shell.nightowl.net> wrote:
>
> I'm out of my period on this one. Can anyone give me a rough date/place
> for when lace appears -- meaning something that would be recognized by a
> modern person as "lace"? (I mean the trimming, not lacing cord or points.)
>
> --Robin

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Date: Tue, 18 Apr 2006 19:24:39 -0500 (CDT)
From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Quick lace question
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On Tue, 18 Apr 2006, Marie Stewart wrote:

> There are two main ways to make lace...  start with cloth and put
> holes into it to form the lace (punti tagliati, hedebo work, cut work,
> embroidered lace) and the other way is to form lace from string by
> forming a repetitive pattern that becomes the body of the work (bobbin
> lace, tatting, knitted, knotwork)
> 
> All can create lace... cloth with a pattern of holes in it.  Woven
> techniques are <i>perhaps</i> the oldest.  So can you give a little
> more information of what you are looking for...  I'll dig through the
> library.

No library digging needed for this one, I think; I suspect you can give me
enough for my purposes off the top of your head!

Here's the situation: I'm editing an article that refers to depictions of
the Virgin in 14th and 15th century European paintings as showing clothes
decorated with such rich ornamentations as "ermine, jewels, and pure gold
lace." I'm quite familiar with the paintings of this period, and I've
never seen anything in them that could reliably be called "gold lace," so
I suspect that the author (not being a costume person) is misapplying a
modern term to another type of decoration. She probably just means trim
borders or embroidery, but I can't put words into her mouth. In asking her
exactly what it is she's trying to call attention to, I need to explain
that the wording she's used won't work, because lace (as readers would
interpret the term) wasn't used yet. I'd like to be on firm ground when I
say that, and it would help if I could say that "what is commonly thought
of as lace trim on clothing doesn't appear until X period; I suspect
you're describing something else."

So, I don't need a specific date for the technique, just a ballpark
half-century or quarter-century in which something visibly recognizable as
"lace" became commonly used as clothing decoration. I know I see
recognizable lace all over Elizabethan art, and I don't see it in 14th
century art. But I don't have a sense for when exactly it starts cropping
up as a typical feature in depictions of clothing.

--Robin



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>So, I don't need a specific date for the technique, just a ballpark 
>half-century or quarter-century in which something visibly 
>recognizable as "lace" became commonly used as clothing decoration. 
>I know I see recognizable lace all over Elizabethan art, and I don't 
>see it in 14th century art. But I don't have a sense for when 
>exactly it starts cropping up as a typical feature in depictions of 
>clothing.

      In the 18th century, lace was also a woven tape that could be 
used around buttonholes and worked into patterns on some military 
coats.  There are also the laces that go through eyelets to fasten 
things.

      I know what you mean, though, if the author means something like 
that, readers will be looking for string & holes.

      -Carol
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From: "Marie Stewart" <maricelt@gmail.com>
To: "Historical Costume" <h-costume@indra.com>
Subject: Re: [h-cost] Quick lace question
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> No library digging needed for this one, I think; I suspect you can give me
> enough for my purposes off the top of your head!
Thanks... wow.
>
> Here's the situation: I'm editing an article that refers to depictions of
> the Virgin in 14th and 15th century European paintings as showing clothes
> decorated with such rich ornamentations as "ermine, jewels, and pure gold
> lace." I'm quite familiar with the paintings of this period, and I've
> never seen anything in them that could reliably be called "gold lace,"

I agree with you about the "gold lace" probably being a misapplication
or a misinterpretation of the term.  As far as is known lace evolved
in the realm of linen fibers, not in the metalics.  Bone lace, or
bobbin lace, didn't show up until mid or near the end of the 16th
century.  And that was the breakthrough that led to metalic threads
first being formed into patterns of lace and applied to clothing.  
The first records of the bone laces all seem to refer to linen fibers,
 but are soon filled out with laces in gold, silver and copper.

Prior to that... there is all types of embroidered work, both in and
above the cloth.  Passamentiere work can be mistaken for lace in some
cases.

Now there is plenty of woven metalic edgings and ribbons that could
have a pattern that appeared to be lacey.  A pattern in the ribbon
worked in gold on a ground of the same color as the garment...  that's
possible, maybe.

Hope that's good enough... I don't have my Levy right next to me and
I'm working from memory.

BTW... an aside and a small rant... If this author is talking about or
referring to the Prague exhibit in any way... they might be falling
vicitim to some errors I saw in the exhibit  information.   There was
one chausible, lovely thing, all 14th century embroidery,  but the
card next to it failed to mention that the orphrey (?) had been
remounted sometime in the 16th or 17th century.   Because there on the
chausible all about the edge was a bobbin lace border of gold and
silver thread....   <gah!>  so,  just FYI.

Bridgette

so
> I suspect that the author (not being a costume person) is misapplying a
> modern term to another type of decoration. She probably just means trim
> borders or embroidery, but I can't put words into her mouth. In asking her
> exactly what it is she's trying to call attention to, I need to explain
> that the wording she's used won't work, because lace (as readers would
> interpret the term) wasn't used yet. I'd like to be on firm ground when I
> say that, and it would help if I could say that "what is commonly thought
> of as lace trim on clothing doesn't appear until X period; I suspect
> you're describing something else."
>
> So, I don't need a specific date for the technique, just a ballpark
> half-century or quarter-century in which something visibly recognizable as
> "lace" became commonly used as clothing decoration. I know I see
> recognizable lace all over Elizabethan art, and I don't see it in 14th
> century art. But I don't have a sense for when exactly it starts cropping
> up as a typical feature in depictions of clothing.

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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Quick lace question
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On Tue, 18 Apr 2006, Carol Kocian wrote:

>       In the 18th century, lace was also a woven tape that could be
> used around buttonholes and worked into patterns on some military
> coats.  There are also the laces that go through eyelets to fasten
> things.
> 
>       I know what you mean, though, if the author means something like
> that, readers will be looking for string & holes.

Yes, this is not meant to be complicated. As I said earlier, she's talking
about a decoration (not lacings) and didn't know the right term.

In other words: Non-costume person looks at 14th c. art and says, "Oh, see
the pretty gold lace." I'm saying, "Whatever you're looking at is not
lace, which wasn't invented till XXX. Tell me what you're seeing and I'll
help you find the right word."

I need "XXX."

--Robin


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Dawn wrote:
> Robin Netherton wrote:
> 
> 
>> So, I don't need a specific date for the technique, just a ballpark
>> half-century or quarter-century in which something visibly 
>> recognizable as
>> "lace" became commonly used as clothing decoration. I know I see
>> recognizable lace all over Elizabethan art, and I don't see it in 14th
>> century art. But I don't have a sense for when exactly it starts cropping
>> up as a typical feature in depictions of clothing.
> 
> 
> The documentation I have (an SCA handout with pictures) shows drawn and 
> cutwork "lace" as early as the 1400's and thread-and-bobbin lace 
> mentioned in 1493, and a pattern book published in 1524. I would say 
> "late 15th century" is a safe guess.
> 
> 

I should clarify my last statement, as late 15th century being a date 
for the earliest kinds of work we'd recognize today, and give "early 
16th century" as a better date for common useage (at least among 
european nobility).


Dawn


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> Is anyone familiar with this painting: 
> http://www.joslyn.org/permcol/euro/pages/veronese.html  
> or have access to a larger or more detailed image?
> 
> I am trying to identify what that is dangling under her left arm.  
> My
> initial guess is part of a chemise, since she appears to have 
> shrugged
> off a loose gown and there is no other layer in site.  Also, other
> portraits of Venus around this time tend to have a chemise lying 
> around
> if she is nude :).

Do you need this information in a hurry?  I can run down to the Joslyn
and look at the painting ... but between overtime at work and helping out
a friend whose mother just died, it ain't gonna be this week.

Leah
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Date: Tue, 18 Apr 2006 20:06:56 -0700
To: h-costume@mail.indra.com
From: Chris Laning <claning@igc.org>
Subject: Re: [h-cost] Quick lace question
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Being the first to have the book handy and a few minutes to type..... 
the very first sentence of Chapter 1 of THE classic reference, 
Santina Levey's _Lace: A History_, says: "During the two decades 1560 
to 1580, lace became an increasingly important feature of fashionable 
dress in most European countries, and this development can be traced 
in contemporary records and in the portraits of the period."

She goes on to say that decorative "crimped and goffered EDGES" 
appear in the _15th_ century, in the same places we would expect to 
find lace some decades later -- but they are merely a "laundry 
technique" and not needlework of any kind.

In the late 15th and early 16th centuries we can see "decorative 
edges" that _do_ involve needlework of some kind on the edges of 
veils, and at the necks and wrists of smocks and shirts. These edges 
were created with embroidery (oversewing and buttonhole stitch), 
beads, seed pearls or applied cords. "Many of these edge decorations 
were carried out in colored silk or metal thread, a fact which has 
tended to obscure their links with later linen laces."

The earliest record of some sort of trimming made with bobbins is 
1476, by the ladies of the household of Eleanor d'Este, but it's 
almost certainly a cord, since the account book says "...cordella 
facto a piombino...".

"There was no moment," she says, "at which any of the above 
techniques either changed into or were replaced by lace. Gradually, 
however, during the second quarter of the sixteenth century, changing 
tastes in trimmings and embroidery resulted in the exaggeration of 
certain effects: in particular, greater emphasis was placed on 
decorated seams and edgings.... Needle and bobbin lace began to 
emerge in response to these demands, but it was a long time before 
they were seen to have become separated from the older techniques... 
Indeed, one of the clearest indications of the newness of lace is its 
lack of a name that is wholly its own."

As for possible early dates for metallic lace, "...Although, 
therefore, fifteenth-century references to 'lace', such as the mantle 
lace worn by Richard III at his coronation in 1485, really refer to 
cords and braids, it is possible that some of the later references to 
'passementerie' may refer to early bobbin lace....The 'Pasmens of 
gold' and 'passmeyn riband' worn respectively by Mary I and Edward VI 
were certainly braids, but the more explicitly described 'Passmeyn 
lace of bone work of gold' mentioned in the Lord Chamberlain's 
Accounts for 1553 was bobbin lace." (She gives a footnote for this 
conclusion, but doesn't justify it further. She goes on to describe a 
"white silver bone lace" of 1560 and "6 white smocks edged with white 
needle lace" in 1558-9.)

That help?
-- 
____________________________________________________________

O    Chris Laning <claning@igc.org> - Davis, California
+     http://paternoster-row.org - http://paternosters.blogspot.com
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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Quick lace question
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On Tue, 18 Apr 2006, Chris Laning wrote:

> That help?

Yes! Thank you for typing it all in.

(Dollars to donuts my author came up with "gold lace" by quoting some art
book or museum description, whose author had no clue about any of these
techniques.)

--Robin

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From: Heather Rose Jones <heather.jones@earthlink.net>
Subject: Re: [h-cost] Quick lace question
Date: Tue, 18 Apr 2006 21:57:35 -0700
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On Apr 18, 2006, at 5:24 PM, Robin Netherton wrote:

> Here's the situation: I'm editing an article that refers to  
> depictions of
> the Virgin in 14th and 15th century European paintings as showing  
> clothes
> decorated with such rich ornamentations as "ermine, jewels, and  
> pure gold
> lace." I'm quite familiar with the paintings of this period, and I've
> never seen anything in them that could reliably be called "gold  
> lace," so
> I suspect that the author (not being a costume person) is  
> misapplying a
> modern term to another type of decoration. She probably just means  
> trim
> borders or embroidery, but I can't put words into her mouth. In  
> asking her
> exactly what it is she's trying to call attention to, I need to  
> explain
> that the wording she's used won't work, because lace (as readers would
> interpret the term) wasn't used yet. I'd like to be on firm ground  
> when I
> say that, and it would help if I could say that "what is commonly  
> thought
> of as lace trim on clothing doesn't appear until X period; I suspect
> you're describing something else."

Something is twigging my memory.  There's a number of paintings of  
the Virgin from roughly that period from eastern Europe that feature  
veils edged with some sort of decorative edging depicted in gold that  
I could easily see someone describing as "lace" for want of a better  
word.  The paintings are fairly stylized and it's hard to tell  
whether the motifs are intended to depict an actual decorative  
threadwork technique or what.  But what it appears to be is an edging  
made either of gold thread or gold in some other form that stands out  
from the edge of the veil in open designs, often with little pendant  
bits.  I'm describing this very badly -- I wish I could find an  
example on the web to point to.  My memory is telling me that there  
are several examples in Sronkova's "Gothic Woman's Fashion", but alas  
I don't own a copy of that book.

But what I'm wondering is whether the author is trying to describe  
something of this sort and accidentally evoking a later style of "lace".

Heather

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


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At 12:26 PM 4/18/2006, you wrote:
>In making Plus Size gowns,
>  etc. for customers, it is sometimes a little dicey getting the right
>proportion for the period.


Hi Kathleen,

As a plus sized woman who later this summer will, I promise, *will* make a 
Victorian outfit for our County Sesquicentennial (I think I have that 
right... 150 year anniversary), any suggestions or tips on getting that 
right proportion?

Kimiko


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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Quick lace question
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On Tue, 18 Apr 2006, Heather Rose Jones wrote:

> But what I'm wondering is whether the author is trying to describe  
> something of this sort and accidentally evoking a later style of "lace".

Since she's describing clothes and not veils, probably not. Fortunately I
don't have to guess; I'll ask her what she's looking at and help her find
the right word, once I've explained why "lace" won't do.

--Robin

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From: Susan Data-Samtak <pasovasz@aol.com>
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	required)
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Me, too!  Plus size and only 5' 2" tall.  I can use all the help I can 
get.

Thanks.

Susan

"Slow down. The trail is the thing, not the end of the trail. Travel
too fast and you miss all you are traveling for".  - "Ride the Dark
Trail" by Louis L'Amour

On Apr 19, 2006, at 12:51 AM, Kimiko Small wrote:

> At 12:26 PM 4/18/2006, you wrote:
>> In making Plus Size gowns,
>>  etc. for customers, it is sometimes a little dicey getting the right
>> proportion for the period.
>
>
> Hi Kathleen,
>
> As a plus sized woman who later this summer will, I promise, *will* 
> make a Victorian outfit for our County Sesquicentennial (I think I 
> have that right... 150 year anniversary), any suggestions or tips on 
> getting that right proportion?
>
> Kimiko
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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On Tue, 18 Apr 2006, Marie Stewart wrote:

> I agree with you about the "gold lace" probably being a misapplication
> or a misinterpretation of the term.  As far as is known lace evolved
> in the realm of linen fibers, not in the metalics.  Bone lace, or
> bobbin lace, didn't show up until mid or near the end of the 16th
> century.  And that was the breakthrough that led to metalic threads
> first being formed into patterns of lace and applied to clothing.  
> The first records of the bone laces all seem to refer to linen fibers,
> but are soon filled out with laces in gold, silver and copper.

And we have a winner! 

I don't need to precisely identify the specific thing she's looking at --
she's talking about a category of paintings, not a certain one. I just
needed to be able to say why I know for sure it is not "lace." And that is
because lace (as she would understand it) wasn't made till the mid-to-late
16th c.

Now I can figure out, with her, whether she means "embroidery" or
"borders" or "goldwork" or some other general category.

Thanks for the verification, and thanks to Bjarne, too, who was the first
one to step up with an answer.

> BTW... an aside and a small rant... If this author is talking about or
> referring to the Prague exhibit in any way... they might be falling
> vicitim to some errors I saw in the exhibit information.  There was
> one chausible, lovely thing, all 14th century embroidery, but the card
> next to it failed to mention that the orphrey (?) had been remounted
> sometime in the 16th or 17th century.  Because there on the chausible
> all about the edge was a bobbin lace border of gold and silver
> thread....  <gah!> so, just FYI.

Nope. Not artifacts at all in this case. European paintings. But yeah ...
about the museum card, gah. Too often the people who write those generally
are not the specialists who can tell you the details.

So, I hope this served as the entertainment for the day...

--Robin


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HI
So in the 15th, 16th, 17th century, how did the tailors handle larger 
sizes? Did the skirts get wider? Or did they keep the same bottom 
edge circumference from size to size? (I know this is phased badly, 
hopefully the meaning struggles thru!)
Thanks
Carol--befuddled sorta by the later period fashions...
-- 
Creative Clutter is Better Than Idle Neatness!
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Subject: [h-cost] "lace"  (Re: h-costume Digest, Vol 5, Issue 344)
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There's  a number of paintings of  
the Virgin from roughly that period from  eastern Europe that feature  
veils edged with some sort of decorative  edging depicted in gold that  
I could easily see someone describing  as "lace" for want of a better  
word.  The paintings are fairly  stylized and it's hard to tell  
whether the motifs are intended to  depict an actual decorative  
threadwork technique or what.  But  what it appears to be is an edging  
made either of gold thread or  gold in some other form that stands out  
from the edge of the veil in  open designs, often with little pendant   
bits. 


 
This could be needlelace, comparable to what we know today as "oya".
 
An aside: it would appear that the invention of bobbin lace in the 1500s  
caused the final demise of brocaded tablet weaving as a grament trim.
 
Nancy  

Nancy  Spies
Arelate Studio
_www.weavershand.com/ArelateStudio.html_ 
(http://www.weavershand.com/ArelateStudio.html) 

"But  if by '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 'Liberal', then I'm proud to say I'm a 
'Liberal'."  John F. Kennedy, 14 Sept 1960

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Subject: [h-cost] re: Tudor tailor
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>I can understand from the many posts about this new book, that many are
>making this period.
>May i ask you, have you considered to make something new from the book?
>Is it going to be another style, than you normally do?

>Bjarne

I got the book as a gift, partly because I've already made several
gowns in the "Holbein" and drum farthingale styles.  I've also done a
few doublets, trunkhose, venetian & hats.

Like everyone else, I have a few comments on the book, ifi you'll
allow me. It's a good book that I'd loan or recommend to any
intermediate sewer.  It's light on clear date ranges for specific
garments & styles. Of the recreations, some are better than others. 
In many cases it's the lack of surface decoration that makes the
resulting garment look theatrical.  However, the clean surfaces make
it clearer how the pattern shapes become the finished garment.

There are few compare & contrast illustrations.  I found the orange
(tawney p. 130) drum farthingale recreation to be completely evocative
of the Mary Fitch and Eleanor Herbert (Lady Powis) portraits.  To show
the source picture & the recreation would really have enhanced the
book. On the other hand, the extant hose & finished recreation serve
admirably to validate Ms Mikhaila's methods.

>From the name, I was expecting Tudor tailoring techniques, of which
very little is presented.  There is plenty on structure, pad
stitching, interlinings, etc, but it's all modern techniques. (see the
machine stitched linen buckram in the bodice on p.65)

One enjoyable feature of the book is the recreated accessories.  I'm
particularly fond of the repro busks. The Square rigged ship brooch
(p.98) is delish!

Tudor Tailor is among the new group of costume books that like to show
patterns, research material, original garments and/or garments from
the patterns.  (Hurray for that! )  It's not quite up to the high
standards of "Costume Close-Up" (Baumgarten) with it's patterns and
tailoring techniques, and inside views of original garments from the
Williamsburg garment collection. Neither does it stoop to the "trust
me" croquis & psuedo-pattern layouts of so many like "Medieval
Tailor's Assistant", "Evolution of Fashion".

Tudor Tailor is, for intermediate sewers, tailors & cutters a much
better buy than any of the patterns out there.  If you can work from
Linda Baumgarten's, Blanche Payne's or Norah Waugh's books, this one
will suit your style.  For advanced 16th tailors & cutters who can
glance at a painting or Patterns of Fashion and "rock of eye" start
patterning, dont bother with this book.

--cin
Cynthia Barnes
CinBarnes@gmail.com

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Subject: [h-cost] Fw: Colonial Gentlemen
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Heads up for you folk in Virginia.  The following 'shoot' will be in your
neck of the woods and mayhap some of you might like to respond to Mary, at
Paladin. I assisted this group in February, and they were great folk to work
with.
Kathleen
----- Original Message ----- 
From: <mmatzen@paladincom.com>
To: <rmitchell@washjeff.edu>
Sent: Wednesday, April 19, 2006 10:27 AM
Subject: Colonial Gentlemen


Hi,Kathleen,

Thanks very much for your help on this.  We are having a very difficult
time casting these roles, so any assistance you could provide would be
fantastic.  Here are the specs for what we need.  You can just cut and
paste this into an email.

Thanks again to you and all of your contacts who help us spread the word!

Mary


Paladin Communications, producer of "When the Forest Ran Red" and "George
Washington's First War," is seeking gentlemen who could portray
burgesses/congressmen in "Gentleman Warrior: George Washington," a new
feature documentary.

"Gentleman Warrior" explores the hidden side of Washington--the inner
conflicts of the man who would forge a nation. Here we see his military and
political career, and also the personal story of his involvement with Sally
Fairfax and Martha Custis. And as a nation, we begin to understand his
growth of character from a hot-headed youth to a man capable of winning a
revolution. Paladin will present for the first time on screen the real
George Washington--not an icon, not the perfect American, but a
flesh-and-blood human being who became the greatest hero of all.

We are seeking gentleman who:

1. Have their own appropriate 18th century wardrobe.

2. Are available to be on location at the College of William & Mary in
Williamsburg, Virginia on May 23 or 24 (one or both days).

Other information about the portrayals:

* These are non-speaking roles.

* Compensation is, at minimum, $100.

* Lunch will be provided.

* You can find more information on Paladin Communications and the
production at http://www.paladincom.com/gentlemanwarrior.shtml

* Contact Mary Matzen at mmatzen@paladincom.com or 866-831-4840.

Thank you for your interest in being part of this ground-breaking
documentary!









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Subject: [h-cost] Mouldy linen
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Hi all,
 I wore my favourite lower class chemise for cooking a feast a few
weeks ago and flung it in the laundry basket. Since the weather's been 
rather rainy here lately it stayed there a while, and it must have had 
something wet up against it. Anyway, the other day I took it out and
put it in the wash and didn't notice until I hung it out that it was mouldy
 - it has big patches of black red and yellow speckles all over the
back. 

Obviously washing hasn't done anything. Any suggestions for
getting rid of the mould, or am I just going to have to make a new chemise?
The chemise is actually a linen-cotton blend, a fairly sturdy fabric.

Claire
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In a message dated 4/20/2006 6:44:18 AM Eastern Standard Time,  
angharad@dodo.com.au writes:

Any  suggestions for
getting rid of the mould, or am I just going to have to  make a new chemise?



Chlorine bleach is effective against most mold.  
 
Ann Wass
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Subject: Re: [h-cost] Mouldy linen
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In a message dated 4/20/2006 6:46:05 A.M. Eastern Standard Time,  
AnnBWass@aol.com writes:

Chlorine  bleach is effective against most mold.  



Yes.
 
Maybe boil it on the stove. Or try color/ stain remover from a dye company  
like Ritt or Tintex. Those you don't actually boil, but simmer on the  stove.
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Date: Thu, 20 Apr 2006 06:55:28 -0700 (PDT)
Subject: Re: [h-cost] Mouldy linen
From: "Diana Habra" <dch@inreach.com>
To: "Historical Costume" <h-costume@indra.com>
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>
> In a message dated 4/20/2006 6:46:05 A.M. Eastern Standard Time,
> AnnBWass@aol.com writes:
>
> Chlorine  bleach is effective against most mold.

But be careful because bleach eats the fibres and weakens them which can
cause holes later in its life.  Don't leave it on your chemise for any
longer than you have to.

Diana

www.RenaissanceFabrics.net
"Everything for the Costumer"

"Become the change you want to see in the world."
--Ghandi

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From: SPaterson <sjpaterson@tru.eastlink.ca>
Subject: Re: [h-cost] Mouldy linen
To: Historical Costume <h-costume@indra.com>
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I tend to agree with trying other methods than bleach - do you have access 
to a bar of plain lye soap? I once got charcoal from a wash puddle on my 
wool petticoat with crewel work around the hem. I thought it was a goner but 
I spot washed it with some home-made lye soap and it was out - mold 
colourations are tough to remove, tho if you must use bleach try spot 
cleaning vs soaking the whole garment - in other words, see if it will budge 
the mold before you soak the whole thing as it can weaken the fibres.

Sarah Paterson

----- Original Message ----- 
From: <AlbertCat@aol.com>
To: <h-costume@indra.com>
Sent: Thursday, April 20, 2006 9:29 AM
Subject: Re: [h-cost] Mouldy linen


>
> In a message dated 4/20/2006 6:46:05 A.M. Eastern Standard Time,
> AnnBWass@aol.com writes:
>
> Chlorine  bleach is effective against most mold.
>
>
>
> Yes.
>
> Maybe boil it on the stove. Or try color/ stain remover from a dye company
> like Ritt or Tintex. Those you don't actually boil, but simmer on the 
> stove.
> _______________________________________________
> 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 4/20/2006 6:46:05 A.M. Eastern Standard Time,
>> AnnBWass@aol.com writes:
>>
>> Chlorine  bleach is effective against most mold.
>
> But be careful because bleach eats the fibres and weakens them which can
> cause holes later in its life.  Don't leave it on your chemise for any
> longer than you have to.
>
> Diana

You can get stuff to neutralize the chlorine at pet stores that sell fish 
supplies--I think I read about it here at some point. I wish I'd known 
about it earlier, though.

Margaret/Pixel
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From: "Kelly Grant" <estela_dufrayse@hotmail.com>
To: h-costume@indra.com
Subject: RE: [h-cost] Mouldy linen
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If it's a lower class chemise, why not cut out the mouldy bits and patch 
them.  Adds character!
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: "Purple Elephant" <angharad@dodo.com.au>
>Reply-To: Historical Costume <h-costume@indra.com>
>To: "Historical Costume" <h-costume@indra.com>
>Subject: [h-cost] Mouldy linen
>Date: Thu, 20 Apr 2006 20:12:17 +0930
>
>Hi all,
>  I wore my favourite lower class chemise for cooking a feast a few
>weeks ago and flung it in the laundry basket. Since the weather's been
>rather rainy here lately it stayed there a while, and it must have had
>something wet up against it. Anyway, the other day I took it out and
>put it in the wash and didn't notice until I hung it out that it was mouldy
>  - it has big patches of black red and yellow speckles all over the
>back.
>
>Obviously washing hasn't done anything. Any suggestions for
>getting rid of the mould, or am I just going to have to make a new chemise?
>The chemise is actually a linen-cotton blend, a fairly sturdy fabric.
>
>Claire
>_______________________________________________
>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] Mouldy linen
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Diana Habra wrote:
>>In a message dated 4/20/2006 6:46:05 A.M. Eastern Standard Time,
>>AnnBWass@aol.com writes:
>>
>>Chlorine  bleach is effective against most mold.
> 
> 
> But be careful because bleach eats the fibres and weakens them which can
> cause holes later in its life.  Don't leave it on your chemise for any
> longer than you have to.


Hydrogen peroxide also has bleaching properties and is much more mild 
than straight bleach. Dab some on the spots and leave it in the sun.


Dawn


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Did this book ever get printed?  Our library had it listed as "on order" 
and now I don't see it anywhere.

Thanks,
--Charlene


-- 
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knowledge of its ugly side.  -- James Baldwin, US author (1924-1987)


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<--- angharad@dodo.com.au wrote:
<
<Hi all,
< I wore my favourite lower class chemise for cooking a feast a few
<weeks ago and flung it in the laundry basket. Since the weather's been 
<rather rainy here lately it stayed there a while, and it must have had 
<something wet up against it. Anyway, the other day I took it out and
<put it in the wash and didn't notice until I hung it out that it was mouldy
< - it has big patches of black red and yellow speckles all over the
<back. 
<
<Obviously washing hasn't done anything. Any suggestions for
<getting rid of the mould, or am I just going to have to make a new chemise?
<The chemise is actually a linen-cotton blend, a fairly sturdy fabric.
<
<Claire

Before trying a chlorine based bleach, I'd try giving it a good soak in something like OxiClean. ( Or whatever is your local/favourite diaper soaker. ) Or make a paste of the OxiClean and use it to just treat the spots.

This link is specific for treating mildew with an oxygen based stain remover:

http://www.napisan.co.nz/cgi-bin/products.pl?template=vanishstains%2Fnz%2Fstain_solution.tmpl&datafile=vanishstains%2Fnz%2Fstain_solver.txt&SPECIFIC_STAIN=Mildew&x=175&y=25

Probably more than you really want to know about oxygen based bleach:

http://www.laundry-alternative.com/Oxygen_bleach_research.html

Another just generally interesting article:

http://alsnetbiz.com/homeimprovement/oxybleach.html

A friend of mine had a natural coloured raw silk chemise, trimmed with cream coloured cotton cluny lace, that got something spilled on it that didn't come out in just the wash. She soaked the chemise in Napisan ( our local leading brand of diaper soaker ) and not only did the stain come out, but the lace came out white! ( I know that they don't recommend using it on silk, but the raw silk seemed to have no ill effects from its' soaking. )

Good luck, with whatever you decide to go with.

Joannah

~*~ Practice random acts of kindness, and senseless acts of beauty. ~*~



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The publisher went out of business; I don't believe any other publisher
picked up the book.  I'd love to hear otherwise... 

Guenièvre



  > Did this book ever get printed?  Our library had it listed as "on order"
  > and now I don't see it anywhere.
  > 
  > Thanks,
  > --Charlene
  


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From: Adele de Maisieres <ladyadele@paradise.net.nz>
Subject: Re: [h-cost] Mouldy linen
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Kelly Grant wrote:
> If it's a lower class chemise, why not cut out the mouldy bits and 
> patch them.  Adds character!


 Because it's garment abuse.  Patches are what you apply when something 
_wears_ through.

-- 
Adele de Maisieres

-----------------------------
Habeo metrum - musicamque,
hominem meam. Expectat alium quid?
-Georgeus Gershwinus
-----------------------------


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Subject: Re: [h-cost] Mouldy linen
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In a message dated 4/20/2006 2:44:34 P.M. Eastern Standard Time,  
ladyadele@paradise.net.nz writes:

Because  it's garment abuse.  Patches are what you apply when something  
_wears_ through.



*****************
 
You'd go ape in theatre or film where costumes just made are regularly  
"distressed " [theatre term] or "teched" [film term]. I can't tell you how many  
brand new garments I've taken cheese graters and palm sanders to! Not to mention 
 the painting and spatter dying.
 
I remember for a Brecht play we had this real WWI uniform that looked brand  
new. We needed to make it look like it had been through the trenches for a 
long  time. It wouldn't distress! It was the toughest thing I've ever had to mess 
 with. Well, it was made to go through a real war, after all. Stabbing it 
with  scissors and scraping it with razor blades and a generous amount of  paint 
finally did the trick.
 
I love distressing. I always volunteer to do it. It's like make-up for  
clothes. You can tell a story with teching. What has she had to walk through?  What 
weather has he had to endure? What kind of work have they been doing? And  of 
course [especially in film] there's the progression....like in a chase film  
where no one looks like they change clothes, but in reality there  are like 4 
or 5 duplicate outfits each a little more teched according to  whatever is 
happening in the script. This all has to be worked out beforehand,  since things 
are rarely filmed in order.
 
And it's not always to make things look old or abused. Sometimes it has to  
be subtle...just enough so that things don't look brand new...just worn a 
couple  of times. Rarely does anything go on without some kind  of teching.
_______________________________________________
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To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Mouldy linen
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Sounds fun! How do I get into that?

Sharon,
 who started out as a theatre techie

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of AlbertCat@aol.com
Sent: Thursday, April 20, 2006 1:12 PM
To: h-costume@indra.com
Subject: Re: [h-cost] Mouldy linen


 
In a message dated 4/20/2006 2:44:34 P.M. Eastern Standard Time,  
ladyadele@paradise.net.nz writes:

Because  it's garment abuse.  Patches are what you apply when something  
_wears_ through.



*****************
 
You'd go ape in theatre or film where costumes just made are regularly  
"distressed " [theatre term] or "teched" [film term]. I can't tell you how
many  
brand new garments I've taken cheese graters and palm sanders to! Not to
mention 
 the painting and spatter dying.
 
I remember for a Brecht play we had this real WWI uniform that looked brand

new. We needed to make it look like it had been through the trenches for a 
long  time. It wouldn't distress! It was the toughest thing I've ever had to
mess 
 with. Well, it was made to go through a real war, after all. Stabbing it 
with  scissors and scraping it with razor blades and a generous amount of
paint 
finally did the trick.
 
I love distressing. I always volunteer to do it. It's like make-up for  
clothes. You can tell a story with teching. What has she had to walk
through?  What 
weather has he had to endure? What kind of work have they been doing? And
of 
course [especially in film] there's the progression....like in a chase film

where no one looks like they change clothes, but in reality there  are like
4 
or 5 duplicate outfits each a little more teched according to  whatever is 
happening in the script. This all has to be worked out beforehand,  since
things 
are rarely filmed in order.
 
And it's not always to make things look old or abused. Sometimes it has to  
be subtle...just enough so that things don't look brand new...just worn a 
couple  of times. Rarely does anything go on without some kind  of teching.
_______________________________________________
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] Mouldy linen
Date: Thu, 20 Apr 2006 14:32:25 -0700
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Try lemon juice and salt. I've had some luck getting rid of rust stains with
that. Also, putting it out in the sun with the lemon and salt might help. Or
just lemon and sun.
Sharon

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Purple Elephant
Sent: Thursday, April 20, 2006 3:42 AM
To: Historical Costume
Subject: [h-cost] Mouldy linen


Hi all,
 I wore my favourite lower class chemise for cooking a feast a few weeks ago
and flung it in the laundry basket. Since the weather's been 
rather rainy here lately it stayed there a while, and it must have had 
something wet up against it. Anyway, the other day I took it out and put it
in the wash and didn't notice until I hung it out that it was mouldy
 - it has big patches of black red and yellow speckles all over the back. 

Obviously washing hasn't done anything. Any suggestions for getting rid of
the mould, or am I just going to have to make a new chemise? The chemise is
actually a linen-cotton blend, a fairly sturdy fabric.

Claire
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Date: Fri, 21 Apr 2006 09:41:12 +1200
From: Adele de Maisieres <ladyadele@paradise.net.nz>
Subject: Re: [h-cost] Mouldy linen
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AlbertCat@aol.com wrote:

>Because  it's garment abuse.  Patches are what you apply when something  
>_wears_ through.
>
>
>
>*****************
> 
>You'd go ape in theatre or film where costumes just made are regularly  
>"distressed " [theatre term] or "teched" [film term]. I can't tell you how many  
>brand new garments I've taken cheese graters and palm sanders to! Not to mention 
> the painting and spatter dying.
>  
>

No, actually, in a theatre environment, it wouldn't bother me at all-- 
there's a motivation there for trying to create "aged" clothes in a 
short amount of time.  For SCA wear, though, what I prioduce is not a 
theatre costume-- it's clothes.  They will wear out in their own time 
without anyone chopping random holes in them and sewing patches on.  And 
the person who asked the question was asking how to save her mouldy 
chemise, not how to hasten it's demise.


-- 
Adele de Maisieres

-----------------------------
Habeo metrum - musicamque,
hominem meam. Expectat alium quid?
-Georgeus Gershwinus
----------------------------- 


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From h-costume-bounces@indra.com  Thu Apr 20 17:47:34 2006
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Subject: [h-cost] Mildew and leather
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I'd like to tap your collective wisdom here...
 
I have a couple of leather articles (not garments) which have become  
affected with mildew.
 
This was totally my fault, due to neglect.  I'm really  embarrassed.
 
Any suggestions how I can safely get rid of the stuff without ruining the  
finish on the leather?  I *have* found another, better place to store the  stuff 
so this won't happen again.
 
Thanks in advance,
Meagn 
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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
I found this, and
http://www.marieantoinette-lefilm.com/
Didnt they use wrong music for this?
Or is it the new, that they want young people to get an interrest in 
history, and make it with rock music?
I think i am getting old....................

Bjarne




Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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In a message dated 4/20/2006 5:31:37 P.M. Eastern Standard Time,  
sharon@collierfam.com writes:

Sounds  fun! How do I get into that?

Sharon,
who started out as a theatre  techie



*****************
 
I was taught to do it when I was working in the dye dept. of the local  
Shakespeare Rep.
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Subject: Re: [h-cost] Marie Antoinette
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In a message dated 4/20/2006 6:16:53 P.M. Eastern Standard Time,  
drewscph@post12.tele.dk writes:

Hi
I  found this, and
http://www.marieantoinette-lefilm.com/
Didnt they use  wrong music for this?
Or is it the new, that they want young people to get  an interrest in 
history, and make it with rock music?
I think i am  getting old....................




****************
 
Hahahaha....
 
Well, they'll probably try to make her out to just be the misunderstood  
Paris Hilton of the French Court...all that running around and lying in the  grass 
and stuff. Y'know, like Mozart was just a Classical rock star! :-P
The clothes look 30-fold times better than "Amadeus" I must say. They look  
right good. I noticed several different styles. I wonder if they follow the 
time  line or are just scattered throughout?
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Subject: Re: [h-cost] Mildew and leather
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In a message dated 4/20/2006 5:47:47 P.M. Eastern Standard Time,  
Tudorldy@aol.com writes:

Any  suggestions how I can safely get rid of the stuff without ruining the   
finish on the leather?  I *have* found another, better place to store  the  
stuff 
so this won't happen  again.




When we moved to Mississippi, many of my shoes and all the leather bindings  
on my encyclopias molded.  I wiped everything down with rubbing alcohol,  put 
them out in the sun, and then made sure I ran the air conditioner through  the 
humid weather!  I would spot test with the alcohol to make sure it  didn't 
damage your items, but mine came through fine.
 
Ann Wass
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Subject: Re: [h-cost] Marie Antoinette
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Bjarne og Leif Drews wrote:

> Hi
> I found this, and
> http://www.marieantoinette-lefilm.com/
> Didnt they use wrong music for this?
> Or is it the new, that they want young people to get an interrest in 
> history, and make it with rock music?
> I think i am getting old....................


Does anybody know who performs the music they're playing in this teaser?



Dawn


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Subject: Re: [h-cost] Mildew and leather
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Meagn said:

<I have a couple of leather articles (not garments) which have become
affected with mildew.>

My husband is a leatherworker, and seconded Ann's sunny day option. He said 
it may take several days of sun and dry air, but eventually, the mildew will 
clear.

He also said to remember to re-condition the leather if you do use alcohol 
or another drying agent.

Caryn

P.S. I have been lurking for months, just learning. I am happy to finally 
have something definite to contribute!


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Subject: Re: [h-cost] proportions for plus sizes (was  yardage required)
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In a message dated 4/19/2006 3:10:19 P.M. Eastern Standard Time,  
cahuff@clearviewcatv.net writes:

So in  the 15th, 16th, 17th century, how did the tailors handle larger 
sizes? Did  the skirts get wider? 


**********************
 
You're sorta assuming there's some kind of standard. Just like today,  it 
most likely depended on the client... with much prodding from the tailor. But  if 
you need more yardage, you have to have more yardage. With fabric being more  
costly back then, and fabric widths being usually narrower than today, this 
was  more than likely a "bigger" decision. [no pun intended]. 
And then there's the problem of gowns being restyled from old gowns.  You 
must use what you've got.
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Drea asked me to pass this along.

Sg

-------- Original Message --------
Subject: 	Elizabethan costume page has moved
Date: 	Tue, 18 Apr 2006 10:35:50 -0500 (EST)
From: 	Drea Leed <drea@shell.siscom.net>
To: 	WickedFrau <wickedfrau@msn.com>
References: 	<BAY0-SMTP046F6171E1729F02D1B89AA9C60@phx.gbl> 
<20060417111954.J57120@shell.siscom.net>



Saragrace,

As I'm not on h-costume any more, would you mind posting a message there 
that the Elizabethan Costuming Page has moved from http://costume.dm.net 
to http://www.elizabethancostume.net?

My ISP up and quit on me, and I had to find a new one. :P Hopefully, now 
that I bit the bullet and bought a domain name, the next transition will 
be easier than this one...

Thanks,

Drea



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In a message dated 4/20/2006 10:37:46 A.M. Eastern Standard Time,  
dch@inreach.com writes:

Chlorine  bleach is effective against most mold.

But be  careful because bleach eats the fibres and weakens them which can
cause  holes later in its life.  Don't leave it on your chemise for  any
longer than you have to.



I'm not necessarily advocating soaking it in pure bleach--often just  washing 
in the usual dilute bleach solution can be effective.  Another  alternative, 
since it won't show, is to wear it anyway.  However, if it is  truly un
wearable as it is, you do have to decide a trade-off between potential  weakening of 
fibers vs the spots.
 
Ann Wass
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Date: Thu, 20 Apr 2006 18:30:30 -0700 (PDT)
Subject: Re: [h-cost] Marie Antoinette
From: "Diana Habra" <dch@inreach.com>
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> Hi
> I found this, and
> http://www.marieantoinette-lefilm.com/
> Didnt they use wrong music for this?
> Or is it the new, that they want young people to get an interrest in
> history, and make it with rock music?
> I think i am getting old....................

They did the same thing with "A Knight's Tale".  Decent story, fun
characters and okay clothing but the music......Very rock and totally out
of place (along with the icky lampshade hat on his girlfriend).

It would have been great without the rock music and some of the
questionable clothing....

Diana

www.RenaissanceFabrics.net
"Everything for the Costumer"

"Become the change you want to see in the world."
--Ghandi

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  It won't play on my home computer, but IIRC from listening to it at 
work, it's New Order.

Karen

Dawn wrote:

>
>
> Does anybody know who performs the music they're playing in this teaser?
>
>
>
> Dawn
>


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Subject: [h-cost] Knight's Tale
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> They did the same thing with "A Knight's Tale".  Decent story, fun
> characters and okay clothing but the music......Very rock and totally out
> of place (along with the icky lampshade hat on his girlfriend).
>
> It would have been great without the rock music and some of the
> questionable clothing....


Now, see I thought the music and the "medieval punk" really MADE the movie. 
It would have been boring w/o it, IMO.

Different strokes.

Denise
Iowa 

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Date: Fri, 21 Apr 2006 14:52:15 +1200
From: Adele de Maisieres <ladyadele@paradise.net.nz>
Subject: Re: [h-cost] Knight's Tale
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>
>
>> They did the same thing with "A Knight's Tale".  Decent story, fun
>> characters and okay clothing but the music......Very rock and totally 
>> out
>> of place (along with the icky lampshade hat on his girlfriend).
>
>
>
> Now, see I thought the music and the "medieval punk" really MADE the 
> movie. It would have been boring w/o it, IMO.
>

Snerf.  I thought they might as well have kept the jousting, plumped for 
a modern setting and achieved less net total anachronism.


-- 
Adele de Maisieres

-----------------------------
Habeo metrum - musicamque,
hominem meam. Expectat alium quid?
-Georgeus Gershwinus
----------------------------- 


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Date: Thu, 20 Apr 2006 22:15:57 -0500
From: "jordana robinson" <mylaar@gmail.com>
To: "Historical Costume" <h-costume@indra.com>
Subject: Re: [h-cost] Marie Antoinette
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Status: RO

new order (band)
"age of consent" (song title)

as a fan of both new order and 18th century costume/movies, i don't know yet
how i feel about the pairing :)  i'm waiting for the movie to come out.
(and i really should have seen at least one of sofia coppola's films by now
but somehow haven't.)

there is definitely some intentional anachronistic juxtaposition thing going
on, as the film's logo is so very jamie reid, the guy who made the posters
and visuals for the sex pistols...

-jordana
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Thread-Topic: Elizabethan shirt - toggle closure wrist cuffs [SEC=UNCLASSIFIED]
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From: "Wilson, Annette" <Annette.Wilson@deh.gov.au>
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Hi everyone.

I had a chance to look at a copy of the Tudor Tailor over Easter and
near the front was a photograph of a wristband of a shirt dated about
1580 in the Museum of London. The closure was an eyelet and "threadwork"
toggle - sort of like half a cufflink.
Has anyone any further details of this, or a more detailed photo? I have
never seen anything like it before and think it would be much easier to
manage than lacing though two "buttonholes".

As for my thoughts after a brief look at the book - I will buy a copy,
both to use as a teaching aid, and for the odd bits of extra info like
the toggle just mentioned. Good solid work in general, without being as
intimidating as Arnold's publications are for most of the novices I
know.

Annette Wilson
(Canberra, Australia)

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Status: RO

Apparently the publisher went bankrupt and the rights to the book are 
now in legal limbo....may be awhile before we see this one.

Sg
Guenievre de Monmarche wrote:

>The publisher went out of business; I don't believe any other publisher
>picked up the book.  I'd love to hear otherwise... 
>
>Guenièvre
>
>
>  
>

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Subject: Re: [h-cost] Knight's Tale
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----- Original Message ----- 
From: "Land of Oz" <landofoz@netins.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, April 20, 2006 10:45 PM
Subject: [h-cost] Knight's Tale


>
>> They did the same thing with "A Knight's Tale".  Decent story, fun
>> characters and okay clothing but the music......Very rock and totally out
>> of place (along with the icky lampshade hat on his girlfriend).
>>
>> It would have been great without the rock music and some of the
>> questionable clothing....

I loved that movie. But I wasn't expecting authenticity, I was expecting 
FUN, and I got that.  The characters were enjoyable, and the story was 
classic "poor boy makes good", which is timeless.

Dianne 

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Subject: Re: [h-cost] Knight's Tale
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In a message dated 4/20/2006 10:53:09 P.M. Eastern Standard Time,  
ladyadele@paradise.net.nz writes:

They did  the same thing with "A Knight's Tale".  Decent story, fun
>>  characters and okay clothing but the music......Very rock and totally  
>> out
>> of place (along with the icky lampshade hat on  his girlfriend).
>
>
>
> Now, see I thought the music  and the "medieval punk" really MADE the 
> movie. It would have been  boring w/o it, IMO.
>

Snerf.  I thought they might as well  have kept the jousting, plumped for 
a modern setting and achieved less net  total anachronism.



***********************
 
And I thought it so mixed up and vapid as to not even be worth the effort  of 
hating it...or ever thinking about it again. 
 
Different strokes indeed.
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Subject: [h-cost] Fascinating: oldest evidence for needle binding
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Hi All,

I am going to a series of lectures at Edinburgh Unversity entitled "European 
Mummies and Bog Bodies" and while they are fascinating to start with, I 
couldn't believe my eyes and ears this week. It seems that the oldest 
surviving piece of clothing made in needle binding technique (and in one 
continuous piece of yarn) is from the Tamir peoples, in the Takamaklen (sp) 
desert, in China along the Silk Route. The most intriguing bit is that the 
Tamir are Caucasian, and that this chap's burial (mummified, owing to 
environmental conditions), is from appr. 1000 BC and contained a beret made 
in needle binding (nalbinding) technique. A 3000 years old beret that looks 
like a modern one!

Thought I'd share, perhaps someone on here is as fascinated by this as I 
was. :-)

Nicole


--------------------
"If you think education is expensive, try ignorance."

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In a message dated 4/20/2006 11:16:58 P.M. Eastern Standard Time,  
mylaar@gmail.com writes:

as a fan  of both new order and 18th century costume/movies, i don't know yet
how i  feel about the pairing :)  i'm waiting for the movie to come  out.



*****************
 
Just wait 'til they issue the "study guide" for teachers to use in class!  Oy!
 
It looks like the film makers have ignored the rigor and rigidity of the  
protocols of the French Court to an extent. Oh well....it might be fun. We'll  
see.
 
And I saw a full page ad in the New Yorker for the HBO "Elizabeth I". It is  
a beautiful photo of Helen Mirren and Jeremy Irons....in bed. The tag line is  
"The hardest thing to govern is the heart" Yuck! [I guess it won't be until 
1912  that mankind learns "the heart will go on."]
 
 He looks very good in a lovely doublet with some very un-Elizabethan  
looking embroidery around the armseye....????????...never seen that before.  Still, 
it's lov-er-ly. 
 
The Queen...that's the Queen mind you... is in her Dorothea corset....no  
doubt fresh from "The Tudor Tailor" :-) and chemise. Uh huh. And earrings. The  
Queen wears her corset and earring to bed?
 
I love advertising!
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Subject: RE: [h-cost] Fascinating: oldest evidence for needle binding
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Nicole--
There is a whole book on the subject of the mummies and their clothing:
The Mummies of Urumchi
by Elizabeth Wayland Barber 

If you haven't read it, you should immediately. It's available in paperback.

Kim

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of N Kipar
Sent: Friday, April 21, 2006 9:24 AM
To: h-costume@indra.com
Subject: [h-cost] Fascinating: oldest evidence for needle binding

Hi All,

I am going to a series of lectures at Edinburgh Unversity entitled "European
Mummies and Bog Bodies" and while they are fascinating to start with, I
couldn't believe my eyes and ears this week. It seems that the oldest
surviving piece of clothing made in needle binding technique (and in one
continuous piece of yarn) is from the Tamir peoples, in the Takamaklen (sp)
desert, in China along the Silk Route. The most intriguing bit is that the
Tamir are Caucasian, and that this chap's burial (mummified, owing to
environmental conditions), is from appr. 1000 BC and contained a beret made
in needle binding (nalbinding) technique. A 3000 years old beret that looks
like a modern one!

Thought I'd share, perhaps someone on here is as fascinated by this as I
was. :-)

Nicole


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From: Genie Barrett <maggie.gene@justinanimator.com>
Subject: Re: [h-cost] Knight's Tale
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>>
>>>They did the same thing with "A Knight's Tale".  Decent story, fun
>>>characters and okay clothing but the music......Very rock and totally out
>>>of place (along with the icky lampshade hat on his girlfriend).
>>>
>>>It would have been great without the rock music and some of the
>>>questionable clothing....
>
>I loved that movie. But I wasn't expecting authenticity, I was 
>expecting FUN, and I got that.  The characters were enjoyable, and 
>the story was classic "poor boy makes good", which is timeless.

I couldn't stop laughing through the whole movie.  I thought it was 
hilarious.  Bought it, and listened to the commentary by the director 
and... the guy who plays Chaucer... and they mocked themselves the 
whole way through.  The director kept saying stuff like, "No one told 
me they didn't do that back then."

I considered it a great joke
Genie

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Date: Fri, 21 Apr 2006 11:09:45 EDT
Subject: Re: [h-cost] Mouldy linen
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I was looking through the November 1799 "Lady's Monthly Museum" for  
something else, and came across this:
 
"To take Mildew out of Linen.  Take soap, and rub it very well; then  scrape 
some fine chalk, and rub that also in the linen: lay it on the grass; as  it 
dries, wet it a little.  It will come out at twice doing."
 
Ann Wass
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From: "Abel, Cynthia" <CynthiaAbel@creighton.edu>
To: "Historical Costume" <h-costume@indra.com>
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Status: RO

Two years ago the Metropolitan Museum of Art had an exibition "Dangerous
Liasions: Fashion and Furniture in the 18th century" and a companion
book was promised.

Now the book is out, published by the Met in tandem with Yale University
Press. I locked in the price of my copy at $13.95 preordered from
Amazon.com last year and it is here!  For all of you 18th fashion
lovers, the book is a visual feast of mannikins posed in 18th clothes in
recreated rooms, living la vie l'amour in various stages from awaiting a
love letter to flirtation to very close encounters of the sexual kind.
Drool worthy fashions and settings with the added addition of tie-in
artwork from the Met's collection and essays documenting the stages of
love in each room at different times of the day.

The book was actualized in hardcover, instead of paperback at a higher
price now, but for those awaitng the Marie Antoinette film, even if we
can just critique it to death for what they got wrong, this is the real
deal. Best price is at Amazon.com

There is a stunning, ombre woven dress in the book where the original
fabric could walk down the runway today in a modern designed outfit and
look stunning!

Cindy Abel 

 

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> >I loved that movie. But I wasn't expecting authenticity, I was
> >expecting FUN, and I got that.  The characters were enjoyable, and
> >the story was classic "poor boy makes good", which is timeless.
>
> I couldn't stop laughing through the whole movie.  I thought it was
> hilarious.  Bought it, and listened to the commentary by the director
> and... the guy who plays Chaucer... and they mocked themselves the
> whole way through.  The director kept saying stuff like, "No one told
> me they didn't do that back then."


I enjoyed the movie as well, since I wasn't expecting authenticity either.
I however would have like to have seen the leading lady in costumes more
appropriate to the setting.  That was too jarring, when everyone else around
her was wearing something closer to the correct stuff.

I try to enjoy movies for their entertainment value, the story, etc.  it's
just when they try to tell you that the film is historically correct that I
get upset over the details that are just so wrong...

alex
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	Fri, 21 Apr 2006 08:39:59 PDT
Date: Fri, 21 Apr 2006 08:39:59 -0700 (PDT)
From: Chris <emeraldepona@yahoo.com>
Subject: RE: [h-cost] Fascinating: oldest evidence for needle binding
To: Historical Costume <h-costume@indra.com>
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Morning :)
   
  NOVA also has a 1-hour video/DVD on it too.  
   
  http://www.pbs.org/wgbh/nova/chinamum/taklamakan.html
   
  Chris G.

Kim Baird <kbaird@cableone.net> wrote:
  Nicole--
There is a whole book on the subject of the mummies and their clothing:
The Mummies of Urumchi
by Elizabeth Wayland Barber 

If you haven't read it, you should immediately. It's available in paperback.

Kim

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of N Kipar
Sent: Friday, April 21, 2006 9:24 AM
To: h-costume@indra.com
Subject: [h-cost] Fascinating: oldest evidence for needle binding

Hi All,

I am going to a series of lectures at Edinburgh Unversity entitled "European
Mummies and Bog Bodies" and while they are fascinating to start with, I
couldn't believe my eyes and ears this week. It seems that the oldest
surviving piece of clothing made in needle binding technique (and in one
continuous piece of yarn) is from the Tamir peoples, in the Takamaklen (sp)
desert, in China along the Silk Route. The most intriguing bit is that the
Tamir are Caucasian, and that this chap's burial (mummified, owing to
environmental conditions), is from appr. 1000 BC and contained a beret made
in needle binding (nalbinding) technique. A 3000 years old beret that looks
like a modern one!

Thought I'd share, perhaps someone on here is as fascinated by this as I
was. :-)

Nicole


--------------------
"If you think education is expensive, try ignorance."




		
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From: Chris <emeraldepona@yahoo.com>
Subject: Re: [h-cost] Fascinating: oldest evidence for needle binding
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Forgot...I was completely blown away by the plaids they've found as well...reminds me of the Stewart 'hunting' plaid, but regardless, it's absolutely BEAUTIFUL!!!  Wait until you see it!
   
  Chris G.

N Kipar <marquesate@hotmail.com> wrote:
  Hi All,

I am going to a series of lectures at Edinburgh Unversity entitled "European 
Mummies and Bog Bodies" and while they are fascinating to start with, I 
couldn't believe my eyes and ears this week. It seems that the oldest 
surviving piece of clothing made in needle binding technique (and in one 
continuous piece of yarn) is from the Tamir peoples, in the Takamaklen (sp) 
desert, in China along the Silk Route. The most intriguing bit is that the 
Tamir are Caucasian, and that this chap's burial (mummified, owing to 
environmental conditions), is from appr. 1000 BC and contained a beret made 
in needle binding (nalbinding) technique. A 3000 years old beret that looks 
like a modern one!

Thought I'd share, perhaps someone on here is as fascinated by this as I 
was. :-)

Nicole


--------------------
"If you think education is expensive, try ignorance."


		
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Date: Fri, 21 Apr 2006 10:15:04 -0700 (PDT)
From: REBECCA BURCH <ctrvlyfarm@sbcglobal.net>
Subject: Re: [h-cost] Knight's Tale
To: Historical Costume <h-costume@indra.com>
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Well, I loved it.  But then I'm really fond of
alternative fairy tales too.  I like it when you look
at things from a different perspective.

Plus, it reminded me of my first season with a rep
company back in the early 80's doing a punk/biker/new
age version of King Lear. Every year we did one show
with a student director from UC-Irvine - usually not
as out there as this guy, but always interesting.

The first night we had a full house and by
intermission we were down to spouses and family
members.  What fun.


Rebecca Burch
Center Valley Farm
Duncan Falls, Ohio, USA
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Date: Fri, 21 Apr 2006 12:26:52 -0500 (CDT)
Subject: Re: [h-cost] Knight's Tale
From: "Chiara Francesca Arianna d'Onofrio" <chiara@io.com>
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This sound track is actually on my desktop right now, cd case
staring at me with that beautiful blond curly haired man .... I
digress.

I do have to say that I really loved the scene where they are having
to decide rather quickly what he would be wearing the dinner so that
the lady could make certain she would not clash with it. They even
described the buttons that he would be wearing with it all the while
fingering the pavilion and its toggles. It was very cool to see
sewing from that point of vew. :)

Chiara


On Fri, April 21, 2006 12:15 pm, REBECCA BURCH said:
> Well, I loved it.  But then I'm really fond of
> alternative fairy tales too.  I like it when you look
> at things from a different perspective.
>
> Plus, it reminded me of my first season with a rep
> company back in the early 80's doing a punk/biker/new
> age version of King Lear. Every year we did one show
> with a student director from UC-Irvine - usually not
> as out there as this guy, but always interesting.
>
> The first night we had a full house and by
> intermission we were down to spouses and family
> members.  What fun.
>
>
> Rebecca Burch
> Center Valley Farm
> Duncan Falls, Ohio, USA
> _______________________________________________
> 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 4/21/2006 1:20:32 P.M. Eastern Standard Time,  
ctrvlyfarm@sbcglobal.net writes:

The  first night we had a full house and by
intermission we were down to spouses  and family
members.  What fun.




*******************
 
 
Hahahaha...oh no! Yes...well I will not condemn "giving it a  try".
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Date: Fri, 21 Apr 2006 11:17:42 -0700
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From: "Sharon L. Krossa" <skrossa-ml@medievalscotland.org>
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At 2:52 PM +1200 4/21/06, Adele de Maisieres wrote:
>>>They did the same thing with "A Knight's Tale".  Decent story, fun
>>>characters and okay clothing but the music......Very rock and totally out
>>>of place (along with the icky lampshade hat on his girlfriend).
>>
>>Now, see I thought the music and the "medieval punk" really MADE
>>the movie. It would have been boring w/o it, IMO.
>
>Snerf.  I thought they might as well have kept the jousting, plumped
>for a modern setting and achieved less net total anachronism.

I confess I prefer it when historically inspired movies include such 
anachronisms as obviously modern rock music -- it helps the audience 
keep in mind that they are watching fiction, and that they shouldn't 
believe what they're seeing is real after the reel ends.

So anachronism, especially deliberate anachronism, in movies is fine 
with me as long as the movie isn't trying to fool people into 
believing it isn't anachronism -- I'll take A Knight's Tale and 
Shakespeare In Love over Elizabeth or That Film Whose Name Shall Not 
Be Uttered any day!

Sharon
-- 
Sharon Krossa, skrossa-ml@MedievalScotland.org
Resources for Scottish history, names, clothing, language & more:
     Medieval Scotland - http://MedievalScotland.org/
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Subject: Re: [h-cost] Dangerous Liasions book
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In a message dated 4/21/2006 11:35:37 A.M. Eastern Standard Time,  
CynthiaAbel@creighton.edu writes:

Two  years ago the Metropolitan Museum of Art had an exibition  "Dangerous
Liasions: Fashion and Furniture in the 18th century" and a  companion
book was promised.



****************************
 
 
I saw that!
I thought this was great and very clever. The Costume Institute's space has  
been greatly reduced by the new uber-cafeteria at the Met [great food!]. So 
how  clever was it of them to combine two related Museum departments and space 
to  show both the furniture and the clothes in their "natural habitat". 
 
I remember a woman getting her hair dressed in the morning light [the  
lighting of the rooms was exceptional!] and a woman fainting in the candle  lit 
evening salon. I remember an amorous encounter you see thru a half open  door to 
the bed chamber while others cheat at cards in the front room. I  remember an 
unwanted pass at a lady, with the dog jumping up and upsetting a  table...a 
vase broken on the floor [I wonder if it was real...probably].
 
A great show.
 
I think I'll get the book.
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 Yes, all the scenes you described are in the book. I also wondered if
the vase was real(a clever way to use something that is broken and of
the era!)or a museum gift shop facsimile that was broken.

A pity the Costume Institute's space was reduced by the new cafeteria,
but maybe it will make enough money for expansion for the Costume
Institute.

Cindy
 
 
I saw that!
I thought this was great and very clever. The Costume Institute's space
has been greatly reduced by the new uber-cafeteria at the Met [great
food!]. So how  clever was it of them to combine two related Museum
departments and space to  show both the furniture and the clothes in
their "natural habitat". 
 
I remember a woman getting her hair dressed in the morning light [the
lighting of the rooms was exceptional!] and a woman fainting in the
candle  lit evening salon. I remember an amorous encounter you see thru
a half open  door to the bed chamber while others cheat at cards in the
front room. I  remember an unwanted pass at a lady, with the dog jumping
up and upsetting a  table...a vase broken on the floor [I wonder if it
was real...probably].
 
A great show.
 
I think I'll get the book.
_______________________________________________
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http://mail.indra.com/mailman/listinfo/h-costume

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HBO actually has a website dedicated to the upcoming Elizabeth I with Jeremy Irons & Helen Mirren and some pictures - take a look.

http://www.hbo.com/films/elizabeth/?ntrack_para1=leftnav_category5_show0

Wendi

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Subject: [h-cost] Re: Marie Antoinette/Knight's Tale
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Snicker - I would expect that this will turn out to be silly and campy,  (intended or not) and rarely presenting historical fact, although the  costumes did look nice. (Or if it is good enough and popular may spur a  trend in modern fashion?)
  
  The other possibility, although not likely, is that the music was  provided with the trailer simply as an attention getter, and is not an  essential part of the movie. I don't know anything about Sofia  Coppola's directing style, but didn't she win some awards for Lost in  Translation?
  
  I refused to watch A Knight's Tale for years because it was set to rock  music. When I finally did see it I was pleasantly surprised that it was  fun, and didn't take its self seriously. But the female lead's  headdresses and hairstyles were freakish at times. Certainly not very  accurate, but for nothing else to do on a rainy afternoon, provides a  nice bit of fluff - or good background noise while cooking dinner or  cleaning house.
  
  Annette M


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

Message: 7
Date: Fri, 21 Apr 2006 00:14:30 +0200
From: "Bjarne og Leif Drews" 
Subject: [h-cost] Marie Antoinette

Hi
I found this, and
http://www.marieantoinette-lefilm.com/
Didnt they use wrong music for this?
Or is it the new, that they want young people to get an interrest in 
history, and make it with rock music?
I think i am getting old....................

Bjarne




Leif og Bjarne Drews
www.my-drewscostumes.dk

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

Message: 9
Date: Thu, 20 Apr 2006 18:40:58 EDT
From: AlbertCat@aol.com
Subject: Re: [h-cost] Marie Antoinette


In a message dated 4/20/2006 6:16:53 P.M. Eastern Standard Time,  
drewscph@post12.tele.dk writes:

Hahahaha....
 
Well, they'll probably try to make her out to just be the misunderstood  
Paris Hilton of the French Court...all that running around and lying in the  grass 
and stuff. Y'know, like Mozart was just a Classical rock star! :-P
The clothes look 30-fold times better than "Amadeus" I must say. They look  
right good. I noticed several different styles. I wonder if they follow the 
time  line or are just scattered throughout?


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


Message: 13
Date: Thu, 20 Apr 2006 18:30:30 -0700 (PDT)
From: "Diana Habra" 
Subject: Re: [h-cost] Marie Antoinette


They did the same thing with "A Knight's Tale".  Decent story, fun
characters and okay clothing but the music......Very rock and totally out
of place (along with the icky lampshade hat on his girlfriend).

It would have been great without the rock music and some of the
questionable clothing....

Diana

www.RenaissanceFabrics.net
"Everything for the Costumer"

"Become the change you want to see in the world."
--Ghandi
------------------------------

Message: 14
Date: Thu, 20 Apr 2006 21:19:00 -0500
From: Karen Heim 
Subject: Re: [h-cost] Marie Antoinette

It won't play on my home computer, but IIRC from listening to it at 
work, it's New Order.

Karen

Dawn wrote:

>
>
> Does anybody know who performs the music they're playing in this teaser?
>
>
>
> Dawn
------------------------------

Message: 15
Date: Thu, 20 Apr 2006 21:45:27 -0500
From: "Land of Oz" 
Subject: [h-cost] Knight's Tale

> They did the same thing with "A Knight's Tale".  Decent story, fun
> characters and okay clothing but the music......Very rock and totally out
> of place (along with the icky lampshade hat on his girlfriend).
>
> It would have been great without the rock music and some of the
> questionable clothing....


Now, see I thought the music and the "medieval punk" really MADE the movie. 
It would have been boring w/o it, IMO.

Different strokes.

Denise
Iowa 
------------------------------

Message: 16
Date: Fri, 21 Apr 2006 14:52:15 +1200
From: Adele de Maisieres 
Subject: Re: [h-cost] Knight's Tale

>> They did the same thing with "A Knight's Tale".  Decent story, fun
>> characters and okay clothing but the music......Very rock and totally 
>> out
>> of place (along with the icky lampshade hat on his girlfriend).
>
>
>
> Now, see I thought the music and the "medieval punk" really MADE the 
> movie. It would have been boring w/o it, IMO.
>

Snerf.  I thought they might as well have kept the jousting, plumped for 
a modern setting and achieved less net total anachronism.


-- 
Adele de Maisieres


		
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Subject: Re: [h-cost] Mouldy linen
Date: Fri, 21 Apr 2006 13:52:26 -0400
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I have an "absolute desperation/last ditch/end of your rope" solution to
mouldy linen. My Mom and I came across this in a Hints from Heloise (we
think, it could have just been something in the local paper) We had some
white linen, with white embroidery table runners, that were in awful
condition, but they were made by a family member, and tried everything to
get the stains out. We used this, since the other option was to throw them
out, which would have been bad.

If this is sewn with silk thread..don't do this. We washed the pieces in an
enzyme detergent, at the time that was "Era" Shout might be the same thing
now. Wash it a few times, and rinse *very* well. Then, take a plastic tub,
fill it with warm water and throw in a few Efferdent denture cleaning
tablets (get the plain ones, not the ones with listerine in them) then toss
in the linen, and swirl and let it sit overnight, just like a pair of
dentures. Rinse *very* well again, and let it hang dry. That got out ninety
percent of the mold and mildew stains. We did it a second time, and I
couldn't see any stain remaining after that. But this was severely moldy
(had been in a damp basement for 30 years)

Caveat: I don't know what this does to the longevity of the fibers, I
suspect that it's fairly destructive. But, we're gentle with the table
runners now, we keep them packed in acid free boxes with acid free paper
when they're not in use. But...we also expect to keep them for at least
another 30 years. I don't expect that a smock/chemise will be kept that
long.

Hopefully one of the other methods will work for you, as I said this is a
last ditch method.

In service,
Robert of Stonemarche

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From: Adele de Maisieres <ladyadele@paradise.net.nz>
Subject: Re: [h-cost] Knight's Tale
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Chiara Francesca Arianna d'Onofrio wrote:
> I do have to say that I really loved the scene where they are having
> to decide rather quickly what he would be wearing the dinner so that
> the lady could make certain she would not clash with it. 

Not that it helped.

-- 
Adele de Maisieres

-----------------------------
Habeo metrum - musicamque,
hominem meam. Expectat alium quid?
-Georgeus Gershwinus
-----------------------------


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Subject: [h-cost] Tudor pregnant images
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I know that recently there was a discussion on images of Tudor ladies 
in "pregnant gowns" but I read and dismissed it as interesting not 
relevant. Well, it's come back to bite me!! Did anyone keep a file of 
the images that they could share please? It is only images that I 
need, not the text.

Thanks

suzi


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Subject: [h-cost] Mouldy linen
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Have you tried soaking the garment in Vodka or other similar alcohol
overnight (even rubbing alcohol might work).

We used to do that with some theatre garments that came from of our more
"fragrant" actors and when washing didn't work to remove the scent. Since
it can kill bacteria that causes scent, perhaps it would work on mold as
well?

Patches
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References: <BB3EEC584579204DB6E2CA0F6DB7566F0130D5FC@exbe01.blue.jays.creighton.edu>
Subject: Re: [h-cost] Dangerous Liasions book
Date: Fri, 21 Apr 2006 20:56:56 +0200
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Hi Cindy,
Thanks for your rewiev.
I have oredered mine, and i am waiting inpatiently. Because i ordered a book 
about Toille de Joy also, i had to waite till it get there, to get the 
museum catalogue.
Wished i had the chance to see the exhibition for real!

Bjarne


----- Original Message ----- 
From: "Abel, Cynthia" <CynthiaAbel@creighton.edu>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, April 21, 2006 5:34 PM
Subject: [h-cost] Dangerous Liasions book


> Two years ago the Metropolitan Museum of Art had an exibition "Dangerous
> Liasions: Fashion and Furniture in the 18th century" and a companion
> book was promised.
>
> Now the book is out, published by the Met in tandem with Yale University
> Press. I locked in the price of my copy at $13.95 preordered from
> Amazon.com last year and it is here!  For all of you 18th fashion
> lovers, the book is a visual feast of mannikins posed in 18th clothes in
> recreated rooms, living la vie l'amour in various stages from awaiting a
> love letter to flirtation to very close encounters of the sexual kind.
> Drool worthy fashions and settings with the added addition of tie-in
> artwork from the Met's collection and essays documenting the stages of
> love in each room at different times of the day.
>
> The book was actualized in hardcover, instead of paperback at a higher
> price now, but for those awaitng the Marie Antoinette film, even if we
> can just critique it to death for what they got wrong, this is the real
> deal. Best price is at Amazon.com
>
> There is a stunning, ombre woven dress in the book where the original
> fabric could walk down the runway today in a modern designed outfit and
> look stunning!
>
> Cindy Abel
>
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 


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From: Adele de Maisieres <ladyadele@paradise.net.nz>
Subject: Re: [h-cost] Knight's Tale
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AlbertCat@aol.com wrote:
> Snerf.  I thought they might as well  have kept the jousting, plumped for 
> a modern setting and achieved less net  total anachronism.
>
>
>
> ***********************
>  
> And I thought it so mixed up and vapid as to not even be worth the effort  of 
> hating it...or ever thinking about it again. 
>   
To tell you the truth, I mainly remember it because I was away from home 
and saw it at the then partially-restored Embassy Theatre in Wellington 
(the one where they later had the Lord of the Rings premiere)

-- 
Adele de Maisieres

-----------------------------
Habeo metrum - musicamque,
hominem meam. Expectat alium quid?
-Georgeus Gershwinus
-----------------------------


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Subject: Re: [h-cost] Knight's Tale
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----- Original Message ----- 
From: "Sharon L. Krossa" <skrossa-ml@medievalscotland.org>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, April 21, 2006 2:17 PM
Subject: Re: [h-cost] Knight's Tale


> So anachronism, especially deliberate anachronism, in movies is fine 
> with me as long as the movie isn't trying to fool people into 
> believing it isn't anachronism -- I'll take A Knight's Tale and 
> Shakespeare In Love over Elizabeth or That Film Whose Name Shall Not 
> Be Uttered any day!
> 
> Sharon


lol...I have never yet seen That Movie. And I have no desire to do so!

Dianne
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Subject: Re: [h-cost] Tudor pregnant images
Date: Fri, 21 Apr 2006 14:41:21 -0700
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Subject: [h-cost] Tudor pregnant images


>
> I know that recently there was a discussion on images of Tudor ladies in 
> "pregnant gowns" but I read and dismissed it as interesting not relevant. 
> Well, it's come back to bite me!! Did anyone keep a file of the images 
> that they could share please? It is only images that I need, not the text.
>
> Thanks
>
> suzi
I've got some Jacobean pregnant ladies, but I don't think any of them are 
early than 1600.

Melusine 

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Date: Fri, 21 Apr 2006 16:43:15 -0500 (CDT)
Subject: Re: [h-cost] Knight's Tale
From: "Chiara Francesca Arianna d'Onofrio" <chiara@io.com>
To: "Historical Costume" <h-costume@indra.com>
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Jesus folks .. the snarking really needs to end. Sigh.


On Fri, April 21, 2006 3:22 pm, Dianne & Greg Stucki said:
>
>
> ----- Original Message -----
> From: "Sharon L. Krossa" <skrossa-ml@medievalscotland.org>
> To: "Historical Costume" <h-costume@indra.com>
> Sent: Friday, April 21, 2006 2:17 PM
> Subject: Re: [h-cost] Knight's Tale
>
>
>> So anachronism, especially deliberate anachronism, in movies is
>> fine
>> with me as long as the movie isn't trying to fool people into
>> believing it isn't anachronism -- I'll take A Knight's Tale and
>> Shakespeare In Love over Elizabeth or That Film Whose Name Shall
>> Not
>> Be Uttered any day!
>>
>> Sharon
>
>
> lol...I have never yet seen That Movie. And I have no desire to do
> so!
>
> 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] Knight's Tale
Date: Fri, 21 Apr 2006 16:48:36 -0500
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Status: RO

I loved Knight's Tale.  It has such a sense of humor about itself, which 
I'll take any day over a movie that takes itself too seriously.  It was 
supposed to give modern-day, non-historians a feel for how jousting was 
regarded in its heyday--an exciting, hip sporting event, complete with rabid 
fans and regional rivalries--and I think that the anachronisms added to that 
rather than taking away from it.

By the way, the commentary for the DVD is pretty darn funny, and full of the 
director making straight-faced comments such as how surprised he'd been to 
find out that David Bowie was not, in fact, a medieval bard.  (He also 
explains what 'fong' means.) AKT is one of the very few movies I actually 
liked well enough to buy on DVD, which for me is saying a lot.

Besides, I'm a huge Alan Tudyk fan. (The red-headed, frog-faced guy who 
played Wat and wanted to fong everyone.)

-E House

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Subject: Re: [h-cost] Knight's Tale
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Speaking of Alan Tudyk brings to mind another
odd/wonderful costume display - Firefly & Serenity. 
Not your "normal" sci fi outing but really fun.  I
love the blend of cultural influences - it must have
been a blast to work on that series.  And Wash was one
of my favorites.

--- E House <formfunc@formfunction.org> wrote:

> I loved Knight's Tale.  It has such a sense of humor
> about itself, which 
> I'll take any day over a movie that takes itself too
> seriously.  It was 
> supposed to give modern-day, non-historians a feel
> for how jousting was 
> regarded in its heyday--an exciting, hip sporting
> event, complete with rabid 
> fans and regional rivalries--and I think that the
> anachronisms added to that 
> rather than taking away from it.
> 
> By the way, the commentary for the DVD is pretty
> darn funny, and full of the 
> director making straight-faced comments such as how
> surprised he'd been to 
> find out that David Bowie was not, in fact, a
> medieval bard.  (He also 
> explains what 'fong' means.) AKT is one of the very
> few movies I actually 
> liked well enough to buy on DVD, which for me is
> saying a lot.
> 
> Besides, I'm a huge Alan Tudyk fan. (The red-headed,
> frog-faced guy who 
> played Wat and wanted to fong everyone.)
> 
> -E House
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 


Rebecca Burch
Center Valley Farm
Duncan Falls, Ohio, USA
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From: Lavolta Press <fran@lavoltapress.com>
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Subject: [h-cost] Possibly little known costume film
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"The Life and Death of Colonel Blimp," produced in England in 1943 in 
early Technicolor (which here comes off looking painterly rather than 
crude). This film is a rather mild, understanding, even sentimental 
satire of the Victorian/Edwardian school of gentlemanly war, and indeed 
of that style of gentleman. However, due to the war effort the film came 
under a great deal of criticism at the time, and Churchill was among 
those who felt it should not even be released.  With historical 
hindsight, its political points seem quite true, rather than inflammatory.

But it's not entirely a war flick; in fact, it's in large part a 
romance.  It starts in 1901 or 1902 (I forget which) and continues up to 
the early 1940s.  As far as costumes, settings, etc. go it's quite 
lavish for its period.

It's a good thing this film has been re-released.

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







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Please remove me from the h-costume mailing list.
   
  Thank you,
  Sharon Kelley

			
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Hi,
Have any here, tryed out the J.P. Ryan´s Gentlemans Jacket 1770?
I have ordered this pattern, and would ask if there is something i should 
notice?

Bjarne



Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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Subject: [h-cost] Pregnant Tudors 
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This pregnant Tudor lady is currently on show at the Tate Britain...

http://www.tate.org.uk/servlet/ViewWork?workid=27365&searchid=22478


>Message: 11
>Date: Fri, 21 Apr 2006 21:50:50 +0100
>From: Suzi Clarke <suzi@suziclarke.co.uk>
>Subject: [h-cost] Tudor pregnant images
>To: Historical Costume <h-costume@indra.com>
>Message-ID: <6.2.3.4.0.20060421205919.01e0f490@127.0.0.1>
>Content-Type: text/plain; charset="us-ascii"; format=flowed
>
>
>I know that recently there was a discussion on images of Tudor ladies
>in "pregnant gowns" but I read and dismissed it as interesting not
>relevant. Well, it's come back to bite me!! Did anyone keep a file of
>the images that they could share please? It is only images that I
>need, not the text.
>
>Thanks
>
>suzi
>


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Subject: [h-cost] Movies, was: Knight's Tale
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     Plunkett and MacLean was an 18thC movie that used some modern music. 
On the one hand it was odd, but we expect background music in movies.

     What struck me as odd was that the movie was set mid-century (I think
it said 1740 or 1750 on screen), and a fashion-forward character was
dressed in 1790s style.

     -Carol

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Date: Fri, 21 Apr 2006 18:50:21 EDT
Subject: Re: [h-cost] Dangerous Liasions book
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In a message dated 4/21/2006 5:24:08 P.M. Eastern Daylight Time,  
drewscph@post12.tele.dk writes:

I have  oredered mine, and i am waiting inpatiently. Because i ordered a book 
 
about Toille de Joy also, i had to waite till it get there, to get the  
museum catalogue.



I ordered two books from Amazon--the said DL, and the 19th c. Fashion in  
Detail.  Amazon shipped the latter when it was available, and the DL book  just 
last week, but still didn't charge me the shipping charge.  So you may  get 
your books separately, Bjarne.
 
Ann Wass
 
P.S.  Two things about the DL book--first, the page numbers are  microscopic. 
 Second, while the pictures are to drool over (and I saw the  exhibit, too), 
I find the text almost too fey and precious.  Maybe ALL the  French 
aristocrats carried on like that--after all, there was a revolution--but  weren't ANY of 
them devoted family types who stayed home, tended their estates,  and raised 
their families?  (Oh, I know, that sounds so veddy  English!)
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Subject: Re: [h-cost] Knight's Tale
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Shiny! =}

Ob costume comment--Inara has some pretty darn spiffy outfits, and I made my 
husband a suede browncoat.

-E House


----- Original Message ----- 
From: "REBECCA BURCH" <ctrvlyfarm@sbcglobal.net>
> Speaking of Alan Tudyk brings to mind another
> odd/wonderful costume display - Firefly & Serenity.
> Not your "normal" sci fi outing but really fun.  I
> love the blend of cultural influences - it must have
> been a blast to work on that series.  And Wash was one
> of my favorites.

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In a message dated 4/21/2006 5:44:11 P.M. Eastern Standard Time,  
chiara@io.com writes:

Jesus  folks .. the snarking really needs to end. Sigh.



***************
 
Why is that? It's only a movie. Those of us who don't like it certainly  
don't extend such feelings to the people who do like it. A little snarking can  be 
fun....and  sometimes start a good  discussion.
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Subject: Re: [h-cost] Movies, was: Knight's Tale
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In a message dated 4/21/2006 6:48:17 P.M. Eastern Standard Time,  
aquazoo@patriot.net writes:

What  struck me as odd was that the movie was set mid-century (I think
it said  1740 or 1750 on screen), and a fashion-forward character was
dressed in  1790s style.



******************
 
 
Designers often use styles from the whole century all at once without  
following the time line. They seem to do this more in the 18th century than any  
other. Perhaps because the changes aren't a drastic as they are in the 19th  
century. Although, I can't tell you how many 1840s and 1850s dresses get used in  
Civil War epics!
I once worked for an LA designer who mainly did TV. He and his assistant  
were snotty to us hayseeds [they thought] here in NC. His assistant with his  
nose in the air gave me a speech on how carefully they had researched and how  
the designer was a stickler for accuracy. Then he handed me to alter for the  
engenue: a wool plaid dress, closing CB with hooks & eyes, the bodice  gathered 
a la verge at the deep CF point, horizontal decolatage, with  longish 
manchions and long bias-cut tight sleeves. The skirt was cartridge  pleated all the 
way round...even down and around the point. The film took  place in 1863. 
Yeah....a stickler for accuracy alright. 
 
[For those who's period is not the mid 1800s, all those details  
scream....and I mean scream... 1840s]
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Date: Fri, 21 Apr 2006 21:31:16 -0400
From: "Susan B. Farmer" <sfarmer@goldsword.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Tudor pregnant images
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Quoting Suzi Clarke <suzi@suziclarke.co.uk>:

>
> I know that recently there was a discussion on images of Tudor ladies 
> in "pregnant gowns" but I read and dismissed it as interesting not 
> relevant. Well, it's come back to bite me!! Did anyone keep a file of 
> the images that they could share please? It is only images that I 
> need, not the text.
>

Suzi, here's the list I've collected

The tinyurl is the link to the same page .....

Well, it's definately Eleanora (I found this one on the web somewhere,
and seem to have misplaced the information.  If it's yours, please let
me know) just look at that pregnant face ...
http://epee.goldsword.com/sfarmer/SCA/Paintings/bronzinoFollower_EleanorToledo.j
pg
http://tinyurl.com/9fn48
and she certainly looks pregnant to me!

Bianca Capello -- found this one on the web too
http://epee.goldsword.com/sfarmer/SCA/Paintings/unNoted_BiancaCapello.jpg
http://tinyurl.com/css6h

Wife of John Thynne -- found this one on the web as well
http://epee.goldsword.com/sfarmer/SCA/Paintings/english_WifeJohnThynne-euh02108.jpg
http://tinyurl.com/b8vw9

Maegherita of Austria
http://epee.goldsword.com/sfarmer/SCA/Paintings/gonzalez_MargheritaAustria.jpg
http://tinyurl.com/8rqty

The 2 by Marcus gheeraerts, I found here
http://www.tate.org.uk/servlet/ArtistWorks?cgroupid=999999961&artistid=206
The Pearly Queen
http://www.tate.org.uk/collection/T/T07/T07699_9.jpg
and protrait of a woman in red
http://www.tate.org.uk/collection/T/T03/T03456_9.jpg
That last one is from 1620.

http://www.weissgallery.com/detail.asp?id=26&category=current

I may have another one, I'm not sure.

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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To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Knight's Tale
Date: Fri, 21 Apr 2006 18:50:40 -0700
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I agree- the leading lady was SO out of period. I kept thinking one hat
looked more like it belonged in "Breakfast at Tiffany's". The costumes
bothered me more than the music.
Sharon 

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Alexandria Doyle
Sent: Friday, April 21, 2006 8:40 AM
To: Historical Costume
Subject: Re: [h-cost] Knight's Tale


> >I loved that movie. But I wasn't expecting authenticity, I was 
> >expecting FUN, and I got that.  The characters were enjoyable, and 
> >the story was classic "poor boy makes good", which is timeless.
>
> I couldn't stop laughing through the whole movie.  I thought it was 
> hilarious.  Bought it, and listened to the commentary by the director 
> and... the guy who plays Chaucer... and they mocked themselves the 
> whole way through.  The director kept saying stuff like, "No one told 
> me they didn't do that back then."


I enjoyed the movie as well, since I wasn't expecting authenticity either. I
however would have like to have seen the leading lady in costumes more
appropriate to the setting.  That was too jarring, when everyone else around
her was wearing something closer to the correct stuff.

I try to enjoy movies for their entertainment value, the story, etc.  it's
just when they try to tell you that the film is historically correct that I
get upset over the details that are just so wrong...

alex
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To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Knight's Tale
Date: Fri, 21 Apr 2006 18:53:43 -0700
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Do you mean "Macbeth"? (hee-hee)

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Sharon L. Krossa
Sent: Friday, April 21, 2006 11:18 AM
To: Historical Costume
Subject: Re: [h-cost] Knight's Tale


At 2:52 PM +1200 4/21/06, Adele de Maisieres wrote:
>>>They did the same thing with "A Knight's Tale".  Decent story, fun 
>>>characters and okay clothing but the music......Very rock and totally 
>>>out of place (along with the icky lampshade hat on his girlfriend).
>>
>>Now, see I thought the music and the "medieval punk" really MADE the 
>>movie. It would have been boring w/o it, IMO.
>
>Snerf.  I thought they might as well have kept the jousting, plumped 
>for a modern setting and achieved less net total anachronism.

I confess I prefer it when historically inspired movies include such 
anachronisms as obviously modern rock music -- it helps the audience 
keep in mind that they are watching fiction, and that they shouldn't 
believe what they're seeing is real after the reel ends.

So anachronism, especially deliberate anachronism, in movies is fine 
with me as long as the movie isn't trying to fool people into 
believing it isn't anachronism -- I'll take A Knight's Tale and 
Shakespeare In Love over Elizabeth or That Film Whose Name Shall Not 
Be Uttered any day!

Sharon
-- 
Sharon Krossa, skrossa-ml@MedievalScotland.org
Resources for Scottish history, names, clothing, language & more:
     Medieval Scotland - http://MedievalScotland.org/
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At 6:53 PM -0700 4/21/06, Sharon at Collierfam.com wrote (in 
reference to my reference to That Film Whose Name Shall Not Be 
Uttered):
>Do you mean "Macbeth"? (hee-hee)

No, the other Mel Gibson Scottish film.

Sharon

PS For those interested, I have a page with a few comments on the 
film in question at 
<http://MedievalScotland.org/scotbiblio/braveheart.shtml> (but those 
who don't like to hear that films are historically inaccurate should 
stay away ;-)
-- 
Sharon Krossa, skrossa-ml@MedievalScotland.org
Resources for Scottish history, names, clothing, language & more:
     Medieval Scotland - http://MedievalScotland.org/
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Date: Fri, 21 Apr 2006 18:45:08 -0700
To: Historical Costume <h-costume@indra.com>
From: Chris Laning <claning@igc.org>
Subject: Re: [h-cost] Fascinating: oldest evidence for needle binding
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At 8:43 AM -0700 4/21/06, Chris wrote:
>Forgot...I was completely blown away by the plaids they've found as 
>well...reminds me of the Stewart 'hunting' plaid, but regardless, 
>it's absolutely BEAUTIFUL!!!  Wait until you see it!

Yes, and of course the news media immediately seized on this and 
started speculating about "Celtic peoples" in central Asia <snort>.

You don't have to be Celtic to weave plaid fabric. Or wear it. Or 
anything.... it's just what happens naturally when you have repeating 
color patterns in your warp and weft...
-- 
____________________________________________________________

O    Chris Laning <claning@igc.org> - Davis, California
+     http://paternoster-row.org - http://paternosters.blogspot.com
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In a message dated 4/22/06 6:05:50 AM GMT Daylight Time, 
h-costume-request@indra.com writes:

> "The Life and Death of Colonel Blimp,"

fabulous film  - was on telly here again a couple of months ago - always try 
to see it when it's on :-)
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In a message dated 4/22/06 6:05:50 AM GMT Daylight Time, 
h-costume-request@indra.com writes:

> Plunkett and MacLean 

yeah, but the really glaring bit was the sheer black stocking one of the 
robbery victims was wearing....

that said, the coachman's coat is fabulous
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In a message dated 4/22/06 6:05:50 AM GMT Daylight Time, 
h-costume-request@indra.com writes:

> No, the other Mel Gibson Scottish film.
> 
> Sharon

ah - but william wallace took York, you know....;-)

I actually have one friend (Scottish) who rants for about half an hour every 
time it's mentioned - on the basis of how large an insult it is to william 
wallace to show him as basically a peasant (given he was actually a lowland 
knight, and very well educated).

And then he starts on the tartan and blue faces....
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Subject: Re: [h-cost] Pregnant Tudors 
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At 23:45 21/04/2006, you wrote:
>This pregnant Tudor lady is currently on show at the Tate Britain...
>
>http://www.tate.org.uk/servlet/ViewWork?workid=27365&searchid=22478
>
>
>>I know that recently there was a discussion on images of Tudor ladies
>>in "pregnant gowns" but I read and dismissed it as interesting not
>>relevant. Well, it's come back to bite me!! Did anyone keep a file of
>>the images that they could share please? It is only images that I
>>need, not the text.

Thanks Kate - I love that one.

Suzi 


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I'm looking for a pattern for fall front trousers suitable for 1812 
American Naval wear.  A shell jacket pattern would be good too, but I think 
I can fake it.

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

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From: "Martha Kelly" <marthakelly@nyc.rr.com>
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Date: Sat, 22 Apr 2006 08:01:08 -0400
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Subject: [h-cost] Library lover
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Here's another reason I read h-costume and find it invaluable.  Often times
other members mention books that sound delicious.  If the book is hard to
find or really expensive, I go to the on-line catalogue of the public
library to see if it's there.  After I've actually looked at the book in
person sometimes I feel I have to own it.  Then I steal it from the library.
NO!  Just kidding of course! Then I go to the usual book-buying sources.
Right now I've just reserved Toile de Jouy  because it was mentioned in the
last h-costume digest.

And here's a plea for public libraries - they're always short of funds.  A
yearly donation is tax-deductible.  With your contribution they can go out
and buy more books - and keep the lights on.

Martha


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Subject: Re: [h-cost] Possibly little known costume film
Date: Sat, 22 Apr 2006 08:46:59 -0400
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We caught this on Turner Classics last week and were charmed (if that is the
right word!) with the story line as well as the costumes.
Kathleen
----- Original Message ----- 
From: "Lavolta Press" <fran@lavoltapress.com>
To: <h-costume@indra.com>
Sent: Friday, April 21, 2006 5:45 PM
Subject: [h-cost] Possibly little known costume film


> "The Life and Death of Colonel Blimp," produced in England in 1943 in
> early Technicolor (which here comes off looking painterly rather than
> crude). This film is a rather mild, understanding, even sentimental
> satire of the Victorian/Edwardian school of gentlemanly war, and indeed
> of that style of gentleman. However, due to the war effort the film came
> under a great deal of criticism at the time, and Churchill was among
> those who felt it should not even be released.  With historical
> hindsight, its political points seem quite true, rather than inflammatory.
>
> But it's not entirely a war flick; in fact, it's in large part a
> romance.  It starts in 1901 or 1902 (I forget which) and continues up to
> the early 1940s.  As far as costumes, settings, etc. go it's quite
> lavish for its period.
>
> It's a good thing this film has been re-released.
>
> Fran
> Lavolta Press
> http://www.lavoltapress.com
>
>
>
>
>
>
>
> _______________________________________________
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I've read all the posts about the mouldy linen but what about a white linen 
that dye has bled into?  I have heavy white linen and it has blue black 
stains on it from another fabric that was touching it.

Gwenhwyfar 

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In a message dated 4/22/06 6:05:50 AM GMT Daylight Time, 
h-costume-request@indra.com writes:

> started speculating about "Celtic peoples" in central Asia

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
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For those that have digest I do my best to trim. For those who have digest,
please put something in the subject heading in place of Digest, vol#,
issue### or Digest #.
Thank you,
De


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To: Historical Costume <h-costume@indra.com>
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Subject: Re: [h-cost] Tudor pregnant images
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At 22:41 21/04/2006, you wrote:
>Subject: [h-cost] Tudor pregnant images
>
>
>>
>>I know that recently there was a discussion on images of Tudor 
>>ladies in "pregnant gowns" but I read and dismissed it as 
>>interesting not relevant. Well, it's come back to bite me!! Did 
>>anyone keep a file of the images that they could share please? It 
>>is only images that I need, not the text.
>>
>>Thanks
>>
>>suzi
>I've got some Jacobean pregnant ladies, but I don't think any of 
>them are early than 1600.
>
>Melusine


Thanks but unfortunately they "need" to be before 1600.

Suzi


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Subject: Re: [h-cost] Tudor pregnant images
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At 02:31 22/04/2006, you wrote:
>Quoting Suzi Clarke <suzi@suziclarke.co.uk>:
>
>>
>>I know that recently there was a discussion on images of Tudor 
>>ladies in "pregnant gowns" but I read and dismissed it as 
>>interesting not relevant. Well, it's come back to bite me!! Did 
>>anyone keep a file of the images that they could share please? It 
>>is only images that I need, not the text.
>
>Suzi, here's the list I've collected
>
>The tinyurl is the link to the same page .....
>
>Well, it's definately Eleanora (I found this one on the web somewhere,
>and seem to have misplaced the information.  If it's yours, please let
>me know) just look at that pregnant face ...
>http://epee.goldsword.com/sfarmer/SCA/Paintings/bronzinoFollower_EleanorToledo.j
>pg
>http://tinyurl.com/9fn48
>and she certainly looks pregnant to me!
>
>Bianca Capello -- found this one on the web too
>http://epee.goldsword.com/sfarmer/SCA/Paintings/unNoted_BiancaCapello.jpg
>http://tinyurl.com/css6h
>
>Wife of John Thynne -- found this one on the web as well
>http://epee.goldsword.com/sfarmer/SCA/Paintings/english_WifeJohnThynne-euh02108.jpg
>http://tinyurl.com/b8vw9
>
>Maegherita of Austria
>http://epee.goldsword.com/sfarmer/SCA/Paintings/gonzalez_MargheritaAustria.jpg
>http://tinyurl.com/8rqty
>
>The 2 by Marcus gheeraerts, I found here
>http://www.tate.org.uk/servlet/ArtistWorks?cgroupid=999999961&artistid=206
>The Pearly Queen
>http://www.tate.org.uk/collection/T/T07/T07699_9.jpg
>and protrait of a woman in red
>http://www.tate.org.uk/collection/T/T03/T03456_9.jpg
>That last one is from 1620.
>
>http://www.weissgallery.com/detail.asp?id=26&category=current
>
>I may have another one, I'm not sure.


Susan

Thanks, that is great, and I think the last one may well be ideal for 
what my student is looking for.

Suzi


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Subject: Re: [h-cost] Mouldy linen/dyed linen
Date: Sat, 22 Apr 2006 09:33:25 -0400
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A drastic move because it contains chlorine...Aunt Ellen's stain remover
(JoAnns carries it) This is a wonder product for the type of stain you are
dealing with. I had a tux shirt that went through the wash with the bow tie
in the pocket and was dismayed that the red bled at that spot of contact.
Used AE while the garment was still wet and it worked like magic.  I then
tried it on my favorite Tea Cozy that had long set in stains from normal use
and was amazed that I was able to bring it to almost new appearance. It is a
'spot' cleaner, and as I said has some chlorine in it and ? But it works,
and my linens do not seem to be the worse for the treatment. It comes for
colored fabric as well as white.  I have not seen noticeable affect on the
surrounding fibers.
----- Original Message ----- 
From: "Gwen" <gwen@moonsandstars.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Saturday, April 22, 2006 9:01 AM
Subject: [h-cost] Mouldy linen/dyed linen


> I've read all the posts about the mouldy linen but what about a white
linen
> that dye has bled into?  I have heavy white linen and it has blue black
> stains on it from another fabric that was touching it.
>
> Gwenhwyfar
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>

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Sharon wrote:

> So anachronism, especially deliberate anachronism, in movies is fine
> with me as long as the movie isn't trying to fool people into
> believing it isn't anachronism -- I'll take A Knight's Tale and
> Shakespeare In Love over Elizabeth or That Film Whose Name Shall Not
> Be Uttered any day!

Hear hear! I love "A Knight's Tale," and the thing I love the most is that
the STORY is pretty close to medieval. William gets to be a knight at the
end, he doesn't decided that "we are all knights in our hearts," or
something stupid like that. The lady he loves says she would marry him and
live in a hut with pigs, and he tells her she doesn't know what she's
talking about. Etc. The ananchronisms are to help people understand the
medieval story. It doesn't change history and pretend to be accurate, or
give characters stupid pop-psych reasons for their actions (my mom died and
my dad married a peasant -- angst, angst!).

Once I got over the shock, I thought the costumes were a fun meld of
medieval and modern, and I enjoyed seeing the influences. My favorite
anachronistic moment was when Adhemar is off fighting and he gets the
results of the tournaments -- a big pile of illuminated documents -- like
the sports section of the morning newspaper.

Marie Antoinette sounds rather interesting. I will keep an open mind.

Gail Finke

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References: <4.3.1.2.20060422030047.025912a0@mail.frys.com>
Subject: Re: [h-cost] fall front trousers, etc.
Date: Sat, 22 Apr 2006 09:43:35 -0400
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Carolyn, I have a pair of trousers from the first quarter 19th C and they
are constructed pretty much the same as the LongFall of the ...Eagle pattern
that included knickers.  The two major differences are the width of the
waist band and the back omits the capacious seat and gusset. No pockets, but
the from is cut full enough to accommodate them.  There are buttons for
straps or suspenders.  Basically, the naval trou still being used through
the 1940's.
----- Original Message ----- 
From: "Carolyn Kayta Barrows" <kayta@frys.com>
To: <h-costume@indra.com>
Sent: Saturday, April 22, 2006 6:02 AM
Subject: [h-cost] fall front trousers, etc.


> I'm looking for a pattern for fall front trousers suitable for 1812
> American Naval wear.  A shell jacket pattern would be good too, but I
think
> I can fake it.
>
>         CarolynKayta Barrows
> dollmaker, fibre artist, textillian
>           www.FunStuft.com
>
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Sharon wrote:

> No, the other Mel Gibson Scottish film.

I always thought The Film Whose Name Shall Not Be Uttered was the one with
the title ending "Prince of Thieves."

Around here, anyway.

Sorry if I caused any palpitations by writing even that much of it--

Gail Finke

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From: "Susan B. Farmer" <sfarmer@goldsword.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Mouldy linen/dyed linen
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Quoting Gwen <gwen@moonsandstars.com>:

> I've read all the posts about the mouldy linen but what about a white 
> linen that dye has bled into?  I have heavy white linen and it has 
> blue black stains on it from another fabric that was touching it.
>

 From another list ...



----- Forwarded message from jen@verybigdesign.com -----
    Date: Wed, 19 Apr 2006 12:25:45 -0400
    From: jen funk segrest <jen@verybigdesign.com>
Reply-To: sca-bead@yahoogroups.com
Subject: [sca-bead] Got a stain on your garb?
      To: App list list <apprentice@yahoogroups.com>,
sca-middle@midrealm.org, spot@midrealm.org,
BaronyFenix@yahoogroups.com, famdamily@yahoogroups.com,
hawkes-keye@yahoogroups.com, sca-bead@yahoogroups.com

I did. I was showing someone at RUM a few weeks ago how to do viking
wire knitting and the pen I was using as a mandrel had the cap off
and garb beneath had a HUGE permanent ink marker stain. All the way
through two dresses to my skin.

I had washed the viking apron, it's old I wasn't out anything, and
taken alcohol to it to vainly try to get it out (don't use that I
found out).

The large dime sized black dot on the front right above the belt line
on my grey herolfnes underdress was the worst, it's my main piece of
garb right now. I wisely hadn't washed since it happened, but had
taken some alcohol to the smaller spots.   I knew washing could set
in stains so I let it alone. it's been sitting in my hamper since
while I researched some options.

I found this stuff recommended on the Sharpie marker site called Amodex.
http://www.amodexink.com/

A quick google search found me several places that had it and I
ordered a 1oz bottle. It came today. It claims to remove ink of all
kinds, grease, food, berry, blood, the works. Basically if it's a
stain it'll take it out on ANY fabric or surface.

I have to say this crap works. At least on permanent marker on
fabric! WOW!

It's very much like a dishwashing liquid in appearance an
consistancy, it comes with a brush. I could see each successive
application of a few drops and rubbing working by the spot underneath
go from a bloody yellow to  yellow to a beige to barely anything at
all. Took about a half hour and over a dozen applications of the
liquid but by the end I had a hard time spotting the I was working
on. And it took out the smaller ones.

It also, though, removed most of the stain on my viking apron as
well, and it had been washed before. but the results are not NEARLY
as impressive as the unwashed dress.

After the washing I just put the dresses in for I expect it to be
nearly invisible on the grey dress. Definitely wearable without being
under another dress even.

Just wanted to pass on a good product we probably will all need at
some point. I have a ton left (probably only used a tablespoon's
worth) and happy to have it in case of a future incident.

If anyone wants the link to buy where i got it from email me. You can
also order some direct from the manufacturer in larger and travel sizes.

I highly suggest buying one before you need it. I wish I'd found it
years ago.

griz


This email is allowed to be:
[x] Shared
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[ ] Used as documentation
[x] Tattoed on butt in 72 point Times New Roman



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: Sat, 22 Apr 2006 10:11:13 -0400
From: "Susan B. Farmer" <sfarmer@goldsword.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Tudor Tailor....a review
References: <2cf.70a693e.3173e70d@aol.com>
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Quoting Lloyd Mitchell <rmitchell@washjeff.edu>:

> I have to add that after examining extant 18th C garments, I am amazed at
> all the piecing that was used to get the whole costume out of a given fabric
> yardage.Lots!! Matching patterns, never mind grain, did not seem to be a
> high priority. Using today's fabric widths often prompts wider skirts or
> fuller sleeves because our aesthetic consciousness allows for an opulence
> that may never have been possible in times past.

Another earlier example is the Eleanor of Toledo "burial dress" -- she
also wore it when she was alive and was painted in this gown at least
once (so you can't say it was pieced because she was buried in it)
http://epee.goldsword.com/sfarmer/SCA/Paintings/EleanoraBurialDress-150.jpg

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: "Sue Clemenger" <mooncat@in-tch.com>
To: "Historical Costume" <h-costume@indra.com>
References: <38c.1449b5b.317a4116@aol.com>
Subject: Re: [h-cost] Knight's Tale
Date: Sat, 22 Apr 2006 09:02:11 -0600
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I'm with Albert on this one....I can handle purely modern or anachronistic
interpretations just fine, but found the mix of modern and peri-oid
disconcerting and unimpressive.  Yeah, I "got" it, but I didn't *like* it.
Ditto something like "Moulin Rouge."  The disccordance between rock music
and historical pieces just does *nothing* for me.
--Sue in Montana, who actually has rather eclectic musical tastes, including
a fair amount of rock.....
----- Original Message -----
From: <AlbertCat@aol.com>
To: <h-costume@indra.com>
Sent: Friday, April 21, 2006 8:07 AM
Subject: Re: [h-cost] Knight's Tale


>
> In a message dated 4/20/2006 10:53:09 P.M. Eastern Standard Time,
> ladyadele@paradise.net.nz writes:
>
> They did  the same thing with "A Knight's Tale".  Decent story, fun
> >>  characters and okay clothing but the music......Very rock and totally
> >> out
> >> of place (along with the icky lampshade hat on  his girlfriend).
> >
> >
> >
> > Now, see I thought the music  and the "medieval punk" really MADE the
> > movie. It would have been  boring w/o it, IMO.
> >
>
> Snerf.  I thought they might as well  have kept the jousting, plumped for
> a modern setting and achieved less net  total anachronism.
>
>
>
> ***********************
>
> And I thought it so mixed up and vapid as to not even be worth the effort
of
> hating it...or ever thinking about it again.
>
> Different strokes indeed.
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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This one is from 1620ish -- it's another one of Margaret of Austria

http://search.sothebys.com/jsps/live/lot/LotDetail.jsp?lot_id=4M8S4

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

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References: <002d01c664c7$ce2923f0$7c83fea9@CPQ21932199711><1108.67.174.246.110.1145583030.squirrel@webmail.inreach.com><03e701c664ed$a61be2f0$2bd12b42@denise8541f2db><444848DF.1010500@paradise.net.nz><p0623090bc06e2fb44714@[192.168.0.2]><025301c66581$59d69720$154d4e40@Stuckis>
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Subject: Re: [h-cost] Knight's Tale
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I'm not seeing "snarking" at all.  Sheesh, chill, huh?....
--Sue, who's not quite figured out which "Movie That Shall Not Be Named"
people are referring to.....

----- Original Message -----
From: "Chiara Francesca Arianna d'Onofrio" <chiara@io.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, April 21, 2006 3:43 PM
Subject: Re: [h-cost] Knight's Tale


> Jesus folks .. the snarking really needs to end. Sigh.
>
>
> On Fri, April 21, 2006 3:22 pm, Dianne & Greg Stucki said:
> >
> >
> > ----- Original Message -----
> > From: "Sharon L. Krossa" <skrossa-ml@medievalscotland.org>
> > To: "Historical Costume" <h-costume@indra.com>
> > Sent: Friday, April 21, 2006 2:17 PM
> > Subject: Re: [h-cost] Knight's Tale
> >
> >
> >> So anachronism, especially deliberate anachronism, in movies is
> >> fine
> >> with me as long as the movie isn't trying to fool people into
> >> believing it isn't anachronism -- I'll take A Knight's Tale and
> >> Shakespeare In Love over Elizabeth or That Film Whose Name Shall
> >> Not
> >> Be Uttered any day!
> >>
> >> Sharon
> >
> >
> > lol...I have never yet seen That Movie. And I have no desire to do
> > so!
> >
> > Dianne
> > _______________________________________________
> > 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
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Subject: Re: [h-cost] Knight's Tale
To: h-costume@indra.com
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In a message dated 4/22/2006 12:45:41 A.M. Eastern Standard Time,  
skrossa-ml@medievalscotland.org writes:

No, the  other Mel Gibson Scottish film


************
 
"The Passion of the Christ"?????
 
Weren't they speaking Pict?
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	<p06230907c06f44bc845a@[192.168.0.2]>
Subject: Re: [h-cost] Knight's Tale
Date: Sat, 22 Apr 2006 09:19:47 -0600
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Oh.  Okay.  I never would have guessed that in a million years.  I like that
one as a movie, but really *hated* the historical inaccuracies built into
it, since I find history pretty fascinating and entertaining sans
adulteration for plot purposes.
--Sue

----- Original Message -----
From: "Sharon L. Krossa" <skrossa-ml@medievalscotland.org>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, April 21, 2006 10:44 PM
Subject: RE: [h-cost] Knight's Tale


> At 6:53 PM -0700 4/21/06, Sharon at Collierfam.com wrote (in
> reference to my reference to That Film Whose Name Shall Not Be
> Uttered):
> >Do you mean "Macbeth"? (hee-hee)
>
> No, the other Mel Gibson Scottish film.
>
> Sharon
>
> PS For those interested, I have a page with a few comments on the
> film in question at
> <http://MedievalScotland.org/scotbiblio/braveheart.shtml> (but those
> who don't like to hear that films are historically inaccurate should
> stay away ;-)
> --
> Sharon Krossa, skrossa-ml@MedievalScotland.org
> Resources for Scottish history, names, clothing, language & more:
>      Medieval Scotland - http://MedievalScotland.org/
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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Date: Sat, 22 Apr 2006 08:14:13 -0700 (PDT)
Subject: Re: [h-cost] Mouldy linen/dyed linen
From: "Diana Habra" <dch@inreach.com>
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> I've read all the posts about the mouldy linen but what about a white
> linen
> that dye has bled into?  I have heavy white linen and it has blue black
> stains on it from another fabric that was touching it.

Rit makes something called "color remover".  I haven't used it myself but
it may help your linen.

Diana

www.RenaissanceFabrics.net
"Everything for the Costumer"

"Become the change you want to see in the world."
--Ghandi

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	<20060422101113.a75z82elrwckck0o@www.goldsword.com>
Subject: Re: [h-cost] Tudor Tailor....a review
Date: Sat, 22 Apr 2006 09:28:00 -0600
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Truly? I've seen a couple of books and museums claim that, but it's always
the wrong dress.  Which painting are you referring to?
--Sue (16th century geek ;o)

----- Original Message -----
From: "Susan B. Farmer" <sfarmer@goldsword.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Saturday, April 22, 2006 8:11 AM
Subject: Re: [h-cost] Tudor Tailor....a review


> Quoting Lloyd Mitchell <rmitchell@washjeff.edu>:
>
> > I have to add that after examining extant 18th C garments, I am amazed
at
> > all the piecing that was used to get the whole costume out of a given
fabric
> > yardage.Lots!! Matching patterns, never mind grain, did not seem to be a
> > high priority. Using today's fabric widths often prompts wider skirts or
> > fuller sleeves because our aesthetic consciousness allows for an
opulence
> > that may never have been possible in times past.
>
> Another earlier example is the Eleanor of Toledo "burial dress" -- she
> also wore it when she was alive and was painted in this gown at least
> once (so you can't say it was pieced because she was buried in it)
>
http://epee.goldsword.com/sfarmer/SCA/Paintings/EleanoraBurialDress-150.jpg


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Subject: Re: [h-cost] Knight's Tale
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ROTFLMAO!!!
--Sue

----- Original Message ----- 
From: <AlbertCat@aol.com>
To: <h-costume@indra.com>
Sent: Saturday, April 22, 2006 9:07 AM
Subject: Re: [h-cost] Knight's Tale


> 
> In a message dated 4/22/2006 12:45:41 A.M. Eastern Standard Time,  
> skrossa-ml@medievalscotland.org writes:
> 
> No, the  other Mel Gibson Scottish film
> 
> 
> ************
>  
> "The Passion of the Christ"?????
>  
> Weren't they speaking Pict?
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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Subject: Re: [h-cost] Tudor Tailor....a review
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In a message dated 4/22/2006 11:23:32 A.M. Eastern Standard Time,  
mooncat@in-tch.com writes:

http://epee.goldsword.com/sfarmer/SCA/Paintings/EleanoraBurialDress-150.jpg



********************
 
As one can see from the splayed out remains of the gown, the piecing is  
symmetrical and careful. Obviously employed to get the width needed to cut the  
large pattern pieces.
 
This is not what we were talking about, careful piecing of plain fabric. We  
were talking about matching patterns on fabric and piecing every which way to  
get even small parts, like tabs or sleeves, cut out.
 
This hap hazard piecing indeed goes on as well as ordered intentional  
piecing. But I say that matching brocades and prints was just as important and  done 
just as much whenever possible as we would today. Perhaps a lot of hap  
hazard pieced garments survive because they weren't liked and not worn as much.  
I'll bet most were cut from some other garment...thus great fabric limitations.  
And I don't mean the piecing of linings and facings either. To think that  
people just didn't care about it or accepted sloppy piecing with no  problamo is 
rubbish.
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Subject: Re: [h-cost] Tudor Tailor....a review
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Quoting Sue Clemenger <mooncat@in-tch.com>:

> Truly? I've seen a couple of books and museums claim that, but it's always
> the wrong dress.  Which painting are you referring to?
> --Sue (16th century geek ;o)

I believe that it's this painting (and I can't remember if it's a
Bronzino or an Allori)
http://www.tudor-portraits.com/ElenoraToledo4.jpg

Well, drat -- no it's not.  There's no trim up the center-front.

*sigh*  That's the one that I was thinking of anyway.

*sigh*

Susan

>>
>> Another earlier example is the Eleanor of Toledo "burial dress" -- she
>> also wore it when she was alive and was painted in this gown at least
>> once (so you can't say it was pieced because she was buried in it)
>>
> http://epee.goldsword.com/sfarmer/SCA/Paintings/EleanoraBurialDress-150.jpg
>
>


-----
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] Knight's Tale
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No they were speaking a dialect from that time. It is suppose to be the same 
language Jesus spoke. I can't think of what it is called rigght now. But it 
isn't pict or galic.
----- Original Message ----- 
From: "Sue Clemenger" <mooncat@in-tch.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Saturday, April 22, 2006 11:29 AM
Subject: Re: [h-cost] Knight's Tale


> ROTFLMAO!!!
> --Sue
>
> ----- Original Message ----- 
> From: <AlbertCat@aol.com>
> To: <h-costume@indra.com>
> Sent: Saturday, April 22, 2006 9:07 AM
> Subject: Re: [h-cost] Knight's Tale
>
>
>>
>> In a message dated 4/22/2006 12:45:41 A.M. Eastern Standard Time,
>> skrossa-ml@medievalscotland.org writes:
>>
>> No, the  other Mel Gibson Scottish film
>>
>>
>> ************
>>
>> "The Passion of the Christ"?????
>>
>> Weren't they speaking Pict?
>> _______________________________________________
>> 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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In a message dated 4/22/2006 12:48:12 P.M. Eastern Standard Time,  
zeartiste@hotmail.com writes:

No they  were speaking a dialect from that time. It is suppose to be the same 
 
language Jesus spoke. I can't think of what it is called rigght now. But  it 
isn't pict or galic.



***************
 
Aramaic. and the Romans spoke Latin. How CLEVER of Mel!!!! NOT!
 
a pretentious, ugly film as shallow as a  teaspoon.
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Date: Sat, 22 Apr 2006 13:12:57 -0400
From: monica spence <monicaspence@optonline.net>
Subject: Center strip on Eleonora's gowns (WasRE: [h-cost] Tudor Tailor....a
	review)
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The Pink gown is by Bronzino and supposed to be Eleonora's "wedding" gown--
the dress in which she made her formal entrance into Florence. Florentines
liked color and probably would not have liked the black gown she wore when
she landed in Pisa...

The dress in which she was buried in, was a solid satin, not the patterned
dress in black gold and white (silver?). Her burial dress was something that
she had worn before, and was not especially made for her to wear in her
coffin. Remember, she died in Pisa, in December 1562, was not embalmed after
she died, was transported to Florence and was buried.  They probably dressed
her in a hurry (ugh), because of the state of her body.

You might be thinking of the red gown that was on display in Memphis last
year. It was found in Pisa on a statue of the BVMary, at/near the
convent/church that Eleonora had endowed...
http://www.wonders.org/masters8.htm

The dresses worn by Eleonora in her Bronzino portraits usually don't have
that center strip down the CF. You can surmise that is there from the
pictures where she wears a zimarra (surcoat). Where you do see the strip
come from the hands of copyists, or students of Bronzino or from his
workshop-- not from the master himself. The Alorri portrait in Francisco's
Studiolo is posthumous. The standing color style looks to be to late to
actually be worn by Eleonora.

Regards-
Monica Spence
(SCA: Catriona MacDuff)





-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of Susan B. Farmer
Sent: Saturday, April 22, 2006 12:00 PM
To: Historical Costume
Subject: Re: [h-cost] Tudor Tailor....a review


Quoting Sue Clemenger <mooncat@in-tch.com>:

> Truly? I've seen a couple of books and museums claim that, but it's always
> the wrong dress.  Which painting are you referring to?
> --Sue (16th century geek ;o)

I believe that it's this painting (and I can't remember if it's a
Bronzino or an Allori)
http://www.tudor-portraits.com/ElenoraToledo4.jpg

Well, drat -- no it's not.  There's no trim up the center-front.

*sigh*  That's the one that I was thinking of anyway.

*sigh*

Susan

>>
>> Another earlier example is the Eleanor of Toledo "burial dress" -- she
>> also wore it when she was alive and was painted in this gown at least
>> once (so you can't say it was pieced because she was buried in it)
>>
>
http://epee.goldsword.com/sfarmer/SCA/Paintings/EleanoraBurialDress-150.jpg
>
>


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


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<
<--- suzi@suziclarke.co.uk wrote:
<
<Does anyone know where an American friend can buy a steam iron with a 
<separate reservoir in the U.S. She says she has not been able to find 
<one. Also, if there is a source, any recommendations as to brand. I 
<have a Tefal bought here in the U.K. and it *loves* ironing linen 
<(which is more than I do!)
<
<Suzi (who really needs to find a new job - I hate ironing, and I hate 
<machining!!)

Sorry, I can't help for a US source, but thank-you for the opinion about the Tefal steam iron - I've been eyeing them off over here in Australia. One day.......

I just went looking and found this link -

http://www.amazon.com/gp/product/B00008ZPN6/102-6325019-4567367?v=glance&n=284507

DeLonghi also make one which I presume ( from their website ) is available in the US, but their website was less than helpful fro getting details.

Joannah.

~*~ Practice random acts of kindness, and senseless acts of beauty. ~*~



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Subject: [h-cost] Re: Firefly browncoat
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>
> Message: 8
> Date: Fri, 21 Apr 2006 17:54:30 -0500
> From: "E House" <formfunc@formfunction.org>
> Subject: Re: [h-cost] Knight's Tale
> To: "Historical Costume" <h-costume@indra.com>
> Message-ID: <026801c66596$8e35d430$9400a8c0@compaqub>
> Content-Type: text/plain; format=flowed; charset="iso-8859-1";
>         reply-type=original
>
> Shiny! =}
>
> Ob costume comment--Inara has some pretty darn spiffy outfits, and I made my
> husband a suede browncoat.

Fellow "browncoat" here! Probably a better question for the f-costume
list, but seeing as you brought it up:

What pattern (if any) did you use for your husband's browncoat? I'm
toying with making Zoey's outfit.
>
> -E House

Allison T.

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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: Re: [h-cost] Steam Iron source
Date: Sat, 22 Apr 2006 20:55:12 +0200
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This reminds me.
I am apun my 3rd. steam iron. And each and every one of them had the problem 
with the button where you turn on or off for the steam. Seams that the 
plastic is glued to the button, and the steam destroys the glue, so that the 
button after some time gets useless.
Anyone having the same problems?

Bjarne



----- Original Message ----- 
From: "Joannah Hansen" <Joannah@sluggy.net>
To: <h-costume@indra.com>
Sent: Saturday, April 22, 2006 7:43 PM
Subject: Re: [h-cost] Steam Iron source


> <
> <--- suzi@suziclarke.co.uk wrote:
> <
> <Does anyone know where an American friend can buy a steam iron with a
> <separate reservoir in the U.S. She says she has not been able to find
> <one. Also, if there is a source, any recommendations as to brand. I
> <have a Tefal bought here in the U.K. and it *loves* ironing linen
> <(which is more than I do!)
> <
> <Suzi (who really needs to find a new job - I hate ironing, and I hate
> <machining!!)
>
> Sorry, I can't help for a US source, but thank-you for the opinion about 
> the Tefal steam iron - I've been eyeing them off over here in Australia. 
> One day.......
>
> I just went looking and found this link -
>
> http://www.amazon.com/gp/product/B00008ZPN6/102-6325019-4567367?v=glance&n=284507
>
> DeLonghi also make one which I presume ( from their website ) is available 
> in the US, but their website was less than helpful fro getting details.
>
> Joannah.
>
> ~*~ Practice random acts of kindness, and senseless acts of beauty. ~*~
>
>
>
> _____________________________________________________________
> Sluggy.Net: The Sluggy Freelance Community!
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Date: Sat, 22 Apr 2006 21:06:08 +0200
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Subject: [h-cost] mens 1770ies jackets
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Hi,
I have a danish pattern of a mans suit from the 1770ies. This is cut rather 
special, as it has a horisontal cut in the waistlevel. I have not seen this, 
untill lately i saw a similar jacket in Nordiska Museet in Stockholm. It was 
cut excactly the same way.
My sources for english jackets, only comes from the available pattern cuts 
from the books. Has any english seen similar cuts used in german, or 
english, french jackets, or would this only be a regional style?
Jacket looks the same, but the cut is unusual.

Bjarne




Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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Date: Sat, 22 Apr 2006 11:22:45 -0700
To: Historical Costume <h-costume@indra.com>
From: Chris Laning <claning@igc.org>
Subject: Re: [h-cost] Mouldy linen/dyed linen
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I wrote a bit on this problem awhile back that I should probably add 
to the articles available on my webpage. But I'll post it here as 
well.

WHEN COLORS RUN

Quilters, who sew little bits of wildly different colored fabrics
together a lot <g>, have LOTS of problems with fabric dyes running
when they shouldn't. Here are the bits of condensed wisdom that I
gathered in my quilting days and that I now swear by when I have
these problems.

First, I've heard fabric manufacturers say that most modern fabric
dyes are designed to be washed in _warm_ water, and may be
de-stabilized if they are washed in water that's too hot -- even
once. (I'm not very good about this -- I tend to toss things in "hot"
to be sure they have shrunk all they are going to before I cut into
them.)

A lot of people use salt and/or vinegar to "set" dye in fabric, but
there are now much better things to use. The people I know who do a
lot of dyeing say that vinegar and/or salt treatments *do* allow you
the comfort of feeling you are doing *something* <g> -- and besides,
they're cheap and you probably have them around the house already --
but they have very little effect on the dye.

The advice to use salt or vinegar arose in the first place from a
misunderstanding. Certain dyes need an acid environment (the vinegar)
or a higher salt concentration when you are _FIRST_ applying the dye,
in order to make it attach properly to the fibers. However adding
these substances _later_ does no good, because the other conditions
for getting the dye to attach are no longer present (lots of excess
dye, heat, presence of mordants, etc.)

For problems with color "bleeding" or "running," I use a mild
detergent called SYNTHROPOL that's used for washing
fabric before dyeing to help remove sizing. It *also* will remove any
"loose" dye that is not firmly bound to the fibers, and it is
definitely the first thing to use on anything light colored that
something else has "run" onto. It's often available from art stores
that carry supplies for fabric painting, dyeing et cetera. I've
bought a half-pint bottle in my local art supply store for around $5,
and it only takes a couple of tablespoons per wash.

Conversely, to "set" color, there is now a substance called
*Retayne*, which seems to do a considerably better job at it than
home remedies. There are small amounts of it -- or of something
similar -- in Cheer detergent ("with ColorGuard") and possibly
others.  After you have removed any excess dye with Synthropol, this
is a good thing to use on many washable fabrics, because unlike
vinegar and salt, it really *does* increase the stability of dye that
is in the places you _want_ it to be.

Rit Dye company has also packaged up both of these in packets
containing about 2 Tablespoons (enough for 1 laundry load) and sells
them for something like $3.50 per packet. The Synthropol is called
"Run-Away" and the Retayne is called something I can't remember at
the moment. These overpriced versions are better than nothing, and
they're available this way in lots of fabric stores, but if you do much
dyeing it's well worth searching out a better deal on price.

Dharma Trading Co. <http://www.dharmatrading.com> carries both of
these chemicals at much less expensive prices -- 4 ounces for less
than the price of one package of the Rit version. (All the usual
disclaimers apply -- test on a scrap of fabric first, et cetera.)

*          *           *          *          *          *          *          *

There's one more thing. If you have a white item that color has
accidentally run onto, and if bleaching and/or the things listed
above haven't worked -- if you're willing to give it one more try,
look for a substance called COLOR REMOVER. If you read the label, it
will list an ingredient called "hyposulfite." Run a sink full of VERY
HOT water, put a little of this powder in (start with about a
teaspoonful), mix well, and dip your item in. If nothing whatever
has happened after a minute or so, take your item out, add another
teaspoon of powder, and try again. If this is going to work, it
usually starts to work right away. (Usually one box or packet of this
stuff is designed to do one full wash load, so use your judgement
on how much of it to add.)

This is a type of bleach that the Edwardians used to use on all their
whitest white lacy things, and like any bleach, unfortunately it does
have a weakening effect on the fabric if used repeatedly -- it's why
vintage laces and sheers sometimes sadly just disintegrate
the first time you put them in water. Don't leave anything you care
about in this stuff for more than about fifteen minutes -- if it's
going to work at all, that will usually do it -- and be sure to rinse
THOROUGHLY. But it *can* work miracles: I managed to save a bread
cloth bordered in blackwork embroidery that a friend of mine did,
when she bordered it with a commercial black binding that ran. There
was *some* color loss from the black silk embroidery thread, which
became a dark brownish black in places, but the item as a whole
looked fine and was usable.

Hope these things help.
-- 
____________________________________________________________

O    Chris Laning <claning@igc.org> - Davis, California
+     http://paternoster-row.org - http://paternosters.blogspot.com
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Subject: Re: [h-cost] Re: Firefly browncoat
Date: Sat, 22 Apr 2006 18:39:58 -0500
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----- Original Message ----- 
From: "A. Thurman" <athurman@gmail.com>
> Fellow "browncoat" here! Probably a better question for the f-costume
> list, but seeing as you brought it up:
>
> What pattern (if any) did you use for your husband's browncoat? I'm
> toying with making Zoey's outfit.

Yay, more browncoats!  (And oh yeah, I'd forgotten there was an f-costume--I 
should subscribe to that.)

I'm afraid I made my own pattern... couldn't find any that worked right. 
The closest I saw was the Simplicity Matrix coat pattern (5386) but it would 
have needed so much alteration that I decided not to bother.  The basic 
construction is a single left & right panel on the front, shaped side seams 
with slits starting about hip level, three shaped panels at the back below a 
yoke, a tuxedo collar, and wide cuffed sleeves with the seam along the back 
of the arm. If you buy about 5 different patterns, you could probably put 
them all together and get something, but oww!

Here's pics, btw:
http://www.formfunction.org/temp3/malcoatfront.jpg
http://www.formfunction.org/temp3/malcoatback.jpg (looks a lot more rumpled 
in the photos, for some reason!)
I made the mistake of using suede that was waaaaaaaaay too thick, and still 
haven't found the right clasp/buckle thingies for the front of it, grumble.

Are you thinking of the neat leather vest thingy Zoey wears?  Sounds like 
fun!  I've been meaning to make the duster she wears in "Train Job" (while 
actually on the train) for a while, but haven't gotten around to it yet... I 
should do that someday.

-E 

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To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Knight's Tale
Date: Sat, 22 Apr 2006 18:22:19 -0700
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"Braveheart"
SharonC., who says "Macbeth" backstage too, and doesn't spit, turn around,
go out and come back in, etc.

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Sue Clemenger
Sent: Saturday, April 22, 2006 8:11 AM
To: Historical Costume
Subject: Re: [h-cost] Knight's Tale


I'm not seeing "snarking" at all.  Sheesh, chill, huh?.... --Sue, who's not
quite figured out which "Movie That Shall Not Be Named" people are referring
to.....

----- Original Message -----
From: "Chiara Francesca Arianna d'Onofrio" <chiara@io.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, April 21, 2006 3:43 PM
Subject: Re: [h-cost] Knight's Tale


> Jesus folks .. the snarking really needs to end. Sigh.
>
>
> On Fri, April 21, 2006 3:22 pm, Dianne & Greg Stucki said:
> >
> >
> > ----- Original Message -----
> > From: "Sharon L. Krossa" <skrossa-ml@medievalscotland.org>
> > To: "Historical Costume" <h-costume@indra.com>
> > Sent: Friday, April 21, 2006 2:17 PM
> > Subject: Re: [h-cost] Knight's Tale
> >
> >
> >> So anachronism, especially deliberate anachronism, in movies is 
> >> fine with me as long as the movie isn't trying to fool people into
> >> believing it isn't anachronism -- I'll take A Knight's Tale and
> >> Shakespeare In Love over Elizabeth or That Film Whose Name Shall
> >> Not
> >> Be Uttered any day!
> >>
> >> Sharon
> >
> >
> > lol...I have never yet seen That Movie. And I have no desire to do 
> > so!
> >
> > Dianne
> > _______________________________________________
> > 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] Mouldy linen/dyed linen
Date: Sat, 22 Apr 2006 18:23:46 -0700
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I've used it and had luck with it, but it weakens fabric (it says). Try
acetone first.

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Diana Habra
Sent: Saturday, April 22, 2006 8:14 AM
To: Historical Costume
Subject: Re: [h-cost] Mouldy linen/dyed linen



> I've read all the posts about the mouldy linen but what about a white 
> linen that dye has bled into?  I have heavy white linen and it has 
> blue black stains on it from another fabric that was touching it.

Rit makes something called "color remover".  I haven't used it myself but it
may help your linen.

Diana

www.RenaissanceFabrics.net
"Everything for the Costumer"

"Become the change you want to see in the world."
--Ghandi

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To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Knight's Tale
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Aramaic?

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Becky
Sent: Saturday, April 22, 2006 9:45 AM
To: Historical Costume
Subject: Re: [h-cost] Knight's Tale


No they were speaking a dialect from that time. It is suppose to be the same

language Jesus spoke. I can't think of what it is called rigght now. But it 
isn't pict or galic.
----- Original Message ----- 
From: "Sue Clemenger" <mooncat@in-tch.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Saturday, April 22, 2006 11:29 AM
Subject: Re: [h-cost] Knight's Tale


> ROTFLMAO!!!
> --Sue
>
> ----- Original Message -----
> From: <AlbertCat@aol.com>
> To: <h-costume@indra.com>
> Sent: Saturday, April 22, 2006 9:07 AM
> Subject: Re: [h-cost] Knight's Tale
>
>
>>
>> In a message dated 4/22/2006 12:45:41 A.M. Eastern Standard Time, 
>> skrossa-ml@medievalscotland.org writes:
>>
>> No, the  other Mel Gibson Scottish film
>>
>>
>> ************
>>
>> "The Passion of the Christ"?????
>>
>> Weren't they speaking Pict? 
>> _______________________________________________
>> h-costume mailing list
>> h-costume@mail.indra.com 
>> http://mail.indra.com/mailman/listinfo/h-costume
>>
>
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I'm looking for a pattern for fall front trousers suitable for 1812 
American Naval wear.  A shell jacket pattern would be good too, but I think 
I can fake it.

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

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At 04:59 23/04/2006, you wrote:
>I'm looking for a pattern for fall front trousers suitable for 1812 
>American Naval wear.  A shell jacket pattern would be good too, but 
>I think I can fake it.
>
>        CarolynKayta Barrows
>dollmaker, fibre artist, textillian
>          www.FunStuft.com
>
>              ///\\\\\
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There are fall front breeches patterns in "Cut of Men's Clothes" by 
Norah Waugh, and in "Men's  17th and 18th Century Costume" by R.I. 
Davis, that you could adapt. Also "Fitting and Proper" and/or 
"Costume Close Up". The way the fall is made is the same for a great 
many years. (I've an idea one of the Victorian men's pattern books - 
at the turn of the 19th century - uses virtually the same pattern.

Suzi


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Date: Sat, 22 Apr 2006 22:11:25 -0700
To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] fall front trousers, etc.
In-Reply-To: <008b01c66612$c20834c0$915083d1@rmitchellras>
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>Carolyn, I have a pair of trousers from the first quarter 19th C and they
>are constructed pretty much the same as the LongFall of the ...Eagle pattern
>that included knickers.  The two major differences are the width of the
>waist band and the back omits the capacious seat and gusset. No pockets, but
>the from is cut full enough to accommodate them.  There are buttons for
>straps or suspenders.  Basically, the naval trou still being used through
>the 1940's.

The 1840s is kind of late for what I'm doing.  I need that baggy seat, to 
cover my anatomy and to 'read' early, and I need the resultant trousers to 
stay up without suspenders.  Does the Eagle pattern do that?  Is it a good 
pattern otherwise?


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

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From: "Silvara" <silvaragreenleaf@earthlink.net>
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Subject: RE: [h-cost] Re: Firefly browncoat
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Love it!!
I'm currently working on one of Inara's outfits.

Silvara


> [Original Message]
> From: A. Thurman <athurman@gmail.com>
> To: <h-costume@indra.com>
> Cc: <h-costume@mail.indra.com>
> Date: 4/22/2006 11:54:51 AM
> Subject: [h-cost] Re: Firefly browncoat
>
> >
> > Message: 8
> > Date: Fri, 21 Apr 2006 17:54:30 -0500
> > From: "E House" <formfunc@formfunction.org>
> > Subject: Re: [h-cost] Knight's Tale
> > To: "Historical Costume" <h-costume@indra.com>
> > Message-ID: <026801c66596$8e35d430$9400a8c0@compaqub>
> > Content-Type: text/plain; format=flowed; charset="iso-8859-1";
> >         reply-type=original
> >
> > Shiny! =}
> >
> > Ob costume comment--Inara has some pretty darn spiffy outfits, and I
made my
> > husband a suede browncoat.
>
> Fellow "browncoat" here! Probably a better question for the f-costume
> list, but seeing as you brought it up:
>
> What pattern (if any) did you use for your husband's browncoat? I'm
> toying with making Zoey's outfit.
> >
> > -E House
>
> Allison T.
>
> _______________________________________________
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From: Avien <aviendiora@gmail.com>
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Subject: Re: [h-cost] Re: Firefly browncoat
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Status: RO

Hehe!  I've made my husband a browncoat, Mal's suit from Shindig, and
several Wash-style Hawaiian shirts.  For me, I am mostly a Kaylee person
having made the jumpsuit and fluffy dress.  I've done one Inara - the gold
and black one from Serenity, and working on several more this year.  So much
fun and I love seeing pics of other people doing Firefly costumes.  I love
the browncoat posted!  It looks great!

I can't provide any help with the pattern either, I completely drafted it
but it was really easy.
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Subject: Re: [h-cost] fall front trousers, etc.
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I guess you misunderstood me about the date.  The pattern is about 1780's.
As Suzi has suggested, the basic FullFall pattern was well established the
last quarter of the 18thC and  the long version continued in use for about
100 years until the slim style came into vogue. If you use the ...Eagle
pattern as it is presented, you will have the style you are seeking.
----- Original Message ----- 
From: "Carolyn Kayta Barrows" <kayta@frys.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Sunday, April 23, 2006 1:11 AM
Subject: Re: [h-cost] fall front trousers, etc.


>
> >Carolyn, I have a pair of trousers from the first quarter 19th C and they
> >are constructed pretty much the same as the LongFall of the ...Eagle
pattern
> >that included knickers.  The two major differences are the width of the
> >waist band and the back omits the capacious seat and gusset. No pockets,
but
> >the from is cut full enough to accommodate them.  There are buttons for
> >straps or suspenders.  Basically, the naval trou still being used through
> >the 1940's.
>
> The 1840s is kind of late for what I'm doing.  I need that baggy seat, to
> cover my anatomy and to 'read' early, and I need the resultant trousers to
> stay up without suspenders.  Does the Eagle pattern do that?  Is it a good
> pattern otherwise?
>
>
>         CarolynKayta Barrows
> dollmaker, fibre artist, textillian
>           www.FunStuft.com
>
>               ///\\\\\
>              ////-@@\\\
>             ((((   7 )))
>              )((  <> ))(
>               * )   ( *
>            /----\   /---\
>
> _______________________________________________
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Subject: Re: [h-cost] Re: Firefly browncoat
Date: Sun, 23 Apr 2006 09:14:08 -0400
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Is a "browncoat" something more than just a brown coat? Like a British 
Redcost?
----- Original Message ----- 
From: "Avien" <aviendiora@gmail.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Sunday, April 23, 2006 5:19 AM
Subject: Re: [h-cost] Re: Firefly browncoat


Hehe!  I've made my husband a browncoat, Mal's suit from Shindig, and
several Wash-style Hawaiian shirts.  For me, I am mostly a Kaylee person
having made the jumpsuit and fluffy dress.  I've done one Inara - the gold
and black one from Serenity, and working on several more this year.  So much
fun and I love seeing pics of other people doing Firefly costumes.  I love
the browncoat posted!  It looks great!

I can't provide any help with the pattern either, I completely drafted it
but it was really easy.
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Carolyn Kayta Barrows wrote:

> 
> 
> The 1840s is kind of late for what I'm doing.  I need that baggy seat, 
> to cover my anatomy and to 'read' early, and I need the resultant 
> trousers to stay up without suspenders. 

Simplicity 4923 is fall-front with a baggy seat and does not use 
suspenders. It is taken from 'Cut of Men's Clothes' diagram XXII. The 
book dates it ~1760-65, but it does meet the design requirements you have.




Dawn


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Becky wrote:

> Is a "browncoat" something more than just a brown coat? Like a British 
> Redcost?


Yes, in the movie that was the nickname for the separatist/rebellion 
fighters, because of the long brown leather coats they wore.



Dawn


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Date: Sun, 23 Apr 2006 08:31:14 -0700
To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] fall front trousers, etc.
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>I guess you misunderstood me about the date.

I guess I did.  I thought you were talking about an existing pair of 
trousers from the first quarter of the 19thC.  I couldn't find the Eagle 
pattern online, to compare with.

>   The pattern is about 1780's.
>As Suzi has suggested, the basic FullFall pattern was well established the
>last quarter of the 18thC and  the long version continued in use for about
>100 years until the slim style came into vogue. If you use the ...Eagle
>pattern as it is presented, you will have the style you are seeking.
>----- Original Message -----
>From: "Carolyn Kayta Barrows" <kayta@frys.com>
>To: "Historical Costume" <h-costume@indra.com>
>Sent: Sunday, April 23, 2006 1:11 AM
>Subject: Re: [h-cost] fall front trousers, etc.
>
>
> >
> > >Carolyn, I have a pair of trousers from the first quarter 19th C and they
> > >are constructed pretty much the same as the LongFall of the ...Eagle
>pattern
> > >that included knickers.  The two major differences are the width of the
> > >waist band and the back omits the capacious seat and gusset. No pockets,
>but
> > >the from is cut full enough to accommodate them.  There are buttons for
> > >straps or suspenders.  Basically, the naval trou still being used through
> > >the 1940's.
> >
> > The 1840s is kind of late for what I'm doing.  I need that baggy seat, to
> > cover my anatomy and to 'read' early, and I need the resultant trousers to
> > stay up without suspenders.  Does the Eagle pattern do that?  Is it a good
> > pattern otherwise?
> >
> >
> >         CarolynKayta Barrows
> > dollmaker, fibre artist, textillian
> >           www.FunStuft.com
> >
> >               ///\\\\\
> >              ////-@@\\\
> >             ((((   7 )))
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        CarolynKayta Barrows
dollmaker, fibre artist, textillian
          www.FunStuft.com

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Subject: [h-cost] Re: Firefly browncoat
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>
> Message: 8
> Date: Fri, 21 Apr 2006 17:54:30 -0500
> From: "E House" <formfunc@formfunction.org>
> Subject: Re: [h-cost] Knight's Tale
> To: "Historical Costume" <h-costume@indra.com>
> Message-ID: <026801c66596$8e35d430$9400a8c0@compaqub>
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> Shiny! =}
>
> Ob costume comment--Inara has some pretty darn spiffy outfits, and I made my
> husband a suede browncoat.

Fellow "browncoat" here! Probably a better question for the f-costume
list, but seeing as you brought it up:

What pattern (if any) did you use for your husband's browncoat? I'm
toying with making Zoey's outfit.
>
> -E House

Allison T.

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From: Adele de Maisieres <ladyadele@paradise.net.nz>
Subject: Re: [h-cost] Mouldy linen/dyed linen
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Gwen wrote:
> I've read all the posts about the mouldy linen but what about a white 
> linen that dye has bled into?  I have heavy white linen and it has 
> blue black stains on it from another fabric that was touching it.
>

Try an oxygen-based bleach.  If that doesn't do it, chlorine bleach.

-- 
Adele de Maisieres

-----------------------------
Habeo metrum - musicamque,
hominem meam. Expectat alium quid?
-Georgeus Gershwinus
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A cheap remover for marker is acetone.

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Susan B. Farmer
Sent: Saturday, April 22, 2006 6:55 AM
To: Historical Costume
Subject: Re: [h-cost] Mouldy linen/dyed linen


Quoting Gwen <gwen@moonsandstars.com>:

> I've read all the posts about the mouldy linen but what about a white
> linen that dye has bled into?  I have heavy white linen and it has 
> blue black stains on it from another fabric that was touching it.
>

 From another list ...



----- Forwarded message from jen@verybigdesign.com -----
    Date: Wed, 19 Apr 2006 12:25:45 -0400
    From: jen funk segrest <jen@verybigdesign.com>
Reply-To: sca-bead@yahoogroups.com
Subject: [sca-bead] Got a stain on your garb?
      To: App list list <apprentice@yahoogroups.com>,
sca-middle@midrealm.org, spot@midrealm.org,
BaronyFenix@yahoogroups.com, famdamily@yahoogroups.com,
hawkes-keye@yahoogroups.com, sca-bead@yahoogroups.com

I did. I was showing someone at RUM a few weeks ago how to do viking
wire knitting and the pen I was using as a mandrel had the cap off
and garb beneath had a HUGE permanent ink marker stain. All the way
through two dresses to my skin.

I had washed the viking apron, it's old I wasn't out anything, and
taken alcohol to it to vainly try to get it out (don't use that I
found out).

The large dime sized black dot on the front right above the belt line
on my grey herolfnes underdress was the worst, it's my main piece of
garb right now. I wisely hadn't washed since it happened, but had
taken some alcohol to the smaller spots.   I knew washing could set
in stains so I let it alone. it's been sitting in my hamper since
while I researched some options.

I found this stuff recommended on the Sharpie marker site called Amodex.
http://www.amodexink.com/

A quick google search found me several places that had it and I
ordered a 1oz bottle. It came today. It claims to remove ink of all
kinds, grease, food, berry, blood, the works. Basically if it's a
stain it'll take it out on ANY fabric or surface.

I have to say this crap works. At least on permanent marker on
fabric! WOW!

It's very much like a dishwashing liquid in appearance an
consistancy, it comes with a brush. I could see each successive
application of a few drops and rubbing working by the spot underneath
go from a bloody yellow to  yellow to a beige to barely anything at
all. Took about a half hour and over a dozen applications of the
liquid but by the end I had a hard time spotting the I was working
on. And it took out the smaller ones.

It also, though, removed most of the stain on my viking apron as
well, and it had been washed before. but the results are not NEARLY
as impressive as the unwashed dress.

After the washing I just put the dresses in for I expect it to be
nearly invisible on the grey dress. Definitely wearable without being
under another dress even.

Just wanted to pass on a good product we probably will all need at
some point. I have a ton left (probably only used a tablespoon's
worth) and happy to have it in case of a future incident.

If anyone wants the link to buy where i got it from email me. You can
also order some direct from the manufacturer in larger and travel sizes.

I highly suggest buying one before you need it. I wish I'd found it
years ago.

griz


This email is allowed to be:
[x] Shared
[x] Forwarded
[ ] Used as documentation
[x] Tattoed on butt in 72 point Times New Roman



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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It's occurred to me that I'd forgotten to make sure I mentioned this on 
this list.

For any of you who have been planning to visit the Smithsonian's 
National Museum of American History, where the First Ladies' dresses are 
(and right now a suit of Benjamin Franklin's has been on display for a 
while as well) as well as a number of Presidential clothing pieces, and 
I believe a few odds and ends in other exhibits as well...

The NMAH is going to be closing for a few years' worth of rennovations 
right after Labor Day (first Monday in September, for those non-US folks 
here).  Also, a number of exhibits will be closing by sometime in July.  
The FAQs are here:  
http://americanhistory.si.edu/about/faq.cfm?key=55&faqkey=96

(oh, and while I *hope* *hope* *hope* that the rennovations will stay on 
schedule, one only has to look over at the Portrait Gallery to see that 
sometimes they don't manage to... so come one, come all and check it out 
while you can... I doubt that it'd be shorter than the 2 year time span 
that we've been told.)

Hmm... speaking of the National Portrait Gallery... for those of you 
into American historical costuming, it's scheduled to re-open this 
summer.  July is the date being given.

-Elisabeth
(I've been a docent there in several of their programs for a number of 
years now... and yes, I'm keeping track so I can go play there some more 
when it re-opens, and there *may* be related things for me to do 
docent-y type-wise while they're closed... we'll see)

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Date: Sat, 22 Apr 2006 22:21:31 -0400
From: monica spence <monicaspence@optonline.net>
Subject: RE: [h-cost] Mouldy linen/dyed linen
In-reply-to: <001601c66674$9137f1c0$0200a8c0@bob3pc>
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What about a diluted solution of chlorine bleach? That always works on
whites for me.
Monica Spence

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of Sharon at Collierfam.com
Sent: Saturday, April 22, 2006 9:24 PM
To: 'Historical Costume'
Subject: RE: [h-cost] Mouldy linen/dyed linen


I've used it and had luck with it, but it weakens fabric (it says). Try
acetone first.

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Diana Habra
Sent: Saturday, April 22, 2006 8:14 AM
To: Historical Costume
Subject: Re: [h-cost] Mouldy linen/dyed linen



> I've read all the posts about the mouldy linen but what about a white
> linen that dye has bled into?  I have heavy white linen and it has
> blue black stains on it from another fabric that was touching it.

Rit makes something called "color remover".  I haven't used it myself but it
may help your linen.

Diana

www.RenaissanceFabrics.net
"Everything for the Costumer"

"Become the change you want to see in the world."
--Ghandi

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Date: Sun, 23 Apr 2006 13:45:38 +1000 (EST)
From: Bella <bella_lucia_da_verona@yahoo.com.au>
Subject: Re: Center strip on Eleonora's gowns (WasRE: [h-cost] Tudor
	Tailor....a review)
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monica spence <monicaspence@optonline.net> wrote:
  >>>>><snipped>The dresses worn by Eleonora in her Bronzino portraits usually don't have
that center strip down the CF. You can surmise that is there from the pictures where she wears a zimarra (surcoat). Where you do see the strip come from the hands of copyists, or students of Bronzino or from his workshop-- not from the master himself.<<<<
   
   
   
  I believe this one is stated to be by the master himself...
   
  http://www.nga.gov/cgi-bin/pimage?45823+0+0
   
  Just thinking out loud here -  perhaps the centre-front strip owes its existance more to a then current fashion (1550s-1560s I mean) for decorating bodices of plain fabric (as opposed to figured fabric), than to a copyist/school of Bronzino. 
   
  There are very few images of Eleonora. Of those of her in a non-figured fabric, the above image (1560s, by Bronzino himself) shows a centre-front strip of embroidery, and only one of her (the pink one by Bronzino) which does not show it is dated from the 1540s...
  http://it.wikipedia.org/wiki/Immagine:Angelo_Bronzino_040.jpg
   
  So perhaps it is rather the date of the portrait which explains why "the dresses worn by Eleonora in her Bronzino portraits usually don't have that center strip down the CF".
   
  As for evidence from the 1550s-1560s centre-front strip of embroidery/embellishment, I can only think of one earlier image (from Bergamo rather than Florence) of the 1550s that features a centre-front strip, albeit in a fan-shaped rather than T-shaped bodice embellishment....
   
  http://realmofvenus.renaissancewoman.net/wardrobe/IsottaBrembatiGrumelli.jpg
   
  I'm sure there must be others out there.
   
  As to the extant item posted earlier (the one laid out flat post conservation), it is, as I understand it, the very same one Janet Arnold examined and discussed in Patterns of Fashion, which was indeed the burial garment of Eleonora de Toledo. It too has a centre-front strip of embroidery.
   
   
   
  Bella




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Yes that's it. I couldn't rmember the term. Thanks.
----- Original Message ----- 
From: "Sharon at Collierfam.com" <sharon@collierfam.com>
To: "'Historical Costume'" <h-costume@indra.com>
Sent: Saturday, April 22, 2006 9:25 PM
Subject: RE: [h-cost] Knight's Tale


> Aramaic?
>
> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
> Behalf Of Becky
> Sent: Saturday, April 22, 2006 9:45 AM
> To: Historical Costume
> Subject: Re: [h-cost] Knight's Tale
>
>
> No they were speaking a dialect from that time. It is suppose to be the 
> same
>
> language Jesus spoke. I can't think of what it is called rigght now. But 
> it
> isn't pict or galic.
> ----- Original Message ----- 
> From: "Sue Clemenger" <mooncat@in-tch.com>
> To: "Historical Costume" <h-costume@indra.com>
> Sent: Saturday, April 22, 2006 11:29 AM
> Subject: Re: [h-cost] Knight's Tale
>
>
>> ROTFLMAO!!!
>> --Sue
>>
>> ----- Original Message -----
>> From: <AlbertCat@aol.com>
>> To: <h-costume@indra.com>
>> Sent: Saturday, April 22, 2006 9:07 AM
>> Subject: Re: [h-cost] Knight's Tale
>>
>>
>>>
>>> In a message dated 4/22/2006 12:45:41 A.M. Eastern Standard Time,
>>> skrossa-ml@medievalscotland.org writes:
>>>
>>> No, the  other Mel Gibson Scottish film
>>>
>>>
>>> ************
>>>
>>> "The Passion of the Christ"?????
>>>
>>> Weren't they speaking Pict?
>>> _______________________________________________
>>> h-costume mailing list
>>> h-costume@mail.indra.com
>>> http://mail.indra.com/mailman/listinfo/h-costume
>>>
>>
>> _______________________________________________
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> _______________________________________________
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Date: Sun, 23 Apr 2006 08:43:50 -0700
To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] fall front trousers, etc.
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>>The 1840s is kind of late for what I'm doing.  I need that baggy seat, to 
>>cover my anatomy and to 'read' early, and I need the resultant trousers 
>>to stay up without suspenders.
>
>Simplicity 4923 is fall-front with a baggy seat and does not use 
>suspenders. It is taken from 'Cut of Men's Clothes' diagram XXII. The book 
>dates it ~1760-65, but it does meet the design requirements you have.

The construction of the upper part seems like it would do.  I actually need 
longer trousers, not breeches, but making this pair longer will be a 
trivial alteration compared to turning a modern fly-front pattern into a 
fall-front one.

Yes, I think it will do nicely.  Thank you.

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

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Date: Sun, 23 Apr 2006 12:12:52 -0400
To: Historical Costume <h-costume@indra.com>
From: Carol Kocian <aquazoo@patriot.net>
Subject: RE: [h-cost] Knight's Tale
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>"Braveheart"
>SharonC., who says "Macbeth" backstage too, and doesn't spit, turn around,
>go out and come back in, etc.

      On the Revlist (American Revolution) some people will write 
*spit* after they mention the movie, The Patriot.  It's a testament 
to Mel that there are such reactions to his movies...

      Many people on the Revlist were extras in The Patriot, so they 
had even more personal investment in it.

      The wore their own repro 18thC uniforms (to keep it costume related!)

      -Carol
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Subject: [h-cost] Help - underlay dilema
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Help!!!!!!! - I washed the wool crepe for my son's new
garb, as suggested - in cold water and air dried.  The
gold for the doublet and slop panes came out fine, but
the burgundy for the slop underlay has turned out
looking like a fuzzy wool blanket!!!  Now what do I
do?

I don't have time to reorder fabric and the JoAnn's
here doesn't have any wool at all.  Is it kosher to
use something else besides wool?

Please remember this is my first time doing
historically accurate and it is more daunting than I
had expected.

Rebecca Burch
Center Valley Farm
Duncan Falls, Ohio, USA
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Subject: Re: [h-cost] Re: Firefly browncoat
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----- Original Message ----- 
From: "Dawn" <dawn@reddawn.net>
> Yes, in the movie that was the nickname for the separatist/rebellion 
> fighters, because of the long brown leather coats they wore.

It's also turned into the nickname for fans of Firefly/Serenity... there are 
Browncoat Balls, and there's a Browncoat charity organization (donating 
coats, oddly enough =} ) and so on.

But you know, in the series pilot (also called Serenity), the Browncoat 
soldiers were wearing something a lot more like Zoe's coat from Train 
Job.... I need to go back and do some more freeze-framing!  Mal's version of 
the coat is irresistable, but it would be neat to make one that looks as 
much like the 'real' brown coat as possible.

-E House
(OK, this DOES tie into historical costume, because if I can find some 
pre-1600 garment that looks even vaguely like a browncoat, my husband will 
wear it and attend SCA events with me!) 

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Subject: [h-cost] RE:fall front trousers, etc
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Carolyn,

	What you're looking for can easily be found in the following two or
three patterns, all by Kannik's Korner, historically accurate with excellent
engineering, historical and sewing notes, all of which we carry, and can be
viewed, and purchased, at: http://www.5rivers.org/en-gb/dept_17.html :

KK4303 Man's Trousers, 1790-1810
KK4304 Outer Breeches-Slops 1750-1820
KK4551 Men's double-breasted Short Jacket

	Hope you find this of some assistance.

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
   5.. (Carolyn Kayta Barrows)



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Subject: RE: [h-cost] Mouldy linen/dyed linen
Date: Sun, 23 Apr 2006 14:31:30 -0500
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The problem with bleach is that it likes to eat the fibers. Though one
washing shouldn't cause to much problem.
RIT has a product that is designed to remove bled in dyes. Try a bit on the
spot and then wash it in the product. I have found this works most of the
time.
If it is actually mold, I have found OxyClean to work. Spot treat and then
wash in using more Oxyclean. This works 90% of the time. I had a badly
molded cream brocade that I treated and washed 2 times in Oxy. Still have
the cream color but not the black splotches. I recommended the Oxy to a
person whose canvas tent siding was moldy. The side panels came clean. The
canopy has hints of gray. We don't know if it is because the panels were
washed in a washer and the canopy wasn't.

De



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Subject: [h-cost] Historical Films (was: h-costume Digest, Vol 5, Issue 351)
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At 5:53 AM -0400 4/22/06, Debloughcostumes@aol.com wrote:
>In a message dated 4/22/06 6:05:50 AM GMT Daylight Time,
>h-costume-request@indra.com writes:
>
>  > No, the other Mel Gibson Scottish film.
>
>ah - but william wallace took York, you know....;-)

[For those who don't know -- and there is no reason why most of you 
should, which is why I take the time to clarify here -- actually, he 
didn't. And there ain't no way anyone who doesn't already know that 
can figure it out from the film, where the fantasy William Wallace is 
shown taking York...]

>I actually have one friend (Scottish) who rants for about half an hour every
>time it's mentioned - on the basis of how large an insult it is to william
>wallace to show him as basically a peasant (given he was actually a lowland
>knight, and very well educated).
>
>And then he starts on the tartan and blue faces....

Nothing wrong with tartan, per se -- just the way the used it!

Anyway, the film in question does seem to be especially gratuitously 
historically inaccurate, but while that makes it particularly 
annoying to those with an affection for Scottish history, the real 
issue is not that TFWNSNBU is especially inaccurate, but that *all* 
films are historically inaccurate, and *no* film is or should be used 
as a reliable source of pre-modern historical information, yet, alas, 
many people none-the-less use films as sources of historical 
information, frequently encouraged by film makers who go to great 
lengths to persuade people that their films are "true" and "real".

Because it doesn't matter if 99% or 50% or only 25% of a film is 
inaccurate -- unless you are already an expert (and so, by 
definition, not using the film as a source of your information), you 
can't tell which bits are made up and which bits are accurate history.

Take, as an example of the difficulties of guessing what is and is 
not historically accurate, A Knight's Tale, recently mentioned. How 
many of you have assumed that a female smith was one of the film's 
anachronisms? If you did, you assumed wrong. Whether the movie makers 
knew it or not (and my guess is that they didn't know it), in 
Medieval England, at least, there were actually female smiths. What 
is accurate and what is inaccurate isn't obvious or at all something 
one can determine by watching the film -- even the film's makers 
rarely (if ever) know how much, or exactly which bits, of their film 
is pure fiction vs. historically plausible vs. historical fact. Not 
to mention that even when film makers do know, their goal is to make 
their film seemless, so the audience won't know...

Which, again, is why I prefer films such as A Knight's Tale and 
Shakespeare in Love, which include enough truly obvious anachronisms 
(such as modern rock music, psychiatrist jokes, modern coffee mugs, 
etc.), and attitude, to essentially scream out "If you use this movie 
as source of historical information, you're a fool" over movies such 
as TFWNSNBU, Elizabeth, and Kingdom of Heaven, which go out of their 
way, both in the film itself and in the promotion of the film, to try 
to persuade people that the film is historically accurate and real 
and true and can and should be used as a source of historical 
information -- that is, instead of screaming "If you use this movie 
as a source of historical information, you're a fool", they whisper 
seductively "Honest, really, we're not making this up -- believe us".

Because the problem isn't that films are inaccurate -- the problem is 
when audiences believe what they see in films.

Sharon
-- 
Sharon Krossa, skrossa-ml@MedievalScotland.org
Resources for Scottish history, names, clothing, language & more:
     Medieval Scotland - http://MedievalScotland.org/
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Subject: [h-cost] TFWNSNBU (was: h-costume Digest, Vol 5, Issue 351)
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At 9:30 AM -0400 4/22/06, Gail & Scott Finke wrote:
>Sharon wrote:
>
>  > No, the other Mel Gibson Scottish film.
>
>I always thought The Film Whose Name Shall Not Be Uttered was the one with
>the title ending "Prince of Thieves."
>
>Around here, anyway.
>
>Sorry if I caused any palpitations by writing even that much of it--

I have always used (and many others have picked it up) "That Film 
Whose Name Shall Not Be Uttered" (aka TFWNSNBU) for Mel Gibson's 1996 
film supposedly about William Wallace. It does not surprise me, given 
that it is a fairly obvious joke, that others use a similar phrase 
for other films they find particularly objectionable for one reason 
or another.

(I'm a trained Scottish historian, which is why TFWNSNBU gained that 
designation from me -- not so much due to the film being inaccurate 
as due to all the people who believe what they see in the film, and, 
even worse, tell others what they "know" about Scottish history based 
on what they saw in the film, usually without mentioning their source 
of "historical" information was a movie, etc.. The film has made 
necessary a lot of unteaching, which is annoying for many reasons, 
including that teaching is much more enjoyable than unteaching...)

Sharon

PS For those who still aren't sure what film I am referring to by 
"That Film Whose Name Shall Not Be Uttered", the actual title is 
uttered on the web page I mentioned before: 
<http://MedievalScotland.org/scotbiblio/braveheart.shtml>
-- 
Sharon Krossa, skrossa-ml@MedievalScotland.org
Resources for Scottish history, names, clothing, language & more:
     Medieval Scotland - http://MedievalScotland.org/
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Subject: [h-cost] Historical Films (was: Knight's Tale)
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At 12:12 PM -0400 4/23/06, Carol Kocian wrote:
>>"Braveheart"
>>SharonC., who says "Macbeth" backstage too, and doesn't spit, turn around,
>>go out and come back in, etc.

I quite happily say Macbeth, and I don't really care if anyone else 
says in my presence the name of That Film Whose Name Shall Not Be 
Uttered (though I may spit ;-). I avoid saying the name as an 
expression of my feelings (which others may or may not share), not 
superstition.

>      On the Revlist (American Revolution) some people will write
>*spit* after they mention the movie, The Patriot.  It's a testament
>to Mel that there are such reactions to his movies...

I don't find this reaction surprising, given that Mel in particular 
goes to great lengths to persuade audiences that his "historical" 
films are accurate, while at the same time not really bothering much 
with historical accuracy and essentially making the same movie over 
and over again. The resulting reaction to the supposedly historical 
films by those who care about history is predictable, and magnified 
by the popularity of his movies (which increases the numbers who 
believe the nonsense peddled as truth by Gibson).

(The Patriot *spit* and TFWNSNBU are essentially the same plot, which 
plot borrows a great deal from the plots of various contemporary and 
futuristic movies Mel has been in. Never mind that the real history 
he claimed to be portraying doesn't actually fit that plot...)

If Mel did not work so hard at selling his movies as accurate, he and 
his movies would not get the strong reaction they get for being so 
inaccurate.

Sharon
-- 
Sharon Krossa, skrossa-ml@MedievalScotland.org
Resources for Scottish history, names, clothing, language & more:
     Medieval Scotland - http://MedievalScotland.org/
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To: Historical Costume <h-costume@indra.com>
From: "Sharon L. Krossa" <skrossa-ml@medievalscotland.org>
Subject: Re: [h-cost] Movies, was: Knight's Tale
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At 8:35 PM -0400 4/21/06, AlbertCat@aol.com wrote:
>Designers often use styles from the whole century all at once without
>following the time line. They seem to do this more in the 18th
>century than any
>other.

I don't think they do it more in the 18th century than any other -- I 
think rather that the fashion time-span they squish together (rather 
than following the historical time line) in general increases the 
further removed from our own time period the historical setting is. 
So, for things set in the late 20th century, the fashions may 
compress a few years, for the early 20th century they might use 
styles from a decade or two, for the 19th century they might draw 
from several decades at once, for they 18th century the whole 
century, etc. And when the setting is medieval, they throw together 
styles spanning multiple centuries.

There appears to be a similar dynamic when it comes to cultures -- 
the further back the setting, people tend to be happy to squish 
together styles from ever more culturally and geographically 
far-flung places.

(Thus, for a movie set in a relatively narrow medieval time and 
place, you might see styles taken from half a millennium of time and 
culled from cultures half a world apart...)

>Perhaps because the changes aren't a drastic as they are in the 19th
>century. Although, I can't tell you how many 1840s and 1850s dresses
>get used in Civil War epics!

I think it is more that the further back you go, the less people know 
and so care about the various distinctions. (And even if the costume 
designer knows, the audience is unlikely to.) A sort of the further 
away things are from their own experience -- in time or space -- the 
more it "all looks the same" to them effect. (Which also explains why 
those who _do_ learn all about a particular historical time/place 
don't think it all looks the same -- it's no longer far from their 
experience.)

>I once worked for an LA designer who mainly did TV. He and his assistant
>were snotty to us hayseeds [they thought] here in NC. His assistant with his
>nose in the air gave me a speech on how carefully they had researched and how
>the designer was a stickler for accuracy. Then he handed me to alter for the
...
>Yeah....a stickler for accuracy alright.
>
>[For those who's period is not the mid 1800s, all those details
>scream....and I mean scream... 1840s]

The more I learn about the entertainment industry, the clearer it 
becomes that "accuracy" is more an advertising buzz-word (used to 
attract audiences) than something truly pursued. That is, it is far 
more important to persuasively _claim_ accuracy than to actually _be_ 
accurate. (I'm know there are exceptions among individuals who work 
in these industries -- but in the industry as a whole...)

Sharon
-- 
Sharon Krossa, skrossa-ml@MedievalScotland.org
Resources for Scottish history, names, clothing, language & more:
     Medieval Scotland - http://MedievalScotland.org/
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Greetings--

Sharon L. Krossa wrote:
> Which, again, is why I prefer films such as A Knight's Tale and 
> Shakespeare in Love, which include enough truly obvious anachronisms 
> (such as modern rock music, psychiatrist jokes, modern coffee mugs, 
> etc.), and attitude, to essentially scream out "If you use this movie 
> as source of historical information, you're a fool" over movies such 
> as TFWNSNBU, Elizabeth, and Kingdom of Heaven, which go out of their 
> way, both in the film itself and in the promotion of the film, to try 
> to persuade people that the film is historically accurate and real and 
> true and can and should be used as a source of historical information 
> -- that is, instead of screaming "If you use this movie as a source of 
> historical information, you're a fool", they whisper seductively 
> "Honest, really, we're not making this up -- believe us". 
The thing that gets me is that the movies in the former category (with 
the obvious anachronisms) often end up being more accurate and truer to 
the spirit of the period they are trying to portray than the supposedly 
"accurate" ones.  I enjoyed "Knight's Tale", despite a few clunkers here 
and there, because there are parts of the whole tourney circuit 
atmosphere and the way certain things are set up that are dead-on (and I 
have agreement on this from a historian of medieval tournaments).   Both 
movies also use humour in a way that reveals the past in a way a modern 
person might understand. 

One of the best examples of this is perhaps the best King Arthur movie 
ever made, the immortal "Monty Python and the Holy Grail."  The more you 
know about Arthurian legend and medieval history, the funnier it 
gets--although it's pretty funny even without a jot of knowledge about 
either.

Susan
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From: Ruth Anne Baumgartner <ruthanneb@mindspring.com>
Subject: Re: [h-cost] Movies, was: Knight's Tale
Date: Sun, 23 Apr 2006 18:22:30 -0400
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I'm not now and never was a fan of the TV show "Friends," but it did 
yield one relevant cultural insight:
    One of the women was moving in with another one who loved antiques 
(Phoebe?). The new roommate (Monica?) bought a piece of furniture--an 
apothecary's chest, I think-- from Pottery Barn, only to learn that her 
roomie HATED Pottery Barn stuff, with its pseudo-antiquity. So Monica 
(?) pretended she had bought it at a flea/antiques market at a NYC 
location she couldn't recall. When asked what period the chest was 
from, she replied "Yore."
    I may have the characters wrong (we sometimes watch reruns when 
we're drifting off to sleep), but I think the dating of the chest was 
absolutely precise. Most people nowadays (and, I promise you, my 
college students included) think of time in only a few categories: the 
future, now, their parents' "day," and "Yore." For many Americans, 
"Yore" applies especially to anything before the American Revolution, 
and everything blends together into the look of Yore. That's why 
hennins, for example, seem to be appropriate headgear for The Merry 
Wives of Windsor?!?!?! etc. So, yes, I'm absolutely echoing what has 
already been said here: I just had to share what it's called.
--Ruth Anne Baumgartner
scholar gypsy and amateur costumer

On Apr 23, 2006, at 5:44 PM, Sharon L. Krossa wrote:

> At 8:35 PM -0400 4/21/06, AlbertCat@aol.com wrote:
>> Designers often use styles from the whole century all at once without
>> following the time line. They seem to do this more in the 18th
>> century than any
>> other.
>
> I don't think they do it more in the 18th century than any other -- I 
> think rather that the fashion time-span they squish together (rather 
> than following the historical time line) in general increases the 
> further removed from our own time period the historical setting is. 
> So, for things set in the late 20th century, the fashions may compress 
> a few years, for the early 20th century they might use styles from a 
> decade or two, for the 19th century they might draw from several 
> decades at once, for they 18th century the whole century, etc. And 
> when the setting is medieval, they throw together styles spanning 
> multiple centuries.
>
> There appears to be a similar dynamic when it comes to cultures -- the 
> further back the setting, people tend to be happy to squish together 
> styles from ever more culturally and geographically far-flung places.
>
> (Thus, for a movie set in a relatively narrow medieval time and place, 
> you might see styles taken from half a millennium of time and culled 
> from cultures half a world apart...)
>
>> Perhaps because the changes aren't a drastic as they are in the 19th
>> century. Although, I can't tell you how many 1840s and 1850s dresses
>> get used in Civil War epics!
>
> I think it is more that the further back you go, the less people know 
> and so care about the various distinctions. (And even if the costume 
> designer knows, the audience is unlikely to.) A sort of the further 
> away things are from their own experience -- in time or space -- the 
> more it "all looks the same" to them effect. (Which also explains why 
> those who _do_ learn all about a particular historical time/place 
> don't think it all looks the same -- it's no longer far from their 
> experience.)
>
>> I once worked for an LA designer who mainly did TV. He and his 
>> assistant
>> were snotty to us hayseeds [they thought] here in NC. His assistant 
>> with his
>> nose in the air gave me a speech on how carefully they had researched 
>> and how
>> the designer was a stickler for accuracy. Then he handed me to alter 
>> for the
> ...
>> Yeah....a stickler for accuracy alright.
>>
>> [For those who's period is not the mid 1800s, all those details
>> scream....and I mean scream... 1840s]
>
> The more I learn about the entertainment industry, the clearer it 
> becomes that "accuracy" is more an advertising buzz-word (used to 
> attract audiences) than something truly pursued. That is, it is far 
> more important to persuasively _claim_ accuracy than to actually _be_ 
> accurate. (I'm know there are exceptions among individuals who work in 
> these industries -- but in the industry as a whole...)
>
> Sharon
> -- 
> Sharon Krossa, skrossa-ml@MedievalScotland.org
> Resources for Scottish history, names, clothing, language & more:
>     Medieval Scotland - http://MedievalScotland.org/
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>

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> Because the problem isn't that films are inaccurate -- the problem is 
> when audiences believe what they see in films.

On the other hand, the benefit is that films, novels, and other forms of 
fiction have gotten many people interested in historical subjects who 
might well not have given them a second thought.  Except for getting a 
passing grade in required American History and History of Civilization 
courses--and then forgetting almost all the material immediately after 
finals.

Let's face it, history is neither particularly valued nor particularly 
job-getting in our society. My bet is that most college history 
professors seeing enthusiastic enrollment increase after a major film 
for that era is released, waft a mental "Thanks!" to the producers.

The reality, also, is that there's absolutely nothing you can do to make 
the film industry work your way--unless you're a mogul in it.  You're 
just another viewer. If you don't like the film, get rid of the DVD and 
view another one you like better.

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







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From: "Sharon L. Krossa" <skrossa-ml@medievalscotland.org>
Subject: Re: [h-cost] Historical Films
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At 3:34 PM -0700 4/23/06, Lavolta Press wrote:
>>Because the problem isn't that films are inaccurate -- the problem
>>is when audiences believe what they see in films.
>
>On the other hand, the benefit is that films, novels, and other
>forms of fiction have gotten many people interested in historical
>subjects who might well not have given them a second thought.
>Except for getting a passing grade in required American History and
>History of Civilization courses--and then forgetting almost all the
>material immediately after finals.
>
>Let's face it, history is neither particularly valued nor
>particularly job-getting in our society. My bet is that most college
>history professors seeing enthusiastic enrollment increase after a
>major film for that era is released, waft a mental "Thanks!" to the
>producers.
>
>The reality, also, is that there's absolutely nothing you can do to
>make the film industry work your way--unless you're a mogul in it.
>You're just another viewer. If you don't like the film, get rid of
>the DVD and view another one you like better.

You're missing the point of my comments:

"The problem  isn't that films are inaccurate" means that the problem 
isn't that films are inaccurate. Thus, since the problem isn't that 
films are inaccurate, the solution isn't for film makers not to make 
inaccurate films. (Which is just as well, since they _can't_ make 
films that are accurate -- all films, by their nature, are inaccurate 
to one degree or another. It is inevitable.)

The problem, as I said, "is when audiences believe what they see in 
films". The solution to that is to try to get more people to 
understand the nature of films -- such as that they are inevitably 
inaccurate -- and thus the appropriate and inappropriate uses of 
films, and to stop using them inappropriately, specifically, to stop 
using them as if they were reliable sources of historical information.

Now, admittedly, it would help a lot with this if movie makers would 
stop lying to their audiences by making false claims about the 
accuracy of their films. Personally, I'm not holding my breath on 
this, as unscrupulous movie makers show no signs of giving up lying 
about this or any other matter. (There are other movie makers who 
seem to do just fine without such lying, but my guess is the 
unscrupulous kind will always be with us...) So while I do urge movie 
makers to be more honest, my real target for change is movie 
watchers, not movie makers.

As for college history professors, their reactions to seeing 
enthusiastic enrollment increases after a major film varies greatly, 
depending not only on their individual personalities, but also the 
specific topic they are teaching and the degree of damage the 
particular film has done, and especially whether the students 
attracted believed what they saw or not. Many professors would rather 
have only 20 students truly interested in learning real history than 
200 students insisting they already know all the answers because they 
saw the movie and getting mad when the professor shatters those 
fondly held movie myths that "inspired" them to study history.

For as I said in a previous post -- teaching is a lot more fun than 
unteaching, and movies that bring students to the classroom usually 
also bring a lot of need for unteaching. Sometimes the balance is 
tolerable, sometimes it isn't. I know TFWNSNBU has resulted in me 
wasting a lot of time trying to unteach things that were never an 
issue before the film -- and in Scottish history we already had more 
than our fair share of things that need to be untaught just from the 
general culture. It is very easy for all the unteaching of what 
didn't happen to completely crowd out any positive teaching of what 
did.

But if more movie goers didn't use movies as if they were reliable 
sources of history...

Sharon
-- 
Sharon Krossa, skrossa-ml@MedievalScotland.org
Resources for Scottish history, names, clothing, language & more:
     Medieval Scotland - http://MedievalScotland.org/
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Date: Sun, 23 Apr 2006 15:55:48 -0700
To: Historical Costume <h-costume@indra.com>
From: Chris Laning <claning@igc.org>
Subject: Re: [h-cost] Movies, was: Knight's Tale
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At 6:22 PM -0400 4/23/06, Ruth Anne Baumgartner wrote:
>... everything blends together into the look of Yore. That's why 
>hennins, for example, seem to be appropriate headgear for The Merry 
>Wives of Windsor?!?!?! etc.

Thank you for a very useful term! "Yore" it is.

On Apr 23, 2006, at 5:44 PM, Sharon L. Krossa wrote:
>The more I learn about the entertainment industry, the clearer it 
>becomes that "accuracy" is more an advertising buzz-word (used to 
>attract audiences) than something truly pursued. That is, it is far 
>more important to persuasively _claim_ accuracy than to actually 
>_be_ accurate. (I'm know there are exceptions among individuals who 
>work in these industries -- but in the industry as a whole...)

Besides, it's a lot easier and cheaper to just *claim* it than to 
actually *do* even a half-decent job of it.

At 6:50 PM -0700 4/21/06, Sharon at Collierfam.com wrote:
>I agree- the leading lady was SO out of period. I kept thinking one hat
>looked more like it belonged in "Breakfast at Tiffany's". The costumes
>bothered me more than the music.

"Leading Lady Syndrome" -- the Big Name Star playing the leading lady 
more or less gets to wear whatever she wants, even if that means it's 
wildly different from what everyone else is wearing. Often this means 
no corset, low necklines, clingy fabrics, modern hairstyles.... 
whatever _she_ thinks makes her look sexy. <sigh>

-- 
____________________________________________________________

O    Chris Laning <claning@igc.org> - Davis, California
+     http://paternoster-row.org - http://paternosters.blogspot.com
____________________________________________________________
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In a message dated 4/23/2006 12:14:21 P.M. Eastern Standard Time,  
aquazoo@patriot.net writes:

The wore  their own repro 18thC uniforms 


***************
 
And not paid any rental fee probably.
 
It was pretty forgettable. And not even about the "ideology" of the  
revolution, But just about [petty] revenge.
 
I'll stick with Mad Max.
 
I must admit, however, that the film "Revolution" with Al Pacino  and...oh  
what's her name?...Natasha Kinsky?....is the WORST film about the  revolution 
ever!
 
No...I don't hate every movie made....really! For instance I love "Cyrano  de 
Bergerac" ... the one in French...with Gerard... which I just saw again the  
other night. Perfect!
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Date: Sun, 23 Apr 2006 21:29:47 EDT
Subject: Re: [h-cost] Movies, was: Knight's Tale
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In a message dated 4/23/2006 6:17:21 P.M. Eastern Standard Time,  
ruthanneb@mindspring.com writes:

but I  think the dating of the chest was 
absolutely precise. Most people nowadays  (and, I promise you, my 
college students included) think of time in only a  few categories: the 
future, now, their parents' "day," and "Yore." For  many Americans, 
"Yore" applies especially to anything before the American  Revolution, 



**************************
Some of my fave examples of this was when I worked for a costume....as in  
masquerade and Halloween...shop. They were trying their best to break out into  
theatre and such, but...alas.
 
Anyway, I'll never forget a blurb, in a catalogue, for a long full skirt:  
"Wear over hoopskirt for old-timey effect." Hahahaha! That became an inside joke 
 for any dreadfully off costume.
 
Another time, there was a couple who were going to a fancy dress party and  
were looking thru the slide show the shop had set up of couples wearing 
costumes  they had for rent that went with each other. The "Napoleon and Josephine"  
couple flashed up and the woman exclaimed "Why there's Queen Elizabeth and  
her husband!"
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Oooooh, if you click on the second pic listed here, it does an extreme
close-up. I notice that her partlet is tied with one tie, threaded through
double holes on each side. My current has 2 ties and they get tangled. I
love this list.
Sharon :-)

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Bella
Sent: Saturday, April 22, 2006 8:46 PM
To: Historical Costume
Subject: Re: Center strip on Eleonora's gowns (WasRE: [h-cost]
TudorTailor....a review)


monica spence <monicaspence@optonline.net> wrote:
  >>>>><snipped>The dresses worn by Eleonora in her Bronzino portraits
usually don't have that center strip down the CF. You can surmise that is
there from the pictures where she wears a zimarra (surcoat). Where you do
see the strip come from the hands of copyists, or students of Bronzino or
from his workshop-- not from the master himself.<<<<
   
   
   
  I believe this one is stated to be by the master himself...
   
  http://www.nga.gov/cgi-bin/pimage?45823+0+0
   
  Just thinking out loud here -  perhaps the centre-front strip owes its
existance more to a then current fashion (1550s-1560s I mean) for decorating
bodices of plain fabric (as opposed to figured fabric), than to a
copyist/school of Bronzino. 
   
  There are very few images of Eleonora. Of those of her in a non-figured
fabric, the above image (1560s, by Bronzino himself) shows a centre-front
strip of embroidery, and only one of her (the pink one by Bronzino) which
does not show it is dated from the 1540s...
  http://it.wikipedia.org/wiki/Immagine:Angelo_Bronzino_040.jpg
   
  So perhaps it is rather the date of the portrait which explains why "the
dresses worn by Eleonora in her Bronzino portraits usually don't have that
center strip down the CF".
   
  As for evidence from the 1550s-1560s centre-front strip of
embroidery/embellishment, I can only think of one earlier image (from
Bergamo rather than Florence) of the 1550s that features a centre-front
strip, albeit in a fan-shaped rather than T-shaped bodice embellishment....
   
 
http://realmofvenus.renaissancewoman.net/wardrobe/IsottaBrembatiGrumelli.jpg
   
  I'm sure there must be others out there.
   
  As to the extant item posted earlier (the one laid out flat post
conservation), it is, as I understand it, the very same one Janet Arnold
examined and discussed in Patterns of Fashion, which was indeed the burial
garment of Eleonora de Toledo. It too has a centre-front strip of
embroidery.
   
   
   
  Bella




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I had never before heard about TFWNSNBU, so didn't know if it was
superstition or a critique. :-)

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Sharon L. Krossa
Sent: Sunday, April 23, 2006 2:20 PM
To: Historical Costume
Subject: [h-cost] Historical Films (was: Knight's Tale)


At 12:12 PM -0400 4/23/06, Carol Kocian wrote:
>>"Braveheart"
>>SharonC., who says "Macbeth" backstage too, and doesn't spit, turn 
>>around, go out and come back in, etc.

I quite happily say Macbeth, and I don't really care if anyone else 
says in my presence the name of That Film Whose Name Shall Not Be 
Uttered (though I may spit ;-). I avoid saying the name as an 
expression of my feelings (which others may or may not share), not 
superstition.

>      On the Revlist (American Revolution) some people will write
>*spit* after they mention the movie, The Patriot.  It's a testament to 
>Mel that there are such reactions to his movies...

I don't find this reaction surprising, given that Mel in particular 
goes to great lengths to persuade audiences that his "historical" 
films are accurate, while at the same time not really bothering much 
with historical accuracy and essentially making the same movie over 
and over again. The resulting reaction to the supposedly historical 
films by those who care about history is predictable, and magnified 
by the popularity of his movies (which increases the numbers who 
believe the nonsense peddled as truth by Gibson).

(The Patriot *spit* and TFWNSNBU are essentially the same plot, which 
plot borrows a great deal from the plots of various contemporary and 
futuristic movies Mel has been in. Never mind that the real history 
he claimed to be portraying doesn't actually fit that plot...)

If Mel did not work so hard at selling his movies as accurate, he and 
his movies would not get the strong reaction they get for being so 
inaccurate.

Sharon
-- 
Sharon Krossa, skrossa-ml@MedievalScotland.org
Resources for Scottish history, names, clothing, language & more:
     Medieval Scotland - http://MedievalScotland.org/
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A friend and I once costumed "The Seagull". The director wanted it period
(1904)and had an idea of what he wanted the women's costumes to look like.
My friend and I brought in dress after dress. He kept rejecting them.
Finally, he borrowed a couple of dresses from a friend of his, to show us.
They were fancy 1830's ballgowns. My friend and I looked at each other and
stopped asking him for his opinion. We just went ahead and made dresses
appropriate to 1904. He loved them (and didn't understand how they were
different from the stuff he'd brought in). 

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of AlbertCat@aol.com
Sent: Sunday, April 23, 2006 6:30 PM
To: h-costume@indra.com
Subject: Re: [h-cost] Movies, was: Knight's Tale


 
In a message dated 4/23/2006 6:17:21 P.M. Eastern Standard Time,  
ruthanneb@mindspring.com writes:

but I  think the dating of the chest was 
absolutely precise. Most people nowadays  (and, I promise you, my 
college students included) think of time in only a  few categories: the 
future, now, their parents' "day," and "Yore." For  many Americans, 
"Yore" applies especially to anything before the American  Revolution, 



**************************
Some of my fave examples of this was when I worked for a costume....as in  
masquerade and Halloween...shop. They were trying their best to break out
into  
theatre and such, but...alas.
 
Anyway, I'll never forget a blurb, in a catalogue, for a long full skirt:  
"Wear over hoopskirt for old-timey effect." Hahahaha! That became an inside
joke 
 for any dreadfully off costume.
 
Another time, there was a couple who were going to a fancy dress party and  
were looking thru the slide show the shop had set up of couples wearing 
costumes  they had for rent that went with each other. The "Napoleon and
Josephine"  
couple flashed up and the woman exclaimed "Why there's Queen Elizabeth and  
her husband!"
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From: Lavolta Press <fran@lavoltapress.com>
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Historical Films
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> The problem, as I said, "is when audiences believe what they see in 
> films". The solution to that is to try to get more people to understand 
> the nature of films -- such as that they are inevitably inaccurate -- 
> and thus the appropriate and inappropriate uses of films, and to stop 
> using them inappropriately, specifically, to stop using them as if they 
> were reliable sources of historical information.

I think most modern people have both a healthy skeptism about 
advertising, and an awareness that fiction (including films) is not reality.

> 
> Now, admittedly, it would help a lot with this if movie makers would 
> stop lying to their audiences by making false claims about the accuracy 
> of their films. Personally, I'm not holding my breath on this, as 
> unscrupulous movie makers show no signs of giving up lying about this or 
> any other matter. 

"Lying" and "unscrupulous" is putting it too strong, unless it's a 
supposed to be a documentary.  Even then, there are often multiple, 
equally valid interpretations of things.

So while I do urge movie makers to be more honest, my real
> target for change is movie watchers, not movie makers.

<snip>

Many professors would rather have only 20 students
> truly interested in learning real history than 200 students insisting 
> they already know all the answers because they saw the movie and getting 
> mad when the professor shatters those fondly held movie myths that 
> "inspired" them to study history.

I don't recall any of my professors being anything but enthusiastic 
about students' sincere interest in their subjects. Nor did they expect 
students to know all about a topic before signing up for a class--if 
they had, those students wouldn't have bothered to sign up.

> 
> For as I said in a previous post -- teaching is a lot more fun than 
> unteaching, and movies that bring students to the classroom usually also 
> bring a lot of need for unteaching. 

<snip>

OK, well, I was trained as a historian too . . . and I've spent my 
entire working life (ever since college) as a writer and editor of 
how-to on a number of subjects, in addition to historic customing.  In 
other words, teaching.

And I don't think it is productive to maintain an attitude that other 
people are "wrong," full of "misconceptions" and "inaccuracies," 
requiring my personal correction in order to set the world right, and 
bemoaning the fact that everyone doesn't know everything I know.

I remember in a historiography seminar, the professor asking the 
students what first got them interested in history.  Most of them came 
up with legends, old or modern historical novels, films, and so on.   I 
remember the professor saying that most people become interested in 
history that way, and that historians tend to be romantics; you just 
can't let romanticism get in the way of social science.

But that's for professionals; not the world at large.

There are lots of good courses and lectures and books and websites out 
there. People who want in-depth information will look for it and find 
it. Those who don't want it, won't.

And there will always be people who prefer a dream to reality.  So what? 
  Dreams and fictions are important too.  Reenacting is just a hobby, 
and there are many ways to enjoy it.  For some people it's serious 
research; and for some, it's pretending they're Robin Hood or Scarlett 
O'Hara or whoever.

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


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In a message dated 4/23/2006 7:46:07 P.M. Eastern Standard Time,  
skrossa-ml@medievalscotland.org writes:

But if  more movie goers didn't use movies as if they were reliable 
sources of  history...




******************
 
If only they would not use them as a reliable source of anything. Many  
people REALLY think Bruce Willis is a tough guy you'd want to have on your side  in 
a pinch. NOT! They think Julie Andrews really is singing right then and there 
 on that Austrian hill side during a helicopter shot. Uh huh. Hell they think 
 that really is an Austrian hill side!
 
And I love those "behind the scenes" and "Making of" featurettes on  
DVDs....as if they're true! No... they are films too! Nothing on film is real.  Not 
even reality TV!
 
Hell, we've got a president who won't listen to Science on global warming,  
but invites Michael Crichton to the White House to discuss his stupid little  
work of fiction "State of Fear"!
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To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Movies, was: Knight's Tale
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Remember Julie Christie's hair in "Dr. Zhivago"?

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Chris Laning
Sent: Sunday, April 23, 2006 3:56 PM
To: Historical Costume
Subject: Re: [h-cost] Movies, was: Knight's Tale


At 6:22 PM -0400 4/23/06, Ruth Anne Baumgartner wrote:
>... everything blends together into the look of Yore. That's why
>hennins, for example, seem to be appropriate headgear for The Merry 
>Wives of Windsor?!?!?! etc.

Thank you for a very useful term! "Yore" it is.

On Apr 23, 2006, at 5:44 PM, Sharon L. Krossa wrote:
>The more I learn about the entertainment industry, the clearer it
>becomes that "accuracy" is more an advertising buzz-word (used to 
>attract audiences) than something truly pursued. That is, it is far 
>more important to persuasively _claim_ accuracy than to actually 
>_be_ accurate. (I'm know there are exceptions among individuals who 
>work in these industries -- but in the industry as a whole...)

Besides, it's a lot easier and cheaper to just *claim* it than to 
actually *do* even a half-decent job of it.

At 6:50 PM -0700 4/21/06, Sharon at Collierfam.com wrote:
>I agree- the leading lady was SO out of period. I kept thinking one hat 
>looked more like it belonged in "Breakfast at Tiffany's". The costumes 
>bothered me more than the music.

"Leading Lady Syndrome" -- the Big Name Star playing the leading lady 
more or less gets to wear whatever she wants, even if that means it's 
wildly different from what everyone else is wearing. Often this means 
no corset, low necklines, clingy fabrics, modern hairstyles.... 
whatever _she_ thinks makes her look sexy. <sigh>

-- 
____________________________________________________________

O    Chris Laning <claning@igc.org> - Davis, California
+     http://paternoster-row.org - http://paternosters.blogspot.com
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Greetings--

Lavolta Press wrote:
> Let's face it, history is neither particularly valued nor particularly 
> job-getting in our society. 
Tell me about it.  PhD in history.  Now working as a project manager (a 
job I love, by the way--and doing the doctorate was great prep work!)
> My bet is that most college history professors seeing enthusiastic 
> enrollment increase after a major film for that era is released, waft 
> a mental "Thanks!" to the producers.
Having been in academia when a number of these movies came out, I can 
tell you they don't really do all that much for enrollment in history 
classes, unless someone goes out of their way to target a class 
specifically at the time period or topic covered in the movie, and to 
gear the class for those who wouldn't have otherwise taken a history 
class.  The general history classes most non-historians take are too 
broad to benefit from interest generated by a focused historical movie, 
and those who are taking higher-level courses which would have a closer 
focus would likely have taken them anyway.

I was a TA when that Scottish film came out.  It got a little tiring 
after awhile continually debunking it.  If it had brought about 
pertinent and probing questions about the period at hand (we've had some 
excellent historical movies that have done that--just not much for the 
medieval period), it would have been a different story altogether.  But 
that particular movie didn't. (The part that got *very* old very quickly 
was the whole "right of the first night" thing that the movie claims 
Edward promulgated on the Scots.  Grr.)

I don't even want to think about what church historians and Renaissance 
historians are going to go through when the Da Vinci Code movie comes 
out.  There are going to be an awful lot of people who will think it's 
entirely factual.

Susan


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Subject: Re: [h-cost] Historical Films
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<snip>
> One of the best examples of this is perhaps the best King Arthur movie 
> ever made, the immortal "Monty Python and the Holy Grail."  The more you 
> know about Arthurian legend and medieval history, the funnier it 
> gets--although it's pretty funny even without a jot of knowledge about 
> either.
>
> Susan

Very true, if anybody wants a good scholarly look at medieval films have a 
look at this book:
Aberth, John. _A_Knight_at_the_Movies:_Medieval_History_on_Film. Routledge 
New York. 2003. ISBN 0-415-93885-6

the example he gives of a good historical movie is in fact Monty Python and 
the Holy Grail and he points out just how relevant the jokes are. I'm 
currently doing a course on History on Film (not history of film but looking 
at the way history is portrayed in movies).

Elizabeth
--------------------------------------------
Elizabeth Walpole
Canberra Australia
ewalpole[at]tpg.com.au
http://au.geocities.com/e_walpole/


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Subject: Re: [h-cost] Fascinating: oldest evidence for needle binding
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On Friday 21 April 2006 9:45 pm, Chris Laning wrote:
> At 8:43 AM -0700 4/21/06, Chris wrote:
> >Forgot...I was completely blown away by the plaids they've found as
> >well...reminds me of the Stewart 'hunting' plaid, but regardless,
> >it's absolutely BEAUTIFUL!!!  Wait until you see it!
>
> Yes, and of course the news media immediately seized on this and
> started speculating about "Celtic peoples" in central Asia <snort>.
>
> You don't have to be Celtic to weave plaid fabric. Or wear it. Or
> anything.... it's just what happens naturally when you have repeating
> color patterns in your warp and weft...

True.  If you start looking into sarong designs in Indonesia you find tribes 
who wear plaids--some of which are predominantly pink.

-- 
Cathy Raymond <cathy@thyrsus.com>

"I'm starting to like the cut of this man's gibberish."
--General Fillmore (from "The Tick," episode 2)

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> I don't even want to think about what church historians and Renaissance 
> historians are going to go through when the Da Vinci Code movie comes 
> out.  There are going to be an awful lot of people who will think it's 
> entirely factual.

So what?  There are a great many fields which you and I know little 
about, which are no more or less important than history, and which we 
probably have many "misconceptions" about.

And if you're going to teach you need to be able to deal with people not 
knowing everything already without looking down on them.

Fran
Lavolta Press
http://www.lavoltaress.com
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>         What you're looking for can easily be found in the following two or
>three patterns, all by Kannik's Korner, historically accurate with excellent
>engineering, historical and sewing notes, all of which we carry, and can be
>viewed, and purchased, at: http://www.5rivers.org/en-gb/dept_17.html :
>
>KK4303 Man's Trousers, 1790-1810
>KK4304 Outer Breeches-Slops 1750-1820
>KK4551 Men's double-breasted Short Jacket
>
>         Hope you find this of some assistance.

I was looking in an old Smoke and Fire catalog and must have missed this 
trousers pattern.  It's just what I was looking for.  I can't use the slops 
pattern, tho I have access to one thru another group I'm in, and the jacket 
isn't quite what I had in mind.  But the trousers are perfect.

Does Five Rivers Chapmanry have flat brass buttons?  Jas. Townsend has nice 
domed ones, but I don't know if they're quite right for 1812.


        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] Historical Films
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On Sun, 23 Apr 2006, Susan Carroll-Clark wrote:

> I don't even want to think about what church historians and
> Renaissance historians are going to go through when the Da Vinci Code
> movie comes out.  There are going to be an awful lot of people who
> will think it's entirely factual.

I'm already getting that from my audiences. I do a lecture on "dress of
the saints" -- that is, how to use religious figures in costume research.
One of the figures I spend a lot of time on is Mary Magdalene, and ever
since Da Vinci Code came out, I've had to spend a chunk of my Q&A time
patiently setting people straight on misconceptions they picked up out of
that damn book. (Sample question: How can I be sure that such-and-so-image
of the Madonna and Child isn't really Mary Magdalen and her baby by
Jesus?)

No, it's not the majority of people in the room, but it only takes a few
to derail the entire conversation.

I can't predict whether the movie will just make it worse, but it sure
won't make it better.

--Robin


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Yeah, remember here in California, people voted "The Terminator" into the
office of governor. And when I was a kid, I remember hearing one adult say
she was voting for Ronald Reagan for governor because he always played such
nice guys in movies and she was sure he was just like that! Even as a kid, I
was appalled.

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of AlbertCat@aol.com
Sent: Sunday, April 23, 2006 6:40 PM
To: h-costume@indra.com
Subject: Re: [h-cost] Historical Films


 
In a message dated 4/23/2006 7:46:07 P.M. Eastern Standard Time,  
skrossa-ml@medievalscotland.org writes:

But if  more movie goers didn't use movies as if they were reliable 
sources of  history...




******************
 
If only they would not use them as a reliable source of anything. Many  
people REALLY think Bruce Willis is a tough guy you'd want to have on your
side  in 
a pinch. NOT! They think Julie Andrews really is singing right then and
there 
 on that Austrian hill side during a helicopter shot. Uh huh. Hell they
think 
 that really is an Austrian hill side!
 
And I love those "behind the scenes" and "Making of" featurettes on  
DVDs....as if they're true! No... they are films too! Nothing on film is
real.  Not 
even reality TV!
 
Hell, we've got a president who won't listen to Science on global warming,  
but invites Michael Crichton to the White House to discuss his stupid little

work of fiction "State of Fear"!
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>I don't even want to think about what church historians and Renaissance 
>historians are going to go through when the Da Vinci Code movie comes out.  
>There are going to be an awful lot of people who will think it's entirely 
>factual.
>
>Susan

That is already the case. I live & work in/near Edinburgh now and you just 
need to whisper the word "Roslyn chapel" and you can see people's heads turn 
beetroot red. ;-)

Anyway, I have become far more mellow and tolerant in recent years, 
particularly towards films that never claim to be authentic. I didn't used 
to be able to switch my brain off - I am now and can enjoy those films. I'm 
thankful for having mellowed. Where is the point in tearing angrily 
everything apart and thus losing one's ability to enjoy oneself? However, if 
a film does claim to be authentic, I still lose my rag and probably always 
will.

Nicole

--------------------
"If you think education is expensive, try ignorance."

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Subject: [h-cost] Historical Films: fact vs. fiction
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> I think most modern people have both a healthy skeptism about advertising, 
> and an awareness that fiction (including films) is not reality.
>
I would have to disagree with you on the 'most modern people' part of your 
statement.  I think that history nerds, of which I am a proud member ;-), 
are in the minority.

Why else would Hollywood have the balls to make the new Titanic movie that 
is comming out this summer...the one where they find Jack Dawson's body 
frozen in a block of ice at the bottom of the North Atlantic, bring him to 
the surface, thaw him out and he's perfectly healthy! I saw the trailer the 
other night...look for it, but try not to gag!

We had enough problems at the museum with the first movie...here goes round 
two! You would not believe the things people say.
Kelly 
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To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Historical Films: fact vs. fiction
Date: Mon, 24 Apr 2006 04:00:25 -0700
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But ice floats!

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of kelly grant
Sent: Monday, April 24, 2006 3:12 AM
To: Historical Costume
Subject: [h-cost] Historical Films: fact vs. fiction


> I think most modern people have both a healthy skeptism about 
> advertising,
> and an awareness that fiction (including films) is not reality.
>
I would have to disagree with you on the 'most modern people' part of your 
statement.  I think that history nerds, of which I am a proud member ;-), 
are in the minority.

Why else would Hollywood have the balls to make the new Titanic movie that 
is comming out this summer...the one where they find Jack Dawson's body 
frozen in a block of ice at the bottom of the North Atlantic, bring him to 
the surface, thaw him out and he's perfectly healthy! I saw the trailer the 
other night...look for it, but try not to gag!

We had enough problems at the museum with the first movie...here goes round 
two! You would not believe the things people say.
Kelly 
_______________________________________________
h-costume mailing list
h-costume@mail.indra.com http://mail.indra.com/mailman/listinfo/h-costume


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From h-costume-bounces@indra.com  Mon Apr 24 07:42:33 2006
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Date: Mon, 24 Apr 2006 07:16:05 -0500 (CDT)
From: Robin Netherton <robin@shell.nightowl.net>
To: Historic Costume List <h-costume@indra.com>
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Subject: [h-cost] Update on Henry VIII book
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I've just heard from my contact at the publisher that _Dress at the Court
of King Henry VIII_, listed as forthcoming in 2006, will not be out till
at least the end of the year or possibly early 2007. (The manuscript is
not yet complete.)

More whenever I know more.

--Robin


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From: "michaela" <thebruce@ihug.co.nz>
To: "Historical Costume" <h-costume@indra.com>
References: <29e.91e44fe.317b56fe@aol.com>	<p06230900c0718753ac95@[10.0.1.16]><444C00FC.7020309@lavoltapress.com><p06230905c071b2c4daf9@[192.168.1.70]><444C22FD.5030906@lavoltapress.com>
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Subject: Re: [h-cost] Historical Films: fact vs. fiction
Date: Mon, 24 Apr 2006 23:46:58 +1200
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 Why else would Hollywood have the balls to make the new Titanic movie that
> is comming out this summer...the one where they find Jack Dawson's body
> frozen in a block of ice at the bottom of the North Atlantic, bring him to
> the surface, thaw him out and he's perfectly healthy! I saw the trailer
the
> other night...look for it, but try not to gag!

http://www.youtube.com/watch?v=vD4OnHCRd_4
You mean the fake trailer? These are clips from previous movies (I
definitely spotted a Romeo and Juliet shot) and mention of the "warm liquid
goo phase" comes from the first Austin Powers Movie.

I'm not sure, but it may have been an April 1st joke or a tie in with the
release recently of the extended version of the original movie.

Michaela de Bruce
http://glittersweet.com



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Subject: Re: [h-cost] Historical Films: fact vs. fiction
Date: Mon, 24 Apr 2006 07:51:17 -0400
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At least they had some imagination in not calling this "The Thing III"!
Kathleen
----- Original Message ----- 
From: "kelly grant" <estela_dufrayse@hotmail.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Monday, April 24, 2006 6:11 AM
Subject: [h-cost] Historical Films: fact vs. fiction


> > I think most modern people have both a healthy skeptism about
advertising,
> > and an awareness that fiction (including films) is not reality.
> >
> I would have to disagree with you on the 'most modern people' part of your
> statement.  I think that history nerds, of which I am a proud member ;-),
> are in the minority.
>
> Why else would Hollywood have the balls to make the new Titanic movie that
> is comming out this summer...the one where they find Jack Dawson's body
> frozen in a block of ice at the bottom of the North Atlantic, bring him to
> the surface, thaw him out and he's perfectly healthy! I saw the trailer
the
> other night...look for it, but try not to gag!
>
> We had enough problems at the museum with the first movie...here goes
round
> two! You would not believe the things people say.
> Kelly
> _______________________________________________
> 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] Historical Films
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Lavolta Press wrote:
> 
> So what?  There are a great many fields which you and I know little 
> about, which are no more or less important than history, and which we 
> probably have many "misconceptions" about.
> 
> And if you're going to teach you need to be able to deal with people not 
> knowing everything already without looking down on them.

I don't think it's a question of looking down on people.  As a person 
who teaches costume history to college students, I'm more frustrated 
than anything.  Yes, I'm willing to teach anyone who's interested enough 
to sign up for my classes, regardless of the origin of their interest or 
what misconceptions they have when they walk in.  I assume that there 
will need to be some debunking of common myths.  The frustration has to 
do with two things:  (1) how much class time gets soaked up with the 
debunking, limiting the time we can spend going beyond the basics, and 
(2) ways that students think about history that similarly limit our 
progress in the class.

In my costume history class, I try to teach methodology and 
thought-process as well as content.  Many students do not think 
critically about history and will believe anything they see on the 
screen or anywhere else.  Their mode of learning is very passive.  My 
favorite kind of student is symbolized by someone with a shovel and a 
gleam in their eye who will dig out information and question it, then 
attempt to link it all together, question the linkages, etc.  Many of my 
students are more like someone sitting there with their empty hands held 
out who will take any information that comes their way and stick it in 
storage until they need it for the test.

Of course, I won't try to lay this at the door of the movie industry, as 
the problem is altogether deeper.  But when these empty-handed students 
go to the movies, they store that "information" away without questioning 
it, then bring it in to class.  Then we have to spend class time 
unteaching and reteaching--sometimes it feels like two steps forward and 
three steps back.  It's wonderful that they're interested, but I'd love 
to spend that class time moving forward instead, building on the correct 
knowledge that they might have gotten in high school.  I don't mind 
trying to teach them to be more active learners, but again class and 
assignment time spent on that could be used to move into some really 
interesting areas of the topic and the methodology.

Melanie Schuessler

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Subject: Re: [h-cost] Historical Films: fact vs. fiction
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 Same trailer, but not the same site...thank Christ! it's a fake...

Kelly
> http://www.youtube.com/watch?v=vD4OnHCRd_4
> You mean the fake trailer? These are clips from previous movies (I
> definitely spotted a Romeo and Juliet shot) and mention of the "warm 
> liquid
> goo phase" comes from the first Austin Powers Movie.
>
> I'm not sure, but it may have been an April 1st joke or a tie in with the
> release recently of the extended version of the original movie.
>
> Michaela de Bruce
> http://glittersweet.com
>
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Subject: Re: [h-cost] Historical Films: fact vs. fiction
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I saw parts from Contact, The Ghosts of the Abyss, The real Titanic movie, 
The Hulk, The Fugative, and Con Air. It had parts from the movie where 
DiCaprio was the boy/man that was a conman opposite Tom Hanks (can't 
remember the name) But it just shows that anything is possible when someone 
cuts and pastes parts to form an idea... could it be true... probably not. 
But a good work of fiction putting all those together like that.
----- Original Message ----- 
From: "michaela" <thebruce@ihug.co.nz>
To: "Historical Costume" <h-costume@indra.com>
Sent: Monday, April 24, 2006 7:46 AM
Subject: Re: [h-cost] Historical Films: fact vs. fiction


> Why else would Hollywood have the balls to make the new Titanic movie that
>> is comming out this summer...the one where they find Jack Dawson's body
>> frozen in a block of ice at the bottom of the North Atlantic, bring him 
>> to
>> the surface, thaw him out and he's perfectly healthy! I saw the trailer
> the
>> other night...look for it, but try not to gag!
>
> http://www.youtube.com/watch?v=vD4OnHCRd_4
> You mean the fake trailer? These are clips from previous movies (I
> definitely spotted a Romeo and Juliet shot) and mention of the "warm 
> liquid
> goo phase" comes from the first Austin Powers Movie.
>
> I'm not sure, but it may have been an April 1st joke or a tie in with the
> release recently of the extended version of the original movie.
>
> Michaela de Bruce
> http://glittersweet.com
>
>
>
> -- 
> No virus found in this outgoing message.
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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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Subject: Re: [h-cost] Historical Films (was: h-costume Digest, Vol 5,
	Issue 351)
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Sharon Krossa wrote:
<snipped for convenience>
>  -- that is, instead of screaming "If you use this movie as a source of 
> historical information, you're a fool", they whisper seductively "Honest, 
> really, we're not making this up -- believe us".
>
> Because the problem isn't that films are inaccurate -- the problem is when 
> audiences believe what they see in films.

Sharon, this whole post was wonderful!  I always laugh when people get their 
knickers in a twist because something in a movie is inaccurate. It's a MOVIE 
for pete's sake. Entertainment for the masses. History Experts are not 
included in "the masses". It would be nice, but it ain't so.

It's the same with fiction books. People in certain sectors get totally bent 
out of shape over the representation of an aspect of society and start 
screaming "That's Not True!"  Well, *sure* -- that's why it's called a Work 
Of Fiction!

There are other aspects of life where history experts *aren't* knowledgeable 
and other incorrect details may be totally lost on them!  Like a movie once 
where they depicted a mare having a foal, supposedly sired by a particular 
stallion in the movie. The color of the foal was genetically impossible from 
those two parents. How many people do you suppose noticed?

Well, back to costume related topics.
Denise
Iowa

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Subject: [h-cost] Mel Gibson flicks
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Sharon wrote:
 >>The Patriot *spit* and TFWNSNBU are essentially the same plot, which
plot borrows a great deal from the plots of various contemporary and
futuristic movies Mel has been in. Never mind that the real history
he claimed to be portraying doesn't actually fit that plot...<<

   There is an article in the current Esquire (with Dave Chappelle on the 
cover) about sneaking onto the location sets of "Apocalypto," the Mayan epic 
that Gibson is currently shooting.  The author makes the point that all of 
Gibson's movies are essentially the same.

Laura Dickerson


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From: "Marie Stewart" <maricelt@gmail.com>
To: "Historical Costume" <h-costume@indra.com>
Subject: Re: [h-cost] Update on Henry VIII book
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Thanks for the update...
Until then... I'm treating myself to reading the inventories of Henry
VIII.  Amazing stuff.

On 4/24/06, Robin Netherton <robin@shell.nightowl.net> wrote:
>
> I've just heard from my contact at the publisher that _Dress at the Court
> of King Henry VIII_, listed as forthcoming in 2006, will not be out till
> at least the end of the year or possibly early 2007. (The manuscript is
> not yet complete.)
>
> More whenever I know more.
>
> --Robin

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Subject: Re: [h-cost] Historical Films: fact vs. fiction
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In a message dated 4/24/2006 6:12:59 A.M. Eastern Standard Time,  
estela_dufrayse@hotmail.com writes:

Why else  would Hollywood have the balls to make the new Titanic movie that 
is  comming out this summer...the one where they find Jack Dawson's body  
frozen in a block of ice at the bottom of the North Atlantic, bring him to  
the surface, thaw him out and he's perfectly healthy! I saw the trailer  the 
other night...look for it, but try not to  gag!



****************
 
Hahahahaha....that's science fiction! Anything's better that the original!  
[I'm teasing!]
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In a message dated 4/24/2006 7:01:05 A.M. Eastern Standard Time,  
sharon@collierfam.com writes:

But ice  floats!



*************
 
Yeah....but Jack's so full of crap, he sinks.
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We have to remember that fabric was expensive so every piece counted.
Some tailors were accused and/or convicted of being too generous with
themselves with the degree of off-cuts most were entitled to. So we
can't just blame a poor homesewer for a mis-matched pattern. Garments
were often remodled within the lifespan of the wearer and after if the
garment was handed down or stored away and found later. Also if a
tailor, dressmaker, or homesewer was short on yardage or remodling an
older garment, one couldn't call around from shop to shop or merchant to
merchant and expect to find an exact match in fabric and dyelots.

What survives today before 1900 is practically a miracle, given the
multiple incarnations of even the most high-end clothing and the
fondness of many late 19th century persons cutting up lovely old
garments for fancy dress costumes and chair cushions and pillows. And
accident, fire, and the elements destroyed many more, no one having the
conservation knowledge of today.

Cindy Abel

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Subject: Re: [h-cost] Historical Films: fact vs. fiction
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In a message dated 4/24/2006 7:52:39 A.M. Eastern Standard Time,  
thebruce@ihug.co.nz writes:

http://www.youtube.com/watch?v=vD4OnHCRd_4



Hysterical!
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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] Update on Henry VIII book
Date: Tue, 25 Apr 2006 03:02:25 +1200
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> Thanks for the update...

For me too:) I need to pass the info on in my livejournal as there are a few
people curious about the book.

> Until then... I'm treating myself to reading the inventories of Henry
> VIII.  Amazing stuff.

Now I seem to recall mention of this somewhere. Is this available in book
form or some other publicly available media? I have limited ILL capabilities
with my library, but it may be worth a shot. I know there are a few accounts
for clothing for Anne of Cleves that I'd be keen to read more about. Some
fur for robes was mentioned I think...

I have read an online facsimilie of Hall's Chronicles and hunted out the
sections on Anne there. Facinating reading.

I keep hoping to find accounts for her clothes from the time of or before
leaving for England as I am getting further into research of that area.


michaela de bruce
http://glittersweet.com



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From: "Marie Stewart" <maricelt@gmail.com>
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Subject: Re: [h-cost] Update on Henry VIII book
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Here's the info on the Inventory.

The Inventory of King Henry VIII. (Hardcover)
by D. Starkey (Editor), David Starey (Editor)

> > Until then... I'm treating myself to reading the inventories of Henry
> > VIII.  Amazing stuff.
>
> Now I seem to recall mention of this somewhere. Is this available in book
> form or some other publicly available media?

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Date: Mon, 24 Apr 2006 11:43:59 -0400
From: monica spence <monicaspence@optonline.net>
Subject: RE: [h-cost] Mel Gibson flicks
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Poor Mel... He's sobbing all the way to the bank.

Please don't take this the wrong way... but...If you don't like his stuff
there is an option not to go. People have different criteria of what they
enjoy. (This is why my husband loves "Hellboy" and I prefer "Pride and
Prejudice".) I for one enjoy his (MG) movies. I loved "the Patriot"-- it was
a good story. History, NO. I  know that he worked with Colonial
Williamsburgh to make things accurate, but since my period is 100 years
before it, I am not that sure how slavish he was to accuracy. Looked good to
me. I also loved "Braveheart"-- not as history certainly, but as a romance.
"The Passion of the Christ" was unbelievably moving, as was "We were
Soldiers", though I don't think he directed that.

As for the Esquire article: Personally I do not think that he is a 'one
note' movie maker. "Tim" anyone?  And the "PotC" vs "Braveheart"-- why? --
because they both die in the end?

Costumes can make or break a movie for me, but there are other things to be
considered... Plot, acting, cinematography etc. That is what makes the
experience so cool! I hated "Elizabeth" because the director had an agenda--
not just because the costumes  and the history were all wrong.

Having worked in theatre for many years I know the frustration of bringing a
production to fruition. It is that much worse with movies.
Rant rant... sorry, but people comment and complain who have not been in a
position to do a theatrical/movie production. We all know that working on
re-enactment clothing, or even SCA garb -- one at a time-- is a whole other
thing than doing 7000 costumes at once! :-) Thisng always get a little iffy
in movies-- because the director has a vision--- and he also has to make
something "sell" to the audience...

Best Regards-
Monica Spence
(Catriona MacDuff in the SCA)





-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of Laura Dickerson
Sent: Monday, April 24, 2006 7:55 AM
To: h-costume@indra.com
Subject: [h-cost] Mel Gibson flicks


Sharon wrote:
 >>The Patriot *spit* and TFWNSNBU are essentially the same plot, which
plot borrows a great deal from the plots of various contemporary and
futuristic movies Mel has been in. Never mind that the real history
he claimed to be portraying doesn't actually fit that plot...<<

   There is an article in the current Esquire (with Dave Chappelle on the
cover) about sneaking onto the location sets of "Apocalypto," the Mayan epic
that Gibson is currently shooting.  The author makes the point that all of
Gibson's movies are essentially the same.

Laura Dickerson


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Subject: [h-cost] Historical Movies--longish
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In a message dated 4/24/2006 11:46:43 A.M. Eastern Standard Time,  
monicaspence@optonline.net writes:

but...If  you don't like his stuff
there is an option not to go. People have  different criteria of what they
enjoy. (This is why my husband loves  "Hellboy" and I prefer "Pride and
Prejudice".)


It's theater!!  For example, Mel Gibson's tight breeches in "The  Patriot" 
are totally wrong but, as a professional designer friend of mine  pointed out, 
most people these days associate baggy pants with comedy.  So  you can't put 
your action hero into them and expect him to be taken  seriously.  I didn't see 
"The Patriot," so don't have a personal  opinion.
 
One film I can speak to is "The Buccaneer."  I do War of 1812  
interpretation.  This movie has totally made-up characters or people who  are shown much 
older than they were, and plays fast and loose with the actual  narrative.  Jean 
Lafitte, for example, was not on the field at the Battle  of New Orleans at 
all.  But, all that said, and the costumes not so great  either, I think the 
film was a hoot!  Highly entertaining.  Charleton  Heston's portrayal of Andrew 
Jackson seems to have become the norm (kind of like  Rhett Butler--can you 
imagine anyone other than Clark Gable playing him?   But at least he wasn't a real 
historical character).
 
And then you have films like "Becket" and "The Lion in Winter," about  actual 
people but adapted from literary works about them, not from the original  
history.  So you have another layer of interpretation added in.  Same  with 
"Desiree," based on a historical novel, but I loved Marlon Brando as  Napoleon.
 
I DID refuse to see "Titanic"--couldn't take what I had heard on the  
liberties with the story (a friend of mine who went to see it with her teenaged  
daughter found the leads so obnoxious that she was rooting for the North  
Atlantic).  I think "A Night to Remember" tried to get the story right, but  I haven't 
seen it in years, so I might hate it now.
 
I guess the issue of whether people get their history from movies, though,  
is one that will always be with us.  But how many of these people are going  to 
study "real" history at all?  Take classes, read books, etc.  Those  that do, 
can be re-taught.  Those that don't will wander around in happy  ignorance, 
but wouldn't they be even more ignorant if they hadn't seen the  film(s)?  You 
can argue that it is better for them to know nothing at all  than to know it 
wrong, I guess.  But if it DOES spark a real interest,  well, isn't that 
worthwhile?
 
Ann Wass  
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From: Cin <cinbarnes@gmail.com>
To: h-cost <h-costume@indra.com>, "Carolyn Kayta" <kayta@frys.com>
Subject: Re: [h-cost] fall front trousers, etc.
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>>Carolyn, I have a pair of trousers from the first quarter 19th C and they
>>are constructed pretty much the same as the LongFall of the ...Eagle pattern
>>that included knickers.  The two major differences are the width of the
>>waist band and the back omits the capacious seat and gusset. No pockets, but
>>the from is cut full enough to accommodate them.  There are buttons for
>>straps or suspenders.  Basically, the naval trou still being used through
>>the 1940's.

>The 1840s is kind of late for what I'm doing.  I need that baggy seat, to
>cover my anatomy and to 'read' early, and I need the resultant trousers to
>stay up without suspenders.  Does the Eagle pattern do that?  Is it a good
>pattern otherwise?

If the Eagle one is too late, how 'bout using the workmans breeches in
"Costume Close-Up", the Williamsburg book?  IIRC, there's a pair of
leather riding breeches too.

--cin
Cynthia Barnes
CinBarnes@gmail.com

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kelly grant wrote:
>> I think most modern people have both a healthy skeptism about 
>> advertising, and an awareness that fiction (including films) is not 
>> reality.
>>
> I would have to disagree with you on the 'most modern people' part of 
> your statement.  I think that history nerds, of which I am a proud 
> member ;-), are in the minority.
> 

You have to be a history nerd to be aware that a new toothpaste probably 
won't change your life just because the ad says so; etc.

Fran
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Subject: Re: [h-cost] Mel Gibson flicks
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In a message dated 4/24/2006 11:46:18 A.M. Eastern Standard Time,  
monicaspence@optonline.net writes:

Please  don't take this the wrong way... but...If you don't like his stuff
there is  an option not to go. 


**********************
 
Gee, Monica,  just how many ways are there to "take" this?
 
I'm glad you like Mel's stuff.....someone must! But how did you reach that  
favorable conclusion? By going to see the films.
 
I decided they were lame and sentimental by the same method....going to see  
them. I wasn't disappointed until after I had sat through the whole  thing. 
Really, I may make jokes before I see the film, but I don't decide  if I like a 
film or not until after I've seen it. 
 
***************
I  know that he worked with Colonial
Williamsburgh to make things  accurate,
 
********************
 
Lord, this could mean anything! Like asking someone what color the British  
soldiers should wear.
 
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From: AlbertCat@aol.com
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Date: Mon, 24 Apr 2006 13:04:28 EDT
Subject: Re: [h-cost] Historical Movies--longish
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In a message dated 4/24/2006 12:19:52 P.M. Eastern Standard Time,  
AnnBWass@aol.com writes:

For  example, Mel Gibson's tight breeches in "The  Patriot" 
are totally  wrong but, as a professional designer friend of mine  pointed 
out,  
most people these days associate baggy pants with comedy.  So   you can't put 
your action hero into them and expect him to be taken   seriously. 


*******************
Not true. Ever see "The Three Musketeers"? The 1974 version? Try any Sinbad  
[the sailor] films. Now PLAID baggy pants....that's different!  :-P
 
 
Mel is in tight breeches because he's a hunk and people are there to see  his 
ass. Besides, breeches were pretty tight in the 1770s [thought not in the  
seat].
 
Your designer friend is right about it having to do with modern aesthetics,  
however.
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Date: Mon, 24 Apr 2006 12:08:34 -0500
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From: Beth and Bob Matney <bmatney@alltel.net>
Subject: Re: [h-cost] Update on Henry VIII boo
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Thanks Robin. Oh well, the facts of life in the publishing industry.

BTW Amazon told me that my copy of your book (2) was shipped Saturday.

Beth

At 09:02 AM 4/24/2006, you wrote:
>Date: Mon, 24 Apr 2006 07:16:05 -0500 (CDT)
>From: Robin Netherton <robin@shell.nightowl.net>
>Subject: [h-cost] Update on Henry VIII book
>
>I've just heard from my contact at the publisher that _Dress at the Court
>of King Henry VIII_, listed as forthcoming in 2006, will not be out till
>at least the end of the year or possibly early 2007. (The manuscript is
>not yet complete.)
>
>More whenever I know more.
>
>--Robin

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Subject: Re: [h-cost] Historical Films
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----- Original Message ----- 
From: "Susan Carroll-Clark" <nicolaa@rogers.com>
> I don't even want to think about what church historians and Renaissance 
> historians are going to go through when the Da Vinci Code movie comes out. 
> There are going to be an awful lot of people who will think it's entirely 
> factual.

My church is actually doing a month-long sermon series on the Da Vinci Code, 
and has assigned the entire congregation 'homework' of reading the book!

-E House

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>From: AlbertCat@aol.com

>Like asking someone what color the British
>soldiers should wear.


PINK! :-D

Sorry, it just came over me. (my partner's one of them and imagining him in 
pink... *snerk*)

Nicole - wondering if screaming pink uniforms would have been that much less 
authentic than the clobber in Braveheart.

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Subject: [h-cost] Re: h-costume Digest, Vol 5, Issue 361
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When I rented "Titanic" a few years ago, the guy at the movie place stared
at me and said, "Have you SEEN this movie?" He could not believe anyone
would see it twice. I told him I had just seen an exhibition and I wanted to
watch the part where the ship sank, so he let me rent it. :-)

I read an interview with James Cameron, in which he said he invented Jack
and Rose so that people would care about what happened to the ship. I cared
about the ship, I just wanted Jack and Rose to fall off it in the first few
minutes! And I really wanted to push old Rose off the ship at the end.

Bloodthirsty, ain't I? Although I do like Rose's clothes.

Gail Finke

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Subject: Re: [h-cost] Historical Films
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> 
> I don't think it's a question of looking down on people.  As a person 
> who teaches costume history to college students, I'm more frustrated 
> than anything.  Yes, I'm willing to teach anyone who's interested enough 
> to sign up for my classes, regardless of the origin of their interest or 
> what misconceptions they have when they walk in.  I assume that there 
> will need to be some debunking of common myths.  The frustration has to 
> do with two things:  (1) how much class time gets soaked up with the 
> debunking, limiting the time we can spend going beyond the basics, and 
> (2) ways that students think about history that similarly limit our 
> progress in the class.

I assume you do have the routine of giving the lecture and then allowing 
X fixed minutes at the end for questions, encouraging any really 
detailed ones to be postponed to conversation with you during one of 
your standard office hours?

<snip>

> 
> Of course, I won't try to lay this at the door of the movie industry, as 
> the problem is altogether deeper.  But when these empty-handed students 
> go to the movies, they store that "information" away without questioning 
> it, then bring it in to class.  Then we have to spend class time 
> unteaching and reteaching--sometimes it feels like two steps forward and 
> three steps back.  It's wonderful that they're interested, but I'd love 
> to spend that class time moving forward instead, building on the correct 
> knowledge that they might have gotten in high school.  I don't mind 
> trying to teach them to be more active learners, but again class and 
> assignment time spent on that could be used to move into some really 
> interesting areas of the topic and the methodology.

What level of course are you teaching--upper division seminar in the 
history department? Or a costume history class tacked onto a home 
ec/clothing design or theater program?  If the latter, you're not likely 
to get much opportunity to teach a seminar course focusing on 
metholdology. It's like the professor of freshman remedial math wanting 
to teach the physics majors--that's just not how the college set that 
course up.

I share your frustration with unanlytical people, but just as high a 
proportion of them are reenactors as the general population. I admit, 
whenever I hear the exact same words parroted by umpteen people about 
how the general population is ignorant of something like when crocheting 
was invented, or how misleading films are, and then go on about how 
_they_ are the Guardians of History who have to set things right for the 
world, I think:

Well, how much do you know about physics--the building blocks of the 
universe?  How much do you know about molecular biology, the building 
blocks of life on Earth?  How much do you know about how your own body 
works?  And many other things.

Not that I know much about most of them either. But in light of the fact 
of how little most people know about most things, and how many 
"misconceptions" they hold about them, getting self-righteous about 
being a Guardian of Knowledge because you know the difference between 
knitting and naalbinding, or something, and Hollywood and/or the general 
public doesn't, is pretty silly.  History is no more important than any 
other subject, even if it is the most interesting one to you.

I assume it's the educational system that makes people unanlytical. My 
memory of formal education up to college is largely that of being 
expected to sit quietly, not ask qusetions, and spew information back 
for tests.  I got most of my real education ad hoc from my parents (no, 
I was not home schooled) and from reading.  College was the first 
so-called educational place where I was actually encouraged to think. 
Then again, I grew up in a rural area with lousy schools.

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


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It is that much worse with movies.
> Rant rant... sorry, but people comment and complain who have not been in a
> position to do a theatrical/movie production. We all know that working on
> re-enactment clothing, or even SCA garb -- one at a time-- is a whole other
> thing than doing 7000 costumes at once! :-) Thisng always get a little iffy
> in movies-- because the director has a vision--- and he also has to make
> something "sell" to the audience...

It seems to me that it's the difference between making clothes for 
yourself--when you can do whatever you want--and working for other 
people--where you have to do what they want.

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

> 
> Now, admittedly, it would help a lot with this if movie makers would
> stop lying to their audiences by making false claims about the
> accuracy of their films. Personally, I'm not holding my breath on
> this, as unscrupulous movie makers show no signs of giving up lying
> about this or any other matter.

I agree, that's not going to happen, especially when people become
millionares by claiming that the preposterous -- which would otherwise be a
fun "alternate history -- is true. Like . . . Dan Brown and "The DaVinci
Code," for instance. A bunch of crap from beginning to end (oops, did I open
a can of worms?) to anyone who knows ANYTHING about history, art, theology,
etc. Again, claim it's fiction and who cares? But claim it's true and -- !!!

Gail Finke

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Subject: Re: [h-cost] Update on Henry VIII boo
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On Mon, 24 Apr 2006, Beth and Bob Matney wrote:

> BTW Amazon told me that my copy of your book (2) was shipped Saturday.

I'll be interested in knowing when people get their copies. I still don't
have mine, which is apparently on the slow boat from England.

--Robin

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Subject: Re: [h-cost] Historical Films: fact vs. fiction
Date: Mon, 24 Apr 2006 13:59:20 -0400
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AMEN!
Kathleen
----- Original Message ----- 
From: <AlbertCat@aol.com>
To: <h-costume@indra.com>
Sent: Monday, April 24, 2006 10:11 AM
Subject: Re: [h-cost] Historical Films: fact vs. fiction


>
> In a message dated 4/24/2006 6:12:59 A.M. Eastern Standard Time,
> estela_dufrayse@hotmail.com writes:
>
> Why else  would Hollywood have the balls to make the new Titanic movie
that
> is  comming out this summer...the one where they find Jack Dawson's body
> frozen in a block of ice at the bottom of the North Atlantic, bring him to
> the surface, thaw him out and he's perfectly healthy! I saw the trailer
the
> other night...look for it, but try not to  gag!
>
>
>
> ****************
>
> Hahahahaha....that's science fiction! Anything's better that the original!
> [I'm teasing!]
> _______________________________________________
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> h-costume@mail.indra.com
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To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] Re: h-costume Digest, Vol 5, Issue 361
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> I read an interview with James Cameron, in which he said he invented Jack

There really was a Jack Dawson, he worked as a stoker, I believe, and is 
burried in the Titanic section of the graveyard around the corner from us. 
You'd be surprised to know how many people think that it is the same Jack 
Dawson from the movie, his grave is covered in flowers every year! ;->

The piece of flotsom that the character Jack holds on to when in the drink 
was modeled after a piece of the Titanic that we have in the museum. It was 
picked up in the days following the disaster.

I thought the clothes were great, and the cinematography was fab...the plot 
on the otherhand left a bit to be desired.

Kelly 
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Subject: Re: [h-cost] Historical Films: fact vs. fiction
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Sorry, I meant you _don't_ have to be a history nerd to be skeptical of 
advertising.  Or even a science nerd.

Fran

Lavolta Press wrote:

> 
> 
> kelly grant wrote:
> 
>>> I think most modern people have both a healthy skeptism about 
>>> advertising, and an awareness that fiction (including films) is not 
>>> reality.
>>>
>> I would have to disagree with you on the 'most modern people' part of 
>> your statement.  I think that history nerds, of which I am a proud 
>> member ;-), are in the minority.
>>
> 
> You have to be a history nerd to be aware that a new toothpaste probably 
> won't change your life just because the ad says so; etc.
> 
> Fran
> _______________________________________________
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> 
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To: "Historical Costume" <h-costume@indra.com>
References: <3e0.3ad556.317e5f1c@aol.com>
Subject: Re: [h-cost] Historical Movies--longish
Date: Mon, 24 Apr 2006 14:11:38 -0400
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And yet once again: Anne Hollander does a great job in putting this
interpretation forward in "Seeing Through Clothes".The matter of current
aesthetics is always a problem for costume designers.  And for Historical
Costumers, the double problem often hits when the colors or shape of the
design has lost its original meaning and therefor will be miss/non
interpreted by the viewing public..
kathleen
----- Original Message ----- 
From: <AlbertCat@aol.com>
To: <h-costume@indra.com>
Sent: Monday, April 24, 2006 1:04 PM
Subject: Re: [h-cost] Historical Movies--longish


>
> In a message dated 4/24/2006 12:19:52 P.M. Eastern Standard Time,
> AnnBWass@aol.com writes:
>
> For  example, Mel Gibson's tight breeches in "The  Patriot"
> are totally  wrong but, as a professional designer friend of mine  pointed
> out,
> most people these days associate baggy pants with comedy.  So   you can't
put
> your action hero into them and expect him to be taken   seriously.
>
>
> *******************
> Not true. Ever see "The Three Musketeers"? The 1974 version? Try any
Sinbad
> [the sailor] films. Now PLAID baggy pants....that's different!  :-P
>
>
> Mel is in tight breeches because he's a hunk and people are there to see
his
> ass. Besides, breeches were pretty tight in the 1770s [thought not in the
> seat].
>
> Your designer friend is right about it having to do with modern
aesthetics,
> however.
> _______________________________________________
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> h-costume@mail.indra.com
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No worries, I caught what you meant ;-)
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: Historical Costume <h-costume@indra.com>
>Subject: Re: [h-cost] Historical Films: fact vs. fiction
>Date: Mon, 24 Apr 2006 10:21:09 -0700
>
>Sorry, I meant you _don't_ have to be a history nerd to be skeptical of 
>advertising.  Or even a science nerd.
>
>Fran
>
>Lavolta Press wrote:
>
>>
>>
>>kelly grant wrote:
>>
>>>>I think most modern people have both a healthy skeptism about 
>>>>advertising, and an awareness that fiction (including films) is not 
>>>>reality.
>>>>
>>>I would have to disagree with you on the 'most modern people' part of 
>>>your statement.  I think that history nerds, of which I am a proud member 
>>>;-), are in the minority.
>>>
>>
>>You have to be a history nerd to be aware that a new toothpaste probably 
>>won't change your life just because the ad says so; etc.
>>
>>Fran
>>_______________________________________________
>>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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In a message dated 4/24/2006 2:00:33 P.M. Eastern Standard Time,  
rmitchell@washjeff.edu writes:

AMEN!
Kathleen
>
>
> Hahahahaha....that's science  fiction! Anything's better that the original!
> [I'm  teasing!]
**********************
 
Now I must be fare and admit the sinking of the ship was amazingly done and  
very exciting. But the damn PLOT keep interfering and getting in the way!
 
To keep on subject: I hate most the costumes in Titanic. I don't think the  
designer understood the period at all. Some of the gowns [especially the  
mother's] look real and are fine. And the hats are great. But Rose's costumes  were 
awful. Thank God everyone's stopped making that boring red "jump" dress for  
prom night! And I love the image of fluttering silk as they run through the  
engine room, but the dress has little to do with the period. And that clunky  
yellow thing she wears topside which looks like it had puffer paint on it. The  
opening hat was fantastic; the suit, with the switcheroo stripe details 
looked  like a high school design. Ever her corset was wrong.
 
If you want to see how Rose, a wealthy young avant garde, should've  been 
dressed, I suggest a film that came out about the same time: "Wings of the  
Dove". The delicious Charlotte Rampling runs around in hostess pajamas and a  
turban. The two girls on holiday in Venice wear Fortuni gowns and kimono style  
overtunics in Art Nouveau printed velvets. And the colors! It's just  perfect. 
One of Sandy Powell's best!
 
Good flick too.



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In a message dated 4/24/2006 2:33:05 P.M. Eastern Standard Time,  
AlbertCat@aol.com writes:

Now I  must be fare 


**************
 
Oops....FAIR!
 
I suppose I don't mind being fare either. Go ahead! Tear into me! I love  
hearing from people who disagree with me. How else am I ever gonna learn  
anything?
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To: "Historical Costume" <h-costume@indra.com>
References: <3d3.1274af9.317e737a@aol.com>
Subject: Re: [h-cost] Re: The Hype will go on.....
Date: Mon, 24 Apr 2006 14:52:52 -0400
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I went to see the movie with a group from my book club; out to snack later
they all swooped upon me with "What did you think of the wonderful
costumes!!" I was only willing to speak about a couple of the hats in a more
or less complimentary manner and they couldn't understand...
Kathleen
----- Original Message ----- 
From: <AlbertCat@aol.com>
To: <h-costume@indra.com>
Sent: Monday, April 24, 2006 2:31 PM
Subject: [h-cost] Re: The Hype will go on.....


> In a message dated 4/24/2006 2:00:33 P.M. Eastern Standard Time,
> rmitchell@washjeff.edu writes:
>
> AMEN!
> Kathleen
> >
> >
> > Hahahahaha....that's science  fiction! Anything's better that the
original!
> > [I'm  teasing!]
> **********************
>
> Now I must be fare and admit the sinking of the ship was amazingly done
and
> very exciting. But the damn PLOT keep interfering and getting in the way!
>
> To keep on subject: I hate most the costumes in Titanic. I don't think the
> designer understood the period at all. Some of the gowns [especially the
> mother's] look real and are fine. And the hats are great. But Rose's
costumes  were
> awful. Thank God everyone's stopped making that boring red "jump" dress
for
> prom night! And I love the image of fluttering silk as they run through
the
> engine room, but the dress has little to do with the period. And that
clunky
> yellow thing she wears topside which looks like it had puffer paint on it.
The
> opening hat was fantastic; the suit, with the switcheroo stripe details
> looked  like a high school design. Ever her corset was wrong.
>
> If you want to see how Rose, a wealthy young avant garde, should've  been
> dressed, I suggest a film that came out about the same time: "Wings of the
> Dove". The delicious Charlotte Rampling runs around in hostess pajamas and
a
> turban. The two girls on holiday in Venice wear Fortuni gowns and kimono
style
> overtunics in Art Nouveau printed velvets. And the colors! It's just
perfect.
> One of Sandy Powell's best!
>
> Good flick too.
>
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>

_______________________________________________
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Can't think of a way to make this costume related...
   
  The Roslyn Chapel is going to be overrun by tourists - as is every other bit of religious architecture mentioned in the story, and in the "prequel" Angels and Demons. I've read both and they are fun reading...also find it interesting that the Knights Templar, the society of Free Masons and King Solomon's treasure have been a hot topic in recent years. (National Treasure with Nicholas Cage is another example)
   
  It is definitely going to cause a stir. I've already had heated discussions bordering on arguements with my fMIL before and after her reading the book because she see this as factual proof of her belief that the Catholic church (and hence all christians) have been lying - a strong opinion for an atheist who has never even read the bible or studied religion in general.
   
  Annette M


  Message: 3
Date: Mon, 24 Apr 2006 11:35:38 -0500
From: "E House" 
Subject: Re: [h-cost] Historical Films

----- Original Message ----- 
From: "Susan Carroll-Clark" 
> I don't even want to think about what church historians and Renaissance 
> historians are going to go through when the Da Vinci Code movie comes out. 
> There are going to be an awful lot of people who will think it's entirely 
> factual.

My church is actually doing a month-long sermon series on the Da Vinci Code, 
and has assigned the entire congregation 'homework' of reading the book!

-E House
		
---------------------------------
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Date: Mon, 24 Apr 2006 12:24:23 -0700
To: Historical Costume <h-costume@indra.com>
From: "Sharon L. Krossa" <skrossa-ml@medievalscotland.org>
Subject: Re: [h-cost] Historical Films
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At 7:55 PM -0700 4/23/06, Lavolta Press wrote:
>>I don't even want to think about what church historians and
>>Renaissance historians are going to go through when the Da Vinci
>>Code movie comes out.  There are going to be an awful lot of people
>>who will think it's entirely factual.
>
>So what?  There are a great many fields which you and I know little
>about, which are no more or less important than history, and which
>we probably have many "misconceptions" about.
>
>And if you're going to teach you need to be able to deal with people
>not knowing everything already without looking down on them.

The problem isn't people not knowing everything -- the problem is 
people who don't know something about a subject thinking they do 
_based on having seen a movie_ (often despite their claims of knowing 
"it's just movie", etc.)

One of the things good teachers do, in addition to teaching how to 
evaluate evidence logically, is teach about evaluating sources. 
Movies, by their very nature, are not good or reliable sources. And 
many students, just like many readers of online forums and mailing 
lists, really, really hate hearing that the movies they love are not 
good or reliable sources and should not be used as such.

Some insist on arguing about it.

Which wouldn't be a problem in the history classroom, if it weren't 
for the fact that the time spent on it is time not spent teaching and 
learning about real history (including good and reliable sources). 
And it wouldn't be a problem in the world at large if it weren't for 
the fact that being able to evaluate sources and use them 
appropriately, and generally being able to tell reliable from 
unreliable information, isn't a skill important only for professional 
historians -- it's important for managers and workers (regardless of 
industry), voters, jurors, parents, and so on. It's important for 
many every day, real world decisions -- even, in some cases, life and 
death decisions.

Wisdom isn't knowing everything -- it's knowing when you don't know 
something. And I, perhaps naively, believe everyone has the capacity 
to be wise. That's why I care not only about professional historians, 
but also amateur ones, and even casual movie goers. So when the 
opportunity comes up, I talk about the nature of films, and how they 
shouldn't be used.

That such comments inevitably get not only strong reactions but also 
misinterpreted just demonstrates that the subject isn't all that 
obvious or a non-issue and that there is indeed a need for people to 
make such comments and observations.

Sharon
-- 
Sharon Krossa, skrossa-ml@MedievalScotland.org
Resources for Scottish history, names, clothing, language & more:
     Medieval Scotland - http://MedievalScotland.org/
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They did--several dealers told me the Titanic costume staff was 
"snapping up everything in sight" from the era at one of the southern 
California vintage fashion shows.

Fran

> This might be one where the extras are actually better dressed than the  
> principals.  I understand from a dealer friend of mine that they used  actual 
> vintage clothes (yes, gasp!) for many of the extras.
>  
> Ann Wass
> _______________________________________________
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Lavolta Press wrote:
> 
> I assume you do have the routine of giving the lecture and then allowing 
> X fixed minutes at the end for questions, encouraging any really 
> detailed ones to be postponed to conversation with you during one of 
> your standard office hours?

They're encouraged to ask questions at any point in the class (and they 
do), and they know I would be happy to discuss things later during my 
office hours or by appointment if we don't have time in class.  Since 
many of my students also work in the costume shop, we end up having 
discussions there as well.

> What level of course are you teaching--upper division seminar in the 
> history department? Or a costume history class tacked onto a home 
> ec/clothing design or theater program?  If the latter, you're not likely 
> to get much opportunity to teach a seminar course focusing on 
> metholdology. It's like the professor of freshman remedial math wanting 
> to teach the physics majors--that's just not how the college set that 
> course up.

It is upper level, and it is part of the theater program--part of the 
major, not "tacked onto" the program.  Since I am the only one teaching 
it, I can teach it pretty much however I want to.  I think that clothing 
history has for the most part been taught as a straight survey course, 
but this is a disservice to the field and to the students.  Putting in 
some methodology really seems to help the students grasp how and why 
some of what I'm telling them is important or interesting.

> Not that I know much about most of them either. But in light of the fact 
> of how little most people know about most things, and how many 
> "misconceptions" they hold about them, getting self-righteous about 
> being a Guardian of Knowledge because you know the difference between 
> knitting and naalbinding, or something, and Hollywood and/or the general 
> public doesn't, is pretty silly.  History is no more important than any 
> other subject, even if it is the most interesting one to you.

My goal as a teacher is to teach.  Self-Righteous Guardian of Knowledge? 
  I suppose it's possible--I might come off as self-righteous, and it's 
my business to further the knowledge of others.  But again I say to you 
that it's not contempt that I have about people's misconceptions, it's 
frustration that those misconceptions and their way of thinking and 
learning make it harder for me to teach them as much as I would like to 
in a semester.  Is this a Great Tragedy?  No.  But I strive for 
excellence in my profession, however insignificant it may be in the 
grand scheme of things, and I hope for excellence in my students as well 
in the classes that I teach.  Does the fact that I don't know the inner 
workings of physics (which of course are important and I'm sure would be 
interesting) mean that I shouldn't strive for excellence in my classroom 
and expect the same from my students?

> I assume it's the educational system that makes people unanlytical. My 
> memory of formal education up to college is largely that of being 
> expected to sit quietly, not ask qusetions, and spew information back 
> for tests.

I'm sorry to say that this seems to be common and I think is in large 
part responsible for the passive learning style that most students have 
when they get to college.

Melanie Schuessler

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From: "Sharon L. Krossa" <skrossa-ml@medievalscotland.org>
Subject: Re: [h-cost] Historical Films
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At 10:19 AM -0700 4/24/06, Lavolta Press wrote:
>>I don't think it's a question of looking down on people.

I agree -- it isn't at all about looking down on people. (If I had 
such contempt for people, I wouldn't believe them capable of not 
believing things just because they saw it in a movie, and so wouldn't 
bother trying to encourage more people not to use movies as sources 
of reliable information.)

>>As a
>>person who teaches costume history to college students, I'm more
>>frustrated than anything.  Yes, I'm willing to teach anyone who's
>>interested enough to sign up for my classes, regardless of the
>>origin of their interest or what misconceptions they have when they
>>walk in.  I assume that there will need to be some debunking of
>>common myths.  The frustration has to do with two things:  (1) how
>>much class time gets soaked up with the debunking, limiting the
>>time we can spend going beyond the basics, and (2) ways that
>>students think about history that similarly limit our progress in
>>the class.
>
>I assume you do have the routine of giving the lecture and then
>allowing X fixed minutes at the end for questions, encouraging any
>really detailed ones to be postponed to conversation with you during
>one of your standard office hours?

Not everyone teaches solely or primarily by lecture -- especially not 
teachers who wish to discourage students from approaching learning as 
"sitting there with their empty hands held out who will take any 
information that comes their way and stick it in storage until they 
need it for the test." (Alas, sometimes they have no choice -- like 
when there are 200 students rather than 20 in their class.)

Sharon
-- 
Sharon Krossa, skrossa-ml@MedievalScotland.org
Resources for Scottish history, names, clothing, language & more:
     Medieval Scotland - http://MedievalScotland.org/
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Subject: [h-cost] Teaching, was: Historical Films
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> One of the things good teachers do, in addition to teaching how to
> evaluate evidence logically, is teach about evaluating sources.
> Movies, by their very nature, are not good or reliable sources.

     Definitely!  My first Costume History teacher, Fran Mayhew at the
University of Delaware, made a point of using several sources and
looking out for the inaccuracies in the source.

     Regarding movies, one friend assigned a project of reporting on the
costumes from a movie of their choice.  They could discuss what's
right and what isn't, and perhaps also track down the original
sources for specific costumes - portraits and the like.

     At the region 6 Costume Society of America meeting, they had (and
will have again) "Hollywood Huzzas and Howlers".  People could bring
their favorite Best & Worst of film costume.

     -Carol

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Subject: Re: [h-cost] Historical Movies--longish
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Ann - I was sipping tea when I read this and almost spit it out all over my keyboard!!!! ROTFLMAO

>>(a friend of mine who went to see it with her teenaged >>daughter found the leads so obnoxious that she was >>rooting for the North Atlantic)

Glad to know I wasn't the only one who didn't care for the lead actors.

In reference to the conversation that has been going on about history vs. movie accuracy - it's sad to say, but sometimes movies are the only way some people know about "big events". When I was watching Titanic in the theater, the lady in front of me very loudly - and with VERY genuine shock - said "Oh my god! The boat is sinking!!!" I mean really, that's not exactly news or a little known fact hard to distinguish from the real story! 

Wendi

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> One of the things good teachers do, in addition to teaching how to
> evaluate evidence logically, is teach about evaluating sources.
> Movies, by their very nature, are not good or reliable sources.

     Definitely!  My first Costume History teacher, Fran Mayhew at the
University of Delaware, made a point of using several sources and
looking out for the inaccuracies in the source.

     Regarding movies, one friend assigned a project of reporting on the
costumes from a movie of their choice.  They could discuss what's
right and what isn't, and perhaps also track down the original
sources for specific costumes - portraits and the like.

     At the region 6 Costume Society of America meeting, they had (and
will have again) "Hollywood Huzzas and Howlers".  People could bring
their favorite Best & Worst of film costume.

     -Carol


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Acrually, we can make it costume related in two ways. :)

One is, where they mention the masks and robes that are worn by the
order in the basement of the grandfather, seeing how they depict
that and finding references to such 'attaire' in historical books. I
remember when harry potter first came out and everyone wanted to
know the basis of the professors robes. So there is your costume tie
in. :)

The other one would be that since we here on this list are so widely
varied in background and knowledge some of us must know of other
mailing lists where they are holding discussions about the phenomina
that is covered by these books and movies.

If we start gathering a collection of links to those discussion
boards and lists we can refer anyone that comes here with more
questions that are not really costume related to those lists of our
archives where they can find the posts.

Sound reasonable?

Chiara


On Mon, April 24, 2006 2:10 pm, Kahlara said:
> Can't think of a way to make this costume related...
>
>   The Roslyn Chapel is going to be overrun by tourists - as is every
> other bit of religious architecture mentioned in the story, and in
> the "prequel" Angels and Demons. I've read both and they are fun
> reading...also find it interesting that the Knights Templar, the
> society of Free Masons and King Solomon's treasure have been a hot
> topic in recent years. (National Treasure with Nicholas Cage is
> another example)
>
>   It is definitely going to cause a stir. I've already had heated
> discussions bordering on arguements with my fMIL before and after
> her reading the book because she see this as factual proof of her
> belief that the Catholic church (and hence all christians) have
> been lying - a strong opinion for an atheist who has never even
> read the bible or studied religion in general.
>
>   Annette M
>
>
>   Message: 3
> Date: Mon, 24 Apr 2006 11:35:38 -0500
> From: "E House"
> Subject: Re: [h-cost] Historical Films
>
> ----- Original Message -----
> From: "Susan Carroll-Clark"
>> I don't even want to think about what church historians and
>> Renaissance
>> historians are going to go through when the Da Vinci Code movie
>> comes out.
>> There are going to be an awful lot of people who will think it's
>> entirely
>> factual.
>
> My church is actually doing a month-long sermon series on the Da
> Vinci Code,
> and has assigned the entire congregation 'homework' of reading the
> book!
>
> -E House
>
> ---------------------------------
> Yahoo! Mail goes everywhere you do.  Get it on your phone.
> _______________________________________________
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> 
> Which wouldn't be a problem in the history classroom, if it weren't for 
> the fact that the time spent on it is time not spent teaching and 
> learning about real history (including good and reliable sources). And 
> it wouldn't be a problem in the world at large if it weren't for the 
> fact that being able to evaluate sources and use them appropriately, and 
> generally being able to tell reliable from unreliable information, isn't 
> a skill important only for professional historians -- it's important for 
> managers and workers (regardless of industry), voters, jurors, parents, 
> and so on. It's important for many every day, real world decisions -- 
> even, in some cases, life and death decisions.

Hey, I studied to be a historian too. No reasonable instructor expects 
students to come to a classroom as cultural blanks. But I really don't 
remember any of this type of "problem" from when I was a college 
student--other adult students thinking films (or novels) were reality.

Yes, analytical ability is important, and there are many people who 
don't use it much.  It tends to be at odds with social conformity, which 
many people are more comfortable with. Analytical ability is also not 
encouraged in many situations where it should be--when they are 
selecting jurors for a trial of any importance, I've noticed they tend 
to weed out prospects with graduate degrees.

Still, most people do filter ads and entertainment through a certain 
degree of skeptism.


> That such comments inevitably get not only strong reactions but also 
> misinterpreted just demonstrates that the subject isn't all that obvious 
> or a non-issue and that there is indeed a need for people to make such 
> comments and observations.

I don't know, from your statements, whether you are professionally a 
teacher or not.  If you are giving classes, lectures, workshops, etc., 
to which people have come voluntarily, then it is your job to educate 
them.  If you have kids, it's your job to educate them.

If you're among other adults in a social situation, it is not your job 
to educate them. Among reenactors, saying (rightly or wrongly) that you 
know something they don't, or (rightly or wrongly) that you are more 
"accurate," is a common status game.

My saying that does not mean I  have a "strong reaction" against 
statements that people should analyze data. I was taught to all my life, 
by my parents, so you're preaching to the choir there.  Nor does it mean 
that I see films as anything but entertainment.

It means that in my own analysis of data, I've often observed that 
teaching as one-upmanship is a social pattern among certain groups of 
people.

While I think the whole world and every situation is a venue for 
educating yourself, I don't think it's a proper venue for educating 
everyone else.  Give classes, lectures, workshops, to which people come 
voluntarily.  Write books, articles, or websites they read voluntarily.

But if you really go around socially taking "every opportunity" to 
lecture everyone on all the "innacuracies" of every film they see, 
assuming they have no analytical ability and need you to save them from 
their illusions--you're just getting in their faces.

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





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Subject: Re: [h-cost] Re: da vinci code (was historical films)
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In a message dated 4/24/2006 3:11:42 P.M. Eastern Standard Time,  
kahlara@yahoo.com writes:

factual  proof of her belief that the Catholic church (and hence all 
christians) have  been lying - a strong opinion for an atheist who has never even read 
the bible  or studied religion in general.



*****************
 
How did she manage to avoid it all? Where does she live? Antarctica?
 
I'm an atheist and I say the only thing worse is a religionist who has  never 
even read the bible or studied religion in  general.

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I think that clothing
> history has for the most part been taught as a straight survey course, 
> but this is a disservice to the field and to the students. 

When I was simultaneously studying history, clothing design, and textile 
arts, I didn't even bother taking the "History of Costume" course given 
as part of the clothing design course. From the description, it looked 
just like what I'd already read in books like Boucher's _2,000 Years of 
Costume_, if I have the title right.

But this was because I'd already read Boucher, and some similar books. 
I think there is definitely a place for lecture survey courses, 
including "History of . . ." It's a good place for people to start 
learning about a subject.  An instructor can give the facts without 
specifically trying to counter a million "misconceptions."

> My goal as a teacher is to teach.  Self-Righteous Guardian of Knowledge? 
>  I suppose it's possible--I might come off as self-righteous, and it's 
> my business to further the knowledge of others.  But again I say to you 
> that it's not contempt that I have about people's misconceptions, it's 
> frustration that those misconceptions and their way of thinking and 
> learning make it harder for me to teach them as much as I would like to 
> in a semester. 

As I said in another message, you cannot expect students to start a 
class as cultural blanks.  And there are ways you can use references to 
films, and fiction, to get people interested in a subject and then play 
off it.

  Is this a Great Tragedy?  No.  But I strive for
> excellence in my profession, however insignificant it may be in the 
> grand scheme of things, and I hope for excellence in my students as well 
> in the classes that I teach.  Does the fact that I don't know the inner 
> workings of physics (which of course are important and I'm sure would be 
> interesting) mean that I shouldn't strive for excellence in my classroom 
> and expect the same from my students?

No, if you're a professional teacher.

But I do get tired of reenactors talking like they're the only group who 
researches or analyzes anything.  Especially when a lot of the time, 
"research" seems to consist of appointing a social authority (or rather, 
allowing someone to attain that status) and then following whatever that 
person says, wears, etc.

Fran
Lavolta Press
http://www.lavoltapress.com
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: <h-costume@indra.com>
Date: Mon, 24 Apr 2006 22:31:38 +0200
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Subject: [h-cost] about shaping bones in stays
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Hello,
I am in the middle of making the 1740- 50 stays from -Corsets and
Crinolines. My client is a very small person.
In making the internal boning, that is shaping the stays i wondered if any
here know how thick those would have ben?
I am a little concerned that my client might be heard from the bones i have
made internal.
You can see the stays here:
http://home0.inet.tele.dk/drewscph/stays_1740.htm
I am going to line the stays with a layer of linnen, but i thoaght perhaps i
should make some padding over the internal bones?

Bjarne






Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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Subject: Re: [h-cost] Teaching, was: Historical Films
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And, we are wandering from the original point, which was "Hollywood 
should make more accurate films."  It's reasonable to discuss Hollyoowd 
films in a classroom.  It's not reasonable to complain that they should 
all be made differently to support your teaching.

Fran

aquazoo@patriot.net wrote:

>>One of the things good teachers do, in addition to teaching how to
>>evaluate evidence logically, is teach about evaluating sources.
>>Movies, by their very nature, are not good or reliable sources.
> 
> 
>      Definitely!  My first Costume History teacher, Fran Mayhew at the
> University of Delaware, made a point of using several sources and
> looking out for the inaccuracies in the source.
> 
>      Regarding movies, one friend assigned a project of reporting on the
> costumes from a movie of their choice.  They could discuss what's
> right and what isn't, and perhaps also track down the original
> sources for specific costumes - portraits and the like.
> 
>      At the region 6 Costume Society of America meeting, they had (and
> will have again) "Hollywood Huzzas and Howlers".  People could bring
> their favorite Best & Worst of film costume.
> 
>      -Carol
> 
> _______________________________________________
> 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: The Hype will go on.....
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In a message dated 4/24/2006 2:51:30 P.M. Eastern Standard Time,  
rmitchell@washjeff.edu writes:

I was  only willing to speak about a couple of the hats in a more
or less  complimentary manner and they couldn't  understand...



This might be one where the extras are actually better dressed than the  
principals.  I understand from a dealer friend of mine that they used  actual 
vintage clothes (yes, gasp!) for many of the extras.
 
Ann Wass
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Just realized it has been a month since I attended Robin's lectures in Oregon!
   
  Wow, they were great. Very informative. I am sure she has saved me a lot of time, frustration and money. I'm glad I put off making my dress until after I went to the lectures. It also helped me narrow the period of everyone else's clothing, as most of the women have picked a variation of the GFD already!
   
  I did take some pictures and they turned out good. I'll be forwarding them to Robin first for approval. I think the pictures are fine, but know for my own self I am never happy with pictures of me that other people think are just fine.
   
  Robin - there was one painting you used for reference that depicted several sleeve types, including a woman kneeling in the background wearing a dark blue gown with white tippets. What is that painting/illumination? and is it easily found either online or in a book somewhere?
   
  Annette M

		
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aquazoo@patriot.net wrote:
> 
>      Regarding movies, one friend assigned a project of reporting on the
> costumes from a movie of their choice.  They could discuss what's
> right and what isn't, and perhaps also track down the original
> sources for specific costumes - portraits and the like.

I do this in my class, too--they all present their findings, with movie 
clips, to the rest of the class.  Fun and education at the same time!

Next time, I'm bringing popcorn...

Melanie Schuessler

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Date: Mon, 24 Apr 2006 15:58:38 -0500
To: h-costume@indra.com
From: Beth and Bob Matney <bmatney@alltel.net>
Subject: Re: Re: [h-cost] Update on Henry VIII book
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At 01:04 PM 4/24/2006, you wrote:
>Date: Mon, 24 Apr 2006 13:10:17 -0500 (CDT)
>From: Robin Netherton <robin@shell.nightowl.net>

It arrived today via USSnail (must be a racing snail) since I posted this 
morning!

Beth


>On Mon, 24 Apr 2006, Beth and Bob Matney wrote:
>
> > BTW Amazon told me that my copy of your book (2) was shipped Saturday.
>
>I'll be interested in knowing when people get their copies. I still don't
>have mine, which is apparently on the slow boat from England.
>
>--Robin

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Subject: Re: [h-cost] Historical Films
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In a message dated 4/24/2006 4:14:09 P.M. Eastern Standard Time,  
fran@lavoltapress.com writes:

Nor does  it mean 
that I see films as anything but  entertainment.



**************
 
Hopefully, every once in a while, there's some  ART!
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Beautiful!
 
It doesn't look too bad or that it would be uncomfortable to me. Especially  
with a lining and the bunched up chemise between the bones and the body. But 
it  also can't hurt to put some light padding...maybe just some felt....over 
those  bones.
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Subject: Re: [h-cost] Teaching, was: Historical Films
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>>One of the things good teachers do, in addition to teaching how to
>>evaluate evidence logically, is teach about evaluating sources.
>>Movies, by their very nature, are not good or reliable sources.
> 
> 
>      Definitely!  My first Costume History teacher, Fran Mayhew at the
> University of Delaware, made a point of using several sources and
> looking out for the inaccuracies in the source.
> 
>      Regarding movies, one friend assigned a project of reporting on the
> costumes from a movie of their choice.  They could discuss what's
> right and what isn't, and perhaps also track down the original
> sources for specific costumes - portraits and the like.
> 

Good examples of "teaching."  My point is, as I said in another message, 
that I don't think a social venue is appropriate for this sort of thing. 
  People seem to be talking about "teaching" without making it clear 
whether they are in a classroom or not.

Fran
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Hi,
Thanks, yes felt would be a good solution.
Thanks for that idea.

Bjarne

----- Original Message ----- 
From: <AlbertCat@aol.com>
To: <h-costume@indra.com>
Sent: Monday, April 24, 2006 11:12 PM
Subject: Re: [h-cost] about shaping bones in stays


> Beautiful!
>
> It doesn't look too bad or that it would be uncomfortable to me. 
> Especially
> with a lining and the bunched up chemise between the bones and the body. 
> But
> it  also can't hurt to put some light padding...maybe just some 
> felt....over
> those  bones.
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 


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Greetings--

AnnBWass@aol.com wrote:
> I DID refuse to see "Titanic"--couldn't take what I had heard on the  
> liberties with the story (a friend of mine who went to see it with her teenaged  
> daughter found the leads so obnoxious that she was rooting for the North  
> Atlantic).  I think "A Night to Remember" tried to get the story right, but  I haven't 
> seen it in years, so I might hate it now.
>   
I went to "Titanic" to see all the CGI they did with the ship.  For all 
of the cheezy storylines, the research they did into the actual sinking 
was quite well done.  The ship broke where it was supposed to break and 
did more or less what the current research was saying it did.  I was 
just eating up all of the scenery--the dining rooms, the staircases, the 
staterooms, even the 3rd class areas.  And the reciprocating engine 
shots in IMAX were worth the price of admission themselves.  (And no, 
Leo isn't scenery.  I'm much more of a Ralph Fiennes type.)

"A Night to Remember" was quite well done, especially for the time.  It 
was quite closely based on Walter Lord's book.

Susan
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Subject: [h-cost] Re:  Titanic film
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Considering how many people tragically died on the Titanic, and 
considering that something is known about the more upper-crust ones at 
least, I was amazed the producers didn't use a real story with main 
characters who were really there.  I once read an amazing account of the 
sinking by a telegraph operator who stayed almost to the end, but 
survived because he was picked up by an overloaded lifeboat crewed by 
passengers so nautically clueless he'd had to help them get the lifeboat 
off the deck earlier (they felt they owed him one).  And there must be 
other memoirs too.

I refused to see the film for a long time because of the lack of a 
"real" story, but I did eventually. I thought it was OK, although Rose 
and Jack were too sappy.  At the end of the film, when she drops the 
megadiamond into the ocean, I thought, "She's had this thing for decades 
and _still_ hasn't figured out how to fence it?"

The clothes weren't perfect, but they weren't bad.  I've had a 
lightweight wool 1910s women's suit around for years, meaning to reline 
it, that is almost exactly like one Rose or her mother (I forget which) 
was wearing to get on board the ship.

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

> I thought the clothes were great, and the cinematography was fab...the 
> plot on the otherhand left a bit to be desired.
> 
> Kelly _______________________________________________
> 
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Historical Films
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> 
> **************
>  
> Hopefully, every once in a while, there's some  ART!
>
The line between entertainment and art is extremely flexible, unless 
there's so much art you can't possibly view it as entertainment.

With novels, it's like Charles Dickens, and many other authors, are one 
generation's entertainment. Then later, just because they're old, they 
get canonized in English Lit classes as ART.  Don't get me wrong, I'm 
perfectly happy to read the stuff and discuss the symbolism in it to my 
and everyone else's heart's content.  But it still seems a little 
ironic.  The same with music--opera used to be popular entertainment.

I'm not sure exactly how this works with films, as they are a newer art 
form and I never took any film studies classes.  I do tend to quit 
viewing a film that doesn't even try to tell you what's going on. Like 
"The Aviator"--the one about Howard Hughes--after about half an hour I 
figured if there was going to be a plot it would have been apparent by 
then. So I turned off the DVD and later got rid of it.

Fran
Lavolta Press
http://www.lavoltapress.com
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Subject: Re: [h-cost] Historical Films
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In a message dated 4/24/2006 6:58:30 P.M. Eastern Standard Time,  
fran@lavoltapress.com writes:

Then  later, just because they're old, they 
get canonized in English Lit classes  as ART.


********************
 
I don't think being old is the ONLY reason Dickens is  revered!
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From h-costume-bounces@indra.com  Mon Apr 24 19:13:15 2006
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Date: Mon, 24 Apr 2006 18:44:42 -0500 (CDT)
From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Robin Netherton/GFD and other lectures
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On Mon, 24 Apr 2006, Kahlara wrote:

>   Wow, they were great. Very informative. I am sure she has saved me a
> lot of time, frustration and money. I'm glad I put off making my dress
> until after I went to the lectures. It also helped me narrow the
> period of everyone else's clothing, as most of the women have picked a
> variation of the GFD already!

I'm so happy to hear this!

I'm looking forward to seeing the pictures. The camera hates me and I have
become used to that; every professional photographer I've been worked with
has commented on it. (And people have been known to blurt out on first
meeting, "Wow, you look so much better than your pictures!") As long as I
think they aren't misleading about the costumes, though, and they don't
break any copyright laws, I'll be happy for you to post them after I've
seen them.

>   Robin - there was one painting you used for reference that depicted
> several sleeve types, including a woman kneeling in the background
> wearing a dark blue gown with white tippets. What is that
> painting/illumination? and is it easily found either online or in a
> book somewhere?

I had a lot of sleeve examples, but only one I can think of with a
kneeling woman with tippets; that would be the April calendar page from
the Tres Riches Heures:

http://humanities.uchicago.edu/images/heures/april.jpg

Is that it?

I believe this is the latest example, by far, that I've seen of tippets,
which were out of fashion by a decade or two at the time of this painting
(about 1410-15). It may be that this was a deliberate reference to a known
person known to the patron (e.g. an older family member shown in her
youth, or someone who had died earlier). I've never seen anyone discuss
it, and I suspect that a costume archaism of a generation or less goes
unnoticed by most art historians.

--Robin

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Date: Mon, 24 Apr 2006 19:10:15 EDT
Subject: Re: [h-cost] Historical Films
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In a message dated 4/24/2006 6:58:30 P.M. Eastern Standard Time,  
fran@lavoltapress.com writes:

But it  still seems a little 
ironic.  The same with music--opera used to be  popular entertainment.



*****************
 
C'mon Fran! You're acting like everything starts out on a equal footing!  NOT!
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From: Lavolta Press <fran@lavoltapress.com>
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Subject: Re: [h-cost] Historical Films
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I'm not saying that all books or films are equally good, by a long shot. 
  But I also don't think cultural survival is purely a Darwinian matter 
of "survival of the fittest."

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

AlbertCat@aol.com wrote:
>  
> In a message dated 4/24/2006 6:58:30 P.M. Eastern Standard Time,  
> fran@lavoltapress.com writes:
> 
> But it  still seems a little 
> ironic.  The same with music--opera used to be  popular entertainment.
> 
> 
> 
> *****************
>  
> C'mon Fran! You're acting like everything starts out on a equal footing!  NOT!
> _______________________________________________
> 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: Firefly browncoat
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> Date: Sat, 22 Apr 2006 18:39:58 -0500
> From: "E House" <formfunc@formfunction.org>
> Subject: Re: [h-cost] Re: Firefly browncoat
> To: "Historical Costume" <h-costume@indra.com>
> Message-ID: <02d901c66666$130c2c20$9400a8c0@compaqub>
> Content-Type: text/plain; format=flowed; charset="iso-8859-1";
>         reply-type=original
>
> ----- Original Message -----
> From: "A. Thurman" <athurman@gmail.com>
> > Fellow "browncoat" here! Probably a better question for the f-costume
> > list, but seeing as you brought it up:
> >
> > What pattern (if any) did you use for your husband's browncoat? I'm
> > toying with making Zoey's outfit.
>
> Yay, more browncoats!  (And oh yeah, I'd forgotten there was an f-costume--I
> should subscribe to that.)
>
> I'm afraid I made my own pattern... couldn't find any that worked right.
> The closest I saw was the Simplicity Matrix coat pattern (5386) but it would
> have needed so much alteration that I decided not to bother.  The basic
> construction is a single left & right panel on the front, shaped side seams
> with slits starting about hip level, three shaped panels at the back below a
> yoke, a tuxedo collar, and wide cuffed sleeves with the seam along the back
> of the arm. If you buy about 5 different patterns, you could probably put
> them all together and get something, but oww!

I'll have to take a closer look at both the series and the movie with
the "pause" button at the ready. I guess I'm thinking "duster =
tailoring" and am perhaps assuming that it's more complicated than it
is!

As it is, if I ever get to this project, I'd have to use ultrasuede or
similar - I've never worked with leather and if I'm not certain of the
pattern it would be a very expensive mistake if I made one!
>
> Here's pics, btw:
> http://www.formfunction.org/temp3/malcoatfront.jpg
> http://www.formfunction.org/temp3/malcoatback.jpg (looks a lot more rumpled
> in the photos, for some reason!)
> I made the mistake of using suede that was waaaaaaaaay too thick, and still
> haven't found the right clasp/buckle thingies for the front of it, grumble.

Thanks for the photos! (filing away for future use)
>
> Are you thinking of the neat leather vest thingy Zoey wears?  Sounds like
> fun!  I've been meaning to make the duster she wears in "Train Job" (while
> actually on the train) for a while, but haven't gotten around to it yet... I
> should do that someday.

I'm thinking of the full kit - vest, duster over, riding pants, etc.
I'm sure there's a Firefly costuming site out there, I just have to
look!
>
> -E

OB H-costume: much of the settlers' clothing in Firefly appears to be
heavily based on American frontier/19th century clothing (think
"Little House On The Prairie"). In one scene one of the heroes wears a
very fetching pink floral bonnet as a disguise :P

Allison T.

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Subject: [h-cost] Re: Firefly browncoat
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> Date: Sat, 22 Apr 2006 18:39:58 -0500
> From: "E House" <formfunc@formfunction.org>
> Subject: Re: [h-cost] Re: Firefly browncoat
> To: "Historical Costume" <h-costume@indra.com>
> Message-ID: <02d901c66666$130c2c20$9400a8c0@compaqub>
> Content-Type: text/plain; format=flowed; charset="iso-8859-1";
>         reply-type=original
>
> ----- Original Message -----
> From: "A. Thurman" <athurman@gmail.com>
> > Fellow "browncoat" here! Probably a better question for the f-costume
> > list, but seeing as you brought it up:
> >
> > What pattern (if any) did you use for your husband's browncoat? I'm
> > toying with making Zoey's outfit.
>
> Yay, more browncoats!  (And oh yeah, I'd forgotten there was an f-costume--I
> should subscribe to that.)
>
> I'm afraid I made my own pattern... couldn't find any that worked right.
> The closest I saw was the Simplicity Matrix coat pattern (5386) but it would
> have needed so much alteration that I decided not to bother.  The basic
> construction is a single left & right panel on the front, shaped side seams
> with slits starting about hip level, three shaped panels at the back below a
> yoke, a tuxedo collar, and wide cuffed sleeves with the seam along the back
> of the arm. If you buy about 5 different patterns, you could probably put
> them all together and get something, but oww!

I'll have to take a closer look at both the series and the movie with
the "pause" button at the ready. I guess I'm thinking "duster =
tailoring" and am perhaps assuming that it's more complicated than it
is!

As it is, if I ever get to this project, I'd have to use ultrasuede or
similar - I've never worked with leather and if I'm not certain of the
pattern it would be a very expensive mistake if I made one!
>
> Here's pics, btw:
> http://www.formfunction.org/temp3/malcoatfront.jpg
> http://www.formfunction.org/temp3/malcoatback.jpg (looks a lot more rumpled
> in the photos, for some reason!)
> I made the mistake of using suede that was waaaaaaaaay too thick, and still
> haven't found the right clasp/buckle thingies for the front of it, grumble.

Thanks for the photos! (filing away for future use)
>
> Are you thinking of the neat leather vest thingy Zoey wears?  Sounds like
> fun!  I've been meaning to make the duster she wears in "Train Job" (while
> actually on the train) for a while, but haven't gotten around to it yet... I
> should do that someday.

I'm thinking of the full kit - vest, duster over, riding pants, etc.
I'm sure there's a Firefly costuming site out there, I just have to
look!
>
> -E

OB H-costume: much of the settlers' clothing in Firefly appears to be
heavily based on American frontier/19th century clothing (think
"Little House On The Prairie"). In one scene one of the heroes wears a
very fetching pink floral bonnet as a disguise :P

Allison T.

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> I don't think being old is the ONLY reason Dickens is  revered!

Oh, Dickens is good, but his works were popular literature in his time.

Whereas the later James Joyce gets revered as ART, but not much read 
otherwise. Probably people deciding it was porn was the only reason 
anyone bought it when it was first published.

It's amazing what does and does not get preserved.

I've got, BTW, an anonymous 1870s British melodrama I bet would make a 
super BBC miniseries. It's got a cliffhanger at the end of every serial 
installment, and for modern relevance it even has a racial tolerance 
theme (the heroine is a "mulatto" among whites in Britain).  This isn't 
high art at all, but it's not bad and would make just as good a series 
at many of the others.  I've never wrote a script in my life, but 
sometimes I'm tempted to try with some of these publications.

And why the heck doesn't BBC do Vita Sackville-West's bestseller _The 
Edwardians_?  It would make a much better film than Virgina Woolf's 
stuff, which doesn't tend to translate well.

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


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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] about shaping bones in stays
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At 21:31 24/04/2006, you wrote:
>Hello,
>I am in the middle of making the 1740- 50 stays from -Corsets and
>Crinolines. My client is a very small person.
>In making the internal boning, that is shaping the stays i wondered if any
>here know how thick those would have ben?
>I am a little concerned that my client might be heard from the bones i have
>made internal.
>You can see the stays here:
>http://home0.inet.tele.dk/drewscph/stays_1740.htm
>I am going to line the stays with a layer of linnen, but i thoaght perhaps i
>should make some padding over the internal bones?


Bjarne

This would have been thin slices of whalebone, which is flexible. The 
German boning is more rigid than true whalebone. I used Rigilene, 
which is what I make all my pre Victorian corsets with, plus a few 
rigid steels centre front and down the back lacing.

Suzi 


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Subject: Re: [h-cost] Re: The Hype will go on.....
Date: Mon, 24 Apr 2006 20:59:36 -0400
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This thought about hats occurred to me later...have had local 'extras' speak
about being better (more historically costumed)than the principals.
I once had a very minor role in "Mame" where I was given permission to
provide my own 'cast' costumes.I appeared at the dress rehearsal in five
scenes wearing vintage (Gasp) garments...and found myself in competition
with the costumes provided for 'Mame'!  The costumer had committed herself
to do the costumes for "Mame".  No one thought she had meant that literally!
  Any way, I went to my vast cupboard the next day and raided the stash so
that the other principals were at least as well costumed as my self. (Sort
of 'Hedge your bets")  Otherwise, I could never have worn some of my
favorite ensembles.Sigh.
Some of these were vintage (and able) and some from my own design based on
the more fragile vintage. "C'est la vie"

----- Original Message ----- 
From: <AnnBWass@aol.com>
To: <h-costume@indra.com>
Sent: Monday, April 24, 2006 3:05 PM
Subject: Re: [h-cost] Re: The Hype will go on.....


>
> In a message dated 4/24/2006 2:51:30 P.M. Eastern Standard Time,
> rmitchell@washjeff.edu writes:
>
> I was  only willing to speak about a couple of the hats in a more
> or less  complimentary manner and they couldn't  understand...
>
>
>
> This might be one where the extras are actually better dressed than the
> principals.  I understand from a dealer friend of mine that they used
actual
> vintage clothes (yes, gasp!) for many of the extras.
>
> Ann Wass
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>

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From: stilskin@netspace.net.au
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Mel Gibson flicks
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Hang on...is this thread about Mel Gibson being good (in which case we call him 
an Australian) or something bad (in which case he is an American)?

-C.


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From: "Sue Clemenger" <mooncat@in-tch.com>
To: "Historical Costume" <h-costume@indra.com>
References: <322.307f142.317e510b@aol.com>
Subject: Re: [h-cost] Historical Movies--longish
Date: Mon, 24 Apr 2006 20:00:48 -0600
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I refused to see _Titanic_ because I generally hate romances, and I truly
hate overly-hyped romances, especially when you know how it's going to
end...hello? North Atlantic 1, Boat 0! <g>
That said, I did catch a bit of the end on television just this past
year--the bit where the boat is sinking.  Wonderful imagery.  And all of
those survivors, who died of exposure, floating frozen in that water--for
some reason, it really haunts me.  I'm going to rent it some weekend,
despite the romance....
--Sue in Montana

----- Original Message -----
From: <AnnBWass@aol.com>
To: <h-costume@indra.com>
Sent: Monday, April 24, 2006 10:04 AM
Subject: [h-cost] Historical Movies--longish


> <snipped>
> I DID refuse to see "Titanic"--couldn't take what I had heard on the
> liberties with the story (a friend of mine who went to see it with her
teenaged
> daughter found the leads so obnoxious that she was rooting for the North
> Atlantic).  I think "A Night to Remember" tried to get the story right,
but  I haven't
> seen it in years, so I might hate it now.


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Subject: Re: [h-cost] Historical Movies--longish
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I saw the exhibit in Memphis, TN and could not relate to the tragedy of the 
sinking of the Titanic. It was much more than the exhibit here in 
Harrisburg, PA this past year. The first exhibition was massive with 
artifacts and personal items of the people who were on that voyage. It 
included hair brushes, toilettries, clothing, a bola hot, perfume bottles of 
delicate handblown glass with the stoppers still in them, Red Star line 
dishes that were not chipped or broken, the deck chairs. Over one stairway 
loomed one of themassive propellors, BIGGG PROPELLOR hanging way up at the 
ceiling... seemingly weightless as it hung lifeless, while I thought it 
would have fallen and crashed to the floor of the ocean. One great wall of 
the exhibit recreated the front staircase with the statue standing regally 
at it ascended the height of the many floors to the upper decks. It was very 
intimidating and had a great imapct on the people who saw it. Laster when 
the movie came out, I realized the real importance of the exhibit. I wished 
I could have seen the movie THEN the exhibit. A good story, yes. All fact, 
no. No one knows exactly what happened to all those people. Those who were 
below deck did not live to tell their tales. Mostly the rich survived, and 
some of them didn't make it either. If it was fiction, fine. It still 
connected to those who lost their lives and made that historic event 
something my generation had never heard of. Yes, it was a script based on 
fact. It still had the realism of that cold watery grave that echoes through 
time to our generations.
I liked the movie and th music... until every radio station in the US played 
it over and over and over all day long. That made it a less than enjoyable 
event for me. But after a few years of not hearing that song, it renewed 
it's favor with me. So there. I'm a movie buff and enjoy going. It's a break 
from reality. Yes, I don't hold it as all true fact... otherwise it would be 
a documentary.
----- Original Message ----- 
From: "Sue Clemenger" <mooncat@in-tch.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Monday, April 24, 2006 10:00 PM
Subject: Re: [h-cost] Historical Movies--longish


>I refused to see _Titanic_ because I generally hate romances, and I truly
> hate overly-hyped romances, especially when you know how it's going to
> end...hello? North Atlantic 1, Boat 0! <g>
> That said, I did catch a bit of the end on television just this past
> year--the bit where the boat is sinking.  Wonderful imagery.  And all of
> those survivors, who died of exposure, floating frozen in that water--for
> some reason, it really haunts me.  I'm going to rent it some weekend,
> despite the romance....
> --Sue in Montana
>
> ----- Original Message -----
> From: <AnnBWass@aol.com>
> To: <h-costume@indra.com>
> Sent: Monday, April 24, 2006 10:04 AM
> Subject: [h-cost] Historical Movies--longish
>
>
>> <snipped>
>> I DID refuse to see "Titanic"--couldn't take what I had heard on the
>> liberties with the story (a friend of mine who went to see it with her
> teenaged
>> daughter found the leads so obnoxious that she was rooting for the North
>> Atlantic).  I think "A Night to Remember" tried to get the story right,
> but  I haven't
>> seen it in years, so I might hate it now.
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 
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Date: Mon, 24 Apr 2006 19:25:51 -0700
To: Historical Costume <h-costume@indra.com>
From: "Sharon L. Krossa" <skrossa-ml@medievalscotland.org>
Subject: Re: [h-cost] Teaching, was: Historical Films
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At 1:35 PM -0700 4/24/06, Lavolta Press wrote:
>Good examples of "teaching."  My point is, as I said in another
>message, that I don't think a social venue is appropriate for this
>sort of thing.  People seem to be talking about "teaching" without
>making it clear whether they are in a classroom or not.

Is teaching banned outside of classrooms, then? What a pity -- but in 
that case, I guess this mailing list should be shut down. Wouldn't 
want to encourage any illicit teaching and learning!

Sharon
-- 
Sharon Krossa, skrossa-ml@MedievalScotland.org
Resources for Scottish history, names, clothing, language & more:
     Medieval Scotland - http://MedievalScotland.org/
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From: Susan Carroll-Clark <nicolaa@rogers.com>
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Historical Movies--longish
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Greetings--

Sue Clemenger wrote:
> That said, I did catch a bit of the end on television just this past
> year--the bit where the boat is sinking.  Wonderful imagery.  And all of
> those survivors, who died of exposure, floating frozen in that water--for
> some reason, it really haunts me.  I'm going to rent it some weekend,
> despite the romance....
You can do what I do.  In the bit where Kate Winslett is holding onto 
Leo's hand after the boat has sunk, you can chant "Just let go!  Just 
let go!"

Makes it much more fun that way :-)

Susan
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Date: Mon, 24 Apr 2006 17:02:43 EDT
Subject: Re: [h-cost] Historical Films
To: h-costume@indra.com
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In a message dated 4/24/2006 3:33:08 P.M. Eastern Standard Time,  
skrossa-ml@medievalscotland.org writes:

As  a
>>person who teaches costume history to college  students,


******************
 
When teaching the actual history of costume, movies can indeed be a pain in  
the ass. But if you're teaching design, and costuming, they can be most 
helpful.  Especially in periods that are difficult with hoops and corsets and 
padding and  other contraptions. Learning by example.
 
"Gone With the Wind" can be helpful at showing how hoops move, and is full  
of the most helpful details as costume relates to character and changes....like 
 removing hoops because of a change of fortune [now the skirt drags, how can  
you as a designer use that?] or the dilemma of Melanie arriving at Tara 
during  the war in her night gown and nothing else.[Put her in something already at 
 Tara:  one of Careen's or Suellen's gowns. Plunket's solution is  to put 
Melanie in the same skirt you saw Careen in before the  war....emphasizing it 
because it is only tea length so a piece of black cloth is  sewn to the bottom of 
it to make it reach the floor. It's thinking things  through.]
 
"Dangerous Liaisons" is helpful in seeing what you can achieve with  
panniers. Couple it with "Tom Jones" and you can see how the approach to  construction 
of good design can make or break it. "DL" has respect for period  methods 
whereas Tom Jones has perfectly good designs, all with zippers up the  
back...alas.
 
"The Bostonians" and "Age of Innocence" shows students how they may have  to 
deal with movement and sitting and such in a difficult period [cuirass  
bustle]. And a film like "The Piano" illustrates how using a period hair style  we 
find strange or ugly enhances character [so "pretty" is not always the goal]  
and how using and mixing up "native" materials can create a sense of  reality 
and interest [waistcoats made of Maori fabrics and the native woman  who wears 
with her cast off European gown a top hat and tail coat.] If you're  doing "A 
Doll's House", how can you make fashions look like Norway? What  details will 
keep opera goers reminded of Seville in "Le Nozzi di Figaro?"
 
But this is design....not history. However, it helps to know and respect  
history so you can formulate interesting feats like these to help make designs  
come alive.
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If you check the archives, there were some great posts about this at the
time. By Penny Ladnier, maybe?? Anyway, the way I recall it, most of the
original garments were bought to reproduce, not to use, and none of them
were drowned with the cast.

Gail Finke

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Date: Mon, 24 Apr 2006 17:24:49 -0400
From: monica spence <monicaspence@optonline.net>
Subject: RE: [h-cost] Mel Gibson flicks
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>It seems to me that it's the difference between making clothes for
>yourself--when you can do whatever you want--and working for other
>people--where you have to do what they want.

Yes-- especially if you want to get paid!

There is a major difference in having to do a show (we did "Otello" , the
opera, with 2 Desdamona's with only enough time and money to make 1 dress)
and making garb/reinacting stuff for yourself. Take museum work. It has
little to do with making clothes, just saving them and presenting them for
display.

I think we are all too critical about costume work in films. The director--
and sometimes the STARS have a majority of things to say about what is worn.

For my period, the 16th C.-- there is so little left to see. We have to
guess about a lot, based on what has survived and what we see in
paintings -- and the paintings  are someone's interpretation...
Frustrating-- you bet. But what a challenge to us all.

Monica
Teaching Roman clothing in Fashion History tomorrow...





-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of Lavolta Press
Sent: Monday, April 24, 2006 1:24 PM
To: Historical Costume
Subject: Re: [h-cost] Mel Gibson flicks


It is that much worse with movies.
> Rant rant... sorry, but people comment and complain who have not been in a
> position to do a theatrical/movie production. We all know that working on
> re-enactment clothing, or even SCA garb -- one at a time-- is a whole
other
> thing than doing 7000 costumes at once! :-) Thisng always get a little
iffy
> in movies-- because the director has a vision--- and he also has to make
> something "sell" to the audience...

It seems to me that it's the difference between making clothes for
yourself--when you can do whatever you want--and working for other
people--where you have to do what they want.
Fran
Lavolta Press
http://www.lavoltapress.com
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Date: Mon, 24 Apr 2006 15:00:29 -0700
To: Historical Costume <h-costume@indra.com>
From: Kimiko Small <kimiko@kimiko1.com>
Subject: Re: [h-cost] Historical Films: fact vs. fiction
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At 03:11 AM 4/24/2006, you wrote:
>Why else would Hollywood have the balls to make the new Titanic movie that 
>is comming out this summer...the one where they find Jack Dawson's body 
>frozen in a block of ice at the bottom of the North Atlantic, bring him to 
>the surface, thaw him out and he's perfectly healthy! I saw the trailer 
>the other night...look for it, but try not to gag!


Hi Kelly,

That's an amusing trailer all right... with clips from various movies of 
Leonardo's all cut together to make it seem "real"... as in a new movie 
coming out. But it is a fake, just in case people think this is a real 
movie trailer. I recognized various scenes from various movies I have 
watched, and some from other movie trailers. Whoever did this one is good, 
sorta. "warm liquid goo phase begins" was amusing, but a giveaway.

Ah, found the original web site:
http://www.vekay.com/titanic.html
by Derek Johnson

But I enjoyed watching it, so thanks for sharing this with us.

Kimiko


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Date: Mon, 24 Apr 2006 18:06:35 -0400
From: "Ron Carnegie" <r.carnegie@verizon.net>
Subject: Re: [h-cost] Historical Movies--longish
To: "Historical Costume" <h-costume@indra.com>
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I imagine that you must mean baggy seat, for teh American Revolution most 
certainly is not a perio for baggy breeches.  The proper fit is rather tight 
through the legs, though they shoul have a baggy, somewhat comical looking 
seat!

There was very little involvement by the way between Colonial Williamsburg 
an teh PAtriot, though they did obtain some props through us.

Ron Carnegie

----- Original Message ----- 
From: <AlbertCat@aol.com>
To: <h-costume@indra.com>
Sent: Monday, April 24, 2006 1:04 PM
Subject: Re: [h-cost] Historical Movies--longish


>
> In a message dated 4/24/2006 12:19:52 P.M. Eastern Standard Time,
> AnnBWass@aol.com writes:
>
> For  example, Mel Gibson's tight breeches in "The  Patriot"
> are totally  wrong but, as a professional designer friend of mine  pointed
> out,
> most people these days associate baggy pants with comedy.  So   you can't 
> put
> your action hero into them and expect him to be taken   seriously.
>
>
> *******************
> Not true. Ever see "The Three Musketeers"? The 1974 version? Try any 
> Sinbad
> [the sailor] films. Now PLAID baggy pants....that's different!  :-P
>
>
> Mel is in tight breeches because he's a hunk and people are there to see 
> his
> ass. Besides, breeches were pretty tight in the 1770s [thought not in the
> seat].
>
> Your designer friend is right about it having to do with modern 
> aesthetics,
> however.
> _______________________________________________
> 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:  Titanic film
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In a message dated 4/24/2006 6:45:34 P.M. Eastern Standard Time,  
fran@lavoltapress.com writes:

Considering how many people tragically died on the Titanic, and  
considering that something is known about the more upper-crust ones at  
least, I was amazed the producers didn't use a real story with main  
characters who were really there


*************************
 
 
BINGO! Especially if you're reproducing exactly all the china....just to  
break it.
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In a message dated 4/24/2006 6:45:34 P.M. Eastern Standard Time,  
fran@lavoltapress.com writes:

I  thought, "She's had this thing for decades 
and _still_ hasn't figured out  how to fence it?"




********************
 
I thought. "Hey....couldn't your daughter use that?!"
 
Well Rose couldn't make a decent decision in 1912, why would she  now?
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Hi, this is my first post...Hope I am doing this right.
I have been read the posts on the inaccuracies and how gullible the general
public is about believing every thing they see in movies. I am really new to
costume spotting but because of my DH the entire family is known to yell at
the screen in any movie historical or modern "PICK UP THE AMMO/WEAPON",  as
the good guy runs around ect...so now it will be punctuated with, "WHAT ARE
THEY THINKING THAT ISN'T EVEN THE RIGHT..." I will probably not be able to
get any of our friends to watch movies with us at all from now on. (Well
except for those who share our frustrations)

Susan
----- Original Message -----
From: <wendirae@bellsouth.net>
To: <h-costume@mail.indra.com>
Sent: Tuesday, April 25, 2006 5:42 AM
Subject: Re: [h-cost] Historical Movies--longish


> Ann - I was sipping tea when I read this and almost spit it out all over
my keyboard!!!! ROTFLMAO
>
> >>(a friend of mine who went to see it with her teenaged >>daughter found
the leads so obnoxious that she was >>rooting for the North Atlantic)
>
> Glad to know I wasn't the only one who didn't care for the lead actors.
>
> In reference to the conversation that has been going on about history vs.
movie accuracy - it's sad to say, but sometimes movies are the only way some
people know about "big events". When I was watching Titanic in the theater,
the lady in front of me very loudly - and with VERY genuine shock - said "Oh
my god! The boat is sinking!!!" I mean really, that's not exactly news or a
little known fact hard to distinguish from the real story!
>
> Wendi
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>


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Date: Mon, 24 Apr 2006 19:31:05 -0700
To: Historical Costume <h-costume@indra.com>
From: "Sharon L. Krossa" <skrossa-ml@medievalscotland.org>
Subject: Re: [h-cost] Teaching, was: Historical Films
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At 1:36 PM -0700 4/24/06, Lavolta Press wrote:
>And, we are wandering from the original point, which was "Hollywood
>should make more accurate films."

Was that the original point? Perhaps -- but it certainly wasn't my 
point, or that of several others who have posted in this discussion. 
(And since when must a discussion stick strictly only to the original 
point?)

>  It's reasonable to discuss
>Hollyoowd films in a classroom.  It's not reasonable to complain
>that they should all be made differently to support your teaching.

Who has made that complaint? Can you quote the post?

Sharon
-- 
Sharon Krossa, skrossa-ml@MedievalScotland.org
Resources for Scottish history, names, clothing, language & more:
     Medieval Scotland - http://MedievalScotland.org/
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http://www.browncoats.com/index.php?ContentID=431e5884d356e

http://www.browncoats.com/index.php?ContentID=431e4b510641f

I seem to recall someone posting that they used a basic "frock coat" pattern
from the "old west" or civil war era for the coat of Malcom Reynolds. But I
can't find the link now.  I know I rat-holed it, but I think the LAN pixies
rifled my files for nesting material again (curse your sudden but inevitable
betrayal!)


Patches

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In a message dated 4/24/2006 7:43:11 P.M. Eastern Standard Time,  
fran@lavoltapress.com writes:

But I  also don't think cultural survival is purely a Darwinian matter 
of  "survival of the fittest."




********************
 
Depends on that constitutes "fittest" ....but I get your point. Things  
beloved today will fade into obscurity and stuff the critics panned will be seen  
as genius....in some cases. But popularity has nothing to do with "art", and 
the  things that do survive do so because they are exceptional in some 
way....even  when they were 1st done....and even as they pass through that period where 
they  are considered "old fashion". For instance, Handel operas were STILL 
amazing  even when they were thought, as they were for centuries, unperformable. 
Even  then selected arias and instrumentals were in the rep. Or for 
instance...my  mother used to think of Maxfield Parish as advertising art....which, 
y'know, it  was....but it sure was a cut above. So things that survive have a 
certain  standing, even in their own day.
We've discussed this before. Beauty is indeed in the eye of the  beholder, 
but there are some criteria for "art". 
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Subject: Re: [h-cost] Mel Gibson flicks
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In a message dated 4/24/2006 9:42:15 P.M. Eastern Standard Time,  
stilskin@netspace.net.au writes:

Hang  on...is this thread about Mel Gibson being good (in which case we call 
him  
an Australian) or something bad (in which case he is an  American)?



******************
 
Ummm...yes.
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Subject: Re: [h-cost] Historical Movies--longish
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In a message dated 4/24/2006 9:53:59 P.M. Eastern Standard Time,  
mooncat@in-tch.com writes:

That  said, I did catch a bit of the end on television just this past
year--the  bit where the boat is sinking.  Wonderful imagery.  And all  of
those survivors, who died of exposure, floating frozen in that  water--for
some reason, it really haunts me.  I'm going to rent it  some weekend,
despite the romance....



********************
 
 
Mr. Cameron is a jerk and a madman....but he can throw up a powerful image  
every once in a while.
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Subject: Re: [h-cost] Re: titanic extra costumes
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In a message dated 4/24/2006 10:52:47 P.M. Eastern Standard Time,  
gailscott@eos.net writes:

Anyway,  the way I recall it, most of the
original garments were bought to  reproduce, not to use, and none of them
were drowned with the  cast.



*****************
 
But real clothes are used all the time in films & TV...used and abused.  I 
mean we put the petit Jasmine Guy in a real 1830s gown in the  miniseries 
"Queen". I'll bet they did drown many a teens gown! You remember  the story of all 
those real 20s dresses going in the pool in "The Great Gatsby"  don't you?
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Subject: Re: [h-cost] Mel Gibson flicks
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In a message dated 4/24/2006 10:53:51 P.M. Eastern Standard Time,  
monicaspence@optonline.net writes:

think we  are all too critical about costume work in films. The director--
and  sometimes the STARS have a majority of things to say about what is  worn.



***************
 
This can be tricky. Especially when they hire the producers niece or  
girlfriend to do the costumes....something that seems to happen in America more  than 
Europe. Sometimes the actors are just looking out for themselves. If  you 
have a top notch designer, as many period films do, smart actors, art  directors, 
directors and producers just let them do their work.
 
I don't think we're too hard on film. I mean they're spending a  fortune!
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Subject: [h-cost] Re: Historical Films
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At 09:24 PM 4/23/2006, you wrote:

>Message: 2
>Date: Sun, 23 Apr 2006 17:59:41 -0700
>From: Lavolta Press <fran@lavoltapress.com>
>Subject: Re: [h-cost] Historical Films
>
> > The problem, as I said, "is when audiences believe what they see in
> > films". The solution to that is to try to get more people to understand
> > the nature of films -- such as that they are inevitably inaccurate --
> > and thus the appropriate and inappropriate uses of films, and to stop
> > using them inappropriately, specifically, to stop using them as if they
> > were reliable sources of historical information.
>
>I think most modern people have both a healthy skeptism about
>advertising, and an awareness that fiction (including films) is not reality.

Is that why so many people think that the DaVinci Code is real 
history? or has even a passing resemblance to real history? I think 
most people really don't have a clue and don't care to have one.

Pierre


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

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

Andromeda  


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I thought that too.

Speaking of dumb decisions, I just saw "Last of the Mohicans."  I could 
believe it when the Indian said he was the "last" at the end, because 
almost everybody else in the film had gotten colorfully killed. That's 
what the whole film was about.

But anyway:

Here are two teenage girls fresh out from England, with the frontiersman 
Hawkeye and his adoptive Mohican father and brother, escorting the girls 
to their father's fort.  They get near the fort, sneaking up through the 
woods at night, and discover from distance that it's under siege. The 
area around it looks and sounds like the Fourth of July.  (I know they 
didn't have the Fourth of July then, well they did but it wasn't the 
Fourth of July; well you know what I mean.)

At this point I would have turned around to my guides and said, "You 
know this area, is there anyplace we can hole up safely till this battle 
is all over?"  No--they go right in!

I haven't read the book, which hopefully explains things like this.  But 
in the film, I thought they were idiots.

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


>  
> I thought. "Hey....couldn't your daughter use that?!"
>  
> Well Rose couldn't make a decent decision in 1912, why would she  now?
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Subject: Re: [h-cost] Teaching, was: Historical Films
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This list is not a social situation.  But in social situations, it's 
pretty obnoxious to go around as the superior person teaching everyone 
whether they like it or not.

Fran

Sharon L. Krossa wrote:

> At 1:35 PM -0700 4/24/06, Lavolta Press wrote:
> 
>> Good examples of "teaching."  My point is, as I said in another
>> message, that I don't think a social venue is appropriate for this
>> sort of thing.  People seem to be talking about "teaching" without
>> making it clear whether they are in a classroom or not.
> 
> 
> Is teaching banned outside of classrooms, then? What a pity -- but in 
> that case, I guess this mailing list should be shut down. Wouldn't want 
> to encourage any illicit teaching and learning!
> 
> Sharon
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Subject: [h-cost] Last of the Mohicans
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At 11:53 PM 4/24/2006, you wrote:

>I haven't read the book, which hopefully explains things like 
>this.  But in the film, I thought they were idiots.

Actually, the book is so different from that movie that you could 
call them two different stories with people who share the same names.

Genie
(Who loves that fact that it's the older daughter who falls in love 
with the Indian son.  Hawkeye finds his love, if I understand 
correctly, in another book.) 

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Status: RO

I wouldn't worry about using something else.  This was my first leather
project and while I think there are some things I would change, it was very
easy.  I made a mock-up first and then cut right into it.  I don't have any
pics of it to show you but leather really is quite easy to work with.  I'm
planning all kinds of leather things just because the coat turned out so
well.

Good luck!

>
>
> As it is, if I ever get to this project, I'd have to use ultrasuede or
> similar - I've never worked with leather and if I'm not certain of the
> pattern it would be a very expensive mistake if I made one!
> >
>
>
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Subject: Re: [h-cost] Teaching, was: Historical Films
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In a message dated 4/24/2006 6:23:42 P.M. Eastern Standard Time,  
melanie@faucet.net writes:

They could discuss what's
> right and what isn't, 


Sigh, if they get the point!  For two semesters, I had my students  watch the 
1940s "Pride and Prejudice," costumed by Adrian in exaggerated 1830s  styles, 
and asked them "what's wrong with this picture," assuming that the  costumes 
should have been contemporary with when it was published (I know,  I know--we 
just got into that recently--1790s vs 1810s; but still, both very  different 
from 1830s).  I didn't tell them when it was published, and maybe  that was the 
problem--they didn't bother to find out.  Anyway, no one  caught that the 
1830s silhouette was very different from the 1810s one!!
 
Ann Wass
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Date: Mon, 24 Apr 2006 23:27:12 -0700
To: Historical Costume <h-costume@indra.com>
From: "Sharon L. Krossa" <skrossa-ml@medievalscotland.org>
Subject: Re: [h-cost] Teaching, was: Historical Films
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At 9:55 PM -0700 4/24/06, Lavolta Press wrote:
>This list is not a social situation.  But in social situations, it's
>pretty obnoxious to go around as the superior person teaching
>everyone whether they like it or not.

Who in this discussion has advocated "in social situations" going 
"around as the superior person teaching everyone whether they like it 
or not"? Please quote the post.

Sharon, getting a little tired of all the straw men...
-- 
Sharon Krossa, skrossa-ml@MedievalScotland.org
Resources for Scottish history, names, clothing, language & more:
     Medieval Scotland - http://MedievalScotland.org/
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From: Beth Schoenberg <schoenb@grapevine.net.au>
Subject: Re: [h-cost] Re: The Hype will go on.....
Date: Tue, 25 Apr 2006 16:29:48 +1000
To: Historical Costume <h-costume@indra.com>
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Hi, all, I'm de-lurking for just a moment,

On 25/04/2006, at 4:36 AM, AlbertCat@aol.com wrote:

> Now I  must be fare
>
>
> **************
>
> Oops....FAIR!
>
> I suppose I don't mind being fare either. Go ahead! Tear into me! I 
> love
> hearing from people who disagree with me. How else am I ever gonna 
> learn
> anything?
>

Don't be too hard on yourself!   After all (as Thomas Jefferson was 
reputed to have said),  "It's a poor mind that can only think of one 
way to spell a word."

Or something to that effect!   :-D

Beth Schoenberg
	---- in sunny downtown Kambah, Canberra, where we've been having an 
absolutely gorgeous autumn day, which will probably be followed this 
evening by the magic smell of wood-smoke, 'cuz it's gonna get cold 
tonight!

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Date: Mon, 24 Apr 2006 23:59:40 -0700
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Subject: Re: [h-cost] fall front trousers, etc.
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>If the Eagle one is too late, how 'bout using the workmans breeches in
>"Costume Close-Up", the Williamsburg book?

It's something about not owning that book...

Today I took a look at the Simplicity "Caribbean Adventure" (#4923) pattern 
guide sheet, and even tho that pattern is way cheaper on sale, has more 
garments in the package, and has a trousers pattern cut pretty much like 
what I want, it doesn't have all the snobby little details the Kannick's 
one (#KK4303) does, like the extra waistband buttons and the "watch pocket".

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

              ///\\\\\
             ////-@@\\\
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              * )   ( *
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> One of the things good teachers do, in addition to teaching how to
> evaluate evidence logically, is teach about evaluating sources.
> Movies, by their very nature, are not good or reliable sources.

     Definitely!  My first Costume History teacher, Fran Mayhew at the
University of Delaware, made a point of using several sources and
looking out for the inaccuracies in the source.

     Regarding movies, one friend assigned a project of reporting on the
costumes from a movie of their choice.  They could discuss what's
right and what isn't, and perhaps also track down the original
sources for specific costumes - portraits and the like.

     At the region 6 Costume Society of America meeting, they had (and
will have again) "Hollywood Huzzas and Howlers".  People could bring
their favorite Best & Worst of film costume.

     -Carol

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Robin wrote,
> (Sample question: How can I be sure that such-and-so-image of the
> Madonna and Child isn't really Mary Magdalen and her baby by Jesus?)

     Sample answer - what difference does it make when you're discussing
the clothing?  I'm guessing your lecture is to help sort out the real
clothing of the time period vs. the icons or identifiers of the
saints that were not "real" clothes.  Once I figured that out I
stopped carrying around the dish of eyeballs at SCA events.

> No, it's not the majority of people in the room, but it only takes a few
> to derail the entire conversation.

     Well, exactly, it takes time away from your lecture when people want
to natter about a tangent.  As I recall, Robin, you're very good at
getting the focus back on track!

     In this case, I don't see it as the movie or book presenting "wrong"
information so much as introducing another possibility.  Something
that interests a lot of people, but does not involve costume
questions.

     Pick any public trial - no matter what the jury ultimately says, we
all have our own opinion on the guilt or innocence of the defendant. 
And it does not change any facts about what they were wearing.

     -Carol

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To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Historical Films: fact vs. fiction
Date: Tue, 25 Apr 2006 01:09:13 -0700
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 very well done!

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of AlbertCat@aol.com
Sent: Monday, April 24, 2006 7:45 AM
To: h-costume@indra.com
Subject: Re: [h-cost] Historical Films: fact vs. fiction


 
In a message dated 4/24/2006 7:52:39 A.M. Eastern Standard Time,  
thebruce@ihug.co.nz writes:

http://www.youtube.com/watch?v=vD4OnHCRd_4



Hysterical!
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Subject: RE: [h-cost] Historical Movies--longish
Date: Tue, 25 Apr 2006 01:12:56 -0700
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I, too, didn't see "Titanic", but I knew how it ended anyway.  :-)

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of AnnBWass@aol.com
Sent: Monday, April 24, 2006 9:04 AM
To: h-costume@indra.com
Subject: [h-cost] Historical Movies--longish


 
In a message dated 4/24/2006 11:46:43 A.M. Eastern Standard Time,  
monicaspence@optonline.net writes:

but...If  you don't like his stuff
there is an option not to go. People have  different criteria of what they
enjoy. (This is why my husband loves  "Hellboy" and I prefer "Pride and
Prejudice".)


It's theater!!  For example, Mel Gibson's tight breeches in "The  Patriot" 
are totally wrong but, as a professional designer friend of mine  pointed
out, 
most people these days associate baggy pants with comedy.  So  you can't put

your action hero into them and expect him to be taken  seriously.  I didn't
see 
"The Patriot," so don't have a personal  opinion.
 
One film I can speak to is "The Buccaneer."  I do War of 1812  
interpretation.  This movie has totally made-up characters or people who
are shown much 
older than they were, and plays fast and loose with the actual  narrative.
Jean 
Lafitte, for example, was not on the field at the Battle  of New Orleans at 
all.  But, all that said, and the costumes not so great  either, I think the

film was a hoot!  Highly entertaining.  Charleton  Heston's portrayal of
Andrew 
Jackson seems to have become the norm (kind of like  Rhett Butler--can you 
imagine anyone other than Clark Gable playing him?   But at least he wasn't
a real 
historical character).
 
And then you have films like "Becket" and "The Lion in Winter," about
actual 
people but adapted from literary works about them, not from the original  
history.  So you have another layer of interpretation added in.  Same  with 
"Desiree," based on a historical novel, but I loved Marlon Brando as
Napoleon.
 
I DID refuse to see "Titanic"--couldn't take what I had heard on the  
liberties with the story (a friend of mine who went to see it with her
teenaged  
daughter found the leads so obnoxious that she was rooting for the North  
Atlantic).  I think "A Night to Remember" tried to get the story right, but
I haven't 
seen it in years, so I might hate it now.
 
I guess the issue of whether people get their history from movies, though,  
is one that will always be with us.  But how many of these people are going
to 
study "real" history at all?  Take classes, read books, etc.  Those  that
do, 
can be re-taught.  Those that don't will wander around in happy  ignorance, 
but wouldn't they be even more ignorant if they hadn't seen the  film(s)?
You 
can argue that it is better for them to know nothing at all  than to know it

wrong, I guess.  But if it DOES spark a real interest,  well, isn't that 
worthwhile?
 
Ann Wass  
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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Historical Films
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On Mon, 24 Apr 2006 aquazoo@patriot.net wrote:

> > (Sample question: How can I be sure that such-and-so-image of the
> > Madonna and Child isn't really Mary Magdalen and her baby by Jesus?)
> 
>      Sample answer - what difference does it make when you're
> discussing the clothing?  I'm guessing your lecture is to help sort
> out the real clothing of the time period vs. the icons or identifiers
> of the saints that were not "real" clothes.  Once I figured that out I
> stopped carrying around the dish of eyeballs at SCA events.

Actually, it does matter how you identify a saint, because certain
elements (but not all) are typically symbolic for certain saints, and
they're not always the same ones. The question of "real vs. unreal" images
is only the beginning -- the next issue is whether any elements of the
"unreal" images can be useful in costume research, and if so, how you can
use them and what safeguards you need to apply. But, um, that's a whole
lecture just to give a taste of this.

Anyway, Magdalen often has some of the coolest clothing around, and Mary
has a very specific wardrobe, and the two of them together account for
probably a majority of female religious images in the Middle Ages, so it's
important to distinguish which one is which! 

And working in the other direction, often the clothing is part of our clue
to identification. This is a large part of that lecture. So part of my
answer to someone who wants to try to read an image of Mary as being
Magdalen has to do with how we use the clothing symbols to make the
distinction ... and in this case, the questioner wondered whether the
artist was using the clothing either to mask the real identity of the
woman in the portrait, or else to provide clues to it. So you see, it did
directly relate to costume study, and to my lecture topic. But it's a
question that I never would have had to address if some people didn't have
it in their heads that there was a conspiracy in the period to hide a
whole community of people following a different religious truth.

I rather wish that Dan Brown had picked a saint who wasn't quite so
central to costume study. Say, Mary of Egypt.

--Robin

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Subject: RE: [h-cost] Re:  Titanic film
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I did a report on the sinking of the Titanic in school once and was appalled
at the stories--like the one where an upper crust matron refused to let
lower class people into her lifeboat, resulting in a boat that could hold 40
had only 14. I don't know if this is true, but it's possible, given the
snobbishness of some people.

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Lavolta Press
Sent: Monday, April 24, 2006 3:42 PM
To: Historical Costume
Subject: [h-cost] Re: Titanic film


Considering how many people tragically died on the Titanic, and 
considering that something is known about the more upper-crust ones at 
least, I was amazed the producers didn't use a real story with main 
characters who were really there.  I once read an amazing account of the 
sinking by a telegraph operator who stayed almost to the end, but 
survived because he was picked up by an overloaded lifeboat crewed by 
passengers so nautically clueless he'd had to help them get the lifeboat 
off the deck earlier (they felt they owed him one).  And there must be 
other memoirs too.

I refused to see the film for a long time because of the lack of a 
"real" story, but I did eventually. I thought it was OK, although Rose 
and Jack were too sappy.  At the end of the film, when she drops the 
megadiamond into the ocean, I thought, "She's had this thing for decades 
and _still_ hasn't figured out how to fence it?"

The clothes weren't perfect, but they weren't bad.  I've had a 
lightweight wool 1910s women's suit around for years, meaning to reline 
it, that is almost exactly like one Rose or her mother (I forget which) 
was wearing to get on board the ship.

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

> I thought the clothes were great, and the cinematography was fab...the
> plot on the otherhand left a bit to be desired.
> 
> Kelly _______________________________________________
> 
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Subject: RE: [h-cost] Re:  Titanic film
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I drive my family nuts saying stuff like" Why doesn't he/she do ......?" My
husband says,"Then the movie'd be 15 minutes long." We just have to suspend
our disbelief and enjoy the show.

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Lavolta Press
Sent: Monday, April 24, 2006 9:54 PM
To: Historical Costume
Subject: Re: [h-cost] Re: Titanic film


I thought that too.

Speaking of dumb decisions, I just saw "Last of the Mohicans."  I could 
believe it when the Indian said he was the "last" at the end, because 
almost everybody else in the film had gotten colorfully killed. That's 
what the whole film was about.

But anyway:

Here are two teenage girls fresh out from England, with the frontiersman 
Hawkeye and his adoptive Mohican father and brother, escorting the girls 
to their father's fort.  They get near the fort, sneaking up through the 
woods at night, and discover from distance that it's under siege. The 
area around it looks and sounds like the Fourth of July.  (I know they 
didn't have the Fourth of July then, well they did but it wasn't the 
Fourth of July; well you know what I mean.)

At this point I would have turned around to my guides and said, "You 
know this area, is there anyplace we can hole up safely till this battle 
is all over?"  No--they go right in!

I haven't read the book, which hopefully explains things like this.  But 
in the film, I thought they were idiots.

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


>  
> I thought. "Hey....couldn't your daughter use that?!"
>  
> Well Rose couldn't make a decent decision in 1912, why would she  now? 
> _______________________________________________
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Date: Mon, 24 Apr 2006 16:56:29 -0400 (EDT)
Subject: Re: [h-cost] Teaching, was: Historical Films
From: aquazoo@patriot.net
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> And, we are wandering from the original point, which was "Hollywood
> should make more accurate films."

     Yes, I know.  That's why I altered the subject line.

> It's reasonable to discuss Hollywood
> films in a classroom.  It's not reasonable to complain that they should
> all be made differently to support your teaching.

     Whether in the classroom, symposium, or casual conversation, the key
is documentation.

     It's ineresting to discuss what we see in a painting, and how we see
details differently.  And it's interesting to see how other people
(including movie costumers) interpret something.

     There are lots of things I've seen over the years where I can't
remember the source.  Was it an original?  A well-researched book? 
Something worn by another reenactor?  Or even (yikes!) in a movie.

     If I can't cite the source at the time, and I can't find it, then I
have to accept that the information will not back up my opinion.  It
doesn't matter if my memory is seeing the item in a museum, with
accurate provenance, or if it's a movie that's 95% fantasy.

     If that is the first thing people learn in the classroom, then nobody
has to un-teach anything.  It's a matter of finding the source and
sharing it.

     -Carol

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Subject: Re: [h-cost] about shaping bones in stays
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Hi Suzi,
Is this your examin of old stays, that you say they are thin?
When you look at Hogarts prints, and you sometimes see a pair of stays lying 
alone on the floor, they are shaped like the body, and i would say, its the 
horzontal bones that keep them in shape. Would this not provide heavier 
boning?

Bjarne
----- Original Message ----- 
From: "Suzi Clarke" <suzi@suziclarke.co.uk>
To: "Historical Costume" <h-costume@indra.com>
Sent: Tuesday, April 25, 2006 1:33 AM
Subject: Re: [h-cost] about shaping bones in stays


> At 21:31 24/04/2006, you wrote:
>>Hello,
>>I am in the middle of making the 1740- 50 stays from -Corsets and
>>Crinolines. My client is a very small person.
>>In making the internal boning, that is shaping the stays i wondered if any
>>here know how thick those would have ben?
>>I am a little concerned that my client might be heard from the bones i 
>>have
>>made internal.
>>You can see the stays here:
>>http://home0.inet.tele.dk/drewscph/stays_1740.htm
>>I am going to line the stays with a layer of linnen, but i thoaght perhaps 
>>i
>>should make some padding over the internal bones?
>
>
> Bjarne
>
> This would have been thin slices of whalebone, which is flexible. The 
> German boning is more rigid than true whalebone. I used Rigilene, which is 
> what I make all my pre Victorian corsets with, plus a few rigid steels 
> centre front and down the back lacing.
>
> Suzi
>
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Subject: [h-cost] RE: brass buttons
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	We don't carry buttons, I'm afraid, Carolyn. Sorry.

	However, if you're interested in learning true period correct
details, you might want to consider the 1812 Civilian list at yahoo groups.

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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Date: Tue, 25 Apr 2006 10:19:35 +0100
To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] about shaping bones in stays
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At 10:04 25/04/2006, you wrote:
>Hi Suzi,
>Is this your examin of old stays, that you say they are thin?
>When you look at Hogarts prints, and you sometimes see a pair of 
>stays lying alone on the floor, they are shaped like the body, and i 
>would say, its the horzontal bones that keep them in shape. Would 
>this not provide heavier boning?


Not entirely - I have some real whalebone, which dates from the 
1940's probably, and which is very flexible. I think the shape is due 
to the construction - maybe the lining is a tiny bit smaller than the 
outside, which would cause the "bowed" effect, and the bones are 
there to reinforce rather than to actually shape? I have seen corsets 
that sit in that shape, but I was not able to handle them at that time.

You could also make the tape that holds the horizontal bones slightly 
too short, which would also help to hold the corset in that curved 
shape. (Similar to making panniers or bustle, only nowhere near so 
exaggerated!)

I'll go and look at my photos again, and see if I have any of insides 
- I am pretty sure there are some, but they may not be the same style 
of corset.

Suzi


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Subject: [h-cost] Movies-things that make you cringe!
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> but because of my DH the entire family is known to yell >at
> the screen in any movie historical or modern "PICK UP >THE AMMO/WEAPON", 
> as
> the good guy runs around ect...

Our favourite thing to make us yell at the screen..."Close the damn door!" 
When the actor walks intoa building and leaves to door open, to be closed 
miraculously by someone else!

It is getting better though, and so too are costumes in movies.  Could you 
imagine if Hollywood were still costuming the way it did in the 1950's, then 
those 1810 dresses would have waistlines down around the hipline with gaps 
to show off the pierced midriff. ;-)

I think it's because the public is becomming better educated about costume 
history, I also think that it will get better in the future too.  Costume 
Literature has jumped tenfold since I left University, so have the skill 
levels of the majority of students. People are pushing themselves further 
and further, trying to find out how those garments were made and worn in 
history, not just trying to capture a look.

Kelly 
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Date: Tue, 25 Apr 2006 12:12:13 +0100 (BST)
From: katherine sanders <katherinejsanders@yahoo.co.uk>
Subject: Re: [h-cost] about shaping bones in stays - rigiline
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Dear Suzi, Bjarne and others who do stays

I'm debating whether to use the plastic whalebone or
rigilene: while the narrowness of the whalebone gives
what looks to me like a very authentic appearance
(with the narrow rows of stitching) it is a) a bit
more expensive and b) more work. Rigilene however has
ths tendency to flip out of shape, especially over the
tummy: do you find (Suzi) that one or two flat steels
(rather than spirals) at the front is enough to keep
it flat? Do you stitch half way down each piece of
rigilene (which would give you a 'channel' of around
5-6mm, like the plastic whalebone)?

I'm intrigued, having specialised in victorian corsets
so far (and putting off the regency ones because
trapunto just looks, um, complicated!)

Thanks again,

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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> 
> Our favourite thing to make us yell at the screen...

I have been known to sit up back during The Sound of Music and, at the 
appropriate moment, shout, "They're behind the tombstone...!"

-C.


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Date: Tue, 25 Apr 2006 12:49:48 +0100
To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] about shaping bones in stays - rigiline
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At 12:12 25/04/2006, you wrote:
>Dear Suzi, Bjarne and others who do stays
>
>I'm debating whether to use the plastic whalebone or
>rigilene: while the narrowness of the whalebone gives
>what looks to me like a very authentic appearance
>(with the narrow rows of stitching)

You can buy narrow Rigilene.

>  it is a) a bit
>more expensive and b) more work. Rigilene however has
>ths tendency to flip out of shape, especially over the
>tummy: do you find (Suzi) that one or two flat steels
>(rather than spirals) at the front is enough to keep
>it flat?

Yes, I do. Depending on the shape of the corset it can be up to 5 
rigid steels. (Tudor needs 5 for example.)

>Do you stitch half way down each piece of
>rigilene (which would give you a 'channel' of around
>5-6mm, like the plastic whalebone)?

No, stitch down either side, then thread the steels into the channels 
made that way. My customers are not fixated on the "narrow" channel 
look as no-one gets to see it anyway, and if they do, they are not 
about the get out a measuring tape and complain the channels are too 
wide (lol) (Or they'd better not!) The rigilene does eventually 
de-form, but you can help prevent this by using some stiffener under 
the Rigilene, like iron-on canvas, or even just another layer of 
canvas. (Mine usually come back for a replacement of steels about 
every 5-10 years!)



Suzi 


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Subject: Re: [h-cost] Historical Films
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----- Original Message ----- 
From: <aquazoo@patriot.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Tuesday, April 25, 2006 2:19 AM
Subject: Re: [h-cost] Historical Films


> Robin wrote,
>> (Sample question: How can I be sure that such-and-so-image of the
>> Madonna and Child isn't really Mary Magdalen and her baby by Jesus?)
>
>     Sample answer - what difference does it make when you're discussing
> the clothing?  I'm guessing your lecture is to help sort out the real
> clothing of the time period vs. the icons or identifiers of the
> saints that were not "real" clothes.  Once I figured that out I
> stopped carrying around the dish of eyeballs at SCA events.
>
Ah, you see my sample answer would have been 'because it pre-dates Dan Brown 
and in the Medieval period you could have been killed for saying what he 
said' several schisms were eradicated (usually by violent means) for saying 
much less controversial things than Jesus had sex with Mary Magdalene.
Elizabeth
--------------------------------------------
Elizabeth Walpole
Canberra Australia
ewalpole[at]tpg.com.au
http://au.geocities.com/e_walpole/

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Subject: Re: [h-cost] Movies-things that make you cringe!
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----- Original Message ----- 
From: "kelly grant" <estela_dufrayse@hotmail.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Tuesday, April 25, 2006 9:07 PM
Subject: [h-cost] Movies-things that make you cringe!


>> but because of my DH the entire family is known to yell >at
>> the screen in any movie historical or modern "PICK UP >THE AMMO/WEAPON", 
>> as
>> the good guy runs around ect...
>
> Our favourite thing to make us yell at the screen..."Close the damn door!" 
> When the actor walks intoa building and leaves to door open, to be closed 
> miraculously by someone else!
>
<snip>
It's not just costumers/historians who tell fictional characters when 
they're wrong, my Mum's a nurse and you can't get through any sort of 
medical drama without learning where they have taken liberties with the 
facts.
Elizabeth
--------------------------------------------
Elizabeth Walpole
Canberra Australia
ewalpole[at]tpg.com.au
http://au.geocities.com/e_walpole/


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> Message: 12
> Date: Tue, 25 Apr 2006 10:19:35 +0100
> From: Suzi Clarke <suzi@suziclarke.co.uk>
> Subject: Re: [h-cost] about shaping bones in stays
> To: Historical Costume <h-costume@indra.com>
> Message-ID: <6.2.3.4.0.20060425101334.01e1f0d0@127.0.0.1>
> Content-Type: text/plain; charset="us-ascii"; format=flowed
> 
> At 10:04 25/04/2006, you wrote:
>>Hi Suzi,
>>Is this your examin of old stays, that you say they are thin?
>>When you look at Hogarts prints, and you sometimes see a pair of 
>>stays lying alone on the floor, they are shaped like the body, and i 
>>would say, its the horzontal bones that keep them in shape. Would 
>>this not provide heavier boning?
> 
> 
> Not entirely - I have some real whalebone, which dates from the 
> 1940's probably, and which is very flexible. I think the shape is due 
> to the construction - maybe the lining is a tiny bit smaller than the 
> outside, which would cause the "bowed" effect, and the bones are 
> there to reinforce rather than to actually shape? I have seen corsets 
> that sit in that shape, but I was not able to handle them at that time.
> 
> You could also make the tape that holds the horizontal bones slightly 
> too short, which would also help to hold the corset in that curved 
> shape. (Similar to making panniers or bustle, only nowhere near so 
> exaggerated!)
> 
> I'll go and look at my photos again, and see if I have any of insides 
> - I am pretty sure there are some, but they may not be the same style 
> of corset.
> 
I'm sure I've read somewhere (Corsets and Crinolines perhaps?) about
some 18th century stays being steamed into shape. 

Claire
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From: SPaterson <sjpaterson@tru.eastlink.ca>
Subject: Re: [h-cost] about shaping bones in stays
To: Historical Costume <h-costume@indra.com>
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I am not Suzi, but when I interned at Jamestown I also got to play in the 
Yorktown Collection. There was a pair of extant stays that were of similar 
construction and definately 18th c. but cut more like C&C page 40 but still 
like the 1740's - almost wall-to wall whalebone with the cross boning. All 
this boning was done internally with no exterior boning casings for the 
cross pieces - although an external casing could have been used before the 
lining layer - but  observed from a frayed edge, there were more layers that 
made up the corset that I would have thought which would either account for 
an additional layer for these channels or that they relined right over the 
original lining, another possibility as there was obvious wear along the 
tabs and evidence that it had been relined..

 The thickness of the bones varied slightly with the thickest being almost 
1/4" (0.6cm) and I am talking thickness of the bone not width. The width was 
an almost uniform 1/4" (0.6 cm).

The stays were bound in linen but in the armpit area they had been unevenly 
patched with leather looking remarkably like modern dress shields in shape. 
As my landlady/roommate worked at Colonial Williamsburg I was aware of their 
facilities so after asking we were able to take the stays to CW to get them 
Xrayed so see if we were right about the full boning- that was really cool.

Sarah Paterson


> Hi Suzi,
> Is this your examin of old stays, that you say they are thin?
> When you look at Hogarts prints, and you sometimes see a pair of stays 
> lying alone on the floor, they are shaped like the body, and i would say, 
> its the horzontal bones that keep them in shape. Would this not provide 
> heavier boning?
>
> Bjarne
> ----- Original Message ----- 
> From: "Suzi Clarke" <suzi@suziclarke.co.uk>
> To: "Historical Costume" <h-costume@indra.com>
> Sent: Tuesday, April 25, 2006 1:33 AM
> Subject: Re: [h-cost] about shaping bones in stays
>
>
>> At 21:31 24/04/2006, you wrote:
>>>Hello,
>>>I am in the middle of making the 1740- 50 stays from -Corsets and
>>>Crinolines. My client is a very small person.
>>>In making the internal boning, that is shaping the stays i wondered if 
>>>any
>>>here know how thick those would have ben?
>>>I am a little concerned that my client might be heard from the bones i 
>>>have
>>>made internal.
>>>You can see the stays here:
>>>http://home0.inet.tele.dk/drewscph/stays_1740.htm
>>>I am going to line the stays with a layer of linnen, but i thoaght 
>>>perhaps i
>>>should make some padding over the internal bones?
>>
>>
>> Bjarne
>>
>> This would have been thin slices of whalebone, which is flexible. The 
>> German boning is more rigid than true whalebone. I used Rigilene, which 
>> is what I make all my pre Victorian corsets with, plus a few rigid steels 
>> centre front and down the back lacing.
>>
>> Suzi
>>
>> _______________________________________________
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>
>
> _______________________________________________
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From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] about shaping bones in stays
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At 13:11 25/04/2006, you wrote:


>>Message: 12
>>Date: Tue, 25 Apr 2006 10:19:35 +0100
>>From: Suzi Clarke <suzi@suziclarke.co.uk>
>>Subject: Re: [h-cost] about shaping bones in stays
>>To: Historical Costume <h-costume@indra.com>
>>Message-ID: <6.2.3.4.0.20060425101334.01e1f0d0@127.0.0.1>
>>Content-Type: text/plain; charset="us-ascii"; format=flowed
>>At 10:04 25/04/2006, you wrote:
>>>Hi Suzi,
>>>Is this your examin of old stays, that you say they are thin?
>>>When you look at Hogarts prints, and you sometimes see a pair of 
>>>stays lying alone on the floor, they are shaped like the body, and 
>>>i would say, its the horzontal bones that keep them in shape. 
>>>Would this not provide heavier boning?
>>
>>Not entirely - I have some real whalebone, which dates from the 
>>1940's probably, and which is very flexible. I think the shape is 
>>due to the construction - maybe the lining is a tiny bit smaller 
>>than the outside, which would cause the "bowed" effect, and the 
>>bones are there to reinforce rather than to actually shape? I have 
>>seen corsets that sit in that shape, but I was not able to handle 
>>them at that time.
>>You could also make the tape that holds the horizontal bones 
>>slightly too short, which would also help to hold the corset in 
>>that curved shape. (Similar to making panniers or bustle, only 
>>nowhere near so exaggerated!)
>>I'll go and look at my photos again, and see if I have any of 
>>insides - I am pretty sure there are some, but they may not be the 
>>same style of corset.
>I'm sure I've read somewhere (Corsets and Crinolines perhaps?) about
>some 18th century stays being steamed into shape.
>Claire

Victorian stays were definitely steamed into shape over a body form. 
"The Symington Collection" catalogue, from the Museum in Leicester, 
shows this quite clearly. However, I don't remember that 18th century 
stays were steamed, but I could be wrong.

Suzi


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Subject: Re: [h-cost] Re:  Titanic film
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In a message dated 4/25/2006 12:54:37 A.M. Eastern Standard Time,  
fran@lavoltapress.com writes:

because  
almost everybody else in the film had gotten colorfully  killed.


*******************
 
All the major characters I made the costumes for die  horribly....Cpt. 
Heyward [the escort], Col. Monroe [the girl's father], The  Camerons [family burned 
in the cabin]...and lots of colonial women in the  massacre. Sigh.
 
I think they go into the fort because 1) they are being chased 2)they don't  
really know they are loosing the siege....they think reinforcements are 
coming.  and 3) They are in the middle of nowhere...and I mean nowhere. The fort is 
the  only "civilization" around.
 
Read the book if you can. Cooper is a nightmare!
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>>> fran@lavoltapress.com 24/04/2006 23:42 >>>
>Considering how many people tragically died on the Titanic, and 
>considering that something is known about the more upper-crust ones at 
>least, I was amazed the producers didn't use a real story with main 
>characters who were really there.  
______________________________________________________________________

I heard the British actor Martin Jarvis say exactly the same thing on the radio - that there were such amazing true stories known about Titanic passengers that he wondered why they had bothered to invent a fictional one.

Kate Bunting (who hasn't seen the film either)


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Subject: Re: [h-cost] Historical Films
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In a message dated 4/25/2006 4:02:27 A.M. Eastern Standard Time,  
aquazoo@patriot.net writes:

Pick any  public trial - no matter what the jury ultimately says, we
all have our own  opinion on the guilt or innocence of the defendant. 
And it does not change  any facts about what they were wearing.



******************
 
Unless maybe if it's a pair of gloves.
 
"If the glove don't fit....you must acquit."
 
Ay-yay-yay!
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: "Historical Costume" <h-costume@indra.com>
References: <200604250923.k3P9Lkgn027162@net.indra.com><002201c66861$74fef460$21eb443d@GILGAMESH>
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Subject: Re: [h-cost] about shaping bones in stays
Date: Tue, 25 Apr 2006 14:41:50 +0200
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Hi Suzi,
Yes, they also steamed the bones in 18th century, acording to Janet Arnold.
I can bend my wissner boning, so that it gets a curved shape, and it works 
nicely i think.
Anyway, i replaced the thick 2 mm. bones inside with thinner bones 1mm. Its 
the more soft plastic boning i used for them.
And speaking of it, i actually have finished the stays now!
If you would like to have a look:
Next time i have time for it, i think i will try to make a tape dress stand 
with a mock up pair of stays inside, to get the right shape. Its so annoying 
with the modern dress stands, they are no use at all...........
  http://home0.inet.tele.dk/drewscph/stays_1740.htm
Dear Sarah, thanks for your very informative informations, ill keep this in 
mind!

Bjarne
-----riginal Message ----- 
From: "Suzi Clarke" <suzi@suziclarke.co.uk>
To: "Historical Costume" <h-costume@indra.com>
Sent: Tuesday, April 25, 2006 2:22 PM
Subject: Re: [h-cost] about shaping bones in stays


> At 13:11 25/04/2006, you wrote:
>
>
>>>Message: 12
>>>Date: Tue, 25 Apr 2006 10:19:35 +0100
>>>From: Suzi Clarke <suzi@suziclarke.co.uk>
>>>Subject: Re: [h-cost] about shaping bones in stays
>>>To: Historical Costume <h-costume@indra.com>
>>>Message-ID: <6.2.3.4.0.20060425101334.01e1f0d0@127.0.0.1>
>>>Content-Type: text/plain; charset="us-ascii"; format=flowed
>>>At 10:04 25/04/2006, you wrote:
>>>>Hi Suzi,
>>>>Is this your examin of old stays, that you say they are thin?
>>>>When you look at Hogarts prints, and you sometimes see a pair of stays 
>>>>lying alone on the floor, they are shaped like the body, and i would 
>>>>say, its the horzontal bones that keep them in shape. Would this not 
>>>>provide heavier boning?
>>>
>>>Not entirely - I have some real whalebone, which dates from the 1940's 
>>>probably, and which is very flexible. I think the shape is due to the 
>>>construction - maybe the lining is a tiny bit smaller than the outside, 
>>>which would cause the "bowed" effect, and the bones are there to 
>>>reinforce rather than to actually shape? I have seen corsets that sit in 
>>>that shape, but I was not able to handle them at that time.
>>>You could also make the tape that holds the horizontal bones slightly too 
>>>short, which would also help to hold the corset in that curved shape. 
>>>(Similar to making panniers or bustle, only nowhere near so exaggerated!)
>>>I'll go and look at my photos again, and see if I have any of insides - I 
>>>am pretty sure there are some, but they may not be the same style of 
>>>corset.
>>I'm sure I've read somewhere (Corsets and Crinolines perhaps?) about
>>some 18th century stays being steamed into shape.
>>Claire
>
> Victorian stays were definitely steamed into shape over a body form. "The 
> Symington Collection" catalogue, from the Museum in Leicester, shows this 
> quite clearly. However, I don't remember that 18th century stays were 
> steamed, but I could be wrong.
>
> Suzi
>
>
> _______________________________________________
> 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] Historical Films
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In a message dated 4/25/2006 4:21:11 A.M. Eastern Standard Time,  
robin@shell.nightowl.net writes:

And  working in the other direction, often the clothing is part of our clue
to  identification.


********************
 
This relates to theatre. Since Greek theatre [and no doubt before] the  
costume is a symbol. It tells you who the character is before anyone has opened  
their mouths. So too with Roman comedy and on into Comedia del'arte. The  
instant you see the standardized costume, the audience knows if it's the old  father 
[Pantalone], or the sad love lorn character [Poirot], or the clever  servant 
[Harlequino], or a Colombina or Zerlina or the Capitano ....and so  on.
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Subject: Re: [h-cost] about shaping bones in stays
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In a message dated 4/25/2006 5:09:37 A.M. Eastern Standard Time,  
drewscph@post12.tele.dk writes:

they are  shaped like the body, and i would say, its the 
horzontal bones that keep  them in shape. Would this not provide heavier  
boning?



**********************
 
Good question.
 
Does not real whale bone get warmed by the body and after a while shape  
itself thus? Could not all the boning in the stays take on and hold the curved  
shape?
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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] about shaping bones in stays
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Hi Albertcat,
I just thoaght, that looking at Hogarts drawings, the stays lying on the 
floor, if the shaping bones, had ben thin, they would not be able to stand a 
lone, and keep the whole body shape, like a dress stand.
Even the body heats the vertical bones, they could not alone hold the shape, 
as they are vertical. They would collapse.
Thats just my 2 cents, that the shaping bones inside must have ben rather 
thick and stiff.

Bjarne


----- Original Message ----- 
From: <AlbertCat@aol.com>
To: <h-costume@indra.com>
Sent: Tuesday, April 25, 2006 2:52 PM
Subject: Re: [h-cost] about shaping bones in stays


>
> In a message dated 4/25/2006 5:09:37 A.M. Eastern Standard Time,
> drewscph@post12.tele.dk writes:
>
> they are  shaped like the body, and i would say, its the
> horzontal bones that keep  them in shape. Would this not provide heavier
> boning?
>
>
>
> **********************
>
> Good question.
>
> Does not real whale bone get warmed by the body and after a while shape
> itself thus? Could not all the boning in the stays take on and hold the 
> curved
> shape?
> _______________________________________________
> 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] about shaping bones in stays
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At 13:41 25/04/2006, you wrote:
>Hi Suzi,
>Yes, they also steamed the bones in 18th century, acording to Janet Arnold.
>I can bend my wissner boning, so that it gets a curved shape, and it 
>works nicely i think.
>Anyway, i replaced the thick 2 mm. bones inside with thinner bones 
>1mm. Its the more soft plastic boning i used for them.
>And speaking of it, i actually have finished the stays now!
>If you would like to have a look:
>Next time i have time for it, i think i will try to make a tape 
>dress stand with a mock up pair of stays inside, to get the right 
>shape. Its so annoying with the modern dress stands, they are no use 
>at all...........
>  http://home0.inet.tele.dk/drewscph/stays_1740.htm
>Dear Sarah, thanks for your very informative informations, ill keep 
>this in mind!
>

Nice job as always Bjarne - your work is always so precise, a quality I envy.

Suzi




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From h-costume-bounces@indra.com  Tue Apr 25 09:16:12 2006
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Subject: Re: [h-cost] Movies-things that make you cringe!
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In a message dated 4/25/2006 7:13:23 A.M. Eastern Standard Time,  
estela_dufrayse@hotmail.com writes:

I think  it's because the public is becomming better educated about costume  
history, I also think that it will get better in the future too.   Costume 
Literature has jumped tenfold since I left University, so have the  skill 
levels of the majority of students. People are pushing themselves  further 
and further, trying to find out how those garments were made and  worn in 
history, not just trying to capture a  look.




***********************
 
The end of the "studio" system contributed to this greatly. The "queens of  
the silver screen" don't really have as much power as they used to.
 
But in the 1960s there started a vogue for accuracy that hit its  height I 
think in the late 70s. The 1st clothing from a movie I remember ever  noticing 
was "Thoroughly Modern Millie"....some beautiful and very accurate  costumes in 
there....with great character. I'd say the pinnacle is "Little  Dorrit" 
[early 80s]. This rise closely follows the rise in costume research and  scholarly 
investigation of clothes happening at the same time.
Now I feel it's moving into an area I like but is not really "accuracy". I  
call it the "historically informed" look. Where there is obviously a healthy  
respect and knowledge of the period historically, but things are manipulated to 
 achieve effects. The rise in popularity of fantasy films has something to  
do with it. Sandy Powell, one of my fave designers, is very good at this. She  
loves correct cuts, but will play with fabric a lot. So too another of my fave 
 designers, Colleen Atwood.
Of course the British and Europeans have been doing some very accurate  
portrayals for a looooong time.
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Subject: Re: [h-cost] Movies-things that make you cringe!
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In a message dated 4/25/2006 7:35:33 A.M. Eastern Standard Time,  
stilskin@netspace.net.au writes:

> Our  favourite thing to make us yell at the screen...



***************
 
I hate it when someone gets shot....in the arm or leg or shoulder.... and  
then runs around for the rest of the film as if nothing was wrong.
 
"It's only a flesh wound"
 
"You're arm's off!"
 
" No it isn't"......
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Subject: Re: [h-cost] Historical Films
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In a message dated 4/25/2006 8:55:34 A.M. Eastern Standard Time,  
AlbertCat@aol.com writes:

This  relates to theatre. Since Greek theatre [and no doubt before] the   
costume is a symbol. 


And, I believe also in various forms of Japanese theater, yes?
 
Ann Wass
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Date: Tue, 25 Apr 2006 09:28:36 -0400
From: "Katy Bishop" <katybishop64@gmail.com>
To: "Historical Costume" <h-costume@indra.com>
Subject: Re: [h-cost] Re: Titanic film
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My husband realised he had been going to costume films with me too
long when his first thought at a lady taking off her bodice in a film
was "Hey, she's not wearing a chemise."

Katy

On 4/25/06, Sharon at Collierfam.com <sharon@collierfam.com> wrote:
> I drive my family nuts saying stuff like" Why doesn't he/she do ......?" My
> husband says,"Then the movie'd be 15 minutes long." We just have to suspend
> our disbelief and enjoy the show.
>
> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
> Behalf Of Lavolta Press
> Sent: Monday, April 24, 2006 9:54 PM
> To: Historical Costume
> Subject: Re: [h-cost] Re: Titanic film
>
>
> I thought that too.
>
> Speaking of dumb decisions, I just saw "Last of the Mohicans."  I could
> believe it when the Indian said he was the "last" at the end, because
> almost everybody else in the film had gotten colorfully killed. That's
> what the whole film was about.
>
> But anyway:
>
> Here are two teenage girls fresh out from England, with the frontiersman
> Hawkeye and his adoptive Mohican father and brother, escorting the girls
> to their father's fort.  They get near the fort, sneaking up through the
> woods at night, and discover from distance that it's under siege. The
> area around it looks and sounds like the Fourth of July.  (I know they
> didn't have the Fourth of July then, well they did but it wasn't the
> Fourth of July; well you know what I mean.)
>
> At this point I would have turned around to my guides and said, "You
> know this area, is there anyplace we can hole up safely till this battle
> is all over?"  No--they go right in!
>
> I haven't read the book, which hopefully explains things like this.  But
> in the film, I thought they were idiots.
>
> Fran
> Lavolta Press
> http://www.lavoltapress.com
>
>
> >
> > I thought. "Hey....couldn't your daughter use that?!"
> >
> > Well Rose couldn't make a decent decision in 1912, why would she  now?
> > _______________________________________________
> > 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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> _______________________________________________
> 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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In a message dated 4/25/2006 9:28:23 A.M. Eastern Standard Time,  
AnnBWass@aol.com writes:

And, I  believe also in various forms of Japanese theater,  yes?



******************
 
 
Most definitely! And Indian ....and Tai, Bali,  Indonesia....etc...etc...
 
Notice how all these, and the Greek too, are religious in  nature.
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Subject: [h-cost] Spamalot
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A couple of weeks ago we went to see Spamalot (I highly recommend it
if you like Monty Python, I had a fabulous time, made me forget my
troubles and I thought by friend would fall off her chair laughing).

In the final scene it had one of the most inventive costumes I've seen
in a long time.  It was worn by the Lady of the Lake.  She walked out
in a blue pseudo medieval gown, fitted bodice, full skirt, you could
see a bit of white at the neck.  Then Arthur asks her to marry him,
and in answer she says I'd thought you'd never ask and flips the dress
(had I been expecting it I would have paid more attention to how she
did it) and the dress changes to a white gown.  I think she somehow
flipped the bodice forward and it flipped the whole thing under a now
white skirt.  It was ingenious.  I'd love to see pictures and details
on how it was made.

Katy

--
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: [h-cost] New MCT Book was Update on Henry VIII book
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>I'll be interested in knowing when people get their copies. I still
don't
>have mine, which is apparently on the slow boat from England.
>
>--Robin
==============================
I just got an email notification from Amazon that my pre-ordered copy
is on the way.

At this rate it could beat my pre-ordered copy of Tudor Tailor........

Catherine

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From: "Kate M Bunting" <K.M.Bunting@derby.ac.uk>
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Subject: Re: [h-cost] Historical Films
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Kate Bunting
Librarian and 17th century reenactor

>>> AlbertCat@aol.com 25/04/2006 13:48 >>> wrote
 
>... or the sad love lorn character [Poirot]...

I think you mean Pierrot - Poirot is Agatha Christie's Belgian detective!




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From: Lorraine Herr <lherr@rightwaybusiness.com>
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Help!

 I'm looking for advice about vertical spacing of holes on the front 
lacing of a gothic fitted dress.  Three weeks of fittings, sewing, 
bleeding, etc., and it's down to the finish line!  Has anyone got 
thoughts about how far apart (vertically)  the holes ought to be?  I 
know they should be offset, and  I think about  1/4 to 3/8 of an inch in 
from the front edge of the dress.  However, ANY advice would be 
appreciated!!!!!

Thanks!

Laurie


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Subject: [h-cost] Movies
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There are certain movies that I will not see. Titanic was one. Not because
of the costumes, but I really didn't want to spend 10 bucks to see 1500
people die. I figured the story's  ending wouldn't be changed, so whateve
came before would make it worse.
Monica Spence


-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of Sharon at Collierfam.com
Sent: Tuesday, April 25, 2006 4:13 AM
To: 'Historical Costume'
Subject: RE: [h-cost] Historical Movies--longish


I, too, didn't see "Titanic", but I knew how it ended anyway.  :-)




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In a message dated 4/25/2006 9:44:01 A.M. Eastern Standard Time,  
katybishop64@gmail.com writes:

In the  final scene it had one of the most inventive costumes I've seen
in a long  time. 


*******************
 
 
In the musical "Dream Girls"...a story of a 60s girl group like the  
Supremes...there's a number called "I'm Changing". The solo singer alone on  stage 
starts out in a 60's poncho dress...y'know a dress with a matching  poncho.... A 
style kinda popular in the 60s. As she sings the spot light focuses  closer 
and closer on her face until that's all you can see. Then, as the song  
progresses, the spot light spreads back out and she, having not moved, is  in a long 
beaded gown! Whoa...she really IS changing!
 
Obviously the gown is on the back of and under the poncho part of the 1st  
outfit, but what a great special effect.
 
Like in "Sunday in the Park with George" where Dot's bustle gown opens up  
and she steps out of it in her under things and dances while the gown just  
stands there by itself. Then it opens up again and she steps back into  it.
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In a message dated 4/25/2006 9:48:34 A.M. Eastern Standard Time,  
K.M.Bunting@derby.ac.uk writes:

I think  you mean Pierrot - Poirot is Agatha Christie's Belgian  detective!



*****************
 
Oops.....and HAHAHAHAHAHAHAHAHAHA!
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Subject: [h-cost] NYHS: New Exhibit
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Those of you who are or plan to be in New York city this spring may want 
to visit:

https://www.nyhistory.org/web/default.php?section=whats_new&page=detail_pr&id=5765978


"GROUP DYNAMICS: FAMILY PORTRAITS AND SCENES OF EVERYDAY LIFE AT THE 
NEW-YORK HISTORICAL SOCIETY EXHIBITION OPENS

A visual treasury of 18th and 19th century America on display
May 5, 2006 through September 17, 2006

The New-York Historical Society (N-YHS), New York City’s first museum,
presents Group Dynamics: Family Portraits and Scenes of Everyday Life at
the New-York Historical Society, an unprecedented exploration of group
portraiture drawn from the Society’s extensive collection of paintings,
photographs and sculpture. The exhibition features 90 works of art 
ranging from masterpieces of colonial, federal, and Victorian- era 
painting to  painted portrait miniatures and souvenir tintypes. Group 
Dynamics opens on May 5, and is on view through September 17, 2006 at 
the New-York Historical Society, located at Central Park West and 77th 
Street.
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Subject: Re: [h-cost] Historical Films
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> And working in the other direction, often the clothing is part of our clue
> to identification. This is a large part of that lecture. So part of my
> answer to someone who wants to try to read an image of Mary as being
> Magdalen has to do with how we use the clothing symbols to make the
> distinction ... and in this case, the questioner wondered whether the
> artist was using the clothing either to mask the real identity of the
> woman in the portrait, or else to provide clues to it. So you see, it did
> directly relate to costume study, and to my lecture topic.

     Ok, that makes sense, then.  I suppose it adds another hour to the
lecture if you start discussing how one saint is hidden by another. 
And where is that red brocade on the feminine-looking figure in The
Last Supper, I wonder!  :-D

> I rather wish that Dan Brown had picked a saint who wasn't quite so
> central to costume study. Say, Mary of Egypt.

     Except Dan Brown didn't make the "choice".  The idea of Jesus and
Mary Magdalene as a couple has been around long before the Da Vinci
Code and even before "Holy Blood, Holy Grail" whose authors recently
accused Brown of plagerizing.  For those who want to read more, one
interesting and down-to-earth writer exploring the relationship is
Margaret Starbird, and yes, that is her real name.

     -Carol

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Subject: Re: [h-cost] about shaping bones in stays
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Hi Suzi,
Many thanks for this, coming from you makes it even more nice.

Bjarne

----- Original Message ----- 
From: "Suzi Clarke" <suzi@suziclarke.co.uk>
To: "Historical Costume" <h-costume@indra.com>
Sent: Tuesday, April 25, 2006 3:09 PM
Subject: Re: [h-cost] about shaping bones in stays


> At 13:41 25/04/2006, you wrote:
>>Hi Suzi,
>>Yes, they also steamed the bones in 18th century, acording to Janet 
>>Arnold.
>>I can bend my wissner boning, so that it gets a curved shape, and it works 
>>nicely i think.
>>Anyway, i replaced the thick 2 mm. bones inside with thinner bones 1mm. 
>>Its the more soft plastic boning i used for them.
>>And speaking of it, i actually have finished the stays now!
>>If you would like to have a look:
>>Next time i have time for it, i think i will try to make a tape dress 
>>stand with a mock up pair of stays inside, to get the right shape. Its so 
>>annoying with the modern dress stands, they are no use at all...........
>>  http://home0.inet.tele.dk/drewscph/stays_1740.htm
>>Dear Sarah, thanks for your very informative informations, ill keep this 
>>in mind!
>>
>
> Nice job as always Bjarne - your work is always so precise, a quality I 
> envy.
>
> Suzi
>
>
>
>
> _______________________________________________
> 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] Firefly & metalwork for costumes
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I recently realized that, duh, there are a lot of metalworkers in the 
h-costuming world who can probably make a replica of the interesting 
fastener buckle thingies on the browncoat for me, so after thwacking myself 
on the head, I will now go find someone to do a custom order.

Which reminds me of two metalwork/costume related questions--first, someone 
(Saragrace?) hired someone to custom-make a dress-hook of the Flemish 
peasant variety for them--does anyone know who that was, and who they 
ordered from?  Second, has anyone done much of this sort of custom ordering? 
There are several things I'd like made; similar items on the websites of 
metalworkers are nicely priced, but I expect that making something for the 
first time is a lot more expensive than all the rest of the times it's made. 
(I'll want things made in something other than pewter; probably brass.)

-E House
(PS--for the browncoats on the list, did you know that Adam Baldwin posts on 
the official boards all the time?
http://forums.prospero.com/foxfirefly/
Nathan Fillion has been known to pop in as well.) 

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From: "klh" <khanson@kc.rr.com>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Firefly & metalwork for costumes
Date: Tue, 25 Apr 2006 10:51:15 -0500
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Email me offlist -- I do custom orders and short-run items, and would be
interested in discussing this with you.

talia@kc.rr.com

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of E House
Sent: Tuesday, April 25, 2006 10:41 AM
To: Historical Costume
Subject: Re: [h-cost] Firefly & metalwork for costumes


I recently realized that, duh, there are a lot of metalworkers in the
h-costuming world who can probably make a replica of the interesting
fastener buckle thingies on the browncoat for me, so after thwacking myself
on the head, I will now go find someone to do a custom order.

Which reminds me of two metalwork/costume related questions--first, someone
(Saragrace?) hired someone to custom-make a dress-hook of the Flemish
peasant variety for them--does anyone know who that was, and who they
ordered from?  Second, has anyone done much of this sort of custom ordering?
There are several things I'd like made; similar items on the websites of
metalworkers are nicely priced, but I expect that making something for the
first time is a lot more expensive than all the rest of the times it's made.
(I'll want things made in something other than pewter; probably brass.)

-E House
(PS--for the browncoats on the list, did you know that Adam Baldwin posts on
the official boards all the time?
http://forums.prospero.com/foxfirefly/
Nathan Fillion has been known to pop in as well.)

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That's good to know!

Fran

Genie Barrett wrote:
> At 11:53 PM 4/24/2006, you wrote:
> 
>> I haven't read the book, which hopefully explains things like this.  
>> But in the film, I thought they were idiots.
> 
> 
> Actually, the book is so different from that movie that you could call 
> them two different stories with people who share the same names.
> 
> Genie
> (Who loves that fact that it's the older daughter who falls in love with 
> the Indian son.  Hawkeye finds his love, if I understand correctly, in 
> another book.)
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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> 
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Robin wrote:
>I rather wish that Dan Brown had picked a saint who wasn't quite so
>central to costume study. Say, Mary of Egypt.

<snerk>
<snicker> 
I can just see it now.....

____________________________________________________________
0  Chris Laning
|  <claning@igc.org>
+  Davis, California
http://paternoster-row.org  -  http://paternosters.blogspot.com
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Actually, if it wasn't stupid characters doing stupid things in most
movies(and TV shoes), that would eliminate the plots of most of our
entertainment from those mediums!  And that would lead to the loss of a
lot of fun watching them.

I kind of wondered at the trailer for Marie Antoinette which started
this thread.  My theory is that since the movie isn't due out until the
fall at the earliest, post-production work and a final musical score
might not yet exist yet.  I've seen other movie trailers where the music
in the first teaser trailer doesn't match that in the final film. The
score for "Little Women"(the version with Winona Ryder), I've heard in
"teaser trailers" for other movies.


For anyone on the list who hasn't read "Hollywood and History" by Edward
Maeder, I recommend this book as an excellent guide to the history of
historical accuracy/inaccuracy in costuming. Maeder also covers what
happened to a lot of accuracy between the designers' concepts and what
ended up on-screen. Not only did most stars demand to look attractive at
the cost of accuracy, the dear old Hayes Code also had a lot to say for
decades. Rule one must have been no breast exposure for women and no
codpieces for men. So women wore bodices appropriate to the year the
movie was made and men had to wear tights with costumes redesigned so
the films wouldn't be banned by Mr. Hayes, any other Puritains, and any
city in the U.S. that might take offense. Maeder recounts that Bette
Davis had to fight her agent and the studio when she shaved her head to
play Elizabeth I the second time as her research discovered the real
Elizabeth was nearly bald in her old age. 

In Maeder's opinion, the Italian-Anglo film, "The Leopard" was the most
historically accurately designed and costumed film up the year he wrote
the book. 

After reading this book years ago, I love to play a kind of game when
watching a "historical costume" film or TV show I call: Find all the
things in the costumes that give away the year the film was made.

Hairstyles and makeup of the leading actors is a dead giveaway. If you
want to see a costume designer's original intent: check out some
background extra.

Start watching those old films and have fun!

Cindy Abel

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Date: Tue, 25 Apr 2006 09:14:25 -0700
From: Lavolta Press <fran@lavoltapress.com>
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Subject: Re: [h-cost] Re:  Titanic film
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Same with the costumes, too ... otherwise no costumer would enjoy any 
film he or she hadn't costumed personally.

Fran

Sharon at Collierfam.com wrote:

> I drive my family nuts saying stuff like" Why doesn't he/she do ......?" My
> husband says,"Then the movie'd be 15 minutes long." We just have to suspend
> our disbelief and enjoy the show.
> 
> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
> Behalf Of Lavolta Press
> Sent: Monday, April 24, 2006 9:54 PM
> To: Historical Costume
> Subject: Re: [h-cost] Re: Titanic film
> 
> 
> I thought that too.
> 
> Speaking of dumb decisions, I just saw "Last of the Mohicans."  I could 
> believe it when the Indian said he was the "last" at the end, because 
> almost everybody else in the film had gotten colorfully killed. That's 
> what the whole film was about.
> 
> But anyway:
> 
> Here are two teenage girls fresh out from England, with the frontiersman 
> Hawkeye and his adoptive Mohican father and brother, escorting the girls 
> to their father's fort.  They get near the fort, sneaking up through the 
> woods at night, and discover from distance that it's under siege. The 
> area around it looks and sounds like the Fourth of July.  (I know they 
> didn't have the Fourth of July then, well they did but it wasn't the 
> Fourth of July; well you know what I mean.)
> 
> At this point I would have turned around to my guides and said, "You 
> know this area, is there anyplace we can hole up safely till this battle 
> is all over?"  No--they go right in!
> 
> I haven't read the book, which hopefully explains things like this.  But 
> in the film, I thought they were idiots.
> 
> Fran
> Lavolta Press
> http://www.lavoltapress.com
> 
> 
> 
>> 
>>I thought. "Hey....couldn't your daughter use that?!"
>> 
>>Well Rose couldn't make a decent decision in 1912, why would she  now? 
>>_______________________________________________
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>>
> 
> _______________________________________________
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> 
> _______________________________________________
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> 
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Subject: [h-cost] Re: movies-things that make you cringe
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Or watching a modern military action film with a vet. "That is the completely wrong insignia..." etc. Apparently "A Few Good Men" was pretty accurate with its uniforms.

h-costume-request@indra.com wrote:
   
  ----------------------------------------------------------------------

Message: 1
Date: Tue, 25 Apr 2006 08:07:39 -0300
From: "kelly grant" 
Subject: [h-cost] Movies-things that make you cringe!

> but because of my DH the entire family is known to yell >at
> the screen in any movie historical or modern "PICK UP >THE AMMO/WEAPON", 
> as
> the good guy runs around ect...

Our favourite thing to make us yell at the screen..."Close the damn door!" 
When the actor walks intoa building and leaves to door open, to be closed 
miraculously by someone else!

It is getting better though, and so too are costumes in movies. Could you 
imagine if Hollywood were still costuming the way it did in the 1950's, then 
those 1810 dresses would have waistlines down around the hipline with gaps 
to show off the pierced midriff. ;-)

I think it's because the public is becomming better educated about costume 
history, I also think that it will get better in the future too. Costume 
Literature has jumped tenfold since I left University, so have the skill 
levels of the majority of students. People are pushing themselves further 
and further, trying to find out how those garments were made and worn in 
history, not just trying to capture a look.

Kelly 



Message: 6
Date: Tue, 25 Apr 2006 22:06:32 +1000
From: "Elizabeth Walpole" 
Subject: Re: [h-cost] Movies-things that make you cringe!

----- Original Message ----- 
From: "kelly grant" 
To: "Historical Costume" 
Sent: Tuesday, April 25, 2006 9:07 PM
Subject: [h-cost] Movies-things that make you cringe!


>> but because of my DH the entire family is known to yell >at
>> the screen in any movie historical or modern "PICK UP >THE AMMO/WEAPON", 
>> as
>> the good guy runs around ect...
>
> Our favourite thing to make us yell at the screen..."Close the damn door!" 
> When the actor walks intoa building and leaves to door open, to be closed 
> miraculously by someone else!
>

It's not just costumers/historians who tell fictional characters when 
they're wrong, my Mum's a nurse and you can't get through any sort of 
medical drama without learning where they have taken liberties with the 
facts.
Elizabeth
--------------------------------------------
Elizabeth Walpole
Canberra Australia
ewalpole[at]tpg.com.au
http://au.geocities.com/e_walpole/



		
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Subject: Re: [h-cost] Last of the Mohicans
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In a message dated 4/25/2006 12:38:27 P.M. Eastern Standard Time,  
CynthiaAbel@creighton.edu writes:

Hairstyles and makeup of the leading actors is a dead giveaway. If  you
want to see a costume designer's original intent: check out  some
background extra.



*****************
 
 
Indeed! I love how, oh say, the pioneers are in what is often pretty  good 
clothes but Olivia De Havilland is crossing the plains in a velvet ensemble  
with a huge fur trimmed hat.
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Genie Barrett wrote:
>Actually, the book is so different from that movie that you could call
> them two different stories with people who share the same names.

That was my original reaction to Clive Owen's "King Arthur". Though it makes
a great movie, it was not at all what I had expected. It gets better each
time I see it, and the names become background noise to the story.

And we won't even discuss the James Bond movies...

Monica Spence



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On Tue, 25 Apr 2006, Lorraine Herr wrote:

>  I'm looking for advice about vertical spacing of holes on the front
> lacing of a gothic fitted dress.  Three weeks of fittings, sewing,
> bleeding, etc., and it's down to the finish line!  Has anyone got
> thoughts about how far apart (vertically)  the holes ought to be?  I
> know they should be offset, and I think about 1/4 to 3/8 of an inch in
> from the front edge of the dress.  However, ANY advice would be
> appreciated!!!!!

In my experience, one inch apart is too little. I do them around 3/4 inch.
I've noticed that this happens to be the width you'd get if you used your
finger-width to space them, so I wouldn't be surprised if the medieval
seamstress didn't bother measuring. However, I do, and I mark them all
(both sides) before I ever start sewing, for fear that I'll end up with
the two sides not matching up correctly at the end.

Offsetting: I make the top two holes at the same height, about 1/2 inch
from the top. Then on one side I go down at 3/4-inch intervals. On the
other side I go down 3/8 inch for the first one, and then at 3/4-inch
intervals. This allows me to have offset spiral lacing up the front,
without the top coming together unevenly. (I saw this on a statue
somewhere; if I was smart, I took a picture!)

I put them a little further in than you have noted -- about 1/2 to 5/8
inch from the edge. Then the spiral lacing allows me to overlap the
allowances, so as the lacing shifts over the course of the day, it never
gaps enough to show chemise. However, if you didn't allow for that much
overlap when you fitted, don't change it now! You will have to use the
same overlap you planned for originally. (I generally mark my center line
during fittings and pin on that, and then when I sew it up, I add half the
overlap amount beyond the line for each half of the dress.)

Somewhere around here I have a post I wrote about eyelets. Let me find
it... OK, there were four of them. I'm copying them below. (If I can ever
get my husband to update my webpage, I'll add another batch of GFD-related
posts! I've been saving them.)

--Robin
four old posts follow

Date: Wed, 23 Mar 2005 21:01:23 -0600 (CST)
From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Lacing Eyelets

On Wed, 23 Mar 2005 Theresathreadgi@aol.com wrote:

> Had to get on this bit.  When making eyelets, the quick way is to use
> grommets, what is the historical way?  Are they like round botton
> holes or what?

Hand-done eyelets are so easy even I can do them. I do lousy buttonholes,
but my eyelets are perfectly round and even. And they go very fast -- and
never pull out like grommets can.

There are some examples of extant ones in the Museum of London's "Textiles
and Clothing" book and they're pretty much as one would expect -- round
openings held open with overcast stitch, if I'm remembering right.

This came up on this list a few years ago, and I just dug out a post I
made then, about the method that works well for me. Here's what I wrote:

<<First I poke a hole with the awl. Then I take something long and
tapering, such as a chopstick or the handle of an artist's paintbrush, and
push it through with a quick, sharp stroke. This enlarges the hole and
firms it up. It also makes each hole uniform, as the chopstick will tend
to go to the same depth each time. Then I use my nail scissors to snip
just one or occasionally two threads from each layer on each side of the
hole (not top and bottom, just the sides). I stab again with the chopstick
to firm up the hole again, and then before the hole relaxes again, I give
it a series of about six quick whipstitches all around the circle. That
holds the shape of the circle in place while I do the second, neater
round.

For the second round you can use either buttonhole or whipstitch, I think;
it may depend on your period, but my understanding is that medieval and
renaissance use both methods.

Using the awl and chopstick will give you nice round holes, and the
stitching tends automatically to make a round hole. It's really hard to do
otherwise!
>>

To the above I'll add a note: The reason you clip a thread or two on the
sides is to keep the fabric from puckering between the eyelets. This
applies only to a series of eyelets in a row along the fabric grain. You
see, you're mostly just pushing the threads apart to create the hole, not
cutting or punching a hole. The unbroken threads keep the hole very strong
and stable and means you don't get threads pulling away from the hole (a
real problem with modern grommet-setting, which involves punching a hole
and cutting threads). However, if you do a lot in a row, the vertical
threads that would have run right through the middle of those holes, down
the whole row, have to "detour" around each one, and end up pulling tight
and puckering along the line of the eyelets. Clipping those particular
threads prevents that problem. Don't clip the threads that go
perpendicular to the row of eyelets.

--Robin


Date: Thu, 24 Mar 2005 00:27:09 -0600 (CST)
From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Lacing Eyelets

On Wed, 23 Mar 2005 Theresathreadgi@aol.com wrote:

> thanks you and Robin make it sound easy, so will try this way instead
> of grommets as they do tend to pull out over time.  theresa

Do some tests on scrap fabric first, to get a sense of things like stitch
size, hole size, etc. and to get your rhythm.

Then start your eyelets from the bottom, where people won't be looking
closely. By the time you reach the top you'll be a pro.

Something else I do: Since I'm usually working on lined fabric (or with a
facing behind the eyelets) I run a line of basting, either hand or
machine, along the line where I want the eyelets to run, before I start
working. That holds the fabrics together and also ensures I get the line
of eyelets perfectly straight. After all the eyelets are done, I pull the
basting. It's OK if the basting gets caught in your eyelets; just clip the
basting off close when you're all done.

I do the basting before I mark the eyelets. Then I take a pencil or
marking chalk on the wrong side and make small hatch marks along the
basting line at even intervals; these form little X's where my eyelets
will be.

--Robin


Date: Thu, 24 Mar 2005 08:02:14 -0600 (CST)
From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: LACING--was Re: [h-cost] Lacing Eyelets

On Thu, 24 Mar 2005, J Schueller wrote:

> Ok, now that we are on this topic, I have dutifully put in lacing
> holes to spiral lace in all my dresses for the last wo years, and have
> achieved a problem (besides lacing it up!).  How does one tie it off
> at the top or bottom?  With only one lace, one can not make a bow.  
> This is compounded by the fact that most of my lacing is in the back
> and I need random people to tie me off, so I would love a good way to
> *describe* ow to tie off spiral lacing.

Interestingly, I've never needed to tie off. I snug up the lacing
completely (this usually means waiting about five minutes after I've fully
laced, and retightening, because the dress relaxes -- I do my hair or
something in the meantime) and then pass the thread through the top two
holes a couple more times. I then roll the rest of the lace around my
fingers into a bundle and stuff it down my cleavage, and slip the needle
into the lining in such a way that it doesn't poke.

And then I forget about it for the rest of the day. I've never known it to
slip.

I should note that I do my holes offset so that the lace moves on a
diagonal from one side to the other, and then I make the top two holes
even:

o o
o
  o
o
  o
o
  o
o
  o

One thing nice about the spiral is that you can overlap the sides of the
dress, so any "adjustment" that the dress makes over the day won't cause a
gap.

--Robin


Date: Thu, 24 Mar 2005 11:39:38 -0600 (CST)
From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] placing of Eyelets (was Lacing Eylets

On Thu, 24 Mar 2005, Genie Barrett wrote:

> Some Italian laces have staggered holes, and then many other countries
> have the holes lined up.
> 
> How do I choose...

I've seen both straight and staggered on English/French/Flemish 14th-15th
c., so I don't think it's a national issue. Do what you like ;-)

> and if I choose the staggered ones, is there some sort of ratio that
> makes the top fabric edges line up?
> 
> Last time I tried, they were always between half and one inch off.  I
> know that some of it is the method of lacing, (eg. wrap vs.
> criss-cross).  But I'd like to do the single wrap up the edge.

Not sure about ratio, but I always mark my eyelets before sewing them. I
start marking from the top, making the top level on each side at the same
distance -- say, half an inch down from the top edge. Then on one side, I
go down in even increments; on the other side, I go down half an increment
for the first eyelet below the top one, then full increments for the rest.
The result is as I drew earlier:

o o
o 
  o
o 
  o
o 
  o
o 
  o
o 
  o

Those even eyelets at the top seem to be enough to square everything off.
I've seen that arrangement on at least one sculpture. Interestingly, I've
also seen some paintings that show spiral lacing on parallel (not offset)  
eyelets, and the bodice edges meet unevenly. I suppose for an underdress
this doesn't matter, but I think I'd personally feel a little skewed
wearing it ;-)

Flemish paintings show some interesting variations that seem to represent
a rather casual practice: Evenly placed eyelets, but the lace going
offset, skipping every other hole each side;  or lacing that skips an
occasional hole, so that the spiral goes slanted in one direction for part
of the stretch, then slanted in the other direction.

Oh, on marking technique: Realistically, I know they probably didn't
measure. I've stopped using numeric measurements for almost every part of
my fitted dress construction, and I think I'm at about the point where I
don't need to measure eyelets either. I imagine the medieval seamstress
spaced eyelets with her finger or thumb, all the way down the row.


--Robin






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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Historical Films
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On Tue, 25 Apr 2006 aquazoo@patriot.net wrote:

[Robin wrote]
> > I rather wish that Dan Brown had picked a saint who wasn't quite so
> > central to costume study. Say, Mary of Egypt.
> 
>      Except Dan Brown didn't make the "choice".

Um, *that* was a throwaway line, and meant to amuse. This is Mary of
Egypt:

http://www.wga.hu/html/m/memling/3mature1/17rein4.html
(right side)

See, no implications for costume study there.

(Interestingly, the woman on the left is St. Wilgifortis, whom I do use in
the lecture, as she owes her existence to an error of costume
interpretation. But that's one of the better examples in the lecture, and
I don't wish to spoil it here.)

--Robin


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Date: Tue, 25 Apr 2006 10:17:03 -0400
From: monica spence <monicaspence@optonline.net>
Subject: RE: [h-cost] Mel Gibson flicks
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I have spent years in the theatre-- BA and MA in costume design and history
(15 years). Then I was a designer for the garment industry (24 years) . Now
I teach fashion history in a college.

>From my experience-- The "look" is the thing, not historical accuracy.  If
you have a director like Franco Zefferelli he is going to look for more
accuracy. However Remember his "Taming of the Shrew"? Liz Taylor was dressed
in a VERY hollywoodized version of Lorenzo Lotto.(I am surprized she wore a
balzo !) Because she was the star. A STAR has a lot of influence in what
they wear. People like Edith Head knew how to dress Stars by giving them
what they wanted-- to appeal to their image and their vanity.  And sometimes
STARS want to make thimngs more accurate over the objections od the
director. Bette Davis shaved her hair and eyebrows for "Elizabeth and Essex"
in order to make her character more accurate. Hollywood thought she was
nuts.

When Cecil Beaton did My fair Lady he was a photographer/artist with some
experience in design. However he was grounded in the Edwardian era. I knew
the woman who actually made the costumes for the Broadway show (Helen Pons--
she designed the original costumes for "our Town, etc)). She was the
backbone of the costumes. She knew what could and could not be made. When
they made the movie his designs were adapted to the screen-- with someone to
oversee the construction.

No director with a brain is going to risk the look of a movie to his
girlfriend or his niece unless he feels that she can do the job. Too much is
at stake.A costume designer has too much responsibility to too many people
to be *just* a girlfriend or niece.

Many people who have clout in Hollywood as stars will not risk their image
if they feel their costumes do not reflect it. They overrule a designer
based on ego, comfort, or their own "Vision" of the production. It is a rare
actor that will wear a costume simply because the designer gives it to him
or her.

It is a very idealized situation to  allow everyone to do their own jobs. In
a perfect world it happens, not Hollywood.

Monica Spence


-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of AlbertCat@aol.com
Sent: Monday, April 24, 2006 11:35 PM
To: h-costume@indra.com
Subject: Re: [h-cost] Mel Gibson flicks



In a message dated 4/24/2006 10:53:51 P.M. Eastern Standard Time,
monicaspence@optonline.net writes:

think we  are all too critical about costume work in films. The director--
and  sometimes the STARS have a majority of things to say about what is
worn.



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

This can be tricky. Especially when they hire the producers niece or
girlfriend to do the costumes....something that seems to happen in America
more  than
Europe. Sometimes the actors are just looking out for themselves. If  you
have a top notch designer, as many period films do, smart actors, art
directors,
directors and producers just let them do their work.

I don't think we're too hard on film. I mean they're spending a  fortune!
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Subject: [h-cost] Questions, (both on topic and not)
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For reasons that are somewhat complicated, I may be at a rev war event in 
virginia on the 14th-16th of  July.  First the off topic - can anyone give 
me a hint on what to expect - how much this sort of thing costs, tha tsort 
of thing (I've done re-eacting elsewhere, but not RW and not in VA).

Also, where can I find a pattern for a coat for an outfit appropriate to the 
era?

Marc


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Date: Tue, 25 Apr 2006 11:41:47 -0400 (EDT)
From: Edith Reardon <edithreardon@yahoo.ca>
Subject: Re: [h-cost] Steam Iron source
To: Historical Costume <h-costume@indra.com>
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Look at ebay,some UK suppliers ship to the USA.  Tried Tefal's website but it is down at the moment
   
  Brin Kendall

Joannah Hansen <Joannah@sluggy.net> wrote:
  <
<--- suzi@suziclarke.co.uk wrote:
<
<(which is more than I do!)
<

Sorry, I can't help for a US source, but thank-you for the opinion about the Tefal steam iron - I've been eyeing them off over here in Australia. One day.......

I just went looking and found this link -

http://www.amazon.com/gp/product/B00008ZPN6/102-6325019-4567367?v=glance&n=284507

DeLonghi also make one which I presume ( from their website ) is available in the US, but their website was less than helpful fro getting details.

Joannah.

~*~ Practice random acts of kindness, and senseless acts of beauty. ~*~



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Subject: Re: [h-cost] Historical Films
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> Um, *that* was a throwaway line, and meant to amuse. This is Mary of
> Egypt:
>
> http://www.wga.hu/html/m/memling/3mature1/17rein4.html
> (right side)
>
> See, no implications for costume study there.

     Interesting - Mary Magdalene also has the association of being a
penitent wandering in the desert for many years, and long hair is one
of her identifiers!  There was a lot of confusion between the Marys,
so I guess Mary of Egypt is where the prostitution came from?  That's
a discussion for another time....

> (Interestingly, the woman on the left is St. Wilgifortis, whom I do use in
> the lecture, as she owes her existence to an error of costume
> interpretation. But that's one of the better examples in the lecture, and
> I don't wish to spoil it here.)

     The description on that page says a lot!  I guess I'll have to wait
until you give that lecture somewhere around me.

Elizabeth wrote,
> Ah, you see my sample answer would have been 'because it pre-dates Dan
Brown

     Again, not relevant since many had that theory before DVC brought it
to popular culture

> and in the Medieval period you could have been killed for saying what he
> said' several schisms were eradicated (usually by violent means) for saying
> much less controversial things than Jesus had sex with Mary Magdalene.

     Yes, and...?  That's the whole point, that the clues were *hidden* in
the paintings, and now people are looking for those clues!

     Margaret Starbird showed a series of paintings of Mary Magdalene,
with identifiers such as red brocade, an ointment jar, long hair, and
(the new one for me) Xs being included either in her outfit, the
architecture or somewhere else in the painting.

     -Carol

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Please remove me from your list.  2nd request.
   
  Sharon

			
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In Maeder's opinion, the Italian-Anglo film, "The Leopard" was the most
historically accurately designed and costumed film up the year he wrote
the book.
Cindy Abel

Hi, i completely agree with him, its fantastic costumes. Especially the 
elderly women in the great ball scene, who dresses very early victorian, and 
not high fashion as the young ladies does.
I definately will order this, i saw it on Amazon com, and its a classic, you 
will never get tired of seing that.
Thanks for reminding me of this.

Bjarne 


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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Historical Films
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On Tue, 25 Apr 2006 aquazoo@patriot.net wrote:

>      Interesting - Mary Magdalene also has the association of being a
> penitent wandering in the desert for many years, and long hair is one
> of her identifiers!  There was a lot of confusion between the Marys,
> so I guess Mary of Egypt is where the prostitution came from?  That's
> a discussion for another time....

There are a number of reasons for Magdalen's supposed link to prostitution
(which, interestingly, does not exist in the Eastern Orthodox Christian
church's view of Magdalen, who is highly revered).  But yes, there are
similarities in the stories, and apparently some cross-fertilization,
which becomes evident in the art as well, when you look at paintings of
Magdalen in her wilderness-hermit phase.

--Robin


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Quoting S Kelley <kelley_gerl@yahoo.com>:

> Please remove me from your list.  2nd request.
>
>

I believe that you have to go to the web site that's at the bottom of
every email and remove yourself.  I don't know if this group has a
human who can do things like that or not.


>
>
> ---------------------------------
> Celebrate Earth Day everyday!  Discover 10 things you can do to help 
> slow climate change. Yahoo! Earth Day
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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-----
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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] Movies-things that make you cringe!
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I've just been having a costume-a-thon at my house (coronation is Saturday 
and we have to dress the queen <G>).  As we're sewing we've been watching 
movies and of course snarking the costumes.

We watched Kiss Me Kate.  My daughter wants the red dress the shrew wore. 
It was Hollywood Italian Ren.

We watched Court Jester last night.  Actually the costumes weren't too bad.

It seems that costumes, effects, make up, and everything else has improved 
as the audience has gotten more sophisticated.  Still, it's fiction.  And 
none of those will be allowed to get in the way of a good story or making a 
buck <G>

Julie 


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Quoting S Kelley <kelley_gerl@yahoo.com>:

> Please remove me from your list.  2nd request.
>
>

I believe that you have to go to the web site that's at the bottom of
every email and remove yourself.  I don't know if this group has a
human who can do things like that or not.


>
>
> ---------------------------------
> Celebrate Earth Day everyday!  Discover 10 things you can do to help 
> slow climate change. Yahoo! Earth Day
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>



-----
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] Mel Gibson flicks
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In a message dated 4/25/2006 2:33:31 P.M. Eastern Standard Time,  
monicaspence@optonline.net writes:

Liz  Taylor was dressed
in a VERY hollywoodized version of Lorenzo Lotto.(I am  surprized she wore a
balzo !) Because she was the  star.


*****************
 
She had her own designer....like Raquel Welch in "Three Musketeers".
 
It's not like anybody made Danilo Donati or Yvonne Blake design  like that. 
But of course Liz gets her own designer because she's Liz. And Raquel  was 
afraid the busk would hurt her fake boobs. 
 
In these instances, too bad for them, because everyone else around them  
looks much better!
 
******************
No director with a brain is going to risk the look of a movie to  his
girlfriend or his niece unless he feels that she can do the job. 
 
********************
 
I've worked 2 projects now [one for TV] where the designer was a  
girlfriend....one the director's....one the producer's....who definitely didn't  have a 
clue what she was doing. The assistant and those of us in the shop saved  the 
film. These weren't period pieces....except one had a flashback. I guess  they 
figured since it was modern, clothes were easy. Personally I find modern  
dress can be the most difficult....because you can't "get away" with anything.  
You really do have to be "accurate"! The language of modern clothes is fresh,  
subtle and detailed...and known by the audience.
 
But you are correct....it's the "with a brain" qualifier that makes all the  
difference.
 
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In a message dated 4/25/2006 3:07:05 P.M. Eastern Standard Time,  
robin@shell.nightowl.net writes:

becomes  evident in the art as well, when you look at paintings of
Magdalen in her  wilderness-hermit phase.



****************
 
Doncha love those George De la Tour paintings??? So  beautiful.
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On Tue, April 25, 2006 1:31 pm, S Kelley said:
> Please remove me from your list.  2nd request.
>
>   Sharon
>
>
> ---------------------------------
> Celebrate Earth Day everyday!  Discover 10 things you can do to help
> slow climate change. Yahoo! Earth Day
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Date: Tue, 25 Apr 2006 20:55:55 +0100 (BST)
From: Lena <lenastrid@yahoo.com>
Subject: Re: [h-cost] Movies-things that make you cringe!
To: Historical Costume <h-costume@indra.com>
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In the spirit of these movie related threads:

I would like to draw your attention to History Spork,
where two (or sometimes) three historians spork
historical movies. In the archives are Braveheart,
Sound of music, The patriot, and many more. 
http://history-spork.livejournal.com/

In the same vein, a lovely King Arthur review:
http://ajhalluk.livejournal.com/174695.html

Enjoy!

/Lena

Send instant messages to your online friends http://uk.messenger.yahoo.com 
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In a message dated 4/25/2006 4:02:18 P.M. Eastern Standard Time,  
lenastrid@yahoo.com writes:

three  historians spork
historical movies. In the archives are  Braveheart,
Sound of music, The patriot, and many  more


I never could figure out why everyone was so crazy about Sound of Music,  
especially costume historians!  So I'm not the only one.
 
Ann Wass
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Subject: Re: [h-cost] Teaching, was: Historical Films
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>      Whether in the classroom, symposium, or casual conversation, the key
> is documentation.

Not for the last--at least, it tends to become a focus for tiresome 
"prove yourself to me" games.  There is a difference between a doctoral 
dissertation and a conversation.

> 
> 
>      If I can't cite the source at the time, and I can't find it, then I
> have to accept that the information will not back up my opinion.  It
> doesn't matter if my memory is seeing the item in a museum, with
> accurate provenance, or if it's a movie that's 95% fantasy.
> 

OK, but there is a difference between research (finding data) and 
intepretation (of the data).  One of the first things I learned in 
upper-division history seminars is there are often serveral, equally 
believable ways of interpreting the same data.  After a certain point, 
all you can give there is your logical argument.

In other words, you're not always following someone else's ideas.

Fran
Lavolta Press
http://www.lavoltapress.com
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 I love to play a kind of game when
> watching a "historical costume" film or TV show I call: Find all the
> things in the costumes that give away the year the film was made.
>
> Hairstyles and makeup of the leading actors is a dead giveaway. If you
> want to see a costume designer's original intent: check out some
> background extra.
>
> Start watching those old films and have fun!
>
 ------------------------------
giggle, snerk.  I've done that - same with still photographs.  Have you 
watched an episode of Classic Star Trek?

Also, go back and watch movies you thought were really cool/scary/ whatever 
when you were a younger with your kids.  Mine thought Jaws was lame, Psycho 
wasn't scary and the Trek clothes were lame too.

Julie 


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Subject: Re: [h-cost] Questions, (both on topic and not)
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Hi Marc,

     Generally Rev War events, at least on the East coast, have
participants organized in military units.  Is it a battle event?  If
so, then it's probably mostly reenactment units.  The organization is
important for safety and "walk on" participants are discouraged.

     In which case, whatever unit you're participating with can advise you
on clothing, and may well have some loaner things for you to wear. 
It may be different depending on who has invited you.

     If you're going with someone who is a sutler (merchant), then they
also can advise you.

     Most events in this area are open to the public, so participants are
expected to interpret.  And there does not tend to be a fee for
individuals, instead the units receive some copensation for their
participation.

     As far as a coat, again this depends on what you are doing at the
event.  Military, militia, civilian?  You could get by with a fairly
uncomplicated sleeved waistcoat.

     There are market fairs and roundevous events that are more relaxed,
more for reenactors than the public, may charge a participant fee,
etc.

     Check again with the event organizers to see what it will be like,
and then you'll have a better idea what to expect.

     -Carol


> For reasons that are somewhat complicated, I may be at a rev war event in
> virginia on the 14th-16th of  July.  First the off topic - can anyone give
> me a hint on what to expect - how much this sort of thing costs, that sort
> of thing (I've done re-eacting elsewhere, but not RW and not in VA).
>
> Also, where can I find a pattern for a coat for an outfit appropriate to
> the era?

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> Oh, on marking technique: Realistically, I know they probably didn't
> measure. I've stopped using numeric measurements for almost every part of
> my fitted dress construction, and I think I'm at about the point where I
> don't need to measure eyelets either. I imagine the medieval seamstress
> spaced eyelets with her finger or thumb, all the way down the row.
> --Robin
>
Dang!  I needed this last night.  I put the "eyelets" into a GFD by 
carefully measuring 1" increments and off set with 1/2".  Thumb would have 
been easier.  I made tiny machine buttonholes.  The dress is needed 
Saturday.  Guess it's not an arts project <G>.
Julie 


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Subject: Re: [h-cost] Teaching, was: Historical Films
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> OK, but there is a difference between research (finding data) and 
> intepretation (of the data).  One of the first things I learned in 
> upper-division history seminars is there are often serveral, equally 
> believable ways of interpreting the same data.  After a certain point, 
> all you can give there is your logical argument.
> 
> In other words, you're not always following someone else's ideas.

I'll give you an example, BTW.  Someone else has probably come up with 
this theory, somewhere, but I haven't seen it:

Who got married at the wedding at Cana?

(Let's assume this part of the Bible is a historical account, if 
incomplete.  Since I'm an atheist, I don't buy the miracle. Just the 
same, Jesus was probably a historical prophet of some sort. Note:  I 
know little about the historical marriage customs of this period.)

Jesus is invited to the wedding at Cana. Mary (his mother) is 
prominently mentioned as being there. "They" run out of wine.  Mary asks 
Jesus to supply the deficiency.  He does (by miraculous means).  He also 
makes a nasty (or at least peculiar) comment: "Woman, what have I to do 
with thee?"

I think Jesus was probably married to Mary Magdalene, but unlike some, I 
don't think this was his wedding. If the King James translation of the 
Bible is any good, Jesus was invited to the wedding, which makes it 
unlikely that it was his own. On the other hand, his mother is 
prominently mentioned, and Jesus is expected to help with the catering. 
  So it's likely the wedding was one of some close connection of his.

My guess is that Mary, his mother, is the bride.  Sure, she was married 
before, but there were years in which Joseph is not mentioned, giving 
Joseph plenty of time to succumb to some accident or disease.  So she's 
remarrying.  Etiquette probably requires her son to attend the wedding, 
but he doesn't like her remarrying, or at least he doesn't like her new 
husband.  The comment above may mean, "Now you're married into someone 
else's family and are part of that family, not Joseph's/my father's."

I think it sounds good . .  . however, the wedding could quite plausibly 
  have been that of any of Jesus's relatives or disciples.

Fran
Lavolta Press
http://www.lavoltapress.com
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Subject: Re: [h-cost] Re: working with leather, Firefly browncoat
Date: Tue, 25 Apr 2006 16:07:10 -0500
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The only two things I've found to worry about with leather are:
A) The thickness of the leather, & making sure that your sewing machine can 
handle it--for the browncoat, I used suede that was nearly 1/8 thick, and 
though my machine actually was capable of handling 5 layers of it, it caused 
all sorts of problems.  (But it was the only suede I could find in the right 
color, darn it!)  You just can't finish thick suede as nicely as you can 
finish garment-weight (~1.5oz-3oz) suede, and you'll find yourself calling 
the ruttin' coat a piece of gos se often, dong le mah?

B) Getting the seam right the first time.  Any hole you make in the leather 
won't close back up again the way fabric would, so ty to aviod ripping out 
and re-sewing seams--it'll be obvious, and it will weaken the leather.

Also, though a lot of people seem to like to use upholstery thread with 
leather, I didn't like the result at all; I used glazed cotton hand quilting 
thread, and it worked very well.

-E House
(It's more useful than Klingon, right?) 

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Date: Tue, 25 Apr 2006 16:19:44 -0500 (CDT)
Subject: Re: [h-cost] Re: working with leather, Firefly browncoat
From: "Chiara Francesca Arianna d'Onofrio" <chiara@io.com>
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Try using button thread. It most resembles silk button twist and
will not rip through your leather.

Do not use the commercial silk embroidery threads that you find at
your Jo-Anns or Walmart etc., they break, a lot.

You can find good quality silk threads online now a days if you
really want to go that route. But button thread should work well.

Also, if they make it for your machine, get the teflon foot and
plate. It makes life so much easier when working with leather or
fake leather. :)

The thicker the leather the more likely it will heal however. The
thinner, no dice.

Chiara


On Tue, April 25, 2006 4:07 pm, E House said:
> The only two things I've found to worry about with leather are:
> A) The thickness of the leather, & making sure that your sewing
> machine can
> handle it--for the browncoat, I used suede that was nearly 1/8
> thick, and
> though my machine actually was capable of handling 5 layers of it,
> it caused
> all sorts of problems.  (But it was the only suede I could find in
> the right
> color, darn it!)  You just can't finish thick suede as nicely as you
> can
> finish garment-weight (~1.5oz-3oz) suede, and you'll find yourself
> calling
> the ruttin' coat a piece of gos se often, dong le mah?
>
> B) Getting the seam right the first time.  Any hole you make in the
> leather
> won't close back up again the way fabric would, so ty to aviod
> ripping out
> and re-sewing seams--it'll be obvious, and it will weaken the
> leather.
>
> Also, though a lot of people seem to like to use upholstery thread
> with
> leather, I didn't like the result at all; I used glazed cotton hand
> quilting
> thread, and it worked very well.
>
> -E House
> (It's more useful than Klingon, right?)
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>




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Subject: [h-cost] biblical example RE Teaching, was: Historical Films
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I was informed that at that time in Jewish history/customs. It was the
groom's responsibility to make sure that there was plenty of wine.
So, for Mary to be concerned about the quantity of wine implies some
relation to the groom's side. For her to approach Jesus about it implies
that Jesus is the groom or a possibility that Jesus was expected to pass on
the information to the groom.
Jesus taking care of it implies he is the groom.

The comment I believe is in reference to her doubting him.

The difference of research and interpretation is that interpretation is
usually the next step after research.

It is said that the King James's translation is not reliable. There are
several alleged translation errors. Though there are modern translations
that are not reliable as several "progressive" Christians have added things
to it and placed interpretation that sometimes is contrary to the original.
Example: the original is "Let not a poisoner live", King James: changed
poisoner to "witch"
And a "modern" translation had "witch, prostitute, homosexual,
murderer...(there was two more but I can't remember what they were.

"In other words, you're not always following someone else's ideas."

Not so much not following someone's ideas but their interpretation of the
information gathered.

De


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Subject: Re: [h-cost] Historical Films
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----- Original Message ----- 
From: "Lavolta Press" <fran@lavoltapress.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Monday, April 24, 2006 6:56 PM
Subject: Re: [h-cost] Historical Films


>
>>
>> **************
>>  Hopefully, every once in a while, there's some  ART!
>>
> The line between entertainment and art is extremely flexible, unless 
> there's so much art you can't possibly view it as entertainment.
>
> With novels, it's like Charles Dickens, and many other authors, are one 
> generation's entertainment. Then later, just because they're old, they get 
> canonized in English Lit classes as ART.  Don't get me wrong, I'm 
> perfectly happy to read the stuff and discuss the symbolism in it to my 
> and everyone else's heart's content.  But it still seems a little ironic.

And some of us still see it as entertainment--I found The Pickwick Papers to 
be one of the funniest books I ever read, and Sam Weller is quite possibly 
my favorite book character of all time. There are parts of that book that 
made me positively roar with laughter, and others that made me cry. 
Sometimes, the entertainment of previous days survives as entertainment as 
well as art, just because it's GOOD.

To drag this kicking and screaming back on topic (at lest somewhat) I ahve 
always wanted to make a Sam Weller doll. Now I have to delve back into the 
book and read up on his clothing. Oh, the pain! (insert obligatory dramatic 
pose)

Dianne 

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Date: Tue, 25 Apr 2006 14:06:59 -0700
Subject: Re: [h-cost] GFD lacing spacing
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Re: eyelets. There's a nice article in Renaissance magazine (the issue
that came out before the current one) on doing those, both without and
with rings--even a costume ignoramus like myself understood what the
author was talking about. Laurie, would you like to borrow it?

Arlys
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Subject: Re: [h-cost] New MCT Book was Update on Henry VIII book
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I got mine today!  Looks good!  Thanks, Kathy

Catherine Kinsey <ckinsey@kumc.edu> wrote:  >I'll be interested in knowing when people get their copies. I still
don't
>have mine, which is apparently on the slow boat from England.
>
>--Robin
==============================
I just got an email notification from Amazon that my pre-ordered copy
is on the way.

At this rate it could beat my pre-ordered copy of Tudor Tailor........

Catherine

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> 
> Not so much not following someone's ideas but their interpretation of the
> information gathered.

That's not what I meant, either.  There is no need to "follow" someone 
else's interpretation if you can make your own interpretation from the 
same facts.

Fran
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Perhaps I didn't phrase it right.
Basically, I was switching "ideas" for "interpretation", thus saying,
"you're not always following someone else's interpretation" 
De


-----Original Message-----
 
> Not so much not following someone's ideas but their interpretation of the
> information gathered.

That's not what I meant, either.  There is no need to "follow" someone 
else's interpretation if you can make your own interpretation from the 
same facts.

Fran


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Subject: re: [h-cost] Questions, (both on topic and not) 
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no idea on the former question, but on the latter (coat), have you tried jas 
townsend's??  (don't have url to hand, sorry, but whenever I need them I 
google or yahoo them....)

debbie

ps - also have no idea what their patterns are like, as I don't use comm. 
patterns, but am sure I've seen rev war stuff in their cat.
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You have to follow these instructions to unsubscribe, as detailed at teh top 
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Debbie


In a message dated 4/25/06 10:27:32 PM GMT Daylight Time, 
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: [h-cost] historical films/ plays tv drama
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Hi,
Now this topic is up, does any of you know of any good tv plays to buy on 
tape or dvd? I remember back some years where i have seen quite many 
interresting plays or tv dramas from the end of 17th century. I believe it 
was real old plays from 17th century. There is one special i remember very 
well, it was gorgeous made with the costumes, but who could this have ben?
It must have ben BBC who made it.

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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> And some of us still see it as entertainment--I found The Pickwick 
> Papers to be one of the funniest books I ever read, and Sam Weller is 
> quite possibly my favorite book character of all time. There are parts 
> of that book that made me positively roar with laughter, and others that 
> made me cry. Sometimes, the entertainment of previous days survives as 
> entertainment as well as art, just because it's GOOD.

Absolutely.  But some stuff gets canonized that probably never was very 
good, either because it's early, or because it's "art."  And other stuff 
that's perfectly good, at least as entertainment, gets "lost," at least 
for a long time, because it goes out of style, or becauze it's by a 
minority author, or because it's an early work that was destroyed.

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


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From: Cin <cinbarnes@gmail.com>
To: h-cost <h-costume@indra.com>
Subject: Re: [h-cost] fall front trousers, etc./ Costume Close-Up for sale
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>>If the Eagle one is too late, how 'bout using the workmans breeches in
>>"Costume Close-Up", the Williamsburg book?

>It's something about not owning that book...
>      CarolynKayta Barrows
>dollmaker, fibre artist, textillian

I happen to own 2 copies.  When I was there I bought an extra just in
case someone might want it. Do you want it?  It's brand new.   No
eye-prints on it or anything. Pay cover price & it's yours.
If anyone else on h-cost wants it, same deal. If you live in or around
Silicon Valley, no postage!

--cin
Cynthia Barnes
CinBarnes@gmail.com

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From: REBECCA BURCH <ctrvlyfarm@sbcglobal.net>
Subject: Re: [h-cost] Movies-things that make you cringe!
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This is why I prefer video/DVD - nobody cares when I
yell at the screen at home.  It took several years,
but I finally quit taking costume notes at live
theater.  I still notice - I just don't write it down
anymore.

--- kelly grant <estela_dufrayse@hotmail.com> wrote:

> > but because of my DH the entire family is known to
> yell >at
> > the screen in any movie historical or modern "PICK
> UP >THE AMMO/WEAPON", 
> > as
> > the good guy runs around ect...
> 
> Our favourite thing to make us yell at the
> screen..."Close the damn door!" 
> When the actor walks intoa building and leaves to
> door open, to be closed 
> miraculously by someone else!


Rebecca Burch
Center Valley Farm
Duncan Falls, Ohio, USA
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Subject: Re: [h-cost] biblical example RE Teaching, was: Historical Films
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Exactly.

Fran

otsisto wrote:
> Perhaps I didn't phrase it right.
> Basically, I was switching "ideas" for "interpretation", thus saying,
> "you're not always following someone else's interpretation" 
> De
> 
> 
> -----Original Message-----
>  
> 
>>Not so much not following someone's ideas but their interpretation of the
>>information gathered.
> 
> 
> That's not what I meant, either.  There is no need to "follow" someone 
> else's interpretation if you can make your own interpretation from the 
> same facts.
> 
> Fran
> 
> 
> _______________________________________________
> 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] Historical Films
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In a message dated 4/25/2006 5:24:49 P.M. Eastern Standard Time,  
goofy1@suscom.net writes:

Sometimes, the entertainment of previous days survives as entertainment  as 
well as art, just because it's GOOD.




*****************
 
Why is it assumed that art is not entertaining?  Weird.
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The Broadway Theatre Archive has DVDs of stage plays--from a variety of 
theaters--from an old TV series.  That, they say, is why the images tend 
to be rather fuzzy.  The quality of the performances is all over the 
map. There is a very good "Tartuffe," an awful "School for Scandal," a 
good "The Rivals," an interesting "Taming of the Shrew" done in the 
commedia dell' arte tradition, and a good "Cyrano de Bergerac" set in 
the 17th century.  For modern, there's some good Eugene O'Neill if you 
like to spend an evening getting depressed (I call him America's Ibsen), 
and some good Thornton Wilder.

Search Amazon DVDs for "Broadway Theatre Archive," and you'll see dozens 
more.

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

Bjarne og Leif Drews wrote:
> Hi,
> Now this topic is up, does any of you know of any good tv plays to buy 
> on tape or dvd? I remember back some years where i have seen quite many 
> interresting plays or tv dramas from the end of 17th century. I believe 
> it was real old plays from 17th century. There is one special i remember 
> very well, it was gorgeous made with the costumes, but who could this 
> have ben?
> It must have ben BBC who made it.
> 
> Bjarne
> 
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Subject: Re: [h-cost] historical films/ plays tv drama
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In a message dated 4/25/2006 7:04:07 P.M. Eastern Standard Time,  
fran@lavoltapress.com writes:

The  Broadway Theatre Archive 


**************
 
Yes....well worth checking out...even the "bad" productions. I remember  when 
"School for Scandal" aired. I was in college then and all my design  teachers 
LOVED the costumes! YIKES! They're dreadful but for Mrs Candor's. The  "King 
Lear" with James Earl Jones and Raul Julia is GREAT....and it has many  things 
against it ...like it was a Shakespeare in the Park performance filmed  
outside with the [by today's standards] large mikes CF on every costume. "The  Skin 
of our Teeth" is very good too.
 
And there's also American Film Theatre...which is equally uneven. I'm not  
sure if there's anything 17th century in there. There is "Luther". And  
"Galileo".
 
There's a great "The Iceman Cometh" [Takes place in the 19  teens] which is 
loooong and you want to kill yourself afterwards,  but  it is perfection.
 
Eonesco's "Rhinoceros" is not great but worth a look. Same  for Genet's "The 
Maids".
 
 
Ahhhhhh....remember when theatre and dance and opera were considered  
worthwhile in America, not luxuries? The good old  days....
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Subject: Re: [h-cost] Historical Films
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----- Original Message ----- 
From: <AlbertCat@aol.com>
To: <h-costume@indra.com>
Sent: Tuesday, April 25, 2006 6:53 PM
Subject: Re: [h-cost] Historical Films


>
> In a message dated 4/25/2006 5:24:49 P.M. Eastern Standard Time,
> goofy1@suscom.net writes:
>
> Sometimes, the entertainment of previous days survives as entertainment 
> as
> well as art, just because it's GOOD.
>
>
>
>
> *****************
>
> Why is it assumed that art is not entertaining?  Weird.

Perhaps because everyone has heard of "this wonderful artistic film or book" 
(insert film or book of your choice) that turns out to be an absolute 
crashing bore, but receives rave reviews because it's "art". (It's late, I 
am seriously caffeine deprive, please don't ask me tonight for specific 
examples.) I know that Picasso is considered fine art. I still don't like 
it. It simply doesn't appeal to me. The Harry Potter books are *not* 
considered fine art, but they are entertaining. I happen to enjoy them 
thoroughly. I haven't read the DaVinci code, or seen *any* of the films 
we've been discussing here. Amusement parks bore me to tears, museums bring 
me to tears of joy. To each his own, right?

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: working with leather, Firefly browncoat
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----- Original Message ----- 
From: "Chiara Francesca Arianna d'Onofrio" <chiara@io.com>
<snip>
> Also, if they make it for your machine, get the teflon foot and
> plate. It makes life so much easier when working with leather or
> fake leather. :)

I got a walking foot for my project, and loved it so much that I now use it 
almost exclusively!  For that matter, the last time I got a sewing machine, 
I spent almost as much on various special purpose feet, and have yet to 
consider them a waste of money. I don't use them often, but when I do, 
they're indispensible.

-E House 

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Subject: Re: [h-cost] Historical Films
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----- Original Message ----- 
From: "Lavolta Press" <fran@lavoltapress.com>
> Absolutely.  But some stuff gets canonized that probably never was very 
> good, either because it's early, or because it's "art."  

Along these lines, I have something to get off my chest:
I don't think the Mona Lisa is really all that great a painting! 

Whew. There.  I feel much better now.

-E House
(Also, eyebrowlessness is a huge pet peeve of mine.)

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Date: Tue, 25 Apr 2006 19:08:26 -0700 (PDT)
From: Ann Catelli <elvestoorder@yahoo.com>
To: Historical Costume <h-costume@indra.com>
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Subject: [h-cost] Mohicans was Re:  Titanic film
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I haven't read Fenimore Cooper (I have tried), but
Mark Twain's "The Literary Offences of Fenimore
Cooper" is a very funny piece.

Ann in CT

p.s. Who is running the Mohegan Sun casino? ac

--- Lavolta Press <fran@lavoltapress.com> wrote:
> 
> I haven't read the book, which hopefully explains
> things like this.  But 
> in the film, I thought they were idiots.
> 
> Fran
> Lavolta Press


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<snip>
> Along these lines, I have something to get off my chest:
> I don't think the Mona Lisa is really all that great a painting!
> Whew. There.  I feel much better now.
>
> -E House
> (Also, eyebrowlessness is a huge pet peeve of mine.)
>
Well I believe Leonardo da Vinci would agree with you, he never was 
satisfied with it and X-rays have shown 4 complete re-drafts of the 
painting. But he seems to have had a love-hate relationship with the 
painting because he couldn't get it right.
Elizabeth
--------------------------------------------
Elizabeth Walpole
Canberra Australia
ewalpole[at]tpg.com.au
http://au.geocities.com/e_walpole/

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In a message dated 4/25/2006 8:33:41 P.M. Eastern Standard Time,  
goofy1@suscom.net writes:

I know  that Picasso is considered fine art. I still don't like 
it. It simply  doesn't appeal to me.


********************
 
What a strange statement, since he paints in many different styles during  
his career. Do you not like the blue period? The rose period? His neoclassical?  
Cubism?And he also does etchings and lithographs and  sculpture.  Just what 
are you referring to? Perhaps if you knew  something about what he was trying 
to communicate, you might "get" some of his  works. What do you think he was up 
to?
 
I don't particularly like Matisse, but I would never declare it "not art".  
And though his paintings leave me cold, his cut paper collages I like very  
much.
 
Both these artists have so much to do with imagery and attitudes we take  for 
granted today, it's amazing. They are a major part of our culture.
 
It has more to do with whether a lot of people like it or not or whether it  
makes money. Often one has to meet really exceptional stuff half way. It often 
 takes an effort on the part of the audience as well as a considerable about 
of  effort from the artist. One cannot just expect to sit passively and be 
spoon fed  everything....though this is what many people expect.
 
 
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In a message dated 4/25/2006 9:51:17 P.M. Eastern Standard Time,  
formfunc@formfunction.org writes:

I don't  think the Mona Lisa is really all that great a painting!  



***************
 
 
Have you seen it in person?
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> I don't  think the Mona Lisa is really all that great a painting!
>
> ***************
>
> Have you seen it in person?



I have, and I didn't think it was worth fighting the crush of people 
standing around it. Also it was so dark as to make it hard to see.  The time 
spent working my way towards the painting and fighting my way out again 
would have been much better spent in any number of relatively empty 
galleries.

Denise
Iowa 

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Subject: Re: [h-cost] Mel Gibson flicks
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> girlfriend or his niece unless he feels that she can do the job.
> 

Then there was the dramatization of the fleeing Russian royal family who all 
had thier corsets on upside-down,

-C.


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Subject: [h-cost] Titanic film/live
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If you thought that awful Celine Dion and the skull-scraping heart-going-on 
song was bad, you'd better go hide under the blankets for a couple of years. 

Someone is doing Titanic the Musical, rehearsals start mid-year.

Anyone got an ice maker?

-C.


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From: Susan Data-Samtak <pasovasz@aol.com>
Subject: Re: [h-cost] Historical Films & Mona Lisa
Date: Tue, 25 Apr 2006 23:44:42 -0400
To: Historical Costume <h-costume@indra.com>
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I saw the Mona Lisa this past summer.  The crowds were very distracting 
to being able to see her and appreciate her.

My Sister-in-law had seen her on previous visits and said she was more 
fascinated with the large painting at the other end of the room with 
all it's details.  No one was looking at that painting, so I was able 
to spend far more time, "up close and personal" with that painting than 
the Mona Lisa. If I could have had the same viewing opportunity, I 
would most likely have enjoyed the Mona Lisa much more.

Susan

"My treasures do not clink together or glitter, they gleam in the sun 
and neigh in the night."
Bedouin proverb
----------
On Apr 25, 2006, at 11:20 PM, Land of Oz wrote:

>> I don't  think the Mona Lisa is really all that great a painting!
>>
>> ***************
>>
>> Have you seen it in person?
>
>
>
> I have, and I didn't think it was worth fighting the crush of people 
> standing around it. Also it was so dark as to make it hard to see.  
> The time spent working my way towards the painting and fighting my way 
> out again would have been much better spent in any number of 
> relatively empty galleries.
>
> Denise
> Iowa
> _______________________________________________
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> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
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From: aquazoo@patriot.net

>Generally Rev War events, at least on the East coast, have
>participants organized in military units.  Is it a battle event?  If
>so, then it's probably mostly reenactment units.  The organization is
>important for safety and "walk on" participants are discouraged.

I'll have to check.  The guy who invited me is from a unit of Highlanders, 
but I was thinking I'd just stick to my civilian clothes.  Unfortunately, 
those have about everything I need -- except a coat.

OTOH, if it's strictly military thing, I'll probably just stick to modern 
stuff.

>... As far as a coat, again this depends on what you are doing at the
>event.  Military, militia, civilian?  You could get by with a fairly
>uncomplicated sleeved waistcoat.

Are there any good patterns readily available?

From: Debloughcostumes@aol.com
>no idea on the former question, but on the latter (coat), have you tried 
>jas townsend's??  (don't have url to hand, sorry, but whenever I need them 
>I google or yahoo them....)

I'll have to check them.  Thanks.

Marc


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From: monica spence <monicaspence@optonline.net>
Subject: RE: [h-cost] Mel Gibson flicks
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Hey, they were in a hurry! :-)
Monica

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of stilskin@netspace.net.au
Sent: Tuesday, April 25, 2006 11:32 PM
To: Historical Costume
Subject: Re: [h-cost] Mel Gibson flicks


> girlfriend or his niece unless he feels that she can do the job.
>

Then there was the dramatization of the fleeing Russian royal family who all
had thier corsets on upside-down,

-C.


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

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I feel that way about Van Gogh.

Fran

AlbertCat@aol.com wrote:
>  
> In a message dated 4/25/2006 8:33:41 P.M. Eastern Standard Time,  
> goofy1@suscom.net writes:
> 
> I know  that Picasso is considered fine art. I still don't like 
> it. It simply  doesn't appeal to me.
> 
> 
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Subject: Re: [h-cost] Titanic film/live
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Hey, I have seen the Titanic Musical, and it is wonderful.  I saw both  the 
movie and the musical, and believe me the musical is worth watching,  assuming 
it is performed by a competent ensemble.  The only thing it has in  common 
with the movie is the name of the ship and a few characters.   Regrettable that 
it gets lumped in with the movie, but there it is.  I went  to see the play in 
spite of the movie, and am glad I did.
 
:)
~Kimberley
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In a message dated 4/25/2006 11:22:14 P.M. Eastern Standard Time,  
landofoz@netins.net writes:

I have,  and I didn't think it was worth fighting the crush of people 
standing  around it. Also it was so dark as to make it hard to see.  The time 
 
spent working my way towards the painting and fighting my way out again  
would have been much better spent in any number of relatively empty  
galleries.



****************
 
I can understand that. I heard many a complaint about its display.
 
But it's still art, of course.
 
I hate Pachelbel's Canon. It's not even a canon! I find Vivaldi writes the  
same pleasant but ultimately boring concerto over and over again. 
 
But they are still art.
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In a message dated 4/25/2006 11:43:35 P.M. Eastern Standard Time,  
stilskin@netspace.net.au writes:

If you  thought that awful Celine Dion and the skull-scraping heart-going-on 
song  was bad, you'd better go hide under the blankets for a couple of years. 
 

Someone is doing Titanic the Musical, rehearsals start  mid-year.

Anyone got an ice maker?



*******************
Ay-yay-yay!
 
Chorus:
"Oh God! The ship's practically upside down!
And I think we're all gonna drown!
Rose was trapped below
But Jack's freed her!
Where's Ester Williams
When you need her?"
 
tap dance....
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Date: Tue, 25 Apr 2006 22:36:50 -0700
To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] fall front trousers, etc./ Costume Close-Up for
  sale
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 >
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>I happen to own 2 copies.  When I was there I bought an extra just in
>case someone might want it. Do you want it?  It's brand new.   No
>eye-prints on it or anything. Pay cover price & it's yours.
>If anyone else on h-cost wants it, same deal. If you live in or around
>Silicon Valley, no postage!

I'm interested, but just bought another book today, full of photos of women 
in trousers.  Could we do some kind of trade?


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

              ///\\\\\
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Date: Wed, 26 Apr 2006 06:47:56 +0100
To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
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Subject: [h-cost] was Historical Films now "Art"
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At 04:04 26/04/2006, you wrote:
>
>In a message dated 4/25/2006 9:51:17 P.M. Eastern Standard Time,
>formfunc@formfunction.org writes:
>
>I don't  think the Mona Lisa is really all that great a painting!
>
>
>
>***************
>
>
>Have you seen it in person?



I have. I don't think it's a great painting either. Different style, 
but give me a Nicholas Hilliard miniature every time.

Suzi 


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Date: Wed, 26 Apr 2006 01:50:33 EDT
Subject: Re: [h-cost] Historical Films
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In a message dated 4/26/2006 12:14:32 A.M. Eastern Standard Time,  
fran@lavoltapress.com writes:

I feel  that way about Van Gogh.

Fran



**************
 
Fran! Oh no! Too bad! Oh well.
 
I saw the exhibit in DC a while back. The colors were amazing. Those  
paintings of lavender irises in mint green leaves! Breath taking! [It was neat  how 
his pallet changed over the years. Dark...blacks and browns [Potato  
Eaters]...to subtle greens and lavenders and pinks and blues [the irises and  
sunflowers]....to intense and bold [Starry Night and the Crows in the Wheat  Field]
 
And again....whether one likes it or not....it's  art.
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Subject: [h-cost] A little help please????
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Been lurking for a couple of weeks now, and heard about the Tudor Tailor
book, got it and love it..big thanks to all who spoke of it before it came
out.
Question is, I am Scadian, but have a friend who asked me for a pattern for
a Rev war era fitted bodice. She said that they were incorrectly called
Jumps for awhile.  Anyone know what it is I need?  Any patterns online
anywhere?  I can enlarge a print-out, and probably fit it without toooo much
problem, but I would not say that I am any more than an 'adequate'
seamstress.
								Thanks for
the help
	
Ailionora



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Absolutely gorgeous!
SharonC.

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Suzi Clarke
Sent: Tuesday, April 25, 2006 6:09 AM
To: Historical Costume
Subject: Re: [h-cost] about shaping bones in stays


At 13:41 25/04/2006, you wrote:
>Hi Suzi,
>Yes, they also steamed the bones in 18th century, acording to Janet 
>Arnold. I can bend my wissner boning, so that it gets a curved shape, 
>and it works nicely i think. Anyway, i replaced the thick 2 mm. bones 
>inside with thinner bones 1mm. Its the more soft plastic boning i used 
>for them. And speaking of it, i actually have finished the stays now!
>If you would like to have a look:
>Next time i have time for it, i think i will try to make a tape 
>dress stand with a mock up pair of stays inside, to get the right 
>shape. Its so annoying with the modern dress stands, they are no use 
>at all...........
>  http://home0.inet.tele.dk/drewscph/stays_1740.htm
>Dear Sarah, thanks for your very informative informations, ill keep 
>this in mind!
>

Nice job as always Bjarne - your work is always so precise, a quality I
envy.

Suzi




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From h-costume-bounces@indra.com  Wed Apr 26 03:46:57 2006
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To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost]OT Canonizing work just because its old
Date: Wed, 26 Apr 2006 00:46:34 -0700
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I agree. "The Scarlet Letter" is a classic. But in my 290 page copy, 50
pages are devoted to The Custom House, where the "manuscript" is found. A
modern editor would red line that right out!
Just because something is old, doesn't make it good.

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Lavolta Press
Sent: Tuesday, April 25, 2006 2:39 PM
To: Historical Costume
Subject: Re: [h-cost] Historical Films



> And some of us still see it as entertainment--I found The Pickwick
> Papers to be one of the funniest books I ever read, and Sam Weller is 
> quite possibly my favorite book character of all time. There are parts 
> of that book that made me positively roar with laughter, and others that 
> made me cry. Sometimes, the entertainment of previous days survives as 
> entertainment as well as art, just because it's GOOD.

Absolutely.  But some stuff gets canonized that probably never was very 
good, either because it's early, or because it's "art."  And other stuff 
that's perfectly good, at least as entertainment, gets "lost," at least 
for a long time, because it goes out of style, or becauze it's by a 
minority author, or because it's an early work that was destroyed.

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


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Subject: Re: [h-cost] Historical Films
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----- Original Message ----- 
>> Have you seen it in person?

I seriously doubt that seeing it in person would change my opinion about it. 
It would give me a better view of LdV's technical skill with a paint brush, 
but not much--there are some very detailed photos out there, and I don't 
have to deal with a crowd and reflections on glass in order to view them. 
And it's not a question of the details, the brush strokes, the exact 
(current) shades of paint that makes me feel the painting is overrated; it's 
the sort of thing that I can see even in a relatively low-resolution image 
of it.  It's a matter of composition, depth, lighting, and the way the 
shadows are dealt with.

But then, I don't really care much for Italianate artwork of that period.  I 
don't like the diffuse lighting, I don't like the shading, I don't like the 
arty blurring, I don't like the style of landscape painting, I don't like a 
whole long laundry list of things about it. Personal taste, and it most 
certainly affects my impressions of the Mona Lisa, but there you go.  I'm 
certainly not saying it's a BAD painting--in fact, I'd say it's pretty 
good--but it is so very, very overrated.

And frankly, there have been very few paintings that didn't disappoint me 
when I saw them in person!  I wish it weren't so, but it is.  The paintings 
I like best are generally the ones that I saw in person first.  There's this 
one of Joan of Arc I've been trying to re-find for over a decade, but I 
don't know the title, date, or artist....

-E House
(PS--I like Van Gogh's color choice, but doubt I'd pay more than about $35 
for a painting by him.  Other than the whole investment thing, of course. 
Ditto Monet.)


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Subject: [h-cost] Tudor Jewellery
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There is someone on this list who makes reproduction Tudor jewellery 
- I thought I had it book marked but I can't find it. Can anyone help please?

Suzi (who seems to have mislaid a lot of things this week!)


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From h-costume-bounces@indra.com  Wed Apr 26 05:16:48 2006
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: Re: [h-cost] historical films/ plays tv drama
Date: Wed, 26 Apr 2006 11:15:12 +0200
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Hi Fran,
Much obliged, that i will do.
Manny thanks

Bjarne


----- Original Message ----- 
From: "Lavolta Press" <fran@lavoltapress.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, April 26, 2006 1:03 AM
Subject: Re: [h-cost] historical films/ plays tv drama


> The Broadway Theatre Archive has DVDs of stage plays--from a variety of 
> theaters--from an old TV series.  That, they say, is why the images tend 
> to be rather fuzzy.  The quality of the performances is all over the map. 
> There is a very good "Tartuffe," an awful "School for Scandal," a good 
> "The Rivals," an interesting "Taming of the Shrew" done in the commedia 
> dell' arte tradition, and a good "Cyrano de Bergerac" set in the 17th 
> century.  For modern, there's some good Eugene O'Neill if you like to 
> spend an evening getting depressed (I call him America's Ibsen), and some 
> good Thornton Wilder.
>
> Search Amazon DVDs for "Broadway Theatre Archive," and you'll see dozens 
> more.
>
> Fran
> Lavolta Press
> http://www.lavoltapress.com
>
> Bjarne og Leif Drews wrote:
>> Hi,
>> Now this topic is up, does any of you know of any good tv plays to buy on 
>> tape or dvd? I remember back some years where i have seen quite many 
>> interresting plays or tv dramas from the end of 17th century. I believe 
>> it was real old plays from 17th century. There is one special i remember 
>> very well, it was gorgeous made with the costumes, but who could this 
>> have ben?
>> It must have ben BBC who made it.
>>
>> Bjarne
>>
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: Re: [h-cost] Historical Films
Date: Wed, 26 Apr 2006 11:20:47 +0200
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Hi,
I had the same experience last week i went to se a Rembrandt exibition. I 
didnt like his paintings, but i loved many of his students paintings.
Rembrandt made biblical motifs, rarely any live pictures. But some of his 
students made some stunning portraits and outdoor scenes with figures, 
besides they were much more bright and positive. Rembrandt is two dark and 
serious to my taste...........

Bjarne


----- Original Message ----- 
From: "E House" <formfunc@formfunction.org>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, April 26, 2006 3:48 AM
Subject: Re: [h-cost] Historical Films


> ----- Original Message ----- 
> From: "Lavolta Press" <fran@lavoltapress.com>
>> Absolutely.  But some stuff gets canonized that probably never was very 
>> good, either because it's early, or because it's "art."
>
> Along these lines, I have something to get off my chest:
> I don't think the Mona Lisa is really all that great a painting!
> Whew. There.  I feel much better now.
>
> -E House
> (Also, eyebrowlessness is a huge pet peeve of mine.)
>
> _______________________________________________
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Subject: [h-cost] Hall's Chronicles and Update on Henry VIII book
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> Here's the info on the Inventory.
>
> The Inventory of King Henry VIII. (Hardcover)
> by D. Starkey (Editor), David Starey (Editor)

Ah, that book:) Thanks for that. I think I saved some earlier info, but I
have so many emails not yet sorted;) I think someone mentioned a book
available via Google Books as well. I suspect that was in regard to one of
the Marys....

For those others who may have been wondering, Hall's Chronicles are availble
on the web here:
http://dewey.library.upenn.edu/sceti/printedbooksNew/index.cfm?TextID=halle&PagePosition=1

Actually there are many many texts from the 9thC on there.
http://dewey.library.upenn.edu/sceti/flash.cfm
You can browse by period.

Michaela de Bruce
http://glittersweet.com



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From h-costume-bounces@indra.com  Wed Apr 26 05:40:37 2006
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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] A little help please????
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At 07:19 26/04/2006, you wrote:
>Been lurking for a couple of weeks now, and heard about the Tudor Tailor
>book, got it and love it..big thanks to all who spoke of it before it came
>out.
>Question is, I am Scadian, but have a friend who asked me for a pattern for
>a Rev war era fitted bodice. She said that they were incorrectly called
>Jumps for awhile.  Anyone know what it is I need?  Any patterns online
>anywhere?  I can enlarge a print-out, and probably fit it without toooo much
>problem, but I would not say that I am any more than an 'adequate'
>seamstress.
>                                                                 Thanks for
>the help


I have always understood jumps to be a type of unboned stays, and not 
an outer garment. They seem to have been around at the very end of 
the 18th and into the early 19th century, with the high waisted dresses.

I don't know about patterns on-line, but you will find bodice 
patterns in "Fitting and Proper" and "Costume Close-up" both American 
publications, and "Patterns of Fashion 1660-1860" by Janet Arnold, 
"Period Costume for Stage and Screen 1500-1800" by Jean Hunnisett, 
and "Cut of Women's Clothes" by Norah Waugh, all U.K publications but 
available in the U.S.

You will also find loads of paper patterns  in various places. I 
don't have web addresses, but I know that Five Rivers Chapmanry (not 
sure of proper title) and Jas Townsend among others sell patterns.

Suzi


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Subject: Re: [h-cost] Historical Films & Mona Lisa
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In a message dated 4/25/2006 11:45:30 P.M. Eastern Standard Time,  
pasovasz@aol.com writes:

My  Sister-in-law had seen her on previous visits and said she was more  
fascinated with the large painting at the other end of the room with  
all it's details.


Don't leave us hanging--what painting was that?
 
Ann Wass
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Subject: Re: [h-cost] A little help please????
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In a message dated 4/26/2006 2:19:47 A.M. Eastern Standard Time,  
jdegregoria@hvc.rr.com writes:

but have  a friend who asked me for a pattern for
a Rev war era fitted bodice. She  said that they were incorrectly called
Jumps for awhile.  Anyone know  what it is I need?  Any patterns online
anywhere?  I can enlarge  a print-out, and probably fit it without toooo much
problem, but I would  not say that I am any more than an  'adequate'
seamstress.



Uh, this garment is now generally known as "the mythical bodice," or a name  
that can't be sent via the Internet.  Not sure how you will dissuade her,  
but, believe me, she should be dissuaded.
 
The 18thc Woman list is just going through this topic again.
 
Ann Wass
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Subject: Re: [h-cost] Historical Films
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----- Original Message ----- 
From: "Lavolta Press" <fran@lavoltapress.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, April 26, 2006 12:14 AM
Subject: Re: [h-cost] Historical Films


>I feel that way about Van Gogh.
>
> Fran
>

And I haven't yet seen a Van Gogh painting that I DON'T like. Something 
about his work speaks to me. Some I like more than others, but in general 
his work is very, very appealing to me.

Dianne 

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Subject: Re: [h-cost] Titanic film/live
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----- Original Message ----- 
From: <stilskin@netspace.net.au>
To: "Historical Costume" <h-costume@indra.com>
Sent: Tuesday, April 25, 2006 11:42 PM
Subject: [h-cost] Titanic film/live


> If you thought that awful Celine Dion and the skull-scraping 
> heart-going-on
> song was bad, you'd better go hide under the blankets for a couple of 
> years.
>
> Someone is doing Titanic the Musical, rehearsals start mid-year.

AAARGHH!!

Oh, well, Greg works at a Classic Hits station now, so at least he won't 
have to play any of the music. And I doubt if they'll be going on the road 
to York, PA, so I'm probably pretty safe from it!

Dianne
>
> Anyone got an ice maker?
>
> -C.
>
>
> ------------------------------------------------------------
> This email was sent from Netspace Webmail: http://www.netspace.net.au
>
> _______________________________________________
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> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 

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Subject: [h-cost] Re: working with leather, Firefly browncoat
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> Date: Tue, 25 Apr 2006 16:07:10 -0500
> From: "E House" <formfunc@formfunction.org>
> Subject: Re: [h-cost] Re: working with leather, Firefly browncoat
> To: "Historical Costume" <h-costume@indra.com>
> Message-ID: <00e401c668ac$3c92e000$9400a8c0@compaqub>
> Content-Type: text/plain; format=flowed; charset="iso-8859-1";
>         reply-type=original
>
> The only two things I've found to worry about with leather are:
> A) The thickness of the leather, & making sure that your sewing machine can
> handle it--for the browncoat, I used suede that was nearly 1/8 thick, and
> though my machine actually was capable of handling 5 layers of it, it caused
> all sorts of problems.  (But it was the only suede I could find in the right
> color, darn it!)  You just can't finish thick suede as nicely as you can
> finish garment-weight (~1.5oz-3oz) suede, and you'll find yourself calling
> the ruttin' coat a piece of gos se often, dong le mah?

So I'm looking for something specifically designated garment weight?
That's one of my big concerns - how do I choose a leather or suede,
and how do I make sure I get enough of it? I imagine it's sold by hide
and not yardage, correct?
>
> B) Getting the seam right the first time.  Any hole you make in the leather
> won't close back up again the way fabric would, so ty to aviod ripping out
> and re-sewing seams--it'll be obvious, and it will weaken the leather.

I have enough experience with PVC to know about the hole punch thing,
but not about the thread (below). Thanks for the tip (and you too
Chiana!)

Also thanks for the browncoats.com links - it's good to see that
there's enough of a community out there for there to be some legwork
already done :)
>
> Also, though a lot of people seem to like to use upholstery thread with
> leather, I didn't like the result at all; I used glazed cotton hand quilting
> thread, and it worked very well.
>
> -E House

Allison T.

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Date: Wed, 26 Apr 2006 00:27:01 -0400
To: Historical Costume <h-costume@indra.com>
From: Carol Kocian <aquazoo@patriot.net>
Subject: Re: Subject: Re: [h-cost] Questions, (both on topic and not)
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>I'll have to check.  The guy who invited me is from a unit of 
>Highlanders, but I was thinking I'd just stick to my civilian 
>clothes.  Unfortunately, those have about everything I need -- 
>except a coat.
>
>OTOH, if it's strictly military thing, I'll probably just stick to 
>modern stuff.

      Perhaps you would be a campfollower of some sort.  (Yes, men 
were campfollowers, too.)  A drover or supplier of some sort?  Carry 
a notebook and grumble about how long it takes to get paid whenever 
someone is looking...

>Are there any good patterns readily available?

      I always used to draft things from Cut of Men's Clothes.  I hear 
the JP Ryan patterns are good.  Steer clear of Pegee of Williamsburg. 
The Revlist would be a good place to ask - it's a Yahoo group called 
Revlist.

      A simpler, unfitted garment is a smock, a working man's garment 
worn over a shirt, waistcoat & breeches.  If it's really hot no one 
would notice if you left off the waistcoat, but you didn't hear that 
from me.  ;->  You can make it from fustian (linen/cotton) or linen 
canvas.

      A sleeved waistcoat is a bit longer than waist length, not as 
long and without the curves and tailoring of a fashionable coat. 
Some guys run around in shirts & waistcoats without a sleeved garment 
on top.  But that's 18th century naked.

      -Carol
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Date: Wed, 26 Apr 2006 00:11:38 -0400
From: monica spence <monicaspence@optonline.net>
Subject: RE: [h-cost] Titanic film/live
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I thought thay had done that already. Sigh.
Monica

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of stilskin@netspace.net.au
Sent: Tuesday, April 25, 2006 11:43 PM
To: Historical Costume
Subject: [h-cost] Titanic film/live


If you thought that awful Celine Dion and the skull-scraping heart-going-on
song was bad, you'd better go hide under the blankets for a couple of years.

Someone is doing Titanic the Musical, rehearsals start mid-year.

Anyone got an ice maker?

-C.


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

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Subject: [h-cost] Re: Things that make you cringe....
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The favorite one that happened to me was during Godzilla 2000 (yeah, 
bad movie, but....) - Godzilla is rampaging thru New York or 
someplace like that, and they've called out the military to try and 
stop him.  There's a helicopter chasing him thru the skyscrapers, and 
the pilot says something like, "Firing Sidewinders now....".  I said 
(half out loud) "That's not gonna work!" at the same time things got 
very quiet on screen.....Of course it didn't work - it homed on a 
heat source in one of the buildings, rather than ostensibly 
cold-blooded Godzilla.....

That movie also has a really good line - some poor grunt in the line 
gets his first look at Godzilla and you hear "I'm gonna need a bigger 
gun (whimper)!"

Not costume, but good for a chuckle or two...

Sandy

At 01:04 PM 4/25/2006, you wrote:
>Date: Tue, 25 Apr 2006 09:49:59 -0700 (PDT)
>From: Kahlara <kahlara@yahoo.com>
>Subject: [h-cost] Re: movies-things that make you cringe
>
>Or watching a modern military action film with a vet. "That is the 
>completely wrong insignia..." etc. Apparently "A Few Good Men" was 
>pretty accurate with its uniforms.
>
>Date: Tue, 25 Apr 2006 08:07:39 -0300
>From: "kelly grant"
>Subject: [h-cost] Movies-things that make you cringe!
>
> > but because of my DH the entire family is known to yell at the 
> screen in any movie >historical or modern "PICK UP THE 
> AMMO/WEAPON", as the good guy runs around >ect...
>
>Our favourite thing to make us yell at the screen..."Close the damn door!"
>When the actor walks intoa building and leaves to door open, to be closed
>miraculously by someone else!

"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: Lena <lenastrid@yahoo.com>
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--- AnnBWass@aol.com wrote:
> I never could figure out why everyone was so crazy
> about Sound of Music,  
> especially costume historians!  So I'm not the only
> one.

Considering the amount of comments in the journal, you
are most certainly not alone. Personally I just love
them escaping _towards_ Germany...

/Lena 


		
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Suzi, are you looking for costume jewelry reproductions, or precious metal
(gold or sterling) & genuine gemstone reproductions?

Talia

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of Suzi Clarke
Sent: Wednesday, April 26, 2006 3:38 AM
To: Historical Costume
Subject: [h-cost] Tudor Jewellery



There is someone on this list who makes reproduction Tudor jewellery
- I thought I had it book marked but I can't find it. Can anyone help
please?

Suzi (who seems to have mislaid a lot of things this week!)


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	<6.2.3.4.2.20060426005507.02bd9e38@pop.radiks.net>
Subject: Re: [h-cost] Re: Things that make you cringe....
Date: Wed, 26 Apr 2006 08:41:28 -0400
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a favorite moment watching one of these on late nightfilms: the ad sequence
included Hartz Mountain flea powder.  Of course, the ad breaks would air
just when the poor monster was in one of his dances!

----- Original Message ----- 
From: "Pierre & Sandy Pettinger" <costumrs@radiks.net>
To: <h-costume@indra.com>
Sent: Wednesday, April 26, 2006 2:02 AM
Subject: [h-cost] Re: Things that make you cringe....


> The favorite one that happened to me was during Godzilla 2000 (yeah,
> bad movie, but....) - Godzilla is rampaging thru New York or
> someplace like that, and they've called out the military to try and
> stop him.  There's a helicopter chasing him thru the skyscrapers, and
> the pilot says something like, "Firing Sidewinders now....".  I said
> (half out loud) "That's not gonna work!" at the same time things got
> very quiet on screen.....Of course it didn't work - it homed on a
> heat source in one of the buildings, rather than ostensibly
> cold-blooded Godzilla.....
>
> That movie also has a really good line - some poor grunt in the line
> gets his first look at Godzilla and you hear "I'm gonna need a bigger
> gun (whimper)!"
>
> Not costume, but good for a chuckle or two...
>
> Sandy
>
> At 01:04 PM 4/25/2006, you wrote:
> >Date: Tue, 25 Apr 2006 09:49:59 -0700 (PDT)
> >From: Kahlara <kahlara@yahoo.com>
> >Subject: [h-cost] Re: movies-things that make you cringe
> >
> >Or watching a modern military action film with a vet. "That is the
> >completely wrong insignia..." etc. Apparently "A Few Good Men" was
> >pretty accurate with its uniforms.
> >
> >Date: Tue, 25 Apr 2006 08:07:39 -0300
> >From: "kelly grant"
> >Subject: [h-cost] Movies-things that make you cringe!
> >
> > > but because of my DH the entire family is known to yell at the
> > screen in any movie >historical or modern "PICK UP THE
> > AMMO/WEAPON", as the good guy runs around >ect...
> >
> >Our favourite thing to make us yell at the screen..."Close the damn
door!"
> >When the actor walks intoa building and leaves to door open, to be closed
> >miraculously by someone else!
>
> "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
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>

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From: Carol Kocian <aquazoo@patriot.net>
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Subject: [h-cost] 18thC Bodice, was: A little help please????
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      I second Ann's suggestion of the 18cWoman list!  It's  Yahoo Group.

      There are women's waistcoats, either quilted for warmth and worn 
over stays (and under a gown), or styled like a man's waistcoat and 
worn with a riding habit.

      Jumps are a bit of a mystery, defined as "lightly boned stays". 
Perhaps they could have been corded for structure, but someone 
recently posted a cite for a "bodice" (18thC term) that is corded, 
and different from stays or jumps.

      If your friend knows about jumps, and that the bodice is not 
jumps, maybe she knows more about it!  I'm curious to know how she 
will wear it, what nationality, social class, etc she's portraying. 
There are different things worn in France, for instance, and Fleur de 
Lyse has patterns for Habitante dress.

      But most bodices out there in reenactor land are not good and 
worn incorrectly.  So there's a lot more to it than finding a pattern.

      That being said, you may be able to draft what she wants.  The 
18thC women's shape is generally cone-shaped, no darts, bust fullness 
is raised a bit, and the neckline is low.  Shoulder and side seams 
are placed toward the back, not centered on the body as we do with 
modern clothes.

      -Carol


>Been lurking for a couple of weeks now, and heard about the Tudor 
>Tailor book, got it and love it..big thanks to all who spoke of it 
>before it came out.
>Question is, I am Scadian, but have a friend who asked me for a 
>pattern for a Rev war era fitted bodice. She said that they were 
>incorrectly called Jumps for awhile.  Anyone know what it is I need? 
>Any patterns online anywhere?  I can enlarge a print-out, and 
>probably fit it without toooo much problem, but I would not say that 
>I am any more than an 'adequate'seamstress.
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Date: Wed, 26 Apr 2006 09:00:24 -0400
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Subject: Re: [h-cost] Historical Paintings
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      Speaking of historical paintings, what are your favorites for 
costume inspiration?  I'm sure we've all "copied" a portrait to make 
something.

      -Carol
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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] Historical Paintings for Inspiration
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At 14:00 26/04/2006, you wrote:

>      Speaking of historical paintings, what are your favorites for 
> costume inspiration?  I'm sure we've all "copied" a portrait to make something.
>
>      -Carol


Francois Clouet, and Jean Clouet, mostly for head and neck details.

Ingres for "Regency" - his detailed drawings are bliss to look at 
even if not using for copying.

Van Dyck for 17th century nobility, and Hollar for every day

Loads more but having a "blonde" moment and can't think!

Suzi


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My 17th century costumes are mainly inspired by Hollar's engravings of women http://www.costumes.org/history/100pages/HOLLAR.HTM 


Kate Bunting
Librarian and 17th century reenactor

>>> aquazoo@patriot.net 26/04/2006 14:00 >>>

      Speaking of historical paintings, what are your favorites for 
costume inspiration?  I'm sure we've all "copied" a portrait to make 
something.

      -Carol
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To: Historical Costume <h-costume@indra.com>
From: Genie Barrett <maggie.gene@justinanimator.com>
Subject: RE: [h-cost]OT Canonizing work just because its old
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At 02:46 AM 4/26/2006, you wrote:


>Absolutely.  But some stuff gets canonized that probably never was very
>good, either because it's early, or because it's "art."  And other stuff
>that's perfectly good, at least as entertainment, gets "lost," at least
>for a long time, because it goes out of style, or becauze it's by a
>minority author, or because it's an early work that was destroyed.

Bach was lost for nearly a century before  the Romantics (that's the 
musical term) picked him up and made him popular again.

I find it interesting what falls by the wayside.  I wish it were 
easier, here in the states, to find some of Jane Austin's 
contemporaries' books.  I wish we knew weather the Elizabethan 
embroidery on certain night caps was the work of a professional or an 
amateur.  I wish that the church had been willing to save secular 
music instead of just religious stuff from the 12th and 13th 
centuries-- then we'd have more of it.

I wonder who was "popular" and who was considered "bad" and always 
try to remember that the info we have is so spotty and scarce that a 
true picture can never be drawn.

Sad, really
Genie

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From: monica spence <monicaspence@optonline.net>
Subject: RE: [h-cost] Historical Paintings
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Bronzino, without a doubt. I am an Eleonora of Toledo fan. I have also done
the Darnley portrait and the Waldted portraits of Elizabeth I.
Monica

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of Kate M Bunting
Sent: Wednesday, April 26, 2006 9:18 AM
To: h-costume@indra.com
Subject: Re: [h-cost] Historical Paintings


My 17th century costumes are mainly inspired by Hollar's engravings of women
http://www.costumes.org/history/100pages/HOLLAR.HTM


Kate Bunting
Librarian and 17th century reenactor

>>> aquazoo@patriot.net 26/04/2006 14:00 >>>

      Speaking of historical paintings, what are your favorites for
costume inspiration?  I'm sure we've all "copied" a portrait to make
something.

      -Carol
_______________________________________________
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  Message: 4
Date: Tue, 25 Apr 2006 23:05:22 -0500
From: "Marc Carlson" 
Subject: Subject: Re: [h-cost] Questions, (both on topic and not)
To: h-costume@indra.com
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From: aquazoo@patriot.net

>Generally Rev War events, at least on the East coast, have
>participants organized in military units. Is it a battle event? If
>so, then it's probably mostly reenactment units. The organization is
>important for safety and "walk on" participants are discouraged.

I'll have to check. The guy who invited me is from a unit of Highlanders, 
but I was thinking I'd just stick to my civilian clothes. Unfortunately, 
those have about everything I need -- except a coat.

OTOH, if it's strictly military thing, I'll probably just stick to modern 
stuff.

>... As far as a coat, again this depends on what you are doing at the
>event. Military, militia, civilian? You could get by with a fairly
>uncomplicated sleeved waistcoat.

Are there any good patterns readily available?

From: Debloughcostumes@aol.com
>no idea on the former question, but on the latter (coat), have you tried 
>jas townsend's?? (don't have url to hand, sorry, but whenever I need them 
>I google or yahoo them....)

I'll have to check them. Thanks.

Marc

Which Rev war event are you going to?  There are alot of variatins that can be used.
  Alot depends on who you are going with, and where it is.  The Northeast tends to be more (straightlaced?) in regards to clothing , the Highlanders  especially in the south can be a  bit looser in alot of things.  You can always use the alternative of smallclothes, shoes and hat and a work smock or shirt over the top very natural, very authentic, pretty fast to put together.  and it makes you a local farmer hanging out with the troops and selling his produce or a camp follower/drover who drives the baggage wagons you get the drift of this thought.
   
  Rev War Mia in Charlotte, NC

		
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Also, try Smoke and Fire for patterns.

Susan

"Slow down. The trail is the thing, not the end of the trail. Travel
too fast and you miss all you are traveling for".  - "Ride the Dark
Trail" by Louis L'Amour

On Apr 26, 2006, at 12:05 AM, Marc Carlson wrote:

> From: aquazoo@patriot.net
>
>> Generally Rev War events, at least on the East coast, have
>> participants organized in military units.  Is it a battle event?  If
>> so, then it's probably mostly reenactment units.  The organization is
>> important for safety and "walk on" participants are discouraged.
>
> I'll have to check.  The guy who invited me is from a unit of 
> Highlanders, but I was thinking I'd just stick to my civilian clothes. 
>  Unfortunately, those have about everything I need -- except a coat.
>
> OTOH, if it's strictly military thing, I'll probably just stick to 
> modern stuff.
>
>> ... As far as a coat, again this depends on what you are doing at the
>> event.  Military, militia, civilian?  You could get by with a fairly
>> uncomplicated sleeved waistcoat.
>
> Are there any good patterns readily available?
>
> From: Debloughcostumes@aol.com
>> no idea on the former question, but on the latter (coat), have you 
>> tried jas townsend's??  (don't have url to hand, sorry, but whenever 
>> I need them I google or yahoo them....)
>
> I'll have to check them.  Thanks.
>
> Marc
>
>
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From: Susan Data-Samtak <pasovasz@aol.com>
Subject: Re: [h-cost] Titanic film/live
Date: Wed, 26 Apr 2006 10:09:29 -0400
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One of my pet peeves is that films, books, plays use the same name when 
they don't resemble the original.  Call it "Titanic-the Musical" and my 
expectations will be different.

Susan

"Slow down. The trail is the thing, not the end of the trail. Travel
too fast and you miss all you are traveling for".  - "Ride the Dark
Trail" by Louis L'Amour

On Apr 26, 2006, at 12:27 AM, Chindora@aol.com wrote:

> Hey, I have seen the Titanic Musical, and it is wonderful.  I saw both 
>  the
> movie and the musical, and believe me the musical is worth watching,  
> assuming
> it is performed by a competent ensemble.  The only thing it has in  
> common
> with the movie is the name of the ship and a few characters.   
> Regrettable that
> it gets lumped in with the movie, but there it is.  I went  to see the 
> play in
> spite of the movie, and am glad I did.
>
> :)
> ~Kimberley
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Date: Wed, 26 Apr 2006 10:10:26 -0400
From: monica spence <monicaspence@optonline.net>
Subject: RE: [h-cost] Tudor Jewellery
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Try Drackenstein Treasures  http://www.dragonsjewels.com/ . Beautiful stuff.
Reasonable, does custom work.
or Darkridge Jewels http://www.darkridgejewels.com/. Ditto, ditto

My husband and I have been a longtime customer of both. My husband's coronet
came fron Drackenstein, and if you check the Darkridge page, my "pendant
ship" is there, as is the baroque pearl dragon... She does really cool
stuff!

Monica Spence

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of klh
Sent: Wednesday, April 26, 2006 8:18 AM
To: Historical Costume
Subject: RE: [h-cost] Tudor Jewellery


Suzi, are you looking for costume jewelry reproductions, or precious metal
(gold or sterling) & genuine gemstone reproductions?

Talia

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of Suzi Clarke
Sent: Wednesday, April 26, 2006 3:38 AM
To: Historical Costume
Subject: [h-cost] Tudor Jewellery



There is someone on this list who makes reproduction Tudor jewellery
- I thought I had it book marked but I can't find it. Can anyone help
please?

Suzi (who seems to have mislaid a lot of things this week!)


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At 15:10 26/04/2006, you wrote:
>Try Drackenstein Treasures  http://www.dragonsjewels.com/ . Beautiful stuff.
>Reasonable, does custom work.
>or Darkridge Jewels http://www.darkridgejewels.com/. Ditto, ditto
>
>My husband and I have been a longtime customer of both. My husband's coronet
>came fron Drackenstein, and if you check the Darkridge page, my "pendant
>ship" is there, as is the baroque pearl dragon... She does really cool
>stuff!
>
>Monica Spence

Monica

I agree those are beautiful. Thanks for the links. I might save up 
for one for me!


>Suzi, are you looking for costume jewelry reproductions, or precious metal
>(gold or sterling) & genuine gemstone reproductions?
>
>Talia

Talia

Didn't get the original mail. I am basically looking for a "gold" 
(look) chain for my husband to wear to a one-off SCA event when we 
are in the States. I have the mandatory pearls, and some rings, but 
nothing for him. As his costume -f it ever gets made - is from my 
stash, I can afford a repro chain, possibly, but not the real thing.




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To: "Historical Costume" <h-costume@indra.com>
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	<444EF38F.9050403@lavoltapress.com><010501c6691b$4e05e340$154d4e40@Stuckis>
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Subject: [h-cost] Favorite Paintings for Costuming
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I mostly do pre-17th century stuff, so I tend to think of earlier
portraitists as costuming inspirations (although I'd love an excuse to
dabble in the 18th century! ;o).
My modestly-caffeinated brain insists, this fine a.m., that some of my
favorite "garb artists" are (in no particular order):
Hans Holbein (father or son)
Bronzino
Sofonisba Anguissola
There are others, but I'll need to wake up some more before I can recall
them ;o)
--Sue in Montana, where it's finally Spring, and the trees are working on
making leaves and my tulips are blooming.....


----- Original Message -----
From: "Carol Kocian" <aquazoo@patriot.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, April 26, 2006 7:00 AM
Subject: Re: [h-cost] Historical Paintings


>
>       Speaking of historical paintings, what are your favorites for
> costume inspiration?  I'm sure we've all "copied" a portrait to make
> something.
>
>       -Carol


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From: Susan Data-Samtak <pasovasz@aol.com>
Subject: Re: [h-cost] Historical Films & Mona Lisa
Date: Wed, 26 Apr 2006 10:31:34 -0400
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Sorry- I don't know the name.

It is huge- 8 feet by 10 feet, maybe ? and shows a feast with many 
people at the table.  There are hounds under the table.  The tablecloth 
is a tapestry type with many details. The background shows people on 
balconies and other details beyond the feast scene.  We enjoyed the 
many details.  Is this painting hung on the opposite wall of the Mona 
Lisa for contrast, do you think?  It had size, color, action.

Susan

"Slow down. The trail is the thing, not the end of the trail. Travel
too fast and you miss all you are traveling for".  - "Ride the Dark
Trail" by Louis L'Amour

On Apr 26, 2006, at 5:49 AM, AnnBWass@aol.com wrote:

>
> In a message dated 4/25/2006 11:45:30 P.M. Eastern Standard Time,
> pasovasz@aol.com writes:
>
> My  Sister-in-law had seen her on previous visits and said she was more
> fascinated with the large painting at the other end of the room with
> all it's details.
>
>
> Don't leave us hanging--what painting was that?
>
> Ann Wass
> _______________________________________________
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From: "Catherine Kinsey" <ckinsey@kumc.edu>
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Subject: [h-cost] Re: Tudor jewellrey
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Do you mean the Tudor Shoppe?  website here;

http://tudorshoppe.com/Merchant2/merchant.mvc?Screen=SFNT&Store_Code=TTS


Catherine
whose Tudor Tailor book arrived yesterday, wooo hooo!
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From: Susan Data-Samtak <pasovasz@aol.com>
Subject: Re: [h-cost] Re: working with leather, Firefly browncoat
Date: Wed, 26 Apr 2006 10:51:06 -0400
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Do a google search for leather .
Look for garment weight in the description.

Susan

"Slow down. The trail is the thing, not the end of the trail. Travel
too fast and you miss all you are traveling for".  - "Ride the Dark
Trail" by Louis L'Amour

On Apr 25, 2006, at 10:51 PM, A. Thurman wrote:

>> Date: Tue, 25 Apr 2006 16:07:10 -0500
>> From: "E House" <formfunc@formfunction.org>
>> Subject: Re: [h-cost] Re: working with leather, Firefly browncoat
>> To: "Historical Costume" <h-costume@indra.com>
>> Message-ID: <00e401c668ac$3c92e000$9400a8c0@compaqub>
>> Content-Type: text/plain; format=flowed; charset="iso-8859-1";
>>         reply-type=original
>>
>> The only two things I've found to worry about with leather are:
>> A) The thickness of the leather, & making sure that your sewing 
>> machine can
>> handle it--for the browncoat, I used suede that was nearly 1/8 thick, 
>> and
>> though my machine actually was capable of handling 5 layers of it, it 
>> caused
>> all sorts of problems.  (But it was the only suede I could find in 
>> the right
>> color, darn it!)  You just can't finish thick suede as nicely as you 
>> can
>> finish garment-weight (~1.5oz-3oz) suede, and you'll find yourself 
>> calling
>> the ruttin' coat a piece of gos se often, dong le mah?
>
> So I'm looking for something specifically designated garment weight?
> That's one of my big concerns - how do I choose a leather or suede,
> and how do I make sure I get enough of it? I imagine it's sold by hide
> and not yardage, correct?
>>
>> B) Getting the seam right the first time.  Any hole you make in the 
>> leather
>> won't close back up again the way fabric would, so ty to aviod 
>> ripping out
>> and re-sewing seams--it'll be obvious, and it will weaken the leather.
>
> I have enough experience with PVC to know about the hole punch thing,
> but not about the thread (below). Thanks for the tip (and you too
> Chiana!)
>
> Also thanks for the browncoats.com links - it's good to see that
> there's enough of a community out there for there to be some legwork
> already done :)
>>
>> Also, though a lot of people seem to like to use upholstery thread 
>> with
>> leather, I didn't like the result at all; I used glazed cotton hand 
>> quilting
>> thread, and it worked very well.
>>
>> -E House
>
> Allison T.
>
> _______________________________________________
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> h-costume@mail.indra.com
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Date: Wed, 26 Apr 2006 11:03:07 -0400
From: "Susan B. Farmer" <sfarmer@goldsword.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Historical Films & Mona Lisa
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Quoting Susan Data-Samtak <pasovasz@aol.com>:

> Sorry- I don't know the name.
>
> It is huge- 8 feet by 10 feet, maybe ? and shows a feast with many 
> people at the table.  There are hounds under the table.  The 
> tablecloth is a tapestry type with many details. The background shows 
> people on balconies and other details beyond the feast scene.  We 
> enjoyed the many details.  Is this painting hung on the opposite wall 
> of the Mona Lisa for contrast, do you think?  It had size, color, 
> action.
>

Ya gotta love the Internet.  I believe that it's Veronese's Wedding at
Cana.

http://www.wga.hu/art/v/veronese/religio1/cana.jpg

At least according to the Louvre's web site, it's on the opposite wall
...

Jerusha (painting 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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Subject: Re: [h-cost]OT Canonizing work just because its old
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In a message dated 4/26/2006 9:21:33 A.M. Eastern Standard Time,  
maggie.gene@justinanimator.com writes:

Bach was  lost for nearly a century before  the Romantics (that's the 
musical  term) picked him up and made him popular again.



******************
 
Not really. The Well Tempered Clavier and the partitas and clavier suites  
were essential to everyone learning to play the piano [or harpsichord]. But the  
bulk of his work, the cantatas, were indeed thought old fashioned....even 
during  his lifetime. And of course it must be remembered that Bach never 
traveled  much or published a lot. Still, he wasn't "lost". Mendelssohn loved the 
stuff  and infused his music with it which brought it much more attention than 
before.  But even Mozart transcribed Bach and he and Beethoven [and everybody 
else at the  time] looked to Bach for how to do a fugue.
 
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In a message dated 4/26/2006 11:07:17 A.M. Eastern Standard Time,  
sfarmer@goldsword.com writes:

Ya gotta  love the Internet.  I believe that it's Veronese's Wedding  at
Cana.



***************************
 
Well, it's certainly more populated than the Mona Lisa. If only something  
were blowing up! Then it'd really be KEWL!
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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] Re: Tudor jewellrey
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At 15:41 26/04/2006, you wrote:
>Do you mean the Tudor Shoppe?  website here;
>
>http://tudorshoppe.com/Merchant2/merchant.mvc?Screen=SFNT&Store_Code=TTS


Ooooh, another shop full of pretties. No I don't think it was that 
one, but thanks anyway. This time I'm going to collect them all 
together and b-o-o-k-m-a-r-k- them all.

Suzi


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In a message dated 4/26/2006 11:07:00 A.M. Eastern Standard Time,  
sfarmer@goldsword.com writes:

http://www.wga.hu/art/v/veronese/religio1/cana.jpg



Now THAT'S a wedding!
 
Ann Wass
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From: Susan Data-Samtak <pasovasz@aol.com>
Subject: Re: [h-cost] Historical Films & Mona Lisa
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THANKS!

Amazing what one can find, if you know where and how to look, isn't it?!

Susan

"Slow down. The trail is the thing, not the end of the trail. Travel
too fast and you miss all you are traveling for".  - "Ride the Dark
Trail" by Louis L'Amour

On Apr 26, 2006, at 11:03 AM, Susan B. Farmer wrote:

> Quoting Susan Data-Samtak <pasovasz@aol.com>:
>
>> Sorry- I don't know the name.
>>
>> It is huge- 8 feet by 10 feet, maybe ? and shows a feast with many 
>> people at the table.  There are hounds under the table.  The 
>> tablecloth is a tapestry type with many details. The background shows 
>> people on balconies and other details beyond the feast scene.  We 
>> enjoyed the many details.  Is this painting hung on the opposite wall 
>> of the Mona Lisa for contrast, do you think?  It had size, color, 
>> action.
>>
>
> Ya gotta love the Internet.  I believe that it's Veronese's Wedding at
> Cana.
>
> http://www.wga.hu/art/v/veronese/religio1/cana.jpg
>
> At least according to the Louvre's web site, it's on the opposite wall
> ...
>
> Jerusha (painting 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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Subject: Wedding in Cana (was Re: [h-cost] Historical Films & Mona Lisa
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Quoting Susan Data-Samtak <pasovasz@aol.com>:

> THANKS!
>
> Amazing what one can find, if you know where and how to look, isn't it?!
>

and if you go here

http://www.wga.hu/frames-e.html?/html/v/veronese/religio1/

there are about a half-dozen detail shots from the painting

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 assume it's the revival by Mendelssohn that Genie was referring to. Before that, Bach's music may have been known to professional musicians but he wasn't thought of as a major composer by the average music-lover.

Kate Bunting
Librarian and 17th century reenactor

>>> AlbertCat@aol.com 26/04/2006 16:07 >>>
 
In a message dated 4/26/2006 9:21:33 A.M. Eastern Standard Time,  
maggie.gene@justinanimator.com writes:

Bach was  lost for nearly a century before  the Romantics (that's the 
musical  term) picked him up and made him popular again.



******************
 
Not really. The Well Tempered Clavier and the partitas and clavier suites  
were essential to everyone learning to play the piano [or harpsichord]. But the  
bulk of his work, the cantatas, were indeed thought old fashioned....even 
during  his lifetime. And of course it must be remembered that Bach never 
traveled  much or published a lot. Still, he wasn't "lost". Mendelssohn loved the 
stuff  and infused his music with it which brought it much more attention than 
before.  But even Mozart transcribed Bach and he and Beethoven [and everybody 
else at the  time] looked to Bach for how to do a fugue.
 
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 The Titanic Musical was actually on stage before the movie came out.  It won 5 Tonys and had an original Broadway run of about two years, which is not too shabby.  I saw it performed by a high school group in 2000, and perhaps one of the reasons that it still resonates with me is that the stories portrayed in it are based on real characters and life situations.  I found an article on the web that goes into greater detail here :  http://tinyurl.com/euem2  
 
The funny thing is when I saw the musical, it was not a professional traveling production.  My daughter happened to be playing in the pit orchestra, so I went to see it.   Princess Anne High School, Virginia Beach, Virginia,  had top notch costumes that were nicely accessorized and about as close to authentic as you could ask for.  And in spite of the fact that it was named Titanic, they sold out every performance and had nothing but rave reviews.  I was very impressed with the production in general, and as a costumer I was happy that the costumes were obviously well thought out accurately implemented, which is more than I can say for the multi-million dollar movie.
 
And there is something to be said for kids getting up on the stage and portraying adults and children not their own age, and having it come across as so believable.   I believe that the attention to detail with the costumes helped the actors to get into character and make their portrayals more realistic.  The fact that the costumes were so spot on also helped the audience to briefly suspend their knowledge of the people behind the clothes and allowed them to buy into the story as it unfolded.  
 
So, yeah, while costumes are not the only factor in a successful movie/play that is historically based, they definitely have an impact.  It is good to know that sometimes you find a director and costume director who work together and get it right.
 
:)
~Kimberley
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Subject: Re: [h-cost]OT Canonizing work just because its old
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In a message dated 4/26/2006 11:50:34 A.M. Eastern Standard Time,  
K.M.Bunting@derby.ac.uk writes:

Before  that, Bach's music may have been known to professional musicians but 
he wasn't  thought of as a major composer by the average  music-lover.



****************
 
Nope. Just about every educated person and/or aristocrat learned to play  
something. If it had a keyboard, these people learned some Bach. I assure Bach  
was not "LOST"...the word you used.
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From: "Susan B. Farmer" <sfarmer@goldsword.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Historical Films & Mona Lisa
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Quoting AlbertCat@aol.com:

>
> In a message dated 4/26/2006 11:07:17 A.M. Eastern Standard Time,
> sfarmer@goldsword.com writes:
>
> Ya gotta  love the Internet.  I believe that it's Veronese's Wedding  at
> Cana.
>
>
>
> ***************************
>
> Well, it's certainly more populated than the Mona Lisa. If only something
> were blowing up! Then it'd really be KEWL!

ROTFLOL!

I don't think that they were much into blowing things up in those days
-- very few war paintings.  If you're into Blood, Guts, and Gore (tm),
you'll want to try the plethora of Martyrdom paintings, or the
"Biblical Revenge" paintings -- aka Judith and the Head of Holofernes
...

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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To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Historical Films & Mona Lisa
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Well, that cloud on the lower left is darker and thicker 
than the other clouds, maybe something is blowing up "off stage" ???

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of AlbertCat@aol.com
Sent: Wednesday, April 26, 2006 10:12 AM
To: h-costume@indra.com
Subject: Re: [h-cost] Historical Films & Mona Lisa

 
In a message dated 4/26/2006 11:07:17 A.M. Eastern Standard Time,
sfarmer@goldsword.com writes:

Ya gotta  love the Internet.  I believe that it's Veronese's Wedding  at
Cana.



***************************
 
Well, it's certainly more populated than the Mona Lisa. If only something
were blowing up! Then it'd really be KEWL!
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----- Original Message ----- 
From: "Susan Data-Samtak" <pasovasz@aol.com>
> My Sister-in-law had seen her on previous visits and said she was more 
> fascinated with the large painting at the other end of the room with 
> all it's details. 

Any idea what that painting was?

-E House 
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To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] Re: working with leather, Firefly browncoat
Date: Wed, 26 Apr 2006 11:45:25 -0500
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----- Original Message ----- 
From: "A. Thurman" <athurman@gmail.com>
> So I'm looking for something specifically designated garment weight?
> That's one of my big concerns - how do I choose a leather or suede,
> and how do I make sure I get enough of it? I imagine it's sold by hide
> and not yardage, correct?

Yeah, garment-weight, or perhaps jacket-weight.  The original coat was made 
of deerskin (suede side out, leather side in, self-faced), and deerskin just 
doesn't really come in too thick a weight, so you might want to go that 
route. I remember having a good reason for not using deerskin with mine, I 
just can't remember what it IS...

By the way, for those browncoats who want fasteners for their repro of the 
coat, Talia from this list will be making some.  If you're interested, her 
email is
talia@kc.rr.com
Unfortunately, the way the things are made makes a volume discount unlikely.

-E House 

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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] 2nd Request Please remove me from
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Susan B. Farmer wrote:
> Quoting S Kelley <kelley_gerl@yahoo.com>:
> 
>> Please remove me from your list.  2nd request.
>>
>>
> 
> I believe that you have to go to the web site that's at the bottom of
> every email and remove yourself.  I don't know if this group has a
> human who can do things like that or not.

The first of every month each subscriber gets a password reminder email. 
You will need that password to log in to unsubscribe.

liz young (not the administrator of this list)



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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Movies-things that make you cringe!
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REBECCA BURCH wrote:

>This is why I prefer video/DVD - nobody cares when I
>yell at the screen at home.  It took several years,
>but I finally quit taking costume notes at live
>theater.  I still notice - I just don't write it down
>anymore.
>
>--- kelly grant <estela_dufrayse@hotmail.com> wrote:
>
>  
>
>>>but because of my DH the entire family is known to
>>>      
>>>
>>yell >at
>>    
>>
>>>the screen in any movie historical or modern "PICK
>>>      
>>>
>>UP >THE AMMO/WEAPON", 
>>    
>>
>>>as
>>>the good guy runs around ect...
>>>      
>>>
>>Our favourite thing to make us yell at the
>>screen..."Close the damn door!" 
>>When the actor walks intoa building and leaves to
>>door open, to be closed 
>>miraculously by someone else!
>>    
>>
>
>  
>
My favorite is in The Patriot, where, during a duel, both of the leads 
(oh no, it is Mel again, isn't it?) proceed to throw away a very crucial 
part of their pistol. And then they throw it away again. Without picking 
it up. I was so confused! Ack.
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At 12:07 PM -0600 4/26/06, h-costume-request@indra.com wrote:
>On Tue, 25 Apr 2006, Gytha Stonegrinder wrote:
>
>>  I got mine today!  Looks good!  Thanks, Kathy
>
>And, hurrah, mine just arrived!
>
>--Robin

And if you pre-ordered from Amazon and haven't been charged for it 
yet--rattle their tree. You may be over looked otherwise...mine 
wouldn't have shipped without a nudge...
Ta
Carol--it should be here tomorrow! Yeah!
-- 
Creative Clutter is Better Than Idle Neatness!
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Date: Wed, 26 Apr 2006 13:57:04 -0500 (CDT)
Subject: Re: [h-cost] Re: working with leather, Firefly browncoat
From: "Chiara Francesca Arianna d'Onofrio" <chiara@io.com>
To: "Historical Costume" <h-costume@indra.com>
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I would recommend hidehouse.com. They are the originators of Napa
Leather. They have it all and it is here in the states. They are out
of California. This means that there are no extra charges to pay for
if you bring it in from overseas. Leather from Canada is really good
if you can get it but the last person that tried to get some had to
pay hefty fees to get it out of customs. Not sure why.

The lightest weight stuff out there is italian, neutofino. You will
have no luck getting it imported here as it is banned last I
checked.

Most leather are sold by the hide measured by square foot. Sometimes
you can purchase half or a quarter hide but you will know up front
if you can, they normall tell you or it is in the description.

Hidehouse like the other leather places also have deep discounts if
you have a tax id number. :)

Now if your in New York, wow! Go to the garment district. You will
be able to buy exactly what you want there and at a bargin. Some of
those folks will even let you haggle for the leather. :)

If you search the archives of this list you will find names and
places in New York of those leather folks. :)

Chiara


On Tue, April 25, 2006 9:51 pm, A. Thurman said:
>
> So I'm looking for something specifically designated garment weight?
> That's one of my big concerns - how do I choose a leather or suede,
> and how do I make sure I get enough of it? I imagine it's sold by
> hide
> and not yardage, correct?
>>
>> B) Getting the seam right the first time.  Any hole you make in
>> the leather
>> won't close back up again the way fabric would, so ty to aviod
>> ripping out
>> and re-sewing seams--it'll be obvious, and it will weaken the
>> leather.
>
> I have enough experience with PVC to know about the hole punch
> thing,
> but not about the thread (below). Thanks for the tip (and you too
> Chiara!)
>
> Also thanks for the browncoats.com links - it's good to see that
> there's enough of a community out there for there to be some legwork
> already done :)
>
> Allison T.
>

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Date: Wed, 26 Apr 2006 16:00:01 EDT
Subject: Re: [h-cost] Movies-things that make you cringe!
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In a message dated 4/26/2006 1:27:00 P.M. Eastern Standard Time,  
mcschnoor@comcast.net writes:

My  favorite is in The Patriot, where, during a duel, both of the leads 
(oh  no, it is Mel again, isn't it?) proceed to throw away a very crucial 
part  of their pistol. And then they throw it away again. Without picking 
it up.  I was so confused! Ack.



*******************
 
In the remake of "Cape Fear" [the original is better] the villain and hero  
fight hand to hand in the pouring rain. If I remember correctly they even go  
overboard into the river at some point. Then, having vanquished the foe, the  
hero pulls cigarettes out of his pocket and lights up. Huh?
 
Another great thing about "Cape Fear" is they were gonna film it here, in  
Wilmington, but alas decided to go to Florida to film because it didn't look  
right here. Wilmington is on....you guessed it...the Cape Fear  River.
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Umm, how do you nudge Amazon.com?  I just cancelled my pre-order with
Amazon.uk to save on shipping fees and preordered from Amazon.com.
Amazon.com gives a ship date of the end of June. Although the pub date
is given as April 1st, neither Amazon has copies of book available,
understandable to give small publishers a chance to sell direct first.

But with oil prices upping prices of just about everything, I must save
where I can to feed book, fabric, and doll habits!  

Cindy Abel

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Subject: Re: [h-cost] Titanic Musical Clarification / Costume praise.
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In a message dated 4/26/2006 3:00:41 P.M. Eastern Standard Time,  
chindora@aol.com writes:

So,  yeah, while costumes are not the only factor in a successful movie/play 
that  is historically based, they definitely have an impact.


*****************
 
I'd say greater than scenery...though of course scene designers might  
disagree. A scene designer can suggest a wall or a tree or whatever. You cannot  
suggest a bodice or a pair of shoes. They have to be there. And you can do a  
play with no scenery... Moliere and Shakespeare did all the time. But actors  
must wear something. And if you're looking at the actor [which I hope you are],  
you're looking at the costume.
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Quoting Susan Data-Samtak <pasovasz@aol.com>:

> THANKS!
>
> Amazing what one can find, if you know where and how to look, isn't it?!

I've done a lot with google image search (and museum searches, etc.)
over the last few years.  All I wanted was a Color Copy of Davenport
.....

Susan (the Other One ...)
-----
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 Data-Samtak <pasovasz@aol.com>
Subject: Re: Wedding in Cana (was Re: [h-cost] Historical Films & Mona Lisa
Date: Wed, 26 Apr 2006 16:46:22 -0400
To: Historical Costume <h-costume@indra.com>
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You folks are a wealth of knowledge and best of all-you share!

Thanks.

Susan
"My treasures do not clink together or glitter, they gleam in the sun 
and neigh in the night."
Bedouin proverb


On Apr 26, 2006, at 11:41 AM, Susan B. Farmer wrote:

> Quoting Susan Data-Samtak <pasovasz@aol.com>:
>
>> THANKS!
>>
>> Amazing what one can find, if you know where and how to look, isn't 
>> it?!
>>
>
> and if you go here
>
> http://www.wga.hu/frames-e.html?/html/v/veronese/religio1/
>
> there are about a half-dozen detail shots from the painting
>
> 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: "Silvara" <silvaragreenleaf@earthlink.net>
To: "Historical Costume" <h-costume@indra.com>
Subject: Re: [h-cost] Movies-things that make you cringe!
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There is a James Bond film where a car on two wheels goes down an alley and
comes out on
the other two wheels!
Editor you didn't pay attention!!!!!!

Silvara


> [Original Message]
> From: <AlbertCat@aol.com>
> To: <h-costume@indra.com>
> Date: 4/26/2006 1:04:37 PM
> Subject: Re: [h-cost] Movies-things that make you cringe!
>
>  
> In a message dated 4/26/2006 1:27:00 P.M. Eastern Standard Time,  
> mcschnoor@comcast.net writes:
>
> My  favorite is in The Patriot, where, during a duel, both of the leads 
> (oh  no, it is Mel again, isn't it?) proceed to throw away a very crucial 
> part  of their pistol. And then they throw it away again. Without picking 
> it up.  I was so confused! Ack.
>
>
>
> *******************
>  
> In the remake of "Cape Fear" [the original is better] the villain and
hero  
> fight hand to hand in the pouring rain. If I remember correctly they even
go  
> overboard into the river at some point. Then, having vanquished the foe,
the  
> hero pulls cigarettes out of his pocket and lights up. Huh?
>  
> Another great thing about "Cape Fear" is they were gonna film it here, in

> Wilmington, but alas decided to go to Florida to film because it didn't
look  
> right here. Wilmington is on....you guessed it...the Cape Fear  River.
> _______________________________________________
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On Tue, 25 Apr 2006, Gytha Stonegrinder wrote:

> I got mine today!  Looks good!  Thanks, Kathy

And, hurrah, mine just arrived! 

--Robin

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Subject: [h-cost] Re:Historical Films
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My husband realised he had been going to costume films with me too long when 
his first thought at a lady taking off her bodice in a film was "Hey, she's 
not wearing a chemise."

Katy


That's great education!  I knew I had hit a high point with my family when we 
went to see "Shakespeare in Love" and my husband said of one character, 
"That's a flatcap!"  and my son said, "He's got a tall hat!"   After all my years 
of making hats for faires, something has sunk in!

Donna Scarfe (Mistress Felicity)
Fyne Hats By Felicity
Period Headgear for Past Ages
www.fynehatsbyfelicity.com

719 52nd Street
Des Moines, IA 50312
(515) 225-1830
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Subject: Re: [h-cost] New MCT Book was Update on Henry VIII book
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Wait, what is MCT?

There's so many new & interesting books out lately, I've lost track... can 
anyone give me (off-list or on) a quick list of them?   Both those that are 
out and those that are coming soon?

-E House 

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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] New MCT Book was Update on Henry VIII book
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On Wed, 26 Apr 2006, E House wrote:

> Wait, what is MCT?

That would be "Medieval Clothing & Textiles," the journal I edit with Gale
Owen-Crocker. Vol. 2 hit print this month. Contents are here:

http://www.boydell.co.uk/43832038.HTM

--Robin

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This is not one of the books talked about here, but i do really look 
forwards to this book, wich will be released 29th of april:
Dress in France in the Eighteenth Century
   By: Madeleine Delpierre

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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In a message dated 4/26/06 3:33:30 PM GMT Daylight Time, 
h-costume-request@indra.com writes:

> Re: [h-cost] Historical Paintings for Inspiration

I'd second van dyck and hollar

also like breugel, pierro della francesca, van eyck, and bosch

all in the same couple of hundred years, but they all show costume in such 
nice detail.

also like joshua reynolds, and some who are only known as "unknown"

debbie
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Subject: Re: [h-cost] Tudor Jewellery
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----- Original Message ----- 
From: "Suzi Clarke" <suzi@suziclarke.co.uk>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, April 26, 2006 6:38 PM
Subject: [h-cost] Tudor Jewellery


>
> There is someone on this list who makes reproduction Tudor jewellery - I 
> thought I had it book marked but I can't find it. Can anyone help please?
>
> Suzi (who seems to have mislaid a lot of things this week!)
>
I'm guessing you mean Sapphire and Sage 
http://www.sapphireandsage.com/index.html I've actually just ordered a 
brooch from her, it's a custom piece based on the portrait of Princess 
Elizabeth http://www.uvm.edu/~hag/sca/tudor/kideliz.jpg and it's not in the 
catalogue on the website yet (and presumably won't be until it's finished)
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>
References: <BB3EEC584579204DB6E2CA0F6DB7566F0130D604@exbe01.blue.jays.creighton.edu>
Subject: Re: [h-cost] Re: MCT & Amazon...
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Status: RO

What did you order from them?  I have The Tudor Tailor in stock right now, although I can't sell it at a discount like Amazon.

Janet
   I just cancelled my pre-order with
  Amazon.uk to save on shipping fees and preordered from Amazon.com.
  Amazon.com gives a ship date of the end of June. Although the pub date
  is given as April 1st, neither Amazon has copies of book available,
  understandable to give small publishers a chance to sell direct first.

  Cindy Abel

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From: "Elizabeth Walpole" <ewalpole@tpg.com.au>
To: "Historical Costume" <h-costume@indra.com>
References: <ODEFIPJIKFCLNLGKEINHOENGDMAA.khanson@kc.rr.com><NJEJJAKCDDIJCJLBNKFIMEAFDBAA.monicaspence@optonline.net>
	<6.2.3.4.0.20060426152336.01e2f160@127.0.0.1>
Subject: Re: [h-cost] Tudor Jewellery
Date: Thu, 27 Apr 2006 11:05:31 +1000
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<snip>
>
> Talia
>
> Didn't get the original mail. I am basically looking for a "gold" (look) 
> chain for my husband to wear to a one-off SCA event when we are in the 
> States. I have the mandatory pearls, and some rings, but nothing for him. 
> As his costume -f it ever gets made - is from my stash, I can afford a 
> repro chain, possibly, but not the real thing.
>

Just a note, you may get hassled if your Husband wears a plain gold chain to 
an SCA event, in the SCA that is insignia reserved for Knights. Most people 
won't be that rude but you're likely to get somebody come up and point out 
the rules to you, and if you're wearing good quality clothes they may assume 
you're an established member and therefore should know better.
Elizabeth
--------------------------------------------
Elizabeth Walpole
Canberra Australia
ewalpole[at]tpg.com.au
http://au.geocities.com/e_walpole/

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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Re: MCT & Amazon...
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_The Tudor Tailor_ was published in England by B T Batsford, a large and 
well-known British publisher who has always published good books on 
fashion and textiles, among other subjects.  Their URL is 
http://www.batsford.com. _The Tudor Tailor_ is up to Batford's usual 
high standards.

Costume & Fashion Press (listed on the American Amazon.com as the 
publisher) acts largely as a distributor of foreign books in the US, 
though I think they may have some titles of their own.

Authors often sell some books directly that were published by other 
publishers; usually they get a clause in their contract that allows them 
to do so.

Amazon.com has no agenda of allowing or not allowing publishers to make 
sales outside Amazon. They enter data in their database when they happen 
to feel like it (which is not always when the publisher wants them to).

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


> Janet
>    I just cancelled my pre-order with
>   Amazon.uk to save on shipping fees and preordered from Amazon.com.
>   Amazon.com gives a ship date of the end of June. Although the pub date
>   is given as April 1st, neither Amazon has copies of book available,
>   understandable to give small publishers a chance to sell direct first.
> 
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From: "Susan B. Farmer" <sfarmer@goldsword.com>
To: Historical Costume <h-costume@indra.com>
Subject: RE: [h-cost] Re: MCT & Amazon...
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Quoting "Abel, Cynthia" <CynthiaAbel@creighton.edu>:

>
>
> Umm, how do you nudge Amazon.com?  I just cancelled my pre-order with
> Amazon.uk to save on shipping fees and preordered from Amazon.com.
> Amazon.com gives a ship date of the end of June. Although the pub date
> is given as April 1st, neither Amazon has copies of book available,
> understandable to give small publishers a chance to sell direct first.

I had to nudge Amazon on the Tennessee Wildflower Book.  I had ordered
the book 2 or 3 weeks earlier (I don't remember now), but it was listed
on their web site as shipping within 24 hours -- but on the "my order"
page they were quoting me a ship date of 30 days out.  So, I emailed
them and asked what was up -- and told them that if I didn't have an
answer within 24 hours that I was going to cancel my order with them
and get it somewhere else.

I had an answer in about 4 hours.  It was shipping *that day* and they
were waiving shipping charges.

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] Re: MCT & Amazon...
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Quoting JAMES OGILVIE <bear_janet@msn.com>:

> What did you order from them?  I have The Tudor Tailor in stock right 
> now, although I can't sell it at a discount like Amazon.
>
> Janet

Janet, do you by any chance have "Moda a Firenze" in stock?

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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At 7:05 PM -0600 4/26/06, h-costume-request@indra.com wrote:
>Umm, how do you nudge Amazon.com?  I just cancelled my pre-order with
>Amazon.uk to save on shipping fees and preordered from Amazon.com.
>Amazon.com gives a ship date of the end of June. Although the pub date
>is given as April 1st, neither Amazon has copies of book available,
>understandable to give small publishers a chance to sell direct first.
Wander thru the help pages till you get the phone screen. They called 
me back within seconds...I talked to real person who was *very* nice!
Ta
Carol
-- 
Creative Clutter is Better Than Idle Neatness!
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Subject: Re: [h-cost] Titanic film/live
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Of course, this version is being directed by John Deitrich (sp.?) who is one of 
the more famous Curlys from Oklahoma revivals:


"Ti-i-i-i-itanic
Where the lower deck passengers all die,
Where the Star Trek music plays real loud,
When the ship sails out of the quay.
Ti-i-i-i-itanic
Where the ship goes sliding 'cross the sea,
And the drunks who have the upstairs berth say,
'No more ice for me...'"


I know. bad taste. But who can resist?

-C.


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To: h-costume@indra.com
From: Pierre & Sandy Pettinger <costumrs@radiks.net>
Subject: Re: [h-cost] Historical Films 
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At 03:45 PM 4/25/2006, you wrote:

>There are a number of reasons for Magdalen's supposed link to prostitution
>(which, interestingly, does not exist in the Eastern Orthodox Christian
>church's view of Magdalen, who is highly revered).  But yes, there are
>similarities in the stories, and apparently some cross-fertilization,
>which becomes evident in the art as well, when you look at paintings of
>Magdalen in her wilderness-hermit phase.
>
>--Robin

Just to make things clear, Mary Magdalene is equally revered in the 
West. She is considered one of the greatest of the saints. While 
there is debate whether she was the prostitute/adulteress who was 
saved from stoning by Jesus (and most theologians and historians 
believe she was not) such an identification doesn't imply that she is 
tainted somehow. It would simply point out the magnitude of  her 
conversion and salvation.

Pierre

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

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

Andromeda  


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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
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I wrote:
> >There are a number of reasons for Magdalen's supposed link to prostitution
> >(which, interestingly, does not exist in the Eastern Orthodox Christian
> >church's view of Magdalen, who is highly revered).  But yes, there are
> >similarities in the stories, and apparently some cross-fertilization,
> >which becomes evident in the art as well, when you look at paintings of
> >Magdalen in her wilderness-hermit phase.

Pierre added:
> Just to make things clear, Mary Magdalene is equally revered in the 
> West. She is considered one of the greatest of the saints. While 
> there is debate whether she was the prostitute/adulteress who was 
> saved from stoning by Jesus (and most theologians and historians 
> believe she was not) such an identification doesn't imply that she is 
> tainted somehow. It would simply point out the magnitude of  her 
> conversion and salvation.

Oh yes, and I didn't mean to imply otherwise. And I do want to underscore
your reminder that the Western Church today doesn't support the
identification of Magdalen as a reformed prostitute -- but that connection
is pervasive in the art of the period I study, which is medieval ... and
as you point out, the magnitude of her rise from the "lowest of the low"
was part of her appeal to ordinary sinners.

However, after so many years analyzing medieval Magdalen images, where
understanding the prostitution connection is vital, I was quite surprised
to find out that this is absent from her backstory in the Eastern church.
And that affects her representation in Eastern Christian art. 

Of course, I've also found that almost everything I know about iconography
goes out the window when I'm looking at Eastern Christian art. Normally I
can identify a saint at 50 paces, but I stood in my husband's newly
decorated Greek Orthodox Church, turning around and around looking at the
icons, utterly mystified because I didn't recognize the attributes for
most of them, and I couldn't read the Greek labels.

--Robin


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At 02:05 27/04/2006, you wrote:
><snip>
>>
>>Talia
>>
>>Didn't get the original mail. I am basically looking for a "gold" 
>>(look) chain for my husband to wear to a one-off SCA event when we 
>>are in the States. I have the mandatory pearls, and some rings, but 
>>nothing for him. As his costume -f it ever gets made - is from my 
>>stash, I can afford a repro chain, possibly, but not the real thing.
>
>Just a note, you may get hassled if your Husband wears a plain gold 
>chain to an SCA event, in the SCA that is insignia reserved for 
>Knights. Most people won't be that rude but you're likely to get 
>somebody come up and point out the rules to you, and if you're 
>wearing good quality clothes they may assume you're an established 
>member and therefore should know better.
>Elizabeth


Thank you for the warning. I think as we are "foreign" visitors, and 
have been specially invited to the event as guests, we may well not 
have a problem. However, I will check with my hostess.

Suzi


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At 01:48 27/04/2006, you wrote:

>----- Original Message ----- From: "Suzi Clarke" <suzi@suziclarke.co.uk>
>To: "Historical Costume" <h-costume@indra.com>
>Sent: Wednesday, April 26, 2006 6:38 PM
>Subject: [h-cost] Tudor Jewellery
>
>
>>
>>There is someone on this list who makes reproduction Tudor 
>>jewellery - I thought I had it book marked but I can't find it. Can 
>>anyone help please?
>>
>>Suzi (who seems to have mislaid a lot of things this week!)
>I'm guessing you mean Sapphire and Sage 
>http://www.sapphireandsage.com/index.html I've actually just ordered 
>a brooch from her, it's a custom piece based on the portrait of 
>Princess Elizabeth http://www.uvm.edu/~hag/sca/tudor/kideliz.jpg and 
>it's not in the catalogue on the website yet (and presumably won't 
>be until it's finished)
>Elizabeth


That's the one - thank you Elizabeth - all I have to do now is choose!

Suzi


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>Just a note, you may get hassled if your Husband wears a plain gold chain
>to 
>an SCA event, in the SCA that is insignia reserved for Knights. Most people

>won't be that rude but you're likely to get somebody come up and point out 
>the rules to you, and if you're wearing good quality clothes they may
>assume 
>you're an established member and therefore should know better.
>Elizabeth

Good point and I am surprised I did not think of it.  Thanks,
Anne

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Status: RO

Janet, do you by any chance have "Moda a Firenze" in stock?

susan

No, getting foreign language books is really difficult.  I'd recommend ordering it here 
http://www.artbooks.com/wc.dll?AB~home~&cart=0 
although I see he's raised his price some since the last time I contemplated ordering it.

Janet
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To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] Tudor Jewellery
Date: Thu, 27 Apr 2006 01:25:02 -0400
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>Just a note, you may get hassled if your Husband wears a plain gold 
>chain to an SCA event, in the SCA that is insignia reserved for 
>Knights. 

Thank you for the warning. I think as we are "foreign" visitors, and 
have been specially invited to the event as guests, we may well not 
have a problem. However, I will check with my hostess.
-------------------------------------------------------
If you are getting a jeweled or decorated chain, there's no problem but wearing a plain gold chain (after having been warned against it) would be a major faux pas.

Janet
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From: "E House" <formfunc@formfunction.org>
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References: <Pine.LNX.4.10.10604261743170.12421-100000@shell.nightowl.net>
Subject: Re: [h-cost] New MCT Book was Update on Henry VIII book
Date: Thu, 27 Apr 2006 00:54:45 -0500
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Ahhhhhh, duh.  Half the posts made it sound like MCT was the same thing as 
the Henry VIII book, which I take it is not the case?  Is the Henry VIII 
book the one that as yet has no exact release date?

-E House 

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Subject: RE: [h-cost] Titanic Musical Clarification / Costume praise.
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Status: RO

You could do body paint, like that guy who does trompe l'oeil on models in
Holland (I think) Might get you an interesting review, though.   :-)

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of AlbertCat@aol.com
Sent: Wednesday, April 26, 2006 1:06 PM
To: h-costume@indra.com
Subject: Re: [h-cost] Titanic Musical Clarification / Costume praise.


 
In a message dated 4/26/2006 3:00:41 P.M. Eastern Standard Time,  
chindora@aol.com writes:

So,  yeah, while costumes are not the only factor in a successful movie/play

that  is historically based, they definitely have an impact.


*****************
 
I'd say greater than scenery...though of course scene designers might  
disagree. A scene designer can suggest a wall or a tree or whatever. You
cannot  
suggest a bodice or a pair of shoes. They have to be there. And you can do a

play with no scenery... Moliere and Shakespeare did all the time. But actors

must wear something. And if you're looking at the actor [which I hope you
are],  
you're looking at the costume.
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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] Tudor Jewellery
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At 06:25 27/04/2006, you wrote:
> >Just a note, you may get hassled if your Husband wears a plain gold
> >chain to an SCA event, in the SCA that is insignia reserved for
> >Knights.
>
>Thank you for the warning. I think as we are "foreign" visitors, and
>have been specially invited to the event as guests, we may well not
>have a problem. However, I will check with my hostess.
>-------------------------------------------------------
>If you are getting a jeweled or decorated chain, there's no problem 
>but wearing a plain gold chain (after having been warned against it) 
>would be a major faux pas.


That is a real pity, as if my husband were to wear a jewelled or 
decorated chain in England it would be considered to be pretentious 
and inaccurate, as it is not seen in portraits as far as I can 
remember.He will probably have to go without altogether in that case, 
as I don't want to spend money on something he can't wear here.

Suzi


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From: "Marie Stewart" <maricelt@gmail.com>
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Subject: Re: [h-cost] New MCT Book was Update on Henry VIII book
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grrr... still waiting for mine.   Bridgette


> On Tue, 25 Apr 2006, Gytha Stonegrinder wrote:
>
> > I got mine today!  Looks good!  Thanks, Kathy
>
> And, hurrah, mine just arrived!
>
> --Robin

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From: "Kate M Bunting" <K.M.Bunting@derby.ac.uk>
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Subject: J.S.Bach, was Re: [h-cost]OT Canonizing work just because its
	old
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No, I didn't use the word "lost" - that was another poster whom I was supporting.
I found this:  http://www.carolinaclassical.com/mendelssohn/index.html (paragraphs 9 and 10) which gives some support to both assertions.


Kate Bunting
Librarian and 17th century reenactor

>>> AlbertCat@aol.com 26/04/2006 17:18 >>>
 
In a message dated 4/26/2006 11:50:34 A.M. Eastern Standard Time,  
K.M.Bunting@derby.ac.uk writes:

Before  that, Bach's music may have been known to professional musicians but 
he wasn't  thought of as a major composer by the average  music-lover.



****************
 
Nope. Just about every educated person and/or aristocrat learned to play  
something. If it had a keyboard, these people learned some Bach. I assure Bach  
was not "LOST"...the word you used.
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Subject: SCA symptuary laws Re: [h-cost] Tudor Jewellery
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> That is a real pity, as if my husband were to wear a jewelled or
> decorated chain in England it would be considered to be pretentious
> and inaccurate, as it is not seen in portraits as far as I can
> remember.He will probably have to go without altogether in that case,
> as I don't want to spend money on something he can't wear here.

Or just do something extremly unobtrusive. I have heard of people wiring in
a tiny little bead so that when someone was rude enough to confront them
(and there are people who are sticklers for this) they could show that it
was indeed decorated. There is no rule that stipulates just how obvious hte
decoration needs to be as far as I know. People have also put a ribbon in
theirs as well. I suggest this only for those with a sense of humour and who
can have a good gentle giggle about it. I personally like pushing comfort
levels but know that there is a fine line before pushing buttons;)

The only wide chains I can think of are chains of office which do have a
dangling pendant quite often. but then I keep imagining men from Henry
VIII's reign and of high rank.

I face the same issue myself as I do German renaissance, and there are a
large number of unadorned chains. In fact my next big item has a matching
guertel and kette in plain gold chain. I'm going to swap out those items for
ones seen in different portraits. ANd probably whack a pendant on the end of
the kette.

I also worried about the headdress for my Valois gown as it was extremely
decorative and could look like I was assuming status I don't have as a
Pointy Hatted person. But it was far enough on the back of my head to not
look like a circle or coronet at all.

Some kingdoms have actual written suptuary laws, some are just tradition.
They are a handy way of instant recognition, but don't work in every case,
and when not everyone knows the rules.

Michaela de Bruce
http://glittersweet.com



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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] New MCT Book was Update on Henry VIII book
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On Thu, 27 Apr 2006, E House wrote:

> Ahhhhhh, duh.  Half the posts made it sound like MCT was the same
> thing as the Henry VIII book, which I take it is not the case?  Is the
> Henry VIII book the one that as yet has no exact release date?

Here's my post on that:

On Mon, 24 Apr 2006, Robin Netherton wrote:
> 
> I've just heard from my contact at the publisher that _Dress at the Court
> of King Henry VIII_, listed as forthcoming in 2006, will not be out till
> at least the end of the year or possibly early 2007. (The manuscript is
> not yet complete.)
> 
> More whenever I know more.
> 
> --Robin

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From: SPaterson <sjpaterson@tru.eastlink.ca>
Subject: Re: [h-cost] Tudor Jewellery
To: Historical Costume <h-costume@indra.com>
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Status: RO

how about a plain SILVER chain? Gold is the only *reserved* unadorned chain 
'colour'

Sarah Paterson (Mistress Bess Darnley)

----- Original Message ----- 
>>If you are getting a jeweled or decorated chain, there's no problem but 
>>wearing a plain gold chain (after having been warned against it) would be 
>>a major faux pas.
>
>
> That is a real pity, as if my husband were to wear a jewelled or decorated 
> chain in England it would be considered to be pretentious and inaccurate, 
> as it is not seen in portraits as far as I can remember.He will probably 
> have to go without altogether in that case, as I don't want to spend money 
> on something he can't wear here.
>
> Suzi
>

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From: "Betsy Marshall" <betsy@softwareinnovation.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Tudor Jewellery
Date: Thu, 27 Apr 2006 07:19:22 -0500
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Status: RO

Loophole alert- plain chain is very plain-if you hang a brooch or pendant
(removable) off of it and you shouldn't have any problems.
Pyro- sister to heralds

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Suzi Clarke
Sent: Thursday, April 27, 2006 2:26 AM
To: Historical Costume
Subject: Re: [h-cost] Tudor Jewellery

At 06:25 27/04/2006, you wrote:
> >Just a note, you may get hassled if your Husband wears a plain gold
> >chain to an SCA event, in the SCA that is insignia reserved for
> >Knights.
>
>Thank you for the warning. I think as we are "foreign" visitors, and
>have been specially invited to the event as guests, we may well not
>have a problem. However, I will check with my hostess.
>-------------------------------------------------------
>If you are getting a jeweled or decorated chain, there's no problem 
>but wearing a plain gold chain (after having been warned against it) 
>would be a major faux pas.


That is a real pity, as if my husband were to wear a jewelled or 
decorated chain in England it would be considered to be pretentious 
and inaccurate, as it is not seen in portraits as far as I can 
remember.He will probably have to go without altogether in that case, 
as I don't want to spend money on something he can't wear here.

Suzi


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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] new books
Date: Thu, 27 Apr 2006 08:28:34 -0400
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I am waiting for another 18thC book I ordered last week...18th C Costume in
the National Museums and Galleries on Merseyside.  I will look for your
title also!
Kathleen
----- Original Message ----- 
From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: <h-costume@indra.com>
Sent: Wednesday, April 26, 2006 6:39 PM
Subject: [h-cost] new books


> This is not one of the books talked about here, but i do really look
> forwards to this book, wich will be released 29th of april:
> Dress in France in the Eighteenth Century
>    By: Madeleine Delpierre
>
> 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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Date: Thu, 27 Apr 2006 13:29:42 +0100
To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] Tudor Jewellery
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At 13:20 27/04/2006, you wrote:
>how about a plain SILVER chain? Gold is the only *reserved* 
>unadorned chain 'colour'


I have never seen a silver chain in a painting of the period our 
clothes come from, the late 1580's, whereas I have seen plain gold 
chains. Also, my husband's jerkin, if I ever get round to making it, 
is black and gold brocade, so I wouldn't naturally think of putting 
silver on that.

I have asked my hostess to let me know the rules that govern clothing 
for this particular group, so I don't cause any more waves.

Thanks to everyone for their suggestions.

Suzi


>Sarah Paterson (Mistress Bess Darnley)
>
>----- Original Message -----
>>>If you are getting a jeweled or decorated chain, there's no 
>>>problem but wearing a plain gold chain (after having been warned 
>>>against it) would be a major faux pas.
>>
>>
>>That is a real pity, as if my husband were to wear a jewelled or 
>>decorated chain in England it would be considered to be pretentious 
>>and inaccurate, as it is not seen in portraits as far as I can 
>>remember.He will probably have to go without altogether in that 
>>case, as I don't want to spend money on something he can't wear here.
>>
>>Suzi
>
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
>http://mail.indra.com/mailman/listinfo/h-costume
>
>


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Date: Thu, 27 Apr 2006 07:29:21 -0500
To: h-costume@indra.com
From: Beth and Bob Matney <bmatney@alltel.net>
Subject: Re: [h-cost] New MCT Book was Update on Henry VIII book
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I am on Digest, so someone else may have already answered your question, 
but just in case.. There are four books being discussed in this thread. 
Three are currently available (and I have received my copies):

Medieval Clothing and Textiles 2 (Medieval Clothing and Textiles)
by Robin Netherton (Editor), Gale R. Owen-Crocker (Editor) Hardcover: 200 
pages Publisher: Boydell Press (April 1, 2006) ISBN: 1843832038

The Tudor Tailor by Ninya Mikhaila ISBN 0713489855
http://www.tudortailor.com/

The Inventory of King Henry VIII: Volume I, The Transcript edited by David 
Starkey, transcribed by Philip Ward and indexed by Alasdair Hawkyard  539p 
(Harvey Miller/Society of Antiquaries 1998) ISBN 1872501893. Hardback. 
Publishers price US $144.00, David Brown Books Price US $72.00

and the following has been delayed in publication:

Dress at the Court of King Henry VIII by Maria Hayward. Maney Pub. (2006). 
Clothbound with full colour dustjacket, ca 384 pages with ca 150 b&w and 30 
colour illustrations. ISBN 1 904350 70 4. 
http://www.maney.co.uk/search?fwaction=show&fwid=649

Since I am interested in earlier times as well. I am also eagerly awaiting:

Osebergfunnet IV - Tekstilene (The Oseberg find  - The textiles) due out 
next month

Cloth and Clothing in Anglo-Saxon England, AD 450-700 by Penelope Rogers 
250p, 100 illus. (Council for British Archaeology 2005) ISBN 1902771540. 
Paperback.
  I have had this one on order since April of last year (2005) and the 
latest info is that it will not be published until the end of this year (2006).

Hope that this helps.
Beth

>Date: Thu, 27 Apr 2006 00:54:45 -0500
>From: "E House" <formfunc@formfunction.org>
>
>Ahhhhhh, duh.  Half the posts made it sound like MCT was the same thing as
>the Henry VIII book, which I take it is not the case?  Is the Henry VIII
>book the one that as yet has no exact release date?
>
>-E House

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Date: Thu, 27 Apr 2006 13:32:18 +0100
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From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: RE: [h-cost] Tudor Jewellery
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At 13:19 27/04/2006, you wrote:
>Loophole alert- plain chain is very plain-if you hang a brooch or pendant
>(removable) off of it and you shouldn't have any problems.
>Pyro- sister to heralds

Now that's a great idea - I can live with that - thank you so much.

Suzi

>At 06:25 27/04/2006, you wrote:
> > >Just a note, you may get hassled if your Husband wears a plain gold
> > >chain to an SCA event, in the SCA that is insignia reserved for
> > >Knights.
> >
> >Thank you for the warning. I think as we are "foreign" visitors, and
> >have been specially invited to the event as guests, we may well not
> >have a problem. However, I will check with my hostess.
> >-------------------------------------------------------
> >If you are getting a jeweled or decorated chain, there's no problem
> >but wearing a plain gold chain (after having been warned against it)
> >would be a major faux pas.
>
>
>That is a real pity, as if my husband were to wear a jewelled or
>decorated chain in England it would be considered to be pretentious
>and inaccurate, as it is not seen in portraits as far as I can
>remember.He will probably have to go without altogether in that case,
>as I don't want to spend money on something he can't wear here.
>
>Suzi
>
>
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
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>
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While I agree about the clashing metals -  I do not about "just because 
those who could afford portraits wore it so it could not possibly be the 
other" theory...this is the time that lays the foundation for the 
middleclasses of the 17th & 18th century - I just wish Elizabethans had 
cameras....But if you are dressing your husband in the clothing of the 
portrait class - never mind. Have fun at the event - we are not all 
stuck-up-boobs as this rule about the chain implies.

Middleclass Elizabethan in the SCA

Sarah

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

> At 13:20 27/04/2006, you wrote:
>>how about a plain SILVER chain? Gold is the only *reserved* unadorned 
>>chain 'colour'
>
>
> I have never seen a silver chain in a painting of the period our clothes 
> come from, the late 1580's, whereas I have seen plain gold chains. Also, 
> my husband's jerkin, if I ever get round to making it, is black and gold 
> brocade, so I wouldn't naturally think of putting silver on that.
>
> I have asked my hostess to let me know the rules that govern clothing for 
> this particular group, so I don't cause any more waves.
>
> Thanks to everyone for their suggestions.
>
> Suzi
>
>
>>Sarah Paterson (Mistress Bess Darnley)
>>
>>----- Original Message -----
>>>>If you are getting a jeweled or decorated chain, there's no problem but 
>>>>wearing a plain gold chain (after having been warned against it) would 
>>>>be a major faux pas.
>>>
>>>
>>>That is a real pity, as if my husband were to wear a jewelled or 
>>>decorated chain in England it would be considered to be pretentious and 
>>>inaccurate, as it is not seen in portraits as far as I can remember.He 
>>>will probably have to go without altogether in that case, as I don't want 
>>>to spend money on something he can't wear here.
>>>
>>>Suzi
>>
>>_______________________________________________
>>h-costume mailing list
>>h-costume@mail.indra.com
>>http://mail.indra.com/mailman/listinfo/h-costume
>>
>>
>
>
> _______________________________________________
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: [h-cost] 2006 projekt.
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Status: RO

I have spend a lot of time speculating and considered wether i should make a 
suit for myself with bullion roses or not. I have come to the conclusion, 
that i will. I dont want my creativity stopped because it is not 
historically correct. I did try, but i felt so sad that i would not be able 
to use some of the embroidery i make the best, so i desided to skip the 
authentity and dont care about what others will say.
It was known to make bullion roses, i saw them on some 17th century glove 
cuffs some time ago, worked in metal threads.
I just uploaded the start of this projekt, i am in the middle of upscaling 
patterns now.
http://www.my-drewscostumes.dk/2006suit.htm
Bjarne




Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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From: Kristin <kristinolivia@gmail.com>
To: "Historical Costume" <h-costume@indra.com>
Subject: Re: [h-cost] 2006 projekt.
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Status: RO

Bjarne,

I don't know enough to say whether it is historically accurate or not.

However, your design is gorgeous!  Anytime I see you post a link to your
work, I scurry to see what you've done, as I am in total awe of your
embroidery skills.

I can't wait to see the photos as the project moves forward.

Kristin


On 4/27/06, Bjarne og Leif Drews <drewscph@post12.tele.dk> wrote:
>
> I have spend a lot of time speculating and considered wether i should make
> a
> suit for myself with bullion roses or not. I have come to the conclusion,
> that i will. I dont want my creativity stopped because it is not
> historically correct. I did try, but i felt so sad that i would not be
> able
> to use some of the embroidery i make the best, so i desided to skip the
> authentity and dont care about what others will say.
> It was known to make bullion roses, i saw them on some 17th century glove
> cuffs some time ago, worked in metal threads.
> I just uploaded the start of this projekt, i am in the middle of upscaling
> patterns now.
> http://www.my-drewscostumes.dk/2006suit.htm
> Bjarne
>
>
>
>
> Leif og Bjarne Drews
> www.my-drewscostumes.dk
>
> http://home0.inet.tele.dk/drewscph/
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
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From: "E House" <formfunc@formfunction.org>
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	<6.0.0.22.0.20060427070637.026a2320@mail.alltel.net>
Subject: Re: [h-cost] New MCT Book was Update on Henry VIII book
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Thanks, that's exactly what I needed.  Apparently in all the recent flood of 
posts to this list, I deleted a few key items that would have made sense of 
everything... _2_ H8 books under discussion!

-E House 

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Subject: Re: SCA symptuary laws Re: [h-cost] Tudor Jewellery
Date: Thu, 27 Apr 2006 07:58:10 -0600
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Status: RO

As a long-time SCA member, I think the original poster's best choice of
action would be to ask their intended hostess/inviter, as she did mention
that she was going to.  The hostess would be the best source for knowing
local SCA levels of tolerance for such things.
Personally, I live in a relatively relaxed kingdom that has written
sumptuary *customs.*  I'd think the gentleman in question would *probably*
be okay with his gold chain, especially if he went with a style that wasn't
simple gold links--maybe a Lancastrian collar (aren't those the ones with
the "s" shape?)?? And even more telling, if he refrained from wearing a
white belt, which is the other main piece of regalia/clothing specifically
associated with SCA chivalry members.  In my part of the Known World
(Artemisia, which comprises Montana, southern Idaho, Utah, and bits of
Wyoming and Colorado...for the non-Americans, that's the northern part of
the Rocky Mountain states), I can't recall a time when I *didn't* see
members of the chivalry wearing *both* the chain AND the belt.  And
frequently spurs, as well.
A while back, I asked a number of them about the feasibility of wearing just
a plain gold chain with really big links, since I was thinking of wearing a
GermanRen gown to Coronation, and wanted the proper jewelry.  None of them
had a problem with it, because, they said, it would be obvious from context.
Also, as a member of the other SCA peerage orders, I'm allowed (in this
kingdom at least) to wear a plain gold chain with the medallion(s) of my
order(s) dependent from the chain, when I'm in fealty to the Crown.  So I
could have done that, as well.
--Sue in Montana

----- Original Message -----
From: "michaela" <thebruce@ihug.co.nz>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, April 27, 2006 3:01 AM
Subject: SCA symptuary laws Re: [h-cost] Tudor Jewellery


> > That is a real pity, as if my husband were to wear a jewelled or
> > decorated chain in England it would be considered to be pretentious
> > and inaccurate, as it is not seen in portraits as far as I can
> > remember.He will probably have to go without altogether in that case,
> > as I don't want to spend money on something he can't wear here.
>
> Or just do something extremly unobtrusive. I have heard of people wiring
in
> a tiny little bead so that when someone was rude enough to confront them
> (and there are people who are sticklers for this) they could show that it
> was indeed decorated. There is no rule that stipulates just how obvious
hte
> decoration needs to be as far as I know. People have also put a ribbon in
> theirs as well. I suggest this only for those with a sense of humour and
who
> can have a good gentle giggle about it. I personally like pushing comfort
> levels but know that there is a fine line before pushing buttons;)
>
> The only wide chains I can think of are chains of office which do have a
> dangling pendant quite often. but then I keep imagining men from Henry
> VIII's reign and of high rank.
>
> I face the same issue myself as I do German renaissance, and there are a
> large number of unadorned chains. In fact my next big item has a matching
> guertel and kette in plain gold chain. I'm going to swap out those items
for
> ones seen in different portraits. ANd probably whack a pendant on the end
of
> the kette.
>
> I also worried about the headdress for my Valois gown as it was extremely
> decorative and could look like I was assuming status I don't have as a
> Pointy Hatted person. But it was far enough on the back of my head to not
> look like a circle or coronet at all.
>
> Some kingdoms have actual written suptuary laws, some are just tradition.
> They are a handy way of instant recognition, but don't work in every case,
> and when not everyone knows the rules.
>
> Michaela de Bruce
> http://glittersweet.com


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Subject: [h-cost] SCA sumptuary laws: was Tudor Jewellery
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Status: RO

The reservations about gold chains really depends on where you live and
how you wear it. Some kingdoms are pretty strict about it. Others are
much looser. 

I've seen some beautiful chains of office here, used both literally as
chains of office (my shire has such to go with its officers robes) and as
handy places to hang any tokens (awards, personal heraldry, etc.). Maybe
you can adapt use of the gold chain. Gold chains on Crannach gowns don't
tweak anyone here--they are obviously part of the wardrobe.

Mistress Arlys in An Tir, 
the 'rebel' kingdom

On Thu, 27 Apr 2006 09:20:40 -0300 SPaterson <sjpaterson@tru.eastlink.ca>
writes:
> how about a plain SILVER chain? Gold is the only *reserved* unadorned 
> chain 
> 'colour'
> 
> Sarah Paterson (Mistress Bess Darnley)
> 
> ----- Original Message ----- 
> >>If you are getting a jeweled or decorated chain, there's no 
> problem but 
> >>wearing a plain gold chain (after having been warned against it) 
> would be 
> >>a major faux pas.
> >
> >
> > That is a real pity, as if my husband were to wear a jewelled or 
> decorated 
> > chain in England it would be considered to be pretentious and 
> inaccurate, 
> > as it is not seen in portraits as far as I can remember.He will 
> probably 
> > have to go without altogether in that case, as I don't want to 
> spend money 
> > on something he can't wear here.
> >
> > Suzi

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Date: Thu, 27 Apr 2006 10:09:54 EDT
Subject: Re: [h-cost] 2006 projekt.
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In a message dated 4/27/2006 9:13:01 A.M. Eastern Standard Time,  
drewscph@post12.tele.dk writes:

I just  uploaded the start of this projekt, i am in the middle of upscaling  
patterns  now.
http://www.my-drewscostumes.dk/2006suit.htm



Oh, Bjarne, you're going to make us all jealous again!  I, personally,  have 
no problem with interpretation.  Everything we do has to be an  
interpretation/adaptation to some extent. The issue is just how much.
 
Ann Wass
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Subject: RE: [h-cost] Tudor Jewellery
Date: Thu, 27 Apr 2006 09:28:47 -0500
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Basically the only things to avoid as far as visiting an SCA event would be
white belts, unadorned chains, spurs, and coronets/crowns/adorned circlets.
This would apply to both male and female visitors.

Talia

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of JAMES OGILVIE
Sent: Thursday, April 27, 2006 12:25 AM
To: Historical Costume
Subject: Re: [h-cost] Tudor Jewellery


>Just a note, you may get hassled if your Husband wears a plain gold
>chain to an SCA event, in the SCA that is insignia reserved for
>Knights.

Thank you for the warning. I think as we are "foreign" visitors, and
have been specially invited to the event as guests, we may well not
have a problem. However, I will check with my hostess.

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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: Re: [h-cost] 2006 projekt.
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Hi Kristin,
Many thanks for your words. Yes ill keep you updated.
I settled down with myself, with the idea to stay home from events this 
year, to take care of renewing my wardrobe. I just got the book 17th and 
18th century mens fashions and patterns cut, wich is highly apreciated, with 
many many ideas to make,  even better that the cuts, nearly have no major 
changes to my size. Its lovely!

Bjarne
----- Original Message ----- 
From: "Kristin" <kristinolivia@gmail.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, April 27, 2006 3:22 PM
Subject: Re: [h-cost] 2006 projekt.


Bjarne,

I don't know enough to say whether it is historically accurate or not.

However, your design is gorgeous!  Anytime I see you post a link to your
work, I scurry to see what you've done, as I am in total awe of your
embroidery skills.

I can't wait to see the photos as the project moves forward.

Kristin


On 4/27/06, Bjarne og Leif Drews <drewscph@post12.tele.dk> wrote:
>
> I have spend a lot of time speculating and considered wether i should make
> a
> suit for myself with bullion roses or not. I have come to the conclusion,
> that i will. I dont want my creativity stopped because it is not
> historically correct. I did try, but i felt so sad that i would not be
> able
> to use some of the embroidery i make the best, so i desided to skip the
> authentity and dont care about what others will say.
> It was known to make bullion roses, i saw them on some 17th century glove
> cuffs some time ago, worked in metal threads.
> I just uploaded the start of this projekt, i am in the middle of upscaling
> patterns now.
> http://www.my-drewscostumes.dk/2006suit.htm
> Bjarne
>
>
>
>
> Leif og Bjarne Drews
> www.my-drewscostumes.dk
>
> http://home0.inet.tele.dk/drewscph/
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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>
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Hi,
Thanks, its a release that you think so.

Bjarne


----- Original Message ----- 
From: <AnnBWass@aol.com>
To: <h-costume@indra.com>
Sent: Thursday, April 27, 2006 4:09 PM
Subject: Re: [h-cost] 2006 projekt.


>
> In a message dated 4/27/2006 9:13:01 A.M. Eastern Standard Time,
> drewscph@post12.tele.dk writes:
>
> I just  uploaded the start of this projekt, i am in the middle of 
> upscaling
> patterns  now.
> http://www.my-drewscostumes.dk/2006suit.htm
>
>
>
> Oh, Bjarne, you're going to make us all jealous again!  I, personally, 
> have
> no problem with interpretation.  Everything we do has to be an
> interpretation/adaptation to some extent. The issue is just how much.
>
> Ann Wass
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 


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From: "Onaree Berard" <msberard@gmail.com>
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Status: RO

Just curious, when did Dan Brown claim to DaVinci Code was true.

I listened to the unabridged audio book and it seemed like an author
who took some facts, some legends, a few other theories.... tweeked to
taste and shook well to create an interesting *story*.

I couldn't figure out why so many people were trying to prove/debunk it.

To me it was like trying to prove/debunk Tarzan or Sherlock Holmes.

<costume content> Medieval Clothing and Textiles 2 is awsome,
especially "Clothing Themselves in Acres: Apparel and Impoverishment
in Medieval and Early Modern England". </costume content>

Onaree

On 4/24/06, Gail & Scott Finke <gailscott@eos.net> wrote:

> I agree, that's not going to happen, especially when people become
> millionares by claiming that the preposterous -- which would otherwise be a
> fun "alternate history -- is true. Like . . . Dan Brown and "The DaVinci
> Code," for instance. A bunch of crap from beginning to end (oops, did I open
> a can of worms?) to anyone who knows ANYTHING about history, art, theology,
> etc. Again, claim it's fiction and who cares? But claim it's true and -- !!!
>
> Gail Finke


--
Proud List Mom of Irish_Crochet_Lovers
http://groups.yahoo.com/group/Irish_Crochet_Lovers/

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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] Tudor Jewellery resolved
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At 13:38 27/04/2006, you wrote:
>While I agree about the clashing metals -  I do not about "just 
>because those who could afford portraits wore it so it could not 
>possibly be the other" theory...this is the time that lays the 
>foundation for the middleclasses of the 17th & 18th century - I just 
>wish Elizabethans had cameras....But if you are dressing your 
>husband in the clothing of the portrait class - never mind. Have fun 
>at the event - we are not all stuck-up-boobs as this rule about the 
>chain implies.


To anyone still interested.

With all your help and advice, I had a rummage through my jewellery 
box to see what I could find - it's amazing what one keeps - I know 
about the fabric stash - but jewellery? When I have worn only 
earrings as jewellery for 20 years - help!!

Anyway, I found a single "gold" chain, which looks reasonable, and a 
pendant thing I could attach to it for the SCA event, on a temporary 
basis. (If you look very carefully at the back it says "Tie Rack" but 
it has a good weight, has an oval pearl and a ring of "gold" around 
it, and looks quite impressive.) I have one or two other 
medallion/pendant type things I will take just in case, but the best 
bit? Thanks to the jewel box, I don't have to spend any money!!

Thanks to all for your help and advice.

Suzi 


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Status: RO

As none of you probably know yet, I've been hired by Fashion Fabrics Club to overhaul their website.  We're starting with everything BUT the appearance--recategorizing the fabrics, making it easier for people to figure out what they're looking for, adding static content, and a lot more.

To that end, I have the owner's permission to ask those who are knowledgeable about fabric, sewing, home decorating, and costuming for articles which will appear on the website.  There will be no direct payment, but contributors will be offered a nice discount, a very large audience, and if applicable, a bit of free advertisement for your products and/or services.  

Articles don't necessarily need to have anything to do with historical costume.  They need only have something to do with fabric: fabric care, choosing the right fabric, project ideas/instructions, writeups on previous projects, and so on.  

If anyone is interested in participating, please email me off-list.  I can't promise to take every single article offered, as I want to keep a good balance of subject matter and avoid repetition, but all articles or article ideas will certainly be considered. (You might want to run the topic by me before spending hours writing an article that I can't use!)  As an example, one of the first articles I'd like to add to the website is one about wool 'allergies': how to deal with an actual allergy to lanolin, how to deal with itchiness due to scratchy fibers, and how to avoid irritation caused by chemical fabric treatments. 

Also, in the next few months we'll need beta-testers and people willing to take surveys.  Payment in the form of a nice discount will be offered for this, as well.  If the list-mom allows, I'll post again here when we're ready for that.

-E House
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I am one who doesn't know enough to judge something as lovely as your 
work.  Please keep us up to date on your newest project.  What I have 
seen is wonderful so far. Sincerely, theresa
On 4/27/06, Bjarne og Leif Drews <drewscph@post12.tele.dk> wrote:
>
> I have spend a lot of time speculating and considered wether i should 
make
> a
> suit for myself with bullion roses or not. I have come to the 
conclusion,
> that i will. I dont want my creativity stopped because it is not
> historically correct. I did try, but i felt so sad that i would not be
> able
> to use some of the embroidery i make the best, so i desided to skip 
the
> authentity and dont care about what others will say.
> It was known to make bullion roses, i saw them on some 17th century 
glove
> cuffs some time ago, worked in metal threads.
> I just uploaded the start of this projekt, i am in the middle of 
upscaling
> patterns now.
> http://www.my-drewscostumes.dk/2006suit.htm
> Bjarne
>
>
>
>
> Leif og Bjarne Drews
> www.my-drewscostumes.dk
>
> http://home0.inet.tele.dk/drewscph/
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>
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From: "otsisto" <otsisto@socket.net>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: SCA sumptuary laws Re: [h-cost] Tudor Jewellery
Date: Thu, 27 Apr 2006 14:39:10 -0500
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Status: RO

If you are talking about this headdress,
http://www.marileecody.com/isabel.jpg
I don't see how it could be mistaken for a circlet or coronet. From my
understanding, this is an elaborate French hood. Some think of is a
Renaissance pillbox hat.

De


-----Original Message-----
I also worried about the headdress for my Valois gown as it was extremely
decorative and could look like I was assuming status I don't have as a
Pointy Hatted person. But it was far enough on the back of my head to not
look like a circle or coronet at all.

Michaela de Bruce
http://glittersweet.com


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From: julian wilson <smnco37@yahoo.co.uk>
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Cc: "'Historical Costume'" <h-costume@indra.com>
Subject: [h-cost] Patterns for Late-15thC European gentle/noble womens
	head-dresses.
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  Gentles of the List,
  I solicit your help most urgently in finding  Patterns for late-15th C European gentle/noble women's head-dresses.
   
  My Lady Alys Vitel de Ploubazlanec* wants to make herself some more headresses to complement the one she already has.  She wants to be able to do this in time for our Duke's Leopards second event of our 2006 Season, a big 3-day Camp at the end of May, [when we shall co-incidentally be hosting 15 Subjects of the Kingdom of Drachenwald]. 
  [ * If you want to see her in one of her 2 dresses, then look under "Companie Personas" in the Main Menu at our Companie website - < www.dukesleopards.org > ]
   
  The Fashions in "old" Jersey during the period 1450-1509 were largely influenced by the Duchy of Burgundy, and the frequently-visiting Merchants from the Italian States [travelling aboard Venetian-led Trade Fleets stopping in the Anglo-Norman Islands en-route for ports further northwards.]
   
  I managed to buy a copy of "Period Patterns Tudor head-dresses" {No 52} 2 years back, but loaned it out and it has been mislaid.  My Lady and I are fairly new at re-enacting, - and this is the only such Pattern for head-dresses of "our period that we are aware of.
   
  My usual [and my main] "kit" Supplier in the States - [for when we have to buy readymade what we need urgently and cannot make for ourselves] , the ever-helpful Jeremy Clos, tells me he doesn't stock Period Patterns any longer, citing "supply problems". 
  If *he's* having problems getting Period Pastterns promptly to order, I assume that the same probabaly applies to all the other Stockists listed on the Period Patterns website.
  So, can I ask for your recommendations for EITHER- a Stockist who IS likely to have that Pattern in stock now
  OR b] another  source of readily-available Patterns for appropriate  "in-Period" head-dresses.
   
  With Thanks in advance for the helpful replies I know some of you will be able to send, I ask God's Blessings on your Houses and your Works, until He calls us Home, to Him


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










		
---------------------------------
  Switch an email account to Yahoo! Mail, you could win FIFA World Cup tickets. 
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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Re: h-costume Digest, Vol 5, Issue 358
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On Thu, 27 Apr 2006, Onaree Berard wrote:

> Just curious, when did Dan Brown claim to DaVinci Code was true.

Early on, he made a point about being very mysterious, which fed the hype
and spawned the collateral books about decoding the secrets, or debunking
the story.

More of a problem, I think, are that at various points in the book, he
presents certain things overtly as facts, upon which the story is built.
Alas, many of those "facts" are just as fictitious as the rest of it. A
French friend of mine was livid that he couldn't even get the geography
right -- e.g. traveling north (or east or whatever he said) as described
in the book would not take you to Versailles, etc.

> <costume content> Medieval Clothing and Textiles 2 is awsome,
> especially "Clothing Themselves in Acres: Apparel and Impoverishment
> in Medieval and Early Modern England". </costume content>

Thanks!

--Robin

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Subject: RE: [h-cost] Tudor Jewellery/Sumptuary laws.
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At 15:28 27/04/2006, you wrote:
>Basically the only things to avoid as far as visiting an SCA event would be
>white belts, unadorned chains, spurs, and coronets/crowns/adorned circlets.
>This would apply to both male and female visitors.

Thanks Talia - never considered a white belt, or the other things, 
only the chain.

My hostess is going to ask the appropriate person in her "group" for 
want of a better word, and let me know. That seems the safest 
solution, and best all round. I feel very honoured to be invited, and 
had no idea there might be sumptuary laws, so I am glad to have found 
out in time.

Suzi


> >Just a note, you may get hassled if your Husband wears a plain gold
> >chain to an SCA event, in the SCA that is insignia reserved for
> >Knights.
>
>Thank you for the warning. I think as we are "foreign" visitors, and
>have been specially invited to the event as guests, we may well not
>have a problem. However, I will check with my hostess.


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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] Tudor Jewellery
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At 13:38 27/04/2006, you wrote:
>While I agree about the clashing metals -  I do not about "just 
>because those who could afford portraits wore it so it could not 
>possibly be the other" theory...this is the time that lays the 
>foundation for the middleclasses of the 17th & 18th century - I just 
>wish Elizabethans had cameras....But if you are dressing your 
>husband in the clothing of the portrait class - never mind. Have fun 
>at the event - we are not all stuck-up-boobs as this rule about the 
>chain implies.
>
>Middleclass Elizabethan in the SCA
>
>Sarah


Thank you for that, Sarah. As my clothing is the sort worn by the 
lower/middle ranks of people at court - owing to the previous events 
I have attended - it seemed the best solution to dressing my husband 
was to dress him to match. We already had a pair of rather theatrical 
breeches and boots - not Venetians, I'm afraid - but if covered with 
a jerkin with long enough skirts, they will "do". (He has a natural 
peascod!) I really can't afford time to make the "real thing" and as 
he is unlikely to attend any other events, I don't feel the need.

I really am looking forward to it - it's far more interesting trying 
to work out "our costumes" than doing real work, and I will enjoy it 
no matter what, but all the helps means that I should not break too many rules.

Suzi


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Bjarne og Leif Drews wrote:

>I just got the book 17th and 
> 18th century mens fashions and patterns cut, wich is highly apreciated, 
> with many many ideas to make, 


What is the formal title of this book, the author, and publisher (so I 
can buy it if I don't have it)?

Thanks,
Fran

Lavolta Press Books on Historic Costuming
http://www.lavoltapress.com
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Subject: [h-cost] Jane Malcolm-Davies on Radio discussion programme.
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Dear List

Jane Malcolm Davies, co-author of "Tudor Tailor" was
on a radio show in the UK yesterday, briefly
discussing the book, the research behind the book and
the origins of her passion for costume and
particularly the Tudors. You can hear it again here by
clicking "listen to most recent programme".

http://www.bbc.co.uk/radio4/factual/midweek.shtml

If that doesn't work, a google on Radio 4, Midweek
should bring up the relevant programme site.

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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Suzi,
Sorry I haven't paid close attention to this thread.
As was suggested attaching a fob or pin to the end of a gold chain will
work.
A "gold" pocket watch on a neck chain would work.
http://www.tudor-portraits.com/CharlesSolier.jpg

I am unsure as to the country you are portraying though I get the impression
from the subject heading that it probably is English Tudor. If so, most
portraits I have seen do not have neck jewelry so therefore I am curious on
the need for it or better yet would love to see the portraits so that I can
add to my knowledge.
If the costume is Landsknecht then things are a bit clearer to me. :)
(SCA) There is a sumptuary law pertaining to plain gold chains being
reserved for knights, along with white belts and in some Kingdoms, spurs.
There are various Kingdoms with slightly different sumptuary laws. Some
kingdoms reserve plain silver chains for Squires. Some Kingdoms do not allow
the wearing of circlets unless you have an AoA (award of arms) or the
circlet can be only be so wide, unadorned, no pearls..etc.
You might want to review the sumptuary laws of the Kingdom that you are
visiting but it is not a "have too".
Majority of SCA people are courteous, what was being noted was that there
are an occasional boob who does not make sure that their brain is in gear
before engaging mouth and therefore you may have one such approach
you/husband. (You may also get one who will be concerned that you will meet
the boob and try to forewarn you that "such and such" an item may get a
reaction from certain people) The boob is assuming that you are in the SCA
and when finding out you are visitors then they "should" leave the subject
of the chain alone and either walk away or hopefully be a good guest and see
if there is anything that they can do to help. All that person can do
(should do) is suggest that you might want to remove the chain but you do
not have to do so.
A note that in many cases, of the few cases of rebuke for wearing "such and
such" comes from people who do not know that their sumptuary laws are not
the only ones (also it confuses them and people don't like to be confused).
And though I believe that when visiting another Kingdom to have some
consideration for their customs and laws, I am a visitor and not a resident
and therefore am not obliged to wear or not wear according to their laws.
In other words, I will be courteous and considerate of the Kingdom I am
visiting and will conform to those laws and customs that will truly cause a
brouhaha in wearing or doing it but other then that, if it is in accordance
to my Kingdoms laws and custom which I am accustom too, then I will wear it.
Hope this makes some sense and hoped it would ease any concerns or worries
you may have had.
De



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From: "otsisto" <otsisto@socket.net>
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Subject: RE: SCA sumptuary laws Re: [h-cost] Tudor Jewellery
Date: Thu, 27 Apr 2006 14:39:10 -0500
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>From this wording it sounds as if you are recommending the "S" linked
collar. If so, I would say that the "S" linked collar denoted
position/office in Tudor and Renaissance England. Therefore it should not be
worn.
De

-----Original Message-----
I'd think the gentleman in question would *probably* be okay with his gold
chain, especially if he went with a style that wasn't
simple gold links--maybe a Lancastrian collar (aren't those the ones with
the "s" shape?)??
--Sue in Montana


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correction:"good host(ess)"

-----Original Message-----
or hopefully be a good guest 


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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: RE: [h-cost] Tudor Jewellery
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At 19:54 27/04/2006, you wrote:
>Suzi,
>Sorry I haven't paid close attention to this thread.
>As was suggested attaching a fob or pin to the end of a gold chain will
>work.
>A "gold" pocket watch on a neck chain would work.
>http://www.tudor-portraits.com/CharlesSolier.jpg
>
>I am unsure as to the country you are portraying though I get the impression
>from the subject heading that it probably is English Tudor. If so, most
>portraits I have seen do not have neck jewelry so therefore I am curious on
>the need for it or better yet would love to see the portraits so that I can
>add to my knowledge.
>If the costume is Landsknecht then things are a bit clearer to me. :)
>(SCA) There is a sumptuary law pertaining to plain gold chains being
>reserved for knights, along with white belts and in some Kingdoms, spurs.
>There are various Kingdoms with slightly different sumptuary laws. Some
>kingdoms reserve plain silver chains for Squires. Some Kingdoms do not allow
>the wearing of circlets unless you have an AoA (award of arms) or the
>circlet can be only be so wide, unadorned, no pearls..etc.
>You might want to review the sumptuary laws of the Kingdom that you are
>visiting but it is not a "have too".
>Majority of SCA people are courteous, what was being noted was that there
>are an occasional boob who does not make sure that their brain is in gear
>before engaging mouth and therefore you may have one such approach
>you/husband. (You may also get one who will be concerned that you will meet
>the boob and try to forewarn you that "such and such" an item may get a
>reaction from certain people) The boob is assuming that you are in the SCA
>and when finding out you are visitors then they "should" leave the subject
>of the chain alone and either walk away or hopefully be a good guest and see
>if there is anything that they can do to help. All that person can do
>(should do) is suggest that you might want to remove the chain but you do
>not have to do so.
>A note that in many cases, of the few cases of rebuke for wearing "such and
>such" comes from people who do not know that their sumptuary laws are not
>the only ones (also it confuses them and people don't like to be confused).
>And though I believe that when visiting another Kingdom to have some
>consideration for their customs and laws, I am a visitor and not a resident
>and therefore am not obliged to wear or not wear according to their laws.
>In other words, I will be courteous and considerate of the Kingdom I am
>visiting and will conform to those laws and customs that will truly cause a
>brouhaha in wearing or doing it but other then that, if it is in accordance
>to my Kingdoms laws and custom which I am accustom too, then I will wear it.
>Hope this makes some sense and hoped it would ease any concerns or worries
>you may have had.
>De


I have various pictures of men wearing chains and jewels on ribbons 
but not on-line. I can mail you a couple privately if you want. It is 
possible they may not all be English - I just have a mind's eye 
picture of what I want the DH to look like! However, we have solved 
the problem as far as the particular event we are attending, thanks 
to my hostess asking the local seneschal.

Suzi


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Subject: [h-cost] DaVinci Code & Claims of Truth (was: h-costume Digest,
 Vol 5, Issue 358)
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At 10:58 AM -0700 4/27/06, Onaree Berard wrote:
>Just curious, when did Dan Brown claim to DaVinci Code was true.

He has repeatedly asserted that although the main characters and the 
specific plot involving them are fictitious, the background "history" 
is true (not only the marriage and offspring of Mary Magdalene and 
Jesus, but the two millennia long competing conspiracies to cover up 
and to preserve this "knowledge", including the "Priory of Sion", 
the supposed clues in artwork, etc.)

>I listened to the unabridged audio book and it seemed like an author
>who took some facts, some legends, a few other theories.... tweeked to
>taste and shook well to create an interesting *story*.

He explicitly claims -- in both interviews and also in text published 
in the book with the text of the novel -- as "facts" things that are 
not only not facts, but demonstrably untrue, and generally by various 
means actively encourages people to believe that what is presented in 
the novel as history/facts are indeed history/facts.

>I couldn't figure out why so many people were trying to prove/debunk it.

Because so many other people are believing things are true based on 
having read it in a novel.

>To me it was like trying to prove/debunk Tarzan or Sherlock Holmes.

If everyone treated it like it was Tarzan -- or rather, if everyone 
treated it like it was Star Wars -- no one would bother trying to 
debunk it. But people aren't treating it like Star Wars, they're 
treating it like a history book, with the sole exception of the 
immediate plot and its main characters. That is, things Brown 
presents in the novel as "history" many people are believing as 
history. They're using a novel as if it were a source of reliable 
historical information. Thus, the need for debunking, to clearly 
demonstrate that novels are novels, not reliable history books.

Now, Brown would be blameless in this -- like George Lucus is 
blameless for those few who really think there is a galaxy far, far 
away where Ewoks lived -- if he didn't himself actively encourage 
people to misuse his novel by claiming the "history" in it really is 
true.

Sharon
-- 
Sharon Krossa, skrossa-ml@MedievalScotland.org
Resources for Scottish history, names, clothing, language & more:
     Medieval Scotland - http://MedievalScotland.org/
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Date: Thu, 27 Apr 2006 16:22:56 -0700
Subject: Re: [h-cost] Tudor Jewellery
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Suzi, the clothes you are making sound wonderful. Have a great time, and
if someone gives you guff, just remember that such an individual is not
behaving up to the standards of courteous and honorable behavior of the
SCA.

Any chance you'll be posting pictures?

Arlys

> Thank you for that, Sarah. As my clothing is the sort worn by the 
> lower/middle ranks of people at court - owing to the previous events 
> 
> I have attended - it seemed the best solution to dressing my husband 
> 
> was to dress him to match. We already had a pair of rather 
> theatrical 
> breeches and boots - not Venetians, I'm afraid - but if covered with 
> 
> a jerkin with long enough skirts, they will "do". (He has a natural 
> peascod!) I really can't afford time to make the "real thing" and as 
> 
> he is unlikely to attend any other events, I don't feel the need.
> 
> I really am looking forward to it - it's far more interesting trying 
> 
> to work out "our costumes" than doing real work, and I will enjoy it 
> 
> no matter what, but all the helps means that I should not break too 
> many rules.
> 
> Suzi
> 
> 
> _______________________________________________
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> h-costume@mail.indra.com
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Subject: RE: [h-cost] Tudor Jewellery
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Oh Yes!!  There will definitely be pictures. I wouldn't miss this chance for
all the tea in China!
Anne
(the previously mentioned "hostess")

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Subject: Re: SCA sumptuary laws Re: [h-cost] Tudor Jewellery
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We're not talking historical sumptuary restrictions in this case, we're
talking SCA sumptuary restrictions. <shrugs> If I were wearing a given
outfit in front of someone actually *from* that time period, I'd be
concerned. <tongue in cheek>  And I'd want documentation on the association
of "s" links and position/office....
--Sue

----- Original Message -----
From: "otsisto" <otsisto@socket.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, April 27, 2006 1:39 PM
Subject: RE: SCA sumptuary laws Re: [h-cost] Tudor Jewellery


> >From this wording it sounds as if you are recommending the "S" linked
> collar. If so, I would say that the "S" linked collar denoted
> position/office in Tudor and Renaissance England. Therefore it should not
be
> worn.
> De
>
> -----Original Message-----
> I'd think the gentleman in question would *probably* be okay with his gold
> chain, especially if he went with a style that wasn't
> simple gold links--maybe a Lancastrian collar (aren't those the ones with
> the "s" shape?)??
> --Sue in Montana
>
>
> _______________________________________________
> h-costume mailing list
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Thank you.

I was unware of this info. I read the book because someone else read
it and said that it was good.

I just took the *facts* like I did the *classified* documents in
Andromadea Strain.

Thanks

Onaree

On 4/27/06, Sharon L. Krossa <skrossa-ml@medievalscotland.org> wrote:
Lots of good info that I have snipped for length.


--
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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] New MCT Book was Update on Henry VIII book
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On Wednesday 26 April 2006 5:23 pm, E House wrote:
> Wait, what is MCT?
>
> There's so many new & interesting books out lately, I've lost track... can
> anyone give me (off-list or on) a quick list of them?   Both those that are
> out and those that are coming soon?

Can you be more specific?  There are recently published (and to be published) 
books regarding different costuming periods.  Similarly, some of the 
interesting books were published last year--is that "lately" enough, in your 
opinion?  

I can certainly come up with a list, but I'd probably forget some of the 16th 
C ones as they are less interesting to me personally.  On the other hand, you 
may not care about some of the Migration Era/Anglo-Saxon/Viking era books I 
just bought, or am currently lusting after.  :-)


-- 
Cathy Raymond <cathy@thyrsus.com>

"I'm starting to like the cut of this man's gibberish."
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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] Tudor Jewellery
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At 00:22 28/04/2006, you wrote:
>Suzi, the clothes you are making sound wonderful. Have a great time, and
>if someone gives you guff, just remember that such an individual is not
>behaving up to the standards of courteous and honorable behavior of the
>SCA.
>
>Any chance you'll be posting pictures?

I might of the DH - not so sure about me - maybe of the costume.

Suzi



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Subject: French and Spanish headdresses Re: SCA sumptuary laws Re: [h-cost]
	Tudor Jewellery
Date: Fri, 28 Apr 2006 15:35:41 +1200
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>> I also worried about the headdress for my Valois gown as it was extremely
>> decorative and could look like I was assuming status I don't have as a
>> Pointy Hatted person. But it was far enough on the back of my head to not
>> look like a circle or coronet at all.

> If you are talking about this headdress,
> http://www.marileecody.com/isabel.jpg
> I don't see how it could be mistaken for a circlet or coronet. From my
> understanding, this is an elaborate French hood. Some think of is a
> Renaissance pillbox hat.

There is a nice close up of her head in bildindex. I can't find it which is
extremely annoying. I'm sure someone posted it from here.... Or was it that
I had a close up of her head froma book....

It's the Anguissola portrait of her I was recreating:
http://sayaespanola.glittersweet.com/isabeldevalois.htm

Actually there is a lot of misunderstanding about these headdresses. There
are indeed "pillbox" hats (you see them in some side on portraits, others
have done more research though) but there are also a great many headdresses
that are essentially jewellery that is matched to the carcanet and any other
jewellery around the neck/chest region.

If you look at the close ups of her head in the orange gown you can see
hair. You can also see this in the image from Sotheby's at the top of the
page from her time in France.

I just found a nice light image of the Coello painting of Isabel's daughter:
http://www.bildindex.de/bilder/sp00113g10a.jpg
You can see her hair behind the pearls which shows more hair dressing.


Clouet's portraits are great for seeing more of the jewelled headdresses:

http://cgfa.sunsite.dk/c/p-clouet5.htm
http://upload.wikimedia.org/wikipedia/commons/c/c0/Fran%C3%A7ois_Clouet_003.jpg
This is really similar to Elizabeth de Valois arrangement in the Orange
gown, with a flat almost lattice on the head and the hair arranged behind.
http://www.abcgallery.com/C/clouet/frclouet1.html

This is a really bad example, someone has coloured over the original sketch
which is quite different. You can see in the painting of her she is wearing
a white gown with silver couching and no hat in her hair:
http://fr.wikipedia.org/wiki/Marguerite_de_France_(1553-1615)
http://expositions.bnf.fr/renais/grand/071bis.htm

This looks to be the same lattice type of arrangement.
http://lionel.mesnard.free.fr/le%20site/4-2-paris-renaissance-2.html

http://www.culture.gouv.fr/public/mistral/joconde_fr?ACTION=CHERCHER&FIELD_1=AUTR&VALUE_1=CLOUET%20François&DOM=All&REL_SPECIFIC=1&IMAGE_ONLY=CHECKED

http://www.culture.gouv.fr/Wave/image/joconde/0042/m505204_02de4510_p.jpg
JEANNE D'ALBRET, REINE DE NAVARRE
Lot's of hair wrappng and jewels on the far back (what there is behind
that.. who knows)

http://www.artnet.com/PDB/PublicLotDetails.aspx?lot_id=424319628&page=1
Funny what you find.. this is just nifty so I'm popping it on the end here;)

Michaela de Bruce
http://glittersweet.com



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I wonder if the head jewelry is what evolved from the French hood.
De

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From: "otsisto" <otsisto@socket.net>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: SCA sumptuary laws Re: [h-cost] Tudor Jewelery
Date: Fri, 28 Apr 2006 00:18:03 -0500
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Let me go look this up. I do know that Thomas More wore an "S" collar and he
was chancellor of England.
http://www.wga.hu/frames-e.html?/html/h/holbein/hans_y/1528/4more.html

Please note that I said "should not" not "could not". The former implies a
choice.
Even though the discussion is about a plain gold chain and SCA, I had gotten
the impression that the woman was from Europe and had intended that the
piece of jewelry would be worn there. If so, and the gentleman is wearing a
collar of state this may run him into trouble.

De

-----Original Message-----
We're not talking historical sumptuary restrictions in this case, we're
talking SCA sumptuary restrictions. <shrugs> If I were wearing a given
outfit in front of someone actually *from* that time period, I'd be
concerned. <tongue in cheek>  And I'd want documentation on the association
of "s" links and position/office....
--Sue



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To: "Historical Costume" <h-costume@indra.com>
References: <IDEHICPIJOEBPADHEOGPMEHHGHAA.otsisto@socket.net>
Subject: Re: SCA sumptuary laws Re: [h-cost] Tudor Jewelery
Date: Thu, 27 Apr 2006 23:37:29 -0600
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Status: RO

mmm...to me, "should not" implies a directive ("Thou shalt not"), and "could
not" implies completely impossible (not undesirable or unlikely, but
flat-out impossible).
Furthermore, just because More shows up in a portrait with a "s" collar, and
just because he was Chancellor of England, does not, in fact, mean that the
one necessarily is linked with the other (no pun intended).  The two things
(chancellorship and an "s" collar) have More in common, but one did not
necessarily *cause* the other.   Proof I'd consider, oh, actual laws or
written documents, or a survey of similar portraits in which all holders of
high offices and *only* holders of high offices had such a collar, say, like
the members of the Order of the Garter or something.  Then, you might have a
case.  Of course, even then that might not prove causality...it may be that
it takes a fairly substantially wealthy person to be able to own such a
collar, and such men also tend to hold positions of power and
responsibility.
--Sue

----- Original Message -----
From: "otsisto" <otsisto@socket.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, April 27, 2006 11:18 PM
Subject: RE: SCA sumptuary laws Re: [h-cost] Tudor Jewelery


> Let me go look this up. I do know that Thomas More wore an "S" collar and
he
> was chancellor of England.
> http://www.wga.hu/frames-e.html?/html/h/holbein/hans_y/1528/4more.html
>
> Please note that I said "should not" not "could not". The former implies a
> choice.
> Even though the discussion is about a plain gold chain and SCA, I had
gotten
> the impression that the woman was from Europe and had intended that the
> piece of jewelry would be worn there. If so, and the gentleman is wearing
a
> collar of state this may run him into trouble.
>
> De
>
> -----Original Message-----
> We're not talking historical sumptuary restrictions in this case, we're
> talking SCA sumptuary restrictions. <shrugs> If I were wearing a given
> outfit in front of someone actually *from* that time period, I'd be
> concerned. <tongue in cheek>  And I'd want documentation on the
association
> of "s" links and position/office....
> --Sue
>
>
>
> _______________________________________________
> 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: French and Spanish headdresses
Date: Fri, 28 Apr 2006 18:13:01 +1200
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> I wonder if the head jewelry is what evolved from the French hood.

It's entirely possible it's related to the billments seen on the edge of a
french hood. I haven't noted how early it appear in Spain as the arrangement
also appears over there.
Maria of Austria has a similar arrangement but is worn over a style of
headdress peculiar to the region and time.

Michaela de Bruce
http://glittersweet.com



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Subject: [h-cost] collars of state and "S" link
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Most of my info is gleaned from conversations from individuals who would
know such things.
I have sent an email to a friend who is a part of the White Lion Society,
who can give me the information as to whether I was correct in identifying
the "S" link or not. This may take a bit of time for a reply.

De



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> > We're not talking historical sumptuary restrictions in this case, we're
> > talking SCA sumptuary restrictions. <shrugs>

I'm not sure, but there may be some who assume you had sworn fealty to the
Crown as they are given in token of such a thing. Then again, all s's should
keep you save, it's the f's you need to worry about;)

Again, it's down to what's written as 'law' (in game, not the real world)
what is custom, and how much you are willing to just go out there and do
your thing.

I have a belt of S's in silver which I put together to make an item similar
to a chain of office. I've gone later in the century (1560s) so it's not
really suitable for my German Garb any more;)

Michaela de Bruce
http://glittersweet.com



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Subject: Re: [h-cost] 2006 projekt.
Date: Fri, 28 Apr 2006 11:19:45 +0200
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Hi Fran,
Oh yes if you dont have this, you will love it, full of drawings two of rare 
examples of clothing.
Mens 17th & 18th Century Costume, Cut & Fashion Patterns for Men´s Costumes. 
R.I. Davis  Players Press.
ISBN 0-88734-637-5

Many greetings.........

Bjarne


----- Original Message ----- 
From: "Lavolta Press" <fran@lavoltapress.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, April 27, 2006 6:15 PM
Subject: Re: [h-cost] 2006 projekt.


>
>
> Bjarne og Leif Drews wrote:
>
>>I just got the book 17th and 18th century mens fashions and patterns cut, 
>>wich is highly apreciated, with many many ideas to make,
>
>
> What is the formal title of this book, the author, and publisher (so I can 
> buy it if I don't have it)?
>
> Thanks,
> Fran
>
> Lavolta Press Books on Historic Costuming
> http://www.lavoltapress.com
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 


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Subject: [h-cost] The Libertine
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Hi,
I nust noticed a small advert about a moovie comming to Denmark called "The 
Libertine" Have any here seen it?
What period is it?

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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Story of John Wilmot 2nd Earl of Rochester. Lived at the time of King
Charles the second of England. 17th century, Restoration period.
It was suppose to have come out in March of 2005 but I must have missed it.

-----Original Message-----
Hi,
I nust noticed a small advert about a moovie comming to Denmark called "The
Libertine" Have any here seen it?
What period is it?

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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


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	<p06230907c076d50a6896@[192.168.0.6]>
Subject: Re: [h-cost] DaVinci Code & Claims of Truth (was: h-costume Digest,
	Vol 5, Issue 358)
Date: Fri, 28 Apr 2006 08:07:44 -0400
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I haven't read said book of this discussion, but I have read "The Last
Temptation of Christ" (by Nicholas Katzenzakis)>There seem to be some
parallel bits especially about Christ's relationship with Mary Magdalene.
When this book was published it was banned by the Church and was horrific to
many. With all the hype the DVC is getting I pause to wonder why the
alternate theory of History is making such waves now.

Kathleen
----- Original Message ----- 
From: "Sharon L. Krossa" <skrossa-ml@medievalscotland.org>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, April 27, 2006 7:25 PM
Subject: [h-cost] DaVinci Code & Claims of Truth (was: h-costume Digest, Vol
5, Issue 358)


> At 10:58 AM -0700 4/27/06, Onaree Berard wrote:
> >Just curious, when did Dan Brown claim to DaVinci Code was true.
>
> He has repeatedly asserted that although the main characters and the
> specific plot involving them are fictitious, the background "history"
> is true (not only the marriage and offspring of Mary Magdalene and
> Jesus, but the two millennia long competing conspiracies to cover up
> and to preserve this "knowledge", including the "Priory of Sion",
> the supposed clues in artwork, etc.)
>
> >I listened to the unabridged audio book and it seemed like an author
> >who took some facts, some legends, a few other theories.... tweeked to
> >taste and shook well to create an interesting *story*.
>
> He explicitly claims -- in both interviews and also in text published
> in the book with the text of the novel -- as "facts" things that are
> not only not facts, but demonstrably untrue, and generally by various
> means actively encourages people to believe that what is presented in
> the novel as history/facts are indeed history/facts.
>
> >I couldn't figure out why so many people were trying to prove/debunk it.
>
> Because so many other people are believing things are true based on
> having read it in a novel.
>
> >To me it was like trying to prove/debunk Tarzan or Sherlock Holmes.
>
> If everyone treated it like it was Tarzan -- or rather, if everyone
> treated it like it was Star Wars -- no one would bother trying to
> debunk it. But people aren't treating it like Star Wars, they're
> treating it like a history book, with the sole exception of the
> immediate plot and its main characters. That is, things Brown
> presents in the novel as "history" many people are believing as
> history. They're using a novel as if it were a source of reliable
> historical information. Thus, the need for debunking, to clearly
> demonstrate that novels are novels, not reliable history books.
>
> Now, Brown would be blameless in this -- like George Lucus is
> blameless for those few who really think there is a galaxy far, far
> away where Ewoks lived -- if he didn't himself actively encourage
> people to misuse his novel by claiming the "history" in it really is
> true.
>
> Sharon
> -- 
> Sharon Krossa, skrossa-ml@MedievalScotland.org
> Resources for Scottish history, names, clothing, language & more:
>      Medieval Scotland - http://MedievalScotland.org/
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>

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Date: Fri, 28 Apr 2006 08:15:59 -0400
From: "Marie Stewart" <maricelt@gmail.com>
To: "Historical Costume" <h-costume@indra.com>
Subject: Re: [h-cost] The Libertine
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I have seen it.   It is not having a wide distribution,  look for it
at an "art" theater.  I'm not qulaified to comment on the costuming
its outside of my realm of comfort.  But the overall feel of the movie
was muddy.  Interesting film.  Not so much IMO a story of sensuality,
as a story of how a man wasted his talents.

Mari

On 4/28/06, otsisto <otsisto@socket.net> wrote:
> Story of John Wilmot 2nd Earl of Rochester. Lived at the time of King
> Charles the second of England. 17th century, Restoration period.
> It was suppose to have come out in March of 2005 but I must have missed it.
>

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Subject: Re: [h-cost] DaVinci Code & Claims of Truth (was: h-costume Digest,
	Vol 5, Issue 358)
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> I haven't read said book of this discussion, but I have read "The Last
> > >Just curious, when did Dan Brown claim to DaVinci Code was true.


I did read the Da Vinci Code, not a bad airport novel but too wound up in it's 
own mythology, I thought.

The Jesus-had-decendants theory has been around for years and was most 
prominently layed out in Holy Blood, Holy Grail byt Baigent, Leigh and Lincoln, 
subject of the recent copyright lawsuit with Brown.

Well worth a read and includes report of an interview the authors had with the 
alleged direct decendant of Jesus and Magdaline.

Fir my money, 24 hours in the Vatican Library and the chance to read the 
5 "missing" Gospels would be fun,

-C.


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>it, and looks quite impressive.) I have one or two other 
>medallion/pendant type things I will take just in case, but the best 
>bit? Thanks to the jewel box, I don't have to spend any money!!


And not spending any money is always great!!

Anne

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<lots of cool links snipped>
http://www.artnet.com/PDB/PublicLotDetails.aspx?lot_id=424319628&page=1

Funny what you find.. this is just nifty so I'm popping it on the end
here;)

Michaela de Bruce
======================================
To many temptations for one morning!!!!  Thanks Michaela :).

Catherine

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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] The Libertine
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I haven't seen it--it was at a nearby megaplex but stayed only a week--of course I WILL, if only to see Johnny Depp in full Restoration rig! As to Wilmot having wasted his talents, though, I have to object: there's that hugely obscene play he wrote, and then of course he's part of the original circle of CRIBBAGE-players (was it John Suckling who invented it for the pleasure of Charles, or did John Wilmot himself invent it? can't recall). Cribbage got me through grad school and was the vehicle for my meeting some really great lobstermen one night in a Boothbay Harbor bar....
--Ruth Anne Baumgartner
scholar gypsy and amateur costumer

-----Original Message-----
>From: Marie Stewart <maricelt@gmail.com>
>Sent: Apr 28, 2006 8:15 AM
>To: Historical Costume <h-costume@indra.com>
>Subject: Re: [h-cost] The Libertine
>
>I have seen it.   It is not having a wide distribution,  look for it
>at an "art" theater.  I'm not qulaified to comment on the costuming
>its outside of my realm of comfort.  But the overall feel of the movie
>was muddy.  Interesting film.  Not so much IMO a story of sensuality,
>as a story of how a man wasted his talents.
>
>Mari
>
>On 4/28/06, otsisto <otsisto@socket.net> wrote:
>> Story of John Wilmot 2nd Earl of Rochester. Lived at the time of King
>> Charles the second of England. 17th century, Restoration period.
>> It was suppose to have come out in March of 2005 but I must have missed it.
>>
>
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From h-costume-bounces@indra.com  Fri Apr 28 09:37:30 2006
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From: traci@crimsonvision.net
To: Historical Costume <h-costume@indra.com>
Subject: RE: [h-cost] The Libertine
Date: Fri, 28 Apr 2006 13:35:37 +0000
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I saw it a few weekends ago.  Alot more sexually graphic than I was expecting (a older couple ended up walking out!) but I loved the movie.  Johnny Deep once again gave a fantastic performance and oh the costumes!  They were great!!

XxX,
Traci

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

> Story of John Wilmot 2nd Earl of Rochester. Lived at the time of King 
> Charles the second of England. 17th century, Restoration period. 
> It was suppose to have come out in March of 2005 but I must have missed it. 
> 
> -----Original Message----- 
> Hi, 
> I nust noticed a small advert about a moovie comming to Denmark called "The 
> Libertine" Have any here seen it? 
> What period is it? 
> 
> Bjarne 
> 
> 
> 
> 
> 
> Leif og Bjarne Drews 
> www.my-drewscostumes.dk 
> 
> http://home0.inet.tele.dk/drewscph/ 
> 
> 
> _______________________________________________ 
> h-costume mailing list 
> h-costume@mail.indra.com 
> http://mail.indra.com/mailman/listinfo/h-costume 
> 
> 
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Hi, I have been reading the differing opinions about what to wear.  
Hadn't thought about the few snobs that I had run into.  Usually, no 
one would hassle you.  Especially since you will be new to the group. I 
have been playing for 3 years and most people have been most kind, even 
those who would correct something that was "wrong" with my garb.  So go 
out watch, enjoy the event, check out the arts and science, and most of 
all have fun. Sincerely, theresa

-----Original Message-----
From: Suzi Clarke <suzi@suziclarke.co.uk>
To: Historical Costume <h-costume@indra.com>
Sent: Thu, 27 Apr 2006 15:50:56 +0100
Subject: Re: [h-cost] Tudor Jewellery

  At 13:38 27/04/2006, you wrote:
  >While I agree about the clashing metals - I do not about "just 
 >because those who could afford portraits wore it so it could not 
 >possibly be the other" theory...this is the time that lays the 
 >foundation for the middleclasses of the 17th & 18th century - I just 
 >wish Elizabethans had cameras....But if you are dressing your >husband 
in the clothing of the portrait class - never mind. Have fun >at the 
event - we are not all stuck-up-boobs as this rule about the >chain 
implies.
 >
 >Middleclass Elizabethan in the SCA
 >
 >Sarah

  Thank you for that, Sarah. As my clothing is the sort worn by the 
lower/middle ranks of people at court - owing to the previous events I 
have attended - it seemed the best solution to dressing my husband was 
to dress him to match. We already had a pair of rather theatrical 
breeches and boots - not Venetians, I'm afraid - but if covered with a 
jerkin with long enough skirts, they will "do". (He has a natural 
peascod!) I really can't afford time to make the "real thing" and as he 
is unlikely to attend any other events, I don't feel the need.

  I really am looking forward to it - it's far more interesting trying 
to work out "our costumes" than doing real work, and I will enjoy it no 
matter what, but all the helps means that I should not break too many 
rules.

 Suzi

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I agree. And actually, if anyone is in Austin and part of the
classics department there is a private library downstairs that has
copies of these and many many many other books.

Truthfully though, I have the book and the cd. Read it, listened to
it. I did not see anywhere in or on the book any reference to him
saying this is based on actual facts. He did give credit to other
books.

Being a student of archeology many years ago I was given access to
this library in the classics department and found said books and
translations of the dead sea scrolls. I have to admit that at such a
young age I lost my faith after reading all of that. I have since
found it again because it all comes down to just one thing.

But really, if you have any education in this specific area you
know, you have to know, that all fiction books of this genera when
they say they are based on documentation of the period that yes, it
is documentation of the period in question. It is however not making
claims that said documentation is the be all and end all of the
truth.

There are way too many versions of this specific "truth" to claim
that there is one that is more real than the next. I mean, come on,
there is even a book from the period title .. "The Rape of Eve", it
proports to be the tale of how giants were begat.

I mean, how many versions of the tale of the 'Necklace' do we have
from the period of Marie Antoinette? How many of Queen Elizabeth
having children? How many of Queen Mary actually surviving her own
beheading?

Can we get back to costuming talk now???? Please? :)

I want to hear everyone's opinions of HBO's Elizabeth I. Change the
subject line if you can answer this question. :) Specifically the
opening where she is being undressed. This is the third time in a
period film that I have seen the unlayering of clothing. I am
interested if someone can give a blow by blow of what was taken off
and if it was at all accurate.

Chiara


On Fri, April 28, 2006 7:54 am, stilskin@netspace.net.au said:

> I did read the Da Vinci Code, not a bad airport novel but too wound
> up in it's
> own mythology, I thought.
>
> The Jesus-had-decendants theory has been around for years and was
> most
> prominently layed out in Holy Blood, Holy Grail byt Baigent, Leigh
> and Lincoln,
> subject of the recent copyright lawsuit with Brown.
>
> Well worth a read and includes report of an interview the authors
> had with the
> alleged direct decendant of Jesus and Magdaline.
>
> Fir my money, 24 hours in the Vatican Library and the chance to read
> the
> 5 "missing" Gospels would be fun,
>
> -C.

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Subject: [h-cost] Fabric Resources
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It looks like I will be helping a local community theater costume
Moliere's The Miser.  I've worked with this director once before, he
would like a period look and respects my attempts to be as authentic as
possible for the chosen era (18thC)  That being said, since I will be
relying on family members of the cast for some of the costume
construction I will probably be resorting to some of Butterick's
patterns (#4315 &4317) to get these made.  

Sooooo, I would like to try to get the fabric as authentic as possible.
 My 'eye' however is more trained for 16th C and earlier.  Does anyone
have suggestions for a couple of books I could use to browse through to
get a feel for fabrics and patterns for this era?

Thanks,
Catherine
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Cathy,

I would certainly be interested in your list!

Beth

At 05:07 AM 4/28/2006, you wrote:
>I can certainly come up with a list, but I'd probably forget some of the 16th
>C ones as they are less interesting to me personally.  On the other hand, you
>may not care about some of the Migration Era/Anglo-Saxon/Viking era books I
>just bought, or am currently lusting after.  :-)
>-
>Cathy Raymond <cathy@thyrsus.com>

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Suzi,
"I'm new" is a great defense.

SCA Rules ask only that their members make an *attempt* at period
clothing. You've gone well above and beyond that. HUZZAH you! :-D

Arlys

On Fri, 28 Apr 2006 09:38:26 -0400 theresathreadgi@aol.com writes:
> Hi, I have been reading the differing opinions about what to wear.  
> Hadn't thought about the few snobs that I had run into.  Usually, no 
> 
> one would hassle you.  Especially since you will be new to the 
> group. I 
> have been playing for 3 years and most people have been most kind, 
> even 
> those who would correct something that was "wrong" with my garb.  So 
> go 
> out watch, enjoy the event, check out the arts and science, and most 
> of 
> all have fun. Sincerely, theresa

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Subject: [h-cost] The Libertine
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Hi,
Many thanks for your replyes of my question about The Libertine.
It opens tomorrow, but ill waite til monday and go and watch it.
Its one of my favourite periods two.

Thanks

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

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

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From: Kahlara <kahlara@yahoo.com>
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Subject: [h-cost] Re: Robin Netherton/GFD and other lectures
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Yes! That is it. Thank you. I love that dress and hope to make one like it - next year -when all the wedding stuff is done and I've had time to breathe and play in some of my other hobbies.
   
  Annette M (soon to be T)
   
   
  ----------------------------------------------------------------------

Message: 1
Date: Mon, 24 Apr 2006 18:44:42 -0500 (CDT)
From: Robin Netherton 
Subject: Re: [h-cost] Robin Netherton/GFD and other lectures
To: Historical Costume 
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Content-Type: TEXT/PLAIN; charset=US-ASCII


On Mon, 24 Apr 2006, Kahlara wrote:

> Wow, they were great. Very informative. I am sure she has saved me a
> lot of time, frustration and money. I'm glad I put off making my dress
> until after I went to the lectures. It also helped me narrow the
> period of everyone else's clothing, as most of the women have picked a
> variation of the GFD already!

I'm so happy to hear this!

I'm looking forward to seeing the pictures. The camera hates me and I have
become used to that; every professional photographer I've been worked with
has commented on it. (And people have been known to blurt out on first
meeting, "Wow, you look so much better than your pictures!") As long as I
think they aren't misleading about the costumes, though, and they don't
break any copyright laws, I'll be happy for you to post them after I've
seen them.

> Robin - there was one painting you used for reference that depicted
> several sleeve types, including a woman kneeling in the background
> wearing a dark blue gown with white tippets. What is that
> painting/illumination? and is it easily found either online or in a
> book somewhere?

I had a lot of sleeve examples, but only one I can think of with a
kneeling woman with tippets; that would be the April calendar page from
the Tres Riches Heures:

http://humanities.uchicago.edu/images/heures/april.jpg

Is that it?

I believe this is the latest example, by far, that I've seen of tippets,
which were out of fashion by a decade or two at the time of this painting
(about 1410-15). It may be that this was a deliberate reference to a known
person known to the patron (e.g. an older family member shown in her
youth, or someone who had died earlier). I've never seen anyone discuss
it, and I suspect that a costume archaism of a generation or less goes
unnoticed by most art historians.

--Robin
			
---------------------------------
Yahoo! Mail goes everywhere you do.  Get it on your phone.
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From: SPaterson <sjpaterson@tru.eastlink.ca>
Subject: Re: [h-cost] Fabric Resources
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Status: RO

Wish I was home for you to browse my books, Catherine - for female attire 
Silk Designs of the Eighteenth Century - Natalie Rothstein ISBN 
0-8212-1812-3 comes to mind as well as the V&A Museum's Textile 
ollection  - woven textile design in Britian to 1750  ISBN 1-55859-849-9
but there are many more - "Fashion in Detail"  - both "Art of Dress" 
books...

Dang it I have at least a half doz books you could check out - if you have 
no luck contact me off line and I'll scan some stuff for you

Sarah

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

> It looks like I will be helping a local community theater costume
> Moliere's The Miser.  I've worked with this director once before, he
> would like a period look and respects my attempts to be as authentic as
> possible for the chosen era (18thC)  That being said, since I will be
> relying on family members of the cast for some of the costume
> construction I will probably be resorting to some of Butterick's
> patterns (#4315 &4317) to get these made.
>
> Sooooo, I would like to try to get the fabric as authentic as possible.
> My 'eye' however is more trained for 16th C and earlier.  Does anyone
> have suggestions for a couple of books I could use to browse through to
> get a feel for fabrics and patterns for this era?
>
> Thanks,
> Catherine
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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> 

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Yes, it works very well. Here in An Tir, I've only gotten a few 
comments, mostly about my husband's lack of non-mundane pants, from 
humorous, well-meaning people. On the other hand, it seems that, at 
every event we go to, there is an obligatory cast of characters who look 
like they aren't even trying! I always make it a point to sit by them 
and remember, for myself, that some of us approach the SCA from the 
costuming/clothing angle and some do not. It's a very welcoming place 
and, in the end, nobody who gives you any crap is really worth listening 
to. :)

-Marie

>Suzi,
>"I'm new" is a great defense.
>
>SCA Rules ask only that their members make an *attempt* at period
>clothing. You've gone well above and beyond that. HUZZAH you! :-D
>
>Arlys
>
>On Fri, 28 Apr 2006 09:38:26 -0400 theresathreadgi@aol.com writes:
>  
>
>>Hi, I have been reading the differing opinions about what to wear.  
>>Hadn't thought about the few snobs that I had run into.  Usually, no 
>>
>>one would hassle you.  Especially since you will be new to the 
>>group. I 
>>have been playing for 3 years and most people have been most kind, 
>>even 
>>those who would correct something that was "wrong" with my garb.  So 
>>go 
>>out watch, enjoy the event, check out the arts and science, and most 
>>of 
>>all have fun. Sincerely, theresa
>>    
>>
>
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
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>
>  
>

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Hi,
I would recomend you to get Nathalie Rothstein: Silk Designs of the 
Eighteenth Century with a complete catalogue. Huge book i have and its one 
of my favourites.
Nest would be Lady of Fashion Barbara Johnsons Albums of Fashions and 
Styles.
I am a little disapointed with this book, as i think the fabrics are rather 
dull and the colours are very very depressive.
The third is on its way to me from Amazon, its Toilles de Joy. Printed 
linnens from the famous french factory..

Bjarne

----- Original Message ----- 
From: "Catherine Kinsey" <ckinsey@kumc.edu>
To: <h-costume@indra.com>
Sent: Friday, April 28, 2006 3:38 PM
Subject: [h-cost] Fabric Resources


> It looks like I will be helping a local community theater costume
> Moliere's The Miser.  I've worked with this director once before, he
> would like a period look and respects my attempts to be as authentic as
> possible for the chosen era (18thC)  That being said, since I will be
> relying on family members of the cast for some of the costume
> construction I will probably be resorting to some of Butterick's
> patterns (#4315 &4317) to get these made.
>
> Sooooo, I would like to try to get the fabric as authentic as possible.
> My 'eye' however is more trained for 16th C and earlier.  Does anyone
> have suggestions for a couple of books I could use to browse through to
> get a feel for fabrics and patterns for this era?
>
> Thanks,
> Catherine
> _______________________________________________
> 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] Re: Robin Netherton/GFD and other lectures
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On Fri, 28 Apr 2006, Kahlara wrote:

> Yes! That is it. Thank you. I love that dress and hope to make one
> like it - next year -when all the wedding stuff is done and I've had
> time to breathe and play in some of my other hobbies.

That manuscript is considered the most beautiful of all medieval
manuscripts, and it has many useful costumes in it, as do the others from
the same period by the same artists (the Limbourg brothers). When you
start that project, it would be worth your looking through all of the Tres
Riches Heures and the Belles Heures, to get a sense of your range of
options.

Mazeltov on your upcoming status change!

--Robin

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Date: Fri, 28 Apr 2006 07:35:15 -0700 (PDT)
Subject: Re: [h-cost] Fabric Resources for 18th c.
From: "Diana Habra" <dch@inreach.com>
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> It looks like I will be helping a local community theater costume
> Moliere's The Miser.  I've worked with this director once before, he
> would like a period look and respects my attempts to be as authentic as
> possible for the chosen era (18thC)  That being said, since I will be
> relying on family members of the cast for some of the costume
> construction I will probably be resorting to some of Butterick's
> patterns (#4315 &4317) to get these made.
>
> Sooooo, I would like to try to get the fabric as authentic as possible.
>  My 'eye' however is more trained for 16th C and earlier.  Does anyone
> have suggestions for a couple of books I could use to browse through to
> get a feel for fabrics and patterns for this era?

I just picked up the book "Dangerous Liaisons: Fashion and Furniture in
the 18th Century" and it has page after page of paintings and real
clothing from the time period.  It was put out by the Met and (this is the
best part) has multiple views of some outfits.  Surprisingly it was only
$30 but you may also be able to borrow a copy or get it through
interlibrary loan.

The Kyoto costume book (Fashion: The Collection of the Kyoto Costume
Institute) also has many examples of real clothing from that time period. 
And I think that they are having a 25th anniversary sale right now so all
the books are even more reasonably priced than normal.  If you can borrow
or buy this book, it is a great fashion reference for 18th century through
the present.

Good luck with your project!

Diana

www.RenaissanceFabrics.net
"Everything for the Costumer"

"Become the change you want to see in the world."
--Ghandi

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Subject: Re: [h-cost] 2006 projekt.
References: <000b01c669fb$cecd32e0$7c83fea9@CPQ21932199711>	<33a78bfb0604270622g35def7fmc31d6f2f92d4de1f@mail.gmail.com><001401c66a14$8eb11d20$7c83fea9@CPQ21932199711>	<4450EE28.6070802@lavoltapress.com>
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Yes, I have it, but thanks!

Fran

Bjarne og Leif Drews wrote:
> Hi Fran,
> Oh yes if you dont have this, you will love it, full of drawings two of 
> rare examples of clothing.
> Mens 17th & 18th Century Costume, Cut & Fashion Patterns for Men´s 
> Costumes. R.I. Davis  Players Press.
> ISBN 0-88734-637-5
> 
> Many greetings.........
> 
> Bjarne
> 
> 
> ----- Original Message ----- From: "Lavolta Press" <fran@lavoltapress.com>
> To: "Historical Costume" <h-costume@indra.com>
> Sent: Thursday, April 27, 2006 6:15 PM
> Subject: Re: [h-cost] 2006 projekt.
> 
> 
>>
>>
>> Bjarne og Leif Drews wrote:
>>
>>> I just got the book 17th and 18th century mens fashions and patterns 
>>> cut, wich is highly apreciated, with many many ideas to make,
>>
>>
>>
>> What is the formal title of this book, the author, and publisher (so I 
>> can buy it if I don't have it)?
>>
>> Thanks,
>> Fran
>>
>> Lavolta Press Books on Historic Costuming
>> http://www.lavoltapress.com
>> _______________________________________________
>> h-costume mailing list
>> h-costume@mail.indra.com
>> http://mail.indra.com/mailman/listinfo/h-costume
>>
> 
> 
> _______________________________________________
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> 
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Thank you everyone for the references!  I remember some discussion about
the Dangerous Liasons book but hadn't noted it down at the time.  We
have a pretty good Interlibrary Loan system so I am going to give it a
try first (altho your books are only one of the reasons I wish you still
lived around here Sarah :) ).

Onward to a new century!
Catherine
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From: "Simone A. Bryan" <Cilean@DracoLore.com>
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Subject: RE: [h-cost] DaVinci Code & Claims of Truth (was: h-costume Digest,
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Sharon Wrote:

Now, Brown would be blameless in this -- like George Lucas is
blameless for those few who really think there is a galaxy far, far
away where Ewoks lived -- if he didn't himself actively encourage
people to misuse his novel by claiming the "history" in it really is
true.
**************


But...then he would not sell as many books and make tons of money on the
movie and....
What part of this would stop YOU from pushing your book? It is all about the
oh might dollar this is his business, so whether Mr. Brown believes or not
his hype is selling his book and people are buying it. In 5 years he could
recant his words of today...but he would still be a very wealthy man.

My husband is reading the book now and has asked me several times about
points I know more about, and I have told him it is not what I have studied.
It is a fictional book. Sadly it is more a point of our culture that we
could go out and actually learn but instead a guy we don't know writes a
fictional book and we learn history via it.

Cilean 




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John Suckling was alleged to have invented cribbage by his biographer.
John Wilmot was a part of an "artist" group that was said to be called the
Merry Gang.

-----Original Message-----
I haven't seen it--it was at a nearby megaplex but stayed only a week--of
course I WILL, if only to see Johnny Depp in full Restoration rig! As to
Wilmot having wasted his talents, though, I have to object: there's that
hugely obscene play he wrote, and then of course he's part of the original
circle of CRIBBAGE-players (was it John Suckling who invented it for the
pleasure of Charles, or did John Wilmot himself invent it? can't recall).
Cribbage got me through grad school and was the vehicle for my meeting some
really great lobstermen one night in a Boothbay Harbor bar....
--Ruth Anne Baumgartner
scholar gypsy and amateur costumer



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In a message dated 4/28/2006 12:44:06 P.M. Eastern Standard Time,  
dch@inreach.com writes:

Surprisingly it was only
$30 but you may also be able to borrow a  copy or get it through
interlibrary loan.



Less than $14 on Amazon!
 
Ann Wass
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AnnBWass@aol.com wrote:

>  
> In a message dated 4/28/2006 12:44:06 P.M. Eastern Standard Time,  
> dch@inreach.com writes:
> 
> Surprisingly it was only
> $30 but you may also be able to borrow a  copy or get it through
> interlibrary loan.
> 
> 
> 
> Less than $14 on Amazon!
>  
> Ann Wass

Dangerous Liaisons : Fashion and Furniture in the Eighteenth Century 
(Metropolitan Museum of Art Publications)


Is there a good selection of men's clothing in this book, or is it 
strictly women's gowns?


Dawn


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Subject: [h-cost] Simplicity 4156 - Victorian
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This is new, and Wow, I love the sleeves!

http://www.simplicity.com/assets/4156/4156.jpg


The skirt looks a bit odd to me though. Has anyone had a good look at 
this yet? Is it based on something real? I see they date it as "circa 1895".



Dawn


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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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References: <20e.152f3032.3183d4c6@aol.com> <44527F65.3050505@reddawn.net>
Subject: Re: [h-cost] Fabric Resources for 18th c.
Date: Sat, 29 Apr 2006 00:09:40 +0200
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Hi Dawn,
I dont know about this, my copy is on its way. Good book i would recomend 
with mens fashions is: "Klæder for tid och evighet" by Lena Rangstrøm, 
swedish, but gorgeous pictures of real mens costumes. Also "Modelejon" ( 
Fashion  Lions) ditto swedish.
A good american book with lots of fashionable mens costumes would be: "What 
Clothes Reveal" from Colonial Williamsburg.

Bjarne

----- Original Message ----- 
From: "Dawn" <dawn@reddawn.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, April 28, 2006 10:47 PM
Subject: Re: [h-cost] Fabric Resources for 18th c.


> AnnBWass@aol.com wrote:
>
>>  In a message dated 4/28/2006 12:44:06 P.M. Eastern Standard Time, 
>> dch@inreach.com writes:
>>
>> Surprisingly it was only
>> $30 but you may also be able to borrow a  copy or get it through
>> interlibrary loan.
>>
>>
>>
>> Less than $14 on Amazon!
>>  Ann Wass
>
> Dangerous Liaisons : Fashion and Furniture in the Eighteenth Century 
> (Metropolitan Museum of Art Publications)
>
>
> Is there a good selection of men's clothing in this book, or is it 
> strictly women's gowns?
>
>
> 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] Fabric Resources for 18th c.
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>
> In a message dated 4/28/2006 12:44:06 P.M. Eastern Standard Time,
> dch@inreach.com writes:
>
> Surprisingly it was only
> $30 but you may also be able to borrow a  copy or get it through
> interlibrary loan.
>
>
>
> Less than $14 on Amazon!


Did ya *HAVE* to tell me that?


Diana

www.RenaissanceFabrics.net
"Everything for the Costumer"

"Become the change you want to see in the world."
--Ghandi

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Subject: Re: [h-cost] Fabric Resources for 18th c.
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> AnnBWass@aol.com wrote:
>
>>
>> In a message dated 4/28/2006 12:44:06 P.M. Eastern Standard Time,
>> dch@inreach.com writes:
>>
>> Surprisingly it was only
>> $30 but you may also be able to borrow a  copy or get it through
>> interlibrary loan.
>>
>>
>>
>> Less than $14 on Amazon!
>>
>> Ann Wass
>
> Dangerous Liaisons : Fashion and Furniture in the Eighteenth Century
> (Metropolitan Museum of Art Publications)
>
>
> Is there a good selection of men's clothing in this book, or is it
> strictly women's gowns?

There are both men's and women's.  I don't have it in front of me right
now but I know that there was at least 30% men's stuff....

Diana

www.RenaissanceFabrics.net
"Everything for the Costumer"

"Become the change you want to see in the world."
--Ghandi

_______________________________________________
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I have been in for more than 12 years and am finally getting out of the T-tunic and draw-string skirt level.

I'm in the middle of making a fitted under kirtle (I have to hand make all those tiny 'buttonholes' for the cord. And I hate hand sewing). And I'm still a little leary of how fitted it is.

I know it is SUPPOSED to be fitted, but when you have worn very loose clothing (both mundane and SCAdian) for all your life, a fitted dress feels 'funny'.

Katheryne

----- Original Message -----
From: theresathreadgi@aol.com
> Hi, I have been reading the differing opinions about what to wear. 
> 
> Hadn't thought about the few snobs that I had run into.  Usually, 
> no one would hassle you.  Especially since you will be new to the 
> group. I have been playing for 3 years and most people have been most kind, 
> even those who would correct something that was "wrong" with my garb.  
> So go out watch, enjoy the event, check out the arts and science, and 
> most of all have fun. Sincerely, theresa
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Date: Fri, 28 Apr 2006 22:34:56 -0400
From: "Katy Bishop" <katybishop64@gmail.com>
To: "Historical Costume" <h-costume@indra.com>
Subject: Re: [h-cost] Simplicity 4156 - Victorian
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Status: RO

I love the mid-90's, the skirt on this pattern seems slightly later,
like maybe a year or three, than the bodice in shape; but maybe it's
just the trim making it look more flared than it actually is. I would
recommend, as a similar pattern, perhaps with fewer
shortcuts/adaptations for the mass market, the Patterns of History
Pattern from the State Historical Society of Wisconsin:

http://shop.wisconsinhistory.org/productcart/pc/viewPrd.asp?idcategory=22&idproduct=279

It is a nice pattern, I've made it a couple of times.  The first time
I made it, it was chosen for a set of bridesmaids, but the bride went
on vacation before the dresses were made and the maids chose other
dresses on their own.  The bride did go ahead and have me make one
dress for her.

Katy

On 4/28/06, Dawn <dawn@reddawn.net> wrote:
> This is new, and Wow, I love the sleeves!
>
> http://www.simplicity.com/assets/4156/4156.jpg
>
>
> The skirt looks a bit odd to me though. Has anyone had a good look at
> this yet? Is it based on something real? I see they date it as "circa 1895".
>
>
>
> Dawn
>
>
> _______________________________________________
> 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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Is it me or are the sleeves -- droopy?

Weren't the leg-o-mutton (I think that was the term for really large
puffs on the sleeves with it going tight on the rest of the arm) puffs
on the sleeves padded or  stiffened and came about level with the
woman's ears?

Onaree

On 4/28/06, Dawn <dawn@reddawn.net> wrote:
> This is new, and Wow, I love the sleeves!
>
> http://www.simplicity.com/assets/4156/4156.jpg
>
>
> The skirt looks a bit odd to me though. Has anyone had a good look at
> this yet? Is it based on something real? I see they date it as "circa 1895".
>
>
>
> Dawn

--
Proud List Mom of Irish_Crochet_Lovers
http://groups.yahoo.com/group/Irish_Crochet_Lovers/

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Subject: Re: [h-cost] Re: Simplicity 4156 - Victorian
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Status: RO

One problem that can cause droopy sleeve puffs is that the shoulders
might be a little too wide, the sleeves should start more on the
shoulder rather than at or after the turn of the shoulder, that helps
keep them from drooping.  I also wonder if the model's shoulders are
sloping or her neck is quite long.  One TV show that really got 90's
bodices right was The Bramwell series on PBS a few years ago.

I am in the process of creating a webpage for 1890's day wear.

http://www.vintagevictorian.com/costume_1890d_det.html

The page is in its very early stages of construction so it has no
descriptions yet and it is not linked on the library menu.  The first
image, the colored plate, has a green suit which is reminiscent of the
Simplicity pattern.  It is from 1896.  The 1896 skirt seems more
A-line and less flared than the Simplicity skirt.  But the skirt is
not too far off, I'd like to see the shaping of the pattern pieces.

Katy

On 4/28/06, Onaree Berard <msberard@gmail.com> wrote:
> Is it me or are the sleeves -- droopy?
>
> Weren't the leg-o-mutton (I think that was the term for really large
> puffs on the sleeves with it going tight on the rest of the arm) puffs
> on the sleeves padded or  stiffened and came about level with the
> woman's ears?
>
> Onaree
>
> On 4/28/06, Dawn <dawn@reddawn.net> wrote:
> > This is new, and Wow, I love the sleeves!
> >
> > http://www.simplicity.com/assets/4156/4156.jpg
> >
> >
> > The skirt looks a bit odd to me though. Has anyone had a good look at
> > this yet? Is it based on something real? I see they date it as "circa 1895".
> >
> >
> >
> > Dawn
>
> --
> Proud List Mom of Irish_Crochet_Lovers
> http://groups.yahoo.com/group/Irish_Crochet_Lovers/
>
> _______________________________________________
> 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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This is a truly EVIL site.  Doesn't take your paycheck in little nibbles.
Takes your entire book budget in big gulps!  However when you get them and
whisper "mine, My Precious! all mine!" you tend to forget until the pain of
the Credit Card comes through.

Be sure and look at what else he has in foreign language books.  Even with
the Prices (capitol P) it's worth it!

Regina

>
> Janet, do you by any chance have "Moda a Firenze" in stock?
>
> susan
>
> No, getting foreign language books is really difficult.  I'd
> recommend ordering it here
> http://www.artbooks.com/wc.dll?AB~home~&cart=0
> although I see he's raised his price some since the last time I
> contemplated ordering it.
>
> Janet


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From: AlbertCat@aol.com
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Date: Sat, 29 Apr 2006 02:06:35 EDT
Subject: Re: [h-cost] Re: Simplicity 4156 - Victorian
To: h-costume@indra.com
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In a message dated 4/29/2006 12:04:41 A.M. Eastern Standard Time,  
katybishop64@gmail.com writes:

One  problem that can cause droopy sleeve puffs is that the shoulders
might be a  little too wide, the sleeves should start more on the
shoulder rather than  at or after the turn of the shoulder, that helps
keep them from  drooping. 


*****************
 
Indeed. Helps distinguish them from the large Gigot sleeves of the 1830s  
which do spring from off the shoulder. But since photography was off and running  
even before the 1890s, you can see in photographs all manner of droopy and 
perky  and everything in between in sleeves.
 
There's a fondness for structure in the 1890s...stiff fabrics and heavy  
trims held up by complex underpinnings. The skirt in the pattern sorta suffers  
from not being manipulated enough. I can't tell if she even has a petticoat. It  
seems a little too clingy in the hips and not full enough...things that do  
indeed start to happen as the decade wears on. In Janet Arnold you see the  
circular cut of the back of the skirts, achieved in several ways. Sometimes it  
is a big circle or semicircle cut out as one piece even if the fabric needs  
piecing to get a large enough width to do so. Sometimes it is gored. This is  
sewn to a front panel that is shaped to the hips. the whole thing is  usually 
stiffened with something. In Arnold it says buckram....sometimes  innerlining 
the lower half of the front gore and all of the back of the skirt.  I've dressed 
extras in real 1890s stuff where the skirt practically stands on  its own.
 
As you move towards the turn of the century, the stiffness starts to wane  
and you end up at that droopy, flowing silhouette in light fabrics of the  1900s.
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Date: Sat, 29 Apr 2006 09:26:58 -0400
From: "Katy Bishop" <katybishop64@gmail.com>
To: "Historical Costume" <h-costume@indra.com>
Subject: Re: [h-cost] Re: Simplicity 4156 - Victorian
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Yes, definitely not enough skirt stiffening for 1895

Katy

On 4/29/06, AlbertCat@aol.com <AlbertCat@aol.com> wrote:
>
> In a message dated 4/29/2006 12:04:41 A.M. Eastern Standard Time,
> katybishop64@gmail.com writes:
>
> One  problem that can cause droopy sleeve puffs is that the shoulders
> might be a  little too wide, the sleeves should start more on the
> shoulder rather than  at or after the turn of the shoulder, that helps
> keep them from  drooping.
>
>
> *****************
>
> Indeed. Helps distinguish them from the large Gigot sleeves of the 1830s
> which do spring from off the shoulder. But since photography was off and running
> even before the 1890s, you can see in photographs all manner of droopy and
> perky  and everything in between in sleeves.
>
> There's a fondness for structure in the 1890s...stiff fabrics and heavy
> trims held up by complex underpinnings. The skirt in the pattern sorta suffers
> from not being manipulated enough. I can't tell if she even has a petticoat. It
> seems a little too clingy in the hips and not full enough...things that do
> indeed start to happen as the decade wears on. In Janet Arnold you see the
> circular cut of the back of the skirts, achieved in several ways. Sometimes it
> is a big circle or semicircle cut out as one piece even if the fabric needs
> piecing to get a large enough width to do so. Sometimes it is gored. This is
> sewn to a front panel that is shaped to the hips. the whole thing is  usually
> stiffened with something. In Arnold it says buckram....sometimes  innerlining
> the lower half of the front gore and all of the back of the skirt.  I've dressed
> extras in real 1890s stuff where the skirt practically stands on  its own.
>
> As you move towards the turn of the century, the stiffness starts to wane
> and you end up at that droopy, flowing silhouette in light fabrics of the  1900s.
> _______________________________________________
> 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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From: "Rhonda Donaldson" <rdonalds@wvu.edu>
To: "Historical Costume" <h-costume@indra.com>, <otsisto@socket.net>
Subject: RE: [h-cost] The Libertine
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Status: RO

A Johnny Depp film.  Yummy
 
Rhonda Donaldson
LTA II
e-Reserves Jr. Guru 
Access Services 
Downtown Campus Library
P O Box 6069
Morgantown, WV
26506
293-4040 x4094
rhonda.donaldson@mail.wvu.edu
 
"Beware how you pass judgement on your superiors at least until you
know
how to put yourself in their place and see from their view."
 
"Without change, something sleeps inside us, and seldom
awakens. The sleeper must awaken."
--Frank Herbert
 
 Weiner's Law of Libraries: There are no answers, only
cross-references.


>>> otsisto@socket.net 04/28/06 6:07 AM >>>

Story of John Wilmot 2nd Earl of Rochester. Lived at the time of King
Charles the second of England. 17th century, Restoration period.
It was suppose to have come out in March of 2005 but I must have missed
it.

-----Original Message-----
Hi,
I nust noticed a small advert about a moovie comming to Denmark called
"The
Libertine" Have any here seen it?
What period is it?

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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Status: RO

I agree that the skirt is not quite right, and if there are no
underpinnings, it will not move right.
Re the sleeve, one of the neat antique assessories that I have is a pair of
kidney shaped 'pillows' that tie into the sleeve head.  These small muslin
bags about10"x7' are filled with down.  They also appear in the Kyoto book
in the underwear section for the first Q of the 19thC.  I use them for both
the log-o-mutton sleeve as well as this later one with some success of
keeping the full sleeve distended as fashion required.
Through the years, I have struggled with a variety of methods to preserve
the full sleeve when being worn.  One (not period, but it works) is to leave
or make a smallish slit in the lining at about the elbow and stuff the upper
sleeve with netting.This works for taffeta or other lighter weight
materials, but if the fabric is heavy, they just won't lift it enough to
hold... unless you over stuff it and that will not look right or be
comfortable. My little pillows work really well here!

Kathleen
----- Original Message ----- 
From: "Katy Bishop" <katybishop64@gmail.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Saturday, April 29, 2006 9:26 AM
Subject: Re: [h-cost] Re: Simplicity 4156 - Victorian


> Yes, definitely not enough skirt stiffening for 1895
>
> Katy
>
> On 4/29/06, AlbertCat@aol.com <AlbertCat@aol.com> wrote:
> >
> > In a message dated 4/29/2006 12:04:41 A.M. Eastern Standard Time,
> > katybishop64@gmail.com writes:
> >
> > One  problem that can cause droopy sleeve puffs is that the shoulders
> > might be a  little too wide, the sleeves should start more on the
> > shoulder rather than  at or after the turn of the shoulder, that helps
> > keep them from  drooping.
> >
> >
> > *****************
> >
> > Indeed. Helps distinguish them from the large Gigot sleeves of the 1830s
> > which do spring from off the shoulder. But since photography was off and
running
> > even before the 1890s, you can see in photographs all manner of droopy
and
> > perky  and everything in between in sleeves.
> >
> > There's a fondness for structure in the 1890s...stiff fabrics and heavy
> > trims held up by complex underpinnings. The skirt in the pattern sorta
suffers
> > from not being manipulated enough. I can't tell if she even has a
petticoat. It
> > seems a little too clingy in the hips and not full enough...things that
do
> > indeed start to happen as the decade wears on. In Janet Arnold you see
the
> > circular cut of the back of the skirts, achieved in several ways.
Sometimes it
> > is a big circle or semicircle cut out as one piece even if the fabric
needs
> > piecing to get a large enough width to do so. Sometimes it is gored.
This is
> > sewn to a front panel that is shaped to the hips. the whole thing is
usually
> > stiffened with something. In Arnold it says buckram....sometimes
innerlining
> > the lower half of the front gore and all of the back of the skirt.  I've
dressed
> > extras in real 1890s stuff where the skirt practically stands on  its
own.
> >
> > As you move towards the turn of the century, the stiffness starts to
wane
> > and you end up at that droopy, flowing silhouette in light fabrics of
the  1900s.
> > _______________________________________________
> > 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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From: Jayne Thomas <dresspattern@yahoo.co.uk>
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Subject: [h-cost] Alternatives To Elizabethan Epaulettes
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Hi!
   
  Can anyone suggest an alternative to the epaulettes on the 1569 Jean Hunnisett dress?  I have managed to make (if only in an old sheet!) a four to five year old size bodice of this dress, though I did end up adapting a Simplicity pattern.  I have spent the last three days doing a pattern for the epaulettes, and making three sets, without success.  Any help will be much appreciated!
   
  All The Best!
  Jayne

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From: "Lloyd Mitchell" <rmitchell@washjeff.edu>
To: "Historical Costume" <h-costume@indra.com>
References: <44528339.5040701@reddawn.net>
Subject: Re: [h-cost] Simplicity 4156 - Victorian
Date: Sat, 29 Apr 2006 16:55:21 -0400
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Status: RO

There is a wonderful version of this style offered by the Wisconsin museum
that is based on a garment in their collection.  I have made it several
times using variations  that can be found in the various reprinted
catalogues of that time period.  I have even made one with the particular
collar featured by #4156 (known as the Arum Lily collar).

I haven't looked at how the skirt is shaped in the Simplicity pattern.  The
Wisconsin pattern is basically three gores; The front panel nearly goes from
side to side for the hips and the two back panels finish the hip cover and
then get pleated toward the center back...with a dart or two.  The result is
a skirt that swings and swishes at the whim of the wearer.

My collection includes several of these suits so I have had a chance to
double check the design of the original pattern. Since there are no zippers,
there are several interesting variations of finishing the back placket with
hooks and eyes judiciously placed to close the skirt but not impede the
grace. (Hint, another wonderful use for stray shoulderpads!  They are just
the size of the bum pads that usually lurked under the back closing...or you
can fashion one of matching fabric.
----- Original Message ----- 
From: "Dawn" <dawn@reddawn.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, April 28, 2006 5:03 PM
Subject: [h-cost] Simplicity 4156 - Victorian


> This is new, and Wow, I love the sleeves!
>
> http://www.simplicity.com/assets/4156/4156.jpg
>
>
> The skirt looks a bit odd to me though. Has anyone had a good look at
> this yet? Is it based on something real? I see they date it as "circa
1895".
>
>
>
> Dawn
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>

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From: "Katy Bishop" <katybishop64@gmail.com>
To: "Historical Costume" <h-costume@indra.com>
Subject: Re: [h-cost] Simplicity 4156 - Victorian
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Status: RO

There is also a very similar mid 1890's dress in Janet Arnold's
"Patterns of Fashion 2", with an applied collar instead of the jacket
front.

Katy

On 4/29/06, Lloyd Mitchell <rmitchell@washjeff.edu> wrote:
> There is a wonderful version of this style offered by the Wisconsin museum
> that is based on a garment in their collection.  I have made it several
> times using variations  that can be found in the various reprinted
> catalogues of that time period.  I have even made one with the particular
> collar featured by #4156 (known as the Arum Lily collar).
>
> I haven't looked at how the skirt is shaped in the Simplicity pattern.  The
> Wisconsin pattern is basically three gores; The front panel nearly goes from
> side to side for the hips and the two back panels finish the hip cover and
> then get pleated toward the center back...with a dart or two.  The result is
> a skirt that swings and swishes at the whim of the wearer.
>
> My collection includes several of these suits so I have had a chance to
> double check the design of the original pattern. Since there are no zippers,
> there are several interesting variations of finishing the back placket with
> hooks and eyes judiciously placed to close the skirt but not impede the
> grace. (Hint, another wonderful use for stray shoulderpads!  They are just
> the size of the bum pads that usually lurked under the back closing...or you
> can fashion one of matching fabric.
> ----- Original Message -----
> From: "Dawn" <dawn@reddawn.net>
> To: "Historical Costume" <h-costume@indra.com>
> Sent: Friday, April 28, 2006 5:03 PM
> Subject: [h-cost] Simplicity 4156 - Victorian
>
>
> > This is new, and Wow, I love the sleeves!
> >
> > http://www.simplicity.com/assets/4156/4156.jpg
> >
> >
> > The skirt looks a bit odd to me though. Has anyone had a good look at
> > this yet? Is it based on something real? I see they date it as "circa
> 1895".
> >
> >
> >
> > Dawn
> >
> >
> > _______________________________________________
> > h-costume mailing list
> > h-costume@mail.indra.com
> > http://mail.indra.com/mailman/listinfo/h-costume
> >
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>


--
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] New MCT Book was Update on Henry VIII book
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----- Original Message ----- 
From: "Catherine Olanich Raymond" <cathy@thyrsus.com>
> Can you be more specific?  There are recently published (and to be 
> published)
> books regarding different costuming periods.  Similarly, some of the
> interesting books were published last year--is that "lately" enough, in 
> your
> opinion?

I'm interested in the 15thC and early 16thC, and it's surprisingly hard to 
find good books that cover the first quarter of the 16thC in any depth. 
They all seem to skip right over it so they get to the titillating, 
off-with-her-head stuff, or to the Elizabethan mess.

(I really couldn't care less about England, but I'm resigned to the fact 
that unless I break down and learn French, I'm not likely to get much other 
than Tudor stuff for my time period!)

-E House

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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Migration Era books was Re: New MCT Book
Date: Sat, 29 Apr 2006 23:31:01 -0400
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On Friday 28 April 2006 10:28 am, Beth and Bob Matney wrote:
> Cathy,
>
> I would certainly be interested in your list!

The original poster asked about "recent" stuff, not just upcoming stuff, which 
was what inspired my comment.

You already mentioned the two "upcoming" items on my list--the Rogers book and 
the book on the Oseberg textiles.  

Here are some of the (slightly) older, but still "recent" books I was thinking 
of.  (I've bought all of them, too; shows you how much willpower I 
have.)  :-)

Dress in Anglo-Saxon England, Revised and Enlarged Edition (Hardcover)
by Gale R. Owen-Crocker 
Publisher: Boydell Press (November 2004)
ISBN: 1843830817

Woven into the Earth: Textiles from Norse Greenland (Hardcover)
by Else Ostergard, Else Stergard Publisher: Aarhus Universitetsforlag 
(November 2004)
ISBN: 8772889357

Northern Archaeological Textiles, Nesat VII: Textile Symposium in Edinburgh, 
5th-7th May 1999 (Hardcover)
by Frances Prithchard (Editor), Peter Wild (Editor)
Publisher: Oxbow Books Limited (July 2005)
ISBN: 1842171623
(which you told me about)

Priceless Invention of Humanity - Textiles (NESAT 8) Acta Archaeologica
Lodziensia Nr 50/1 edited by Jerzy Maik. 
Publisher:  Instytut Archaeologii I Etnologii Pan. Lodz Poland (2004)
(which I think you also told me about)

There are other books I'm yearning for, but most of them are out of print, and 
not remotely recent.  

-- 
Cathy Raymond <cathy@thyrsus.com>

"I'm starting to like the cut of this man's gibberish."
--General Fillmore (from "The Tick," episode 2)

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From: "Wanda Pease" <wandap@hevanet.com>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] New MCT Book was Update on Henry VIII book
Date: Sat, 29 Apr 2006 22:06:43 -0700
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> I'm interested in the 15thC and early 16thC, and it's
> surprisingly hard to
> find good books that cover the first quarter of the 16thC in any depth.
> They all seem to skip right over it so they get to the titillating,
> off-with-her-head stuff, or to the Elizabethan mess.
>
> (I really couldn't care less about England, but I'm resigned to the fact
> that unless I break down and learn French, I'm not likely to get
> much other
> than Tudor stuff for my time period!)
>
> -E House

I guess I don't understand the problem as much because I _am_ interested in
England :-).  Because of this I'm presently immersed in Spanish early 16th
Century as well as Holy Roman Empire and some French/Low Countries/Flemish.
I got that way because I wanted to understand why Katheryne of Aragon (how
she spelled it when she signed things) might have reacted the way she did.
This means that I've been delving into Isabella and Ferdinand, Juana called
The Mad, Charles V. All her family that shaped her.  Then we go to Phillip,
Mary of Burgundy, Margaret of Austria, Francis II, Henry II and Diane de
Poitiers, Catherine de Medici, Bess of Hardwick (no too late!).  Then there
is the world of the Italians (Scwarey Stuff!)

Halls Chronicles are available on-line at

http://dewey.library.upenn.edu/sceti/printedbooksNew/index.cfm?TextID=halle&
PagePosition=2

Go to the Henry VII and Henry VIII sections and look for names of
non-English potentates.  How about the Popes and the Medici?  Several good
books out about Lucretia Borgia and her clan as well as Isabella d'Este and
the Sforzas.

French:  I just finished good books on Francis II, Catherine de Medici, and
I'm looking for something on the Guises.  The Cardinal's Hat : Money,
Ambition, and Everyday Life in the Court of a Borgia Prince.  Actually what
is interesting is the young man's travel from Italy over the Alps to France
and the stay and play in Francis' court.

Can't help much when it comes to fiction, since I tend to find it a bit like
candy.  Love it occasionally, but not the meat and potatoes.  If I'm going
to buy a book it will be non-fiction.  Fiction comes from the Library
(unless it is Liadian Universe, then it comes mainline from the publisher
:-)

Wanda Pease
>


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From: "Lynn Downward" <lynndownward@gmail.com>
To: "Historical Costume" <h-costume@indra.com>
Subject: Re: [h-cost] historical films/ plays tv drama
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Status: RO

Bjarne, you've been given many good suggestions. The first 17th Century
program I ever saw was one of the earliest Masterpiece Theater (BBC)
productions. It was "The First Churchills." This was before I had interest
in costuming, so I don't know if the costumes are any good, but I thought it
was quite lush at the time.

LynnD


On 4/26/06, Bjarne og Leif Drews <drewscph@post12.tele.dk> wrote:
>
> Hi Fran,
> Much obliged, that i will do.
> Manny thanks
>
> Bjarne
>
>
> ----- Original Message -----
> From: "Lavolta Press" <fran@lavoltapress.com>
> To: "Historical Costume" <h-costume@indra.com>
> Sent: Wednesday, April 26, 2006 1:03 AM
> Subject: Re: [h-cost] historical films/ plays tv drama
>
>
> > The Broadway Theatre Archive has DVDs of stage plays--from a variety of
> > theaters--from an old TV series.  That, they say, is why the images tend
> > to be rather fuzzy.  The quality of the performances is all over the
> map.
> > There is a very good "Tartuffe," an awful "School for Scandal," a good
> > "The Rivals," an interesting "Taming of the Shrew" done in the commedia
> > dell' arte tradition, and a good "Cyrano de Bergerac" set in the 17th
> > century.  For modern, there's some good Eugene O'Neill if you like to
> > spend an evening getting depressed (I call him America's Ibsen), and
> some
> > good Thornton Wilder.
> >
> > Search Amazon DVDs for "Broadway Theatre Archive," and you'll see dozens
> > more.
> >
> > Fran
> > Lavolta Press
> > http://www.lavoltapress.com
> >
> > Bjarne og Leif Drews wrote:
> >> Hi,
> >> Now this topic is up, does any of you know of any good tv plays to buy
> on
> >> tape or dvd? I remember back some years where i have seen quite many
> >> interresting plays or tv dramas from the end of 17th century. I believe
> >> it was real old plays from 17th century. There is one special i
> remember
> >> very well, it was gorgeous made with the costumes, but who could this
> >> have ben?
> >> It must have ben BBC who made it.
> >>
> >> Bjarne
> >>
>
>
>
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Don't know who sent a request for this, but the group in England who make
their clothing using only hand sewing and authentic fabrics is called "The
Tudor Group".  Please forgive if this was answered already, can't find the
original post.
 

Young lovers seek perfection,
Old lovers learn the art of sewing shreds together
And of seeing beauty in a multiplicity of patches

 

                    - "How To Make An American Quilt"

 
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From: "Elizabeth Walpole" <ewalpole@tpg.com.au>
To: "Historical Costume" <h-costume@indra.com>
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Subject: [h-cost] On the topic of Simplicity patterns (was Re: Simplicity
	4156 - Victorian)
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when I had a look at Simplicity's website I noticed that they have just 
discontinued Simplicity 8881(the Shakespeare in Love pattern) which is IMO 
the best big 3 pattern out there for Elizabethan, so if you're interested in 
a cheap farthingale and bumroll pattern as well as a good sleeve pattern 
(with the seam in the right place down the back of the arm) and a bodice 
pattern that is similar in shape to Eleanora di Toledo's gown (in Patterns 
of Fashion) once you remove the princess seams. Snap up a copy or several 
(think about newcomers to your group who might need such a pattern in the 
future) when your local fabric shop updates it's pattern catalogues and gets 
rid of the discontinued patterns.
Elizabeth
--------------------------------------------
Elizabeth Walpole
Canberra Australia
ewalpole[at]tpg.com.au
http://au.geocities.com/e_walpole/

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At 06:46 30/04/2006, you wrote:
>Bjarne, you've been given many good suggestions. The first 17th Century
>program I ever saw was one of the earliest Masterpiece Theater (BBC)
>productions. It was "The First Churchills." This was before I had interest
>in costuming, so I don't know if the costumes are any good, but I thought it
>was quite lush at the time.
>
>LynnD


You've reminded me. I don't know if any of these are available on DVD 
but here goes.

History of the English Speaking People (based on Churchill's book, 
and some costumes made by Jean Hunnisett - good shapes, odd fabrics.)

Wars of the Roses - based on Shakespeare's plays, recording of the 
Royal Shakespeare Company's stage production - fabulous shapes, wrong 
fabrics (cottons with glue and glitter patterns - very effective on stage)

The Age of Kings  Kings from 1066 in England - don't remember costumes!

Also you could try the BBC shop 
http://www.bbcshop.com/icat/homenewreleases  Try clicking on Drama and Arts

Suzi


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Subject: [h-cost] Surviving Garments Database
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I really need to get to bed, so I'm not hitting all the lists with  
this announcement yet, but my searchable database of surviving  
garments up to 1500 is now available in useable form (although expect  
some minor aspects of the interface to change regularly in the next  
couple weeks).  Check it out at:

<http://www.heatherrosejones.com/survivinggarments/index.html>

At some point I'll be interested in feedback, but since I _know_ it  
not only has a clunky interface at the moment, but needs some serious  
data clean-up, it would probably be better to wait for about a month  
and then see if the problems you've noticed are still there.

Enjoy!

Heather

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


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Subject: [h-cost] Esse collar RE: SCA sumptuary laws
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I am still waiting for a reply but I have done some research when I have had
the time. It would seem that I was incorrect about it being a collar of
state.
The Esses collar is referred to as Livery collars. The Esses collar is
associated with the house of Lancaster which is why the esses collar is
referred to as a Lancastrian collar. Those wearing the esse were showing
support of the house of Lancaster. Henry,  father of Henry 8th, created a
livery collar that was the esses (Lancaster/Margaret) and the rose en soleil
(York/Henry).
I am check out the info that states that 3 English offices still use the
esse livery collar, one of them allegedly being the office of heraldry but I
do not have hard docs to this yet.

De


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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: Re: [h-cost] New MCT Book was Update on Henry VIII book
Date: Sun, 30 Apr 2006 14:56:53 +0200
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Hi
How about Christine of Denmark?
She was painted by Holbein. She had great influences in the politics of 
Europe.

Bjarne


----- Original Message ----- 
From: "E House" <formfunc@formfunction.org>
To: "Historical Costume" <h-costume@indra.com>
Sent: Sunday, April 30, 2006 2:47 AM
Subject: Re: [h-cost] New MCT Book was Update on Henry VIII book


> ----- Original Message ----- 
> From: "Catherine Olanich Raymond" <cathy@thyrsus.com>
>> Can you be more specific?  There are recently published (and to be 
>> published)
>> books regarding different costuming periods.  Similarly, some of the
>> interesting books were published last year--is that "lately" enough, in 
>> your
>> opinion?
>
> I'm interested in the 15thC and early 16thC, and it's surprisingly hard to 
> find good books that cover the first quarter of the 16thC in any depth. 
> They all seem to skip right over it so they get to the titillating, 
> off-with-her-head stuff, or to the Elizabethan mess.
>
> (I really couldn't care less about England, but I'm resigned to the fact 
> that unless I break down and learn French, I'm not likely to get much 
> other than Tudor stuff for my time period!)
>
> -E House
>
> _______________________________________________
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Subject: First Qtr 16th century - was RE: [h-cost] New MCT Book was Update on
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I missed the original post, sorry if I repeat what was said earlier.

Have you looked at Millia Davenport's book (s)?  -The Book of Costume-
I find it a good place to start when researching something new because
it gives a decent regional overview in one place.  You can pick it/them
(it come in a two volume set often) second hand very reasonably.

www.bookfinder.com


Sg

-----Original Message-----
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On Behalf Of E House
Sent: Saturday, April 29, 2006 5:48 PM
To: Historical Costume
Subject: Re: [h-cost] New MCT Book was Update on Henry VIII book

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

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Subject: [h-cost] Re: h-costume Digest, Vol 5, Issue 391
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Heather,
  
  I know you said you weren't ready for feedback yet, but wow. Great project.
  I took a quick look at the periods that interest me (12th-15th c.) and  even the short bits of data you include have piqued my interest to do  more indepth research in the future.
I'm sure it also includes resources I would have never been able to access or even considered.
  I can't begin to imagine the time you have put into this, but thank you.
  Main page looks great too - very clear on your parameters and intent.
  
  Annette M
  
  
>Message: 11
>Date: Sun, 30 Apr 2006 00:38:02 -0700
>From: Heather Rose Jones <heather.jones@earthlink.net>
>Subject: [h-cost] Surviving Garments Database
>
>
>I really need to get to bed, so I'm not hitting all the lists with  
>this announcement yet, but my searchable database of surviving  
>garments up to 1500 is now available in useable form (although expect  
>some minor aspects of the interface to change regularly in the next  
>couple weeks).  Check it out at:
>
><http://www.heatherrosejones.com/survivinggarments/index.html>
>
>At some point I'll be interested in feedback, but since I _know_ it  
>not only has a clunky interface at the moment, but needs some serious  
>data clean-up, it would probably be better to wait for about a month  
>and then see if the problems you've noticed are still there.
>
>Enjoy!
>
>Heather

  
  
  

		
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Date: Sun, 30 Apr 2006 09:14:36 -0500 (CDT)
From: Robin Netherton <robin@shell.nightowl.net>
To: Historic Costume List <h-costume@indra.com>
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Subject: [h-cost] Thank you all!
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My publisher says that Medieval Clothing & Textiles is "selling like hot
cakes."

I know a substantial number of copies went to people on this list. Thanks
for your interest, and your support!

Feedback is always welcome. Y'all know where to find me...

--Robin


==========================================================
Robin Netherton 
Editor, Medieval Clothing and Textiles
robin@nightowl.net
voice: (314) 439-1222 // fax: (314) 439-1333
Life is just a bowl of queries.

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Date: Sun, 30 Apr 2006 08:57:20 -0500
To: h-costume@indra.com
From: Beth and Bob Matney <bmatney@alltel.net>
Subject: Re: [h-cost] Migration Era books was Re: New MCT Book
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Willpower.. books... with me that's an oxymoron. I have very little 
willpower when it comes to books (if they are any good). I have the ones on 
your list.

What are the ones that you're yearning for that are out of print?

Beth

>Date: Sat, 29 Apr 2006 23:31:01 -0400
>From: Catherine Olanich Raymond <cathy@thyrsus.com>
>
>On Friday 28 April 2006 10:28 am, Beth and Bob Matney wrote:
> > Cathy,
> >
> > I would certainly be interested in your list!
>
>The original poster asked about "recent" stuff, not just upcoming stuff, 
>which
>was what inspired my comment.
>
>You already mentioned the two "upcoming" items on my list--the Rogers book 
>and
>the book on the Oseberg textiles.
>
>Here are some of the (slightly) older, but still "recent" books I was 
>thinking
>of.  (I've bought all of them, too; shows you how much willpower I
>have.)  :-)
>
>Dress in Anglo-Saxon England, Revised and Enlarged Edition (Hardcover)
>by Gale R. Owen-Crocker
>Publisher: Boydell Press (November 2004)
>ISBN: 1843830817
>
>Woven into the Earth: Textiles from Norse Greenland (Hardcover)
>by Else Ostergard, Else Stergard Publisher: Aarhus Universitetsforlag
>(November 2004)
>ISBN: 8772889357
>
>Northern Archaeological Textiles, Nesat VII: Textile Symposium in Edinburgh,
>5th-7th May 1999 (Hardcover)
>by Frances Prithchard (Editor), Peter Wild (Editor)
>Publisher: Oxbow Books Limited (July 2005)
>ISBN: 1842171623
>(which you told me about)
>
>Priceless Invention of Humanity - Textiles (NESAT 8) Acta Archaeologica
>Lodziensia Nr 50/1 edited by Jerzy Maik.
>Publisher:  Instytut Archaeologii I Etnologii Pan. Lodz Poland (2004)
>(which I think you also told me about)
>
>There are other books I'm yearning for, but most of them are out of print, 
>and
>not remotely recent.
>
>--
>Cathy Raymond <cathy@thyrsus.com>

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> What are the ones that you're yearning for that are out of print?
> 
> Beth

_Fundamentals of Music_ by Boethius, trans. by Calvin Bower. Why such an
incredibly important work would be allowed to go OP is beyond me (grumble
grumble growse.....).

Sorta costume related--I would love to find a book with nothing but notes
on  and photos of, everyday secular medeval English embroidery, although
I doubt if such a critter exists.

Arlys

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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] Book wish list: Secular/Church embroidery
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At 15:14 30/04/2006, you wrote:
> > What are the ones that you're yearning for that are out of print?
> >
> > Beth
>
>_Fundamentals of Music_ by Boethius, trans. by Calvin Bower. Why such an
>incredibly important work would be allowed to go OP is beyond me (grumble
>grumble growse.....).
>
>Sorta costume related--I would love to find a book with nothing but notes
>on  and photos of, everyday secular medeval English embroidery, although
>I doubt if such a critter exists.
>
>Arlys


I think there is a book on medieval embroidery put out by the Museum 
of London. I will climb up (it's on a top shelf. way above my head!) 
and see whether it is secular or Church.

I have for disposal a book called "Byzantine Tradition in Church 
Embroidery" by Pauline Johnstone if anyone is interested?

suzi


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At 15:14 30/04/2006, you wrote:
> > What are the ones that you're yearning for that are out of print?
> >
> > Beth
>
>_Fundamentals of Music_ by Boethius, trans. by Calvin Bower. Why such an
>incredibly important work would be allowed to go OP is beyond me (grumble
>grumble growse.....).
>
>Sorta costume related--I would love to find a book with nothing but notes
>on  and photos of, everyday secular medeval English embroidery, although
>I doubt if such a critter exists.


Is this any good? the one I was referring to.

http://www.bestwebbuys.com/Embroiderers-ISBN_0802069150.html?isrc=b-author 


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To: Historical Costume <h-costume@indra.com>
From: Joan Jurancich <joanmj@surewest.net>
Subject: Re: [h-cost] Alternatives To Elizabethan Epaulettes
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At 01:53 PM 4/29/2006, you wrote:
>Hi!
>
>   Can anyone suggest an alternative to the epaulettes on the 1569 
> Jean Hunnisett dress?  I have managed to make (if only in an old 
> sheet!) a four to five year old size bodice of this dress, though I 
> did end up adapting a Simplicity pattern.  I have spent the last 
> three days doing a pattern for the epaulettes, and making three 
> sets, without success.  Any help will be much appreciated!
>
>   All The Best!
>   Jayne

Can you describe the problem(s) you are having?  A simple 
crescent-shaped epaulette would also be appropriate (and much simpler 
to construct).


Joan Jurancich
joanmj@surewest.net 

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Subject: [h-cost] Music Books was: Migration Era Books
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Status: RO

EEEK!  $250 for the cheapest used copy I could find!  Looks like ILL and a
scanner would be your friend for this one.  If I get REALLY good with my new
OpticBook scanner (doesn't break the backs of books), and it's not enormous,
this could be done.

Regina
>
> > What are the ones that you're yearning for that are out of print?
> >
> > Beth
>
> _Fundamentals of Music_ by Boethius, trans. by Calvin Bower. Why such an
> incredibly important work would be allowed to go OP is beyond me (grumble
> grumble growse.....).
>
> Sorta costume related--I would love to find a book with nothing but notes
> on  and photos of, everyday secular medeval English embroidery, although
> I doubt if such a critter exists.
>
> Arlys
>
>


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Subject: Re: [h-cost] Book wish list: was Migration Era books was Re: New
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> Sorta costume related--I would love to find a book with nothing but notes
> on  and photos of, everyday secular medeval English embroidery, although
> I doubt if such a critter exists.

 	You and me both.  There is Domestic Needlework by Seligman and 
Hughes but almost all of it is from the 17th century and later.  There are 
3 items from the 13th and 14th century and a handful from the 15th and 
16th, but the vast majority is post-1600.

 	I have a few others that are specifically on domestic (as opposed 
to ecclesiastical) needlework but they concentrate on the 16th century so 
aren't really medieval.  Let me know if you'd like the titles.

lisa
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Quoting Suzi Clarke <suzi@suziclarke.co.uk>:

> At 15:14 30/04/2006, you wrote:
>> > What are the ones that you're yearning for that are out of print?
>> >
>> > Beth
>>
>> _Fundamentals of Music_ by Boethius, trans. by Calvin Bower. Why such an
>> incredibly important work would be allowed to go OP is beyond me (grumble
>> grumble growse.....).
>>
>> Sorta costume related--I would love to find a book with nothing but notes
>> on  and photos of, everyday secular medeval English embroidery, although
>> I doubt if such a critter exists.
>
>
> Is this any good? the one I was referring to.
>
> http://www.bestwebbuys.com/Embroiderers-ISBN_0802069150.html?isrc=b-author

Nice book.  There's not a lot of secular embroidery in there
unfortunately.  There are a couple of books that might work -- I
thought that I still had them checked out, but it doesn't seem to be
the case.  *sigh*

The history of English secular embroidery, by M. Jourdain -- published
1912.

A picture book of English domestic embroidery of the sixteenth to the
nineteenth centuries.  the author appears to be the Detroit Institute
of the arts -- published 1948

Catalogue of English domestic embroidery of the sixteenth & seventeenth
centuries, by John L. Nevinson -- published 1938.

Jerusha
-----
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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] Book wish list: was Migration Era books
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>  	You and me both.  There is Domestic Needlework by Seligman 
> and 
> Hughes but almost all of it is from the 17th century and later.  
> There are 
> 3 items from the 13th and 14th century and a handful from the 15th 
> and 
> 16th, but the vast majority is post-1600.
> 
>  	I have a few others that are specifically on domestic (as 
> opposed 
> to ecclesiastical) needlework but they concentrate on the 16th 
> century so 
> aren't really medieval.  Let me know if you'd like the titles.
> 
> lisa

Thank you for the offer. Renn isn't my thing but it's bound to be other
folks. ;)

I have a copy of Jourdain which is great, but still it seems that very
few secular pieces survived. Although it would be interesting to find out
what the secular elements were in chuch pieces--I understand that many of
them used embroideries from secular sources as appliques and such.

Arlys
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Subject: [h-cost] Embroidery books was MCT and Wish lists
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Would the books by Maria Schuette: A Pictorial History of Embroidery (the
little one) or the huge two volume tombstone variety be of interest?   The
local County Library has the big ones and I intend to take my digital camera
and a friend to photograph each page this summer since they are way too
large to go on any Xerox I've ever been allowed to use.  I also have the AGI
Christie: English Medieval Embroidery that I got ILL and Xeroxed then
scanned in.

Regina Romsey
> >
> >
> > Is this any good? the one I was referring to.
> >
> >
> http://www.bestwebbuys.com/Embroiderers-ISBN_0802069150.html?isrc=b-author
>
> Nice book.  There's not a lot of secular embroidery in there
> unfortunately.  There are a couple of books that might work -- I
> thought that I still had them checked out, but it doesn't seem to be
> the case.  *sigh*
>
> The history of English secular embroidery, by M. Jourdain -- published
> 1912.
>
> A picture book of English domestic embroidery of the sixteenth to the
> nineteenth centuries.  the author appears to be the Detroit Institute
> of the arts -- published 1948
>
> Catalogue of English domestic embroidery of the sixteenth & seventeenth
> centuries, by John L. Nevinson -- published 1938.
>
>


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Quoting Wanda Pease <wandap@hevanet.com>:

> Would the books by Maria Schuette: A Pictorial History of Embroidery (the
> little one) or the huge two volume tombstone variety be of interest?

What's the difference in the 2 editions?  I'm not sure I've ever run
across anything about 2 different editions.

  The
> local County Library has the big ones and I intend to take my digital camera
> and a friend to photograph each page this summer since they are way too
> large to go on any Xerox I've ever been allowed to use.  I also have the AGI
> Christie: English Medieval Embroidery that I got ILL and Xeroxed then
> scanned in.

Hmmm, sounds like your copy had a dreadful accident with a Toner Truck
too .....

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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On Sunday 30 April 2006 9:57 am, Beth and Bob Matney wrote:
> Willpower.. books... with me that's an oxymoron. I have very little
> willpower when it comes to books (if they are any good). I have the ones on
> your list.
>
> What are the ones that you're yearning for that are out of print?

Oh, that's easy.

*  The first three NESATs (I, II, and III) since by now I have all the rest.

*  Agnes Geijer.  Birka III: Die Textilfunde aus den Gräbern,  Mit 40 Tafeln 
und 50 Abbildungen im Texte.  Uppsala, 1938.  Bookfinder gave me a positive 
hit, but it's over $100 USD and that's hard for me to justify right now since 
I don't (yet) read German.

*  Inga Hagg.  Die Textilfunde aus dem Hafen von Haithabu (Berichte über die 
Ausgrabungen in Haithabu) 
Publisher: Wachholtz (1984).  
ISBN: B0000EATK8 (yes, also in German)

*  Inga Hagg.  Kvinnodrakten I Birka
Publisher:  Institutiomen for Arkeologi, Gustavianum, Uppsala 1974
ISBN: 9150600028  (This one's in Swedish, but I can absorb more meaning from 
Swedish than from German for some reason, even though I can speak neither 
language).
 
I'd forgotten this one was so new--but almost nobody talks about pre-Roman 
textiles on the list:

*  Hallstatt Textiles: Technical Analysis, Scientific Investigation and 
Experiment on Iron Age Textiles
edited by Peter Bichler, Karina Grömer, Regina Hoffman-de Keijzer, Anton Kern 
and Hans Reschreiter
(Archaeopress BAR S1351, 2005)
ISBN 1841716979. [Price:  US $80.00 at Oxbow Books]

And Oxbow Books still has this one--though that doesn't automatically mean 
it's in print.

*  Hochdorf IV: Die Textilfunde
by Johanna Banck-Burgess
(Konrad Theiss, Forschungen und Berichte zur Vor- und Frühgeschichte in 
Baden-Württemberg 70, 1999) ISBN 3806214530. [Price:  US $130.00]

This one is recent too, though as a book about textile tools it's less 
immediately relevant to a costumer:

*  Tools for Textile Production from Birka and Hedeby
by Eva Andersson
(Excavations in the Black Earth 1990-1995, Birk Studies 8, 2003)
ISBN 9172092955. [Price US $80.00]

There's a few more that I don't know whether they're out of print or not, but 
they are expensive and/or hard to find.

*  Stepping Through Time
by Olaf Goubitz, Carol van Driel-Murray and Willy Groenman-van Waateringe
(Stichting Promotie Archeologie 2001)
ISBN 9070104469. Hardback.  (I've seen this one for as little as $66 USD, so 
it'll probably be the one I go for next).

I was yearning for Margareta Nockert's book on the Hogom Find (which is in 
English!), but a friend in Sweden located some copies, and is sending one to 
me.  (I expect to see it sometime this week!  Happy day!)

That should give you the idea of the books I'm looking for at this point. 




-- 
Cathy Raymond <cathy@thyrsus.com>

"I'm starting to like the cut of this man's gibberish."
--General Fillmore (from "The Tick," episode 2)


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From: "Wanda Pease" <wandap@hevanet.com>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Embroidery books was MCT and Wish lists
Date: Sun, 30 Apr 2006 16:01:18 -0700
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Status: RO

The Two Volume one is not exactly a different edition.  I'd say it is the
full version and the Pictorial History is the Readers Digest version.  It's
not only huge, but it probably has 4 times the number of items.  I think our
Library got its copy as a gift in about 1927.  Several of the pieces don't
exist any longer thanks to WWII.


 Gestickte Bildteppiche und Decken des Mittelalters Schuette, Marie,
1878-1960.
Leipzig, K. W. Hiersemann, 1927-v. double plates (part col.) 51 cm.
R- 746.3 S38

I don't remember the text being in German. I was too busy holding my sleeve
under my chin as I drooled!

I tried to scan my smaller volume in, but the definition just sucked even at
high resolution.  Very important when you are looking at embroidery.  For
some reason the Christie seemed to come out clearer.  I may still try the
digital camera method just for grins and giggles.

Regina

> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
> Behalf Of Susan B. Farmer
> Sent: Sunday, April 30, 2006 3:23 PM
> To: Historical Costume
> Subject: Re: [h-cost] Embroidery books was MCT and Wish lists
>
>
> Quoting Wanda Pease <wandap@hevanet.com>:
>
> > Would the books by Maria Schuette: A Pictorial History of
> Embroidery (the
> > little one) or the huge two volume tombstone variety be of interest?
>
> What's the difference in the 2 editions?  I'm not sure I've ever run
> across anything about 2 different editions.
>
>


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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Surviving Garments Database
Date: Sun, 30 Apr 2006 18:19:33 -0400
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On Sunday 30 April 2006 3:38 am, Heather Rose Jones wrote:
> I really need to get to bed, so I'm not hitting all the lists with
> this announcement yet, but my searchable database of surviving
> garments up to 1500 is now available in useable form (although expect
> some minor aspects of the interface to change regularly in the next
> couple weeks).  Check it out at:
>
> <http://www.heatherrosejones.com/survivinggarments/index.html>

This is a *wonderful* idea.  I will need more time to explore it and see what 
I can add.  You should, in my opinion, be canonized for taking this task on.  


-- 
Cathy Raymond <cathy@thyrsus.com>

"I'm starting to like the cut of this man's gibberish."
--General Fillmore (from "The Tick," episode 2)

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Subject: RE: [h-cost] Book wish list: Secular/Church embroidery
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Me, me
Anne

>I have for disposal a book called "Byzantine Tradition in Church 
>Embroidery" by Pauline Johnstone if anyone is interested?


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Subject: Re: [h-cost] Thank you all!
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Looking to my summer reading!!

Kathleen
----- Original Message ----- 
From: "Robin Netherton" <robin@shell.nightowl.net>
To: "Historic Costume List" <h-costume@indra.com>
Sent: Sunday, April 30, 2006 10:14 AM
Subject: [h-cost] Thank you all!


> 
> My publisher says that Medieval Clothing & Textiles is "selling like hot
> cakes."
> 
> I know a substantial number of copies went to people on this list. Thanks
> for your interest, and your support!
> 
> Feedback is always welcome. Y'all know where to find me...
> 
> --Robin
> 
> 
> ==========================================================
> Robin Netherton 
> Editor, Medieval Clothing and Textiles
> robin@nightowl.net
> voice: (314) 439-1222 // fax: (314) 439-1333
> Life is just a bowl of queries.
> 
> _______________________________________________
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From: "Elizabeth Walpole" <ewalpole@tpg.com.au>
To: "Historical Costume" <h-costume@indra.com>
References: <0DA23C8A-EF18-4796-86BA-652A9512A821@earthlink.net>
	<200604301819.33627.cathy@thyrsus.com>
Subject: Re: [h-cost] Surviving Garments Database
Date: Mon, 1 May 2006 10:14:44 +1000
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<snip> Check it out at:
>>
>> <http://www.heatherrosejones.com/survivinggarments/index.html>
>
> This is a *wonderful* idea.  I will need more time to explore it and see 
> what
> I can add.  You should, in my opinion, be canonized for taking this task 
> on.
> -- 
> Cathy Raymond <cathy@thyrsus.com>
<snip>

Well as you need to be dead to be canonized I don't think we want that any 
time soon ;-) after all if Heather was a candidate for sainthood she 
couldn't update this site (unless she chose that as one of her miracles :-)
Just kidding, we'd also miss your presence on the list.
Elizabeth
--------------------------------------------
Elizabeth Walpole
Canberra Australia
ewalpole[at]tpg.com.au
http://au.geocities.com/e_walpole/

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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Surviving Garments Database
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On Sunday 30 April 2006 8:14 pm, Elizabeth Walpole wrote:
> <snip> Check it out at:
> >> <http://www.heatherrosejones.com/survivinggarments/index.html>
> >
> > This is a *wonderful* idea.  I will need more time to explore it and see
> > what
> > I can add.  You should, in my opinion, be canonized for taking this task
> > on.
> > --
> > Cathy Raymond <cathy@thyrsus.com>
>
> <snip>
>
> Well as you need to be dead to be canonized I don't think we want that any
> time soon ;-) after all if Heather was a candidate for sainthood she
> couldn't update this site (unless she chose that as one of her miracles :-)
> Just kidding, we'd also miss your presence on the list.

You make a good point, Elizabeth.  I really meant "canonized, post 
mortem".  :-)

-- 
Cathy Raymond <cathy@thyrsus.com>

"I'm starting to like the cut of this man's gibberish."
--General Fillmore (from "The Tick," episode 2)

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	<6.2.1.2.0.20060418214910.03753978@64.87.54.245>
Subject: Re: [h-cost] Victorian proportions for plus sizes (was yardage
	required)
Date: Sun, 30 Apr 2006 21:21:40 -0400
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Kim, a little late on this, but I would suggest that you think of the bodice
to be slightly one third of the costume in length. As I have said, it should
be a little to the top of your waistline.  I am working on a dress for a
plus sized woman right now.  Her waist measure is probably 50"  So, for
this, I will use 3 1/2 panels 45" for the skirt.  this will allow fullness
without being voluminous.
I was watching "The Heiress" last eve (Olivia Haviland) and was struck by
the grace the women's costumes provided for a glimpse of the mid 19thC.  And
the hair styles did Not nod to the time period of the production.

A pagoda sleeve with gauze or fine linen undersleeve would be a nice choice
(Especially if your upper arms are at all heavy) The trick is to make the
sleeve big enough to cover without wrinkles at the armpit but remember that
the re should be no gathers at the shoulder.  I have found the PastPattern
bodices to be Avery good choice for style.  It will go nicely with any round
skirt.

Taking a hint from central European models, I set the panels on a split
waist band which will allow you two pocket slits, one on either side. The
actual pockets can be on your petticoat or on a twill band, much as they
were in the late 18thC. The buttonholes go on the ends of the front and the
back band should be about 2' longer. You will finish them with 2 sets of
plain buttons either end.  this also helps with larger/smaller fluctuations
of weight .

Kathleen
----- Original Message ----- 
From: "Kimiko Small" <kimiko@kimiko1.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, April 19, 2006 12:51 AM
Subject: [h-cost] Victorian proportions for plus sizes (was yardage
required)


> At 12:26 PM 4/18/2006, you wrote:
> >In making Plus Size gowns,
> >  etc. for customers, it is sometimes a little dicey getting the right
> >proportion for the period.
>
>
> Hi Kathleen,
>
> As a plus sized woman who later this summer will, I promise, *will* make a
> Victorian outfit for our County Sesquicentennial (I think I have that
> right... 150 year anniversary), any suggestions or tips on getting that
> right proportion?
>
> Kimiko
>
>
> _______________________________________________
> 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: Book wish list: weavers pattern books up to 1800...
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Hi
While we are wishing...I've got the Ars Textrina coming, have most of 
the local SE PA ones, have Bress's book (worth every penny if 
coverlets and such are your hearts desire!).
SO what else is out there?
Ta
Carol
-- 
Creative Clutter is Better Than Idle Neatness!
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From: "Elizabeth Walpole" <ewalpole@tpg.com.au>
To: "Historical Costume" <h-costume@indra.com>
References: <20060429205316.68113.qmail@web25606.mail.ukl.yahoo.com>
Subject: Re: [h-cost] Alternatives To Elizabethan Epaulettes
Date: Mon, 1 May 2006 12:36:27 +1000
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----- Original Message ----- 
From: "Jayne Thomas" <dresspattern@yahoo.co.uk>
To: <h-costume@mail.indra.com>
Sent: Sunday, April 30, 2006 6:53 AM
Subject: [h-cost] Alternatives To Elizabethan Epaulettes


> Hi!
>
>  Can anyone suggest an alternative to the epaulettes on the 1569 Jean 
> Hunnisett dress?  I have managed to make (if only in an old sheet!) a four 
> to five year old size bodice of this dress, though I did end up adapting a 
> Simplicity pattern.  I have spent the last three days doing a pattern for 
> the epaulettes, and making three sets, without success.  Any help will be 
> much appreciated!
>
>  All The Best!
>  Jayne
>
If you aren't too committed to the idea of epaulettes  the simplest 
alternative would probably be tabs which are little strips of fabric either 
with both ends sewn into the shoulder seam (and the fold sticking out) or 
about half the length and one end hangs free (the outer edge can be rounded 
or left square) tabs generally stick out about an inch from your shoulder 
IIRC this is the shoulder treatment on the little girl's dress in Patterns 
of Fashion. Otherwise you can make a shoulder roll using these instructions 
http://web.archive.org/web/20050209184231/www.saragrace.net/3A_SHLDR_ROLL_by_sg.htm 
(the original site has disappeared but fortunately it's still available via 
web archive)  and you can try various ways of decorating it such as faked 
puffs.
Elizabeth
--------------------------------------------
Elizabeth Walpole
Canberra Australia
ewalpole[at]tpg.com.au
http://au.geocities.com/e_walpole/

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Subject: Re: [h-cost] The Libertine
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I saw it the weekend it came out. It was supposed to have been released last 
September, then January. I don't know what the problem was, except the content 
of the film. It's rude, crude, lewd, and socially unacceptable -- or rather 
Lord Rochester was. It's well performed and generally well done. The costumes 
are good, but the film emphasizes the seamy side of Restoration-era England, so 
they aren't very fancy. Lots of mud and dirt -- even under the fingernails of 
the aristocracy. Since Rochester died of syphillis, which is portrayed pretty 
graphically, you can imagine that the film is not pretty.

It was originally a play, and John Malkovich played Rochester (he playes 
Charles II here in a really bad fake nose), so it's kind of choppy. Malkovich held 
the rights to the play (to film it), but it took him so long to get the 
financing that he was too old to play Rochester. Johnny Depp was a great job, but 
he's not a very likeable character.

I recommend it with reservations. It can gross you out. As a costume flick, 
it's OK, but you won't see much in the way of court dress -- theatrical 
costumes (when the actors wear clothes) and servant's clothes are more likely.

Kathleen Norvell
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> Would the books by Maria Schuette: A Pictorial History of Embroidery (the
> little one) or the huge two volume tombstone variety be of interest?   The
> local County Library has the big ones and I intend to take my digital camera
> and a friend to photograph each page this summer since they are way too
> large to go on any Xerox I've ever been allowed to use.  I also have the AGI
> Christie: English Medieval Embroidery that I got ILL and Xeroxed then
> scanned in.
>
> Regina Romsey

I have slides of all the photos in Christie (and digital of the text). Now 
that there is a scanner I can attach to my laptop I can scan them all in. 
Once that project is done I can see about burning CDs of it.

For the photography I recommend getting your hands on a tripod. It will 
save your back. For the slides of Christie, I was the tripod, and my back 
has never forgiven me.

Pixel/Margaret
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