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From: "Penny Ladnier" <penny@costumegallery.com>
To: "Historical Costume" <h-costume@indra.com>
References: <BAY109-F199DBFA107B319E28FB297AD430@phx.gbl>
Subject: Re: [h-cost] What's your dress dummy wearing?
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Status: RO

Paula,

LOL!  It is so sweet that you have a dressmaker's dummy named after me and 
you dressed me so nice!  Thank you!  I feel like a dressmaker's dummy... I 
am down to the crunch of the semester and reading all my students' papers.

I loved this thread last time around.  Thank you all for bringing it back 
around.

I have six dressmaker dummies at school and all are dressed in original 
1960s fashions.  Let me see if I can remember what they are wearing.
1. She is wearing a gold beaded baby doll w/ bloomers .  She also has 
matching gold beaded go-go boots.  A VCU fashion design student made this 
outfit in the 1960s.
2. A mod pucci-ish printed mini-dress with an empire waist and large navy 
blue sash and bow at the waist.
3. A five-color mini dress with a matching short jacket.  This dress is cut 
really weird with swerved vertical panels, each being a different 
eye-popping color.
4. An off-white full length A-line dress that is has an Asian flavor.  The 
dress has a slit from the center-front hem to shortly below the privates. 
My guess is that pants or hot pants were worn underneath it.
5. Another heavy gold and silver beaded mini dress on white satin.  When I 
first looked at this dress I thought it was from the 1980s because of the 
size and abundance of beading.  But it is 1960s from the documentation. 
This dress is so-o-o heavy!
6. She is wearing a full-length fitted evening dress with a square l-o-w (to 
the waist) back.  This dress is pink with white seed sized beads and silver 
sequins in a decorative pattern on the bodice and around the arm-holes.  The 
bodice is sleeveless and a plunging front neckline.  This dress has a 
secret.  It has built in falsies!!!

YIPPEE!  Brain dead me... I remembered what all my girls are wearing!

Oh well, one day these will all be online.  I have photographed, documented, 
and written descriptions for the entire costume collection.  It is just 
getting the time to put them online.  It won't be soon... I was just 
assigned summer school.

Back to fine tuning tomorrow's lesson!  The 1970s!

Penny Ladnier,
Owner, The Costume Gallery Websites
www.costumegallery.com
www.costumelibrary.com
www.costumeclassroom.com
www.costumeencyclopedia.com 

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Subject: [h-cost] The Queen, The Queen
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Status: RO

Oh well, you can't win them all.  Queen Elizabeth II is coming to =
Richmond, VA Thursday for the 400th Anniversary of Jamestown.  Last =
Friday, it was announced that she would be at the Capital on Thursday, =
May 3.  And that the Queen would be receiving 108 people in =
representation of the original 108 Jamestown Colonists.  The =
Commonwealth of Virginia had a lottery today to be one of the 108 =
people.  Darn, I didn't win.  But my daughter, son, and I are going to =
the Capital to see the Queen give a speech.  Hopefully we can get close =
enough to take photos.   The Queen will be going to Jamestown next week. =
 LOL!  I wonder if the Queen is going to the NASCAR race in Richmond =
this weekend.  =20
For more info about the Queen's visit and Jamestown's 400th Anniversary =
go to:
http://queensvisit.governor.virginia.gov/home.asp
http://www.americas400thanniversary.com/

Maybe our Williamsburg h-costumers can give info about the Queen's visit =
there.

Penny Ladnier,=20
Owner, The Costume Gallery Websites
www.costumegallery.com
www.costumelibrary.com
www.costumeclassroom.com
www.costumeencyclopedia.com=20

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Status: RO

Cin wrote:

> I just love starting this thread... such interesting answers.

A burnout purple stretch velvet bellydance outfit and a half beaded 
black bra that needs to be finished before Saturday's performance.



Dawn


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Status: RO

I know we have a handful of professors on this list, and hopefully at least 
one of you can give me some input!  Please feel free to take any responses 
off-list.

The husband, Thomas, has decided that his ideal career is that of an 
electrical engineering or math professor.  Right now, he's only got his 
masters (or will have at the end of the summer), and since he's been working 
full-time as an ee while also attending classes at WUSTL for his masters, 
he's a bit reluctant to go straight into getting his PhD.  (I, too, am a bit 
reluctant to spend who knows how many more years of only seeing him on 
weekends.)  However, most community colleges and a few 4-year institutions 
are willing to hire instructors with only a masters, especially when the 
potential instructor also has some non-academic work experience in the field 
he wants to teach.  The husband likes the idea of teaching at a community 
college for a while rather than waiting to get his PhD, though he would 
prefer to wind up as a tenured PhD at a 4-year institution.  As a first 
step, he hopes to be a part-time instructor at a local college, while still 
working full-time at the job he has now.

Those few acquaintances I have who have become professors got into it by 
basically becoming professional students, and that's not a path Thomas is 
likely to take.  (If nothing else, I'm no longer capable of putting him 
through school!  And oy, we're almost done paying off the last batch of 
student loans...)  So, we're trying to figure out a plan of attack for 
Operation Become A Professor In Montana Or Wyoming.

So much for the background.  My questions are very general: what path did 
you take to become a professor?  What other paths have you seen successfully 
navigated?  What would you advise Thomas to do, and what would you advise 
him NOT to do?  How important is it to get your PhD from the 
college/university where you hope to teach?  Who should he talk to--for 
example, would it be a waste of time for him to call up some HR departments 
and ask them these sorts of questions, while he's still in the planning 
stage?  Is it a good idea for him to get a bit of teaching experience in 
wherever possible, as with the part-time instructor plan?  And so on, and so 
forth, and the like, etcetera.

Thanks in advance to anyone who can help!
-E House



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Subject: Re: [h-cost] What's your dressmakers dummy wearing today?
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In a message dated 4/30/2007 9:36:46 P.M. Eastern Daylight Time,  
cinbarnes@gmail.com writes:

I just  love starting this thread... such interesting  answers.
--cin



But no fair!  You didn't tell us what YOURS is wearing!
 
Ann Wass



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Subject: Re: [h-cost] What's your dressmakers dummy wearing today?
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In a message dated 4/30/2007 9:36:46 P.M. Eastern Daylight Time,  
cinbarnes@gmail.com writes:

I just  love starting this thread... such interesting answers


Since I'm not sewing right now, mine is wearing an outfit that I used for a  
demonstration at our Ladies' Regency Weekend April 20-21--early 19th century  
dress of blue striped cotton with a surplice front and rows of gold and blue  
fringe at the hem, with a gold spencer trimmed with gold and blue cord.   
(There is also a small turban to match, but it isn't on the dummy).  And  one of 
my older dummies has a United States Navy ball cap on it, on top of a  silk 
scarf.
 
Ann Wass



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Subject: Re:  [h-cost] What's your dressmakers dummy wearing today?
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Status: RO

 
right now one's wearing a toile for a prom dress
 
one's wearing assorted bits of child sized tudor clothing I'm doing for a  
museum
 
one's wearing a tuodor fencing doublet I'm doing for fun
 
one's wearing an original 30s silk velvet bolero jacket I'm restoring
 
and another two are wearing the beginnings of dresses being made for  parties 
- one for a friend will eventuallly be an 18th c saque, and one for me  will 
be some sort of victorian or edwardian dress for a days of the raj  party
 
the rest are shamelessly naked  :o)
 
 




   
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From: "LLOYD MITCHELL" <rmitchell@washjeff.edu>
To: "Historical Costume" <h-costume@indra.com>
References: <20070430.145813.3168.3.Cley@juno.com>
Subject: Re: [h-cost] hand rolled hems
Date: Tue, 1 May 2007 06:46:03 -0400
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Status: RO

They can often be seen on e-bay, or in most books of early sewing tools. 
The bird sitts on a pearch; press the tail and it opens its mouth,  The 
fabric is inserted and voila!  There is often a small pincushion mounted on 
the stand; the whole piece is finished with a small clamp for attachment.

Kathleen
----- Original Message ----- 
From: "Cynthia J Ley" <cley@juno.com>
To: <h-costume@indra.com>
Sent: Monday, April 30, 2007 5:46 PM
Subject: Re: [h-cost] hand rolled hems


> Sewing birds? Anyone have a pic they would like to share? :-)
>
> Arlys
>
> On Mon, 30 Apr 2007 14:42:27 -0400 "LLOYD MITCHELL"
> <rmitchell@washjeff.edu> writes:
>> How right you are!
>>
>> Kathleen
>> ----- Original Message ----- 
>> From: "Carmen Beaudry" <moreplentyn@earthlink.net>
>> To: "Historical Costume" <h-costume@indra.com>
>> Sent: Monday, April 30, 2007 12:14 PM
>> Subject: Re: [h-cost] hand rolled hems
>>
>>
>> >> Sorry for the late reply myself, but.....
>> >>
>> >> I'm doing some silk organza scarves (not historic, before anyone
>> panics
>> >> [1]). The fabric is 60" wide, so the hand rolled hem is very long
>> - and I
>> >> hate hand-sewing with a red passion, so I'm always trying to
>> figure out
>> >> how to make it easier and faster. And I hit on something this
>> weekend. As
>> >> long as the finished part is longer than my forearm, I can pin
>> the edge
>> >> under my right elbow (I'm right-handed) on a table, and hold the
>> >> unfinished part of the hem in my left hand, rolling the hem
>> toward me
>> >> with the left hand's fingers. This keeps the hem taut, while
>> rolling at
>> >> the same time. I can then use my right hand to stitch what the
>> left hand
>> >> is preparing. Make sure that the table-chair setup puts your
>> elbow no
>> >> lower than normal height, or you'll be bending your back, which
>> is Not
>> >> Good. This goes fast!
>> > (snip)
>> > Melanie / Lijsbet
>> >
>> > This is pretty much how a sewing clamp/bird works.  It makes
>> pretty much
>> > all hand sewing Much faster.  I have two reproduction sewing
>> birds.  One
>> > stays clamped next to my sewing machine for handwork in the sewing
>> room,
>> > the other travels with me, since I found out I can clamp it to the
>> edge of
>> > my travel sewing box.  I do about 1/3 of my sewing by hand, so
>> this has
>> > really speeded things up for m.
>> >
>> > Melusine
>> > _______________________________________________
>> > 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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From: "Elizabeth Walpole" <ewalpole@tpg.com.au>
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Subject: Re: [h-cost] What's your dressmakers dummy wearing today?
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----- Original Message ----- 
From: "Cin" <cinbarnes@gmail.com>
To: "h-cost" <h-costume@indra.com>
Sent: Tuesday, May 01, 2007 11:08 AM
Subject: [h-cost] What's your dressmakers dummy wearing today?


>I just love starting this thread... such interesting answers.
> --cin
> Cynthia Barnes
> CinBarnes@gmail.com

well right now she's only wearing a corset and a couple of petticoats while 
I work on gauging (aka cartridge pleating but much smaller pleats) the skirt 
of my c.1850s sheer cotton ballgown.
Elizabeth
--------------------------------------------
Elizabeth Walpole
Canberra Australia
ewalpole[at]tpg.com.au
http://au.geocities.com/amiperiodornot/





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From: purplkat@optonline.net
Subject: Re: [h-cost] What's your dressmakers dummy wearing today?
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Status: RO

If anyone has a suit coat sz 52, waist 48 male dummy -- I will GLADLY take it off your hands.

Hubby won't stand still long enough and usually wants to see the back of stuff I'm making for him...
(sigh)

Katheryne

----- Original Message -----
From: Carmen Beaudry 
> 
> I think I need a boyfriend for Yasmine.....anyone got a male 
> dummy about size 42 cheap?
> 
> Melusine
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Date: Tue, 01 May 2007 09:28:24 -0400
From: "Ron Carnegie" <r.carnegie@verizon.net>
Subject: Re: [h-cost] The Queen, The Queen
To: "Historical Costume" <h-costume@indra.com>
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  Oh all right then....


    She will arrive in Williamsburg Thursday night.  She is staying at te 
Williamburg Inn.  She will enjoy a carriage ride through the historic area 
on friday, and address people at the College of William and Mary.  Later she 
will be at nthe two Jamestown Parks.  I will be escorting her as part of an 
honor guard at Jamestowne Settlement.

Ron Carnegie

----- Original Message ----- 
From: "Penny Ladnier" <penny@costumegallery.com>
To: "h-costume" <h-costume@indra.com>
Sent: Tuesday, May 01, 2007 1:04 AM
Subject: [h-cost] The Queen, The Queen


Oh well, you can't win them all.  Queen Elizabeth II is coming to Richmond, 
VA Thursday for the 400th Anniversary of Jamestown.  Last Friday, it was 
announced that she would be at the Capital on Thursday, May 3.  And that the 
Queen would be receiving 108 people in representation of the original 108 
Jamestown Colonists.  The Commonwealth of Virginia had a lottery today to be 
one of the 108 people.  Darn, I didn't win.  But my daughter, son, and I are 
going to the Capital to see the Queen give a speech.  Hopefully we can get 
close enough to take photos.   The Queen will be going to Jamestown next 
week.  LOL!  I wonder if the Queen is going to the NASCAR race in Richmond 
this weekend.
For more info about the Queen's visit and Jamestown's 400th Anniversary go 
to:
http://queensvisit.governor.virginia.gov/home.asp
http://www.americas400thanniversary.com/

Maybe our Williamsburg h-costumers can give info about the Queen's visit 
there.

Penny Ladnier,
Owner, The Costume Gallery Websites
www.costumegallery.com
www.costumelibrary.com
www.costumeclassroom.com
www.costumeencyclopedia.com

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Subject: Re: [h-cost] The Queen, The Queen
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In a message dated 5/1/2007 9:28:53 A.M. Eastern Daylight Time,  
r.carnegie@verizon.net writes:

I will  be escorting her as part of an 
honor guard at Jamestowne  Settlement.




That is indeed an honor. 
 
And of course she will be visiting the British Embassy here in  
Washington--they are getting the garden spiffed up for her visit, as she is to  plant a 
tree.  And I think there is a state dinner, too.  (Did you  know that when the 
Prime Minister visits, it is not a State dinner, because s/he  is not, 
technically, head of state?)
 
Ann Wass



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Status: RO

Wool! Wool is always right. When lined with light/handkerchief linen it 
is especially wonderful--warm when it's cold out, and breathable and 
surprisingly wearable even in the heat. If you can find a nice smooth 
worsted wool gabardine (just a regular gabardine, not the one called 
tricotine, or any of the new ones with lycra) it washes with hardly any 
shrinkage and looks great for years.

I'll second the comment about modern silks: the current fashion is for 
soft and flowing, or, as in the case of dupionis and chantungs, firm and 
slubby. Either way they are not ideal for this period.

- Hope


TeaRoseS@aol.com wrote:
>  
>  
> Hello. Rank amateur that I am, I need some advice about selecting  fabric for 
> my Tudor wardrobe (1530-1560ish) from you textile experts.  FashionFabrics 
> has silk twill on sale and I was wondering if it would be  appropriate for my 
> period, and if so, what for? 
>  
>   


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From: "Anne Moeller" <ladyanne@quik.com>
To: "'Historical Costume'" <h-costume@indra.com>
References: <cb0.10d25194.33686eb8@aol.com>
Subject: RE: [h-cost] What's your dressmakers dummy wearing today?
Date: Tue, 1 May 2007 10:08:46 -0400
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Status: RO

OMG!!! How many do you have?

Anne

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Debloughcostumes@aol.com
Sent: Tuesday, May 01, 2007 6:22 AM
To: h-costume@indra.com
Subject: Re: [h-cost] What's your dressmakers dummy wearing today?

 
right now one's wearing a toile for a prom dress
 
one's wearing assorted bits of child sized tudor clothing I'm doing for a  
museum
 
one's wearing a tuodor fencing doublet I'm doing for fun
 
one's wearing an original 30s silk velvet bolero jacket I'm restoring
 
and another two are wearing the beginnings of dresses being made for
parties 
- one for a friend will eventuallly be an 18th c saque, and one for me  will

be some sort of victorian or edwardian dress for a days of the raj  party
 
the rest are shamelessly naked  :o)
 
 




   
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Status: RO

Hi,
As you all responded me so bravely i have uploaded a new photo how i want to 
make it.
http://www.my-drewscostumes.dk/sofie3-36.htm
Its as i told you late last night made with 2 rows of stitching each side of 
the center and with the narrow goldtrim.
It raises in the edges and gets dimentional as i wanted.
Thankyou all for your nice responses..........

Bjarne


Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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Status: RO

Greetings! 

I have a Master's Degree in Art History and I'm currently teaching at a 
local community college.  My path to professorship was basically that there 
are very few other choices out there for a person with an Art History 
degree.  Yes, there's museum work, but that really wasn't my cup of tea when 
I was in school. 

If your husband is at all considering getting a PhD, I would encourage him 
to keep that as his goal.  Most institutions of higher education will want a 
PhD to hire someone for a tenure-track position.  Even my community college 
put "PhD preferred" on the position notice for the full-time art historian 
job last year.  At most four-year colleges and universities, it's "PhD 
required" to even be considered for a faculty job. 

That being said, if he can get in at a local community college, this is a 
great way for him to get his foot in the door in terms of teaching.  It will 
look great on his resume for the future and will also give him a sense of 
whether teaching is what he _really_ wants to do.  Perhaps he can teach for 
a while at a community college and then start his PhD in a few years? 

What he can do is look around at the websites of your local colleges and 
universities.  Most of them have job listings posted online and he can look 
at the position descriptions and requirements and see what each school is 
looking for in terms of qualifications.  He can also call the HR departments 
as you suggested, if he has specific questions about a particular school. 

I don't think it's important that he get his final degree from the school at 
which he eventually wishes to teach.  In fact, it's the other way around - 
most schools want to see a diverse background - they want to hire people who 
have been other places and had other experiences that the new hire can bring 
into their community. 

Good luck to you and your student-husband! 

Best, 

Helena 


> I know we have a handful of professors on this list, and hopefully at least 
> one of you can give me some input!  Please feel free to take any responses 
> off-list. 
> 
> The husband, Thomas, has decided that his ideal career is that of an 
> electrical engineering or math professor.  Right now, he's only got his 
> masters (or will have at the end of the summer), and since he's been working 
> full-time as an ee while also attending classes at WUSTL for his masters, 
> he's a bit reluctant to go straight into getting his PhD.  (I, too, am a bit 
> reluctant to spend who knows how many more years of only seeing him on 
> weekends.)  However, most community colleges and a few 4-year institutions 
> are willing to hire instructors with only a masters, especially when the 
> potential instructor also has some non-academic work experience in the field 
> he wants to teach.  The husband likes the idea of teaching at a community 
> college for a while rather than waiting to get his PhD, though he would 
> prefer to wind up as a tenured PhD at a 4-year institution.  As a first 
> step, he hopes to be a part-time instructor at a local college, while still 
> working full-time at the job he has now. 
> 
> Those few acquaintances I have who have become professors got into it by 
> basically becoming professional students, and that's not a path Thomas is 
> likely to take.  (If nothing else, I'm no longer capable of putting him 
> through school!  And oy, we're almost done paying off the last batch of 
> student loans...)  So, we're trying to figure out a plan of attack for 
> Operation Become A Professor In Montana Or Wyoming. 
> 
> So much for the background.  My questions are very general: what path did 
> you take to become a professor?  What other paths have you seen successfully 
> navigated?  What would you advise Thomas to do, and what would you advise 
> him NOT to do?  How important is it to get your PhD from the 
> college/university where you hope to teach?  Who should he talk to--for 
> example, would it be a waste of time for him to call up some HR departments 
> and ask them these sorts of questions, while he's still in the planning 
> stage?  Is it a good idea for him to get a bit of teaching experience in 
> wherever possible, as with the part-time instructor plan?  And so on, and so 
> forth, and the like, etcetera. 
> 
> Thanks in advance to anyone who can help!
> -E House


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Subject: Re: [h-cost] i cant deside
Date: Tue, 01 May 2007 14:43:17 +0000
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Status: RO

I think it looks Perfect for the look you are trying for!

Thank you for sharing!!
Gia

-------------- Original message -------------- 
From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk> 

> Hi, 
> As you all responded me so bravely i have uploaded a new photo how i want to 
> make it. 
> http://www.my-drewscostumes.dk/sofie3-36.htm 
> Its as i told you late last night made with 2 rows of stitching each side of 
> the center and with the narrow goldtrim. 
> It raises in the edges and gets dimentional as i wanted. 
> Thankyou all for your nice responses.......... 
> 
> 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: elena_o_tighearnaigh@comcast.net
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] The Queen, The Queen
Date: Tue, 01 May 2007 14:45:32 +0000
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Status: RO

*sigh*  You lucky person!
Gia

-------------- Original message -------------- 
From: "Ron Carnegie" <r.carnegie@verizon.net> 

> Oh all right then.... 
> 
> 
> She will arrive in Williamsburg Thursday night. She is staying at te 
> Williamburg Inn. She will enjoy a carriage ride through the historic area 
> on friday, and address people at the College of William and Mary. Later she 
> will be at nthe two Jamestown Parks. I will be escorting her as part of an 
> honor guard at Jamestowne Settlement. 
> 
> Ron Carnegie 
> 
> ----- Original Message ----- 
> From: "Penny Ladnier" 
> To: "h-costume" 
> Sent: Tuesday, May 01, 2007 1:04 AM 
> Subject: [h-cost] The Queen, The Queen 
> 
> 
> Oh well, you can't win them all. Queen Elizabeth II is coming to Richmond, 
> VA Thursday for the 400th Anniversary of Jamestown. Last Friday, it was 
> announced that she would be at the Capital on Thursday, May 3. And that the 
> Queen would be receiving 108 people in representation of the original 108 
> Jamestown Colonists. The Commonwealth of Virginia had a lottery today to be 
> one of the 108 people. Darn, I didn't win. But my daughter, son, and I are 
> going to the Capital to see the Queen give a speech. Hopefully we can get 
> close enough to take photos. The Queen will be going to Jamestown next 
> week. LOL! I wonder if the Queen is going to the NASCAR race in Richmond 
> this weekend. 
> For more info about the Queen's visit and Jamestown's 400th Anniversary go 
> to: 
> http://queensvisit.governor.virginia.gov/home.asp 
> http://www.americas400thanniversary.com/ 
> 
> Maybe our Williamsburg h-costumers can give info about the Queen's visit 
> there. 
> 
> Penny Ladnier, 
> Owner, The Costume Gallery Websites 
> www.costumegallery.com 
> www.costumelibrary.com 
> www.costumeclassroom.com 
> www.costumeencyclopedia.com 
> 
> _______________________________________________ 
> h-costume mailing list 
> h-costume@mail.indra.com 
> http://mail.indra.com/mailman/listinfo/h-costume 
> 
> _______________________________________________ 
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> http://mail.indra.com/mailman/listinfo/h-costume 
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Subject: [h-cost] brightening bullion tassel?
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Status: RO

What would you folks suggest (if anything) for brightening a presently very 
darkly tarnished Ph.D. tassel made of bullion braid?

Kathleen 

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Date: Tue, 1 May 2007 09:53:42 -0700 (PDT)
From: MaggiRos <maggiros@yahoo.com>
Subject: Re: [h-cost] i cant deside
To: Historical Costume <h-costume@indra.com>
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Status: RO

That's it! Striking and elegant.

MaggiRos

--- Bjarne og Leif Drews <drewscph@post12.tele.dk>
wrote:

> Hi,
> As you all responded me so bravely i have uploaded a
> new photo how i want to 
> make it.
> http://www.my-drewscostumes.dk/sofie3-36.htm
> Its as i told you late last night made with 2 rows
> of stitching each side of 
> the center and with the narrow goldtrim.
> It raises in the edges and gets dimentional as i
> wanted.
> Thankyou all for your nice responses..........
> 
> 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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Status: RO

I was there recently and had the pleasure of meeting with Linda Baumgarten,
the curator of clothing at textiles at Williamsburg.  She actually
volunteered this information (although I was planning to ask anyway) and I
think people on this list might be interested:

There WILL be a reprint of Costume Close-Up and I think she indicated that
it will happen within about a year.

Sorry to those folks who are trying to get upwards of $200 for it on EBAY
but those of us in the know don't need to pay that.

So if you wanted a copy but didn't get one on the first go-around, you will
have another chance!

Diana

--
www.RenaissanceFabrics.net
"Everything for the Costumer"
 
"Be the change you want to see in the world"
--Ghandi

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Status: RO

Diana Habra wrote:


> 
> There WILL be a reprint of Costume Close-Up and I think she indicated that
> it will happen within about a year.

Thanks for sharing the good news. What I want to see back in print is 
_Fitting and Proper_. I tracked down one copy and it was in such bad 
shape (ripped cover, soiled interior) I refused to buy it.



Dawn



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Date: Tue, 1 May 2007 10:37:59 -0700
From: Cin <cinbarnes@gmail.com>
To: h-cost <h-costume@indra.com>
Subject: Re: [h-cost] What's your dressmakers dummy wearing today?
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Status: RO

>Re: What's your dressmakers dummy wearing today?

Euprosnia has on the lining of my next 1848-50 ballgown as I mark the
waist & shoulder seams. It's going to be coral with some sort of braid
across the bosom a la militaire.  This gown's for the Danse Libre
performance at the end of the month.
     www.DanseLibre.org
Do come & see us if you have a chance.

Adonis is wearing a black silk gilet (c 1350s), it goes under a
pourpoint) and a large c 1890s woman's hat.  His sense of fashion is
somewhat lacking.

Anne, Kathryn & Charles (the 3 heads) are wearing Isabel of Austria's
velvet & pearl hat (c 1590), a "kiss-me-quick" bonnet adorned with a
spray of green parrot feathers (c 1840s) and a tall red velvet hennin,
veil and a bee pin (c 1470).
--cin
Cynthia Barnes
CinBarnes@gmail.com
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Subject: Re: [h-cost] The Queen, The Queen
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Status: RO

Wow, Ron, that is SO cool! And after all, you have
some previous experience ;-)

Maggie


--- Ron Carnegie <r.carnegie@verizon.net> wrote:

>   Oh all right then....
> 
> 
>     She will arrive in Williamsburg Thursday night. 
> She is staying at te 
> Williamburg Inn.  She will enjoy a carriage ride
> through the historic area 
> on friday, and address people at the College of
> William and Mary.  Later she 
> will be at nthe two Jamestown Parks.  I will be
> escorting her as part of an 
> honor guard at Jamestowne Settlement.
> 
> Ron Carnegie
> 
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From: MaggiRos <maggiros@yahoo.com>
Subject: Re: [h-cost] Need fabric selection advice
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Status: RO

Hope's right. I can see using white (silk) twill for a
nobleman's shirt--and it would be spectacular--but not
much else. I use china silk for my own Court shifts,
since they're usually doubling as partlets, plus it
just feels so nice!

MaggiRos


--- Hope Greenberg <hope.greenberg@uvm.edu> wrote:


> I'll second the comment about modern silks: the
> current fashion is for 
> soft and flowing, or, as in the case of dupionis and
> chantungs, firm and 
> slubby. Either way they are not ideal for this
> period.
> 
> - Hope
> 
> 
> TeaRoseS@aol.com wrote:
> >  
> >  
> > Hello. Rank amateur that I am, I need some advice
> about selecting  fabric for 
> > my Tudor wardrobe (1530-1560ish) from you textile
> experts.  FashionFabrics 
> > has silk twill on sale and I was wondering if it
> would be  appropriate for my 
> > period, and if so, what for? 
> >  
_______________________________________________
h-costume mailing list
h-costume@mail.indra.com
http://mail.indra.com/mailman/listinfo/h-costume

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Status: RO

Mine is currently wearing what will hopefully turn out to be a doublet for =
my husband..*lol*
It was my first attempt at draping a pattern, so I'm going to reserve =
judgment on it until it's done.=20

- Victoria

>>> <h-costume-request@indra.com> 5/1/2007 1:42:33 PM >>>
Send h-costume mailing list submissions to
	h-costume@mail.indra.com=20

To subscribe or unsubscribe via the World Wide Web, visit
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When replying, please edit your Subject line so it is more specific
than "Re: Contents of h-costume digest..."


Today's Topics:

   1. Re: The Queen, The Queen (Ron Carnegie)
   2. Re: The Queen, The Queen (AnnBWass@aol.com)
   3. Re: Need fabric selection advice (Hope Greenberg)
   4. RE: What's your dressmakers dummy wearing today? (Anne Moeller)
   5. i cant deside (Bjarne og Leif Drews)
   6. Re: OT--Q for professors (Martha Oser)
   7. Re: i cant deside (elena_o_tighearnaigh@comcast.net)
   8. Re: The Queen, The Queen (elena_o_tighearnaigh@comcast.net)
   9. brightening bullion tassel? (LLOYD MITCHELL)
  10. Speaking of Williamsburg.... (Diana Habra)
  11. Re: i cant deside (MaggiRos)
  12. Re: Speaking of Williamsburg.... (Dawn)
  13. Re: What's your dressmakers dummy wearing today? (Cin)
  14. Re: The Queen, The Queen (MaggiRos)


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

Message: 1
Date: Tue, 01 May 2007 09:28:24 -0400
From: "Ron Carnegie" <r.carnegie@verizon.net>
Subject: Re: [h-cost] The Queen, The Queen
To: "Historical Costume" <h-costume@indra.com>
Message-ID: <00a601c78bf4$98f1e820$0400000a@owner85a4f9e93>
Content-Type: text/plain; format=3Dflowed; charset=3Diso-8859-1;
	reply-type=3Doriginal

  Oh all right then....


    She will arrive in Williamsburg Thursday night.  She is staying at =
te=20
Williamburg Inn.  She will enjoy a carriage ride through the historic =
area=20
on friday, and address people at the College of William and Mary.  Later =
she=20
will be at nthe two Jamestown Parks.  I will be escorting her as part of =
an=20
honor guard at Jamestowne Settlement.

Ron Carnegie

----- Original Message -----=20
From: "Penny Ladnier" <penny@costumegallery.com>
To: "h-costume" <h-costume@indra.com>
Sent: Tuesday, May 01, 2007 1:04 AM
Subject: [h-cost] The Queen, The Queen


Oh well, you can't win them all.  Queen Elizabeth II is coming to =
Richmond,=20
VA Thursday for the 400th Anniversary of Jamestown.  Last Friday, it =
was=20
announced that she would be at the Capital on Thursday, May 3.  And that =
the=20
Queen would be receiving 108 people in representation of the original =
108=20
Jamestown Colonists.  The Commonwealth of Virginia had a lottery today to =
be=20
one of the 108 people.  Darn, I didn't win.  But my daughter, son, and I =
are=20
going to the Capital to see the Queen give a speech.  Hopefully we can =
get=20
close enough to take photos.   The Queen will be going to Jamestown =
next=20
week.  LOL!  I wonder if the Queen is going to the NASCAR race in =
Richmond=20
this weekend.
For more info about the Queen's visit and Jamestown's 400th Anniversary =
go=20
to:
http://queensvisit.governor.virginia.gov/home.asp=20
http://www.americas400thanniversary.com/=20

Maybe our Williamsburg h-costumers can give info about the Queen's =
visit=20
there.

Penny Ladnier,
Owner, The Costume Gallery Websites
www.costumegallery.com=20
www.costumelibrary.com=20
www.costumeclassroom.com=20
www.costumeencyclopedia.com=20

_______________________________________________
h-costume mailing list
h-costume@mail.indra.com=20
http://mail.indra.com/mailman/listinfo/h-costume=20



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

Message: 2
Date: Tue, 1 May 2007 09:40:45 EDT
From: AnnBWass@aol.com=20
Subject: Re: [h-cost] The Queen, The Queen
To: h-costume@indra.com=20
Message-ID: <d64.7b45749.33689d5d@aol.com>
Content-Type: text/plain; charset=3D"US-ASCII"

=20
In a message dated 5/1/2007 9:28:53 A.M. Eastern Daylight Time, =20
r.carnegie@verizon.net writes:

I will  be escorting her as part of an=20
honor guard at Jamestowne  Settlement.




That is indeed an honor.=20
=20
And of course she will be visiting the British Embassy here in =20
Washington--they are getting the garden spiffed up for her visit, as she =
is to  plant a=20
tree.  And I think there is a state dinner, too.  (Did you  know that when =
the=20
Prime Minister visits, it is not a State dinner, because s/he  is not,=20
technically, head of state?)
=20
Ann Wass



************************************** See what's free at http://www.aol.co=
m.


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

Message: 3
Date: Tue, 01 May 2007 09:49:43 -0400
From: Hope Greenberg <hope.greenberg@uvm.edu>
Subject: Re: [h-cost] Need fabric selection advice
To: Historical Costume <h-costume@indra.com>
Message-ID: <46374577.6010702@uvm.edu>
Content-Type: text/plain; charset=3DISO-8859-1; format=3Dflowed

Wool! Wool is always right. When lined with light/handkerchief linen it=20
is especially wonderful--warm when it's cold out, and breathable and=20
surprisingly wearable even in the heat. If you can find a nice smooth=20
worsted wool gabardine (just a regular gabardine, not the one called=20
tricotine, or any of the new ones with lycra) it washes with hardly any=20
shrinkage and looks great for years.

I'll second the comment about modern silks: the current fashion is for=20
soft and flowing, or, as in the case of dupionis and chantungs, firm =
and=20
slubby. Either way they are not ideal for this period.

- Hope


TeaRoseS@aol.com wrote:
> =20
> =20
> Hello. Rank amateur that I am, I need some advice about selecting  =
fabric for=20
> my Tudor wardrobe (1530-1560ish) from you textile experts.  FashionFabric=
s=20
> has silk twill on sale and I was wondering if it would be  appropriate =
for my=20
> period, and if so, what for?=20
> =20
>  =20




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

Message: 4
Date: Tue, 1 May 2007 10:08:46 -0400
From: "Anne Moeller" <ladyanne@quik.com>
Subject: RE: [h-cost] What's your dressmakers dummy wearing today?
To: "'Historical Costume'" <h-costume@indra.com>
Message-ID: <005501c78bfa$3bca0a50$0200a8c0@ANNESCOMPUTER>
Content-Type: text/plain;	charset=3D"windows-1250"

OMG!!! How many do you have?

Anne

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Debloughcostumes@aol.com=20
Sent: Tuesday, May 01, 2007 6:22 AM
To: h-costume@indra.com=20
Subject: Re: [h-cost] What's your dressmakers dummy wearing today?

=20
right now one's wearing a toile for a prom dress
=20
one's wearing assorted bits of child sized tudor clothing I'm doing for a =
=20
museum
=20
one's wearing a tuodor fencing doublet I'm doing for fun
=20
one's wearing an original 30s silk velvet bolero jacket I'm restoring
=20
and another two are wearing the beginnings of dresses being made for
parties=20
- one for a friend will eventuallly be an 18th c saque, and one for me  =
will

be some sort of victorian or edwardian dress for a days of the raj  party
=20
the rest are shamelessly naked  :o)
=20
=20




  =20
_______________________________________________
h-costume mailing list
h-costume@mail.indra.com=20
http://mail.indra.com/mailman/listinfo/h-costume=20

No virus found in this incoming message.
Checked by AVG Free Edition.=20
Version: 7.5.467 / Virus Database: 269.6.2/782 - Release Date: 5/1/2007 =
2:10
AM
=20

No virus found in this outgoing message.
Checked by AVG Free Edition.=20
Version: 7.5.467 / Virus Database: 269.6.2/782 - Release Date: 5/1/2007 =
2:10
AM
=20



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

Message: 5
Date: Tue, 1 May 2007 16:15:32 +0200
From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
Subject: [h-cost] i cant deside
To: <h-costume@indra.com>
Message-ID: <000a01c78bfb$2f5dff50$b214a150@CPQ21932199711>
Content-Type: text/plain; format=3Dflowed; charset=3D"iso-8859-1";
	reply-type=3Doriginal

Hi,
As you all responded me so bravely i have uploaded a new photo how i want =
to=20
make it.
http://www.my-drewscostumes.dk/sofie3-36.htm=20
Its as i told you late last night made with 2 rows of stitching each side =
of=20
the center and with the narrow goldtrim.
It raises in the edges and gets dimentional as i wanted.
Thankyou all for your nice responses..........

Bjarne


Leif og Bjarne Drews
www.my-drewscostumes.dk=20

http://home0.inet.tele.dk/drewscph/=20




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

Message: 6
Date: Tue, 01 May 2007 10:22:42 -0400
From: "Martha Oser" <osermart@msu.edu>
Subject: [h-cost] Re: OT--Q for professors
To: h-costume@indra.com=20
Message-ID: <E1HitFa-0007wg-62@sys30.mail.msu.edu>
Content-Type: text/plain; format=3Dflowed; charset=3D"utf-8"

Greetings!=20

I have a Master's Degree in Art History and I'm currently teaching at a=20
local community college.  My path to professorship was basically that =
there=20
are very few other choices out there for a person with an Art History=20
degree.  Yes, there's museum work, but that really wasn't my cup of tea =
when=20
I was in school.=20

If your husband is at all considering getting a PhD, I would encourage =
him=20
to keep that as his goal.  Most institutions of higher education will want =
a=20
PhD to hire someone for a tenure-track position.  Even my community =
college=20
put "PhD preferred" on the position notice for the full-time art =
historian=20
job last year.  At most four-year colleges and universities, it's "PhD=20
required" to even be considered for a faculty job.=20

That being said, if he can get in at a local community college, this is =
a=20
great way for him to get his foot in the door in terms of teaching.  It =
will=20
look great on his resume for the future and will also give him a sense =
of=20
whether teaching is what he _really_ wants to do.  Perhaps he can teach =
for=20
a while at a community college and then start his PhD in a few years?=20

What he can do is look around at the websites of your local colleges =
and=20
universities.  Most of them have job listings posted online and he can =
look=20
at the position descriptions and requirements and see what each school =
is=20
looking for in terms of qualifications.  He can also call the HR department=
s=20
as you suggested, if he has specific questions about a particular =
school.=20

I don't think it's important that he get his final degree from the school =
at=20
which he eventually wishes to teach.  In fact, it's the other way around =
-=20
most schools want to see a diverse background - they want to hire people =
who=20
have been other places and had other experiences that the new hire can =
bring=20
into their community.=20

Good luck to you and your student-husband!=20

Best,=20

Helena=20


> I know we have a handful of professors on this list, and hopefully at =
least=20
> one of you can give me some input!  Please feel free to take any =
responses=20
> off-list.=20
>=20
> The husband, Thomas, has decided that his ideal career is that of an=20
> electrical engineering or math professor.  Right now, he's only got =
his=20
> masters (or will have at the end of the summer), and since he's been =
working=20
> full-time as an ee while also attending classes at WUSTL for his =
masters,=20
> he's a bit reluctant to go straight into getting his PhD.  (I, too, am a =
bit=20
> reluctant to spend who knows how many more years of only seeing him =
on=20
> weekends.)  However, most community colleges and a few 4-year institution=
s=20
> are willing to hire instructors with only a masters, especially when =
the=20
> potential instructor also has some non-academic work experience in the =
field=20
> he wants to teach.  The husband likes the idea of teaching at a =
community=20
> college for a while rather than waiting to get his PhD, though he =
would=20
> prefer to wind up as a tenured PhD at a 4-year institution.  As a =
first=20
> step, he hopes to be a part-time instructor at a local college, while =
still=20
> working full-time at the job he has now.=20
>=20
> Those few acquaintances I have who have become professors got into it =
by=20
> basically becoming professional students, and that's not a path Thomas =
is=20
> likely to take.  (If nothing else, I'm no longer capable of putting =
him=20
> through school!  And oy, we're almost done paying off the last batch =
of=20
> student loans...)  So, we're trying to figure out a plan of attack =
for=20
> Operation Become A Professor In Montana Or Wyoming.=20
>=20
> So much for the background.  My questions are very general: what path =
did=20
> you take to become a professor?  What other paths have you seen =
successfully=20
> navigated?  What would you advise Thomas to do, and what would you =
advise=20
> him NOT to do?  How important is it to get your PhD from the=20
> college/university where you hope to teach?  Who should he talk =
to--for=20
> example, would it be a waste of time for him to call up some HR =
departments=20
> and ask them these sorts of questions, while he's still in the =
planning=20
> stage?  Is it a good idea for him to get a bit of teaching experience =
in=20
> wherever possible, as with the part-time instructor plan?  And so on, =
and so=20
> forth, and the like, etcetera.=20
>=20
> Thanks in advance to anyone who can help!
> -E House




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

Message: 7
Date: Tue, 01 May 2007 14:43:17 +0000
From: elena_o_tighearnaigh@comcast.net=20
Subject: Re: [h-cost] i cant deside
To: Historical Costume <h-costume@indra.com>
Message-ID:
	<050120071443.9764.46375205000AE1740000262422058861720809070E029D0E=
0A0809079BA101A10E020A040A@comcast.net>
=09
Content-Type: text/plain

I think it looks Perfect for the look you are trying for!

Thank you for sharing!!
Gia

-------------- Original message --------------=20
From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>=20

> Hi,=20
> As you all responded me so bravely i have uploaded a new photo how i =
want to=20
> make it.=20
> http://www.my-drewscostumes.dk/sofie3-36.htm=20
> Its as i told you late last night made with 2 rows of stitching each =
side of=20
> the center and with the narrow goldtrim.=20
> It raises in the edges and gets dimentional as i wanted.=20
> Thankyou all for your nice responses..........=20
>=20
> Bjarne=20
>=20
>=20
> Leif og Bjarne Drews=20
> www.my-drewscostumes.dk=20
>=20
> http://home0.inet.tele.dk/drewscph/=20
>=20
>=20
> _______________________________________________=20
> h-costume mailing list=20
> h-costume@mail.indra.com=20
> http://mail.indra.com/mailman/listinfo/h-costume=20

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

Message: 8
Date: Tue, 01 May 2007 14:45:32 +0000
From: elena_o_tighearnaigh@comcast.net=20
Subject: Re: [h-cost] The Queen, The Queen
To: Historical Costume <h-costume@indra.com>
Message-ID:
	<050120071445.23760.4637528C000DD0F000005CD022007374780809070E029D0=
E0A0809079BA101A10E020A040A@comcast.net>
=09
Content-Type: text/plain

*sigh*  You lucky person!
Gia

-------------- Original message --------------=20
From: "Ron Carnegie" <r.carnegie@verizon.net>=20

> Oh all right then....=20
>=20
>=20
> She will arrive in Williamsburg Thursday night. She is staying at te=20
> Williamburg Inn. She will enjoy a carriage ride through the historic =
area=20
> on friday, and address people at the College of William and Mary. Later =
she=20
> will be at nthe two Jamestown Parks. I will be escorting her as part of =
an=20
> honor guard at Jamestowne Settlement.=20
>=20
> Ron Carnegie=20
>=20
> ----- Original Message -----=20
> From: "Penny Ladnier"=20
> To: "h-costume"=20
> Sent: Tuesday, May 01, 2007 1:04 AM=20
> Subject: [h-cost] The Queen, The Queen=20
>=20
>=20
> Oh well, you can't win them all. Queen Elizabeth II is coming to =
Richmond,=20
> VA Thursday for the 400th Anniversary of Jamestown. Last Friday, it =
was=20
> announced that she would be at the Capital on Thursday, May 3. And that =
the=20
> Queen would be receiving 108 people in representation of the original =
108=20
> Jamestown Colonists. The Commonwealth of Virginia had a lottery today to =
be=20
> one of the 108 people. Darn, I didn't win. But my daughter, son, and I =
are=20
> going to the Capital to see the Queen give a speech. Hopefully we can =
get=20
> close enough to take photos. The Queen will be going to Jamestown =
next=20
> week. LOL! I wonder if the Queen is going to the NASCAR race in =
Richmond=20
> this weekend.=20
> For more info about the Queen's visit and Jamestown's 400th Anniversary =
go=20
> to:=20
> http://queensvisit.governor.virginia.gov/home.asp=20
> http://www.americas400thanniversary.com/=20
>=20
> Maybe our Williamsburg h-costumers can give info about the Queen's =
visit=20
> there.=20
>=20
> Penny Ladnier,=20
> Owner, The Costume Gallery Websites=20
> www.costumegallery.com=20
> www.costumelibrary.com=20
> www.costumeclassroom.com=20
> www.costumeencyclopedia.com=20
>=20
> _______________________________________________=20
> h-costume mailing list=20
> h-costume@mail.indra.com=20
> http://mail.indra.com/mailman/listinfo/h-costume=20
>=20
> _______________________________________________=20
> h-costume mailing list=20
> h-costume@mail.indra.com=20
> http://mail.indra.com/mailman/listinfo/h-costume=20

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

Message: 9
Date: Tue, 1 May 2007 11:03:06 -0400
From: "LLOYD MITCHELL" <rmitchell@washjeff.edu>
Subject: [h-cost] brightening bullion tassel?
To: "H-Costume" <h-costume@indra.com>
Message-ID: <005f01c78c01$d4ed83e0$2f01a8c0@IBMTHINKPAD>
Content-Type: text/plain; format=3Dflowed; charset=3D"iso-8859-1";
	reply-type=3Doriginal

What would you folks suggest (if anything) for brightening a presently =
very=20
darkly tarnished Ph.D. tassel made of bullion braid?

Kathleen=20



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

Message: 10
Date: Tue, 1 May 2007 08:47:49 -0700
From: "Diana Habra" <dch@inreach.com>
Subject: [h-cost] Speaking of Williamsburg....
To: "'Historical Costume'" <h-costume@indra.com>
Message-ID: <000301c78c08$13338900$0d00a8c0@D1V3BRB1>
Content-Type: text/plain;	charset=3D"us-ascii"

I was there recently and had the pleasure of meeting with Linda Baumgarten,=

the curator of clothing at textiles at Williamsburg.  She actually
volunteered this information (although I was planning to ask anyway) and I
think people on this list might be interested:

There WILL be a reprint of Costume Close-Up and I think she indicated that
it will happen within about a year.

Sorry to those folks who are trying to get upwards of $200 for it on EBAY
but those of us in the know don't need to pay that.

So if you wanted a copy but didn't get one on the first go-around, you =
will
have another chance!

Diana

--
www.RenaissanceFabrics.net=20
"Everything for the Costumer"
=20
"Be the change you want to see in the world"
--Ghandi



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

Message: 11
Date: Tue, 1 May 2007 09:53:42 -0700 (PDT)
From: MaggiRos <maggiros@yahoo.com>
Subject: Re: [h-cost] i cant deside
To: Historical Costume <h-costume@indra.com>
Message-ID: <20070501165342.6643.qmail@web32713.mail.mud.yahoo.com>
Content-Type: text/plain; charset=3Diso-8859-1

That's it! Striking and elegant.

MaggiRos

--- Bjarne og Leif Drews <drewscph@post12.tele.dk>
wrote:

> Hi,
> As you all responded me so bravely i have uploaded a
> new photo how i want to=20
> make it.
> http://www.my-drewscostumes.dk/sofie3-36.htm=20
> Its as i told you late last night made with 2 rows
> of stitching each side of=20
> the center and with the narrow goldtrim.
> It raises in the edges and gets dimentional as i
> wanted.
> Thankyou all for your nice responses..........
>=20
> Bjarne
>=20
>=20
> Leif og Bjarne Drews
> www.my-drewscostumes.dk=20
>=20
> http://home0.inet.tele.dk/drewscph/=20
>=20
>=20
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com=20
> http://mail.indra.com/mailman/listinfo/h-costume=20
>=20



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

Message: 12
Date: Tue, 01 May 2007 12:14:13 -0500
From: Dawn <dawn@reddawn.net>
Subject: Re: [h-cost] Speaking of Williamsburg....
To: Historical Costume <h-costume@indra.com>
Message-ID: <46377565.80602@reddawn.net>
Content-Type: text/plain; charset=3Dus-ascii; format=3Dflowed

Diana Habra wrote:


>=20
> There WILL be a reprint of Costume Close-Up and I think she indicated =
that
> it will happen within about a year.

Thanks for sharing the good news. What I want to see back in print is=20
_Fitting and Proper_. I tracked down one copy and it was in such bad=20
shape (ripped cover, soiled interior) I refused to buy it.



Dawn





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

Message: 13
Date: Tue, 1 May 2007 10:37:59 -0700
From: Cin <cinbarnes@gmail.com>
Subject: Re: [h-cost] What's your dressmakers dummy wearing today?
To: h-cost <h-costume@indra.com>
Message-ID:
	<edcaf0220705011037h3479318o99330c34a8414b14@mail.gmail.com>
Content-Type: text/plain; charset=3DISO-8859-1; format=3Dflowed

>Re: What's your dressmakers dummy wearing today?

Euprosnia has on the lining of my next 1848-50 ballgown as I mark the
waist & shoulder seams. It's going to be coral with some sort of braid
across the bosom a la militaire.  This gown's for the Danse Libre
performance at the end of the month.
     www.DanseLibre.org=20
Do come & see us if you have a chance.

Adonis is wearing a black silk gilet (c 1350s), it goes under a
pourpoint) and a large c 1890s woman's hat.  His sense of fashion is
somewhat lacking.

Anne, Kathryn & Charles (the 3 heads) are wearing Isabel of Austria's
velvet & pearl hat (c 1590), a "kiss-me-quick" bonnet adorned with a
spray of green parrot feathers (c 1840s) and a tall red velvet hennin,
veil and a bee pin (c 1470).
--cin
Cynthia Barnes
CinBarnes@gmail.com=20


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

Message: 14
Date: Tue, 1 May 2007 10:42:06 -0700 (PDT)
From: MaggiRos <maggiros@yahoo.com>
Subject: Re: [h-cost] The Queen, The Queen
To: Historical Costume <h-costume@indra.com>
Message-ID: <203613.89280.qm@web32714.mail.mud.yahoo.com>
Content-Type: text/plain; charset=3Diso-8859-1

Wow, Ron, that is SO cool! And after all, you have
some previous experience ;-)

Maggie


--- Ron Carnegie <r.carnegie@verizon.net> wrote:

>   Oh all right then....
>=20
>=20
>     She will arrive in Williamsburg Thursday night.=20
> She is staying at te=20
> Williamburg Inn.  She will enjoy a carriage ride
> through the historic area=20
> on friday, and address people at the College of
> William and Mary.  Later she=20
> will be at nthe two Jamestown Parks.  I will be
> escorting her as part of an=20
> honor guard at Jamestowne Settlement.
>=20
> Ron Carnegie
>=20


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

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End of h-costume Digest, Vol 6, Issue 202
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References: <005f01c78c01$d4ed83e0$2f01a8c0@IBMTHINKPAD>
Subject: Re: [h-cost] brightening bullion tassel?
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Status: RO

The latest novelty i have heard about cleaning goldwork is to use brushes, 
where the brushes are made from fine glass threads. This is how they do it 
on museums.

But where to get these brushes, i have not got any ideas.

Bjarne


----- Original Message ----- 
From: "LLOYD MITCHELL" <rmitchell@washjeff.edu>
To: "H-Costume" <h-costume@indra.com>
Sent: Tuesday, May 01, 2007 5:03 PM
Subject: [h-cost] brightening bullion tassel?


> What would you folks suggest (if anything) for brightening a presently 
> very darkly tarnished Ph.D. tassel made of bullion braid?
>
> Kathleen
> _______________________________________________
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> h-costume@mail.indra.com
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Subject: Re: [h-cost] Need fabric selection advice
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Status: RO

I have some lovely heavy silk twill from FFC in a sort of darkdark emerald 
green, which I got because A) it's heavy silk, and anytime I see heavy silk 
I must have it, and B) the husband loves that color.  But I absolutely 
cannot figure out what on earth to do with it.  For some reason it screams 
victorian to me, but it's far too floppy for anything that springs to mind 
in that era.  I'm going to hoard it for a few more years until it starts 
screaming something more reasonable at me.

I can't really picture using any of the silk twills I've seen at FFC working 
for the outer fabric of a structured Tudor-era gown.  However, some of the 
ribbed silks they sell would work very nicely!  For example, I got some silk 
ottoman from them not too long ago:
http://www.fashionfabricsclub.com/catalog_itemdetail.aspx?ItmID=AA036
and it is perfect for anything structured. I haven't felt samples of their 
other ottomans, but they should be at least somewhat similar (though the 
sueded ones might not be quite right for the era):
http://www.fashionfabricsclub.com/Catalog_items.aspx?Query=silk%20ottoman
Unfortunately, in order to find ribbed silks on the site, you have to know 
the correct term for that specific fabric, and right now I'm drawing a blank 
other than ottoman; they don't use any of the obvious terms like ribbed or 
grosgrain.  Mostly, you need to order 1/8 yd as a sample in order to find 
out what a fabric is like, because fabrics with the same 
name/description/price/appearance can be wildly different.  Also 
unfortunately, this sort of stuff rarely goes on sale!

-E House 


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Subject: [h-cost] China silk?
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Status: RO

Hi everyone,  I am preparing to make some drops for a stage production, the 
directors notes for the set drape call for "China Silk",  we are poor so I 
have a couple of questions
1)  what exactly is "china silk"?  Is it translucent? Is it opaque? Does it 
also go by another name?
2) What would be a good same or similar weight fabric I could use?
You are all so knowledgeable and great at answering questions, I'm looking 
forward to hearing from any one with advice.
Paula

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Subject: Re: [h-cost] China silk?
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Status: RO

China silk is very thin, though not sheer, silk that moves and flutters  with 
the slightest breeze. It's shiny and slick.
 
In Balenchine's ballet of "Orpheus" [Stravinsky] when the "Dark Angel" and  
Orpheus are traveling between the world of the living and the Underworld, a  
china silk curtain descends. It is amazing to behold..it floats down like a  
cloud. And then lights are brought up behind its shimmering undulating surface.  
The effect is like a scrim but not as crisp.



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From: "Lynn Downward" <lynndownward@gmail.com>
To: "Historical Costume" <h-costume@indra.com>
Subject: Re: [h-cost] China silk?
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Status: RO

China silk sometimes also goes by another name and I'm completely
drawing a blank on it. It's usually used for linings or, as MaggieRos
just said, Renaissance partlets. There are several weights of china
silk but mostly they drape beautifully and have that exquisite silk
sheen.

May I suggest you go to Dharma Trading (www.dharmatrading.com, I
think) and check out their prices and weights. They'll send you
swatches for next to nothing. They sell by the yard and by the bolt,
so if you need lots for stage drape, their bolt price is fabulous,
between $1.50-2.50 per yard depending on weight if I remember
correctly. Their quality if great and their shipping is also good.
They sell black and white, but the silk is easily dyed to whatever
color you need.

I'm sure you could also find polyester the same weight and close to
the same drape for less, but certainly not by much with Dharma's great
prices.

LynnD
A satisfied customer, I live about 30 minutes away from them (San Rafael, CA)


On 5/1/07, Paula Praxis <praxis_729@hotmail.com> wrote:
> Hi everyone,  I am preparing to make some drops for a stage production, the
> directors notes for the set drape call for "China Silk",  we are poor so I
> have a couple of questions
> 1)  what exactly is "china silk"?  Is it translucent? Is it opaque? Does it
> also go by another name?
> 2) What would be a good same or similar weight fabric I could use?
> You are all so knowledgeable and great at answering questions, I'm looking
> forward to hearing from any one with advice.
> Paula
>
> _________________________________________________________________
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Status: RO

Is that the same as silk habotai?  Dharma Trading Co. is a great source for inexpensive silk.  You get a greater discount when you buy in bulk bolts.
   
  Sheree
  

AlbertCat@aol.com wrote:
  China silk is very thin, though not sheer, silk that moves and flutters with 
the slightest breeze. It's shiny and slick.

In Balenchine's ballet of "Orpheus" [Stravinsky] when the "Dark Angel" and 
Orpheus are traveling between the world of the living and the Underworld, a 
china silk curtain descends. It is amazing to behold..it floats down like a 
cloud. And then lights are brought up behind its shimmering undulating surface. 
The effect is like a scrim but not as crisp.



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Status: RO

aka "habotai."

==================
~ Twinkle, dammit! ~


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Welcome. I got silk on the brain...sewing my wedding gown. Yarrrrrrr. ;-)

==================
~ Twinkle, dammit! ~


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> On 5/1/07, Paula Praxis <praxis_729@hotmail.com> wrote:
>> Hi everyone,  I am preparing to make some drops for a stage 
>> production, the
>> directors notes for the set drape call for "China Silk",  we are poor 
>> so I
>> have a couple of questions

...and for a look at how china silk acts as a drop (and why it is just 
so different from any kind of polyester) go rent "Hero" starring Jet Li, 
directed by Zhang Yimou, and watch the scene where the Emperor is 
fighting the Assassin in a hall filled with silk drops--stunning!

A note on mm:
3 mm - almost sheer, like holding air
5 mm - barely opaque, very lightweight
8 mm - think fine silk scarf

Oh, and Rupert, Gibbon and Spider also have good habotai prices, though 
only black and white: 
http://www.silkconnection.com/products/fabric/silk/habotai/


- Hope
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Subject: Re: [h-cost] China silk?
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Status: RO

http://www.silkconnection.com is also a great place to get undyed 
habotai/china silk cheap, especially if you're buying in bulk.  For most 
things (but not all) they're cheaper than Dharma.  A few years back I bought 
a bolt of charmeuse from them, and was very happy with the customer service 
I got.  It turns out I don't like charmeuse anywhere NEAR as much as I 
thought I would, but that's another story...

-E House 


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Subject: [h-cost] Costume-Con 26 room block now open!
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Status: RO

Costume-Con 26
April 25-28, 2008
DoubleTree San Jose
San Jose, CA
http://www.cc26.info/

Room reservations for Costume-Con 26 at the DoubleTree San Jose Hotel
are now open!

*How to reserve your room for Costume-Con 26:*
Room rates are $92.00 for single through quad occupancy. You can to make
reservations online at www.dtsj.com, www.doubletree.com or at
www.hilton.com. Please use group code C26 to get the Costume-Con 26
rate. In addition, we will soon have a link from the Costume-Con website
to our own personalized reservations page.

You can also make reservations by calling the Doubletree's toll free
reservation number, 800-222-TREE (8733) or by calling the Doubletree San
Jose directly at 408-453-4000 and mentioning Costume-Con 26.

*Special Room Blocking Requests*
If you want your room blocked near someone else, please have that noted
in the comments for your reservation and then email our hotel liaison
Dave Gallaher at hotel@cc26.info with your reservation number(s) and the
rooms you want blocked together. Similarly, if you want a room on our
party floor (the 2nd floor, in the wing near our Hospitality Suite),
note it in the comments for your reservation, and email hotel@cc26.info
with your request.

*Suites*
There are (a very few) parlor suites and one presidential suite
available at the DoubleTree at our negotiated rate of $155. Most (not
all) suites have a single king-size bed in the bedroom and a sofa bed in
the parlor, with a second connecting bedroom available for the cost of
the additional room. All of the suites are on the 9th and 10th
(concierge) floors which have restricted access; in particular, there
are no suites on the party floor. The rooms at the DoubleTree are quite
large; you may find a pair of connecting guest rooms a reasonable
alternative to a suite. The reservations system does not properly
reflect our negotiated suite rate: if you want to reserve a suite, email
Dave Gallaher at hotel@cc26.info with your request; and he will handle
them on a first-come, first-served basis.

Feel free to repost or forward this announcement in its entirety!

Kevin Roche
Chair, Costume-Con 26

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From: "Lynn Downward" <lynndownward@gmail.com>
To: "Historical Costume" <h-costume@indra.com>
Subject: Re: [h-cost] China silk?
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Status: RO

Thank you, Maureen! It was really bugging me that I couldn't remember.
LynnD

On 5/1/07, Maureen Conklin <morvren@hotmail.com> wrote:
> aka "habotai."
>
> ==================
> ~ Twinkle, dammit! ~
>
>
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Subject: [h-cost] Ottoman silk/silk faille -was need fabric selection advice
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Status: RO

Do you mean silk faille?  I'd never heard of it being called Ottoman =
silk....learn something new everyday!

:}

Sg
  ----- Original Message -----=20
  From: E House<mailto:swissgirl@swissinfo.org>=20
  To: Historical Costume<mailto:h-costume@indra.com>=20
  Sent: Tuesday, May 01, 2007 11:40 AM
  Subject: Re: [h-cost] Need fabric selection advice


  However, some of the=20
  ribbed silks they sell would work very nicely!  For example, I got =
some silk=20
  ottoman from them not too long ago:
  =
http://www.fashionfabricsclub.com/catalog_itemdetail.aspx?ItmID=3DAA036<h=
ttp://www.fashionfabricsclub.com/catalog_itemdetail.aspx?ItmID=3DAA036>
  and it is perfect for anything structured. I haven't felt samples of =
their=20
  other ottomans, but they should be at least somewhat similar (though =
the=20
  sueded ones might not be quite right for the era):
  =
http://www.fashionfabricsclub.com/Catalog_items.aspx?Query=3Dsilk%20ottom=
an<http://www.fashionfabricsclub.com/Catalog_items.aspx?Query=3Dsilk%20ot=
toman>
  Unfortunately, in order to find ribbed silks on the site, you have to =
know=20
  the correct term for that specific fabric, and right now I'm drawing a =
blank=20
  other than ottoman; they don't use any of the obvious terms like =
ribbed or=20
  grosgrain.  Mostly, you need to order 1/8 yd as a sample in order to =
find=20
  out what a fabric is like, because fabrics with the same=20
  name/description/price/appearance can be wildly different.  Also=20
  unfortunately, this sort of stuff rarely goes on sale!

  -E House=20


  _______________________________________________
  h-costume mailing list
  h-costume@mail.indra.com<mailto:h-costume@mail.indra.com>
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http://mail.indra.com/mailman/listinfo/h-costume<http://mail.indra.com/ma=
ilman/listinfo/h-costume>
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Subject: Re: [h-cost] What's your dressmakers dummy wearing today?
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Status: RO

Mine are pretty boring....one has a wool cloak lined with silk, and the =
other is a mundane gown for my 6ft eighth grad friend.  She chose dark =
blue eyelet over light blue lining....SO CONSERVATIVE!!!=20

;}

Sg
  ----- Original Message -----=20
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  Sent: Tuesday, May 01, 2007 11:05 AM
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Date: Tue, 1 May 2007 14:38:05 -0700 (PDT)
From: Lynda Boots <primevalooze@yahoo.com>
Subject: Re: [h-cost] Ottoman silk/silk faille -was need fabric selection
	advice
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Status: RO

I found some silk at this site called "hammered silk."
 Anyone know what this is?

Lynda
> 
>>
http://www.fashionfabricsclub.com/catalog_itemdetail.aspx?ItmID=AA036<http://www.fashionfabricsclub.com/catalog_itemdetail.aspx?ItmID=AA036>
>   
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Subject: [h-cost] China Silk
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Status: RO

Thank you all so much, now have a few web sites to check tonight. Will be 
going shopping tomorrow - I love LA's fabric district - between your 
suggestions & my shopping day I know I will find what I .need
Thanks so much
Paula

_________________________________________________________________
Mortgage refinance is Hot. *Terms. Get a 5.375%* fix rate. Check savings 
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To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Need fabric selection advice
Date: Tue, 1 May 2007 15:26:13 -0700
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Status: RO

OK, so what kind of silk IS right for this time? I haven't used silk =
much,
so don't know anything about it.

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] =
On
Behalf Of Hope Greenberg
Sent: Tuesday, May 01, 2007 6:50 AM
To: Historical Costume
Subject: Re: [h-cost] Need fabric selection advice


Wool! Wool is always right. When lined with light/handkerchief linen it=20
is especially wonderful--warm when it's cold out, and breathable and=20
surprisingly wearable even in the heat. If you can find a nice smooth=20
worsted wool gabardine (just a regular gabardine, not the one called=20
tricotine, or any of the new ones with lycra) it washes with hardly any=20
shrinkage and looks great for years.

I'll second the comment about modern silks: the current fashion is for=20
soft and flowing, or, as in the case of dupionis and chantungs, firm and =

slubby. Either way they are not ideal for this period.

- Hope


TeaRoseS@aol.com wrote:
> =20
> =20
> Hello. Rank amateur that I am, I need some advice about selecting  =
fabric
for=20
> my Tudor wardrobe (1530-1560ish) from you textile experts.  =
FashionFabrics

> has silk twill on sale and I was wondering if it would be  appropriate =
for
my=20
> period, and if so, what for?=20
> =20
>  =20


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In a message dated 01/05/2007 18:43:43 GMT Standard Time,  
h-costume-request@indra.com writes:

(Did  you  know that when the 
Prime Minister visits, it is not a State  dinner, because s/he  is not, 
technically, head of  state?)


:o)
 
s'not technical, no prime minister ever has been or, under current UK law,  
could be head of state.
 
the pm's only allowed to form a govt because Her Maj. says so.  
 
and we're all subjects not citizens, and when we lopped off a royal head it  
didn't really work out!!!  ;o)
 
to get back to costumey topicness, the queen apparently once said some of  my 
costumes were nice (huge grin that smiley won't express)
 
 



   
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----- Original Message ----- 
From: <Debloughcostumes@aol.com>
> to get back to costumey topicness, the queen apparently once said some of 
> my
> costumes were nice (huge grin that smiley won't express)

Neat!  Which ones?  Do you have pics?

-E House 


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About eight or ten, (I think?) but I use them for display when I'm trading  
at markets, and for photographing stuff for the websites.
 
When not in use they go to sleep in my big walk in cupboard (when it isn't  
*full* of fabric scraps!)
 
 
 
In a message dated 01/05/2007 20:32:55 GMT Standard Time,  
h-costume-request@indra.com writes:

OMG!!!  How many do you have?

Anne


 



   
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From: "Sharon Collier" <sharon@collierfam.com>
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Subject: RE: [h-cost] What's your dressmakers dummy wearing today?
Date: Tue, 1 May 2007 15:51:32 -0700
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Status: RO

I don't have a dummy. I need one. Anyone got any
recommendations/advice/types to avoid?
Sharon C.

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Cin
Sent: Monday, April 30, 2007 6:09 PM
To: h-cost
Subject: [h-cost] What's your dressmakers dummy wearing today?


I just love starting this thread... such interesting answers.
--cin
Cynthia Barnes
CinBarnes@gmail.com
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Subject: Re: [h-cost] brightening bullion tassel?
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Status: RO

How interesting! :-)

Might anyone have any idea on how it was cleaned in the Middle Ages?

Arlys

On Tue, 1 May 2007 20:32:26 +0200 "Bjarne og Leif Drews"
<drewscph@post12.tele.dk> writes:
> The latest novelty i have heard about cleaning goldwork is to use 
> brushes, 
> where the brushes are made from fine glass threads. This is how they 
> do it 
> on museums.
> 
> But where to get these brushes, i have not got any ideas.
> 
> Bjarne
> 
> 
> ----- Original Message ----- 
> From: "LLOYD MITCHELL" <rmitchell@washjeff.edu>
> To: "H-Costume" <h-costume@indra.com>
> Sent: Tuesday, May 01, 2007 5:03 PM
> Subject: [h-cost] brightening bullion tassel?
> 
> 
> > What would you folks suggest (if anything) for brightening a 
> presently 
> > very darkly tarnished Ph.D. tassel made of bullion braid?
> >
> > Kathleen
> > _______________________________________________
> > h-costume mailing list
> > h-costume@mail.indra.com
> > http://mail.indra.com/mailman/listinfo/h-costume
> > 
> 
> 
> _______________________________________________
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From: MaggiRos <maggiros@yahoo.com>
Subject: Re: [h-cost] Need fabric selection advice
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Status: RO


--- E House <swissgirl@swissinfo.org> wrote:

> I have some lovely heavy silk twill from FFC in a
> sort of darkdark emerald 
> green, which I got because A) it's heavy silk, and
> anytime I see heavy silk 
> I must have it, and B) the husband loves that color.
>  But I absolutely 
> cannot figure out what on earth to do with it.  

I find myself thinking hmmmmmm... Cavalier, or better,
Restoration.

MaggiRos
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Subject: Re: [h-cost] What's your dressmakers dummy wearing today?
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Status: RO

Well, my seven are about to return from their gallery show at Three River's 
Auction where they were on call to model some of the best of my Antique and 
Vintage Collection.  The two day sale came off with rave revues.  Of course 
the green room reverberated  with the usual arguements about who was going 
to wear the 22" waist garments! Even el Cid vied for the priveledge of 
wearing the "Captain Kangaroo" suit.  Such prima donnas all.

Once home, they will have a well deserved vacation, and then back to the 
grind...18th and 19th repros.  Life is hard.

kathleen
----- Original Message ----- 
From: "Tori Ruhl" <Tori.Ruhl@awin.com>
To: <h-costume@indra.com>
Sent: Tuesday, May 01, 2007 2:05 PM
Subject: [h-cost] What's your dressmakers dummy wearing today?


Mine is currently wearing what will hopefully turn out to be a doublet for 
my husband..*lol*
It was my first attempt at draping a pattern, so I'm going to reserve 
judgment on it until it's done.

- Victoria

>>> <h-costume-request@indra.com> 5/1/2007 1:42:33 PM >>>
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Today's Topics:

   1. Re: The Queen, The Queen (Ron Carnegie)
   2. Re: The Queen, The Queen (AnnBWass@aol.com)
   3. Re: Need fabric selection advice (Hope Greenberg)
   4. RE: What's your dressmakers dummy wearing today? (Anne Moeller)
   5. i cant deside (Bjarne og Leif Drews)
   6. Re: OT--Q for professors (Martha Oser)
   7. Re: i cant deside (elena_o_tighearnaigh@comcast.net)
   8. Re: The Queen, The Queen (elena_o_tighearnaigh@comcast.net)
   9. brightening bullion tassel? (LLOYD MITCHELL)
  10. Speaking of Williamsburg.... (Diana Habra)
  11. Re: i cant deside (MaggiRos)
  12. Re: Speaking of Williamsburg.... (Dawn)
  13. Re: What's your dressmakers dummy wearing today? (Cin)
  14. Re: The Queen, The Queen (MaggiRos)


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

Message: 1
Date: Tue, 01 May 2007 09:28:24 -0400
From: "Ron Carnegie" <r.carnegie@verizon.net>
Subject: Re: [h-cost] The Queen, The Queen
To: "Historical Costume" <h-costume@indra.com>
Message-ID: <00a601c78bf4$98f1e820$0400000a@owner85a4f9e93>
Content-Type: text/plain; format=flowed; charset=iso-8859-1;
reply-type=original

  Oh all right then....


    She will arrive in Williamsburg Thursday night.  She is staying at te
Williamburg Inn.  She will enjoy a carriage ride through the historic area
on friday, and address people at the College of William and Mary.  Later she
will be at nthe two Jamestown Parks.  I will be escorting her as part of an
honor guard at Jamestowne Settlement.

Ron Carnegie

----- Original Message ----- 
From: "Penny Ladnier" <penny@costumegallery.com>
To: "h-costume" <h-costume@indra.com>
Sent: Tuesday, May 01, 2007 1:04 AM
Subject: [h-cost] The Queen, The Queen


Oh well, you can't win them all.  Queen Elizabeth II is coming to Richmond,
VA Thursday for the 400th Anniversary of Jamestown.  Last Friday, it was
announced that she would be at the Capital on Thursday, May 3.  And that the
Queen would be receiving 108 people in representation of the original 108
Jamestown Colonists.  The Commonwealth of Virginia had a lottery today to be
one of the 108 people.  Darn, I didn't win.  But my daughter, son, and I are
going to the Capital to see the Queen give a speech.  Hopefully we can get
close enough to take photos.   The Queen will be going to Jamestown next
week.  LOL!  I wonder if the Queen is going to the NASCAR race in Richmond
this weekend.
For more info about the Queen's visit and Jamestown's 400th Anniversary go
to:
http://queensvisit.governor.virginia.gov/home.asp
http://www.americas400thanniversary.com/

Maybe our Williamsburg h-costumers can give info about the Queen's visit
there.

Penny Ladnier,
Owner, The Costume Gallery Websites
www.costumegallery.com
www.costumelibrary.com
www.costumeclassroom.com
www.costumeencyclopedia.com

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



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

Message: 2
Date: Tue, 1 May 2007 09:40:45 EDT
From: AnnBWass@aol.com
Subject: Re: [h-cost] The Queen, The Queen
To: h-costume@indra.com
Message-ID: <d64.7b45749.33689d5d@aol.com>
Content-Type: text/plain; charset="US-ASCII"


In a message dated 5/1/2007 9:28:53 A.M. Eastern Daylight Time,
r.carnegie@verizon.net writes:

I will  be escorting her as part of an
honor guard at Jamestowne  Settlement.




That is indeed an honor.

And of course she will be visiting the British Embassy here in
Washington--they are getting the garden spiffed up for her visit, as she is 
to  plant a
tree.  And I think there is a state dinner, too.  (Did you  know that when 
the
Prime Minister visits, it is not a State dinner, because s/he  is not,
technically, head of state?)

Ann Wass



************************************** See what's free at 
http://www.aol.com.


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

Message: 3
Date: Tue, 01 May 2007 09:49:43 -0400
From: Hope Greenberg <hope.greenberg@uvm.edu>
Subject: Re: [h-cost] Need fabric selection advice
To: Historical Costume <h-costume@indra.com>
Message-ID: <46374577.6010702@uvm.edu>
Content-Type: text/plain; charset=ISO-8859-1; format=flowed

Wool! Wool is always right. When lined with light/handkerchief linen it
is especially wonderful--warm when it's cold out, and breathable and
surprisingly wearable even in the heat. If you can find a nice smooth
worsted wool gabardine (just a regular gabardine, not the one called
tricotine, or any of the new ones with lycra) it washes with hardly any
shrinkage and looks great for years.

I'll second the comment about modern silks: the current fashion is for
soft and flowing, or, as in the case of dupionis and chantungs, firm and
slubby. Either way they are not ideal for this period.

- Hope


TeaRoseS@aol.com wrote:
>
>
> Hello. Rank amateur that I am, I need some advice about selecting  fabric 
> for
> my Tudor wardrobe (1530-1560ish) from you textile experts.  FashionFabrics
> has silk twill on sale and I was wondering if it would be  appropriate for 
> my
> period, and if so, what for?
>
>




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

Message: 4
Date: Tue, 1 May 2007 10:08:46 -0400
From: "Anne Moeller" <ladyanne@quik.com>
Subject: RE: [h-cost] What's your dressmakers dummy wearing today?
To: "'Historical Costume'" <h-costume@indra.com>
Message-ID: <005501c78bfa$3bca0a50$0200a8c0@ANNESCOMPUTER>
Content-Type: text/plain; charset="windows-1250"

OMG!!! How many do you have?

Anne

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Debloughcostumes@aol.com
Sent: Tuesday, May 01, 2007 6:22 AM
To: h-costume@indra.com
Subject: Re: [h-cost] What's your dressmakers dummy wearing today?


right now one's wearing a toile for a prom dress

one's wearing assorted bits of child sized tudor clothing I'm doing for a
museum

one's wearing a tuodor fencing doublet I'm doing for fun

one's wearing an original 30s silk velvet bolero jacket I'm restoring

and another two are wearing the beginnings of dresses being made for
parties
- one for a friend will eventuallly be an 18th c saque, and one for me  will

be some sort of victorian or edwardian dress for a days of the raj  party

the rest are shamelessly naked  :o)







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

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

Message: 5
Date: Tue, 1 May 2007 16:15:32 +0200
From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
Subject: [h-cost] i cant deside
To: <h-costume@indra.com>
Message-ID: <000a01c78bfb$2f5dff50$b214a150@CPQ21932199711>
Content-Type: text/plain; format=flowed; charset="iso-8859-1";
reply-type=original

Hi,
As you all responded me so bravely i have uploaded a new photo how i want to
make it.
http://www.my-drewscostumes.dk/sofie3-36.htm
Its as i told you late last night made with 2 rows of stitching each side of
the center and with the narrow goldtrim.
It raises in the edges and gets dimentional as i wanted.
Thankyou all for your nice responses..........

Bjarne


Leif og Bjarne Drews
www.my-drewscostumes.dk

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




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

Message: 6
Date: Tue, 01 May 2007 10:22:42 -0400
From: "Martha Oser" <osermart@msu.edu>
Subject: [h-cost] Re: OT--Q for professors
To: h-costume@indra.com
Message-ID: <E1HitFa-0007wg-62@sys30.mail.msu.edu>
Content-Type: text/plain; format=flowed; charset="utf-8"

Greetings!

I have a Master's Degree in Art History and I'm currently teaching at a
local community college.  My path to professorship was basically that there
are very few other choices out there for a person with an Art History
degree.  Yes, there's museum work, but that really wasn't my cup of tea when
I was in school.

If your husband is at all considering getting a PhD, I would encourage him
to keep that as his goal.  Most institutions of higher education will want a
PhD to hire someone for a tenure-track position.  Even my community college
put "PhD preferred" on the position notice for the full-time art historian
job last year.  At most four-year colleges and universities, it's "PhD
required" to even be considered for a faculty job.

That being said, if he can get in at a local community college, this is a
great way for him to get his foot in the door in terms of teaching.  It will
look great on his resume for the future and will also give him a sense of
whether teaching is what he _really_ wants to do.  Perhaps he can teach for
a while at a community college and then start his PhD in a few years?

What he can do is look around at the websites of your local colleges and
universities.  Most of them have job listings posted online and he can look
at the position descriptions and requirements and see what each school is
looking for in terms of qualifications.  He can also call the HR departments
as you suggested, if he has specific questions about a particular school.

I don't think it's important that he get his final degree from the school at
which he eventually wishes to teach.  In fact, it's the other way around -
most schools want to see a diverse background - they want to hire people who
have been other places and had other experiences that the new hire can bring
into their community.

Good luck to you and your student-husband!

Best,

Helena


> I know we have a handful of professors on this list, and hopefully at 
> least
> one of you can give me some input!  Please feel free to take any responses
> off-list.
>
> The husband, Thomas, has decided that his ideal career is that of an
> electrical engineering or math professor.  Right now, he's only got his
> masters (or will have at the end of the summer), and since he's been 
> working
> full-time as an ee while also attending classes at WUSTL for his masters,
> he's a bit reluctant to go straight into getting his PhD.  (I, too, am a 
> bit
> reluctant to spend who knows how many more years of only seeing him on
> weekends.)  However, most community colleges and a few 4-year institutions
> are willing to hire instructors with only a masters, especially when the
> potential instructor also has some non-academic work experience in the 
> field
> he wants to teach.  The husband likes the idea of teaching at a community
> college for a while rather than waiting to get his PhD, though he would
> prefer to wind up as a tenured PhD at a 4-year institution.  As a first
> step, he hopes to be a part-time instructor at a local college, while 
> still
> working full-time at the job he has now.
>
> Those few acquaintances I have who have become professors got into it by
> basically becoming professional students, and that's not a path Thomas is
> likely to take.  (If nothing else, I'm no longer capable of putting him
> through school!  And oy, we're almost done paying off the last batch of
> student loans...)  So, we're trying to figure out a plan of attack for
> Operation Become A Professor In Montana Or Wyoming.
>
> So much for the background.  My questions are very general: what path did
> you take to become a professor?  What other paths have you seen 
> successfully
> navigated?  What would you advise Thomas to do, and what would you advise
> him NOT to do?  How important is it to get your PhD from the
> college/university where you hope to teach?  Who should he talk to--for
> example, would it be a waste of time for him to call up some HR 
> departments
> and ask them these sorts of questions, while he's still in the planning
> stage?  Is it a good idea for him to get a bit of teaching experience in
> wherever possible, as with the part-time instructor plan?  And so on, and 
> so
> forth, and the like, etcetera.
>
> Thanks in advance to anyone who can help!
> -E House




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

Message: 7
Date: Tue, 01 May 2007 14:43:17 +0000
From: elena_o_tighearnaigh@comcast.net
Subject: Re: [h-cost] i cant deside
To: Historical Costume <h-costume@indra.com>
Message-ID:
<050120071443.9764.46375205000AE1740000262422058861720809070E029D0E0A0809079BA101A10E020A040A@comcast.net>

Content-Type: text/plain

I think it looks Perfect for the look you are trying for!

Thank you for sharing!!
Gia

-------------- Original message -------------- 
From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>

> Hi,
> As you all responded me so bravely i have uploaded a new photo how i want 
> to
> make it.
> http://www.my-drewscostumes.dk/sofie3-36.htm
> Its as i told you late last night made with 2 rows of stitching each side 
> of
> the center and with the narrow goldtrim.
> It raises in the edges and gets dimentional as i wanted.
> Thankyou all for your nice responses..........
>
> 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

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

Message: 8
Date: Tue, 01 May 2007 14:45:32 +0000
From: elena_o_tighearnaigh@comcast.net
Subject: Re: [h-cost] The Queen, The Queen
To: Historical Costume <h-costume@indra.com>
Message-ID:
<050120071445.23760.4637528C000DD0F000005CD022007374780809070E029D0E0A0809079BA101A10E020A040A@comcast.net>

Content-Type: text/plain

*sigh*  You lucky person!
Gia

-------------- Original message -------------- 
From: "Ron Carnegie" <r.carnegie@verizon.net>

> Oh all right then....
>
>
> She will arrive in Williamsburg Thursday night. She is staying at te
> Williamburg Inn. She will enjoy a carriage ride through the historic area
> on friday, and address people at the College of William and Mary. Later 
> she
> will be at nthe two Jamestown Parks. I will be escorting her as part of an
> honor guard at Jamestowne Settlement.
>
> Ron Carnegie
>
> ----- Original Message ----- 
> From: "Penny Ladnier"
> To: "h-costume"
> Sent: Tuesday, May 01, 2007 1:04 AM
> Subject: [h-cost] The Queen, The Queen
>
>
> Oh well, you can't win them all. Queen Elizabeth II is coming to Richmond,
> VA Thursday for the 400th Anniversary of Jamestown. Last Friday, it was
> announced that she would be at the Capital on Thursday, May 3. And that 
> the
> Queen would be receiving 108 people in representation of the original 108
> Jamestown Colonists. The Commonwealth of Virginia had a lottery today to 
> be
> one of the 108 people. Darn, I didn't win. But my daughter, son, and I are
> going to the Capital to see the Queen give a speech. Hopefully we can get
> close enough to take photos. The Queen will be going to Jamestown next
> week. LOL! I wonder if the Queen is going to the NASCAR race in Richmond
> this weekend.
> For more info about the Queen's visit and Jamestown's 400th Anniversary go
> to:
> http://queensvisit.governor.virginia.gov/home.asp
> http://www.americas400thanniversary.com/
>
> Maybe our Williamsburg h-costumers can give info about the Queen's visit
> there.
>
> Penny Ladnier,
> Owner, The Costume Gallery Websites
> www.costumegallery.com
> www.costumelibrary.com
> www.costumeclassroom.com
> www.costumeencyclopedia.com
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume

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

Message: 9
Date: Tue, 1 May 2007 11:03:06 -0400
From: "LLOYD MITCHELL" <rmitchell@washjeff.edu>
Subject: [h-cost] brightening bullion tassel?
To: "H-Costume" <h-costume@indra.com>
Message-ID: <005f01c78c01$d4ed83e0$2f01a8c0@IBMTHINKPAD>
Content-Type: text/plain; format=flowed; charset="iso-8859-1";
reply-type=original

What would you folks suggest (if anything) for brightening a presently very
darkly tarnished Ph.D. tassel made of bullion braid?

Kathleen



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

Message: 10
Date: Tue, 1 May 2007 08:47:49 -0700
From: "Diana Habra" <dch@inreach.com>
Subject: [h-cost] Speaking of Williamsburg....
To: "'Historical Costume'" <h-costume@indra.com>
Message-ID: <000301c78c08$13338900$0d00a8c0@D1V3BRB1>
Content-Type: text/plain; charset="us-ascii"

I was there recently and had the pleasure of meeting with Linda Baumgarten,
the curator of clothing at textiles at Williamsburg.  She actually
volunteered this information (although I was planning to ask anyway) and I
think people on this list might be interested:

There WILL be a reprint of Costume Close-Up and I think she indicated that
it will happen within about a year.

Sorry to those folks who are trying to get upwards of $200 for it on EBAY
but those of us in the know don't need to pay that.

So if you wanted a copy but didn't get one on the first go-around, you will
have another chance!

Diana

--
www.RenaissanceFabrics.net
"Everything for the Costumer"

"Be the change you want to see in the world"
--Ghandi



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

Message: 11
Date: Tue, 1 May 2007 09:53:42 -0700 (PDT)
From: MaggiRos <maggiros@yahoo.com>
Subject: Re: [h-cost] i cant deside
To: Historical Costume <h-costume@indra.com>
Message-ID: <20070501165342.6643.qmail@web32713.mail.mud.yahoo.com>
Content-Type: text/plain; charset=iso-8859-1

That's it! Striking and elegant.

MaggiRos

--- Bjarne og Leif Drews <drewscph@post12.tele.dk>
wrote:

> Hi,
> As you all responded me so bravely i have uploaded a
> new photo how i want to
> make it.
> http://www.my-drewscostumes.dk/sofie3-36.htm
> Its as i told you late last night made with 2 rows
> of stitching each side of
> the center and with the narrow goldtrim.
> It raises in the edges and gets dimentional as i
> wanted.
> Thankyou all for your nice responses..........
>
> 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
>



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

Message: 12
Date: Tue, 01 May 2007 12:14:13 -0500
From: Dawn <dawn@reddawn.net>
Subject: Re: [h-cost] Speaking of Williamsburg....
To: Historical Costume <h-costume@indra.com>
Message-ID: <46377565.80602@reddawn.net>
Content-Type: text/plain; charset=us-ascii; format=flowed

Diana Habra wrote:


>
> There WILL be a reprint of Costume Close-Up and I think she indicated that
> it will happen within about a year.

Thanks for sharing the good news. What I want to see back in print is
_Fitting and Proper_. I tracked down one copy and it was in such bad
shape (ripped cover, soiled interior) I refused to buy it.



Dawn





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

Message: 13
Date: Tue, 1 May 2007 10:37:59 -0700
From: Cin <cinbarnes@gmail.com>
Subject: Re: [h-cost] What's your dressmakers dummy wearing today?
To: h-cost <h-costume@indra.com>
Message-ID:
<edcaf0220705011037h3479318o99330c34a8414b14@mail.gmail.com>
Content-Type: text/plain; charset=ISO-8859-1; format=flowed

>Re: What's your dressmakers dummy wearing today?

Euprosnia has on the lining of my next 1848-50 ballgown as I mark the
waist & shoulder seams. It's going to be coral with some sort of braid
across the bosom a la militaire.  This gown's for the Danse Libre
performance at the end of the month.
     www.DanseLibre.org
Do come & see us if you have a chance.

Adonis is wearing a black silk gilet (c 1350s), it goes under a
pourpoint) and a large c 1890s woman's hat.  His sense of fashion is
somewhat lacking.

Anne, Kathryn & Charles (the 3 heads) are wearing Isabel of Austria's
velvet & pearl hat (c 1590), a "kiss-me-quick" bonnet adorned with a
spray of green parrot feathers (c 1840s) and a tall red velvet hennin,
veil and a bee pin (c 1470).
--cin
Cynthia Barnes
CinBarnes@gmail.com


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

Message: 14
Date: Tue, 1 May 2007 10:42:06 -0700 (PDT)
From: MaggiRos <maggiros@yahoo.com>
Subject: Re: [h-cost] The Queen, The Queen
To: Historical Costume <h-costume@indra.com>
Message-ID: <203613.89280.qm@web32714.mail.mud.yahoo.com>
Content-Type: text/plain; charset=iso-8859-1

Wow, Ron, that is SO cool! And after all, you have
some previous experience ;-)

Maggie


--- Ron Carnegie <r.carnegie@verizon.net> wrote:

>   Oh all right then....
>
>
>     She will arrive in Williamsburg Thursday night.
> She is staying at te
> Williamburg Inn.  She will enjoy a carriage ride
> through the historic area
> on friday, and address people at the College of
> William and Mary.  Later she
> will be at nthe two Jamestown Parks.  I will be
> escorting her as part of an
> honor guard at Jamestowne Settlement.
>
> Ron Carnegie
>


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

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


End of h-costume Digest, Vol 6, Issue 202
*****************************************
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Subject: Re: [h-cost] brightening bullion tassel?
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Status: RO

I am afraid that since the tassell and cord were not attached, I reverted to 
a modern method and cleaned them with plain old jewelry dip...brightened, 
but not a gaudy!

Kathleen (Who has now to attach them to the hat and get the package off to 
Vermont)
----- Original Message ----- 
From: "Cynthia J Ley" <cley@juno.com>
To: <h-costume@indra.com>
Sent: Tuesday, May 01, 2007 7:15 PM
Subject: Re: [h-cost] brightening bullion tassel?


> How interesting! :-)
>
> Might anyone have any idea on how it was cleaned in the Middle Ages?
>
> Arlys
>
> On Tue, 1 May 2007 20:32:26 +0200 "Bjarne og Leif Drews"
> <drewscph@post12.tele.dk> writes:
>> The latest novelty i have heard about cleaning goldwork is to use
>> brushes,
>> where the brushes are made from fine glass threads. This is how they
>> do it
>> on museums.
>>
>> But where to get these brushes, i have not got any ideas.
>>
>> Bjarne
>>
>>
>> ----- Original Message ----- 
>> From: "LLOYD MITCHELL" <rmitchell@washjeff.edu>
>> To: "H-Costume" <h-costume@indra.com>
>> Sent: Tuesday, May 01, 2007 5:03 PM
>> Subject: [h-cost] brightening bullion tassel?
>>
>>
>> > What would you folks suggest (if anything) for brightening a
>> presently
>> > very darkly tarnished Ph.D. tassel made of bullion braid?
>> >
>> > Kathleen
>> > _______________________________________________
>> > 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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Subject: Re: [h-cost] Ottoman silk/silk faille -was need fabric selection
	advice
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----- Original Message ----- 
From: "Saragrace Knauf" <wickedfrau@msn.com>
> Do you mean silk faille?  I'd never heard of it being called Ottoman 
> silk....learn something new everyday!

_That's_ what I was trying to think of!  Thank you.  I think there might be 
a slight difference, at least as sold by FFC, but that's definitely the 
general idea.  (Faille as I think of it is a bit lighter in weight than what 
I got.)

I'd never heard of it either, until I saw it for sale there--I think I might 
have actually had to ask on the list here to find out what on earth it was!

-E House


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Subject: Re: [h-cost] Ottoman silk/silk faille -was need fabric selection
	advice 
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Status: RO

 
ottomon silk is a lot different to faille - much more heavily ridged, and a  
generally heavier fabric.
 
have also seen it sold as corded silk
 
 
 
 
 
In a message dated 02/05/2007 01:42:36 GMT Standard Time,  
h-costume-request@indra.com writes:

-----  Original Message ----- 
From: "Saragrace Knauf"  <wickedfrau@msn.com>
> Do you mean silk faille?  I'd never  heard of it being called Ottoman 
> silk....learn something new  everyday!

_That's_ what I was trying to think of!  Thank  you.  I think there might be 
a slight difference, at least as sold by  FFC, but that's definitely the 
general idea.  (Faille as I think of  it is a bit lighter in weight than what 
I got.)

I'd never heard of  it either, until I saw it for sale there--I think I might 
have actually  had to ask on the list here to find out what on earth it was!

-E  House







   
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From: "Sharon Collier" <sharon@collierfam.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] OT--Q for any/all professors
Date: Tue, 1 May 2007 15:23:35 -0700
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Status: RO

I have a BA AND a community college teaching credential. The way I got =
it
was, I was working at the college and my boss told me I should get my
credential. I said I didn't have a MA. He said I could get a Limited =
Service
Credential. If you have a BA and are working in your field, that counts. =
I
also needed a recommendation (I got it from him) The credential is not a
full time one. I am only allowed to work 40% of the regular hours of a =
full
time prof. Your husband might want to check this out. Also, he might be =
able
to get a Full Service Comm. College credential since he has a MA.
Sharon C.
-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] =
On
Behalf Of E House
Sent: Tuesday, May 01, 2007 12:23 AM
To: Historical Costume
Subject: [h-cost] OT--Q for any/all professors


I know we have a handful of professors on this list, and hopefully at =
least=20
one of you can give me some input!  Please feel free to take any =
responses=20
off-list.

The husband, Thomas, has decided that his ideal career is that of an=20
electrical engineering or math professor.  Right now, he's only got his=20
masters (or will have at the end of the summer), and since he's been =
working

full-time as an ee while also attending classes at WUSTL for his =
masters,=20
he's a bit reluctant to go straight into getting his PhD.  (I, too, am a =
bit

reluctant to spend who knows how many more years of only seeing him on=20
weekends.)  However, most community colleges and a few 4-year =
institutions=20
are willing to hire instructors with only a masters, especially when the =

potential instructor also has some non-academic work experience in the =
field

he wants to teach.  The husband likes the idea of teaching at a =
community=20
college for a while rather than waiting to get his PhD, though he would=20
prefer to wind up as a tenured PhD at a 4-year institution.  As a first=20
step, he hopes to be a part-time instructor at a local college, while =
still=20
working full-time at the job he has now.

Those few acquaintances I have who have become professors got into it by =

basically becoming professional students, and that's not a path Thomas =
is=20
likely to take.  (If nothing else, I'm no longer capable of putting him=20
through school!  And oy, we're almost done paying off the last batch of=20
student loans...)  So, we're trying to figure out a plan of attack for=20
Operation Become A Professor In Montana Or Wyoming.

So much for the background.  My questions are very general: what path =
did=20
you take to become a professor?  What other paths have you seen =
successfully

navigated?  What would you advise Thomas to do, and what would you =
advise=20
him NOT to do?  How important is it to get your PhD from the=20
college/university where you hope to teach?  Who should he talk to--for=20
example, would it be a waste of time for him to call up some HR =
departments=20
and ask them these sorts of questions, while he's still in the planning=20
stage?  Is it a good idea for him to get a bit of teaching experience in =

wherever possible, as with the part-time instructor plan?  And so on, =
and so

forth, and the like, etcetera.

Thanks in advance to anyone who can help!
-E House



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Status: RO

On May 1, 2007, at 6:26 PM, Sharon Collier wrote:
> OK, so what kind of silk IS right for this time? I haven't used  
> silk much,
> so don't know anything about it.

My favorites are silk satin (make sure it's "duchess" satin and not  
charmeuse, which is much drapier)
http://www.decorativesilk.com/scripts/prodView.asp?idproduct=403

regular silk taffeta or changeable silk taffeta
http://www.decorativesilk.com/scripts/prodView.asp?idproduct=205
http://www.decorativesilk.com/scripts/prodView.asp?idproduct=202

and silk damask (sometimes called brocade, whether it technically is  
or not)
http://www.decorativesilk.com/scripts/prodView.asp?idproduct=259

Try to stay away from "silk" velvets, as most of them are primarily  
rayon and very limp in texture--yummy for a scarf, but very bad for a  
Tudor gown.

Other sources for silks of various kinds include:
http://www.designerfabrics.ca
http://www.supersilk.com/index1.asp (click on "Silk Gallery")
http://www.istok.net/home.php?cat=680
http://www.dharmatrading.com/
http://www.fashionfabricsclub.com/
http://www.silkconnection.com/products/fabric/silk/
http://www.thaisilks.com/index.php?cPath=1
http://www.silktrading.com/stcCatalogProducts.aspx?id=1

Happy shopping,
Melanie Schuessler

>
> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume- 
> bounces@indra.com] On
> Behalf Of Hope Greenberg
> Sent: Tuesday, May 01, 2007 6:50 AM
> To: Historical Costume
> Subject: Re: [h-cost] Need fabric selection advice
>
>
> Wool! Wool is always right. When lined with light/handkerchief  
> linen it
> is especially wonderful--warm when it's cold out, and breathable and
> surprisingly wearable even in the heat. If you can find a nice smooth
> worsted wool gabardine (just a regular gabardine, not the one called
> tricotine, or any of the new ones with lycra) it washes with hardly  
> any
> shrinkage and looks great for years.
>
> I'll second the comment about modern silks: the current fashion is for
> soft and flowing, or, as in the case of dupionis and chantungs,  
> firm and
> slubby. Either way they are not ideal for this period.
>
> - Hope
>
>
> TeaRoseS@aol.com wrote:
>>
>>
>> Hello. Rank amateur that I am, I need some advice about selecting   
>> fabric
> for
>> my Tudor wardrobe (1530-1560ish) from you textile experts.   
>> FashionFabrics
>
>> has silk twill on sale and I was wondering if it would be   
>> appropriate for
> my
>> period, and if so, what for?
>>
>>
>
>
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From h-costume-bounces@indra.com  Wed May  2 00:18:20 2007
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Status: RO

Thanks for all the input, guys! So, a ribbed silk, like faille or ottoman,  
would be okay for a Tudor court dress. Does taffeta fall into this category? 
Are  there other names for it? 
 
Another thing I've been wondering about though: what characteristics should  
I look for in a wool fabric? I have never worked with wool (okay, only once, 
for  my pirate coat) and I have no idea what it should look like for a period  
garment. Someone suggested worsted gabardine, which is what I used for my 
pirate  coat, but I thought it seemed awfully, I dunno, hard? Like I said, I have 
no  idea what it's supposed to look like. 
 
Thanks again to everyone who responded.
 
Tea Rose



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Subject: [h-cost] Roc-Lon muslin
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Status: RO

I remember a discussion on one of my lists about muslin and qualities 
of muslin.  Some were saying that Roc-Lon was a good quality, and 
some places (maybe Joann's) weren't carrying it anymore.  Well, Vogue 
Fabrics in Chicago is having a sale:


Roc-Lon Premium Muslin - Wholesale

We've looked high and low to bring this special back to you!
We just unloaded 10,000 yards of 1st quality, 38" unbleached premium 
quality muslin #405 from Roc-Lon into our warehouse as a special buy 
for our customers.

100% cotton. 38" wide. Machine washable.
<http://www.voguefabricsstore.com/store/catalog/Wholesale-Muslin-38-Unbleached-Premium-Quality-405-50-yd-B-p-4981.html>50 
yds for $50 * 
<http://www.voguefabricsstore.com/store/catalog/Wholesale-Muslin-38-Unbleached-Premium-Quality-405-Case-Pac-p-4982.html>300 
yds for $270 * 
<http://www.voguefabricsstore.com/store/catalog/Wholesale-Muslin-38-Unbleached-Premium-Quality-405-A-Mile-o-p-4997.html>"A 
Mile of Muslin" for $1350

<http://www.voguefabricsstore.com/store/catalog/Wholesale-Muslin-Fabric-orderby0-p-1-c-148.html>

I don't think it will last long at this price.

Sandy

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

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

Andromeda  


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Status: RO

thanks to everyone who replied, consider my curiosity satisfied on this 
matter at least :)
Elizabeth 





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Status: RO

Hi,

I am looking for a site that explains how to emboss leather.
That is something I would love to try.
It is not for historical use.

It is for a fantasy Ares god of war costume for my husband next year.

Greetings,
       Deredere
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From: Dawn <dawn@reddawn.net>
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Status: RO

Can anybody tell me, roughly, what year this pattern might represent?

http://store.sewingtoday.com/cgi-bin/butterick/shop.cgi?s.item.B5061=x&TI=10001&page=4

Is that Victorian? 20th century? Something else? I kind of like the 
nightgown.



Dawn


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Status: RO

 Somebody tell me this guy is NOT showing off his barenaked knees in the background of this painting: http://www.formfunction.org/temp/1530dutchcalendar11bathsheba.jpg
 
 Bruegel drew some fieldworkers wearing similar shorts: http://albums.photo.epson.com/j/AlbumIndex?u=4293000&a=31783828&f= 
 but I had assumed this was a comfort thing rather than a style thing. But notice they have the same points over the knees as in the painting above.
 
 Please give me a plausible explanation, before my perpetually-overheated husband finds out and demands I make him a pair!
 
 Tea Rose
  
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Subject: RE: [h-cost] new Butterick pattern  5061
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Status: RO

NOT Victorian or Edwardian.

Kim 

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Dawn
Sent: Wednesday, May 02, 2007 10:39 AM
To: Historical Costume
Subject: [h-cost] new Butterick pattern 5061

Can anybody tell me, roughly, what year this pattern might represent?

http://store.sewingtoday.com/cgi-bin/butterick/shop.cgi?s.item.B5061=x&TI=10
001&page=4

Is that Victorian? 20th century? Something else? I kind of like the
nightgown.



Dawn


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From: Cin <cinbarnes@gmail.com>
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Status: RO

Just a reminder.... because one more would
round out our car full ever so nicely,

On 4/12/07, Cin <cinbarnes@gmail.com> wrote:
> Anyone for an h-costume midday excursion to the Vivian Westwood show
> at the DeYoung?  Play hookey from work!  It would amuse me vastly to
> go on Wednesday 9 May and head back out of the city by rush hour.

--cin
Cynthia Barnes
CinBarnes@gmail.com
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From: Hope Greenberg <hope.greenberg@uvm.edu>
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Subject: Re: [h-cost] 16th-century short pants????
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Status: RO

Interesting! particularly the Breugel example which, as you say, looks 
quite practical. I don't know if it helps answer the question, but 
here's the iconography behind that fellow:

The image compresses two sectionsof the David/Bathsheba story, briefly: 
David spies Bathsheba bathing, becomes enamored, sleeps with her, she 
gets pregnant. He orders her husband Uriah home from the battlefield so 
that she can pass the child off as legitimate. Uriah refuses to go home 
while his comrades in arms are still in battle. David finally sends him 
back to battle with a note to his General commanding the General to make 
sure Uriah gets killed in action. So, the main image in the foreground 
is the usual Bathsheba being attended at her bath. The background image 
is King David sending Uriah off with the message that is essentially his 
own death warrant.

The fun part is that while the subject gave artists the opportunity to 
paint the titillating images of nudity, adultery and lust, the medieval 
iconography that built up around the images was quite different. Without 
going into great detail, the image was viewed not as lust and adultery 
but as a prefiguration of Christ, the Church and baptism. In this case 
David is Christ wishing to be joined to the Church, represented by 
Bathsheba who is being baptized, and Uriah, though a Hittite, represents 
the Jewish people refusing to 'go home' to the Church. An interesting 
discussion of all this can be found in several places, for example an 
article by Wayne Craven in the Journal of the Society of Architectural 
Historians titled 'The Iconography of the David and Bathsheba Cycle at 
the Cathedral of Auxerre' (available online at JSTOR).

So, the figure of Uriah, being a historical character (both a Hittite, 
literally, and a Jew, allegorically) may well be dressed oddly in these 
images. Add to that that he is a soldier, who are generally depicted in 
not-typical clothing. Also, the command from David telling him to go 
home and sleep with his wife is actually given as "go home and wash your 
feet."  I don't think I'm suggesting his bare knees are related to that, 
specifically: just thinking his outfit might not be considered what the 
well-dressed 16th century man would be wearing!

- Hope




tearoses@aol.com wrote:
>  Somebody tell me this guy is NOT showing off his barenaked knees in the background of this painting: http://www.formfunction.org/temp/1530dutchcalendar11bathsheba.jpg
>  
>  Please give me a plausible explanation, before my perpetually-overheated husband finds out and demands I make him a pair!
>   
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Subject: Re: [h-cost] What's your dressmakers dummy wearing today?
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Status: RO

 
Hi!
Sorry to be a bit behind with this (and non-historical!), but my child size dummy is wearing a plum coloured circle skirt with a pink ribbon trim.  It is part of a cheerleading outfit that I promised my daughter for doing well in the majorette/cheerleading competition she recently took part in.
 
Regards
Jayne 
 
-----Original Message-----
From: cinbarnes@gmail.com
To: h-costume@indra.com
Sent: Tue, 1 May 2007 2.08AM
Subject: [h-cost] What's your dressmakers dummy wearing today?


I just love starting this thread... such interesting answers. 
--cin 
Cynthia Barnes 
CinBarnes@gmail.com 
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Date: Wed, 02 May 2007 17:40:02 -0400
From: "Ron Carnegie" <r.carnegie@verizon.net>
Subject: Re: [h-cost] The Queen, The Queen
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Status: RO

Its funny, but that didnt really occur to me.

    What Maggie is referring to, is that for several years I was attached to 
the Queen's Guard for the Rennaisance Pleasure Faire in California. 
Guarding the OTHER Elizabeth.  And so it goes....

Ron Carnegie

----- Original Message ----- 
From: "MaggiRos" <maggiros@yahoo.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Tuesday, May 01, 2007 1:42 PM
Subject: Re: [h-cost] The Queen, The Queen


> Wow, Ron, that is SO cool! And after all, you have
> some previous experience ;-)
>
> Maggie
>
>
> --- Ron Carnegie <r.carnegie@verizon.net> wrote:
>
>>   Oh all right then....
>>
>>
>>     She will arrive in Williamsburg Thursday night.
>> She is staying at te
>> Williamburg Inn.  She will enjoy a carriage ride
>> through the historic area
>> on friday, and address people at the College of
>> William and Mary.  Later she
>> will be at nthe two Jamestown Parks.  I will be
>> escorting her as part of an
>> honor guard at Jamestowne Settlement.
>>
>> Ron Carnegie
>>
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Subject: RE: [h-cost] new Butterick pattern  5061
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Status: RO

=20
I think they mean it to be pseudo Victorian or Edwardian, but it is not.


 Cindy Abel


-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
On Behalf Of Kim Baird
Sent: Wednesday, May 02, 2007 2:33 PM
To: 'Historical Costume'
Subject: RE: [h-cost] new Butterick pattern 5061

NOT Victorian or Edwardian.

Kim=20

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
On Behalf Of Dawn
Sent: Wednesday, May 02, 2007 10:39 AM
To: Historical Costume
Subject: [h-cost] new Butterick pattern 5061

Can anybody tell me, roughly, what year this pattern might represent?

http://store.sewingtoday.com/cgi-bin/butterick/shop.cgi?s.item.B5061=3Dx&=
T
I=3D10
001&page=3D4

Is that Victorian? 20th century? Something else? I kind of like the
nightgown.



Dawn


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Subject: RE: [h-cost] new Butterick pattern  5061
Date: Wed, 2 May 2007 17:36:47 -0500
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Status: RO

I am not 100% sure but I believe this to be Late Edwardian, probably around
the 1910s or 20s.
There is a very slim chance of it being Regency but I have my doubts.

De



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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] new Butterick pattern  5061
Date: Wed, 2 May 2007 19:23:32 -0400
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Status: RO

On Wednesday 02 May 2007 11:38 am, Dawn wrote:
> Can anybody tell me, roughly, what year this pattern might represent?
>
> http://store.sewingtoday.com/cgi-bin/butterick/shop.cgi?s.item.B5061=x&TI=1
>0001&page=4
>
> Is that Victorian? 20th century? Something else? I kind of like the
> nightgown.

I think it's meant to be a bad rendition of late Victorian underwear and 
nightwear.  


-- 
Cathy Raymond <cathy@thyrsus.com>

"You've got to have the proper amount of disrespect for what you do."  
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From: "Elizabeth Walpole" <ewalpole@tpg.com.au>
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Subject: Re: [h-cost] new Butterick pattern  5061
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----- Original Message ----- 
From: "Dawn" <dawn@reddawn.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, May 03, 2007 1:38 AM
Subject: [h-cost] new Butterick pattern 5061


> Can anybody tell me, roughly, what year this pattern might represent?
>
> http://store.sewingtoday.com/cgi-bin/butterick/shop.cgi?s.item.B5061=x&TI=10001&page=4
>
> Is that Victorian? 20th century? Something else? I kind of like the 
> nightgown.
>
>
>
> Dawn
>
I believe the correct timeline for this is 'days of yore' ;-D more period 
looking than pink fluffy fleece pyjamas but only superficially resembling 
any particular historical style.
Elizabeth
--------------------------------------------
Elizabeth Walpole
Canberra Australia
ewalpole[at]tpg.com.au
http://au.geocities.com/amiperiodornot/





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Subject: [h-cost] Dressmakers dummmies (was: What's your dressmakers dummy
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Status: RO

>I don't have a dummy. I need one. Anyone got any
>recommendations/advice/types to avoid?
>Sharon C.

The thread hes been discussed several times -- check the archives.
Uniquely You, IMHO, is the best purchased form.
--cin
Cynthia Barnes
CinBarnes@gmail.com
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References: <4638B07A.8000300@reddawn.net>
	<200705021923.32859.cathy@thyrsus.com>
Subject: Re: [h-cost] new Butterick pattern  5061
Date: Wed, 2 May 2007 19:54:35 -0400
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Status: RO

This reminds me of.......
One thing I am sure of is that the armseye of the upper garments will not be 
as high as the originals nor the bottoms as capacious .  These would grace 
any stage quite nicely.
  Owning originals that are Not comfortable for actual modern wear, in a 
'Costume"situation, these would do quite nicely if done in the usual muslin 
of their counterparts.

Kathleen

----- Original Message ----- 
From: "Catherine Olanich Raymond" <cathy@thyrsus.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, May 02, 2007 7:23 PM
Subject: Re: [h-cost] new Butterick pattern 5061


> On Wednesday 02 May 2007 11:38 am, Dawn wrote:
>> Can anybody tell me, roughly, what year this pattern might represent?
>>
>> http://store.sewingtoday.com/cgi-bin/butterick/shop.cgi?s.item.B5061=x&TI=1
>>0001&page=4
>>
>> Is that Victorian? 20th century? Something else? I kind of like the
>> nightgown.
>
> I think it's meant to be a bad rendition of late Victorian underwear and
> nightwear.
>
>
> -- 
> Cathy Raymond <cathy@thyrsus.com>
>
> "You've got to have the proper amount of disrespect for what you do."
> -- George Mabry
>
> _______________________________________________
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From: "LLOYD MITCHELL" <rmitchell@washjeff.edu>
To: "Historical Costume" <h-costume@indra.com>
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	<001301c78d12$a41f2220$52d8f5dc@user4712b7d135>
Subject: Re: [h-cost] new Butterick pattern  5061
Date: Wed, 2 May 2007 19:58:15 -0400
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Status: RO

They are all found in earlier books/mags of the mid 19th C. like Godeys, and 
Petersons.  Generic intimate garments meant for the boudoir...adapted for 
the modern fit and aesthetic.

kathleen
----- Original Message ----- 
From: "Elizabeth Walpole" <ewalpole@tpg.com.au>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, May 02, 2007 7:35 PM
Subject: Re: [h-cost] new Butterick pattern 5061


>
> ----- Original Message ----- 
> From: "Dawn" <dawn@reddawn.net>
> To: "Historical Costume" <h-costume@indra.com>
> Sent: Thursday, May 03, 2007 1:38 AM
> Subject: [h-cost] new Butterick pattern 5061
>
>
>> Can anybody tell me, roughly, what year this pattern might represent?
>>
>> http://store.sewingtoday.com/cgi-bin/butterick/shop.cgi?s.item.B5061=x&TI=10001&page=4
>>
>> Is that Victorian? 20th century? Something else? I kind of like the 
>> nightgown.
>>
>>
>>
>> Dawn
>>
> I believe the correct timeline for this is 'days of yore' ;-D more period 
> looking than pink fluffy fleece pyjamas but only superficially resembling 
> any particular historical style.
> Elizabeth
> --------------------------------------------
> Elizabeth Walpole
> Canberra Australia
> ewalpole[at]tpg.com.au
> http://au.geocities.com/amiperiodornot/
>
>
>
>
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Subject: Re: [h-cost] new Butterick pattern  5061
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Status: RO


On May 2, 2007, at 5:54 PM, LLOYD MITCHELL wrote:

> This reminds me of.......
> One thing I am sure of is that the armseye of the upper garments will 
> not be as high as the originals nor the bottoms as capacious .  These 
> would grace any stage quite nicely.

That sounds like a veiled insult to  theatrical costume designers.

Sylrog






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Subject: Re: [h-cost] new Butterick pattern  5061
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Status: RO

> This reminds me of.......
> One thing I am sure of is that the armseye of the upper garments will not 
> be  as high as the originals nor the bottoms as capacious .  These would 
> grace  any stage quite nicely.  Owning originals that are Not comfortable 
> for actual modern wear, in a  'Costume"situation, these would do quite 
> nicely if done in the usual muslin  of their counterparts.
>
> Kathleen

And if you get rid of the velcro closures.

Melusine 

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	<4638F484.8000600@uvm.edu>
Subject: Re: [h-cost] 16th-century short pants????
Date: Wed, 2 May 2007 17:03:27 -0700
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Status: RO

WOW!  Thank you for the allegorical insights-and a new pic. to me!  I =
always just assumed the Bruegel stuff was either loss of control of the =
netherstocks, or purposeful rolling down to keep cool.  The short =
construction is really wild.  Picture 12 of 12 has the points in front =
but look at the back of the hose in 6 of 12. =20

Ooooh, I have always wanted to do a men's Breughel, and now I want to do =
it even more.  I betcha' in the reconstruction I might find some clues =
as to why they do both these things. =20

As to the "well dressed fellow," I suspect Hope is right, that there is =
some meaning for it, but also, dandies did all sorts of weird things, =
just as "they" do now.  Well known examples are the wearing of hoods =
with the face opening on top of the head, and there is even a =
contemporary commentary (criticism) of men wearing their trews loose =
around their hips (and their plumber's crack showing - I think)!

Love this stuff!

Sg
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From: "Carmen Beaudry" <moreplentyn@earthlink.net>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] new Butterick pattern  5061
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Status: RO

> On May 2, 2007, at 5:54 PM, LLOYD MITCHELL wrote:
>
>> This reminds me of.......
>> One thing I am sure of is that the armseye of the upper garments will not 
>> be as high as the originals nor the bottoms as capacious .  These would 
>> grace any stage quite nicely.
>
> That sounds like a veiled insult to  theatrical costume designers.
>
> Sylrog

I sure didn't take it as such.

Melusine (who started out in theater and still does theater costume part 
time) 

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From: Sylvia Rognstad <sylvia@ntw.net>
Subject: Re: [h-cost] new Butterick pattern  5061
Date: Wed, 2 May 2007 18:18:07 -0600
To: Historical Costume <h-costume@indra.com>
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Status: RO


On May 2, 2007, at 6:11 PM, Carmen Beaudry wrote:

>> On May 2, 2007, at 5:54 PM, LLOYD MITCHELL wrote:
>>
>>> This reminds me of.......
>>> One thing I am sure of is that the armseye of the upper garments 
>>> will not be as high as the originals nor the bottoms as capacious .  
>>> These would grace any stage quite nicely.
>>
>> That sounds like a veiled insult to  theatrical costume designers.
>>
>> Sylrog
>
> I sure didn't take it as such.
>
> Melusine (who started out in theater and still does theater costume 
> part time)

You didn't?  Am I just being overly sensitive?  I often feel like 
historical re-enactors and reproducers of accurate historical costumes 
look down their noses to a certain extent at theatrical costume 
designers because the latter  don't usually attempt complete 
authenticity.

Sylrog

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Subject: Re: [h-cost] new Butterick pattern 5061
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Status: RO




>From: Sylvia Rognstad <sylvia@ntw.net>
>Reply-To: Historical Costume <h-costume@indra.com>
>To: Historical Costume <h-costume@indra.com>
>Subject: Re: [h-cost] new Butterick pattern  5061
>Date: Wed, 2 May 2007 18:18:07 -0600
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>On May 2, 2007, at 6:11 PM, Carmen Beaudry wrote:
>
>>>On May 2, 2007, at 5:54 PM, LLOYD MITCHELL wrote:
>>>
>>>>This reminds me of.......
>>>>One thing I am sure of is that the armseye of the upper garments will 
>>>>not be as high as the originals nor the bottoms as capacious .  These 
>>>>would grace any stage quite nicely.
>>>
>>>That sounds like a veiled insult to  theatrical costume designers.
>>>
>>>Sylrog
>>
>>I sure didn't take it as such.
>>
>>Melusine (who started out in theater and still does theater costume part 
>>time)
>
>You didn't?  Am I just being overly sensitive?  I often feel like 
>historical re-enactors and reproducers of accurate historical costumes look 
>down their noses to a certain extent at theatrical costume designers 
>because the latter  don't usually attempt complete authenticity.
>
>Sylrog

And with good reason - someimes changes are soooooo fast you cn't be 
historically accurate and velcro saves the day and the costume!
Paula
>
>_______________________________________________
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From: "LLOYD MITCHELL" <rmitchell@washjeff.edu>
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Subject: Re: [h-cost] new Butterick pattern  5061
Date: Wed, 2 May 2007 20:30:10 -0400
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Status: RO

Note quite.  Having been a costume designer for over 30 years, I long ago 
learned to suit the desired look with a present aesthetic...ie., comfort. 
For the reinactor, how many of them are going to be parading about in their 
undies meant for the boudoir?  Every time I tried to put my antique on view 
(stage)mI gotthe response ":too tight.  Do you want me to parade looking 
like a scarecrow?"  So, I occasionally treat myseld by wearing my oldies, 
content to know I am being historically correct.

No offense intended.

Kath;leen


----- Original Message ----- 
From: "Sylvia Rognstad" <sylvia@ntw.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, May 02, 2007 8:00 PM
Subject: Re: [h-cost] new Butterick pattern 5061


>
> On May 2, 2007, at 5:54 PM, LLOYD MITCHELL wrote:
>
>> This reminds me of.......
>> One thing I am sure of is that the armseye of the upper garments will not 
>> be as high as the originals nor the bottoms as capacious .  These would 
>> grace any stage quite nicely.
>
> That sounds like a veiled insult to  theatrical costume designers.
>
> Sylrog
>
>
>
>
>
>
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Subject: Re: [h-cost]Theatrer vs Historic (was:new Butterick pattern  5061)
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Status: RO

(snip about percieved insult to theatrical designers)
> You didn't?  Am I just being overly sensitive?  I often feel like 
> historical re-enactors and reproducers of accurate historical costumes 
> look down their noses to a certain extent at theatrical costume designers 
> because the latter  don't usually attempt complete authenticity.
>
> Sylrog

I may be a bit optimistic, and I know that some historic costumers 
automatically discount anyone who designs for the stage, but I don't think 
this was the case here.  I'm sure the original poster will correct me if I'm 
wrong.

I do historic reenactment and recreation.  Most of my customers want very 
historically accurate clothing for reenactment.  That being said, I enjoy 
the different emphasis to costuming for the theater.  I enjoy trying to 
realize the director's vision, to express the character through the costume 
and evoke the various moods.  I do try to make that historically accurate 
whenever possible, but sometimes it's not.  Whether that's the production of 
Hamlet that was done all in dull browns, greys and other muddy shades due to 
the director's ideas, or the production of The Misenthrope that we did in 
1635 costumes rather than the 1670's that were actually appropriate, because 
we could borrow the one, and we would have had to make the others, and we 
had a $500 costume budget.  Wasn't going to get done, and while it somewhat 
offended my sensibilities, for the most part the audience didn't know it 
wasn't meant to be.

I'm actually developing a lecture for next year on why and when you would or 
would not want to be completely accurate with a costume.  It's just in the 
ruminating stage right now, but I'd welcome any thoughts from y'all.

Melusine 

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From: Melanie Schuessler <melanie@faucet.net>
Subject: now costume design, was Re: [h-cost] new Butterick pattern  5061
Date: Wed, 2 May 2007 20:33:55 -0400
To: Historical Costume <h-costume@indra.com>
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Status: RO

I didn't either.  As both a historian and a costume designer, I see  
no reason to be embarrassed about the very good reasons why accuracy  
is often compromised on the stage.  I still groan when I watch films  
with terribly bastardized fashions, but I can often tell why they did  
it.  Telling the story is first priority.  Accuracy is icing for the  
geeks.  :)

Melanie Schuessler


On May 2, 2007, at 8:18 PM, Sylvia Rognstad wrote:

>
> On May 2, 2007, at 6:11 PM, Carmen Beaudry wrote:
>
>>> On May 2, 2007, at 5:54 PM, LLOYD MITCHELL wrote:
>>>
>>>> This reminds me of.......
>>>> One thing I am sure of is that the armseye of the upper garments  
>>>> will not be as high as the originals nor the bottoms as  
>>>> capacious .  These would grace any stage quite nicely.
>>>
>>> That sounds like a veiled insult to  theatrical costume designers.
>>>
>>> Sylrog
>>
>> I sure didn't take it as such.
>>
>> Melusine (who started out in theater and still does theater  
>> costume part time)
>
> You didn't?  Am I just being overly sensitive?  I often feel like  
> historical re-enactors and reproducers of accurate historical  
> costumes look down their noses to a certain extent at theatrical  
> costume designers because the latter  don't usually attempt  
> complete authenticity.
>
> Sylrog
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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Subject: Re: [h-cost] new Butterick pattern  5061
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Status: RO

Me neither, I came from a theatrical background as well. I didn't take =
it that way, and  I figure if people can't see the difference between =
entertainment and factual reproduction, (and value and necessity for =
each), they aren't very bright, and aren't worth bothering over! =20

Ooooo, meanie me!  ;}

(I should say, that my dad, who I respected very much, was a dramaturge, =
and had a very difficult time watching anything (from film to theater) =
without criticizing it. =20
It was kind of funny, because he could read books that way....loved =
Agatha Christie, and for that matter loved, of all things, Mary Hartman, =
Mary Hartman!=20



Sg
  ----- Original Message -----=20
  From: Sylvia Rognstad<mailto:sylvia@ntw.net>=20
  To: Historical Costume<mailto:h-costume@indra.com>=20
  Sent: Wednesday, May 02, 2007 5:18 PM
  Subject: Re: [h-cost] new Butterick pattern 5061




  You didn't?  Am I just being overly sensitive?  I often feel like=20
  historical re-enactors and reproducers of accurate historical costumes =

  look down their noses to a certain extent at theatrical costume=20
  designers because the latter  don't usually attempt complete=20
  authenticity.

  Sylrog

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From: Sylvia Rognstad <sylvia@ntw.net>
Subject: Re: [h-cost] new Butterick pattern  5061
Date: Wed, 2 May 2007 18:36:52 -0600
To: Historical Costume <h-costume@indra.com>
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Status: RO


On May 2, 2007, at 6:30 PM, LLOYD MITCHELL wrote:

> Note quite.  Having been a costume designer for over 30 years, I long 
> ago learned to suit the desired look with a present aesthetic...ie., 
> comfort. For the reinactor, how many of them are going to be parading 
> about in their undies meant for the boudoir?  Every time I tried to 
> put my antique on view (stage)mI gotthe response ":too tight.  Do you 
> want me to parade looking like a scarecrow?"  So, I occasionally treat 
> myseld by wearing my oldies, content to know I am being historically 
> correct.
>
> No offense intended.

Thanks for the explanation.  I see your point now.

Sylrog
>

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Subject: Re: [h-cost] new Butterick pattern  5061
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Status: RO

I didn't go so far as to read the instructions.  Alas...

Presently working in miniature, I struggle nightly in trying to create my 
doll costumes using all the pieces that would have made the shapes if I were 
doing them for people; it is hard indeed to compromise, but I have not yet 
bent to Velcro.  Yeah.  At least the dolls don't complain if I pin the waist 
band (As I am finding to be the method more often used in times of youe.

kathleen
----- Original Message ----- 
From: "Carmen Beaudry" <moreplentyn@earthlink.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, May 02, 2007 8:07 PM
Subject: Re: [h-cost] new Butterick pattern 5061


>> This reminds me of.......
>> One thing I am sure of is that the armseye of the upper garments will not 
>> be  as high as the originals nor the bottoms as capacious .  These would 
>> grace  any stage quite nicely.  Owning originals that are Not comfortable 
>> for actual modern wear, in a  'Costume"situation, these would do quite 
>> nicely if done in the usual muslin  of their counterparts.
>>
>> Kathleen
>
> And if you get rid of the velcro closures.
>
> Melusine
> _______________________________________________
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From: Sylvia Rognstad <sylvia@ntw.net>
Subject: Re: [h-cost]Theatrer vs Historic (was:new Butterick pattern  5061)
Date: Wed, 2 May 2007 18:39:27 -0600
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>
> I'm actually developing a lecture for next year on why and when you 
> would or would not want to be completely accurate with a costume.  
> It's just in the ruminating stage right now, but I'd welcome any 
> thoughts from y'all.

That sounds like a very good topic for a lecture.  I look forward to 
hearing everyone's opinions.

Sylrog

>

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Status: RO

>I didn't either.  As both a historian and a costume designer, I see  no 
>reason to be embarrassed about the very good reasons why accuracy  > is 
>often compromised on the stage.  I still groan when I watch films  with 
>terribly bastardized fashions, but I can often tell why they did  it. 
>Telling the story is first priority.  Accuracy is icing for the  geeks.  :)
>
> Melanie Schuessler

Exactly.  The ones that really irk me are the ones where the story would be 
better served by most accurate costumes and they still don't.

I just read a very interesting article about Memoirs of a Geisha.  Lisa 
Dalby, who is the only non-Japanese ever trained as a geisha, was a 
consultant on the film, and was upset that they didn't use the correct 
make-up, but did a modified version, until she overheard a couple of 
stagehands talking about how wierd the complete white-faced look was to 
them.  She realized that, in order to portray the women as beautiful and 
sexy, the traditional make-up had to be modified for the modern and western 
audience, that where a Japanese (and especially an older Japanese audience 
would see them as being beautiful, the intended audience would not.

Melusine 

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From: "Carmen Beaudry" <moreplentyn@earthlink.net>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] new Butterick pattern  5061
Date: Wed, 2 May 2007 17:49:00 -0700
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Status: RO

>I didn't go so far as to read the instructions.  Alas...
>
> Presently working in miniature, I struggle nightly in trying to create my 
> doll costumes using all the pieces that would have made the shapes if I 
> were  doing them for people; it is hard indeed to compromise, but I have 
> not yet  bent to Velcro.  Yeah.  At least the dolls don't complain if I 
> pin the waist  band (As I am finding to be the method more often used in 
> times of youe.
>
> kathleen

And I didn't think of quick changes....I'm not sure why, as I'd like to have 
a dollar for every 30-second change I've had to sew for.  My favorite was 
the 1880's day dress to 1880's evening dress in 92 seconds.  Yes, I put 
multiple zippers in those, and had 4 people dressing and undressing her in 
the wings.

Melusine 

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From: Melanie Schuessler <melanie@faucet.net>
Subject: Re: now costume design, was Re: [h-cost] new Butterick pattern  5061
Date: Wed, 2 May 2007 20:49:41 -0400
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Status: RO


On May 2, 2007, at 8:45 PM, Carmen Beaudry wrote:

>> I didn't either.  As both a historian and a costume designer, I  
>> see  no reason to be embarrassed about the very good reasons why  
>> accuracy  > is often compromised on the stage.  I still groan when  
>> I watch films  with terribly bastardized fashions, but I can often  
>> tell why they did  it. Telling the story is first priority.   
>> Accuracy is icing for the  geeks.  :)
>>
>> Melanie Schuessler
>
> Exactly.  The ones that really irk me are the ones where the story  
> would be better served by most accurate costumes and they still don't.

Well, yes.  There's no excuse for those!

> I just read a very interesting article about Memoirs of a Geisha.   
> Lisa Dalby, who is the only non-Japanese ever trained as a geisha,  
> was a consultant on the film, and was upset that they didn't use  
> the correct make-up, but did a modified version, until she  
> overheard a couple of stagehands talking about how wierd the  
> complete white-faced look was to them.  She realized that, in order  
> to portray the women as beautiful and sexy, the traditional make-up  
> had to be modified for the modern and western audience, that where  
> a Japanese (and especially an older Japanese audience would see  
> them as being beautiful, the intended audience would not.

Yes.  I actually give my costume design classes a lecture about when  
to stick with accuracy and when to bend it, and it's mostly about  
communication with the audience.  If they're not getting what you  
want to convey about your character--that they're beautiful, that  
they're old, that they're sinister, or whatever--it's not a good  
costume design, no matter how accurate it is.  Our visual codes for  
certain traits and our aesthetic is so different from that of the  
past that the costume designer often has to make changes so that the  
audience will get the messages the costumes are supposed to be sending.

Of course, actor safety, comfort, and the ability to do quick- 
changes, dance moves, sword fights, or whatever else needs to happen  
in the show also often have an impact.  I once draped an HMS Pinafore  
set in the 1880s (really tight sleeves on really tight bodices _plus_  
bustles) and was informed after all the mockups were done that one of  
the ladies had to do a handstand onstage.

Melanie Schuessler
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Subject: Re: [h-cost] new Butterick pattern  5061
Date: Wed, 2 May 2007 21:00:36 -0400
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Status: RO

Sylrog,  I have only come to h-costume since about when It began in the 
'90s.  My only connection before that was the items accumulating in my 
private collection which were all the contact with the realities of the past 
re color, fabrics, and fit.  I was working very hard to translate this real 
info when designing for the stage.  One rather amusing attempt at doing 
h-costume was a period production in which I was determined to use all the 
closures available for a medieval setting.  Boy, did I learn some new 
concepts re theater at the dress rehearsal.  Most of the characters had one 
or more costume changes intra acts.  So much for ties and lacing!!

Another interesting experiment was several years later when we were doing 
"La Ronde".  All the women of the circle had to appear in (at least) undies 
and such as are previewed in the present pattern under discussion.  My 
creativity was in designing the intimate apparel that would also project the 
station in life as well as the modesty required for a local conservative 
audience.  This pattern would have delighted me then as it does now for the 
other real world of contempory middle America theater.

Kathleen
----- Original Message ----- 
From: "Sylvia Rognstad" <sylvia@ntw.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, May 02, 2007 8:18 PM
Subject: Re: [h-cost] new Butterick pattern 5061


>
> On May 2, 2007, at 6:11 PM, Carmen Beaudry wrote:
>
>>> On May 2, 2007, at 5:54 PM, LLOYD MITCHELL wrote:
>>>
>>>> This reminds me of.......
>>>> One thing I am sure of is that the armseye of the upper garments will 
>>>> not be as high as the originals nor the bottoms as capacious .  These 
>>>> would grace any stage quite nicely.
>>>
>>> That sounds like a veiled insult to  theatrical costume designers.
>>>
>>> Sylrog
>>
>> I sure didn't take it as such.
>>
>> Melusine (who started out in theater and still does theater costume part 
>> time)
>
> You didn't?  Am I just being overly sensitive?  I often feel like 
> historical re-enactors and reproducers of accurate historical costumes 
> look down their noses to a certain extent at theatrical costume designers 
> because the latter  don't usually attempt complete authenticity.
>
> Sylrog
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost]Theatrer vs Historic (was:new Butterick pattern  5061)
Date: Wed, 2 May 2007 18:04:37 -0700
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Status: RO

Thoughts:
 -30 second costume changes.
 -$300 costume budget for the whole show-12 actors.
 -Director's vision-often more artistic than historically accurate, so =
you
try and compromise.
 -Lack of a crew to make everything you envision. Sometimes it just =
comes
down to not enough time. You put someone in something close, just so =
they
can go onstage in something other than their own clothes.
=20

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] =
On
Behalf Of Carmen Beaudry
Sent: Wednesday, May 02, 2007 5:36 PM
To: Historical Costume
Subject: Re: [h-cost]Theatrer vs Historic (was:new Butterick pattern =
5061)


(snip about percieved insult to theatrical designers)
> You didn't?  Am I just being overly sensitive?  I often feel like=20
> historical re-enactors and reproducers of accurate historical costumes =

> look down their noses to a certain extent at theatrical costume =
designers=20
> because the latter  don't usually attempt complete authenticity.
>
> Sylrog

I may be a bit optimistic, and I know that some historic costumers=20
automatically discount anyone who designs for the stage, but I don't =
think=20
this was the case here.  I'm sure the original poster will correct me if =
I'm

wrong.

I do historic reenactment and recreation.  Most of my customers want =
very=20
historically accurate clothing for reenactment.  That being said, I =
enjoy=20
the different emphasis to costuming for the theater.  I enjoy trying to=20
realize the director's vision, to express the character through the =
costume=20
and evoke the various moods.  I do try to make that historically =
accurate=20
whenever possible, but sometimes it's not.  Whether that's the =
production of

Hamlet that was done all in dull browns, greys and other muddy shades =
due to

the director's ideas, or the production of The Misenthrope that we did =
in=20
1635 costumes rather than the 1670's that were actually appropriate, =
because

we could borrow the one, and we would have had to make the others, and =
we=20
had a $500 costume budget.  Wasn't going to get done, and while it =
somewhat=20
offended my sensibilities, for the most part the audience didn't know it =

wasn't meant to be.

I'm actually developing a lecture for next year on why and when you =
would or

would not want to be completely accurate with a costume.  It's just in =
the=20
ruminating stage right now, but I'd welcome any thoughts from y'all.

Melusine=20

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Subject: Re: [h-cost] new Butterick pattern  5061
Date: Wed, 2 May 2007 21:06:11 -0400
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Status: RO

Chuckle...And I bet you didn't try to enter that one in a contest?  Except, 
perhaps "And how many Zippers did you manage to get in on this one?"

Makes me think of the first time I remember the leather store on the board 
walk of Provincetown !!
Kathleen
----- Original Message ----- 
From: "Carmen Beaudry" <moreplentyn@earthlink.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, May 02, 2007 8:49 PM
Subject: Re: [h-cost] new Butterick pattern 5061


> >I didn't go so far as to read the instructions.  Alas...
>>
>> Presently working in miniature, I struggle nightly in trying to create my 
>> doll costumes using all the pieces that would have made the shapes if I 
>> were  doing them for people; it is hard indeed to compromise, but I have 
>> not yet  bent to Velcro.  Yeah.  At least the dolls don't complain if I 
>> pin the waist  band (As I am finding to be the method more often used in 
>> times of youe.
>>
>> kathleen
>
> And I didn't think of quick changes....I'm not sure why, as I'd like to 
> have a dollar for every 30-second change I've had to sew for.  My favorite 
> was the 1880's day dress to 1880's evening dress in 92 seconds.  Yes, I 
> put multiple zippers in those, and had 4 people dressing and undressing 
> her in the wings.
>
> Melusine
> _______________________________________________
> h-costume mailing list
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> http://mail.indra.com/mailman/listinfo/h-costume 

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Subject: Re: [h-cost]Theatrer vs Historic (was:new Butterick pattern  5061)
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Status: RO

 
In a message dated 5/2/2007 8:39:48 P.M. Eastern Daylight Time,  
sylvia@ntw.net writes:

I'm  actually developing a lecture for next year on why and when you 
> would  or would not want to be completely accurate with a costume.  
>  It's just in the ruminating stage right now, but I'd welcome any 
>  thoughts from y'all.

That sounds like a very good topic for a  lecture.  I look forward to 
hearing everyone's  opinions.



The Midwest Region of the Costume Society of America's symposium next fall  
is on all aspects of "costume," including theater and reenactment.   
Unfortunately, the call for papers closed a while ago.  But I think it is a  very 
interesting topic, too--I've worked in theatre and done reenacting.   Both require 
compromises (no matter what reenactors say!)--but what compromises,  and why, 
is definitely a thought-provoking topic.  Just one small  example--Mel Gibson 
in "The Patriot" did not wear accurately cut breeches with  the baggy back, but 
an experienced theatrical/film designer friend of mine  pointed out that most 
public would associate baggy pants with comedy.  The  only problem with that 
particular compromise, I think, was that the makers of  the film took great 
pride in pointing out what meticulous research they did on  costume of the 
period--okay, so they did the research and then adapted it, as  most designers do, 
but it seemed rather misleading.
 
Ann Wass



************************************** See what's free at http://www.aol.com.
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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] new Butterick pattern  5061
Date: Wed, 2 May 2007 20:40:51 -0400
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Status: RO

On Wednesday 02 May 2007 8:18 pm, Sylvia Rognstad wrote:
> On May 2, 2007, at 6:11 PM, Carmen Beaudry wrote:
> >> On May 2, 2007, at 5:54 PM, LLOYD MITCHELL wrote:
[snip]
> > I sure didn't take it as such.
> >
> > Melusine (who started out in theater and still does theater costume
> > part time)
>
> You didn't?  Am I just being overly sensitive?  I often feel like
> historical re-enactors and reproducers of accurate historical costumes
> look down their noses to a certain extent at theatrical costume
> designers because the latter  don't usually attempt complete
> authenticity.

Theatrical costumes need to meet different demands than reenactment costumes, 
and theatrical costumes often need to be made on a tight deadline to boot.  
Comparing the two is like comparing apples and oranges, and 
expecting "complete"  historical accuracy of theatre costumes is absurd.

-- 
Cathy Raymond <cathy@thyrsus.com>

"You've got to have the proper amount of disrespect for what you do."  
-- George Mabry

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From: Sylvia Rognstad <sylvia@ntw.net>
Subject: Re: [h-cost] new Butterick pattern 5061
Date: Wed, 2 May 2007 18:35:57 -0600
To: Historical Costume <h-costume@indra.com>
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Status: RO


On May 2, 2007, at 6:28 PM, Paula Praxis wrote:

>
>
>
>> F
>> On May 2, 2007, at 6:11 PM, Carmen Beaudry wrote:
>>
>>>> On May 2, 2007, at 5:54 PM, LLOYD MITCHELL wrote:
>>>>
>>>>> This reminds me of.......
>>>>> One thing I am sure of is that the armseye of the upper garments 
>>>>> will not be as high as the originals nor the bottoms as capacious 
>>>>> .  These would grace any stage quite nicely.
>>>>
>>>> That sounds like a veiled insult to  theatrical costume designers.
>>>>
>>>> Sylrog
>>>
>>> I sure didn't take it as such.
>>>
>>> Melusine (who started out in theater and still does theater costume 
>>> part time)
>>
>> You didn't?  Am I just being overly sensitive?  I often feel like 
>> historical re-enactors and reproducers of accurate historical 
>> costumes look down their noses to a certain extent at theatrical 
>> costume designers because the latter  don't usually attempt complete 
>> authenticity.
>>
>> Sylrog
>
> And with good reason - someimes changes are soooooo fast you cn't be 
> historically accurate and velcro saves the day and the costume!
> Paula

Good point, although I wasn't really thinking of closures as being the 
issue.

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Subject: Re: [h-cost] new Butterick pattern  5061
Date: Wed, 2 May 2007 18:14:53 -0700
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Status: RO

> Chuckle...And I bet you didn't try to enter that one in a contest? 
> Except, > perhaps "And how many Zippers did you manage to get in on this 
> one?"

> Makes me think of the first time I remember the leather store on the board 
> walk of Provincetown !!
> Kathleen

Nope, and you couldn't see the zippers from off stage, either.

Melusine 

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To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: now costume design, was Re: [h-cost] new Butterick pattern  5061
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Status: RO

She wrote a book, too, "Geisha", By Liza Dalby
ISBN #0-394-72893-9. Mine was published by Vintage Books, division of =
Random
House, in 1985.
Originally published Berkeley: University of California Press 1983

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] =
On
Behalf Of Carmen Beaudry
Sent: Wednesday, May 02, 2007 5:45 PM
To: Historical Costume
Subject: Re: now costume design, was Re: [h-cost] new Butterick pattern =
5061


>I didn't either.  As both a historian and a costume designer, I see  no =

>reason to be embarrassed about the very good reasons why accuracy  > is =

>often compromised on the stage.  I still groan when I watch films  with =

>terribly bastardized fashions, but I can often tell why they did  it.=20
>Telling the story is first priority.  Accuracy is icing for the  geeks. =
 :)
>
> Melanie Schuessler

Exactly.  The ones that really irk me are the ones where the story would =
be=20
better served by most accurate costumes and they still don't.

I just read a very interesting article about Memoirs of a Geisha.  Lisa=20
Dalby, who is the only non-Japanese ever trained as a geisha, was a=20
consultant on the film, and was upset that they didn't use the correct=20
make-up, but did a modified version, until she overheard a couple of=20
stagehands talking about how wierd the complete white-faced look was to=20
them.  She realized that, in order to portray the women as beautiful and =

sexy, the traditional make-up had to be modified for the modern and =
western=20
audience, that where a Japanese (and especially an older Japanese =
audience=20
would see them as being beautiful, the intended audience would not.

Melusine=20

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Subject: Re: [h-cost]Theatrer vs Historic (was:new Butterick pattern  5061)
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Status: RO


On May 2, 2007, at 9:07 PM, AnnBWass@aol.com wrote:

>
> The Midwest Region of the Costume Society of America's symposium  
> next fall
> is on all aspects of "costume," including theater and reenactment.

I'll be giving a paper on the impact of historic re-enacting on the  
study of clothing history in the recent past.  And I'll be talking a  
bit about how re-enacting blends theatre and history.

Melanie Schuessler


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From: "LLOYD MITCHELL" <rmitchell@washjeff.edu>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: now costume design, was Re: [h-cost] new Butterick pattern  5061
Date: Wed, 2 May 2007 21:19:26 -0400
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Status: RO

What a great point!  Anne Hollander does introduce this kind of connection 
in her (eye-opening) book, "Seeing Through Clothes". Many, many times I go 
back to read the parts that discuss past fashion always being interpreted in 
terms of the present aesthetics.

I am greatly amused with the present retro of the 1970s...bell bottoms, 
angeltops and other nostalgic tops and bottoms. Hip-hugging and boob 
lifting.  But the colors are not the same, the designs of the fabric and the 
fabrics themselves are softer,but perhaps bolder?  The originals were the 
natural outcome of the "burn the bra (or whatever)generation" ...

Kathleen
----- Original Message ----- 
From: "Carmen Beaudry" <moreplentyn@earthlink.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, May 02, 2007 8:45 PM
Subject: Re: now costume design, was Re: [h-cost] new Butterick pattern 5061


> >I didn't either.  As both a historian and a costume designer, I see  no 
> >reason to be embarrassed about the very good reasons why accuracy  > is 
> >often compromised on the stage.  I still groan when I watch films  with 
> >terribly bastardized fashions, but I can often tell why they did  it. 
> >Telling the story is first priority.  Accuracy is icing for the  geeks. 
> >:)
>>
>> Melanie Schuessler
>
> Exactly.  The ones that really irk me are the ones where the story would 
> be better served by most accurate costumes and they still don't.
>
> I just read a very interesting article about Memoirs of a Geisha.  Lisa 
> Dalby, who is the only non-Japanese ever trained as a geisha, was a 
> consultant on the film, and was upset that they didn't use the correct 
> make-up, but did a modified version, until she overheard a couple of 
> stagehands talking about how wierd the complete white-faced look was to 
> them.  She realized that, in order to portray the women as beautiful and 
> sexy, the traditional make-up had to be modified for the modern and 
> western audience, that where a Japanese (and especially an older Japanese 
> audience would see them as being beautiful, the intended audience would 
> not.
>
> Melusine
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From: "LLOYD MITCHELL" <rmitchell@washjeff.edu>
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References: <bc1.128040ff.336a8fe5@aol.com>
Subject: Re: [h-cost]Theatrer vs Historic (was:new Butterick pattern  5061)
Date: Wed, 2 May 2007 21:23:36 -0400
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Status: RO

Anne, when and where is this to be held?  Now that I am mostly retired, i 
might even be able to get away in the Fall.  Yikes!
----- Original Message ----- 
From: <AnnBWass@aol.com>
To: <h-costume@indra.com>
Sent: Wednesday, May 02, 2007 9:07 PM
Subject: Re: [h-cost]Theatrer vs Historic (was:new Butterick pattern 5061)


>
> In a message dated 5/2/2007 8:39:48 P.M. Eastern Daylight Time,
> sylvia@ntw.net writes:
>
> I'm  actually developing a lecture for next year on why and when you
>> would  or would not want to be completely accurate with a costume.
>>  It's just in the ruminating stage right now, but I'd welcome any
>>  thoughts from y'all.
>
> That sounds like a very good topic for a  lecture.  I look forward to
> hearing everyone's  opinions.
>
>
>
> The Midwest Region of the Costume Society of America's symposium next fall
> is on all aspects of "costume," including theater and reenactment.
> Unfortunately, the call for papers closed a while ago.  But I think it is 
> a  very
> interesting topic, too--I've worked in theatre and done reenacting.   Both 
> require
> compromises (no matter what reenactors say!)--but what compromises,  and 
> why,
> is definitely a thought-provoking topic.  Just one small  example--Mel 
> Gibson
> in "The Patriot" did not wear accurately cut breeches with  the baggy 
> back, but
> an experienced theatrical/film designer friend of mine  pointed out that 
> most
> public would associate baggy pants with comedy.  The  only problem with 
> that
> particular compromise, I think, was that the makers of  the film took 
> great
> pride in pointing out what meticulous research they did on  costume of the
> period--okay, so they did the research and then adapted it, as  most 
> designers do,
> but it seemed rather misleading.
>
> Ann Wass
>
>
>
> ************************************** See what's free at 
> http://www.aol.com.
> _______________________________________________
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Subject: Re: [h-cost] new Butterick pattern  5061
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Status: RO

Attar girl!  My first and constany stagewnen I was beginning was a 
semi-thrust arrangement.  Mos of the time, the audience was a mere 2' away 
from the front row, and only 2' high.  No room to cheat.  I was always proud 
of my hems!

Kathleen
----- Original Message ----- 
From: "Carmen Beaudry" <moreplentyn@earthlink.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, May 02, 2007 9:14 PM
Subject: Re: [h-cost] new Butterick pattern 5061


>> Chuckle...And I bet you didn't try to enter that one in a contest? 
>> Except, > perhaps "And how many Zippers did you manage to get in on this 
>> one?"
>
>> Makes me think of the first time I remember the leather store on the 
>> board walk of Provincetown !!
>> Kathleen
>
> Nope, and you couldn't see the zippers from off stage, either.
>
> Melusine
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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: RE: [h-cost]Theatrer vs Historic (was:new Butterick pattern  5061)
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Status: RO


On Wed, 2 May 2007, Sharon Collier wrote:

> Thoughts:
>  -30 second costume changes.
>  -$300 costume budget for the whole show-12 actors.
>  -Director's vision-often more artistic than historically accurate, so you
> try and compromise.
>  -Lack of a crew to make everything you envision. Sometimes it just comes
> down to not enough time. You put someone in something close, just so they
> can go onstage in something other than their own clothes.

Another issue specific to the stage: Heat! Stage lots are hot hot hot, and
even if your budget and costume changes would allow you time for multiple
natural-fiber layers, the stage heat might nix them.

Also, stage costume has to be geared to make its impact from a distance.
Only the people in the front rows will see fancy needlework, and maybe
even they won't. So trims and embellishment that are important to the
design or the character (e.g. connotations of social class) have to be
large and contrasty enough to be visible to the people in the last row. On
the other hand, I've seen some really smashing stage costume with
"goldwork" that turned out, on close inspection, to be fabric paint
squeezed from a tube!

I should note also that there's more than one kind of theater costuming.
Costume for the stage has different issues than costume for film. Because
film doesn't have the constraints of distance visibility, heat, and
costume-change time, there's less excuse for resorting to zippers, faked
layers, and faked trimmings. And films usually have way more budget and
time for these things too. I'm a lot more critical of visibly inauthentic
costuming in film productions that present themselves as authentic and
historical than I am of stage productions that not only are working with
stage limitations, but also are usually clearly meant to be complex
re-interpretations for the modern audience.

--Robin

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From: "LLOYD MITCHELL" <rmitchell@washjeff.edu>
To: "Historical Costume" <h-costume@indra.com>
References: <Pine.LNX.4.10.10705022050500.26048-100000@shell.nightowl.net>
Subject: Re: [h-cost]Theatrer vs Historic (was:new Butterick pattern  5061)
Date: Wed, 2 May 2007 22:19:05 -0400
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Status: RO

I feel the same Robin.
Re the detail bit of faking it...another moment of epiphany for me was the 
first show I got to do in our Olin Theater.  I endured all the mineuture of 
prep I wa used forthe small theater and in viewing my first procenium show, 
none of the little details mattered a hoot...including the hems! The fabrics 
had great drape and graceful movement but you could hardly tell them from 
the backdrop!So I went out and gots lots of trim and beefed them up...and 
made notes re the brighter colors and fab patterns for the next time  And 
got better at concealed closures that looked like their antique 
counterparts.

kathleen
----- Original Message ----- 
From: "Robin Netherton" <robin@shell.nightowl.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, May 02, 2007 9:58 PM
Subject: RE: [h-cost]Theatrer vs Historic (was:new Butterick pattern 5061)


>
> On Wed, 2 May 2007, Sharon Collier wrote:
>
>> Thoughts:
>>  -30 second costume changes.
>>  -$300 costume budget for the whole show-12 actors.
>>  -Director's vision-often more artistic than historically accurate, so 
>> you
>> try and compromise.
>>  -Lack of a crew to make everything you envision. Sometimes it just comes
>> down to not enough time. You put someone in something close, just so they
>> can go onstage in something other than their own clothes.
>
> Another issue specific to the stage: Heat! Stage lots are hot hot hot, and
> even if your budget and costume changes would allow you time for multiple
> natural-fiber layers, the stage heat might nix them.
>
> Also, stage costume has to be geared to make its impact from a distance.
> Only the people in the front rows will see fancy needlework, and maybe
> even they won't. So trims and embellishment that are important to the
> design or the character (e.g. connotations of social class) have to be
> large and contrasty enough to be visible to the people in the last row. On
> the other hand, I've seen some really smashing stage costume with
> "goldwork" that turned out, on close inspection, to be fabric paint
> squeezed from a tube!
>
> I should note also that there's more than one kind of theater costuming.
> Costume for the stage has different issues than costume for film. Because
> film doesn't have the constraints of distance visibility, heat, and
> costume-change time, there's less excuse for resorting to zippers, faked
> layers, and faked trimmings. And films usually have way more budget and
> time for these things too. I'm a lot more critical of visibly inauthentic
> costuming in film productions that present themselves as authentic and
> historical than I am of stage productions that not only are working with
> stage limitations, but also are usually clearly meant to be complex
> re-interpretations for the modern audience.
>
> --Robin
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume 

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From: Cin <cinbarnes@gmail.com>
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Subject: [h-cost] The Great Authenticity Issue
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Status: RO

>I'm actually developing a lecture for next year on why and when you would or
>would not want to be completely accurate with a costume.  It's just in the
>ruminating stage right now, but I'd welcome any thoughts from y'all.

With all due respect to your gracious call for comments, this topic
typically turns into a flame war which I hope the list owner will
squelch immediately. (Ref the archives & search out "authenticity" for
some sample salvos from previous battles.) I've been on this list for
12 years.  This topic comes up with surprising regularity.

Some of us manage both reenactment & theater... in their separate venues.
--cin
Cynthia Barnes
CinBarnes@gmail.com
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From: Susan Data-Samtak <pasovasz@aol.com>
Subject: Re: now costume design, was Re: [h-cost] new Butterick pattern  5061
Date: Wed, 2 May 2007 21:08:43 -0400
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Status: RO


On May 2, 2007, at 8:49 PM, Melanie Schuessler wrote:

> Of course, actor safety, comfort, and the ability to do quick-changes, 
> dance moves, sword fights, or whatever else needs to happen in the 
> show also often have an impact.

Out of lurkdom for a moment.

First, thanks for all the insight into costumes. I learn so much on 
this list.  Such interesting discussions, too.

Second,  I ride sidesaddle and joined this list to find out about 
historic riding habits  (but stayed because of the vast array of 
topics!)  The issue of safety and how much we riders have to "do for 
ourselves" in this 21st Century, (rather than have a dresser and 
grooms) influences my use of velcro.  For ease of dressing, since I am 
my own groom, I get the horse ready, then get myself ready, as quickly 
as possible.  My bodices close with velcro, as do my skirts.  If the 
horse falls, or even slips, velcro releases the full skirt, so I am not 
hung up on the saddle.  The "look" is good but safe and easy to dress / 
undress.  We even mention this safety factor in our explanations to The 
Public about riding sidesaddle, Then and Now.

Susan

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Status: RO

tearoses@aol.com wrote:
>  Somebody tell me this guy is NOT showing off his barenaked knees in the 
> background of this painting: 
>
>  Bruegel drew some fieldworkers wearing similar shorts:
>  but I had assumed this was a comfort thing rather than 
 >  style thing. But notice they have the same points over the
 >  knees as in the painting above.

Has anyone consider that the "short pants" under-drawers? Especial the Bruegel 
details show workers trying to keep cool working in the hot autumn weather.

Your humble and obedient servant,
David S Mallinak

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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost]Theatrer vs Historic (was:new Butterick pattern  5061)
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Status: RO


On Wed, 2 May 2007, Melanie Schuessler wrote:

> 
> On May 2, 2007, at 9:07 PM, AnnBWass@aol.com wrote:
> 
> > The Midwest Region of the Costume Society of America's symposium  
> > next fall
> > is on all aspects of "costume," including theater and reenactment.
> 
> I'll be giving a paper on the impact of historic re-enacting on the  
> study of clothing history in the recent past.  And I'll be talking a  
> bit about how re-enacting blends theatre and history.

Where? When? Webpage?

--Robin

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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] The Great Authenticity Issue
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Status: RO


On Wed, 2 May 2007, Cin wrote:

> >I'm actually developing a lecture for next year on why and when you would or
> >would not want to be completely accurate with a costume.  It's just in the
> >ruminating stage right now, but I'd welcome any thoughts from y'all.
> 
> With all due respect to your gracious call for comments, this topic
> typically turns into a flame war which I hope the list owner will
> squelch immediately. (Ref the archives & search out "authenticity" for
> some sample salvos from previous battles.) I've been on this list for
> 12 years.  This topic comes up with surprising regularity.

It's been a while ... and the dozen or more posts I've seen tonight have
pretty much been reasonable and respectful.

We have all types on the list, and it's helpful to note sometimes that
different types of costuming call for different approaches. That does make
a difference in how we address questions on the list, and why it's good
when people make their purposes clear when asking how to do something. I
don't mind this kind of discussion, and am ever optimistic that it can be
done congenially.

--Robin


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From: Melanie Schuessler <melanie@faucet.net>
Subject: Re: [h-cost]Theatrer vs Historic (was:new Butterick pattern  5061)
Date: Thu, 3 May 2007 01:17:24 -0400
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On May 3, 2007, at 12:16 AM, Robin Netherton wrote:
>
> On Wed, 2 May 2007, Melanie Schuessler wrote:
>>
>> I'll be giving a paper on the impact of historic re-enacting on the
>> study of clothing history in the recent past.  And I'll be talking a
>> bit about how re-enacting blends theatre and history.
>
> Where? When? Webpage?
>
> --Robin

http://www.costumesocietyamerica.com/RegionIII/event_workshop_sym.htm

They still have the call for papers up (which is expired), but it  
gives the basic details:  Milwaukee, WI, September 28-29, with papers  
and tours to various local sites of interest.  It should be fun.  I  
haven't been to one in years, but I enjoyed the last one I attended  
(at which I gave a paper called "Men in Tights:  the Masculinity of  
Victorian Aerialists")!

Melanie


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From: "Sharon Collier" <sharon@collierfam.com>

She wrote a book, too, "Geisha", By Liza Dalby
ISBN #0-394-72893-9. Mine was published by Vintage Books, division of Random
House, in 1985.
Originally published Berkeley: University of California Press 1983

Yep, I've got that one, also the book she published in 2001 on Kimono.

Melusine 

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From: Deredere Galbraith <Deredere.Galbraith@kabelfoon.nl>
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] new Butterick pattern  5061
References: <4638B07A.8000300@reddawn.net><200705021923.32859.cathy@thyrsus.com><004b01c78d15$40cfac50$2f01a8c0@IBMTHINKPAD><012c01c78d17$16af2610$0200a8c0@boris><007601c78d1b$39e3eae0$2f01a8c0@IBMTHINKPAD><016b01c78d1c$d76d6560$0200a8c0@boris><001601c78d1f$3e9e8ff0$2f01a8c0@IBMTHINKPAD>	<018301c78d20$74abe240$0200a8c0@boris>
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Status: RO

Well accurate or not I like the pattern.
I think I am going to make it just to sleep in.
B and C look so cute and romantic. :-)

Greetings,
       Deredere
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Date: Thu, 03 May 2007 20:30:21 +1200
From: Melissa Brown Muckart <gold@where.else.net.nz>
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Subject: [h-cost] Tippet color
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Status: RO

My husband and I are both currently making 14th C. surcotes which will 
have tippets.

The article "The Tippet: Accessory after the Fact?" by Robin Netherton 
mentions that the tippets are almost always white. Most images I've seen 
of tippets show them as white. But I don't recall ever seeing the back 
side of a tippet in any of the image.

We're debating whether tippets are white on both sides (and obviously 
the "cuff"), or white on only the cuff and the tippet side facing front 
(what could be the lining), with the back side of the tippet in the 
color of the surcote itself.

Your opinions and input would be appreciated.

Thanks,

Melissa

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Date: Thu, 3 May 2007 04:08:32 -0500 (CDT)
From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Tippet color
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Status: RO


On Thu, 3 May 2007, Melissa Brown Muckart wrote:

> The article "The Tippet: Accessory after the Fact?" by Robin Netherton
> mentions that the tippets are almost always white. Most images I've
> seen of tippets show them as white. But I don't recall ever seeing the
> back side of a tippet in any of the image.
> 
> We're debating whether tippets are white on both sides (and obviously
> the "cuff"), or white on only the cuff and the tippet side facing
> front (what could be the lining), with the back side of the tippet in
> the color of the surcote itself.

Hi, Melissa. There are plenty of images of backs of tippets, including
some in my article. Fig. 8.1 (reproduced in color on the book jacket
cover) shows a circle of men and women dancing, and you see the backs of
both men and women with tippets. Fig. 8.2 shows a brass in which the
women's arms are turned so that you see one tippet from the back and the
other from the front, but that's less helpful as it is uncolored. Follow
some of the books and websites I cite in my footnotes and you will see
more; sometimes a tippet is even shown twisted so you see both sides.

However, perhaps you're using the word "tippet" rather more broadly than I
did in my article, in which I used it specifically to refer to the sleeve
decoration consisting of a band around the upper arm and a hanging piece
(see the last paragraph on page 116). In these cases the fronts and backs
of the streamers are the same color (and almost always white; some
exceptions are discussed on page 130-31). Sometimes, as in fig. 8.1, you
see a thin black line down the middle of the back of the streamer

Elsewhere in the article I describe another type of hanging sleeve
embellishment, in which the hanging part is an extension of the gown
sleeve (see the discussion starting at the bottom of page 121). These are
typically illustrated as having the gown fabric continuing down the back,
with a fur lining facing front. There is no band around the upper arm.
Fig. 8.3 appears to be this style, though the backs are not visible.

I am not sure whether this un-banded style is what you are describing
above, or whether you are suggesting that band-style tippets might have
different-colored backs (something I cannot recall ever seeing).

Versions of the hanging extended sleeves appear both before and after the
period in which the band-style tippets were popular. An important part of
my article is devoted to placing the band-style tippets into the context
of these other types of hanging sleeve endings -- something that has been
lacking in some earlier works, which treated the band style in isolation.
Some discussion of how the hanging tongues might have mutated into
band-style tippets appears on page 131. If that method of development is
correct, then it would be mechanically unlikely to see a construction that
combines a white band/cuff above a streamer that has the gown fabric down
the back, which perhaps explains why they don't seem to be in evidence.

Let me know if this helps.

--Robin


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Date: Thu, 3 May 2007 06:33:44 EDT
Subject: Re: [h-cost]Theatrer vs Historic (was:new Butterick pattern  5061)
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Status: RO

 
In a message dated 5/2/2007 9:24:23 P.M. Eastern Daylight Time,  
rmitchell@washjeff.edu writes:

Anne,  when and where is this to be held?  Now that I am mostly retired, i  
might even be able to get away in the Fall.  


Milwaukee, last weekend in September.  I didn't save the call for  papers, 
since I can't go.  There should be information eventually posted on  the CSA 
website, costumesocietyamerica.com--go to the "Regional Sites,"  "Midwestern 
Region."
 
Just found the call for papers still up, the symposium is called "Dress  
Design: Design for Industry, Theater, and Museums."  There is a contact for  the 
conference.
 
Ann Wass 



************************************** See what's free at http://www.aol.com.
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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] new Butterick pattern  5061
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Status: RO

At 00:54 03/05/2007, you wrote:
>This reminds me of.......
>One thing I am sure of is that the armseye of the upper garments 
>will not be as high as the originals nor the bottoms as capacious 
>.  These would grace any stage quite nicely.
>  Owning originals that are Not comfortable for actual modern wear, 
> in a 'Costume"situation, these would do quite nicely if done in the 
> usual muslin of their counterparts.


Many English originals were made in "Horrocks long cloth", which is 
almost a sheeting weight cotton, which washes and washes. Certainly 
in England muslin/calico was not frequently used for underwear. All 
the extant night gowns and underthings I have are longcloth or the 
equivalent of a shirting cotton - quite crisp.

Suzi

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Subject: Re: [h-cost] new Butterick pattern  5061
Date: Thu, 3 May 2007 08:33:40 -0400
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Status: RO

I like this , too, about it.
Kathleen (who sent most of her antique stuff to auction last week; who is 
wearing a lovely antique Victorian wrapper to the breakfast table, these 
days.)  Now that I do not need to preserve it for future programs, I plan to 
wear the things I kept as the mood and occasion presents.

(Thank you Fran!!)

KSM
----- Original Message ----- 
From: "Deredere Galbraith" <Deredere.Galbraith@kabelfoon.nl>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, May 03, 2007 2:15 AM
Subject: Re: [h-cost] new Butterick pattern 5061


> Well accurate or not I like the pattern.
> I think I am going to make it just to sleep in.
> B and C look so cute and romantic. :-)
>
> Greetings,
>       Deredere
> _______________________________________________
> h-costume mailing list
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From: "Catherine Kinsey" <Ckinsey@kumc.edu>
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Status: RO

from Sharon:
Thoughts:
 -30 second costume changes.
 -$300 costume budget for the whole show-12 actors.
 -Director's vision-often more artistic than historically accurate, so
you
try and compromise.
 -Lack of a crew to make everything you envision. Sometimes it just
comes
down to not enough time. You put someone in something close, just so
they
can go onstage in something other than their own clothes.
 >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>

   Bingo!  Especially in local community theater, altho the available
$$ are often much less.

I've been pulled back into theater work the last year or so precisely
because of my historic background.  Fortunately I had directors who
wanted to try for some historic accuracy, even if they had not the
slightest idea of what it was :).  Also fortunately I had a better
perspective of theater work and quickly learned not to tear my hair out
just because the stitching wouldn't pass historic muster.

Ann W. mentioned Mel Gibson and The Patriot, how the film claimed to
have done meticulous research, yet there were obvious (at least to us :)
), costuming compromises.  I find over the years I am more tolerant of
costuming fudges if the overall look is cohesive but this still bugs me.
 If historic accuracy is so important to them that they want to
advertise it, then I think they need to care about those details a
little more.  They might be surprised at how many folks would care,
something a lot of rennfaires seem to be forgetting.

Catherine





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Subject: Re: now costume design, was Re: [h-cost] new Butterick pattern  5061
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Status: RO

 
In a message dated 5/2/2007 6:54:45 P.M. Mountain Daylight Time,  
melanie@faucet.net writes:

Of  course, actor safety, comfort, and the ability to do quick- 
changes, dance  moves, sword fights, or whatever else needs to happen  
in the show  also often have an impact.  I once draped an HMS Pinafore  
set  in the 1880s (really tight sleeves on really tight bodices _plus_   
bustles) and was informed after all the mockups were done that one  of  
the ladies had to do a handstand  onstage.




Don't ya love it?  And I had a "lady" in a gowne and surcote do a  cartwheel. 
 And she was extremely overweight, which the director thought  was funny.  
Maybe he was the only one.
 
Cheryl Odom
College of Santa Fe



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Status: RO

 That's what I originally thought about the Bruegel field workers, or that they were worn-out hosen that had been cut off below the knees. That's why I did a double-take when I saw the Bathsheba picture, because that guy is clearly not in his drawers, or about to do any field work. 



Maybe, for the reasons previously mentioned, the artist was painting that guy in a gussied-up version of a peasant style. Or maybe the Bruegel drawings, which are thirty years later, show peasants wearing the castoffs of a flash-in-the-pan noble style. One reason I brought it up was to see if anyone else had any pictures of the same thing. 



I think it's especially interesting that Bruegel clearly shows a seam above the knee. I had even wondered if the knee parts were the tails of his undershirt drawn through, though that hardly seems practical. One leg of the guy in the Bathsheba image appears to also have this seam, so maybe it was just the way it was done.



Anyway, glad I could share something surprising with you guys. It amuses me no end to see those knobbly knees in that painting. 



Tea Rose


From: "David S. Mallinak" <dragonmatchlock@verizon.net>
Subject: Re: [h-cost] 16th-century short pants????
To: Historical Costume <h-costume@indra.com>


Has anyone consider that the "short pants" under-drawers? Especial the Bruegel 
details show workers trying to keep cool working in the hot autumn weather.

Your humble and obedient servant,
David S Mallinak


   
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----- Original Message ----- 
From: "MaggiRos" <maggiros@yahoo.com>
> I find myself thinking hmmmmmm... Cavalier, or better,
> Restoration.

Ooo.  OoooOOOOOoo!  Perfect!  And I've been looking for an excuse to make 
some c1665 stays, too...

-E House 

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From: MaggiRos <maggiros@yahoo.com>
Subject: Re: [h-cost] new Butterick pattern  5061
To: Historical Costume <h-costume@indra.com>
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> Theatrical costumes need to meet different demands
> than reenactment costumes, 
> and theatrical costumes often need to be made on a
> tight deadline to boot.  
> Comparing the two is like comparing apples and
> oranges, and 
> expecting "complete"  historical accuracy of theatre
> costumes is absurd.
> 
> -- 
Not that this keeps us from screaming over the
costumes in something like The Tudors. The budget
demands of a show like don't explain some of the
design choices they made. 

MaggiRos
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From: Cin <cinbarnes@gmail.com>
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Subject: Re: [h-cost]Theater vs Historic (was:new Butterick pattern
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Status: RO

Compromises?
When the performers are required to provide their own costumes at
their own expense. 20 different people will each compromise in 20
different ways: this one for vanity, that one for cost, another for a
favorite color, she has a quick change, he changes from tux to tails
and so on.  Our dance company www.DanseLibre.org is doing 4 different
decades this year.  Just changing shoes is a significant investment in
a costume closet.
--cin
Cynthia Barnes
CinBarnes@gmail.com
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Status: RO

And are we all ready for James Purefoy (sigh, faint,
oh my) this sunday as Beau Brummel? 

BBC America at 8:00pm for those who subscribe. The
website only has a few pictures, but he looks, dare I
say it, dandy!
<http://www.bbcamerica.com/content/227/index.jsp>

MaggiRos
~who only knows about the Regency what she sees on TV.
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Status: RO

MaggiRos wrote:

> And are we all ready for James Purefoy (sigh, faint,
> oh my) this sunday as Beau Brummel? 
> 
> BBC America at 8:00pm for those who subscribe. The
> website only has a few pictures, but he looks, dare I
> say it, dandy!
> <http://www.bbcamerica.com/content/227/index.jsp>
> 

Oh, yum! Is this going to be a series or a stand-alone movie?



Dawn



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Subject: RE: [h-cost]Theater vs Historic (was:new Butterick pattern
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Status: RO

 Also in the theater, on top of budget limitations, there is also the
consideration of what is going to be seen by the audience, both in the
front row and the "cheap seats" Lighting, director's vision, and just
the present-time aesthetics also play a big part.

Costume budgets have always been a relatively small part of the total
budget in historically-set films. In the multi-disc DVD version of Room
With a View, costume designer Jenny Bevan remarks on the difficulty on
working with small budgets and what you can even source--she mentions
that during the '70's everything was polyester. What the costume
designer or costume department wants to do and what ends up on stage and
screen has almost always been a compromise.

We have to remember that mass-market pattern suppliers are marketing to
a wide audience and what will sell is what comes first. So what is
relatively easy to make and looks attractive to the modern eye trumps
authenticity more often than not.

What most of us couldn't afford to today is the amount of money people
in the past had to spend on a single outfit. One noble person's single
ensemble,during the reign of Elizabeth I, for court wear, could cost as
much as a Porshe or more today. And would we want to have to work with
lengths of expensive fabrics as narrow as 21" wide?

Cindy Abel

=20
=20
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From: Ruth Anne Baumgartner <ruthanneb@mindspring.com>
Subject: Re: [h-cost]Theatrer vs Historic (was:new Butterick pattern  5061)
Date: Thu, 3 May 2007 15:51:59 -0400
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Status: RO

As a costumer in community theaters with miniscule budgets, of course  
I join others who've said the budget is a big factor in costume  
design (and the question of authenticity).
Absolutely also, the practical demands of the theatrical role  
(including the stage temperature) affect the costume design.

But the biggest issue, to my mind, is what the costume communicates  
to the audience, because that's the ultimate question for any aspect  
of a theatrical production.

I always aim for an accurate LINE (silhouette, apparent weight,  
movement) and go from there. Much as we might love looking at the  
real thing in any time period or social class, at least a few  
authentic designs that were high fashion or high elegance in other  
eras are downright hilarious to the modern eye, and if we don't want  
to evoke laughter we have to adjust the design. That goes for any  
other detail, too, that the audience would "read." Much as we might  
like to teach the audience about life in another time or place, they  
didn't come to the theater to study cultural or clothing history;  
they came to participate in an unfolding human experience. Any  
costume that says "Don't listen to this guy; LOOK at ME!" is a bad  
theatrical costume, regardless of its accuracy or fine workmanship.

I'd also say that estimating the expectations/preparation of the  
audience is relevant in this context: for a college or festival  
(e.g., Shakespeare festival) or otherwise specialized audience, where  
the audience members are likely to know something about the period of  
the play, the costumes--if the choice is period costumes--ought to  
speak to their knowledge, offer accuracy in surface detail and  
underpinnings as well as an accurate line. But even then, the  
director's intentions concerning mood and personality and overall  
production design will affect those details.

Basically, then: costuming, like any other aspect of a theatrical  
production, must ADD to, not DETRACT or DISTRACT from, the audience's  
ability to understand the play. And that holds whether the play is  
"period" or contemporary.

That's my guiding principle, anyway.

--Ruth Anne Baumgartner
scholar gypsy and amateur costumer

On May 2, 2007, at 8:36 PM, Carmen Beaudry wrote:

> (snip about percieved insult to theatrical designers)
>> You didn't?  Am I just being overly sensitive?  I often feel like  
>> historical re-enactors and reproducers of accurate historical  
>> costumes look down their noses to a certain extent at theatrical  
>> costume designers because the latter  don't usually attempt  
>> complete authenticity.
>>
>> Sylrog
>
> I may be a bit optimistic, and I know that some historic costumers  
> automatically discount anyone who designs for the stage, but I  
> don't think this was the case here.  I'm sure the original poster  
> will correct me if I'm wrong.
>
> I do historic reenactment and recreation.  Most of my customers  
> want very historically accurate clothing for reenactment.  That  
> being said, I enjoy the different emphasis to costuming for the  
> theater.  I enjoy trying to realize the director's vision, to  
> express the character through the costume and evoke the various  
> moods.  I do try to make that historically accurate whenever  
> possible, but sometimes it's not.  Whether that's the production of  
> Hamlet that was done all in dull browns, greys and other muddy  
> shades due to the director's ideas, or the production of The  
> Misenthrope that we did in 1635 costumes rather than the 1670's  
> that were actually appropriate, because we could borrow the one,  
> and we would have had to make the others, and we had a $500 costume  
> budget.  Wasn't going to get done, and while it somewhat offended  
> my sensibilities, for the most part the audience didn't know it  
> wasn't meant to be.
>
> I'm actually developing a lecture for next year on why and when you  
> would or would not want to be completely accurate with a costume.   
> It's just in the ruminating stage right now, but I'd welcome any  
> thoughts from y'all.
>
> Melusine
> _______________________________________________
> 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] new Butterick pattern  5061
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Status: RO

On May 3, 2007, at 11:09 AM, MaggiRos wrote:
> Not that this keeps us from screaming over the
> costumes in something like The Tudors. The budget
> demands of a show like don't explain some of the
> design choices they made.

I'm willing to give "historical fantasy" more leeway than something  
that claims accuracy. I'm willing to give designers a lot of credit  
if they can use and successfully hide modern techniques because  
they're practical. A performance venue, whether it's stage, screen or  
something interactive like historical faire, is a performance venue.

There's still a point at which I can't suspend disbelief anymore. I  
think the worst case is when there's obviously been a lot of work put  
into accuracy, and one or two costumes (the stars', usually) just  
don't match.

andy
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From: "LLOYD MITCHELL" <rmitchell@washjeff.edu>
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	<BB3EEC584579204DB6E2CA0F6DB7566F08C7A69B@exbe01.blue.jays.creighton.edu>
Subject: Re: [h-cost]Theater vs Historic (was:new Butterick pattern
Date: Thu, 3 May 2007 16:39:42 -0400
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Status: RO

re what can be seen to the folk in the cheap seats:

We attended a performance of Madame Butterfly with a large college group. 
Sitting  way up in heaven at the Benedum, we had an excellent view of all 
the scene changes andd an especially goodview of the right side prop table 
for most of the show!

Kathleen
----- Original Message ----- 
From: "Abel, Cynthia" <CynthiaAbel@creighton.edu>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, May 03, 2007 3:45 PM
Subject: RE: [h-cost]Theater vs Historic (was:new Butterick pattern


Also in the theater, on top of budget limitations, there is also the
consideration of what is going to be seen by the audience, both in the
front row and the "cheap seats" Lighting, director's vision, and just
the present-time aesthetics also play a big part.

Costume budgets have always been a relatively small part of the total
budget in historically-set films. In the multi-disc DVD version of Room
With a View, costume designer Jenny Bevan remarks on the difficulty on
working with small budgets and what you can even source--she mentions
that during the '70's everything was polyester. What the costume
designer or costume department wants to do and what ends up on stage and
screen has almost always been a compromise.

We have to remember that mass-market pattern suppliers are marketing to
a wide audience and what will sell is what comes first. So what is
relatively easy to make and looks attractive to the modern eye trumps
authenticity more often than not.

What most of us couldn't afford to today is the amount of money people
in the past had to spend on a single outfit. One noble person's single
ensemble,during the reign of Elizabeth I, for court wear, could cost as
much as a Porshe or more today. And would we want to have to work with
lengths of expensive fabrics as narrow as 21" wide?

Cindy Abel



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From: MaggiRos <maggiros@yahoo.com>
Subject: Re: [h-cost] Re: Beau Brummel (was Theater vs Historic )
To: Historical Costume <h-costume@indra.com>
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Status: RO

I can't see any mention of multiple parts, so it
appears to be a 1-shot thing. BBC Four calls it a full
length feature, and apparently ran an hour and 20
minutes, which for BBC America means 2 hours.

Here are some more pictures.
http://www.flashbacktelevision.com/productions/beaubrummell.html


MaggiRos

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

> MaggiRos wrote:
> 
> > And are we all ready for James Purefoy (sigh,
> faint,
> > oh my) this sunday as Beau Brummel? 
> > 
> > BBC America at 8:00pm for those who subscribe. The
> > website only has a few pictures, but he looks,
> dare I
> > say it, dandy!
> > <http://www.bbcamerica.com/content/227/index.jsp>
> > 
> 
> Oh, yum! Is this going to be a series or a
> stand-alone movie?
> 
> 
> 
> Dawn
> 
> 
> 
> _______________________________________________
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Subject: Re: [h-cost] new Butterick pattern  5061
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Status: RO

And then there was the production of "Auntie Mame".

For once, I was just in the cast; someone else was doing costumes.  That is, 
she said she would costume "Mame".  I got her permission to costume myself; 
at the dress rehersal I showed up with 5 ordinary vintage costumes.  The 
rest of the cast was pointed to a huge piloe of clothing thrown on to the 
floor, and told to find something that would fit...She was still too busy 
getting Mame's 10 costumes finished. After the rehearsal, the producer and 
director took me aside and asked if there was any way I could help...at 
least with the rest of the principals. Knowing I couldn't wear my stuff 
unless the others looked at least a good as I, I went home to scrounge and 
adapt about 20 pieces before the next night.  T'was ever thus.  (I did gain 
a reputation for shaking my magic wand...but it wasn't always fun!)

kathleen
----- Original Message ----- 
From: "Andrew T Trembley" <attrembl@bovil.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, May 03, 2007 4:02 PM
Subject: Re: [h-cost] new Butterick pattern 5061


> On May 3, 2007, at 11:09 AM, MaggiRos wrote:
>> Not that this keeps us from screaming over the
>> costumes in something like The Tudors. The budget
>> demands of a show like don't explain some of the
>> design choices they made.
>
> I'm willing to give "historical fantasy" more leeway than something  that 
> claims accuracy. I'm willing to give designers a lot of credit  if they 
> can use and successfully hide modern techniques because  they're 
> practical. A performance venue, whether it's stage, screen or  something 
> interactive like historical faire, is a performance venue.
>
> There's still a point at which I can't suspend disbelief anymore. I  think 
> the worst case is when there's obviously been a lot of work put  into 
> accuracy, and one or two costumes (the stars', usually) just  don't match.
>
> andy
> _______________________________________________
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Status: RO

Right. The 30 foot rule often applies in theatre. 

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Catherine Kinsey
Sent: Thursday, May 03, 2007 6:45 AM
To: h-costume@indra.com
Subject: [h-cost] Re: Theatrer vs Historic


from Sharon:
Thoughts:
 -30 second costume changes.
 -$300 costume budget for the whole show-12 actors.
 -Director's vision-often more artistic than historically accurate, so
you
try and compromise.
 -Lack of a crew to make everything you envision. Sometimes it just
comes
down to not enough time. You put someone in something close, just so
they
can go onstage in something other than their own clothes.
 >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>

   Bingo!  Especially in local community theater, altho the available
$$ are often much less.

I've been pulled back into theater work the last year or so precisely
because of my historic background.  Fortunately I had directors who
wanted to try for some historic accuracy, even if they had not the
slightest idea of what it was :).  Also fortunately I had a better
perspective of theater work and quickly learned not to tear my hair out
just because the stitching wouldn't pass historic muster.

Ann W. mentioned Mel Gibson and The Patriot, how the film claimed to
have done meticulous research, yet there were obvious (at least to us :)
), costuming compromises.  I find over the years I am more tolerant of
costuming fudges if the overall look is cohesive but this still bugs me.
 If historic accuracy is so important to them that they want to
advertise it, then I think they need to care about those details a
little more.  They might be surprised at how many folks would care,
something a lot of rennfaires seem to be forgetting.

Catherine





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From: "Sharon Collier" <sharon@collierfam.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost]Theatrer vs Historic (was:new Butterick pattern  5061)
Date: Thu, 3 May 2007 14:57:47 -0700
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Status: RO

I remember when we went to Disneyland some years ago and the parade was =
for
the movie "Mulan" I practically climbed into the street to see the =
fabulous
costumes, all embroidered. I took lots of pictures. Gorgeous!
Sharon

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] =
On
Behalf Of Robin Netherton
Sent: Wednesday, May 02, 2007 6:58 PM
To: Historical Costume
Subject: RE: [h-cost]Theatrer vs Historic (was:new Butterick pattern =
5061)



On Wed, 2 May 2007, Sharon Collier wrote:

> Thoughts:
>  -30 second costume changes.
>  -$300 costume budget for the whole show-12 actors.
>  -Director's vision-often more artistic than historically accurate, so =
you
> try and compromise.
>  -Lack of a crew to make everything you envision. Sometimes it just =
comes
> down to not enough time. You put someone in something close, just so =
they
> can go onstage in something other than their own clothes.

Another issue specific to the stage: Heat! Stage lots are hot hot hot, =
and
even if your budget and costume changes would allow you time for =
multiple
natural-fiber layers, the stage heat might nix them.

Also, stage costume has to be geared to make its impact from a distance.
Only the people in the front rows will see fancy needlework, and maybe
even they won't. So trims and embellishment that are important to the
design or the character (e.g. connotations of social class) have to be
large and contrasty enough to be visible to the people in the last row. =
On
the other hand, I've seen some really smashing stage costume with
"goldwork" that turned out, on close inspection, to be fabric paint
squeezed from a tube!

I should note also that there's more than one kind of theater costuming.
Costume for the stage has different issues than costume for film. =
Because
film doesn't have the constraints of distance visibility, heat, and
costume-change time, there's less excuse for resorting to zippers, faked
layers, and faked trimmings. And films usually have way more budget and
time for these things too. I'm a lot more critical of visibly =
inauthentic
costuming in film productions that present themselves as authentic and
historical than I am of stage productions that not only are working with
stage limitations, but also are usually clearly meant to be complex
re-interpretations for the modern audience.

--Robin

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From: "Sharon Collier" <sharon@collierfam.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Re: 16th-century short pants????
Date: Thu, 3 May 2007 15:02:31 -0700
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Status: RO

Would it perhaps be a style that allowed for knee protection/cushioning =
when
kneeling to do field work?=20
Sharon

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] =
On
Behalf Of tearoses@aol.com
Sent: Thursday, May 03, 2007 10:34 AM
To: h-costume@indra.com
Subject: [h-cost] Re: 16th-century short pants????


 That's what I originally thought about the Bruegel field workers, or =
that
they were worn-out hosen that had been cut off below the knees. That's =
why I
did a double-take when I saw the Bathsheba picture, because that guy is
clearly not in his drawers, or about to do any field work.=20



Maybe, for the reasons previously mentioned, the artist was painting =
that
guy in a gussied-up version of a peasant style. Or maybe the Bruegel
drawings, which are thirty years later, show peasants wearing the =
castoffs
of a flash-in-the-pan noble style. One reason I brought it up was to see =
if
anyone else had any pictures of the same thing.=20



I think it's especially interesting that Bruegel clearly shows a seam =
above
the knee. I had even wondered if the knee parts were the tails of his
undershirt drawn through, though that hardly seems practical. One leg of =
the
guy in the Bathsheba image appears to also have this seam, so maybe it =
was
just the way it was done.



Anyway, glad I could share something surprising with you guys. It amuses =
me
no end to see those knobbly knees in that painting.=20



Tea Rose


From: "David S. Mallinak" <dragonmatchlock@verizon.net>
Subject: Re: [h-cost] 16th-century short pants????
To: Historical Costume <h-costume@indra.com>


Has anyone consider that the "short pants" under-drawers? Especial the
Bruegel=20
details show workers trying to keep cool working in the hot autumn =
weather.

Your humble and obedient servant,
David S Mallinak


  =20
________________________________________________________________________
AOL now offers free email to everyone.  Find out more about what's free =
from
AOL at AOL.com.
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To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] new Butterick pattern  5061
Date: Thu, 3 May 2007 15:13:13 -0700
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Status: RO

I find that I can accept less than period  correct costumes much easier =
in a
stage production than in movies or TV shows. Maybe that is because in =
most
stage productions, the scenery is suggested, a column standing for a =
tree in
one scene and a ship's mast the next, etc. Suggested costumes seem to go
along with that.
But in a movie or TV production, they are filmed using real locations. I
"want" the costumes to be as real.
If you film in Hampton Court Palace or an authentic mock up of it on a =
sound
stage, the costumes should be stylistically the same. If the show is =
filmed
with a more fantasy feel to the sets, I can accept more leeway in the
costumes.=20
It jars less if the set and costumes match. It often seems more a =
visceral
reaction than a well thought out one. More like a feeling that something
isn't "right".
Anyone else feel this way?
Sharon

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] =
On
Behalf Of MaggiRos
Sent: Thursday, May 03, 2007 11:09 AM
To: Historical Costume
Subject: Re: [h-cost] new Butterick pattern 5061




> Theatrical costumes need to meet different demands
> than reenactment costumes,=20
> and theatrical costumes often need to be made on a
> tight deadline to boot. =20
> Comparing the two is like comparing apples and
> oranges, and=20
> expecting "complete"  historical accuracy of theatre
> costumes is absurd.
>=20
> --=20
Not that this keeps us from screaming over the
costumes in something like The Tudors. The budget
demands of a show like don't explain some of the
design choices they made.=20

MaggiRos
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From: "Sharon Collier" <sharon@collierfam.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] new Butterick pattern  5061
Date: Thu, 3 May 2007 15:20:06 -0700
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Status: RO

"A Knight's Tale" is a great example. I don't know much about the period,
but most of the costumes seemed okay. Except for the female lead. She stuck
out like a sore thumb. I especially remember the hat that looked like
something from "Breakfast at Tiffany's".

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Andrew T Trembley
Sent: Thursday, May 03, 2007 1:02 PM
To: Historical Costume
Subject: Re: [h-cost] new Butterick pattern 5061


On May 3, 2007, at 11:09 AM, MaggiRos wrote:
> Not that this keeps us from screaming over the
> costumes in something like The Tudors. The budget
> demands of a show like don't explain some of the
> design choices they made.

I'm willing to give "historical fantasy" more leeway than something  
that claims accuracy. I'm willing to give designers a lot of credit  
if they can use and successfully hide modern techniques because  
they're practical. A performance venue, whether it's stage, screen or  
something interactive like historical faire, is a performance venue.

There's still a point at which I can't suspend disbelief anymore. I  
think the worst case is when there's obviously been a lot of work put  
into accuracy, and one or two costumes (the stars', usually) just  
don't match.

andy
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	<463A3639.5030904@reddawn.net>
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Subject: [h-cost] Re: Beau Brummel
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Status: RO

Oooh Ahhhh, thank you for bring this to our attention.  I have wanted to =
see this ever since I watched him in Rome...yummmmm, yummmmm..

Sg
  ----- Original Message -----=20
  From: Dawn<mailto:dawn@reddawn.net>=20
  To: Historical Costume<mailto:h-costume@indra.com>=20
  Sent: Thursday, May 03, 2007 12:21 PM
  Subject: [h-cost] Re: Beau Brummel (was Theater vs Historic )


  MaggiRos wrote:

  > And are we all ready for James Purefoy (sigh, faint,
  > oh my) this sunday as Beau Brummel?=20
  >=20
  > BBC America at 8:00pm for those who subscribe. The
  > website only has a few pictures, but he looks, dare I
  > say it, dandy!
  > =
<http://www.bbcamerica.com/content/227/index.jsp<http://www.bbcamerica.co=
m/content/227/index.jsp>>
  >=20

  Oh, yum! Is this going to be a series or a stand-alone movie?



  Dawn



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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: RE: [h-cost] new Butterick pattern  5061
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Status: RO


On Thu, 3 May 2007, Sharon Collier wrote:

> If you film in Hampton Court Palace or an authentic mock up of it on a
> sound stage, the costumes should be stylistically the same. If the
> show is filmed with a more fantasy feel to the sets, I can accept more
> leeway in the costumes.  It jars less if the set and costumes match.
> It often seems more a visceral reaction than a well thought out one.
> More like a feeling that something isn't "right". Anyone else feel
> this way?

Most definitely, and that states well what I was trying to get at when I
said I give a lot more leeway to a stage production (which almost by
definition is a representation rather than a replication of reality) than
to a film, a medium that almost always cultivates an aura of realism.

It occurs to me that the productions that get the most criticism on this
list are historical drama, particularly those that purport to be realistic
(say, "Elizabeth," which offered film-linked packets for school history
programs as part of its marketing, as opposed to "Orlando," which was also
set partly at the Elizabethan court but had a strong fantastical/satirical
element). It may be that the criticism of such productions is what some
people have interpreted as a bias against theatrical costumers. Not at all
-- theatrical costume, like re-enactment costume, fantasy costume, museum
reproduction, and any other type of costuming can be done well or poorly,
and the needs change depending on the goals and limitations of the
situation. I think most of us recognize that and try to judge each case on
the nature of its medium.

--Robin


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Subject: Re: [h-cost] new Butterick pattern  5061
Date: Thu, 3 May 2007 15:45:07 -0700
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Status: RO


On May 3, 2007, at 3:30 PM, Robin Netherton wrote:
> It occurs to me that the productions that get the most criticism on  
> this
> list are historical drama, particularly those that purport to be  
> realistic
> (say, "Elizabeth," which offered film-linked packets for school  
> history
> programs as part of its marketing, as opposed to "Orlando," which  
> was also
> set partly at the Elizabethan court but had a strong fantastical/ 
> satirical
> element).

I remember the uproar in academic circles about "Elizabeth" offering  
the "history" packets. This after the director blathered on and on in  
interviews about how he wanted to tell a modern story and discarded  
most of the history.

"Shakespeare in Love" was much more interesting. It proudly took up  
the mantle of historical fantasy, and yet it captured the period much  
better.

andy
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To: Historical Costume <h-costume@indra.com>
From: Dianne & Greg Stucki <goofy4@comcast.net>
Subject: Re: [h-cost] Re: Beau Brummel (was Theater vs Historic )
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Status: RO

At 04:52 PM 5/3/2007, you wrote:
>I can't see any mention of multiple parts, so it
>appears to be a 1-shot thing. BBC Four calls it a full
>length feature, and apparently ran an hour and 20
>minutes, which for BBC America means 2 hours.


That looks just yummy. THAT I will stay up to watch!

Dianne


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From: Lauren Walker <lauren.walker@comcast.net>
Subject: Re: [h-cost]Theatrer vs Historic (was:new Butterick pattern  5061)
Date: Thu, 3 May 2007 19:47:26 -0400
To: Historical Costume <h-costume@indra.com>
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Status: RO

It's funny, but actually, studying historic costume has made me  
appreciate what ELSE theatrical and movie costumers are doing more  
than I did before I knew where to hunt down period-correct sartorial  
information. When I'm dressing for re-enacting, I strive for ever  
more accurate accouterment, because the story we are telling as re- 
enactors is either This Is What It Was Like or sometimes This Is How  
It Differs From Now. Strict authenticity is the point in that effort.  
And I have to say that often what is most authentic is not to my own  
personal, modern taste, so I have to tell my personal, modern taste  
to shut up.

But the story in a play or movie is usually one that reflects a moral  
issue that resonates with the modern audience. And what theatrical  
costumers do, sometimes breathtakingly, is to evoke the historic  
period while also using visual clothing symbolism that will enhance  
the characterizations in modern eyes. Thus, as someone on this list  
pointed out a while ago, the hair and makeup of the romantic leads  
will usually be the least authentic, for they must telegraph beauty  
and desirability and probably moral good as well to the modern  
audience. (Though I've recently been impressed by the costuming for  
the Showtime series "Dexter" -- how do you dress a sociopathic serial  
killer who is attempting to live by a moral code in order to pass for  
normal?) Even when using modern-day wardrobe for modern characters,  
the way they select color and cut paints a character portrait with  
amazing nuance. With historical stuff, they have to work with the  
double vision of what the characters might have worn in period and  
what will look, to modern viewers, like what the characters might  
have worn. Because most viewers are not going to tell their personal,  
modern taste to shut up.

But then they get us, complaining because the costumes go beyond This  
Is What It Was Like and try to help tell the story!

Anyway as for the Butterick pattern, I think the answer to "what era  
is it?" might be, "whatever year you want it to be." The jackets look  
kind of 1940s/50s boudoir to me.

Lauren
Lauren M. Walker
lauren.walker@comcast.net



On May 3, 2007, at 3:51 PM, Ruth Anne Baumgartner wrote:

>
> But the biggest issue, to my mind, is what the costume communicates  
> to the audience, because that's the ultimate question for any  
> aspect of a theatrical production.

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Subject: Re: [h-cost]Theater vs Historic (was:new Butterick pattern
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Status: RO

Frankly, I thinking working with fabrics in authentic widths would be a
blast.  But then, I'm here more for the historical/reenactment end of
things.  And if I ever win the lottery (not that I play, mind you, but....),
then porsches be darned, I'm getting some of those exquisite silk velvets
that cost, what was it, 1500? 1600? euro/meter?
--Sue

----- Original Message -----
From: "Abel, Cynthia" <CynthiaAbel@creighton.edu>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, May 03, 2007 1:45 PM
Subject: RE: [h-cost]Theater vs Historic (was:new Butterick pattern


>
> What most of us couldn't afford to today is the amount of money people
> in the past had to spend on a single outfit. One noble person's single
> ensemble,during the reign of Elizabeth I, for court wear, could cost as
> much as a Porshe or more today. And would we want to have to work with
> lengths of expensive fabrics as narrow as 21" wide?


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Status: RO

> Frankly, I thinking working with fabrics in authentic widths would be a
> blast.  But then, I'm here more for the historical/reenactment end of
> things.  And if I ever win the lottery (not that I play, mind you, 
> but....),
> then porsches be darned, I'm getting some of those exquisite silk velvets
> that cost, what was it, 1500? 1600? euro/meter?
> --Sue

I'm with you there....and then I want to just roll around on it for a while.

Melusine 

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To: h-costume@indra.com
Subject: Re: [h-cost]Theatrer vs Historic (was:new Butterick pattern 5061)
Date: Fri, 04 May 2007 01:52:40 +0000
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Status: RO

Hello,
I joined the list after talking to a weaver & dyer at the Southwest School 
of Art & Craft in San Antonio last month who pointed me to some web links 
that address the production of cloth. I was in hope of finding someone in 
North America (preferably) or Europe who I could talk to regarding 
construction, materials & techniques that would have been used for the 
manufacture of military insignia in Germany during the 1920's - 1940's.
I am part of a small circle of serious collectors & students who study the 
cloth, metallic piping, metallic embroidery & cotton embroidery used in 
these pieces. Although it may sound paradoxical, the quality of work in 
these pieces is very sophisticated and quite beautiful.
If anyone could suggest a source I would really appreciate it.
And no, we don't have shaved heads, wear combat boots or show up at 
ignorant, misguided, hate-filled demonstrations or sport confederate flags 
on our cars.

Thank You
Tom Chaney
Oklahoma City


>From: Lauren Walker <lauren.walker@comcast.net>
>Reply-To: Historical Costume <h-costume@indra.com>
>To: Historical Costume <h-costume@indra.com>
>Subject: Re: [h-cost]Theatrer vs Historic (was:new Butterick pattern  5061)
>Date: Thu, 3 May 2007 19:47:26 -0400
>
>It's funny, but actually, studying historic costume has made me  appreciate 
>what ELSE theatrical and movie costumers are doing more  than I did before 
>I knew where to hunt down period-correct sartorial  information. When I'm 
>dressing for re-enacting, I strive for ever  more accurate accouterment, 
>because the story we are telling as re- enactors is either This Is What It 
>Was Like or sometimes This Is How  It Differs From Now. Strict authenticity 
>is the point in that effort.  And I have to say that often what is most 
>authentic is not to my own  personal, modern taste, so I have to tell my 
>personal, modern taste  to shut up.
>
>But the story in a play or movie is usually one that reflects a moral  
>issue that resonates with the modern audience. And what theatrical  
>costumers do, sometimes breathtakingly, is to evoke the historic  period 
>while also using visual clothing symbolism that will enhance  the 
>characterizations in modern eyes. Thus, as someone on this list  pointed 
>out a while ago, the hair and makeup of the romantic leads  will usually be 
>the least authentic, for they must telegraph beauty  and desirability and 
>probably moral good as well to the modern  audience. (Though I've recently 
>been impressed by the costuming for  the Showtime series "Dexter" -- how do 
>you dress a sociopathic serial  killer who is attempting to live by a moral 
>code in order to pass for  normal?) Even when using modern-day wardrobe for 
>modern characters,  the way they select color and cut paints a character 
>portrait with  amazing nuance. With historical stuff, they have to work 
>with the  double vision of what the characters might have worn in period 
>and  what will look, to modern viewers, like what the characters might  
>have worn. Because most viewers are not going to tell their personal,  
>modern taste to shut up.
>
>But then they get us, complaining because the costumes go beyond This  Is 
>What It Was Like and try to help tell the story!
>
>Anyway as for the Butterick pattern, I think the answer to "what era  is 
>it?" might be, "whatever year you want it to be." The jackets look  kind of 
>1940s/50s boudoir to me.
>
>Lauren
>Lauren M. Walker
>lauren.walker@comcast.net
>
>
>
>On May 3, 2007, at 3:51 PM, Ruth Anne Baumgartner wrote:
>
>>
>>But the biggest issue, to my mind, is what the costume communicates  to 
>>the audience, because that's the ultimate question for any  aspect of a 
>>theatrical production.
>
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Subject: Re: [h-cost] 16th-century short pants????
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Status: RO

Hi, All. The man (Uriah) in the painting is wearing typical 
"Landsknecht" style clothing. The full joined hose of the late 15th C. 
have become upper and nether hose. The upper will develop into breeches 
later on. You could make them for an overheated person, but to be 
correct, the uppers will be woolen with a linen lining, cut on the bias, 
and the lowers (nethers) just woolen. There exists a pair of linen hosen 
(full, joined) from somewhere in Germany or Holland, I can't remember 
offhand. I have seen the illos showing the strange "points" at the 
knees, some looking like the point is a lining or perhaps a long shirt, 
I'm not sure. On the one shown, the material is all blue, making it look 
like the hose or the lining (not a shirt, definitely). All this is, 
then, is the hose of the 15th C. separated at the knee into what becomes 
breeches and stockings. Cheers, Mike T.


>
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From: Chris Laning <claning@igc.org>
Date: Thu, 3 May 2007 23:25:12 -0700
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Subject: [h-cost] Re: Theater vs. Historic
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Status: RO


On May 3, 2007, at 3:30 PM, Robin Netherton wrote:
> It occurs to me that the productions that get the most criticism on  
> this
> list are historical drama, particularly those that purport to be  
> realistic
> (say, "Elizabeth," which offered film-linked packets for school  
> history
> programs as part of its marketing, as opposed to "Orlando," which  
> was also
> set partly at the Elizabethan court but had a strong fantastical/ 
> satirical
> element).

Yes. For me, at least, less-than-accurate costumes are not really the  
problem. The REAL irritation is that film directors (etc.) blithely  
do whatever they think "feels right" with the costumes AND then have  
the audacity to claim that their renditions are "accurate",  
"thoroughly researched," and (deities help us) "educational." Which  
thoroughly -- and unnecessarily -- confuses anyone who actually IS  
trying to do research and/or education.

If they would stop making the silly claims, the clothing wouldn't  
matter nearly as much.

The same goes for messing with history for the sake of the plot. It's  
OK to invent how history might have been, or could have been if  
things had happened differently, or how modern people would react if  
put in that situation, or for that matter, it's OK  to produce  
allegories about modern times disguised as "history." What is NOT OK  
is to then claim that your rendition is somehow "more true" than what  
actually happened, or to produce school education packets asserting  
that real historical figures actually DID what you have imagined.

Of course, I  think it's quite legitimate to present a different  
"take" on real history as "the real thing" when there actually IS  
historical evidence for it. Scholars can, do, and always will differ  
on what actually happened and why.

What I don't think is legitimate is to take half-baked or widely  
criticized ideas (aliens building the pyramids, anyone?) and present  
them as sober historical fact WITHOUT planting plenty of clues that  
you're not _really_ serious. I didn't see "Shakespeare in Love," but  
those who watched it closely tell me that a Stratford-on-Avon  
souvenir mug appeared fairly prominently, early in the film. Nice  
touch. <g>

____________________________________________________________

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: Theater vs. Historic
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Status: RO

 
In a message dated 5/4/2007 2:26:24 A.M. Eastern Daylight Time,  
claning@igc.org writes:

The REAL  irritation is that film directors (etc.) blithely  
do whatever they  think "feels right" with the costumes AND then have  
the audacity to  claim that their renditions are "accurate",  
"thoroughly researched,"  


Well said!  I think most of us can appreciate "it's theatre," so long  as 
everyone involved admits that is what it is.
 
Ann Wass



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From: "LLOYD MITCHELL" <rmitchell@washjeff.edu>
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References: <edcaf0220705031138q3013bf96q5d7585f48463112f@mail.gmail.com><BB3EEC584579204DB6E2CA0F6DB7566F08C7A69B@exbe01.blue.jays.creighton.edu>
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Subject: Re: [h-cost]Theater vs Historic (was:new Butterick pattern
Date: Fri, 4 May 2007 08:37:06 -0400
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Status: RO

A nearer time period for this study of the constraints of fabric width/usage 
and its effect on  clothing design is the Utility rules in place during WW2. 
There were strict rules for manufacturers of civilian wear in how much 
fabric could be used for specified garments. These restrictions are directly 
seen in the creative cut and line of fashion developed.

I have been aware for some time that when you come across referances of a 
gown taking 10-18 yards of fabric in the 18th when the fab.width of the time 
was 22-28" that is you combine these measurements with the average width of 
todays yardage that it comes out roughly to about half the historical 
yardage. Have you ever tried to put 10panels of skirt yardage on a 25" 
waist?

Kathleen
----- Original Message ----- 
From: "Sue Clemenger" <mooncat@in-tch.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, May 03, 2007 8:29 PM
Subject: Re: [h-cost]Theater vs Historic (was:new Butterick pattern


> Frankly, I thinking working with fabrics in authentic widths would be a
> blast.  But then, I'm here more for the historical/reenactment end of
> things.  And if I ever win the lottery (not that I play, mind you, 
> but....),
> then porsches be darned, I'm getting some of those exquisite silk velvets
> that cost, what was it, 1500? 1600? euro/meter?
> --Sue
>
> ----- Original Message -----
> From: "Abel, Cynthia" <CynthiaAbel@creighton.edu>
> To: "Historical Costume" <h-costume@indra.com>
> Sent: Thursday, May 03, 2007 1:45 PM
> Subject: RE: [h-cost]Theater vs Historic (was:new Butterick pattern
>
>
>>
>> What most of us couldn't afford to today is the amount of money people
>> in the past had to spend on a single outfit. One noble person's single
>> ensemble,during the reign of Elizabeth I, for court wear, could cost as
>> much as a Porshe or more today. And would we want to have to work with
>> lengths of expensive fabrics as narrow as 21" wide?
>
>
> _______________________________________________
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> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume 

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Date: Fri, 04 May 2007 13:28:27 -0400
From: Gail & Scott Finke <gailscott@eos.net>
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Subject: [h-cost] Re: theatrical vs. historic costuming
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Status: RO

Sharon wrote:

> "A Knight's Tale" is a great example. I don't know much about the period,
> but most of the costumes seemed okay. Except for the female lead. She stuck
> out like a sore thumb. I especially remember the hat that looked like
> something from "Breakfast at Tiffany's".

Actually, Sharon, none of the costumes were authentic in that film. I'm not
sure what you are saying it's a great example of. Personally, I loved the
costumes -- they had the FEEL of the historic period, while they were done
in all sorts of weird fabrics, etc. I loved that whole "Breakfast at
Tiffany's" outfit, and I know exactly which paintings inspired it!

Another fun one is "Brother Sun, Sister Moon," the Franco Zeffirelli film
about St. Francis. All sorts of bizarre fabrics used there, combining the
period-like look of the garments with the textures and colors he wanted.

If a story is supposed to be fantasy medieval, renaissance, Victorian, or
just "old time" then I generally like it. As others have said, it's when
directors or PR people tout the historical accuracy when costumes get on my
nerves. Anyone remember the Kevin Costner film that can't be named? I mean,
the one set in England in Sherwood Forest -- not other Kevin Costner films
that can't be named. They went on and on about the historical accuracy in
that one, and it stunk.

The costumes need to help tell the story, and there are many legitimate ways
to do that. 

What bugs me in a theater setting is when the costumes are amateurish (if
it's a professional theater) or old and moth-eaten. One summer our opera
company rented two sets of costumes that were just horrendous, and the main
problem is that they looked about 30 years old and falling apart. One was
for an opera about the French Revolution, and the company had all the main
characters' costumes made while they rented the costumes for the
aristocrats/chorus. The main costumes, for peasants, were much nicer than
the aristocrats, who looked as if they had definitely fallen on hard times!
But those things happen in theater...

Gail Finke

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Subject: [h-cost] Re: theatrical vs. historic costuming
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Status: RO

I'm willing to bet that the great example Sharon is talking about is that
"A Knight's Tale" doesn't pretend to be history.  Several choices by the
director (like the music) make it very clear that it's a "fun" music so
the costumes weren't quite as annoying as they could have been.

Orla

From: Gail & Scott Finke <gailscott@eos.net>
Sharon wrote:

> "A Knight's Tale" is a great example. I don't know much about the period,
> but most of the costumes seemed okay. Except for the female lead. She stuck
> out like a sore thumb. I especially remember the hat that looked like
> something from "Breakfast at Tiffany's".

Actually, Sharon, none of the costumes were authentic in that film. I'm not
sure what you are saying it's a great example of. Personally, I loved the
costumes -- they had the FEEL of the historic period, while they were done
in all sorts of weird fabrics, etc. I loved that whole "Breakfast at
Tiffany's" outfit, and I know exactly which paintings inspired it!



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From: "Sharon Collier" <sharon@collierfam.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Re: Theater vs. Historic
Date: Fri, 4 May 2007 12:00:06 -0700
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Status: RO

I think what really bothers me is when some costumes are authentic or at
least close and others are so far off as to be "fantasy". The mens' =
costumes
in The Tudors look close, but the women's, with the loose hair, bare
arms/shoulders, are further out. To me, they don't match stylistically =
and
that jars.

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] =
On
Behalf Of AnnBWass@aol.com
Sent: Friday, May 04, 2007 2:24 AM
To: h-costume@indra.com
Subject: Re: [h-cost] Re: Theater vs. Historic


=20
In a message dated 5/4/2007 2:26:24 A.M. Eastern Daylight Time, =20
claning@igc.org writes:

The REAL  irritation is that film directors (etc.) blithely =20
do whatever they  think "feels right" with the costumes AND then have =20
the audacity to  claim that their renditions are "accurate", =20
"thoroughly researched," =20


Well said!  I think most of us can appreciate "it's theatre," so long  =
as=20
everyone involved admits that is what it is.
=20
Ann Wass



************************************** See what's free at
http://www.aol.com.
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From: "E House" <swissgirl@swissinfo.org>
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Status: RO

----- Original Message ----- 
> Actually, Sharon, none of the costumes were authentic in that film. I'm 
> not
> sure what you are saying it's a great example of. Personally, I loved the
> costumes -- they had the FEEL of the historic period, while they were done
> in all sorts of weird fabrics, etc. I loved that whole "Breakfast at
> Tiffany's" outfit, and I know exactly which paintings inspired it!

Many of the peasant/tournament audience member extras who were on screen for 
a brief flash were definitely accuracy-minded reenactors.  Not from the 
right period, from what I remember, but at least accurate for _a_ period.

Having never seen "Breakfast at Tiffany's," which outfit was that? and which 
painting?

-E House

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From: MaggiRos <maggiros@yahoo.com>
Subject: RE: [h-cost] Re: Theater vs. Historic
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Status: RO


That's it exactly. 

I've concluded that since they're making up the
"history" they might as well make up the costumes too.
I've also stopped trying to watch it, and picked up a
fresh DVD copy of Keith Michell's Six Wives of Henry
VIII from the 70s. What a joy to watch. That show was
on a limited budget, and yet everything looks (from
camera distance) perfect! I feel much better now.

MaggiRos
~who loves A Knight's Tale a whole lot

--- Sharon Collier <sharon@collierfam.com> wrote:

> I think what really bothers me is when some costumes
> are authentic or at
> least close and others are so far off as to be
> "fantasy". The mens' costumes
> in The Tudors look close, but the women's, with the
> loose hair, bare
> arms/shoulders, are further out. To me, they don't
> match stylistically and
> that jars.
> 
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Subject: Re: [h-cost] Re: Theater vs. Historic
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Status: RO

This was my problem with the latest Marie Antionette.  The women's hair in 
general was way off.  The film people seem to make decisions of
Costume that must bow to present aesthitcs...that, and the need to use 
modern music in case the viewers might have missed a contemporary 
mood/thought  about MA being a Modern woman.

Kathleen

From: "Sharon Collier" <sharon@collierfam.com>
To: "'Historical Costume'" <h-costume@indra.com>
Sent: Friday, May 04, 2007 3:00 PM
Subject: RE: [h-cost] Re: Theater vs. Historic


I think what really bothers me is when some costumes are authentic or at
least close and others are so far off as to be "fantasy". The mens' costumes
in The Tudors look close, but the women's, with the loose hair, bare
arms/shoulders, are further out. To me, they don't match stylistically and
that jars.

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of AnnBWass@aol.com
Sent: Friday, May 04, 2007 2:24 AM
To: h-costume@indra.com
Subject: Re: [h-cost] Re: Theater vs. Historic



In a message dated 5/4/2007 2:26:24 A.M. Eastern Daylight Time,
claning@igc.org writes:

The REAL  irritation is that film directors (etc.) blithely
do whatever they  think "feels right" with the costumes AND then have
the audacity to  claim that their renditions are "accurate",
"thoroughly researched,"


Well said!  I think most of us can appreciate "it's theatre," so long  as
everyone involved admits that is what it is.

Ann Wass



************************************** See what's free at
http://www.aol.com.
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Date: Sat, 05 May 2007 09:55:48 +1200
From: Melissa Brown Muckart <gold@where.else.net.nz>
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Tippet color
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Status: RO

Dear Robin.

Robin Netherton wrote:
  > Hi, Melissa. There are plenty of images of backs of tippets, including
> some in my article. 

<snip snip>
> 
> Let me know if this helps.

Yes, it helped immensely. Thank you so much for taking the time to 
answer my question. I have always thought of tippets as being all white 
- streamer and cuff - but wanted to get some clarification and another 
opinion.

Best,
Melissa

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Date: Fri, 4 May 2007 17:56:38 EDT
Subject: Re: [h-cost] Re: Theater vs. Historic
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Status: RO

 
In a message dated 5/4/2007 5:45:46 P.M. Eastern Daylight Time,  
rmitchell@washjeff.edu writes:

The film  people seem to make decisions of
Costume that must bow to present  aesthitcs...


According to Ed Maeder, in his "Hollywood and History," that accompanied an  
exhibit of the same name from LACMA some years ago, makeup and hairstyles in  
films very often reflect the contemporary aesthetic, even if the costumes do 
not  so much.
 
Ann Wass



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To: Historical Costume <h-costume@indra.com>
From: Dianne & Greg Stucki <goofy4@comcast.net>
Subject: RE: [h-cost] Re: Theater vs. Historic
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At 05:13 PM 5/4/2007, you wrote:
>MaggiRos
>~who loves A Knight's Tale a whole lot >.


(grin) So do I. In fact, I just watched it today.

Dianne


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Subject: Re: [h-cost] Re: Theater vs. Historic
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Status: RO

Having been otherwise a" about these costumes when the Robbin Hood series 
began, I do remember the Aghast!!! about the costumes.

For me, this has been a low budget series with an expanded mythology re 'the 
HOOD' that at least is on a plane with the old Dr. Who, and has used 
stereotypical designs to give flesh to the characters.  The only jarring 
moment was a character in a sort of trilby that was Plainly modern (well, 
1960s),with another coat roughly 1970s interp of a Medieval surcoat.  then, 
most of the garments are also of the '70s...interpreting the 12/14 
Centuries.

As long as there is some consistancy, I don't have a problem...Precisley why 
I also like the "Knight's Tale."
kathleen


-- Original Message ----- 
From: "Dianne & Greg Stucki" <goofy4@comcast.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, May 04, 2007 7:16 PM
Subject: RE: [h-cost] Re: Theater vs. Historic


> At 05:13 PM 5/4/2007, you wrote:
>>MaggiRos
>>~who loves A Knight's Tale a whole lot >.
>
>
> (grin) So do I. In fact, I just watched it today.
>
> Dianne
>
>
> _______________________________________________
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> h-costume@mail.indra.com
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Subject: RE: [h-cost] Re: theatrical vs. historic costuming
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Status: RO

Hi,

I've been following this thread with rapt fascination.  I've learned a lot
too.

I teach costume history, an introductory course.  We've decided to expand
our use of films to get the point across about some aspects of costume,
including the issue of period accuracy.  

I need to come up with a list of titles to recommend that our library
acquire for our students to access.  I will, if I can figure out how, go to
the archives and pull a list of movies that have been discussed here, but
would welcome any title suggestions that you might care to make, be they
good or particularly bad, in the costume aspect.

Thanks.

Laurie T.



-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Gail & Scott Finke
Sent: Friday, May 04, 2007 10:28 AM
To: h-costume@indra.com
Subject: [h-cost] Re: theatrical vs. historic costuming

Sharon wrote:

> "A Knight's Tale" is a great example. I don't know much about the period,
> but most of the costumes seemed okay. Except for the female lead. She
stuck
> out like a sore thumb. I especially remember the hat that looked like
> something from "Breakfast at Tiffany's".

Actually, Sharon, none of the costumes were authentic in that film. I'm not
sure what you are saying it's a great example of. Personally, I loved the
costumes -- they had the FEEL of the historic period, while they were done
in all sorts of weird fabrics, etc. I loved that whole "Breakfast at
Tiffany's" outfit, and I know exactly which paintings inspired it!

Another fun one is "Brother Sun, Sister Moon," the Franco Zeffirelli film
about St. Francis. All sorts of bizarre fabrics used there, combining the
period-like look of the garments with the textures and colors he wanted.

If a story is supposed to be fantasy medieval, renaissance, Victorian, or
just "old time" then I generally like it. As others have said, it's when
directors or PR people tout the historical accuracy when costumes get on my
nerves. Anyone remember the Kevin Costner film that can't be named? I mean,
the one set in England in Sherwood Forest -- not other Kevin Costner films
that can't be named. They went on and on about the historical accuracy in
that one, and it stunk.

The costumes need to help tell the story, and there are many legitimate ways
to do that. 

What bugs me in a theater setting is when the costumes are amateurish (if
it's a professional theater) or old and moth-eaten. One summer our opera
company rented two sets of costumes that were just horrendous, and the main
problem is that they looked about 30 years old and falling apart. One was
for an opera about the French Revolution, and the company had all the main
characters' costumes made while they rented the costumes for the
aristocrats/chorus. The main costumes, for peasants, were much nicer than
the aristocrats, who looked as if they had definitely fallen on hard times!
But those things happen in theater...

Gail Finke

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From: Cin <cinbarnes@gmail.com>
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Status: RO

>> ...the Kevin Costner film that can't be named? ...
>> They went on and on about the historical accuracy in
>> that one, and it stunk.
>Y'all must read/hear/see stuff in places I don't, or something...  Where,
>exactly, do people go "on and on" about the historical accuracy of costumes
>or content in cinematic movies?

Did you miss the woman (working as a producer for the show) claiming
on the Tudor Tailor list that the costume designers had worked really
hard to get the costumes right in "The Tudors"? Ye Gods, that was
annoying.  It took forever for Jane Stockton to finally throw her
constant product pitchmanship off the list.
--cin
Cynthia Barnes
CinBarnes@gmail.com
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Status: RO

Why has no one seemed to publish patterns for Goth styles?  I'd think 
someone would have jumped on it. Yes, I know that there is a lot of 
variety but the patterns could include different variations, 
suggestions, etc.

Fran
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Subject: Re: [h-cost]fabric widths (was Theater vs. Historic)
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Status: RO

At 01:01 PM 5/4/2007, you wrote:
>Date: Fri, 4 May 2007 10:59:58 EDT
>From: Cheryldee@aol.com
>
><snip>
>Always nice to change the subject line when the topic changes
>radically.....;-)

Yes, it is! I have been skipping posts on this topic (Theater vs. Historic)....

Does anyone have a good summary of standard widths and lengths of 
fabrics in the Medieval and Renaissance periods?

I know that it varied by type of textile (weave, location and fiber), 
but all I have is scattered all over the place in my notes.

Thanks,
Beth 

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Subject: Re: [h-cost]fabric widths (was Theater vs. Historic)
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Status: RO

 
In a message dated 5/4/2007 6:41:52 A.M. Mountain Daylight Time,  
rmitchell@washjeff.edu writes:

A nearer  time period for this study of the constraints of fabric width/usage 
and  its effect on  clothing design is the Utility rules in place during WW2. 
 
There were strict rules for manufacturers of civilian wear in how much  
fabric could be used for specified garments. These restrictions are  directly 
seen in the creative cut and line of fashion  developed.



Always nice to change the subject line when the topic changes  
radically.....;-)



************************************** See what's free at http://www.aol.com.
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Subject: Re: [h-cost] Re: theatrical vs. historic costuming
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> directors or PR people tout the historical accuracy when costumes get on 
> my
> nerves. Anyone remember the Kevin Costner film that can't be named? I 
> mean,
> the one set in England in Sherwood Forest -- not other Kevin Costner films
> that can't be named. They went on and on about the historical accuracy in
> that one, and it stunk.

Y'all must read/hear/see stuff in places I don't, or something...  Where, 
exactly, do people go "on and on" about the historical accuracy of costumes 
or content in cinematic movies?

And why do people expect *anything* in the entertainment industry to be 
accurate -- historically or otherwise?  It's entertainment. If you want 
living history and period authenticity there are better places to expect it 
than the movies.  JMO

Denise
Iowa 

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From: "Sharon Collier" <sharon@collierfam.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Re: theatrical vs. historic costuming
Date: Fri, 4 May 2007 12:04:57 -0700
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Status: RO

Ok, I'm curious. What paintings inspired the "B at T" hat? And I did =
like
most of the costumes,(they felt right, if that makes any sense), just =
the
female lead's stood out to me.

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] =
On
Behalf Of Gail & Scott Finke
Sent: Friday, May 04, 2007 10:28 AM
To: h-costume@indra.com
Subject: [h-cost] Re: theatrical vs. historic costuming


Sharon wrote:

> "A Knight's Tale" is a great example. I don't know much about the =
period,
> but most of the costumes seemed okay. Except for the female lead. She
stuck
> out like a sore thumb. I especially remember the hat that looked like
> something from "Breakfast at Tiffany's".

Actually, Sharon, none of the costumes were authentic in that film. I'm =
not
sure what you are saying it's a great example of. Personally, I loved =
the
costumes -- they had the FEEL of the historic period, while they were =
done
in all sorts of weird fabrics, etc. I loved that whole "Breakfast at
Tiffany's" outfit, and I know exactly which paintings inspired it!

Another fun one is "Brother Sun, Sister Moon," the Franco Zeffirelli =
film
about St. Francis. All sorts of bizarre fabrics used there, combining =
the
period-like look of the garments with the textures and colors he wanted.

If a story is supposed to be fantasy medieval, renaissance, Victorian, =
or
just "old time" then I generally like it. As others have said, it's when
directors or PR people tout the historical accuracy when costumes get on =
my
nerves. Anyone remember the Kevin Costner film that can't be named? I =
mean,
the one set in England in Sherwood Forest -- not other Kevin Costner =
films
that can't be named. They went on and on about the historical accuracy =
in
that one, and it stunk.

The costumes need to help tell the story, and there are many legitimate =
ways
to do that.=20

What bugs me in a theater setting is when the costumes are amateurish =
(if
it's a professional theater) or old and moth-eaten. One summer our opera
company rented two sets of costumes that were just horrendous, and the =
main
problem is that they looked about 30 years old and falling apart. One =
was
for an opera about the French Revolution, and the company had all the =
main
characters' costumes made while they rented the costumes for the
aristocrats/chorus. The main costumes, for peasants, were much nicer =
than
the aristocrats, who looked as if they had definitely fallen on hard =
times!
But those things happen in theater...

Gail Finke

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From: "LLOYD MITCHELL" <rmitchell@washjeff.edu>
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Subject: Re: [h-cost] Re: Theater vs. Historic
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Status: RO

And we can all add to the lists where this decision was a blatant 
mistake...I think


Kathlwwn
----- Original Message ----- 
From: <AnnBWass@aol.com>
To: <h-costume@indra.com>
Sent: Friday, May 04, 2007 5:56 PM
Subject: Re: [h-cost] Re: Theater vs. Historic


>
> In a message dated 5/4/2007 5:45:46 P.M. Eastern Daylight Time,
> rmitchell@washjeff.edu writes:
>
> The film  people seem to make decisions of
> Costume that must bow to present  aesthitcs...
>
>
> According to Ed Maeder, in his "Hollywood and History," that accompanied 
> an
> exhibit of the same name from LACMA some years ago, makeup and hairstyles 
> in
> films very often reflect the contemporary aesthetic, even if the costumes 
> do
> not  so much.
>
> Ann Wass
>
>
>
> ************************************** See what's free at 
> http://www.aol.com.
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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Subject: RE: [h-cost] Re: theatrical vs. historic costuming
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Status: RO


>From what I can tell, being a relative newbie to Tudor/Elizabethan, "The Six 
Wives of Henry the VIII" (Keith Mitchell) and it's corollary, "Elizabeth R" 
with Glenda Jackson (both PBS, 1970's) are two outstandingly well done 
series as well as my first loves of the period.

Laurie

>From: "Laurie Taylor" <costumeraz@qwest.net>
>Reply-To: Historical Costume <h-costume@indra.com>
>To: "'Historical Costume'" <h-costume@indra.com>
>Subject: RE: [h-cost] Re: theatrical vs. historic costuming
>Date: Fri, 4 May 2007 17:23:23 -0700
>
>Hi,
>
>I've been following this thread with rapt fascination.  I've learned a lot
>too.
>
>I teach costume history, an introductory course.  We've decided to expand
>our use of films to get the point across about some aspects of costume,
>including the issue of period accuracy.
>
>I need to come up with a list of titles to recommend that our library
>acquire for our students to access.  I will, if I can figure out how, go to
>the archives and pull a list of movies that have been discussed here, but
>would welcome any title suggestions that you might care to make, be they
>good or particularly bad, in the costume aspect.
>
>Thanks.
>
>Laurie T.
>
>

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Status: RO

> Y'all must read/hear/see stuff in places I don't, or something...  Where, 
> exactly, do people go "on and on" about the historical accuracy of 
> costumes  or content in cinematic movies?

If we're talking about The Tudors, the Showtime (or HBO, can't keep them 
straight) program guide.
>
> And why do people expect *anything* in the entertainment industry to be > 
> accurate -- historically or otherwise?  It's entertainment. If you want 
> living history and period authenticity there are better places to expect 
> it than the movies.  JMO
>
> Denise
> Iowa

Yes, there are.  However, there are films that do period costumes and 
settings correctly, and I enjoy those much more than those that pretend to 
do so and don't.  I've been watching French costume films (Cyrano, Reine 
Margot) and by and large the costume are much better than American films. 
Maybe that's becauseFrench directors think the French audience is better 
informed about the times being portrayed.

Melusine


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Subject: Re: [h-cost] Re: theatrical vs. historic costuming
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Status: RO

Sharon Collier wrote:
> Ok, I'm curious. What paintings inspired the "B at T" hat? And I did like
> most of the costumes,(they felt right, if that makes any sense), just the
> female lead's stood out to me.
> 
> 

I thought that white gauze hat thing was inspired by this painting:

http://www.artsales.com/ARTprints/images/05lady_500.jpg


At least, that's what came to mind when I caught a few minutes of the 
movie on cable the other night.

Movie version: http://www.aboutrufus.com/Adhemar3.jpg



Dawn

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Status: RO

Greetings--
Lady Orla Carey wrote:
> I'm willing to bet that the great example Sharon is talking about is that
> "A Knight's Tale" doesn't pretend to be history.  Several choices by the
> director (like the music) make it very clear that it's a "fun" music so
> the costumes weren't quite as annoying as they could have been.
>   
Precisely why I was willing to cut "Shakespeare in Love" some slack and 
was less willing to do so for "Elizabeth", which was out the same year. 
The former didn't try to sell itself to schools as history, whether 
costume-wise or in general, and poked fun at itself on numerous 
occasions.  I liked "Knight's Tale," too--for the added reason that in 
the midst of all the funky and fun costumes and in-jokes, there's a 
modicum of what the actual historical tourney circuit might have been 
like.  Oddly enough, there's as much history hiding in there as some of 
the so-called "historical" films.

It's the same reason I enjoyed "300" (well, and the buff guys didn't 
hurt, either).  The clothes were more fantasy and the history mixed with 
fantasy--but it felt very much like an epic tale told around the campfire.

Susan

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Subject: [h-cost] Re:16th-century short pants????
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Status: RO

 Thanks, Mike. That makes sense, as both of these examples are Dutch, and you do see a lot of German styles there, especially on soldiers. 



Do you have any other pictures of this style? Or could you point me to a website that discusses it?



Tea Rose, who is still amused by those knobbly knees.


From: michael tartaglio <mikes@dandy.net>
Subject: Re: [h-cost] 16th-century short pants????

Hi, All. The man (Uriah) in the painting is wearing typical 
"Landsknecht" style clothing. The full joined hose of the late 15th C. 
have become upper and nether hose. The upper will develop into breeches 
later on. You could make them for an overheated person, but to be 
correct, the uppers will be woolen with a linen lining, cut on the bias, 
and the lowers (nethers) just woolen. There exists a pair of linen hosen 
(full, joined) from somewhere in Germany or Holland, I can't remember 
offhand. I have seen the illos showing the strange "points" at the 
knees, some looking like the point is a lining or perhaps a long shirt, 
I'm not sure. On the one shown, the material is all blue, making it look 
like the hose or the lining (not a shirt, definitely). All this is, 
then, is the hose of the 15th C. separated at the knee into what becomes 
breeches and stockings. Cheers, Mike T.

   
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Subject: RE: [h-cost] Re: Theater vs. Historic
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Status: RO

My friend saw those costumes in person some years back. They were mostly
made of muslin and painted to look like velvets, etc. She said they were
amazing!

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
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Sent: Friday, May 04, 2007 2:13 PM
To: Historical Costume
Subject: RE: [h-cost] Re: Theater vs. Historic



That's it exactly. 

I've concluded that since they're making up the
"history" they might as well make up the costumes too.
I've also stopped trying to watch it, and picked up a
fresh DVD copy of Keith Michell's Six Wives of Henry
VIII from the 70s. What a joy to watch. That show was
on a limited budget, and yet everything looks (from
camera distance) perfect! I feel much better now.

MaggiRos
~who loves A Knight's Tale a whole lot

--- Sharon Collier <sharon@collierfam.com> wrote:

> I think what really bothers me is when some costumes
> are authentic or at
> least close and others are so far off as to be
> "fantasy". The mens' costumes
> in The Tudors look close, but the women's, with the
> loose hair, bare
> arms/shoulders, are further out. To me, they don't
> match stylistically and
> that jars.
> 
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From: "Sharon Collier" <sharon@collierfam.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Re: Theater vs. Historic
Date: Sat, 5 May 2007 01:07:28 -0700
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Status: RO

One of the neatest things I remember from 1968" "Romeo and Juliet" was when
our teacher pointed out that there were colors for each family---Capulets
were in warm tones and Montagues in cool tones. And after Juliet marries,
she changes to the cool tones of the Montagues. 

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of MaggiRos
Sent: Friday, May 04, 2007 2:13 PM
To: Historical Costume
Subject: RE: [h-cost] Re: Theater vs. Historic



That's it exactly. 

I've concluded that since they're making up the
"history" they might as well make up the costumes too.
I've also stopped trying to watch it, and picked up a
fresh DVD copy of Keith Michell's Six Wives of Henry
VIII from the 70s. What a joy to watch. That show was
on a limited budget, and yet everything looks (from
camera distance) perfect! I feel much better now.

MaggiRos
~who loves A Knight's Tale a whole lot

--- Sharon Collier <sharon@collierfam.com> wrote:

> I think what really bothers me is when some costumes
> are authentic or at
> least close and others are so far off as to be
> "fantasy". The mens' costumes
> in The Tudors look close, but the women's, with the
> loose hair, bare
> arms/shoulders, are further out. To me, they don't
> match stylistically and
> that jars.
> 
_______________________________________________
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: [h-cost] Theater vs. Historic now "6 wives"
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Status: RO

(snip) picked up a
fresh DVD copy of Keith Michell's Six Wives of Henry
VIII from the 70s. What a joy to watch. That show was
on a limited budget, and yet everything looks (from
camera distance) perfect! I feel much better now. (snip)

>My friend saw those costumes in person some years back. They were mostly
>made of muslin and painted to look like velvets, etc. She said they were
>amazing!

Much of the jewellery was made from bottle tops (usually from bottles 
of Coke) filled with resin, and chains from bathroom stores. Patterns 
on fabrics were made by spraying colour through lace on to cheap 
velvet and furnishing (drapery) fabrics. You can see original 
publicity photos of the BBC series on my website here. 
http://suziclarke4384.fotopic.net/c461806.html
The "Wives" had most of their costumes made by Jean Hunnisett, who 
also made all of Glenda Jackson's costumes for "Elizabeth R".

Incidentally, many of the techniques used in "The 6 Wives" had been 
pioneered, in England anyway, in the two main theatre companies, the 
RSC and the National. The RSC in particular, had a series of plays 
costumed in dyed fabrics, and sprayed with a mixture of latex and 
gold paint powder. This  style of costuming began in the 60's with 
the complete Histories series of plays. (They did Richard ll to 
Richard lll in one season, 1964.) Somewhere I still have samples of 
some of the fabrics from when I worked there in 1967-9.

Suzi (still nostalgic for the "old" RSC - it ain't the same these days!)

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To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Theater vs. Historic now "6 wives"
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Status: RO

I have got to buy that set. I loved the way Henry starts out as young and
good looking and ages until he's fat and grotesque by the end of his life.


-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Suzi Clarke
Sent: Saturday, May 05, 2007 1:21 AM
To: Historical Costume
Subject: [h-cost] Theater vs. Historic now "6 wives"


(snip) picked up a
fresh DVD copy of Keith Michell's Six Wives of Henry
VIII from the 70s. What a joy to watch. That show was
on a limited budget, and yet everything looks (from
camera distance) perfect! I feel much better now. (snip)

>My friend saw those costumes in person some years back. They were mostly
>made of muslin and painted to look like velvets, etc. She said they were
>amazing!

Much of the jewellery was made from bottle tops (usually from bottles 
of Coke) filled with resin, and chains from bathroom stores. Patterns 
on fabrics were made by spraying colour through lace on to cheap 
velvet and furnishing (drapery) fabrics. You can see original 
publicity photos of the BBC series on my website here. 
http://suziclarke4384.fotopic.net/c461806.html
The "Wives" had most of their costumes made by Jean Hunnisett, who 
also made all of Glenda Jackson's costumes for "Elizabeth R".

Incidentally, many of the techniques used in "The 6 Wives" had been 
pioneered, in England anyway, in the two main theatre companies, the 
RSC and the National. The RSC in particular, had a series of plays 
costumed in dyed fabrics, and sprayed with a mixture of latex and 
gold paint powder. This  style of costuming began in the 60's with 
the complete Histories series of plays. (They did Richard ll to 
Richard lll in one season, 1964.) Somewhere I still have samples of 
some of the fabrics from when I worked there in 1967-9.

Suzi (still nostalgic for the "old" RSC - it ain't the same these days!)

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

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Date: Sat, 5 May 2007 06:23:03 EDT
Subject: Re: [h-cost] Re: theatrical vs. historic costuming
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Status: RO

 
In a message dated 5/4/2007 9:40:22 P.M. Eastern Daylight Time,  
nicolaa@rogers.com writes:

It's the  same reason I enjoyed "300" (well, and the buff guys didn't 
hurt,  either).  The clothes were more fantasy and the history mixed with  
fantasy--but it felt very much like an epic tale told around the  campfire.



I sent my husband off to see "300" by himself.  As to the buff  guys--he 
wondered why there weren't more women there!
 
Ann Wass



************************************** See what's free at http://www.aol.com.
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Subject: Re: [h-cost] Re: theatrical vs. historic costuming
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In a message dated 5/4/2007 9:39:39 P.M. Eastern Daylight Time,  
landofoz@netins.net writes:

Where,  
exactly, do people go "on and on" about the historical accuracy of  costumes 
or content in cinematic movies?



Often, there is hype in the pre-movie release publicity--probably gets  
written up more in the big city dailies and the "Entertainment" magazines and TV  
shows (I don't follow the latter--I do read one of the former.)  Your  
particular local outlets may not be picking it up and, if like me, you don't  follow 
the entertainment-type shows, you don't get it there.
 
Oh, and I guess it used to be in the trailers, although that doesn't seem  so 
common anymore--you know, "An Epic Film!!! Twenty years in the  
making!!!"--etc.
 
Ann Wass



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Subject: Re: [h-cost] Re: theatrical vs. historic costuming
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In a message dated 5/4/2007 8:24:42 P.M. Eastern Daylight Time,  
costumeraz@qwest.net writes:

I will,  if I can figure out how, go to
the archives and pull a list of movies that  have been discussed here, but
would welcome any title suggestions that you  might care to make, be they
good or particularly bad, in the costume  aspect.




Brother, will you open another can of worms.  
 
The 1940 "Pride and Prejudice."  The designer, Adrian, evidently made  a 
conscious decision not to costume in the Jane Austen period.  It is  highly 
exaggerated 1830s styles, instead.  I have to admit, though, when I  asked my 
costume history students, "what's wrong with this picture," they didn't  get it!  
Let's see, high waist, columnar silhouette to natural waist, full  skirts, huge 
sleeves--well, I must not have done my job very well.
 
Ann Wass



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Do anyone knows where to get Buff leather for belts?
Thank you all.
Jose
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Do anyone knows where to get Buff leather for belts?
Thank you all.
Jose
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Subject: [h-cost] Metrosexual???? OT
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Status: RO

Okay, this may be a little off topic, but since I heard it on the Tudor =
Fashion special (TFS) on showtime, maybe it isn't too bad.  I heard the =
word Metrosexual (MS) for the first time in my life earlier this week in =
reference to what I can't remember, then I heard it yesterday for the =
second time on the TFS, and just now on NPR on "Wait Wait Don't Tell =
Me."  NPR's discussion implies that it is another word for homosexual, =
the TFS refered to Henry VIII as a MS....what the heck is everyone =
talking about???  Someone who copulates with everything they can get =
their hands on??

Dumb in Buckwheat, AZ

Sg


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From: Lauren Walker <lauren.walker@comcast.net>
Subject: Re: [h-cost]Authentic fabric widths (was: Theater vs Historic)
Date: Sat, 5 May 2007 15:09:25 -0400
To: Historical Costume <h-costume@indra.com>
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Status: RO

In my re-enactor clothes, I usually cut the fabrics down to 22"  
widths so I'm forced to piece them accurately. I also plan to do more  
with my loom that weaves 22" for these purposes. One thing I find is  
that seaming 22" wide fabrics sometimes lends more structural  
strength or other serendipitous advantages, and invariably teaches me  
something about why the garments were made the way they were, which  
usually has something to do with using the grain or bias or selvage  
of the fabric. The most fun was a short circle cloak, because the  
narrow pieces (two quarter-circles for the front and a half-circle  
for the back, 22" radius) meant putting seams down each side, which  
helped it hang properly at the shoulders, and also gave me lovely  
selvages for both sides of the front opening. When I am overweight  
(as now) I cheat for shifts and cut a little wider width (about 24")  
that will give me enough room round the middle while still cutting  
front and back as one piece (gussets take care of the hips but I like  
a little ease through the chest that the underarm gussets don't  
always accommodate.) This on the theory that my fatness is itself a  
modernism, and in period I would doubtless me at least four inches  
less around!
Lauren

Lauren M. Walker
lauren.walker@comcast.net



On May 3, 2007, at 8:40 PM, Carmen Beaudry wrote:

>> Frankly, I thinking working with fabrics in authentic widths would  
>> be a
>> blast.  But then, I'm here more for the historical/reenactment end of
>> things.  And if I ever win the lottery (not that I play, mind you,  
>> but....),
>> then porsches be darned, I'm getting some of those exquisite silk  
>> velvets
>> that cost, what was it, 1500? 1600? euro/meter?
>> --Sue
>
> I'm with you there....and then I want to just roll around on it for  
> a while.
>
> Melusine
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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Subject: Re: [h-cost] Metrosexual???? OT
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Status: RO

Saragrace Knauf wrote:
> Okay, this may be a little off topic, but since I heard it on the Tudor Fashion special (TFS) on showtime, maybe it isn't too bad.  I heard the word Metrosexual (MS) for the first time in my life earlier this week in reference to what I can't remember, then I heard it yesterday for the second time on the TFS, and just now on NPR on "Wait Wait Don't Tell Me."  NPR's discussion implies that it is another word for homosexual, the TFS refered to Henry VIII as a MS....what the heck is everyone talking about???  Someone who copulates with everything they can get their hands on??
>   

"Metrosexual" refers to a heterosexual guy who is a fashion whore.

andy

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From: "zelda crusher" <laswa@hotmail.com>
To: h-costume@indra.com
Subject: RE: [h-cost] Metrosexual???? OT
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Status: RO

My reaction was similar to yours.  I still don't really get why Henry Viii 
fits, but... The definition I got is a man who has such particular tastes in 
clothing, accessories, hair and personal hygiene that many will think he is 
gay because of said interest., however metrosexuals are GRAS (generally 
regarded as straight) or perhaps bisexual.

I would've said a Beau Brummel, except for the fact that dandies (despite 
what we think of them today) were a movement AWAY from Foppism TOWARDS more 
mnaly fashions.  Go figure.

Laurie


>From: "Saragrace Knauf" <wickedfrau@msn.com>
>Reply-To: Historical Costume <h-costume@indra.com>
>To: "h-costume" <h-costume@indra.com>
>Subject: [h-cost] Metrosexual???? OT
>Date: Sat, 5 May 2007 11:48:23 -0700
>
>Okay, this may be a little off topic, but since I heard it on the Tudor 
>Fashion special (TFS) on showtime, maybe it isn't too bad.  I heard the 
>word Metrosexual (MS) for the first time in my life earlier this week in 
>reference to what I can't remember, then I heard it yesterday for the 
>second time on the TFS, and just now on NPR on "Wait Wait Don't Tell Me."  
>NPR's discussion implies that it is another word for homosexual, the TFS 
>refered to Henry VIII as a MS....what the heck is everyone talking about??? 
>  Someone who copulates with everything they can get their hands on??
>
>Dumb in Buckwheat, AZ
>
>Sg
>
>
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
>http://mail.indra.com/mailman/listinfo/h-costume

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Subject: Re: [h-cost] Metrosexual???? OT
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Status: RO

Whew!  So it really is on topic!
  ----- Original Message -----=20
  From: Andrew Trembley<mailto:attrembl@bovil.com>=20
  To: Historical Costume<mailto:h-costume@indra.com>=20
  Sent: Saturday, May 05, 2007 12:21 PM
  Subject: Re: [h-cost] Metrosexual???? OT


  Saragrace Knauf wrote:
  > Okay, this may be a little off topic, but since I heard it on the =
Tudor Fashion special (TFS) on showtime, maybe it isn't too bad.  I =
heard the word Metrosexual (MS) for the first time in my life earlier =
this week in reference to what I can't remember, then I heard it =
yesterday for the second time on the TFS, and just now on NPR on "Wait =
Wait Don't Tell Me."  NPR's discussion implies that it is another word =
for homosexual, the TFS refered to Henry VIII as a MS....what the heck =
is everyone talking about???  Someone who copulates with everything they =
can get their hands on??
  >  =20

  "Metrosexual" refers to a heterosexual guy who is a fashion whore.

  andy

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From: Carol Kocian <aquazoo@patriot.net>
Subject: Re: [h-cost] Metrosexual???? OT
Date: Sat, 5 May 2007 15:41:27 -0400
To: Historical Costume <h-costume@indra.com>
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Status: RO


      Right, as others have said, it's not about sexual activity, =20
it's about grooming.  My personal line of definition =97 hair =20
gel.  :-)  It can be as simple as that, and also guys who get =20
manicures, facials and have their eyebrows pruned & shaped.

      -Carol


On May 5, 2007, at 2:48 PM, Saragrace Knauf wrote:

> Okay, this may be a little off topic, but since I heard it on the =20
> Tudor Fashion special (TFS) on showtime, maybe it isn't too bad.  I =20=

> heard the word Metrosexual (MS) for the first time in my life =20
> earlier this week in reference to what I can't remember, then I =20
> heard it yesterday for the second time on the TFS, and just now on =20
> NPR on "Wait Wait Don't Tell Me."  NPR's discussion implies that it =20=

> is another word for homosexual, the TFS refered to Henry VIII as a =20
> MS....what the heck is everyone talking about???  Someone who =20
> copulates with everything they can get their hands on??

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From: Gail & Scott Finke <gailscott@eos.net>
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Subject: [h-cost] Re: breakfast at tiffany's costume
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Status: RO


No, that's not what I'm thinking of, although it is a similar but less
exaggerated style. This is much more like it:

http://employees.oneonta.edu/farberas/arth/arth214_folder/mary_of_burgundy.h
tml

I hope that comes through all right. Shorten the hennin and starch the lower
veil until it's a stiff cone, and you've got the hat right there. And the
collar of her dress also inspires the front of the actress's gown.

This isn't the painting I was referring to but it's the first one I could
find online that has the same elements. In the one I'm thinking of the gown
itself is either dark blue or black.

I just love that dress, it is such a fun adaptation. The reason the original
poster called it the "Breakfast at Tiffany's" dress is that it makes the
actress, Suzanna Zossiman (??something like that??) look like Audrey
Hepburn. Sort of an Audrey Hepburn movie costume inspired by by a
fifteenth-century gown and worn in a 1990s movie!!! Or was that 2000
already?

Gail Finke

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Subject: Re: [h-cost] Metrosexual???? OT
Date: Sat, 5 May 2007 21:28:42 +0200
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Status: RO

Hi Saragrace,
This is a new word, but its ben used here in Denmark a coupple of years.
It dont refer to a homosexual man, but to the up to date fashionable 
gentleman, who trims and shaves, and wears the casual everyday fashionable 
outfits. He maybe works at the office, or he could also be a postman.
Thats a metro sexual man.

Bjarne
----- Original Message ----- 
From: "Saragrace Knauf" <wickedfrau@msn.com>
To: "h-costume" <h-costume@indra.com>
Sent: Saturday, May 05, 2007 8:48 PM
Subject: [h-cost] Metrosexual???? OT


Okay, this may be a little off topic, but since I heard it on the Tudor 
Fashion special (TFS) on showtime, maybe it isn't too bad.  I heard the word 
Metrosexual (MS) for the first time in my life earlier this week in 
reference to what I can't remember, then I heard it yesterday for the second 
time on the TFS, and just now on NPR on "Wait Wait Don't Tell Me."  NPR's 
discussion implies that it is another word for homosexual, the TFS refered 
to Henry VIII as a MS....what the heck is everyone talking about???  Someone 
who copulates with everything they can get their hands on??

Dumb in Buckwheat, AZ

Sg


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Subject: Re: [h-cost] Metrosexual???? OT
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Status: RO

As far as I can tell, the word means something along the line of being a
sophisticated clothes horse. Sexual preference has nothing to do with it.

May I express personal annoyance that people are using this term for
historic figures? Just like Hildegard of Bingen was a "liberated"
women--yeah, right. :/

Arlys

On Sat, 5 May 2007 11:48:23 -0700 "Saragrace Knauf" <wickedfrau@msn.com>
writes:
> Okay, this may be a little off topic, but since I heard it on the 
> Tudor Fashion special (TFS) on showtime, maybe it isn't too bad.  I 
> heard the word Metrosexual (MS) for the first time in my life 
> earlier this week in reference to what I can't remember, then I 
> heard it yesterday for the second time on the TFS, and just now on 
> NPR on "Wait Wait Don't Tell Me."  NPR's discussion implies that it 
> is another word for homosexual, the TFS refered to Henry VIII as a 
> MS....what the heck is everyone talking about???  Someone who 
> copulates with everything they can get their hands on??
> 
> Dumb in Buckwheat, AZ
> 
> Sg
> 
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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Subject: Re: [h-cost] Metrosexual???? OT
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In a message dated 5/5/2007 2:49:01 P.M. Eastern Daylight Time,  
wickedfrau@msn.com writes:

I heard  the word Metrosexual (MS) for the first time in my life earlier this 
week in  reference to what I can't remember, then I heard it yesterday for 
the second  time on the TFS, and just now on NPR on "Wait Wait Don't Tell Me."   


 
Jeez, that expression is so last year, or is it two years ago?  No,  not gay, 
as others have already said.  But really into  grooming--professional 
manicures, facials, and such, and clothes, too, I  suppose, although exactly what THE 
fashion look was, I'm not clear on--not sure  there was ONE look, 
clothes-wise.  Fastidious, though, for  sure. 
 
I think maybe I would consider Henry VIII a little too lusty to  qualify.  
While metrosexuals weren't gay, I also don't think they were  into, you know, 
whatever, whenever.
 
Ann Wass




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In a message dated 5/5/2007 3:28:13 P.M. Eastern Daylight Time,  
laswa@hotmail.com writes:

I  would've said a Beau Brummel, except for the fact that dandies (despite  
what we think of them today) were a movement AWAY from Foppism TOWARDS  more 
mnaly fashions.  Go figure.




Except that the Beau placed great importance on good grooming, cleanliness,  
shaving, etc., and impeccable tailoring and fit.  He also didn't seem  
particularly interested in women, but wasn't overtly gay.  He probably is a  pretty 
good comparison.  Metrosexuals weren't really effeminate.
 
Ann Wass



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From: Robin Netherton <robin@shell.nightowl.net>
To: Historic Costume List <h-costume@indra.com>
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Subject: [h-cost] Medieval embroidery
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Status: RO


I am not an embroiderer, and my knowledge of medeival embroidery is
skeletal -- enough to recognize situations in which it occurs, and to know
when to go to others with a question.

This is one of those times. I'm talking with another researcher who's
working with a text reference to embroidery. One possible interpretation
of the reference would be that it describes embroidery that appears on
both the inside and outside of the fabric. To me, that sounds like
something on the line of blackwork, designed to be neat and finished
looking on both the right and "wrong" side, and thus suited to things like
cuff and collar edges that might be turned out.

So, questions:

1. Is my memory correct -- is this indeed a characteristic of blackwork?
Or any other kind of historic embroidery style?

2. Is this characteristic actually documentable to any non-modern
examples? (I know it's easy to assume that a standard definition of a
technique must date back forever, but it might be done differently in
different periods.) If so, how early? I mentally associate blackwork in
particular with the Tudor period, but the reference in this case is about
1400.

3. Can anyone point me to a published source that would document the use
of such a "two right sides" technique to a medieval artifact?

Ultimately my friend would like to have a citation that shows the use of
such inside/outside embroidery from around 1400. Doesn't have to be
blackwork.

Failing that, it would be helpful to have a citation of such a technique
from a later period, even if it's not c. 1400.

Many, many thanks, as always, to the wonderfully helpful people on this
list. I am always amazed by the breadth of knowledge represented here.

--Robin


==========================================================
Robin Netherton 
Editor, Medieval Clothing and Textiles
robin@nightowl.net
voice: (314) 439-1222 // fax: (314) 439-1666
Life is just a bowl of queries.

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WEll I say I first saw - that's where I saw the whole idea as a 'new' thing  
- then thought abpout it & realised I'd known people like that for  years!





   
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Subject: RE: [h-cost] Medieval embroidery
Date: Sat, 5 May 2007 16:17:15 -0700
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I can't help you but I will be interested in what you find.  My friend who
is quite good at embroidery always makes fun of mine because it looks
horrible on the back (okay, it doesn't always look great on the front side
either.)  She claims it should look almost as good on the back as one the
front...she learned from her Welsh grandma.

Sg



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Status: RO

I'll go look, but as I recall there were various widths available during
these times.  I know for sure that an ell was different lengths in different
places at different times.  Some widths were surprisingly wide...like 60
inches.  I'll get back to you. 

Sg 


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From: SPaterson <sjpaterson@tru.eastlink.ca>
Subject: Re: [h-cost] Metrosexual???? OT
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http://en.wikipedia.org/wiki/Metrosexual

this is what I found...

Sarah Paterson

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

Okay, this may be a little off topic, but since I heard it on the Tudor 
Fashion special (TFS) on showtime, maybe it isn't too bad.  I heard the word 
Metrosexual (MS) for the first time in my life earlier this week in 
reference to what I can't remember, then I heard it yesterday for the second 
time on the TFS, and just now on NPR on "Wait Wait Don't Tell Me."  NPR's 
discussion implies that it is another word for homosexual, the TFS refered 
to Henry VIII as a MS....what the heck is everyone talking about???  Someone 
who copulates with everything they can get their hands on??

Dumb in Buckwheat, AZ

Sg






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Status: RO

Greetings--
Saragrace Knauf wrote:
> Okay, this may be a little off topic, but since I heard it on the Tudor Fashion special (TFS) on showtime, maybe it isn't too bad.  I heard the word Metrosexual (MS) for the first time in my life earlier this week in reference to what I can't remember, then I heard it yesterday for the second time on the TFS, and just now on NPR on "Wait Wait Don't Tell Me."  NPR's discussion implies that it is another word for homosexual, the TFS refered to Henry VIII as a MS....what the heck is everyone talking about???  Someone who copulates with everything they can get their hands on??
It's usually used to refer to a straight guy with an urban fashion 
sensibility, the kind that's usually associated with gay guys. 
Metrosexuals care about fashion, style, colour, skin care, and don't 
think it's unmanly to go to a spa.

Henry VIII would only be a metrosexual from a modern standpoint.  In 
16th century England, the upper-class men were as much or more into 
fashion as their female counterparts, and this was not considered 
strange or unmanly.

Susan

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Subject: Re: [h-cost] Metrosexual???? OT
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In a message dated 5/5/2007 5:05:45 P.M. Eastern Daylight Time,  
cley@juno.com writes:

May I  express personal annoyance that people are using this term for
historic  figures? 


Now there, I agree. "Metrosexuals," if they really exist, are very  much 
creatures of their time and place.
 
Ann Wass



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Subject: Re: [h-cost] Metrosexual???? OT
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In a message dated 05/05/2007 23:45:32 GMT Standard Time,  
h-costume-request@indra.com writes:

I  heard  the word Metrosexual (MS) for the first time in my life earlier  
this 
week in  reference to what I can't remember, then I heard it  yesterday for 
the second  time on the TFS, and just now on NPR on  "Wait Wait Don't Tell 
Me."   



The gay straight man - as I first saw in sex & the city.
 
I.e., a heterosexual man who acts like the *stereotypical* homosexual man -  
as said, who understands fashion, and cosmetics, and is generally not the old  
traditional (and *stereotypical*) straight man.



   
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From: MaggiRos <maggiros@yahoo.com>
Subject: RE: [h-cost]Authentic fabric widths
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There's some information in the back of the
Elizabethan Patterns of Fashion (Janet Arnold)

MaggiRos
--- WickedFrau <wickedfrau@msn.com> wrote:

> I'll go look, but as I recall there were various
> widths available during
> these times.  I know for sure that an ell was
> different lengths in different
> places at different times.  Some widths were
> surprisingly wide...like 60
> inches.  I'll get back to you. 
> 
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Status: RO

Found this... http://www.siegelofca.com/view_verlane.asp?id=144

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of HAGIOS FENUM
Sent: Saturday, May 05, 2007 11:17 AM
To: h-costume@indra.com; h-costume@mail.indra.com
Subject: [h-cost] Buff Leather


Do anyone knows where to get Buff leather for belts?
Thank you all.
Jose

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Quoting Robin Netherton <robin@shell.nightowl.net>:

> This is one of those times. I'm talking with another researcher who's
> working with a text reference to embroidery. One possible interpretation
> of the reference would be that it describes embroidery that appears on
> both the inside and outside of the fabric. To me, that sounds like
> something on the line of blackwork, designed to be neat and finished
> looking on both the right and "wrong" side, and thus suited to things like
> cuff and collar edges that might be turned out.
>
> So, questions:
>
> 1. Is my memory correct -- is this indeed a characteristic of blackwork?
> Or any other kind of historic embroidery style?

Blackwork can be reversible -- but it doesn't have to be.

>
> 2. Is this characteristic actually documentable to any non-modern
> examples? (I know it's easy to assume that a standard definition of a
> technique must date back forever, but it might be done differently in
> different periods.) If so, how early? I mentally associate blackwork in
> particular with the Tudor period, but the reference in this case is about
> 1400.

To my knowledge -- and blackwork isn't my "thing" -- blackwork is =20
later than 1400.  There are more knowledgeable folks on this list than =20
I in that respect.

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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Status: RO


To my knowledge -- and blackwork isn't my "thing" -- blackwork is
later than 1400.  There are more knowledgeable folks on this list than
I in that respect.

susan

There is a form called Assisi work, uses the same stitches as blackwork, but 
was often worked in red, and I believe there's extant examples of that from 
the 12th cen. (1100's).  I'll see what I can dig up.

Melusine 

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From: "otsisto" <otsisto@socket.net>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Medieval embroidery
Date: Sat, 5 May 2007 18:53:17 -0500
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Status: RO

Though not an expert, (note:I'm having a brain fog) I believe that there are
at least 4 embroidery stitches where the embroidery appears on the front and
back. blackwork/Spanish work is one. Montenegrin crosstitch. Assisi(?) and a
fourth that escapes me. (just finished mowing the lawn in humid weather) I
know these were done in the late 1400s but not sure about earlier.
De

-----Original Message-----
This is one of those times. I'm talking with another researcher who's
working with a text reference to embroidery. One possible interpretation
of the reference would be that it describes embroidery that appears on
both the inside and outside of the fabric. To me, that sounds like
something on the line of blackwork, designed to be neat and finished
looking on both the right and "wrong" side, and thus suited to things like
cuff and collar edges that might be turned out.

So, questions:

1. Is my memory correct -- is this indeed a characteristic of blackwork?
Or any other kind of historic embroidery style?

2. Is this characteristic actually documentable to any non-modern
examples? (I know it's easy to assume that a standard definition of a
technique must date back forever, but it might be done differently in
different periods.) If so, how early? I mentally associate blackwork in
particular with the Tudor period, but the reference in this case is about
1400.

3. Can anyone point me to a published source that would document the use
of such a "two right sides" technique to a medieval artifact?

Ultimately my friend would like to have a citation that shows the use of
such inside/outside embroidery from around 1400. Doesn't have to be
blackwork.

Failing that, it would be helpful to have a citation of such a technique
from a later period, even if it's not c. 1400.

Many, many thanks, as always, to the wonderfully helpful people on this
list. I am always amazed by the breadth of knowledge represented here.

--Robin


==========================================================
Robin Netherton
Editor, Medieval Clothing and Textiles
robin@nightowl.net
voice: (314) 439-1222 // fax: (314) 439-1666
Life is just a bowl of queries.

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From: "otsisto" <otsisto@socket.net>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Medieval embroidery
Date: Sat, 5 May 2007 18:57:09 -0500
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Status: RO

Assisi work is also called voided work and is not necessarily done in red
thread. Blackwork is not necessarily done with black thread. (are we
confused yet?) :)

-----Original Message-----
To my knowledge -- and blackwork isn't my "thing" -- blackwork is
later than 1400.  There are more knowledgeable folks on this list than
I in that respect.

susan

There is a form called Assisi work, uses the same stitches as blackwork, but
was often worked in red, and I believe there's extant examples of that from
the 12th cen. (1100's).  I'll see what I can dig up.

Melusine


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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: RE: [h-cost] Medieval embroidery
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Status: RO


On Sat, 5 May 2007, otsisto wrote:

> Though not an expert, (note:I'm having a brain fog) I believe that
> there are at least 4 embroidery stitches where the embroidery appears
> on the front and back. blackwork/Spanish work is one. Montenegrin
> crosstitch. Assisi(?) and a fourth that escapes me. (just finished
> mowing the lawn in humid weather) I know these were done in the late
> 1400s but not sure about earlier.

This is the sort of thing I'm looking for -- I don't need a reference to
blackwork specifically, but rather to any reversible front/back technique
that can be documented to c. 1400. Preferably England.

So: Can anyone point me to a good published reference that would solve the
need for a footnote to the statement "There were certain types of
embroidery that were meant to look good on both front and back of the
fabric in 1400"?

I felt certain that there wore, and De seems to feel the same, but it's
the magical Published Statement that we need. A published reference to an
existing artifact would be ideal, or to a description of technique that
dates from the period (e.g. not to a 19th-century manual for Assisi-style
embroidery).

If it helps, the description we're working with says the decoration is in
black silk around the collar of a chemise. Presumably the chemise would be
linen but it's not specified. All my friend wants to show that is that the
nature of the description points to the decoration being embroidery,
rather than (say) a band of applied trim.

--Robin



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To: Historical Costume <h-costume@indra.com>
From: Genie Barrett <ladymaggie@justinanimator.com>
Subject: Re: [h-cost] Medieval embroidery
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Status: RO

At 06:52 PM 5/5/2007, you wrote:

>To my knowledge -- and blackwork isn't my "thing" -- blackwork is
>later than 1400.  There are more knowledgeable folks on this list than
>I in that respect.
>
>susan
>
>There is a form called Assisi work, uses the same stitches as 
>blackwork, but was often worked in red, and I believe there's extant 
>examples of that from the 12th cen. (1100's).  I'll see what I can dig up.
>
>Melusine


Yes, it's Italian, named after the town Assisi.  It uses Holbein 
stitch and long-armed cross stitch.  My book doesn't have a date.

However, I'm not sure how they look on the back.

Good luck, Robin

Maggie

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To: Historical Costume <h-costume@indra.com>
From: Genie Barrett <ladymaggie@justinanimator.com>
Subject: RE: [h-cost] Medieval embroidery
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Status: RO

At 07:10 PM 5/5/2007, you wrote:

>If it helps, the description we're working with says the decoration is in
>black silk around the collar of a chemise. Presumably the chemise would be
>linen but it's not specified. All my friend wants to show that is that the
>nature of the description points to the decoration being embroidery,
>rather than (say) a band of applied trim.
>
>--Robin

It might be easier to document Double Running/Holbein stitch.  That 
always looks the same on both sides and any design stitched in it 
would be the same on both sides.

Just a thought,
Genie
(Sometimes called Maggie, and rather confused when I'm called what.  GRIN)

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Subject: RE: [h-cost] Medieval embroidery 
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Status: RO

 
 

Although with some stitches you can't help making the back nearly as neat  as 
the front (classics indeed being blackwork and tent stitch, etc), I'm not  
aware of any medieval embroidery being made this way on purpose.
 
And whether styles like blackwork or asissi work, or several others, very  
much depends on your geographical context.
 
Its appearance at cuffs and collars doesn't have any real relevance to the  
state of the back, as embroidery was done prior to the making up of the garment 
 (usually), so that the back of the work would be unlikely to be seen.
 
As far as I'm aware the neatness of the back of embroidery dates to the  
beginnings of samplers - and the earliest known one of these is late 16th  century 
(I think - the one in the v&a textiles room).
 
Both sides same embroidery, where the intention of the work is to have both  
sides looking exactly the same is 19th century thing (possibly late 18th??),  
that came about for use on things like military standards.  It's also  
incredibly difficult to do, and one of the banes of my life!!    :o)





   
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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: RE: [h-cost] Medieval embroidery 
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Status: RO


On Sat, 5 May 2007 Debloughcostumes@aol.com wrote:

> Its appearance at cuffs and collars doesn't have any real relevance to
> the state of the back, as embroidery was done prior to the making up
> of the garment (usually), so that the back of the work would be
> unlikely to be seen.

That would certainly be the case for, say, a doublet, but for the cuffs or
collars of linen chemises, which are not lined, why would the embroidery
be done in advance, or assumed not to be seen? Chemises in 16th century
paintings are often shown with blackwork embroidery on cuff edges and
collars; presumably the insides of the cuffs would be readily visible, and
collars might be turned out in some cases.

--Robin

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Status: RO


On Sat, 5 May 2007, Robin Netherton wrote:

> That would certainly be the case for, say, a doublet, but for the cuffs or
> collars of linen chemises, which are not lined, why would the embroidery
> be done in advance, or assumed not to be seen? Chemises in 16th century
> paintings are often shown with blackwork embroidery on cuff edges and
> collars; presumably the insides of the cuffs would be readily visible, and
> collars might be turned out in some cases.

Like this:

http://www.metmuseum.org/Works_of_Art/viewOne.asp?dep=11&viewmode=1&item=49.7.32

About 135 years later than the reference I'm tracking, but shows a case in
which one might think of making an embroidered edging on a chemise look
good both inside and outside. I can't get close enough to her right cuff
to see whether it is reversible, though.

--Robin



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From: "Susan B. Farmer" <sfarmer@goldsword.com>
To: Historical Costume <h-costume@indra.com>
Subject: RE: [h-cost] Medieval embroidery
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Status: RO

Quoting Robin Netherton <robin@shell.nightowl.net>:

>
> On Sat, 5 May 2007, Robin Netherton wrote:
>
>> That would certainly be the case for, say, a doublet, but for the cuffs o=
r
>> collars of linen chemises, which are not lined, why would the embroidery
>> be done in advance, or assumed not to be seen? Chemises in 16th century
>> paintings are often shown with blackwork embroidery on cuff edges and
>> collars; presumably the insides of the cuffs would be readily visible, an=
d
>> collars might be turned out in some cases.
>
> Like this:
>
> http://www.metmuseum.org/Works_of_Art/viewOne.asp?dep=3D11&viewmode=3D1&it=
em=3D49.7.32
>
> About 135 years later than the reference I'm tracking, but shows a case in
> which one might think of making an embroidered edging on a chemise look
> good both inside and outside. I can't get close enough to her right cuff
> to see whether it is reversible, though.
>

NOw that I can help with.  Here's a larger image that I scanned out of =20
Queen Elizabeth's Wardrobe Unlocked
http://epee.goldsword.com/sfarmer/SCA/Paintings/english_FairGeraldine-qewuFi=
g239.jpg
or
http://tinyurl.com/2qtsgn

Depending on your browser, you may need to click it to see it full sized.

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: "otsisto" <otsisto@socket.net>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Medieval embroidery 
Date: Sat, 5 May 2007 20:39:49 -0500
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Status: RO

Perhaps this might work for an example though it is mid 1500s
http://www.tudor-portraits.com/LadyDacre.jpg

-----Original Message-----
Like this:

http://www.metmuseum.org/Works_of_Art/viewOne.asp?dep=11&viewmode=1&item=49.
7.32

About 135 years later than the reference I'm tracking, but shows a case in
which one might think of making an embroidered edging on a chemise look
good both inside and outside. I can't get close enough to her right cuff
to see whether it is reversible, though.

--Robin


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Status: RO

Have you read this woman's article?
http://mywebpages.comcast.net/medievalneedle/assisi.htm



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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: RE: [h-cost] Medieval embroidery 
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Status: RO


On Sat, 5 May 2007, otsisto wrote:

> Perhaps this might work for an example though it is mid 1500s
> http://www.tudor-portraits.com/LadyDacre.jpg

Yes! Clearly reversible and meant to be seen as such. Proves the
principle, just not the period yet...

And here I thought this list would be full of people who who were
obsessive about embroidery history who would have this stuff at their
fingertips. I have no clue what sources are standard on stitch types,
existing artifacts, etc.

--Robin


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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: RE: [h-cost] Medieval embroidery
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On Sat, 5 May 2007, Susan B. Farmer wrote:

> NOw that I can help with.  Here's a larger image that I scanned out of  
> Queen Elizabeth's Wardrobe Unlocked
> http://epee.goldsword.com/sfarmer/SCA/Paintings/english_FairGeraldine-qewuFig239.jpg
> or
> http://tinyurl.com/2qtsgn

Aha. I have the book, just haven't hunted for images in my own library.
(I'm up to my eyes in preparing for my own sessions at K'zoo and am
passing on this question as a favor for another presenter -- I can't spend
much time doing her work for her, though).

Yes, it does look like the embroiderer would have understood that the
inside of the cuffs here would be visible.

--Robin

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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: RE: [h-cost] Medieval embroidery
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On Sat, 5 May 2007, otsisto wrote:

> Have you read this woman's article?
> http://mywebpages.comcast.net/medievalneedle/assisi.htm

No, and I haven't done a Web search, either. Web articles won't be citable
for my friend's purposes (an academic paper). I was really hoping that
someone here who is already an expert on medieval embroidery would know a
book I could point my friend to so she can educate herself and find a
useful citation. If that's not the case, she's the one who's going to have
to do the hunting; this isn't my project.

--Robin

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From: "Susan B. Farmer" <sfarmer@goldsword.com>
To: Historical Costume <h-costume@indra.com>
Subject: RE: [h-cost] Medieval embroidery
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Status: RO

Quoting Robin Netherton <robin@shell.nightowl.net>:

>
> On Sat, 5 May 2007, Susan B. Farmer wrote:
>
>> NOw that I can help with.  Here's a larger image that I scanned out of
>> Queen Elizabeth's Wardrobe Unlocked
>> http://epee.goldsword.com/sfarmer/SCA/Paintings/english_FairGeraldine-qew=
uFig239.jpg
>> or
>> http://tinyurl.com/2qtsgn
>
> Aha. I have the book, just haven't hunted for images in my own library.
> (I'm up to my eyes in preparing for my own sessions at K'zoo and am
> passing on this question as a favor for another presenter -- I can't spend
> much time doing her work for her, though).
>
> Yes, it does look like the embroiderer would have understood that the
> inside of the cuffs here would be visible.

There are lots of examples from this period both in English and =20
Italian art where the collar/cuffs are embroidered with the =20
implication that both sides will be seen -- more can be forthcoming if =20
you need additional examples.  I don't know what the earliest such =20
example is, though.

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

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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: RE: [h-cost] Medieval embroidery
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Status: RO


On Sat, 5 May 2007, Susan B. Farmer wrote:

> There are lots of examples from this period both in English and
> Italian art where the collar/cuffs are embroidered with the
> implication that both sides will be seen -- more can be forthcoming if
> you need additional examples.  I don't know what the earliest such
> example is, though.

I've sent my contact the images already cited as proof-of-concept for
Tudor period, and the information posted here that there were stitches
that could be reversible. That's a good start, but for publication
purposes she needs a published source on the stitch types for that period
(as seen in real examples); is there a book that examines historic
stitching with close regard to period, e.g. not just saying "this stitch
is medieval" but rather "these stitches appear in X type of artifacts from
Y time and Z place"?

Holy grail here would be examples of embroidery from c. 1400 clearly meant
to be viewed on the reverse. Possibly not available, though. Extant pieces
from 1400 are a lot rarer than from 1550.

But it's not my area so I don't know all the standard sources the way I do
in my own specialties.

--Robin


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Status: RO



 -----Original Message-----
 From: sharon@collierfam.com
 To: h-costume@indra.com
 Sent: Sat, 5 May 2007 4:07 AM
 Subject: RE: [h-cost] Re: Theater vs. Historic

  One of the neatest things I remember from 1968" "Romeo and Juliet" was 
when
  our teacher pointed out that there were colors for each 
family---Capulets
  were in warm tones and Montagues in cool tones. And after Juliet 
marries,
 she changes to the cool tones of the Montagues.

 **************
  But this is always done with R&J. The Montagues usually go in cool 
colors because Romeo is so melancholy at 1st and the Capulets go warm 
because of Juliet's liveliness and energy at 1st. Either a color thing 
or the Monagues are done as country folk and the Capulets are city 
folk...or sometimes both ideas are used.

  The designs for the film are amazing. It goes deeper than just color. 
The Capulets are not just in warm colors, but also have an arrogance to 
their dress and style. As people get killed, everyone goes into dark 
colors of mourning. Even Juilet's wedding outfit is heavy and 
oppressive with a dark veil. Beautiful unusual but perfect choice.

  I just saw NYCB's new production of Prokofiev's R&J. The Montagues are 
all in greens and blues, and the Capulets are in reds and yellows. But 
God, is it the ugliest design I've seen in a long time! The pas de deu 
of the "Balcony scene" was beautiful though. The music to this ballet 
is amazing!
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To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] Metrosexual???? OT
Date: Sat, 5 May 2007 23:46:40 -0600
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Status: RO

*snerk*
I'd always assumed that it meant someone (gender unspecified) who was
somewhat...omnivorous in his/her tastes in partners.  ;o)
--Sue, apparently pretty clueless about this one

----- Original Message -----
From: <AnnBWass@aol.com>
To: <h-costume@indra.com>
Sent: Saturday, May 05, 2007 4:43 PM
Subject: Re: [h-cost] Metrosexual???? OT


>
> In a message dated 5/5/2007 2:49:01 P.M. Eastern Daylight Time,
> wickedfrau@msn.com writes:
>
> I heard  the word Metrosexual (MS) for the first time in my life earlier
this
> week in  reference to what I can't remember, then I heard it yesterday for
> the second  time on the TFS, and just now on NPR on "Wait Wait Don't Tell
Me."
>
>
>
> Jeez, that expression is so last year, or is it two years ago?  No,  not
gay,
> as others have already said.  But really into  grooming--professional
> manicures, facials, and such, and clothes, too, I  suppose, although
exactly what THE
> fashion look was, I'm not clear on--not sure  there was ONE look,
> clothes-wise.  Fastidious, though, for  sure.
>
> I think maybe I would consider Henry VIII a little too lusty to  qualify.
> While metrosexuals weren't gay, I also don't think they were  into, you
know,
> whatever, whenever.
>
> Ann Wass


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Subject: Re: [h-cost] Metrosexual???? OT
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Status: RO

Giggling with joy!!!!!!!!!  You hit a topic that gives me an excuse to take 
a break from grading papers!  YIPPEE!!! Many, many thanks.

I gave birth to the best example of  metrosexual!  He has fit the 
metrosexual description perfectly since he was born in 1976!  My #1 son has 
matched ALL of his clothing since he was 3 y.o. when he started dressing 
himself.  Not only does the shirt and pants have to match but his socks, 
shoes, underwear, belt (with shoes) ties, caps, etc.  My favorite saying 
about him, "He took my matching fashion colors way to seriously when he was 
3 years old."  He even takes this matching to extremes, colors and styles of 
cars have to match and their accessories.  This child also spent too much 
time in front of the mirror.  He makes sure to look at himself and adjust 
hair or clothing everything he passes something that reflects... like 
windows.

He wanted so bad to major in fashion in college, but decided college wasn't 
for him after two years.  But he married a fashion major.  She is as bad as 
him with the color/fashion matching and that their fashions have themes, 
including their "Better Homes and Garden" home.  Theirs and the children 
wardrobes' volume are unreal!  Of course, all their kids' clothing are 
perfectly matched.  Needless to say they are both perfectionist.  Every 
morning she gets up earlier, and finds out what kind of businesses he will 
be visiting that day or business meetings.  She pulls the appropriate 
ensemble for the day.  He has corporate wear, medium-size business and small 
business wear. This breaks down even more by if the business is located in a 
large city, small, or rural.  Even their casual wear is very preppy and very 
organized.  I guess this business dress theory works.  He is one of the top 
five salespeople in a national Fortune 500 business.  My son says that you 
don't go into a small rural business in an expensive dress shirt and  tie. 
They are scared to talk with you.  So you dress the part, a polo shirt and 
Dockers.  He says that the people feel comfortable to talk, if you dress the 
appropriate way for the clients.

My son has the perfect tan year round, waxed eyebrows, and body hair trimmed 
(everywhere visible).  He started taking my coversticks when he was a 
teenager.  He used them to cover zits.  He still uses them.  He and his wife 
have perfect skin, due to visiting spas on business trips.  His wife will 
not go a the trip if there is not a good spa at the hotel/resort.

A couple of months ago, Bazar magazine declared the term metrosexual was 
out, on their "What's In and Out" monthly list.  I guess that was the formal 
declaration.  There is a new term for this type of person, but I can't 
recall it at this moment.

The other day I had a good giggle while driving my teenage daughter and her 
girlfriends around .   They were discussing the types of guys they liked. 
Each one would say the types of guy and why.  Every girl liked a different 
types of guy according to their mode of dress and hairstyle.  After each 
girl said their guy's style, my daughter would say, "Well you would like my 
brother _______ and the type of fashion style." Another girl would say what 
type of guy they liked.  My daughter would say the same thing but with a 
different name.

There was a new girl in the group. She asked, "How many brothers do you 
have?"

My daughter said, "Five and they all have different styles."

The other girls said, "Yes, she really does have five big brothers and they 
all dress differently."

My daughter stated that her #1 brother was a metrosexual and the girls asked 
was he gay.

The term metrosexual refers to a male who cares about their fashion sense as 
much as a well-kept female.  That is why some people think that this term 
metrosexual is a gay man.  Some people assume that only gay men dress 
extremely well and care about their appearance, and straight guys do not. 
Ironically, my #1 son wanted to fashion major in college.  He decided 
against it because he believed people would think he is gay.  I believe my 
son thinks this because when I was a fashion major student in the 1970s and 
1990s, male gay students would come to our home to study for our fashion 
tests, write papers, etc.  Another irony, both my best college friends in 
these decades were gay guys named Rodney.  My son assumes that all guys who 
are fashion majors are gay.  His wife or I can't him otherwise.  I have told 
him that there are gay and straight fashion designers, salesmen, retailers, 
buyers, etc. and named some of the famous ones.  I guess, he is not the only 
one who thinks this way.  Last summer after the Calvin Klein's Biography 
show in class, several of my students remarked, "I thought he was gay."  We 
had a long talk about assuming someone's sexually because of their career 
choice.  I was expecting this same "gay response" when I showed the same 
video in last week's class.   These students discussed a lot about Klein's 
career and never mentioned his sexuality.

Nowadays, I wonder how many other men decided not to be a fashion major or 
seek employment in the fashion industry for this same fear.  During my 
classes, I teach the students how to pop handfans and another session, what 
it feels like to wear 1950s starched petticoats.  Before each session, I 
explain to the students that my sons are straight and love to pop my 
handfans and have tried on my bags of petticoats.  They have even taught 
their friends, male and female to pop fans and have tried on the petticoats. 
So far, I have had one guy in every class to refuse to do these things.  It 
is fun learning experience to pop fans and the students had a blast.  The 
best way to know how 1950s females felt when wearing one of those 
petticoats, is to wear one for a little while.

Well...I've enjoyed the break!  Time to get the red grading pen back out 
again.
Penny Ladnier,
Owner, The Costume Gallery Websites
www.costumegallery.com
www.costumelibrary.com
www.costumeclassroom.com
www.costumeencyclopedia.com 

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Subject: [h-cost] Re: Medieval Embroidery
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Status: RO

I can kinda-sorta help you out with this one.=0A=0AOne of the shirts in the=
 Sicilian Bride collection at the Met is completely reversible, done not on=
ly in polychrome silks, but gold thread as well. Both cuffs and collars are=
 coated in it in good 2 inch bands. These date to ca. 1500-1600 Sicily. The=
y employ several stitch types, none of which are Assisi or Blackwork in nat=
ure. Satin stitch is most predominant in the motifs.=0AAs for publishing...=
.wait a year or so and see who ends up published first -me or the Met. ;-)=
=0A=0AI understand that insisting on completely reversible, uber-tidy embro=
idery backs is far more a Victorian convention than Medieval. I've heard th=
is statement debated hotly both ways. The Met collection is by no means nas=
ty looking on the back, but you can spot the knots if you look for them.=0A=
=0AKathy=0A=0A=0AIt=92s never too late to be who you might have been.=0A-Ge=
orge Eliot=0ATosach e=F3lais imchomarc. - Questioning is the beginning of k=
nowledge. http://www.sengoidelc.com/node/131=0A=0A=0ASo, questions:=0A=0A1.=
 Is my memory correct -- is this indeed a characteristic of blackwork?=0AOr=
 any other kind of historic embroidery style?=0A=0A2. Is this characteristi=
c actually documentable to any non-modern=0Aexamples? (I know it's easy to =
assume that a standard definition of a=0Atechnique must date back forever, =
but it might be done differently in=0Adifferent periods.) If so, how early?=
 I mentally associate blackwork in=0Aparticular with the Tudor period, but =
the reference in this case is about=0A1400.=0A=0A3. Can anyone point me to =
a published source that would document the use=0Aof such a "two right sides=
" technique to a medieval artifact?=0A=0AUltimately my friend would like to=
 have a citation that shows the use of=0Asuch inside/outside embroidery fro=
m around 1400. Doesn't have to be=0Ablackwork.=0A=0AFailing that, it would =
be helpful to have a citation of such a technique=0Afrom a later period, ev=
en if it's not c. 1400.=0A=0A=0A=0A=0A=0A=0A=0A=0A      Be smarter than spa=
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Date: Sat, 5 May 2007 21:30:16 -0700
Subject: Re: [h-cost] Medieval embroidery
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Status: RO

> There is a form called Assisi work, uses the same stitches as 
> blackwork, but 
> was often worked in red, and I believe there's extant examples of 
> that from 
> the 12th cen. (1100's).  I'll see what I can dig up.
> 
> Melusine 

It's my understanding that the actual pattern on Assisi (voided) work is
done in running stitch (also used in blackwork), but that the filling
stitch was cross or some such. Hope someone here fills the void between
my ears. ;)

Arlys
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Subject: Re: [h-cost] Medieval embroidery
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Status: RO

In blackwork, double running is the primary stitch, but it's not the
stitch which creates the doublesidedness. It's the actual pattern--i.e.,
how it is executed.

Arlys

On Sat, 5 May 2007 23:02:40 -0500 (CDT) Robin Netherton
<robin@shell.nightowl.net> writes:
> 
> On Sat, 5 May 2007, Susan B. Farmer wrote:
> 
> > There are lots of examples from this period both in English and
> > Italian art where the collar/cuffs are embroidered with the
> > implication that both sides will be seen -- more can be 
> forthcoming if
> > you need additional examples.  I don't know what the earliest such
> > example is, though.
> 
> I've sent my contact the images already cited as proof-of-concept 
> for
> Tudor period, and the information posted here that there were 
> stitches
> that could be reversible. That's a good start, but for publication
> purposes she needs a published source on the stitch types for that 
> period
> (as seen in real examples); is there a book that examines historic
> stitching with close regard to period, e.g. not just saying "this 
> stitch
> is medieval" but rather "these stitches appear in X type of 
> artifacts from
> Y time and Z place"?
> 
> Holy grail here would be examples of embroidery from c. 1400 clearly 
> meant
> to be viewed on the reverse. Possibly not available, though. Extant 
> pieces
> from 1400 are a lot rarer than from 1550.
> 
> But it's not my area so I don't know all the standard sources the 
> way I do
> in my own specialties.
> 
> --Robin
> 
> 
> _______________________________________________
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> 

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Subject: Re: [h-cost] Medieval embroidery 
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Status: RO

We're out here, but at least one of us (me) was completely involved in
helping with a local SCA event yesterday, and just now getting caught up in
the flood of emails! ;o)
--Sue
----- Original Message -----
From: "Robin Netherton" <robin@shell.nightowl.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Saturday, May 05, 2007 7:56 PM
Subject: RE: [h-cost] Medieval embroidery


> And here I thought this list would be full of people who who were
> obsessive about embroidery history who would have this stuff at their
> fingertips. I have no clue what sources are standard on stitch types,
> existing artifacts, etc.


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Status: RO

Monochrome embroidery is actually considerably older than the 1400s.  There
are surviving Islamic examples from long before that date.  The earliest
European reference to it, that I'm aware of, is a brief description in
Chaucer's Canterbury Tales, in which a woman's shift is described as having
black embroidery on it, but that reference predates known European fragments
by quite a while.
Most folks tend to call this type of embroidery "blackwork," out of habit,
or from the association of this style with the elaborate, usually black,
embroideries popular in certain parts of 16th century Europe.  It does,
however, show up in a number of other colors--blues, reds, gold, green,
pink.  A more accurate term for it is "monochrome" embroidery, since it's
done with a single color.  I look at something like Assisi work as a cousin
;o), and there are other forms of embroidery like German whitework, and some
of the embroidery done on German and Italian shirts (over the areas that are
gathered or "smocked," especially, that are also related.
--Sue in Montana, *quite* definitely a monochrome/counted thread embroidery
geek

----- Original Message -----
From: "Susan B. Farmer" <sfarmer@goldsword.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Saturday, May 05, 2007 5:42 PM
Subject: Re: [h-cost] Medieval embroidery


> To my knowledge -- and blackwork isn't my "thing" -- blackwork is
> later than 1400.  There are more knowledgeable folks on this list than
> I in that respect.


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From: "Sue Clemenger" <mooncat@in-tch.com>
To: "Historical Costume" <h-costume@indra.com>
References: <d44.8010006.336e7d03@aol.com>
Subject: Re: [h-cost] Medieval embroidery 
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Status: RO

The earliest known *dated* sampler is the Bostocke sampler at the V&A, but
it's not actually the oldest sampler.  There are several in my book
"Embroideries and Samplers from Islamic Egypt," and they *all* significantly
predate the Bostocke sampler.  Which is, nonetheless, one of my favorite
pieces in the world <g>...I pretty much expected beams of light and choirs
of angels, when I actually found that sampler in the textile rooms at the
V&A.  But then, I'm an embroidery geek of long standing!
--Sue in Montana

----- Original Message -----
From: <Debloughcostumes@aol.com>
To: <h-costume@indra.com>
Sent: Saturday, May 05, 2007 6:36 PM
Subject: RE: [h-cost] Medieval embroidery


>
>
>
> Although with some stitches you can't help making the back nearly as neat
as
> the front (classics indeed being blackwork and tent stitch, etc), I'm not
> aware of any medieval embroidery being made this way on purpose.
>
> And whether styles like blackwork or asissi work, or several others, very
> much depends on your geographical context.
>
> Its appearance at cuffs and collars doesn't have any real relevance to the
> state of the back, as embroidery was done prior to the making up of the
garment
>  (usually), so that the back of the work would be unlikely to be seen.
>
> As far as I'm aware the neatness of the back of embroidery dates to the
> beginnings of samplers - and the earliest known one of these is late 16th
century
> (I think - the one in the v&a textiles room).
>
> Both sides same embroidery, where the intention of the work is to have
both
> sides looking exactly the same is 19th century thing (possibly late
18th??),
> that came about for use on things like military standards.  It's also
> incredibly difficult to do, and one of the banes of my life!!    :o)
>
>
>
>
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume

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From: "Sue Clemenger" <mooncat@in-tch.com>
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References: <Pine.LNX.4.10.10705051943070.5638-100000@shell.nightowl.net>
Subject: Re: [h-cost] Medieval embroidery 
Date: Sun, 6 May 2007 10:28:09 -0600
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Status: RO

There are actually 16th century portraits out there, in which there are
clearly two *different* patterns on the two sides of a collar.  It's also
obvious, from some of the construction details, that collars had both an
inside layer of fabric and an outer (I'm avoiding saying "always," of
course....).  There's a boy's shirt from, I think, the 1540's, currently at
the V&A, which has a small ruffle extending out from the shirt collar.  It's
pretty clear that the shirt-edge of the ruffle is enclosed between two
layers of collar.
I'm guessing that your friend is more likely to find evidence of
reversability in the cuffs and ruffles (applied or integral), than in the
collars.
--Sue
----- Original Message -----
From: "Robin Netherton" <robin@shell.nightowl.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Saturday, May 05, 2007 6:47 PM
Subject: RE: [h-cost] Medieval embroidery


>
> On Sat, 5 May 2007 Debloughcostumes@aol.com wrote:
>
> > Its appearance at cuffs and collars doesn't have any real relevance to
> > the state of the back, as embroidery was done prior to the making up
> > of the garment (usually), so that the back of the work would be
> > unlikely to be seen.
>
> That would certainly be the case for, say, a doublet, but for the cuffs or
> collars of linen chemises, which are not lined, why would the embroidery
> be done in advance, or assumed not to be seen? Chemises in 16th century
> paintings are often shown with blackwork embroidery on cuff edges and
> collars; presumably the insides of the cuffs would be readily visible, and
> collars might be turned out in some cases.
>
> --Robin
>
> _______________________________________________
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> http://mail.indra.com/mailman/listinfo/h-costume

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To: "Historical Costume" <h-costume@indra.com>
References: <20070506.071559.3384.1.Cley@juno.com>
Subject: Re: [h-cost] Medieval embroidery
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Status: RO

Usually done in a form of long-armed cross stitch, as far as I know.
--Sue in Montana

----- Original Message ----- 
From: "Cynthia J Ley" <cley@juno.com>
To: <h-costume@indra.com>
Sent: Saturday, May 05, 2007 10:30 PM
Subject: Re: [h-cost] Medieval embroidery


> > There is a form called Assisi work, uses the same stitches as 
> > blackwork, but 
> > was often worked in red, and I believe there's extant examples of 
> > that from 
> > the 12th cen. (1100's).  I'll see what I can dig up.
> > 
> > Melusine 
> 
> It's my understanding that the actual pattern on Assisi (voided) work is
> done in running stitch (also used in blackwork), but that the filling
> stitch was cross or some such. Hope someone here fills the void between
> my ears. ;)
> 
> Arlys


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Subject: Re: [h-cost] Medieval embroidery
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Status: RO

Thanks! :-)

Arlys

On Sun, 6 May 2007 10:32:04 -0600 "Sue Clemenger" <mooncat@in-tch.com>
writes:
> Usually done in a form of long-armed cross stitch, as far as I know.
> --Sue in Montana
> 
> ----- Original Message ----- 
> From: "Cynthia J Ley" <cley@juno.com>
> To: <h-costume@indra.com>
> Sent: Saturday, May 05, 2007 10:30 PM
> Subject: Re: [h-cost] Medieval embroidery
> 
> 
> > > There is a form called Assisi work, uses the same stitches as 
> > > blackwork, but 
> > > was often worked in red, and I believe there's extant examples 
> of 
> > > that from 
> > > the 12th cen. (1100's).  I'll see what I can dig up.
> > > 
> > > Melusine 
> > 
> > It's my understanding that the actual pattern on Assisi (voided) 
> work is
> > done in running stitch (also used in blackwork), but that the 
> filling
> > stitch was cross or some such. Hope someone here fills the void 
> between
> > my ears. ;)
> > 
> > Arlys
> 
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 

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From: Sylvia Rognstad <sylvia@ntw.net>
Subject: Re: [h-cost] Re: Theater vs. Historic-getting OT but can't help myself
Date: Sun, 6 May 2007 10:55:29 -0600
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Status: RO


On May 4, 2007, at 12:25 AM, Chris Laning wrote:

>
>
>
> What I don't think is legitimate is to take half-baked or widely 
> criticized ideas (aliens building the pyramids, anyone?) and present 
> them as sober historical fact WITHOUT planting plenty of clues that 
> you're not _really_ serious. I didn't see "Shakespeare in Love," but 
> those who watched it closely tell me that a Stratford-on-Avon souvenir 
> mug appeared fairly prominently, early in the film. Nice touch. <g>
>
>

What?!  Aliens didn't build the pyramids?  You must not listen to Coast 
to Coast AM!

Sylrog

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From: Aylwen & John Garden <garden@netspeed.com.au>
To: "Historical Costume <h-costume@indra.com>" <h-costume@indra.com>
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Thread-Topic: Embroidery on pill box hats?
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Status: RO

Dear All

I'm collecting images of embroidered pillbox hats from the Elizabethan era.
If you have any specific links to share, that would be great. I've taken
today off work to get some sewing done and am trying not to spend too much
time on the computer!
Is there any evidence of embroidered flat caps?
My first attempt at a pillbox hat came out too large, so I'm making a
smaller version, with a desire to embroider it this time around.

You can see my first hat at http://www.earthlydelights.com.au/gardens.htm

Many thanks, Aylwen


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Subject: Re: [h-cost] Medieval embroidery
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Status: RO


> I've sent my contact the images already cited as proof-of-concept for
> Tudor period, and the information posted here that there were stitches
> that could be reversible. That's a good start, but for publication
> purposes she needs a published source on the stitch types for that period
> (as seen in real examples); is there a book that examines historic
> stitching with close regard to period, e.g. not just saying "this stitch
> is medieval" but rather "these stitches appear in X type of artifacts from
> Y time and Z place"?
>
> Holy grail here would be examples of embroidery from c. 1400 clearly meant
> to be viewed on the reverse. Possibly not available, though. Extant pieces
> from 1400 are a lot rarer than from 1550.
>
> But it's not my area so I don't know all the standard sources the way I do
> in my own specialties.
>
> --Robin

The book you're looking for is "History of Western Embroidery" by Shuette. 
I think I've got that right, if I don't, please someone correct me.  Good 
luck trying to find it, though.  It's been out of print for ages, the copy I 
owned fell victim to a friend's bad divorce and was destroyed, and my local 
library's copy has been stolen.

Melusine 

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Status: RO

> So, questions:
> 
> 1. Is my memory correct -- is this indeed a characteristic of 
> blackwork?
> Or any other kind of historic embroidery style?

Some, but not all, blackwork is reversible, and if it is, it is perfectly
suited to cuffs and hankies and napkins where both sides will be seen.

That said, this ability to be reversible for some patterns may be a happy
accident which occurs owing to the combination of the particular pattern
and double running stitch. A happy accident that people kept using.

I look forward to further responses too. I've often wondered about
pre-Tudor blackwork (Spanish work? Blackwork by any other name?) as well.
Thanks for bringing this up Robin! :-)

Arlys
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Subject: Re: [h-cost] Medieval embroidery
Date: Sun, 6 May 2007 10:07:46 -0600
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Status: RO

The closest that I can think of, would be this book (one of my faves):
"Embroideries ans Samplers from Islamic Egypt" by Marianne Ellis. (Ashmolean
Museum, University of Oxford, 2001).  ISBN: 1-85444-135-3 (for the paperback
version).
It's an examination of embroidered textiles, most of which (they think) were
used for clothing and light furnishings, and examples range from the Tulunid
period (late 9th century) through the Mamluk period (up to 1517).  There are
a fair number of pieces containing surface embroidery stitches (split
stitch, chain stitch, stem stitch, cross stitch, etc.), but a significant
number of the pieces comprise some form of monochrome
embroidery--double-running stitch, pattern darning, pulled-thread and
drawn-thread work, etc.
There's a rather nice sampler, for instance, which has been carbon-dated to
the 14th century, and which was done in blue silk (and plain linen) threads
on linen, and uses double-running stitches and drawn-thread work.  There's
also a fragment of something they're assuming was part of a towel border,
and it's done in blue silk, using double-running stitch.  (a repeating
pattern of birds, late 14th-early 15th century).  There are also a couple of
pieces clearly meant to be shirts/tunics, but the embroidery is being used
on the sleeves, body, etc., and not so much on collar and cuffs.
It's clearly not an examination of European textiles and embroidery, but the
author does go to some effort to point out stylistic connections between
these bits and later European usage.  (Theory being <short version> that
these Islamic-based styles and techniques spread into Europe on trade
routes.)
--Sue


----- Original Message -----
From: "Robin Netherton" <robin@shell.nightowl.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Saturday, May 05, 2007 10:02 PM
Subject: RE: [h-cost] Medieval embroidery


>
> On Sat, 5 May 2007, Susan B. Farmer wrote:
>
> > There are lots of examples from this period both in English and
> > Italian art where the collar/cuffs are embroidered with the
> > implication that both sides will be seen -- more can be forthcoming if
> > you need additional examples.  I don't know what the earliest such
> > example is, though.
>
> I've sent my contact the images already cited as proof-of-concept for
> Tudor period, and the information posted here that there were stitches
> that could be reversible. That's a good start, but for publication
> purposes she needs a published source on the stitch types for that period
> (as seen in real examples); is there a book that examines historic
> stitching with close regard to period, e.g. not just saying "this stitch
> is medieval" but rather "these stitches appear in X type of artifacts from
> Y time and Z place"?
>
> Holy grail here would be examples of embroidery from c. 1400 clearly meant
> to be viewed on the reverse. Possibly not available, though. Extant pieces
> from 1400 are a lot rarer than from 1550.
>
> But it's not my area so I don't know all the standard sources the way I do
> in my own specialties.
>
> --Robin


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Date: Sun, 6 May 2007 12:01:54 -0400
From: "Bonnie Booker" <aspasia1@gmail.com>
To: "Historical Costume" <h-costume@indra.com>
Subject: Re: [h-cost] Medieval embroidery
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Status: RO

Blackwork is my thing. I taught it back at the Known World Art/Sci
Symposium in Orlando where you taught the Gothic fitted gown a few
years ago. It is more correctly known as "monochrome embroidery" and
was mentioned by Chaucer in Canterbury Tales. Chaucer mentions her
collar with blackwork inside and outside. It was also sited in Viking
Embroidery. There technically are no limits to stitches used. However,
what most people think of is the 16th century designs made popular by
the Holbein paintings, therefore the Hobein stitch.

To see if something could have been done doublesided take graph paper
and follow the design with a pencil. If you can do it, even with
drawing back over the design with the pencil without lifting the
pencil off the paper it can be done double sided. Look for designs on
artifacts that can be done this way. Then check with the museums to
see if they can tell you if it is done that way. That is the best I
can offer you. I work mostly with duplicating designs.
>
> I am not an embroiderer, and my knowledge of medeival embroidery is
> skeletal -- enough to recognize situations in which it occurs, and to know
> when to go to others with a question.
>
> This is one of those times. I'm talking with another researcher who's
> working with a text reference to embroidery. One possible interpretation
> of the reference would be that it describes embroidery that appears on
> both the inside and outside of the fabric. To me, that sounds like
> something on the line of blackwork, designed to be neat and finished
> looking on both the right and "wrong" side, and thus suited to things like
> cuff and collar edges that might be turned out.
>
> So, questions:
>
> 1. Is my memory correct -- is this indeed a characteristic of blackwork?
> Or any other kind of historic embroidery style?
>

Of one kind of border designs usually used on undergarments and tunic edges.


> 2. Is this characteristic actually documentable to any non-modern
> examples? (I know it's easy to assume that a standard definition of a
> technique must date back forever, but it might be done differently in
> different periods.) If so, how early? I mentally associate blackwork in
> particular with the Tudor period, but the reference in this case is about
> 1400.
>

Many, with many different stitches, in many different countries,
including Persia.


> 3. Can anyone point me to a published source that would document the use
> of such a "two right sides" technique to a medieval artifact?

Not "two right sides" but the back side looks as good as the front.


> Ultimately my friend would like to have a citation that shows the use of
> such inside/outside embroidery from around 1400. Doesn't have to be
> blackwork.
>
> Failing that, it would be helpful to have a citation of such a technique
> from a later period, even if it's not c. 1400.
-- 
Aspasia Moonwind
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Status: RO

On Sun, 06 May 2007 01:11:52 +0200, Robin Netherton
<robin@shell.nightowl.net> wrote:

> This is one of those times. I'm talking with another researcher who's
> working with a text reference to embroidery. One possible interpretation
> of the reference would be that it describes embroidery that appears on
> both the inside and outside of the fabric. To me, that sounds like
> something on the line of blackwork, designed to be neat and finished
> looking on both the right and "wrong" side, and thus suited to things  
> like cuff and collar edges that might be turned out.
>

It sounds like you are describing darning stitch or weaveseam.
An example of weaveseam embroidery front;
http://www.bayrose.org/wkneedle/Articles/images/vines05.jpg
Back;
http://www.bayrose.org/wkneedle/Articles/images/backside.jpg

For extant examples in books ;
*Traditional Icelandic embroidery, Elsa E. Gudjonson
*Att datera textiler, Margareta Nockert & Göran Possnert (mention of a
13th C norwegian weaveseam embroidery as oldest extant in Norway.Also of a
swedish extant weaveseam embroidery dated between 1320 and 1440. Another
norwegian example is dated between 1440 and 1620).
*Embroideries and samplers from Islamic egypt, marianne Ellis
*Medeltida vävnader och broderier i Sverige, Agnes Brandting and Andreas
Lindholm
*Prydnadssömmar under medeltiden, Anne marie Franzén
*Embroiderers, medieval craftsmen. Kay Staniland (p.63, german 15th C  
towel shown
pattern front and the reverse pattern on the back).

If you need relevant sections translated, let me know.

There are examples of illustrations which shows what might either be
weaveseam embroidery or possibly a woven pattern from the early 15thC.

The stitch was quite popular long before then and there are more than
enough extant examples from the 13th C and onwards.
Gunvor

-
"Jeg har sagt ja og nei og DA får du lov"
Anders (nesten 4 år)
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Status: RO


On May 5, 2007, at 4:11 PM, Robin Netherton wrote:

> 1. Is my memory correct -- is this indeed a characteristic of  
> blackwork?
> Or any other kind of historic embroidery style?

Hi, Robin! <g>

Some, but NOT all, historical blackwork is reversible (same on both  
sides). The idea that ALL blackwork is supposed to be completely  
reversible is an artifact of the 20th century embroidery revival.

> 2. Is this characteristic actually documentable to any non-modern
> examples? (I know it's easy to assume that a standard definition of a
> technique must date back forever, but it might be done differently in
> different periods.) If so, how early? I mentally associate  
> blackwork in
> particular with the Tudor period, but the reference in this case is  
> about
> 1400.

I know there is also a tradition of Japanese silk embroidery that is  
identical on both sides, but I don't know how old that is. And  
probably not relevant :)

> 3. Can anyone point me to a published source that would document  
> the use
> of such a "two right sides" technique to a medieval artifact?

IIRC, most of the evidence that it existed is from paintings, which  
as we all know, may or may not represent reality accurately.

I'll e-mail you off list with more info....

____________________________________________________________

O    Chris Laning <claning@igc.org> - Davis, California
+     http://paternoster-row.org - http://paternosters.blogspot.com
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From: Ruth Anne Baumgartner <ruthanneb@mindspring.com>
Subject: Re: [h-cost] pleated trim
Date: Sun, 6 May 2007 20:09:08 -0400
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Status: RO

Bjarne, your patience and your workmanship are both admirable!
--Ruth Anne Baumgartner
scholar gypsy and amateur costumer

On May 6, 2007, at 12:57 PM, Bjarne og Leif Drews wrote:

> Gosh, i really have putten myself to work with all that pleating  
> for the dress. Spended 2 days to make trim, and i have not made all  
> of it yeat.
> I have handstitched all the gold trim to the fabric strips, and it  
> pays to do so because it looks much better.......
> http://www.my-drewscostumes.dk/sofie3.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: Genie Barrett <ladymaggie@justinanimator.com>
Subject: Re: [h-cost] pleated trim
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Status: RO

At 11:57 AM 5/6/2007, you wrote:
>Gosh, i really have putten myself to work with all that pleating for 
>the dress. Spended 2 days to make trim, and i have not made all of it yeat.
>I have handstitched all the gold trim to the fabric strips, and it 
>pays to do so because it looks much better.......
>http://www.my-drewscostumes.dk/sofie3.htm
>
>Bjarne


Well, you figured it out.  It looks perfect.

Not that I had any doubt that you WOULD figure it out.  You're good like that.

Can't wait to see the final product.  The gold trim looks very 
elegant, and it all seems to be coming together beautifully, as always.

Maggie

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From: MaggiRos <maggiros@yahoo.com>
Subject: RE: [h-cost] Medieval embroidery
To: Historical Costume <h-costume@indra.com>
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Status: RO

Here's one piece I know is reversible. Queen Jane's
cuffs. Unfortunately somewhat later than 1400.

http://www.elizabethancostume.net/blackwork/seymour.html
http://www.uvm.edu/~hag/sca/tudor/jane-notes.html

MaggiRos

--- Robin Netherton <robin@shell.nightowl.net> wrote:

> 
> On Sat, 5 May 2007, otsisto wrote:
> 

> This is the sort of thing I'm looking for -- I don't
> need a reference to
> blackwork specifically, but rather to any reversible
> front/back technique
> that can be documented to c. 1400. Preferably
> England.
> 
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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Medieval embroidery
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Status: RO


On Sun, 6 May 2007, Sue Clemenger wrote:

> Monochrome embroidery is actually considerably older than the 1400s...

Sue, any insights into embroidery meant to be seen from both sides, as on
cuffs or collars? That's the real issue here -- how early that concept
might apply.

--Robin

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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: [h-cost] pleated trim
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Status: RO

Gosh, i really have putten myself to work with all that pleating for the 
dress. Spended 2 days to make trim, and i have not made all of it yeat.
I have handstitched all the gold trim to the fabric strips, and it pays to 
do so because it looks much better.......
 http://www.my-drewscostumes.dk/sofie3.htm

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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Date: Sun, 06 May 2007 20:46:21 -0400
From: "Susan B. Farmer" <sfarmer@goldsword.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Medieval embroidery
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Status: RO

Quoting Carmen Beaudry <moreplentyn@earthlink.net>:

*snip*

>
> The book you're looking for is "History of Western Embroidery" by
> Shuette. I think I've got that right, if I don't, please someone
> correct me.  Good luck trying to find it, though.  It's been out of
> print for ages, the copy I owned fell victim to a friend's bad divorce
> and was destroyed, and my local library's copy has been stolen.
>

I may have missed something, I just did a cursory look (and my copy is =20
titled "The ARt of Embroidery," but the most common title is =20
"Pictorial History of Embroidery" or "Das Stieckerwerk"), but ...

Until the 16th century, the only garments in Schuette are Ecclestical =20
(Copes, Dalmaticas, Chasubles, Orphreys, etc.) and they're not =20
designed to be reversible.  I can't say none of the 16th century =20
garments are designed to be seen on both sides, but none of them look =20
like it, and none of them are chemises/shifts/shirts -- they're =20
jackets, night caps, coifs, etc.

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

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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Medieval embroidery
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Status: RO


On Sun, 6 May 2007, Bonnie Booker wrote:

> Blackwork is my thing. I taught it back at the Known World Art/Sci
> Symposium in Orlando where you taught the Gothic fitted gown a few
> years ago. It is more correctly known as "monochrome embroidery" and
> was mentioned by Chaucer in Canterbury Tales. Chaucer mentions her
> collar with blackwork inside and outside.

I'm aware of this reference -- it comes up a lot in discussions of 14th c.
embroidery -- and I always pictured something like blackwork when I heard
it, as it is black silk embroidery on a white smock, described as being
all around the collar.

But I'm wondering if that's the right interpretation of the following
line, which indicates that the embroidery is "withinne and eek withoute."
I can't think of a better way to read it, but smocks in this period were
not designed to show outside the dress, and did not have necklines that
could be turned outward -- that I know of -- to show the inside. Anyone
have a better reading?

--Robin

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Status: RO



I may have missed something, I just did a cursory look (and my copy is
titled "The ARt of Embroidery," but the most common title is
"Pictorial History of Embroidery" or "Das Stieckerwerk"), but ...

Until the 16th century, the only garments in Schuette are Ecclestical
(Copes, Dalmaticas, Chasubles, Orphreys, etc.) and they're not
designed to be reversible.  I can't say none of the 16th century
garments are designed to be seen on both sides, but none of them look
like it, and none of them are chemises/shifts/shirts -- they're
jackets, night caps, coifs, etc.

susan

It's entirely possible I've got the wrong book in mind, since my copy was 
destroyed several years ago.  I know there's one that has secular 
embroidered garments way earlier than the 16th century.

Melusine 

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	Sun, 06 May 2007 18:27:44 PDT
Date: Sun, 6 May 2007 18:27:44 -0700 (PDT)
From: Lynn Roth <lynnroth@sbcglobal.net>
Subject: Re: [h-cost] Medieval embroidery
To: Historical Costume <h-costume@indra.com>
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Status: RO

I have a question regarding Blackwork.  How do you embroider on a cuff?  If you make a chemise and want to do blackwork on a cuff whats the best wa y to do it?  Lynn

Bonnie Booker <aspasia1@gmail.com> wrote:  Blackwork is my thing. I taught it back at the Known World Art/Sci
Symposium in Orlando where you taught the Gothic fitted gown a few
years ago. It is more correctly known as "monochrome embroidery" and
was mentioned by Chaucer in Canterbury Tales. Chaucer mentions her
collar with blackwork inside and outside. It was also sited in Viking
Embroidery. There technically are no limits to stitches used. However,
what most people think of is the 16th century designs made popular by
the Holbein paintings, therefore the Hobein stitch.

To see if something could have been done doublesided take graph paper
and follow the design with a pencil. If you can do it, even with
drawing back over the design with the pencil without lifting the
pencil off the paper it can be done double sided. Look for designs on
artifacts that can be done this way. Then check with the museums to
see if they can tell you if it is done that way. That is the best I
can offer you. I work mostly with duplicating designs.
>
> I am not an embroiderer, and my knowledge of medeival embroidery is
> skeletal -- enough to recognize situations in which it occurs, and to know
> when to go to others with a question.
>
> This is one of those times. I'm talking with another researcher who's
> working with a text reference to embroidery. One possible interpretation
> of the reference would be that it describes embroidery that appears on
> both the inside and outside of the fabric. To me, that sounds like
> something on the line of blackwork, designed to be neat and finished
> looking on both the right and "wrong" side, and thus suited to things like
> cuff and collar edges that might be turned out.
>
> So, questions:
>
> 1. Is my memory correct -- is this indeed a characteristic of blackwork?
> Or any other kind of historic embroidery style?
>

Of one kind of border designs usually used on undergarments and tunic edges.


> 2. Is this characteristic actually documentable to any non-modern
> examples? (I know it's easy to assume that a standard definition of a
> technique must date back forever, but it might be done differently in
> different periods.) If so, how early? I mentally associate blackwork in
> particular with the Tudor period, but the reference in this case is about
> 1400.
>

Many, with many different stitches, in many different countries,
including Persia.


> 3. Can anyone point me to a published source that would document the use
> of such a "two right sides" technique to a medieval artifact?

Not "two right sides" but the back side looks as good as the front.


> Ultimately my friend would like to have a citation that shows the use of
> such inside/outside embroidery from around 1400. Doesn't have to be
> blackwork.
>
> Failing that, it would be helpful to have a citation of such a technique
> from a later period, even if it's not c. 1400.
-- 
Aspasia Moonwind
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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] pleated trim
Date: Sun, 6 May 2007 21:33:37 -0400
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Status: RO

On Sunday 06 May 2007, Bjarne og Leif Drews wrote:
> Gosh, i really have putten myself to work with all that pleating for the
> dress. Spended 2 days to make trim, and i have not made all of it yeat.
> I have handstitched all the gold trim to the fabric strips, and it pays to
> do so because it looks much better.......

Yes, it does.  The final gown will be stunning!




-- 
Cathy Raymond <cathy@thyrsus.com>

"You've got to have the proper amount of disrespect for what you do."  
-- George Mabry

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Date: Sun, 06 May 2007 21:12:38 -0500
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From: Beth and Bob Matney <bmatney@alltel.net>
Subject: RE: [h-cost]Authentic fabric widths
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Status: RO

I'll check Arnold. Thanks to both of you for replying.

I have an image in one of my books of a church in France where the 
"yard stick" is carved into the exterior wall.

I do remember that English woolen broadcloth was about 2 yards wide 
and that various silks and silk velvets were in the range of 2 feet or less.

I was hoping that someone already had a list of the variations in 
width and length online somewhere. Just lazy I guess... another 
project for my to-do list! ...eventually it will get done, I promise. <grin>

Take care,
Beth

At 07:19 PM 5/5/2007, you wrote:
>Date: Sat, 5 May 2007 16:35:52 -0700 (PDT)
>From: MaggiRos <maggiros@yahoo.com>
>
>There's some information in the back of the
>Elizabethan Patterns of Fashion (Janet Arnold)
>
>MaggiRos
>--- WickedFrau <wickedfrau@msn.com> wrote:
>
> > I'll go look, but as I recall there were various
> > widths available during
> > these times.  I know for sure that an ell was
> > different lengths in different
> > places at different times.  Some widths were
> > surprisingly wide...like 60
> > inches.  I'll get back to you.

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Status: RO

As far as I've heard, up to 108" in some places, like Italy...

Talia

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of Beth and Bob Matney
Sent: Sunday, May 06, 2007 9:13 PM
To: h-costume@indra.com
Subject: RE: [h-cost]Authentic fabric widths


I'll check Arnold. Thanks to both of you for replying.

I have an image in one of my books of a church in France where the
"yard stick" is carved into the exterior wall.

I do remember that English woolen broadcloth was about 2 yards wide
and that various silks and silk velvets were in the range of 2 feet or less.

I was hoping that someone already had a list of the variations in
width and length online somewhere. Just lazy I guess... another
project for my to-do list! ...eventually it will get done, I promise. <grin>

Take care,
Beth

At 07:19 PM 5/5/2007, you wrote:
>Date: Sat, 5 May 2007 16:35:52 -0700 (PDT)
>From: MaggiRos <maggiros@yahoo.com>
>
>There's some information in the back of the
>Elizabethan Patterns of Fashion (Janet Arnold)
>
>MaggiRos
>--- WickedFrau <wickedfrau@msn.com> wrote:
>
> > I'll go look, but as I recall there were various
> > widths available during
> > these times.  I know for sure that an ell was
> > different lengths in different
> > places at different times.  Some widths were
> > surprisingly wide...like 60
> > inches.  I'll get back to you.

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Dear All

I have to find some cheap shoes online for my sons (aged 6, 11 and  
13) to wear that will "look" Elizabethan upper class. I've looked in  
the stores here but all the slippers have motifs on them. Does anyone  
have any ideas?

Many thanks, Aylwen
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From: Bella <bella_lucia_da_verona@yahoo.com.au>
Subject: Re: [h-cost] Finding shoes?
To: Historical Costume <h-costume@indra.com>
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Status: RO

----- Original Message ----
From: "garden@netspeed.com.au" <garden@netspeed.com.au>
To: Historical Costume <h-costume@indra.com>
Sent: Monday, 7 May, 2007 11:59:06 AM
Subject: [h-cost] Finding shoes?


Dear All

I have to find some cheap shoes online for my sons (aged 6, 11 and  
13) to wear that will "look" Elizabethan upper class. I've looked in  
the stores here but all the slippers have motifs on them. Does anyone  
have any ideas?

Many thanks, Aylwen<<<



Hi Aylwen,

if you have a good Chinatown or good Asian stores nearby try looking for plain Chinese slippers. Mostly you'll find black canvas, but on occasion you may find black velvet ones. I don't know if there are other colours available though. Good luck!



Bella
The Realm of Venus
http://realmofvenus.net

Send instant messages to your online friends http://au.messenger.yahoo.com 
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From h-costume-bounces@indra.com  Mon May  7 00:26:05 2007
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From: garden@netspeed.com.au
Subject: Re: [h-cost] Finding shoes?
Date: Mon, 7 May 2007 14:25:00 +1000
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Status: RO

Thanks Bella.

I hadn't thought of these shoes. I've just found a good source http:// 
www.chinadirectstore.com/women_shoes.htm

They have many colours and good prices.

Cheers, Aylwen

On 07/05/2007, at 12:51 PM, Bella wrote:

> ----- Original Message ----
> From: "garden@netspeed.com.au" <garden@netspeed.com.au>
> To: Historical Costume <h-costume@indra.com>
> Sent: Monday, 7 May, 2007 11:59:06 AM
> Subject: [h-cost] Finding shoes?
>
>
> Dear All
>
> I have to find some cheap shoes online for my sons (aged 6, 11 and
> 13) to wear that will "look" Elizabethan upper class. I've looked in
> the stores here but all the slippers have motifs on them. Does anyone
> have any ideas?
>
> Many thanks, Aylwen<<<
>
>
>
> Hi Aylwen,
>
> if you have a good Chinatown or good Asian stores nearby try  
> looking for plain Chinese slippers. Mostly you'll find black  
> canvas, but on occasion you may find black velvet ones. I don't  
> know if there are other colours available though. Good luck!
>
>
>
> Bella
> The Realm of Venus
> http://realmofvenus.net
>
> Send instant messages to your online friends http:// 
> au.messenger.yahoo.com
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume

_______________________________________________
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From h-costume-bounces@indra.com  Mon May  7 01:22:13 2007
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To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Finding shoes?
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Status: RO

If you go to:
www.landsend.com
and go to Overstocks, they have "all weather mocs" for about $10 US. If you
need outdoor shoes, these are pretty good. You can dye or spray paint them
if the colors aren't right. They also have other styles that might work.
-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of garden@netspeed.com.au
Sent: Sunday, May 06, 2007 7:29 PM
To: Historical Costume
Subject: [h-cost] Finding shoes?


Dear All

I have to find some cheap shoes online for my sons (aged 6, 11 and  
13) to wear that will "look" Elizabethan upper class. I've looked in  
the stores here but all the slippers have motifs on them. Does anyone  
have any ideas?

Many thanks, Aylwen
_______________________________________________
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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From: "Catherine Kinsey" <Ckinsey@kumc.edu>
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Subject: Re: [h-cost] Medieval embroidery
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Status: RO

lots of fun embroidery discussion that I missed because I'm not online
over the weekend snipped for length, sigh :):

> Monochrome embroidery is actually considerably older than the
1400s...

Sue, any insights into embroidery meant to be seen from both sides, as
on
cuffs or collars? That's the real issue here -- how early that concept
might apply.

--Robin

> Blackwork is my thing. I taught it back at the Known World Art/Sci
> Symposium in Orlando where you taught the Gothic fitted gown a few
> years ago. It is more correctly known as "monochrome embroidery" and
> was mentioned by Chaucer in Canterbury Tales. Chaucer mentions her
> collar with blackwork inside and outside.

I'm aware of this reference -- it comes up a lot in discussions of 14th
c.
embroidery -- and I always pictured something like blackwork when I
heard
it, as it is black silk embroidery on a white smock, described as
being
all around the collar.

But I'm wondering if that's the right interpretation of the following
line, which indicates that the embroidery is "withinne and eek
withoute."
I can't think of a better way to read it, but smocks in this period
were
not designed to show outside the dress, and did not have necklines
that
could be turned outward -- that I know of -- to show the inside.
Anyone
have a better reading?

--Robin
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>

Robin,

If you are needing 14th C the best references I can think of are
Chaucer and the Mamluk embroidery.  There is a new article on Mamluk
work by Kathleen Staples in the newest issue of Sampler and Antigue
Needlework Quarterly (http://www.just-crossstitch.com/sanq.htm).  I just
got it this weekend but have not read it yet.  If I see something that
might help I will drop you a line.

And unfortunately the best argument I can think of against what it
looks like you are trying to find are the fashion elements themselves of
this era, reversible chemise cuffs or necklines don't spring to mind. 
Perhaps finding documentation for elements that would showcase
reversible embroidery is another path to try.

Catherine


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From: MaggiRos <maggiros@yahoo.com>
Subject: Re: [h-cost] Medieval embroidery
To: Historical Costume <h-costume@indra.com>
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Status: RO

You have a cuff pattern is, right? So you trace it
onto the fabric, then cut around it, big enough to let
you work it in your embrodery frame or hoop. When
you're finished, cut out only the pattern shape. (This
saves you from cutting up the actual work.) 

MaggiRos



--- Lynn Roth <lynnroth@sbcglobal.net> wrote:

> I have a question regarding Blackwork.  How do you
> embroider on a cuff?  If you make a chemise and want
> to do blackwork on a cuff whats the best wa y to do
> it?  =
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From: "The Foxes" <fox3785@charter.net>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Finding shoes?
Date: Mon, 7 May 2007 13:15:09 -0400
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Status: RO


My son wears girls shoes, mary jane style.

http://www.payless.com/Catalog/ProductDetail.aspx?&TLC=Girls&SLC=GirlsCa
sual&BLC=GirlsCasualCasual&Width=Regular&ItemCode=34906&LotNumber=041957
&Type=Youth&Popularity=316&DescriptiveColor=Black

good luck

-annette


-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
On Behalf Of garden@netspeed.com.au
Sent: Sunday, May 06, 2007 10:29 PM
To: Historical Costume
Subject: [h-cost] Finding shoes?

Dear All

I have to find some cheap shoes online for my sons (aged 6, 11 and  
13) to wear that will "look" Elizabethan upper class. I've looked in  
the stores here but all the slippers have motifs on them. Does anyone  
have any ideas?

Many thanks, Aylwen
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Subject: Re: [h-cost] Medieval embroidery
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Status: RO

That would be another string altogether. "Let's try embroidered cuff."

On 5/6/07, Lynn Roth <lynnroth@sbcglobal.net> wrote:
> I have a question regarding Blackwork.  How do you embroider on a cuff?  If you make a chemise and want to do blackwork on a cuff whats the best wa y to do it?  Lynn
>
>--
Aspasia Moonwind
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From: "Bonnie Booker" <aspasia1@gmail.com>
To: "Historical Costume" <h-costume@indra.com>
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Subject: [h-cost] Embroidered cuff
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Status: RO

 have a question regarding Blackwork.  How do you embroider on a cuff?
 If you make a chemise and want to do blackwork on a cuff whats the
best wa y to do it?  Lynn

Embroidering a cuff depends on what kind of cuff you are doing. As we
were talking about Blackwork I presume you are talking about counted
patterns.  I measure the wrist and add an inch. Then I decide how wide
I want the cuff, usually about 2 ". I draw this with a pencil on
linen, careful to follow the line of the thread of the linen. If it is
hard to see, I draw a thread, measure 2" then draw another thread.
This way I know it is straight.

I count the pattern and divide be the number of threads. If the design
is 10 spaces high, for example, and I want to fill 1" which is say 49
threads I round it off to 5 threads per stitch. It will come out
slightly larger than 1", but works. This is ONLY for ADVANCED
embroiders.

However, for a beginner, I would say use the waste canvas you can get
at most hobby stores. They are much easier to work with. You baste
them over the area as a guide. Work the design. You can also do a
sleeve without a cuff this way.

I then cut out the cuff and proceed as usual. For a collar I do the
same, draw in pencil, embroider, then cut out. I work then on scrap
linen and run water soluable (school glue) around the edges so it
doesn't unravel. For a sleeve without a cuff, I finish the sleeve
first if there is it is large enough. If not, I at least sew down far
enough to make sure the design matches up.

-- 
Aspasia Moonwind
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From: MaggiRos <maggiros@yahoo.com>
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Subject: [h-cost] Embroirdered cuff [was Medieval embroidery]
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--- MaggiRos <maggiros@yahoo.com> wrote:

> You have a cuff pattern, right? So you trace it
> onto the fabric, then cut around it, big enough to
> let
> you work it in your embroidery frame or hoop. When
> you're finished, cut out only the pattern shape.

Plus the seam allowance of course!

Maggiros
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Subject: RE: [h-cost]Authentic fabric widths
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Status: RO

Since we got on this topic, I would like to recommend:

Cardon, Dominique. La draperie au Moyen Age: essor d'une grande 
industrie europe enne. Paris: CNRS Ed, 1999. Paper. ISBN: 227105592X 
OCLC: 50663845

It contains some wonderful tables for cloth widths and lengths 
produced in southwestern Europe (primarily France & Spain) organized 
by production center and century. It is in French, unfortunately (for 
those of us linguistically challenged).  There is much else of interest also.

Beth 

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Subject: [h-cost] Ahem-something interesting
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Status: RO

 

While poking around, I found this picture, and was a little surprised to see
what the fellow on the left was doing next to the dining room table.

http://tinyurl.com/29t36b

 

In an attempt to assure myself of what I thought I was seeing, I thought I
would look it up on Bildindex since sometimes they have a zoom feature.  To
my surprise, I found this copy, missing the "action."  I'd be curious to
know when this "adjustment" was made.

http://tinyurl.com/2ptvcp

 

I know this is probably one of those morality paintings like gluttony, but
did people really pee at the table??? I knew things with respect to bodily
functions were pretty public, but sheesh!  


Sheesh!

 

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From: "otsisto" <otsisto@socket.net>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Ahem-something interesting
Date: Mon, 7 May 2007 22:33:20 -0500
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Status: RO

Where did you find the first pic? as I think it is not the original but an
altered picture. Kind of like the picture of Henry VIII instead of holding a
glove is holding a roasted turkey leg or an Italian painting of a
grandfather and grandson where the grandfather has a bulbous nose and they
put a fly on it.
The hand is more incline towards the hand on the back of a chair then
pissing in a pot.

De


-----Original Message-----
While poking around, I found this picture, and was a little surprised to see
what the fellow on the left was doing next to the dining room table.

http://tinyurl.com/29t36b



In an attempt to assure myself of what I thought I was seeing, I thought I
would look it up on Bildindex since sometimes they have a zoom feature.  To
my surprise, I found this copy, missing the "action."  I'd be curious to
know when this "adjustment" was made.

http://tinyurl.com/2ptvcp


I know this is probably one of those morality paintings like gluttony, but
did people really pee at the table??? I knew things with respect to bodily
functions were pretty public, but sheesh!


Sheesh!


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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: RE: [h-cost] Ahem-something interesting
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Status: RO


On Mon, 7 May 2007, otsisto wrote:

> Where did you find the first pic? as I think it is not the original
> but an altered picture. Kind of like the picture of Henry VIII instead
> of holding a glove is holding a roasted turkey leg or an Italian
> painting of a grandfather and grandson where the grandfather has a
> bulbous nose and they put a fly on it.

The "clean" painting has muddy areas where the pot was, and the man's
garments are still pulled open and turned up inexplicably. The bawdy
version is the older one.

But that would suggest that the repainting was very recent -- since modern
color photography -- or we would not have both images. Unlikely, that. Two
possibilities I can think of:

-- The alterations were made only for a photographic version, not on
the painting itself, possibly photoshopped on. I have seen such
bowdlerizing done for pictures that are, say, reproduced in children's 
books or other venues where naughty bits are not acceptable. Somehow,
then, bildindex picked up the doctored version by mistake, but the owning
museum shows the correct image.

-- They are two different paintings, one being a copy of the first (or
both copies of another), and only one was repainted. It was actually quite
common for artists, or their workshops, to produce multiple versions of a
popular scene; you see this as far back as the 15th century Flemish
artists. This would be a very good copy -- it seems identical -- except
for possibly the hands of the fiddler (both left and right hands) which
seem a bit different. The color overall is muddier, too, which may reflect
worse deterioration in this particular painting, or may just reflect the
photo quality or the scan.

--Robin

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From: "otsisto" <otsisto@socket.net>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Ahem-something interesting
Date: Tue, 8 May 2007 01:50:42 -0500
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Status: RO

Well for one, a man would not hold his "thang" like that to pee. His coat
may be turned back but his vest isn't. And the way his body is angled his
"thang" must be somewhat long.  Most paintings that I have seen from this
period are more like the chair painting then the clean concise piss pot one
but I have seen exceptions to common painting styles in other eras so
perhaps the piss pot could be an exception for this era.
Anyone know who the artist is?

De

-----Original Message-----
But that would suggest that the repainting was very recent -- since modern
color photography -- or we would not have both images. Unlikely, that. Two
possibilities I can think of:

-- The alterations were made only for a photographic version, not on
the painting itself, possibly photoshopped on. I have seen such
bowdlerizing done for pictures that are, say, reproduced in children's
books or other venues where naughty bits are not acceptable. Somehow,
then, bildindex picked up the doctored version by mistake, but the owning
museum shows the correct image.

-- They are two different paintings, one being a copy of the first (or
both copies of another), and only one was repainted. It was actually quite
common for artists, or their workshops, to produce multiple versions of a
popular scene; you see this as far back as the 15th century Flemish
artists. This would be a very good copy -- it seems identical -- except
for possibly the hands of the fiddler (both left and right hands) which
seem a bit different. The color overall is muddier, too, which may reflect
worse deterioration in this particular painting, or may just reflect the
photo quality or the scan.

--Robin


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Subject: Re: [h-cost] Ahem-something interesting
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> Well for one, a man would not hold his "thang" like that to pee.


No, but an artist would certainly paint it that way if he wanted to show the 
act, but not the anatomy.




Denise

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Status: RO

Another note,
The young gentleman in the foreground, dressed in yellow - is he wearing 
womens shoes or is it his own?
Just that i se a big difference for the other gentlemans shoes, and the 
yellow gentlemans shoes, looks very like the maids shoes on the right.

Bjarne
----- Original Message ----- 
From: "Land of Oz" <landofoz@netins.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Tuesday, May 08, 2007 3:01 PM
Subject: Re: [h-cost] Ahem-something interesting


>
>> Well for one, a man would not hold his "thang" like that to pee.
>
>
> No, but an artist would certainly paint it that way if he wanted to show 
> the act, but not the anatomy.
>
>
>
>
> Denise
>
> _______________________________________________
> 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] Ahem-something interesting
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Status: RO

Subject: Re: [h-cost] Ahem-something interesting


>
>> Well for one, a man would not hold his "thang" like that to pee.
>
>
> No, but an artist would certainly paint it that way if he wanted to show 
> the act, but not the anatomy.
>
> Denise

I've also seen men holding themselves exactly like that when they were 
trying to be somewhat discreet.

Melusine
(who lived in Paris many years ago when there were still pissoirs on the 
streetcorners) 

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Subject: Re: [h-cost] Ahem-something interesting


> Another note,
> The young gentleman in the foreground, dressed in yellow - is he wearing 
> womens shoes or is it his own?
> Just that i se a big difference for the other gentlemans shoes, and the 
> yellow gentlemans shoes, looks very like the maids shoes on the right.
>
> Bjarne

I've not found a great deal of difference between mens and womens shoes 
during the early 17th century, especially for indoor shoes.

Melusine 

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From h-costume-bounces@indra.com  Tue May  8 09:31:45 2007
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Subject: Re: [h-cost] Ahem-something interesting
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Bjarne og Leif Drews wrote:
> Another note,
> The young gentleman in the foreground, dressed in yellow - is he 
> wearing womens shoes or is it his own?
> Just that i se a big difference for the other gentlemans shoes, and 
> the yellow gentlemans shoes, looks very like the maids shoes on the 
> right.
The man in the background with the red hosen has similar heeled shoes 
(under the table).

cv
(irregularly reading the list)
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Status: RO

I have tryed to find a picture with a cut of how the womens  hair capes in 
mid 18th century was cut. I cant find any.
Does anybody know any online pictures for that?

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] womans mid 18th century hair cape
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Status: RO

At 14:20 08/05/2007, you wrote:
>I have tryed to find a picture with a cut of how the womens  hair 
>capes in mid 18th century was cut. I cant find any.
>Does anybody know any online pictures for that?
>
>Bjarne


The only one I know of is this one of Mme de Pompadour at her 
Toilette, by Francois Boucher. Sorry about the long link - don't know 
how to shorten it!

http://images.google.co.uk/imgres?imgurl=http://www.wellesley.edu/WomensReview/archive/2003/03/pompa4.jpg&imgrefurl=http://www.wellesley.edu/WomensReview/archive/2003/03/highlt.html&h=280&w=224&sz=24&hl=en&start=1&tbnid=x7MgeJIZg1L1gM:&tbnh=114&tbnw=91&prev=/images%3Fq%3DMme%2Bde%2BPompadour%2Bin%2Bher%2BToilette%26gbv%3D2%26svnum%3D10%26hl%3Den%26sa%3DG


Suzi 

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	<7.0.1.0.2.20070508150134.03743820@suziclarke.co.uk>
Subject: Re: [h-cost] womans mid 18th century hair cape
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Status: RO

Hi,
Sorry i have not ben precise. I dont meant a cape to protect.
What i ment was the small linnen "hats" ladies wore in mid century.

Bjarne

----- Original Message ----- 
From: "Suzi Clarke" <suzi@suziclarke.co.uk>
To: "Historical Costume" <h-costume@indra.com>
Sent: Tuesday, May 08, 2007 4:02 PM
Subject: Re: [h-cost] womans mid 18th century hair cape


> At 14:20 08/05/2007, you wrote:
>>I have tryed to find a picture with a cut of how the womens  hair capes in 
>>mid 18th century was cut. I cant find any.
>>Does anybody know any online pictures for that?
>>
>>Bjarne
>
>
> The only one I know of is this one of Mme de Pompadour at her Toilette, by 
> Francois Boucher. Sorry about the long link - don't know how to shorten 
> it!
>
> http://images.google.co.uk/imgres?imgurl=http://www.wellesley.edu/WomensReview/archive/2003/03/pompa4.jpg&imgrefurl=http://www.wellesley.edu/WomensReview/archive/2003/03/highlt.html&h=280&w=224&sz=24&hl=en&start=1&tbnid=x7MgeJIZg1L1gM:&tbnh=114&tbnw=91&prev=/images%3Fq%3DMme%2Bde%2BPompadour%2Bin%2Bher%2BToilette%26gbv%3D2%26svnum%3D10%26hl%3Den%26sa%3DG
>
>
> Suzi
> _______________________________________________
> 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] Ahem-something interesting
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Status: RO

Quoting Robin Netherton <robin@shell.nightowl.net>:

>
> On Mon, 7 May 2007, otsisto wrote:
>
>> Where did you find the first pic? as I think it is not the original
>> but an altered picture. Kind of like the picture of Henry VIII instead
>> of holding a glove is holding a roasted turkey leg or an Italian
>> painting of a grandfather and grandson where the grandfather has a
>> bulbous nose and they put a fly on it.
>
> The "clean" painting has muddy areas where the pot was, and the man's
> garments are still pulled open and turned up inexplicably. The bawdy
> version is the older one.
>

And you can tell where the "chair" back that he's supposedly leaning  
on was added later -- it doesn't fit well.

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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Status: RO

Robin Netherton wrote:

> 
> The "clean" painting has muddy areas where the pot was, and the man's
> garments are still pulled open and turned up inexplicably. The bawdy
> version is the older one.
> 
> But that would suggest that the repainting was very recent -- since modern
> color photography -- or we would not have both images. Unlikely, that. Two
> possibilities I can think of:
> 

"Interieur mit fröhlicher Gesellschaft"
(Interior with Happy Gathering)

Buytewech, Willem Pietersz
1622/1624

Or, the bowdlerized version was recently restored. That might also 
account for the brighter colors of the one version. On a quick search I 
wasn't able to find anything about the painting, though.



Dawn










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Subject: [h-cost] Birbari book
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Status: RO

If anyone is looking for 'Dress in Italian Painting' by Birbari, it's 
up on Alibris now for $215.95

http://www.alibris.com/search/detail.cfm?bid=9089687689

Talia


----- Original Message -----
From: Suzi Clarke <suzi@suziclarke.co.uk>
Date: Tuesday, May 8, 2007 9:06 am
Subject: Re: [h-cost] womans mid 18th century hair cape
To: Historical Costume <h-costume@indra.com>

> At 14:20 08/05/2007, you wrote:
> >I have tryed to find a picture with a cut of how the womens  hair 
> >capes in mid 18th century was cut. I cant find any.
> >Does anybody know any online pictures for that?
> >
> >Bjarne
> 
> 
> The only one I know of is this one of Mme de Pompadour at her 
> Toilette, by Francois Boucher. Sorry about the long link - don't 
> know 
> how to shorten it!
> 
> http://images.google.co.uk/imgres?
imgurl=http://www.wellesley.edu/WomensReview/archive/2003/03/pompa4.jpg&
imgrefurl=http://www.wellesley.edu/WomensReview/archive/2003/03/highlt.h
tml&h=280&w=224&sz=24&hl=en&start=1&tbnid=x7MgeJIZg1L1gM:&tbnh=114&tbnw=
91&prev=/images%3Fq%3DMme%2Bde%2BPompadour%2Bin%2Bher%2BToilette%26gbv%
3D2%26svnum%3D10%26hl%3Den%26sa%3DG
> 
> 
> Suzi 
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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> 
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From: "Kate Pinner" <pinner@mccc.edu>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Ahem-something interesting
Date: Tue, 8 May 2007 11:42:01 -0400
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Status: RO

Has anyone contacted the museum?

Kate
609-570-3584
-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
On Behalf Of Dawn
Sent: Tuesday, May 08, 2007 11:15 AM
To: Historical Costume
Subject: Re: [h-cost] Ahem-something interesting

Robin Netherton wrote:

>=20
> The "clean" painting has muddy areas where the pot was, and the man's
> garments are still pulled open and turned up inexplicably. The bawdy
> version is the older one.
>=20
> But that would suggest that the repainting was very recent -- since
modern
> color photography -- or we would not have both images. Unlikely, that.
Two
> possibilities I can think of:
>=20

"Interieur mit fr=F6hlicher Gesellschaft"
(Interior with Happy Gathering)

Buytewech, Willem Pietersz
1622/1624

Or, the bowdlerized version was recently restored. That might also=20
account for the brighter colors of the one version. On a quick search I=20
wasn't able to find anything about the painting, though.



Dawn










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Status: RO

As someone already pointed out, it is a William Buytewech painting.  The =
"orginal" (the one where if you actually look closely, you can see the =
"tip of the anatomy.") is at Kaiser-Friedrich-Museums, Berlin. The one =
on Bildindex attributes it to the same artist and to the same museum. =20

The only other painting I remember showing this sort of thing is a =
Breughel - (a younger as I recall) of a woman squatting in the woods.  I =
am sure it is more common than we see.  I guess on of the big French =
palaces....(Versailles?) didn't originally have any "bathrooms" and I =
recall hearing often of folks relieving themselves in stairways and =
fireplaces.

Sg

--- Original Message -----=20
  From: WickedFrau<mailto:wickedfrau@msn.com>=20
  To: 'Historical Costume'<mailto:h-costume@indra.com>=20
  Sent: Monday, May 07, 2007 7:06 PM
  Subject: [h-cost] Ahem-something interesting




  While poking around, I found this picture, and was a little surprised =
to see
  what the fellow on the left was doing next to the dining room table.

  http://tinyurl.com/29t36b<http://tinyurl.com/29t36b>

  =20

  In an attempt to assure myself of what I thought I was seeing, I =
thought I
  would look it up on Bildindex since sometimes they have a zoom =
feature.  To
  my surprise, I found this copy, missing the "action."  I'd be curious =
to
  know when this "adjustment" was made.

  http://tinyurl.com/2ptvcp<http://tinyurl.com/2ptvcp>

  =20
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Status: RO

At 16:43 08/05/2007, you wrote:
>As someone already pointed out, it is a William Buytewech 
>painting.  The "orginal" (the one where if you actually look 
>closely, you can see the "tip of the anatomy.") is at 
>Kaiser-Friedrich-Museums, Berlin. The one on Bildindex attributes it 
>to the same artist and to the same museum.
>
>The only other painting I remember showing this sort of thing is a 
>Breughel - (a younger as I recall) of a woman squatting in the 
>woods.  I am sure it is more common than we see.  I guess on of the 
>big French palaces....(Versailles?) didn't originally have any 
>"bathrooms" and I recall hearing often of folks relieving themselves 
>in stairways and fireplaces.

There is also a gentleman relieving himself by sitting on a window 
sill, with his backside outside, and p***ing into the river below. 
Can't unfortunately remember the name or the actual painting, (the 
artist is, I think, Heironymus Bosch,) but it is in the bottom left 
hand side. The gentleman is not one of his grotesques, but apparently 
an "ordinary" person. Daft what you DO remember, isn't it?!

Suzi

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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Ahem-something interesting
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On Tue, 8 May 2007, Dawn wrote:

> Or, the bowdlerized version was recently restored. That might also
> account for the brighter colors of the one version. On a quick search
> I wasn't able to find anything about the painting, though.

Oh, yes, that makes the most sense! There were many such paintings that
were made "proper" in past centuries.  And the color change is very
noticeable.

Must have been a funny story of what they found when they restored it,
too.

--Robin

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Status: RO

A different age, to be sure!  I suppose the servants would supply a 
vessel and then take it off to the gardens or wherever to deal with it.

I am reminded of the Castillian (iirc) standard nativity figurine, of 
the man relieving himself (don't know if those articles passed through 
here this past Xmas; there were several about him.)

-- 
"If you claim that something is true, I will examine the evidence which supports your claim; if you have no evidence, I will not accept that what you say is true and I will think you a foolish and gullible person for believing it so" --  Dan Gardner, The Ottawa Citizen
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Similar shoes, might be the same model.
http://commons.wikimedia.org/wiki/Image:Willem_Pietersz._Buytewech_002.jpg

similar shoes
http://commons.wikimedia.org/wiki/Image:Willem_Pietersz._Buytewech_003.jpg
http://www.museumbredius.nl/schilders/pics/buytewech.jpg


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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: [h-cost] hair linnen cape
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Status: RO

This is the type of cape i want to make. I dont know if my word of cape for 
this garment is right?
I would like to make it with cotton laces and ad some lappets. Should the 
lappets sit in the back or in the sides?

http://www.allposters.com/-sp/The-Seamstress-Or-Young-Woman-Working-Posters_i1345086_.htm




Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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From: "Kate Pinner" <pinner@mccc.edu>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] hair linnen cape
Date: Tue, 8 May 2007 15:35:28 -0400
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Status: RO

I think you mean cap -- no'e'

Kate
609-570-3584

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
On Behalf Of Bjarne og Leif Drews
Sent: Tuesday, May 08, 2007 3:30 PM
To: h-costume@indra.com
Subject: [h-cost] hair linnen cape

This is the type of cape i want to make. I dont know if my word of cape
for 
this garment is right?
I would like to make it with cotton laces and ad some lappets. Should
the 
lappets sit in the back or in the sides?

http://www.allposters.com/-sp/The-Seamstress-Or-Young-Woman-Working-Post
ers_i1345086_.htm




Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: "Historical Costume" <h-costume@indra.com>
References: <C232A65DA6CE09479943F9365D01DA955692C3@mcmail01.wwc.mccc.com>
Subject: Re: [h-cost] hair linnen cape
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Status: RO

Yes off cause, cap it is,
Thanks a lot!

Bjarne
----- Original Message ----- 
From: "Kate Pinner" <pinner@mccc.edu>
To: "'Historical Costume'" <h-costume@indra.com>
Sent: Tuesday, May 08, 2007 9:35 PM
Subject: RE: [h-cost] hair linnen cape


>I think you mean cap -- no'e'
> 
> Kate
> 609-570-3584
> 
> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
> On Behalf Of Bjarne og Leif Drews
> Sent: Tuesday, May 08, 2007 3:30 PM
> To: h-costume@indra.com
> Subject: [h-cost] hair linnen cape
> 
> This is the type of cape i want to make. I dont know if my word of cape
> for 
> this garment is right?
> I would like to make it with cotton laces and ad some lappets. Should
> the 
> lappets sit in the back or in the sides?
> 
> http://www.allposters.com/-sp/The-Seamstress-Or-Young-Woman-Working-Post
> ers_i1345086_.htm
> 
> 
> 
> 
> 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: Andrew T Trembley <attrembl@bovil.com>
Subject: Re: [h-cost] Ahem-something interesting
Date: Tue, 8 May 2007 13:32:42 -0700
To: Historical Costume <h-costume@indra.com>
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Status: RO

On May 8, 2007, at 8:43 AM, Saragrace Knauf wrote:
> The only other painting I remember showing this sort of thing is a  
> Breughel - (a younger as I recall) of a woman squatting in the  
> woods.  I am sure it is more common than we see.  I guess on of the  
> big French palaces....(Versailles?) didn't originally have any  
> "bathrooms" and I recall hearing often of folks relieving  
> themselves in stairways and fireplaces.

I wish I could recall the period source that talked about collecting  
saltpetre (from urine) from church pews...

andy
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Subject: [h-cost] A request - was: Ahem-something interesting
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Status: RO


     Is there a link to this painting?  Probably in a message in my "in"
box at home that I have not gotten to yet?

     Please, everyone, when discussing paintings or anything else on the
web, keep the URL in your note.  I do appreciate that people minimize
the quoted portion in their reply.  But it really helps to keep the
link.

     Even in cases when I've already looked at an image, someone will make
a comment that makes me want to look again.

     Some days are easier than others to stay organized.  :-D

     Thanks!
     -Carol

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Subject: RE: [h-cost] hair linnen cape
Date: Tue, 8 May 2007 18:38:28 -0700
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Status: RO

Here are some links of interest.
http://www.csupomona.edu/~plin/women/images/duparc_big.jpg
That one is just a slightly better picture of the same painting,
Then there is this one. - another image of a similar cap.
http://www.ngv.vic.gov.au/collection/international/painting/d/ipa00181.html

Not sure what you mean by adding lappets.  Is there a reason why you want to
make it different? The pleating looks like it is probably made in a "one
sized" strip and then attached at various widths to get the shape in front,
and the "lappets" on the side.  Does that make sense?
Sg



-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Bjarne og Leif Drews
Sent: Tuesday, May 08, 2007 12:41 PM
To: Historical Costume
Subject: Re: [h-cost] hair linnen cape

Yes off cause, cap it is,
Thanks a lot!

Bjarne
----- Original Message ----- 
From: "Kate Pinner" <pinner@mccc.edu>
To: "'Historical Costume'" <h-costume@indra.com>
Sent: Tuesday, May 08, 2007 9:35 PM
Subject: RE: [h-cost] hair linnen cape


>I think you mean cap -- no'e'
> 
> Kate
> 609-570-3584
> 
> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
> On Behalf Of Bjarne og Leif Drews
> Sent: Tuesday, May 08, 2007 3:30 PM
> To: h-costume@indra.com
> Subject: [h-cost] hair linnen cape
> 
> This is the type of cape i want to make. I dont know if my word of cape
> for 
> this garment is right?
> I would like to make it with cotton laces and ad some lappets. Should
> the 
> lappets sit in the back or in the sides?
> 
> http://www.allposters.com/-sp/The-Seamstress-Or-Young-Woman-Working-Post
> ers_i1345086_.htm
> 
> 
> 
> 
> 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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Subject: [h-cost] Strange marks after washing new fabric-suggestions?
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Status: RO

I bought about 8 yards of linen/rayon blend in a deep purple.  Washed it
according to instructions, cold water, no chlorine bleach.  I used the
laundry detergent I always use (ALL) and added some fabric softener to the
last rinse.  It has done something I've never seen in anything store bought.
It had slightly lighter marks all over and then a couple of large blobs of
darker stuff.  The dark marks almost look like there was oil dropped on it,
and the lighter marks perhaps from the fabric softener?

 

I washed another dark blue piece right after, and it is just fine.  I am
rewashing the purple in synthropol, in hopes that it will fix it.

 

Any other suggestions?  I've seen this effect when I have botched a dye job,
but not in manufacturer dyed fabric.

 

Thanks,

Sg

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Subject: [h-cost] Shopping for fabric in Germany and Netherlands?
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Status: RO

Any recommendations? I'll be there in September.  I am planning on visiting
"Linen House"

 

Thanks,


Sg

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Subject: [h-cost] Bildindex is in English now!
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Status: RO

This was brought up on another list.  If you have never used this, you
should.  It is a fabulous website.  www.bildindex.de
<http://www.bildindex.de/> 

Click on the British flag and then use the Expert Search...you could spend
DAYS here!

 

Sg  (who has spent days there).

 

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To: Historical Costume <h-costume@indra.com>
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Subject: Re: [h-cost] Strange marks after washing new
  fabric-suggestions?
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Status: RO

At 08:44 PM 5/8/2007, you wrote:
>I bought about 8 yards of linen/rayon blend in a deep purple.  Washed it
>according to instructions, cold water, no chlorine bleach.  I used the
>laundry detergent I always use (ALL) and added some fabric softener to the
>last rinse.  It has done something I've never seen in anything store bought.
>It had slightly lighter marks all over and then a couple of large blobs of
>darker stuff.  The dark marks almost look like there was oil dropped on it,
>and the lighter marks perhaps from the fabric softener?


This happened to me once, with a dark blue.  I ended up using it for 
fighter's garb and linings...

Sad, really, since it's a beautiful piece of fabric otherwise.

Maggie 

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From: "Kathy Hoover" <khoover@wvu.edu>
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Subject: [h-cost] Fabric and Costume in Ireland
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Status: RO

Saragrace's request for German shopping spots prompts me to ask the same =
for Ireland, in particular, western Ireland.  I'll be on my way there in 9 =
days!  We'll be spending a very quick and brief couple of days in counties =
Clare, Mayo, and Roscommon, then a more leisurely week near Cork and =
touring around the whole Southwest corner. =20

Does anyone know of any treasure troves of linens, embroidery, Irish =
crochet, or exhibits of costume in any of the places I've mentioned?  And =
not all our itinerary is set in stone yet.  If there are any tourist spots =
that shouldn't be missed, I'd welcome all recommendations!

Thanks,
Kathy =20

>>> "Saragracetk" <saragracetk@msn.com> 05/08/07 11:35 PM >>>
Any recommendations? I'll be there in September.  I am planning on =
visiting
"Linen House"

=20

Thanks,


Sg

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Subject: [h-cost] Looking for fabric shopping in Rome and Prague
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Status: RO

Okay, since there are requests for good places for fabric in Ireland and 
Germany, how about Rome and Prague (Rome especially!)?  I will be there at 
the end of this month/early next month.  Any suggestions appreciated.

Thanks,
Kathy


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From: "Kate M Bunting" <K.M.Bunting@derby.ac.uk>
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Subject: Re: [h-cost] Ahem-something interesting
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Status: RO

It's well known that 18th century sideboards had a cupboard for a
chamber-pot, to be used by the gentlemen after the ladies had retired to
the drawing-room. No doubt in the more robust 17th century it was
considerd OK to do so in mixed company.
On the subject of bowdlerised paintings - isn't there a medieval scene
(I think in the Tres Riches Heures) showing people warming themselves by
a fire, including a man holding up his tunic (?) skirts and showing
everything? I've seen a reproduction of that with the relevant area
blurred over. Also, Hogarth painted a friend of his leaning out of bed
being sick in a chamber pot, which was later repainted at the request of
the man's family to make him appear to be reading in bed.

Kate Bunting
Librarian and 17th century reenactor
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From: "Marie Stewart" <maricelt@gmail.com>
To: "Historical Costume" <h-costume@indra.com>
Subject: Re: [h-cost] Fabric and Costume in Ireland
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Status: RO

Oh!  I was just there last summer.  We spent a great deal of time on
bicycles and looking through castle ruins so my shopping was
relatively non-existent.  But there is the Artisans Center in
Kilkenny.   Most if not all is modern work in various media, but still
definitely worth a stop.

Other places where I found "oooohlookatthat" items were the 16th
century house in Kilkenny, and the 16th century manor house called
Ormond Castle in Carrick-on-Suir.

Have fun.
Mari

On 5/9/07, Kathy Hoover <khoover@wvu.edu> wrote:
> Saragrace's request for German shopping spots prompts me to ask the same for Ireland, in particular, western Ireland.  I'll be on my way there in 9 days!  We'll be spending a very quick and brief couple of days in counties Clare, Mayo, and Roscommon, then a more leisurely week near Cork and touring around the whole Southwest corner.
>
> Does anyone know of any treasure troves of linens, embroidery, Irish crochet, or exhibits of costume in any of the places I've mentioned?  And not all our itinerary is set in stone yet.  If there are any tourist spots that shouldn't be missed, I'd welcome all recommendations!
>
> Thanks,
> Kathy
>
> >>> "Saragracetk" <saragracetk@msn.com> 05/08/07 11:35 PM >>>
> Any recommendations? I'll be there in September.  I am planning on visiting
> "Linen House"
>
>
>
> Thanks,
>
>
> Sg
>
> _______________________________________________
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To: Historical Costume <h-costume@indra.com>
From: Genie Barrett <ladymaggie@justinanimator.com>
Subject: Re: [h-cost] Fabric and Costume in Ireland
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Status: RO

At 11:06 PM 5/8/2007, you wrote:

>Does anyone know of any treasure troves of linens, embroidery, Irish 
>crochet, or exhibits of costume in any of the places I've 
>mentioned?  And not all our itinerary is set in stone yet.  If there 
>are any tourist spots that shouldn't be missed, I'd welcome all 
>recommendations!
>
>Thanks,
>Kathy

I heard of a linen mill or lace factory on the Dingle peninsula 
somewhere, but didn't have time to look for it while we were 
there.  There is also a indoor shopping mall in Cork, the Savoy 
Centre, on Patrick St.  They used to have (five years ago) a 
cotton/linen shop there as well as a few other boutiques with 
handmade jewelry and local artisan's work.

Have a great time.  It's a beautiful area.  Just an fyi, if you 
intend to go to Skellig, get there very early.  There is only one 
boat per day, and it leaves pretty early.

Genie 

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Status: RO

 
Can't help personally (bf not allowed to go to Ireland), but the people on  
_www.livinghistory.ie_ (http://www.livinghistory.ie)  might have some  
suggestions.
 
 
 
In a message dated 09/05/2007 13:23:02 GMT Standard Time,  
h-costume-request@indra.com writes:

Saragrace's request for German shopping spots prompts me to ask the  same for 
Ireland, in particular, western Ireland.  I'll be on my way  there in 9 days! 
 We'll be spending a very quick and brief couple of days  in counties Clare, 
Mayo, and Roscommon, then a more leisurely week near Cork  and touring around 
the whole Southwest corner.  

Does anyone know  of any treasure troves of linens, embroidery, Irish 
crochet, or exhibits of  costume in any of the places I've mentioned?  And not all 
our itinerary  is set in stone yet.  If there are any tourist spots that 
shouldn't be  missed, I'd welcome all recommendations!

Thanks,
Kathy  


 



   
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Subject: Re: [h-cost] Ahem-something interesting
Date: Wed, 9 May 2007 07:06:17 -0600
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Status: RO

My copy of the Tres Riches Heures does show that scene (one of the winter
ones), and it has not only male peasants warming themselves, but at least
one female one, as well.  The anatomical differences are, uhm, pretty
obvious. ;o)
--sue in montana

----- Original Message -----
From: "Kate M Bunting" <K.M.Bunting@derby.ac.uk>
To: <h-costume@indra.com>
Sent: Wednesday, May 09, 2007 2:06 AM
Subject: Re: [h-cost] Ahem-something interesting


> On the subject of bowdlerised paintings - isn't there a medieval scene
> (I think in the Tres Riches Heures) showing people warming themselves by
> a fire, including a man holding up his tunic (?) skirts and showing
> everything? I've seen a reproduction of that with the relevant area
> blurred over. Also, Hogarth painted a friend of his leaning out of bed
> being sick in a chamber pot, which was later repainted at the request of
> the man's family to make him appear to be reading in bed.


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From: Susan Data-Samtak <pasovasz@aol.com>
Subject: Re: [h-cost] Strange marks after washing new fabric-suggestions?
Date: Wed, 9 May 2007 09:03:19 -0400
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Status: RO

Try washing again with "Stain Grabber".  It is a disposable sheet that=20
goes in the washer and pulls the excess dye out of the water, so it=20
doesn't re-deposit on the fabric.  Look for it in the laundry aisle.

Can't hurt!

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". =A0- "Ride the Dark
Trail" by Louis L'Amour

On May 8, 2007, at 11:58 PM, Genie Barrett wrote:

> At 08:44 PM 5/8/2007, you wrote:
>> I bought about 8 yards of linen/rayon blend in a deep purple.  Washed=20
>> it
>> according to instructions, cold water, no chlorine bleach.  I used the
>> laundry detergent I always use (ALL) and added some fabric softener=20
>> to the
>> last rinse.  It has done something I've never seen in anything store=20
>> bought.
>> It had slightly lighter marks all over and then a couple of large=20
>> blobs of
>> darker stuff.  The dark marks almost look like there was oil dropped=20
>> on it,
>> and the lighter marks perhaps from the fabric softener?
>
>
> This happened to me once, with a dark blue.  I ended up using it for=20
> fighter's garb and linings...
>
> Sad, really, since it's a beautiful piece of fabric otherwise.
>
> Maggie
> _______________________________________________
> h-costume mailing list
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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] Looking for fabric shopping in Rome and Prague
Date: Wed, 9 May 2007 15:08:41 +0200
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Status: RO

I was going to ask the same about Rome, i am travelling down there on 11.th 
of june.
Some years ago i found a terrific fabric shop in the main street called Via 
del Corso, but last time i looked for it, i couldnt find it anymore :-(
Surely there must be some fabric shops in Rome, and isnt Italian Silk 
especially famous?

----- Original Message ----- 
From: "Kathy Stormberg" <kstormy@hotmail.com>
To: <h-costume@mail.indra.com>
Sent: Wednesday, May 09, 2007 9:21 AM
Subject: [h-cost] Looking for fabric shopping in Rome and Prague


> Okay, since there are requests for good places for fabric in Ireland and 
> Germany, how about Rome and Prague (Rome especially!)?  I will be there at 
> the end of this month/early next month.  Any suggestions appreciated.
>
> Thanks,
> Kathy
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 


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From: "Kim Baird" <kbaird@cableone.net>
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Status: RO

An interesting item is on eBay, a set of buttons with matching bar pins and
some strange, metal curly things. Can anyone tell me what these were for?
Search for item # 320110929170	 

Kim


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From: "Catherine Kinsey" <Ckinsey@kumc.edu>
To: h-costume@indra.com
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Subject: Re:  [h-cost] Bildindex is in English now!
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Status: RO

This was brought up on another list.  If you have never used this, you
should.  It is a fabulous website.  www.bildindex.de 
<http://www.bildindex.de/> 

Click on the British flag and then use the Expert Search...you could
spend
DAYS here!

Sg  (who has spent days there).
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>
Oh wow Thanks!

There goes the rest of the month of May.......................

Catherine


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Subject: RE: [h-cost] Button question
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Status: RO

Looks like the smaller bit are the pins that hold the buttons on the garment
(similar to the cotter pins the button company uses to keep heavier button
on their cards); the two longer objects might be "Collar stays"?
Just my .o2 lira, betsy

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Kim Baird
Sent: Wednesday, May 09, 2007 8:13 AM
To: 'Historical Costume'
Subject: [h-cost] Button question

An interesting item is on eBay, a set of buttons with matching bar pins and
some strange, metal curly things. Can anyone tell me what these were for?
Search for item # 320110929170	 

Kim


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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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References: <BAY133-DAV12FAF3FE0CE551837E5AD7D23B0@phx.gbl>
Subject: Re: [h-cost] Bildindex is in English now!
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Status: RO

You are in deed a wickedfrau.
I dont have time for this you naughty naughty lady..............

Bjarne


----- Original Message ----- 
From: "WickedFrau" <wickedfrau@msn.com>
To: "'Historical Costume'" <h-costume@indra.com>
Sent: Wednesday, May 09, 2007 5:36 AM
Subject: [h-cost] Bildindex is in English now!


> This was brought up on another list.  If you have never used this, you
> should.  It is a fabulous website.  www.bildindex.de
> <http://www.bildindex.de/>
>
> Click on the British flag and then use the Expert Search...you could spend
> DAYS here!
>
>
>
> Sg  (who has spent days there).
>
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 


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From: Sylvia Rognstad <sylvia@ntw.net>
Date: Wed, 9 May 2007 08:01:43 -0600
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Subject: [h-cost] rayon prints and contact lenses
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Status: RO

Does anyone know of some good online sites for buying small 1930s type 
rayon prints?

And I can't recall the name of the website someone on one of these 
lists recommended for buying bloodshot contact lenses.

Thanx,

Sylvia Rognstad
Divinity Designs and Emeralds
http://www.d-e-designs.com
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From: "Susan B. Farmer" <sfarmer@goldsword.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Ahem-something interesting
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Status: RO

Quoting Kate M Bunting <K.M.Bunting@derby.ac.uk>:

> It's well known that 18th century sideboards had a cupboard for a
> chamber-pot, to be used by the gentlemen after the ladies had retired to
> the drawing-room. No doubt in the more robust 17th century it was
> considerd OK to do so in mixed company.
> On the subject of bowdlerised paintings - isn't there a medieval scene
> (I think in the Tres Riches Heures) showing people warming themselves by
> a fire, including a man holding up his tunic (?) skirts and showing
> everything? I've seen a reproduction of that with the relevant area
> blurred over. Also, Hogarth painted a friend of his leaning out of bed
> being sick in a chamber pot, which was later repainted at the request of
> the man's family to make him appear to be reading in bed.
>

Yeah.  It's February.  All the dangly bits are in plain view.

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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Status: RO

The description calls them "vanity pins"  whatever those are...
I betcha if you wrote the seller she could tell you.  She looks like she =
specializes in them.
Sg
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Status: RO

WickedFrau wrote:

> I bought about 8 yards of linen/rayon blend in a deep purple.  Washed it
> according to instructions, cold water, no chlorine bleach.  I used the
> laundry detergent I always use (ALL) and added some fabric softener to the
> last rinse. 

Did you use powder or liquid? Powder sometimes leaves white marks if it 
doesn't dissolve in the water. Did you add the soap to the water first, 
or dump it in on top of the fabric? Some detergents have bleach in them 
and they aren't clearly labelled, and if you pour them on the fabric 
directly they can discolor your fabric.

I think ALL was one I stopped using a while back because it had an 
ingredient that was fading my dark shirts noticeably quickly. Some kind 
of enzyme cleaner. I don't know if it's still the same formula.

And it's always possible the rayon wasn't colorfast to begin with. Is 
there any way to get an unwashed sample, and rub it with a wet cotton 
ball to see?



Dawn



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Date: Wed, 09 May 2007 11:07:02 -0400
From: monica spence <monicaspence@optonline.net>
Subject: RE: [h-cost] Bildindex is in English now!
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Status: RO

Thanks! This is wonderful!
Monica

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of WickedFrau
Sent: Tuesday, May 08, 2007 11:37 PM
To: 'Historical Costume'
Subject: [h-cost] Bildindex is in English now!


This was brought up on another list.  If you have never used this, you
should.  It is a fabulous website.  www.bildindex.de
<http://www.bildindex.de/> 

Click on the British flag and then use the Expert Search...you could spend
DAYS here!

 

Sg  (who has spent days there).

 

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Subject: Re: [h-cost] Fabric and Costume in Ireland
Date: Wed, 9 May 2007 09:02:57 -0700
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Status: RO

Textile Museums in the North of Ireland

It's completely out of the area you will be in but in case any others are 
traveling to Ireland and going North rather than West, the Irish Linen 
Centre and Museum in Lisburn, County Antrim is amazing, it's fairly small 
but they demonstrate every aspect of linen making from the raw flax, the 
tow, the combing, the spinning, the weaving, the finishing.  They have an 
actual original Jacquard loom that they still use to make special linens for 
official occasions - it's really worth a visit if linen is your interest. 
Here's a link to the website
http://www.visitlisburn.com/visitor_attractions/irish_linen_centre_and_lisburn_museum/

The rest of Lisburn is a Unionist town full of Union Jacks and other signs 
of their pride in being part of the United Kingdom so it is quite different 
from your visits to Dublin, Galway or Cork.  Really eye-opening on many 
levels, but the Linen Museum can't be beat.

There is a lace museum that is really a small house completely filled with 
every type of lace that has been made in Ireland and some from the continent 
not too far from the Belleek factory in Fermanagh,  once again, this is the 
North of Ireland, not the West. Most ofthe lace is in garments so it may be 
interesting to a costumer of 19 or 20th century garments.  Here's a link to 
their website:
http://www.irishlacemuseum.com/

Ireland has gotten really continental compared with when I first went there 
in 1980 to visit my cousins and consequently you find more things like the 
modern Kilkenny craft centres and less old fashioned crafts. But, you will 
find the people to still be gracious.  Strike up a conversation in a pub or 
a shop (convenience store) sometimes the locals know about things off the 
beaten path that might be small but really interesting and unique.


> Message: 1
> Date: Wed, 09 May 2007 07:37:12 -0500
> From: Genie Barrett <ladymaggie@justinanimator.com>
> Subject: Re: [h-cost] Fabric and Costume in Ireland
> To: Historical Costume <h-costume@indra.com>
> Message-ID: <200705091237.l49CbJXj054425@net.indra.com>
> Content-Type: text/plain; charset="us-ascii"; format=flowed
>
> At 11:06 PM 5/8/2007, you wrote:
>
>>Does anyone know of any treasure troves of linens, embroidery, Irish
>>crochet, or exhibits of costume in any of the places I've
>>mentioned?  And not all our itinerary is set in stone yet.  If there
>>are any tourist spots that shouldn't be missed, I'd welcome all
>>recommendations!
>>
>>Thanks,
>>Kathy
>
> I heard of a linen mill or lace factory on the Dingle peninsula
> somewhere, but didn't have time to look for it while we were
> there.  There is also a indoor shopping mall in Cork, the Savoy
> Centre, on Patrick St.  They used to have (five years ago) a
> cotton/linen shop there as well as a few other boutiques with
> handmade jewelry and local artisan's work.
>
> Have a great time.  It's a beautiful area.  Just an fyi, if you
> intend to go to Skellig, get there very early.  There is only one
> boat per day, and it leaves pretty early.
>
> Genie
>> 

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From: slc_fire <slc_fire@yahoo.com>
Subject: Re: [h-cost] rayon prints and contact lenses
To: Historical Costume <h-costume@indra.com>
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Status: RO

I bought my bloodshot and black-out contact lenses from my local eye doctor. Many are carrying special fx lenses now.
   
  Sheree

Sylvia Rognstad <sylvia@ntw.net> wrote:
  Does anyone know of some good online sites for buying small 1930s type 
rayon prints?

And I can't recall the name of the website someone on one of these 
lists recommended for buying bloodshot contact lenses.

Thanx,

Sylvia Rognstad
Divinity Designs and Emeralds
http://www.d-e-designs.com
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From: "Agnes Gawne" <gawne@mac.com>
To: <h-costume@indra.com>
References: <200705091502.l49F2osV053871@net.indra.com>
Date: Wed, 9 May 2007 09:08:12 -0700
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Subject: [h-cost] RE: hair linnen cape/ linen cap
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Status: RO

Bjarne,

That cap is sometimes also called a Corday Cap as Charlotte Corday was 
wearing one when her portrait was made in prison after she murdered Marat.

In the USA some people also call it a Martha Washington Cap as she is often 
pictured wearing a variation of it as well.  Getting the Country Wives 
pattern (if they will ship to Denmark) is probably the quickest and easiest 
way to get information about the caps and since they (Country Wives) did all 
the research work you know it will be correct.

> ------------------------------
>
> Message: 10
> Date: Wed, 9 May 2007 09:50:08 -0400
> From: "Five Rivers Chapmanry" <lgsteph@wightman.ca>
> Subject: [h-cost] RE: hair linnen cape
> To: <h-costume@indra.com>
> Message-ID: <000001c79240$f49c8890$6400a8c0@MAIN>
> Content-Type: text/plain; charset="windows-1250"
>
> This exact cap is part of a repertoire of caps in one of the most
> excellent Country Wives patterns. Judy and the troupe at Country Wives 
> have
> examined literally hundreds of extant examples and come up with a series 
> of
> cap patterns ranging from late Georgian through Regency, of which the cap
> you're viewing, Bjarne, is Regency.
>
> You can view and order the patterns by contacting Judy McPherson
> directly at baggage@mts.net . I was very thrilled when we used to carry
> patterns to have this line included in our repertoire. Simply one of the
> best!
>
> Regards,
> Lorina
> Five Rivers Chapmanry
> purveyors of quality hand-crafted cooperage, embroidery supplies; fine,
> original textile, pen and ink, and watercolour art. Now available: Recipes
> of a Dumb Housewife, by Lorina Stephens
> 519-799-5577 info@5rivers.org - www.5rivers.org
>
>> 

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Date: Wed, 9 May 2007 09:48:46 -0700
From: Cin <cinbarnes@gmail.com>
To: h-cost <h-costume@indra.com>
Subject: Re: [h-cost] Looking for fabric shopping in Rome
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Status: RO

>>I was going to ask the same about Rome, i am travelling down there on 11.th
of june.
>Surely there must be some fabric shops in Rome, and isnt Italian Silk
especially famous?

Yes they were, in the Lake Como district. I'd ask your hotel concierge
to check the phone book for a local mill outlet (do they have such
things?!) or fabric store that might carry such things.  BTW, Italian
phone books are notoriously poorly organized.  The concierge will be
infinitely better unless you're a native speaker.
--cin
Cynthia Barnes
CinBarnes@gmail.com
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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] Button question
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Status: RO

At 14:13 09/05/2007, you wrote:
>An interesting item is on eBay, a set of buttons with matching bar pins and
>some strange, metal curly things. Can anyone tell me what these were for?
>Search for item # 320110929170
>
>Kim


These are for a dress/evening suit, I would imagine. They may be for 
a shirt, or possibly a waistcoat*. There will be eyelet holes in the 
shirt/waistcoat instead of buttonholes. The buttons will have small 
rings on the backs, which go through the eyelets, then the "curly" 
things slide through the rings, which secures them. My husband has a 
beautiful set in blue.

* I have Victorian waistcoats which fasten like this - it means you 
can was them without spoiling the buttons.

Suzi 

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Status: RO

	This exact cap is part of a repertoire of caps in one of the most
excellent Country Wives patterns. Judy and the troupe at Country Wives =
have
examined literally hundreds of extant examples and come up with a series =
of
cap patterns ranging from late Georgian through Regency, of which the =
cap
you're viewing, Bjarne, is Regency.

	You can view and order the patterns by contacting Judy McPherson
directly at baggage@mts.net . I was very thrilled when we used to carry
patterns to have this line included in our repertoire. Simply one of the
best!

Regards,
Lorina
Five Rivers Chapmanry
purveyors of quality hand-crafted cooperage, embroidery supplies; fine,
original textile, pen and ink, and watercolour art. Now available: =
Recipes
of a Dumb Housewife, by Lorina Stephens
519-799-5577 info@5rivers.org - www.5rivers.org


No virus found in this outgoing message.
Checked by AVG Free Edition.=20
Version: 7.5.467 / Virus Database: 269.6.6/794 - Release Date: 5/8/2007 =
2:23
PM
=20

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Date: Wed, 9 May 2007 09:42:47 -0700
From: Cin <cinbarnes@gmail.com>
To: h-cost <h-costume@indra.com>
Subject: Re: [h-cost] Looking for fabric shopping in Prague
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Status: RO

K,
I strongly recommend shopping for *crystal* in Prague.  And hitting
the antique shops along the river.  Dine in Mala Strana section of the
city.  The place is so cheap even a posh section of town is a bargain.
The Museum of Decorative Arts has a small but elegant fashion
collection including the dress I'm copying for my wedding dress. It's
mainly 19th & 20th c but still a distinctive style differing from
Milan, Paris, London & New York.
Look in the church on the Charles river for renn & medieval repro
jewelry & knicknacks (avoid the pickpockets they are fierce &
persistent). Ditto Prague Castle & every other cool old building.
And about the pickpockets... I mean it.  Even NYC in the bad old days
of the 70s & 80s had less aggressive pickpockets.
--cin
Cynthia Barnes
CinBarnes@gmail.com
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From: "LLOYD MITCHELL" <rmitchell@washjeff.edu>
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Subject: Re: [h-cost] Button question
Date: Wed, 9 May 2007 14:16:42 -0400
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Status: RO

Saw a set similar to this at a recent auction.  The set appears to have 
waistcoat buttons and two collar bars.  The other set I saw had matching 
cufflinks and set of shirt studs; the empty space in the box would account 
for neither , but maybe a watch fob?

Kathleen
----- Original Message ----- 
From: "Betsy Marshall" <betsy@softwareinnovation.com>
To: "'Historical Costume'" <h-costume@indra.com>
Sent: Wednesday, May 09, 2007 9:31 AM
Subject: RE: [h-cost] Button question


> Looks like the smaller bit are the pins that hold the buttons on the 
> garment
> (similar to the cotter pins the button company uses to keep heavier button
> on their cards); the two longer objects might be "Collar stays"?
> Just my .o2 lira, betsy
>
> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
> Behalf Of Kim Baird
> Sent: Wednesday, May 09, 2007 8:13 AM
> To: 'Historical Costume'
> Subject: [h-cost] Button question
>
> An interesting item is on eBay, a set of buttons with matching bar pins 
> and
> some strange, metal curly things. Can anyone tell me what these were for?
> Search for item # 320110929170
>
> Kim
>
>
> _______________________________________________
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> h-costume@mail.indra.com
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From: Julie <jtknits@jtknits.cts.com>
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Subject: [h-cost] Bildindex is in English now!
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Status: RO

I tried it and got nowhere.  The search engine doesn't seem to recognize te=
rms in English - you know, really esoteric and unusual ones like knit, embr=
oidery, weave...
Julie

----  <h-costume-request@indra.com> wrote:
>=20
> This was brought up on another list.  If you have never used this, you
> should.  It is a fabulous website.  www.bildindex.de
> <http://www.bildindex.de/>=20
>=20
> Click on the British flag and then use the Expert Search...you could spen=
d
> DAYS here!
>=20
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Subject: [h-cost] Re: The Jamestown Test
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Status: RO

That was pretty funny Cin, but you have to listen all the way to his very 
last statement:

"... I also learned that breeches make my butt look big!"



Message: 7
Date: Wed, 9 May 2007 10:40:52 -0700
From: Cin <cinbarnes@gmail.com>
Subject: [h-cost] The Jamestown Test
To: h-cost <h-costume@indra.com>
Message-ID:
<edcaf0220705091040g4ada7864qb6a1a819fa28028b@mail.gmail.com>
Content-Type: text/plain; charset=ISO-8859-1; format=flowed

A Washington Post reporter dresses up as John Smith to see if anyone
recognizes the outfit or has heard about Jamestown.
http://www.washingtonpost.com/wp-dyn/content/video/2007/05/08/VI2007050801375.html
I suspect we'd all fail the test... he just looks like a guy in funny
clothes made of upholstery fabrics to me.  It's a cute video, tho'.
--cin
Cynthia Barnes
CinBarnes@gmail.com> 

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Date: Wed, 09 May 2007 14:23:03 -0700
To: Historical Costume <h-costume@indra.com>
From: Joan Jurancich <joanmj@surewest.net>
Subject: Re: [h-cost] The Jamestown Test
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Status: RO

At 10:40 AM 5/9/2007, you wrote:
>A Washington Post reporter dresses up as John Smith to see if anyone
>recognizes the outfit or has heard about Jamestown.
>http://www.washingtonpost.com/wp-dyn/content/video/2007/05/08/VI2007050801375.html
>I suspect we'd all fail the test... he just looks like a guy in funny
>clothes made of upholstery fabrics to me.  It's a cute video, tho'.
>--cin
>Cynthia Barnes
>CinBarnes@gmail.com

Without a hat, he looked only partly dressed to me.  But it was a fun 
video.  I wonder how well people would have answered out here in California.

Joan Jurancich
joanmj@surewest.net 

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Date: Thu, 10 May 2007 09:50:34 +1200
From: "michaela de bruce" <michaela.de.bruce@gmail.com>
To: "Historical Costume" <h-costume@indra.com>
Subject: Re: [h-cost] Bildindex is in English now!
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Status: RO

> I tried it and got nowhere.  The search engine doesn't seem to recognize =
terms in English - you know, really esoteric and unusual ones like knit, em=
broidery, weave...
> Julie

No, as far as I can tell it just helps you navigate to the right part
of the site and then you still need to know the corrent spelling for
cities, ie N=FCrnberg rather than Nurenberg. It also helps you know what
button at the top of the image to click to make it larger if you don't
know enough German.

I spotted the flag a while back but have gotten used to (especially)
German museum sites having a very brief English section*. I didn't
really bother to use it as I figured the mueum sections would not be
translated and those are what I use more than anything else.

There are guides online for what search term to look for. But I'm not
sure I've seen on that explains what the terms mean:
http://www.larsdatter.com/bildnav.htm
This is a guide to what the main museums offer, I have on occasion
translated some sections in my journal.
http://paternosters.blogspot.com/2005/03/bildindexde.html
Helpful as well.
Some of the terms used are fairly easy to interpret; textil=3Dtextiles
some not so email=3Denamel, elfbein=3D ivory I think.

The simplest way to search for costume of a particular time is to go
to the Expert Search, plug in dates to the obvious fields then in the
Gestamindex box type in mann or frau to find images that include men
or women. You can also sort by region, but if you keep your date
fields to a few decades you can usually have enough to choose from
without having to go through thousands of images.

Michaela de Bruce
http://glittersweet.com
*Which I perfectly understand and I would expect from a place where
English is not the main language!
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Status: RO

A Washington Post reporter dresses up as John Smith to see if anyone
recognizes the outfit or has heard about Jamestown.
http://www.washingtonpost.com/wp-dyn/content/video/2007/05/08/VI2007050801375.html
I suspect we'd all fail the test... he just looks like a guy in funny
clothes made of upholstery fabrics to me.  It's a cute video, tho'.
--cin
Cynthia Barnes
CinBarnes@gmail.com
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Subject: [h-cost] Beauty and the Beast
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Status: RO

Hi all,

Earlier this month someone mentioned having just put  their production of "Beauty and the Beast" away. Are those costumes available to borrow or rent to a qualified theater?

We are over twenty years old, own our plant, well covered with insurance to protect imports and are about to mount this production.

See our website at HCCT.org. We are Hill Country Community Theatre.
Please reply offline: avchase@peoplepc.com.

Thank you,
Audrey

in the high boonies of Central Texas

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From: "E House" <swissgirl@swissinfo.org>
To: "Historical Costume" <h-costume@indra.com>
References: <200705091803.l49I3RUZ011990@net.indra.com><20070509210025.5E4AC5007@alexander.concentric.com>
	<73fb7a5f0705091450w7f3dd809l72f6fd48f2c48006@mail.gmail.com>
X-ASG-Orig-Subj: Re: [h-cost] Bildindex is in English now!--sorta
Subject: Re: [h-cost] Bildindex is in English now!--sorta
Date: Wed, 9 May 2007 17:38:26 -0500
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Status: RO

As a slight help, you don't have to figure out how to make umlauts with y=
our=20
keyboard in order to successfully search.  In general, you can replace an=
y=20
umlauted vowel with vowel+e.  For example, when searching for "D=FCrer",=20
"Duerer" will get you to the same set of files.  "Durer", however, won't.

The character "=DF" is more annoying, but can be produced by pressing Num=
 Lock=20
on your keyboard, then holding down Alt as you type 225 on the numerical=20
keypad (usually on the right side of your keyboard, with arrows on some o=
f=20
the numbers).  In the same way:
=E4 =3D Alt 132
=C4 =3D Alt 142
=F6 =3D Alt 148
=D6 =3D Alt 153
=FC =3D Alt 129
=DC =3D Alt 154
Or, do what I usually do, and hunt around whatever page of Bildindex you=20
happen to be on until you see the character you need, then cut & paste!

Personally, I've gotten used to searching bildindex whilst keeping a wind=
ow=20
in the background with Google's translation utility:
http://www.google.com/language_tools?hl=3Den
After years of using Bildindex and the like, I now have a bizzarely speci=
fic=20
German vocabulary...

-E House=20

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Subject: [h-cost] 6 needleworks by Sharon Cohen of Nostalgic Needle
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Status: RO

Just wanted to let you know 6  ORIGINAL needleworks stitched by Sharon Cohen 
of Nostalgic Needle have been placed on ebay for bidding.  Thery are the 
original designer models which were phototgraphed for the needlework pattern of the 
same names.

eBay - sharon cohen original, Cross Stitch, Crafts items on eBay.com 



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Date: Wed, 9 May 2007 17:56:45 -0700 (PDT)
From: REBECCA BURCH <ctrvlyfarm@sbcglobal.net>
Subject: Re: [h-cost] Looking for fabric shopping in Prague
To: Historical Costume <h-costume@indra.com>
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Status: RO

Also, watch what you eat. My husband picked up a very
persistent intestinal bug from a green salad in
Prague. It took a couple years for the thing to
finally give up. Stick with cooked things.

--- Cin <cinbarnes@gmail.com> wrote:

> K,
> I strongly recommend shopping for *crystal* in
> Prague.  And hitting
> the antique shops along the river.  Dine in Mala
> Strana section of the
> city.  The place is so cheap even a posh section of
> town is a bargain.
> The Museum of Decorative Arts has a small but
> elegant fashion
> collection including the dress I'm copying for my
> wedding dress. It's
> mainly 19th & 20th c but still a distinctive style
> differing from
> Milan, Paris, London & New York.
> Look in the church on the Charles river for renn &
> medieval repro
> jewelry & knicknacks (avoid the pickpockets they are
> fierce &
> persistent). Ditto Prague Castle & every other cool
> old building.
> And about the pickpockets... I mean it.  Even NYC in
> the bad old days
> of the 70s & 80s had less aggressive pickpockets.
> --cin
> Cynthia Barnes
> CinBarnes@gmail.com
> _______________________________________________
> 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

The only twelve steps I'm interested in are the ones between the flat folds and the brocades.  --Anonymous Costumer--
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Date: Wed, 9 May 2007 18:58:39 -0700 (PDT)
From: Kimiko Small <sstormwatch@yahoo.com>
Subject: Re: [h-cost] Embroidery on pill box hats?
To: Historical Costume <h-costume@indra.com>
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Status: RO

Hi Aylwen,

I would love to see your images for embroidered
pillbox hats. I've not looked for those specifically,
but have wondered what they did look like. Long ago, I
made a sparkly beaded pillbox hat that I wear once in
awhile, but I didn't base it on anything period at the
time.

And I've not seen any embroidery in images for flat
caps. For women, I've really only seen a few images of
women wearing any sort of flat cap, and the ones I can
think of off hand were Henrician. If you do find any
images to support this, do let me know. I also have an
embroidered flat cap that I first made when I first
joined faire, and I just made it for fun, not
historical accuracy (which I didn't care about then).

Kimiko


--- Aylwen & John Garden <garden@netspeed.com.au>
wrote:

> Dear All
> 
> I'm collecting images of embroidered pillbox hats
> from the Elizabethan era.
<snip>
> Is there any evidence of embroidered flat caps?
> My first attempt at a pillbox hat came out too
> large, so I'm making a
> smaller version, with a desire to embroider it this
> time around.
> 
> You can see my first hat at
> http://www.earthlydelights.com.au/gardens.htm
> 
> Many thanks, Aylwen
> 


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Date: Wed, 9 May 2007 19:19:53 -0700 (PDT)
From: Lynn Roth <lynnroth@sbcglobal.net>
Subject: Re: [h-cost] Embroidered cuff
To: Historical Costume <h-costume@indra.com>
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Status: RO

Thanks for the information.  I really appreciate it.  Lynn

Bonnie Booker <aspasia1@gmail.com> wrote:  have a question regarding Blackwork. How do you embroider on a cuff?
If you make a chemise and want to do blackwork on a cuff whats the
best wa y to do it? Lynn

Embroidering a cuff depends on what kind of cuff you are doing. As we
were talking about Blackwork I presume you are talking about counted
patterns. I measure the wrist and add an inch. Then I decide how wide
I want the cuff, usually about 2 ". I draw this with a pencil on
linen, careful to follow the line of the thread of the linen. If it is
hard to see, I draw a thread, measure 2" then draw another thread.
This way I know it is straight.

I count the pattern and divide be the number of threads. If the design
is 10 spaces high, for example, and I want to fill 1" which is say 49
threads I round it off to 5 threads per stitch. It will come out
slightly larger than 1", but works. This is ONLY for ADVANCED
embroiders.

However, for a beginner, I would say use the waste canvas you can get
at most hobby stores. They are much easier to work with. You baste
them over the area as a guide. Work the design. You can also do a
sleeve without a cuff this way.

I then cut out the cuff and proceed as usual. For a collar I do the
same, draw in pencil, embroider, then cut out. I work then on scrap
linen and run water soluable (school glue) around the edges so it
doesn't unravel. For a sleeve without a cuff, I finish the sleeve
first if there is it is large enough. If not, I at least sew down far
enough to make sure the design matches up.

-- 
Aspasia Moonwind
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Date: Thu, 10 May 2007 00:14:43 -0400
From: Michelle Plumb <mplumb@wideopenwest.com>
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Subject: [h-cost] Bjarne's upcoming Inspiration article.
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Status: RO

Bjarne, there seems to be some confusion about which issue you will be 
appearing in.

I sent in a pre-order for issue August issue #57 (as you mentioned), and 
was told that issue #57 wouldn't be available until 23 Jan 2008.

Has there been some sort of mixup?
Michelle, looking forward excitedly to your feature!
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Subject: RE: [h-cost] Ahem-something interesting
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Status: RO

Don't ask why, but I looked for a good close-up pic:

http://www.christusrex.org/www2/berry/DB-f2v-d3l.jpg (No blurring here...)

However, it does show that  the woman to the left of the man is showing all
as well.

I can understand though - it's quite cold outside, and I've done similar
(however, I am not so authentic at reenactment events that I remove my
modern underwear when wearing skirts )

Glenda.

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

Yeah.  It's February.  All the dangly bits are in plain view.

susan


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Status: RO

Silvia , You might try  www.reproductionfabrics.com  I can remember my 
Grandmother wearing some of the Shaker greys in the early 50s. Her taste had not 
moved on from the 30s. Good hunting Joy.   
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Status: RO

Greetings.
I lost some of my messages on the list some time today. The last one I got
was Lynn embroidered cuff message. If there were any others, can someone
forward them to me, please?
Many thanks, Aylwen


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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: "Historical Costume" <h-costume@indra.com>
References: <46429C33.5050007@wideopenwest.com>
Subject: Re: [h-cost] Bjarne's upcoming Inspiration article.
Date: Thu, 10 May 2007 14:57:04 +0200
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Status: RO

The previous issue is number 54 and they told me i would be in number 55 
wich comes in august.
It seems to be that i only wil have the interwiev with pictures, they were 
interrested in gettning the embroidery pattern for my embroidered bird 
stomacher, but i dont think it wil come because i should have heard from 
them but have not.
Also i told them i thoaght it was very rude that they dont pay their 
contributors who gives away embroidery designs for the magazine, actually we 
are in the year 2007, not 1880.
But isnt this typically, because its most ladies who gives away their work 
for free, i think its about time, they get paid!!!
Same with my kind of work, i work in nursing old people, and they pay us 
very poor, also because it still is womans work, typically
Comeon ladies, you must insist to be payed well!!!



Bjarne


----- Original Message ----- 
From: "Michelle Plumb" <mplumb@wideopenwest.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, May 10, 2007 6:14 AM
Subject: [h-cost] Bjarne's upcoming Inspiration article.


> Bjarne, there seems to be some confusion about which issue you will be 
> appearing in.
>
> I sent in a pre-order for issue August issue #57 (as you mentioned), and 
> was told that issue #57 wouldn't be available until 23 Jan 2008.
>
> Has there been some sort of mixup?
> Michelle, looking forward excitedly to your feature!
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 


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To: "Historical Costume" <h-costume@indra.com>
References: <200705081801.l48I0U86081611@net.indra.com><46418F0702000014000D0EF1@Cluster1_gwise3_server.derby.ac.uk><20070509100628.s9cjx3x2b7cw0c4g@www.goldsword.com>
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Subject: Re: [h-cost] Ahem-something interesting
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Status: RO

Oh my!  I had never noticed this before in this picture.  An interesting =
study on perspective -Ahem (again!)
  ----- Original Message -----=20
  From: Glenda Robinson<mailto:glendaslists@exemail.com.au>=20
  To: 'Historical Costume'<mailto:h-costume@indra.com>=20
  Sent: Wednesday, May 09, 2007 11:53 PM
  Subject: RE: [h-cost] Ahem-something interesting


  Don't ask why, but I looked for a good close-up pic:

  =
http://www.christusrex.org/www2/berry/DB-f2v-d3l.jpg<http://www.christusr=
ex.org/www2/berry/DB-f2v-d3l.jpg> (No blurring here...)

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From: "Susan B. Farmer" <sfarmer@goldsword.com>
To: Historical Costume <h-costume@indra.com>
Subject: RE: [h-cost] Ahem-something interesting
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Status: RO

Quoting Glenda Robinson <glendaslists@exemail.com.au>:

> Don't ask why, but I looked for a good close-up pic:
>
> http://www.christusrex.org/www2/berry/DB-f2v-d3l.jpg (No blurring here...)
>
> However, it does show that  the woman to the left of the man is showing all
> as well.
>

LOL!  I'd never noticed the woman before!

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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Status: RO

At 15:45 10/05/2007, you wrote:
>Quoting Glenda Robinson <glendaslists@exemail.com.au>:
>
>>Don't ask why, but I looked for a good close-up pic:
>>
>>http://www.christusrex.org/www2/berry/DB-f2v-d3l.jpg (No blurring here...)
>>
>>However, it does show that  the woman to the left of the man is showing all
>>as well.
>
>LOL!  I'd never noticed the woman before!
>
>susan

Did they not have - errm - furry bits or hair then? They look "added 
on" to me, but then what do I know?

Suzi

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Subject: RE: [h-cost] Bjarne's upcoming Inspiration article.
Date: Thu, 10 May 2007 10:29:00 -0500
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	<001f01c79302$b6da0e70$c26ea450@CPQ21932199711>
From: "Abel, Cynthia" <CynthiaAbel@creighton.edu>
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Status: RO

Bjarne:

Many contributors to journals don't get paid unless they are on the
journal's staff or on contract. Possibly just as well they might not
include the pattern, because lots of contributors also have to sign away
their rights to journals, which might include the pattern.

Not getting paid by the journal that publishes your work is quite
common, especially in the academic community, where tenure and career
advancement rides on "getting published or perishing"  Journal
publishers see themselves as taking all the monetary risk and
contributors should be grateful that their work sees the light of day,
in their view. This attitude has existed since Gutenburg, when
printers/publishers did run huge risks, both monetary and political if
someone in power didn't approve of what they published.

The solution to this is having your website or other information about
contacting you if readers are interested in that pattern, printed in
that issue. You might be able to sell copies of your work in that way
and make a little money. I once bought a pattern for a really authentic
1880's doll outfit by contacting the contributor whose contact info was
at the end of the article she created. Excellent little pattern, by the
way, with more contruction information than most magazines can include
with their patterns.

Bonne chance!!

Cindy Abel

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
On Behalf Of Bjarne og Leif Drews
Sent: Thursday, May 10, 2007 7:57 AM
To: Historical Costume
Subject: Re: [h-cost] Bjarne's upcoming Inspiration article.

The previous issue is number 54 and they told me i would be in number 55
wich comes in august.
It seems to be that i only wil have the interwiev with pictures, they
were interrested in gettning the embroidery pattern for my embroidered
bird stomacher, but i dont think it wil come because i should have heard
from them but have not.
Also i told them i thoaght it was very rude that they dont pay their
contributors who gives away embroidery designs for the magazine,
actually we are in the year 2007, not 1880.
But isnt this typically, because its most ladies who gives away their
work for free, i think its about time, they get paid!!!
Same with my kind of work, i work in nursing old people, and they pay us
very poor, also because it still is womans work, typically Comeon
ladies, you must insist to be payed well!!!



Bjarne


----- Original Message -----
From: "Michelle Plumb" <mplumb@wideopenwest.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, May 10, 2007 6:14 AM
Subject: [h-cost] Bjarne's upcoming Inspiration article.


> Bjarne, there seems to be some confusion about which issue you will be

> appearing in.
>
> I sent in a pre-order for issue August issue #57 (as you mentioned),
and=20
> was told that issue #57 wouldn't be available until 23 Jan 2008.
>
> Has there been some sort of mixup?
> Michelle, looking forward excitedly to your feature!
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>=20


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Status: RO

Bjarne,  You are sooooo right.  Men and women who care for others - I'm not 
talking doctors and nurses in hospitals, but the everyday people who hold 
hands, bring food, bathe bodies-these poeple  should get better pay.  So 
should people like you who keep alive beautiful hand craft skills such as 
embroidery- yours is exquisite - and I know there are others out there like 
you who love and recreate historic designs. I love this list, it gives me 
inspriation and a place to connect with others that love the historic 
fashions - the grand and the small details.

_________________________________________________________________
PC Magazine’s 2007 editors’ choice for best Web mail—award-winning Windows 
Live Hotmail. 
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Status: RO

	I'm quite in Bjarne's camp on this one; people should get paid for
their work, regardless of gender or whatever. There's no such thing as
'building a resume' in that regard, because it has been my experience =
that
once the 'for profit' world finds out you've been giving away your work =
to
the 'not for profit' world, they will treat you exactly the same way: =
cheap,
easy labour. And it doesn't matter what industry you're in, the same =
rule
applies.

	I'm going through this exact problem atm with a company that designs
visuals for museums and historical sites. Huge company. International.
They're being paid rather handsomely by the not for profit commission
they're representing. And they're expecting my husband to simply hand =
over
one time publication rights to a particular photograph in our Niagara
Escarpment book. When I said that wasn't good enough, they came back =
with a
sum so ludicrously small as to be an insult, reminding me their client =
was a
not for profit organization. I politely reminded the woman representing =
the
company that their client may be not for profit, but we aren't, and for =
that
matter neither is the company, and that perhaps she'd want to reconsider =
her
offer.

	No, if your work is not worth being paid for, then it's not worth
giving away either. End of story.

	Rant off.

Regards,
Lorina
Five Rivers Chapmanry
purveyors of quality hand-crafted cooperage, embroidery supplies; fine,
original textile, pen and ink, and watercolour art. Now available: =
Recipes
of a Dumb Housewife, by Lorina Stephens
519-799-5577 info@5rivers.org - www.5rivers.org


No virus found in this outgoing message.
Checked by AVG Free Edition.=20
Version: 7.5.467 / Virus Database: 269.6.6/795 - Release Date: 5/9/2007 =
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PM
=20

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Date: Thu, 10 May 2007 12:26:08 -0700
From: Lavolta Press <fran@lavoltapress.com>
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Status: RO

I missed the beginning of this thread.  However:

Is _Inspiration_ the commercial smocking/embroidery magazine?

In the world of academia--which that magazine isn't--contributors seldom 
get paid much for journal contributions because journal articles advance 
their careers in other important ways, such as helping them to get 
tenure. (However, academics do get paid for writing books, and textbooks 
[though less often scholarly books] can be very lucrative.)

In the world of journalism, where I've spent quite some time as a 
writer, and as an in-house editor--payment has nothing to do with 
gender. Every magazine has its own pay scale for articles, and there are 
books for writers that tell you what the pay scales of various magazines 
are.  Also, sometimes the magazine tells writers what the scale is in 
their standard guidelines--most magazines have a standard set of 
writer's guidelines that writers should ask for and read before 
submitting anything.

The pay scale set by a magazine is based on what that particular 
magazine can pay for articles. The more prestigious the magazine, the 
better its pay scale.  Magazines with larger circulations and that sell 
more ads pay more. Magazines that make less money from ad sales 
(advertisers pay more to be in a magazine with larger circulation) pay 
their contributors less. Publications that pay very little or nothing, 
often rely heavily on contributors who want to publish articles for 
reasons other than money--for advertising a business they own, services 
they sell, or a book they have published--in short the way they are 
making their real money. Or by people who are not professional writers, 
who would just like an article or two published for personal reasons.

Low-pay magazines also used to rely on reprints from other magazines, 
though I suspect the widespread purchase of e-rights is impacting the 
reprint market heavily. A once-common journalistic strategy that I 
followed, was to sell first serial rights to an article to the magazine 
that paid best, and then sell second rights to every other magazine 
possible, starting with the ones that paid best for second rights and 
working my way down, till the article had finally been exposed to 
everyone who might want to publish it. Before magazines wanted to retain 
rights to publish on the Internet for no more pay, it used to be 
possible to sell second rights to the same article a dozen or more 
times.  (In US copyright law, there is no such thing as third, fourth, 
etc. serial rights. Everything sold after first serial rights is second 
rights, so publications all know that when they buy second rights they 
are not getting anything exclusive.)

Professional journalists view career success according to the level of 
magazine they publish in. They may start out with low-pay or even no-pay 
publications, but they quit "selling" to those as fast as 
possible--after one or two articles--because obviously, such "sales" 
don't pay the rent. It's not quite like getting entries on your resume 
for applying for a job.  Sure, having more published articles on your 
resume, and saying you have published with more prestigious 
publications, does help. But, if you write freelance articles, you can 
show the publication the goods before sale. That is, you can write "on 
spec" and just send in the article. That is what beginning journalists 
usually do. Then, as soon as possible, you start selling articles on the 
basis of an outline and the "clips" of your previous work--photocopies 
of other articles that have been published. You get a kind of down 
payment at the beginning, or at least a contract saying the magazine 
want the articles and will pay for it when it is submitted or 
published--and specifying a "kill fee" and the return of copyright if 
they accept the article but later decide not to publish it.

The other thing journalists often do, is to also make money by editing, 
by photography, and by other related pursuits, for which the same 
experience and professional contacts are valuable.  Also, some magazines 
and newspapers have some articles written by staff, so you can apply for 
  full-time staff jobs as a writer + editor, or just as a writer or as 
an editor.

There are many books for journalists that explain how to do all this. 
It's hard to get paid fairly for your work--at least, without all those 
second rights sales to repay you for your initial time. But, it has 
nothing to do with being female.

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


Abel, Cynthia wrote:
> Bjarne:
> 
> Many contributors to journals don't get paid unless they are on the
> journal's staff or on contract. 

<snip>

> 
> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
> On Behalf Of Bjarne og Leif Drews
> Sent: Thursday, May 10, 2007 7:57 AM
> To: Historical Costume
> Subject: Re: [h-cost] Bjarne's upcoming Inspiration article.
> 
> The previous issue is number 54 and they told me i would be in number 55
> wich comes in august.
> It seems to be that i only wil have the interwiev with pictures, they
> were interrested in gettning the embroidery pattern for my embroidered
> bird stomacher, but i dont think it wil come because i should have heard
> from them but have not.
> Also i told them i thoaght it was very rude that they dont pay their
> contributors who gives away embroidery designs for the magazine,
> actually we are in the year 2007, not 1880.
> But isnt this typically, because its most ladies who gives away their
> work for free, i think its about time, they get paid!!!

<snip>
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From: Ed Walton <recon36@airmail.net>
Subject: Re: [h-cost] Ahem-something interesting
Date: Thu, 10 May 2007 15:05:23 -0500
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Status: RO

On May 10, 2007, at 10:24, Suzi Clarke wrote:

>
> Did they not have - errm - furry bits or hair then? They look  
> "added on" to me, but then what do I know?
>
> Suzi
>

Well, the Roman look is back in these days, so maybe it was enjoying  
a revival in the middle ages.


Ed Walton
Lost Battalions Military Reproductions
http://www.lostbattalions.com
972-690-1945


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Subject: Re: [h-cost] Bjarne's upcoming Inspiration article.
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Status: RO

Sorry, not the previous, the current off cause........

Bjarne


----- Original Message ----- 
From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, May 10, 2007 2:57 PM
Subject: Re: [h-cost] Bjarne's upcoming Inspiration article.


> The previous issue is number 54 and they told me i would be in number 55 
> wich comes in august.
> It seems to be that i only wil have the interwiev with pictures, they were 
> interrested in gettning the embroidery pattern for my embroidered bird 
> stomacher, but i dont think it wil come because i should have heard from 
> them but have not.
> Also i told them i thoaght it was very rude that they dont pay their 
> contributors who gives away embroidery designs for the magazine, actually 
> we are in the year 2007, not 1880.
> But isnt this typically, because its most ladies who gives away their work 
> for free, i think its about time, they get paid!!!
> Same with my kind of work, i work in nursing old people, and they pay us 
> very poor, also because it still is womans work, typically
> Comeon ladies, you must insist to be payed well!!!
>
>
>
> Bjarne
>
>
> ----- Original Message ----- 
> From: "Michelle Plumb" <mplumb@wideopenwest.com>
> To: "Historical Costume" <h-costume@indra.com>
> Sent: Thursday, May 10, 2007 6:14 AM
> Subject: [h-cost] Bjarne's upcoming Inspiration article.
>
>
>> Bjarne, there seems to be some confusion about which issue you will be 
>> appearing in.
>>
>> I sent in a pre-order for issue August issue #57 (as you mentioned), and 
>> was told that issue #57 wouldn't be available until 23 Jan 2008.
>>
>> Has there been some sort of mixup?
>> Michelle, looking forward excitedly to your feature!
>> _______________________________________________
>> h-costume mailing list
>> h-costume@mail.indra.com
>> http://mail.indra.com/mailman/listinfo/h-costume
>>
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 


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Status: RO

I just watched Barry Lyndon, where towards the end, Redmonds mother is 
wearing a small cap wich is made entirely of a piece of lace wich is 
gathered into a rosette in the top, and spreading out on the hair all way 
round.
I have not seen this type in any portraits, but i wondered if it would not 
be very likely someone in 18th century did the same, so simple just gather a 
lace to a cap?
Well its for the red dress i am making, i have promised her to make a wide 
brimmed silk taffeta hat, but for indoors she could wear this lace frill?

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] Getting paid
Date: Thu, 10 May 2007 20:57:02 +0200
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Status: RO

Dear paula,
Thanks, i guess you are in the buisinees two? or perhaps knows something 
about it.
Its just so annoying that the world is so hard to change in some 
parts...............

Bjarne

----- Original Message ----- 
From: "Paula Praxis" <praxis_729@hotmail.com>
To: <h-costume@mail.indra.com>
Sent: Thursday, May 10, 2007 8:12 PM
Subject: [h-cost] Getting paid


> Bjarne,  You are sooooo right.  Men and women who care for others - I'm 
> not talking doctors and nurses in hospitals, but the everyday people who 
> hold hands, bring food, bathe bodies-these poeple  should get better pay. 
> So should people like you who keep alive beautiful hand craft skills such 
> as embroidery- yours is exquisite - and I know there are others out there 
> like you who love and recreate historic designs. I love this list, it 
> gives me inspriation and a place to connect with others that love the 
> historic fashions - the grand and the small details.
>
> _________________________________________________________________
> PC Magazine's 2007 editors' choice for best Web mail-award-winning Windows 
> Live Hotmail. 
> http://imagine-windowslive.com/hotmail/?locale=en-us&ocid=TXT_TAGHM_migration_HM_mini_pcmag_0507
>
> _______________________________________________
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> 


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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Status: RO

Thanks Lorina,
Also of the answer about the womans haircap.

Bjarne
----- Original Message ----- 
From: "Five Rivers Chapmanry" <lgsteph@wightman.ca>
To: <h-costume@indra.com>
Sent: Thursday, May 10, 2007 8:33 PM
Subject: [h-cost] RE: Bjarne's upcoming Inspiration article


I'm quite in Bjarne's camp on this one; people should get paid for
their work, regardless of gender or whatever. There's no such thing as
'building a resume' in that regard, because it has been my experience that
once the 'for profit' world finds out you've been giving away your work to
the 'not for profit' world, they will treat you exactly the same way: cheap,
easy labour. And it doesn't matter what industry you're in, the same rule
applies.

I'm going through this exact problem atm with a company that designs
visuals for museums and historical sites. Huge company. International.
They're being paid rather handsomely by the not for profit commission
they're representing. And they're expecting my husband to simply hand over
one time publication rights to a particular photograph in our Niagara
Escarpment book. When I said that wasn't good enough, they came back with a
sum so ludicrously small as to be an insult, reminding me their client was a
not for profit organization. I politely reminded the woman representing the
company that their client may be not for profit, but we aren't, and for that
matter neither is the company, and that perhaps she'd want to reconsider her
offer.

No, if your work is not worth being paid for, then it's not worth
giving away either. End of story.

Rant off.

Regards,
Lorina
Five Rivers Chapmanry
purveyors of quality hand-crafted cooperage, embroidery supplies; fine,
original textile, pen and ink, and watercolour art. Now available: Recipes
of a Dumb Housewife, by Lorina Stephens
519-799-5577 info@5rivers.org - www.5rivers.org


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Subject: Re: [h-cost] womans 18th century cap
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Status: RO

 
In a message dated 5/10/2007 4:47:07 P.M. Eastern Daylight Time,  
drewscph@post12.tele.dk writes:

Well its  for the red dress i am making, i have promised her to make a wide 
brimmed  silk taffeta hat, but for indoors she could wear this lace  frill?



**********************
 
Indeed. She can wear the lace cap under a flat hat...which comes off  indoors.



************************************** See what's free at http://www.aol.com.
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To: "'Historical Costume'" <h-costume@indra.com>
References: <200705081801.l48I0U86081611@net.indra.com><46418F0702000014000D0EF1@Cluster1_gwise3_server.derby.ac.uk><20070509100628.s9cjx3x2b7cw0c4g@www.goldsword.com><002901c792cf$e32f9360$0b02a8c0@DF3TNM1S><20070510104535.gp5v98xdv34g4s44@www.goldsword.com><7.0.1.0.2.20070510162232.023fd520@suziclarke.co.uk>
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Subject: RE: [h-cost] Ahem-something interesting
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Status: RO

My husband wondered it it was because they had stood to close to the fire
...

Glenda.

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

Well, the Roman look is back in these days, so maybe it was enjoying  
a revival in the middle ages.


Ed Walton


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From: "Glenda Robinson" <glendaslists@exemail.com.au>
To: "'Historical Costume'" <h-costume@indra.com>
References: <200705081801.l48I0U86081611@net.indra.com><46418F0702000014000D0EF1@Cluster1_gwise3_server.derby.ac.uk><20070509100628.s9cjx3x2b7cw0c4g@www.goldsword.com><002901c792cf$e32f9360$0b02a8c0@DF3TNM1S><20070510104535.gp5v98xdv34g4s44@www.goldsword.com><7.0.1.0.2.20070510162232.023fd520@suziclarke.co.uk><6DAC6219-52CC-488E-A368-00D303190F85@airmail.net>
	<004101c79351$34eb2c10$0b02a8c0@DF3TNM1S>
Subject: RE: [h-cost] Ahem-something interesting
Date: Fri, 11 May 2007 08:26:47 +1000
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Status: RO

My husband has now suggested something more reasonable - they could be
children! As perspective wasn't used in artworks as yet, children were
usually pictured as small adults, so it could well be the two kids of the
house warming themselves by the fire.

Glenda.

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


My husband wondered it it was because they had stood to close to the fire
...

Glenda.


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Subject: RE: [h-cost] womans 18th century cap
Date: Thu, 10 May 2007 17:32:28 -0500
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From: "Abel, Cynthia" <CynthiaAbel@creighton.edu>
To: "Historical Costume" <h-costume@indra.com>
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Status: RO

=20
Caps, whatever the style and color, were quite popular during the 18th
and early 19th century. Mostly they were meant for older women, but
younger women, like Jane Austen and her sister, wore caps on a regular
basis--Jane famously wrote that her caps saved her much time in
hairdressing.It probably left her more time to write as well! Also such
caps were practical overall, keeping hair covered and out of the way and
hiding a bad hair day. For those without a hairdresser on call or a
maid, caps, bonnets and whatever were probably essential.

Cindy Abel
-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
On Behalf Of AlbertCat@aol.com
Sent: Thursday, May 10, 2007 4:15 PM
To: h-costume@indra.com
Subject: Re: [h-cost] womans 18th century cap

=20
In a message dated 5/10/2007 4:47:07 P.M. Eastern Daylight Time,
drewscph@post12.tele.dk writes:

Well its  for the red dress i am making, i have promised her to make a
wide brimmed  silk taffeta hat, but for indoors she could wear this lace
frill?



**********************
=20
Indeed. She can wear the lace cap under a flat hat...which comes off
indoors.



************************************** See what's free at
http://www.aol.com.
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From: "JAMES OGILVIE" <bear_janet@msn.com>
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Subject: RE: [h-cost] Ahem-something interesting
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Status: RO

I've been trying to post to this thread and I keep getting this message 
back.  What's the problem?

Janet

From:  h-costume-owner@indra.com
To:  bear_janet@msn.com
Subject:  RE: [h-cost] Ahem-something interesting
Date:  Thu, 10 May 2007 16:57:28 -0600
>The message's content type was not explicitly allowed
>


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To: "'Historical Costume'" <h-costume@indra.com>
References: <BAY106-F39768588071A188F0BC260FA3A0@phx.gbl>
Subject: RE: [h-cost] Ahem-something interesting
Date: Fri, 11 May 2007 09:28:26 +1000
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Status: RO

Hi Janet,

Had a quick look on Google - maybe it's been sent in HTML rather than plain
text?

Glenda

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

I've been trying to post to this thread and I keep getting this message 
back.  What's the problem?

Janet

>The message's content type was not explicitly allowed
>


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From: "E House" <swissgirl@swissinfo.org>
To: "Historical Costume" <h-costume@indra.com>
References: <BAY106-F39768588071A188F0BC260FA3A0@phx.gbl>
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Status: RO

My thought (on the February image) was always that it was due to lice or the 
like...

-E House 

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Subject: RE: [h-cost] Ahem-something interesting
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Status: RO


But I've always sent my h-costume messages in HTML.  I leave that as my 
standard e-mail setting and only change to plain text when I post to 1 
particular list.

Janet


>
>Had a quick look on Google - maybe it's been sent in HTML rather than plain
>text?
>
>Glenda
>
>-----Original Message-----
>
>I've been trying to post to this thread and I keep getting this message
>back.  What's the problem?
>
>Janet
>
> >The message's content type was not explicitly allowed
> >
>
>
>_______________________________________________
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>h-costume@mail.indra.com
>http://mail.indra.com/mailman/listinfo/h-costume


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Date: Fri, 11 May 2007 09:06:38 +0100
From: "Kate M Bunting" <K.M.Bunting@derby.ac.uk>
To: <h-costume@indra.com>
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Subject: [h-cost] Re: Bildindex in English
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Status: RO

E. House wrote:
>As a slight help, you don't have to figure out how to make umlauts with =
your=20
>keyboard in order to successfully search.  In general, you can replace =
any=20
>umlauted vowel with vowel+e.  For example, when searching for "D=FCrer",=
=20
>"Duerer" will get you to the same set of files.  "Durer", however, won't.

>The character "=DF" is more annoying, but can be produced by pressing Num =
Lock=20
>on your keyboard, then holding down Alt as you type 225 on the =
numerical=20
>keypad (usually on the right side of your keyboard, with arrows on some =
of=20
>the numbers). =20

I've not used Bildindex myself, but doesn't that character represent =
double "s" in German? So if you can substitute "ue" for "u with umlaut", =
perhaps you can use "ss" for that one?

Kate Bunting
Librarian and 17th century reenactor

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From: "Five Rivers Chapmanry" <lgsteph@wightman.ca>
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Date: Fri, 11 May 2007 05:08:35 -0400
Organization: Five Rivers
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Subject: [h-cost] RE: womans 18th century cap 
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Status: RO

	This type of cap is well documented by Suzanne Gousse of La Fleur de
Lyse patterns, and is part of their cap repertoire pattern. Suzanne, like
the McPherson's, has examined hundreds of extant garments. She has worked
closely with many of the Parks Canada archaeologists and curators, as well
as museums in France. 

	You can reach Suzanne Gousse through their website:
http://pages.videotron.com/fldelyse/Patterns.html 

Regards,
Lorina
Five Rivers Chapmanry
purveyors of quality hand-crafted cooperage, embroidery supplies; fine,
original textile, pen and ink, and watercolour art. Now available: Recipes
of a Dumb Housewife, by Lorina Stephens
519-799-5577 info@5rivers.org - www.5rivers.org


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To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Ahem-something interesting
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Status: RO

html shouldn't matter.

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

But I've always sent my h-costume messages in HTML.  I leave that as my
standard e-mail setting and only change to plain text when I post to 1
particular list.

Janet


>
>Had a quick look on Google - maybe it's been sent in HTML rather than plain
>text?
>
>Glenda
>


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


On Thu, 10 May 2007, E House wrote:

> My thought (on the February image) was always that it was due to lice or the 
> like...
>
> -E House

Actually I think it's just artistic conventions--they just didn't draw the 
pubic hair. You see this in the depictions of the human body in 12th and 
13th century art as well. I don't really pay attention anymore to European 
art past the 14th century so I can't speak to that, but I can say that I 
haven't seen body hair of any sort on any depictions of the nude human 
body before 1400.

I have never seen any mention of shaving body hair during that time period 
either, but that only means I've never seen any, not that such doesn't 
exist. There might be a mention in medical treatises but I haven't done 
much study of medieval medical practice past humoral theory.

Jen
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Status: RO


http://www.physorg.com/news97953648.html

Archaeologists in Greece have discovered a rare 2,700-year-old piece of 
fabric inside a copper urn from a burial they speculated imitated the 
elaborate cremation of soldiers described in Homer's "Iliad."


Dawn


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Date: Fri, 11 May 2007 11:18:17 -0400
From: monica spence <monicaspence@optonline.net>
Subject: RE: [h-cost] 2,700-Year-Old Fabric Found in Greece
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Status: RO

Thanks for sending this! It is amazing!
Monica

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of Dawn
Sent: Friday, May 11, 2007 10:49 AM
To: Historical Costume
Subject: [h-cost] 2,700-Year-Old Fabric Found in Greece



http://www.physorg.com/news97953648.html

Archaeologists in Greece have discovered a rare 2,700-year-old piece of 
fabric inside a copper urn from a burial they speculated imitated the 
elaborate cremation of soldiers described in Homer's "Iliad."


Dawn


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Date: Fri, 11 May 2007 10:48:42 -0700
To: Historical Costume <h-costume@indra.com>
From: Joan Jurancich <joanmj@surewest.net>
Subject: RE: [h-cost] 2,700-Year-Old Fabric Found in Greece
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Status: RO

At 08:18 AM 5/11/2007, you wrote:
>Thanks for sending this! It is amazing!
>Monica
>
>-----Original Message-----
>From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
>Behalf Of Dawn
>Sent: Friday, May 11, 2007 10:49 AM
>To: Historical Costume
>Subject: [h-cost] 2,700-Year-Old Fabric Found in Greece
>
>
>
>http://www.physorg.com/news97953648.html
>
>Archaeologists in Greece have discovered a rare 2,700-year-old piece of
>fabric inside a copper urn from a burial they speculated imitated the
>elaborate cremation of soldiers described in Homer's "Iliad."
>
>
>Dawn

I want to see the fabric!!  It will be very interesting to see the 
technical analysis of this fragment.  I can hardly wait.

Joan Jurancich
joanmj@surewest.net 

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Subject: Re: [h-cost] 2,700-Year-Old Fabric Found in Greece
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Status: RO

You beat me to it!  My husband told me about it this morning, and I was going to pass it on to the list.  I believe the plans are to try to stabilize/save the piece first, and then try some analysis.  (I remember reading that several years ago, a piece of silk was found--I believe they think it might have been Phillip of Macedonia's tomb, but it had basically turned to jelly, as the silk proteins were broken down)
 
Ann Wass 
 
-----Original Message-----
From: dawn@reddawn.net
To: h-costume@indra.com
Sent: Fri, 11 May 2007 10:49 AM
Subject: [h-cost] 2,700-Year-Old Fabric Found in Greece


http://www.physorg.com/news97953648.html 
 
Archaeologists in Greece have discovered a rare 2,700-year-old piece of fabric inside a copper urn from a burial they speculated imitated the elaborate cremation of soldiers described in Homer's "Iliad." 
 
Dawn 
 
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annbwass@aol.com wrote:
  You beat me to it! My husband told me about it this morning, and I was going to pass it on to the list. I believe the plans are to try to stabilize/save the piece first, and then try some analysis. (I remember reading that several years ago, a piece of silk was found--I believe they think it might have been Phillip of Macedonia's tomb, but it had basically turned to jelly, as the silk proteins were broken down)

   
  COMMENT
  To use 60yr old schoolboy slang - "I say, what a swizz! They only show you the copper vessel on the Site,  - no pics of the fabric!" [Or if there were, I didn't find them!]
  I suppose we'll all have to wait until the fabric has been through a lengthy stabilisation and conservation process, before we get to see the cloth. Could be many months!
   
  Matthew,
  in "old" Jersey
  

 
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The second edition of the Costume-Con 26 Progress Report, *Seams To =20
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Get the latest on our comfy hotel, our fabulous dealers' room, our =20
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Can someone please provide the name of the journal in which Bjorne will be 
featured. If possible a link to how it can be ordered would be really nice 
and helpful.  I'm a great fan of his beautiful work.

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From: "E House" <swissgirl@swissinfo.org>
To: "Historical Costume" <h-costume@indra.com>
References: <200705102039.l4AKbcv3092638@net.indra.com>
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----- Original Message -----=20
<<From: "Kate M Bunting" <K.M.Bunting@derby.ac.uk>
I've not used Bildindex myself, but doesn't that character represent doub=
le=20
"s" in German? So if you can substitute "ue" for "u with umlaut", perhaps=
=20
you can use "ss" for that one?>>

Ah ha!  Yes, that looks like it works--exact same results for "schloss" a=
nd=20
"schlo=DF", at least.  Thanks!

-E House


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From: "Paula Praxis" <praxis_729@hotmail.com>
To: h-costume@mail.indra.com
Subject: Re: [h-cost] Bjarne's upcoming Inspiration article.
Date: Fri, 11 May 2007 20:52:45 -0700
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Status: RO


I'm still learning how exactlyto  use this site regarding replying - Now 
there is a subject line.  Here's my question again:

Can someone please provide the name of the journal in which Bjorne will be 
featured. If possible a link to how it can be ordered would be really nice 
and helpful.  I'm a great fan of his beautiful work.
Paula

_________________________________________________________________
Like the way Microsoft Office Outlook works? You’ll love Windows Live 
Hotmail. 
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Status: RO

E House <swissgirl@swissinfo.org> wrote: ----- Original Message ----- 
<
I've not used Bildindex myself, but doesn't that character represent double 
"s" in German? So if you can substitute "ue" for "u with umlaut", perhaps 
you can use "ss" for that one?>>

Ah ha! Yes, that looks like it works--exact same results for "schloss" and 
"schloß", at least. Thanks!

   
  COMMENT
  For those of us running on Microsoft platforms, doesn't "Word" contain a "Font Character Set" subfile, giving one all the keystrokes needed to produce characters which do not normally occur in English/American text?  "Alt+0230" for 'æ', for example?
   
  Matthew Baker, 
  dwelling in "old" Jersey



   
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Status: RO

Dear Paula,
I get my magazines from Australia, there are no places in Denmark where i 
can buy it.
But maybe there are places in USA?
The magazine is called "Inspirations"
Here is a link directly to Australia:
http://www.countrybumpkin.com.au/

Bjarne

----- Original Message ----- 
From: "Paula Praxis" <praxis_729@hotmail.com>
To: <h-costume@mail.indra.com>
Sent: Saturday, May 12, 2007 1:29 AM
Subject: [h-cost] (no subject)


> Can someone please provide the name of the journal in which Bjorne will be 
> featured. If possible a link to how it can be ordered would be really nice 
> and helpful.  I'm a great fan of his beautiful work.
>
> _________________________________________________________________
> More photos, more messages, more storage-get 2GB with Windows Live 
> Hotmail. 
> http://imagine-windowslive.com/hotmail/?locale=en-us&ocid=TXT_TAGHM_migration_HM_mini_2G_0507
>
> _______________________________________________
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> 


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Subject: [h-cost] Help with a query on Middle Eastern clothing term
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Status: RO

I received the following query (via my surviving garments web page)  
from an author who needs help verifying a term.  I'll post his  
question below and will forward him anything people can provide to  
help.  (I haven't had a chance to check with him whether it would be  
ok to post his e-mail address on this list, so I figure I can serve  
as a conduit.)

Heather Jones

= = = = =

He writes:

"Hope you can help me. I am in the process of writing my second  
historical novel (the first is The Whale Road - HarperCollins) which  
is partly set in the Middle East, around Jerusalem. I came across a  
reference to a cloth that is woven to shape, neither cut nor sewn,  
and worn by a high-ranking official (emir). The name I have is  
bougameleon, but I have clearly misspelled it, since I cannot find  
reference to it anywhere now - and, to compound the problem, my  
original source material seems to have been lost.
This is now a query from my copy editor that I cannot seem to answer  
- so I hope you can.
Ever heard of it? Anything similar to it?"

= = = = =

So the gist of the question seems to be:

* Islamic Middle East, near Jerusalem (although no guarantees that  
his original source was specific to that location)
* garment/cloth woven to shape, not cut or sewn
* worn by emir (presumably in his original source material)
* name something like "bougameleon"
* needs to verify correct name to satisfy his copy-editor
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From: "Paula Praxis" <praxis_729@hotmail.com>
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Status: RO

Thank you Bjarne,  I'm bookmarking the site. Lovely items there.
Paula


>From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
>Reply-To: Historical Costume <h-costume@indra.com>
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>Dear Paula,
>I get my magazines from Australia, there are no places in Denmark where i 
>can buy it.
>But maybe there are places in USA?
>The magazine is called "Inspirations"
>Here is a link directly to Australia:
>http://www.countrybumpkin.com.au/
>
>Bjarne
>
>----- Original Message ----- From: "Paula Praxis" <praxis_729@hotmail.com>
>To: <h-costume@mail.indra.com>
>Sent: Saturday, May 12, 2007 1:29 AM
>Subject: [h-cost] (no subject)
>
>
>>Can someone please provide the name of the journal in which Bjorne will be 
>>featured. If possible a link to how it can be ordered would be really nice 
>>and helpful.  I'm a great fan of his beautiful work.
>>
>>_________________________________________________________________
>>More photos, more messages, more storage-get 2GB with Windows Live 
>>Hotmail. 
>>http://imagine-windowslive.com/hotmail/?locale=en-us&ocid=TXT_TAGHM_migration_HM_mini_2G_0507
>>
>>_______________________________________________
>>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

_________________________________________________________________
More photos, more messages, more storage—get 2GB with Windows Live Hotmail. 
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Subject: [h-cost] 2 costume books for sale
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Status: RO

I have a first printing of Millia Davenport's "The Book of Costume" for
sale. It's the two-volume edition in a cardboard sleeve. Printed in 1948.
The cardboard sleeve still has the paper cover. The paper covers on the
sleeve are worn but intact and the sleeve is solid. The books are also in
good condition.

I also have a book entitled "Costume Patterns and Designs" by Max Tilke,
1990 printing. It's in fair condition. Still has the dustcover, though the
corners of the dustcover are worn. The paper glued to the inside cover has
split on its seam from the first page -- probably someone dropped the book
at some time in its life. However, all the pages are intact and have not
separated from the spine.

If you're interested in either of these books, make me an offer. Not sure
what they're worth. Make an offer and we'll go from there.

Talia
talia "at" kc.rr.com

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Status: RO

> (I remember reading that several years ago, a piece of silk was found--I believe >they think it might have been Phillip of Macedonia's tomb, but it had basically >turned to jelly, as the silk proteins were broken down)

That's not true.  It's still fiber, still purple tabby woven with
strips of gold (beaten gold, not gold-wrapped thread). The pattern is
a brocade, about the size of a small table runner. It was burned
briefly during the funeral ceremony as part of the burial offerings.
It's in the catalog of the Archaeological Museum of Thessaloniki.
--cin
Cynthia Barnes
CinBarnes@gmail.com
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Date: Sat, 12 May 2007 14:43:14 -0700
From: Cin <cinbarnes@gmail.com>
To: h-costume@indra.com, heather.jones@earthlink.net
Subject: Re: [h-cost] Help with a query on Middle Eastern clothing term
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Status: RO

> So the gist of the question seems to be:
> * Islamic Middle East, near Jerusalem (although no guarantees that
> his original source was specific to that location)
> * garment/cloth woven to shape, not cut or sewn
> * worn by emir (presumably in his original source material)
> * name something like "bougameleon"
> * needs to verify correct name to satisfy his copy-editor

Not my area at all, but I do have a few books from the Eretz Israel
Museum on Palestinian clothing styles. I cant immediately guess the
word(s) your guy is lookking for; the transcription is too corrupted.
 Here's some ideas, tho'.

Rahmallah & Jaffa style c 1900:
thob malek = dress or tunic
bughmeh mshanshaleh = a kind of choker
zunnar maqruneh = a girdle or wide woven belt or sash

Nablus area c. 1930s:
thob muradden = underdress

Other words to try for Palestinian traditional garments of the 19th & 20th c
Malakeh = a thob
Maqallam = a thob again
Abu aitein
Abu wardeh
Abu qutbeh
Abyad = still another word for the basic thob tunic

--cin
Cynthia Barnes
CinBarnes@gmail.com
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Subject: [h-cost] Reversible Blackwork Embroidery Book Reprint
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Status: RO

Greetings all,
I believe it was on this list that someone was looking for period 
references for two sided blackwork.  This is not a period source but I 
did notice in my Nordic Needle spring catalog (M07)  a reprint 
available  of _Reversible Blackwork_ by Ilse Altherr.

Lady Margaret
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From: Ruth Anne Baumgartner <ruthanneb@mindspring.com>
Subject: Re: [h-cost] Help with a query on Middle Eastern clothing term
Date: Sat, 12 May 2007 20:16:40 -0400
To: Historical Costume <h-costume@indra.com>
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Status: RO

Is this like Jesus' "seamless garment"?
What period?
--Ruth Anne Baumgartner
scholar gypsy and amateur costumer

On May 12, 2007, at 5:43 PM, Cin wrote:

>> So the gist of the question seems to be:
>> * Islamic Middle East, near Jerusalem (although no guarantees that
>> his original source was specific to that location)
>> * garment/cloth woven to shape, not cut or sewn
>> * worn by emir (presumably in his original source material)
>> * name something like "bougameleon"
>> * needs to verify correct name to satisfy his copy-editor
>
> Not my area at all, but I do have a few books from the Eretz Israel
> Museum on Palestinian clothing styles. I cant immediately guess the
> word(s) your guy is lookking for; the transcription is too corrupted.
> Here's some ideas, tho'.
>
> Rahmallah & Jaffa style c 1900:
> thob malek = dress or tunic
> bughmeh mshanshaleh = a kind of choker
> zunnar maqruneh = a girdle or wide woven belt or sash
>
> Nablus area c. 1930s:
> thob muradden = underdress
>
> Other words to try for Palestinian traditional garments of the 19th  
> & 20th c
> Malakeh = a thob
> Maqallam = a thob again
> Abu aitein
> Abu wardeh
> Abu qutbeh
> Abyad = still another word for the basic thob tunic
>
> --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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Status: RO

Hi ,
I just wanted to say thank you to Agnes Gawne, Genie Barrett, and Marie =
Stewart for their suggestions of costume/fabric/needlework related places =
to visit in Ireland.  I leave in 4 days, and I'll be sure to report back =
to the list if I stumble across any other Not To Be Missed Places.

Kathy

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Status: RO


>
>
>------------------------------
>
>
>
>   COMMENT
>   For those of us running on Microsoft=20
> platforms, doesn't "Word" contain a "Font=20
> Character Set" subfile, giving one all the=20
> keystrokes needed to produce characters which=20
> do not normally occur in English/American=20
> text?  "Alt+0230" for '=E6', for example?


In XP if you go to All Programs -- Accessories --=20
System Tools -- Character Map you will see a=20
chart with all available characters in a=20
particular font. Choose your font at the top. You=20
can then select and copy whichever character you=20
need and paste it into the document. When you=20
select a character you will also see at the=20
bottom right corner the keystroke to get that character in your document.

Pierre

>
>   Matthew Baker,
>   dwelling in "old" Jersey
>
>
>
>
>
>
>-

"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 =20


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From: Cin <cinbarnes@gmail.com>
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Subject: Subject: Re: [h-cost] 2,700-Year-Old Fabric Found in Greece
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Status: RO

>>That's  not true.  It's still fiber, still purple tabby woven with
>>strips of  gold

>Thanks--boy, was my memory faulty.  Well, my only excuse is I read it  a LONG
time ago!  Maybe I'm remembering another fragment from another  source?

>Darned sensitive buttons!  Sent that message before I was  finished.  Anyway,
thanks for setting me straight.  My only excuse is,  it was a LONG time ago
that I read it?  Now I have to figure out why I'm  remembering that "jelly"
part--maybe I read about other fragments somewhere  else, also a long time ago.

>Ann Wass

Perhaps you're remembering the stabilization technique?  I understand
some are paste or goo.  The big color Thessaloniki catalog I have
doesnt talk about any sort of preservation or conservation method.
--cin
Cin Barnes
CinBarnes@gmail.com
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In a message dated 5/12/2007 5:23:36 P.M. Eastern Daylight Time,  
cinbarnes@gmail.com writes:

That's  not true.  It's still fiber, still purple tabby woven with
strips of  gold 


Thanks--boy, was my memory faulty.  Well, my only excuse is I read it  a LONG 
time ago!  Maybe I'm remembering another fragment from another  source?  



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Status: RO

 
In a message dated 5/12/2007 5:23:36 P.M. Eastern Daylight Time,  
cinbarnes@gmail.com writes:

That's  not true.  It's still fiber, still purple tabby woven with
strips of  gold 


Darned sensitive buttons!  Sent that message before I was  finished.  Anyway, 
thanks for setting me straight.  My only excuse is,  it was a LONG time ago 
that I read it?  Now I have to figure out why I'm  remembering that "jelly" 
part--maybe I read about other fragments somewhere  else, also a long time ago.
 
Ann Wass



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From: "Elizabeth Walpole" <ewalpole@tpg.com.au>
To: "Historical Costume" <h-costume@indra.com>
References: <edcaf0220705091040g4ada7864qb6a1a819fa28028b@mail.gmail.com>
Subject: Re: [h-cost] The Jamestown Test
Date: Mon, 14 May 2007 08:22:55 +1000
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Status: RO


----- Original Message ----- 
From: "Cin" <cinbarnes@gmail.com>
To: "h-cost" <h-costume@indra.com>
Sent: Thursday, May 10, 2007 3:40 AM
Subject: [h-cost] The Jamestown Test


>A Washington Post reporter dresses up as John Smith to see if anyone
> recognizes the outfit or has heard about Jamestown.
> http://www.washingtonpost.com/wp-dyn/content/video/2007/05/08/VI2007050801375.html
> I suspect we'd all fail the test... he just looks like a guy in funny
> clothes made of upholstery fabrics to me.  It's a cute video, tho'.
> --cin
> Cynthia Barnes
> CinBarnes@gmail.com

yes, my response would probably be, 'your costume is obviously attempting to 
look like Elizabethan clothing' but in reality it looks like something from 
the costume section of Butterick. But of course not being American 90% of my 
knowledge of John Smith comes from the Disney movie.
Elizabeth
--------------------------------------------
Elizabeth Walpole
Canberra Australia
ewalpole[at]tpg.com.au
http://au.geocities.com/amiperiodornot/

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To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] 2,700-Year-Old Fabric Found in Greece
Date: Sun, 13 May 2007 23:04:26 -0700
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Status: RO

My husband said this is probably the earliest version of someone who has =
too
much fabric.....
:-)

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] =
On
Behalf Of annbwass@aol.com
Sent: Friday, May 11, 2007 10:22 AM
To: h-costume@indra.com
Subject: Re: [h-cost] 2,700-Year-Old Fabric Found in Greece


You beat me to it!  My husband told me about it this morning, and I was
going to pass it on to the list.  I believe the plans are to try to
stabilize/save the piece first, and then try some analysis.  (I remember
reading that several years ago, a piece of silk was found--I believe =
they
think it might have been Phillip of Macedonia's tomb, but it had =
basically
turned to jelly, as the silk proteins were broken down)
=20
Ann Wass=20
=20
-----Original Message-----
From: dawn@reddawn.net
To: h-costume@indra.com
Sent: Fri, 11 May 2007 10:49 AM
Subject: [h-cost] 2,700-Year-Old Fabric Found in Greece


http://www.physorg.com/news97953648.html=20
=20
Archaeologists in Greece have discovered a rare 2,700-year-old piece of
fabric inside a copper urn from a burial they speculated imitated the
elaborate cremation of soldiers described in Homer's "Iliad."=20
=20
Dawn=20
=20
_______________________________________________=20
h-costume mailing list=20
h-costume@mail.indra.com=20
http://mail.indra.com/mailman/listinfo/h-costume=20
________________________________________________________________________
AOL now offers free email to everyone.  Find out more about what's free =
from
AOL at AOL.com.
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Status: RO

Hi everyone, A friend is throwing a costume party next month and has decided
the theme is 'an Irish wake' so she wants everyone in black or green, so
when the topic of mourning comes up I tend to think Victorian as I already
had plans for a natural form dress I just decided to bump this project to
the top of my list and make it mourning wear. But I'm stuck on headwear, I
have a chiffon scarf that would work OK as a widow's veil. It is a long
thin rectangle so it won't work just draped over my head, but if I attach
the long side to the edge of a hat it should work OK as a veil (I 
experimented with pinning it to the inside of my sun hat and it came down to 
about an inch below my shoulders). I have about 1/2 a metre of buckram 
(though it's not proper millinery buckram) and some wire left over from 
making the crescent of my 16th century French hood plus some scraps of black 
velveteen or satin to cover it. I've also got Butterick 4210 which I might 
be able to adapt, but I don't have money to buy a bonnet and I don't really 
want to spend much money on this costume (as the only place I can usually 
wear Victorian stuff is a dance so bonnets/hats aren't really appropriate)
thanks
Elizabeth
--------------------------------------------
Elizabeth Walpole  | Elizabeth Beaumont
Canberra, Australia  | Politarchopolis, Lochac
http://au.geocities.com/e_walpole/


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Subject: Re: [h-cost] a cheat's late Victorian hat
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Status: RO

>From Suzi Clarke:

Do you  have a thrift shop/charity shop anywhere near, where you could buy a 
hat, and  alter it to suit? 
To use the veil, you could get an old hat, cut off the brim and wire the  
bottom of the crown (covering the wire with bias tape) and attach the veil to  
that making a sort of toque effect which would suit the natural form  period.
 
Donna Scarfe
Fyne Hats By Felicity
Period Headgear for Past Ages
_www.fynehatsbyfelicity.com_ (http://www.fynehatsbyfelicity.com) 
 
 



************************************** See what's free at http://www.aol.com.
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Subject: [h-cost] The Jamestown Test 
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Status: RO

I hate to say it, but I think if he would have come to the West Coast he 
would have found a lot of people who don't know a thing about John Smith or 
Jamestown...  It's a fun idea though.

:) jessica

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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] a cheat's late Victorian hat
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Status: RO

At 11:00 14/05/2007, you wrote:
>Hi everyone, A friend is throwing a costume party next month and has decided
>the theme is 'an Irish wake' so she wants everyone in black or green, so
>when the topic of mourning comes up I tend to think Victorian as I already
>had plans for a natural form dress I just decided to bump this project to
>the top of my list and make it mourning wear. But I'm stuck on headwear, I
>have a chiffon scarf that would work OK as a widow's veil. It is a long
>thin rectangle so it won't work just draped over my head, but if I attach
>the long side to the edge of a hat it should work OK as a veil (I 
>experimented with pinning it to the inside of my sun hat and it came 
>down to about an inch below my shoulders). I have about 1/2 a metre 
>of buckram (though it's not proper millinery buckram) and some wire 
>left over from making the crescent of my 16th century French hood 
>plus some scraps of black velveteen or satin to cover it. I've also 
>got Butterick 4210 which I might be able to adapt, but I don't have 
>money to buy a bonnet and I don't really want to spend much money on 
>this costume (as the only place I can usually wear Victorian stuff 
>is a dance so bonnets/hats aren't really appropriate)
>thanks
>Elizabeth

Do you have a thrift shop/charity shop anywhere near, where you could 
buy a hat, and alter it to suit? I once made a costermonger's hat, 
like Eliza Doolittle, from a fairground "Kiss me Quick" hat in 
cardboard felt. I took off the band with KMQ on it, replacing it with 
some silk ribbon and net, and added a couple of artificial flowers 
from my stash. It worked really well. You could cover a straw boater, 
or reblock a felt shape and cover with fabric, and all at very little 
cost. It does not have to be a bonnet - boaters, and hats in felt or 
straw of that shape were also worn.

Suzi



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Subject: [h-cost] What would you do with this fabric.
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Status: RO

I have a number of fabrics I've bought over the years, and am now making =
myself do something with them!

http://www.saragrace.us/images/Fabrics/index.htm<http://www.saragrace.us/=
images/Fabrics/index.htm>

The above link has two of them.

The first, I have 3 yards of, and it is 54 inches wide.  It is a silk =
brocade.  I was thinking about making something like a pet-en-l'air, =
(French Jacket) as found on page 30 of Arnolds Pattern's of Fashion 1.

If it is not enough yardage, I figure I can make one of the Jackets on =
page 26.  Anyone who knows this period think it may not be appropriate?



The second may be harder.  It is tapestry, also 54 inches wide.  I have =
a little over 2 yards.  I love this fabric, but it is a little bright.  =
The second picture gives you the best sense of how bright it is.  It is =
'reversible,' but I am not sure I like the "wrong" side enough to not =
line it.  But I have no idea what it is appropriate for.

I would love to hear any opinions on both!

Thanks for looking!

Sg
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From: Michelle Plumb <mplumb@wideopenwest.com>
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Subject: [h-cost] Looking for wide velcro
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Status: RO

Does anyone have any idea where I can get my hands on some large velcro? 
  I need a piece about 4"x12", and so far I've only found stores that 
sell it by the 25 yard roll.

Thanks,
Michelle
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Date: Mon, 14 May 2007 17:49:06 EDT
Subject: Re: [h-cost] The Jamestown Test 
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Status: RO

 
In a message dated 5/14/2007 5:16:32 PM Eastern Daylight Time,  
jessicastier@hotmail.com writes:

I hate  to say it, but I think if he would have come to the West Coast he 
would  have found a lot of people who don't know a thing about John Smith or  
Jamestown...  It's a fun idea though.




Your reference seems to be missing.  Was it a link or. . . ?
 
Ann Wass



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Date: Mon, 14 May 2007 21:43:25 -0700 (PDT)
From: Kathy Page <caitlin_oduibhir@yahoo.ca>
To: Historical Costume List <h-costume@mail.indra.com>
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Subject: [h-cost] K'zoo catch up
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Status: RO

I'll blame this on post-session geekery. ;-)=0A=0AGive us free time, wirele=
ss internet access, chocolate and alcohol and what happens? Images exchange=
s. No, no... not *those* kinds of images! ;-) Completely different variety =
of porn....=0AIt's nice to know my memory wasn't completely befuddled and t=
hat I could indeed re-find some images I said I had. I don't have the email=
 address for the one specifically asking for these images, however I though=
t I'll post it here, chances are realllllllly good you A) know who you are =
and B) are on this list in the first place, so why not share the bounty wit=
h everyone else at the same time?=0AThe following site is a French images a=
gency site, to which I found the 16th c. Venetian coat with front, back and=
 fabric detail. =0Ahttp://www.photo.rmn.fr/c/htm/Search_New.aspx=0ATo find =
the coat specifically, put in "16th century" under "period" then "silk" und=
er "Technic/Material", hit search. his will bring up a specifics prompt tha=
t asks you to choose one from the list. Choose "textile" and hit search aga=
in. The very first image is the coat, after that, you are rewarded with 50+=
 pages of images that all share 16thc. silk textile keywords. Be prepared f=
or a whackload of tapestry images, but sift through them for other gems hid=
ing between.=0AAfter you're finished with those pages, wander around a litt=
le more. Guaranteed to find tonnes of nifty things. :-) Great time consumer=
 and drool producer.=0A=0AKathy=0A =0AIt=92s never too late to be who you m=
ight have been.=0A-George Eliot=0ATosach e=F3lais imchomarc. - Questioning =
is the beginning of knowledge. http://www.sengoidelc.com/node/131=0A=0A=0A=
=0A=0A=0A      Get news delivered with the All new Yahoo! Mail.  Enjoy RSS =
feeds right on your Mail page. Start today at http://mrd.mail.yahoo.com/try=
_beta?.intl=3Dca
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From: Cin <cinbarnes@gmail.com>
To: h-cost <h-costume@indra.com>
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Subject: [h-cost] Academy of Danse Libre performs The DaVintage Code
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Status: RO

Palo Alto, California =96 Thursday/Friday, May 31/June 1, 2007  8pm

The Academy of Danse Libre performs The DaVintage Code at the
Cubberley Theatre, 4000 Middlefield Road.  The non-profit group
performs a variety of breathtaking dances from the 19th and 20th
centuries, in full period costume, in the San Francisco Bay area, and
"seeks to entertain and inspire audiences with romantic waltzes,
liberated polkas, playful tangos, high-energy Charlestons, and other
dances from the Victorian and Ragtime eras, the 1920s and the 1930s."

For more information, visit http://www.danselibre.org.
Tickets can be purchased via the Danse Libre website or from any cast membe=
r.

Several h-costume members made costumes for this show. At least one
will be performing in it.  Come see!
--cin
Cynthia Barnes
CinBarnes@gmail.com
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From h-costume-bounces@indra.com  Tue May 15 09:34:25 2007
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From: Melanie Schuessler <melanie@faucet.net>
Subject: Re: [h-cost] K'zoo catch up
Date: Tue, 15 May 2007 09:33:05 -0400
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Status: RO


On May 15, 2007, at 12:43 AM, Kathy Page wrote:

>  I don't have the email address for the one specifically asking for  
> these images, however I thought I'll post it here, chances are  
> realllllllly good you A) know who you are and B) are on this list  
> in the first place, so why not share the bounty with everyone else  
> at the same time?

That would be me.  Thanks, Kathy!  I'm certain that you are correct  
in thinking that others on the list will appreciate it.

For other searchers, if you do the search that Kathy suggests, the  
back of the coat is on page 26 of the results.  Or if you'd like to  
get more specific, you can add "dress" into the keyword box.   
Strangely, the results of that search do not include the gorgeous  
embroidered belt and other interesting items that appear in the  
results of the search without dress as a keyword.  "16th century" in  
the period box plus "dress" as a keyword gives yet another set of fun  
stuff.

Thanks again,
Melanie Schuessler


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Subject: [h-cost] Split drawer pattern online?
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Status: RO

There used to be a split drawer's drafting pattern/instruction online, =
which I cannot,  for the life of me, find again.
As I recall, it was something like Mrs. Clarks pattern (it was a simple =
name, could have been Brown, Smith etc)

Anyone know where it is or have a copy of it?

Thanks,

Sg
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Subject: [h-cost] Split drawer's expert?
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Status: RO

I have a couple of questions regarding construction, fabric selection =
etc. =20
The major problem I have with my pattern for split drawers, is they tend =
to creep and bunch up in "you know where."

Is there some relationship to crotch depth, amount of overlap, fabric =
types that you have experimented with which would help with this =
phenomenon?

Thanks,

Sg
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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] Split drawer's expert?
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Status: RO

At 17:51 15/05/2007, you wrote:
>I have a couple of questions regarding construction, fabric selection etc.
>The major problem I have with my pattern for split drawers, is they 
>tend to creep and bunch up in "you know where."
>
>Is there some relationship to crotch depth, amount of overlap, 
>fabric types that you have experimented with which would help with 
>this phenomenon?
>
>Thanks,

The lady in question is Elizabeth Stewart Clark. 
http://www.elizabethstewartclark.com/

Suzi 

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Status: RO

I have just been flipping through Dressing Renaissance Florence, and they m=
ention "hosiery itself was made of perpignan cloth (perpignano), a washable=
 and stretchy woolen jersey fabric, originally developed by weavers in Perp=
ignan, France." =0AHas anyone ever heard of this stuff before, and if so, w=
hat is its' weave structure? What would it be close to in modern terms? Thi=
s answers a lot of questions why Italian men's hose are so smooth and tight=
 looking. If I can find a reasonable equivalent, it will make my job MUCH e=
asier on this commission that I have been stalled on for so long.=0A=0AKath=
y=0A =0AErmine, a lion rampant tail nowed gules charged on the shoulder wit=
h a rose Or barbed, seeded, slipped and leaved vert=0A(Fieldless) On a rose=
 Or barbed vert a lion's head erased gules. =0AIt=92s never too late to be =
who you might have been.=0A-George Eliot=0ATosach e=F3lais imchomarc. - Que=
stioning is the beginning of knowledge. http://www.sengoidelc.com/node/131=
=0A=0A=0A=0A=0A=0A      Ask a question on any topic and get answers from re=
al people. Go to Yahoo! Answers and share what you know at http://ca.answer=
s.yahoo.com
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From: "Sharon Collier" <sharon@collierfam.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] a cheat's late Victorian hat
Date: Tue, 15 May 2007 14:47:48 -0700
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Status: RO

If you want/are willing to wear a bonnet, I have a VERY inexpensive
solution. Find a straw hat blank, (I got mine at Michael's Craft Store =
for
about $2.) Cut a "U" shaped piece out of the back so your head fits
comfortably. Paint black using spray paint or craft paint. Sew some =
black
bias trim over rough edge where you cut it off. A simple black ribbon =
over
the top to hold it on and Voila! a mourning bonnet. You can drape your =
scarf
over it, or sew/hot glue black flowers/leaves/feathers. Remember, for
Victorian hats, if you think it's got enough stuff on it, add more!

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] =
On
Behalf Of Elizabeth Walpole
Sent: Monday, May 14, 2007 3:00 AM
To: Historic Costume
Subject: [h-cost] a cheat's late Victorian hat


Hi everyone, A friend is throwing a costume party next month and has =
decided
the theme is 'an Irish wake' so she wants everyone in black or green, so
when the topic of mourning comes up I tend to think Victorian as I =
already
had plans for a natural form dress I just decided to bump this project =
to
the top of my list and make it mourning wear. But I'm stuck on headwear, =
I
have a chiffon scarf that would work OK as a widow's veil. It is a long
thin rectangle so it won't work just draped over my head, but if I =
attach
the long side to the edge of a hat it should work OK as a veil (I=20
experimented with pinning it to the inside of my sun hat and it came =
down to

about an inch below my shoulders). I have about 1/2 a metre of buckram=20
(though it's not proper millinery buckram) and some wire left over from=20
making the crescent of my 16th century French hood plus some scraps of =
black

velveteen or satin to cover it. I've also got Butterick 4210 which I =
might=20
be able to adapt, but I don't have money to buy a bonnet and I don't =
really=20
want to spend much money on this costume (as the only place I can =
usually=20
wear Victorian stuff is a dance so bonnets/hats aren't really =
appropriate)
thanks
Elizabeth
--------------------------------------------
Elizabeth Walpole  | Elizabeth Beaumont
Canberra, Australia  | Politarchopolis, Lochac
http://au.geocities.com/e_walpole/


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To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Looking for wide velcro
Date: Tue, 15 May 2007 14:50:44 -0700
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Status: RO

Can you make it yourself by sewing 1" strips together side by side?

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Michelle Plumb
Sent: Monday, May 14, 2007 7:34 PM
To: Historical Costume
Subject: [h-cost] Looking for wide velcro


Does anyone have any idea where I can get my hands on some large velcro? 
  I need a piece about 4"x12", and so far I've only found stores that 
sell it by the 25 yard roll.

Thanks,
Michelle
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To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] K'zoo catch up
Date: Tue, 15 May 2007 15:03:47 -0700
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Status: RO

The back of that robe is shown on page 50.

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] =
On
Behalf Of Kathy Page
Sent: Monday, May 14, 2007 9:43 PM
To: Historical Costume List
Subject: [h-cost] K'zoo catch up


I'll blame this on post-session geekery. ;-)

Give us free time, wireless internet access, chocolate and alcohol and =
what
happens? Images exchanges. No, no... not *those* kinds of images! ;-)
Completely different variety of porn....
It's nice to know my memory wasn't completely befuddled and that I could
indeed re-find some images I said I had. I don't have the email address =
for
the one specifically asking for these images, however I thought I'll =
post it
here, chances are realllllllly good you A) know who you are and B) are =
on
this list in the first place, so why not share the bounty with everyone =
else
at the same time?
The following site is a French images agency site, to which I found the =
16th
c. Venetian coat with front, back and fabric detail.=20
http://www.photo.rmn.fr/c/htm/Search_New.aspx
To find the coat specifically, put in "16th century" under "period" then
"silk" under "Technic/Material", hit search. his will bring up a =
specifics
prompt that asks you to choose one from the list. Choose "textile" and =
hit
search again. The very first image is the coat, after that, you are =
rewarded
with 50+ pages of images that all share 16thc. silk textile keywords. Be
prepared for a whackload of tapestry images, but sift through them for =
other
gems hiding between.
After you're finished with those pages, wander around a little more.
Guaranteed to find tonnes of nifty things. :-) Great time consumer and =
drool
producer.

Kathy
=20
It=92s never too late to be who you might have been.
-George Eliot
Tosach e=F3lais imchomarc. - Questioning is the beginning of knowledge.
http://www.sengoidelc.com/node/131





      Get news delivered with the All new Yahoo! Mail.  Enjoy RSS feeds
right on your Mail page. Start today at
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Status: RO

Michelle Plumb wrote:

> Does anyone have any idea where I can get my hands on some large velcro? 
>  I need a piece about 4"x12", and so far I've only found stores that 
> sell it by the 25 yard roll.
> 

Sold by the foot:  http://www.beaconfabric.com/vindex.html?cat126.htm

By the yard on ebay: 
http://crafts.search.ebay.com/_Other-Arts-Crafts_W0QQcatrefZC12QQsacatZ75576QQsassZvelcroplus



Dawn


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Status: RO

Thanks so much, folks!
I found what I needed.
Michelle
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Status: RO

 
In a message dated 5/15/2007 5:48:40 P.M. Eastern Daylight Time,  
sharon@collierfam.com writes:

I've  also got Butterick 4210 


*******************
 
Hat D looks very "Merry Widow" deep mourning bonnet to me. Imagine it all  
black with a veil all the way round.
 
I'd go super Edward Gorey just for the fun of it. All black....long  dramatic 
veil....maybe a black fur boa-like stole. Black gloves and a large  black 
umbrella. Be sure to paint some circles under your moist eyes that you  keep 
dabbing with that huge black lace hanky. And walk around in a  daze...completely 
devastated.



************************************** See what's free at http://www.aol.com.
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Subject: [h-cost] Somewhat OT -- Black detergent?
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Hi,
A couple of the laundry soap companies now offer products recommended  
for dark-colored clothes. The liquids appear to actually be dark- 
colored themselves. I wear a lot of black, and it fades. I am  
wondering if anybody has used any of these products, and if they help  
restore dark colors or just mimimize fading, or if, perhaps they do  
not do anything at all? Also, did it stain the washer or anything?

In the 18th C and perhaps other times, they was a whole service in  
redying black stuff, a function now mostly covered by Rit. I was just  
wondering about the effectiveness of these soap things, if anybody's  
had experience.
Thanks.
Lauren
Lauren M. Walker
lauren.walker@comcast.net



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Subject: Re: [h-cost] Split drawer pattern online?
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----- Original Message ----- 
From: "Saragrace Knauf" <wickedfrau@msn.com>
To: "h-costume" <h-costume@indra.com>
Sent: Wednesday, May 16, 2007 2:48 AM
Subject: [h-cost] Split drawer pattern online?


>There used to be a split drawer's drafting pattern/instruction online, 
>which I cannot,  for the life of me, find again.
>As I recall, it was something like Mrs. Clarks pattern (it was a simple 
>name, could have been Brown, Smith etc)

>Anyone know where it is or have a copy of it?

>Thanks,

>Sg

I assume you mean the instructions from Elizabeth Stewart Clark this is her 
dressmaking articles page 
http://www.elizabethstewartclark.com/GAMC/FP/index.htm
--------------------------------------------
Elizabeth Walpole
Canberra Australia
ewalpole[at]tpg.com.au
http://au.geocities.com/amiperiodornot/

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Subject: [h-cost] Question about early 19th century underclothing.
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Status: RO


Hi,  I have been asked to create an under dress for this gown for the =
Phoenix Art Museum. =
http://www.coraginsburg.com/catalogues/2004/cat2004pg10&11.htm<http://www=
coraginsburg.com/catalogues/2004/cat2004pg10&11.htm>

As you can see, it is pictured with a white under dress.  My questions =
are the following.

Would there be a difference between an under dress (it doesn't look as =
though it was ever lined) and an actual chemise?=20
I was thinking perhaps someone would wear a simple chemise, then perhaps =
a corset, and then the under dress, and finally a dress?



I am creating the under dress on a Kyoto dress form, which is solid.  =
The dress fits it, but the breasts are rather large compared to the rest =
of the dummy and the only way I can get it to fit properly is to either =
create darts or gather it under the breasts. Would the under dress be =
tailored like the dress?  (I have Arnold's patterns of fashion of this =
period and have ordered Hunisett's book for the same time frame to see =
if it has any further clues.)

If there were an under dress, would it necessarily have been white and =
not a similar color to the gown?

Thanks for pointers you can give me.=20

Saragrace Knauf

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Subject: Re: [h-cost] Looking for wide velcro
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Status: RO

You might see if your local cobbler might have some of the wider width 
velcro he could part with. Some keep this on hand for various mending 
projects.

Kathleen
----- Original Message ----- 
From: "Sharon Collier" <sharon@collierfam.com>
To: "'Historical Costume'" <h-costume@indra.com>
Sent: Tuesday, May 15, 2007 5:50 PM
Subject: RE: [h-cost] Looking for wide velcro


> Can you make it yourself by sewing 1" strips together side by side?
>
> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
> Behalf Of Michelle Plumb
> Sent: Monday, May 14, 2007 7:34 PM
> To: Historical Costume
> Subject: [h-cost] Looking for wide velcro
>
>
> Does anyone have any idea where I can get my hands on some large velcro?
>  I need a piece about 4"x12", and so far I've only found stores that
> sell it by the 25 yard roll.
>
> Thanks,
> Michelle
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Status: RO

I'm going to spend a while fishing through Google's book search, and =
since I've already found a surprising amount of results from books that =
quote wills, inventories, wardrobe accounts, etc, I have a slightly odd =
request of the list.  I'm trying to think of good Ye Olde Englishe key =
words that will help me find these, like 'velwet' and 'vellat' and =
'velvett.'

Can anyone help me think of properly spellt English (sticking with that =
for now) costume terms from say, 1100-1650,  that seem likely to result =
in wardrobe accounts, inventories, wills, etc?

-E House
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Subject: [h-cost] book review wanted: Shaker Textile Arts
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Status: RO

I'm looking for information on Shaker clothing, ideally around the time
of the Great Awakening (1800-1830).  I was searching Amazon and found the
book Shaker Textile Arts, by Beverly Gordon.  It looks like it will have
the information I need, but it's also $30 -- does anyone have this book? 
Is it worth the money?

Leah
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Status: RO

Hi Kathy,

I ran into this about a year or so ago from the same source and 
couldn't find out any more info on it. I have a copy of

Hoshino, Hidetoshi. L'arte della lana in Firenze nel basso Medioevo: 
il commercio della lana e il mercato dei panni fiorentini nei secoli 
XIII-XV. Biblioteca storica toscana, 21. Firenze: L.S. Olschki, 1980. 
ISBN: 8822229568 OCLC: 7530060

that Frick references regarding this but, while useful, it's focus is 
on trade and economics and I could find no hint of the weave 
structure. I also attempted to contact Dr. Frick (she teaches at a 
University in Oklahoma.. the next state over) as to why she used the 
term "jersey" to describe it but never received a reply.

The only other book that I have that mentions (in a textile context) 
Perpignan is

Cardon, Dominique. La draperie au Moyen Age: essor d'une grande 
industrie europe enne. Paris: CNRS Ed, 1999. ISBN: 227105592X  OCLC: 50663845

As I am seriously weak in French, this is proving very slow going for me.

Beth

>Date: Tue, 15 May 2007 14:07:23 -0700 (PDT)
>From: Kathy Page <caitlin_oduibhir@yahoo.ca>
>
>I have just been flipping through Dressing Renaissance Florence, and 
>they mention "hosiery itself was made of perpignan cloth 
>(perpignano), a washable and stretchy woolen jersey fabric, 
>originally developed by weavers in Perpignan, France."
>Has anyone ever heard of this stuff before, and if so, what is its' 
>weave structure? What would it be close to in modern terms? This 
>answers a lot of questions why Italian men's hose are so smooth and 
>tight looking. If I can find a reasonable equivalent, it will make 
>my job MUCH easier on this commission that I have been stalled on for so long.
>
>Kathy

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Subject: Re: [h-cost] Somewhat OT -- Black detergent?
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Status: RO

My advice is:

Always wash the clothes in 100% cold water, and

If they are cotton or linen or rayon, in other words 100% cellulose 
fiber, re-dye them black using Procion MX dye from someplace like Dharma 
Trading (www.dharmatrading.com), following the directions given. Except, 
for washer dyeing in my washer (it holds 15 or 16 gallons) I have found 
that I need precisely twice as much dye as the amount stated, which 
seems to be calculated for vat dyeing. The quantity of water used really 
does count, even if the directions only mention the weight of the fabric 
to be dyed.

Rit is a less fast dye than Procion and, IMO, no easier to use.

Procion dye does not stain the washer at all. The laundry 
products--which may be weak solutions of dark dye, I have never tried 
them--probably will not either, as the companies that manufacture such 
products test them extensively for consumer feedback.  Also, I think 
coloring the kind of materials your washer is made of requires entirely 
different chemicals than textile fibers.

If your clothes are silk or wool, Dharma and similar suppliers sell 
other home dyes, which I have not tried, for protein fibers.

If the clothes are entirely or partly synthetic, as far as home dyeing 
goes you may be out of luck. However, there are dry cleaners who provide 
re-dyeing services, and perhaps they will dye synthetics for you. I 
don't know.

If this is a big problem, you might in future consider slanting your 
purchases towards 100% cotton which is the easiest fiber to dye, IMO. 
Rayon takes dye very well but is less sturdy in my experience, and can 
be problematic for machine dyeing.  Silk also takes dye well but I'd 
hesitate to machine dye some silks. Can't say I've had any real 
experience with dyeing silks though.

Fran
Lavolta Press Books on Vintage Clothing
http://www.lavoltapress.com

Lauren Walker wrote:

> Hi,
> A couple of the laundry soap companies now offer products recommended  
> for dark-colored clothes. The liquids appear to actually be dark- 
> colored themselves. I wear a lot of black, and it fades. I am  wondering 
> if anybody has used any of these products, and if they help  restore 
> dark colors or just mimimize fading, or if, perhaps they do  not do 
> anything at all? Also, did it stain the washer or anything?
> 
> In the 18th C and perhaps other times, they was a whole service in  
> redying black stuff, a function now mostly covered by Rit. I was just  
> wondering about the effectiveness of these soap things, if anybody's  
> had experience.
> Thanks.
> Lauren
> Lauren M. Walker
> lauren.walker@comcast.net
> 
> 
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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> 
> 
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From h-costume-bounces@indra.com  Wed May 16 23:08:14 2007
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Status: RO

Can an body recommend a website where I can find a form of some kind 
that shows all the various body measurements you'd need to take of a 
person if you were going to make clothing or garb for them? I know the 
standard ones (bust, waist, etc.) but I'd really like to find a detailed 
chart that I can use.
Julie
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To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] Question about early 19th century underclothing.
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----- Original Message ----- 
From: "Saragrace Knauf" <wickedfrau@msn.com>
To: "h-costume" <h-costume@indra.com>
Sent: Thursday, May 17, 2007 3:03 AM
Subject: [h-cost] Question about early 19th century underclothing.



>Hi,  I have been asked to create an under dress for this gown for the 
>Phoenix Art Museum. 
>http://www.coraginsburg.com/catalogues/2004/cat2004pg10&11.htm
As you can see, it is pictured with a white under dress.  My questions are 
the following.

>Would there be a difference between an under dress (it doesn't look as 
>though it was ever lined) and an actual chemise?
I was thinking perhaps someone would wear a simple chemise, then perhaps a 
corset, and then the under dress, and finally a dress?

>I am creating the under dress on a Kyoto dress form, which is solid.  The 
>dress fits it, but the breasts are rather large compared to the rest of the 
>dummy and the only way I can get it to fit properly is to either create 
>darts or gather it under the breasts. Would the under dress be tailored 
>like the dress?  (I have Arnold's patterns of fashion of this period and 
>have ordered Hunisett's book for the same time frame to see if it has any 
>further clues.)

>If there were an under dress, would it necessarily have been white and not 
>a similar color to the gown?

>Thanks for pointers you can give me.

>Saragrace Knauf

I would suggest a bodiced petticoat over the chemise and corset, you can see 
one costumer's version here 
http://www.koshka-the-cat.com/regency_underthings.html and instructions to 
make a bust supporting variety here 
http://www.sensibility.com/pattern/petticoat.htm and a photo of a real 
original petticoat in the Museum of Fine Arts, Boston, collection 
http://preview.tinyurl.com/2quokm
Elizabeth
--------------------------------------------
Elizabeth Walpole
Canberra Australia
ewalpole[at]tpg.com.au
http://au.geocities.com/amiperiodornot/

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Subject: [h-cost] Re: Perpginan cloth
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Status: RO

Welllll..... yeah. although I have found a vanishingly small collection of =
wool jersey cloth out there, mostly vintage or British in origin, that *alm=
ost* looks like it could be woven. Very fine, mind, but that also lends its=
elf to the difficulty of establishing its structure. =0AThe term jersey, ac=
cording to the OEM, lists it to 1583, referring to knitted cloth. So, I sus=
pect her terminology could be an issue. Knitting in this context really was=
n't that popular as far back as the reference she makes - IIRC, the 1100's =
or so. =0A=0AKathy=0A =0AErmine, a lion rampant tail nowed gules charged on=
 the shoulder with a rose Or barbed, seeded, slipped and leaved vert=0A(Fie=
ldless) On a rose Or barbed vert a lion's head erased gules. =0AIt=92s neve=
r too late to be who you might have been.=0A-George Eliot=0ATosach e=F3lais=
 imchomarc. - Questioning is the beginning of knowledge. http://www.sengoid=
elc.com/node/131=0A=0AI thought "jersey" was by definition a knit or looped=
 fabric?   I could see =0Adeveloping a strechy fabric using over twisted wo=
ol or some other technique, =0Abut I think if it's woven, it's not jersey.=
=0A=0A=0A=0A=0A=0A=0A=0A=0A      Be smarter than spam. See how smart SpamGu=
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/mrd.mail.yahoo.com/try_beta?.intl=3Dca=0A
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Subject: [h-cost] Re: Perpignan cloth
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Status: RO

Hi Beth,=0A=0AAhhhh... you've just saved me a bunch of headaches and time c=
onsumption. I am stronger in French than I am in Italian! So the reference =
only occurs in text outside of direct cloth manufacture, hmm. That's annoyi=
ng.=0AGar. This French book only shows up in a couple of libraries around h=
ere, all of which charge for the ILL. hmm.. unless I convince a local to U =
of T to snag it for me and make a copy. My husband is fully bilingual, I ca=
n bribe him to at least look up the indexes for me and see if the reference=
s are any good.=0ADarn! And I was hoping to solve my issues with something =
easy!=0A=0AGee... I wonder if contacting a museum in Perpignan might prove =
fruitful? I wonder if they have something like that. *goes googling*=0AAha.=
 I think I may have something. The village indeed does have museums (these =
are the divisions most likely to have information useful to us):=0A=0A=0A  =
                Mus=E9e =0A                    des Beaux-Arts Hyacinthe Rig=
aud=0A=0A                    16, rue de l'Ange=0A=0A                    660=
00 PERPIGNAN=0A=0A                    T=E9l : 04 68 35 81 23=0A=0A         =
           M=E9l : Musee-rigaud@mairie-perpignan.com=0A=0A                 =
   Peinture =0A=0A                  Mus=E9e =0A                    du Casti=
llet Casa Pairal=0A=0A                    Place de Verdun =0A=0A           =
         66000 PERPIGNAN=0A=0A                    T=E9l : 04 68 35 42 05=0A=
=0A                    Arts et traditions populaires=0A=0A                 =
 =0A                  Mus=E9e =0A                    arch=E9ologique de Rus=
cino=0A=0A                    (en cours de cr=E9ation)=0A=0A               =
     Centre Arch=E9ologique de Ruscino=0A=0A                    Ch=E2teau R=
oussillon=0A=0A                    66000 PERPIGNAN=0A=0A                   =
 T=E9l : 04 68 67 47 17=0A=0A                    Site arch=E9ologique=0A=0A=
=0AI'll have to wait until hub is awake and in a mood to be coerced into he=
lping me to brew up a contact email. We can hope they know what we are talk=
ing about, or at least something that helps clear up just what this stuff r=
eally is.=0A=0A=0AOnto a new adventure...=0A=0AKathy=0A =0A=0AErmine, a lio=
n rampant tail nowed gules charged on the shoulder with a rose Or barbed, s=
eeded, slipped and leaved vert=0A(Fieldless) On a rose Or barbed vert a lio=
n's head erased gules. =0AIt=92s never too late to be who you might have be=
en.=0A-George Eliot=0ATosach e=F3lais imchomarc. - Questioning is the begin=
ning of knowledge. http://www.sengoidelc.com/node/131=0A<snip>=0Athat Frick=
 references regarding this but, while useful, it's focus is =0Aon trade and=
 economics and I could find no hint of the weave =0Astructure. I also attem=
pted to contact Dr. Frick (she teaches at a =0AUniversity in Oklahoma.. the=
 next state over) as to why she used the =0Aterm "jersey" to describe it bu=
t never received a reply.=0A=0AThe only other book that I have that mention=
s (in a textile context) =0APerpignan is=0A=0ACardon, Dominique. La draperi=
e au Moyen Age: essor d'une grande =0Aindustrie europe enne. Paris: CNRS Ed=
, 1999. ISBN: 227105592X  OCLC: 50663845=0A=0AAs I am seriously weak in Fre=
nch, this is proving very slow going for me.=0A=0A=0A=0A=0A=0A=0A=0A=0A    =
  Get a sneak peak at messages with a handy reading pane with All new Yahoo=
! Mail: http://mrd.mail.yahoo.com/try_beta?.intl=3Dca
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To: Historical Costume <h-costume@indra.com>
From: Danielle Nunn-Weinberg <gilshallos@comcast.net>
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Subject: [h-cost] Looking for 15th century replica frame-opening style purse
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Status: RO

Greetings,

I'm looking for a 15th century replica frame-opening style purse.  It 
has a metal circular opening (with a hinged lid) that the leather 
pouch hangs from, in case you don't know what I mean by "frame".  I'm 
not sure what the actual name of that type of purse would be. Does 
anyone know where I can purchase such an item?  I have yet to turn up 
a merchant who sells them.  Any help would be appreciated.

Cheers,
Danielle

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Date: Thu, 17 May 2007 20:05:04 +1200
From: Melissa Brown Muckart <gold@where.else.net.nz>
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Somewhat OT -- Black detergent?
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Status: RO

Lauren Walker wrote:
> Hi,
> A couple of the laundry soap companies now offer products recommended 
> for dark-colored clothes. The liquids appear to actually be dark-colored 
> themselves. I wear a lot of black, and it fades. I am wondering if 
> anybody has used any of these products, and if they help restore dark 
> colors or just mimimize fading, or if, perhaps they do not do anything 
> at all? Also, did it stain the washer or anything?

I've used the brand available here in NZ on dark washes and there is no 
staining of the washer. The clothes look fine but I haven't used it long 
enough to tell you if it restores dark or just helps minimize fading. 
The darks certainly don't look to be fading any _more_ though. I'll buy 
it again and see how if my blacks stay black using this detergent.

Melissa


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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: Re: [h-cost] Looking for 15th century replica frame-opening style
	purse
Date: Thu, 17 May 2007 10:14:48 +0200
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Status: RO

Hi Danielle,
I dont think you will find a replica 15th century one, but you can get 
different styles today:
http://www.countrybumpkin.com.au/index.php?cPath=23_163
These are Australian, but i am sure others carries them two.

Bjarne
----- Original Message ----- 
From: "Danielle Nunn-Weinberg" <gilshallos@comcast.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, May 17, 2007 9:15 AM
Subject: [h-cost] Looking for 15th century replica frame-opening style purse


> Greetings,
>
> I'm looking for a 15th century replica frame-opening style purse.  It has 
> a metal circular opening (with a hinged lid) that the leather pouch hangs 
> from, in case you don't know what I mean by "frame".  I'm not sure what 
> the actual name of that type of purse would be. Does anyone know where I 
> can purchase such an item?  I have yet to turn up a merchant who sells 
> them.  Any help would be appreciated.
>
> Cheers,
> Danielle
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 


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Date: Thu, 17 May 2007 04:25:47 -0500
To: Historical Costume <h-costume@indra.com>
From: Danielle Nunn-Weinberg <gilshallos@comcast.net>
Subject: Re: [h-cost] Looking for 15th century replica frame-opening
	style purse
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Status: RO

Hi Bjarne,

Thanks.  They aren't quite what I'm looking for.  I have seen people 
walking around events wearing the type of purse I'm looking for so I 
know that someone has made them, I'm just not sure who.

Cheers,
Danielle

At 03:14 AM 5/17/2007, you wrote:
>Hi Danielle,
>I dont think you will find a replica 15th century one, but you can 
>get different styles today:
>http://www.countrybumpkin.com.au/index.php?cPath=23_163
>These are Australian, but i am sure others carries them two.
>
>Bjarne
>----- Original Message ----- From: "Danielle Nunn-Weinberg" 
><gilshallos@comcast.net>
>To: "Historical Costume" <h-costume@indra.com>
>Sent: Thursday, May 17, 2007 9:15 AM
>Subject: [h-cost] Looking for 15th century replica frame-opening style purse
>
>
>>Greetings,
>>
>>I'm looking for a 15th century replica frame-opening style 
>>purse.  It has a metal circular opening (with a hinged lid) that 
>>the leather pouch hangs from, in case you don't know what I mean by 
>>"frame".  I'm not sure what the actual name of that type of purse 
>>would be. Does anyone know where I can purchase such an item?  I 
>>have yet to turn up a merchant who sells them.  Any help would be appreciated.
>>
>>Cheers,
>>Danielle

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From: AnnBWass@aol.com
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Date: Thu, 17 May 2007 06:20:25 EDT
Subject: Re: [h-cost] Question about early 19th century underclothing.
To: h-costume@indra.com
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Status: RO

 
In a message dated 5/16/2007 9:37:45 PM Eastern Daylight Time,  
wickedfrau@msn.com writes:

Would  there be a difference between an under dress (it doesn't look as 
though it was  ever lined) and an actual chemise? 
I was thinking perhaps someone would  wear a simple chemise, then perhaps a 
corset, and then the under dress, and  finally a dress?



You are on the right track.  In the period, the underdress was called  a 
slip, but it was cut very similarly to the dress.  If the overdress has  darts, 
use them in the underdress; otherwise, I would cut the front bodice on  the bias 
and gather at waist and neck with drawstrings.  I have seen one  sleeveless 
one.  However, if it has sleeves, and the oversleeves are a  little flimsy, the 
puffed undersleeve would give it some support.  
 
As to color, some were flesh-toned, to give the "nude" look.  One  other I 
have seen was white.  Colored underdresses seem to come in around  1817 or so, 
but I may be wrong--they may be earlier.  But, in that case,  the overdress 
would probably have trim of the same color.
 
Good luck!
 
Ann Wass
 
Ann Wass



************************************** See what's free at http://www.aol.com.
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	<200705170719.l4H7JikL035096@net.indra.com>
Subject: Re: [h-cost] Looking for 15th century replica frame-opening style
	purse
Date: Thu, 17 May 2007 08:02:24 -0400
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Status: RO

Another resource: flea markets or antique sales.  This style was used 
"again" in the 19 century and appears in the 1920s and 1930s.  This style of 
top often outlived the fabric/leather purse/pocket that would have been 
attached.  I have also seen a modified top used for an oldfashioned ice 
pack.

Kathleen
----- Original Message ----- 
From: "Danielle Nunn-Weinberg" <gilshallos@comcast.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, May 17, 2007 3:15 AM
Subject: [h-cost] Looking for 15th century replica frame-opening style purse


> Greetings,
>
> I'm looking for a 15th century replica frame-opening style purse.  It has 
> a metal circular opening (with a hinged lid) that the leather pouch hangs 
> from, in case you don't know what I mean by "frame".  I'm not sure what 
> the actual name of that type of purse would be. Does anyone know where I 
> can purchase such an item?  I have yet to turn up a merchant who sells 
> them.  Any help would be appreciated.
>
> Cheers,
> Danielle
>
> _______________________________________________
> 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] Split drawer's expert?
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Status: RO

That's a very cool website, although I find the graphics a little
distracting.  Thanks for the link!
Now, I'm not a 19th century geek, but I find myself with a question about
those split drawers (truly, just odd timing <g>...I went to a play this
weekend that had midwestern-US-cancan-dancers in it, and for some reason, I
was wondering if that "flip the skirts up over one's head and wiggle one's
backside move, or the high kicks, originally offered more of a *koff* view
than we'd think).  When did it become common practice for the split to be
sewn up?
--Sue

----- Original Message -----
From: "Suzi Clarke" <suzi@suziclarke.co.uk>
To: "Historical Costume" <h-costume@indra.com>
Sent: Tuesday, May 15, 2007 10:55 AM
Subject: Re: [h-cost] Split drawer's expert?



> The lady in question is Elizabeth Stewart Clark.
> http://www.elizabethstewartclark.com/


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Status: RO

What would you do with this fabric.

http://www.saragrace.us/images/Fabrics/index.htm<http://www.saragrace.us/images/Fabrics/index.htm>
>The first, I have 3 yards of, and it is 54 inches wide.  It is a silk
brocade.  I
>was thinking about making something like a pet-en-l'air, (French Jacket) as
>found on page 30 of Arnolds Pattern's of Fashion 1.

S-G,
If you do the 1880s it would make a charming jacket to a walking suit.
The early 80s are particular prone to earth tones like this.

>The second may be harder.  It is tapestry, also 54 inches wide.  I have a
> little over 2 yards.  I love this fabric, but it is a little bright.  The second
>picture gives you the best sense of how bright it is.  It is
'reversible,' but I >
am not sure I like the "wrong" side enough to not line it.  But I have no idea
>what it is appropriate for.

Oooh, I'd redo the upholstery on my dining room chairs, except that I
just did that last summer.
--cin
Cynthia Barnes
CinBarnes@gmail.com
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Subject: Re: [h-cost] weirdish terminology question
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Status: RO


> Can anyone help me think of properly spellt English (sticking with that
> for now) costume terms from say, 1100-1650,  that seem likely to result
> in wardrobe accounts, inventories, wills, etc?

I would recommend looking in the OED for old versions of modern words.  For
example, Velvet: 1320, veluett; 1351, velvet; 1400, felvet; 1483, feluett; 1538,
veluettys (pluerel); 1555, veluet.
Added bonus: it references the source, which is in several cases a wardrobe account.

Emma
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From: "Sharon Collier" <sharon@collierfam.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Looking for 15th century replica frame-openingstyle purse
Date: Thu, 17 May 2007 04:01:32 -0700
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Status: RO

I will ask my ren faire folks. I know a woman who has one. I'll ask where
she got it.

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Danielle Nunn-Weinberg
Sent: Thursday, May 17, 2007 2:26 AM
To: Historical Costume
Subject: Re: [h-cost] Looking for 15th century replica frame-openingstyle
purse


Hi Bjarne,

Thanks.  They aren't quite what I'm looking for.  I have seen people 
walking around events wearing the type of purse I'm looking for so I 
know that someone has made them, I'm just not sure who.

Cheers,
Danielle

At 03:14 AM 5/17/2007, you wrote:
>Hi Danielle,
>I dont think you will find a replica 15th century one, but you can 
>get different styles today:
>http://www.countrybumpkin.com.au/index.php?cPath=23_163
>These are Australian, but i am sure others carries them two.
>
>Bjarne
>----- Original Message ----- From: "Danielle Nunn-Weinberg" 
><gilshallos@comcast.net>
>To: "Historical Costume" <h-costume@indra.com>
>Sent: Thursday, May 17, 2007 9:15 AM
>Subject: [h-cost] Looking for 15th century replica frame-opening style
purse
>
>
>>Greetings,
>>
>>I'm looking for a 15th century replica frame-opening style 
>>purse.  It has a metal circular opening (with a hinged lid) that 
>>the leather pouch hangs from, in case you don't know what I mean by 
>>"frame".  I'm not sure what the actual name of that type of purse 
>>would be. Does anyone know where I can purchase such an item?  I 
>>have yet to turn up a merchant who sells them.  Any help would be
appreciated.
>>
>>Cheers,
>>Danielle

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Subject: [h-cost] split drawers
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Status: RO

>Now, I'm not a 19th century geek, but I find myself with a question about
>those split drawers (truly, just odd timing <g>...I went to a play this
>weekend that had midwestern-US-cancan-dancers in it, and for some reason, I
>was wondering if that "flip the skirts up over one's head and wiggle one's
>backside move, or the high kicks, originally offered more of a *koff* view
>than we'd think).  When did it become common practice for the split to be
>sewn up?
>-Sue

My understanding is that the split drawers and the resulting view is why the 
cancan was considered quite scandalous.

Split drawers were an option into the Edwardian period; based on my 
experience, they work well when wearing a lengthy Edwardian corset, but 
other options also existed.

Kelly
Backward Glances
www.backwardglances.net

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To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] book review wanted: Shaker Textile Arts
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Status: RO

there are also expanded brochures out there (booklets) that tend to be sold 
at sites like Old Economy (Pa) Enfield and Canterbury NH. They are somewhat 
sparse (what else?) but give the basics.

Kathleen
----- Original Message ----- 
From: "Leah L Watts" <llwatts@juno.com>
To: <h-costume@mail.indra.com>
Sent: Wednesday, May 16, 2007 4:35 PM
Subject: [h-cost] book review wanted: Shaker Textile Arts


> I'm looking for information on Shaker clothing, ideally around the time
> of the Great Awakening (1800-1830).  I was searching Amazon and found the
> book Shaker Textile Arts, by Beverly Gordon.  It looks like it will have
> the information I need, but it's also $30 -- does anyone have this book?
> Is it worth the money?
>
> Leah
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Subject: Re: [h-cost] Split drawer's expert?
Date: Thu, 17 May 2007 14:51:16 +0200
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Status: RO

Just a little note, when talking about split drawers.
When i went to the exhibition about the elegant courtlife in the time of 
Frederik V, there was in the catalogue pictures of the queens midges 
clothes. Its a whole outfit, chemise- split drawers,stays, petticoat with 
hip pads, skirt and a Brunswick overdress with hood. Its 1770ies, and i 
thoaght they didnt wear underdrawers?
Now Denmark had a cold climate during the winter season, perhaps it was a 
nescesity for the ladies two?

Bjarne
----- Original Message ----- 
From: "Sue Clemenger" <mooncat@in-tch.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, May 16, 2007 3:49 PM
Subject: Re: [h-cost] Split drawer's expert?


> That's a very cool website, although I find the graphics a little
> distracting.  Thanks for the link!
> Now, I'm not a 19th century geek, but I find myself with a question about
> those split drawers (truly, just odd timing <g>...I went to a play this
> weekend that had midwestern-US-cancan-dancers in it, and for some reason, 
> I
> was wondering if that "flip the skirts up over one's head and wiggle one's
> backside move, or the high kicks, originally offered more of a *koff* view
> than we'd think).  When did it become common practice for the split to be
> sewn up?
> --Sue
>
> ----- Original Message -----
> From: "Suzi Clarke" <suzi@suziclarke.co.uk>
> To: "Historical Costume" <h-costume@indra.com>
> Sent: Tuesday, May 15, 2007 10:55 AM
> Subject: Re: [h-cost] Split drawer's expert?
>
>
>
>> The lady in question is Elizabeth Stewart Clark.
>> http://www.elizabethstewartclark.com/
>
>
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Subject: [h-cost] Re: Perpignan cloth
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Status: RO

Hi Kathy

Cardon's book is excellent (makes me wish that I=20
was fluent in French!) and covers an region of=20
Europe that I have been having trouble finding=20
info on. It is a very thick (661 pages) paperback=20
with 21 references to Perpignan in the Index des=20
noms de lieux  and one " perpagnani" in the Index=20
des termes techniques.. pg 514. I ordered my copy from Amazon-fr.

BTW. Perpignan was not part of France at the time we are discussing....

Beth

At 07:51 AM 5/17/2007, you wrote:
>Date: Wed, 16 May 2007 22:35:44 -0700 (PDT)
>From: Kathy Page <caitlin_oduibhir@yahoo.ca>
>Subject: [h-cost] Re: Perpignan cloth
>
>Hi Beth,
>
>Ahhhh... you've just saved me a bunch of=20
>headaches and time consumption. I am stronger in=20
>French than I am in Italian! So the reference=20
>only occurs in text outside of direct cloth manufacture, hmm. That's=
 annoying.
>Gar. This French book only shows up in a couple=20
>of libraries around here, all of which charge=20
>for the ILL. hmm.. unless I convince a local to=20
>U of T to snag it for me and make a copy. My=20
>husband is fully bilingual, I can bribe him to=20
>at least look up the indexes for me and see if the references are any good.
>Darn! And I was hoping to solve my issues with something easy!
>
>Gee... I wonder if contacting a museum in=20
>Perpignan might prove fruitful? I wonder if they=20
>have something like that. *goes googling*
>Aha. I think I may have something. The village=20
>indeed does have museums (these are the=20
>divisions most likely to have information useful to us):
>
>
>                   Mus=E9e
>                     des Beaux-Arts Hyacinthe Rigaud
>
>                     16, rue de l'Ange
>
>                     66000 PERPIGNAN
>
>                     T=E9l : 04 68 35 81 23
>
>                     M=E9l : Musee-rigaud@mairie-perpignan.com
>
>                     Peinture
>
>                   Mus=E9e
>                     du Castillet Casa Pairal
>
>                     Place de Verdun
>
>                     66000 PERPIGNAN
>
>                     T=E9l : 04 68 35 42 05
>
>                     Arts et traditions populaires
>
>
>                   Mus=E9e
>                     arch=E9ologique de Ruscino
>
>                     (en cours de cr=E9ation)
>
>                     Centre Arch=E9ologique de Ruscino
>
>                     Ch=E2teau Roussillon
>
>                     66000 PERPIGNAN
>
>                     T=E9l : 04 68 67 47 17
>
>                     Site arch=E9ologique
>
>
>I'll have to wait until hub is awake and in a=20
>mood to be coerced into helping me to brew up a=20
>contact email. We can hope they know what we are=20
>talking about, or at least something that helps=20
>clear up just what this stuff really is.
>
>
>Onto a new adventure...
>
>Kathy

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Status: RO

 
Some women in continental europe did wear pants - pepys mentions somewhere  
in his huge diary that his wife was wearing knickers in the 1660s, but puts it  
down to her being french.
 
split knickers were definitely still around in edwardian times - they  really 
started to disappear as skirts started to shorten (they were no longer  
practical), but they'd have been around (I suspect) as slong as there were  ladies 
of a certain age still dressing in edwardian / victorian clothing (some  women 
still did right into the 40s and 50s, though of course it got rarer as  time 
went on - part of the whole thing about people dressing largely as they did  
when they were young).
 
d
 
 
In a message dated 17/05/2007 13:52:40 GMT Standard Time,  
h-costume-request@indra.com writes:

Just a  little note, when talking about split drawers.
When i went to the  exhibition about the elegant courtlife in the time of 
Frederik V, there  was in the catalogue pictures of the queens midges 
clothes. Its a whole  outfit, chemise- split drawers,stays, petticoat with 
hip pads, skirt and a  Brunswick overdress with hood. Its 1770ies, and i 
thoaght they didnt wear  underdrawers?
Now Denmark had a cold climate during the winter season,  perhaps it was a 
nescesity for the ladies two?


 



   
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Subject: Re: [h-cost] Split drawer's expert?
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Status: RO

Dunno about the 18th century, but there are rare surviving examples of them
from the 16th century.  I suspect that it was something that came and went,
as a style.
--Sue

----- Original Message -----
From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, May 17, 2007 6:51 AM
Subject: Re: [h-cost] Split drawer's expert?


> Just a little note, when talking about split drawers.
> When i went to the exhibition about the elegant courtlife in the time of
> Frederik V, there was in the catalogue pictures of the queens midges
> clothes. Its a whole outfit, chemise- split drawers,stays, petticoat with
> hip pads, skirt and a Brunswick overdress with hood. Its 1770ies, and i
> thoaght they didnt wear underdrawers?
> Now Denmark had a cold climate during the winter season, perhaps it was a
> nescesity for the ladies two?


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From: "Land of Oz" <landofoz@netins.net>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] Perpignan cloth
Date: Wed, 16 May 2007 09:16:44 -0500
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Status: RO

>>>>>>
I have just been flipping through Dressing Renaissance Florence, and they 
mention "hosiery itself was made of perpignan cloth (perpignano), a washable 
and stretchy woolen jersey fabric, originally developed by weavers in 
Perpignan, France."
Has anyone ever heard of this stuff before, and if so, what is its' weave 
structure? What would it be close to in modern terms? This answers a lot of 
questions why Italian men's hose are so smooth and tight looking. If I can 
find a reasonable equivalent, it will make my job MUCH easier on this 
commission that I have been stalled on for so long.
<<<<<<<<<

I thought "jersey" was by definition a knit or looped fabric?   I could see 
developing a strechy fabric using over twisted wool or some other technique, 
but I think if it's woven, it's not jersey.

Denise B
Iowa

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Date: Wed, 16 May 2007 17:51:03 -0700
From: Cin <cinbarnes@gmail.com>
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Subject: [h-cost] How the bertha got it's name
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Status: RO

19th c h-costumers,
Do you have any idea where the term "bertha" came from?  My guess is
it's from a character in a play, ballet or opera who was wearing the
new fashion item.  That's a common enough reason for an item with a
woman's name.  Its also the name Emma Bovary gives her daughter when
she hears the name at the ball.  Not sure if it's significant or not.
Perhaps life imitated art and the new item got named for a character
in a popular novel.  We're just speculating.
Do you have an answer?

--cin
Cynthia Barnes
CinBarnes@gmail.com
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Subject: Re: [h-cost] Looking for 15th century replica frame-opening style
	purse
Date: Thu, 17 May 2007 07:56:38 -0400
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Status: RO

you might try Lacis or Baglady.com

Kathleen
----- Original Message ----- 
From: "Danielle Nunn-Weinberg" <gilshallos@comcast.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, May 17, 2007 3:15 AM
Subject: [h-cost] Looking for 15th century replica frame-opening style purse


> Greetings,
>
> I'm looking for a 15th century replica frame-opening style purse.  It has 
> a metal circular opening (with a hinged lid) that the leather pouch hangs 
> from, in case you don't know what I mean by "frame".  I'm not sure what 
> the actual name of that type of purse would be. Does anyone know where I 
> can purchase such an item?  I have yet to turn up a merchant who sells 
> them.  Any help would be appreciated.
>
> Cheers,
> Danielle
>
> _______________________________________________
> 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: h-costume Digest, Vol 6, Issue 239
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Status: RO

If I remember correctly these drawers in the mid-20th Century were called 
petti-pants. I remember my mother had some in the early 1960s.

Penny Ladnier,
Owner, The Costume Gallery Websites
www.costumegallery.com
www.costumelibrary.com
www.costumeclassroom.com
www.costumeencyclopedia.com 

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Date: Thu, 17 May 2007 08:17:16 -0700 (PDT)
From: Lynn Roth <lynnroth@sbcglobal.net>
Subject: Re: [h-cost] Split drawer's expert?
To: Historical Costume <h-costume@indra.com>
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Status: RO

I'm neew to this list and have enjoyed learning a lot of different things.  I do recreating the 1500's.  I didn't realize that they had split drawers in the 16th cen.  Do you have any historical evidence that they had them in the nobility class in the midto late 1500's, and what they were made of?  I would appreciate any information.  Lynn

Sue Clemenger <mooncat@in-tch.com> wrote:
  Dunno about the 18th century, but there are rare surviving examples of them
from the 16th century. I suspect that it was something that came and went,
as a style.
--Sue

----- Original Message -----
From: "Bjarne og Leif Drews" 
To: "Historical Costume" 
Sent: Thursday, May 17, 2007 6:51 AM
Subject: Re: [h-cost] Split drawer's expert?


> Just a little note, when talking about split drawers.
> When i went to the exhibition about the elegant courtlife in the time of
> Frederik V, there was in the catalogue pictures of the queens midges
> clothes. Its a whole outfit, chemise- split drawers,stays, petticoat with
> hip pads, skirt and a Brunswick overdress with hood. Its 1770ies, and i
> thoaght they didnt wear underdrawers?
> Now Denmark had a cold climate during the winter season, perhaps it was a
> nescesity for the ladies two?


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Status: RO

Lacis has a very large range of them:
http://www.lacis.com/catalog/data/ls58.html

-E House
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Subject: [h-cost] Re: new costume and textile books from DBBC
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Status: RO

Don't shoot the messenger! blame it on Ian at David Brown Book Company!
;)

Arlys



> A quick note to let you know that two long-awaited books have now 
> arrived here for sale, as well as to tell you about a few other new 
> arrivals from unusual sources...
> 
> Firstly, the reprint of the visually stunning "Moda a Firenze 
> 1540-1580" has arrived from Italy. We managed to secure a reasonably 
> good number of copies, but there's no guarantee that we will get 
> more once these are sold. Act soon if you want one!
> 
> Secondly, Penny Rogers' "Cloth and Clothing in Early Anglo-Saxon 
> England" arrived yesterday to cheers and whoops of delight in the 
> office. Many of you have already ordered this and we are shipping 
> these orders over the next few days, but if you haven't yet done so, 
> now's the time!
> 
> Thirdly, hot off the packet steamer from Norway is the mammoth book 
> on the textile finds from the Oseberg ship excavation. We had to 
> fork out many Norwegian Kronas for this one just so that you 
> wouldn't have to. A pricey, but significant book for the diehards.
> 
> Finally, we received a fascinating-looking two-volume work from 
> Denmark. "Kriegskunst und Kanonen" presents Joannes Bengedans' 
> handbook (from around 1450) for the manufacture of explosives, 
> techniques for the use of cannons and siege tactics. The volumes 
> include a beautiful facsimile of the manuscript (which is in a 
> Copenhagen University collection) and gives a translation into 
> modern German and Danish of the text. It's a really stunning set and 
> remarkably reasonably priced.
> 
> Links to all four books are given below. I hope you will find them 
> interesting.
> 
> With regards,
> 
> Ian Stevens
> The David Brown Book Company
> Tel: 1-800-791-9354
> 
> Links to these three books are given below.	
> 
> ---------------------------------------------------------------------
> 
> 'Moda a Firenze 1540-1580: Lo Stile di Eleonora di Toledo e la sua 
> influenza' - by Roberta Orsi Landini and Bruna Niccoli 
> List Price: US$ 99.50 * Our Price: US$ 90.00 *
> Link: http://www.oxbowbooks.com/bookinfo.cfm?ID=48785&MID=12830
> 
> 'Cloth and Clothing in Early Anglo Saxon England, AD 450-700' - by 
> Penelope Rogers 
> List Price: US$ 39.95 * Our Price: US$ 32.00 *
> Link: http://www.oxbowbooks.com/bookinfo.cfm?ID=60262&MID=12830
> 
> 'Oseberg Textiles - Osebergfundet: Bind IVb' - edited by Arne Emil 
> Christensen and Margarita Nockert 
> List Price: US$ 225.00 * Our Price: US$ 200.00 *
> Link: http://www.oxbowbooks.com/bookinfo.cfm?ID=47636&MID=12830
> 
> 'Kriegskunst und Kanonen (Artillery and the Art of War): Das 
> BÃ¼chsenmeister- und Kriegsbuch des Johannes Bengedans' - edited by 
> Hans Blosen and Rikke Agnete Olsen, with contributions by Aage 
> Anderson, Bendt Falkesgaard Pedersen and Frede Storborg 
> List Price: US$ 83.95 * Our Price: US$ 70.00 *
> Link: http://www.oxbowbooks.com/bookinfo.cfm?ID=62166&MID=12830

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From: MaggiRos <maggiros@yahoo.com>
Subject: Re: [h-cost] Looking for 15th century replica frame-opening style
	purse
To: Historical Costume <h-costume@indra.com>
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Status: RO

I think everyone's looking at frame as a generic type
that has never changed. That's not so. Most German Ren
purses are suspended from a single point in the
middle, not from a chain anchored at two points. Not
all, obviously, since the one at the bottom of this
page clearly has two anchor points for a chair. But
that's not the style one commonly sees in the
woodcuts.

What's being asked for is (or should be)something like
this
http://www.curiousfrau.com/Art_Research/pouches.htm

I don't know anyone who makes them, although something
similar can be built on with a plain ring. 




MaggiRos




> ----- Original Message ----- 
> From: "Danielle Nunn-Weinberg"
> <gilshallos@comcast.net>
> To: "Historical Costume" <h-costume@indra.com>
> Sent: Thursday, May 17, 2007 3:15 AM
> Subject: [h-cost] Looking for 15th century replica
> frame-opening style purse
> 
> 
> > Greetings,
> >
> > I'm looking for a 15th century replica
> frame-opening style purse.  It has 
> > a metal circular opening (with a hinged lid) that
> the leather pouch hangs 
> > from, in case you don't know what I mean by
> "frame".  I'm not sure what 
> > the actual name of that type of purse would be.
> Does anyone know where I 
> > can purchase such an item?  I have yet to turn up
> a merchant who sells 
> > them.  Any help would be appreciated.
> >
>
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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Re: new costume and textile books from DBBC
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Status: RO


On Thu, 17 May 2007, Cynthia J Ley wrote:

> Don't shoot the messenger! blame it on Ian at David Brown Book Company!

Whom I saw last week at K'zoo. I'm surprised the textiles/dress people
left him anything of these still to sell.

(For those of you who wonder, Ian is British, charming, and attractive in
that self-effacing Hugh Grant sort of way. Think "Notting Hill.")

--Robin

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From: MaggiRos <maggiros@yahoo.com>
Subject: Re: [h-cost] Looking for 15th century replica frame-opening style
	purse
To: Historical Costume <h-costume@indra.com>
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Status: RO

Is this what you're looking for, but with a "lid"?
http://www.answers.com/topic/thomas-howard-4th-duke-of-norfolk-02-jpg

I call mine a "ring pouch" but I have no idea what
it's right name is.

MaggiRos

--- Danielle Nunn-Weinberg <gilshallos@comcast.net>
wrote:

> Greetings,
> 
> I'm looking for a 15th century replica frame-opening
> style purse.  It 
> has a metal circular opening (with a hinged lid)
> that the leather 
> pouch hangs from, in case you don't know what I mean
> by "frame".  
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Looking for 15th century replica frame-opening style
	purse
References: <619470.48373.qm@web32703.mail.mud.yahoo.com>
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Status: RO

MaggiRos wrote:
> What's being asked for is (or should be)something like
> this
> http://www.curiousfrau.com/Art_Research/pouches.htm
>
> I don't know anyone who makes them, although something
> similar can be built on with a plain ring. 
>   
What a useful page -- thank  you!

Here are the two that are in Boucher:

http://www.virtue.to/articles/images/1400s_real_purses.jpg

CV


------
Vandeverre's Emporium: for a subset of your Second Life costume needs!
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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] Looking for 15th century replica frame-opening
	style purse
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Status: RO

At 17:33 17/05/2007, you wrote:
>I think everyone's looking at frame as a generic type
>that has never changed. That's not so. Most German Ren
>purses are suspended from a single point in the
>middle, not from a chain anchored at two points. Not
>all, obviously, since the one at the bottom of this
>page clearly has two anchor points for a chair. But
>that's not the style one commonly sees in the
>woodcuts.
>
>What's being asked for is (or should be)something like
>this
>http://www.curiousfrau.com/Art_Research/pouches.htm
>
>I don't know anyone who makes them, although something
>similar can be built on with a plain ring.

I had one made for a customer in brass, a copy of one in the Museum 
of London. (I still have it, as he has not collected it.) If anyone 
wants photos, I examined a couple of dozen while doing research - I 
can scan them if I have e-mail addresses - they are almost all 
"skeletons" although they did have one with a velvet bag.

Suzi

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From: "Saragrace Knauf" <wickedfrau@msn.com>
To: "Historical Costume" <h-costume@indra.com>
References: <edcaf0220606211557y645cd5fcvee82d70132656559@mail.gmail.com><BAY106-DAV20DCAAB643442157D6BD5DFA850@phx.gbl><200705170719.l4H7JikL035096@net.indra.com><003001c7985b$70c8c440$7914a150@CPQ21932199711>
	<200705170929.l4H9TcbQ002651@net.indra.com>
Subject: Re: [h-cost] Looking for 15th century replica frame-openingstyle purse
Date: Thu, 17 May 2007 10:00:19 -0700
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Status: RO

If you can't find what you want commercially, I highly recommend this =
fellow.
http://www.hr-replikate.de/englisch/index.html<http://www.hr-replikate.de=
/englisch/index.html>
He does wonderful work, and is reasonable. =20


Saragrace
  ----- Original Message -----=20
  From: Danielle Nunn-Weinberg<mailto:gilshallos@comcast.net>=20
  To: Historical Costume<mailto:h-costume@indra.com>=20
  Sent: Thursday, May 17, 2007 2:25 AM
  Subject: Re: [h-cost] Looking for 15th century replica =
frame-openingstyle purse


  Hi Bjarne,

  Thanks.  They aren't quite what I'm looking for.  I have seen people=20
  walking around events wearing the type of purse I'm looking for so I=20
  know that someone has made them, I'm just not sure who.

  Cheers,
  Danielle

  At 03:14 AM 5/17/2007, you wrote:
  >Hi Danielle,
  >I dont think you will find a replica 15th century one, but you can=20
  >get different styles today:
  >http://www.countrybumpkin.com.au/index.php?cPath=3D23_163
  >These are Australian, but i am sure others carries them two.
  >
  >Bjarne
  >----- Original Message ----- From: "Danielle Nunn-Weinberg"=20
  ><gilshallos@comcast.net<mailto:gilshallos@comcast.net>>
  >To: "Historical Costume" =
<h-costume@indra.com<mailto:h-costume@indra.com>>
  >Sent: Thursday, May 17, 2007 9:15 AM
  >Subject: [h-cost] Looking for 15th century replica frame-opening =
style purse
  >
  >
  >>Greetings,
  >>
  >>I'm looking for a 15th century replica frame-opening style=20
  >>purse.  It has a metal circular opening (with a hinged lid) that=20
  >>the leather pouch hangs from, in case you don't know what I mean by=20
  >>"frame".  I'm not sure what the actual name of that type of purse=20
  >>would be. Does anyone know where I can purchase such an item?  I=20
  >>have yet to turn up a merchant who sells them.  Any help would be =
appreciated.
  >>
  >>Cheers,
  >>Danielle

  _______________________________________________
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References: <200705170132.l4H1WVgt047947@net.indra.com>
	<464BC6EB.5030308@worldnet.att.net>
Subject: Re: [h-cost] measurement chart site?
Date: Thu, 17 May 2007 10:26:53 -0700
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Status: RO

You'd think this would be easy no?  You might end up having get one out =
of a sewing book.  Even my pattern drafting book doesn't have a neat =
little chart.

http://www.twinrosesdesigns.com/Full_Body_Measurements_w_text_Bristol.jpg=
<http://www.twinrosesdesigns.com/Full_Body_Measurements_w_text_Bristol.jp=
g>
https://secure.aeonflux.net/spandexwear/spandex-order.htm<https://secure.=
aeonflux.net/spandexwear/spandex-order.htm> (the picture on the home =
page for this one is down right scary)
http://www.tutu.com/meascht_womens_chartemail.html<http://www.tutu.com/me=
ascht_womens_chartemail.html>

http://www.dtic.mil/whs/directives/infomgt/forms/eforms/dd1111.pdf<http:/=
/www.dtic.mil/whs/directives/infomgt/forms/eforms/dd1111.pdf> (There is =
also one for men)

I just googled body measure chart blank=20

  ----- Original Message -----=20
  From: Kiloran@worldnet.att.net<mailto:Kiloran@worldnet.att.net>=20
  To: h-costume@indra.com<mailto:h-costume@indra.com>=20
  Sent: Wednesday, May 16, 2007 8:07 PM
  Subject: [h-cost] measurement chart site?


  Can an body recommend a website where I can find a form of some kind=20
  that shows all the various body measurements you'd need to take of a=20
  person if you were going to make clothing or garb for them? I know the =

  standard ones (bust, waist, etc.) but I'd really like to find a =
detailed=20
  chart that I can use.
  Julie
  _______________________________________________
  h-costume mailing list
  h-costume@mail.indra.com<mailto:h-costume@mail.indra.com>
  =
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Status: RO

Wow! Thanks for those sites! I guess I was googling the wrong 
combination of words. And you're right, that one picture gave me the creeps!
Julie
> ----------------------------------------------------------------------
>
> Message: 1
> Date: Thu, 17 May 2007 10:26:53 -0700
> From: "Saragrace Knauf" <wickedfrau@msn.com>
> Subject: Re: [h-cost] measurement chart site?
> To: "Historical Costume" <h-costume@indra.com>
> Message-ID: <BAY133-DAV17EE6AEB8AD07BADF31EB5D2330@phx.gbl>
> Content-Type: text/plain;	charset="iso-8859-1"
>
> You'd think this would be easy no?  You might end up having get one out of a sewing book.  Even my pattern drafting book doesn't have a neat little chart.
>
> http://www.twinrosesdesigns.com/Full_Body_Measurements_w_text_Bristol.jpg<http://www.twinrosesdesigns.com/Full_Body_Measurements_w_text_Bristol.jpg>
> https://secure.aeonflux.net/spandexwear/spandex-order.htm<https://secure.aeonflux.net/spandexwear/spandex-order.htm> (the picture on the home page for this one is down right scary)
> http://www.tutu.com/meascht_womens_chartemail.html<http://www.tutu.com/meascht_womens_chartemail.html>
>
> http://www.dtic.mil/whs/directives/infomgt/forms/eforms/dd1111.pdf<http://www.dtic.mil/whs/directives/infomgt/forms/eforms/dd1111.pdf> (There is also one for men)
>
> I just googled body measure chart blank 
>
>   ----- Original Message ----- 
>   From: Kiloran@worldnet.att.net<mailto:Kiloran@worldnet.att.net> 
>   To: h-costume@indra.com<mailto:h-costume@indra.com> 
>   Sent: Wednesday, May 16, 2007 8:07 PM
>   Subject: [h-cost] measurement chart site?
>
>
>   Can an body recommend a website where I can find a form of some kind 
>   that shows all the various body measurements you'd need to take of a 
>   person if you were going to make clothing or garb for them? I know the 
>   standard ones (bust, waist, etc.) but I'd really like to find a detailed 
>   chart that I can use.
>   Julie
>   _______________________________________________
>   h-costume mailing list
>   h-costume@mail.indra.com<mailto:h-costume@mail.indra.com>
>   http://mail.indra.com/mailman/listinfo/h-costume<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: Kathy Page <caitlin_oduibhir@yahoo.ca>
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Subject: [h-cost] Re: h-costume Digest, Vol 6, Issue 240
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Status: RO

There is a bit of a hair to split in these statements. =0A=0A"Split" is an =
important word here. The 16th century Sicilian underwear are not split in t=
he 19th century sense. They are fully attached at the crotch seam, not sepa=
rate tubes attached at the waist. =0A=0AThe Met collection has been identif=
ied microscopically as "most likely linen"; a bast fibre. =0A=0ASo far, Sic=
ily seems to be more the anomaly in European cultures, underwear on women b=
eing more acceptable amongst the "proper" females, as opposed to the prosti=
tutes. In Italy, underwear were used for horseback riding, I would hazard o=
ther cultures are similar - the notion of sticking to a leather seat seems =
pretty universally unattractive. The Pepys quote also mentions that he disd=
ained her using underwear, because to him it was a sign of unfaithfulness. =
The other text quote by Fynes Morison is often taken out of context, the fu=
ll quote actually explains who he is talking to - courtesans, during Festiv=
al season. Gender bending was a common costume during that season.=0A=0AKat=
hy=0A =0AErmine, a lion rampant tail nowed gules charged on the shoulder wi=
th a rose Or barbed, seeded, slipped and leaved vert=0A(Fieldless) On a ros=
e Or barbed vert a lion's head erased gules. =0AIt=92s never too late to be=
 who you might have been.=0A-George Eliot=0ATosach e=F3lais imchomarc. - Qu=
estioning is the beginning of knowledge. http://www.sengoidelc.com/node/131=
=0A=0AFrom: Lynn Roth <lynnroth@sbcglobal.net>=0ASubject: Re: [h-cost] Spli=
t drawer's expert?=0ATo: Historical Costume <h-costume@indra.com>=0AMessage=
-ID: <936572.90354.qm@web81115.mail.mud.yahoo.com>=0AContent-Type: text/pla=
in; charset=3Diso-8859-1=0A=0AI'm neew to this list and have enjoyed learni=
ng a lot of different things.  I do recreating the 1500's.  I didn't realiz=
e that they had split drawers in the 16th cen.  Do you have any historical =
evidence that they had them in the nobility class in the midto late 1500's,=
 and what they were made of?  I would appreciate any information.  Lynn=0A=
=0ASue Clemenger <mooncat@in-tch.com> wrote:=0A  Dunno about the 18th centu=
ry, but there are rare surviving examples of them=0Afrom the 16th century. =
I suspect that it was something that came and went,=0Aas a style.=0A=0A=0A=
=0A=0A=0A=0A=0A=0A      Get a sneak peak at messages with a handy reading p=
ane with All new Yahoo! Mail: http://mrd.mail.yahoo.com/try_beta?.intl=3Dca
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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Re: new costume and textile books from DBBC
Date: Thu, 17 May 2007 14:26:36 -0400
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Status: RO

On Thursday 17 May 2007, Cynthia J Ley wrote:
> Don't shoot the messenger! blame it on Ian at David Brown Book Company!

I just got my copy in today's mail.  (And because I'm home sick, I'm here to 
look at it, hee, hee).

However, I did not get it from David Brown.  Last week I found a UK vendor 
through Amazon Marketplace called The Book Depository who was promising to 
sell it for about $29 USD plus $3.49 USD shipping (Amazon marketplace's 
standard shipping rate).  So I grabbed it and cancelled my DBBC order, and 
TBD delievered!


-- 
Cathy Raymond <cathy@thyrsus.com>

"You've got to have the proper amount of disrespect for what you do."  
-- George Mabry

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Subject: Re: [h-cost] Split drawer's expert?
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Status: RO

=20
> I'm neew to this list and have enjoyed learning a lot of=20
> different things.  I do recreating the 1500's.  I didn't=20
> realize that they had split drawers in the 16th cen.  Do you=20
> have any historical evidence that they had them in the=20
> nobility class in the midto late 1500's, and what they were=20
> made of?  I would appreciate any information.  Lynn

I'm not an expert on split drawers, but I believe the surviving examples =
in the 1500s are all Italian (and all decidedly upper-class). They are =
discussed in either _Moda a Firenze_ or _Queen Elizabeth's Wardrobe =
Unlock'd_ (I'm away from my library so I can't check, sorry! It may be =
discussed in both...). Another place to look is the Realm of =
Venus>Library>Drawers - Brache or Calze:

The article is: =
http://realmofvenus.renaissanceitaly.net/library/drawers.htm

Pictures of extant drawers (not all with split legs): =
http://realmofvenus.renaissanceitaly.net/library/extdraw.htm
http://realmofvenus.renaissanceitaly.net/library/extdraw1.htm
http://realmofvenus.renaissanceitaly.net/library/extdraw2.htm

A while ago, I thought someone from this list went to the Met in NY to =
look at extant 16th cent. Italian chemises and drawers, but I no longer =
remember _who_...
	Hope that helps,
		-sunny
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Status: RO

Somewhere I have information on the wardrobe of Juana "the Mad" 
(Katherine of Aragon's sister) . . . she wore drawers.

Fran

sunshine_buchler@agilent.com wrote:

>  
> 
>>I'm neew to this list and have enjoyed learning a lot of 
>>different things.  I do recreating the 1500's.  I didn't 
>>realize that they had split drawers in the 16th cen.  Do you 
>>have any historical evidence that they had them in the 
>>nobility class in the midto late 1500's, and what they were 
>>made of?  I would appreciate any information.  Lynn
> 
> 
> I'm not an expert on split drawers, but I believe the surviving examples in the 1500s are all Italian (and all decidedly upper-class). They are discussed in either _Moda a Firenze_ or _Queen Elizabeth's Wardrobe Unlock'd_ (I'm away from my library so I can't check, sorry! It may be discussed in both...). Another place to look is the Realm of Venus>Library>Drawers - Brache or Calze:
> 
> The article is: http://realmofvenus.renaissanceitaly.net/library/drawers.htm
> 
> Pictures of extant drawers (not all with split legs): http://realmofvenus.renaissanceitaly.net/library/extdraw.htm
> http://realmofvenus.renaissanceitaly.net/library/extdraw1.htm
> http://realmofvenus.renaissanceitaly.net/library/extdraw2.htm
> 
> A while ago, I thought someone from this list went to the Met in NY to look at extant 16th cent. Italian chemises and drawers, but I no longer remember _who_...
> 	Hope that helps,
> 		-sunny
> _______________________________________________
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> 
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Date: Thu, 17 May 2007 12:31:17 -0700 (PDT)
From: MaggiRos <maggiros@yahoo.com>
Subject: Re: [h-cost] Looking for 15th century replica frame-opening style
	purse
To: Historical Costume <h-costume@indra.com>
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Status: RO


--- Cynthia Virtue
<cvirtue+dated+1194972261.946176@thibault.org> wrote:

> MaggiRos wrote:
> > What's being asked for is (or should be)something
> like
> > this
> >
> http://www.curiousfrau.com/Art_Research/pouches.htm
> >
> > I don't know anyone who makes them, although
> something
> > similar can be built on with a plain ring. 
> >   
> What a useful page -- thank  you!
You're welcome!

> Here are the two that are in Boucher:
> 
>
http://www.virtue.to/articles/images/1400s_real_purses.jpg
>

Yes, exactly. It's good to look at the pictures and
start to see what's there is not what you expect. One
of my favorite resources is J.R. Hale's Artists &
Warfare in the Renaissance. ISBN-13: 978-0300048407
http://www.amazon.com/Artists-Warfare-Renaissance-J-Hale/dp/0300048408

It's both an art book and a history book, and the
details even in the large scenes are amazing.
Excellent sources for both German and Italian soldiers
and their women, plus nobles and some pageant stuff.

MaggiRos



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Subject: [h-cost] 16th Century Hats
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Status: RO



I've heard people talk about making hats out of theatrical buckram. But I =
didn't think that Buckram, as we know it, existed in the 16th century. If =
not, then what DID exist as "Buckram"? What were the internal structure of =
hats made out of?=20
I've seen the wire frame for the gabled hood at the V&A, but there had to =
have been more to the support structure than just wires.=20

Any input, sources, opinions...etc. are greatly appreciated.

- Tori



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Status: RO

Hello,

            The Threads magazine site has a pretty decent chart for =
women's clothes and also one that can be used to figure ease based on =
favorite garments.  Look under sewing basics and fitting.


                                        Anna von Argenthal
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apologies for not changing titles in my last post - realised as I hit the  
button I hadn't (was up all night so not entirely with it - sos!!)
 
debs



   
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Date: Thu, 17 May 2007 16:34:52 -0700 (PDT)
From: Ann Catelli <elvestoorder@yahoo.com>
To: Historical Costume <h-costume@indra.com>
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Subject: [h-cost] Re: Split drawers expert?
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Status: RO


--- Sue Clemenger <mooncat@in-tch.com> wrote:

> split drawers 
> I
> was wondering if that "flip the skirts up over one's
> head and wiggle one's
> backside move, or the high kicks, originally offered
> more of a *koff* view
> than we'd think).  When did it become common
> practice for the split to be sewn up?
> --Sue

About the time the cancan was invented.  
At least for actresses and other notorious female
segments of society.

They were showing the new shocking Closed
Drawers--very masculine garments, you understand.


Open drawers are a lot more practical if you are
wearing your drawers under your corsets, of course.

Closed drawers (or modern underpants) can be yanked
down in an emergency, but are really difficult to get
back in place after the emergency had been dealt with.
:/

Ann in CT


 
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From: "Sharon Collier" <sharon@collierfam.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Looking for 15th century replica frame-opening style
	purse
Date: Thu, 17 May 2007 17:30:50 -0700
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Status: RO

I asked the woman who has one. She made hers using 2 metal embroidery
frames. She attached them together with a lightweight hinge, which she =
sewed
on. I think she covered the frames first, then sewed on the hinge. Hope =
this
helps.

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] =
On
Behalf Of Danielle Nunn-Weinberg
Sent: Thursday, May 17, 2007 12:15 AM
To: Historical Costume
Subject: [h-cost] Looking for 15th century replica frame-opening style =
purse


Greetings,

I'm looking for a 15th century replica frame-opening style purse.  It=20
has a metal circular opening (with a hinged lid) that the leather=20
pouch hangs from, in case you don't know what I mean by "frame".  I'm=20
not sure what the actual name of that type of purse would be. Does=20
anyone know where I can purchase such an item?  I have yet to turn up=20
a merchant who sells them.  Any help would be appreciated.

Cheers,
Danielle

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From: "michaela de bruce" <michaela.de.bruce@gmail.com>
To: "Historical Costume" <h-costume@indra.com>
Subject: Re: [h-cost] 16th Century Hats
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Status: RO

> I've heard people talk about making hats out of theatrical buckram. But I didn't think that Buckram, as we know it, existed in the 16th century. If not, then what DID exist as "Buckram"? What were the internal structure of hats made out of?

As far as I can tell there is buckram (buckeram, bokeram etc) which is
a linen cloth and then there is stiffened buckram (buckeram, bokeram
etc) which is stiffened with glue in much the same way as modern
buckram is. There is probably a difference in glue type and weave
though;)

Bokeram as a lining for a dress:
Part XII: Privy Purse Expenses of Elizabeth of York: Entries #32 through 41.
http://www.r3.org/bookcase/wardrobe/ward12.html
"Itm....the same day to Henry Bryan for xvij yerdes of blake velvet
for a gowne for the Quene at x s. vj d. the yerde viij li. xviij s. vj
d. Itm for xiij yerdes of blake satten delivered to Johnson for a
riding gowne for the Quene at ix s. the yerde C xvij s. Itm for a
yerde di quarter of blake velvet for an edge and cuffes for the same
gowne at xj s. vj d. the yerde xiij s. Itm for vij yerdes di of blake
bokeram for lynyng of the same gowne at ix d. the yerde v s. viij d.
ob. Itm for a nayle of sarcenet for fentes for the same gowne iiij d.
and for an elle quarter of canvase for lynyng of the same gowne vj d.
Sm{a} ----------xv li. xiiij s. xj d. ob."
The style at the time doesn't suggest that this would be stiffened
buckram. The canvas above could also be for interlining the body for
support.


Canvas is also mentioned for a lining:
Part VIII: Privy Purse Expenses of Elizabeth of York: Entries #1 through 7.
http://www.r3.org/bookcase/wardrobe/ward9.html
" Itm for upper bodyeng sleving and lynyng of a gowne of blake velvet
for the Quene of Scottes xx d. Itm for canvas to the same iij d."
 (btw I love this  "Itm for a grete basket for the Quenes stuf vj d""
for her "stuff")

Mary's wardrobe accounts apparently include a fine paste buckram for a
farthingale I think....

Michaela de Bruce
http://glittersweet.com
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Subject: Re: [h-cost] measurement chart site?
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Status: RO

don't know of a website, but metric pattern cutting by winifred aldwych  
(sp?) has good charts (though they're obv metric - I tend to convert to inches  on 
a spreadsheet)



   
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From: "Sue Clemenger" <mooncat@in-tch.com>
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References: <200705171701.l4HH0ooj045967@net.indra.com>
	<63D1F08E0E9EAF4185B5AE02D5C0D96402C926C9@wcosmb05.cos.agilent.com>
Subject: Re: [h-cost] Split drawer's expert?
Date: Thu, 17 May 2007 19:27:10 -0600
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Status: RO

Thanks, Sunny...those were the ones I was thinking of when I posted this
morning.... (the ones in _QE Unlocked_).
--Sue

----- Original Message -----
From: <sunshine_buchler@agilent.com>
To: <h-costume@indra.com>
Sent: Thursday, May 17, 2007 12:48 PM
Subject: Re: [h-cost] Split drawer's expert?


>
> > I'm neew to this list and have enjoyed learning a lot of
> > different things.  I do recreating the 1500's.  I didn't
> > realize that they had split drawers in the 16th cen.  Do you
> > have any historical evidence that they had them in the
> > nobility class in the midto late 1500's, and what they were
> > made of?  I would appreciate any information.  Lynn
>
> I'm not an expert on split drawers, but I believe the surviving examples
in the 1500s are all Italian (and all decidedly upper-class). They are
discussed in either _Moda a Firenze_ or _Queen Elizabeth's Wardrobe
Unlock'd_ (I'm away from my library so I can't check, sorry! It may be
discussed in both...). Another place to look is the Realm of
Venus>Library>Drawers - Brache or Calze:
>
> The article is:
http://realmofvenus.renaissanceitaly.net/library/drawers.htm
>
> Pictures of extant drawers (not all with split legs):
http://realmofvenus.renaissanceitaly.net/library/extdraw.htm
> http://realmofvenus.renaissanceitaly.net/library/extdraw1.htm
> http://realmofvenus.renaissanceitaly.net/library/extdraw2.htm
>
> A while ago, I thought someone from this list went to the Met in NY to
look at extant 16th cent. Italian chemises and drawers, but I no longer
remember _who_...
> Hope that helps,
> -sunny


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From: "E House" <swissgirl@swissinfo.org>
To: "Historical Costume" <h-costume@indra.com>
References: <318546.1522.qm@web52101.mail.re2.yahoo.com>
	<00c401c797c4$d5755850$52a73743@denise8541f2db>
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Status: RO

Not too long ago I chanced on a very interesting piece of wool fabric.  It's 
100% wool, but due to the way it's made, it has as much natural stretch as a 
lycra/wool blend!  (Yes, I'm sure it's 100% wool.)

It's a slightly loose basket weave, but that alone isn't what makes it so 
stretchy; rather, the stretchiness seems to come from the fact that both 
warp and weft are VERY tightly twisted.  With the slightly loose weave, both 
warp and weft sort of crimp up a lot more than you usually see, so when you 
pull on it, the threads straighten out temporarily.  The tightness of the 
spinning keeps the whole thing from shrinking up; the weave stays slightly 
loose.  (If it shrank at all after I washed it, the amount was too small for 
me to measure.)  When pulled, it stretches to about 110%-115% of its 
original length/width.  That may not sound like much, but it's a whole lot 
when, say, you're making a supportive gown, or a pair of hose.

I'm in love with it.  I've got about 7 yds of it, and I am afraid to use it, 
because my hoarding instinct says it must be saved for the exact right 
project.  (It wants to be 2 different styles of supportive undergowns, and I 
think I can get both out of it, but then it'd be gone and I'd lose/gain 20 
lbs and be unable to wear them.)

But more importantly, it has completely changed my idea of how much stretch 
medieval wool fabrics might have had!  I've read archaeological reports of 
worsted textiles made from yarns spun with a high twist before; I am now 
going to go back and give them a much closer look.  Somehow, I doubt that 
the archaeologists who studied those textiles gave 'em a good stretch...

-E House



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From h-costume-bounces@indra.com  Fri May 18 00:17:45 2007
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From: "Sharon Collier" <sharon@collierfam.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Looking for 15th century replica frame-opening style
	purse
Date: Thu, 17 May 2007 21:16:27 -0700
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Status: RO

Another place to try is
www.rockettsforge.com
He has lots of period things, plus he can make something if you don't =
see it
on his site. He is very nice, does good work and his things are =
excellent
quality.

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] =
On
Behalf Of Danielle Nunn-Weinberg
Sent: Thursday, May 17, 2007 12:15 AM
To: Historical Costume
Subject: [h-cost] Looking for 15th century replica frame-opening style =
purse


Greetings,

I'm looking for a 15th century replica frame-opening style purse.  It=20
has a metal circular opening (with a hinged lid) that the leather=20
pouch hangs from, in case you don't know what I mean by "frame".  I'm=20
not sure what the actual name of that type of purse would be. Does=20
anyone know where I can purchase such an item?  I have yet to turn up=20
a merchant who sells them.  Any help would be appreciated.

Cheers,
Danielle

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To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] not Perpignan, but... (stretchy wools)
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Status: RO

Where did you get it?

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] =
On
Behalf Of E House
Sent: Thursday, May 17, 2007 10:35 AM
To: Historical Costume
Subject: [h-cost] not Perpignan, but... (stretchy wools)


Not too long ago I chanced on a very interesting piece of wool fabric.  =
It's

100% wool, but due to the way it's made, it has as much natural stretch =
as a

lycra/wool blend!  (Yes, I'm sure it's 100% wool.)

It's a slightly loose basket weave, but that alone isn't what makes it =
so=20
stretchy; rather, the stretchiness seems to come from the fact that both =

warp and weft are VERY tightly twisted.  With the slightly loose weave, =
both

warp and weft sort of crimp up a lot more than you usually see, so when =
you=20
pull on it, the threads straighten out temporarily.  The tightness of =
the=20
spinning keeps the whole thing from shrinking up; the weave stays =
slightly=20
loose.  (If it shrank at all after I washed it, the amount was too small =
for

me to measure.)  When pulled, it stretches to about 110%-115% of its=20
original length/width.  That may not sound like much, but it's a whole =
lot=20
when, say, you're making a supportive gown, or a pair of hose.

I'm in love with it.  I've got about 7 yds of it, and I am afraid to use =
it,

because my hoarding instinct says it must be saved for the exact right=20
project.  (It wants to be 2 different styles of supportive undergowns, =
and I

think I can get both out of it, but then it'd be gone and I'd lose/gain =
20=20
lbs and be unable to wear them.)

But more importantly, it has completely changed my idea of how much =
stretch=20
medieval wool fabrics might have had!  I've read archaeological reports =
of=20
worsted textiles made from yarns spun with a high twist before; I am now =

going to go back and give them a much closer look.  Somehow, I doubt =
that=20
the archaeologists who studied those textiles gave 'em a good stretch...

-E House



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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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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] not Perpignan, but... (stretchy wools)
Date: Fri, 18 May 2007 00:35:12 -0400
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Status: RO


> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
> Behalf Of E House
> Sent: Thursday, May 17, 2007 10:35 AM
> To: Historical Costume
> Subject: [h-cost] not Perpignan, but... (stretchy wools)
>
>
> Not too long ago I chanced on a very interesting piece of wool fabric. 
> It's
>
> 100% wool, but due to the way it's made, it has as much natural stretch as
> a lycra/wool blend!  (Yes, I'm sure it's 100% wool.)
>
> It's a slightly loose basket weave, but that alone isn't what makes it so
> stretchy; rather, the stretchiness seems to come from the fact that both
> warp and weft are VERY tightly twisted.  With the slightly loose weave,
> both warp and weft sort of crimp up a lot more than you usually see, so when 
> you  pull on it, the threads straighten out temporarily.  The tightness of 
> the spinning keeps the whole thing from shrinking up; the weave stays 
>slightly loose.  (If it shrank at all after I washed it, the amount was too 
> small for me to measure.)  When pulled, it stretches to about 110%-115% of 
> its  original length/width.  That may not sound like much, but it's a whole 
> lot when, say, you're making a supportive gown, or a pair of hose.

Sounds like a wool crepe to me.  I used some for a bliaut once, and it molded 
to my form and refused to form the characteristic wrinkles.  




-- 
Cathy Raymond <cathy@thyrsus.com>

"You've got to have the proper amount of disrespect for what you do."  
-- George Mabry

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From: "Elizabeth Walpole" <ewalpole@tpg.com.au>
To: "Historical Costume" <h-costume@indra.com>
References: <000801c7960e$a874bd80$eaf1f4dc@user4712b7d135>
Subject: Re: [h-cost] a cheat's late Victorian hat
Date: Fri, 18 May 2007 14:44:42 +1000
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Status: RO

thanks for everyone for the advice, I'm going to cut out the Butterick 
bonnet 
(http://store.sewingtoday.com/cgi-bin/butterick/shop.cgi?s.item.B4210=x&TI='4210'&page=1 
view B but minus the brim so it will stop where the trim is in the picture) 
in paper and see how  it looks. If that doesn't work I'll just have to wait 
a while until I have time to get to an op shop (aka thrift store / charity 
shop, and people say we speak the same language :-D) and see if they have 
any hats I could re-make (at the moment I'm working on this in 5 minute 
blocks in between trying to write 5 essays for Uni)
Elizabeth
--------------------------------------------
Elizabeth Walpole
Canberra Australia
ewalpole[at]tpg.com.au
http://au.geocities.com/amiperiodornot/

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Date: Fri, 18 May 2007 02:51:19 -0500
To: Historical Costume <h-costume@indra.com>
From: Danielle Nunn-Weinberg <gilshallos@comcast.net>
Subject: Re: [h-cost] Looking for 15th century replica frame-opening
	style purse
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Status: RO

Thank you, that is it exactly!  I don't know the name for it either, 
so I was trying to describe as bet I could.  From what I've seen of 
them, not having looked at any closely.  It has to have a lid because 
my husband loses everything.

Cheers,
Danielle

At 11:37 AM 5/17/2007, you wrote:
>Is this what you're looking for, but with a "lid"?
>http://www.answers.com/topic/thomas-howard-4th-duke-of-norfolk-02-jpg
>
>I call mine a "ring pouch" but I have no idea what
>it's right name is.
>
>MaggiRos
>
>--- Danielle Nunn-Weinberg <gilshallos@comcast.net>
>wrote:
>
> > Greetings,
> >
> > I'm looking for a 15th century replica frame-opening
> > style purse.  It
> > has a metal circular opening (with a hinged lid)
> > that the leather
> > pouch hangs from, in case you don't know what I mean
> > by "frame".

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Date: Fri, 18 May 2007 02:56:53 -0500
To: Historical Costume <h-costume@indra.com>
From: Danielle Nunn-Weinberg <gilshallos@comcast.net>
Subject: Re: [h-cost] Looking for 15th century replica frame-openingstyle purse
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Status: RO

Thank you!  I will check him out.

Cheers,
Danielle

At 12:00 PM 5/17/2007, you wrote:
>If you can't find what you want commercially, I highly recommend this fellow.
>http://www.hr-replikate.de/englisch/index.html<http://www.hr-replikate.de/englisch/index.html>
>He does wonderful work, and is reasonable.
>
>
>Saragrace
>
>   >----- Original Message ----- From: "Danielle Nunn-Weinberg"
>   ><gilshallos@comcast.net<mailto:gilshallos@comcast.net>>
>   >To: "Historical Costume" <h-costume@indra.com<mailto:h-costume@indra.com>>
>   >Sent: Thursday, May 17, 2007 9:15 AM
>   >Subject: [h-cost] Looking for 15th century replica frame-opening 
> style purse
>   >
>   >
>   >>Greetings,
>   >>
>   >>I'm looking for a 15th century replica frame-opening style
>   >>purse.  It has a metal circular opening (with a hinged lid) that
>   >>the leather pouch hangs from, in case you don't know what I mean by
>   >>"frame".  I'm not sure what the actual name of that type of purse
>   >>would be. Does anyone know where I can purchase such an item?  I
>   >>have yet to turn up a merchant who sells them.  Any help would 
> be appreciated.
>   >>
>   >>Cheers,
>   >>Danielle

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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] a cheat's late Victorian hat
Date: Fri, 18 May 2007 20:31:24 +1000
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<snip>
> I'd go super Edward Gorey just for the fun of it. All black....long 
> dramatic
> veil....maybe a black fur boa-like stole. Black gloves and a large  black
> umbrella. Be sure to paint some circles under your moist eyes that you 
> keep
> dabbing with that huge black lace hanky. And walk around in a 
> daze...completely
> devastated.

Yep, that's pretty much my vision too melodramatic mourning, as the grieving 
widow. Except the hanky is white bordered with black ribbon (authentic 
Victorian practice for a mourning hanky) with an A embroidered on it for my 
poor lost Albert (it's actually A for Anne, my sister but she says she 
doesn't want it as she uses tissues so all I need to do is add a black 
ribbon border) alternatively as the theme is an Irish wake I might ask my 
Grandma if she has any hankys embroidered with a P (for Pam) so I can bewail 
the fate of my poor dead Patrick ;-) I'm also keeping an eye out for a plain 
gold 'wedding' ring when I go shopping, but I don't think the prospects are 
that good (most of that cheap plastic stuff is designed for little girls and 
I don't have small enough hands to get away with them).
I went through my cupboard and I was quite surprised at the number of black 
accessories I have, just not a hat or a dress. I've got leather gloves (my 
regular winter gloves) a faux fur stole, a real fur muff (though I'm not 
sure if I'll take that it's my only real fur item and it's too precious to 
me and hard to clean to risk stuff getting spilt on it) a black chiffon 
scarf, a drawstring velveteen pouch (one of the first accessories I made for 
SCA), plus a 5m roll of gros grain ribbon (that I didn't end up using on 
another project because I found something better) and a couple of black 
fabrics I can use as trim.
Elizabeth
--------------------------------------------
Elizabeth Walpole
Canberra Australia
ewalpole[at]tpg.com.au
http://au.geocities.com/amiperiodornot/

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References: <000c01c79903$923559b0$0200a8c0@bob3pc>
	<200705180035.12698.cathy@thyrsus.com>
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Status: RO

Definitely not crepe; it's a basketweave, plain and simple. Ok, not entirely 
simple! =} It was from fashion fabrics, but I'd be surprised if they still 
have it, sigh.

-E House
(avoiding FFC on account of how they treated Cathy...) 

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From: Ruth Anne Baumgartner <ruthanneb@mindspring.com>
Subject: Re: [h-cost] a cheat's late Victorian hat
Date: Fri, 18 May 2007 09:58:30 -0400
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Status: RO

For the plain gold ring, go to an antiques shop. Some sell plain gold  
bands priced more by weight than by aesthetic or antiquarian value  
(so, depending on K, $20-$40 is what I've paid); and in a shop that  
carries "old & collectible" as well as "antique" you have a good  
chance of finding a wedding band that's gold-filled rather than solid  
gold--I've bought a couple of these in the $10-$15 range over the  
years. Why do I need so many wedding bands? I wear a lot of rings at  
a time and like to stack plain bands on one finger. More urgently, I  
direct and costume in community theater and often need to put rings  
on an actor. I've got wedding bands in many sizes! I wouldn't choose  
plastic even if I found it: I like the weight of a "real" ring and I  
do think it reads onstage, and of course the real ring lasts for more  
than one use.

--Ruth Anne Baumgartner
scholar gypsy and amateur costumer
On May 18, 2007, at 6:31 AM, Elizabeth Walpole wrote:

> <snip>
>> I'd go super Edward Gorey just for the fun of it. All  
>> black....long dramatic
>> veil....maybe a black fur boa-like stole. Black gloves and a  
>> large  black
>> umbrella. Be sure to paint some circles under your moist eyes that  
>> you keep
>> dabbing with that huge black lace hanky. And walk around in a  
>> daze...completely
>> devastated.
>
> Yep, that's pretty much my vision too melodramatic mourning, as the  
> grieving widow. Except the hanky is white bordered with black  
> ribbon (authentic Victorian practice for a mourning hanky) with an  
> A embroidered on it for my poor lost Albert (it's actually A for  
> Anne, my sister but she says she doesn't want it as she uses  
> tissues so all I need to do is add a black ribbon border)  
> alternatively as the theme is an Irish wake I might ask my Grandma  
> if she has any hankys embroidered with a P (for Pam) so I can  
> bewail the fate of my poor dead Patrick ;-) I'm also keeping an eye  
> out for a plain gold 'wedding' ring when I go shopping, but I don't  
> think the prospects are that good (most of that cheap plastic stuff  
> is designed for little girls and I don't have small enough hands to  
> get away with them).
> I went through my cupboard and I was quite surprised at the number  
> of black accessories I have, just not a hat or a dress. I've got  
> leather gloves (my regular winter gloves) a faux fur stole, a real  
> fur muff (though I'm not sure if I'll take that it's my only real  
> fur item and it's too precious to me and hard to clean to risk  
> stuff getting spilt on it) a black chiffon scarf, a drawstring  
> velveteen pouch (one of the first accessories I made for SCA), plus  
> a 5m roll of gros grain ribbon (that I didn't end up using on  
> another project because I found something better) and a couple of  
> black fabrics I can use as trim.
> Elizabeth
> --------------------------------------------
> Elizabeth Walpole
> Canberra Australia
> ewalpole[at]tpg.com.au
> http://au.geocities.com/amiperiodornot/
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume

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Subject: [h-cost] rings for costume
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Status: RO

Try a pawn shop or your local wal-mart equivalent.  Wal-mart has some 
narrow, light weight 10K wedding rings extremely low priced. They usually 
have at least one in every size to try on and take home that day w/o waiting 
for re-sizing.  Often you can get gold-over-sterling even cheaper, and plain 
sterling bands for next to nothing.

Denise
Iowa 

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From: "Chiara Francesca" <chiara.francesca@gmail.com>
To: "Historical Costume" <h-costume@indra.com>
References: <d22.5aedaca.337ba7e5@aol.com><000c01c79937$b0730f10$21d9f5dc@user4712b7d135><E6203D16-32D9-46FC-8117-A81411F47D89@mindspring.com>
	<021901c79959$fc15e1a0$52a73743@denise8541f2db>
Subject: Re: [h-cost] rings for costume
Date: Fri, 18 May 2007 09:47:44 -0500
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Status: RO

Believe it or not JCPenny has some nice thin band with no decoration rings 
as well, 10k, 14k, and they have the rose gold ones too.

Prices are pretty good too.

Another resource would be your closest college town that has one of those 
beatnik walk through open air shopping areas

Chiara


----- Original Message ----- 
From: "Land of Oz" <landofoz@netins.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, May 18, 2007 9:36 AM
Subject: [h-cost] rings for costume


> Try a pawn shop or your local wal-mart equivalent.  Wal-mart has some 
> narrow, light weight 10K wedding rings extremely low priced. They usually 
> have at least one in every size to try on and take home that day w/o 
> waiting for re-sizing.  Often you can get gold-over-sterling even cheaper, 
> and plain sterling bands for next to nothing.
>
> Denise
> Iowa
> _______________________________________________
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> h-costume@mail.indra.com
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From: Sylvia Rognstad <sylvia@ntw.net>
Subject: Re: [h-cost] measurement chart site?
Date: Fri, 18 May 2007 18:38:15 -0600
To: Historical Costume <h-costume@indra.com>
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Status: RO

I can't recall where this came from, but it seems quite thorough.  
Don't forget to click on the link for the diagram.
http://www.insideleg.com/blanksheet.php

Sylvia Rognstad
Divinity Designs and Emeralds
http://www.d-e-designs.com

On May 16, 2007, at 9:07 PM, Kiloran@worldnet.att.net wrote:

> Can an body recommend a website where I can find a form of some kind 
> that shows all the various body measurements you'd need to take of a 
> person if you were going to make clothing or garb for them? I know the 
> standard ones (bust, waist, etc.) but I'd really like to find a 
> detailed chart that I can use.
> Julie
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From: Kathy Page <caitlin_oduibhir@yahoo.ca>
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Status: RO

Fran, =0A=0AIf you can locate that reference somewhere, I'd love to have it=
. That further supports my theory about the Sicilian underwear. Eleonora's =
wardrobe accounts show underwear coming with her from Naples to Florence, b=
ut Italians disdained the, having the prostitute implication attached. =0A=
=0AKathy=0A =0AErmine, a lion rampant tail nowed gules charged on the shoul=
der with a rose Or barbed, seeded, slipped and leaved vert=0A(Fieldless) On=
 a rose Or barbed vert a lion&#39;s head erased gules. =0AIt=92s never too =
late to be who you might have been.=0A-George Eliot=0ATosach e=F3lais imcho=
marc. - Questioning is the beginning of knowledge. =0AWhere the spirit does=
 not work with the hand, there is no art.=0A-Leonardo da Vinci=0ASomewhere =
I have information on the wardrobe of Juana "the Mad" =0A(Katherine of Arag=
on's sister) . . . she wore drawers.=0A=0A=0A=0A=0A=0A=0A=0A=0A      Be sma=
rter than spam. See how smart SpamGuard is at giving junk email the boot wi=
th the All-new Yahoo! Mail at http://mrd.mail.yahoo.com/try_beta?.intl=3Dca=
=0A
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Status: RO

Sunny,=0AThat would be me. I just presented at Kalamazoo on the topic of th=
e Sicilian trousseau. I do know that the Met will be publishing a major-lea=
gue documentation book on the same topic in the coming years, I guess they =
felt the need to make me the opening act, rather than the major attraction.=
 *shrug* They'll cover way more than I ever could afford to do.=0A=0AAsk ju=
st about anything you want, and I'll do what I can to answer. :-) I have in=
fo on the Venetian camicia, the Sicilian trousseau, and the chopines in the=
ir collection.=0A=0AKathy=0A =0AErmine, a lion rampant tail nowed gules cha=
rged on the shoulder with a rose Or barbed, seeded, slipped and leaved vert=
=0A(Fieldless) On a rose Or barbed vert a lion&#39;s head erased gules. =0A=
It=92s never too late to be who you might have been.=0A-George Eliot=0ATosa=
ch e=F3lais imchomarc. - Questioning is the beginning of knowledge. =0AWher=
e the spirit does not work with the hand, there is no art.=0A-Leonardo da V=
inci=0A=0AA while ago, I thought someone from this list went to the Met in =
NY to look at extant 16th cent. Italian chemises and drawers, but I no long=
er remember _who_...=0A    Hope that helps,=0A        -sunny=0A=0A=0A=0A=0A=
=0A=0A=0A=0A=0A      Ask a question on any topic and get answers from real =
people. Go to Yahoo! Answers and share what you know at http://ca.answers.y=
ahoo.com
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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] Re: Split drawer's expert?
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Status: RO

I'm going from memory, but this might be in:

Anderson, Ruth Matilda. Hispanic Costume 1480–1530. New York: Hispanic 
Society of America, 1979.

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

Kathy Page wrote:
> Fran, 
> 
> If you can locate that reference somewhere, I'd love to have it.
<snip>
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Date: Sat, 19 May 2007 12:13:21 -0400
From: monica spence <monicaspence@optonline.net>
Subject: RE: [h-cost] Somewhat OT -- Black detergent?
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Status: RO

I use Cheer for darks on my dark clothes and have found that my clothes
don't fade. Black and red stay a lot better than they used to. Hope this
helps.
Monica


-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of Lauren Walker
Sent: Wednesday, May 16, 2007 12:00 AM
To: h-costume h-costume
Subject: [h-cost] Somewhat OT -- Black detergent?


Hi,
A couple of the laundry soap companies now offer products recommended
for dark-colored clothes. The liquids appear to actually be dark-
colored themselves. I wear a lot of black, and it fades. I am
wondering if anybody has used any of these products, and if they help
restore dark colors or just mimimize fading, or if, perhaps they do
not do anything at all? Also, did it stain the washer or anything?

In the 18th C and perhaps other times, they was a whole service in
redying black stuff, a function now mostly covered by Rit. I was just
wondering about the effectiveness of these soap things, if anybody's
had experience.
Thanks.
Lauren
Lauren M. Walker
lauren.walker@comcast.net



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From h-costume-bounces@indra.com  Sat May 19 14:54:41 2007
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Subject: [h-cost] A question for the List Mind: Kimono
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Status: RO

hello folks,

The local art Museum is putting together a Kimono show next year.  I'm 
working on their request for a list of magazines to advertise it in 
and/or send anouncements to.  They asked for magazines on Japan.  I'm 
also going to give them textiles, & fiberart.  So, what magazines do you 
think they should hear about?

Just off the top of my head:
Fiberarts
Threads
Sew News
Flying Needle
Orient Express
Oriental Art
Japan Plus
Japan Journal
any number of museum related mags, which they probably know better than I do

I'm hoping for you to give me relatively less well known historical 
society & hobbyist titles. So what do you read, that prints listings of 
museum exhibits?

I'll be grateful for anything you can think of!


Thanks!

Mary Piero Carey
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Subject: [h-cost] Poiret exhibit
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Status: RO

In case you didn't know....there an exhibit of fashions by Poiret at the  Met 
Museum in NYC.
 
You can see a slide show of 9 images [what a tease!] if you go to 
 
NewYorker.com
 
look to the left of the site for "Slide Shows".
 
And while you're there, check out the slide show of Edward Hopper paintings  
on exhibit in Boston. He's like a 20th century Vermeer, IMHO.
 
Both articles that go with these pictures are very interesting.
 
Enjoy!



************************************** See what's free at http://www.aol.com.
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From: Lavolta Press <fran@lavoltapress.com>
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Subject: Re: [h-cost] Poiret exhibit
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Status: RO

There's also a huge accompanying book titled _Poiret_, by Harold Koda 
and Andrew Bolton. My copy arrived yesterday.

The auction catalog, which I also have, actually had a lot more images 
in it than the book.

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


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From: "LLOYD MITCHELL" <rmitchell@washjeff.edu>
To: "Historical Costume" <h-costume@indra.com>
References: <200705180118.l4I1I1LE048918@net.indra.com>
	<464F325B.4000000@compuserve.com>
Subject: Re: [h-cost] A question for the List Mind: Kimono
Date: Sat, 19 May 2007 19:17:11 -0400
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Status: RO

Piecework, for sure.

Kathleen
----- Original Message ----- 
From: "M + D (Mary Piero Carey+Doug Piero Carey)" <mdcarey@compuserve.com>
To: <h-costume@indra.com>
Sent: Saturday, May 19, 2007 1:22 PM
Subject: [h-cost] A question for the List Mind: Kimono


> hello folks,
>
> The local art Museum is putting together a Kimono show next year.  I'm 
> working on their request for a list of magazines to advertise it in and/or 
> send anouncements to.  They asked for magazines on Japan.  I'm also going 
> to give them textiles, & fiberart.  So, what magazines do you think they 
> should hear about?
>
> Just off the top of my head:
> Fiberarts
> Threads
> Sew News
> Flying Needle
> Orient Express
> Oriental Art
> Japan Plus
> Japan Journal
> any number of museum related mags, which they probably know better than I 
> do
>
> I'm hoping for you to give me relatively less well known historical 
> society & hobbyist titles. So what do you read, that prints listings of 
> museum exhibits?
>
> I'll be grateful for anything you can think of!
>
>
> Thanks!
>
> Mary Piero Carey
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume 

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From: "LLOYD MITCHELL" <rmitchell@washjeff.edu>
To: "Historical Costume" <h-costume@indra.com>
References: <ccc.11db10bf.3380b2ec@aol.com> <464F5A2D.2020309@lavoltapress.com>
Subject: Re: [h-cost] Poiret exhibit
Date: Sat, 19 May 2007 19:51:26 -0400
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Status: RO

Fran, how did you get the exhibit volume?  mail order or store visitation? 
One of my favorite designers!  I am currently using the Queen Maude fashion 
collection book for minifashions and would live to get this exhibit book 
also.

Kathleen
----- Original Message ----- 
From: "Lavolta Press" <fran@lavoltapress.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Saturday, May 19, 2007 4:12 PM
Subject: Re: [h-cost] Poiret exhibit


> There's also a huge accompanying book titled _Poiret_, by Harold Koda and 
> Andrew Bolton. My copy arrived yesterday.
>
> The auction catalog, which I also have, actually had a lot more images in 
> it than the book.
>
> Fran
> Lavolta Press
> http://www.lavoltapress.com
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume 

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Subject: Re: [h-cost] Poiret exhibit
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Status: RO

The auction catalog was a limited edition and I got one of the last two 
copies printed, or so they told me. I bought it direct from the auction 
house soon after the auction.  The _Poiret_ museum exhibit book by 
Harold Koda is available on Amazon etc.

Fran

LLOYD MITCHELL wrote:
> Fran, how did you get the exhibit volume?  mail order or store 
> visitation? One of my favorite designers!  I am currently using the 
> Queen Maude fashion collection book for minifashions and would live to 
> get this exhibit book also.
> 
_______________________________________________
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Status: RO

I read the listings in "The Magazine ANTIQUES" but you probably  
already know about that one.  (Public libraries often file it under  
'A' because the word "antiques" appears in a much larger font size  
than the rest of the title; academic libraries may list it  
differently....)  I don't know that I'd bother with Orient Express --  
when I worked in a public library, we found that it was seldom used  
-- YMMV.  They might want to list it on the Costume Society of  
America website, but I suppose the institution would need to belong  
to CSA first.

Actually, I think you've pretty much got it covered already.  :-)

Suzanne


> Date: May 19, 2007 12:22:35 PM CDT
> To: h-costume@indra.com
> Subject: [h-cost] A question for the List Mind: Kimono
> ...
> hello folks,
>
> The local art Museum is putting together a Kimono show next year.   
> I'm working on their request for a list of magazines to advertise  
> it in and/or send anouncements to.  They asked for magazines on  
> Japan.  I'm also going to give them textiles, & fiberart.  So, what  
> magazines do you think they should hear about?
>
> Just off the top of my head:
> Fiberarts
> Threads
> Sew News
> Flying Needle
> Orient Express
> Oriental Art
> Japan Plus
> Japan Journal
> any number of museum related mags, which they probably know better  
> than I do
>
> I'm hoping for you to give me relatively less well known historical  
> society & hobbyist titles. So what do you read, that prints  
> listings of museum exhibits?
>
> I'll be grateful for anything you can think of!
>
>
> Thanks!
>
> Mary Piero Carey

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From: AnnBWass@aol.com
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Date: Sun, 20 May 2007 00:20:58 EDT
Subject: Re: [h-cost] Poiret exhibit
To: h-costume@indra.com
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Status: RO

 
In a message dated 5/19/2007 4:13:22 PM Eastern Daylight Time,  
fran@lavoltapress.com writes:

There's  also a huge accompanying book titled _Poiret_, by Harold Koda 
and Andrew  Bolton. My copy arrived yesterday.



Wow, you mean they got the book done while the exhibit is still up, for a  
change?
 
For those list members who are also members of the Costume Society of  
America, watch your mailboxes.  The Midatlantic Region is sponsoring a  visit to the 
Met on June 23.  We won't get a private tour of the  exhibit--that is a 
logistical nightmare, evidently--but we will get to hear  Harold Koda speak about 
it and then tour on our own.  This is sure to be a  sell-out, so reserve when 
you get your materials in the mail.
 
Ann Wass



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From: "LLOYD MITCHELL" <rmitchell@washjeff.edu>
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Subject: Re: [h-cost] Poiret exhibit
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Status: RO

Thank you, I have already ordered it.
KSM
----- Original Message ----- 
From: "Lavolta Press" <fran@lavoltapress.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Saturday, May 19, 2007 9:46 PM
Subject: Re: [h-cost] Poiret exhibit


> The auction catalog was a limited edition and I got one of the last two 
> copies printed, or so they told me. I bought it direct from the auction 
> house soon after the auction.  The _Poiret_ museum exhibit book by 
> Harold Koda is available on Amazon etc.
> 
> Fran
> 
> LLOYD MITCHELL wrote:
>> Fran, how did you get the exhibit volume?  mail order or store 
>> visitation? One of my favorite designers!  I am currently using the 
>> Queen Maude fashion collection book for minifashions and would live to 
>> get this exhibit book also.
>> 
> _______________________________________________
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From: "Sharon Collier" <sharon@collierfam.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] not Perpignan, but... (stretchy wools)
Date: Sun, 20 May 2007 14:19:46 -0700
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Status: RO

That reminds me of some gauze fabric I had years ago. It was really =
lovely
and I made a shirt out of it. But when washed, it shrank up a lot, got =
all
crinkly. I had to iron it to get it to be flat again. It would have made
great hose.

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] =
On
Behalf Of E House
Sent: Thursday, May 17, 2007 10:35 AM
To: Historical Costume
Subject: [h-cost] not Perpignan, but... (stretchy wools)


Not too long ago I chanced on a very interesting piece of wool fabric.  =
It's

100% wool, but due to the way it's made, it has as much natural stretch =
as a

lycra/wool blend!  (Yes, I'm sure it's 100% wool.)

It's a slightly loose basket weave, but that alone isn't what makes it =
so=20
stretchy; rather, the stretchiness seems to come from the fact that both =

warp and weft are VERY tightly twisted.  With the slightly loose weave, =
both

warp and weft sort of crimp up a lot more than you usually see, so when =
you=20
pull on it, the threads straighten out temporarily.  The tightness of =
the=20
spinning keeps the whole thing from shrinking up; the weave stays =
slightly=20
loose.  (If it shrank at all after I washed it, the amount was too small =
for

me to measure.)  When pulled, it stretches to about 110%-115% of its=20
original length/width.  That may not sound like much, but it's a whole =
lot=20
when, say, you're making a supportive gown, or a pair of hose.

I'm in love with it.  I've got about 7 yds of it, and I am afraid to use =
it,

because my hoarding instinct says it must be saved for the exact right=20
project.  (It wants to be 2 different styles of supportive undergowns, =
and I

think I can get both out of it, but then it'd be gone and I'd lose/gain =
20=20
lbs and be unable to wear them.)

But more importantly, it has completely changed my idea of how much =
stretch=20
medieval wool fabrics might have had!  I've read archaeological reports =
of=20
worsted textiles made from yarns spun with a high twist before; I am now =

going to go back and give them a much closer look.  Somehow, I doubt =
that=20
the archaeologists who studied those textiles gave 'em a good stretch...

-E House



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Status: RO

Cheesecloth does that.  You can wash it and use the crinkly result for
Greek dress onstage.

Kate
609-570-3584
-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
On Behalf Of Sharon Collier
Sent: Sunday, May 20, 2007 5:20 PM
To: 'Historical Costume'
Subject: RE: [h-cost] not Perpignan, but... (stretchy wools)

That reminds me of some gauze fabric I had years ago. It was really
lovely
and I made a shirt out of it. But when washed, it shrank up a lot, got
all
crinkly. I had to iron it to get it to be flat again. It would have made
great hose.

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
On
Behalf Of E House
Sent: Thursday, May 17, 2007 10:35 AM
To: Historical Costume
Subject: [h-cost] not Perpignan, but... (stretchy wools)


Not too long ago I chanced on a very interesting piece of wool fabric.
It's

100% wool, but due to the way it's made, it has as much natural stretch
as a

lycra/wool blend!  (Yes, I'm sure it's 100% wool.)

It's a slightly loose basket weave, but that alone isn't what makes it
so 
stretchy; rather, the stretchiness seems to come from the fact that both

warp and weft are VERY tightly twisted.  With the slightly loose weave,
both

warp and weft sort of crimp up a lot more than you usually see, so when
you 
pull on it, the threads straighten out temporarily.  The tightness of
the 
spinning keeps the whole thing from shrinking up; the weave stays
slightly 
loose.  (If it shrank at all after I washed it, the amount was too small
for

me to measure.)  When pulled, it stretches to about 110%-115% of its 
original length/width.  That may not sound like much, but it's a whole
lot 
when, say, you're making a supportive gown, or a pair of hose.

I'm in love with it.  I've got about 7 yds of it, and I am afraid to use
it,

because my hoarding instinct says it must be saved for the exact right 
project.  (It wants to be 2 different styles of supportive undergowns,
and I

think I can get both out of it, but then it'd be gone and I'd lose/gain
20 
lbs and be unable to wear them.)

But more importantly, it has completely changed my idea of how much
stretch 
medieval wool fabrics might have had!  I've read archaeological reports
of 
worsted textiles made from yarns spun with a high twist before; I am now

going to go back and give them a much closer look.  Somehow, I doubt
that 
the archaeologists who studied those textiles gave 'em a good stretch...

-E House



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Subject: Re: [h-cost] Re: museum listings in magazines
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Status: RO

Also, as a secondary thought, try 'Shuttle, Spindle & Dyepot' - the one I have has a nice, albeit small, article on the fabric of an old kimono - how the fabric was woven and what they used to dye it, etc etc, etc.

Of course my mag is old, and it might have changed it's focus.  

Katheryne

----- Original Message -----
 > hello folks,
> >
> > The local art Museum is putting together a Kimono show next year. I'm working on their request for a list of magazines to advertise it in and/or send anouncements to. They asked for magazines on Japan. I'm also going to give them textiles, & fiberart. So, what magazines do you think they should hear about?
> >
> > Just off the top of my head:
> > Fiberarts
> > Threads
> > Sew News
> > Flying Needle
> > Orient Express
> > Oriental Art
> > Japan Plus
> > Japan Journal
> > any number of museum related mags, which they probably know better than I do
> >
> > I'm hoping for you to give me relatively less well known 
> historical society & hobbyist titles. So what do you read, that prints 
> > listings of museum exhibits?
> >
> > Thanks!
> >Mary Piero Carey
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From: Melanie Schuessler <melanie@faucet.net>
Subject: Re: [h-cost] 16th Century Hats
Date: Mon, 21 May 2007 11:21:47 -0400
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Status: RO

Janet Arnold shows several hats in her Patterns of Fashion  
(1560-1620) that have stiffened felt as an understructure.  She also  
mentions the possibility of pasted paper (basically papier mache),  
which is likely what was used to stiffen the crescents at the fronts  
of French hoods in addition to the wire structure.

Melanie Schuessler


On May 17, 2007, at 4:12 PM, Tori Ruhl wrote:

>
>
> I've heard people talk about making hats out of theatrical buckram.  
> But I didn't think that Buckram, as we know it, existed in the 16th  
> century. If not, then what DID exist as "Buckram"? What were the  
> internal structure of hats made out of?
> I've seen the wire frame for the gabled hood at the V&A, but there  
> had to have been more to the support structure than just wires.
>
> Any input, sources, opinions...etc. are greatly appreciated.
>
> - Tori
>
>
>
> _______________________________________________
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Status: RO

----- Original Message ----- 
> On May 17, 2007, at 4:12 PM, Tori Ruhl wrote:
>> I've heard people talk about making hats out of theatrical buckram.  But 
>> I didn't think that Buckram, as we know it, existed in the 16th  century. 
>> If not, then what DID exist as "Buckram"? What were the  internal 
>> structure of hats made out of?

Along with "bokeram" and the other things recently mentioned, there's also 
vellum.  For that matter, my local leather store sells something I can't 
remember the name of that's very hard, about 1/4"+ thick, and looks 
strangely like translucent fiberglass (but is some form of leather).  You 
could CARVE a hat out of that stuff.

Melanie, do you have any idea how the felt was stiffened?  I have a big bag 
full of wool dryer lint I've been meaning to experiment with, and an even 
bigger bag of teeny tiny wool scraps...

-E House 

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Subject: Re: [h-cost] 16th Century Hats
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Status: RO


I think that any hat that is felted is so densely felted together that it is 
very durable. I don't know of any solution that makes a hat stiff. Must be 
one though.
Sincerely,
Rebecca Rautine




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Subject: Re: [h-cost] 16th Century Hats
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----- Original Message -----
>On May 17, 2007, at 4:12 PM, Tori Ruhl wrote:
>>I've heard people talk about making hats out of theatrical buckram.  But I 
>>didn't think that Buckram, as we know it, existed in the 16th  century. If 
>>not, then what DID exist as "Buckram"? What were the  internal structure 
>>of hats made out of?

Along with "bokeram" and the other things recently mentioned, there's also 
vellum.  For that matter, my local leather store sells something I can't 
remember the name of that's very hard, about 1/4"+ thick, and looks 
strangely like translucent fiberglass (but is some form of leather).  You 
could CARVE a hat out of that stuff.

Melanie, do you have any idea how the felt was stiffened?  I have a big bag 
full of wool dryer lint I've been meaning to experiment with, and an even 
bigger bag of teeny tiny wool scraps...

-E House

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> I think that any hat that is felted is so densely felted together that it 
> is very durable. I don't know of any solution that makes a hat stiff. Must 
> be one though.
> Sincerely,
> Rebecca Rautine

You can use hide glue to stiffen felt or buckram.  Hatmakers also use 
thinned shelac to stiffen and waterproof felt hats.

Melusine 

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Status: RO

Also, look in a store that sells cake decorating supplies - they 
often have bags of "wedding bands" that can be put on cakes.  They 
are metal, but very lightweight, and can be bent to any size.  They 
are really cheap (like a bag of 50 for a couple dollars).  They look 
ok even at a fairly short distance and if they break, well, you've 
got a whole bag of them.

HTH,
Sandy
At 01:00 PM 5/18/2007, you wrote:

>Date: Fri, 18 May 2007 20:31:24 +1000
>From: "Elizabeth Walpole" <ewalpole@tpg.com.au>
>
>  I'm also keeping an eye out for a plain
>gold 'wedding' ring when I go shopping, but I don't think the prospects are
>that good (most of that cheap plastic stuff is designed for little girls and
>I don't have small enough hands to get away with them).
>
>Elizabeth

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

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

Andromeda  


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Subject: Re: [h-cost] 16th Century Hats
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Status: RO


On May 17, 2007, at 6:04 PM, michaela de bruce wrote:

>> I've heard people talk about making hats out of theatrical  
>> buckram. But I didn't think that Buckram, as we know it, existed  
>> in the 16th century. If not, then what DID exist as "Buckram"?  
>> What were the internal structure of hats made out of?
>
> As far as I can tell there is buckram (buckeram, bokeram etc) which is
> a linen cloth and then there is stiffened buckram (buckeram, bokeram
> etc) which is stiffened with glue in much the same way as modern
> buckram is. There is probably a difference in glue type and weave
> though;)

John Oldland, in a paper on the medieval woolen industry in England  
that he just gave at the International Congress on Medieval Studies,  
mentions buckram as a type of cheap woolen fabric.

Do you have a reference from the 16th century that points to buckram  
as a fabric stiffened with glue?  I'd be very interested.

Thanks,
Melanie Schuessler

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Date: Tue, 22 May 2007 10:47:07 +1200
From: "michaela de bruce" <michaela.de.bruce@gmail.com>
To: "Historical Costume" <h-costume@indra.com>
Subject: Re: [h-cost] 16th Century Hats
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Status: RO

> John Oldland, in a paper on the medieval woolen industry in England
> that he just gave at the International Congress on Medieval Studies,
> mentions buckram as a type of cheap woolen fabric.

I would be a bit surprised that buckram was wool in the 16thcC,
especially given how often it was used to line gowns of an equivalent
nature and similar time frame to those extant items lined in linen and
silk in Patterns of Fashion.
That said if he was doing research of a much earlier period (as
indicated by the event he spoke at) I can see how the term would
change over time and it would be interesting to track the changes over
time and to find out when it came to mean a glue stiffened material
only.

> Do you have a reference from the 16th century that points to buckram
> as a fabric stiffened with glue?  I'd be very interested.

Queen Mary's wardrobe accounts apparently mentions use of a paste
buckram, it's listed in The Tudor Tailor with that reference. I tried
searching Drea Leeds searchable version but it only lists buckram for
the same item not that it is stiffened with paste.
I wrote that it appears to have been specified when it was stiffened
with glue as opposed to not, not that it was always a stiffened
material. Sorry if that was a little unclear.

http://books.google.com/books?id=W0elW6Yvji0C&pg=PA84&dq=past+buckeram
http://books.google.com/books?id=ItsuAAAAMAAJ&pg=PR106&dq=Queen+Mary+wardrobe
I'm having a hunt through these two, paste board is mentioned in the
Revels books as well as fine black buckram. It also lists cotton and
linen for lining so I would suppose buckram is a very specific kind of
weave/weight/treatment etc. A lot of the buckram mentioned in the
revels is bought in pieces too and in another book used for
escuncheons while paste board was used for stars for decoration.
http://books.google.com/books?id=ATISAAAAIAAJ&q=past+buckeram&dq=past+buckeram&pgis=1


Wow the revels book even specifies 56, 000 spangles used in one
revel.... blimey.
And now I'm going mad downloading these books to read at leisure over
the next week or so when I can't be online too often.

Oh one more:
http://books.google.com/books?id=3X4Iybgb0BEC&pg=PA192&dq=bokeram
Bokeram; Buckram a description of making it is in MS Sloan 73, f. 214
So that might be worthwhile looking up as well. I did a google search
for it but couldn't find anything leading directly to it but it is
probably in the British Library.

Michaela de Bruce
http://glittersweet.com
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Subject: Re: [h-cost] 16th Century Hats
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Status: RO

That would be rawhide.  They even wrap saddle trees in that stuff!
  ----- Original Message -----=20
  From: E House<mailto:swissgirl@swissinfo.org>=20
  To: Historical Costume<mailto:h-costume@indra.com>=20
  Sent: Monday, May 21, 2007 11:58 AM
  Subject: Re: [h-cost] 16th Century Hats


  ----- Original Message -----=20
  For that matter, my local leather store sells something I can't=20
  remember the name of that's very hard, about 1/4"+ thick, and looks=20
  strangely like translucent fiberglass (but is some form of leather).  =
You=20
  could CARVE a hat out of that stuff.


  -E House=20

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Status: RO

At 04:19 PM 5/21/2007, you wrote:
>That would be rawhide.  They even wrap saddle trees in that stuff!
>   ----- Original Message -----
>   From: E House<mailto:swissgirl@swissinfo.org>
>   To: Historical Costume<mailto:h-costume@indra.com>
>   Sent: Monday, May 21, 2007 11:58 AM
>   Subject: Re: [h-cost] 16th Century Hats
>
>
>   ----- Original Message -----
>   For that matter, my local leather store sells something I can't
>   remember the name of that's very hard, about 1/4"+ thick, and looks
>   strangely like translucent fiberglass (but is some form of leather).  You
>   could CARVE a hat out of that stuff.
>
>
>   -E House

You boil it until it is flexible, then mold what you need out of 
it.  When it cools, it hardens.  Stinky process, though.


Joan Jurancich
joanmj@surewest.net 

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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] 16th Century Hats
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Status: RO


On Tue, 22 May 2007, michaela de bruce wrote:

> > John Oldland, in a paper on the medieval woolen industry in England
> > that he just gave at the International Congress on Medieval Studies,
> > mentions buckram as a type of cheap woolen fabric.
> 
> I would be a bit surprised that buckram was wool in the 16thcC,
> especially given how often it was used to line gowns of an equivalent
> nature and similar time frame to those extant items lined in linen and
> silk in Patterns of Fashion.
> That said if he was doing research of a much earlier period (as
> indicated by the event he spoke at) I can see how the term would
> change over time ...

John's paper covered the 15th c. His research on the wool economy is very
impressive -- he was John Munro's student and spends a lot of time in
primary documents -- and I am inclined to trust his work. However, I don't
remember this particular mention in his paper, as it was 20 minutes of
very dense detail. (It will eventually be published, probably in an
economics journal, though I wish we could get it! We do have another paper
by him in the newly published volume of MC&T, though it does not mention
buckram.)

That said, another paper I'm editing now includes references from the
Henry VIII inventory that mention quilts lined with "bockerame," and in
discussions with the author we determined that the word clearly went
through a number of meanings over several hundred years, given the uses in
which it occurs. In the 16th c. it appears to have moved from being a fine
fabric to a coarser or heavier one, and may have encompassed both those
meanings simultaneously at some point. Most sources we found on 16th c.
fabrics suggested it was linen or maybe cotton or maybe both. That doesn't
mean the term wasn't used to mean a wool fabric in the 15th! So I think
the only safe interpretation of a given reference would have to be closely
focused in locale and time period.

--Robin

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Subject: Re: [h-cost] Somewhat OT -- Black detergent?
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Status: RO

Lavolta Press wrote:

> My advice is:
> 
> Always wash the clothes in 100% cold water, and
> 

It might help to turn them inside out before they go in the wash, too. 
As clothing rubs against each other the threads in the weave break and 
put up tiny tufts of fiber which on black clothing can make it look grey.

There are some detergents which have agents in them that "eat" these 
microscopic tufts of fiber and help make your clothing look new longer. 
However, it also eats your fabric every time you wash it, which in the 
long run shortens the life of the garment.

And check and make sure the detergent doesn't have bleach, or bleach 
substitutes hidden in it. That stuff will fade clothing faster than 
anything.




Dawn


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From: Chris Bertani <chrisber@idiom.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] 16th Century Hats
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Status: RO

On 21 May 2007, Robin Netherton wrote:
> On Tue, 22 May 2007, michaela de bruce wrote:
> > > John Oldland, in a paper on the medieval woolen industry in England
> > > that he just gave at the International Congress on Medieval Studies,
> > > mentions buckram as a type of cheap woolen fabric.
> > 
> > I would be a bit surprised that buckram was wool in the 16thcC,
> > especially given how often it was used to line gowns of an equivalent
> > nature and similar time frame to those extant items lined in linen and
> > silk in Patterns of Fashion.
> > That said if he was doing research of a much earlier period (as
> > indicated by the event he spoke at) I can see how the term would
> > change over time ...
> 
> John's paper covered the 15th c. His research on the wool economy is very
> impressive -- he was John Munro's student and spends a lot of time in
> primary documents -- and I am inclined to trust his work. 

I don't know how useful this is, but in Shakespeare's 
King Henry IV part 1, act 2, scene 4, buckram suits are mentioned:

FALSTAFF        Nay, that's past praying for: I have peppered two
        of them; two I am sure I have paid, two rogues
        in buckram suits. I tell thee what, Hal, if I tell
        thee a lie, spit in my face, call me horse. Thou
        knowest my old ward; here I lay and thus I bore my
        point. Four rogues in buckram let drive at me--


-- Chris Bertani
www.goblinrevolution.org/costumes
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Subject: Re: [h-cost] 16th Century Hats
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Status: RO


On May 21, 2007, at 2:58 PM, E House wrote:
>
> Melanie, do you have any idea how the felt was stiffened?  I have a  
> big bag full of wool dryer lint I've been meaning to experiment  
> with, and an even bigger bag of teeny tiny wool scraps...

Arnold doesn't say, and I'm afraid I have no idea--sorry.

Melanie

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Status: RO


On May 21, 2007, at 6:47 PM, michaela de bruce wrote:

> I wrote that it appears to have been specified when it was stiffened
> with glue as opposed to not, not that it was always a stiffened
> material. Sorry if that was a little unclear.

It was clear.  I was just hoping for a reference for a stiffened =20
buckram.  It seems likely that there was such a thing, but I haven't =20
yet come across a reference that would certainly establish it.

>
> http://books.google.com/books?id=3DW0elW6Yvji0C&pg=3DPA84&dq=3Dpast+buck=
eram
> http://books.google.com/books?id=3DItsuAAAAMAAJ&pg=3DPR106&dq=3DQueen+Ma=
ry=20
> +wardrobe
> I'm having a hunt through these two, paste board is mentioned in the
> Revels books as well as fine black buckram.

Paste board was made of paper, so that's a different thing.

>  A lot of the buckram mentioned in the revels is bought in pieces too

Buckram seems to have been used frequently for theatrical purposes.  =20
Henslowe's diary lists several costumes for his theatre made of buckram:

  iij fares gowne of buckrome (from =93The Enventary of the Clownes =20
Sewtes and Hermetes Sewtes, with dievers other sewtes, as followeth, =20
1598, the 10 of March.=94)

Layed owt for the companye the 9 of novmb3 1602 to by ij calleco =20
sewtes & ij buckerom sewte for the playe of cryssmas comes but
once a yeare the some of xxxviijs 8d

Lent vnto wm kempe the 22 of aguste 1602 to bye buckram to macke a =20
payer of gyente hosse the some of vs

Lent vnto the company the 1 of septmb3 1601 to bye blacke buckrome to =20=

macke a sewte for a fyer drack in the 3 pt of thome
strowde the some of iij s vj d

He also lists several pawned items as having arrived in buckram bags.

> Oh one more:
> http://books.google.com/books?id=3D3X4Iybgb0BEC&pg=3DPA192&dq=3Dbokeram
> Bokeram; Buckram a description of making it is in MS Sloan 73, f. 214
> So that might be worthwhile looking up as well. I did a google search
> for it but couldn't find anything leading directly to it but it is
> probably in the British Library.

That sounds very interesting!  Furnivall seems to have published part =20=

of it as the "Book of Quinte Essence," but it doesn't contain the =20
relevant bit.

Melanie=
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From: Melanie Schuessler <melanie@faucet.net>
Subject: Re: [h-cost] 16th Century Hats
Date: Tue, 22 May 2007 10:38:05 -0400
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Status: RO


On May 21, 2007, at 7:53 PM, Robin Netherton wrote:
>
> John's paper covered the 15th c. His research on the wool economy  
> is very
> impressive -- he was John Munro's student and spends a lot of time in
> primary documents -- and I am inclined to trust his work. However,  
> I don't
> remember this particular mention in his paper, as it was 20 minutes of
> very dense detail.

It caught my ear, as we had talked about buckram before, and I asked  
him for a copy of the paper, which he very kindly sent me.

> That said, another paper I'm editing now includes references from the
> Henry VIII inventory that mention quilts lined with "bockerame,"  
> and in
> discussions with the author we determined that the word clearly went
> through a number of meanings over several hundred years, given the  
> uses in
> which it occurs. In the 16th c. it appears to have moved from being  
> a fine
> fabric to a coarser or heavier one, and may have encompassed both  
> those
> meanings simultaneously at some point. Most sources we found on  
> 16th c.
> fabrics suggested it was linen or maybe cotton or maybe both. That  
> doesn't
> mean the term wasn't used to mean a wool fabric in the 15th! So I  
> think
> the only safe interpretation of a given reference would have to be  
> closely
> focused in locale and time period.

Yes, I must agree.  Linthicum lists a reference to buckram being  
cotton as early as 1295.  (In that context--from the eastern travels  
of Marco Polo--it probably was what we would call cotton, though  
sometimes the word cotton was used to refer to a woolen fabric in  
late medieval western Europe.)  She also has a shirt of buckram from  
1537, probably linen, and buckram hose for a man in 1522, possibly wool.

I guess my point in mentioning Oldland's reference was cautionary-- 
that this word had different meanings and shouldn't be assumed as one  
thing or another.  I should have said that at the time.

Melanie
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] 16th Century Hats/buckram
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Status: RO

Hi folks,
Isnt it strange but i cant find a danish word for Buckram, i have even asked 
reenactors, and nobody knows.
Most annoying!!!

Bjarne 


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From: Lavolta Press <fran@lavoltapress.com>
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Status: RO

Any advice on how to dye an ivory colored, modern, machine knitted 100% 
wool turtleneck sweater some less boring but solid color, without 
felting it or otherwise damaging the texture?  The heat and agitation in 
most dye instructions, even those for wool, makes me very antsy.  I'm 
not really into dyeing or working with wool, but I got this sweater for 
Christmas years ago, have never worn it because it's boring, and have 
decided I might as well dye it.  If it works, I have a nice-quality 
ivory 1950s cashmere cardigan I'd like to do next.

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

Fran--

You can dye wool with Procion MX cold water dyes. You won't need heat, just
enough agitation to make sure it dyes evenly .

Kim

Get them from www.dharmatrading.com

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Lavolta Press
Sent: Tuesday, May 22, 2007 4:59 PM
To: h-costume@indra.com
Subject: [h-cost] How to dye a sweater

Any advice on how to dye an ivory colored, modern, machine knitted 100% wool
turtleneck sweater some less boring but solid color, without felting it or
otherwise damaging the texture?  The heat and agitation in most dye
instructions, even those for wool, makes me very antsy.  I'm not really into
dyeing or working with wool, but I got this sweater for Christmas years ago,
have never worn it because it's boring, and have decided I might as well dye
it.  If it works, I have a nice-quality ivory 1950s cashmere cardigan I'd
like to do next.

Fran
Lavolta Press
http://www.lavoltapress.com
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From: Kimiko Small <sstormwatch@yahoo.com>
Subject: Re: [h-cost] How to dye a sweater
To: Historical Costume <h-costume@indra.com>
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Status: RO

Hi Fran,

I have dyed wool yarns before, handspun stuff, with
both chemical and natural dyes, and helped with one
wool jacket, so I can offer a little advice. But
others may have much better advice than I.

While it does take hot water to dye the garment, it is
the agitation, and the shock of hot, or even cold
water that will felt wool. 

First start with a newly cleaned sweater, that can be
done in cool water, let me amend that, water that is
room temperature, and well rinsed, with minimal
movement. Then take the wet sweater and put it into a
very large pot, preferably all steel or enameled, that
is large enough for the sweater and the water needed
to cover with room for stirring. Add cool water, that
should match the temp of the sweater. Again this is to
avoid the shock to the wool. Put the pot on the stove,
then slowly bring the water to high enough temp to dye
with (this depends on the dye you use, check
directions for temp needed). Using a stir stick (that
you can toss, since it will get dyed, unless it is
steel or glass or something like that), move the
sweater out of the way, and add in your dyes, and any
other chemicals needed, per the dye directions. Stir
the sweater gently but frequently so that the dye
disperses throughout the pot, as you don't want
streaks. Continue to stir the length of time needed
for the dye, which also depends on how deep a color
you want.

Once you get a color deeper than you want, since wet
color is darker than when the garment is dry, remove
the pot from the heat. Allow the wool to remain in the
pot for several hours or overnight, as the temp
naturally falls. When the water is again room temp,
carefully dump the remaining dye down the drain (again
check your dye for disposal needs). Fill the pot with
room temp water, and rinse several times until the
water runs clear.

Now, there's no guarantee that this will not shrink
the wool, as that's a matter of the kind of wool that
was used, if it was already preshrunk, if it was
tightly finished, or chemically finished, or anything
else for that matter. I've had some yarns not shrink
at all, and some yarns shrink a lot. The jacket I
helped with did shrink, but that was the chance my
friend took.

Good luck!

Kimiko


--- Lavolta Press <fran@lavoltapress.com> wrote:

> Any advice on how to dye an ivory colored, modern,
> machine knitted 100% 
> wool turtleneck sweater some less boring but solid
> color, without 
> felting it or otherwise damaging the texture?  The
> heat and agitation in 
> most dye instructions, even those for wool, makes me
> very antsy.  I'm 
> not really into dyeing or working with wool, but I
> got this sweater for 
> Christmas years ago, have never worn it because it's
> boring, and have 
> decided I might as well dye it.  If it works, I have
> a nice-quality 
> ivory 1950s cashmere cardigan I'd like to do next.
> 
> Fran
> Lavolta Press
> http://www.lavoltapress.com




 
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Date: Wed, 23 May 2007 10:43:51 +1200
From: "michaela de bruce" <michaela.de.bruce@gmail.com>
To: "Historical Costume" <h-costume@indra.com>
Subject: Re: [h-cost] 16th Century Hats
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Status: RO

> It was clear.  I was just hoping for a reference for a stiffened
> buckram.  It seems likely that there was such a thing, but I haven't
> yet come across a reference that would certainly establish it.

Queen Mary's Wardrobe accounts, I'm not sure it that is the book I
listed (privy purse accounts for her as a princess and maybe later) or
if there was a seperate book of just her wardrobe. I'm going to be
looking through the privy purse accounts. past buckram is definitely
mentioned, I wonder if there are any more..
I was wrong too! It's not for a farthingale, I think I remembered that
because I thought it would be most odd to have a farthingale stiffened
with glue) it's for a collar of a loose gown "..the collar lined with
past buckram" 1558 Some of the texts I mentioned last time spelt paste
as past too. I think all of them actually;)

> Paste board was made of paper, so that's a different thing.

True but: when they are used for a similar item they may have similar
properties, though I can see buckram (if it is stiffened) having an
edge when it comes to curved shapes. The texts didn't specify paste,
so perhaps the context was enough to diferenciate buckram from glued
buckram, or the buckram bought was later glued, or the buckram was
used unglued.

Oh and of course I agree we cannot presume that our modern use of
words matches up to what was used in the past and that the same word
meant the same thing at all times in the past. I'd like to know what
the link is between the use of the terms. Is it just and English term
as well? I would like to do some hunting in texts of other lands.

Michaela de Bruce
http://glittersweet.com
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Date: Tue, 22 May 2007 19:54:29 -0400
From: monica spence <monicaspence@optonline.net>
Subject: RE: [h-cost] How to dye a sweater
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Status: RO

Believe it or not  Kool-aide works as a dye on wool. I saw it at the New
York State fair a long time ago. Thre colors are bright! I am sure that
using a mordent would make it more colorfast. That is all I know. Maybe
someone here knows more.
Monica

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of Lavolta Press
Sent: Tuesday, May 22, 2007 5:59 PM
To: h-costume@indra.com
Subject: [h-cost] How to dye a sweater


Any advice on how to dye an ivory colored, modern, machine knitted 100%
wool turtleneck sweater some less boring but solid color, without
felting it or otherwise damaging the texture?  The heat and agitation in
most dye instructions, even those for wool, makes me very antsy.  I'm
not really into dyeing or working with wool, but I got this sweater for
Christmas years ago, have never worn it because it's boring, and have
decided I might as well dye it.  If it works, I have a nice-quality
ivory 1950s cashmere cardigan I'd like to do next.

Fran
Lavolta Press
http://www.lavoltapress.com
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To: "Historical Costume" <h-costume@indra.com>
References: <NJEJJAKCDDIJCJLBNKFIMEGBEIAA.monicaspence@optonline.net>
Subject: Re: [h-cost] How to dye a sweater
Date: Tue, 22 May 2007 19:09:31 -0500
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Status: RO

> Believe it or not  Kool-aide works as a dye on wool. I saw it at the New
> York State fair a long time ago. Thre colors are bright! I am sure that
> using a mordent would make it more colorfast. That is all I know. Maybe
> someone here knows more.


kool-aide is an acid dye and doesn't need a mordant, on top of the fact that 
there isn't any mordant that can make kool-aide colorfast. Also, your dyed 
goods will smell like the drink mix for a long time!

If you use any type of food coloring (drink mixes, easter egg dye, baking 
colors, etc) you will be sorry. They are not color fast.

The key to even dying is movement. The method outlined by Kimiko is good up 
to the point where she recommends leaving the sweater in the dye bath 
overnight. This may result in darker spots wherever any available dye 
settles on the sweater.  The best (most accurate) dye-bath has no available 
dye left at the end -- the dye pot contains what looks like clear or very 
slightly tinted water. Then you know you've used up all the available dye 
and rinsing is a much easier task.  Then you just let the dye bath come to 
room temperature and rinse.

Denise
Iowa

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To: Historical Costume <h-costume@indra.com>
From: Joan Jurancich <joanmj@surewest.net>
Subject: RE: [h-cost] How to dye a sweater
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Status: RO

At 04:54 PM 5/22/2007, you wrote:
>Believe it or not  Kool-aide works as a dye on wool. I saw it at the New
>York State fair a long time ago. Thre colors are bright! I am sure that
>using a mordent would make it more colorfast. That is all I know. Maybe
>someone here knows more.
>Monica

I've used Kool-Aid to dye wool. You do not need to add anything to 
it; I use 2 packages of unsweetened Kool-Aid to 1-1/2 ounces of 
wool.  I would suggest the cold water dye recommended earlier.


Joan Jurancich
joanmj@surewest.net 

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From: Kimiko Small <sstormwatch@yahoo.com>
Subject: Re: [h-cost] How to dye a sweater
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Status: RO

Yeah, what she said. Thanks Denise, I knew I was
forgetting something important.

Kimiko


--- Land of Oz <landofoz@netins.net> wrote:
<snip>
> The key to even dying is movement. The method
> outlined by Kimiko is good up 
> to the point where she recommends leaving the
> sweater in the dye bath 
> overnight. This may result in darker spots wherever
> any available dye 
> settles on the sweater.  The best (most accurate)
> dye-bath has no available 
> dye left at the end -- the dye pot contains what
> looks like clear or very 
> slightly tinted water. Then you know you've used up
> all the available dye 
> and rinsing is a much easier task.  Then you just
> let the dye bath come to 
> room temperature and rinse.
> 
> Denise
> Iowa



 
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Subject: RE: [h-cost] How to dye a sweater
Date: Wed, 23 May 2007 00:22:51 -0700
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Status: RO

Try Dharma Trading Company. They have lovely dyes that work in cold =
water. I
have used them on cotton T-shirts and the dyes stays bright and doesn't =
wash
out. Colors aren't muddy.

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] =
On
Behalf Of Lavolta Press
Sent: Tuesday, May 22, 2007 2:59 PM
To: h-costume@indra.com
Subject: [h-cost] How to dye a sweater


Any advice on how to dye an ivory colored, modern, machine knitted 100%=20
wool turtleneck sweater some less boring but solid color, without=20
felting it or otherwise damaging the texture?  The heat and agitation in =

most dye instructions, even those for wool, makes me very antsy.  I'm=20
not really into dyeing or working with wool, but I got this sweater for=20
Christmas years ago, have never worn it because it's boring, and have=20
decided I might as well dye it.  If it works, I have a nice-quality=20
ivory 1950s cashmere cardigan I'd like to do next.

Fran
Lavolta Press
http://www.lavoltapress.com
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Subject: Re: [h-cost] How to dye a sweater
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Status: RO

I order from Dharma all the time. I am just having trouble reconciling 
the heat and agitation most wool-dyeing instructions require, with what 
that might do to wool, particularly wool that has already been knitted 
up and thefore shrinkage is an issue. Most people seem to be dyeing yarn.

I like muddy colors though, and can't usually achieve them with Procion 
MX dyes, which I have lots of around.  I know they are not officially 
wool dyes but people seem to use them for wook anyway.

Fran

Sharon Collier wrote:

> Try Dharma Trading Company. They have lovely dyes that work in cold water. I
> have used them on cotton T-shirts and the dyes stays bright and doesn't wash
> out. Colors aren't muddy.
> 
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Subject: RE: [h-cost] How to dye a sweater
Date: Wed, 23 May 2007 13:34:08 -0500
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Status: RO

Fran--

If you want muddy colors, add black dye, or the complement of the color you
are using.

Kim 

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Lavolta Press
Sent: Wednesday, May 23, 2007 1:20 PM
To: Historical Costume
Subject: Re: [h-cost] How to dye a sweater

I order from Dharma all the time. I am just having trouble reconciling the
heat and agitation most wool-dyeing instructions require, with what that
might do to wool, particularly wool that has already been knitted up and
thefore shrinkage is an issue. Most people seem to be dyeing yarn.

I like muddy colors though, and can't usually achieve them with Procion MX
dyes, which I have lots of around.  I know they are not officially wool dyes
but people seem to use them for wook anyway.

Fran

Sharon Collier wrote:

> Try Dharma Trading Company. They have lovely dyes that work in cold 
> water. I have used them on cotton T-shirts and the dyes stays bright 
> and doesn't wash out. Colors aren't muddy.
> 
_______________________________________________
h-costume mailing list
h-costume@mail.indra.com
http://mail.indra.com/mailman/listinfo/h-costume

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From: Sylvia Rognstad <sylvia@ntw.net>
Subject: Re: [h-cost] How to dye a sweater
Date: Wed, 23 May 2007 13:03:02 -0600
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Status: RO

That's funny.  I seem to get muddy colors with MX all the time when I 
don't want them.  MX dyes don't use heat.  You just need to stir.

Sylvia

On May 23, 2007, at 12:20 PM, Lavolta Press wrote:

> I order from Dharma all the time. I am just having trouble reconciling 
> the heat and agitation most wool-dyeing instructions require, with 
> what that might do to wool, particularly wool that has already been 
> knitted up and thefore shrinkage is an issue. Most people seem to be 
> dyeing yarn.
>
> I like muddy colors though, and can't usually achieve them with 
> Procion MX dyes, which I have lots of around.  I know they are not 
> officially wool dyes but people seem to use them for wook anyway.
>
> Fran
>
> Sharon Collier wrote:
>
>> Try Dharma Trading Company. They have lovely dyes that work in cold 
>> water. I
>> have used them on cotton T-shirts and the dyes stays bright and 
>> doesn't wash
>> out. Colors aren't muddy.
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>

_______________________________________________
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Status: RO


> That's funny.  I seem to get muddy colors with MX all the time when I 
> don't want them.  MX dyes don't use heat.  You just need to stir.
> 
> 

it's probably your water.  Try using distilled, filtered or bottled water.

Denise
Iowa
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Status: RO

I've never tried Kool-aid.  You can dye wool in room temp water with 
Procion MX dyes.

Sylvia Rognstad
Divinity Designs and Emeralds
http://www.d-e-designs.com

On May 22, 2007, at 5:54 PM, monica spence wrote:

> Believe it or not  Kool-aide works as a dye on wool. I saw it at the 
> New
> York State fair a long time ago. Thre colors are bright! I am sure that
> using a mordent would make it more colorfast. That is all I know. Maybe
> someone here knows more.
> Monica
>
> -----Original Message-----
> From: h-costume-bounces@indra.com 
> [mailto:h-costume-bounces@indra.com]On
> Behalf Of Lavolta Press
> Sent: Tuesday, May 22, 2007 5:59 PM
> To: h-costume@indra.com
> Subject: [h-cost] How to dye a sweater
>
>
> Any advice on how to dye an ivory colored, modern, machine knitted 100%
> wool turtleneck sweater some less boring but solid color, without
> felting it or otherwise damaging the texture?  The heat and agitation 
> in
> most dye instructions, even those for wool, makes me very antsy.  I'm
> not really into dyeing or working with wool, but I got this sweater for
> Christmas years ago, have never worn it because it's boring, and have
> decided I might as well dye it.  If it works, I have a nice-quality
> ivory 1950s cashmere cardigan I'd like to do next.
>
> Fran
> Lavolta Press
> http://www.lavoltapress.com
> _______________________________________________
> h-costume mailing list
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>
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To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] How to dye a sweater
Date: Wed, 23 May 2007 00:26:50 -0700
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Status: RO

Oh, I forgot to say, I was tie-dying T-shirts, so first we soaked them =
in a
pre-dye solution (I forget what it was called), then squirted on the dye =
and
left it sit for some number of hours. The thing is, there was no =
agitation
required, which would be good news for your sweater.

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] =
On
Behalf Of Lavolta Press
Sent: Tuesday, May 22, 2007 2:59 PM
To: h-costume@indra.com
Subject: [h-cost] How to dye a sweater


Any advice on how to dye an ivory colored, modern, machine knitted 100%=20
wool turtleneck sweater some less boring but solid color, without=20
felting it or otherwise damaging the texture?  The heat and agitation in =

most dye instructions, even those for wool, makes me very antsy.  I'm=20
not really into dyeing or working with wool, but I got this sweater for=20
Christmas years ago, have never worn it because it's boring, and have=20
decided I might as well dye it.  If it works, I have a nice-quality=20
ivory 1950s cashmere cardigan I'd like to do next.

Fran
Lavolta Press
http://www.lavoltapress.com
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Subject: Re: [h-cost] How to dye a sweater
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Status: RO

Try Dharma Trading Company. They have lovely dyes that work in cold water. I
have used them on cotton T-shirts and the dyes stays bright and doesn't wash
out. Colors aren't muddy.
-------------

But you can't use the same dye (that dyes cotton in cold water) to dye wool. 
Different chemicals.

Rit and other dyes like it have both types in the same package: cellulosic 
dyes (for cotton, linen, hemp) *and* acid dyes (for wool, silk, mohair). 
That's one of the reasons Rit dye takes so long to rinse out. If you dye 
wool, you have to rinse out all the unused cellulose dye.


Denise
Iowa 

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Subject: [h-cost] lacing rings
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Status: RO

What do you guys use for lacing rings? I just found this vendor: 

 http://www.etsy.com/view_listing.php?listing_id=6029520

Can't beat that price!

Tea Rose



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Subject: Re: [h-cost] How to dye a sweater a muddy color
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Status: RO

I add the color Bronze to my Procion dye mixtures to "down" the color.  =
In sufficient quantities, it should do the trick.
  ----- Original Message -----=20

  I like muddy colors though, and can't usually achieve them with =
Procion=20
  MX dyes, which I have lots of around.  I know they are not officially=20
  wool dyes but people seem to use them for wook anyway.

  Fran


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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] How to dye a sweater
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Status: RO

They are recommended for some heat--they are not supposed to be 
literallly tap-water-cold-dyes.

Do you use them tap-water-cold?

Fran

Sylvia Rognstad wrote:

> That's funny.  I seem to get muddy colors with MX all the time when I 
> don't want them.  MX dyes don't use heat.  You just need to stir.
> 
> Sylvia
>
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] lacing rings
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Status: RO

tearoses@aol.com wrote:

> What do you guys use for lacing rings? 

The round eye part from a set of hooks and eyes. I can put them on with 
my sewing machine.



I just found this vendor:
> 
>  http://www.etsy.com/view_listing.php?listing_id=6029520
> 
> Can't beat that price!

Unfortunately, they're sold out.




Dawn


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From: Sylvia Rognstad <sylvia@ntw.net>
Subject: Re: [h-cost] How to dye a sweater
Date: Wed, 23 May 2007 18:00:26 -0600
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Status: RO

I use them at room temp.  My info says that using heat is not advised.  
I dissolve the salt in hot water and let it come to room temp before 
adding dye and soda ash.  I also dissolve the soda ash in hot water and 
let cool.

On May 23, 2007, at 1:15 PM, Lavolta Press wrote:

> They are recommended for some heat--they are not supposed to be 
> literallly tap-water-cold-dyes.
>
> Do you use them tap-water-cold?
>
> Fran
>
> Sylvia Rognstad wrote:
>
>> That's funny.  I seem to get muddy colors with MX all the time when I 
>> don't want them.  MX dyes don't use heat.  You just need to stir.
>> Sylvia
>>
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] How to dye a sweater
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Status: RO

I'm aware that that there are different dyes available for protein 
fibers.  But according to some websites many people do use Procion dyes 
on wool, they just don't get exactly the same colors. And I have lots of 
Procion dyes already, so why buy more dye?

Fran



Land of Oz wrote:
> Try Dharma Trading Company. They have lovely dyes that work in cold 
> water. I
> have used them on cotton T-shirts and the dyes stays bright and doesn't 
> wash
> out. Colors aren't muddy.
> -------------
> 
> But you can't use the same dye (that dyes cotton in cold water) to dye 
> wool. Different chemicals.
> 
> Rit and other dyes like it have both types in the same package: 
> cellulosic dyes (for cotton, linen, hemp) *and* acid dyes (for wool, 
> silk, mohair). That's one of the reasons Rit dye takes so long to rinse 
> out. If you dye wool, you have to rinse out all the unused cellulose dye.
> 
> 
> Denise
> Iowa
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Subject: RE: [h-cost] How to dye a sweater
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Status: RO

So what happens if you use cotton dyes on wool? Does it not dye at all, =
or
would it give the muddy look she (sorry , I deleted original message) is
looking for?

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] =
On
Behalf Of Land of Oz
Sent: Wednesday, May 23, 2007 6:36 AM
To: Historical Costume
Subject: Re: [h-cost] How to dye a sweater


Try Dharma Trading Company. They have lovely dyes that work in cold =
water. I
have used them on cotton T-shirts and the dyes stays bright and doesn't =
wash
out. Colors aren't muddy.
-------------

But you can't use the same dye (that dyes cotton in cold water) to dye =
wool.

Different chemicals.

Rit and other dyes like it have both types in the same package: =
cellulosic=20
dyes (for cotton, linen, hemp) *and* acid dyes (for wool, silk, mohair). =

That's one of the reasons Rit dye takes so long to rinse out. If you dye =

wool, you have to rinse out all the unused cellulose dye.


Denise
Iowa=20

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From: Sylvia Rognstad <sylvia@ntw.net>
Subject: Re: [h-cost] How to dye a sweater
Date: Wed, 23 May 2007 19:59:10 -0600
To: Historical Costume <h-costume@indra.com>
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Status: RO

Procion MX dyes both protein and cellulose fibers.  Acid dyes will only 
dye protein fibers.

Sylvia

On May 23, 2007, at 7:51 PM, Sharon Collier wrote:

> So what happens if you use cotton dyes on wool? Does it not dye at 
> all, or
> would it give the muddy look she (sorry , I deleted original message) 
> is
> looking for?
>
> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] 
> On
> Behalf Of Land of Oz
> Sent: Wednesday, May 23, 2007 6:36 AM
> To: Historical Costume
> Subject: Re: [h-cost] How to dye a sweater
>
>
> Try Dharma Trading Company. They have lovely dyes that work in cold 
> water. I
> have used them on cotton T-shirts and the dyes stays bright and 
> doesn't wash
> out. Colors aren't muddy.
> -------------
>
> But you can't use the same dye (that dyes cotton in cold water) to dye 
> wool.
>
> Different chemicals.
>
> Rit and other dyes like it have both types in the same package: 
> cellulosic
> dyes (for cotton, linen, hemp) *and* acid dyes (for wool, silk, 
> mohair).
> That's one of the reasons Rit dye takes so long to rinse out. If you 
> dye
> wool, you have to rinse out all the unused cellulose dye.
>
>
> Denise
> Iowa
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>

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Date: Thu, 24 May 2007 14:19:54 +1200
From: "michaela de bruce" <michaela.de.bruce@gmail.com>
To: "Historical Costume" <h-costume@indra.com>
Subject: Re: [h-cost] lacing rings
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Status: RO

> What do you guys use for lacing rings? I just found this vendor:

It depends. For large meant to be seen rings I use 13mm brass rings
from the curtain section of Spotlight/Harvey furnishing etc. Anywhere
you can buy everything to make a curtain. They come in several sizes
and treatments:
http://www.charlesrowley.co.uk/curtain-hooks-rings.html
They are about 15c each NZ the size that I get.

If I have a need for smaller rings I buy solid brass rig rings from a
fishing tackle shop.
They wind up 50cNZ each here.
http://www.tackleshop.co.uk/ProductDetails/mcs/ProductID/634/GroupID/14/CategoryID/105/v/
These are stainless steel but you can get them in brass, I just have a
hard enough time finding them online at all;) Go to a tackle shop and
ask for solid brass rig rings, a goos storeperson will know what you
are after.

I have used the eyes of hooks and eyes in the past too. It really
depends on how big the ring needs to be.

Michaela
(about to use some of said large rings for my upcoming SCA garb project.)
http://glittersweet.com
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Status: RO

I know I posted about this before, and many of you kind and knowledgable
people gave me great instructions (although I admit a certain fondness
for the one that takes you through a series of steps, followed by the
explicit directive of "Curse"). ;) The problem is that all of these
wonderful instructions were sitting in my e-mail inbox, which last night
got sucked --in its entirety--into a black hole or otherwise vanished
into another plane of existence. Could you please be so good as to
repost?

Many thanks!
Arlys
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Status: RO

I get mine from Fire Mountain Gems--
http://www.firemountaingems.com/search.asp?skw=closed+jump

I like the 7 or 8mm ones in 20 gauge, but have used ones as small as 5mm 23 
gauge with no problems.  They're surprisingly strong!

-E House

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Status: RO

It looks like there's a good chance that within the year, I'll be moving =
to the Seattle area.  Is there anything out there of interest to h-cost =
type folks? =20

-E House, dreading packing and planning to start EARLY this time...
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Date: Thu, 24 May 2007 01:27:17 -0500 (CDT)
From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] hand rolling veil hems
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Status: RO


On Wed, 23 May 2007, Cynthia J Ley wrote:

> I know I posted about this before, and many of you kind and knowledgable
> people gave me great instructions (although I admit a certain fondness
> for the one that takes you through a series of steps, followed by the
> explicit directive of "Curse"). ;) The problem is that all of these
> wonderful instructions were sitting in my e-mail inbox, which last night
> got sucked --in its entirety--into a black hole or otherwise vanished
> into another plane of existence. Could you please be so good as to
> repost?

Go to your original message here:
http://www.mail-archive.com/h-costume@mail.indra.com/msg14616.html

... and at the bottom of the page are links to all the responses,

--Robin

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From: "Land of Oz" <landofoz@netins.net>
To: "Historical Costume" <h-costume@indra.com>
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	<ac22378a4679e9b7e8ec6e537a5bfda5@ntw.net>
Subject: Re: [h-cost] How to dye a sweater
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Status: RO

>I use them at room temp.  My info says that using heat is not advised.  I 
>dissolve the salt in hot water and let it come to room temp before adding 
>dye and soda ash.  I also dissolve the soda ash in hot water and let cool.
>

These are the directions for dyeing cotton.  If  you use soda ash on wool or 
silk, you will get holes or severely weakened fabric.

Denise
Iowa 

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Subject: Re: [h-cost] How to dye a sweater
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Status: RO

> I'm aware that that there are different dyes available for protein fibers. 
> But according to some websites many people do use Procion dyes on wool, 
> they just don't get exactly the same colors. And I have lots of Procion 
> dyes already, so why buy more dye?
>

I'm not a chemist. If I value the product I am going to spend time on, then 
I'm going to use the best, most appropriate materials.

The members of this list are very quick to point out the inappropriate 
fabrics, methods or styles used to make a costume, so apply the same 
standard.

Using dye intended for a different product can have poor results that go 
beyond "not exactly the same colors".  You could have issues with 
colorfastness, lightfastness, fiber damage or failure, crocking and probably 
others.

Enough acid dye to dye one sweater costs about $2, even in the most 
expensive color. Why would you use anything that might give you poor 
results?  Just donate the sweater or something.

Denise
Iowa 

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Date: Thu, 24 May 2007 07:08:13 -0700
Subject: Re: [h-cost] hand rolling veil hems
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Status: RO

Bless you, Robin! Thanks! :-)

Arlys

On Thu, 24 May 2007 01:27:17 -0500 (CDT) Robin Netherton
<robin@shell.nightowl.net> writes:
> 
> On Wed, 23 May 2007, Cynthia J Ley wrote:
> 
> > I know I posted about this before, and many of you kind and 
> knowledgable
> > people gave me great instructions (although I admit a certain 
> fondness
> > for the one that takes you through a series of steps, followed by 
> the
> > explicit directive of "Curse"). ;) The problem is that all of 
> these
> > wonderful instructions were sitting in my e-mail inbox, which last 
> night
> > got sucked --in its entirety--into a black hole or otherwise 
> vanished
> > into another plane of existence. Could you please be so good as to
> > repost?
> 
> Go to your original message here:
> http://www.mail-archive.com/h-costume@mail.indra.com/msg14616.html
> 
> ... and at the bottom of the page are links to all the responses,
> 
> --Robin
> 
> 

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From: Sylvia Rognstad <sylvia@ntw.net>
Subject: Re: [h-cost] How to dye a sweater
Date: Thu, 24 May 2007 09:15:08 -0600
To: Historical Costume <h-costume@indra.com>
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Status: RO

I have used soda ash on silk with no problems.   I must admit I've 
never tried it on wool.   I would call Pro Chemical on the east coast.  
I order my dye from either them or Dharma and they are very 
knowledgeable.  They will give you the definitive answer you need for 
dyeing wool.  Go to http://www.prochemical.com/

Sylvia Rognstad
Divinity Designs and Emeralds
http://www.d-e-designs.com

On May 24, 2007, at 6:38 AM, Land of Oz wrote:

>> I use them at room temp.  My info says that using heat is not 
>> advised.  I dissolve the salt in hot water and let it come to room 
>> temp before adding dye and soda ash.  I also dissolve the soda ash in 
>> hot water and let cool.
>>
>
> These are the directions for dyeing cotton.  If  you use soda ash on 
> wool or silk, you will get holes or severely weakened fabric.
>
> Denise
> Iowa
> _______________________________________________
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Status: RO

That is the point.  A machine-made sweater that someone gave me that did 
not cost much, which I dislike so much I have never once worn it in the 
7 years or so since it was given to me, and which I am making a final 
attempt to like and use by dyeing it before throwing it away, is not 
something I value so much I want to go out and spend money on the very 
finest, most very appropriate and expensive materials, even if it's just 
$2 worth of dye and $5 worth of shipping charges.  I would throw the 
sweater out anyway, except my mother gave it to me and she has since 
died herself (not with Procion MX).  She had awful taste in colors and I 
am sure she gave me an ivory-colored sweater as the one thing she could 
think of that would please me.

On the other hand, I already have about 15 pounds of different Procion 
MX dyes available, since I've been doing cotton dyeing projects weekly 
for the last year and a half.  I also have read several Internet 
articles saying that this is often done and that it can be successful. 
The problem is most use more heat than I'd like to use washing wool, 
which, BTW, I do do in tap-cold water.

There's fine art, and then there is salvage. I also usually do not use 
the very finest fabrics and lace for patching clothes, or go out and buy 
special materials to do it with.  I just use what I have around.

The members of this list are also very quick to criticize each other for 
not doing things exactly the way they do them.  I am not living my life 
to meet anyone else's standards but my own.

Fran


best, most appropriate materials.
> 
> The members of this list are very quick to point out the inappropriate 
> fabrics, methods or styles used to make a costume, so apply the same 
> standard.
> 
> Using dye intended for a different product can have poor results that go 
> beyond "not exactly the same colors".  You could have issues with 
> colorfastness, lightfastness, fiber damage or failure, crocking and 
> probably others.
> 
> Enough acid dye to dye one sweater costs about $2, even in the most 
> expensive color. Why would you use anything that might give you poor 
> results?  Just donate the sweater or something.
> 
> Denise
> Iowa
> _______________________________________________
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> 
> 
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Status: RO


I really need a book with hats.
Anyone have any suggestions with a good history of hat book available today?


Bjarne




Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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From: LuAnn Mason <luann_mason@msn.com>
To: Historical Costume <h-costume@indra.com>
Subject: RE: [h-cost] Stuff of interest in Seattle?
Date: Thu, 24 May 2007 13:27:04 -0700
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Status: RO

Weaving works is awesome, and I believe there's a Greater Seattle Area Cost=
umer's Guild...
=20
Sorry, I'm about three hours away from there, and don't get that way very o=
ften.
=20
LuAnn



> From: swissgirl@swissinfo.org> To: h-costume@indra.com> Date: Thu, 24 May=
 2007 03:24:31 -0500> CC: > Subject: [h-cost] Stuff of interest in Seattle?=
> > It looks like there's a good chance that within the year, I'll be movin=
g to the Seattle area. Is there anything out there of interest to h-cost ty=
pe folks? > > -E House, dreading packing and planning to start EARLY this t=
ime...> _______________________________________________> h-costume mailing =
list> h-costume@mail.indra.com> http://mail.indra.com/mailman/listinfo/h-co=
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Subject: RE: [h-cost] Stuff of interest in Seattle?
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Status: RO

You'll love Seattle?   I spent 10 years there - college & beyond.  I've been 
gone for 27 years but I love it every time I go visit. The city is vibrant 
and you'll discover lots od history related groups there. Their theater is 
also outstanding

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Status: RO

 > It looks like there's a good chance that within the year, I'll be moving 
to the Seattle area. Is there anything out there of interest to h-cost type 
folks? > > -E House, dreading packing and planning to start EARLY this 
time...>

It depends on what period you're looking for.  European history out here 
started about 1840 or so, which limits some of the emphasis.  That being 
said, there's a lot of Asian and Native American textiles, costumes and 
artifacts in the museums, and some European stuff, you just have to look a 
bit for it.  The University of Washington has a fairly interesting 
collection at the Burke Museum.  If you're looking for reenactment groups, 
there's a bunch.  I don't know of any Rev. War groups, but a lot of Fur 
Trade, Civil War, etc.  There's the Beyond Realitiy Costumers Guild, which 
does historic as well as fantasy/science fiction costume, a lot of SCA 
groups, and a thriving theater scene.  As for interesting fabric stores, 
we've been cursed by most of them closing or getting bought out by the 
chains and then turning to craft stores with some fabric, but Nancy's Sewing 
Basket, although pricey, has got some great stuff.

Out of Seattle proper, but still close enough for day trips, the Portland 
Art Museum has some world class traveling exhibits, the one opening next 
month is the treasures of the Riksmuseum that was in Phoenix.  I do a lot of 
my fabric shopping in Portland or nearby, the Pendleton Woolen Mills outlet 
is in Washougal, and there are several interesting fabric stores.  Traveling 
the other direction, Vancouver, BC. is a great place for Indian and 
Pakistani textiles.

I live about 45 minutes south of Seattle, in Tacoma, and usually spend one 
day a week in Seattle doing fittings.  Let me know when you get here and 
maybe we can meet for coffee.

Melusine

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Status: RO

I'm a Localite - not in Seattle itself, but across the water in a lovely 
little town named Poulsbo. If you'd like to live near Seattle but not 
*in* King County (which is...half city), I put forward the option of 
living in Kitsap. It's cheaper, but I'm only an hour's commute away from 
Seattle. I love both the proximity and the distance! (The closer you get 
to Seattle, the pricy-er it gets)

As far as historical stuff....

In Tacoma you have Fort Nisqualy, which is a reenacting/living history 
fort set in 1855. I haven't personally been, but I know quite a few 
people who do work there.
In my town you've got a small, but nice house museum where we're 
starting a living history program soon....
There are several other forts around (Fort Warden, Fort Stellicom, etc) 
as well as some lovely historical towns. Unfortunately, due to the 
newness of the area as a whole, 1855 is about the earliest you get 
without going 'native.'

Places to go . . . hmm . . . Weaving Works is great, if you like fiber 
arts, knitting or weaving. The Pendleton Wool Mill outlet is a wool 
lovers dream. Pacific Fabrics in Seattle carries some corsetry supplies 
and teaches corset making classes, if you'd like to gauge what is sold 
there, and there are always things like Benaroya Hall, where the Seattle 
Symphony preforms, the Opera, etc.

There is a Rev War group, but they're mostly male and do skirmishes. 
Lots of SCA, but I only know of one terribly farby Ren Faire.

I love living in this area - it's not to hot, not to cold, absolutely 
gorgeous and once you get over the rain (there really isn't that much) 
the weather is great.

- Elisabeth

E House wrote:
> It looks like there's a good chance that within the year, I'll be moving to the Seattle area.  Is there anything out there of interest to h-cost type folks?  
>
> -E House, dreading packing and planning to start EARLY this time...
> _______________________________________________
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> h-costume@mail.indra.com
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>   

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Date: Thu, 24 May 2007 19:26:09 -0600
From: "Terri Hirling" <thirling@gmail.com>
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Subject: [h-cost] Brass Rings
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Status: RO

I get my brass (lacing) rings from Textol Drapery.  I'm not sure you can
beat a bag of 1000 rings for $12.00.   That should be enough lacing rings to
last a lifetime.  The only problem is your order has to be at
least $35.00.  When I ordered mine a couple of years ago they were $19 or
$20/bag and I believe the order amount had to be $25 or $30 so I just
order pillow form.

http://www.textol.com/d_13.asp

Baroness Isabeau Quiquandon
Terri Hirling

-- 
"We live in two worlds . . .  the world into which we are born, and the
other world that is born within us.  Both may be a blessing or a curse.  We
choose."  Attributed as a Druid homily.
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From: Jodi Nelson <faerieglenstudios@yahoo.com>
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Status: RO

Try Paula Burch's Low Water Immersion technique. If you Google her name, you'll get her web site. I used it on both cotton and silk noil for some costumes I made for a movie being shot in my area last summer.  it was very easy and the results were fabulous. She uses  Procion MX  dyes.

Good Luck!!!

Jodi 

       
---------------------------------
Got a little couch potato? 
Check out fun summer activities for kids.
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Date: Fri, 25 May 2007 11:56:52 -0700 (PDT)
From: Kimiko Small <sstormwatch@yahoo.com>
To: Historical Costume <h-costume@indra.com>, fresnofiberarts@yahoogroups.com
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Subject: [h-cost] Blue Velvet Henrician Suite
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Status: RO

Hi all,

I cross posted to a few lists, so sorry if you get
this more than once.

I wanted to share the last big project I had been
working on for a client, and now most of the photos
are uploaded for viewing. 

This is a blue cotton velvet Henrician suite of
garments, including doublet and sleeves, slashed with
small puffs of fine linen. The same material is used
for the jacket with attached skirt. All is trimmed in
gold cord, cream and gold trim, and beautiful gold
jewels imported from England. Also there is a cream
wool flannel pair of breeches with slash & puff
codpiece, and a simple white linen shirt. It is
finished with a white silk sash.

Sadly, I don't have a man's dress form to put it on,
so it was placed on my oversized woman's dress form,
so it isn't as nice looking as I would like. I do hope
to get photos of the client in the whole thing later
this summer.
http://www.flickr.com/photos/41633059@N00/sets/72157600027344164/

Eventually this will end up on my web site.

Kimiko Small
http://www.kimiko1.com




       
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From: Zuzana Kraemerova <zkraemerova@yahoo.com>
Subject: Re: [h-cost] Looking for fabric shopping in Rome and Prague
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Status: RO

Hi,

no idea whether I'm writing too late or not, but I live in Prague and there are some nice fabric shops here - what exactly would you like to buy? There are shops with very cheap but good fabrics including linen and cotton but there are also shops with theatre/evening fashion. 

Zuzana

Kathy Stormberg <kstormy@hotmail.com> wrote: Okay, since there are requests for good places for fabric in Ireland and 
Germany, how about Rome and Prague (Rome especially!)?  I will be there at 
the end of this month/early next month.  Any suggestions appreciated.

Thanks,
Kathy


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Status: RO

Hi,

I'm just up to make this doublet (or whatever it's called):

http://www.kazi.webz.cz/wagner/images/wag01-28.jpg  

It's the second one from the left. It's taken from Medieval costume, armor, and weapons, but originally it comes from the Wenceslas bible and it's dated to the 1432, Bohemia. I would like the doublet to follow the shape of the body, not very tight, just a little, but not too loose. My question is - how can I achieve this WITHOUT a fastening? Is it possible? How tight can I do the waistline when the man's chest/bust is around 100cm? Do you know any tricks about this?

It might not be possible to do it without fastening, so my second question is, where would a fastening for such a garment be? (I don't want the front fastening). On the back? Or was there any at the sides? What would be used? Lacing? Buttons? Hooks and eyes? Anything else?

Many thanks to everyone who could give me some advice:-)

Zuzana

       
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Sure is quiet out there lately.
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Subject: RE: [h-cost] 1432 doublet - fastening?
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Status: RO

My theatre teacher in college made a dress like this, without a =
fastening.
The way she did it was to cut it on the bias. She literally had the =
actress
lie down on the fabric, and traced around her, allowing extra for going
around the body. She made the sleeves separately, as they wouldn't fit =
on
her fabric with it being on the bias. It fit wonderfully, following the =
body
shape.=20

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] =
On
Behalf Of Zuzana Kraemerova
Sent: Sunday, May 27, 2007 9:51 AM
To: h-costume
Subject: [h-cost] 1432 doublet - fastening?


Hi,

I'm just up to make this doublet (or whatever it's called):

http://www.kazi.webz.cz/wagner/images/wag01-28.jpg =20

It's the second one from the left. It's taken from Medieval costume, =
armor,
and weapons, but originally it comes from the Wenceslas bible and it's =
dated
to the 1432, Bohemia. I would like the doublet to follow the shape of =
the
body, not very tight, just a little, but not too loose. My question is - =
how
can I achieve this WITHOUT a fastening? Is it possible? How tight can I =
do
the waistline when the man's chest/bust is around 100cm? Do you know any
tricks about this?

It might not be possible to do it without fastening, so my second =
question
is, where would a fastening for such a garment be? (I don't want the =
front
fastening). On the back? Or was there any at the sides? What would be =
used?
Lacing? Buttons? Hooks and eyes? Anything else?

Many thanks to everyone who could give me some advice:-)

Zuzana

      =20
---------------------------------
Choose the right car based on your needs.  Check out Yahoo! Autos new =
Car
Finder tool.
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Subject: RE: [h-cost] 1432 doublet - fastening?
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Status: RO

What you are wanting isn't a doublet, I believe it is a cotehardie.
variation (scroll down)
http://www.bymichelle.com/pp2123.html
info
http://www.geocities.com/ariedin/Men.html
 This is not a period I am an expert on but I believe that a few of the
men's cotehardies were laced in the back but I an not 100% sure of my memory
on it.

De

-----Original Message-----
Hi,

I'm just up to make this doublet (or whatever it's called):

http://www.kazi.webz.cz/wagner/images/wag01-28.jpg

It's the second one from the left. It's taken from Medieval costume, armor,
and weapons, but originally it comes from the Wenceslas bible and it's dated
to the 1432, Bohemia. I would like the doublet to follow the shape of the
body, not very tight, just a little, but not too loose. My question is - how
can I achieve this WITHOUT a fastening? Is it possible? How tight can I do
the waistline when the man's chest/bust is around 100cm? Do you know any
tricks about this?

It might not be possible to do it without fastening, so my second question
is, where would a fastening for such a garment be? (I don't want the front
fastening). On the back? Or was there any at the sides? What would be used?
Lacing? Buttons? Hooks and eyes? Anything else?

Many thanks to everyone who could give me some advice:-)

Zuzana


---------------------------------
Choose the right car based on your needs.  Check out Yahoo! Autos new Car
Finder tool.
_______________________________________________
h-costume mailing list
h-costume@mail.indra.com
http://mail.indra.com/mailman/listinfo/h-costume


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From: "kelly grant" <estela_dufrayse@hotmail.com>
To: "Historical Costume" <h-costume@indra.com>
References: <IDEHICPIJOEBPADHEOGPEEALJBAA.otsisto@socket.net>
Subject: Re: [h-cost] 1432 doublet - fastening?
Date: Sun, 27 May 2007 15:57:37 -0300
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Status: RO

I'm not sure about the lacing up the back idea with period 
garments...haven't seen any in early period garments, side back lacing in 
later, Rennaisance, garments, and not until the 17thC centre back lacing...

But I could be wrong.

Kelly


----- Original Message ----- 
From: "otsisto" <otsisto@socket.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Sunday, May 27, 2007 3:05 PM
Subject: RE: [h-cost] 1432 doublet - fastening?


> What you are wanting isn't a doublet, I believe it is a cotehardie.
> variation (scroll down)
> http://www.bymichelle.com/pp2123.html
> info
> http://www.geocities.com/ariedin/Men.html
> This is not a period I am an expert on but I believe that a few of the
> men's cotehardies were laced in the back but I an not 100% sure of my 
> memory
> on it.
>
> De
>
> -----Original Message-----
> Hi,
>
> I'm just up to make this doublet (or whatever it's called):
>
> http://www.kazi.webz.cz/wagner/images/wag01-28.jpg
>
> It's the second one from the left. It's taken from Medieval costume, 
> armor,
> and weapons, but originally it comes from the Wenceslas bible and it's 
> dated
> to the 1432, Bohemia. I would like the doublet to follow the shape of the
> body, not very tight, just a little, but not too loose. My question is - 
> how
> can I achieve this WITHOUT a fastening? Is it possible? How tight can I do
> the waistline when the man's chest/bust is around 100cm? Do you know any
> tricks about this?
>
> It might not be possible to do it without fastening, so my second question
> is, where would a fastening for such a garment be? (I don't want the front
> fastening). On the back? Or was there any at the sides? What would be 
> used?
> Lacing? Buttons? Hooks and eyes? Anything else?
>
> Many thanks to everyone who could give me some advice:-)
>
> Zuzana
>
>
> ---------------------------------
> Choose the right car based on your needs.  Check out Yahoo! Autos new Car
> Finder tool.
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Subject: [h-cost] Ruff question
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Status: RO

I want to make an Elizabethan ruff. I have some fine linen, but the selvedge
is funky. Should I double the fabric, having a fold  at the outside 
edge of the ruff or should I just hem the outside edge with a narrow hem?
Sharon C.
 

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: "WickedFrau" <wickedfrau@msn.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Ruff question
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Status: RO

I'd double it.
Sg

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Sharon Collier
Sent: Sunday, May 27, 2007 1:13 PM
To: h-costume@mail.indra.com
Subject: [h-cost] Ruff question

I want to make an Elizabethan ruff. I have some fine linen, but the selvedge
is funky. Should I double the fabric, having a fold  at the outside 
edge of the ruff or should I just hem the outside edge with a narrow hem?
Sharon C.
 

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: Kimiko Small <sstormwatch@yahoo.com>
Subject: Re: [h-cost] Testing...
To: Historical Costume <h-costume@indra.com>
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Status: RO

It's the holiday weekend.

Kimiko


--- Saragrace Knauf <wickedfrau@msn.com> wrote:

> Sure is quiet out there lately.



       
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Subject: Re: [h-cost] 1432 doublet - fastening?
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Status: RO

Zuzana Kraemerova wrote:

> 
> 
> http://www.kazi.webz.cz/wagner/images/wag01-28.jpg  
> 
> It might not be possible to do it without fastening, so my second question is, where would a fastening for such a garment be? (I don't want the front fastening). On the back? Or was there any at the sides? What would be used? Lacing? Buttons? Hooks and eyes? Anything else?
> 


That's a very bad drawing. There would usually be buttons up the front, 
or laces. If you look at original pictures from the 1300's you will see 
them.



Dawn


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From: "Sue Clemenger" <mooncat@in-tch.com>
To: "Historical Costume" <h-costume@indra.com>
References: <336225.77414.qm@web37509.mail.mud.yahoo.com>
Subject: Re: [h-cost] 1432 doublet - fastening?
Date: Sun, 27 May 2007 18:16:06 -0600
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Status: RO

Why would you want to do it without fastenings? <puzzled look>  Also, your
depictions pretty clearly show front openings, also--the one on the right
has buttons.  So why no front openings? <another curious look>
If I were doing this outfit for a gentleman I knew, and wanted to stay away
from front openings for whatever reason, I'd probably revert to a side
lacing.  I've got a personal example (photograph from Salisbury Cathedral in
England), of a gentleman's tomb carving.  It's 60-odd years prior to your
intended outfit (person in question died in 1389), and in a different
country to boot, but he's clearly wearing a fitted outer layer, and it's
clearly laced shut on the sides, with a type of spiral lacing. You're going
to need some sort of closures to get much of a fit for this sort of garment.
--Sue
----- Original Message -----
From: "Zuzana Kraemerova" <zkraemerova@yahoo.com>
To: "h-costume" <h-costume@mail.indra.com>
Sent: Sunday, May 27, 2007 10:51 AM
Subject: [h-cost] 1432 doublet - fastening?


> Hi,
>
> I'm just up to make this doublet (or whatever it's called):
>
> http://www.kazi.webz.cz/wagner/images/wag01-28.jpg
>
> It's the second one from the left. It's taken from Medieval costume,
armor, and weapons, but originally it comes from the Wenceslas bible and
it's dated to the 1432, Bohemia. I would like the doublet to follow the
shape of the body, not very tight, just a little, but not too loose. My
question is - how can I achieve this WITHOUT a fastening? Is it possible?
How tight can I do the waistline when the man's chest/bust is around 100cm?
Do you know any tricks about this?
>
> It might not be possible to do it without fastening, so my second question
is, where would a fastening for such a garment be? (I don't want the front
fastening). On the back? Or was there any at the sides? What would be used?
Lacing? Buttons? Hooks and eyes? Anything else?
>
> Many thanks to everyone who could give me some advice:-)
>
> Zuzana


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Subject: Re: [h-cost] Testing...
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Status: RO

3-day weekend in the U.S.  I'd imagine a lot of us are off doing family
stuff, camping, etc.  I've just come back from seeing Pirates3,
myself....lots of fun.
Obligatory Costume Content: I, myself, am spending a good part of the
weekend getting my garb ready for SCA tourney season....Mending, finishing
hems, finally making that outer garment I swore I didn't want to do without
for another year....;o)
--Sue
----- Original Message -----
From: "Saragrace Knauf" <wickedfrau@msn.com>
To: "h-costume" <h-costume@indra.com>
Sent: Sunday, May 27, 2007 9:01 AM
Subject: [h-cost] Testing...


> Sure is quiet out there lately.


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Status: RO

Sue Clemenger wrote:

> 3-day weekend in the U.S.  I'd imagine a lot of us are off doing family
> stuff, camping, etc.  I've just come back from seeing Pirates3,
> myself....lots of fun.

Rewiring the electrical in the bedroom. I'll be able to SEE when I cut 
out my fabric, and when I'm digging in the back of the closet for stored 
costumes.



Dawn


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Status: RO

I double mine and put a medium fishing line in the folded
edge using the zipper foot. I also starched the linen first.
Cheers, Aylwen

http://www.bordonia.org

----- Original Message -----
From: "WickedFrau" <wickedfrau@msn.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Ruff question
Date: Sun, 27 May 2007 13:25:37 -0700

> I'd double it.
> Sg
> 
> -----Original Message-----
> From: h-costume-bounces@indra.com
> [mailto:h-costume-bounces@indra.com] On Behalf Of Sharon
> Collier Sent: Sunday, May 27, 2007 1:13 PM
> To: h-costume@mail.indra.com
> Subject: [h-cost] Ruff question
> 
> I want to make an Elizabethan ruff. I have some fine linen
> , but the selvedge is funky. Should I double the fabric,
> having a fold  at the outside  edge of the ruff or should
> I just hem the outside edge with a narrow hem? Sharon C.
>  
> 
> 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"
> 
>  
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 
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Date: Sun, 27 May 2007 18:47:02 -0700 (PDT)
From: Ann Catelli <elvestoorder@yahoo.com>
To: Historical Costume <h-costume@indra.com>
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Subject: [h-cost] Re:  1432 doublet - fastening?
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Status: RO

It is my gut instinct that the front fastening was
probably lacing and just was not depicted. 

Men can have quite a tapered waist, but what it's
tapering from isn't as 'squishy' as a women.

This is common on depictions of women's tightly
fitting garments, that the lacing was not shown when
it was closed.  The lacing was merely a functional
element and not a decorative one. (This is based on
Robin Netherton's work largely, but also on what I've
seen in ms. illuminations.)

I have never seen any depiction before, maybe 1480s ??
(purely memory here for dates) of any back lacing
garment, and that was in Italy.   Side fastenings may
have had a brief vogue in the thirteenth century (the
'bliaut') and are sometimes shown as a letting-out
device on a pregnant woman (the Visitation of Mary to
Elizabeth).
Where you might see any fastenings shown at all is on
allegorical depictions of The Fountain of Youth or a
mass baptism, occasionally a swimming scene, where
someone is stripping on shore.  
Naturally, these allegorical scenes have to be used
cautiously.

I believe a very flexible man or one who does not
taper sharply along his trapezius muscles may achieve
a similar look, but generally, either tight or
pull-over.

Ann in CT

--- Zuzana Kraemerova <zkraemerova@yahoo.com> wrote:

> I'm just up to make this doublet (or whatever it's
> called):
> 
> http://www.kazi.webz.cz/wagner/images/wag01-28.jpg  
> 
> It's the second one from the left. originally
> it comes from the Wenceslas bible and it's dated to
> the 1432, Bohemia. I would like the doublet to
> follow the shape of the body, not very tight, just a
> little, but not too loose. My question is - how can
> I achieve this WITHOUT a fastening? 
> 
> It might not be possible to do it without fastening,
> so my second question is, where would a fastening
> for such a garment be? (I don't want the front
> fastening). On the back? Or was there any at the
> sides? What would be used? Lacing? Buttons? Hooks
> and eyes? Anything else?
> 
> Zuzana



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To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Re:  1432 doublet - fastening?
Date: Sun, 27 May 2007 22:38:21 -0500
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Status: RO

You can find back lacing on gowns from Henry the 7th period (early tudor)in
England and France. Rare but it did exist.

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

It is my gut instinct that the front fastening was
probably lacing and just was not depicted.

Men can have quite a tapered waist, but what it's
tapering from isn't as 'squishy' as a women.

This is common on depictions of women's tightly
fitting garments, that the lacing was not shown when
it was closed.  The lacing was merely a functional
element and not a decorative one. (This is based on
Robin Netherton's work largely, but also on what I've
seen in ms. illuminations.)

I have never seen any depiction before, maybe 1480s ??
(purely memory here for dates) of any back lacing
garment, and that was in Italy.   Side fastenings may
have had a brief vogue in the thirteenth century (the
'bliaut') and are sometimes shown as a letting-out
device on a pregnant woman (the Visitation of Mary to
Elizabeth).
Where you might see any fastenings shown at all is on
allegorical depictions of The Fountain of Youth or a
mass baptism, occasionally a swimming scene, where
someone is stripping on shore.
Naturally, these allegorical scenes have to be used
cautiously.

I believe a very flexible man or one who does not
taper sharply along his trapezius muscles may achieve
a similar look, but generally, either tight or
pull-over.

Ann in CT

--- Zuzana Kraemerova <zkraemerova@yahoo.com> wrote:
>
> http://www.kazi.webz.cz/wagner/images/wag01-28.jpg
>


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Date: Mon, 28 May 2007 01:39:06 -0400
To: Historical Costume <h-costume@indra.com>
From: Dianne & Greg Stucki <goofy4@comcast.net>
Subject: Re: [h-cost] Testing...
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Status: RO

At 08:22 PM 5/27/2007, you wrote:
>Obligatory Costume Content: I, myself, am spending a good part of the
>weekend getting my garb ready for SCA tourney season....Mending, finishing
>hems, finally making that outer garment I swore I didn't want to do without
>for another year....;o)
>--Sue


And I am frantically getting ready to buy linen for Pennsic 
undies...I have a feeling I'm really going to miss that extra week this year!

Dianne


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Date: Mon, 28 May 2007 10:30:45 +0100 (BST)
From: julian wilson <smnco37@yahoo.co.uk>
To: Historical Costume <h-costume@indra.com>
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Dawn <dawn@reddawn.net> wrote:
  Sue Clemenger wrote:

> 3-day weekend in the U.S. I'd imagine a lot of us are off doing family stuff, camping, etc. I've just come back from seeing Pirates3, myself....lots of fun.<

Rewiring the electrical in the bedroom. I'll be able to SEE when I cut out my fabric, and when I'm digging in the back of the closet for stored costumes.
  COMMENT
  It's a 3-day weekend here in the Anglo-Norman Isles, too. 
  Mixed weather as is usual for an English May Holdiay weekend - 
  "Farmers fear unkindly May, 
  Frost by night and hail by day - - -"- 
  Saturday was sunny, yesterday sunny with showers including some hail, overnight storm is still blowing hard and showering this morning; - and I now wish I'd laid-out our sleeping tent yesterday and brushed-off the canvas before re-folding everything into tighter bundles for next weekend's travelling to the mainland UK.
  Over here, May is a month with 2 "Bank-Holiday Mondays", and May 9th is our Isles' "1945 Liberation Day Anniversary Celebration" - so work-wise and wages-wise - it's a "short month".
  My House is sorting equipment and pre-packing - to travel to the UK Mainland to take part in West Dragonshire's "Winchester Pilgrimage" [weekend June 1st to 3rd] see some pictures at  http://www.westdragonshire.org/pilgrimage
- based upon the medieval "Almshouses & Hospital of St Cross", [Winchester, Hampshire, UK,]  - which latter is a group of almost unaltered medieval buildings continuously-occupied by the Brothers Of St. Cross since it's Foundation.
  The location has almost no anachronisms in view once through the gateway; and the Brothers all wear monkish robes, too, as "daily-garb", - which helps the "effort of belief". 
  Next Saturday morning's 3 hrs pilgrimage walk will be along the path through the watermeadows beside the River Itchen, finishing-up at Winchester Cathedral; and then walking back to St Cross. 
  Satruday night's Feast will be held in the Hospital's medieval "Hundred Mens' Hall".
  IMHO, this will be one of the two events in Drachenwald this year [the other wil be "Ffair Raglan III" ] at which Society members will be able most easily - and with minimum effort of imagination - to experience those rare & precious moments when one may look round and think one's self back in the medieval Period.
  So for my Lady and I this weekend will continue to be a weekend of happy anticipation, and pre-packing equipment.
   
  YiS,
  Matthew Baker

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Status: RO

I found some suprisingly authentic printed cotton at my local fabric
suppliers and I had to have it.  However there was only roughly 1.5-2m.  Any
ideas about what I could do with it?

Thanks

Serena Dyer
http://www.pemberleydesigns.co.uk


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From: Ann Catelli <elvestoorder@yahoo.com>
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Status: RO

And Henry VII was born in 1457, and ruled from
1485-1509.  
(Great Scott, I remembered a date!)
So, significantly later than the query garment, so far
as I can tell.

Ann in CT

--- otsisto <otsisto@socket.net> wrote:

> You can find back lacing on gowns from Henry the 7th
> period (early tudor)in
> England and France. Rare but it did exist.
> 
> -----Original Message-----
> 
> I have never seen any depiction before, maybe 1480s
> ??
> (purely memory here for dates) of any back lacing
> 
> Ann in CT
> 
> --- Zuzana Kraemerova <zkraemerova@yahoo.com> wrote:



       
____________________________________________________________________________________Boardwalk for $500? In 2007? Ha! Play Monopoly Here and Now (it's updated for today's economy) at Yahoo! Games.
http://get.games.yahoo.com/proddesc?gamekey=monopolyherenow  
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Subject: Re: [h-cost] Printed Cotton
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Status: RO

Authentic for what? (time period, basically)....Knowing a bit more would
give us a better base from which to offer advice. ;o)
--Sue

----- Original Message -----
From: "Serena Dyer" <serena@pemberleydesigns.co.uk>
To: <h-costume@mail.indra.com>
Sent: Monday, May 28, 2007 7:03 AM
Subject: [h-cost] Printed Cotton


> I found some suprisingly authentic printed cotton at my local fabric
> suppliers and I had to have it.  However there was only roughly 1.5-2m.
Any
> ideas about what I could do with it?
>
> Thanks
>
> Serena Dyer
> http://www.pemberleydesigns.co.uk


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Subject: [h-cost] 16th century Spain
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Status: RO

Hi,=20

Can anyone tell me how to get in touch with Maddalena Jessamyn di =
Piemonte, OL

I'm researching 16th century Spanish Basque dress

many thanks

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Subject: Re: [h-cost] Printed Cotton
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In a message dated 5/28/2007 9:05:46 A.M. Eastern Daylight Time,  
serena@pemberleydesigns.co.uk writes:

However  there was only roughly 1.5-2m.  Any
ideas about what I could do with  it?



I'm presuming you mean early 19th c.?  There are two spencerlike  cotton 
print tops in the Western Reserve Historical Society collection, and I  have seen 
a couple of other printed cotton spencer/jacket/bodice garments in  
collections.
 
Ann Wass



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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: [h-cost] article in Inspirations magazine
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Dear list,
I just wanted to say, that i am sorry i have told you the wrong issue, my 
article with embroidery in Inspirations magazine is not 55 but issue 56 wich 
is due out in the end of October. They have allocated 3 pages for my story 
with pictures...........
Sorry for the bummer..............

Bjarne Drews

www.my-drewscostumes.dk

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


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Subject: RE: [h-cost] RE:  Re:  1432 doublet - fastening?
Date: Mon, 28 May 2007 12:19:29 -0500
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Status: RO

As was said, I am not an expert on this period. I remember when the
discussion of the cotehardie and sideless surcoat from Simplicity (3888?)
came up it was noted about the fastenings in the back and someone who is an
expert in the period (was it Robin?) had stated that back closures were seen
with these gowns. Now from this info, whether back closure was done on men's
garments of the period I can only say it is a probability.

De



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From: "Wanda Pease" <wandap@hevanet.com>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] What R U doing this weekend ?- was "Testing..."
Date: Mon, 28 May 2007 11:33:41 -0700
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Status: RO

Julian/Matthew I envy you from the bottom of my heart!

Just got back from Germany with photos, "Flea Market Stuff", and the worst
respiratory Virus I have every had and moved to tell about it.  The trip
planners brought it especially from Old Virginia to infect the raging pack
of us.  Lubeck to Nuremberg with a long stop in Quedlinburg and Goslar for
Walpurgisnacht (Night on Bald Mountain for those Fantasia Fans).
Unfortunately no Drachenwald events, and only the National German History
Museum in Nuremberg.  Still 16 cloudless days of perfect temperatures isn't
something for a Visitor to cry about.  The German farmers are doing that for
the lack of rain this spring.

Have a great time

 Regina Romsey, 5th Viscountess Drachenwald

>
>   My House is sorting equipment and pre-packing - to travel to
> the UK Mainland to take part in West Dragonshire's "Winchester
> Pilgrimage" [weekend June 1st to 3rd] see some pictures at
> http://www.westdragonshire.org/pilgrimage
> - based upon the medieval "Almshouses & Hospital of St Cross",
> [Winchester, Hampshire, UK,]  - which latter is a group of almost
> unaltered medieval buildings continuously-occupied by the
> Brothers Of St. Cross since it's Foundation.
>   The location has almost no anachronisms in view once through
> the gateway; and the Brothers all wear monkish robes, too, as
> "daily-garb", - which helps the "effort of belief".
>   Next Saturday morning's 3 hrs pilgrimage walk will be along the
> path through the watermeadows beside the River Itchen,
> finishing-up at Winchester Cathedral; and then walking back to St Cross.
>   Satruday night's Feast will be held in the Hospital's medieval
> "Hundred Mens' Hall".
>   IMHO, this will be one of the two events in Drachenwald this
> year [the other wil be "Ffair Raglan III" ] at which Society
> members will be able most easily - and with minimum effort of
> imagination - to experience those rare & precious moments when
> one may look round and think one's self back in the medieval Period.
>   So for my Lady and I this weekend will continue to be a weekend
> of happy anticipation, and pre-packing equipment.
>
>   YiS,
>   Matthew Baker
>
>

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From: "Jennifer Byrne" <tigg@twcny.rr.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: Re: [h-cost] hand rolling hems
Date: Mon, 28 May 2007 14:06:50 -0400
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Status: RO

On page 5 of this site there is a diagram about how to do the hand-rolling
that Robin mentioned:

 

http://www.ca.uky.edu/fcs/FACTSHTS/CT-MMB-179.pdf

 

(And if this message doesn't reply properly to this group - I'm completely
at fault!  This is my first post. . . )

 

Jennifer

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Subject: RE: [h-cost] What R U doing this weekend ?- was "Testing..." 
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Status: RO

 
 

Stuck working, just like the last bank holiday weekend....
 
....making the prom dress from hell....  
 
....oh well, will be pretty once it's done (lilac satin, rhinestone tulle  
overlay, silver applique, and  one shoulder stra with lilac and clear  
rhinestones).
 
Kind of glad not at an event this weekend - just found out half the  
re-enactment events in the country seem to have been either washed out or blown  out.





   
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Status: RO

Usually the danes goes out and have a lovely time saturday evening, and stay 
up late til the sun rises. Then we say we see the sun is dansing. Many in 
Copenhagen goes to some small gardens in Frederiksberg to eat lunch in the 
open air.
Except me, who sits and sew all days. I have the deadline for the francaise 
dress wich my client comes and picks up friday.next week.
This season has ben very buisy for me, making 3 costumes this past 4 months. 
Now i am going on a holliday soon on june 11th, longing to get time again 
for my embroidery.
I have canseled some orders because i really cant cope with the demand, i 
have my own life to live two........

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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Subject: Re: [h-cost] 16th century Spain
Date: Mon, 28 May 2007 15:53:21 -0500
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Status: RO

Have you tried this link?

http://jessamynscloset.com/

It's the only one I have -- but the site hasn't been updated recently  
so I wonder if she's moved elsewhere?

HTH,
Suzanne

On May 28, 2007, at 1:00 PM,

> From: "Peggy Hogan" <stagefright@nf.sympatico.ca>
> Date: May 28, 2007 9:14:44 AM CDT
> To: <h-costume@mail.indra.com>
> Subject: [h-cost] 16th century Spain
>
>
> Hi,
>
> Can anyone tell me how to get in touch with Maddalena Jessamyn di  
> Piemonte, OL
>
> I'm researching 16th century Spanish Basque dress
>
> many thanks

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Status: RO

Yes but there's no  e-mail address and the site hasn't been updated for a 
number of years.

----- Original Message ----- 
From: "Suzanne" <sovagris@cybermesa.com>
To: <h-costume@indra.com>
Sent: Monday, May 28, 2007 5:53 PM
Subject: Re: [h-cost] 16th century Spain


> Have you tried this link?
>
> http://jessamynscloset.com/
>
> It's the only one I have -- but the site hasn't been updated recently  so 
> I wonder if she's moved elsewhere?
>
> HTH,
> Suzanne
>
> On May 28, 2007, at 1:00 PM,
>
>> From: "Peggy Hogan" <stagefright@nf.sympatico.ca>
>> Date: May 28, 2007 9:14:44 AM CDT
>> To: <h-costume@mail.indra.com>
>> Subject: [h-cost] 16th century Spain
>>
>>
>> Hi,
>>
>> Can anyone tell me how to get in touch with Maddalena Jessamyn di 
>> Piemonte, OL
>>
>> I'm researching 16th century Spanish Basque dress
>>
>> many thanks
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume 

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From: "Serena Dyer" <serena@pemberleydesigns.co.uk>
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Date: Mon, 28 May 2007 22:58:49 +0100
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Status: RO

Yes, sorry, I meant authentic late 18th, early 19th century. Very similar to
some ramoneur prints I've seen on late 18th century Robe A L'Anglais.

Thanks

Serena Dyer
http://www.pemberleydesigns.co.uk


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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Status: RO

Hi,
Someone asked for sources for bag asessories, dont remember the word for it.
I was browsing a swedish site and found this:

http://www.handelsgillet.se/diverse.htm

Bjarne

Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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From: "michaela de bruce" <michaela.de.bruce@gmail.com>
To: "Historical Costume" <h-costume@indra.com>
Subject: Re: [h-cost] What R U doing this weekend
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Status: RO

Unfortunately this weekend was spent moving into a rental
accomodation. We had a house fire in April and have only just been
able to find and move into a temporary house while ours is rebuilt.
http://www.flickr.com/photos/91424360@N00/sets/72157600199783344/
You may be able to tell that there is a fair bit of work to do and we
are probably looking at moving back around Christmas.

Next weekend (which is a holiday weekend here in NZ, I think the whole
Commonwealth, Queen's Birthday Weekend) I will be sewing up a storm
for my elevation to the Order of the Laurel as I have not really had a
chance to sit and sew for it yet. I have my bodice and sleeves and an
accessory patterned, the skirt is really simple but time consuming and
I am thinking of making a cloak as well.
http://pinkdiamond.livejournal.com/695549.html
This is the inspiration portrait, and if you click the "tag"
"midwinter" you will find all my posts about it.

Michaela de Bruce
http://glittersweet.com
Yes my costumes were in the house, no they weren't burnt but they were
smoke andheat damaged to some degree but most have been salvageable.
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From: Adele de Maisieres <ladyadele@paradise.net.nz>
Subject: Re: [h-cost] What R U doing this weekend
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Status: RO

michaela de bruce wrote:

> Next weekend (which is a holiday weekend here in NZ, I think the whole
> Commonwealth, Queen's Birthday Weekend) 


Nope.  Great Britain celebrates the Queen's Birthday in June, but on a 
different day.  Canada doesn't have Queen's Birthday, but does continue 
to observe Queen Victoria's Birthday in May.  Australian states have it 
variously in June (but on neither the NZ nor the British date) or in 
September/October. The Queen's birthday is _actually_ in April. Confused 
yet?  :-)

-- 
Adele de Maisieres

-----------------------------
Habeo metrum - musicamque,
hominem meam. Expectat alium quid?
-Georgeus Gershwinus
----------------------------- 


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From: "Chiara Francesca" <chiara.francesca@gmail.com>
To: "Historical Costume" <h-costume@indra.com>
References: <83310.26817.qm@web23110.mail.ird.yahoo.com>
Subject: Re: [h-cost] What R U doing this weekend ?- was "Testing..."
Date: Mon, 28 May 2007 19:57:08 -0500
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Status: RO

I co-ran a 4 day event called Steppes Warlord.

We had 525 attendees. I am tired now ...

Chiara
Dallas Texas
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Subject: Re: [h-cost] What R U doing this weekend
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Status: RO

Goodness!  A house fire sounds dreadful! Good to hear that you survived,
though!
And congrats on the impending elevation (welcome to the Grove and all that
<g>).  The gown should be lovely--the inspiration portrait is a new one to
me, but then, I'm only slightly familiar with 16th century German styles.
What is the "krantz" that you're going to make? Is it a decoration on part
of the dress? a hat or head covering of some sort?
--Sue, who sometimes looks remarkably like someone named "Maire," who is an
SCA member with all sorts of Official Alphabet Soup (for late-period
embroidery, primarily)

----- Original Message -----
From: "michaela de bruce" <michaela.de.bruce@gmail.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Monday, May 28, 2007 6:32 PM
Subject: Re: [h-cost] What R U doing this weekend


> Unfortunately this weekend was spent moving into a rental
> accomodation. We had a house fire in April and have only just been
> able to find and move into a temporary house while ours is rebuilt.
> http://www.flickr.com/photos/91424360@N00/sets/72157600199783344/
> You may be able to tell that there is a fair bit of work to do and we
> are probably looking at moving back around Christmas.
>
> Next weekend (which is a holiday weekend here in NZ, I think the whole
> Commonwealth, Queen's Birthday Weekend) I will be sewing up a storm
> for my elevation to the Order of the Laurel as I have not really had a
> chance to sit and sew for it yet. I have my bodice and sleeves and an
> accessory patterned, the skirt is really simple but time consuming and
> I am thinking of making a cloak as well.
> http://pinkdiamond.livejournal.com/695549.html
> This is the inspiration portrait, and if you click the "tag"
> "midwinter" you will find all my posts about it.


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Date: Tue, 29 May 2007 00:40:11 -0500 (CDT)
From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: RE: [h-cost] RE:  Re:  1432 doublet - fastening?
In-Reply-To: <IDEHICPIJOEBPADHEOGPCEBEJBAA.otsisto@socket.net>
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Status: RO


On Mon, 28 May 2007, otsisto wrote:

> As was said, I am not an expert on this period. I remember when the
> discussion of the cotehardie and sideless surcoat from Simplicity
> (3888?) came up it was noted about the fastenings in the back and
> someone who is an expert in the period (was it Robin?) had stated that
> back closures were seen with these gowns.

Sorry, I have never seen a back closure on a "cotehardie" style of fitted
garment from this period (roughly 1350-1430). In fact, I can't think of a
back opening on any garment from this period, at least in Western Europe.

There are a substantial number of images in multiple media that show
visible front fastenings (lacings for the basic garment, lacings or
buttons for the optional overlayer that goes over the basic garment).

The majority of images of fitted garments show no visible fastening at
all. Because most of those images show front views, some modern viewers
assume that this means the fastening must be in the back. Because I have
never seen a visible back opening at all, I don't make this assumption. I
think it is far more likely that most artists did not show the fastening
when the gown was closed. This may be artistic choice (as some artists do
show visible lacings even on closed gowns) or it could indicate that it
was common for lacing to be hidden in the seam -- and seams in this time
are also rarely shown.

Supporting this, I feel certain I have seen some illustrations in which a
front lacing was not shown on a closed garment but was visible in another
scene (from the same manuscript) in which the garment was open (dressing
scenes, etc.). I would have to go and dig through a lot of images to find
an example, which will not be happening in the coming weeks as I am deeply
snowed under.

I have seen occasional side lacings -- very rare, and the one that comes
to my mind immediately is northern Italian. 

It is, of course, possible that in Eastern Europe, things were done
differently, but I'd be very hesitant to assume the presence of back
openings.

By the way, my thoughts on this have absolutely nothing to do with the
oft-stated factoid that "upper-class people have servants to dress them
and so have back openings, while people who aren't rich enough for
servants have to manage with front openings."  Most people lived in
households with other people, presumably able to lace each other up if it
were necessary, regardless of class. Moreover, visible front lacings are
quite evident on plenty of images of queens (I can think of effigies and
manuscripts), as well as on nobles, so clearly front lacing was not a sign
of lower class or lack of money.

--Robin
catching up on e-mail after four days away

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To: "Historical Costume" <h-costume@indra.com>
Subject: Re: [h-cost] What R U doing this weekend
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Status: RO

> Goodness!  A house fire sounds dreadful! Good to hear that you survived,
> though!

I was extremely lucky to have been away from home, I normally would
have been in bed when it happened.

> And congrats on the impending elevation (welcome to the Grove and all that
> <g>).  The gown should be lovely--the inspiration portrait is a new one to
> me, but then, I'm only slightly familiar with 16th century German styles.

Thank you:)

It's a rather unique regional style, I'm a bit known now fr a *slight*
obsesion with the Cleves style and the whole North Rhine- Westphalian
style. The one in the portrait is one I have loved for a few years now
and was thrilled to see a large size copy of it online.

> --Sue, who sometimes looks remarkably like someone named "Maire," who is an
> SCA member with all sorts of Official Alphabet Soup (for late-period
> embroidery, primarily

*grin* Willemyne has only a few letters after her name one of which
already looks like OL;) Luckily that has changed to OGL! (Order of the
Golden Lily rather than Order of the Lily.) I really need to decide on
the translation of Mistress though. I need to decide on the Dutch or
German translations.

Michaela
http://glittersweet.com
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Status: RO

Hello, Jennifer.

Post is in so, so are you.

Tell me, you the journo?

-C.


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From: "Sue Clemenger" <mooncat@in-tch.com>
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References: <Pine.LNX.4.10.10705290023030.27190-100000@shell.nightowl.net>
Subject: Re: [h-cost] RE:  Re:  1432 doublet - fastening?
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Status: RO

There's the one I've got, from the effigy in Salisbury (dated 1380...at
least, that's when the gentleman in question died).  Of course, that's on a
gentleman's cote, and not a lady's.  Still, quite definitely side-laced.  If
you want a copy of the photo for your collection, let me know, and I'd be
glad to send it on....
--Sue

----- Original Message -----
From: "Robin Netherton" <robin@shell.nightowl.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Monday, May 28, 2007 11:40 PM
Subject: RE: [h-cost] RE: Re: 1432 doublet - fastening?


>
>
> I have seen occasional side lacings -- very rare, and the one that comes
> to my mind immediately is northern Italian.


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Status: RO

>The Queen's birthday is _actually_ in April. Confused  
>yet?
 
actual birthday 21st april
 
official birthday a saturday in june (it changes) - in the uk  anyway...
 
appraently it's all edward vii's fault...



   
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From: Zuzana Kraemerova <zkraemerova@yahoo.com>
Subject: RE: [h-cost] RE:  Re:  1432 cotehardie - fastening?
To: Historical Costume <h-costume@indra.com>
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Status: RO

Well, I've spoken to the man I'm sewing this cotehardie for, and he really doesn't want a front lacing. The back lacing is, I see, not very good choice to take either, if it's not sure whether it's period or not. Do you think I could do with some hidden fastening on the side? If side lacing existed, this wouldn't be "unperiod". By the way, was the side lacing on both sides?
   
  But I'd rather make some much more invisible fastening at the side - how could be lacing hidden in a seam? I can't imagine that. What about hooks and eyes? I know there existed in renaissance, but no idea when it comes to middle ages.
   
  Thanks,
   
  Zuzana
   

       
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From: Melanie Schuessler <melanie@faucet.net>
Subject: Re: [h-cost] Ruff question
Date: Tue, 29 May 2007 13:11:05 -0400
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Status: RO


On May 27, 2007, at 4:13 PM, Sharon Collier wrote:

> I want to make an Elizabethan ruff. I have some fine linen, but the  
> selvedge
> is funky. Should I double the fabric, having a fold  at the outside
> edge of the ruff or should I just hem the outside edge with a  
> narrow hem?

It depends on whether you want to starch and set it to get the shape  
or do a theatrical style that's wash-and-wear.  If you mean to starch  
it every time you wash it, I'd suggest a tiny rolled hem at the edge  
and only one layer of fabric.  For that style, you'll need to gather  
the entire length of the ruffle into the top of the neckband, so the  
less bulk the better.  If you mean to put horsehair braid or some  
other modern cheat in so you won't have to starch it, and you intend  
to cartridge pleat it onto the side of the neckband, it's fine to  
fold it double.

Instructions on starching ruffs can be found on my site at
http://www.faucet.net/costume/period/ruff.html

Melanie Schuessler

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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] 1432 doublet - fastening?
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Status: RO


Oh my. A quick search just turned up a page about this from a weblog by
Will McLean. I know him -- he's an armorer on the East Coast (formerly
SCA, now with Belle Compagnie) and does top-flight work, so I trust his
eye.

http://willscommonplacebook.blogspot.com/2006_08_01_archive.html

The name of the entry is "Belts Worn with Armor by a Late 14th-early 15th
c. Man-at-Arms," and he names many examples. Here's the paragraph:

<<A horizontal belt worn low on the hips may not be a good way to hold up
a heavy sword, so it's not uncommon to see a diagonal, often fairly narrow
belt instead of or in addition to the low one. Sir Humphrey Littlebury
wears both. (I suspect from his gauntlets that he may be somewhat earlier
than 1365.) Lord John de Montacute also has a second belt, in this case
neatly rolled around his scabbard.>>

The picture link (it went to Gothic Eye) is dead, but the description
would make sense of that bit of decoration I saw off the waist, which went
down at an angle and might be a diagonal narrow belt holding the scabbard
on the right.

If he means the same image, then Will thinks it's armor.

--Robin


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Status: RO

Hi,

Several years ago I found a picture on the internet that I really liked.
http://home.kabelfoon.nl/~triade2/tijdelijk/Blauw.jpg
And several years ago I bought a very nice blue silk.

I was wondering if red wool felt and gold cord would work for the 
embroidery.

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From: "Marie Stewart" <maricelt@gmail.com>
To: "Historical Costume" <h-costume@indra.com>
Subject: Re: [h-cost] 16th century dress question embroidery
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Status: RO

Ah yes!  I've seen this portrait before.  My first question, as
always, is what did they do at the time?  Embroidery I will admit is
not my strongest suit and perhaps I am conjuring up the wrong mental
picture of what you mean by "wool felt".  But my gut reaction is "no,
not wool."

In part it is from my reading of inventories of the day... silk
garments tend to be decorated with silk.

Looking at the garment in "Moda A Firenze" I can't tell a darn thing.
Oh well, had to try.

Sorry, I hope your research turns up and answer, and that you will
share it with us.
Mari

> Several years ago I found a picture on the internet that I really liked.
> http://home.kabelfoon.nl/~triade2/tijdelijk/Blauw.jpg
> And several years ago I bought a very nice blue silk.
>
> I was wondering if red wool felt and gold cord would work for the
> embroidery.
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Date: Tue, 29 May 2007 15:37:35 -0700 (PDT)
From: Kimiko Small <sstormwatch@yahoo.com>
Subject: Re: [h-cost] 16th century dress question embroidery
To: Historical Costume <h-costume@indra.com>
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Status: RO

Most likely, I am thinking appliques of red velvet,
outlined with cord. Wool felt might work, but won't
look as rich as the velvet would.

Good luck, and I would love to see pictures when you
are done.

Kimiko


--- Deredere Galbraith
<Deredere.Galbraith@kabelfoon.nl> wrote:

> Hi,
> 
> Several years ago I found a picture on the internet
> that I really liked.
>
http://home.kabelfoon.nl/~triade2/tijdelijk/Blauw.jpg
> And several years ago I bought a very nice blue
> silk.
> 
> I was wondering if red wool felt and gold cord would
> work for the 
> embroidery.
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 



 
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From: "Alexandria Doyle" <garbaholic@gmail.com>
To: "Historical Costume" <h-costume@indra.com>
Subject: Re: [h-cost] 16th century dress question embroidery
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Status: RO

A quick look at JA's PoF, where an appliqu=E9 on silk was done it was
silk, except for the one doublet with leather applique stitched with
silk thread.

I also think that while the wool would work, it would look better with
velvet or silk
alex

On 5/29/07, Deredere Galbraith <Deredere.Galbraith@kabelfoon.nl> wrote:
> Hi,
>
> Several years ago I found a picture on the internet that I really liked.
> http://home.kabelfoon.nl/~triade2/tijdelijk/Blauw.jpg
> And several years ago I bought a very nice blue silk.
>
> I was wondering if red wool felt and gold cord would work for the
> embroidery.
>
>--
I can handle anything that life throws at me.
I may not be able to handle it well, or correctly, or gracefully, or
with finesse, or expediently
-- but I will handle it.
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From: Jodi Nelson <faerieglenstudios@yahoo.com>
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Status: RO

Well, the weekend is really over, but I spent it sewing circa 1850's pioneer dresses and accessories for two girls going on a re-enactment trek and belly dancing for fun. 

Jodi

 
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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] 1432 doublet - fastening?
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Blast it. That last note on armor was meant to go directly to a
listmember, not to the list, and was part of a larger conversation.

Nothing to see here. Carry on.

Apologies,

Robin



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Status: RO

Personally, I'd use very thin red leather. Or silk.

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Deredere Galbraith
Sent: Tuesday, May 29, 2007 1:46 PM
To: Historical Costume
Subject: [h-cost] 16th century dress question embroidery


Hi,

Several years ago I found a picture on the internet that I really liked.
http://home.kabelfoon.nl/~triade2/tijdelijk/Blauw.jpg
And several years ago I bought a very nice blue silk.

I was wondering if red wool felt and gold cord would work for the 
embroidery.

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From: "otsisto" <otsisto@socket.net>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] 16th century dress question embroidery
Date: Tue, 29 May 2007 23:35:24 -0500
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Status: RO

There is a larger picture online somewhere that shows the red to be
embroidery, probably silk thread. But if you are asking about cutting back
on the embroidery by appliquing wool felt where there is red, I would
recommend a velvet or silk. Not sure they would have appliqued wool on to
silk back then.

De

-----Original Message-----
Hi,

Several years ago I found a picture on the internet that I really liked.
http://home.kabelfoon.nl/~triade2/tijdelijk/Blauw.jpg
And several years ago I bought a very nice blue silk.

I was wondering if red wool felt and gold cord would work for the
embroidery.


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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: Re: [h-cost] 16th century dress question embroidery
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Status: RO

Hi Deredere,
I would use a gold passing thread wich you couch on the surface, but first i 
would embroider the red areas. You could simply cover the red areas with 
tiny chainstitches. After that couch on the gold passing thread. My guess is 
that it would be quicker to do, than to cut out and aplique the silk to the 
surface, because you had to treat the raw edges somehow.
Lovely portrait.

Bjarne

----- Original Message ----- 
From: "Deredere Galbraith" <Deredere.Galbraith@kabelfoon.nl>
To: "Historical Costume" <h-costume@indra.com>
Sent: Tuesday, May 29, 2007 10:46 PM
Subject: [h-cost] 16th century dress question embroidery


> Hi,
>
> Several years ago I found a picture on the internet that I really liked.
> http://home.kabelfoon.nl/~triade2/tijdelijk/Blauw.jpg
> And several years ago I bought a very nice blue silk.
>
> I was wondering if red wool felt and gold cord would work for the 
> embroidery.
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 


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References: <Pine.LNX.4.10.10705291139280.29296-100000@shell.nightowl.net>
Subject: Re: [h-cost] 1432 doublet - fastening?
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Status: RO

Hello, everyone.  Robin caught something yesterday, and followed up on her
idea, and sent it on to me, and I did some following-up of my own, and it
appears that I may have been leading y'all astray.
Although I did not remember Sir John's effigy as being armored (and this is
unclear from my photograph), I did find a better shot of the effigy online
by googling for his name, and wading past all the stuff that was about his
more-famous son, also known as Sir John.
http://www.ukgraves.info/review.asp?id=24&pic=10
As you can see, he's clearly armored.  I do not know enough about 14th
century armor so say with any degree of certainty that what he's got on
could just be some sort of partial set of armor, such as one sometimes sees
in 16th century portraits, or if he's wearing some sort of coat or jupon
over armor.  At best, my photo is an example of *something* (most likely
body armor) being laced on the side.  It is very likely *not* an example of
side-laced clothing.
(On the plus side, Sir John, jr. appears to have been a very interesting
fellow, and the ukgraves site has got all kinds of interesting images, so
this wasn't a total loss!)
--Sue, going off feeling like a right eejit! :o)


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From: Deredere Galbraith <Deredere.Galbraith@kabelfoon.nl>
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To: Historical Costume <h-costume@indra.com>
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Status: RO

I would love to embroider it by hand but knowing myself I would never 
finish it :-( .

So I have a few options.
Totally embroider it by machine.....
Or  appliques of wool or silk and gold cord stichet on by machine.
(I know it is not period but probably the only way for me to make a 
beautiful dress within reasonable time. And having fun making it. 
although I am not happy having it to do it this way)

Silk velvet would be very nice.
The cheapest I found is around 60 euro for a meter.... and it is white...
1 Meter would hopefully be more than enough.
(I could use some scraps for an other project..)
I have white silk that I would like to dye for the lining.
The lining looks more pink than the red on the dress.
I can easily get that pinkish red from the lining with madder but I 
never got a real red from it..

Should I use some sort of backing for the embroidery?

Greetings,
       Deredere



Deredere Galbraith wrote:
> Hi,
>
> Several years ago I found a picture on the internet that I really liked.
> http://home.kabelfoon.nl/~triade2/tijdelijk/Blauw.jpg
> And several years ago I bought a very nice blue silk.
>
> I was wondering if red wool felt and gold cord would work for the 
> embroidery.
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>

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From: Wendy Colbert <rapierlady@earthlink.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] 16th century dress question embroidery
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Status: RO

A true red from madder is difficult, you will get a better red if you use a second dye bath of cochineal or lac after the madder.
Wendy

-----Original Message-----
>From: Deredere Galbraith <Deredere.Galbraith@kabelfoon.nl>
>Sent: May 30, 2007 11:05 AM
>To: Historical Costume <h-costume@indra.com>
>Subject: Re: [h-cost] 16th century dress question embroidery
>
>I would love to embroider it by hand but knowing myself I would never 
>finish it :-( .
>
>So I have a few options.
>Totally embroider it by machine.....
>Or  appliques of wool or silk and gold cord stichet on by machine.
>(I know it is not period but probably the only way for me to make a 
>beautiful dress within reasonable time. And having fun making it. 
>although I am not happy having it to do it this way)
>
>Silk velvet would be very nice.
>The cheapest I found is around 60 euro for a meter.... and it is white...
>1 Meter would hopefully be more than enough.
>(I could use some scraps for an other project..)
>I have white silk that I would like to dye for the lining.
>The lining looks more pink than the red on the dress.
>I can easily get that pinkish red from the lining with madder but I 
>never got a real red from it..
>
>Should I use some sort of backing for the embroidery?
>
>Greetings,
>       Deredere
>
>
>
>Deredere Galbraith wrote:
>> Hi,
>>
>> Several years ago I found a picture on the internet that I really liked.
>> http://home.kabelfoon.nl/~triade2/tijdelijk/Blauw.jpg
>> And several years ago I bought a very nice blue silk.
>>
>> I was wondering if red wool felt and gold cord would work for the 
>> embroidery.
>>
>> _______________________________________________
>> h-costume mailing list
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>
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Subject: Re: [h-cost] 16th century dress question embroidery
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Status: RO

 
In a message dated 5/30/2007 11:13:34 A.M. Eastern Daylight Time,  
Deredere.Galbraith@kabelfoon.nl writes:

Or   appliques of wool or silk and gold cord stichet on by  machine.



*******************
 
There are some amazing things made now to help you with applique. I used  
this stuff that was, not sticky as in gooey, but a heat activated bonding  
material that clung to whatever you wanted before any heat was applied, so you  
could move it around if you wanted, but it stayed put if you didn't peal it up.  
It did not become permanent until you blasted it with the iron. It had paper on 
 both sides since both sides of the bonding stuff was clingy. You drew on one 
 side of the paper the design elements you wanted, then pulled the other,  
unmarked paper off and bonded the whole uncut thing to the back of your  
decorative fabric. Then cut it out [the edges resisted fraying after being  bonded] 
then placed all the elements where they needed to go, moving them and  
adjusting them as needed [they cling to the fabric] and when you got things in  place, 
blasted them with steam and heat. They were now on for good.
 
I did this with velvet even, using a velvet board and ironing from the  back. 
Since it clings really well, I could pick up the whole thing and turn it  
over.
Since all the red seems to be outlined in gold cord, this might work out  
well for you. I ran around all my appliques with a tight zig-zag, but you could  
get away with a wider one just to make sure everything is down and not going 
to  fray, then cover it up with gold braid or whatever. It'll still be time  
consuming, but look great!



************************************** See what's free at http://www.aol.com.
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: "Historical Costume" <h-costume@indra.com>
References: <d20.c15a2dd.338efcbc@aol.com>
Subject: Re: [h-cost] 16th century dress question embroidery
Date: Wed, 30 May 2007 18:28:28 +0200
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Status: RO

What is the name for that stuff?
Sounds wonderfull!

Bjarne
----- Original Message ----- 
From: <AlbertCat@aol.com>
To: <h-costume@indra.com>
Sent: Wednesday, May 30, 2007 6:13 PM
Subject: Re: [h-cost] 16th century dress question embroidery


>
> In a message dated 5/30/2007 11:13:34 A.M. Eastern Daylight Time,
> Deredere.Galbraith@kabelfoon.nl writes:
>
> Or   appliques of wool or silk and gold cord stichet on by  machine.
>
>
>
> *******************
>
> There are some amazing things made now to help you with applique. I used
> this stuff that was, not sticky as in gooey, but a heat activated bonding
> material that clung to whatever you wanted before any heat was applied, so 
> you
> could move it around if you wanted, but it stayed put if you didn't peal 
> it up.
> It did not become permanent until you blasted it with the iron. It had 
> paper on
> both sides since both sides of the bonding stuff was clingy. You drew on 
> one
> side of the paper the design elements you wanted, then pulled the other,
> unmarked paper off and bonded the whole uncut thing to the back of your
> decorative fabric. Then cut it out [the edges resisted fraying after being 
> bonded]
> then placed all the elements where they needed to go, moving them and
> adjusting them as needed [they cling to the fabric] and when you got 
> things in  place,
> blasted them with steam and heat. They were now on for good.
>
> I did this with velvet even, using a velvet board and ironing from the 
> back.
> Since it clings really well, I could pick up the whole thing and turn it
> over.
> Since all the red seems to be outlined in gold cord, this might work out
> well for you. I ran around all my appliques with a tight zig-zag, but you 
> could
> get away with a wider one just to make sure everything is down and not 
> going
> to  fray, then cover it up with gold braid or whatever. It'll still be 
> time
> consuming, but look great!
>
>
>
> ************************************** See what's free at 
> http://www.aol.com.
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 


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Subject: Re: [h-cost] 16th century dress question embroidery
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In a message dated 5/30/2007 12:29:06 P.M. Eastern Daylight Time,  
drewscph@post12.tele.dk writes:

What is  the name for that stuff?
Sounds wonderfull!



*************
 
Alas, I have no idea. But I picked it up at the local, ho-hum fabric store.  
I'll look for it the next time I'm there, and write the name down so I can 
post  it here. [Unless someone else knows already]



************************************** See what's free at http://www.aol.com.
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Date: Wed, 30 May 2007 13:20:20 -0400
To: Historical Costume <h-costume@indra.com>
From: Dianne & Greg Stucki <goofy4@comcast.net>
Subject: Re: [h-cost] 16th century dress question embroidery
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At 12:33 PM 5/30/2007, you wrote:
>
>In a message dated 5/30/2007 12:29:06 P.M. Eastern Daylight Time,
>drewscph@post12.tele.dk writes:
>
>What is  the name for that stuff?
>Sounds wonderfull!


Most like it is fusible webbing. Sold under brand names like Steam A 
Seam or Heat-n-Bond. Warning! Do NOT get the Ultra Hold webbing 
products, they are NOT sewable.
You can also look for fusible embroidery stabilizer, which might do 
the same job.

Dianne


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From: "otsisto" <otsisto@socket.net>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] 16th century dress question embroidery
Date: Wed, 30 May 2007 12:22:31 -0500
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Status: RO

All I remember is that I found it in the Quilting section of the fabric
store years ago and haven't found it since. So I too would love the name.

Thank you,
De

-----Original Message-----
Alas, I have no idea. But I picked it up at the local, ho-hum fabric store.
I'll look for it the next time I'm there, and write the name down so I can
post  it here. [Unless someone else knows already]



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To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] 16th century dress question embroidery
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Status: RO

Was it AppliEase?

-----Original Message-----
Alas, I have no idea. But I picked it up at the local, ho-hum fabric store.
I'll look for it the next time I'm there, and write the name down so I can
post  it here. [Unless someone else knows already]


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Date: Wed, 30 May 2007 10:38:58 -0700 (PDT)
From: Kimiko Small <sstormwatch@yahoo.com>
Subject: Re: [h-cost] 16th century dress question embroidery
To: Historical Costume <h-costume@indra.com>
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Status: RO

Steam a Seam 2 is what I used. It keeps the edge of
the velvet appliques I worked on, fused permanently
when I wanted it, was easy enough to sew through
without getting the needle sticky, and comes highly
recommended by embroidery artists and quilt artists I
know. Those artists are the ones who recommend the #2
version, not the regular version. They say the #2
version is lighter, and less likely to gum your
needles. But try both and see what works best for you.
http://www.warmcompany.com/saspage.html
It comes in sheets, and in thin rolls of various
widths. I use the roll SaS2 for holding down trims
before sewing. I really like this stuff.

Kimiko



--- AlbertCat@aol.com wrote:

>  
> In a message dated 5/30/2007 12:29:06 P.M. Eastern
> Daylight Time,  
> drewscph@post12.tele.dk writes:
> 
> What is  the name for that stuff?
> Sounds wonderfull!
> 
> *************
>  
> Alas, I have no idea. But I picked it up at the
> local, ho-hum fabric store.  
> I'll look for it the next time I'm there, and write
> the name down so I can 
> post  it here. [Unless someone else knows already]
> 



       
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Subject: Re: [h-cost] 16th century dress question embroidery
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Status: RO

Thanx for the idea.
I think I used something like this.
I wanted to buy the stuf that sticks on one side but bought the double 
sided instead.
I didn't know that it existed.
My local shop sells it I think. It is probably not the same but I can 
try if it works.

Kimiko Small wrote:
> Steam a Seam 2 is what I used. It keeps the edge of
> the velvet appliques I worked on, fused permanently
> when I wanted it, was easy enough to sew through
> without getting the needle sticky, and comes highly
> recommended by embroidery artists and quilt artists I
> know. Those artists are the ones who recommend the #2
> version, not the regular version. They say the #2
> version is lighter, and less likely to gum your
> needles. But try both and see what works best for you.
> http://www.warmcompany.com/saspage.html
> It comes in sheets, and in thin rolls of various
> widths. I use the roll SaS2 for holding down trims
> before sewing. I really like this stuff.
>
> Kimiko
>
>
>
> --- AlbertCat@aol.com wrote:
>
>   
>>  
>> In a message dated 5/30/2007 12:29:06 P.M. Eastern
>> Daylight Time,  
>> drewscph@post12.tele.dk writes:
>>
>> What is  the name for that stuff?
>> Sounds wonderfull!
>>
>> *************
>>  
>> Alas, I have no idea. But I picked it up at the
>> local, ho-hum fabric store.  
>> I'll look for it the next time I'm there, and write
>> the name down so I can 
>> post  it here. [Unless someone else knows already]
>>
>>     
>
>
>
>        
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: "Historical Costume" <h-costume@indra.com>
References: <bff.1867e742.338f0153@aol.com>
Subject: Re: [h-cost] 16th century dress question embroidery
Date: Wed, 30 May 2007 20:48:43 +0200
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Status: RO

Dear Albertcat,
Yes please do let us know, if you ever find the name for this, i know the 
ordinary iron on both sides with paper backings, its very nice also, but the 
idea that it sticks before you iron it is just what i could use, when you 
are making patterns with cut out motifs.

Bjarne

----- Original Message ----- 
From: <AlbertCat@aol.com>
To: <h-costume@indra.com>
Sent: Wednesday, May 30, 2007 6:33 PM
Subject: Re: [h-cost] 16th century dress question embroidery


> Alas, I have no idea. But I picked it up at the local, ho-hum fabric 
> store.
> I'll look for it the next time I'm there, and write the name down so I can
> post  it here. [Unless someone else knows already]


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Status: RO

Hi,
I am in the middle of finishing the red taffeta dress and i am also making a 
hat to go with the dress, large brim, low crown.
Now i just heard that the girl i am making it for is going to open an 
exhibition at Gammel Estrup about table settings for tea and coffe, trough 
the ages. Its june 10th, just the day before i travel on holliday to Italy.
http://www.gammelestrup.dk/
Now i wished i had made her a cap, but i dont think i wil have the time for 
that.
Wil she be able to wear the hat indoors, or wil it look strange?
http://www.my-drewscostumes.dk/sofie3.htm


Bjarne
www.my-drewscostumes.dk

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


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Subject: Re: [h-cost] wearing hat indoors.
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Status: RO


     If she is the only one dressed in 18thC, then it's more of a costume
and the indoor/outdoor thing does not matter so much.

     I'm not sure if there are different "rules" that go with a compere
front gown.  You don't often have buttons as the closure on women's
clothing except for riding habits, which are a masculine style. 
Since the compere has buttons, the rules may change.  You would need
to look at pictures of that style gown, which it sounds like you are
out of time to do!

     Usually a cap is worn underneath a hat.  Then there is a dressed
hairstyle that has feathers, ribbons, etc - no hat or cap.  But
again, does it go with the compere gown?

     And does that matter to 21stC people attending an exhibit opening?

     -Carol


> Hi,
> I am in the middle of finishing the red taffeta dress and i am also making
> a hat to go with the dress, large brim, low crown.
> Now i just heard that the girl i am making it for is going to open an
> exhibition at Gammel Estrup about table settings for tea and coffe, trough
> the ages. Its june 10th, just the day before i travel on holliday to Italy.
> http://www.gammelestrup.dk/
> Now i wished i had made her a cap, but i dont think i wil have the time
> for that.
> Wil she be able to wear the hat indoors, or wil it look strange?
> http://www.my-drewscostumes.dk/sofie3.htm


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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: "Historical Costume" <h-costume@indra.com>
References: <000701c7a2ee$15eba770$2643a150@CPQ21932199711>
	<65484.72.13.239.193.1180554148.squirrel@webmail.patriot.net>
Subject: Re: [h-cost] wearing hat indoors.
Date: Wed, 30 May 2007 22:14:41 +0200
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Status: RO

Hi,
Thanks for your thoaghts, well you are probably right, its because she dont 
have a wig and her own hair is very thin and smooth, so its difficult to 
make something with it.

The only thing i am changing with the original design, is making a stomacher 
in stead of a compare, its easyer to fit it to her size this way.
Also what i said about the cape that i probably not have time for it, is not 
entirely true, only i dont have a pattern for one, and i have never made any 
before.
Thanks for your thoaghts.....

Bjarne

----- Original Message ----- 
From: <aquazoo@patriot.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, May 30, 2007 9:42 PM
Subject: Re: [h-cost] wearing hat indoors.


>
>     If she is the only one dressed in 18thC, then it's more of a costume
> and the indoor/outdoor thing does not matter so much.
>
>     I'm not sure if there are different "rules" that go with a compere
> front gown.  You don't often have buttons as the closure on women's
> clothing except for riding habits, which are a masculine style.
> Since the compere has buttons, the rules may change.  You would need
> to look at pictures of that style gown, which it sounds like you are
> out of time to do!
>
>     Usually a cap is worn underneath a hat.  Then there is a dressed
> hairstyle that has feathers, ribbons, etc - no hat or cap.  But
> again, does it go with the compere gown?
>
>     And does that matter to 21stC people attending an exhibit opening?
>
>     -Carol
>
>
>> Hi,
>> I am in the middle of finishing the red taffeta dress and i am also 
>> making
>> a hat to go with the dress, large brim, low crown.
>> Now i just heard that the girl i am making it for is going to open an
>> exhibition at Gammel Estrup about table settings for tea and coffe, 
>> trough
>> the ages. Its june 10th, just the day before i travel on holliday to 
>> Italy.
>> http://www.gammelestrup.dk/
>> Now i wished i had made her a cap, but i dont think i wil have the time
>> for that.
>> Wil she be able to wear the hat indoors, or wil it look strange?
>> http://www.my-drewscostumes.dk/sofie3.htm
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 


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Status: RO

There's a type of little cap which I believe was worn with a robe ala fr=
ancaise which resembles nothing so much as a doily with a few ribbon han=
ging down the back. It's basically a starched round of fine linen, maybe=
 3-4 inches in radius, with an edging of fine lace about 1- 1/2 inches w=
ide. Then a little cluster of fine silk ribbons is attached via a stitch=
ed bow at the back so the ribbon ends flow down to about the nape of the=
 neck. I believe it's just pinned to the top of the hair with a straight=
 pin. With your skills, I'm sure you could finish one of those off in no=
 time and she'd be correctly dressed.
 =

Karen
Seamstrix


-- "Bjarne og Leif Drews" <drewscph@post12.tele.dk> wrote:
Hi,
I am in the middle of finishing the red taffeta dress and i am also maki=
ng a =

hat to go with the dress, large brim, low crown.
Now i just heard that the girl i am making it for is going to open an =

exhibition at Gammel Estrup about table settings for tea and coffe, trou=
gh =

the ages. Its june 10th, just the day before i travel on holliday to Ita=
ly.
http://www.gammelestrup.dk/
Now i wished i had made her a cap, but i dont think i wil have the time =
for =

that.
Wil she be able to wear the hat indoors, or wil it look strange?
http://www.my-drewscostumes.dk/sofie3.htm


Bjarne
www.my-drewscostumes.dk

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



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Subject: Re: [h-cost] 16th century dress question embroidery
Date: Thu, 31 May 2007 07:39:34 +1000
To: Historical Costume <h-costume@indra.com>
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Status: RO

In Australia we call in vliesofix. I think its put out by Vilene. I  
used it a lot with Irish dance dresses.

Cheers, Aylwen

On 31/05/2007, at 2:28 AM, Bjarne og Leif Drews wrote:

> What is the name for that stuff?
> Sounds wonderfull!
>
> Bjarne
> ----- Original Message ----- From: <AlbertCat@aol.com>
> To: <h-costume@indra.com>
> Sent: Wednesday, May 30, 2007 6:13 PM
> Subject: Re: [h-cost] 16th century dress question embroidery
>
>
>>
>> In a message dated 5/30/2007 11:13:34 A.M. Eastern Daylight Time,
>> Deredere.Galbraith@kabelfoon.nl writes:
>>
>> Or   appliques of wool or silk and gold cord stichet on by  machine.
>>
>>
>>
>> *******************
>>
>> There are some amazing things made now to help you with applique.  
>> I used
>> this stuff that was, not sticky as in gooey, but a heat activated  
>> bonding
>> material that clung to whatever you wanted before any heat was  
>> applied, so you
>> could move it around if you wanted, but it stayed put if you  
>> didn't peal it up.
>> It did not become permanent until you blasted it with the iron. It  
>> had paper on
>> both sides since both sides of the bonding stuff was clingy. You  
>> drew on one
>> side of the paper the design elements you wanted, then pulled the  
>> other,
>> unmarked paper off and bonded the whole uncut thing to the back of  
>> your
>> decorative fabric. Then cut it out [the edges resisted fraying  
>> after being bonded]
>> then placed all the elements where they needed to go, moving them and
>> adjusting them as needed [they cling to the fabric] and when you  
>> got things in  place,
>> blasted them with steam and heat. They were now on for good.
>>
>> I did this with velvet even, using a velvet board and ironing from  
>> the back.
>> Since it clings really well, I could pick up the whole thing and  
>> turn it
>> over.
>> Since all the red seems to be outlined in gold cord, this might  
>> work out
>> well for you. I ran around all my appliques with a tight zig-zag,  
>> but you could
>> get away with a wider one just to make sure everything is down and  
>> not going
>> to  fray, then cover it up with gold braid or whatever. It'll  
>> still be time
>> consuming, but look great!
>>
>>
>>
>> ************************************** See what's free at http:// 
>> www.aol.com.
>> _______________________________________________
>> h-costume mailing list
>> h-costume@mail.indra.com
>> http://mail.indra.com/mailman/listinfo/h-costume
>
>
> _______________________________________________
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From: "otsisto" <otsisto@socket.net>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] 16th century dress question embroidery
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Status: RO

vliesofix is wonderunder in the states. What is being looked for is a
fusible webbing the you apply to the back of the fabric and when you remove
the backing the underside is a bit sticky so that it lessens the need for
pins. Almost like basting spray.
De

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

In Australia we call in vliesofix. I think its put out by Vilene. I
used it a lot with Irish dance dresses.

Cheers, Aylwen

On 31/05/2007, at 2:28 AM, Bjarne og Leif Drews wrote:

> What is the name for that stuff?
> Sounds wonderfull!
>
> Bjarne


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Date: Wed, 30 May 2007 17:23:30 -0700
From: "Lynn Downward" <lynndownward@gmail.com>
To: "Historical Costume" <h-costume@indra.com>
Subject: Re: [h-cost] Blue Velvet Henrician Suite
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Status: RO

Very nice, Kimiko!
LynnD

On 5/25/07, Kimiko Small <sstormwatch@yahoo.com> wrote:
> Hi all,
>
> I cross posted to a few lists, so sorry if you get
> this more than once.
>
> I wanted to share the last big project I had been
> working on for a client, and now most of the photos
> are uploaded for viewing.
>
> This is a blue cotton velvet Henrician suite of
> garments, including doublet and sleeves, slashed with
> small puffs of fine linen. The same material is used
> for the jacket with attached skirt. All is trimmed in
> gold cord, cream and gold trim, and beautiful gold
> jewels imported from England. Also there is a cream
> wool flannel pair of breeches with slash & puff
> codpiece, and a simple white linen shirt. It is
> finished with a white silk sash.
>
> Sadly, I don't have a man's dress form to put it on,
> so it was placed on my oversized woman's dress form,
> so it isn't as nice looking as I would like. I do hope
> to get photos of the client in the whole thing later
> this summer.
> http://www.flickr.com/photos/41633059@N00/sets/72157600027344164/
>
> Eventually this will end up on my web site.
>
> Kimiko Small
> http://www.kimiko1.com
>
>
>
>
>
> ____________________________________________________________________________________Be a better Heartthrob. Get better relationship answers from someone who knows. Yahoo! Answers - Check it out.
> http://answers.yahoo.com/dir/?link=list&sid=396545433
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To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] 16th century dress question embroidery
Date: Wed, 30 May 2007 18:48:25 -0700
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Status: RO

Are you talking about Wonder Under? It is a fusible material, with paper =
on
one side. You iron it to your fabric, then you can draw on the paper. =
Cut
out the design, peel off the paper and you have a custom, iron-on =
appliqu=E9.

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] =
On
Behalf Of Bjarne og Leif Drews
Sent: Wednesday, May 30, 2007 9:28 AM
To: Historical Costume
Subject: Re: [h-cost] 16th century dress question embroidery


What is the name for that stuff?
Sounds wonderfull!

Bjarne
----- Original Message -----=20
From: <AlbertCat@aol.com>
To: <h-costume@indra.com>
Sent: Wednesday, May 30, 2007 6:13 PM
Subject: Re: [h-cost] 16th century dress question embroidery


>
> In a message dated 5/30/2007 11:13:34 A.M. Eastern Daylight Time,
> Deredere.Galbraith@kabelfoon.nl writes:
>
> Or   appliques of wool or silk and gold cord stichet on by  machine.
>
>
>
> *******************
>
> There are some amazing things made now to help you with applique. I =
used
> this stuff that was, not sticky as in gooey, but a heat activated =
bonding
> material that clung to whatever you wanted before any heat was =
applied, so

> you
> could move it around if you wanted, but it stayed put if you didn't =
peal=20
> it up.
> It did not become permanent until you blasted it with the iron. It had =

> paper on
> both sides since both sides of the bonding stuff was clingy. You drew =
on=20
> one
> side of the paper the design elements you wanted, then pulled the =
other,
> unmarked paper off and bonded the whole uncut thing to the back of =
your
> decorative fabric. Then cut it out [the edges resisted fraying after =
being

> bonded]
> then placed all the elements where they needed to go, moving them and
> adjusting them as needed [they cling to the fabric] and when you got=20
> things in  place,
> blasted them with steam and heat. They were now on for good.
>
> I did this with velvet even, using a velvet board and ironing from the =

> back.
> Since it clings really well, I could pick up the whole thing and turn =
it
> over.
> Since all the red seems to be outlined in gold cord, this might work =
out
> well for you. I ran around all my appliques with a tight zig-zag, but =
you=20
> could
> get away with a wider one just to make sure everything is down and not =

> going
> to  fray, then cover it up with gold braid or whatever. It'll still be =

> time
> consuming, but look great!
>
>
>
> ************************************** See what's free at=20
> http://www.aol.com.
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>=20


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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Blue Velvet Henrician Suite
Date: Wed, 30 May 2007 22:12:59 -0400
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Status: RO


> On 5/25/07, Kimiko Small <sstormwatch@yahoo.com> wrote:
> > Hi all,
[snip]
> > I wanted to share the last big project I had been
> > working on for a client, and now most of the photos
> > are uploaded for viewing.
> >
> > This is a blue cotton velvet Henrician suite of
> > garments, including doublet and sleeves, slashed with
> > small puffs of fine linen. The same material is used
> > for the jacket with attached skirt. All is trimmed in
> > gold cord, cream and gold trim, and beautiful gold
> > jewels imported from England. Also there is a cream
> > wool flannel pair of breeches with slash & puff
> > codpiece, and a simple white linen shirt. 

Very nice workmanship. 



-- 
Cathy Raymond <cathy@thyrsus.com>

"You've got to have the proper amount of disrespect for what you do."  
-- George Mabry

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Date: Thu, 31 May 2007 09:15:02 -0700 (PDT)
From: Sara Snellings <morrghan92@yahoo.com>
Subject: Re: [h-cost] 16th century dress question embroidery
To: Historical Costume <h-costume@indra.com>
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Status: RO

I think the product you are looking for is "Steam a Seam" it has protective paper on both sides of the webbing, because it is sticky before ironing. Here is the website: http://www.warmcompany.com/saspage.html 

Morrghan

----- Original Message ----
From: otsisto <otsisto@socket.net>
To: Historical Costume <h-costume@indra.com>
Sent: Wednesday, May 30, 2007 4:11:52 PM
Subject: RE: [h-cost] 16th century dress question embroidery

vliesofix is wonderunder in the states. What is being looked for is a
fusible webbing the you apply to the back of the fabric and when you remove
the backing the underside is a bit sticky so that it lessens the need for
pins. Almost like basting spray.
De


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From: Julie <jtknits@jtknits.cts.com>
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Status: RO

I've used Wonder Under when I was planning a machine satin stitch over the =
applique.  I'm looking for a way to keep the edges turned under for hand ap=
plique.  I usually sew my applique with a backing of some very light fabric=
 - maybe even netting - and then turn the shape much like a pillowcase.  No=
 fighting with teeny seam allowances but doesn't stick to the base fabric e=
ither.  Any ideas for sticking?

Julie

----  <h-costume-request@indra.com> wrote:
> Are you talking about Wonder Under? It is a fusible material, with paper =
> on one side. You iron it to your fabric, then you can draw on the paper. =
> Cutout the design, peel off the paper and you have a custom, iron-on appl=
iqu=C3=A9.
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Status: RO

I've used Wonder Under when I was planning a machine satin stitch over the =
applique.  I'm looking for a way to keep the edges turned under for hand ap=
plique.  I usually sew my applique with a backing of some very light fabric=
 - maybe even netting - and then turn the shape much like a pillowcase.  No=
 fighting with teeny seam allowances but doesn't stick to the base fabric e=
ither.  Any ideas for sticking?

Julie

----  <h-costume-request@indra.com> wrote:
> Are you talking about Wonder Under? It is a fusible material, with paper =
> on one side. You iron it to your fabric, then you can draw on the paper. =
> Cutout the design, peel off the paper and you have a custom, iron-on appl=
iqu=C3=A9.
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] embroidery question
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Status: RO


You could use the same technique with fusible interfacing. Turn it like a
pillowcase with the glue-side out, and you can then position and iron down your
bits to be stitched by hand.

Emma

> I've used Wonder Under when I was planning a machine satin stitch over
> the applique.  I'm looking for a way to keep the edges turned under for
> hand applique.  I usually sew my applique with a backing of some very
> light fabric - maybe even netting - and then turn the shape much like a
> pillowcase.  No fighting with teeny seam allowances but doesn't stick to
> the base fabric either.  Any ideas for sticking?
> 
> Julie
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From: "otsisto" <otsisto@socket.net>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] embroidery question
Date: Thu, 31 May 2007 12:41:06 -0500
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Status: RO

Pym basting tape. 
http://www.dritz.com/brands/showcase/details.php?ITEM_NUM=4518Q

-----Original Message-----
I'm looking for a way to keep the edges turned under for hand applique.  


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Status: RO

----- Original Message ----- 
From: "Julie" <jtknits@jtknits.cts.com>
<<I'm looking for a way to keep the edges turned under for hand applique. >>

Maybe try putting the Wonder Under on the right side of the netting before 
you sew it to the applique?  It'd make it a little tough to get the applique 
"pillow" flat before applying it, but it would probably also make it easier 
to fingerpress.

-E

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Date: Thu, 31 May 2007 10:53:52 -0700 (PDT)
From: REBECCA BURCH <ctrvlyfarm@sbcglobal.net>
Subject: Re: [h-cost] embroidery question
To: Historical Costume <h-costume@indra.com>
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Status: RO

You can use the same technique with fusible
interfacing, but if that makes it too thick you can
also use the sheets of fusible bond.

Bond one side to the underside of your fabric. Trace
your pattern pieces on the back side (remember to
reverse them) then cut them out. Peel the paper off,
trim the paper piece back about 1/4", center it back
on the fabric piece and iron the edge back over the
paper. Then when you are ready to fuse to the base
fabric, just pull the paper back out and iron in
place.

--- Julie <jtknits@jtknits.cts.com> wrote:

> I've used Wonder Under when I was planning a machine
> satin stitch over the applique.  I'm looking for a
> way to keep the edges turned under for hand
> applique.  I usually sew my applique with a backing
> of some very light fabric - maybe even netting - and
> then turn the shape much like a pillowcase.  No
> fighting with teeny seam allowances but doesn't
> stick to the base fabric either.  Any ideas for
> sticking?
> 
> Julie
> 
> ----  <h-costume-request@indra.com> wrote:
> > Are you talking about Wonder Under? It is a
> fusible material, with paper > on one side. You iron
> it to your fabric, then you can draw on the paper. >
> Cutout the design, peel off the paper and you have a
> custom, iron-on appliqué.
> _______________________________________________
> 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

The only twelve steps I'm interested in are the ones between the flat folds and the brocades.  --Anonymous Costumer--
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Status: RO

Julie wrote:

> I've used Wonder Under when I was planning a machine satin stitch over the applique.  I'm looking for a way to keep the edges turned under for hand applique.  I usually sew my applique with a backing of some very light fabric - maybe even netting - and then turn the shape much like a pillowcase.  No fighting with teeny seam allowances but doesn't stick to the base fabric either.  Any ideas for sticking?
> 

I don't do a lot of applique anymore, but I do know one trick with the 
Wonder Under type products.

You can apply the iron very lightly, maybe not even touching the fabric, 
just getting it warm a bit, and it will cause the web to melt enough to 
hold it in place, but not so much that you can't peel it off and move it 
if you need to.  Practice with some scraps to get a feel for what 
setting on the iron to use and how long to hold it there.



Dawn


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From: Kimiko Small <sstormwatch@yahoo.com>
Subject: Re: [h-cost] embroidery question
To: Historical Costume <h-costume@indra.com>
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Status: RO

You could always use a washable glue stick. Do as you
have done before with a lightweight fabric or netting,
and rub the glue stick to the back of the piece, put
the applique where you want it, then press. It will
only hold it until it is washed, but it makes the
applique moveable, and you don't have to iron it down.

Or use the Steam a Seam 2 tape I mentioned before. A
small piece will stick to the applique back, then once
you've positioned it where you want, you can iron it
down for a permanent hold while you work.

I also have tried the fusible interfacing trick, but
found it too bulky sometimes.

Kimiko


--- Julie <jtknits@jtknits.cts.com> wrote:

> I've used Wonder Under when I was planning a machine
> satin stitch over the applique.  I'm looking for a
> way to keep the edges turned under for hand
> applique.  I usually sew my applique with a backing
> of some very light fabric - maybe even netting - and
> then turn the shape much like a pillowcase.  No
> fighting with teeny seam allowances but doesn't
> stick to the base fabric either.  Any ideas for
> sticking?
> 
> Julie



       
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From: Kenet Muir <ckenet@yahoo.com>
Subject: Re: [h-cost] embroidery question
To: Historical Costume <h-costume@indra.com>
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Status: RO

In the past I have used the same method you related
below when doing machine applique, but when I do hand
applique I use a small amount of fabric spray adhesive
to hold the pieces in place.

Kenet

--- Julie <jtknits@jtknits.cts.com> wrote:

> I've used Wonder Under when I was planning a machine
> satin stitch over the applique.  I'm looking for a
> way to keep the edges turned under for hand
> applique.  I usually sew my applique with a backing
> of some very light fabric - maybe even netting - and
> then turn the shape much like a pillowcase.  No
> fighting with teeny seam allowances but doesn't
> stick to the base fabric either.  Any ideas for
> sticking?
> 
> Julie
> 
> ----  <h-costume-request@indra.com> wrote:
> > Are you talking about Wonder Under? It is a
> fusible material, with paper > on one side. You iron
> it to your fabric, then you can draw on the paper. >
> Cutout the design, peel off the paper and you have a
> custom, iron-on appliqué.
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 



 
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Status: RO

Julie,

Temporary spray adhesive?  It's designed like the air-soluble marking 
pens - to lightly stick something down for embroidery then go 
away.  Put your applique in a box to control over-spray, then lightly 
mist.  This will make it like a post-it note.  I believe there are 
glue sticks that are like post-it adhesive also, but I don't think 
they're designed for fabric.

Also, as with anything, test first.  I think the brand on the can I 
have is Sulky - same as the embroidery thread.

HTH,
Sandy

At 01:00 PM 5/31/2007, you wrote:

>Date: Thu, 31 May 2007 09:36:02 -0700 (PDT)
>From: Julie <jtknits@jtknits.cts.com>
>Subject: [h-cost] embroidery question
>
>I've used Wonder Under when I was planning a machine satin stitch 
>over the applique.  I'm looking for a way to keep the edges turned 
>under for hand applique.  I usually sew my applique with a backing 
>of some very light fabric - maybe even netting - and then turn the 
>shape much like a pillowcase.  No fighting with teeny seam 
>allowances but doesn't stick to the base fabric either.  Any ideas 
>for sticking?
>
>Julie

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Status: RO

Roxanne's Basting Glue may be the answer. It is a water based glue and I have used it in several applique problems. Glue sticks also work very well. 

Wonder Under and Heat-N-Bond are fusible web products. Heavy duty in both jam up the sewing machine. Use ONLY in paper crafting, etc. Each is paper backed and fuses.  I prefer Heat-N-Bond. It is slightly heavier than Wonder Under.  

Steam-A Seam and Steam-A-Seam 2 are also fusibles. They "stick" prior to being fused into place and can be repositioned before fusing several times. They sometimes are able to be "losened" after fusing , but I don't recommend it.  I was not very  happy with my experience using it in a applique quilt  top I made, but it was provided for me by the quilt store I made the sample for.

Jodi

       
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