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From: "Alexandria Doyle" <garbaholic@gmail.com>
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On Tue, Apr 1, 2008 at 8:09 AM, Dianne <goofy4@comcast.net> wrote:
>
>  I can't imagine that watercolors or oils would work well at all.
>
>  I would either use acrylic, heavily thinned with a textile medium, or bite
>  the bullet and buy silk paints from Dharma.
>
>  Dianne
>


Thanks to all that have commented.  I just have a question, for those
that reccomended acrylic paints, do you use oil paints at all?

One of my thoughts here, is that we have some evidence that fabrics
were painted on for clothing prior to 1600, if only for children's or
special occasion clothing that wasn't worn more than once or twice.
There is the painting of Elizabeth from Bess of Hardwick Hall fame
that looks to be painted fabric - though whether that was a real dress
is not certain either.  Anyway, it would seem like the oil paint would
have been what was used to permanently mark fabric.  I have only just
begun working with oil paints myself, so I don't know how they handle
in this case, whereas I have used acrylics on fabric.  I had found
that if the paint is thinned it doesn't crack or flaked, but the
chance it will soak to areas you don't want, can be problematic.

I suspect that I will be marking out the outfit I am making on my
fabric, and then I'll test painting techniques on the scraps.

Purchasing additional/specialty paints and dyes at this point is cost
prohibitive when I do have  these other paints in house and I'm
sitting at home right now waiting for the plumber to show.

thanks
alex


-- 
"I'm buying this fabric/book now in case I have an emergency...you
know, having to suddenly make presents for everyone, sickness,flood,
injury, mosquito infestations, not enough silk in the house, it's
Friday..." ;)
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From: "Rickard, Patty  " <RICKARPA@muc.edu>
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Or from Pittsburgh, y'uns.

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
On Behalf Of Candace Perry
Sent: Tuesday, April 01, 2008 9:27 AM
To: 'Historical Costume'
Subject: Re: [h-cost] [ h-cost]Making history hip

Well, if someone is PA Dutch or from Western PA or from South
Philadelphia,
you should be able to tell, youse guys!
KY and TN sound very different from TX.
Candace Perry
Bally, PA

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
On
Behalf Of Dianne
Sent: Tuesday, April 01, 2008 9:07 AM
To: Historical Costume
Subject: Re: [h-cost] [ h-cost]Making history hip

 Trust an American not to know the difference between Yorkshire and
Cockney 
accents! I believe Bernard Cornwell originally created Sharpe as a
Londoner,

but Sean Bean comes from Sheffield.>>

Can you tell the difference between a Michigan accent and a Pennsylvania

accent?

How about Kentucky and Texas?

Dianne

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In a message dated 4/1/2008 9:42:06 A.M. Eastern Daylight Time,  
garbaholic@gmail.com writes:

Anyway,  it would seem like the oil paint would
have been what was used to  permanently mark fabric.  I have only just
begun working with oil  paints myself, so I don't know how they handle
in this case, 


******************
 
They had other [water based] media back then. They didn't have to use oil  
paint. gauche anyone?
 
And oil painting is usually done on fabric...a canvas, y'know. But  it is 
heavily gessoed. Painting with oils on raw, unsized fabric creates  all sorts of 
problems. Besides, it takes a long  time...days...weeks....months....for oil 
paint to [really] dry.
 
I recently saw a exhibit at the Hirshhorn Museum of artists Morris Louis,  
who painted in acrylic washes on unprimed canvas and "started" the "color field" 
 movement. There was a section on restorations of the 60's canvases from 
other  artists in this group who painted with oil on raw canvas. The restorers 
have to  contend with the oils spreading out from painted areas and the damage 
done to  the cloth by the chemical reactions of pigments and  oils.



**************Create a Home Theater Like the Pros. Watch the video on AOL 
Home.      
(http://home.aol.com/diy/home-improvement-eric-stromer?video=15&ncid=aolhom00030000000001)
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Sometimes it is difficult to pick up accents and how people will react.
My Dad was born and raised in New York State. The accent there is quite
different than the Bronx, for example. Twenty years in the Air Force and
thirty years in Nebraska "erased" his NYS accent--he and two of his
sisters sounded quite different to me as a teenager from my two aunts
that remained in their home state. Eighteen years in northern Arkansas,
gave he and my Mom a bit of Arkansas/southern Missouri "twang", but not
much.  Mom was raised in western Iowa, but she and I pronounced drama
and wash differently. I say dra-ma and wash; she said warsh and draama.
Both are correct for each state, but we argued a lot about it. When I
went to school in Minneapolis, MN, I was teased for a Nebraska accent.

What is interesting is that language experts are making a lot of
discoveries of simularities between some area accents in Britain and
some American accents, usually in rural areas.

Cindy Abel
 

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
On Behalf Of Rickard, Patty 
Sent: Tuesday, April 01, 2008 9:10 AM
To: Historical Costume
Subject: Re: [h-cost] [ h-cost]Making history hip

Or from Pittsburgh, y'uns.

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
On Behalf Of Candace Perry
Sent: Tuesday, April 01, 2008 9:27 AM
To: 'Historical Costume'
Subject: Re: [h-cost] [ h-cost]Making history hip

Well, if someone is PA Dutch or from Western PA or from South
Philadelphia, you should be able to tell, youse guys!
KY and TN sound very different from TX.
Candace Perry
Bally, PA

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
On
Behalf Of Dianne
Sent: Tuesday, April 01, 2008 9:07 AM
To: Historical Costume
Subject: Re: [h-cost] [ h-cost]Making history hip

 Trust an American not to know the difference between Yorkshire and
Cockney accents! I believe Bernard Cornwell originally created Sharpe as
a Londoner,

but Sean Bean comes from Sheffield.>>

Can you tell the difference between a Michigan accent and a Pennsylvania

accent?

How about Kentucky and Texas?

Dianne

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From: "Rickard, Patty  " <RICKARPA@muc.edu>
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Regionalisms are just as much fun as accents - the Dictionary of
American Regional English (DARE project) is very compelling.

Patty

What is interesting is that language experts are making a lot of
discoveries of simularities between some area accents in Britain and
some American accents, usually in rural areas.

Cindy Abel
 

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well, the Yunzers of Pittsburg probably would!

Kathleen
----- Original Message ----- 
From: "Candace Perry" <candace@schwenkfelder.com>
To: "'Historical Costume'" <h-costume@indra.com>
Sent: Tuesday, April 01, 2008 9:26 AM
Subject: Re: [h-cost] [ h-cost]Making history hip


> Well, if someone is PA Dutch or from Western PA or from South 
> Philadelphia,
> you should be able to tell, youse guys!
> KY and TN sound very different from TX.
> Candace Perry
> Bally, PA
>
> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
> Behalf Of Dianne
> Sent: Tuesday, April 01, 2008 9:07 AM
> To: Historical Costume
> Subject: Re: [h-cost] [ h-cost]Making history hip
>
> Trust an American not to know the difference between Yorkshire and Cockney
> accents! I believe Bernard Cornwell originally created Sharpe as a 
> Londoner,
>
> but Sean Bean comes from Sheffield.>>
>
> Can you tell the difference between a Michigan accent and a Pennsylvania
> accent?
>
> How about Kentucky and Texas?
>
> Dianne
>
> _______________________________________________
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> h-costume@mail.indra.com
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>
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Subject: Re: [h-cost] John Adams HBO series
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Pierre & Sandy Pettinger wrote:
> Hello, all!
>
> Has anyone been watching the HBO series, "John Adams"?  What is your 
> general impression of:
> Costumes - both the principal characters and the general 
> populace/servants/etc.?
I've seen the first two parts. I'm no expert on the period but it's 
obvious that they've come down with "olde tyme disease", trying to make 
everything look old fashioned. All the costumes are unnaturally drab and 
dull, and very plain. There's no embroidery, no color, and no texture to 
anything. I've seen late 18th century clothing in pictures and in person 
and it is sometimes vibrantly colored, even simple men's suits had color 
and decoration. Mrs. Adams doesn't seem to own a single ruffle or a 
flowered dress so common to the period. Even her dinner gown in the 
first episode was very drab even if it was silk.


I did like seeing Mr Adams and the others in wigs, and having them 
removed every now and then for comfort. It seemed very natural and 
normal and added a lot.


Some of the events have been adjusted for dramatic purposes, for 
example, the British attack in Concord at the Old North Bridge is 
nowhere near the Adams homestead and would have been a ride of some 20 
miles as the crow flies. Likewise, the captured cannon from Ft 
Ticonderoga would not have gone on the road past the Adams home, it's 
10-15 miles out of the way.

Servants? What servants? I'd expect the Adams' to have a couple 
farmhands and at least one girl in the house, but I've seen none. 
There's no way Abigail is running the farm by herself with 3 small kids. 
They might have a cow and some chickens, but no way there's a crop 
coming without help.

Despite that I'm actually enjoying the show. It's nice to get period 
programming even if they do take a few liberties. I don't think this 
story has been completely butchered.


Dawn

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From: "Kate M Bunting" <K.M.Bunting@derby.ac.uk>
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Subject: Re: [h-cost] [ h-cost] Regional accents, was Making history hip
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------------------------------

Dianne wrote:
>Can you tell the difference between a Michigan accent and a Pennsylvania 
>accent?

>How about Kentucky and Texas?

OK, point taken!

and Jean Waddie wrote:

>I went and checked with my husband about the original books, I assume 
>that's what the writer was referring to.  But it would be worrying if 
>people then listened to Sean Bean's accent and thought "Ah, that's what 
>Cockney is!"

I read once that Bernard Cornwell originally envisaged Sharpe as a dark-haired Cockney, but after Sean Bean had made the role so much his own, even he started to think of him as a fair-haired Yorkshireman.




Kate Bunting
Cataloguing & Data Quality Librarian
University of Derby

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And Kentucky is different than Tennessee.  :)  For the most part, the  
same is said about every state/region.

Sarah K
Wisconsin (but have been asked on a number of occasions if I were from  
Canada!)

>
>
> Well, if someone is PA Dutch or from Western PA or from South
> Philadelphia,
> you should be able to tell, youse guys!
> KY and TN sound very different from TX.
> Candace Perry
> Bally, PA
>
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In a message dated 4/1/2008 11:29:33 A.M. Eastern Daylight Time,  
dawn@reddawn.net writes:

All the  costumes are unnaturally drab and 
dull, and very plain. There's no  embroidery, no color, and no texture to 
anything.


*******************
 
This may be a reaction to Gilbert Stuart and the pallet of his paintings.  
That seems just like something an art director would  do.



**************Create a Home Theater Like the Pros. Watch the video on AOL 
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From: "Candace Perry" <candace@schwenkfelder.com>
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Subject: Re: [h-cost] John Adams HBO series
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I haven't watched the series, so I have no business replying most likely,
but if you look at portraits of John he was pretty conservative.  I think
there's a famous Copley portrait (please correct me if I'm wrong) of the
couple and they are quite "plain" as it were.  They weren't like the
Virginians.  
Candace Perry
-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
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Sent: Tuesday, April 01, 2008 4:48 PM
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Subject: Re: [h-cost] John Adams HBO series

 
In a message dated 4/1/2008 11:29:33 A.M. Eastern Daylight Time,  
dawn@reddawn.net writes:

All the  costumes are unnaturally drab and 
dull, and very plain. There's no  embroidery, no color, and no texture to 
anything.


*******************
 
This may be a reaction to Gilbert Stuart and the pallet of his paintings.  
That seems just like something an art director would  do.



**************Create a Home Theater Like the Pros. Watch the video on AOL 
Home.      
(http://home.aol.com/diy/home-improvement-eric-stromer?video=15&ncid=aolhom0
0030000000001)
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From: "Abel, Cynthia" <CynthiaAbel@creighton.edu>
To: "Historical Costume" <h-costume@indra.com>
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It could have been a way to show the differences between patriotic
Americans versus Tories, British and French to the audience,(serious
"Americans" vs frivolous everyone else) even though this probably didn't
exist. Could also have been a cost-cutting measure as well as an
artistic decision, because plain, neutral costumes take less time to
make. See the film "Man of All Seasons" from the '60's when the
interpretation of costume equalled drab for all but the highest
nobility. Plain, "sad-colored" costumes would also keep the audience's
attention on the actor's faces, not fixated on a beautiful print gown or
a wonderfully embroidered waistcoat(darn!).

Cindy Abel 

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
On Behalf Of AlbertCat@aol.com
Sent: Tuesday, April 01, 2008 3:48 PM
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Subject: Re: [h-cost] John Adams HBO series

 
In a message dated 4/1/2008 11:29:33 A.M. Eastern Daylight Time,
dawn@reddawn.net writes:

All the  costumes are unnaturally drab and dull, and very plain. There's
no  embroidery, no color, and no texture to anything.


*******************
 
This may be a reaction to Gilbert Stuart and the pallet of his
paintings.  
That seems just like something an art director would  do.



**************Create a Home Theater Like the Pros. Watch the video on
AOL 
Home.      
(http://home.aol.com/diy/home-improvement-eric-stromer?video=15&ncid=aol
hom00030000000001)
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Subject: Re: [h-cost] Adding color to silk
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Doesn't the oil in the paint spread, making an oil spot? I've never used
oils, as in theatre we can't have flammable paints. Before acrylics, we used
to make our own paint, using hoof-and-horn glue. We called it casein paint.
You mixed the ground up stuff (hooves and horns, apparently) up with water,
heated it and mixed in dry pigment. Perhaps this is what they used in olden
times for fabric. 
You can still get that kind of glue-it's called "mucilage" or possibly
"hide" glue, the brown stuff that used to come in a glass bottle with an
angled rubber top. It's hard to find, though. If your local stationary or
craft store doesn't have it, try a wood working store. You can mix it with
dry paint pigment or dye (if the dye is alcohol based, you have to dissolve
the dye in alcohol first, but then can mix in the thinned glue. If I recall
correctly; I haven't done this in years.) You could use poster paints for
the colorant, they are just dry pigment without a binder. The glue acts as a
binder.
Another name for this might be "milk paint". This is sometimes found on old
furniture. Apparently it's a pain to remove from furniture if you're
refinishing. I've never come across it myself, but I think it's a version of
this type of casein-based paint.
Sharon C.
-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Alexandria Doyle
Sent: Tuesday, April 01, 2008 6:41 AM
To: Historical Costume
Subject: Re: [h-cost] Adding color to silk

On Tue, Apr 1, 2008 at 8:09 AM, Dianne <goofy4@comcast.net> wrote:
>
>  I can't imagine that watercolors or oils would work well at all.
>
>  I would either use acrylic, heavily thinned with a textile medium, or 
> bite  the bullet and buy silk paints from Dharma.
>
>  Dianne
>


Thanks to all that have commented.  I just have a question, for those that
reccomended acrylic paints, do you use oil paints at all?

One of my thoughts here, is that we have some evidence that fabrics were
painted on for clothing prior to 1600, if only for children's or special
occasion clothing that wasn't worn more than once or twice.
There is the painting of Elizabeth from Bess of Hardwick Hall fame that
looks to be painted fabric - though whether that was a real dress is not
certain either.  Anyway, it would seem like the oil paint would have been
what was used to permanently mark fabric.  I have only just begun working
with oil paints myself, so I don't know how they handle in this case,
whereas I have used acrylics on fabric.  I had found that if the paint is
thinned it doesn't crack or flaked, but the chance it will soak to areas you
don't want, can be problematic.

I suspect that I will be marking out the outfit I am making on my fabric,
and then I'll test painting techniques on the scraps.

Purchasing additional/specialty paints and dyes at this point is cost
prohibitive when I do have  these other paints in house and I'm sitting at
home right now waiting for the plumber to show.

thanks
alex


--
"I'm buying this fabric/book now in case I have an emergency...you know,
having to suddenly make presents for everyone, sickness,flood, injury,
mosquito infestations, not enough silk in the house, it's Friday..." ;)
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Subject: Re: [h-cost] [ h-cost]Making history hip
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There's an island off the Carolina coast, which, until they got a bridge and
satellite TV, had an almost perfect version of a 16th century eastern
English accent, which has died out/changed in England.
My mom is frequently asked if she is from New York, but she is a native San
Franciscan. The accent is similar, apparently. 

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Abel, Cynthia
Sent: Tuesday, April 01, 2008 7:59 AM
To: Historical Costume
Subject: Re: [h-cost] [ h-cost]Making history hip

Sometimes it is difficult to pick up accents and how people will react.
My Dad was born and raised in New York State. The accent there is quite
different than the Bronx, for example. Twenty years in the Air Force and
thirty years in Nebraska "erased" his NYS accent--he and two of his sisters
sounded quite different to me as a teenager from my two aunts that remained
in their home state. Eighteen years in northern Arkansas, gave he and my Mom
a bit of Arkansas/southern Missouri "twang", but not much.  Mom was raised
in western Iowa, but she and I pronounced drama and wash differently. I say
dra-ma and wash; she said warsh and draama.
Both are correct for each state, but we argued a lot about it. When I went
to school in Minneapolis, MN, I was teased for a Nebraska accent.

What is interesting is that language experts are making a lot of discoveries
of simularities between some area accents in Britain and some American
accents, usually in rural areas.

Cindy Abel
 

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
On Behalf Of Rickard, Patty
Sent: Tuesday, April 01, 2008 9:10 AM
To: Historical Costume
Subject: Re: [h-cost] [ h-cost]Making history hip

Or from Pittsburgh, y'uns.

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
On Behalf Of Candace Perry
Sent: Tuesday, April 01, 2008 9:27 AM
To: 'Historical Costume'
Subject: Re: [h-cost] [ h-cost]Making history hip

Well, if someone is PA Dutch or from Western PA or from South Philadelphia,
you should be able to tell, youse guys!
KY and TN sound very different from TX.
Candace Perry
Bally, PA

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
On
Behalf Of Dianne
Sent: Tuesday, April 01, 2008 9:07 AM
To: Historical Costume
Subject: Re: [h-cost] [ h-cost]Making history hip

 Trust an American not to know the difference between Yorkshire and Cockney
accents! I believe Bernard Cornwell originally created Sharpe as a Londoner,

but Sean Bean comes from Sheffield.>>

Can you tell the difference between a Michigan accent and a Pennsylvania

accent?

How about Kentucky and Texas?

Dianne

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When they showed the first continental congress, there was a bit more
variety of costume.  People from the south, like Jefferson, were
wearing silk and colors, I think Jefferson's coat was lavender.  They
were definitely more dandified than the Boston delegation.  Though
still rather plain.

Katy

On Tue, Apr 1, 2008 at 5:05 PM, Abel, Cynthia <CynthiaAbel@creighton.edu> wrote:
> It could have been a way to show the differences between patriotic
>  Americans versus Tories, British and French to the audience,(serious
>  "Americans" vs frivolous everyone else) even though this probably didn't
>  exist. Could also have been a cost-cutting measure as well as an
>  artistic decision, because plain, neutral costumes take less time to
>  make. See the film "Man of All Seasons" from the '60's when the
>  interpretation of costume equalled drab for all but the highest
>  nobility. Plain, "sad-colored" costumes would also keep the audience's
>  attention on the actor's faces, not fixated on a beautiful print gown or
>  a wonderfully embroidered waistcoat(darn!).
>
>  Cindy Abel
>
>
>  -----Original Message-----
>  From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
>  On Behalf Of AlbertCat@aol.com
>  Sent: Tuesday, April 01, 2008 3:48 PM
>  To: h-costume@indra.com
>  Subject: Re: [h-cost] John Adams HBO series
>
>
>
>
> In a message dated 4/1/2008 11:29:33 A.M. Eastern Daylight Time,
>  dawn@reddawn.net writes:
>
>  All the  costumes are unnaturally drab and dull, and very plain. There's
>  no  embroidery, no color, and no texture to anything.
>
>
>  *******************
>
>  This may be a reaction to Gilbert Stuart and the pallet of his
>  paintings.
>  That seems just like something an art director would  do.
>
>
>
>  **************Create a Home Theater Like the Pros. Watch the video on
>  AOL
>  Home.
>  (http://home.aol.com/diy/home-improvement-eric-stromer?video=15&ncid=aol
>  hom00030000000001)
>  _______________________________________________
>  h-costume mailing list
>  h-costume@mail.indra.com
>  http://mail.indra.com/mailman/listinfo/h-costume
>  _______________________________________________
>  h-costume mailing list
>  h-costume@mail.indra.com
>  http://mail.indra.com/mailman/listinfo/h-costume
>



-- 
Katy Bishop, Vintage Victorian
katybishop64@gmail.com www.VintageVictorian.com
 Custom reproduction gowns of the Victorian Era.
 Publisher of the Vintage Dress Series books.
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In a message dated 4/1/2008 5:32:33 P.M. Eastern Daylight Time,  
sharon@collierfam.com writes:

There's  an island off the Carolina coast, which, until they got a bridge  and
satellite TV, had an almost perfect version of a 16th century  eastern
English accent


******************
 
Ocracoke Island STILL doesn't have a bridge. Remnants of this accent can be  
heard on the coast of all the mid-Atlantic states, but it was particularly 
acute  on the almost inaccessible Outer Banks Of NC. We used to call people who 
spoke  that way "Hoi Toiders" [High Tiders].



**************Create a Home Theater Like the Pros. Watch the video on AOL 
Home.      
(http://home.aol.com/diy/home-improvement-eric-stromer?video=15&ncid=aolhom00030000000001)
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As probably the closest one to the Con (it's 2miles from my house) I
thought I'd start the discussion. Who's going? Should we meet for tea
& photo ops? Shall we wear our Scarlet Letters?
--cin
Cynthia Barnes
CinBarnes@gmail.com
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From: Carol Mitchell <carolscostuming5@yahoo.com>
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I'm not sure who put in that posting, but I can't get the website to open. Does anyone know anything about the book?
  Thanks
  Carol 


Carol Mitchell listowner Costumemidwest www.yahoogroups.com/group/costumemidwest
       
---------------------------------
You rock. That's why Blockbuster's offering you one month of Blockbuster Total Access, No Cost.
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  Most versions I have heard of this refer to Tangiers Island, which is off
of Virginia not the Carolinas, I have heard references to the Carolinas and
even the Ozarks!  Tangiers is still accessible only by ferry.  Of course
none of the various places in America I have heard touted as having a
surviving 16th century accent were in fact settled in that period!

Ron Carnegie


-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Sharon Collier
Sent: Tuesday, April 01, 2008 5:32 PM
To: 'Historical Costume'
Subject: Re: [h-cost] [ h-cost]Making history hip

There's an island off the Carolina coast, which, until they got a bridge and
satellite TV, had an almost perfect version of a 16th century eastern
English accent, which has died out/changed in England.
My mom is frequently asked if she is from New York, but she is a native San
Franciscan. The accent is similar, apparently. 

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Sent: Tuesday, April 01, 2008 9:10 AM
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Hi, Cin, I'm going. What's this about scarlet letters?
Sharon Collier 

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Cin
Sent: Tuesday, April 01, 2008 4:17 PM
To: h-cost
Subject: [h-cost] H-costumers at CostumeCon

As probably the closest one to the Con (it's 2miles from my house) I thought
I'd start the discussion. Who's going? Should we meet for tea & photo ops?
Shall we wear our Scarlet Letters?
--cin
Cynthia Barnes
CinBarnes@gmail.com
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Subject: [h-cost] Danish Living History Site - WOW!
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Hi all, my friend Camilla Luise Dahl who is a costume historian in Denmark, pointed me to their latest project.  Sorry for the cross posts, but I wanted to get to as many folks as I could.  
 
Very cool headdresses!!  As Camilla and I spoke last night, they will really make you wonder why the heart shaped Attifet worn by Mary Queen of Scots is attributed to her - looks like they came from here! http://www.livinghistory.dk/index.html There are lots of wonderful pictures, gravestones, and effigies here which are probably rarely seen by most people.  They are from the churches around Denmark. Most of the pictures I think are "donor" pictures.  
 
I don't read Danish, but you can basically pick any of the menus from the home page - most will take you to an album of churches.  Click on the church and then you should see a selection of paintings.  Each painting has several detailed shots.  All are available for download in high definition.  
 
If you want just an overview of the goodies go here:
 
http://www.livinghistory.dk/top10/top10.html or here
http://livinghistory.dk/Pibekraver/index.html
 
But there are many many more cool ones.
 
The date range is from late 1500s to late 1600s (there may even be some later).
You can use the search box to narrow it down a bit:
For instance 1590-99 (but it appears that it must be in that format)
 
Happy Browsing!
Saragrace 
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Subject: [h-cost] Knife pleating:
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Hello, I bought material to make my first bustle dress, I am going to 
try and emulate a gown I have in a La Mode Parisiennes fashion plate 
 from 1880 with consideration of Edna Pontellier's white cotton ensemble 
at the beginning of Grand Isle.
What I am trying to get down is how to do knife pleating. I have read 
many different instructions on how to make the pleats, but how can one 
acheive a sharp pleat that holds through the whole length to the bottom 
edge? The material I am using is like a lightly woven, delicately 
stiffened, cotton linen with mild sheen to it and can imagine it would 
crease well but how can I get it to hold the shape? I have heard of 
permanent press, is there a chemical used professionally to create 
permanent creases?

Justine.

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Me too and I'm just as curious.
Margaret Decker



> Hi, Cin, I'm going. What's this about scarlet letters?
> Sharon Collier
>

>
> As probably the closest one to the Con (it's 2miles from my house) I 
> thought
> I'd start the discussion. Who's going? Should we meet for tea & photo ops?
> Shall we wear our Scarlet Letters?
> --cin
> Cynthia Barnes
> CinBarnes@gmail.com

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I've lived in Nebraska all my life, but I seem to have a talent for 
language - I've managed to fool people (not native to the described 
areas) that I'm from New York City/Brooklyn and also from the U. 
K.  If I talk to someone for more than a few minutes, I start to pick 
up their accent.

Sandy

P.S. - Cindy, I say "wash" too.

At 11:31 AM 4/1/2008, you wrote:
>Dianne wrote:
> >Can you tell the difference between a Michigan accent and a Pennsylvania
> >accent?
>
> >How about Kentucky and Texas?
>
>OK, point taken!
>
>and Jean Waddie wrote:
>
> >I went and checked with my husband about the original books, I assume
> >that's what the writer was referring to.  But it would be worrying if
> >people then listened to Sean Bean's accent and thought "Ah, that's what
> >Cockney is!"
>
>I read once that Bernard Cornwell originally envisaged Sharpe as a 
>dark-haired Cockney, but after Sean Bean had made the role so much 
>his own, even he started to think of him as a fair-haired Yorkshireman.
>
>Kate Bunting
>Cataloguing & Data Quality Librarian
>University of Derby

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

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

Andromeda  


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>  What I am trying to get down is how to do knife pleating. I have read
>  many different instructions on how to make the pleats, but how can one
>  acheive a sharp pleat that holds through the whole length to the bottom
>  edge? The material I am using is like a lightly woven, delicately
>  stiffened, cotton linen with mild sheen to it and can imagine it would
>  crease well but how can I get it to hold the shape? I have heard of
>  permanent press, is there a chemical used professionally to create
>  permanent creases?

I've made several fully kilted or pleated skirts and there are a few
tips I'd recommend.

Make a yoke to hang the pleats from. It's how it was done at the time
and makes it easier and hang better.
http://costumes.glittersweet.com/historical/bella.htm
http://costumes.glittersweet.com/historical/absinthe.htm
http://costumes.glittersweet.com/phantom/wishing.htm

These are my three Victorian pleated skirts. The first two are
stitched down at regular intervals down the length of the skirt.
That's how they keep their shape. I pleated as much fabric as I was
able and then treated that as a single pice of fabric that I cat to
shape at the waist and that is how the skirts are rather full.
The third is box pleated and the pleats need to be pressed anew each
time I wear it. But the pleats need to be left open.

Permanent pressers generally only deal with polyester (maybe a few
other man made fibres) as it can be permanently pressed with heat.
Cotton and linen will eventually lose the crisp edge.

Regards,
Michaela de Bruce
http://glittersweet.com
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At 11:15 02/04/2008, you wrote:
> >  What I am trying to get down is how to do knife pleating. I have read
> >  many different instructions on how to make the pleats, but how can one
> >  acheive a sharp pleat that holds through the whole length to the bottom
> >  edge? The material I am using is like a lightly woven, delicately
> >  stiffened, cotton linen with mild sheen to it and can imagine it would
> >  crease well but how can I get it to hold the shape? I have heard of
> >  permanent press, is there a chemical used professionally to create
> >  permanent creases?
>
>I've made several fully kilted or pleated skirts and there are a few
>tips I'd recommend.
>
>Make a yoke to hang the pleats from. It's how it was done at the time
>and makes it easier and hang better.
>http://costumes.glittersweet.com/historical/bella.htm
>http://costumes.glittersweet.com/historical/absinthe.htm
>http://costumes.glittersweet.com/phantom/wishing.htm
>
>These are my three Victorian pleated skirts. The first two are
>stitched down at regular intervals down the length of the skirt.
>That's how they keep their shape. I pleated as much fabric as I was
>able and then treated that as a single pice of fabric that I cat to
>shape at the waist and that is how the skirts are rather full.
>The third is box pleated and the pleats need to be pressed anew each
>time I wear it. But the pleats need to be left open.
>
>Permanent pressers generally only deal with polyester (maybe a few
>other man made fibres) as it can be permanently pressed with heat.
>Cotton and linen will eventually lose the crisp edge.


It may be worth looking for somewhere that does permanent pleating 
professionally. I use a firm to pleat my fabrics if I want the pleats 
to be permanent - they do it by machine and weight I believe. My firm 
will pleat anything, including silk organza, silk and cotton. They 
all keep their pleats.

If I am hand pleating, I press in the pleats, down the entire length, 
baste each one, and steam iron again. (A long and boring, but 
satisfying process!)

Suzi

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From: "Kate M Bunting" <K.M.Bunting@derby.ac.uk>
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Subject: Re: [h-cost] Danish Living History Site - WOW!
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http://www.livinghistory.dk/index.html 

Wow indeed! What a fascinating site, with some quite haunting portraits. In English churches you can see memorials with sculpted portraits of the deceased, but never oil paintings. I gather a lot of the subjects must be clergymen, as they're wearing ruffs long after these ceased to be fashionable.

Kate Bunting
Cataloguing & Data Quality Librarian
University of Derby

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Date: Wed, 2 Apr 2008 07:02:11 -0400
From: "Katy Bishop" <katybishop64@gmail.com>
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Subject: Re: [h-cost] Knife pleating:
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In period they would often run a line of stitching on the backside of
the pleating, catching each interior fold.  There would be one or
multiple rows of this stitching, unseen from the outside, which would
keep the inner edge of the fold in place.

Katy

On Wed, Apr 2, 2008 at 12:07 AM,  <ladybeanofbunny1@aol.com> wrote:
> Hello, I bought material to make my first bustle dress, I am going to
>  try and emulate a gown I have in a La Mode Parisiennes fashion plate
>   from 1880 with consideration of Edna Pontellier's white cotton ensemble
>  at the beginning of Grand Isle.
>  What I am trying to get down is how to do knife pleating. I have read
>  many different instructions on how to make the pleats, but how can one
>  acheive a sharp pleat that holds through the whole length to the bottom
>  edge? The material I am using is like a lightly woven, delicately
>  stiffened, cotton linen with mild sheen to it and can imagine it would
>  crease well but how can I get it to hold the shape? I have heard of
>  permanent press, is there a chemical used professionally to create
>  permanent creases?
>
>  Justine.
>
>  _______________________________________________
>  h-costume mailing list
>  h-costume@mail.indra.com
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>



-- 
Katy Bishop, Vintage Victorian
katybishop64@gmail.com www.VintageVictorian.com
 Custom reproduction gowns of the Victorian Era.
 Publisher of the Vintage Dress Series books.
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Sharon Collier wrote:

>......................................................... Before acrylics, we used
>to make our own paint, using hoof-and-horn glue. We called it casein paint.
>You mixed the ground up stuff (hooves and horns, apparently) up with water,
>heated it and mixed in dry pigment. Perhaps this is what they used in olden
>times for fabric. 
>You can still get that kind of glue-it's called "mucilage" or possibly
>"hide" glue, the brown stuff that used to come in a glass bottle with an
>angled rubber top. .....
>Another name for this might be "milk paint". This is sometimes found on old
>furniture. Apparently it's a pain to remove from furniture if you're
>refinishing. I've never come across it myself, but I think it's a version of
>this type of casein-based paint.

Are you sure you're not talking about two different things, Sharon? My understanding is that casein is a substance found in milk and cheese, but the substance extracted from hooves and horns is gelatin.

Kate Bunting
Cataloguing & Data Quality Librarian
University of Derby

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Subject: [h-cost] Subject: Re:  [ h-cost]Making history hip
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Nah - the bad one is the number of people from soruthern England who've  
though I was Scottish.
 
I'm not, I'm from near Newcastle in the North East.   *rolling  eyes*
 
 
(Of course, then when I pointed out where I'm from, some asked which part  of 
Scotland that was in!
 
 
 
In a message dated 02/04/2008 04:06:04 GMT Standard Time,  
h-costume-request@indra.com writes:

Trust an  American not to know the difference between Yorkshire and Cockney
accents!  I believe Bernard Cornwell originally created Sharpe as a  Londoner,


 



   
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I'm not sure of the gown you will be trying to interpret; most dresses I 
have seen first hand have the pleating around the underskirt; usually 8/12 
".  There is a pleater board that Clotilda carries that does the pleating so 
quicklyfor this width. .It is a square with "pockets" that you stuff and 
press.  The first time I used it i said "yeah shure" and was surprised to 
have four yards pleated whith in an hour...a job that usually meant a whole 
day involvement.  just remember that the fabric being pleated is hemmed in 
advance!! I used spraystarch for a crisp finish and this held up pretty much 
through the drycleaning.

I vaguely remember seeing the device produced for 30"?

Kathleen
----- Original Message ----- 
From: <ladybeanofbunny1@aol.com>
To: <h-costume@mail.indra.com>
Sent: Wednesday, April 02, 2008 12:07 AM
Subject: [h-cost] Knife pleating:


> Hello, I bought material to make my first bustle dress, I am going to
> try and emulate a gown I have in a La Mode Parisiennes fashion plate
> from 1880 with consideration of Edna Pontellier's white cotton ensemble
> at the beginning of Grand Isle.
> What I am trying to get down is how to do knife pleating. I have read
> many different instructions on how to make the pleats, but how can one
> acheive a sharp pleat that holds through the whole length to the bottom
> edge? The material I am using is like a lightly woven, delicately
> stiffened, cotton linen with mild sheen to it and can imagine it would
> crease well but how can I get it to hold the shape? I have heard of
> permanent press, is there a chemical used professionally to create
> permanent creases?
>
> Justine.
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume 

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In a message dated 4/2/2008 7:02:51 A.M. Eastern Daylight Time,  
katybishop64@gmail.com writes:

There  would be one or
multiple rows of this stitching, unseen from the outside,  which would
keep the inner edge of the fold in  place.



*********************
 
And I have seen on period examples the front fold edge-stitched to keep it  
folded. This was done by machine in matching thread right-on-the-edge....I mean 
 so close as to be practically invisible.



**************Create a Home Theater Like the Pros. Watch the video on AOL 
Home.      
(http://home.aol.com/diy/home-improvement-eric-stromer?video=15&ncid=aolhom00030000000001)
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Subject: [h-cost] Professional Pleaters - was Knife pleating:
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Hi Suzi, Could you tell us who you use, and approximately what it costs to have this done?  I have seen these adds before, but just assumed you had to have stuff done in such huge amounts that it probably wasn't affordable.
 
Thanks,Sg> > It may be worth looking for somewhere that does permanent pleating > professionally. I use a firm to pleat my fabrics if I want the pleats > to be permanent - they do it by machine and weight I believe. My firm > will pleat anything, including silk organza, silk and cotton. They > all keep their pleats.> > If I am hand pleating, I press in the pleats, down the entire length, > baste each one, and steam iron again. (A long and boring, but > satisfying process!)> > Suzi> > _______________________________________________> h-costume mailing list> h-costume@mail.indra.com> http://mail.indra.com/mailman/listinfo/h-costume
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Subject: Re: [h-cost] John Adams HBO series - Servants and pins.
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I am reading the book right now - early on, when John is about 41, indeed they do not have any servants except one girl who lived (and died, I might add, of an epidemic) while John was in Philadelphia.  By this time-the Adams of Braintree Massachusetts, were 4th generation American farmers; who did lots of things on the side to survive, from shoe cobbling to malt making.  I am enjoying the book....
 
Sg
 
Oh, I forgot to add some costume content!  One anecdotal note was made when Abigal asked John to buy her a bundle of pins from Philadelphia:
 
'''The cry for pins is so great that what we used to buy for 7 shilling and six pence are now 20 shillings and not to be had for that."  A bundle of pins contained six thousand, she explained.  These she could sell for hard money or use for barter."



> Date: Tue, 1 Apr 2008 10:28:43 -0600> From: dawn@reddawn.net> To: h-costume@indra.com> Subject: Re: [h-cost] John Adams HBO series> > Pierre & Sandy Pettinger wrote:> Servants? What servants? I'd expect the Adams' to have a couple > farmhands and at least one girl in the house, but I've seen none. > There's no way Abigail is running the farm by herself with 3 small kids. > They might have a cow and some chickens, but no way there's a crop > coming without help.> > > > Dawn
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<<Hi Suzi, Could you tell us who you use, and approximately what it costs to have 
this done?? I have seen these adds before, but just assumed you had to have 
stuff done in such huge amounts that it probably wasn't affordable.
 
Thanks,Sg> > It may be worth looking for somewhere that does permanent pleating 
> professionally. I use a firm to pleat my fabrics if I want the pleats > to be 
permanent - they do it by machine and weight I believe. My firm > will pleat 
anything, including silk organza, silk and cotton. They > all keep their 
pleats.> > If I am hand pleating, I press in the pleats, down the entire length, 
> baste each one, and steam iron again. (A long and boring, but > satisfying 
process


I have always used A-1 Pleating in Los Angeles.? It's not true that they only deal with
polyester. I have had a lot of natural fabrics pleated.? They can do a variety of different pleats and 
they stay in the fabric because they "cook" them in pleating ovens.? Even if the pleats fall out a little
bit over the years, the creases remain and it's pretty easy to touch them up.? I especially like having 
sunburst pleats done because it's impossible to do them yourself.? And it's true that it can be pricey
but if you're needing to save time and want accuracy and permanency, it's worth the expense.


Cheryl Odom
College of Santa Fe
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Subject: Re: [h-cost] [ h-cost] Regional accents, was Making history hip
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Dianne wrote:
>Can you tell the difference between a Michigan accent and a Pennsylvania
>accent?

>How about Kentucky and Texas?

OK, point taken!>>

Good. I thought at first I might have come off snotty, and I didn't intend 
to do so.

Point was simply that it would be harder for an American to distinguish 
between regional British accents, as it would be hard for someone from 
England to distinguish between say, Michigan and Ohio. As a native 
Michiganian, the main difference I notice between MI and my current 
residence of Pennsylvania is more of phrasing--PA says soda, Michigan calls 
it pop. And I don't recall ever hearing a waitress in MI asking if we "want 
your drinks a while till your food is ready?", or a Michiganian saying 
"youse guys".

Dianne


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Debloughcostumes@aol.com wrote:
>  
> Nah - the bad one is the number of people from soruthern England who've  
> though I was Scottish.
>  
> I'm not, I'm from near Newcastle in the North East.   *rolling  eyes*


"But if you're from another planet, why do you sound like you're from 
the North?"

"Lots of planets have a north!"

(Sorry, I had to...)

andy

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Andrew Trembley wrote:
> Debloughcostumes@aol.com wrote:
>   
>>  
>> Nah - the bad one is the number of people from soruthern England who've  
>> though I was Scottish.
>>  
>> I'm not, I'm from near Newcastle in the North East.   *rolling  eyes*
>>     
>
>
> "But if you're from another planet, why do you sound like you're from 
> the North?"
>
> "Lots of planets have a north!"
>
> (Sorry, I had to...)
>
> andy
>   

> Yeees - that's North East England, Debs!  But then, if you came from North East Scotland, even I wouldn't be able to understand you.
Jean
(from south east England, now living in south east Scotland)
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Tangier Is has an airport & has had one for 40+ years.  I've flown in
there.   Small planes, mind you.  It's also accessible by anyone with
a motorboat. You didnt need a satellite TV to pick up "foreign" or
"polluting" accents.  There was radio available and broadcast TV, too.
None of these places are so isolated as these stories like to pretend.
When I was a kid, we used to spend the morning fishing in the
Chesapeake, then go to the Tangier inn & restaurant and get the
world's best grits & gravy. They do have a distinctive accent, often
attributed to massive inbreeding. That was probably just our Accomac
county snobbery talking.

I remember reading a Thomas Hardy novel, maybe Jude the Obscure, and
thinking that the provincial Sussex accent mocked by another character
sounded remarkably like someone from Rappahannock VA.

Can we get back to our regularly scheduled topic?  Here's a question
for you:  If you had sufficient resources to make your dream costume,
what would it be?
--cin
Cynthia Barnes
CinBarnes@gmail.com

> Most versions I have heard of this refer to Tangiers Island, which is off
of Virginia not the Carolinas, I have heard references to the Carolinas and
even the Ozarks!  Tangiers is still accessible only by ferry.  Of course
none of the various places in America I have heard touted as having a
surviving 16th century accent were in fact settled in that period!

> Ron Carnegie
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Subject: Re: [h-cost] Professional Pleaters - was Knife pleating:
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When I was doing wedding dresses, I used San Francisco Pleating Co.   
There were no minimums, they were fine with pleating a yard or less.   
Here's contact info:

San Francisco Pleating Co.- 425 2nd St.,San Francisco, CA., 94107,  
(415)982-3003
Custom pleating. They do knife, accordion, crystal, box, mushroom and  
sunburst pleating on your cloth. Send business sized (#10) SASE for  
brochure.

Margo
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At 14:15 02/04/2008, you wrote:
>Hi Suzi, Could you tell us who you use, and approximately what it 
>costs to have this done?  I have seen these adds before, but just 
>assumed you had to have stuff done in such huge amounts that it 
>probably wasn't affordable.

Saragrace

As I work in England I think it would be prohibitive for you to have 
fabric pleated here. There are U.S. suggestions from others on the 
list, I see - or Google.

Suzi

>
>Thanks,Sg> > It may be worth looking for somewhere that does 
>permanent pleating > professionally. I use a firm to pleat my 
>fabrics if I want the pleats > to be permanent - they do it by 
>machine and weight I believe. My firm > will pleat anything, 
>including silk organza, silk and cotton. They > all keep their 
>pleats.> > If I am hand pleating, I press in the pleats, down the 
>entire length, > baste each one, and steam iron again. (A long and 
>boring, but > satisfying process!)> > Suzi> > 
>_______________________________________________> h-costume mailing 
>list> h-costume@mail.indra.com> 
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> Can we get back to our regularly scheduled topic?  Here's a question
> for you:  If you had sufficient resources to make your dream costume,
> what would it be?
> --cin

LOL! It would be made by someone else, of course!

I think I would tend toward some kind of big poofy cinderella fantasy 
style dress dripping with beads and hand work, though who knows where 
I'd wear it.




Dawn

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At 21:01 02/04/2008, you wrote:

> > Can we get back to our regularly scheduled topic?  Here's a question
> > for you:  If you had sufficient resources to make your dream costume,
> > what would it be?
> > --cin
>
>LOL! It would be made by someone else, of course!
>
>I think I would tend toward some kind of big poofy cinderella fantasy
>style dress dripping with beads and hand work, though who knows where
>I'd wear it.


http://www.geocities.com/mm_civil_war1/GWTW_Scarlett.html

This, but I'd need someone to make me the right shape to wear it!! (I 
think if you could roll me out like making a sausage, my short fat 
body would become tall and slim - fat chance!)

Suzi 

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In a message dated 02/04/2008 19:00:26 GMT Standard Time,  
h-costume-request@indra.com writes:

Andrew  Trembley wrote:
> Debloughcostumes@aol.com wrote:
>    
>>  
>> Nah - the bad one is the number of people from  soruthern England who've  
>> though I was  Scottish.
>>  
>> I'm not, I'm from near Newcastle in  the North East.   *rolling  eyes*
>>   
>
>
> "But if you're from another planet, why  do you sound like you're from 
> the North?"
>
> "Lots of  planets have a north!"
>
> (Sorry, I had to...)
>
>  andy
>   

> Yeees - that's North East England,  Debs!  But then, if you came from North 
East Scotland, even I wouldn't be  able to understand you.
Jean
(from south east England, now living in  south east Scotland)
 
 

But my assumption would be that the additional specification of north east  
england would be redundant, as the first sentence made it clear which country I 
 was referring to....



   
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From: "Katy Bishop" <katybishop64@gmail.com>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] Dream Costume (was Making history hip (OT)
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I made that dress years ago for a bride--she had the perfect figure
and personality for it.  When she first called me, after trying
several other bridal dressmakers, who had barely even heard of Gone
With The Wind, she was thrilled when I knew exactly the dress she was
talking about immediately.  She was so cute.  In deference to her
fiance's family we made it in pale pink, but it had all the feathers
and rhinestones.  I ended up just calling her Scarlett by the end of
our fittings.  There were some fun brides among the boring or
difficult ones.....

Katy

On Wed, Apr 2, 2008 at 3:17 PM, Suzi Clarke <suzi@suziclarke.co.uk> wrote:
> At 21:01 02/04/2008, you wrote:
>
>  > > Can we get back to our regularly scheduled topic?  Here's a question
>  > > for you:  If you had sufficient resources to make your dream costume,
>  > > what would it be?
>  > > --cin
>  >
>  >LOL! It would be made by someone else, of course!
>  >
>  >I think I would tend toward some kind of big poofy cinderella fantasy
>  >style dress dripping with beads and hand work, though who knows where
>  >I'd wear it.
>
>
>  http://www.geocities.com/mm_civil_war1/GWTW_Scarlett.html
>
>  This, but I'd need someone to make me the right shape to wear it!! (I
>  think if you could roll me out like making a sausage, my short fat
>  body would become tall and slim - fat chance!)
>
>  Suzi
>
>  _______________________________________________
>  h-costume mailing list
>  h-costume@mail.indra.com
>  http://mail.indra.com/mailman/listinfo/h-costume
>



-- 
Katy Bishop, Vintage Victorian
katybishop64@gmail.com www.VintageVictorian.com
 Custom reproduction gowns of the Victorian Era.
 Publisher of the Vintage Dress Series books.
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In a message dated 4/1/2008 10:06:19 PM Central Daylight Time, 
h-costume-request@indra.com writes: 
> Date: Tue, 1 Apr 2008 13:50:10 -0500
> From: Sarah Krans <sarah.krans@charter.net>
> Subject: Re: [h-cost] [ h-cost]Making history hip
> To: Historical Costume <h-costume@indra.com>
> Message-ID: <990E7E53-325F-4E1A-85D7-5744688BB996@charter.net>
> Content-Type: text/plain;    charset=US-ASCII;    format=flowed;    
> delsp=yes
> 
> And Kentucky is different than Tennessee.  :)  For the most part, the  
> same is said about every state/region.
> 
> Sarah K
> Wisconsin (but have been asked on a number of occasions if I were from  
> Canada!)

Nah! You're jus from da Sous Side, aina hey!  Henry Osier
Chief Spy
Costume-Con 28 in Milwaukee in 2010
www.CC28.org
View the latest Intell: http://agent-milw.livejournal.com/
Questions?: http://community.livejournal.com/costume_con_28/    
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Alright - I thought I had one bookmarked, but cannot find it when I need it!
I am looking for an online source of the image which shows 4 or 5 English
women in mid-16th century, with one of the women labelled something like
"countrywoman". If I'm not mixing up my images, she is carrying a basket
(with chickens????) to take to market in town. One of the other women may be
"a citizen of London"???? Does anyone know what I'm talking about and have a
link to this image somewhere?? Thank you!!!
 

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

Rebecca Schmitt

aka Agness Cabot, Guilde of St. Lawrence

Bristol Renaissance Faire

 

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

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

 
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In a message dated 4/1/2008 10:06:19 PM Central Daylight Time, 
h-costume-request@indra.com writes: 
> Subject: [h-cost] H-costumers at CostumeCon
> To: h-cost <h-costume@indra.com>
> Message-ID:
>     <edcaf0220804011617t1c03260ey8911298132ceab6b@mail.gmail.com>
> Content-Type: text/plain; charset=ISO-8859-1
> 
> As probably the closest one to the Con (it's 2miles from my house) I
> thought I'd start the discussion. Who's going? Should we meet for tea
> &photo ops? Shall we wear our Scarlet Letters?
> --cin
> Cynthia Barnes
> CinBarnes@gmail.com

Being the Spy that I am, I offer my table as a meeting post. I look forward 
to meeting you!
Henry Osier
Chief Spy
Costume-Con 28 in Milwaukee in 2010
www.CC28.org
View the latest Intell: http://agent-milw.livejournal.com/
Questions?: http://community.livejournal.com/costume_con_28/    
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Rebecca Schmitt wrote:
> women in mid-16th century, with one of the women labelled something like
> "countrywoman". If I'm not mixing up my images, she is carrying a basket
> (with chickens????) 

This one?

http://picasaweb.google.com/lh/photo/-SGAPxUqpJAunP1FuPfR6g



Dawn

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In a message dated 4/2/2008 1:00:46 PM Central Daylight Time, 
h-costume-request@indra.com writes: 
> From: Andrew Trembley <attrembl@bovil.com>
> Subject: Re: [h-cost] Subject: Re:  [ h-cost]Making history hip
> To: Historical Costume <h-costume@indra.com>
> Message-ID: <47F3C580.5030001@bovil.com>
> Content-Type: text/plain; charset=ISO-8859-1; format=flowed
> 
> Debloughcostumes@aol.com wrote:
> >  
> >Nah - the bad one is the number of people from soruthern England who've  
> >though I was Scottish.
> >  
> >I'm not, I'm from near Newcastle in the North East.   *rolling  eyes*
> 
> 
> "But if you're from another planet, why do you sound like you're from 
> the North?"
> 
> "Lots of planets have a north!"
> 
> (Sorry, I had to...)
It's ok! I got it!

Henry Osier
Chief Spy
Costume-Con 28 in Milwaukee in 2010
www.CC28.org
View the latest Intell: http://agent-milw.livejournal.com/
Questions?: http://community.livejournal.com/costume_con_28/    
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That's it!!! Thank you!!!

*******************************************************************
Rebecca Schmitt
aka Agness Cabot, Guilde of St. Lawrence
Bristol Renaissance Faire
 
My arms are too short to box with God.  --Johnny Cash
*******************************************************************
 

> -----Original Message-----
> From: h-costume-bounces@indra.com 
> [mailto:h-costume-bounces@indra.com] On Behalf Of Dawn
> Sent: Wednesday, April 02, 2008 5:48 PM
> To: Historical Costume
> Subject: Re: [h-cost] Help finding image
> 
> Rebecca Schmitt wrote:
> > women in mid-16th century, with one of the women labelled something 
> > like "countrywoman". If I'm not mixing up my images, she is 
> carrying a 
> > basket (with chickens????)
> 
> This one?
> 
> http://picasaweb.google.com/lh/photo/-SGAPxUqpJAunP1FuPfR6g
> 
> 
> 
> Dawn
> 
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Subject: Re: [h-cost] [ h-cost] Regional accents, was Making history hip
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Dianne wrote:
> Point was simply that it would be harder for an American to distinguish 
> between regional British accents, as it would be hard for someone from 
> England to distinguish between say, Michigan and Ohio. 

Those states in particular are a really good case in point.  There isn't 
an Ohio accent--there are three or four, at least.  There's the 
Cleveland/Northern accent (fairly nasal, somewhat akin to the typical 
Michigan accent), the Appalachian accent (SE part of the state, akin to 
West Virginia and eastern Kentucky), and two Midwestern accents --one a 
little more generic than the other (which involves people saying "warsh" 
for wash and "crick" for creek).  

Columbus, where I'm originally from, gets all four.

Susan

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From: "Lynn Downward" <lynndownward@gmail.com>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] Professional Pleaters - was Knife pleating:
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Margo et al,

I am certain I remember someone on another list mentioning a year or two ago
that SF Pleating had moved to South San Francisco. However, in looking them
up in the on-line Yellow Pages, only the address on 2nd St, S.F. shows up
with the same phone number Margo mentioned.

My friend used SF Pleating a couple of times several years ago. She was very
pleased with the job they did. She finished both edges of the fabric before
sending it to them. Because it was short, yards of 6-7" fabric, they were
willing to cut costs and pleat two widths at once. We all know how bustle
gowns eat up pleating! No, I don't know the price.

LynnD

On Wed, Apr 2, 2008 at 11:42 AM, Margo Anderson <lists@margospatterns.com>
wrote:

> When I was doing wedding dresses, I used San Francisco Pleating Co.
> There were no minimums, they were fine with pleating a yard or less.
> Here's contact info:
>
> San Francisco Pleating Co.- 425 2nd St.,San Francisco, CA., 94107,
> (415)982-3003
> Custom pleating. They do knife, accordion, crystal, box, mushroom and
> sunburst pleating on your cloth. Send business sized (#10) SASE for
> brochure.
>
> Margo
> _______________________________________________
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Subject: [h-cost] Menu Translation for Danish Living History Site - WOW!
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I am sending this on for those of you who are interested in the Danish Livi=
ng History Site.


To: GermanRenCostume@yahoogroups.com
From: amadejska@gmail.com
Date: Wed, 2 Apr 2008 17:07:06 +0300
Subject: Re: [GermanRenCostume] Danish Living History Site - WOW!



















    =

            Ofcourse! No problem at all! :)
Swedish and Danish are very closely related so if you speak one you can rea=
d the other.
If there are any specifics you would need feel free to ask me for translati=
ons.
Right now I can't really write that much due to tendenitis, but I can do sh=
ort stuff. :)


/Katheryn

2008/4/2, Saragrace Knauf <wickedfrau@msn.com>:
















    =

            =



Thank you so much Katheryn - would it be okay to send this translation to o=
ther lists?


Sg



To: GermanRenCostume@yahoogroups.com
From: amadejska@gmail.com

Date: Wed, 2 Apr 2008 09:40:34 +0300
Subject: Re: [GermanRenCostume] Danish Living History Site - WOW!






Since I do read Danish I can at least translate the links on this page:
http://www.livinghistory.dk/index.html


1. Costumes on Epitafies (paintings/artwork of deceased) and gravestones
2. Painted Epitafies (paintings/artwork of deceased). (Burgher costumes fro=
m the 17:th century)
3. Painted Epitafies. (Nobility)
4. Statues (free standing Epitafies)

5. Other inventories
6.  Gravestones
7. Articles
8. 10 we can recommend
9. Cavalcade =96 the developement of costume
10.  Ruffle collar gallery (this type of collar is still used by priests in=
 Denmark)


I hope this helps.
One thing to remember about Swedish, Danish and Norwegian:
If it says 1500-talet it means 16:th century. If it says 1600-talet it mean=
s 17:th century and so on.

/Katheryn







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I don't have an on-line source, but it's on page 80 of my 'Visual History of Costume: The Sixteenth Century' by Jane Ashelford.
 
Karen
Seamstrix

-- "Rebecca Schmitt" <lotsofteapots@charter.net> wrote:
Alright - I thought I had one bookmarked, but cannot find it when I need it!
I am looking for an online source of the image which shows 4 or 5 English
women in mid-16th century, with one of the women labelled something like
"countrywoman". If I'm not mixing up my images, she is carrying a basket
(with chickens????) to take to market in town. One of the other women may be
"a citizen of London"???? Does anyone know what I'm talking about and have a
link to this image somewhere?? Thank you!!!


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

Rebecca Schmitt

aka Agness Cabot, Guilde of St. Lawrence

Bristol Renaissance Faire



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

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


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Drea Leeds has the image on her site in Black and White:

http://images.google.com/imgres?imgurl=http://www.elizabethancostume.net/low
erclass/lcolor.jpg&imgrefurl=http://www.elizabethancostume.net/lowerclass/fl
emish-dress.html&h=257&w=266&sz=69&hl=en&start=5&sig2=nrGtYqUjKybQHWDsCuquyw
&tbnid=FCajIe6J7IC0DM:&tbnh=109&tbnw=113&ei=GkL0R9XyJqmkpwTqoYG_DQ&prev=/ima
ges%3Fq%3DSixteenth%2Bcentury%2Bmiddle%2Bclass%2Bwomen%2B%26gbv%3D2%26hl%3De
n%26sa%3DG

Monica


-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of penhalion@juno.com
Sent: Wednesday, April 02, 2008 10:24 PM
To: h-costume@indra.com
Subject: Re: [h-cost] Help finding image


I don't have an on-line source, but it's on page 80 of my 'Visual History of
Costume: The Sixteenth Century' by Jane Ashelford.

Karen
Seamstrix

-- "Rebecca Schmitt" <lotsofteapots@charter.net> wrote:
Alright - I thought I had one bookmarked, but cannot find it when I need it!
I am looking for an online source of the image which shows 4 or 5 English
women in mid-16th century, with one of the women labelled something like
"countrywoman". If I'm not mixing up my images, she is carrying a basket
(with chickens????) to take to market in town. One of the other women may be
"a citizen of London"???? Does anyone know what I'm talking about and have a
link to this image somewhere?? Thank you!!!


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

Rebecca Schmitt

aka Agness Cabot, Guilde of St. Lawrence

Bristol Renaissance Faire



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

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


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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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The servants were in part 4 - from this past  weekend - at the house 
they were residing at in France.

>Has anyone been watching the HBO series, "John Adams"?  What is your 
>general impression of:
>Costumes - both the principal characters and the general 
>populace/servants/etc.?

Sandy (and Pierre)

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

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

Andromeda  


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Subject: Re: [h-cost] Regional accents, was Making history hip
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Dianne wrote:
> Point was simply that it would be harder for an American to distinguish 
> between regional British accents, as it would be hard for someone from 
> England to distinguish between say, Michigan and Ohio. 

 and Susan Carroll-Clark replied :

>Those states in particular are a really good case in point.  There isn't 
>an Ohio accent--there are three or four, at least.  There's the 
>Cleveland/Northern accent (fairly nasal, somewhat akin to the typical 
>Michigan accent), the Appalachian accent (SE part of the state, akin to 
>West Virginia and eastern Kentucky), and two Midwestern accents --one a 
>little more generic than the other (which involves people saying "warsh" 
>for wash and "crick" for creek).  

So are there several varieties of Yorkshire accent, as it's a large county (my mother came from East Yorks.). My original point was that Northern English speech in general is very different from Cockney (working-class London) speech. Even I can tell the difference between a New York and a Deep South accent!


Kate Bunting
Cataloguing & Data Quality Librarian
University of Derby

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I'm torn between gorgeous 50's evening gowns or an 1860 gown.Not sure where
I would wear either gown but it would be fun.

Sidney


On Thu, Apr 3, 2008 at 7:14 AM, Katy Bishop <katybishop64@gmail.com> wrote:

> I made that dress years ago for a bride--she had the perfect figure
> and personality for it.  When she first called me, after trying
> several other bridal dressmakers, who had barely even heard of Gone
> With The Wind, she was thrilled when I knew exactly the dress she was
> talking about immediately.  She was so cute.  In deference to her
> fiance's family we made it in pale pink, but it had all the feathers
> and rhinestones.  I ended up just calling her Scarlett by the end of
> our fittings.  There were some fun brides among the boring or
> difficult ones.....
>
> Katy
>
> On Wed, Apr 2, 2008 at 3:17 PM, Suzi Clarke <suzi@suziclarke.co.uk> wrote:
> > At 21:01 02/04/2008, you wrote:
> >
> >  > > Can we get back to our regularly scheduled topic?  Here's a
> question
> >  > > for you:  If you had sufficient resources to make your dream
> costume,
> >  > > what would it be?
> >  > > --cin
> >  >
> >  >LOL! It would be made by someone else, of course!
> >  >
> >  >I think I would tend toward some kind of big poofy cinderella fantasy
> >  >style dress dripping with beads and hand work, though who knows where
> >  >I'd wear it.
> >
> >
> >  http://www.geocities.com/mm_civil_war1/GWTW_Scarlett.html
> >
> >  This, but I'd need someone to make me the right shape to wear it!! (I
> >  think if you could roll me out like making a sausage, my short fat
> >  body would become tall and slim - fat chance!)
> >
> >  Suzi
> >
>
>
>
>
> --
> Katy Bishop, Vintage Victorian
> katybishop64@gmail.com www.VintageVictorian.com
>  Custom reproduction gowns of the Victorian Era.
>  Publisher of the Vintage Dress Series books.
>
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No prob, Kimiko. That's why I have a library so I can have all those cool books.
--cin
Cynthia Barnes
CinBarnes@gmail.com


   Posted by: "Kimiko Small" kimiko@kimiko1.com sstormwatch
   Date: Wed Apr 2, 2008 12:48 pm ((PDT))

Thank you to everyone who has helped to explain allegorical images
for me. I am still a bit confused, but it seems I have a lot of
learning in front of me on this.

And thank you Cynthia for your book recommendation. I now have it on
my wish list.

Kimiko
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Monica,
When a url is large you can shrink it here
http://tinyurl.com/

Thank you,
De

-----Original Message-----
Drea Leeds has the image on her site in Black and White:

http://images.google.com/imgres?imgurl=http://www.elizabethancostume.net/low
erclass/lcolor.jpg&imgrefurl=http://www.elizabethancostume.net/lowerclass/fl
emish-dress.html&h=257&w=266&sz=69&hl=en&start=5&sig2=nrGtYqUjKybQHWDsCuquyw
&tbnid=FCajIe6J7IC0DM:&tbnh=109&tbnw=113&ei=GkL0R9XyJqmkpwTqoYG_DQ&prev=/ima
ges%3Fq%3DSixteenth%2Bcentury%2Bmiddle%2Bclass%2Bwomen%2B%26gbv%3D2%26hl%3De
n%26sa%3DG

Monica


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Kate, you're probably right. I was only 14 at the time and we switched to
acrylics the next year. I just remember calling it "casein".The first paint
was a powder which we mixed with hot water, and added pigment. 
The second, when I was in college, "hoof and horn", was a coarser powder,
more sand like in consistency. We mixed this with water also, but it needed
to be heated. Then pigment was added. I always thought they were 2 versions
of the same stuff.
 Either way, they can be used on fabric without "bleed" from the oil in oil
paint.

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Kate M Bunting
Sent: Wednesday, April 02, 2008 1:09 AM
To: h-costume@indra.com
Subject: Re: [h-cost] h-costume Digest, Vol 7, Issue 119

Sharon Collier wrote:

>......................................................... Before 
>acrylics, we used to make our own paint, using hoof-and-horn glue. We
called it casein paint.
>You mixed the ground up stuff (hooves and horns, apparently) up with 
>water, heated it and mixed in dry pigment. Perhaps this is what they 
>used in olden times for fabric.
>You can still get that kind of glue-it's called "mucilage" or possibly 
>"hide" glue, the brown stuff that used to come in a glass bottle with 
>an angled rubber top. .....
>Another name for this might be "milk paint". This is sometimes found on 
>old furniture. Apparently it's a pain to remove from furniture if 
>you're refinishing. I've never come across it myself, but I think it's 
>a version of this type of casein-based paint.

Are you sure you're not talking about two different things, Sharon? My
understanding is that casein is a substance found in milk and cheese, but
the substance extracted from hooves and horns is gelatin.

Kate Bunting
Cataloguing & Data Quality Librarian
University of Derby

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Subject: Re: [h-cost] Making history hip (OT)
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A new Ren court dress for dancing. I have the earrings I'm basing the dress
on. Now all I have to do is find the fabrics, trim, beads, make a corset and
hoops, get shoes, figure out a hat and make the thing! I already have a
bumroll, so that makes the job so much easier. :-)
Sharon
 

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Cin
Sent: Wednesday, April 02, 2008 11:24 AM
To: h-cost
Subject: Re: [h-cost] Making history hip (OT)

Tangier Is has an airport & has had one for 40+ years.  I've flown in
there.   Small planes, mind you.  It's also accessible by anyone with
a motorboat. You didnt need a satellite TV to pick up "foreign" or
"polluting" accents.  There was radio available and broadcast TV, too.
None of these places are so isolated as these stories like to pretend.
When I was a kid, we used to spend the morning fishing in the Chesapeake,
then go to the Tangier inn & restaurant and get the world's best grits &
gravy. They do have a distinctive accent, often attributed to massive
inbreeding. That was probably just our Accomac county snobbery talking.

I remember reading a Thomas Hardy novel, maybe Jude the Obscure, and
thinking that the provincial Sussex accent mocked by another character
sounded remarkably like someone from Rappahannock VA.

Can we get back to our regularly scheduled topic?  Here's a question for
you:  If you had sufficient resources to make your dream costume, what would
it be?
--cin
Cynthia Barnes
CinBarnes@gmail.com

> Most versions I have heard of this refer to Tangiers Island, which is 
> off
of Virginia not the Carolinas, I have heard references to the Carolinas and
even the Ozarks!  Tangiers is still accessible only by ferry.  Of course
none of the various places in America I have heard touted as having a
surviving 16th century accent were in fact settled in that period!

> Ron Carnegie
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LOL.  That's my idea of invested in a costume also, earings and a bum roll!
 
Laurie
 
> From: sharon@collierfam.com> A new Ren court dress for dancing. I have the earrings I'm basing the dress> on. Now all I have to do is find the fabrics, trim, beads, make a corset and> hoops, get shoes, figure out a hat and make the thing! I already have a> bumroll, so that makes the job so much easier. :-)> Sharon> > 
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Subject: Re: [h-cost] Help finding image
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Actually the simplest thing is to actually click the link google
provides at the top of the frame. Google images is a search engine,
not a web site and the framed page it shows up initially is not the
url you should point people to.
This is the correct link:
http://www.elizabethancostume.net/lowerclass/flemish-dress.html
And scroll down.

Michaela de Bruce
http://glittersweet.com

On 4/4/08, otsisto <otsisto@socket.net> wrote:
> Monica,
>  When a url is large you can shrink it here
>  http://tinyurl.com/
>
>  Thank you,
>  De
>
>
>  -----Original Message-----
>  Drea Leeds has the image on her site in Black and White:
>
>  http://images.google.com/imgres?imgurl=http://www.elizabethancostume.net/low
>  erclass/lcolor.jpg&imgrefurl=http://www.elizabethancostume.net/lowerclass/fl
>  emish-dress.html&h=257&w=266&sz=69&hl=en&start=5&sig2=nrGtYqUjKybQHWDsCuquyw
>  &tbnid=FCajIe6J7IC0DM:&tbnh=109&tbnw=113&ei=GkL0R9XyJqmkpwTqoYG_DQ&prev=/ima
>  ges%3Fq%3DSixteenth%2Bcentury%2Bmiddle%2Bclass%2Bwomen%2B%26gbv%3D2%26hl%3De
>  n%26sa%3DG
>
>  Monica
>
>
>
> _______________________________________________
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Subject: Re: [h-cost] Regional accents, was Making history hip
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On 03 Apr 2008, Kate M Bunting wrote:

> Dianne wrote:
> > Point was simply that it would be harder for an American to distinguish 
> > between regional British accents, as it would be hard for someone from 
> > England to distinguish between say, Michigan and Ohio. 
> 
>  and Susan Carroll-Clark replied :
> 
> >Those states in particular are a really good case in point.  There isn't 
> >an Ohio accent--there are three or four, at least.  There's the 
> >Cleveland/Northern accent (fairly nasal, somewhat akin to the typical 
> >Michigan accent), the Appalachian accent (SE part of the state, akin to 
> >West Virginia and eastern Kentucky), and two Midwestern accents --one a 
> >little more generic than the other (which involves people saying "warsh" 
> >for wash and "crick" for creek).  
> 
> So are there several varieties of Yorkshire accent, as it's a large county (my mother came from East Yorks.). My original point was that Northern English speech in general is very different from Cockney (working-class London) speech. Even I can tell the difference between a New York and a Deep South accent!


I may not be able to tell a Tennessee accent from a Kentucky accent, but
I also know better than to call something a Kentucky accent when I can't
tell the difference.  I've noticed a disturbing tendency among some
Americans to call all british accents "Cockney", which bothers me no
end.  I've even heard the "pirate accent" (which is descended from
Robert Newton's Cornish accent in Treasure Island) described as
"Cockney"....

-- Chris Bertani
www.goblinrevolution.org/costumes
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The accents hit me this week while visiting Hawaii.  I could pick out where 
tourist were from in the Southern U.S. were from by their accents.  I can 
generally pick out a person's region of the Gulf Coast states by their 
accents.

South Carolina accents are my personal favorites.

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

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From: Ruth Anne Baumgartner <ruthanneb@mindspring.com>
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And then there are the Americans who assume EVERY British accent is a  
HIGH-CLASS British accent. Someone said to me about an acquaintance  
who does indeed speak with a Cockney accent, "I love to hear his  
accent! It's so refined!" And a friend who works at the stage supply  
company says she can always recognize one particular community- 
theater box office tape on the phone because the speaker "has a phony  
British accent, which people seem to equate with being artistes!"
(No offense intended to any true Brits out there who ARE artistes, or  
to Cockneys who ARE refined!)

--Ruth Anne Baumgartner
gipsy scholar and amateur costumer


On Apr 3, 2008, at 8:47 PM, Chris Bertani wrote:

> On 03 Apr 2008, Kate M Bunting wrote:
>
>> Dianne wrote:
>>> Point was simply that it would be harder for an American to  
>>> distinguish
>>> between regional British accents, as it would be hard for someone  
>>> from
>>> England to distinguish between say, Michigan and Ohio.
>>
>>  and Susan Carroll-Clark replied :
>>
>>> Those states in particular are a really good case in point.   
>>> There isn't
>>> an Ohio accent--there are three or four, at least.  There's the
>>> Cleveland/Northern accent (fairly nasal, somewhat akin to the  
>>> typical
>>> Michigan accent), the Appalachian accent (SE part of the state,  
>>> akin to
>>> West Virginia and eastern Kentucky), and two Midwestern accents -- 
>>> one a
>>> little more generic than the other (which involves people saying  
>>> "warsh"
>>> for wash and "crick" for creek).
>>
>> So are there several varieties of Yorkshire accent, as it's a  
>> large county (my mother came from East Yorks.). My original point  
>> was that Northern English speech in general is very different from  
>> Cockney (working-class London) speech. Even I can tell the  
>> difference between a New York and a Deep South accent!
>
>
> I may not be able to tell a Tennessee accent from a Kentucky  
> accent, but
> I also know better than to call something a Kentucky accent when I  
> can't
> tell the difference.  I've noticed a disturbing tendency among some
> Americans to call all british accents "Cockney", which bothers me no
> end.  I've even heard the "pirate accent" (which is descended from
> Robert Newton's Cornish accent in Treasure Island) described as
> "Cockney"....
>
> -- Chris Bertani
> www.goblinrevolution.org/costumes
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume

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We have a lady in our local group who is British, complete with
accent.   There have been those who didn't know she was British
complain about the "cheesy" accent, thinking she was faking it.   Even
when pointed out she's not faking, they still insisted it sounded
cheesy.

alex

On Fri, Apr 4, 2008 at 7:01 AM, Ruth Anne Baumgartner
<ruthanneb@mindspring.com> wrote:
> And then there are the Americans who assume EVERY British accent is a
>  HIGH-CLASS British accent. Someone said to me about an acquaintance
>  who does indeed speak with a Cockney accent, "I love to hear his
>  accent! It's so refined!" And a friend who works at the stage supply
>  company says she can always recognize one particular community-
>  theater box office tape on the phone because the speaker "has a phony
>  British accent, which people seem to equate with being artistes!"
>  (No offense intended to any true Brits out there who ARE artistes, or
>  to Cockneys who ARE refined!)
>
>  --Ruth Anne Baumgartner
>  gipsy scholar and amateur costumer
>
>  --
"I'm buying this fabric/book now in case I have an emergency...you
know, having to suddenly make presents for everyone, sickness,flood,
injury, mosquito infestations, not enough silk in the house, it's
Friday..." ;)
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My parents were in the theater.  Among the many very interesting peopole we had at our dinner table was a visiting linguist/speech teacher. He could pinpoint just about everyone from where they came.  But not the 3 kids at the table.  Born in Iowa, lived in Wisconson, Germany and at that point Amherst Massachusetts, our speech and pronunciation was just too mixed up!Sg

> From: penny@costumegallery.com> To: h-costume@indra.com> Date: Fri, 4 Apr 2008 02:17:46 -0400> Subject: Re: [h-cost] [ h-cost]Making history hip> > The accents hit me this week while visiting Hawaii. I could pick out where > tourist were from in the Southern U.S. were from by their accents. I can > generally pick out a person's region of the Gulf Coast states by their > accents.> > South Carolina accents are my personal favorites.
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Date: Fri, 04 Apr 2008 11:07:23 -0400
From: Jeanine Swick <jeanine@woollycat.net>
To: F-Costume@yahoogroups.com, Historic Costume <h-costume@indra.com>
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Subject: [h-cost] Costume Con 26 membership available
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My daughter is not able to go to CC26 this year.  So I have a membership
up for sale at the early 2007 rate it was purchased at.  Contact me
directly off list if you are interested.

    Jeanine
jeanine@woollycat.net



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Date: Fri, 04 Apr 2008 12:58:55 -0400
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  A friend of mine at work gets this all the time.  People often remark on
how awful his attempt at a Scottish accent is, being unaware that he was
born and raised in Glasgow.

Ron Carnegie



-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Alexandria Doyle
Sent: Friday, April 04, 2008 9:51 AM
To: Historical Costume
Subject: Re: [h-cost] OT Re: Regional accents, was Making history hip

We have a lady in our local group who is British, complete with
accent.   There have been those who didn't know she was British
complain about the "cheesy" accent, thinking she was faking it.   Even
when pointed out she's not faking, they still insisted it sounded
cheesy.

alex


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----- Original Message ----- 
From: "Ruth Anne Baumgartner" <ruthanneb@mindspring.com>
> ... And a friend who works at the stage supply
> company says she can always recognize one particular community-
> theater box office tape on the phone because the speaker "has a phony
> British accent, which people seem to equate with being artistes!"
> (No offense intended to any true Brits out there who ARE artistes, or
> to Cockneys who ARE refined!)

Reminds me of a favorite line from some movie I can't think of: "Is she 
British, or just affected?"

The whole topic, though, reminds me of something that I love to research 
when I have a spare second: the development of the American (and British) 
accent.  I always wondered what, for example, people like Benjamin Franklin 
actually sounded like when they talked.  I mean, it would make sense that 
their accents would be a lot closer to modern British than modern American, 
right?  As it turns out, no, but not the other way round, either.  If anyone 
in the 18th century sounded like anyone in the 21st century, it was the 
18thC Brits; they sounded like 21st century Americans.  Apparently the Brits 
had this thing for following linguistic fashions, which the Americans 
largely ignored, leaving regional British accents almost intact in the 
associated American regions.  (Although we did finally follow suit and rid 
ourselves of that whole thing where the "a" in "father" sounded like the "a" 
in modern-American-accent "apple," though.  Whew.)

OK, completely off topic, and I'm explaining it poorly anyway!

-E House 

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No, you are explaining it very well. Although mass communication is
affecting regional accents in the world, and not always postively in my
small opinion, isolated areas in Britain and the U.S. can still
understand each other better than most citizens living in Britain and
the US can. I had a professor in college that would read passages from
Shakespeare and Chaucer as closely as was known then to "original"
pronunciation, and I found it fascinating to hear what sounded like
French and Scottish words within early modern English. We also read some
passages ourselves reprinted from the oldest surviving source aloud
after being told to start by pronouncing the words as they were spelled.
Of course, the caveat was that we were also told that we might be closer
to how the typesetter pronounced the words, rather than Chaucer or
Shakespeare. I fear we are losing a lot of expression within languages
through the present mass-media homogenization.

Cindy Abel   

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
On Behalf Of Exstock
Sent: Friday, April 04, 2008 1:36 PM
To: Historical Costume
Subject: Re: [h-cost] OT Re: Regional accents, was Making history hip

----- Original Message -----
From: "Ruth Anne Baumgartner" <ruthanneb@mindspring.com>
> ... And a friend who works at the stage supply company says she can 
> always recognize one particular community- theater box office tape on 
> the phone because the speaker "has a phony British accent, which 
> people seem to equate with being artistes!"
> (No offense intended to any true Brits out there who ARE artistes, or 
> to Cockneys who ARE refined!)

Reminds me of a favorite line from some movie I can't think of: "Is she
British, or just affected?"

The whole topic, though, reminds me of something that I love to research
when I have a spare second: the development of the American (and
British) accent.  I always wondered what, for example, people like
Benjamin Franklin actually sounded like when they talked.  I mean, it
would make sense that their accents would be a lot closer to modern
British than modern American, right?  As it turns out, no, but not the
other way round, either.  If anyone in the 18th century sounded like
anyone in the 21st century, it was the 18thC Brits; they sounded like
21st century Americans.  Apparently the Brits had this thing for
following linguistic fashions, which the Americans largely ignored,
leaving regional British accents almost intact in the associated
American regions.  (Although we did finally follow suit and rid
ourselves of that whole thing where the "a" in "father" sounded like the
"a" 
in modern-American-accent "apple," though.  Whew.)

OK, completely off topic, and I'm explaining it poorly anyway!

-E House 

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In a message dated 4/4/2008 3:09:30 P.M. Eastern Daylight Time,  
CynthiaAbel@creighton.edu writes:

We also  read some
passages ourselves reprinted from the oldest surviving source  aloud
after being told to start by pronouncing the words as they were  spelled.



*****************
 
 
Lord! I had a book of early Tudor plays [like "Roister Doister"] printed  
with their original spellings. They'd spell "if" 3 different ways in the  same 
speech! "if" "iff"  "iffe" .



**************Planning your summer road trip? Check out AOL Travel Guides.    
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Hi, I am about to get some chenille/tapestry like fabric drycleaned before I cut it out.  
They want $25 apiece to clean each piece.  I have two 50"X4.5 yards of the tapestry and 45"X4Yard of the silk lining. 
 
That's $75 Just to pre-treat it! Cripes!  What would you do?
 
Sg
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Shrinkage during dry cleaning happens during the pressing. I just steam 
iron dry-cleanable fabric at home, from the wrong side, putting a needle 
board or some pile fabric under the right side if the fabric crushes 
when pressed. I go over it two or three times just to make sure to get 
all the shrinking done, and also to make sure I haven't missed any areas.

None of the garments whose fabrics I have pretreated that way have 
shrunk during dry cleaning.

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


Saragrace Knauf wrote:
> Hi, I am about to get some chenille/tapestry like fabric drycleaned before I cut it out.  
> They want $25 apiece to clean each piece.  I have two 50"X4.5 yards of the tapestry and 45"X4Yard of the silk lining. 
>  
> That's $75 Just to pre-treat it! Cripes!  What would you do?
>  
> Sg
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 
> 
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Someone recently told me that it was a sign of refinement/education to be be
to spell a word in different ways. Anyone ever hear of this? 

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of AlbertCat@aol.com
Sent: Friday, April 04, 2008 2:17 PM
To: h-costume@indra.com
Subject: Re: [h-cost] OT Re: Regional accents, was Making history hip

 
In a message dated 4/4/2008 3:09:30 P.M. Eastern Daylight Time,
CynthiaAbel@creighton.edu writes:

We also  read some
passages ourselves reprinted from the oldest surviving source  aloud after
being told to start by pronouncing the words as they were  spelled.



*****************
 
 
Lord! I had a book of early Tudor plays [like "Roister Doister"] printed
with their original spellings. They'd spell "if" 3 different ways in the
same speech! "if" "iff"  "iffe" .



**************Planning your summer road trip? Check out AOL Travel Guides.

 
(http://travel.aol.com/travel-guide/united-states?ncid=aoltrv00030000000016)
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Wash the silk, you can always dry clean it later. 

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Saragrace Knauf
Sent: Friday, April 04, 2008 3:19 PM
To: h-costume@indra.com
Subject: [h-cost] PreDrycleaning - charge?

Hi, I am about to get some chenille/tapestry like fabric drycleaned before I
cut it out.  
They want $25 apiece to clean each piece.  I have two 50"X4.5 yards of the
tapestry and 45"X4Yard of the silk lining. 
 
That's $75 Just to pre-treat it! Cripes!  What would you do?
 
Sg
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From h-costume-bounces@indra.com  Sat Apr  5 05:22:51 2008
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From: "Penny Ladnier" <penny@costumegallery.com>
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I need help...please!  I am so much out of my comfort zone.  I have a slideshow online of the ballroom ceiling of the Ringling's Ca d'Zan Mansion in Sarasota, Florida.   The ceiling is called "Dancers of the World."  There are 17 hand-painted medallions of cultural dancers.  I need help with what countries and dances represented in the medallions.  These were painted in the 1920s exclusively for the mansion by children's book illustrator / Broadway costume and set designer, William Andrew "Willy" Pogany.   He was also a designer for the Zeigfeld Follies.  He was friends with John and Mabel Ringling, the mansion's owner.  He painted the medallions in his NYC studio and then applied them to the ballroom ceiling in Florida.

I also need help with the photos 18-21.  The curator said that these were titled "Four Corners of American-born Dances."  He told me that photos 18 & 19 dates represented but I can't recall the dances.  I am not really sure that I have the dates correct for photos 20 & 21.  And again, do not recall the dances.

I had one hour to photograph the ballroom ceiling because I was running out of time and had to photograph around tour groups.  This is a popular area of the mansion and is one of the first areas that the tour groups access.  I didn't even have time to take notes.  When I was photographing this room,  I had a couple of hours before catching my flight home.  I spent a week photographing other areas of the museum.  Thankfully the photos turned out good.

If you are able to answer my questions, please refer to the photo number on the slideshow headers in your answer.  The slideshow can be seen at http://www.costumegallery.info/ .  Please make sure to use .INFO and not .COM .   When you go to the slideshow, make sure to click on the enlarged view...it looks like the number 7 on the right side of the menu.

Many, many thanks in advance for your help. 
Penny Ladnier, 
Owner, The Costume Gallery Websites
www.costumegallery.com
www.costumelibrary.com
www.costumeclassroom.com
www.costumeencyclopedia.com 

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Ruth Anne Baumgartner wrote:
> And then there are the Americans who assume EVERY British accent is a  
> HIGH-CLASS British accent. Someone said to me about an acquaintance  
> who does indeed speak with a Cockney accent, "I love to hear his  
> accent! It's so refined!" 

That's hilarious.  Guess they've never seen "My Fair Lady," then....

My favourite is when folks mix up Aussie with British of any sort.  They 
really are quite different.

On the evolution of American accents--I've been told that the 
Appalachian dialects are descendents of Scots and Irish dialects, while 
the Virginian/mid-Atlantic accent is probably closest to an upper-class 
British dialect (although I'm not sure I've ever heard what region of 
Britain).

Susan

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In a message dated 4/4/2008 8:30:29 P.M. Eastern Daylight Time,  
sharon@collierfam.com writes:

Someone  recently told me that it was a sign of refinement/education to be be
to  spell a word in different ways. Anyone ever hear of this?  



************************
 
Not "your", "you're" and "yore". Or "two", "to" and "too".
 
I suppose it might seem cosmopolitan to know "color" is "colour" in Britain  
or that you can shop at a shoppe... but it's really just having a good vocab.  
English has like 3 times more words in it than other languages... stolen from 
 other languages... which is why we have so many different spellings and  
homonyms.



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To try to relate my "improve your vocab" post to costumes:
 
I love Handel, particularly the oratorio "L'allegro, Il Penseroso, et il  
Moderato" which is [mostly] Milton set to music. Now I don't sit around the pool  
reading Milton [might be nice though] but because Handel set his English  
verse to very nice catchy tunes, one tends to learn the words and sing  along.
 
One fine tenor aria is "I'll to the well trod stage anon." The second line  
being "If Johnson's learned sock be on." What? What the hell does that  mean? 
The next line is "Or sweetest Shakespeare, Fancy's child," so  "Johnson" refers 
to Ben Johnson, a younger contemporary of Shakespeare. But his  "sock"? His 
"learned" knitted footwear is laying on the stage?
 
So I looked up "sock"... one definition I didn't know was: 3  a : a shoe worn 
by actors in Greek and Roman comedy
b : comic drama. [there...a costume reference] 

So "Johnson's learned sock" is one of his comedies....which are full of  
biting satire so there's also an implication toward a punch, smack!
 
See...improved vocab skills and costuming the  feet.




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Subject: [h-cost] Costume Designer's Handbook
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I bought this book in error, thinking I was buying the "Costume 
Technician's Handbook". If anyone is interested in buying it cheap 
from me, please contact me off list. First come, of course, first served.

Suzi

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Subject: Re: [h-cost] Help! Please! Cultural Dancers in Costumes
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Mostly questions. Curious about the other pictures. is there a specific
dance for them as I can see that picture 2 is a Scottish sword dance.

Picture 10 is Plains, Lakota but what they are doing don't look like
anything I have seen.

18- looks like fox trot
19- Lindy hop?
20- Square dance? which was an American spinoff of the cotillion or perhaps
a Virginia Reel.
21- (specific) Polka?

17 looks to be Swiss or Norweigian anyone know for sure which?
14, is that Baverian or Ukraine?

what is 5? the angle makes it difficult to see, Balinese?

Thank you,
De

-----Original Message-----
I also need help with the photos 18-21.  The curator said that these were
titled "Four Corners of American-born Dances."  He told me that photos 18 &
19 dates represented but I can't recall the dances.  I am not really sure
that I have the dates correct for photos 20 & 21.  And again, do not recall
the dances.

I had one hour to photograph the ballroom ceiling because I was running out
of time and had to photograph around tour groups.  This is a popular area of
the mansion and is one of the first areas that the tour groups access.  I
didn't even have time to take notes.  When I was photographing this room,  I
had a couple of hours before catching my flight home.  I spent a week
photographing other areas of the museum.  Thankfully the photos turned out
good.

If you are able to answer my questions, please refer to the photo number on
the slideshow headers in your answer.  The slideshow can be seen at
http://www.costumegallery.info/ .  Please make sure to use .INFO and not
.COM .   When you go to the slideshow, make sure to click on the enlarged
view...it looks like the number 7 on the right side of the menu.

Many, many thanks in advance for your help.
Penny Ladnier,


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Interesting....and beautiful!
 
Number 18...well the quintessential dance of the 20's is the  
Charleston....by today's recollection. But the Fox Trot was danced more at the  time and 
these dancers don't look like they're doing the Charleston. The couple  in number 
19 look teens to me so maybe it's a 2-Step or a Rag. However they  look like 
they're waltzing. I don't think the poses in the paintings are very  accurate 
in representing the steps of a particular dance.
 
The Virginia Reel is indeed a colonial dance so that may be what they have  
in mind for number 20. Now the 19th century couple could be doing anything....  
the Hippy Hippy Shake Shake. From what I know there is a huge surge in dances 
 with the coming of the middle class. Maybe it's some Round Dance, or the 
Boston  Waltz. But of course the Waltz nor the Polka originate in  America.



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  (http://travel.aol.com/travel-guide/united-states?ncid=aoltrv00030000000016)
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If you look at the show's website, you will see that the costume designer
made the New Englanders drab on purpose.  Remember that the Adamses lived
before the vibrant dyes of the 19th century were invented.  The color range
for a New England housewife was very limited.

Yes, the Adamses did have servants, hired hands who did the heavy farm
work.  Abigail was also helped by her uncle Cotton Tufts.  (I read many
letters of the Adamses when I was a senior in high school in the 70's,)


I've seen the first two parts. I'm no expert on the period but it's
> obvious that they've come down with "olde tyme disease", trying to make
> everything look old fashioned. All the costumes are unnaturally drab and
> dull, and very plain. There's no embroidery, no color, and no texture to
> anything. I've seen late 18th century clothing in pictures and in person
> and it is sometimes vibrantly colored, even simple men's suits had color
> and decoration. Mrs. Adams doesn't seem to own a single ruffle or a
> flowered dress so common to the period. Even her dinner gown in the
> first episode was very drab even if it was silk.
>
>
>
> Servants? What servants? I'd expect the Adams' to have a couple
> farmhands and at least one girl in the house, but I've seen none.
> There's no way Abigail is running the farm by herself with 3 small kids.
> They might have a cow and some chickens, but no way there's a crop
> coming without help.
>
> Despite that I'm actually enjoying the show. It's nice to get period
> programming even if they do take a few liberties. I don't think this
> story has been completely butchered.
>
>
> Dawn
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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Subject: [h-cost] Help! Please! Cultural Dancers in Costumes
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De4ar Penny,

Here's a few more guesses to throw in the ring.

#4 - looks Aztec or Mayan from the headdresses.

#14 - Hungarian or perhaps Polish? (taking it from the woman's red boots)

#15 - Greek?

#17 - French ? Briitany?

#20? 1770-1790 - this is supposed to be depicting AMERICAN dancing?? This is after our Revolution and I don't thing anyone in America would have been looking like this.? Perhaps a European court doing a minuet?

Anyway, there's my two cents with guessing. Hope it can help some.


Donna Scarfe
Fyne Hats By Felicity









Date: Sat, 5 Apr 2008 05:17:48 -0400
From: "Penny Ladnier" <penny@costumegallery.com>
Subject: [h-cost] Help! Please! Cultural Dancers in Costumes

I need help...please!  I am so much out of my comfort zone.  I have a slideshow 
online of the ballroom ceiling of the Ringling's Ca d'Zan Mansion in Sarasota, 
Florida.   The ceiling is called "Dancers of the World."  There are 17 
hand-painted medallions of cultural dancers.  I need help with what countries 
and dances represented in the medallions.  These were painted in the 1920s 
exclusively for the mansion by children's book illustrator / Broadway costume 
and set designer, William Andrew "Willy" Pogany.   He was also a designer for 
the Zeigfeld Follies.  He was friends with John and Mabel Ringling, the 
mansion's owner.  He painted the medallions in his NYC studio and then applied 
them to the ballroom ceiling in Florida.

I also need help with the photos 18-21.  The curator said that these were titled 
"Four Corners of American-born Dances."  He told me that photos 18 & 19 dates 
represented but I can't recall the dances.  I am not really sure that I have the 
dates correct for photos 20 & 21.  And again, do not recall the dances.


If you are able to answer my questions, please refer to the photo number on the 
slideshow headers in your answer.  The slideshow can be seen at 
http://www.costumegallery.info/ .  Please make sure to use .INFO and not .COM .   
When you go to the slideshow, make sure to click on the enlarged view...it looks 
like the number 7 on the right side of the menu.

Many, many thanks in advance for your help. 
Penny Ladnier, 
Owner, The Costume Gallery Websites
www.costumegallery.com
www.costumelibrary.com
www.costumeclassroom.com
www.costumeencyclopedia.com 



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I'm thinking #14 would be more Hungarian than Polish-- I've never seen =
such aprons on a Polish costume-- But in truth I fear the task will be =
made that much more difficult by the liberties taken by the artist. For =
example the red strapless front-lace bustier garment in #14  is sheer =
invention...

My guesses:
1 Greek (ancient)
2 Scottish sword dance
3 Dutch (the shoes!)
4 Aztec or Inca
5 Siam? Balinese?
6 Germany-- those are Lederhosen for sure
7 hmm... they seem to be holding boomerangs... Maori?
8 Siam? Balinese?
9 ancient Egypt
10  American Indian (am useless with further differentiation other than =
in general Plains)
11 some sort of Far Araby... that's a eunuch if ever I saw one, and =
those bare breasts and thin girl vs. enormous and slightly sinister man =
seem right out of Arabian Nights fantasy
12 Japan
13 definitely Russia
14 generic Slavic or Hungarian (not sure Polish would have been =
depicted....as a nation Poland had just come out of over a century of =
non-existence, though it did briefly exist again as a sovereign nation =
in the 20s so maybe it was in vogue...)
15 Italy? the tambourine and his breeches....
16 Polynesian
17 hmmm... the horizontally striped apron is distinctive, but no idea.




=20
*******************************=20
Astrida Schaeffer, Assistant Director=20
The Art Gallery, University of New Hampshire=20
Paul Creative Arts Center=20
30 College Road=20
Durham, NH 03824-3538=20
603-862-0310=20
FAX: 603-862-2191

www.unh.edu/art-gallery=20
*******************************



-----Original Message-----
From: h-costume-bounces@indra.com on behalf of fynehats2@aol.com
Sent: Sat 4/5/2008 8:20 PM
To: h-costume@indra.com
Subject: [h-cost] Help! Please! Cultural Dancers in Costumes
=20
De4ar Penny,

Here's a few more guesses to throw in the ring.

#4 - looks Aztec or Mayan from the headdresses.

#14 - Hungarian or perhaps Polish? (taking it from the woman's red =
boots)

#15 - Greek?

#17 - French ? Briitany?

#20? 1770-1790 - this is supposed to be depicting AMERICAN dancing?? =
This is after our Revolution and I don't thing anyone in America would =
have been looking like this.? Perhaps a European court doing a minuet?

Anyway, there's my two cents with guessing. Hope it can help some.


Donna Scarfe
Fyne Hats By Felicity









Date: Sat, 5 Apr 2008 05:17:48 -0400
From: "Penny Ladnier" <penny@costumegallery.com>
Subject: [h-cost] Help! Please! Cultural Dancers in Costumes

I need help...please!  I am so much out of my comfort zone.  I have a =
slideshow=20
online of the ballroom ceiling of the Ringling's Ca d'Zan Mansion in =
Sarasota,=20
Florida.   The ceiling is called "Dancers of the World."  There are 17=20
hand-painted medallions of cultural dancers.  I need help with what =
countries=20
and dances represented in the medallions.  These were painted in the =
1920s=20
exclusively for the mansion by children's book illustrator / Broadway =
costume=20
and set designer, William Andrew "Willy" Pogany.   He was also a =
designer for=20
the Zeigfeld Follies.  He was friends with John and Mabel Ringling, the=20
mansion's owner.  He painted the medallions in his NYC studio and then =
applied=20
them to the ballroom ceiling in Florida.

I also need help with the photos 18-21.  The curator said that these =
were titled=20
"Four Corners of American-born Dances."  He told me that photos 18 & 19 =
dates=20
represented but I can't recall the dances.  I am not really sure that I =
have the=20
dates correct for photos 20 & 21.  And again, do not recall the dances.


If you are able to answer my questions, please refer to the photo number =
on the=20
slideshow headers in your answer.  The slideshow can be seen at=20
http://www.costumegallery.info/ .  Please make sure to use .INFO and not =
.COM .  =20
When you go to the slideshow, make sure to click on the enlarged =
view...it looks=20
like the number 7 on the right side of the menu.

Many, many thanks in advance for your help.=20
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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Subject: Re: [h-cost] Help! Please! Cultural Dancers in Costumes
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4- might be Mayan. :) Though as you say the liberties taken could be that 4
is a blend of the 3. The first figure seems to have a Khamahamai (sp?)
Hawaiian headdress. After looking at some of my stuff on central American,
the seconded figure is Aztec.
5- Ancient Persian or Assyrian?
7- not Maori but possibly New Zealand? I have seen this somewhere associated
with Africa or Australia or New Zealand.
8-The turban isn't Siamese which is why I was think Bali.
10- The headdress is "Siouan" though the Metis have been know to wear them.
11- Eunuch??? I was thinking more Turkish but Arabian works. the heavy guy
is playing a flute though I think the turban is a bit to tall. The anorexic
dancer doesn't leave much of a clue with her scarves.
16- I was thinking Hawaiian.
17- Reminds me of the Austrian folkwear.
De

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

I'm thinking #14 would be more Hungarian than Polish-- I've never seen such
aprons on a Polish costume-- But in truth I fear the task will be made that
much more difficult by the liberties taken by the artist. For example the
red strapless front-lace bustier garment in #14  is sheer invention...

My guesses:
1 Greek (ancient)
2 Scottish sword dance
3 Dutch (the shoes!)
4 Aztec or Inca
5 Siam? Balinese?
6 Germany-- those are Lederhosen for sure
7 hmm... they seem to be holding boomerangs... Maori?
8 Siam? Balinese?
9 ancient Egypt
10  American Indian (am useless with further differentiation other than in
general Plains)
11 some sort of Far Araby... that's a eunuch if ever I saw one, and those
bare breasts and thin girl vs. enormous and slightly sinister man seem right
out of Arabian Nights fantasy
12 Japan
13 definitely Russia
14 generic Slavic or Hungarian (not sure Polish would have been
depicted....as a nation Poland had just come out of over a century of
non-existence, though it did briefly exist again as a sovereign nation in
the 20s so maybe it was in vogue...)
15 Italy? the tambourine and his breeches....
16 Polynesian
17 hmmm... the horizontally striped apron is distinctive, but no idea.

http://www.costumegallery.info/



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From h-costume-bounces@indra.com  Sun Apr  6 03:31:40 2008
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From: Deredere Galbraith <Deredere.Galbraith@kabelfoon.nl>
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Subject: [h-cost] Old fashion in fashion
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Hi,

Yesterday I walked trough Utrecht, a city in the Netherlands and saw 
something familiar in a clothing shop.
It was a bustle petticoat like this one 
http://trulyvictorian.com/catalog/108.html but without the boning made 
in army green.

I thought it was so funny that you can wear your 19century bustle 
petticoat out on the street and people would think you're wearing modern 
fashion.

Deredere

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Subject: [h-cost] Looking for a handweaver
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Is there a handweaver on the list who works in linen or cotton?  If so,
would you mind contacting me off-list?  I may want to commission a small
piece from you, but have some questions first.

Leah Watts
LLWatts@juno.com
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Subject: Re: [h-cost] Old fashion in fashion
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Hello, I have found the same to be true where I am also and I actually 
find it a little frustrating, because my antique clothing dealer gets 
alot of trendy women from the city in her shop who look at her older 
things like camisoles and petticoats to turn into funky modern outfits, 
she firmly believes the same as I do that it is sacriledge, cause many 
of the people who buy the antique items for purposes of looking like a 
designer showpiece have intentions of altering and or butchering them 
for the same reason.
A lady in a nearby shop who sometimes buys thing from my dealer really 
tries to cash in on this, she hires girls to help with sewing for her, 
rather underpaid too. She offered me a job once but I was not 
interested at all, I am a conservationist to some degree, atleast in 
preserving the clothing an appreciating what they represented from a 
bygone era where morals still meant something, as evident by the 
beautiful ways in which ladies chose modesty in fashion, atleast by 
today's standards.
One of the common jobs she was telling me, is to take old bodices and 
gowns (I almost fainted) and she adds ZIPPERS to the backs so that 
young women can wear them as modern art pieces. She also was trying to 
sell me something that was attractive, a late Victorian capelet, for 
much more than it was worth, despite it's extent of damage, just 
because she had purchased in Paris. It was without any sort of label or 
marking also, and I couldn't believe her standards for business in a 
vintage clothing market. Unfortunately, she does make some business by 
people who just really don't understand or care at what cost their 
funky finds effect the market.
It is interesting as you said to see people wearing bustle petticoats 
and such on the street as modern day wear, partly it is good because in 
buying new pieces like that they are readily available and ready to 
wear without fear of damage and can be used in inauthentic costuming or 
dressing up when you wish to portray the feel of Victorian or Edwardian 
style without wanting to go to dinner in an all out bustle or trained 
ensemble. It makes dressing in a rather old fashioned way a little more 
understandable to those who can recognize the look, because it has 
become fairly mainstream in that it's presence is out there in modern 
fashion, but most still do not recognize what it is, not where I live 
atleast, and some completely misinterpret my intentions all together. 
The thing that is funny is that I wear those peices as undergarments, 
layered in the correct way under modern old-looking outter wear, and 
cannot step outside the any longer dressed in just a slip or 
undershirt! It has actually come to feel wrong for me after having done 
it for so long.
It would be nice to see those things more or less drop out of fashion 
as they seem to be gradually, though buying repro jewelery, boots, 
undies, etc. is easier, it has gotten hard to find those things in the 
last few years, whereas when my sister got turned on to acquiring 
fashion items which were of her long favoured period in time (since 
childhood) she was able to go out and buy repro boots and things at the 
local clothing store, if only I had been interested then and had money 
to shop, I would have stockpiled while it was available.
I just long now for the "Victorian look" to go back to belonging to 
those who really have a passion and appreciation for historical 
fashions, it really hurls alot of bad information and impressions out 
there to those who aren't looking into it from a serious angle and only 
doing it for trend's sake.
Just thought I would write a response to your message, it was very 
interesting to actually hear someone else make the same observation and 
wanted to share some of the experiences I've had in dealing with that 
situation. Take care:)

Justine.

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From: Suzanne <sovagris@cybermesa.com>
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Subject: Re: [h-cost] Help! Please! Cultural Dancers in Costumes
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Oh, my.  Tastes in art have certainly changed over the last 100  
years... ;-)

Here's my take on the countries:  #1 - ancient Greece; #4 - Aztec; #5  
- Bali (Indonesia?); #7 - Aboriginal Australia; #8 - North Africa;  
#14 - Hungary; #15 - Italy (Sicily?); #17 - Czech or Slovak (or  
Bohemian, if that's the term they used in the 1920s).  I'd also add  
that #9 is of course *ancient* Egypt, and I'm not seeing Turkish in  
#11 but I don't know *what* it is [might be some strange version of  
India].  And #6 could be Swiss...?

As far as as the dances go, my first reactions were: tango, waltz,  
minuet, schottische or polka.  But I'm no expert -- and none of those  
are "American-born" so I don't know what the artist was getting at.

Your photos did turn out well!  It must have been frustrating working  
around all the people but you got some good images.
Good luck with the titles, and let us know how it turns out.
Suzanne


On Apr 5, 2008, at 1:00 PM, h-costume-request@indra.com wrote:

> From: "Penny Ladnier" <penny@costumegallery.com>
> Date: April 5, 2008 4:17:48 AM CDT
> To: "h-costume" <h-costume@indra.com>
> Subject: [h-cost] Help! Please! Cultural Dancers in Costumes
> Reply-To: Historical Costume <h-costume@mail.indra.com>
>
>
> I need help...please!  I am so much out of my comfort zone.  I have  
> a slideshow online of the ballroom ceiling of the Ringling's Ca  
> d'Zan Mansion in Sarasota, Florida.   The ceiling is called  
> "Dancers of the World."  There are 17 hand-painted medallions of  
> cultural dancers.  I need help with what countries and dances  
> represented in the medallions.  These were painted in the 1920s  
> exclusively for the mansion by children's book illustrator /  
> Broadway costume and set designer, William Andrew "Willy" Pogany.    
> He was also a designer for the Zeigfeld Follies.  He was friends  
> with John and Mabel Ringling, the mansion's owner.  He painted the  
> medallions in his NYC studio and then applied them to the ballroom  
> ceiling in Florida.
>
> I also need help with the photos 18-21.  The curator said that  
> these were titled "Four Corners of American-born Dances."  He told  
> me that photos 18 & 19 dates represented but I can't recall the  
> dances.  I am not really sure that I have the dates correct for  
> photos 20 & 21.  And again, do not recall the dances.
>
> I had one hour to photograph the ballroom ceiling because I was  
> running out of time and had to photograph around tour groups.  This  
> is a popular area of the mansion and is one of the first areas that  
> the tour groups access.  I didn't even have time to take notes.   
> When I was photographing this room,  I had a couple of hours before  
> catching my flight home.  I spent a week photographing other areas  
> of the museum.  Thankfully the photos turned out good.
>
> If you are able to answer my questions, please refer to the photo  
> number on the slideshow headers in your answer.  The slideshow can  
> be seen at http://www.costumegallery.info/ .  Please make sure to  
> use .INFO and not .COM .   When you go to the slideshow, make sure  
> to click on the enlarged view...it looks like the number 7 on the  
> right side of the menu.
>
> Many, many thanks in advance for your help.
> Penny Ladnier,
> Owner, The Costume Gallery Websites
> www.costumegallery.com
> www.costumelibrary.com
> www.costumeclassroom.com
> www.costumeencyclopedia.com

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--- Mary Mumley <mtmumley@gmail.com> wrote:

> If you look at the show's website, you will see that
> the costume designer made the New Englanders drab on
> purpose.  Remember that the Adamses lived
> before the vibrant dyes of the 19th century were
> invented.  The color range
> for a New England housewife was very limited.

I beg to differ.

I have seen a full set of eighteenth century
crewel-work bedhangings in Wethersfield, Connecticut,
in the Webb-Deane-Stevens set of houses.   
Silas Deane signed the Declaration of Independence.

The hangings were as bright and gorgeous as if they'd
just been embroidered--red and pink, shades of blue,
green, yellow, and brown.  

Wethersfield was, at the time, a fairly small town,
but had trade, often cash income from onions, and they
are right on the Connecticut river.  
Traditional way for a woman to get a cash dowry in the
eighteenth century was to raise herself a crop of
onions. 

So I'm not talking NYC, but not an isolated backwater,
either.

If Wethersfield could have lots of color, so could
rural Massachusetts close to Boston.

Ann in CT


      ____________________________________________________________________________________
You rock. That's why Blockbuster's offering you one month of Blockbuster Total Access, No Cost.  
http://tc.deals.yahoo.com/tc/blockbuster/text5.com
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      Well, recycling old clothes to the current fashion has been  =

done throughout history.  I think it's due to the post-WWII  =

consumerism that we're not used to it the way our ancestors were.

      Whether something is thrown out or worn to rags, it's gone.  I  =

think what vexes many historians is when a garment is dormant for 20  =

or more years (stored) and *then* worn to rags or thrown out.   =

Sometimes it's a fashion trend (inspired by a period movie, for  =

example) and sometimes it's an individual's interest.

      The only way to "prevent" such things is to buy and preserve  =

vintage clothing yourself and support museums that do the same.  It's  =

all supply and demand.

      Personally, I also cringe at an item that has been altered, or  =

an extant gown where someone has cut off the entire placket for the  =

buttons (rather than removing them individually). I once bought a  =

1920s dress for $5 where the dealer said only the lace was worth  =

saving =97 after a careful washing and light pressing the entire thing  =

was in great shape.

      Also there are many people who can reproduce a garment or style  =

(out of fresh, new, isn't-going-to-shatter fabric), but some  =

customers would rather take their chances with a $50 vintage item  =

than pay $250 for a repro.

      -Carol
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Subject: Re: [h-cost] Old fashion in fashion
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I do agree with you Carol, most people would rather spend the least 
money for something they can wear out than a whole lot for a repro, but 
the way I see it is that repros are also more disposable unless made by 
one of a kind materials, because they can just as well be made again. 
That dress you got was a bargain!
People did alter gowns, which is why antebellum gowns are more scare 
today than bustle gowns, because they cut them up to make bustle gowns 
later, but those weren't considered rare and antique items then, it 
would be like if you or I open our closet and say, yeah this skirt from 
1995 is really pretty, I love the buttons and material but don't like 
the cut of it, so I will make a new skirt from it. It's different from 
saying, this beautiful antique bodice I am being sold seperately from 
the matching skirt that could be in a museum and 125 years old could 
make a really funky jacket like this that or the other designer had in 
the magazine, the one that all my friends liked.
The same lady who sells me my antique clothing as I said would rather 
see them preserved, so she goes out of the way to hold them for me 
until I can pay them off, sort of like pay as you will indefinite 
layaway, which is really really generous of her.
Atleast someone realizes the connection though, of fashion trends 
stemming from period movies, I saw a commercial for two models making 
their own clothing line with insipiration from art nouveau (having 
trouble spelling today) flowers, and state how they were used in 
fashion in the 1970s! Not alot of fashion consumers realize the 
connections of what they are wearing.
When the gauzy boho look came around, people didn't realize alot of 
what that was wasn't just Victorian or Edwardian inspired, but more 
inspired by the Victorian and Edwardian style lacy and summer whites 
brought into fashion in the 1970s and early 1980's after things like 
Little House on the Prairie and Somewhere In Time came out. My mother 
loved that delicate femminine look, she owned Gunne Sax pieces to which 
I have inherited her favourite one. She no longer fits into it but it's 
a gorgeous, incredibly well made dress that really invokes a spirit of 
Edwardian femminity.
The thing second worse to me than altering existing originals that can 
never be replaced for the sake of being in style is the 
misrepresentation of the term "Victoriana", usually is consists of an 
ultra froufrou, lacy, flowery, modern concept of Victorian that really 
is reminiscent of Edwardian and not Victorian at all.

Justine.


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Hi all,
    I have often wondered how these bustle petticoats keep their shape, that is how do the stay to the back without being pushed to the front with all the weight of the historic garments.  There must be something I'm not seeing in various patterns I've seen.  Can anyone point me to a diagram or other information that can explain this?
Thanks to all,
Paula S.> Date: Sun, 6 Apr 2008 09:32:08 +0200> From: Deredere.Galbraith@kabelfoon.nl> To: h-costume@indra.com> Subject: [h-cost] Old fashion in fashion> > Hi,> > Yesterday I walked trough Utrecht, a city in the Netherlands and saw > something familiar in a clothing shop.> It was a bustle petticoat like this one > http://trulyvictorian.com/catalog/108.html but without the boning made > in army green.> > I thought it was so funny that you can wear your 19century bustle > petticoat out on the street and people would think you're wearing modern > fashion.> > Deredere> > _______________________________________________> h-costume mailing list> h-costume@mail.indra.com> http://mail.indra.com/mailman/listinfo/h-costume
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Hi there,
In regards to your question about petti coats holding their shape, I do 
knot what you mean, you'd think with all the weight the entire cage of 
a bustle would just go forward. Bustle support pads went on underneath 
the bustle cage and it set right over on top of that, filling in the 
empty space that would otherwise be forced forward under the weight of 
the gown. Also, gravity does have some effect on how the weight falls, 
many times just falling straight down and because of the angle of the 
bustle it doesn't always force it forward.
I wear an original bustle for programs on Victorian era topics and find 
that without the modern hand made bustle pad underneath to support the 
cage, the dress will not stand out as strongly, so it really is a 
simple solution, though tournures and such existed to be used without a 
cage altogether or to be worn over the top of the bustle to soften the 
shape. This is a link for a page with various patterns for bustles, 
though I have never purchased any.
http://www.agelesspatterns.com/bustles.htm
Hope this helps, take care:)
Justine.



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One thing they often did with a long bustle/part cage, is to put tape 
ties on the sides towards the back, to tie together and therefore keep 
the bustle area behind the legs.

Fran
Lavolta Press Books of Historic Sewing Patterns
http://www.lavoltapress.com

ladybeanofbunny1@aol.com wrote:
> Hi there,
> In regards to your question about petti coats holding their shape, I do 
> knot what you mean, you'd think with all the weight the entire cage of 
> a bustle would just go forward. 

<snip>
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From: Jeanine Swick <jeanine@woollycat.net>
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Subject: [h-cost] Costume Con 26 membership available - in negotiation
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I have several interested parties.  I'll re post if it doesn't sell to 
one of them.

----------------
My daughter is not able to go to CC26 this year.  So I have a membership
up for sale at the early 2007 rate it was purchased at.  Contact me
directly off list if you are interested.

    Jeanine
jeanine@woollycat.net




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From: Lavolta Press <fran@lavoltapress.com>
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ladybeanofbunny1@aol.com wrote:
> Hello, I have found the same to be true where I am also and I actually 
> find it a little frustrating, because my antique clothing dealer gets 
> alot of trendy women from the city in her shop who look at her older 
> things like camisoles and petticoats to turn into funky modern outfits, 
> she firmly believes the same as I do that it is sacriledge, cause many 
> of the people who buy the antique items for purposes of looking like a 
> designer showpiece have intentions of altering and or butchering them 
> for the same reason.

I don't give a hoot what other people do with their own vintage and 
antique clothing. Not everyone is obligated to be a museum. I wear my 
antique pieces myself and have a lot of fun doing it. I am delighted 
when antique styles come into fashion and I can wear them in public.  I 
also don't give a hoot about long-skirt "modesty"--I do wear vintage 
underwear as well as outerwear in public. I just like the styles.  I 
like having a way to not only just dress "authentic" when I want to, 
but to dress "inauthentic" when I want to.

  Unfortunately, she does make some business by
> people who just really don't understand or care at what cost their 
> funky finds effect the market.

So a more common desire for antique clothing is putting some pieces out 
of your price range--that has nothing to do with conservation.

> It would be nice to see those things more or less drop out of fashion 
> as they seem to be gradually,

Not nice at all for me!  I adore it when things I like are trendy, as I 
ignore a lot of fashion the rest of the time.

> I just long now for the "Victorian look" to go back to belonging to 
> those who really have a passion and appreciation for historical 
> fashions, it really hurls alot of bad information and impressions out 
> there to those who aren't looking into it from a serious angle and only 
> doing it for trend's sake.

Not everyone has to be "authentic," and certainly not on the street. I 
think it's great when people discover and love older styles.  Why should 
that be some cliquey private preserve?  Why should Victorian styles only 
appear at reenactment events!

I make "authentic" reproductions, I collect and wear vintage clothing, I 
alter the style when I want to, especially for damaged pieces, I alter 
the sizes whenever they don't fit me, I buy cheap gauzy repro skirts, I 
buy vintage-inspired designer pieces like Krista Larson:

I love it all.  Well, not all of it: I think the Goths have great ideas 
but I look awful in black and jewel tones. Never mind.

On with the bustles!

Fran
Lavolta Press
http://www.lavoltapress.com
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ladybeanofbunny1@aol.com wrote:
> She offered me a job once but I was not 
> interested at all, I am a conservationist to some degree, atleast in 
> preserving the clothing an appreciating what they represented from a 
> bygone era where morals still meant something, as evident by the 
> beautiful ways in which ladies chose modesty in fashion, atleast by 
> today's standards.

Viewing historic fashion through a modern filter certainly would give 
the misleading impression that it was modest, but its merely that--an 
impression.  Contemporary accounts exist in any era for the "immodest 
fashions" of their time.  Even garments designed for the sake of 
modesty, such as women's drawers, first met with shock when they were 
first introduced.  People were no more moral or immoral than we are now, 
but if you view the clothing they wore with a modern perspective then 
its going to skew what you see and you'll come away with a false 
impression of our ancestors.

~Joseph
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Hi Paula,

the bustle petticoat is supported by a bustle =

frame - like a crinoline. However, they do not go =

around the body, but are inserted into one piece =

of fabric. This piece is joined between two =

smaller pieces. The two small pieces are sewn or =

laced together. When the bustle is worn, the =

laced bit rests against the wearer=B4s legs, =

keeping the bustle from being pushed to the =

front. It=B4s a bit like 18th century pocket hoops =

- in this picture you can see the piece of fabric =

that rests agains the dummy=B4s hip: =

http://www.farthingales.on.ca/pocket_hoops.htm. =

Imagine a bustle like a pocket hoops with a bit =

of skirt in the front to keep it from shifting =

and you got it. There=B4s a good instruction with =

pattern in Jean Hunnisett=B4s "Period Patterns".

Best wishes,
Hanna

At 21:59 06.04.2008, you wrote:

>Hi all,
>     I have often wondered how these bustle =

> petticoats keep their shape, that is how do the =

> stay to the back without being pushed to the =

> front with all the weight of the historic =

> garments.  There must be something I'm not =

> seeing in various patterns I've seen.  Can =

> anyone point me to a diagram or other information that can explain this?
>Thanks to all,
>Paula S.> Date: Sun, 6 Apr 2008 09:32:08 +0200> =

>From: Deredere.Galbraith@kabelfoon.nl> To: =

>h-costume@indra.com> Subject: [h-cost] Old =

>fashion in fashion> > Hi,> > Yesterday I walked =

>trough Utrecht, a city in the Netherlands and =

>saw > something familiar in a clothing shop.> It =

>was a bustle petticoat like this one > =

>http://trulyvictorian.com/catalog/108.html but =

>without the boning made > in army green.> > I =

>thought it was so funny that you can wear your =

>19century bustle > petticoat out on the street =

>and people would think you're wearing modern > =

>fashion.> > Deredere> > =

>_______________________________________________> =

>h-costume mailing list> =

>h-costume@mail.indra.com> http://mail.indra.com/mailman/listinfo/h-costume
>_________________________________________________________________
>Get in touch in an instant. Get Windows Live Messenger now.
>http://www.windowslive.com/messenger/overview.html?ocid=3DTXT_TAGLM_WL_Ref=
resh_getintouch_042008
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My take on the pictures is:

13 is definately Russian, look at his shirt - proto-typical of Russian historical shirts.
I have seen sleeveless over pieces like hers on historical documents/ pictures. Most likely worn during the 'hot' summer days.

14 appears to be from the Tartar Mountain region of Poland, look at the man's boots and pants. 
Her outfit is like many different regional variations, however the lace sleeves and the flower on the apron is NOT at all period to any time/ area (accept for modern 20th Century 'dancing' outfits made for the tourists)

Katheryne
who has been researching 12thC Polish female outfits

----- Original Message -----
From: "Schaeffer, Astrida" 

> 
> I'm thinking #14 would be more Hungarian than Polish-- I've 
> never seen such aprons on a Polish costume-- But in truth I fear 
> the task will be made that much more difficult by the liberties 
> taken by the artist. For example the red strapless front-lace 
> bustier garment in #14 is sheer invention...
> 
> My guesses:
<snippage>

> 13 definitely Russia
> 14 generic Slavic or Hungarian (not sure Polish would have been 
> depicted....as a nation Poland had just come out of over a 
> century of non-existence, though it did briefly exist again as a 
> sovereign nation in the 20s so maybe it was in vogue...)
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Having -danced- in Tatra Mountain costume, I can say #14 is not that...  =
; ) For one thing, the women of the region don't wear red boots, they =
wear leather slippers (with a really cool one-piece construction where =
the strip of leather than laces the flat piece of leather into a shoe =
shape is actually cut as part of the shoe, it's still attached...) Men =
wear similar leather shoes, not the boots the man in the painting wears. =
If anything, this might be an interpretation of the costumes worn in the =
Krakow area (which is the stereotypical costume most often worn in the =
country to represent Poland). But distinctive parts of Krakow costume =
are missing for the man-- namely red and white striped pants, and =
peacock feathers in the hat. Her red boots would work for Krakow, her =
flower/ribbon headdress would. As I said before, though, the apron is =
unlike anything I've seen, and her bodice is fantasy. There should be =
shoulder straps!

*******************************=20
Astrida Schaeffer, Assistant Director=20
The Art Gallery, University of New Hampshire=20
Paul Creative Arts Center=20
30 College Road=20
Durham, NH 03824-3538=20
603-862-0310=20
FAX: 603-862-2191

www.unh.edu/art-gallery=20
*******************************



-----Original Message-----
From: h-costume-bounces@indra.com on behalf of purplkat@optonline.net
Sent: Sun 4/6/2008 7:43 PM
To: Historical Costume
Subject: Re: [h-cost] Help! Please! Cultural Dancers in Costumes
=20
My take on the pictures is:

13 is definately Russian, look at his shirt - proto-typical of Russian =
historical shirts.
I have seen sleeveless over pieces like hers on historical documents/ =
pictures. Most likely worn during the 'hot' summer days.

14 appears to be from the Tartar Mountain region of Poland, look at the =
man's boots and pants.=20
Her outfit is like many different regional variations, however the lace =
sleeves and the flower on the apron is NOT at all period to any time/ =
area (accept for modern 20th Century 'dancing' outfits made for the =
tourists)

Katheryne
who has been researching 12thC Polish female outfits

----- Original Message -----
From: "Schaeffer, Astrida"=20

>=20
> I'm thinking #14 would be more Hungarian than Polish-- I've=20
> never seen such aprons on a Polish costume-- But in truth I fear=20
> the task will be made that much more difficult by the liberties=20
> taken by the artist. For example the red strapless front-lace=20
> bustier garment in #14 is sheer invention...
>=20
> My guesses:
<snippage>

> 13 definitely Russia
> 14 generic Slavic or Hungarian (not sure Polish would have been=20
> depicted....as a nation Poland had just come out of over a=20
> century of non-existence, though it did briefly exist again as a=20
> sovereign nation in the 20s so maybe it was in vogue...)
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Subject: [h-cost] Old fashion in fashion - shoes
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On a side note, over the last six months I have noticed older-style ladies' 
ankle-length boots in the stores, close enough for late-Victorian/Edwardian 
costume. Get in quick, this fashion only comes around every 15 years,

-C.


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minuet,

A couple of people have suggested "minuet" for that image, and that may be what the artist had in mind.? However, I don't believe a true minuet involved that kind of arm motion--it looks to me like an old version of the "allamande" from a longways country dance.? It seems reminiscent of an actual period image I've seen, but I can't put my finger on it.

Ann Wass



-----Original Message-----
From: Suzanne <sovagris@cybermesa.com>
To: h-costume@indra.com
Sent: Sun, 6 Apr 2008 1:03 pm
Subject: Re: [h-cost] Help! Please! Cultural Dancers in Costumes



Oh, my.  Tastes in art have certainly changed over the last 100  
years... ;-)

Here's my take on the countries:  #1 - ancient Greece; #4 - Aztec; #5  
- Bali (Indonesia?); #7 - Aboriginal Australia; #8 - North Africa;  
#14 - Hungary; #15 - Italy (Sicily?); #17 - Czech or Slovak (or  
Bohemian, if that's the term they used in the 1920s).  I'd also add  
that #9 is of course *ancient* Egypt, and I'm not seeing Turkish in  
#11 but I don't know *what* it is [might be some strange version of  
India].  And #6 could be Swiss...?

As far as as the dances go, my first reactions were: tango, waltz,  
minuet, schottische or polka.  But I'm no expert -- and none of those  
are "American-born" so I don't know what the artist was getting at.

Your photos did turn out well!  It must have been frustrating working  
around all the people but you got some good images.
Good luck with the titles, and let us know how it turns out.
Suzanne


On Apr 5, 2008, at 1:00 PM, h-costume-request@indra.com wrote:

> From: "Penny Ladnier" <penny@costumegallery.com>
> Date: April 5, 2008 4:17:48 AM CDT
> To: "h-costume" <h-costume@indra.com>
> Subject: [h-cost] Help! Please! Cultural Dancers in Costumes
> Reply-To: Historical Costume <h-costume@mail.indra.com>
>
>
> I need help...please!  I am so much out of my comfort zone.  I have  
> a slideshow online of the ballroom ceiling of the Ringling's Ca  
> d'Zan Mansion in Sarasota, Florida.   The ceiling is called  
> "Dancers of the World."  There are 17 hand-painted medallions of  
> cultural dancers.  I need help with what countries and dances  
> represented in the medallions.  These were painted in the 1920s  
> exclusively for the mansion by children's book illustrator /  
> Broadway costume and set designer, William Andrew "Willy" Pogany.    
> He was also a designer for the Zeigfeld Follies.  He was friends  
> with John and Mabel Ringling, the mansion's owner.  He painted the  
> medallions in his NYC studio and then applied them to the ballroom  
> ceiling in Florida.
>
> I also need help with the photos 18-21.  The curator said that  
> these were titled "Four Corners of American-born Dances."  He told  
> me that photos 18 & 19 dates represented but I can't recall the  
> dances.  I am not really sure that I have the dates correct for  
> photos 20 & 21.  And again, do not recall the dances.
>
> I had one hour to photograph the ballroom ceiling because I was  
> running out of time and had to photograph around tour groups.  This  
> is a popular area of the mansion and is one of the first areas that  
> the tour groups access.  I didn't even have time to take notes.   
> When I was photographing this room,  I had a couple of hours before  
> catching my flight home.  I spent a week photographing other areas  
> of the museum.  Thankfully the photos turned out good.
>
> If you are able to answer my questions, please refer to the photo  
> number on the slideshow headers in your answer.  The slideshow can  
> be seen at http://www.costumegallery.info/ .  Please make sure to  
> use .INFO and not .COM .   When you go to the slideshow, make sure  
> to click on the enlarged view...it looks like the number 7 on the  
> right side of the menu.
>
> Many, many thanks in advance for your help.
> Penny Ladnier,
> Owner, The Costume Gallery Websites
> www.costumegallery.com
> www.costumelibrary.com
> www.costumeclassroom.com
> www.costumeencyclopedia.com

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To: Historical Costume <h-costume@indra.com>
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Subject: [h-cost] Talk about "historical" fashion.....
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Hello everyone,

This came through on another list, and though I don't usually do 
this, the conversation going on about vintage fashion made me decide 
to pass this on.  "Couture Goes Heavy Metal"   LOL

http://uvicmscu.blogspot.com/2007/10/couture-goes-heavy-metal.html

Enjoy
Genie

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Date: Mon, 7 Apr 2008 19:34:23 +1000
From: "Aylwen Garden" <aylwengg@gmail.com>
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Subject: [h-cost] La Mode Bagetelle Pattern help needed
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Does anyone have a copy of the yardage for the La Mode Bagetelle
Regency Wardrobe pattern they can scan and email to me? I believe it
is on the back of the envelope, I can't find it in the instruction
booklet.
Many thanks, Aylwen
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Subject: Re: [h-cost] Dream Costume (was Making history hip (OT)
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I made that dress years ago for a bride--she had the perfect figure
and personality for it.  When she first called me, after trying
several other bridal dressmakers, who had barely even heard of Gone
With The Wind, she was thrilled when I knew exactly the dress she was
talking about immediately.  >>

The original dress I picked out for my first wedding looked just like 
Scarlett's "barbecue dress", only in solid white. I was going to wear a big 
picture hat with it. It was so beautiful..

And then the manufacturer's warehouse burnt down, taking my dress with it, 
and I wound up with something completely different. I've never quite gotten 
over the loss of that dress.

Dianne 

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I looked at the pictures before reading other people's comments.

I agree that 2 looks Scottish. I've never seen Robin Hood portrayed wearing a kilt!

The headdresses in 4 reminded me of ancient Cretan art.

7 looked to me more Australian Aborigine than African, with the heavy beards and the body paint.

Kate Bunting
Cataloguing & Data Quality Librarian
University of Derby

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Subject: Re: [h-cost] Help! Please! Cultural Dancers in Costumes
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> I agree that 2 looks Scottish. I've never seen Robin Hood portrayed 
> wearing a kilt!
>
Yes. and the man on the right is playing a bagpipe. The crossed swords under 
his feet make it a sword dance.

> 7 looked to me more Australian Aborigine than African, with the heavy 
> beards and the body paint.
>

I thought so too!

I've forgotten which number, but the one that says Asian women and two men, 
the word  "Siam" for the dancers jumped into my head.

Denise 

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Subject: Re: [h-cost] Old fashion in fashion
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.
> atleast in
> preserving the clothing an appreciating what they represented from a
> bygone era where morals still meant something, as evident by the
> beautiful ways in which ladies chose modesty in fashion

That's applying modern moral values to another time, which isn't much 
different than people who want to wear clothes from another time in the 
modern day.

> I just long now for the "Victorian look" to go back to belonging to
> those who really have a passion and appreciation for historical
> fashions, it really hurls alot of bad information and impressions out
> there to those who aren't looking into it from a serious angle and only
> doing it for trend's sake.


Why does it matter? If they are "just doing it for trend's sake" what 
difference does it make if they are using or making incorrect impressions of 
a clothing era?  It would be different if they wanted to wear antique 
clothing in a modern way *while* participating in a re-enactment.

Very, very few people out in the general public look at clothing from a 
"serious angle" --  you are in the minority!  That's what fashion is all 
about -- trendy and now. Most people just want today's fashion, regardless 
of what it is, and -often- regardless of how attractive it is! :-)

People who "have a passion and appreciation for historical fashions" are 
uncommon and considered an oddity by the rest of the clothes-wearing public. 
It's quaint and possibly odd like stamp collecting or tatting with 
horsehair. (no offense meant to philatelists or tatters)

Denise B 

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      I have to agree with the person who posted about shoe styles.   =

When an era is the current trend, then we have shoes available, as  =

well as fabrics and the occasional ready-to-wear item that will do  =

for the historic look.  But yes, shoes especially!  Most reenactment  =

shoes are pricey, and a worthwhile investment for someone who is  =

immersed in a particular time period. Cheaper shoes that pass the  =

five-foot-away inspection are a wonderful thing! Sometimes we start  =

by "trying out" a time period, or need something for a dance or party  =

once a year.

      We all know that fabrics follow the trends, too =97 colors,  =

patterns, etc.  Sometimes brocades are all over the place, and  =

sometimes they are hard to find.  Many of us especially enjoy it when  =

"our" time period is passing out of fashion, and the items are marked  =

down.  :-)

      -Carol
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I am studying the Danckaerts system to draw patterns and my teacher 
asked me to make a dress from the time she invented the method.
She and her husband created the system in 1895.
I never made anything from this period before.

I found a book The "keystone" jacket and dress cutter
an 1895 guide to womans tailoring.
http://ecx.images-amazon.com/images/I/51S7Q2XQNNL.jpg

Has anyone experience with this book?

Are there any other books that are interesting for this time?
I have the cut of women's clothes
victorian and edwardian fashions from "la mode illustree"

I don't think those balloon shaped sleeves will look very well on me :-\ .
I have brought shoulders from myself...


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From: "Rickard, Patty  " <RICKARPA@muc.edu>
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Period Costume for Stage and Screen: Patterns for Women's Dress 1800 -
1909 by  Jean-Hunnisett might help.

Patty

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

She and her husband created the system in 1895.
I never made anything from this period before.

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From: Agnes Gawne <gawne@mac.com>
Date: Mon, 7 Apr 2008 12:10:03 -0700
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Subject: Re: [h-cost] La Mode Bagatelle Pattern help needed
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The Ravenrook company is selling the La Mode Bagatalle patterns now.   
They have the yardage posted at the bottom of the page.

http://www.ravenrook.com/clothier/bagatelle/regency.jsp

Agnes

On Apr 7, 2008, at 11:00 AM, h-costume-request@indra.com wrote:
>
> Message: 4
> Date: Mon, 7 Apr 2008 19:34:23 +1000
> From: "Aylwen Garden" <aylwengg@gmail.com>
> Subject: [h-cost] La Mode Bagetelle Pattern help needed
> To: "Historical Costume" <h-costume@indra.com>
> Message-ID:
> 	<dc9a147d0804070234o590f10ct780494c5b2edea97@mail.gmail.com>
> Content-Type: text/plain; charset=ISO-8859-1
>
> Does anyone have a copy of the yardage for the La Mode Bagetelle
> Regency Wardrobe pattern they can scan and email to me? I believe it
> is on the back of the envelope, I can't find it in the instruction
> booklet.
> Many thanks, Aylwen
>
>
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In a message dated 4/7/2008 1:14:34 P.M. Eastern Daylight Time,  
Deredere.Galbraith@kabelfoon.nl writes:

I don't  think those balloon shaped sleeves will look very well on me :-\  .



**************
 
Leg-o-mutton sleeves come in all shapes and sizes. Not everyone wore huge  
billowy one. And unlike the earlier 1830's version [Gigot sleeves] height seems  
to be more important than width. In the 1830s the sleeves come from a low, a 
bit  off the shoulder armseye, so the emphasis is more "out". In the 1890s the 
 armseye is firmly on the shoulder and the emphasis  is more "up". This  can 
be achieved by raising the curve of the top of the sleeve head higher  than 
wider, and making any ruffles or padding that might be used to hold its  shape 
push up.
 
With a ruffle at the neck and down the front of the corseted bodice,  and a 
trumpet skirt [often stiff in this period] that fits the hips but  flares 
sufficiently to counter the sleeves, you will look  great.



**************Planning your summer road trip? Check out AOL Travel Guides.    
  (http://travel.aol.com/travel-guide/united-states?ncid=aoltrv00030000000016)
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Subject: Re: [h-cost] Help! Please! Cultural Dancers in Costumes
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Penny,
I glanced at the lovely ceiling pictures.  This is my favorite era.
Wow!  What a treat to have seen them in real life.   I'm going to
opine on the America social dances, merely because I run with a crowd
of historic dance fans.

#18 that cute pink flapper could represent most any of the wilder jazz
age dances like charleston, black bottom or very early shag.
#19 ragtime again, with more elegance - while it looks like waltz,
could represent the american born animal trots. The only one we
remember anymore is foxtrot, but there were zillions of them, such as
the squirrel trot, snake dip, horse trot, camel walk, and grizzly
bear. Think Crene & Vernon Castle styling as seen in the original
Whirl of Life.  This one might also represent the tango, a South
American dance, but brought to Paris & then the US by the Castles
around 1912.  Someone who isnt a dance historian might mistake the
ragtime tango for an American innovation.
#20 American contradance - again, think 20s dance scholarship. You can
hear American called quadrilles & contra on many early recordings.
#21  I'm stumped. Mazur, Polka, Waltz, Schottische are all of foreign
origin.  There are America choreographies for the 1840s thru Civil
War, but nothing truly and uniquely American. They seem too well
dressed for a hoe down or barn dance.  Philadelpia Hop Waltz comes to
mind, but these dancers are 50+ years out of fashion, IIRC.
The American innovations would be the fretted dulcimer & banjo, but
I'm not enough of a music scholar to tell you when these appeared in a
posh dance setting.

Cant help you with the other folk dances.  Not my cup of tea,
--cin


Message: 8
Date: Sat, 5 Apr 2008 05:17:48 -0400
From: "Penny Ladnier" <penny@costumegallery.com>
Subject: [h-cost] Help! Please! Cultural Dancers in Costumes
To: "h-costume" <h-costume@indra.com>
Message-ID: <007201c896fd$eb450340$7101a8c0@momlaptop>
Content-Type: text/plain;       charset="iso-8859-1"

I need help...please!  I am so much out of my comfort zone.  I have a
slideshow online of the ballroom ceiling of the Ringling's Ca d'Zan
Mansion in Sarasota, Florida.   The ceiling is called "Dancers of the
World."  There are 17 hand-painted medallions of cultural dancers.  I
need help with what countries and dances represented in the
medallions.  These were painted in the 1920s exclusively for the
mansion by children's book illustrator / Broadway costume and set
designer, William Andrew "Willy" Pogany.   He was also a designer for
the Zeigfeld Follies.  He was friends with John and Mabel Ringling,
the mansion's owner.  He painted the medallions in his NYC studio and
then applied them to the ballroom ceiling in Florida.

I also need help with the photos 18-21.  The curator said that these
were titled "Four Corners of American-born Dances."  He told me that
photos 18 & 19 dates represented but I can't recall the dances.  I am
not really sure that I have the dates correct for photos 20 & 21.  And
again, do not recall the dances.

I had one hour to photograph the ballroom ceiling because I was
running out of time and had to photograph around tour groups.  This is
a popular area of the mansion and is one of the first areas that the
tour groups access.  I didn't even have time to take notes.  When I
was photographing this room,  I had a couple of hours before catching
my flight home.  I spent a week photographing other areas of the
museum.  Thankfully the photos turned out good.

If you are able to answer my questions, please refer to the photo
number on the slideshow headers in your answer.  The slideshow can be
seen at http://www.costumegallery.info/ .  Please make sure to use
.INFO and not .COM .   When you go to the slideshow, make sure to
click on the enlarged view...it looks like the number 7 on the right
side of the menu.

Many, many thanks in advance for your help.
Penny Ladnier,
Owner, The Costume Gallery Websites
www.costumegallery.com
www.costumelibrary.com
www.costumeclassroom.com
www.costumeencyclopedia.com
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During the 19th and early 20th century dozens of pattern-making 
"systems" were invented. They fall into a number of different categories.

One category was drafting to English/inch measurements or in Europe, to 
metric measurements. The "Keystone" system falls into this category. 
Robb Shep and Fred Struthers, at http://www.rlshep.com/, have reprinted 
a number of books containing patterns to be drafted to English measurements.

Another category was apportioning scales. These were sets of rulers with 
units specific to that system--not English or metric units. We have 
reprinted four books that use apportioning scales; our website is 
www.lavoltapress.com. Apportioning scales are described and pictured in 
the FAQ for the site.

A third category was slopers that could be traced off to different 
sizes. Then patterns were developed using flat pattern design methods. 
Cardboard slopers were called charts. These have lines and perforations 
for each pattern piece that enable it to be traced off to the chosen 
size. A variant was a sloper with pattern pieces made of strips of 
metal, with screws that enable them to be adjusted to different sizes. 
The best known of these in the US was the McDowell Garment Drafting 
System. I do not know of anyone who has reprinted charts or reproduced 
the metal systems, but they are often sold on the US eBay site, 
www.eBay.com.

Huge leg-of-mutton sleeves can be very flattering, they make the waist 
look small. Your actual shoulders are lost in them anyway.

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

Deredere Galbraith wrote:
> I am studying the Danckaerts system to draw patterns and my teacher 
> asked me to make a dress from the time she invented the method.
> She and her husband created the system in 1895.
> I never made anything from this period before.
> 
> I found a book The "keystone" jacket and dress cutter
> an 1895 guide to womans tailoring.
> http://ecx.images-amazon.com/images/I/51S7Q2XQNNL.jpg
> 
> Has anyone experience with this book?
> 
> Are there any other books that are interesting for this time?
> I have the cut of women's clothes
> victorian and edwardian fashions from "la mode illustree"
> 
> I don't think those balloon shaped sleeves will look very well on me :-\ .
> I have brought shoulders from myself...
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Hi,

I was looking at several corset patterns.
And I was wondering if anyone could recommend me a pattern for a corset 
for 1895

The best I could find is Past Patterns 106B/P Edwardian corset. 
<http://www.sewingcentral.com/cgi-bin/Web_store/web_store.cgi?page=106B.html&cart_id=5688090_4173>
But is a little late

Or the corset on page 82 from corsets and crinolines. That one is from 
mid 1890's and looks comfortable with the elastic on the hips.


Deredere
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Deredere--

I really like the corset from Laughing Moon:
http://www.lafnmoon.com/

Kim


-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Deredere Galbraith
Sent: Tuesday, April 08, 2008 4:55 AM
To: Historical Costume
Subject: [h-cost] Corset pattern 1895

Hi,

I was looking at several corset patterns.
And I was wondering if anyone could recommend me a pattern for a corset for
1895

The best I could find is Past Patterns 106B/P Edwardian corset. 
<http://www.sewingcentral.com/cgi-bin/Web_store/web_store.cgi?page=106B.html
&cart_id=5688090_4173>
But is a little late

Or the corset on page 82 from corsets and crinolines. That one is from mid
1890's and looks comfortable with the elastic on the hips.


Deredere
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In a message dated 4/8/2008 5:53:33 A.M. Eastern Daylight Time,  
Deredere.Galbraith@kabelfoon.nl writes:

http://www.sewingcentral.com/cgi-bin/Web_store/web_store.cgi?page=106B.html&ca
rt_id=5688090_4173


***********************
 
This corset is too late. It's not a great pattern either IMHO...the pieces  
do not make what you see in the illustration.
 
What you need is Past Pattern's #213 "Victorian Corset"
 
_http://www.sewingcentral.com/cgi-bin/Web_store/web_store.cgi?page=213T.html&c
art_id=1980107_4676_ 
(http://www.sewingcentral.com/cgi-bin/Web_store/web_store.cgi?page=213T.html&cart_id=1980107_4676) 
 
 
 
This is easy to make. I made one with boning casings on the outside....and  
covered with an embroidered ribbon over a horizontally narrowly striped fabric. 
 Very pretty....with some lace at the top. Always make your corsets pretty, 
it  makes people want to wear them more. And in this period they loved a 
la-dee-da  corset.



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> And I was wondering if anyone could recommend me a pattern for a corset 
> for 1895


I am very fond of the Past Patterns late 1890s hourglass corset (pattern 
213) 

http://www.sewingcentral.com/cgi-bin/Web_store/web_store.cgi?page=213T.html&cart_id=5688090_4173
or
http://www.pastpatterns.com/213.html

It makes up beautifully for a curvy woman (which I am ;-) )
        -sunny

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> I am very fond of the Past Patterns late 1890s hourglass corset (pattern 
> 213) 
>

I've made that one, and I'm very short and only averagely curved. It was 
easy to make and went together well.

Fran
Lavolta Press
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From: "Leif og Bjarne Drews" <drewscph@post12.tele.dk>
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Sorry this is off topic, but it is historical costume.
I finnished the doll dress and i promised you to see it finished:
http://www.my-drewscostumes.dk/cl31.htm
More here:
http://www.my-drewscostumes.dk/the_queens_lady_in_waiting.htm
I am going on a small holliday to Berlin the day after tomorrow, it wil be nice, but i cant waite to get home again and start another one.............

Bjarne
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From: "Schaeffer, Astrida" <astrida.schaeffer@unh.edu>
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Bjarne, as always, your work is inspiring...

Astrida

*******************************
Astrida Schaeffer, Assistant Director
The Art Gallery, University of New Hampshire
Paul Creative Arts Center
30 College Road
Durham, NH 03824-3538
603-862-0310
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www.unh.edu/art-gallery
*******************************


> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
On
> Behalf Of Leif og Bjarne Drews
> Sent: Tuesday, April 08, 2008 2:53 PM
> To: Historical Costume
> Subject: [h-cost] Les Adieaux en miniature
> 
> Sorry this is off topic, but it is historical costume.
> I finnished the doll dress and i promised you to see it finished:
> http://www.my-drewscostumes.dk/cl31.htm
> More here:
> http://www.my-drewscostumes.dk/the_queens_lady_in_waiting.htm
> I am going on a small holliday to Berlin the day after tomorrow, it
wil be
> nice, but i cant waite to get home again and start another
> one.............
> 
> Bjarne
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
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Subject: Re: [h-cost] Les Adieaux en miniature
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This is breathtaking, Bjarne. The doll looks VERY pleased with her beautiful gown.
I'm sure we're all looking forward to the next one!
--Ruth Anne Baumgartner
scholar gypsy and amateur costumer

-----Original Message-----
>From: Leif og Bjarne Drews <drewscph@post12.tele.dk>
>Sent: Apr 8, 2008 2:53 PM
>To: Historical Costume <h-costume@indra.com>
>Subject: [h-cost] Les Adieaux en miniature
>
>Sorry this is off topic, but it is historical costume.
>I finnished the doll dress and i promised you to see it finished:
>http://www.my-drewscostumes.dk/cl31.htm
>More here:
>http://www.my-drewscostumes.dk/the_queens_lady_in_waiting.htm
>I am going on a small holliday to Berlin the day after tomorrow, it wil be nice, but i cant waite to get home again and start another one.............
>
>Bjarne
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
>http://mail.indra.com/mailman/listinfo/h-costume

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From: Deredere Galbraith <Deredere.Galbraith@kabelfoon.nl>
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Don't let my girl see it  :-)
She would probably want one too.
It is very pretty.

Have fun on your vacation.

Deredere

Leif og Bjarne Drews wrote:
> Sorry this is off topic, but it is historical costume.
> I finnished the doll dress and i promised you to see it finished:
> http://www.my-drewscostumes.dk/cl31.htm
> More here:
> http://www.my-drewscostumes.dk/the_queens_lady_in_waiting.htm
> I am going on a small holliday to Berlin the day after tomorrow, it wil be nice, but i cant waite to get home again and start another one.............
>
> Bjarne
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>
>   


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  I think the real Marie Antoinette would covet this dress!
Looking forward to seeing the next!

Liadain

THL Liadain ni Mhordha OFO
wildernesse, the Outlands 
http://www.flickr.com/photos/liadains_fancies

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Leif og Bjarne Drews
Sent: Tuesday, April 08, 2008 11:53 AM
To: Historical Costume
Subject: [h-cost] Les Adieaux en miniature

Sorry this is off topic, but it is historical costume.
I finnished the doll dress and i promised you to see it finished:
http://www.my-drewscostumes.dk/cl31.htm
More here:
http://www.my-drewscostumes.dk/the_queens_lady_in_waiting.htm
I am going on a small holliday to Berlin the day after tomorrow, it wil be
nice, but i cant waite to get home again and start another one.............

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

_______________________________________________
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Agreed!
Patty

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
On Behalf Of Frank A Thallas Jr
Sent: Tuesday, April 08, 2008 4:14 PM
To: 'Historical Costume'
Subject: Re: [h-cost] Les Adieaux en miniature


  I think the real Marie Antoinette would covet this dress!
Looking forward to seeing the next!

Liadain

THL Liadain ni Mhordha OFO
wildernesse, the Outlands 
http://www.flickr.com/photos/liadains_fancies

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
On
Behalf Of Leif og Bjarne Drews
Sent: Tuesday, April 08, 2008 11:53 AM
To: Historical Costume
Subject: [h-cost] Les Adieaux en miniature

Sorry this is off topic, but it is historical costume.
I finnished the doll dress and i promised you to see it finished:
http://www.my-drewscostumes.dk/cl31.htm
More here:
http://www.my-drewscostumes.dk/the_queens_lady_in_waiting.htm
I am going on a small holliday to Berlin the day after tomorrow, it wil
be
nice, but i cant waite to get home again and start another
one.............

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

_______________________________________________
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yummy...like sweet creamy butter....mmmmmmmmmm
 
So, what IS next? You're doing these for a client, aren't you? Will they  let 
you do, say, a striped polonaise? A gown a l'anglaise with a huge  hat? 



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From: Shirley Hobbs <shirleyjhobbs@yahoo.com>
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Wow! It certainly didn't take long for you to complete this!  It is absolutely beautiful!

Shirley


--- On Tue, 4/8/08, Leif og Bjarne Drews <drewscph@post12.tele.dk> wrote:

> From: Leif og Bjarne Drews <drewscph@post12.tele.dk>
> Subject: [h-cost] Les Adieaux en miniature
> To: "Historical Costume" <h-costume@indra.com>
> Date: Tuesday, April 8, 2008, 12:53 PM
> Sorry this is off topic, but it is historical costume.
> I finnished the doll dress and i promised you to see it
> finished:
> http://www.my-drewscostumes.dk/cl31.htm
> More here:
> http://www.my-drewscostumes.dk/the_queens_lady_in_waiting.htm
> I am going on a small holliday to Berlin the day after
> tomorrow, it wil be nice, but i cant waite to get home
> again and start another one.............
> 
> Bjarne
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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      ____________________________________________________________________________________
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I also really like the Past Patterns 213 for 1880s and 1890s

Katy

On Tue, Apr 8, 2008 at 2:12 PM,  <Sunshine.K.Buchler@kp.org> wrote:
> > And I was wondering if anyone could recommend me a pattern for a corset
>  > for 1895
>
>
>  I am very fond of the Past Patterns late 1890s hourglass corset (pattern
>  213)
>
>  http://www.sewingcentral.com/cgi-bin/Web_store/web_store.cgi?page=213T.html&cart_id=5688090_4173
>  or
>  http://www.pastpatterns.com/213.html
>
>  It makes up beautifully for a curvy woman (which I am ;-) )
>         -sunny
>
>  NOTICE TO RECIPIENT:  If you are not the intended recipient of this
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-- 
Katy Bishop, Vintage Victorian
katybishop64@gmail.com www.VintageVictorian.com
 Custom reproduction gowns of the Victorian Era.
 Publisher of the Vintage Dress Series books.
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From: Deredere Galbraith <Deredere.Galbraith@kabelfoon.nl>
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I would love to see pictures of people wearing the corset from past 
patterns 213.
There is one in the great pattern review but I don't think it fits very 
well.
I am tall have a very slender waist en round hips.

Deredere


Katy Bishop wrote:
> I also really like the Past Patterns 213 for 1880s and 1890s
>
> Katy
>
>   

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From: "Leif og Bjarne Drews" <drewscph@post12.tele.dk>
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Gosh, thanks a lot all for the nice feedback on this. It is my first, and sertanly not the last, i have a polonaise in my head for the next one.
Thanks a lot!

Bjarne
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Hello!

I was digging into my pattern box today and found that I do have their 
pattern for a Regency period Men's jacket.

Are there any problems I should know about with their patterns?

Henry Osier
Chief Spy
Costume-Con 28 in Milwaukee in 2010
www.CC28.org
View the latest Intell: http://agent-milw.livejournal.com/
Questions?: http://community.livejournal.com/costume_con_28/    
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From: Kenet Muir <ckenet@yahoo.com>
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Have you tried looking at a Corset Making website?
They have supplies and patterns as well as kits. I
have puchased from them in the past and they are fast,
reasonable and have had everything that I have needed
for creating several different styles of corsets.

http://www.corsetmaking.com/CMSpages/CMShome.html

Kenet

--- Deredere Galbraith
<Deredere.Galbraith@kabelfoon.nl> wrote:

> Hi,
> 
> I was looking at several corset patterns.
> And I was wondering if anyone could recommend me a
> pattern for a corset 
> for 1895
> 
> The best I could find is Past Patterns 106B/P
> Edwardian corset. 
>
<http://www.sewingcentral.com/cgi-bin/Web_store/web_store.cgi?page=106B.html&cart_id=5688090_4173>
> But is a little late
> 
> Or the corset on page 82 from corsets and
> crinolines. That one is from 
> mid 1890's and looks comfortable with the elastic on
> the hips.
> 
> 
> Deredere
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 



      ____________________________________________________________________________________
You rock. That's why Blockbuster's offering you one month of Blockbuster Total Access, No Cost.  
http://tc.deals.yahoo.com/tc/blockbuster/text5.com
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To: Historical Costume <h-costume@indra.com>
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Status: RO

At 11:53 AM 4/8/2008, you wrote:
>Sorry this is off topic, but it is historical costume.
>I finnished the doll dress and i promised you to see it finished:
>http://www.my-drewscostumes.dk/cl31.htm
>More here:
>http://www.my-drewscostumes.dk/the_queens_lady_in_waiting.htm
>I am going on a small holliday to Berlin the day after tomorrow, it 
>wil be nice, but i cant waite to get home again and start another 
>one.............
>
>Bjarne

Very pretty, Bjarne.  And it definitely is appropriate for 
h-costume.  I can understand how you want to expand her wardrobe. @>----


Joan Jurancich
joanmj@surewest.net 

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Past Patterns also sells complete corset kits for their patterns.

http://www.pastpatterns.com/

Katy

On Tue, Apr 8, 2008 at 8:18 PM, Kenet Muir <ckenet@yahoo.com> wrote:
> Have you tried looking at a Corset Making website?
>  They have supplies and patterns as well as kits. I
>  have puchased from them in the past and they are fast,
>  reasonable and have had everything that I have needed
>  for creating several different styles of corsets.
>
>  http://www.corsetmaking.com/CMSpages/CMShome.html
>
>  Kenet
>
>  --- Deredere Galbraith
>
>
> <Deredere.Galbraith@kabelfoon.nl> wrote:
>
>  > Hi,
>  >
>  > I was looking at several corset patterns.
>  > And I was wondering if anyone could recommend me a
>  > pattern for a corset
>  > for 1895
>  >
>  > The best I could find is Past Patterns 106B/P
>  > Edwardian corset.
>  >
>  <http://www.sewingcentral.com/cgi-bin/Web_store/web_store.cgi?page=106B.html&cart_id=5688090_4173>
>  > But is a little late
>  >
>  > Or the corset on page 82 from corsets and
>  > crinolines. That one is from
>  > mid 1890's and looks comfortable with the elastic on
>  > the hips.
>  >
>  >
>  > Deredere
>  > _______________________________________________
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>  > h-costume@mail.indra.com
>  > http://mail.indra.com/mailman/listinfo/h-costume
>  >
>
>
>
>
>       ____________________________________________________________________________________
>  You rock. That's why Blockbuster's offering you one month of Blockbuster Total Access, No Cost.
>  http://tc.deals.yahoo.com/tc/blockbuster/text5.com
>
>
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>



-- 
Katy Bishop, Vintage Victorian
katybishop64@gmail.com www.VintageVictorian.com
 Custom reproduction gowns of the Victorian Era.
 Publisher of the Vintage Dress Series books.
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Which don't give you enough materials if you're an odd size....

My first corset project (many moons ago) was using the kit for the 
1830's PP corset (with the bust and hip gores).  I ordered the kit 
because at the time I didn't know where else to get the boning, 
etc.  I sent my measurements when I sent the order, but the bones and 
busk were too short, and there wasn't enough fabric to cut the 
corset.  I was able to return the bones and get new ones, but I had 
to fudge the busk with extra metal to make it long enough, as they 
didn't have a longer one.  IIRC, I had to lengthen the pattern by 
about 5" - I'm almost 6' tall.....

YMMV,
Sandy

At 08:40 PM 4/8/2008, you wrote:
>Past Patterns also sells complete corset kits for their patterns.
>
>http://www.pastpatterns.com/
>
>Katy
>
>Katy Bishop, Vintage Victorian

"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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--- Carol Mitchell <carolscostuming5@yahoo.com> wrote:

> 
> I'm not sure who put in that posting, but I can't
> get the website to open. Does anyone know anything
> about the book?


Sorry for the delay in getting back to the list! Yes,
we had server troubles for about a week, and the
service ticket kept "getting lost". It's back now,
though, with lots of updates. If you have been using
the PDF version, I suggest you discard it and download
the new one, since there are changes and additions on
almost every page.

The paperback version will be available sometime this
summer, although the date is still TBD.  We're almost
finished with the design phase now!

MaggiRos




The Elizabethan World is at http://elizabethan.org
coming soon in paperback!
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Yes, yes it is...GORGEOUS!!!

"Schaeffer, Astrida" <astrida.schaeffer@unh.edu> wrote:  Bjarne, as always, your work is inspiring...

Astrida

*******************************
Astrida Schaeffer, Assistant Director
The Art Gallery, University of New Hampshire
Paul Creative Arts Center
30 College Road
Durham, NH 03824-3538
603-862-0310
FAX: 603-862-2191

www.unh.edu/art-gallery
*******************************


> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
On
> Behalf Of Leif og Bjarne Drews
> Sent: Tuesday, April 08, 2008 2:53 PM
> To: Historical Costume
> Subject: [h-cost] Les Adieaux en miniature
> 
> Sorry this is off topic, but it is historical costume.
> I finnished the doll dress and i promised you to see it finished:
> http://www.my-drewscostumes.dk/cl31.htm
> More here:
> http://www.my-drewscostumes.dk/the_queens_lady_in_waiting.htm
> I am going on a small holliday to Berlin the day after tomorrow, it
wil be
> nice, but i cant waite to get home again and start another
> one.............
> 
> Bjarne
> _______________________________________________
> h-costume mailing list
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Not the least bit OT!! Just because it is small!?  I can't wait for you to get back from Berlin to do another! :)
Have fun in Berlin!
Sg



> From: drewscph@post12.tele.dk> To: h-costume@indra.com> Date: Tue, 8 Apr 2008 23:32:14 +0200> Subject: [h-cost] Les adieaux en miniature> > Gosh, thanks a lot all for the nice feedback on this. It is my first, and sertanly not the last, i have a polonaise in my head for the next one.> Thanks a lot!> > Bjarne> _______________________________________________> h-costume mailing list> h-costume@mail.indra.com> http://mail.indra.com/mailman/listinfo/h-costume
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This is an original pattern from 1898 someone has scanned in and even expla=
ined how one could resize it on the computer. I couldn't figure out exactly=
 what they were talking about, so I simply printed it on mylar and proporti=
onately enlarged it. It made it too long, but that's fairly fixable. With a=
ny corset pattern, you should be test fitting it several times anyway.

http://www.staylace.com/updatelogs/graphics/school_corset.gif

I'm trying my hand at sewing again. I had the urge to get back in thesaddle=
 right in time to finally secure a job. :-) Irony abounds! I'm trying to ma=
ke a black leather show girl costume in time for a competition in May. I de=
cided to give my imagination free reign, which it still isn't used to. ;-)

Cheers,

Kathy

It=92s never too late to be who you might have been.-George Eliot
Tosach e=F3lais imchomarc/Questioning is the beginning of knowledge. -Irish=
 proverb
One can never consent to creep when one feels an impulse to soar.-Helen Kel=
ler
The difference between stupid and intelligent people - and this is true whe=
ther or not they are educated - is that intelligent people can handle subtl=
ety. They are not baffled by ambiguous or even contradictory situations. In=
 fact, they expect them and are apt to be suspicious when things seem overl=
y straightforward. - Neal Stephenson, "The Diamond Age"
It's not who you are that holds you back, it's who you think you're not. - =
Denis Waitley


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Thank you all for the input.
I have all the materials so I won't buy a kit for the corset.

Thank you Katy for the link.
I think I rather make a corset from a historic picture and adjust it to =

my size than to buy a pattern.
And have to adjust it anyway.

Past pattern looks a lot like a corset that I already have and I would =

like to make a different one.
But I'll keep it in mind.

I think I will try the one I found in corsets and Crinolines with the =

elastic at the hip.
My left hip hurts sometimes while wearing a corset. I hope the elastic =

will help.
And I'll probably have to make two different sides because my left hip =

is almost 2 cm higher than the other.


And Kathy good luck with your showgirl project.
It can be so much fun to let your imagination go wild :-)

Deredere


Kathy Page wrote:
> This is an original pattern from 1898 someone has scanned in and even exp=
lained how one could resize it on the computer. I couldn't figure out exact=
ly what they were talking about, so I simply printed it on mylar and propor=
tionately enlarged it. It made it too long, but that's fairly fixable. With=
 any corset pattern, you should be test fitting it several times anyway.
>
> http://www.staylace.com/updatelogs/graphics/school_corset.gif
>
> I'm trying my hand at sewing again. I had the urge to get back in thesadd=
le right in time to finally secure a job. :-) Irony abounds! I'm trying to =
make a black leather show girl costume in time for a competition in May. I =
decided to give my imagination free reign, which it still isn't used to. ;-)
>
> Cheers,
>
> Kathy
>
> It=92s never too late to be who you might have been.-George Eliot
> Tosach e=F3lais imchomarc/Questioning is the beginning of knowledge. -Iri=
sh proverb
> One can never consent to creep when one feels an impulse to soar.-Helen K=
eller
> The difference between stupid and intelligent people - and this is true w=
hether or not they are educated - is that intelligent people can handle sub=
tlety. They are not baffled by ambiguous or even contradictory situations. =
In fact, they expect them and are apt to be suspicious when things seem ove=
rly straightforward. - Neal Stephenson, "The Diamond Age"
> It's not who you are that holds you back, it's who you think you're not. =
- Denis Waitley
>
>
>       __________________________________________________________________
> Be smarter than spam. See how smart SpamGuard is at giving junk email the=
 boot with the All-new Yahoo! Mail.  Click on Options in Mail and switch to=
 New Mail today or register for free at http://mail.yahoo.ca
> _______________________________________________
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>
>   =


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From: "Bonnie Booker" <aspasia1@gmail.com>
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Subject: [h-cost] lacing holes
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I wasn't sure if it was this list that was discussin lacing holes, or
the garb list, so I'll send to both.
TEXTILES AND CLOTHING 1150-1450 put out by Musium of London in 1992 on
p. 164 has extent textiles from the 14th century showing lacing holes
done with a buttonhole stitch with the bead in the hole. The did a
wide spaced stitch around it, then filled it in with close spaced
stitches.
Aspasia Moonwind
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In a message dated 4/10/2008 6:55:05 A.M. Eastern Daylight Time,  
caitlin_oduibhir@yahoo.ca writes:

http://www.staylace.com/updatelogs/graphics/school_corset.gif



*******************
 
 
That's a corset from "Corsets & Crinolines"....but I'm kinda intrigued  to 
see if I can size it up with the method described using the  printer.



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> Date: Thu, 10 Apr 2008 13:13:25 EDT
> From: AlbertCat@aol.com
> Subject: Re: [h-cost] Corset pattern 1895
> To: h-costume@indra.com
> Message-ID: <c52.3100dcfe.352fa4b5@aol.com>
> Content-Type: text/plain; charset="US-ASCII"
>
>
> In a message dated 4/10/2008 6:55:05 A.M. Eastern Daylight Time,
> caitlin_oduibhir@yahoo.ca writes:
>
> http://www.staylace.com/updatelogs/graphics/school_corset.gif
>
>
>
> *******************
>
>
> That's a corset from "Corsets & Crinolines"....but I'm kinda intrigued  to
> see if I can size it up with the method described using the  printer.
>
>
I looked at it and thought - isn't that corset in "Corsets and Crinolines"? 
From
memory it's a bit earlier than 1898 too isn't it? I thought the spoon busk 
was
most common in the 1880's?

Claire 

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Hi, All. The most recent show on which I  worked opened last last Thursday. And over all its a good show. But some of the fallout has been very upsetting to me.
The director invited me to do this show for her, her last show (she's said that for for the last three years), and I've done them. Each time some cast members have been down right vicious. This time was the worst.
It occurred to me we expected different things as/from a designer. I'd just assumed they all understood that I only did these shows to practice my craft, keep my abilities in shape, and explore my ideas. Maybe her agenda was different?
So I sent an email and asked what she had expected when she engaged a designer. She wrote back to me a very complimentary (damned by praise-forget faint) note about my design capabilities; but-said I was overbearing, didn't listen to the actress's ideas and was not willing to take suggestions form the actresses. The ideas and suggestions were put forth a few days before dress and production had gotten me no help for a small musical with 48 changes in it. Some very small; most changes are full costume though. I found I was being difficult when I said there just wasn't time.
The worst part is that the changes weakened the visual dramatic impact but were more conventional.
Now I want to write a little paper setting forth designer's professional standards. It isn't that I don't know what most are but I don't know if they are enumerated anywhere. Are they? Please help, both scholars and practitioners. Audy

in the high boonies of Central Texas

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Hi All,  I too do productions for a, very dear to me, director - I've been doing this for the last 5 years - one to two shows a year, usually one major one and a smaller production.  I've spent alot of time on the net researching each show and period but have never come upon a "professional standards" list or site.  
  I usually have complete control over the design with the directors in put when she feels I am not in tune with her vision - however we are amazingly in tune in that aspect.  The only show I have done with another director was extremely stressfull and disorganized.  There were a small handfull of very self-important actors whom I couldn't please no matter what I did.  Then on opening night the "co-director" (didn't show up till Tech WeeK) completely changed the opening scene wardrobe substituting costumes that were scheduled for the end of the the show - this without telling me.  Needless to say this threw off the continuity of the wardrobe changes.  What do you do in a situation like this?  "Professional Standards" might have given me a direction.  I know I won't work with this group again.
Anniecat16> Date: Fri, 11 Apr 2008 21:46:16 -0500> From: achasedesign@peoplepc.com> To: h-costume@mail.indra.com> Subject: [h-cost] DESIGNER PROFESSIONAL STANDARDS> > Hi, All. The most recent show on which I worked opened last last Thursday. And over all its a good show. But some of the fallout has been very upsetting to me.> The director invited me to do this show for her, her last show (she's said that for for the last three years), and I've done them. Each time some cast members have been down right vicious. This time was the worst.> It occurred to me we expected different things as/from a designer. I'd just assumed they all understood that I only did these shows to practice my craft, keep my abilities in shape, and explore my ideas. Maybe her agenda was different?> So I sent an email and asked what she had expected when she engaged a designer. She wrote back to me a very complimentary (damned by praise-forget faint) note about my design capabilities; but-said I was overb!
 earing, didn't listen to the actress's ideas and was not willing to take suggestions form the actresses. The ideas and suggestions were put forth a few days before dress and production had gotten me no help for a small musical with 48 changes in it. Some very small; most changes are full costume though. I found I was being difficult when I said there just wasn't time.> The worst part is that the changes weakened the visual dramatic impact but were more conventional.> Now I want to write a little paper setting forth designer's professional standards. It isn't that I don't know what most are but I don't know if they are enumerated anywhere. Are they? Please help, both scholars and practitioners. Audy> > in the high boonies of Central Texas> > ________________________________________> PeoplePC Online> A better way to Internet> http://www.peoplepc.com> _______________________________________________> h-costume mailing list> h-costume@mail.indra.com> http://mail.indra.com/mailma!
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        Historical Costume <h-costume@indra.com>
Subject: [h-cost] CostumeCon Memberships for sale
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> I have two memberships for sale at $65 each.  contact me at  
> margo@margospatterns.com if interested.

Margo Anderson
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From: "LLOYD MITCHELL" <rmitchell@washjeff.edu>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] DESIGNER PROFESSIONAL STANDARDS
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Been there and done that.

A worse scean is when the costumes get voted on by the Mother's Aux. for the 
production...and the Director accepts their critique as the standard. Or the 
whole cast gets to decide which costumes make the cut.

Between the movies and the major two Costume companies, the visual 
expectation is very limited for the Popular theater of a general public. The 
idea of style interpretation sometimes extends to matching colors, prints, 
assessories and such to the exact  picture on the Pattern cover or to a 
particular garment from the film.  Very frustrating. Making Cartoon costumes 
is not fun for one who may have a better view of the historical aspects of 
how the style (generic) clothes and compliments the character being 
costumed. It took me several years to learn to "pick my battles" and to try 
to maintain an integrity of Design for a particular production.

In working with some cast members, I fought for their trust by reminding 
them that my  name Too would be on the program; if they didn't look good or 
the character was inappropriatly clothed, I would get the criticism first.

 We spend a fair bit of time on this List with personal critiques of the 
movies and other productions re Costume; it is often pointed out that 
directors and actors live in a kind of fantasy world and that Design 
integrity is least in their expectation.

For myself, in agreeing to do a production, I stressed Interpretation as a 
major starting point for the Design development.  With some duds and a 
larger number of successes, I managed to get my own share of plaudits that 
gave me courage to move forward for the "next" time. (And there were many 
times when in the company of tech staff  it was said that I "saved the 
show".)

Guess one might remind the Director that theye can always Rent from a 
'professional' theater supply house , Cost and Style be @#$&^%.  Funny, when 
paying the Rental company how few complaints are given re Desigh and Fit!

KSM

----- Original Message ----- 
From: "AVCHASE" <achasedesign@peoplepc.com>
To: "h-costume posts" <h-costume@mail.indra.com>
Sent: Friday, April 11, 2008 10:46 PM
Subject: [h-cost] DESIGNER PROFESSIONAL STANDARDS


> Hi, All. The most recent show on which I  worked opened last last 
> Thursday. And over all its a good show. But some of the fallout has been 
> very upsetting to me.
> The director invited me to do this show for her, her last show (she's said 
> that for for the last three years), and I've done them. Each time some 
> cast members have been down right vicious. This time was the worst.
> It occurred to me we expected different things as/from a designer. I'd 
> just assumed they all understood that I only did these shows to practice 
> my craft, keep my abilities in shape, and explore my ideas. Maybe her 
> agenda was different?
> So I sent an email and asked what she had expected when she engaged a 
> designer. She wrote back to me a very complimentary (damned by 
> praise-forget faint) note about my design capabilities; but-said I was 
> overbearing, didn't listen to the actress's ideas and was not willing to 
> take suggestions form the actresses. The ideas and suggestions were put 
> forth a few days before dress and production had gotten me no help for a 
> small musical with 48 changes in it. Some very small; most changes are 
> full costume though. I found I was being difficult when I said there just 
> wasn't time.
> The worst part is that the changes weakened the visual dramatic impact but 
> were more conventional.
> Now I want to write a little paper setting forth designer's professional 
> standards. It isn't that I don't know what most are but I don't know if 
> they are enumerated anywhere. Are they? Please help, both scholars and 
> practitioners. Audy
>
> in the high boonies of Central Texas
>
> ________________________________________
> PeoplePC Online
> A better way to Internet
> http://www.peoplepc.com
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume 

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My latest problem was on the other end.

Since I both direct and "do" costumes, I am accustomed as a director  
to work closely with my costume designer, as I would hope a director  
would do with me. And I have worked with the same costume designer  
for most of my productions. At the beginning of the project, I sit  
down with her and discuss my overall vision of the show, my concept  
of the characters, for shows with costume changes my understanding of  
the moods of various scenes as well as the time and place etc. of  
those scenes; she talks with me to clarify what I have in mind and to  
suggest her ideas (having read the script of course), especially  
about materials and line. A few days later we get together with  
patterns and illustrations I've found and patterns and illustrations  
she's found, plus a script schedule showing where costume changes are  
necessary and how much time will be available to make those changes.  
And a few days later she gives me her working schedule and we approve  
all designs. Since I'm usually pitching in on the sewing, we are able  
to discuss revisions as the need arises. It's all really wonderful,  
and costumes are done by opening night (this is community theater-- 
most things are finished by first dress, but we're realists...),  
properly fitted and comfortable for the actors; all costumes involved  
in costume changes are done by first dress if not sooner.

BUT this past year I was scheduled to direct The Glass Menagerie, but  
my costumer had had a heart attack and wanted to scale back her role.  
Since the theater had been approached by someone with costuming  
experience who wanted to develop her portfolio so she could apply for  
graduate programs, we contacted her, and she said she very much  
wanted to design the show. My usual designer and I met with her for a  
long evening; I discussed my vision of the show, as usual. She had  
not yet read the play (although we had agreed to work together some  
three weeks previous)--she said she hadn't had time to get over to  
the theater to pick up a script and hadn't thought to go to her local  
library.... We should have read this as a danger signal, but she was  
very busy with her "day job" and we assumed that was the problem. She  
seemed enthusiastic about getting down to designing, and said she'd  
be doing some research and then would have sketches for me in a week  
or ten days.

Three weeks went by (of course we were already in rehearsal and  
moving toward opening); my costumer lent her several books about  
1930s clothing, and called her a number of times to see what was  
going on, but no sketches emerged. Came time for taking publicity  
photos, and nothing--so my old designer, who is costumes mistress for  
that community theater, pulled some things that we felt would "do,"  
and at a vintage shop I bought a dress that I knew would work for  
Laura for photos for the gentleman-caller scenes and would be easily  
adaptable to use in the actual production should we have to fend for  
ourselves. I also found a dress that would work for Amanda's  
cotillion gown in the collection of the community theater where _I_  
am costumes mistress--it was a little small, but pins and things held  
it together for photos, and we knew that if we wound up using it we  
had the personnel to do the alterations. We let the costumes person  
know that we were coping for the photo shoot but were looking forward  
to seeing her DESIGNS, which my usual costumer reminded her would be  
subject to director's approval. Three days later she showed up at a  
rehearsal and asked if she could pull Laura out of the rehearsal to  
try some things on her. Since the rehearsal was for the gentleman- 
caller scenes, I really couldn't spare Laura, but said we could stay  
late for the costume stuff. While I was giving notes to the g-c after  
the rehearsal, the costumes person whisked Laura off to the  
dressingroom. I got up there as soon as I could, to see her fussing  
with a plaid housedress. She assured me that the housedress would be  
"absolutely period" as soon as she cut the neckline squarer and  
deeper. I asked her if she had made or bought the dress or if it was  
from the theater's collection, and when she said it was from the  
collection I suggested that she clear any style alterations with the  
costumes mistress (this aside from the fact that I had told her from  
the beginning that I wanted all of Laura's clothing soft of hand and  
muted in color except for her g-c dress, and obviously I wouldn't be  
happy with a black-and-green plaid with bright green piping...). She  
asked me why I was making her answerable to someone else. Then I  
drove her home (she had no car, another problem I should have picked  
up on sooner), and I never heard from her again. She did not return  
my old costumer's calls.

SO my old costumer, plus one of our loyal assistants and me, swung  
into action with very little time remaining before opening, worked  
out a costume sequence for the women characters that would  
accommodate the time constraints for the necessary changes, and got  
costumes on everyone by opening night that were comfortable,  
compatible with the show's vision and with the style of the set, and  
period-suggestive if not "absolutely period" on all counts. (Several  
days before we opened, while we were in the final frenzy of getting  
costumes done, the "designer" called the costumes mistress and left a  
message that she had quit the show!)

Audiences raved about the show--acting, set, costumes, atmosphere,  
interpretation, all of it.

Several weeks after the show closed, the costumer-errant called the  
costumes mistress to tell us all how unprofessional we had been and  
say that she had found us impossible to work with. She also said  
she'd leave the loaned books on her porch for the costumes mistress  
to pick up.

This summer I'm directing The Tempest, and luckily my usual costumer  
(also referred to as costumes mistress in above scenario) is feeling  
well recovered and will be working with me as usual.

So I'd say Yes, we do need some statement about the role of the  
costumes designer and the interaction between designer and director-- 
taking all participants into account: designer, actors, and director!  
(possibly with an appended checklist called "signs that your costumer/ 
actor/director may be insane"!)

Oh, thanks for your patience in reading this--I hadn't put it  
together before, and it's been a good catharsis for me!

--Ruth Anne Baumgartner
scholar gypsy and amateur costumer
On Apr 12, 2008, at 8:50 AM, LLOYD MITCHELL wrote:

> Been there and done that.
>
> A worse scean is when the costumes get voted on by the Mother's  
> Aux. for the
> production...and the Director accepts their critique as the  
> standard. Or the
> whole cast gets to decide which costumes make the cut.
>
> Between the movies and the major two Costume companies, the visual
> expectation is very limited for the Popular theater of a general  
> public. The
> idea of style interpretation sometimes extends to matching colors,  
> prints,
> assessories and such to the exact  picture on the Pattern cover or  
> to a
> particular garment from the film.  Very frustrating. Making Cartoon  
> costumes
> is not fun for one who may have a better view of the historical  
> aspects of
> how the style (generic) clothes and compliments the character being
> costumed. It took me several years to learn to "pick my battles"  
> and to try
> to maintain an integrity of Design for a particular production.
>
> In working with some cast members, I fought for their trust by  
> reminding
> them that my  name Too would be on the program; if they didn't look  
> good or
> the character was inappropriatly clothed, I would get the criticism  
> first.
>
>  We spend a fair bit of time on this List with personal critiques  
> of the
> movies and other productions re Costume; it is often pointed out that
> directors and actors live in a kind of fantasy world and that Design
> integrity is least in their expectation.
>
> For myself, in agreeing to do a production, I stressed  
> Interpretation as a
> major starting point for the Design development.  With some duds and a
> larger number of successes, I managed to get my own share of  
> plaudits that
> gave me courage to move forward for the "next" time. (And there  
> were many
> times when in the company of tech staff  it was said that I "saved the
> show".)
>
> Guess one might remind the Director that theye can always Rent from a
> 'professional' theater supply house , Cost and Style be @#$&^%.   
> Funny, when
> paying the Rental company how few complaints are given re Desigh  
> and Fit!
>
> KSM
>
> ----- Original Message -----
> From: "AVCHASE" <achasedesign@peoplepc.com>
> To: "h-costume posts" <h-costume@mail.indra.com>
> Sent: Friday, April 11, 2008 10:46 PM
> Subject: [h-cost] DESIGNER PROFESSIONAL STANDARDS
>
>
>> Hi, All. The most recent show on which I  worked opened last last
>> Thursday. And over all its a good show. But some of the fallout  
>> has been
>> very upsetting to me.
>> The director invited me to do this show for her, her last show  
>> (she's said
>> that for for the last three years), and I've done them. Each time  
>> some
>> cast members have been down right vicious. This time was the worst.
>> It occurred to me we expected different things as/from a designer.  
>> I'd
>> just assumed they all understood that I only did these shows to  
>> practice
>> my craft, keep my abilities in shape, and explore my ideas. Maybe her
>> agenda was different?
>> So I sent an email and asked what she had expected when she engaged a
>> designer. She wrote back to me a very complimentary (damned by
>> praise-forget faint) note about my design capabilities; but-said I  
>> was
>> overbearing, didn't listen to the actress's ideas and was not  
>> willing to
>> take suggestions form the actresses. The ideas and suggestions  
>> were put
>> forth a few days before dress and production had gotten me no help  
>> for a
>> small musical with 48 changes in it. Some very small; most changes  
>> are
>> full costume though. I found I was being difficult when I said  
>> there just
>> wasn't time.
>> The worst part is that the changes weakened the visual dramatic  
>> impact but
>> were more conventional.
>> Now I want to write a little paper setting forth designer's  
>> professional
>> standards. It isn't that I don't know what most are but I don't  
>> know if
>> they are enumerated anywhere. Are they? Please help, both scholars  
>> and
>> practitioners. Audy
>>
>> in the high boonies of Central Texas
>>
>> ________________________________________
>> PeoplePC Online
>> A better way to Internet
>> http://www.peoplepc.com
>> _______________________________________________
>> h-costume mailing list
>> h-costume@mail.indra.com
>> http://mail.indra.com/mailman/listinfo/h-costume
>
> _______________________________________________
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These experiences suggest that both designers and directors would be  
happier in the end if, whatever the expectations are, they were  
*written down* and agreed on ahead of time.

A designer might not be completely happy, but both designer and  
director might be far less *stressed* to know ahead of time that, for  
instance, the leading lady gets to dictate her own colors and will  
provide her own undergarments. (The designer is of course free to  
think "Victorian corset for Shakespeare? Ha!" in the privacy of his  
or her own mind....)

I'm sure the collective mind can cheerfully provide a list of common  
things that go wrong if anyone wants to write up guidelines for what  
might be useful in such an agreement ;) (That is, if there isn't  
already such a thing available...)

Flaky employees who don't meet deadlines, however are endemic in all  
ines of work and are really another matter. That's a matter of  
someone not meeting the terms of something they already HAVE agreed  
to. Community theater directors may just be more out of luck on this  
than most people because they so often don't have anyone else they  
can really turn to if the costumer flakes out.
____________________________________________________________

O    Chris Laning <claning@igc.org> - Davis, California
+     http://paternoster-row.org - http://paternosters.blogspot.com
____________________________________________________________



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Chris Laning wrote:
> These experiences suggest that both designers and directors would be  
> happier in the end if, whatever the expectations are, they were  
> *written down* and agreed on ahead of time.
I absolutely agree.  My husband and a group of friends build sets for 
amateur theatre, so I've been reading this thread from the other side, 
as it were.  Having had less and less time to build bigger and bigger 
sets in recent years, the latest show was an absolute monster - two 
structures, 20 ft high, 20ft wide and 8ft deep(just to have space for 
enough buttressing), which the director originally wanted to move in 
sight during scenes!   They  built it,  securely enough that the  
theatre's resident stage manager  allowed them to use it and move it, 
which was in question until the technical rehearsal, but only with the 
curtains closed and all cast off stage - but they have now  written down 
conditions making clear that they can only do so much if just presented 
with plans at 6 weeks notice, and how much better it could be if they 
were involved in discussions about design and movement requirements at 
an early stage.  Clearly understood expectations are always where it's at!

Jean

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Subject: Re: [h-cost] OT Re:  Regional accents, was Making history hip
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AlbertCat@aol.com wrote:
>  
> In a message dated 4/4/2008 8:30:29 P.M. Eastern Daylight Time,  
> sharon@collierfam.com writes:
>
> Someone  recently told me that it was a sign of refinement/education to be be
> to  spell a word in different ways. Anyone ever hear of this?  
>
>
>
> ************************
>  
> Not "your", "you're" and "yore". Or "two", "to" and "too".
>  
> I suppose it might seem cosmopolitan to know "color" is "colour" in Britain  
> or that you can shop at a shoppe... but it's really just having a good vocab.  
> English has like 3 times more words in it than other languages... stolen from 
>  other languages... which is why we have so many different spellings and  
> homonyms.
>   
There's a quote from Mark Twain, "I don't give a damn for a man that can 
only spell a word one way".  Maybe that's what they were thinking of?  
Rather out of date now that standardised spelling is the  norm.

Jean

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In the museum of decorative arts in Prague there is a library that holds some old fashion books, and there are also a few from the end of the 19th century, one or two, I don't remember exactly, are very good drafting manuals. It's some time ago that I've searched these books through, so I don't really remember the dates these books were from and the language (though I think it was always German). But if you were interested, I could go and have a look. They photocopy any books you like. I don't think that the copyright is a big deal here, because the books have no living author any more (what a surprise) and all photocopies are to be used for study and non-commercial use.

Zuzana

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To all who've addressed this question to date: Thank you all so much. I now don't 1) feel all alone 2) feel so abused.

Here is some of how I do a design assignment or project:

Read the script as early as possible, first for impression then for content

Research the author, his era, the era of the play

Read the script again for actions of characters

Line by line read the dialogue for described, prescribed, and proscribed dress

Take into account the stage directions and how or if they apply to the stage being used

Assess each character's personality

Talk to the director

Prepare drawings for director's approval

Check with set design on color, exits-entrances, any obstructions, need for particular set pieces ( coat rack, etc.)

I do not costume actors; I design uniforms for characters (I do take into consideration any physical limitations of the actor)

On this show I got the script the afternoon of auditions and was turned on my request for a meeting with director who said she didn't know what she yet and she'd get back to me - never happened.

A starter for, not a standard, a precept to work by :never take measurements by yourself, always use a chaperone. If working with children do not use other children for this, always use an adult. Audy

in the high boonies of Central Texas

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Wooooooow, I call this a help!!! I just wanted to post a question about wha=
t methods you use when drafting/scaling corsets to size. Because I just don=
't get the scaling or enlarging from an existing pattern. The human body is=
 so "diverse", there are so many measurements to care about...though, I adm=
it, a corset is designed to shape the body rather than to adjust to it. =

I draft all patterns I make, but I still cannot draft a corset that would a=
chieve the period, not modern, figure. I've spent quite a lot of time diggi=
ng into 19th century drafting books, but I could never find a drafting syst=
em for drawing corsets.

This simple method about enlarging an existing pattern looks good, I gotta =
try it:-D It's maybe best to make the right proportions (width and height) =
in photoshop and then print it to the correct size. Or print it in a small =
size on an A3/A4 printer and let it be photocopied and enlarged.

So, may I ask, what methods do you use when making a corset pattern? If it =
is not your trade secret, of course:-)

Zuzana



Kathy Page <caitlin_oduibhir@yahoo.ca> wrote: This is an original pattern f=
rom 1898 someone has scanned in and even explained how one could resize it =
on the computer. I couldn't figure out exactly what they were talking about=
, so I simply printed it on mylar and proportionately enlarged it. It made =
it too long, but that's fairly fixable. With any corset pattern, you should=
 be test fitting it several times anyway.

http://www.staylace.com/updatelogs/graphics/school_corset.gif

I'm trying my hand at sewing again. I had the urge to get back in thesaddle=
 right in time to finally secure a job. :-) Irony abounds! I'm trying to ma=
ke a black leather show girl costume in time for a competition in May. I de=
cided to give my imagination free reign, which it still isn't used to. ;-)

Cheers,

Kathy

It&#65533;s never too late to be who you might have been.-George Eliot
Tosach e=F3lais imchomarc/Questioning is the beginning of knowledge. -Irish=
 proverb
One can never consent to creep when one feels an impulse to soar.-Helen Kel=
ler
The difference between stupid and intelligent people - and this is true whe=
ther or not they are educated - is that intelligent people can handle subtl=
ety. They are not baffled by ambiguous or even contradictory situations. In=
 fact, they expect them and are apt to be suspicious when things seem overl=
y straightforward. - Neal Stephenson, "The Diamond Age"
It's not who you are that holds you back, it's who you think you're not. - =
Denis Waitley


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I assume that the material posted so far regarding professional behavior and expectations of costume designers has related mostly to community theatre.? May I comment as a professional costume designer.? I learned very early in my career not to work without a signed contract.? Every contract I sign spells out very clearly what I am responsible for and gives due dates for rough sketches, final sketches and dates?that I am required to be in residence with the theatre company which has employed me.? My contract expires on opening night.? Most contracts also indicate that I will partipate in all design conferences with the director and other designers involved in the production as well as regularly scheduled production and budget meetings.? In addition, the contract gives dates in which I will receive a portion of my design fee.? The contract I am looking at right now stipulates that I will be paid for my work in three installments, the last to occur on opening night.? It also s!
 tates that I will be given a housing allowance and be reimbured for traveling expenses to and from the theatre company. Having a signed contract protects both the designer and the company.? I learned my lesson when I was first beginning my career wherein, after working for three weeks on designs for a show and being promised a contract any day, the producer quit and the new producer had a girlfriend who was a costume designer.? Guess what happened?


Cheryl Odom
College of Santa Fe
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Subject: [h-cost] Victorian Day at the Computer History Museum
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Exhibit Launch & Open House: Charles Babbage's Difference Engine No. 2
  DATE & TIME
Saturday, May 10, 2008

12 noon - 5:00 p.m.

ABSTRACT OF TALK
Join the Computer History Museum in launching its exciting new
exhibit: Babbage's Difference Engine No. 2, exhibited for the first
time in North America. Bring your family and friends to see and hear
the Engine in action!

This five-ton Engine is one of only two Charles Babbage's computing
engines ever built, consisting of 8,000 parts of bronze, cast iron and
steel and measuring 11 feet long and 7 feet high. It was designed to
calculate and print mathematical tables. Come to see the docents
"crank" the Engine and watch it mechanically calculate - an arresting
spectacle of automatic computing.

The exhibit launch and open house, a Victorian-themed event, promises
a stunning display of Babbage's elegant design and inspired
engineering. His designs for vast mechanical calculating engines rank
as one of the startling achievements of the 19th century.

The Babbage Exhibit is made possible through the generosity of the
following donors: Nathan Myhrvold, Andreas Bechtolsheim, Bell Family
Trust, Donna Dubinsky & Len Shustek, Judy Estrin, Fry's Electronics -
Kathryn Kolder, Dorrit & F. Grant Saviers, Marva & John Warnock, and
special thanks to Science Museum, London.

Come to see what no Victorian ever saw.

Activities:
12:30, 1:30, 2:30 & 4:00 p.m. - Babbage's Engine demonstrations
1:00 & 3:30 p.m. - Screening of Ada Lovelace Film, "To Dream Tomorrow" (53min)
- Popcorn, snowcones and pretzels available all afternoon


LOCATION
1401 N. Shoreline Boulevard
Mountain View, CA 94043
Directions

 --cin
Cynthia Barnes
CinBarnes@gmail.com

Calling all steam punk nerds: Victorian Day at the Computer History Museum


YES! May 10!

http://www.computerhistory.org/babbage/

Please forward on to anyone else who may want to attend.

mike
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Relaying a request from a friend:

Can anyone recommend, ideally from personal experience, a good supplier of 
medieval (say, 14th-15th c.) belts and/or buckles? My friend is familiar with 
Revival Clothing, which sells Talbot's leather goods, but would like to know 
his range of options before purchasing.

--Robin

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Robin Netherton wrote:
> Relaying a request from a friend:
>
> Can anyone recommend, ideally from personal experience, a good supplier of 
> medieval (say, 14th-15th c.) belts and/or buckles? My friend is familiar with 
> Revival Clothing, which sells Talbot's leather goods, but would like to know 
> his range of options before purchasing.

I am a fan of Raymond's Quiet Press for buckles, strap ends, etc:   
http://www.quietpress.com/   You'll have to get your own leather belt 
strapping, but he really does have a nice selection.  He primarily works 
in bronze, but items can be plated.

For pewter findings, there's Fettered Cock:   
http://www.fetteredcockpewters.com/page_belts.htm  .  They no longer do 
custom belts, but I'm a long-term satisfied customer.

There's also Billy and Charlie:   
http://www.billyandcharlie.com/belt.html  .  Robin, the lady of this 
particular establishment is the same lady who did the pewter casting 
demo at Kalamazoo a few years ago.

Susan

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Raymond's Quiet Press offers that rare combination of good, fast and
reasonable price.

www.quietpress.com

::Linda::

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
On Behalf Of Robin Netherton
Sent: Sunday, April 13, 2008 5:52 PM
To: Historic Costume List
Subject: [h-cost] Source for medieval belts/buckles?

Relaying a request from a friend:

Can anyone recommend, ideally from personal experience, a good supplier
of 
medieval (say, 14th-15th c.) belts and/or buckles? My friend is familiar
with 
Revival Clothing, which sells Talbot's leather goods, but would like to
know 
his range of options before purchasing.

--Robin

_______________________________________________
h-costume mailing list
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I also endorse Raymond.  I know his work and his customer service and  
have been extremely happy with both.

Emma

Quoting Linda Rice <vmaa2@cox.net>:

> Raymond's Quiet Press offers that rare combination of good, fast and
> reasonable price.
>
> www.quietpress.com
>


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Maybe not a direct answer to the question but one worth keeping in mind for 
future reference:

Keep an eye on op-shops that are known to carry 1970s stuff. There was a pahse 
in the early-1970s where chunky older style buckles were being matched up with 
crappy vinyl belts,

-C.


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From: "michaela de bruce" <michaela.de.bruce@gmail.com>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] drafting/scaling corsets to size,
	was: Corset pattern 1895
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>  This simple method about enlarging an existing pattern looks good, I gotta try it:-D It's maybe best to make the right proportions (width and height) in photoshop and then print it to the correct size. Or print it in a small size on an A3/A4 printer and let it be photocopied and enlarged.


I've drafted up a pattern of the Effify corset, based on the
photographs available at the time, and scaled up the 1880s corset in
Corsets and Crinolines. I really recommend actually adjusting to
height rather than width as this is going to be more likely to produce
an adjustable pattern for your width. It's much harder to adjust
appropriate breast and hip height than it is do add extra to seams
(split the panels and add there, as there are so many seams in a
corset it's easier to  add only a little to each panel without greatly
affecting the shaping. This is especially true the greater the
difference between your girth vs height and the original girth vs
height.
The 1880s corset is now too short for my body as I've lost weight
which has also dropped my waist which means I wiggle the corset down
too far for the upper half to sit well. I've also now had to remove a
little from the side panels and the front so that the corset sits
close at the back as well as the front. When the bust is too big I
find the back wants to close at the top but it then digs into flesh
too much, it needs to fit closely without squishing over the bust;)

I now suit an 1890s line of corset which is fairly close to what I
have wound up making my alterations to my 1880s corset. I just know it
fits well as it is apart from the adjustments to the upper half.


Michaela de bruce
http://glittersweet.com
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On Sunday 13 April 2008, Robin Netherton wrote:
> Relaying a request from a friend:
>
> Can anyone recommend, ideally from personal experience, a good supplier of
> medieval (say, 14th-15th c.) belts and/or buckles? My friend is familiar
> with Revival Clothing, which sells Talbot's leather goods, but would like
> to know his range of options before purchasing.


I've never bought a belt from Raymond's Quiet Press, but I've bought other 
jewelry from him  over the years, and can vouch for his courtesy, the quality 
of his goods, and the reasonableness of his prices.  What follows are some 
sites I'm familiar with but, because I don't do 14th c costume, I've never 
dealt with personally or vetted.

These people will actually do the assembly work for you; the catch is that 
their buckles, strap-ends and mounts are pewter:

http://www.billyandcharlie.com/

Fettered Cock Pewters used to make up belts, but now they only sell strapends 
and buckles.  I think theirs are pewter, too.

http://www.fetteredcockpewters.com/page_belts.htm

Other vendors include The Inner Bailey:

http://www.theinnerbailey.com/belts.htm

Jelling Dragon mostly sells Viking period stuff, but has a "Norman/medieval" 
belt option.  Their fittings are bronze, and their prices higher:

http://www.jelldragon.com/medieval_belts.htm

I'm ignoring, of course, the places that sell "medieval ring belts", as though 
there were such a thing.  :-)

I wish your friend luck in finding what he needs!



-- 
Cathy Raymond <cathy@thyrsus.com>

"You affect the world by what you browse."-- Tim Berners-Lee

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It sounds like you do a very through job.  I feel kinda new at this with only five years under my belt.  I do all the reading steps, highlight for wardrobe descriptions and/or obvious needs that are in the script, track exits and entrances with time to change intervals and do a full spreadsheet for every character and their costume needs.   I do have trouble getting time with the director and other section heads - i.e. props and set designer but so far I have been fortunate that there have been no big conflicts. I've learned to say "if it doesn't go through my sewing machine, I don't provide it". I second the "don't take measurements alone" but for a slightly different reason since I'm never really alone when taking measurements.  My problem arose the morning after measuring a cast of 56 in a three hour period - up -down- up - down -up -well you get the picture. My quads were so sore for the next 5 days I could hardly walk, I just hobbled.  
  You are never alone when there are so many helpful and knowledgeable people here on this list.  I lurk a lot - I read this list almost every day and am constantly impressed and enlightened by the willingness of so many to share with all the rest of us. 
Thank you to everyone - those who ask and those who answer.
Anniecat> Date: Sun, 13 Apr 2008 14:57:21 -0500> From: achasedesign@peoplepc.com> To: h-costume@mail.indra.com> Subject: [h-cost] D P STANDARDS> > To all who've addressed this question to date: Thank you all so much. I now don't 1) feel all alone 2) feel so abused.> > Here is some of how I do a design assignment or project:> > Read the script as early as possible, first for impression then for content> > Research the author, his era, the era of the play> > Read the script again for actions of characters> > Line by line read the dialogue for described, prescribed, and proscribed dress> > Take into account the stage directions and how or if they apply to the stage being used> > Assess each character's personality> > Talk to the director> > Prepare drawings for director's approval> > Check with set design on color, exits-entrances, any obstructions, need for particular set pieces ( coat rack, etc.)> > I do not costume actors; I design uniforms for characters (I do take into con!
 sideration any physical limitations of the actor)> > On this show I got the script the afternoon of auditions and was turned on my request for a meeting with director who said she didn't know what she yet and she'd get back to me - never happened.> > A starter for, not a standard, a precept to work by :never take measurements by yourself, always use a chaperone. If working with children do not use other children for this, always use an adult. Audy> > in the high boonies of Central Texas> > ________________________________________> PeoplePC Online> A better way to Internet> http://www.peoplepc.com> _______________________________________________> h-costume mailing list> h-costume@mail.indra.com> http://mail.indra.com/mailman/listinfo/h-costume
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I wish I knew that just a few day's earlier...
I just got back from Prague. But missed the museum....
What a tourist place, even Amsterdam isn't as touristic as Prague.
It almost felt like a theme park.
But it is very beautiful.
And way too much to see for just two days.

German is not a problem for me.
I'll be interested in any 1895 patterns.
I would be very happy if you would want to look and copy some things for me.

Deredere


Zuzana Kraemerova wrote:
> In the museum of decorative arts in Prague there is a library that holds some old fashion books, and there are also a few from the end of the 19th century, one or two, I don't remember exactly, are very good drafting manuals. It's some time ago that I've searched these books through, so I don't really remember the dates these books were from and the language (though I think it was always German). But if you were interested, I could go and have a look. They photocopy any books you like. I don't think that the copyright is a big deal here, because the books have no living author any more (what a surprise) and all photocopies are to be used for study and non-commercial use.
>
> Zuzana
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Subject: [h-cost] V-neck regency gown?
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A dancer in my group is making a v-neck regency gown and is using the
La Mode Bagetelle pattern. Has anyone here seen this version made up?
She has told me there is a huge overlap. Without being able to see it,
I can't see if this is designed to come out like the half robe in
Janet Arnold or not.
Thanks, Aylwen
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In a message dated 4/14/2008 5:54:01 AM Eastern Daylight Time,  
aylwengg@gmail.com writes:

A dancer  in my group is making a v-neck regency gown and is using the
La Mode  Bagetelle pattern. Has anyone here seen this version made up?
She has told  me there is a huge overlap


I don't have the pattern in front of me.  The only V necks I can  confirm on 
dresses of this period are made with what we now call a surplice wrap  front, 
a variation of the apron front or low stomacher front gown.  That  is, the 
bodice pieces lap over and form a V, and then the skirt is tied on  over.  I 
don't believe LMB is cut as a true stomacher front, is it?
 
Ann Wass



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Toby Whitty of The Silver Wyvern for buckles.
 
Hand makes them all, and is excellent.
 
Trained as a jeweller, and made my (medieval design) engagement ring.
 
 
 
 
In a message dated 14/04/2008 06:43:44 GMT Standard Time,  
h-costume-request@indra.com writes:

Relaying  a request from a friend:

Can anyone recommend, ideally from personal  experience, a good supplier of 
medieval (say, 14th-15th c.) belts and/or  buckles? My friend is familiar 
with 
Revival Clothing, which sells Talbot's  leather goods, but would like to know 
his range of options before  purchasing.

--Robin


 



   
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Ok, I'll go and have a look as soon as I get there:-)

What a pity you missed that! I'm quite sure you'd find some interesting books there. Well, too late now. Just a message to all others: if you ever get to Prague, don't forget to visit this library! I'll be glad to help you all with finding it:-)

Zuzana

Deredere Galbraith <Deredere.Galbraith@kabelfoon.nl> wrote: I wish I knew that just a few day's earlier...
I just got back from Prague. But missed the museum....
What a tourist place, even Amsterdam isn't as touristic as Prague.
It almost felt like a theme park.
But it is very beautiful.
And way too much to see for just two days.

German is not a problem for me.
I'll be interested in any 1895 patterns.
I would be very happy if you would want to look and copy some things for me.

Deredere


Zuzana Kraemerova wrote:
> In the museum of decorative arts in Prague there is a library that holds some old fashion books, and there are also a few from the end of the 19th century, one or two, I don't remember exactly, are very good drafting manuals. It's some time ago that I've searched these books through, so I don't really remember the dates these books were from and the language (though I think it was always German). But if you were interested, I could go and have a look. They photocopy any books you like. I don't think that the copyright is a big deal here, because the books have no living author any more (what a surprise) and all photocopies are to be used for study and non-commercial use.
>
> Zuzana
>
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Wow, what an informative batch of responses! Thanks to all of you -- I'll pass 
these along to my friend.

--Robin
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Fettered Cock, which others have recommended.
Billy and Charlie's, which others have recommended.

I would add Gaukler's Medieval Wares to that list: 
http://www.medievalwares.com/ for bronze belt hardware. He is extremely 
knowledgeable, and often his pieces are direct casts of originals in his 
collection.

I would add some other notes on 14th c. belts--frequently the belt 
hardware *was* pewter. Much of the belt hardware in Dress Accessories, for 
instance, is various pewter alloys.

Also, Historic Enterprises: http://www.historicenterprises.com/cart.php 
although again, no leather, just the hardware.

Tandy Leather for undyed belt blanks: 
http://www.tandyleatherfactory.com/index.asp

Yours,

Jen/pixel/Margaret


On Sun, 13 Apr 2008, Robin Netherton wrote:

> Relaying a request from a friend:
>
> Can anyone recommend, ideally from personal experience, a good supplier of
> medieval (say, 14th-15th c.) belts and/or buckles? My friend is familiar with
> Revival Clothing, which sells Talbot's leather goods, but would like to know
> his range of options before purchasing.
>
> --Robin
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Subject: [h-cost] Belt query: was Source for medieval belts/buckles?
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I've used both Fettered Cock and Billie and Charlie's. Nice stuff. FC
pieces are generally a bit heavier than B&C's. Excellent customer service
from both, very nice work. Mark de Gaulker's work is stellar (he's a
fellow An Tirian). He puts out a lot of jeweler's quality work as well, a
little pricey at times but so worth it!

Belt questions: I have a very nice long leather belt that I bought from
one of our local merchants. I'm going to use saddle soap to soften it up,
but it is quite stiff--is there anything else I can do, short of having
my dogs chew on it?

Also, how long would a medieval lady's belt be? I need to trim it but am
unsure of how much to take off.

Thanks!
Arlys

On Mon, 14 Apr 2008 10:41:07 -0500 (CDT) "Pixel, Goddess and Queen"
<pixel@hundred-acre-wood.com> writes:
> 
> Fettered Cock, which others have recommended.
> Billy and Charlie's, which others have recommended.
> 
> I would add Gaukler's Medieval Wares to that list: 
> http://www.medievalwares.com/ for bronze belt hardware. He is 
> extremely 
> knowledgeable, and often his pieces are direct casts of originals in 
> his 
> collection.
> 
> I would add some other notes on 14th c. belts--frequently the belt 
> hardware *was* pewter. Much of the belt hardware in Dress 
> Accessories, for 
> instance, is various pewter alloys.
> 
> Also, Historic Enterprises: 
> http://www.historicenterprises.com/cart.php 
> although again, no leather, just the hardware.
> 
> Tandy Leather for undyed belt blanks: 
> http://www.tandyleatherfactory.com/index.asp
> 
> Yours,
> 
> Jen/pixel/Margaret
> 
> 
> On Sun, 13 Apr 2008, Robin Netherton wrote:
> 
> > Relaying a request from a friend:
> >
> > Can anyone recommend, ideally from personal experience, a good 
> supplier of
> > medieval (say, 14th-15th c.) belts and/or buckles? My friend is 
> familiar with
> > Revival Clothing, which sells Talbot's leather goods, but would 
> like to know
> > his range of options before purchasing.
> >
> > --Robin
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 

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What time period of "medieval"? What are you wearing it with? Generally, 
length depends on whether or not you're tripping on it and what your 
socio-economic class is. The more money (or rank) you have, the longer and 
fancier your belt.

The best thing I've found to soften leather is use, or you can treat it 
with mink oil and work it a lot. Or let your dogs chew on it, but then 
you'll have toothmarks. ;-)

Jen/pixel/Margaret

On Mon, 14 Apr 2008, Cynthia J Ley wrote:

> I've used both Fettered Cock and Billie and Charlie's. Nice stuff. FC
> pieces are generally a bit heavier than B&C's. Excellent customer service
> from both, very nice work. Mark de Gaulker's work is stellar (he's a
> fellow An Tirian). He puts out a lot of jeweler's quality work as well, a
> little pricey at times but so worth it!
>
> Belt questions: I have a very nice long leather belt that I bought from
> one of our local merchants. I'm going to use saddle soap to soften it up,
> but it is quite stiff--is there anything else I can do, short of having
> my dogs chew on it?
>
> Also, how long would a medieval lady's belt be? I need to trim it but am
> unsure of how much to take off.
>
> Thanks!
> Arlys
_______________________________________________
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On Mon, 14 Apr 2008 11:16:26 -0500 (CDT) "Pixel, Goddess and Queen"
<pixel@hundred-acre-wood.com> writes:
> 
> What time period of "medieval"? What are you wearing it with? 
> Generally, 
> length depends on whether or not you're tripping on it and what your 
> 
> socio-economic class is. The more money (or rank) you have, the 
> longer and 
> fancier your belt.

Early 1300's, England, upper middle class. Tripping bad. ;-)
 
> The best thing I've found to soften leather is use, or you can treat 
> it with mink oil and work it a lot. Or let your dogs chew on it, but 
> then you'll have toothmarks. ;-)

My husband suggested that I gum it (dentures, y'see), but retracted it
when he saw the dirty look I gave him. ;)

Arlys


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I've found that neatsfoot oil works well, but some people worry about
its effect on the longevity of the leather (or perhaps it's the
longevity of the stitching).

I'm going to use saddle soap to soften it up,
> but it is quite stiff--is there anything else I can do, short of
having
> my dogs chew on it?
>
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From: "Diane Maynard" <camelothorse@earthlink.net>
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Subject: Re: [h-cost] Belt query: was Source for medieval belts/buckles?
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I normally just lurk but, this topic is right up my ally.  I am a
professional Dressage and Jumper rider/trainer and we deal a lot with having
to condition leather.  The reason some people do not want to use neatsfoot
oil is because it WILL darken your leather and it will also come off on your
clothing and permanently stain.  You are right that it also affects the
integrity of the stitching.  A good saddle maker will recommend any clear or
light oil for conditioning leather.  The clearer the oil, the more pure it
is.  BTW--Baby oil works very well.  You can also go to any Tack shop and
look through their leather cleaning and conditioning supplies or go on line
to Dover Saddlery or State Line Tack.  Both of those have relatively good
prices and will ship supplies to you from their on line shop.

Diane


Subject: Re: [h-cost] Belt query: was Source for medieval belts/buckles?

I've found that neatsfoot oil works well, but some people worry about
its effect on the longevity of the leather (or perhaps it's the
longevity of the stitching).

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In addition to all the others mentioned, (Some of which I have frequented with pleasure.) I would also like to mention http://www.handelsgillet.se/baltesdetaljer.htm. They are in Sweden. I have not ordered belt bits from them before but have ordered a number of other items. They are very nice to work with. Just send them an email to order or ask questions. They read and write English with no problems. They take Paypal. (Oh and did I mention the reproduction weaves? http://www.handelsgillet.se/tyger.htm and for more detail on the patterned weaves http://www.handelsgillet.se/pl_sida/pers_sida.htm)
 
Regards,
Anne Marie Decker
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I believe there is a slight overlap on this pattern, but not to the extent that there is in Janet Arnold.  There are some pictures of the dress made up at GBACG in their Pattern Review.  http://www.gbacg.org/great-pattern-review/la-mode-bagatelle.html (direct link the La Mode Bagatelle page on GBACG)

Hope that helps

Serena Dyer
http://www.pemberleydesigns.co.uk
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Date: Mon, 14 Apr 2008 14:22:11 -0400
From: Kate Pinner <pinnerk@mccc.edu>
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Subject: [h-cost] Fake Blood--getting out of costumes?
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This may have been discussed before, but I don't remember. What formulas do
you use for blood and If the director wants it smeared on a costume (on
stage), how do you get it off -- especially wool and or velvet?

Kate


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Subject: Re: [h-cost] DESIGNER PROFESSIONAL STANDARDS
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This is why I feel regular production meetings are so important. At the
first meeting, all the designers and the director get together and discuss
the direction of the show re: design, style, etc. As soon as the show is
cast, meet again and make any changes (if the leads won't look good in the
original ideas, change them ASAP) Then meet every week until tech week. It
keeps the director and producer from getting any surprises and you can let
folks know if their expectations aren't going to be met because of
budget/time/lack of help, etc. 
As to professional standards, if the director/producer changes my ideas so
radically that I would be embarrassed to have my name on them, I do the job
as asked (I'm assuming you're getting paid), but ask that I not be listed in
the program as the designer, after all, if your designs have been altered,
they aren't a good reflection of your abilities.

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of AVCHASE
Sent: Friday, April 11, 2008 7:46 PM
To: h-costume posts
Subject: [h-cost] DESIGNER PROFESSIONAL STANDARDS

Hi, All. The most recent show on which I  worked opened last last Thursday.
And over all its a good show. But some of the fallout has been very
upsetting to me.
The director invited me to do this show for her, her last show (she's said
that for for the last three years), and I've done them. Each time some cast
members have been down right vicious. This time was the worst.
It occurred to me we expected different things as/from a designer. I'd just
assumed they all understood that I only did these shows to practice my
craft, keep my abilities in shape, and explore my ideas. Maybe her agenda
was different?
So I sent an email and asked what she had expected when she engaged a
designer. She wrote back to me a very complimentary (damned by praise-forget
faint) note about my design capabilities; but-said I was overbearing, didn't
listen to the actress's ideas and was not willing to take suggestions form
the actresses. The ideas and suggestions were put forth a few days before
dress and production had gotten me no help for a small musical with 48
changes in it. Some very small; most changes are full costume though. I
found I was being difficult when I said there just wasn't time.
The worst part is that the changes weakened the visual dramatic impact but
were more conventional.
Now I want to write a little paper setting forth designer's professional
standards. It isn't that I don't know what most are but I don't know if they
are enumerated anywhere. Are they? Please help, both scholars and
practitioners. Audy

in the high boonies of Central Texas

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From: Sylvia Rognstad <sylvia@ntw.net>
Date: Mon, 14 Apr 2008 12:58:41 -0600
To: Historical Costume <h-costume@indra.com>
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Subject: Re: [h-cost] DESIGNER PROFESSIONAL STANDARDS
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I had a difficult situation with a play I designed last summer.  The 
director didn't have much of a clue what he wanted before the rehearsal 
process started but he did have one conceptual concept he wanted 
visualized by the costumes and I agreed it would be a good one, so I 
designed the show around that.  The play only had 2 actors, one male, 
one female (The Last Five Years) and when rehearsals started, they, 
especially the woman, started suggesting costume ideas.  At that point, 
the director more or less submitted to their-mainly her--ideas and my 
ideas kind of flew out the window.  It was a shopped show and one 
weekend the woman even went to a store and bought some things she 
liked, to bring back and show me.  I was getting rather frustrated and 
disappointed by then but tried to go with the flow and I actually did 
appreciate their input, since they knew more about their characters 
than I did through rehearsing their parts.    I guess I've been in the 
business enough by now to know do this, although it would have been 
impossible if the costumes had been built.

So I sympathize with you and your situation.  Fortunately it hasn't 
happened very often that the actors want to design their own costumes.  
On one of the other plays I also designed last summer one actress asked 
for a different color fabric after I had already purchased it, but we 
had a big enough budget that I could do so.

Several years ago I was draping a show that had cast an experienced 
Broadway actress who was of a "certain age"  and the designer had to 
design 3 different possible outfits for her to approve before his 
designs were finalized, so I know this happens a lot in our industry.   
Sometimes the actors are right and have good ideas.  Sometimes they are 
not and you have to do what it takes to please them, as I've found that 
directors usually bow to the actors, not the designer.

Sylvia

On Apr 14, 2008, at 12:37 PM, Sharon Collier wrote:

> This is why I feel regular production meetings are so important. At the
> first meeting, all the designers and the director get together and 
> discuss
> the direction of the show re: design, style, etc. As soon as the show 
> is
> cast, meet again and make any changes (if the leads won't look good in 
> the
> original ideas, change them ASAP) Then meet every week until tech 
> week. It
> keeps the director and producer from getting any surprises and you can 
> let
> folks know if their expectations aren't going to be met because of
> budget/time/lack of help, etc.
> As to professional standards, if the director/producer changes my 
> ideas so
> radically that I would be embarrassed to have my name on them, I do 
> the job
> as asked (I'm assuming you're getting paid), but ask that I not be 
> listed in
> the program as the designer, after all, if your designs have been 
> altered,
> they aren't a good reflection of your abilities.
>
> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] 
> On
> Behalf Of AVCHASE
> Sent: Friday, April 11, 2008 7:46 PM
> To: h-costume posts
> Subject: [h-cost] DESIGNER PROFESSIONAL STANDARDS
>
> Hi, All. The most recent show on which I  worked opened last last 
> Thursday.
> And over all its a good show. But some of the fallout has been very
> upsetting to me.
> The director invited me to do this show for her, her last show (she's 
> said
> that for for the last three years), and I've done them. Each time some 
> cast
> members have been down right vicious. This time was the worst.
> It occurred to me we expected different things as/from a designer. I'd 
> just
> assumed they all understood that I only did these shows to practice my
> craft, keep my abilities in shape, and explore my ideas. Maybe her 
> agenda
> was different?
> So I sent an email and asked what she had expected when she engaged a
> designer. She wrote back to me a very complimentary (damned by 
> praise-forget
> faint) note about my design capabilities; but-said I was overbearing, 
> didn't
> listen to the actress's ideas and was not willing to take suggestions 
> form
> the actresses. The ideas and suggestions were put forth a few days 
> before
> dress and production had gotten me no help for a small musical with 48
> changes in it. Some very small; most changes are full costume though. I
> found I was being difficult when I said there just wasn't time.
> The worst part is that the changes weakened the visual dramatic impact 
> but
> were more conventional.
> Now I want to write a little paper setting forth designer's 
> professional
> standards. It isn't that I don't know what most are but I don't know 
> if they
> are enumerated anywhere. Are they? Please help, both scholars and
> practitioners. Audy
>
> in the high boonies of Central Texas
>
> ________________________________________
> PeoplePC Online
> A better way to Internet
> http://www.peoplepc.com
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>

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I had a difficult situation with a play I designed last summer.? The 
director didn't have much of a clue what he wanted before the rehearsal 
process started but he did have one conceptual concept he wanted 
visualized by the costumes and I agreed it would be a good one, so I 
designed the show around that.? The play only had 2 actors, one male, 
one female (The Last Five Years) and when rehearsals started, they, 
especially the woman, started suggesting costume ideas.? At that point, 
the director more or less submitted to their-mainly her--ideas and my 
ideas kind of flew out the window.? It was a shopped show and one 
weekend the woman even went to a store and bought some things she 
liked, to bring back and show me.? I was getting rather frustrated and 
disappointed by then but tried to go with the flow and I actually did 
appreciate their input, since they knew more about their characters 
than I did through rehearsing their parts.??? I guess I've been in the 
business enough by now to know do this, although it would have been 
impossible if the costumes had been built.


This is why I continue to maintain that contemporary show are the most difficult to design.? Many cast members think they have a better idea than the designer.? And?many directors, wanting to please the actors in order to get the best possible performance out of them, will let the actors dictate to the designer what they want.? Which is why research and renderings are extremely valuable from the beginning of the process.? So it doesn't turn into "He said, she said" and one can produce the original ideas which were agreed on.? I hope we're not boring the non-costume designers on this list.


Cheryl Odom
College of Santa Fe
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> I hope we're not boring the non-costume designers on  this list.

I, for one, am finding it fascinating, and a reminder of why I didn't  
persue theatre after high school.

Emma


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From: "Lynn Downward" <lynndownward@gmail.com>
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I too find this conversation interesting as it's part of theater I know
nothing about. My daughter is in high school but has done some semi-legit
theater and hopes to pursue it as a career. I don't act except as a
recreationist and I make my own costumes under approval of a costume
director. However, I've helped others with their community theater and have
heard the stories. It seems that a contract really is the way to go.

Lynn

On Mon, Apr 14, 2008 at 12:42 PM, <00217146@bigred.unl.edu> wrote:

> > I hope we're not boring the non-costume designers on  this list.
>
> I, for one, am finding it fascinating, and a reminder of why I didn't
> persue theatre after high school.
>
> Emma
>
>
> _______________________________________________
> 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] Fake Blood--getting out of costumes?
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Just get rid of the director. It's easier. :-) 

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Kate Pinner
Sent: Monday, April 14, 2008 11:22 AM
To: 'Historical Costume'
Subject: [h-cost] Fake Blood--getting out of costumes?

 
This may have been discussed before, but I don't remember. What formulas do
you use for blood and If the director wants it smeared on a costume (on
stage), how do you get it off -- especially wool and or velvet?

Kate


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This a discussion that benefits all era of costume.  Agreed that not all on this list work in theater but many of us do and to hear from others about your experiences is great. I agree the modern period is the most difficult to design for. I much  prefer period plays.  however there are some times that are more difficult than others.  I designed a play set in ancient Egypt.  I love archeology and am aware that slaves in the "real' ancient Egypt worked naked - this didn't go over too well with my director - so I let her have her way and designed slave costumes for the ensemble.> To: h-costume@indra.com> Date: Mon, 14 Apr 2008 15:35:27 -0400> From: cheryldee@aol.com> Subject: [h-cost] Director-designer professional standards> > I had a difficult situation with a play I designed last summer.? The > director didn't have much of a clue what he wanted before the rehearsal > process started but he did have one conceptual concept he wanted > visualized by the costumes and I agreed i!
 t would be a good one, so I > designed the show around that.? The play only had 2 actors, one male, > one female (The Last Five Years) and when rehearsals started, they, > especially the woman, started suggesting costume ideas.? At that point, > the director more or less submitted to their-mainly her--ideas and my > ideas kind of flew out the window.? It was a shopped show and one > weekend the woman even went to a store and bought some things she > liked, to bring back and show me.? I was getting rather frustrated and > disappointed by then but tried to go with the flow and I actually did > appreciate their input, since they knew more about their characters > than I did through rehearsing their parts.??? I guess I've been in the > business enough by now to know do this, although it would have been > impossible if the costumes had been built.> > > This is why I continue to maintain that contemporary show are the most difficult to design.? Many cast members think they have a!
  better idea than the designer.? And?many directors, wanting t!
 o please the actors in order to get the best possible performance out of them, will let the actors dictate to the designer what they want.? Which is why research and renderings are extremely valuable from the beginning of the process.? So it doesn't turn into "He said, she said" and one can produce the original ideas which were agreed on.? I hope we're not boring the non-costume designers on this list.> > > Cheryl Odom> College of Santa Fe> _______________________________________________> 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] V-neck regency gown?
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I have used this pattern for several Regency gowns. My advice is to have someone fit you carefully. The overlap is tricky and?I've had to take both bodices apart to refit them.

Kathleen Norvell?


-----Original Message-----
From: Aylwen Garden <aylwengg@gmail.com>
To: Historical Costume <h-costume@indra.com>
Sent: Mon, 14 Apr 2008 5:53 am
Subject: [h-cost] V-neck regency gown?



A dancer in my group is making a v-neck regency gown and is using the
La Mode Bagetelle pattern. Has anyone here seen this version made up?
She has told me there is a huge overlap. Without being able to see it,
I can't see if this is designed to come out like the half robe in
Janet Arnold or not.
Thanks, Aylwen
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Sharon Collier wrote:
> Just get rid of the director. It's easier. :-) 
>
>  
Only if you have friends to help you hide the body. :)


Dawn

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On Apr 14, 2008, at 12:52 PM, Paula Praxis wrote:

>
> This a discussion that benefits all era of costume.  Agreed that  
> not all on this list work in theater but many of us do and to hear  
> from others about your experiences is great. I agree the modern  
> period is the most difficult to design for. I much  prefer period  
> plays.  however there are some times that are more difficult than  
> others.  I designed a play set in ancient Egypt.  I love archeology  
> and am aware that slaves in the "real' ancient Egypt worked naked -  
> this didn't go over too well with my director - so I let her have  
> her way and designed slave costumes for the ensemble.

I'm helping with costumes for my 6th grader's class play,  which is  
set in Minoan era Crete.  Not surprisingly,  the teacher doesn't want  
historically accurate costumes.  We're putting them in chitons. :)

Margo
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In a message dated 4/14/2008 3:01:46 P.M. Eastern Daylight Time,  
sylvia@ntw.net writes:

as I've  found that 
directors usually bow to the actors, not the  designer.



****************
 
And isn't it annoying. I want to just quit and let the actor do the whole  
show....see how she likes that. I'm tired of wardrobe being on the bottom rung  
of the ladder. [I hear it's not so much so in Europe, especially  Britain] 
When is she gonna complain about the props or change the color of  the wallpaper 
on the set?
 
I don't mind actor's input....but I want the final decision to be mine if  my 
name is on it.
They don't hear me telling them how to read their lines, do  they?
 
 
This is why I ended up cutting and draping more than designing. The actual  
designer really appreciates what you do for  them.




**************It's Tax Time! Get tips, forms and advice on AOL Money & 
Finance.      (http://money.aol.com/tax?NCID=aolcmp00300000002850)
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I ran into a copy of Moda de Firenze (the Italian Renaissance costuming book) at a Ren Faire this weekend.  I was all set to add it to my collection but was shocked at the price.  The last time I looked it was going for about $80 U.S.  Yesterday it was priced at $148.

Has this book really gone up that much in a year or two?  Is there another less costly vendor?

BTW, on a simiilar note, how much is Queen Elizabeth's Wardrobe Unlock'd going for now?

Thanks
Julie in San Diego
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In a message dated 4/14/2008 3:54:23 P.M. Eastern Daylight Time,  
praxis_729@hotmail.com writes:

I agree  the modern period is the most difficult to design for. I much  
prefer  period plays. 


***********
 
Yes! Modern dress is difficult, not only because any actor or actress  thinks 
she can just go buy something, but also because everyone in the audience  
[and cast] knows all about the clothes and different garments speak huge  volumes 
when they are new and fresh in everyone's minds. The wrong brand of  sneakers 
or jeans can ruin an effect. Of course these two aspects.... the buying  and 
the newness....are related.



**************It's Tax Time! Get tips, forms and advice on AOL Money & 
Finance.      (http://money.aol.com/tax?NCID=aolcmp00300000002850)
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----  <h-costume-request@indra.com> wrote:
>
> Send h-costume mailing list submissions to
> 	h-costume@mail.indra.com
> 
> To subscribe or unsubscribe via the World Wide Web, visit
> 	http://mail.indra.com/mailman/listinfo/h-costume
> or, via email, send a message with subject or body 'help' to
> 	h-costume-request@mail.indra.com
> 
> You can reach the person managing the list at
> 	h-costume-owner@mail.indra.com
> 
> When replying, please edit your Subject line so it is more specific
> than "Re: Contents of h-costume digest..."
> 
> 
> Today's Topics:
> 
>    1. Re: V-neck regency gown? (Serena Dyer)
>    2. Fake Blood--getting out of costumes? (Kate Pinner)
>    3. Re: DESIGNER PROFESSIONAL STANDARDS (Sharon Collier)
>    4. Re: DESIGNER PROFESSIONAL STANDARDS (Sylvia Rognstad)
>    5. Director-designer professional standards (cheryldee@aol.com)
>    6. Re: Director-designer professional standards
>       (00217146@bigred.unl.edu)
>    7. Re: Director-designer professional standards (Lynn Downward)
>    8. Re: V-neck regency gown? (appin1@aol.com)
>    9. Re: Fake Blood--getting out of costumes? (Sharon Collier)
>   10. Re: Director-designer professional standards (Paula Praxis)
>   11. Re: Fake Blood--getting out of costumes? (Dawn)
>   12. Re: Director-designer professional standards (Margo Anderson)
>   13. Re: DESIGNER PROFESSIONAL STANDARDS (AlbertCat@aol.com)
> 
> 
> ----------------------------------------------------------------------
> 
> Message: 1
> Date: Mon, 14 Apr 2008 19:11:37 +0100
> From: "Serena Dyer" <serena@pemberleydesigns.co.uk>
> Subject: Re: [h-cost] V-neck regency gown?
> To: <h-costume@mail.indra.com>
> Message-ID: <5DF8F371B2FD4D69A1692EF6D189D32F@SerenaPC>
> Content-Type: text/plain;	charset="iso-8859-1"
> 
> I believe there is a slight overlap on this pattern, but not to the extent that there is in Janet Arnold.  There are some pictures of the dress made up at GBACG in their Pattern Review.  http://www.gbacg.org/great-pattern-review/la-mode-bagatelle.html (direct link the La Mode Bagatelle page on GBACG)
> 
> Hope that helps
> 
> Serena Dyer
> http://www.pemberleydesigns.co.uk
> 
> ------------------------------
> 
> Message: 2
> Date: Mon, 14 Apr 2008 14:22:11 -0400
> From: Kate Pinner <pinnerk@mccc.edu>
> Subject: [h-cost] Fake Blood--getting out of costumes?
> To: "'Historical Costume'" <h-costume@indra.com>
> Message-ID: <006901c89e5c$75141790$835510ac@WWC.MCCC.Com>
> Content-Type: text/plain; charset=us-ascii
> 
>  
> This may have been discussed before, but I don't remember. What formulas do
> you use for blood and If the director wants it smeared on a costume (on
> stage), how do you get it off -- especially wool and or velvet?
> 
> Kate
> 
> 
> 
> 
> ------------------------------
> 
> Message: 3
> Date: Mon, 14 Apr 2008 11:37:54 -0700
> From: "Sharon Collier" <sharon@collierfam.com>
> Subject: Re: [h-cost] DESIGNER PROFESSIONAL STANDARDS
> To: "'Historical Costume'" <h-costume@indra.com>
> Message-ID: <004701c89e5e$a6f83d20$040ba8c0@bobfamilyroom>
> Content-Type: text/plain;	charset="US-ASCII"
> 
> This is why I feel regular production meetings are so important. At the
> first meeting, all the designers and the director get together and discuss
> the direction of the show re: design, style, etc. As soon as the show is
> cast, meet again and make any changes (if the leads won't look good in the
> original ideas, change them ASAP) Then meet every week until tech week. It
> keeps the director and producer from getting any surprises and you can let
> folks know if their expectations aren't going to be met because of
> budget/time/lack of help, etc. 
> As to professional standards, if the director/producer changes my ideas so
> radically that I would be embarrassed to have my name on them, I do the job
> as asked (I'm assuming you're getting paid), but ask that I not be listed in
> the program as the designer, after all, if your designs have been altered,
> they aren't a good reflection of your abilities.
> 
> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
> Behalf Of AVCHASE
> Sent: Friday, April 11, 2008 7:46 PM
> To: h-costume posts
> Subject: [h-cost] DESIGNER PROFESSIONAL STANDARDS
> 
> Hi, All. The most recent show on which I  worked opened last last Thursday.
> And over all its a good show. But some of the fallout has been very
> upsetting to me.
> The director invited me to do this show for her, her last show (she's said
> that for for the last three years), and I've done them. Each time some cast
> members have been down right vicious. This time was the worst.
> It occurred to me we expected different things as/from a designer. I'd just
> assumed they all understood that I only did these shows to practice my
> craft, keep my abilities in shape, and explore my ideas. Maybe her agenda
> was different?
> So I sent an email and asked what she had expected when she engaged a
> designer. She wrote back to me a very complimentary (damned by praise-forget
> faint) note about my design capabilities; but-said I was overbearing, didn't
> listen to the actress's ideas and was not willing to take suggestions form
> the actresses. The ideas and suggestions were put forth a few days before
> dress and production had gotten me no help for a small musical with 48
> changes in it. Some very small; most changes are full costume though. I
> found I was being difficult when I said there just wasn't time.
> The worst part is that the changes weakened the visual dramatic impact but
> were more conventional.
> Now I want to write a little paper setting forth designer's professional
> standards. It isn't that I don't know what most are but I don't know if they
> are enumerated anywhere. Are they? Please help, both scholars and
> practitioners. Audy
> 
> in the high boonies of Central Texas
> 
> ________________________________________
> PeoplePC Online
> A better way to Internet
> http://www.peoplepc.com
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 
> 
> 
> ------------------------------
> 
> Message: 4
> Date: Mon, 14 Apr 2008 12:58:41 -0600
> From: Sylvia Rognstad <sylvia@ntw.net>
> Subject: Re: [h-cost] DESIGNER PROFESSIONAL STANDARDS
> To: Historical Costume <h-costume@indra.com>
> Message-ID: <136cf22ba77b4b2485dd5d1038c7b268@ntw.net>
> Content-Type: text/plain; charset=US-ASCII; format=flowed
> 
> I had a difficult situation with a play I designed last summer.  The 
> director didn't have much of a clue what he wanted before the rehearsal 
> process started but he did have one conceptual concept he wanted 
> visualized by the costumes and I agreed it would be a good one, so I 
> designed the show around that.  The play only had 2 actors, one male, 
> one female (The Last Five Years) and when rehearsals started, they, 
> especially the woman, started suggesting costume ideas.  At that point, 
> the director more or less submitted to their-mainly her--ideas and my 
> ideas kind of flew out the window.  It was a shopped show and one 
> weekend the woman even went to a store and bought some things she 
> liked, to bring back and show me.  I was getting rather frustrated and 
> disappointed by then but tried to go with the flow and I actually did 
> appreciate their input, since they knew more about their characters 
> than I did through rehearsing their parts.    I guess I've been in the 
> business enough by now to know do this, although it would have been 
> impossible if the costumes had been built.
> 
> So I sympathize with you and your situation.  Fortunately it hasn't 
> happened very often that the actors want to design their own costumes.  
> On one of the other plays I also designed last summer one actress asked 
> for a different color fabric after I had already purchased it, but we 
> had a big enough budget that I could do so.
> 
> Several years ago I was draping a show that had cast an experienced 
> Broadway actress who was of a "certain age"  and the designer had to 
> design 3 different possible outfits for her to approve before his 
> designs were finalized, so I know this happens a lot in our industry.   
> Sometimes the actors are right and have good ideas.  Sometimes they are 
> not and you have to do what it takes to please them, as I've found that 
> directors usually bow to the actors, not the designer.
> 
> Sylvia
> 
> On Apr 14, 2008, at 12:37 PM, Sharon Collier wrote:
> 
> > This is why I feel regular production meetings are so important. At the
> > first meeting, all the designers and the director get together and 
> > discuss
> > the direction of the show re: design, style, etc. As soon as the show 
> > is
> > cast, meet again and make any changes (if the leads won't look good in 
> > the
> > original ideas, change them ASAP) Then meet every week until tech 
> > week. It
> > keeps the director and producer from getting any surprises and you can 
> > let
> > folks know if their expectations aren't going to be met because of
> > budget/time/lack of help, etc.
> > As to professional standards, if the director/producer changes my 
> > ideas so
> > radically that I would be embarrassed to have my name on them, I do 
> > the job
> > as asked (I'm assuming you're getting paid), but ask that I not be 
> > listed in
> > the program as the designer, after all, if your designs have been 
> > altered,
> > they aren't a good reflection of your abilities.
> >
> > -----Original Message-----
> > From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] 
> > On
> > Behalf Of AVCHASE
> > Sent: Friday, April 11, 2008 7:46 PM
> > To: h-costume posts
> > Subject: [h-cost] DESIGNER PROFESSIONAL STANDARDS
> >
> > Hi, All. The most recent show on which I  worked opened last last 
> > Thursday.
> > And over all its a good show. But some of the fallout has been very
> > upsetting to me.
> > The director invited me to do this show for her, her last show (she's 
> > said
> > that for for the last three years), and I've done them. Each time some 
> > cast
> > members have been down right vicious. This time was the worst.
> > It occurred to me we expected different things as/from a designer. I'd 
> > just
> > assumed they all understood that I only did these shows to practice my
> > craft, keep my abilities in shape, and explore my ideas. Maybe her 
> > agenda
> > was different?
> > So I sent an email and asked what she had expected when she engaged a
> > designer. She wrote back to me a very complimentary (damned by 
> > praise-forget
> > faint) note about my design capabilities; but-said I was overbearing, 
> > didn't
> > listen to the actress's ideas and was not willing to take suggestions 
> > form
> > the actresses. The ideas and suggestions were put forth a few days 
> > before
> > dress and production had gotten me no help for a small musical with 48
> > changes in it. Some very small; most changes are full costume though. I
> > found I was being difficult when I said there just wasn't time.
> > The worst part is that the changes weakened the visual dramatic impact 
> > but
> > were more conventional.
> > Now I want to write a little paper setting forth designer's 
> > professional
> > standards. It isn't that I don't know what most are but I don't know 
> > if they
> > are enumerated anywhere. Are they? Please help, both scholars and
> > practitioners. Audy
> >
> > in the high boonies of Central Texas
> >
> > ________________________________________
> > PeoplePC Online
> > A better way to Internet
> > http://www.peoplepc.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: 5
> Date: Mon, 14 Apr 2008 15:35:27 -0400
> From: cheryldee@aol.com
> Subject: [h-cost] Director-designer professional standards
> To: h-costume@indra.com
> Message-ID: <8CA6C7DD38EC362-548-1F5B@webmail-nc15.sysops.aol.com>
> Content-Type: text/plain; charset="us-ascii"
> 
> I had a difficult situation with a play I designed last summer.? The 
> director didn't have much of a clue what he wanted before the rehearsal 
> process started but he did have one conceptual concept he wanted 
> visualized by the costumes and I agreed it would be a good one, so I 
> designed the show around that.? The play only had 2 actors, one male, 
> one female (The Last Five Years) and when rehearsals started, they, 
> especially the woman, started suggesting costume ideas.? At that point, 
> the director more or less submitted to their-mainly her--ideas and my 
> ideas kind of flew out the window.? It was a shopped show and one 
> weekend the woman even went to a store and bought some things she 
> liked, to bring back and show me.? I was getting rather frustrated and 
> disappointed by then but tried to go with the flow and I actually did 
> appreciate their input, since they knew more about their characters 
> than I did through rehearsing their parts.??? I guess I've been in the 
> business enough by now to know do this, although it would have been 
> impossible if the costumes had been built.
> 
> 
> This is why I continue to maintain that contemporary show are the most difficult to design.? Many cast members think they have a better idea than the designer.? And?many directors, wanting to please the actors in order to get the best possible performance out of them, will let the actors dictate to the designer what they want.? Which is why research and renderings are extremely valuable from the beginning of the process.? So it doesn't turn into "He said, she said" and one can produce the original ideas which were agreed on.? I hope we're not boring the non-costume designers on this list.
> 
> 
> Cheryl Odom
> College of Santa Fe
> 
> 
> ------------------------------
> 
> Message: 6
> Date: Mon, 14 Apr 2008 14:42:13 -0500
> From: 00217146@bigred.unl.edu
> Subject: Re: [h-cost] Director-designer professional standards
> To: Historical Costume <h-costume@indra.com>
> Message-ID: <20080414144213.pmzbhxh000co00gg@wm-imp-1.unl.edu>
> Content-Type: text/plain;	charset=ISO-8859-1;	DelSp="Yes";
> 	format="flowed"
> 
> > I hope we're not boring the non-costume designers on  this list.
> 
> I, for one, am finding it fascinating, and a reminder of why I didn't  
> persue theatre after high school.
> 
> Emma
> 
> 
> 
> 
> ------------------------------
> 
> Message: 7
> Date: Mon, 14 Apr 2008 12:47:41 -0700
> From: "Lynn Downward" <lynndownward@gmail.com>
> Subject: Re: [h-cost] Director-designer professional standards
> To: "Historical Costume" <h-costume@indra.com>
> Message-ID:
> 	<8296995c0804141247y3eb28e59t73fc39afb7dc867a@mail.gmail.com>
> Content-Type: text/plain; charset=ISO-8859-1
> 
> I too find this conversation interesting as it's part of theater I know
> nothing about. My daughter is in high school but has done some semi-legit
> theater and hopes to pursue it as a career. I don't act except as a
> recreationist and I make my own costumes under approval of a costume
> director. However, I've helped others with their community theater and have
> heard the stories. It seems that a contract really is the way to go.
> 
> Lynn
> 
> On Mon, Apr 14, 2008 at 12:42 PM, <00217146@bigred.unl.edu> wrote:
> 
> > > I hope we're not boring the non-costume designers on  this list.
> >
> > I, for one, am finding it fascinating, and a reminder of why I didn't
> > persue theatre after high school.
> >
> > Emma
> >
> >
> > _______________________________________________
> > h-costume mailing list
> > h-costume@mail.indra.com
> > http://mail.indra.com/mailman/listinfo/h-costume
> >
> 
> 
> ------------------------------
> 
> Message: 8
> Date: Mon, 14 Apr 2008 15:49:01 -0400
> From: appin1@aol.com
> Subject: Re: [h-cost] V-neck regency gown?
> To: h-costume@indra.com
> Message-ID: <8CA6C7FB7CF9FE8-F1C-2542@MBLK-M38.sysops.aol.com>
> Content-Type: text/plain; charset="us-ascii"
> 
> I have used this pattern for several Regency gowns. My advice is to have someone fit you carefully. The overlap is tricky and?I've had to take both bodices apart to refit them.
> 
> Kathleen Norvell?
> 
> 
> -----Original Message-----
> From: Aylwen Garden <aylwengg@gmail.com>
> To: Historical Costume <h-costume@indra.com>
> Sent: Mon, 14 Apr 2008 5:53 am
> Subject: [h-cost] V-neck regency gown?
> 
> 
> 
> A dancer in my group is making a v-neck regency gown and is using the
> La Mode Bagetelle pattern. Has anyone here seen this version made up?
> She has told me there is a huge overlap. Without being able to see it,
> I can't see if this is designed to come out like the half robe in
> Janet Arnold or not.
> Thanks, Aylwen
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 
> 
> 
> ------------------------------
> 
> Message: 9
> Date: Mon, 14 Apr 2008 12:52:32 -0700
> From: "Sharon Collier" <sharon@collierfam.com>
> Subject: Re: [h-cost] Fake Blood--getting out of costumes?
> To: "'Historical Costume'" <h-costume@indra.com>
> Message-ID: <001a01c89e69$1433c170$040ba8c0@bobfamilyroom>
> Content-Type: text/plain;	charset="us-ascii"
> 
> Just get rid of the director. It's easier. :-) 
> 
> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
> Behalf Of Kate Pinner
> Sent: Monday, April 14, 2008 11:22 AM
> To: 'Historical Costume'
> Subject: [h-cost] Fake Blood--getting out of costumes?
> 
>  
> This may have been discussed before, but I don't remember. What formulas do
> you use for blood and If the director wants it smeared on a costume (on
> stage), how do you get it off -- especially wool and or velvet?
> 
> Kate
> 
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 
> 
> 
> ------------------------------
> 
> Message: 10
> Date: Mon, 14 Apr 2008 12:52:19 -0700
> From: Paula Praxis <praxis_729@hotmail.com>
> Subject: Re: [h-cost] Director-designer professional standards
> To: Historical Costume <h-costume@indra.com>
> Message-ID: <BAY109-W3524240FD1471344684F05ADE80@phx.gbl>
> Content-Type: text/plain; charset="iso-8859-1"
> 
> 
> This a discussion that benefits all era of costume.  Agreed that not all on this list work in theater but many of us do and to hear from others about your experiences is great. I agree the modern period is the most difficult to design for. I much  prefer period plays.  however there are some times that are more difficult than others.  I designed a play set in ancient Egypt.  I love archeology and am aware that slaves in the "real' ancient Egypt worked naked - this didn't go over too well with my director - so I let her have her way and designed slave costumes for the ensemble.> To: h-costume@indra.com> Date: Mon, 14 Apr 2008 15:35:27 -0400> From: cheryldee@aol.com> Subject: [h-cost] Director-designer professional standards> > I had a difficult situation with a play I designed last summer.? The > director didn't have much of a clue what he wanted before the rehearsal > process started but he did have one conceptual concept he wanted > visualized by the costumes and I agreed!
  i!
>  t would be a good one, so I > designed the show around that.? The play only had 2 actors, one male, > one female (The Last Five Years) and when rehearsals started, they, > especially the woman, started suggesting costume ideas.? At that point, > the director more or less submitted to their-mainly her--ideas and my > ideas kind of flew out the window.? It was a shopped show and one > weekend the woman even went to a store and bought some things she > liked, to bring back and show me.? I was getting rather frustrated and > disappointed by then but tried to go with the flow and I actually did > appreciate their input, since they knew more about their characters > than I did through rehearsing their parts.??? I guess I've been in the > business enough by now to know do this, although it would have been > impossible if the costumes had been built.> > > This is why I continue to maintain that contemporary show are the most difficult to design.? Many cast members think they have!
  a!
>   better idea than the designer.? And?many directors, wanting t!
>  o please the actors in order to get the best possible performance out of them, will let the actors dictate to the designer what they want.? Which is why research and renderings are extremely valuable from the beginning of the process.? So it doesn't turn into "He said, she said" and one can produce the original ideas which were agreed on.? I hope we're not boring the non-costume designers on this list.> > > Cheryl Odom> College of Santa Fe> _______________________________________________> h-costume mailing list> h-costume@mail.indra.com> http://mail.indra.com/mailman/listinfo/h-costume
> _________________________________________________________________
> Use video conversation to talk face-to-face with Windows Live Messenger.
> http://www.windowslive.com/messenger/connect_your_way.html?ocid=TXT_TAGLM_WL_Refresh_messenger_video_042008
> 
> ------------------------------
> 
> Message: 11
> Date: Mon, 14 Apr 2008 15:42:32 -0600
> From: Dawn <dawn@reddawn.net>
> Subject: Re: [h-cost] Fake Blood--getting out of costumes?
> To: Historical Costume <h-costume@indra.com>
> Message-ID: <4803CFC8.3060004@reddawn.net>
> Content-Type: text/plain; charset=ISO-8859-1; format=flowed
> 
> Sharon Collier wrote:
> > Just get rid of the director. It's easier. :-) 
> >
> >  
> Only if you have friends to help you hide the body. :)
> 
> 
> Dawn
> 
> 
> 
> ------------------------------
> 
> Message: 12
> Date: Mon, 14 Apr 2008 13:44:01 -0700
> From: Margo Anderson <lists@margospatterns.com>
> Subject: Re: [h-cost] Director-designer professional standards
> To: Historical Costume <h-costume@indra.com>
> Message-ID: <B9A60606-3514-4691-953A-2619CF4250DB@margospatterns.com>
> Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed
> 
> 
> On Apr 14, 2008, at 12:52 PM, Paula Praxis wrote:
> 
> >
> > This a discussion that benefits all era of costume.  Agreed that  
> > not all on this list work in theater but many of us do and to hear  
> > from others about your experiences is great. I agree the modern  
> > period is the most difficult to design for. I much  prefer period  
> > plays.  however there are some times that are more difficult than  
> > others.  I designed a play set in ancient Egypt.  I love archeology  
> > and am aware that slaves in the "real' ancient Egypt worked naked -  
> > this didn't go over too well with my director - so I let her have  
> > her way and designed slave costumes for the ensemble.
> 
> I'm helping with costumes for my 6th grader's class play,  which is  
> set in Minoan era Crete.  Not surprisingly,  the teacher doesn't want  
> historically accurate costumes.  We're putting them in chitons. :)
> 
> Margo
> 
> 
> ------------------------------
> 
> Message: 13
> Date: Mon, 14 Apr 2008 16:52:32 EDT
> From: AlbertCat@aol.com
> Subject: Re: [h-cost] DESIGNER PROFESSIONAL STANDARDS
> To: h-costume@indra.com
> Message-ID: <c5a.2c7c5ad9.35351e10@aol.com>
> Content-Type: text/plain; charset="US-ASCII"
> 
>  
> In a message dated 4/14/2008 3:01:46 P.M. Eastern Daylight Time,  
> sylvia@ntw.net writes:
> 
> as I've  found that 
> directors usually bow to the actors, not the  designer.
> 
> 
> 
> ****************
>  
> And isn't it annoying. I want to just quit and let the actor do the whole  
> show....see how she likes that. I'm tired of wardrobe being on the bottom rung  
> of the ladder. [I hear it's not so much so in Europe, especially  Britain] 
> When is she gonna complain about the props or change the color of  the wallpaper 
> on the set?
>  
> I don't mind actor's input....but I want the final decision to be mine if  my 
> name is on it.
> They don't hear me telling them how to read their lines, do  they?
>  
>  
> This is why I ended up cutting and draping more than designing. The actual  
> designer really appreciates what you do for  them.
> 
> 
> 
> 
> **************It's Tax Time! Get tips, forms and advice on AOL Money & 
> Finance.      (http://money.aol.com/tax?NCID=aolcmp00300000002850)
> 
> 
> ------------------------------
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 
> 
> End of h-costume Digest, Vol 7, Issue 138
> *****************************************
> 
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----  <h-costume-request@indra.com> wrote:
> > This a discussion that benefits all era of costume.  Agreed that  
> > not all on this list work in theater but many of us do and to hear  
> > from others about your experiences is great. I agree the modern  
> > period is the most difficult to design for. I much  prefer period  
> > plays.  however there are some times that are more difficult than  
> > others.  I designed a play set in ancient Egypt.  I love archeology  
> > and am aware that slaves in the "real' ancient Egypt worked naked -  
> > this didn't go over too well with my director - so I let her have  
> > her way and designed slave costumes for the ensemble.
> 
> I'm helping with costumes for my 6th grader's class play,  which is  
> set in Minoan era Crete.  Not surprisingly,  the teacher doesn't want  
> historically accurate costumes.  We're putting them in chitons. :)
> 
> Margo

Snicker, giggle.  What, you mean they didn't want bare 6th grader boobies for their play?
Julie in San Diego
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Subject: Re: [h-cost] book lust <G>
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Ouch! Try Michael Shemansky Bookseller (online) for MdF. He usually includes
shipping in his prices, I think. It is about $100 for the book and it was in
his mostt recent catalogue. He KNOWS about us costumers. I told him of the
book's popularity when he questioned me why so many people were asking about
it.

I plan to read it --again-- before the Janet Arnold Costume Collequium in
Florence in November.

QEWU is about $250 the last time I saw it advertised anywhere. Thet is a lot
more scarce.

Monica
in NYC

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of Julie
Sent: Monday, April 14, 2008 4:57 PM
To: h-costume@indra.com
Subject: [h-cost] book lust <G>


I ran into a copy of Moda de Firenze (the Italian Renaissance costuming
book) at a Ren Faire this weekend.  I was all set to add it to my collection
but was shocked at the price.  The last time I looked it was going for about
$80 U.S.  Yesterday it was priced at $148.

Has this book really gone up that much in a year or two?  Is there another
less costly vendor?

BTW, on a simiilar note, how much is Queen Elizabeth's Wardrobe Unlock'd
going for now?

Thanks
Julie in San Diego
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This has been a great thread, so nice to know one is not alone in
situations like this.
 
I think one of the problems, especially in community theater, is that
to often the costume designer is looked upon as sewing labor, not design
talent.  I started back doing a little theater a couple of years ago and
found every production to be different.  Communication is the key and I
learned a lot every time, which meant the second time working with a
particular director went a lot smoother :).  I also learned not to take
it to personally if I heard later through the grapevine that there was
something specific they may have wanted that didn't get done, or done
the way they might have preferred.  Budget, and time, was often the
critical crunch in these situations.  I know I've been really lucky with
most of the casts I've worked with too so I had fun.  I'd probably do
more except my hands just can't hold up anymore to the last minute push
there always is to get everything done.
 
Catherine
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This bodice completely overlaps.  The pattern is  a simulation of the  
"round gowns" that actually opened in the front but in this case only  
the illusion is created with the overlapping bodice, the designers  
made this design decision suspecting that most modern wearers would  
prefer the back opening.  They made a lot of design decisions like  
that as they originally were making the pattern for their local Jane  
Austen society members, not costumers, per se.


On Apr 14, 2008, at 11:00 AM, h-costume-request@indra.com wrote:

> A dancer in my group is making a v-neck regency gown and is using the
> La Mode Bagetelle pattern. Has anyone here seen this version made up?
> She has told me there is a huge overlap. Without being able to see it,
> I can't see if this is designed to come out like the half robe in
> Janet Arnold or not.
> Thanks, Aylwen

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http://www.poisonpenpress.com/costume.html

$99:-))

Zuzana

        
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Margo Anderson wrote:
> On Apr 14, 2008, at 12:52 PM, Paula Praxis wrote:
>
>   
>> This a discussion that benefits all era of costume.  Agreed that  
>> not all on this list work in theater but many of us do and to hear  
>> from others about your experiences is great. I agree the modern  
>> period is the most difficult to design for. I much  prefer period  
>> plays.  however there are some times that are more difficult than  
>> others.  I designed a play set in ancient Egypt.  I love archeology  
>> and am aware that slaves in the "real' ancient Egypt worked naked -  
>> this didn't go over too well with my director - so I let her have  
>> her way and designed slave costumes for the ensemble.
>>     
>
> I'm helping with costumes for my 6th grader's class play,  which is  
> set in Minoan era Crete.  Not surprisingly,  the teacher doesn't want  
> historically accurate costumes.  We're putting them in chitons. :)
>
> Margo
>   
I went to a costume party as Ariadne when I was about 15 - my friends
and I were all studying classics and reading Mary Renault... I did my
best to do the skirt and a high, pointy belt (a bit Wonder Woman,
really!) with a lined but gauzy bodice.  It kind of gave the idea
without giving anything away.

When we visited Plimoth Plantation, I spoke to one of the Native
American interpreters about how what she was wearing, as modern
"traditional" costume, compared with what her predecessors would have
worn in period.  Her response was along the lines of "I'm way
overdressed".  Just another example of modern sensibilities getting in
the way of accuracy - tut tut! ;-)

Jean


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From: Chris Laning <claning@igc.org>
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Julie wrote:
>I ran into a copy of Moda de Firenze (the Italian Renaissance costuming book) at 
>a Ren Faire this weekend.  I was all set to add it to my collection but was 
>shocked at the price.  The last time I looked it was going for about $80 U.S.  \>Yesterday it was priced at $148.
>
>Has this book really gone up that much in a year or two?  
>Is there another less costly vendor?

IIRC, what's out there now is a 2nd printing. Publishers seem to feel quite free to jack the price up when something is much more popular than they expected (as I think this was, and this definitely happened with QEWU) and they go into another printing when they didn't originally expect to.

(To be fair, this may also have to do with having to gear up the press again, which may have gotten more expensive to run in the meantime, perhaps having to re-create some of the production files if they didn't save them, the increasing price of paper and so forth. It's not *just* the temptation of more profits...)

____________________________________________________________
0  Chris Laning
|  <claning@igc.org>
+  Davis, California
http://paternoster-row.org  -  http://paternosters.blogspot.com
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David Brown Book Company/Oxbow Books carries it too. I can't remember
what they're currently charging.

www.oxbowbooks.com

Arlys

On Mon, 14 Apr 2008 17:11:42 -0400 monica spence
<monicaspence@optonline.net> writes:
> Ouch! Try Michael Shemansky Bookseller (online) for MdF. He usually 
> includes
> shipping in his prices, I think. It is about $100 for the book and 
> it was in
> his mostt recent catalogue. He KNOWS about us costumers. I told him 
> of the
> book's popularity when he questioned me why so many people were 
> asking about
> it.
> 
> I plan to read it --again-- before the Janet Arnold Costume 
> Collequium in
> Florence in November.
> 
> QEWU is about $250 the last time I saw it advertised anywhere. Thet 
> is a lot
> more scarce.
> 
> Monica
> in NYC
> 
> -----Original Message-----
> From: h-costume-bounces@indra.com 
> [mailto:h-costume-bounces@indra.com]On
> Behalf Of Julie
> Sent: Monday, April 14, 2008 4:57 PM
> To: h-costume@indra.com
> Subject: [h-cost] book lust <G>
> 
> 
> I ran into a copy of Moda de Firenze (the Italian Renaissance 
> costuming
> book) at a Ren Faire this weekend.  I was all set to add it to my 
> collection
> but was shocked at the price.  The last time I looked it was going 
> for about
> $80 U.S.  Yesterday it was priced at $148.
> 
> Has this book really gone up that much in a year or two?  Is there 
> another
> less costly vendor?
> 
> BTW, on a simiilar note, how much is Queen Elizabeth's Wardrobe 
> Unlock'd
> going for now?
> 
> Thanks
> Julie in San Diego
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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> 
> 
> _______________________________________________
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Subject: [h-cost] Trying to fix botched sleeves
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I am trying to finish off some regency gowns that someone else started
for me and never finished. I've just realised they put all the short
puffed sleeves in back the front - the outer edge that should have a
sleeve band on it is gathered to the armhole! Oh why people can't read
patterns when they trace them out and draw the notches, I don't
know!!!
Do you think I can use them, and just gather them in? The dresses are
all done and lined, and need to be worn on Friday, so I've run out of
time to unpick them all. I've just hand sewn ribbon under all the
busts to make them look pretty.
I am so frustrated, I just never thought this had happened. Oh, and it
is the sensibility pattern, and these are dresses that people will
borrow from me if they don't have a dress to wear to the ball, and
there are ten of them!
Thanks, Aylwen
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Subject: [h-cost] Blood in costumes
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Sharon Collier wrote:
> Just get rid of the director. It's easier. :-) 
>
>? 
Only if you have friends to help you hide the body. :)


Dawn

And a product to help you get the blood out of your clothes.


Cheryl Odom
College of Santa Fe

BTW, If you can't convince your director you mean business, you might want to try Reel Blood which is easier to remove than any other blood product I've tried.
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Date: Mon, 14 Apr 2008 21:18:07 -0400
From: "David S. Mallinak" <dragonmatchlock@verizon.net>
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monica spence wrote:

> Do you remember who made that DVD with the Highlander Flashbacks? I teach
> fashion history and this would be SOOOOOO cool.

My memory, after so many years, was a product of the production company. l.

Your humble and obediant servant,
David S Mallinak


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I got one used from Amazon Canada for under $100, if I remember correctly. 

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Julie
Sent: Monday, April 14, 2008 1:57 PM
To: h-costume@indra.com
Subject: [h-cost] book lust <G>

I ran into a copy of Moda de Firenze (the Italian Renaissance costuming
book) at a Ren Faire this weekend.  I was all set to add it to my collection
but was shocked at the price.  The last time I looked it was going for about
$80 U.S.  Yesterday it was priced at $148.

Has this book really gone up that much in a year or two?  Is there another
less costly vendor?

BTW, on a simiilar note, how much is Queen Elizabeth's Wardrobe Unlock'd
going for now?

Thanks
Julie in San Diego
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Aniline dye. Less messy and appropriate, wouldn't you think? 

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of cheryldee@aol.com
Sent: Monday, April 14, 2008 5:14 PM
To: h-costume@indra.com
Subject: [h-cost] Blood in costumes

Sharon Collier wrote:
> Just get rid of the director. It's easier. :-)
>
>? 
Only if you have friends to help you hide the body. :)


Dawn

And a product to help you get the blood out of your clothes.


Cheryl Odom
College of Santa Fe

BTW, If you can't convince your director you mean business, you might want
to try Reel Blood which is easier to remove than any other blood product
I've tried.
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From: Bella <bella_lucia_da_verona@yahoo.com.au>
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Amazon.com has it for $99.50 with free shipping to a US address. And yes, I am an Amazon associate and if you buy through the link below I will earn a couple of dollars towards the costs of running my website. :-)

http://tinyurl.com/574xfy

 
Bella
The Realm of Venus
http://realmofvenus.net


-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Julie
Sent: Monday, April 14, 2008 1:57 PM
To: h-costume@indra.com
Subject: [h-cost] book lust <G>

I ran into a copy of Moda de Firenze (the Italian Renaissance costuming
book) at a Ren Faire this weekend.  I was all set to add it to my collection
but was shocked at the price.  The last time I looked it was going for about
$80 U.S.  Yesterday it was priced at $148.

Has this book really gone up that much in a year or two?  Is there another
less costly vendor?

BTW, on a simiilar note, how much is Queen Elizabeth's Wardrobe Unlock'd
going for now?

Thanks
Julie in San Diego


      Get the name you always wanted with the new y7mail email address. www.yahoo7.com.au/y7mail
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Date: Mon, 14 Apr 2008 21:45:24 -0400
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Subject: Re: [h-cost] Making History Hip
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Thanks.
Monica

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of David S. Mallinak
Sent: Monday, April 14, 2008 9:18 PM
To: Historical Costume
Subject: Re: [h-cost] Making History Hip


monica spence wrote:

> Do you remember who made that DVD with the Highlander Flashbacks? I teach
> fashion history and this would be SOOOOOO cool.

My memory, after so many years, was a product of the production company. l.

Your humble and obediant servant,
David S Mallinak


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Date: Mon, 14 Apr 2008 21:45:36 -0500
From: 00217146@bigred.unl.edu
To: Historical Costume <h-costume@indra.com>
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Subject: Re: [h-cost] Trying to fix botched sleeves
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I'm not familliar with the pattern you're using, but since you have a  
limited amount of time, here's what I'd do: Take one dress and finish  
the sleeves as if they were done correctly: gather the edge into a  
band.  Hold it up. Try it on, if it fits.  See if it looks and hangs  
like a sleeve.  See if it's good *enough.*  I think it will be, but  
like I said, I'm not familliar with the pattern.  (It may be more  
poufy at the bottom than the top, or vice-versa, but it may still work).

Emma

> I am trying to finish off some regency gowns that someone else started
> for me and never finished. I've just realised they put all the short
> puffed sleeves in back the front - the outer edge that should have a
> sleeve band on it is gathered to the armhole! Oh why people can't read
> patterns when they trace them out and draw the notches, I don't
> know!!!
> Do you think I can use them, and just gather them in? The dresses are
> all done and lined, and need to be worn on Friday, so I've run out of
> time to unpick them all. I've just hand sewn ribbon under all the
> busts to make them look pretty.
> I am so frustrated, I just never thought this had happened. Oh, and it
> is the sensibility pattern, and these are dresses that people will
> borrow from me if they don't have a dress to wear to the ball, and
> there are ten of them!
> Thanks, Aylwen
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>



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From: "Aylwen Garden" <aylwengg@gmail.com>
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I'm thinking about putting in an elastic casing - being upside down, I
don't know if the wearer will be able to move their arm or not with
ease.
Aylwen

On Tue, Apr 15, 2008 at 12:45 PM,  <00217146@bigred.unl.edu> wrote:
>
>  I'm not familliar with the pattern you're using, but since you have a
>  limited amount of time, here's what I'd do: Take one dress and finish
>  the sleeves as if they were done correctly: gather the edge into a
>  band.  Hold it up. Try it on, if it fits.  See if it looks and hangs
>  like a sleeve.  See if it's good *enough.*  I think it will be, but
>  like I said, I'm not familliar with the pattern.  (It may be more
>  poufy at the bottom than the top, or vice-versa, but it may still work).
>
>  Emma
>
>
>
>  > I am trying to finish off some regency gowns that someone else started
>  > for me and never finished. I've just realised they put all the short
>  > puffed sleeves in back the front - the outer edge that should have a
>  > sleeve band on it is gathered to the armhole! Oh why people can't read
>  > patterns when they trace them out and draw the notches, I don't
>  > know!!!
>  > Do you think I can use them, and just gather them in? The dresses are
>  > all done and lined, and need to be worn on Friday, so I've run out of
>  > time to unpick them all. I've just hand sewn ribbon under all the
>  > busts to make them look pretty.
>  > I am so frustrated, I just never thought this had happened. Oh, and it
>  > is the sensibility pattern, and these are dresses that people will
>  > borrow from me if they don't have a dress to wear to the ball, and
>  > there are ten of them!
>  > Thanks, Aylwen
>  > _______________________________________________
>  > 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] book lust <G>
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>
> David Brown Book Company/Oxbow Books carries it too. I can't remember
> what they're currently charging.
>
> www.oxbowbooks.com
>
> Arlys
>

David Brown's current listing if for $90 plus shipping (usually $5.00).  You
need this book.  Grab it before it goes out of print and availability
completely.  It isn't going to get any cheaper to buy and borrowing it from
the library, assuming you can get it at all is not the same.  The museum is
completely bemused at the way the book has been snapped up and not really
ready for mass printings.

Wanda
>

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Subject: Re: [h-cost] Trying to fix botched sleeves
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It depends on the shape of the sleeve.  Most short, puffed sleeves  
I've seen have had a large convex curve at the sleeve head and a  
smaller convex curve at the bottom.  If put in upside down, the sleeve  
will stick out straighter (more like a T-shirt, less like a suit coat)  
which may actually allow *more* movement, not less.

Elastic sounds like it might be a good compromise.

Quoting Aylwen Garden <aylwengg@gmail.com>:

> I'm thinking about putting in an elastic casing - being upside down, I
> don't know if the wearer will be able to move their arm or not with
> ease.
> Aylwen


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Date: Tue, 15 Apr 2008 00:25:19 -0400
From: "Helen Pinto" <hdpinto@verizon.net>
To: "Historical Costume" <h-costume@indra.com>
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Julie-

A new copy of _Moda a Firenze_ is $99.50US; a new copy of 
_Queen Elisabeth's Wardrobe Unlock'd_ is $165.00US.  

Best price according to www.addall.com right now is is $93.50US 
at Amazon, with free shipping for Moda, and the best deals on 
QEWU are from the UK, with Amazon UK at $158.74, including 
air mail shipping.  

Good luck book hunting.

                   -Helen/Aidan

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Subject: Re: [h-cost] Blood in costumes
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> Only if you have friends to help you hide the body. :)
> And a product to help you get the blood out of your clothes.
> BTW, If you can't convince your director you mean business, you might want to
> try Reel Blood which is easier to remove than any other blood product I've
> tried.

Pig's blood holds it's colour longer than human blood (why horror movie sets 
smell so bad) which reminds me, pigs will eat all the body parts,

-C.


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> This may have been discussed before, but I don't remember. What formulas do
> you use for blood and If the director wants it smeared on a costume (on
> stage), how do you get it off -- especially wool and or velvet?
> 

Borax and eucalyptus or mild carpet cleaner,

-C.


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  Sorry if this is off-topic, but I'm hunting a portrait online that I first
found at the Tate -
About 1548s, English, "Unknown Man" by an unknown artist (helpful, huh?)  a
youngish man in a fabulous red Tudor outfit open at the front to show a
heavily blackworked shirt ... any help in finding him again, preferably
online, would be greatly appreciated!

Liadain

THL Liadain ni Mhordha OFO
wildernesse, the Outlands 
http://practical-blackwork.blogspot.com
http://www.flickr.com/photos/liadains_fancies


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>David Brown's current listing if for $90 plus shipping (usually $5.00).  
>You
>need this book.  Grab it before it goes out of print and availability
>completely.  It isn't going to get any cheaper to buy ...

Actually, all these great imported books are seeing price increases whenever 
the U.S. distributors have to order more copies because the dollar is way 
low compared to euros.

Janet


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From: Kimiko Small <sstormwatch@yahoo.com>
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You mean this one?
http://www.elizabethan-portraits.com/UnknownMan19.jpg
An Unknown Man by an Unknown Artist, c.1548. (The
Royal Collection)
But in color?

I know I've seen it in color, I just don't remember
where. Give me until tomorrow, or hopefully someone
else has it, or knows where a better version is.

And I checked the Royal Collection, and doing a quick
search did not find it there online.

Kimiko


--- Frank A Thallas Jr <fathallas@collinscom.net>
wrote:

>   Sorry if this is off-topic, but I'm hunting a
> portrait online that I first
> found at the Tate -
> About 1548s, English, "Unknown Man" by an unknown
> artist (helpful, huh?)  a
> youngish man in a fabulous red Tudor outfit open at
> the front to show a
> heavily blackworked shirt ... any help in finding
> him again, preferably
> online, would be greatly appreciated!
> 
> Liadain



      ____________________________________________________________________________________
Be a better friend, newshound, and 
know-it-all with Yahoo! Mobile.  Try it now.  http://mobile.yahoo.com/;_ylt=Ahu06i62sR8HDtDypao8Wcj9tAcJ
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I would guess not, since the top of womens costume seems to be a shirt with a 1/4 bra thing, that pamela anderson is fond of, so that would definitely not go well with the parents and the local vicars ;-)
Tania

Margo Anderson <lists@margospatterns.com> wrote: 
On Apr 14, 2008, at 12:52 PM, Paula Praxis wrote:

>
> This a discussion that benefits all era of costume.  Agreed that  
> not all on this list work in theater but many of us do and to hear  
> from others about your experiences is great. I agree the modern  
> period is the most difficult to design for. I much  prefer period  
> plays.  however there are some times that are more difficult than  
> others.  I designed a play set in ancient Egypt.  I love archeology  
> and am aware that slaves in the "real' ancient Egypt worked naked -  
> this didn't go over too well with my director - so I let her have  
> her way and designed slave costumes for the ensemble.

I'm helping with costumes for my 6th grader's class play,  which is  
set in Minoan era Crete.  Not surprisingly,  the teacher doesn't want  
historically accurate costumes.  We're putting them in chitons. :)

Margo
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> Only if you have friends to help you hide the body. :)
> And a product to help you get the blood out of your clothes.
> BTW, If you can't convince your director you mean business, you might want to
> try Reel Blood which is easier to remove than any other blood product I've
> tried.

Pig's blood holds it's colour longer than human blood (why horror movie sets 
smell so bad) which reminds me, pigs will eat all the body parts,


I want to make it clear here that "Reel Blood" is a product.? I was not misspelling
"real blood".? It's used a lot in the film industry because it is a good color for HD.
It also works fine onstage and comes out of costumes better than any other 
product I've tried.


Cheryl Odom
College of Santa Fe
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Date: Tue, 15 Apr 2008 11:08:42 -0400
From: Kate Pinner <pinnerk@mccc.edu>
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Thanks!
Kate 

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of cheryldee@aol.com
Sent: Tuesday, April 15, 2008 10:44 AM
To: h-costume@indra.com
Subject: [h-cost] Blood/costumes

> Only if you have friends to help you hide the body. :) And a product 
> to help you get the blood out of your clothes.
> BTW, If you can't convince your director you mean business, you might 
> want to try Reel Blood which is easier to remove than any other blood 
> product I've tried.

Pig's blood holds it's colour longer than human blood (why horror movie sets
smell so bad) which reminds me, pigs will eat all the body parts,


I want to make it clear here that "Reel Blood" is a product.? I was not
misspelling
"real blood".? It's used a lot in the film industry because it is a good
color for HD.
It also works fine onstage and comes out of costumes better than any other 
product I've tried.


Cheryl Odom
College of Santa Fe
_______________________________________________
h-costume mailing list
h-costume@mail.indra.com
http://mail.indra.com/mailman/listinfo/h-costume


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Once more I'm faced with a query way outside my own area of expertise, so I 
figured I'd see if you folks can give me some clues.

For those of you who study Italian Renaissance: Who would you say are the best 
living scholars of Venetian dress, c. 1600, or, failing that, Venetian 
portraiture or art history of this era?

By "scholars," I mean those with academic credentials, positions, or 
publications. In this case, the need is for someone to cite, not someone to 
make clothing. In other words, who do the historic-clothing-makers look to as 
the authorities here?

Everyone I can think of is either deceased or working in earlier periods, alas.

--Robin


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Perhaps you could ask Bella. This is her website
http://realmofvenus.renaissanceitaly.net/
At the bottom of the page there is a email button.
She has the most extensive site on Venetian costume that I know of. Oonagh's
site (Deborah Lane) comes in a good 2nd place.
http://www.geocities.com/oonaghsown/index2.html
contact at bottom of page.

De

-----Original Message-----
Once more I'm faced with a query way outside my own area of expertise, so I
figured I'd see if you folks can give me some clues.

For those of you who study Italian Renaissance: Who would you say are the
best
living scholars of Venetian dress, c. 1600, or, failing that, Venetian
portraiture or art history of this era?

By "scholars," I mean those with academic credentials, positions, or
publications. In this case, the need is for someone to cite, not someone to
make clothing. In other words, who do the historic-clothing-makers look to
as
the authorities here?

Everyone I can think of is either deceased or working in earlier periods,
alas.

--Robin



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From: Marion McNealy <m_mc_nealy@yahoo.com>
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Robin,
I'd recommend contacting Ann Rosalind Jones or Margaret F Rosenthal. 
They have a new book coming out in the Fall on Vecellio's Costume book, here are a few excerpts off of the Realm of Venus site.
http://realmofvenus.renaissanceitaly.net/library/newvecellio.htm

Ms. Jones is at Smith College, and Ms. Rosenthal is at USC.

- Marion
----- Original Message ----
From: Robin Netherton <robin@netherton.net>
To: Historical Costume <h-costume@indra.com>
Sent: Tuesday, April 15, 2008 1:10:17 PM
Subject: [h-cost] Venice c. 1600

Once more I'm faced with a query way outside my own area of expertise, so I 
figured I'd see if you folks can give me some clues.

For those of you who study Italian Renaissance: Who would you say are the best 
living scholars of Venetian dress, c. 1600, or, failing that, Venetian 
portraiture or art history of this era?

By "scholars," I mean those with academic credentials, positions, or 
publications. In this case, the need is for someone to cite, not someone to 
make clothing. In other words, who do the historic-clothing-makers look to as 
the authorities here?

Everyone I can think of is either deceased or working in earlier periods, alas.

--Robin


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From: "Frank A Thallas Jr" <fathallas@collinscom.net>
To: "'Historical Costume'" <h-costume@indra.com>
Date: Tue, 15 Apr 2008 12:11:53 -0700
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  Yes!  That is exactly the right one!  When I first saw him - probably 10
years ago, because he was the inspiration for the look of a blackworked
shirt I entered in a Kingdom A&S - I found him in color - the black and
white of the shirt was gorgeous against the red suit.

Thanks!  AT least I know I'm not completely crazy! <G>

Liadain

THL Liadain ni Mhordha OFO
wildernesse, the Outlands 
http://practical-blackwork.blogspot.com
http://www.flickr.com/photos/liadains_fancies

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Kimiko Small
Sent: Tuesday, April 15, 2008 12:10 AM
To: Historical Costume
Subject: Re: [h-cost] a little OT - hunting a portrait

You mean this one?
http://www.elizabethan-portraits.com/UnknownMan19.jpg
An Unknown Man by an Unknown Artist, c.1548. (The
Royal Collection)
But in color?

I know I've seen it in color, I just don't remember
where. Give me until tomorrow, or hopefully someone
else has it, or knows where a better version is.

And I checked the Royal Collection, and doing a quick
search did not find it there online.

Kimiko


--- Frank A Thallas Jr <fathallas@collinscom.net>
wrote:

>   Sorry if this is off-topic, but I'm hunting a
> portrait online that I first
> found at the Tate -
> About 1548s, English, "Unknown Man" by an unknown
> artist (helpful, huh?)  a
> youngish man in a fabulous red Tudor outfit open at
> the front to show a
> heavily blackworked shirt ... any help in finding
> him again, preferably
> online, would be greatly appreciated!
> 
> Liadain



 
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I received an email from Denver Fabrics about a sale on silk and wool 
fabrics.  Here's the direct link to the sale fabrics: 
http://www.denverfabrics.com/Cart/catalog_items.aspx?Query=silk%207.00

Your friendly fabric stash facilitator,

Joan Jurancich
joanmj@surewest.net 

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Can someone please tell me, what is hammered silk? Google isn't turning up a definition. Is it a process? If so, what is the base weave?


Claudine

----- Original Message ----
From: Joan Jurancich <joanmj@surewest.net>
To: h-costume@indra.com; margospatterns@yahoogroups.com
Sent: Tuesday, April 15, 2008 1:24:57 PM
Subject: [h-cost] On-line sale on silk and wool fabrics!

I received an email from Denver Fabrics about a sale on silk and wool 
fabrics.  Here's the direct link to the sale fabrics: 
http://www.denverfabrics.com/Cart/catalog_items.aspx?Query=silk%207.00

Your friendly fabric stash facilitator,

Joan Jurancich
joanmj@surewest.net 

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Robin,

Do you want *anyone* from anywhere in the world, or someone that can commun=
icate in English? I have access to mitt loads of both, some of which don't =
speak English and/or are working right in Venice.

Kathy

 =

It=92s never too late to be who you might have been.-George Eliot
Tosach e=F3lais imchomarc/Questioning is the beginning of knowledge. -Irish=
 proverb
One can never consent to creep when one feels an impulse to soar.-Helen Kel=
ler
The difference between stupid and intelligent people - and this is true whe=
ther or not they are educated - is that intelligent people can handle subtl=
ety. They are not baffled by ambiguous or even contradictory situations. In=
 fact, they expect them and are apt to be suspicious when things seem overl=
y straightforward. - Neal Stephenson, "The Diamond Age"
It's not who you are that holds you back, it's who you think you're not. - =
Denis Waitley
Once more I'm faced with a query way outside my own area of expertise, so I =

figured I'd see if you folks can give me some clues.

For those of you who study Italian Renaissance: Who would you say are the b=
est =

living scholars of Venetian dress, c. 1600, or, failing that, Venetian =

portraiture or art history of this era?

By "scholars," I mean those with academic credentials, positions, or =

publications. In this case, the need is for someone to cite, not someone to =

make clothing. In other words, who do the historic-clothing-makers look to =
as =

the authorities here?

Everyone I can think of is either deceased or working in earlier periods, a=
las.

--Robin





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Hi Zuzanna,

>I just wanted to post a question about what methods you use when drafting/=
scaling corsets to size.
Any way that works at the time. ;-) Generally speaking I create a proportio=
nately close copy of the original I am working from based on the bust/waist=
/hip measurement I am aiming for, create a toile, and start tailoring it in=
 from there. I try not to mess too heavily with the original silhouette, ho=
wever.

>a corset is designed to shape the body rather than to adjust to it. =

Yes and no. It's primary purpose is bust support, then torso shaping. This =
also depends on what era you are looking at, but I think the conversation i=
s referring to the mid/late 1800's, so I won't confuse the issue. ;-) It's =
only this era and onward that was more concerned with torso compression tha=
n any other. =


>I draft all patterns I make, but I still cannot draft a corset that would =
achieve the period, not modern, figure.
I mix and match my techniques. I am still a little queasy on drafting vic p=
atterns, but georgian and older I can do without trouble. I always prefer d=
rape drafting for later eras and flat patterning for the older ones, becaus=
e they tend to be a little more geometric than later eras. When following a=
 specific era closely, you have to take into account the body type differen=
ces and posture variations between the two, and accept you may have to make=
 allowance for the two in order for them to meet. It's just like the placem=
ent of a shoulder seam - do you put it in the period correct place and have=
 it either fit funny or end up in a  visually wrong place, or do you adjust=
 it to fit correctly and end up in the visually correct location on a moder=
n body? =

When I drafted this pattern (the one I posted is the same pattern I am usin=
g for my current project) I had to make an allowance for difference between=
 the spoon busk used in the original in exchange for the flat busk I have a=
vailable. So I had to nip a little here and there to flatten out the front,=
 but widen the side front to allow for the correct compression. I am still =
working on the fit, I'll have to let you know how that goes. Literally in t=
he middle of preparing to sew the fitting toile I got a call back for a job=
 (yayyyy!!) so my time has now been cut down significantly for projects suc=
h as these.

>It's maybe best to make the right proportions (width and height) in photos=
hop and then print it to the correct size.
If you can accomplish it, then go for it. I just couldn't be bothered fussi=
ng with that formula listed on the pattern I posted. ;-) I, unlike Michaela=
 (sp? correct person?) prefer to draft to the width then length of the tors=
o because to me, shortening something is much easier than having to second =
guess the intended silhouette. Each to their own as long as it has the inte=
nded end result.

>So, may I ask, what methods do you use when making a corset pattern? If it=
 is not your trade secret, of course:-)
nahhhhh.... I don't consider knowledge proprietary, really. ;-)  Other inst=
itutions have different ideas about this than I do, however... =

Toile is most important - the test fitting should be providing some support=
 without the stiffening by the time you are finished fitting. The stiffenin=
g material is simply designed to keep the garment from collapsing or shifti=
ng during wear. It also helps take stress off seams under high tension. Thi=
s is what provides the torso shaping when the fabric is restricted in stret=
ch and movement. =


Hopefully that makes sense, and if it did, that is was useful. :-)

Kathy
 =

It=92s never too late to be who you might have been.-George Eliot
Tosach e=F3lais imchomarc/Questioning is the beginning of knowledge. -Irish=
 proverb
One can never consent to creep when one feels an impulse to soar.-Helen Kel=
ler
The difference between stupid and intelligent people - and this is true whe=
ther or not they are educated - is that intelligent people can handle subtl=
ety. They are not baffled by ambiguous or even contradictory situations. In=
 fact, they expect them and are apt to be suspicious when things seem overl=
y straightforward. - Neal Stephenson, "The Diamond Age"
It's not who you are that holds you back, it's who you think you're not. - =
Denis Waitley


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Subject: Re: [h-cost] Venice c. 1600
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Kathy Page wrote:
> Robin,
> 
> Do you want *anyone* from anywhere in the world, or someone that can communicate in English? I have access to mitt loads of both, some of which don't speak English and/or are working right in Venice.

Anywhere in the world, but must be English-fluent, which of course narrows 
things, I know.

Thanks,

Robin
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Marion McNealy wrote:
> Robin,
> I'd recommend contacting Ann Rosalind Jones or Margaret F Rosenthal. 
> They have a new book coming out in the Fall on Vecellio's Costume book, here are a few excerpts off of the Realm of Venus site.
> http://realmofvenus.renaissanceitaly.net/library/newvecellio.htm
> 
> Ms. Jones is at Smith College, and Ms. Rosenthal is at USC.

Good thoughts, thanks. They are both in language/literature but might do.

Ideally I will find an art historian, so I'm still interested in names that 
come to people's minds.

--Robin
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----- Original Message ----
From: Robin Netherton <robin@netherton.net>
Subject: Re: [h-cost] Venice c. 1600


Ideally I will find an art historian, so I'm still interested in names that 
come to people's minds.<<<<


Robin, 

How about Patricia Fortini Brown, art historian specialising in Venice, author of several books of which the best (in my opinion) is 'Private Lives in Renaissance Venice'.



Bella
The Realm of Venus
http://realmofvenus.net 


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www.yahoo7.com.au/y7mail


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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Date: Tue, 15 Apr 2008 22:39:19 -0400
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Subject: Re: [h-cost] "hammered silk?" (was: On-line sale on silk and wool
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On Tuesday 15 April 2008, cw15147-hcost00@yahoo.com wrote:
> Can someone please tell me, what is hammered silk? Google isn't turning up
> a definition. Is it a process? If so, what is the base weave?

I've bought some.  It's a shiny, lightweight silk, kinda like a charmeuse, 
except the surface looks as though it had a hammered metal finish.  I have no 
clue what the base weave is.



-- 
Cathy Raymond <cathy@thyrsus.com>

"You affect the world by what you browse."-- Tim Berners-Lee

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From h-costume-bounces@indra.com  Wed Apr 16 00:26:09 2008
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From: Kimiko Small <sstormwatch@yahoo.com>
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Subject: Re: [h-cost] a little OT - hunting a portrait
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Well, no luck on my end finding a color copy of him. I
know I've seen one, although I may just be mixing the
image with the color interpretation that is in the
Tudor Tailor book in my mind.

Good luck in your hunt.

Kimiko


--- Frank A Thallas Jr <fathallas@collinscom.net>
wrote:

>   Yes!  That is exactly the right one! <snip>


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In a message dated 4/15/2008 10:36:45 PM Eastern Daylight Time,  
cathy@thyrsus.com writes:

It's a  shiny, lightweight silk, kinda like a charmeuse, 
except the surface looks  as though it had a hammered metal finish.  I have 
no 
clue what the  base weave is.




If it is shiny, it may very well be a satin weave.
 
Ann Wass



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In the process of cleaning up my sewing room I have "lost" something
and I need some help finding it - or another copy of it.

What I have misplaced is a photo of a contract between a
needlewoman/silkworker  and the woman that she took on as a student.
The contract spells out all the skills and needle arts that will be
taught to the student.  It is dated sometime in the mid to late 1500s.

I am in need of finding this list of skills again and pulling my hair
out that the one thing I should misplace is the one thing I need.  Any
clues as to where to locate this photo again (I originally found it in
a book) would be gratefully appreciated.

Thanks all.
Mari
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From: "Catherine Kinsey" <ckinsey@kumc.edu>
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I love this portrait too :).  The original is at Hampton court, or at
least it was when I saw it there almost 23 years ago.  It is almost a
life-size painting. The entire outfit is red, as the version in Tudor
Tailor is.  It makes for a very unique contrast to the white shirt and
blackwork embroidery.
 
The only place I have seen a color copy of the portrait was on the
cover of a costume & armor book.  Sorry I don't have the title, it is
home packed in a box somewhere.

Catherine
**************************
Yes!  That is exactly the right one!  When I first saw him - probably
10
years ago, because he was the inspiration for the look of a
blackworked
shirt I entered in a Kingdom A&S - I found him in color - the black
and
white of the shirt was gorgeous against the red suit.
 
Thanks!  AT least I know I'm not completely crazy! <G>
 
Liadain
 
-----Original Message-----
You mean this one?
http://www.elizabethan-portraits.com/UnknownMan19.jpg 
An Unknown Man by an Unknown Artist, c.1548. (The
Royal Collection)
But in color?
 
I know I've seen it in color, I just don't remember
where. Give me until tomorrow, or hopefully someone
else has it, or knows where a better version is.
 
And I checked the Royal Collection, and doing a quick
search did not find it there online.
 
Kimiko
 

 
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Silk made from drunk worms? :)

De
sorry couldn't pass it up.



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  Hey, Sis, long time no hear....<G>
    Isn't he beautiful?  He must have cut quite a figure in that outfit...  
    
    Sigh.  I want to go to England some day when I grow up.

Liadain
THL Liadain ni Mhordha OFO
wildernesse, the Outlands 
http://practical-blackwork.blogspot.com
http://www.flickr.com/photos/liadains_fancies

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Catherine Kinsey
Sent: Wednesday, April 16, 2008 11:16 AM
To: h-costume@indra.com
Subject: Re: [h-cost] a little OT - hunting a portrait

I love this portrait too :).  The original is at Hampton court, or at
least it was when I saw it there almost 23 years ago.  It is almost a
life-size painting. The entire outfit is red, as the version in Tudor
Tailor is.  It makes for a very unique contrast to the white shirt and
blackwork embroidery.
 
The only place I have seen a color copy of the portrait was on the
cover of a costume & armor book.  Sorry I don't have the title, it is
home packed in a box somewhere.

Catherine


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The black and white I found online says that it is in the Royal Collection
but I could not find it in there online gallery.
http://www.royalcollection.org.uk/default.asp?action=article&ID=16

De

-----Original Message-----
I love this portrait too :).  The original is at Hampton court, or at
least it was when I saw it there almost 23 years ago.  It is almost a
life-size painting. The entire outfit is red, as the version in Tudor
Tailor is.  It makes for a very unique contrast to the white shirt and
blackwork embroidery.

The only place I have seen a color copy of the portrait was on the
cover of a costume & armor book.  Sorry I don't have the title, it is
home packed in a box somewhere.

Catherine


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Hello,

I currently am a partner at a 19th Century historical clothing/costume shop and am looking for someone who can make good quality, historically correct, sturdy custom wigs and hairpieces. We currently stock the Lacey costume wigs, but most of them have heavy curls which are not appropriate for older women. I can provide many images of styles we are interested in. If anyone is interested or knows of a good source please email me privately offline. I'm trying not to break any rules regarding vendor solicitation, but rather the intent is for general information.

Thanks,

Samantha Rife
Vice President
La Belle Femme
www.labelle-femme.com

       
---------------------------------
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From: MaggiRos <maggiros@yahoo.com>
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Subject: Re: [h-cost] a little OT - hunting a portrait
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Is this is?
http://www.darvillsrareprints.com/Images/images/Shaw%20Dresses/earlofsurrey.jpg
or 
http://tinyurl.com/4vzl8e

It's listed there as the Earl of Surrey.

MaggiRos

--- Catherine Kinsey <ckinsey@kumc.edu> wrote:

> I love this portrait too :).  The original is at
> Hampton court, or at
> least it was when I saw it there almost 23 years
> ago.  It is almost a
> life-size painting. The entire outfit is red, as the
> version in Tudor
> Tailor is.  It makes for a very unique contrast to
> the white shirt and
> blackwork embroidery.
>  
> The only place I have seen a color copy of the
> portrait was on the
> cover of a costume & armor book.  Sorry I don't have
> the title, it is
> home packed in a box somewhere.
> 
> Catherine
> **************************
> Yes!  That is exactly the right one!  When I first
> saw him - probably
> 10
> years ago, because he was the inspiration for the
> look of a
> blackworked
> shirt I entered in a Kingdom A&S - I found him in
> color - the black
> and
> white of the shirt was gorgeous against the red
> suit.
>  
> Thanks!  AT least I know I'm not completely crazy!
> <G>
>  
> Liadain
>  
> -----Original Message-----
> You mean this one?
>
http://www.elizabethan-portraits.com/UnknownMan19.jpg
> 
> An Unknown Man by an Unknown Artist, c.1548. (The
> Royal Collection)
> But in color?
>  
> I know I've seen it in color, I just don't remember
> where. Give me until tomorrow, or hopefully someone
> else has it, or knows where a better version is.
>  
> And I checked the Royal Collection, and doing a
> quick
> search did not find it there online.
>  
> Kimiko
>  
> 
>  
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 


The Elizabethan World is at http://elizabethan.org
coming soon in paperback!
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From: "Cassandra Reedus" <BryrRose@stx.rr.com>
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I have been hired to do costumes one of a local community theatre's summer productions, and I've already talked to the director of the show and the executive director of the theatre.  I know what they want and what my budget is going to be - auditions for the show are next weekend, so I don't know who I have to costume yet.  I am going to be at the first read thru and would like to get measurements, sizes, etc. then if at all possible.  Does anyone have a good form they use for that kind of thing?  I have an idea but I'd like to look at other people's suggestions.  Thanks in advance.

Cassandra
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Subject: Re: [h-cost] a little OT - hunting a portrait
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   How interesting - must be a print taken from a copy of the original.
I've never seen that one before!  They stayed very near to the original in
color, though - isn't that a spiff outfit?

Liadain
THL Liadain ni Mhordha OFO
wildernesse, the Outlands 
http://practical-blackwork.blogspot.com
http://www.flickr.com/photos/liadains_fancies

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of MaggiRos
Sent: Sunday, April 20, 2008 8:51 AM
To: Historical Costume
Subject: Re: [h-cost] a little OT - hunting a portrait

Is this is?
http://www.darvillsrareprints.com/Images/images/Shaw%20Dresses/earlofsurrey.
jpg
or 
http://tinyurl.com/4vzl8e

It's listed there as the Earl of Surrey.

MaggiRos

--- Catherine Kinsey <ckinsey@kumc.edu> wrote:

> I love this portrait too :).  The original is at
> Hampton court, or at
> least it was when I saw it there almost 23 years
> ago.  It is almost a
> life-size painting. The entire outfit is red, as the
> version in Tudor
> Tailor is.  It makes for a very unique contrast to
> the white shirt and
> blackwork embroidery.
>  
> The only place I have seen a color copy of the
> portrait was on the
> cover of a costume & armor book.  Sorry I don't have
> the title, it is
> home packed in a box somewhere.
> 
> Catherine
> **************************
> Yes!  That is exactly the right one!  When I first
> saw him - probably
> 10
> years ago, because he was the inspiration for the
> look of a
> blackworked
> shirt I entered in a Kingdom A&S - I found him in
> color - the black
> and
> white of the shirt was gorgeous against the red
> suit.
>  
> Thanks!  AT least I know I'm not completely crazy!
> <G>
>  
> Liadain
>  
> -----Original Message-----
> You mean this one?
>
http://www.elizabethan-portraits.com/UnknownMan19.jpg
> 
> An Unknown Man by an Unknown Artist, c.1548. (The
> Royal Collection)
> But in color?
>  
> I know I've seen it in color, I just don't remember
> where. Give me until tomorrow, or hopefully someone
> else has it, or knows where a better version is.
>  
> And I checked the Royal Collection, and doing a
> quick
> search did not find it there online.
>  
> Kimiko
>  
> 
>  
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 


The Elizabethan World is at http://elizabethan.org
coming soon in paperback!
_______________________________________________
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http://mail.indra.com/mailman/listinfo/h-costume

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Subject: Re: [h-cost] a little OT - hunting a portrait
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 Whoops, dang it - meant to say "thanks", and definitely meant to trim!
Sorry!

Liadain
Fingers faster than brain

THL Liadain ni Mhordha OFO
wildernesse, the Outlands 
http://practical-blackwork.blogspot.com
http://www.flickr.com/photos/liadains_fancies

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of MaggiRos
Sent: Sunday, April 20, 2008 8:51 AM
To: Historical Costume
Subject: Re: [h-cost] a little OT - hunting a portrait

Is this is?
http://www.darvillsrareprints.com/Images/images/Shaw%20Dresses/earlofsurrey.
jpg
or 
http://tinyurl.com/4vzl8e

It's listed there as the Earl of Surrey.

MaggiRos


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From: Zuzana Kraemerova <zkraemerova@yahoo.com>
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I don't know whether I understood correctly, maybe I'm completely out of the point, but here is what I use for taking measurements. There are all measurements I usually need except for these rarely taken (wrist c., crotch depth,...). It has abbreviations used in Czech, so I wrote in the fields where the measurements should be written down  the approximate translation. 
This form isn't really my idea, but it's taken from the Rundschau patterndrafting magazine with some alternations. It's a good help for me, no need to worry that you forget to take some measurement. There are also blank fields for you to fill in some extra measurements and a space on the right side to make drawings etc.

Zuzana

 
Cassandra Reedus <BryrRose@stx.rr.com> wrote: I have been hired to do costumes one of a local community theatre's summer productions, and I've already talked to the director of the show and the executive director of the theatre.  I know what they want and what my budget is going to be - auditions for the show are next weekend, so I don't know who I have to costume yet.  I am going to be at the first read thru and would like to get measurements, sizes, etc. then if at all possible.  Does anyone have a good form they use for that kind of thing?  I have an idea but I'd like to look at other people's suggestions.  Thanks in advance.

Cassandra
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Sorry I don't know why the link didn't show up:

http://www.intelligenzbestien.wz.cz/images/measurement chart.doc 

Zuzana

       
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Subject: [h-cost] Ballet Co. looking for Wardrobe Director
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Just in case anyone here would be interested.  Their website is here:
http://www.kcballet.org/ 
 
 
Title: Wardrobe Director 
Reports to: Production Manager

Description
KC Ballet seeks motivated individual for the position of Wardrobe
Supervisor. KCB produces three repertory shows in addition to Nutcracker
and numerous special events.

Responsibilities include: strategic planning and organization of the
Wardrobe Department, preparation of dressing areas, load-in and strike
of costumes for assigned productions, and maintenance of costumes and
wigs for all performances. Time management, organizational, and problem
solving skills sought.

Salary commensurate with experience. Benefit packages includes health,
dental, 403B.

Ideal candidate will have strong overall skills in construction,
cutting draping, stitching and fittings. Prior experience with dance is
required. Start date July, 1 2008.

Interested candidates should email cover letter and resume to
ataylor@kcballet.org.

Please no phone calls until after May 6.
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The form I use most often is taken from The Costume Technician's Handbook.
It has a separate form for male and female with a sketch to show you where
the measurements are taken. Depending on the show, you may not need all the
measurements. 

Start at the top--

Head (around and over the top ear to ear)
Throat
Neck
Shoulder to shoulder , front / back
Armseye to armseye - f/b
Circumference of armseye
Bicep
Forearm
Wrist
Chest
Midriff or underbust for female
Waist (at navel for males)
Hip bone and waist to hip bone for women
Hips  and waist to hip
Thigh 
Above knee
Below knee
Calf
Ankle
Instep girth
Arch
Inseam --to below knee, to ankle, to floor
Waist to below knee
Waist to floor/ankle
Neck to floor - frnt/bck/side
Crotch -stride, girth, depth
One shoulder length
Shoulder to elbow
Elbow to wrist
Shoulder to wrist (not bent)
Armpit to wrist
Armpit to waist
Mid-shoulder to waist
Mid shoulder to chest level 
Top of shoulder to waist front/back
Neck to waist front/back
Bust tip to tip 
Across bust side to side
Trace the foot on the back of the sheet
Fill in the blanks for:
Name, character, phone, email, date, height, weight, shoe, shirt (men), bra
(women), tights, leotard, hand, hair color/length, etc.

VERY IMPORTANT!!! Allergies!!!

Space to note things like one shoulder obviously higher/lower; odd body
shape (these notes are often my notes that I don't really share with the
actor if I feel it might embarrass them.

I try to remember to ask things like "Are you pregnant? Are you seriously
losing/gaining weight? Lifting weights?"

Remember that the 12 year old is going to grow between measurements time and
opening night.

Kate


-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Cassandra Reedus
Sent: Sunday, April 20, 2008 2:30 PM
To: h-costume@mail.indra.com
Subject: [h-cost] newish costumer

I have been hired to do costumes one of a local community theatre's summer
productions, and I've already talked to the director of the show and the
executive director of the theatre.  I know what they want and what my budget
is going to be - auditions for the show are next weekend, so I don't know
who I have to costume yet.  I am going to be at the first read thru and
would like to get measurements, sizes, etc. then if at all possible.  Does
anyone have a good form they use for that kind of thing?  I have an idea but
I'd like to look at other people's suggestions.  Thanks in advance.

Cassandra
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I  use the form in Schultz & Winter's  Elizabethan
Costuming. It's pretty complete.

MaggiRos

The Elizabethan World is at http://elizabethan.org
coming soon in paperback!
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Subject: [h-cost] OT-ish Seeking folks regarding the Thursday 4/24 pre-CC26
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I received reservations for the following folks for the CC26 pre-con  =

Chocolate & Spirits tour, but haven't received a confirmation message  =

from them:

Deborah Cardillo, Martin Harriman
Renata O'Connor-Rose, Leah O'Connor, Patrick O'Connor (+2, yes we have  =

room for your +2)

I still have some seats on the bus left. Tickets are $35/person,  =

leaving from the San Jose Doubletree at 9:45 AM on Thursday.   =

Convention members, of course, have priority to buy tickets, but if  =

I've got space I'll take other reservations.

please send any reservation requests to fbtours@cc26.org. If you've  =

reserved and haven't received a note from me, it means I never got  =

your reservation; if that's the case (I beg the moderators  =

forgiveness) answer on-list to ensure that your mail isn't being eaten  =

by SPAM filters somewhere.


andy


Here's the original details:
It's about an hour's trip to Berkeley, but it's worth it. Scharffen  =

Berger Chocolate Maker is a first-tier chocolate manufacturer,  =

starting with the raw beans and controlling every step in the process  =

of making the best small-batch chocolate in the country. After the  =

tour, we'll take lunch at Caf=E9 Cacao, right in the Scharffen Berger  =

factory.

 From lunch we'll continue the short jaunt from Scharffen Berger to  =

St. George Spirits, a cradle of craft-distilling in the US. Located at  =

the northwest end of Naval Air Station Alameda (a site familiar to the  =

fans of Mythbusters) in an old hangar, St. George Spirits is classic  =

Schwartzwald, Germany transplanted to California. Under the St. George  =

name, J=F6rg, Lance and their crew distill eaux de vie, liqueuers and a  =

superb single-malt whisky. Their recent Absinthe release rocked the  =

spirits world. They're also well-known for distilling the "Hangar One"  =

series of flavored vodkas. In a partnership with John Scharffenberger,  =

they produce "Qi" tea liqueurs and "Essence of Cacao" perfume. Taste  =

carefully.
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Subject: [h-cost] Edwardian men's fashion
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A friend of mine is interested in learning how to make Edwardian-style  
men's clothing, and I'm having trouble finding references to help him.  
  All kinds of women's patterns, all kinds of dressmaking books, sure.  
  But not men's clothing or tailoring.

O, wise listmembers, can you help?

Emma

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Robb Shep reprints men's Victorian and Edwardian tailoring books. They 
are listed on his website, www.rlshep.com.

Fran Grimble
Lavolta Press Books of Historic Patterns
http://www.lavoltapress.com

00217146@bigred.unl.edu wrote:
> A friend of mine is interested in learning how to make Edwardian-style  
> men's clothing, and I'm having trouble finding references to help him.  
>   All kinds of women's patterns, all kinds of dressmaking books, sure.  
>   But not men's clothing or tailoring.
> 
> O, wise listmembers, can you help?
> 
> Emma
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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From: Ann Catelli <elvestoorder@yahoo.com>
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The Costumer's Manifesto--the Victorian and Edwardian sections of Costume History by Date have one each tailoring manuals.  The Edwardian manual is aimed at men's tailoring.
Yay for Tara McGinnis

Ann in CT

--- On Tue, 4/22/08, 00217146@bigred.unl.edu <00217146@bigred.unl.edu> wrote:

> From: 00217146@bigred.unl.edu <00217146@bigred.unl.edu>
> Subject: [h-cost] Edwardian men's fashion
> To: "Historical Costume" <h-costume@indra.com>
> Date: Tuesday, April 22, 2008, 9:22 PM
> A friend of mine is interested in learning how to make
> Edwardian-style  
> men's clothing, and I'm having trouble finding
> references to help him.  
>   All kinds of women's patterns, all kinds of
> dressmaking books, sure.  
>   But not men's clothing or tailoring.
> 
> O, wise listmembers, can you help?
> 
> Emma
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume


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Hi, 

I'm sending this to all in case someone else might be interested:

I finally got to copy some pages for you to see how approximately the books look, I found 4 useful ones, one from 1888, one from 1903, another from the beginning of the 20th century, but of an unknown exact date (1905-1910?), and one from 1911.
The 1900s books will probably produce patterns for the S-curve shape, whereas the 1888 book will probably still keep to the victorian (larger belly etc) shape. So you have to decide which book would be the best for you.

All books provide slopers and their modifications to various sorts of dresses and bodices,  the 1911 book discusses quite nicely the various body shapes (large bust, hips etc) and gives for each one a different sloper. All books also contain information on skirts, sleeves and some other garments.

I haven't studied them in detail, just glanced through, but I'd suggest the 1888 one for the earlier periods and the 1911 one for the later; the 19?? book is also looking good and maybe simpler then the 1911 (easier to follow).

Here you can upload a pdf file with some pages:

http://www.2shared.com/file/3190351/d47aeee4/antique_books.html

just click on                         "Save file to your PC: click here" on the bottom. The file's too big to put on my small site.

Copying one A4 page costs about $0,16. The books usually have about 150-200 pages. I could then send the copies to you by mail (could be expensive) or scan them - that would cost less, as I would keep the physical copies, which would be unfair - so we would kind of share, as I am also planning to have the books copied for myself.

I repeat that copying the books for study reasons in the library is officially allowed.  

So, if you or someone else's interested, tell me and we'll discuss the details.

Zuzana


Deredere Galbraith <Deredere.Galbraith@kabelfoon.nl> wrote: I wish I knew that just a few day's earlier...
I just got back from Prague. But missed the museum....
What a tourist place, even Amsterdam isn't as touristic as Prague.
It almost felt like a theme park.
But it is very beautiful.
And way too much to see for just two days.

German is not a problem for me.
I'll be interested in any 1895 patterns.
I would be very happy if you would want to look and copy some things for me.

Deredere


Zuzana Kraemerova wrote:
> In the museum of decorative arts in Prague there is a library that holds some old fashion books, and there are also a few from the end of the 19th century, one or two, I don't remember exactly, are very good drafting manuals. It's some time ago that I've searched these books through, so I don't really remember the dates these books were from and the language (though I think it was always German). But if you were interested, I could go and have a look. They photocopy any books you like. I don't think that the copyright is a big deal here, because the books have no living author any more (what a surprise) and all photocopies are to be used for study and non-commercial use.
>
> Zuzana
>
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Or the library of the museum of decorative arts in Prague keeps some drafting books for men's clothing (maybe more than for women's clothing). In my post for "book question 1895" I sent a link to a pdf file with examples of antique drafting books for women's dress. The men's dress books this library owns are a similar kind of thing.

Zuzana

00217146@bigred.unl.edu wrote: A friend of mine is interested in learning how to make Edwardian-style  
men's clothing, and I'm having trouble finding references to help him.  
  All kinds of women's patterns, all kinds of dressmaking books, sure.  
  But not men's clothing or tailoring.

O, wise listmembers, can you help?

Emma

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It's a kind offer, but hard on Americans who do not read the language 
the books are in. However, there are many similar English and American 
books. They are often books that were also published in other languages 
and countries, because Victorian and Edwardian pattern books were often 
translated and published, with or without attribution to the original 
author. I have many such books in my personal library. I even once 
bought a book in Armenian from a Turkish seller on eBay, because I did 
not have any books in Armenian in my pattern book collection and 
expected all kinds of interesting designs. In fact, it turned out to be 
a plagiarism of a French manual I already owned.

Such books of tailor's drafting patterns are available on the used book 
market, on eBay, in American public and college libraries, etc. I've 
collected them for over 30 years.  I've never counted them, but I have 
at least some hundreds, as I own about 5,000 books on costuming.

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



Zuzana Kraemerova wrote:
> Hi, 
> 
> I'm sending this to all in case someone else might be interested:
> 
> I finally got to copy some pages for you to see how approximately the books look, I found 4 useful ones, one from 1888, one from 1903, another from the beginning of the 20th century, but of an unknown exact date (1905-1910?), and one from 1911.
> The 1900s books will probably produce patterns for the S-curve shape, whereas the 1888 book will probably still keep to the victorian (larger belly etc) shape. So you have to decide which book would be the best for you.
> 
> All books provide slopers and their modifications to various sorts of dresses and bodices,  the 1911 book discusses quite nicely the various body shapes (large bust, hips etc) and gives for each one a different sloper. All books also contain information on skirts, sleeves and some other garments.
> 
> I haven't studied them in detail, just glanced through, but I'd suggest the 1888 one for the earlier periods and the 1911 one for the later; the 19?? book is also looking good and maybe simpler then the 1911 (easier to follow).
> 
> Here you can upload a pdf file with some pages:
> 
> http://www.2shared.com/file/3190351/d47aeee4/antique_books.html
> 
> just click on                         "Save file to your PC: click here" on the bottom. The file's too big to put on my small site.
> 
> Copying one A4 page costs about $0,16. The books usually have about 150-200 pages. I could then send the copies to you by mail (could be expensive) or scan them - that would cost less, as I would keep the physical copies, which would be unfair - so we would kind of share, as I am also planning to have the books copied for myself.
> 
> I repeat that copying the books for study reasons in the library is officially allowed.  
> 
> So, if you or someone else's interested, tell me and we'll discuss the details.
> 
> Zuzana
> 
> 
> Deredere Galbraith <Deredere.Galbraith@kabelfoon.nl> wrote: I wish I knew that just a few day's earlier...
> I just got back from Prague. But missed the museum....
> What a tourist place, even Amsterdam isn't as touristic as Prague.
> It almost felt like a theme park.
> But it is very beautiful.
> And way too much to see for just two days.
> 
> German is not a problem for me.
> I'll be interested in any 1895 patterns.
> I would be very happy if you would want to look and copy some things for me.
> 
> Deredere
> 
> 
> Zuzana Kraemerova wrote:
>> In the museum of decorative arts in Prague there is a library that holds some old fashion books, and there are also a few from the end of the 19th century, one or two, I don't remember exactly, are very good drafting manuals. It's some time ago that I've searched these books through, so I don't really remember the dates these books were from and the language (though I think it was always German). But if you were interested, I could go and have a look. They photocopy any books you like. I don't think that the copyright is a big deal here, because the books have no living author any more (what a surprise) and all photocopies are to be used for study and non-commercial use.
>>
>> Zuzana
>>
>>  __________________________________________________
>> Do You Yahoo!?
>> Tired of spam?  Yahoo! Mail has the best spam protection around 
>> http://mail.yahoo.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
> 
> 
>        
> ---------------------------------
> Be a better friend, newshound, and know-it-all with Yahoo! Mobile.  Try it now.
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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> 
> 
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It's a kind offer, but hard on Americans who do not read the language 
the books are in. However, there are many similar English and American 
books. They are often books that were also published in other languages 
and countries, because Victorian and Edwardian pattern books were often 
translated and published, with or without attribution to the original 
author. I have many such books in my personal library. I even once 
bought a book in Armenian from a Turkish seller on eBay, because I did 
not have any books in Armenian in my pattern book collection and 
expected all kinds of interesting designs. In fact, it turned out to be 
a plagiarism of a French manual I already owned.

Such books of tailor's drafting patterns are available on the used book 
market, on eBay, in American public and college libraries, etc. I've 
collected them for over 30 years.  I've never counted them, but I have 
at least some hundreds, as I own about 5,000 books on costuming.

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



Zuzana Kraemerova wrote:
> Hi, 
> 
> I'm sending this to all in case someone else might be interested:
> 
> I finally got to copy some pages for you to see how approximately the books look, I found 4 useful ones, one from 1888, one from 1903, another from the beginning of the 20th century, but of an unknown exact date (1905-1910?), and one from 1911.
> The 1900s books will probably produce patterns for the S-curve shape, whereas the 1888 book will probably still keep to the victorian (larger belly etc) shape. So you have to decide which book would be the best for you.
> 
> All books provide slopers and their modifications to various sorts of dresses and bodices,  the 1911 book discusses quite nicely the various body shapes (large bust, hips etc) and gives for each one a different sloper. All books also contain information on skirts, sleeves and some other garments.
> 
> I haven't studied them in detail, just glanced through, but I'd suggest the 1888 one for the earlier periods and the 1911 one for the later; the 19?? book is also looking good and maybe simpler then the 1911 (easier to follow).
> 
> Here you can upload a pdf file with some pages:
> 
> http://www.2shared.com/file/3190351/d47aeee4/antique_books.html
> 
> just click on                         "Save file to your PC: click here" on the bottom. The file's too big to put on my small site.
> 
> Copying one A4 page costs about $0,16. The books usually have about 150-200 pages. I could then send the copies to you by mail (could be expensive) or scan them - that would cost less, as I would keep the physical copies, which would be unfair - so we would kind of share, as I am also planning to have the books copied for myself.
> 
> I repeat that copying the books for study reasons in the library is officially allowed.  
> 
> So, if you or someone else's interested, tell me and we'll discuss the details.
> 
> Zuzana
> 
> 
> Deredere Galbraith <Deredere.Galbraith@kabelfoon.nl> wrote: I wish I knew that just a few day's earlier...
> I just got back from Prague. But missed the museum....
> What a tourist place, even Amsterdam isn't as touristic as Prague.
> It almost felt like a theme park.
> But it is very beautiful.
> And way too much to see for just two days.
> 
> German is not a problem for me.
> I'll be interested in any 1895 patterns.
> I would be very happy if you would want to look and copy some things for me.
> 
> Deredere
> 
> 
> Zuzana Kraemerova wrote:
>> In the museum of decorative arts in Prague there is a library that holds some old fashion books, and there are also a few from the end of the 19th century, one or two, I don't remember exactly, are very good drafting manuals. It's some time ago that I've searched these books through, so I don't really remember the dates these books were from and the language (though I think it was always German). But if you were interested, I could go and have a look. They photocopy any books you like. I don't think that the copyright is a big deal here, because the books have no living author any more (what a surprise) and all photocopies are to be used for study and non-commercial use.
>>
>> Zuzana
>>
>>  __________________________________________________
>> Do You Yahoo!?
>> Tired of spam?  Yahoo! Mail has the best spam protection around 
>> http://mail.yahoo.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
> 
> 
>        
> ---------------------------------
> Be a better friend, newshound, and know-it-all with Yahoo! Mobile.  Try it now.
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 
> 
_______________________________________________
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From: Zuzana Kraemerova <zkraemerova@yahoo.com>
To: Historical Costume <h-costume@indra.com>
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*My eyes glued to the screen*
If I ever dreamed about something, it was to own so many costume books. I'd never think there were 5 000 books on costuming! 
I'm sure if I ever got to your library, I would be the happiest person on the earth:-D  Unhappily, a student as I am can have only few of such books...Well, who knows how many books will I have in 30 years? :-D

Zuzana

Lavolta Press <fran@lavoltapress.com> wrote: It's a kind offer, but hard on Americans who do not read the language 
the books are in. However, there are many similar English and American 
books. They are often books that were also published in other languages 
and countries, because Victorian and Edwardian pattern books were often 
translated and published, with or without attribution to the original 
author. I have many such books in my personal library. I even once 
bought a book in Armenian from a Turkish seller on eBay, because I did 
not have any books in Armenian in my pattern book collection and 
expected all kinds of interesting designs. In fact, it turned out to be 
a plagiarism of a French manual I already owned.

Such books of tailor's drafting patterns are available on the used book 
market, on eBay, in American public and college libraries, etc. I've 
collected them for over 30 years.  I've never counted them, but I have 
at least some hundreds, as I own about 5,000 books on costuming.

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



Zuzana Kraemerova wrote:
> Hi, 
> 
> I'm sending this to all in case someone else might be interested:
> 
> I finally got to copy some pages for you to see how approximately the books look, I found 4 useful ones, one from 1888, one from 1903, another from the beginning of the 20th century, but of an unknown exact date (1905-1910?), and one from 1911.
> The 1900s books will probably produce patterns for the S-curve shape, whereas the 1888 book will probably still keep to the victorian (larger belly etc) shape. So you have to decide which book would be the best for you.
> 
> All books provide slopers and their modifications to various sorts of dresses and bodices,  the 1911 book discusses quite nicely the various body shapes (large bust, hips etc) and gives for each one a different sloper. All books also contain information on skirts, sleeves and some other garments.
> 
> I haven't studied them in detail, just glanced through, but I'd suggest the 1888 one for the earlier periods and the 1911 one for the later; the 19?? book is also looking good and maybe simpler then the 1911 (easier to follow).
> 
> Here you can upload a pdf file with some pages:
> 
> http://www.2shared.com/file/3190351/d47aeee4/antique_books.html
> 
> just click on                         "Save file to your PC: click here" on the bottom. The file's too big to put on my small site.
> 
> Copying one A4 page costs about $0,16. The books usually have about 150-200 pages. I could then send the copies to you by mail (could be expensive) or scan them - that would cost less, as I would keep the physical copies, which would be unfair - so we would kind of share, as I am also planning to have the books copied for myself.
> 
> I repeat that copying the books for study reasons in the library is officially allowed.  
> 
> So, if you or someone else's interested, tell me and we'll discuss the details.
> 
> Zuzana
> 
> 
> Deredere Galbraith  wrote: I wish I knew that just a few day's earlier...
> I just got back from Prague. But missed the museum....
> What a tourist place, even Amsterdam isn't as touristic as Prague.
> It almost felt like a theme park.
> But it is very beautiful.
> And way too much to see for just two days.
> 
> German is not a problem for me.
> I'll be interested in any 1895 patterns.
> I would be very happy if you would want to look and copy some things for me.
> 
> Deredere
> 
> 
> Zuzana Kraemerova wrote:
>> In the museum of decorative arts in Prague there is a library that holds some old fashion books, and there are also a few from the end of the 19th century, one or two, I don't remember exactly, are very good drafting manuals. It's some time ago that I've searched these books through, so I don't really remember the dates these books were from and the language (though I think it was always German). But if you were interested, I could go and have a look. They photocopy any books you like. I don't think that the copyright is a big deal here, because the books have no living author any more (what a surprise) and all photocopies are to be used for study and non-commercial use.
>>
>> Zuzana
>>
>>  __________________________________________________
>> Do You Yahoo!?
>> Tired of spam?  Yahoo! Mail has the best spam protection around 
>> http://mail.yahoo.com 
>> _______________________________________________
>> h-costume mailing list
>> h-costume@mail.indra.com
>> http://mail.indra.com/mailman/listinfo/h-costume
>>
>>   
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 
> 
>        
> ---------------------------------
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> http://mail.indra.com/mailman/listinfo/h-costume
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> 
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Sure, if you count every aspect of it, every historic era, various 
languages, anthologies of periodicals, etc.

Fan

Zuzana Kraemerova wrote:
> *My eyes glued to the screen*
> If I ever dreamed about something, it was to own so many costume books. I'd never think there were 5 000 books on costuming! 
> I'm sure if I ever got to your library, I would be the happiest person on the earth:-D  Unhappily, a student as I am can have only few of such books...Well, who knows how many books will I have in 30 years? :-D
> 
> Zuzana
> 
> Lavolta Press <fran@lavoltapress.com> wrote: It's a kind offer, but hard on Americans who do not read the language 
> the books are in. However, there are many similar English and American 
> books. They are often books that were also published in other languages 
> and countries, because Victorian and Edwardian pattern books were often 
> translated and published, with or without attribution to the original 
> author. I have many such books in my personal library. I even once 
> bought a book in Armenian from a Turkish seller on eBay, because I did 
> not have any books in Armenian in my pattern book collection and 
> expected all kinds of interesting designs. In fact, it turned out to be 
> a plagiarism of a French manual I already owned.
> 
> Such books of tailor's drafting patterns are available on the used book 
> market, on eBay, in American public and college libraries, etc. I've 
> collected them for over 30 years.  I've never counted them, but I have 
> at least some hundreds, as I own about 5,000 books on costuming.
> 
> Fran
> Lavolta Press
> http://www.lavoltapress.com
> 
> 
> 
> Zuzana Kraemerova wrote:
>> Hi, 
>>
>> I'm sending this to all in case someone else might be interested:
>>
>> I finally got to copy some pages for you to see how approximately the books look, I found 4 useful ones, one from 1888, one from 1903, another from the beginning of the 20th century, but of an unknown exact date (1905-1910?), and one from 1911.
>> The 1900s books will probably produce patterns for the S-curve shape, whereas the 1888 book will probably still keep to the victorian (larger belly etc) shape. So you have to decide which book would be the best for you.
>>
>> All books provide slopers and their modifications to various sorts of dresses and bodices,  the 1911 book discusses quite nicely the various body shapes (large bust, hips etc) and gives for each one a different sloper. All books also contain information on skirts, sleeves and some other garments.
>>
>> I haven't studied them in detail, just glanced through, but I'd suggest the 1888 one for the earlier periods and the 1911 one for the later; the 19?? book is also looking good and maybe simpler then the 1911 (easier to follow).
>>
>> Here you can upload a pdf file with some pages:
>>
>> http://www.2shared.com/file/3190351/d47aeee4/antique_books.html
>>
>> just click on                         "Save file to your PC: click here" on the bottom. The file's too big to put on my small site.
>>
>> Copying one A4 page costs about $0,16. The books usually have about 150-200 pages. I could then send the copies to you by mail (could be expensive) or scan them - that would cost less, as I would keep the physical copies, which would be unfair - so we would kind of share, as I am also planning to have the books copied for myself.
>>
>> I repeat that copying the books for study reasons in the library is officially allowed.  
>>
>> So, if you or someone else's interested, tell me and we'll discuss the details.
>>
>> Zuzana
>>
>>
>> Deredere Galbraith  wrote: I wish I knew that just a few day's earlier...
>> I just got back from Prague. But missed the museum....
>> What a tourist place, even Amsterdam isn't as touristic as Prague.
>> It almost felt like a theme park.
>> But it is very beautiful.
>> And way too much to see for just two days.
>>
>> German is not a problem for me.
>> I'll be interested in any 1895 patterns.
>> I would be very happy if you would want to look and copy some things for me.
>>
>> Deredere
>>
>>
>> Zuzana Kraemerova wrote:
>>> In the museum of decorative arts in Prague there is a library that holds some old fashion books, and there are also a few from the end of the 19th century, one or two, I don't remember exactly, are very good drafting manuals. It's some time ago that I've searched these books through, so I don't really remember the dates these books were from and the language (though I think it was always German). But if you were interested, I could go and have a look. They photocopy any books you like. I don't think that the copyright is a big deal here, because the books have no living author any more (what a surprise) and all photocopies are to be used for study and non-commercial use.
>>>
>>> Zuzana
>>>
>>>  __________________________________________________
>>> Do You Yahoo!?
>>> Tired of spam?  Yahoo! Mail has the best spam protection around 
>>> http://mail.yahoo.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
>>
>>
>>        
>> ---------------------------------
>> Be a better friend, newshound, and know-it-all with Yahoo! Mobile.  Try it now.
>> _______________________________________________
>> 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
> 
> 
>        
> ---------------------------------
> Be a better friend, newshound, and know-it-all with Yahoo! Mobile.  Try it now.
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 
> 
_______________________________________________
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Sure, if you count every aspect of it, every historic era, various 
languages, anthologies of periodicals, etc.

Fan

Zuzana Kraemerova wrote:
> *My eyes glued to the screen*
> If I ever dreamed about something, it was to own so many costume books. I'd never think there were 5 000 books on costuming! 
> I'm sure if I ever got to your library, I would be the happiest person on the earth:-D  Unhappily, a student as I am can have only few of such books...Well, who knows how many books will I have in 30 years? :-D
> 
> Zuzana
> 
> Lavolta Press <fran@lavoltapress.com> wrote: It's a kind offer, but hard on Americans who do not read the language 
> the books are in. However, there are many similar English and American 
> books. They are often books that were also published in other languages 
> and countries, because Victorian and Edwardian pattern books were often 
> translated and published, with or without attribution to the original 
> author. I have many such books in my personal library. I even once 
> bought a book in Armenian from a Turkish seller on eBay, because I did 
> not have any books in Armenian in my pattern book collection and 
> expected all kinds of interesting designs. In fact, it turned out to be 
> a plagiarism of a French manual I already owned.
> 
> Such books of tailor's drafting patterns are available on the used book 
> market, on eBay, in American public and college libraries, etc. I've 
> collected them for over 30 years.  I've never counted them, but I have 
> at least some hundreds, as I own about 5,000 books on costuming.
> 
> Fran
> Lavolta Press
> http://www.lavoltapress.com
> 
> 
> 
> Zuzana Kraemerova wrote:
>> Hi, 
>>
>> I'm sending this to all in case someone else might be interested:
>>
>> I finally got to copy some pages for you to see how approximately the books look, I found 4 useful ones, one from 1888, one from 1903, another from the beginning of the 20th century, but of an unknown exact date (1905-1910?), and one from 1911.
>> The 1900s books will probably produce patterns for the S-curve shape, whereas the 1888 book will probably still keep to the victorian (larger belly etc) shape. So you have to decide which book would be the best for you.
>>
>> All books provide slopers and their modifications to various sorts of dresses and bodices,  the 1911 book discusses quite nicely the various body shapes (large bust, hips etc) and gives for each one a different sloper. All books also contain information on skirts, sleeves and some other garments.
>>
>> I haven't studied them in detail, just glanced through, but I'd suggest the 1888 one for the earlier periods and the 1911 one for the later; the 19?? book is also looking good and maybe simpler then the 1911 (easier to follow).
>>
>> Here you can upload a pdf file with some pages:
>>
>> http://www.2shared.com/file/3190351/d47aeee4/antique_books.html
>>
>> just click on                         "Save file to your PC: click here" on the bottom. The file's too big to put on my small site.
>>
>> Copying one A4 page costs about $0,16. The books usually have about 150-200 pages. I could then send the copies to you by mail (could be expensive) or scan them - that would cost less, as I would keep the physical copies, which would be unfair - so we would kind of share, as I am also planning to have the books copied for myself.
>>
>> I repeat that copying the books for study reasons in the library is officially allowed.  
>>
>> So, if you or someone else's interested, tell me and we'll discuss the details.
>>
>> Zuzana
>>
>>
>> Deredere Galbraith  wrote: I wish I knew that just a few day's earlier...
>> I just got back from Prague. But missed the museum....
>> What a tourist place, even Amsterdam isn't as touristic as Prague.
>> It almost felt like a theme park.
>> But it is very beautiful.
>> And way too much to see for just two days.
>>
>> German is not a problem for me.
>> I'll be interested in any 1895 patterns.
>> I would be very happy if you would want to look and copy some things for me.
>>
>> Deredere
>>
>>
>> Zuzana Kraemerova wrote:
>>> In the museum of decorative arts in Prague there is a library that holds some old fashion books, and there are also a few from the end of the 19th century, one or two, I don't remember exactly, are very good drafting manuals. It's some time ago that I've searched these books through, so I don't really remember the dates these books were from and the language (though I think it was always German). But if you were interested, I could go and have a look. They photocopy any books you like. I don't think that the copyright is a big deal here, because the books have no living author any more (what a surprise) and all photocopies are to be used for study and non-commercial use.
>>>
>>> Zuzana
>>>
>>>  __________________________________________________
>>> Do You Yahoo!?
>>> Tired of spam?  Yahoo! Mail has the best spam protection around 
>>> http://mail.yahoo.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
>>
>>
>>        
>> ---------------------------------
>> Be a better friend, newshound, and know-it-all with Yahoo! Mobile.  Try it now.
>> _______________________________________________
>> 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
> 
> 
>        
> ---------------------------------
> Be a better friend, newshound, and know-it-all with Yahoo! Mobile.  Try it now.
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 
> 
_______________________________________________
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From: Eleanor Farrell <emfarrell@earthlink.net>
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Subject: [h-cost] CC26 Historical Masquerade Registration Reminder
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Reminder: Deadline to register (and turn in all documentation) for the
CC26 Historical Masquerade is 8 pm Friday, April 25th. The HistMasq
registration desk will be manned from 11:30 am until 8 pm on Friday.
The registration desk for both masquerades and the Sunday PDinD
fashion show will be set up in the hotel near con registration.

If you have any problems meeting this deadline, contact the HistMasq
directors immediately at: histmasq@cc26.org. (You may have to talk
with us directly at the con, since both directors will be arriving at
the con on Thursday.)

Thanks!

Eleanor Farrell & Shelley Monson
CC26 Historical Masquerade Directors
histmasq@cc26.org
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From: "Penny Ladnier" <penny@costumegallery.com>
To: "h-costume" <h-costume@indra.com>
Date: Thu, 24 Apr 2008 00:02:42 -0400
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Subject: [h-cost] How Many Costume Books/Magazines/Photos Do You Own
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This could be really fun to poll the list.  Lurkers come out, wherever you are!

About how many costume/fashion related books or magazines do you own?

What was the first one you purchased?  Where did you purchase it?

What was your most recent purchase?

What do you think was the best deal that you have every made when purchasing a publication?

About how many period photographs do you own just for the costuming?

What book or magazine is your most treasured...if your house was on fire, you would take it with you.

What is the worse costume book that you own?  I know Robin has a collection!

Do you have a room devoted to your collection?

When did you start collecting?

Do you consider your collection for business or pleasure?

Optional questions:

How many sewing machines do you own?  What types and age?

How many sewing patterns do you own? 

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

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From: Catherine Olanich Raymond <cathy@thyrsus.com>
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On Thursday 24 April 2008, Penny Ladnier wrote:
> This could be really fun to poll the list.  Lurkers come out, wherever you
> are!
>
> About how many costume/fashion related books or magazines do you own?

Oh, dear God, I can't begin to estimate.  I could count, but that would take 
some time and it's late at night.  It has to be over 300, based on the shelf 
space they take up.
>
> What was the first one you purchased?  Where did you purchase it?

Don't remember anymore.  Really.  

> What was your most recent purchase?

NESAT IX.

>
> What do you think was the best deal that you have every made when
> purchasing a publication?

Getting a copy of Margareta Nockert's book on the Hogom find for less than $10 
USD (about $20 total, when shipping was taken into account). 

>
> About how many period photographs do you own just for the costuming?

Don't know exactly how to answer this--do you mean actual antique photos or 
photos reproduced in books, or both.


> What book or magazine is your most treasured...if your house was on fire,
> you would take it with you.

Tough question; there are more than a dozen I'd hate to lose.  Probably either 
my copy of "Cloth and Clothing in Medieval Europe", my copy of NESAT II, or 
Hald's "Ancient Danish Textiles",  as they were the most expensive to get and 
would be the hardest to replace. 
>
> What is the worse costume book that you own?  I know Robin has a
> collection!

I have two of the Iris Brooke books on European costume; those are the worst 
by far.

>
> Do you have a room devoted to your collection?

No, but then my house doesn't lend itsself to that.  
>
> When did you start collecting?

Probably sometime in the mid-1990s--before then, I didn't know of good sources 
to obtain the types of costume-related books in which I'm most interested.

> Do you consider your collection for business or pleasure?

Pleasure.   I do not do costume-related research as part of my job and I don't 
sew well enough to sell my work.

>
> Optional questions:
>
> How many sewing machines do you own?  What types and age?

Only one, an inexpensive Kenmore my husband bought me for my birthday about 5 
years ago to replace an ageing Kenmore from the 1970s.
>
> How many sewing patterns do you own?

About 20, most of which I likely will never use again.



-- 
Cathy Raymond <cathy@thyrsus.com>

"You affect the world by what you browse."-- Tim Berners-Lee

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On Thu, 24 Apr 2008, Penny Ladnier wrote:

> This could be really fun to poll the list.  Lurkers come out, wherever you are!
>
> About how many costume/fashion related books or magazines do you own?

Um. That depends on what you consider costume related. I have books on 
gothic sculpture that are costume-related, Also I'm a dilettante and I 
have books on all sorts of things from cake decorating to calligraphy. But 
probably over a hundred at least. I'd have more but I keep buying fabric.
>
> What was the first one you purchased?  Where did you purchase it?

Hmm. I honestly don't remember. Probably one of the horrid Dover editions, 
though.
>
> What was your most recent purchase?

Costume-related? A remaindered book on Florentine art from B&N.

>
> What do you think was the best deal that you have every made when purchasing a publication?

The ABEGG book Textile Conservation and Research, bought used from Germany 
for less than the new purchase price used to be, including shipping. The 
post office counter guy was very amused that I was bouncing up and down 
while waiting for him to fetch my package from the back. ;-)

>
> About how many period photographs do you own just for the costuming?

Mostly I do 12th and 13th century, so, no photographs. A handfull of 
manuscript facsimiles, though.

>
> What book or magazine is your most treasured...if your house was on fire, you would take it with you.

Oh gods. Either the aforemetioned ABEGG book or my facsimile of the St. 
Louis Psalter.
>
> What is the worse costume book that you own?  I know Robin has a collection!

Norris. Kohler. Braun & Schneider.
>
> Do you have a room devoted to your collection?

I have a research library. Catalogued LoC, even.
>
> When did you start collecting?

Seriously? About ten years ago or so.
>
> Do you consider your collection for business or pleasure?

Most definitely pleasure. The cake decorating books are for business.
>
> Optional questions:
>
> How many sewing machines do you own?  What types and age?

5. Two reasonably new Viking Husqvarna low-end machines, both less than 
10 years old, Mom's c. 1970 Kenmore, a newish Kenmore quilter's machine 
(same age as first Viking), and an aged Stradivaro that I have been able 
to find no information on but it will sew through anything and very very 
fast. It scares me.
  >
> How many sewing patterns do you own?
>
Purchased patterns, maybe 4 or 5. Since I do medieval costuming and it's 
all rectangles and triangles, I just have sketches and measurements for 
that.

And I have managed to lose entire bolts of fabric in my sewing shelves 
before. :-)

Jen/pixel/Margaret
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From: "Penny Ladnier" <penny@costumegallery.com>
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Photograph question: Antique photographs and/or of antique costumes.

I would like to add one more question:

Time to come clean...What was the most price of  you have ever paid for a book, collection of work, etc.  We won't tell your mate! LOL!  You don't have to name give the title, just in case you were taken to the cleaners on a purchase.  Example: a book and the amount.

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

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> From: penny@costumegallery.com> To: h-costume@indra.com> Date: Thu, 24 Apr 2008 00:02:42 -0400> Subject: [h-cost] How Many Costume Books/Magazines/Photos Do You Own> > This could be really fun to poll the list. Lurkers come out, wherever you are!> > About how many costume/fashion related books or magazines do you own?
I have at least 100 counting hard & soft cover.> > What was the first one you purchased? Where did you purchase it?
My first books were "Tom Tierney" paper doll books for their colors and details.  > > What was your most recent purchase?
A Janet Arnold "Patterns of Fashion - 1660 - 1860"> > What do you think was the best deal that you have every made when purchasing a publication?
This is the one I can't really answer.  I'm not a very good bargin hunter when it comes to books. Fabric? That's a different story!> 
> About how many period photographs do you own just for the costuming?
Only two outside my publications - my oldest son gave them to me all beautifully framed.  Hand colored prints from the 1860's.> > What book or magazine is your most treasured...if your house was on fire, you would take it with you.
That's easy - all my Janet Arnold books.> > What is the worse costume book that you own? I know Robin has a collection!
Most likely the Dover publication with CD.> > Do you have a room devoted to your collection? 
My books are all over the house, but they do have a special bookcase in my sewing area.> > When did you start collecting?
I didn't think about it as 'collecting'  but one day I realized I had lots of books and reference magazines.> > Do you consider your collection for business or pleasure?
Definately pleasure! :-)> > Optional questions:> > How many sewing machines do you own? What types and age?
I have 4 - an old Kenmore that is only for my granddaughter to use; A Pfaff 7570 I bought about 10 years ago after I killed my Singer that I had had since college; a Viking serger and newest is a beautiful new Pfaff Creative Vision which my husband gave me for Christmas and I'm still learning stuff on it week by week.> > How many sewing patterns do you own? > Maybe 200 or so - the envelopes are all copied front & back and catalogued into a 3 ring binder.  I can build almost anything with a pattern, I've even learned how to mix and match them.
 
This is fun and reading the other replies is the most fun.  Having this list to browse everyday keeps me from feeling out of touch since I have only one friend who also sews.  We do theater costumes together.  It makes me feel like I have friends all over the world.
Anniecat
> Penny Ladnier, > Owner, The Costume Gallery Websites> www.costumegallery.com> www.costumelibrary.com> www.costumeclassroom.com> www.costumeslideshows.com > > _______________________________________________> h-costume mailing list> h-costume@mail.indra.com> http://mail.indra.com/mailman/listinfo/h-costume
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I am enjoying and giggling at some of your answers.  You've brightened my 
day!  I forgot to provide my own answers.

About how many costume/fashion related books or magazines do you own?
Between 3,000-4,000, maybe more.  I just know their valve for the tax guy. 
Yes, I am a member of the h-costume bookolics!  Mine are organized by topic.

What was the first one you purchased?  Where did you purchase it?
My first book, a textbook, was Survey of Historic Costume by Tortora.  I 
purchased it from the campus bookstore in 1995.

What was your most recent purchase?
I went on a sending spree on Abebooks one day.  My confession...
1. The Springs Story: First 100 Years (History of South Carolina textile 
mills) excellent book!
2. A Stitch in Time : The Four Seasons of Baltimore's Needle Trades. 
Another excellent book!
3. International Tailoring Company, Menswear catalog, Fall and Winter 
1904-5.
4. Proceedings Of The Southern Wholesale Dry Goods Assocaition In 8th Annual 
Convention, 1919.

What do you think was the best deal that you have every made when purchasing 
a publication?
An entire collection of Delineator Magazines from 1880-1909 from an opera 
company in Canada.  I paid about $1 per issue.
Another one, is an entire collection of La Art de Mode magazines from 
1904-1919 from a lady in Paris.  I paid about $3 per issue.

About how many period photographs do you own just for the costuming?
Period photos: I guess about 1,500-2,000.  Photos of actual garments: well 
over 20,000.  No joke, I just put online 30 photos of one antique dress!

What book or magazine is your most treasured...if your house was on fire, 
you would take it with you.
Mine is actually a collection and I can put it under one arm, leaving the 
other arm for my laptop.  The collection is the actual water-colored plates 
by a Parisian illustrator who drew and painted the costume renderings for 
the Parisian theaters and top designers between 1890s-1900s.  I purchased 
the entire lot of theater plates about 30 plates with 5-6 illustrations per 
plate.  I purchased 5 designer plates.  These were his proofs to be copied 
by magazines.  These are the only original prints.  They only see the light 
of day, when I show them to my college students.  One day I will find a 
scanner with a large enough bed to scan them.

What is the worse costume book that you own?  I know Robin has a collection!
I have actually listened to Robin bad book reviews over the years.  So I 
don't have many bad books.  But when I first started collecting, I did 
purchased a few Dovers, and a really bad James Laver book.

Do you have a room devoted to your collection?
I really do have an in-house library. It is the largest room in the house. 
I also have publications in two other rooms...over flow.

When did you start collecting?
I can blame h-costume for this...Fall 1995 when I joined h-costume.

Do you consider your collection for business or pleasure?
Business.  But my work is a labor of love...so I get pleasure from it.

What was the most price of  you have ever paid for a book, collection of 
work, etc.
Look at my most treasured...it was over $500.  My husband approved of the 
purchase!  I always pass big purchases by him.

 Optional questions:

 How many sewing machines do you own?  What types and age?
Hmmm...seems like I was asking about children as deductions for taxes.
I have four and one half machines.
1/2:  I have an antique sewing cabinet for one of the first electric White 
machines.  My Dad bought the machine for me when I was 8 y.o.  It broke down 
and I put it in the shop.  The shop owner died and all his inventory was 
sold at auction; including my machine.  I didn't know it was sold until 
after the fact.
1. A 1960s Kenmore that I purchased in 1978 when I married.
2. A new $200 Brothers machine.
3. 1887 Standard treadle in excellent condition.
4. 1920s electric Mercury with no case.

How many sewing patterns do you own?
Over 100. Most are from the late 1950s-1970s.

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

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Penny wrote: "These are the only original prints.  They only see the light
of day, when I show them to my college students.  One day I will find a
scanner with a large enough bed to scan them."


You should check with the media department of the college. They might have a 
portable scanner that can scan your large items in parts, then reassemble 
them in a digital file.

Denise

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From: "Audrey Bergeron-Morin" <audreybmorin@gmail.com>
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Subject: Re: [h-cost] How Many Costume Books/Magazines/Photos Do You Own
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>  About how many costume/fashion related books or magazines do you own?

Maybe 25 books, no magazines, unless you count various Compleat
Anachronists and Pikestaffs (published by the SCA).

>  What was the first one you purchased?  Where did you purchase it?

Peacock. Don't laugh! It's still one of the most easily available ones
in regular libraries! It was a gift from my mother, and at the time, I
didn't know any better and I was positively ecstatic.

>  What was your most recent purchase?

Moda a Firenze. I haven't read it yet, but I've drooled all over the images.

>  What do you think was the best deal that you have every made when purchasing a publication?

I don't usually look for deals, but I still think Fashion (from the
Kyoto Costume Institute) gives the most for its price.

>  About how many period photographs do you own just for the costuming?

Real period photographs, none, because most of my interests date from
before photography came to be, but I have numerous postcards and
photos of paintings I took in museums, and a huge personal library on
my hard drive (most "stolen" from the Internet). A couple of hundred
at least, total.

>  What book or magazine is your most treasured...if your house was on fire, you would take it with you.

My computer, actually... or my backup drive (easier to carry!). I
don't have any rare books, they're all replaceable, but my computer
contains a lot of archived websites, mails, work I've done,
projects... everything is there.

>  What is the worse costume book that you own?  I know Robin has a collection!

Peacock again, I think.

>  Do you have a room devoted to your collection?

One day! I have a few shelves dedicated to it though.

>  When did you start collecting?

I've always collected books, but it wasn't until I joined the SCA in
2000 that I found a reason to start accumulating costuming books.

>  Do you consider your collection for business or pleasure?

Pleasure!

>  Optional questions:
>
>  How many sewing machines do you own?  What types and age?

My main machine is a Husqvarna Viking Lily 555 (I love it dearly). I
recently inherited an old Bel-Air probably made somewhere in the 50s
(it's teal, really cool). I couldn't find a manual (not that I've
searched a lot) but I guess this will come in very useful when I
finally decide to make a pavillion. My grandmother also promised me
her old White (I don't have a date on this one yet though).

>  How many sewing patterns do you own?

Several hundred. Way too many, but at one time, it was an obession!
Now I have a better rein on my passions!
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>> Penny wrote: "These are the only original prints.  They only see the light
>> of day, when I show them to my college students.  One day I will find a
>> scanner with a large enough bed to scan them."
>
> You should check with the media department of the college. They might have
> a portable scanner that can scan your large items in parts, then reassemble
> them in a digital file.


     I was just reading that there is software that will assist in
reassembling images that have been scanned in parts from large copy. 
I've done it in Photoshop, just takes time.

     The problem, however, may be in supporting the original while part of
it is hanging off the end of the scanner.  Not a big deal for some
things, but for original photos and prints a lot more care is needed.

     I suppose you could stack books on either side of the scanner to
create a platform.  Also I'm guessing some graphics companies will
have a large flatbed scanner and can do the work, possibly even
allowing an art handler if you'd prefer to do that yourself.

     -Carol

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> Also I'm guessing some graphics companies will
>  have a large flatbed scanner and can do the work, possibly even
>  allowing an art handler if you'd prefer to do that yourself.

Yes, architects, or graphics designers. Some specialized copy/print
stores will definitely have some too.
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I seem to have missed the beginning of this thread.  How big are the  
prints, and where are they located? I have access to an 11x17 scanner,  
in Lincoln, NE.

Emma

>>> Penny wrote: "These are the only original prints.  They only see the light
>>> of day, when I show them to my college students.  One day I will find a
>>> scanner with a large enough bed to scan them."
>>
>> You should check with the media department of the college. They might have
>> a portable scanner that can scan your large items in parts, then reassemble
>> them in a digital file.


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>  Time to come clean...What was the most price of  you have ever paid for a book, collection of work, etc.

Most I paid for a single costuming book was around 120 $, for Moda a
Firenze. I spent more money on fabric over the years than I did on
books. Not that I'm not lusting after QEWU, I just don't want it
*enough* yet ;-)
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>>  Time to come clean...What was the most price of  you have ever paid for a book, collection of work, etc.
>
I think it's a toss-up between $177 for the St. Louis Psalter facsimile 
(which I wrote to the publisher for), and the ABEGG book, which was 
something like $160.

If I'd thought I might have money I could have had a copy of Christie's 
English Medieval Embroidery for $1500 about five years ago. *sigh*

Jen

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On Thu, 24 Apr 2008 aquazoo@patriot.net wrote:

>>> Penny wrote: "These are the only original prints.  They only see the light
>>> of day, when I show them to my college students.  One day I will find a
>>> scanner with a large enough bed to scan them."
>>
>> You should check with the media department of the college. They might have
>> a portable scanner that can scan your large items in parts, then reassemble
>> them in a digital file.
>
Also, if you know someone with a good film camera and a tripod, you could 
take slides of them in available light (i.e., no flash). Then you have 
both the slides and any scans you can make from them.

I have color slides of all the plates from Christie's English Medieval 
Embroidery done this way.

Jen/pixel/Margaret
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Subject: [h-cost] Mid/Lower Class Womens Clothing - 1650
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Hello everyone!

I was wondering if anyone here could point me towards paintings or drawings 
of middle or lower class women from any time between 1650 and 1750.

A friends daughter is wanting 'real' pirate clothing. :0) I can find upper 
class garments reasonably easy, but I thought this might be the better place 
to start.

Ideas, sources?

Thanks in advance,

Sheridan P.


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Subject: Re: [h-cost] Scanning prints
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With a portable scanner, the print would lay face up on a table and they 
would scan it in sections (however wide the portable scanner is) then 
reassemble the images digitally. No support needs to be built, just a table 
big enough.

After being stored digitally, you could have a life-sized print made by a 
copy shop, or you could separate details out and print them individually. 
Large copy shops, esp. in college towns, usually have the ability to print 
on paper up to 3 feet wide for graphic artists and architects. Often you can 
email them the file as well, and have the prints waiting when you get there.

Denise B 

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Subject: Re: [h-cost] Mid/Lower Class Womens Clothing - 1650
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Shane Sheridan Chabot wrote:
> Hello everyone!
>
> I was wondering if anyone here could point me towards paintings or drawings 
> of middle or lower class women from any time between 1650 and 1750.
Gentlemen of Fortune is a good place to start. 
http://www.gentlemenoffortune.com
They used to have a women's section but it seems to be gone now. 
However, their lists of links and reference books is excellent.




Dawn

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Subject: Re: [h-cost] How Many Costume Books/Magazines/Photos Do You Own
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In a message dated 4/24/2008 12:05:06 AM Eastern Daylight Time,  
penny@costumegallery.com writes:

This  could be really fun to poll the list.  Lurkers come out, wherever you  
are!

About how many costume/fashion related books or magazines do you  own?
Probably at least 200 to 300 books in our "personal reference  library".  
This includes costume, art, history (with illustrations to use  for costuming), 
my husband's heraldry and armor books.   I was  collecting needlepoint books 
before I found the SCA in 1978 and  started costuming.  It's enough to over-fill 
two bookshelves in  the dining room. Much of the time, a couple of dozen live 
in tote bags and  get taken to meetings to show newcomers.  



What was the first one you purchased?  Where did you  purchase it?
I ordered "20,000 Years of Fashion" back in 1978-79 from one of those  
discount catalogs.  My husband "came with" a 1948 First  Priniting edition of "The 
Book of Costume" by Davenport (two-volume  slipcase) that his parents had.  
That one doesn't leave the house!  



What was your most recent purchase?  
"The Tudor Tailor" and "The Medieval Tailor's Assistant"



What do you think was the best deal that you have ever made  when purchasing 
a publication?  
I used to help out one of the booksellers at Pennsic and she would give me  a 
discount.  I got Alcega that way - in hardback!  That was well over  20 years 
ago.  



About how many period photographs do you own just for the  costuming?

What book or magazine is your most treasured...if your house  was on fire, 
you would take it with you. 
My copy of Janet Arnold's "Patterns of Fashion 1560-1620"  that she  
autographed after a lecture in Williamsburg, VA.  I need to get a newer  copy to 
actually use as this one is falling apart!  



What is the worse costume book that you own?  I know Robin  has a collection!
I think I have quite a few on the list.  At the time, we didn't know  they 
were so bad!  



Do you have a room devoted to your  collection?
My dining room has not seen a formal meal in years.  Between the  sewing 
machines, sewing supplies, books, bins of fabric, and boxes of craft  supplies 
from our days as Cub Scout leaders, it it full.  



When did you start collecting?
My mom and I were getting craft magazines in the '70's.  I still have  some 
of those.  I found a scrap book in the "Family History" closet that  had 
fashion magazine clippings from the 1800's, so I guess it's in my  blood!  



Do you consider your collection for business or  pleasure?
Personal costume research.  I have helped with costumes for some  Gilbert & 
Sullivan productions with our local theatre group, but Victorian  not my main 
interest.  



Optional questions:

How many sewing machines do you  own?  What types and age?
My all-time favorite is my 1970 Singer Touch-and-Sew that my parents got  for 
me when I was in College.  It worked fine until about 12 years ago when  our 
elderly cat decided it was too far to go to his box and the bobbin case  
rusted solid.  A local repair-man actually got it working again and I  continued to 
use it for several years, being sure to keep the bobbin area  well-oiled.  
I have a Necci portable that I rarely use.  
About four years ago an elderly neighbor was planning to move into assisted  
living and sold me her Bernina 930.  That's the one I use now.  She  even had 
a really nice cabinet to go with it.  
Some day, I'd like to have my grandmother's treadle machine and my mom's  
1947 Singer.  



How many sewing patterns do you own? 
Too many.  When I first started costuming, I would adapt modern  patterns.  
I've got everything from Barbie-size patterns (nieces' Christmas  projects) to 
the formals I made last summer for a convention.  I'm over-run  with the brown 
paper patterns that I make for garb.  
 
This has been fun!  
 
Cathy Raitt
(SCA - Catherine de Bellefleur) 








**************Need a new ride? Check out the largest site for U.S. used car 
listings at AOL Autos.      
(http://autos.aol.com/used?NCID=aolcmp00300000002851)
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At 16:55 24/04/2008, you wrote:

>Hello everyone!
>
>I was wondering if anyone here could point me towards paintings or drawings
>of middle or lower class women from any time between 1650 and 1750.
>
>A friends daughter is wanting 'real' pirate clothing. :0) I can find upper
>class garments reasonably easy, but I thought this might be the better place
>to start.
>
>Ideas, sources?
>
>Thanks in advance,
>
>Sheridan P.

The following painters might be a goo place to start. Wenceslaus 
Hollar for Dutch/English middle class ladies of the 17th century, 
Abraham Bosse(sp?) for French men and women of roughly the same 
period. William Hogarth for 18th century English of all classes. 
There are extant etchings of women pirates, but right now I am having 
a senior moment and cannot think of names of the "ladies". However, 
the pirates/privateers were often dressed in better class clothing 
stolen from their victims, so that is also worth bearing in mind. 
Mary Read and Anne Bonney were two, plus Grace O'Malley. Read some 
biogs here http://www.beaglebay.com/women_pirates.htm

Suzi 

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     Look for Marcellus Laroon's Street Cries prints.  There is a book by
Sean Shesgreen that has them, _The Criers and Hawkers of London:
Engravings and Drawings_.  They are more 1690 - 1710.

     Good clothing, as well as baskets, etc.

     -Carol


> I was wondering if anyone here could point me towards paintings or
> drawings of middle or lower class women from any time between 1650
> and 1750.
>
> A friends daughter is wanting 'real' pirate clothing. :0) I can find upper
> class garments reasonably easy, but I thought this might be the better
> place to start.

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At 10:18 AM 4/24/2008, Penny Ladnier wrote:
>About how many costume/fashion related books or magazines do you own?

current cataloged: 169 books with direct costume =

focus, large collection of textiles, art and =

manuscript facsim. with related info
Mags: Costume (#6 to current) and misc others

>What was the first one you purchased?  Where did you purchase it?

Don't remember probably sometime in the early 80's.

>What was your most recent purchase?

Die gegossenen kleeblattf=F6rmigen Fibeln der =

Wikingerzeit aus Skandinavien by Birgit Maixner =

is the most recent to arrive.. others on order.

>What do you think was the best deal that you =

>have every made when purchasing a publication?

Don't remember.

>About how many period photographs do you own just for the costuming?

Don't do modern costuming (end about 1600). Have =

family photos from 19th C that I suppose I could use.

>What book or magazine is your most =

>treasured...if your house was on fire, you would take it with you.

Tough choice, probably 'Storia del costume in =

Italia'  set by Rosita Levi Pisetzky

>What is the worse costume book that you own?  I know Robin has a collectio=
n!

Also tough choice, probably Norris (refuse to own a copy of Iris Brooke)

>Do you have a room devoted to your collection?

Separate building for library.

>When did you start collecting?

Collecting books my whole life.. serious costume =

related book collecting probably early 80's

>Do you consider your collection for business or pleasure?

Pleasure.

>Optional questions:
>
>How many sewing machines do you own?  What types and age?

19th C treddle, 2 from 1940's (Singer and clone), =

2 from 1950's (Sears, White), 2 from 1980's =

(Penney's, Bernina) that I actually use most often

>How many sewing patterns do you own?

Don't know.

Beth Matney =


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> About how many costume/fashion related books or magazines do you own?
>   
100+  200?  Haven't really counted them, and the collection spills over 
into art books, so I'm not sure where to draw the line.

> What was the first one you purchased?  Where did you purchase it?
>   
Braun& Schneider, I think I got it in a regular book shop. Still have 
it, love the plates.

> What was your most recent purchase?
>   

Vols 1 & 2 of Medieval Clothing and Textiles.

> What do you think was the best deal that you have every made when purchasing a publication?
>   

I got Payne's History of Costume for $1 at one of those huge used book 
sales. I also got QEWU a few years back when Amazon.uk marked it down to 
$50.

> About how many period photographs do you own just for the costuming?
>   

Don't collect photos, but have several books of them.

> What book or magazine is your most treasured...if your house was on fire, you would take it with you.
>   
The costume books would be the last thing on my mind.... but if I could 
only pick one or two to keep it'd be a tough choice among the various 
Janet Arnold books, Cut of ___ Clothing, and a couple of "big heavy art 
books".


> What is the worse costume book that you own?  I know Robin has a collection!
>   
Hmmn. Several choices, but I think Agony of Fashion is probably it.



>
> How many sewing machines do you own?  What types and age?
>   
I have a VH Lily for regular use. My grandmother's 60's era Kenmore and 
table. Another 60's era White in a box somewhere, and a cheap Elna for 
when I need something portable.  Oh, and a vintage 30's-40's machine in 
a lovely mahogany table.

> How many sewing patterns do you own? 

At least 12 pattern boxes full.


Time to come clean...What was the most price of  you have ever paid for a book, collection of work, etc. 


I paid $100 for 4 authentic Victorian era paper patterns that I still 
haven't done anything with.


Dawn

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At 17:31 24/04/2008, you wrote:
>At 10:18 AM 4/24/2008, Penny Ladnier wrote:
> >About how many costume/fashion related books or magazines do you own?
>
>About 400, including books with costume/sewing =

>related pictures, about 1000 postcards of =

>paintings(12 ring binders) plus ditto of photos =

>I've taken myself, and the same stashed on the =

>computer. (Or maybe more, I've not counted!)
>
> >What was the first one you purchased?  Where did you purchase it?

A Cavalcade of Costume - in the 1960's, in Stratford on Avon



> >What was your most recent purchase?

3 books of detail from the Snowshill Collection - =

buttons, trims, and shoes - I already had the embroidery one.

> >What do you think was the best deal that you
> >have every made when purchasing a publication?

I got a "Toile de Jouy" for =A35.00 in a charity shop

> >About how many period photographs do you own just for the costuming?

None, only as postcards -


> >What book or magazine is your most
> >treasured...if your house was on fire, you would take it with you.

My signed Hunnisetts and Arnolds (well I'm allowed an armful, aren't I?)


> >What is the worse costume book that you own?  I know Robin has a collect=
ion!

Maybe Norris, or the "Agony of Fashion" which =

I've just donated to one of my students - tee, hee!

> >Do you have a room devoted to your collection?

Not exactly, although the landing is pretty full!

> >When did you start collecting?

1960's, when I started in theatre, but mostly in =

the 1980's after college, when I worked my way =

through the book list suggested by Hunnisett and Arnold!

> >Do you consider your collection for business or pleasure?

Both

> >How many sewing machines do you own?  What types and age?

A Singer and another one - whoo I'm having a forgetful day

> >How many sewing patterns do you own?

A couple of dozen paper ones, many not used, and lots and lots in books.

Suzi =


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From: MaggiRos <maggiros@yahoo.com>
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ey Bergeron-Morin <audreybmorin@gmail.com> wrote:

> >  Time to come clean...What was the most price of 
> you have ever paid for a book, collection of work,
> etc.
> 
> Most I paid for a single costuming book was around
> 120 $, for Moda a
> Firenze. I spent more money on fabric over the years
> than I did on
> books. Not that I'm not lusting after QEWU, I just
> don't want it
> *enough* yet ;-)
> ________________________________________
I tend to buy costume books only when I find a
wonderful price. I was one of the lucky ones who got
QEWU from Amazon before they realized they'd posted
the wrong price ($15 instead of $150). I got both J.R.
Hale's "Artists & Warfare in the Renaissance" (which
is FILLED with late 15th-early 16th century German and
Italian soldiers, statesmen, and **campfollowers**)
and The Art of Lucas Cranach on the sale table. Both
were over $100 originally, and I paid about $30 for
one of them, $15 for the other, I think.

Those are probably the only expensive books of that
kind I own. Otherwise, my collection is pretty modest.


MaggiRos




The Elizabethan World is at http://elizabethan.org
coming soon in paperback!
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Thread-Topic: [h-cost] Mid/Lower Class Womens Clothing - 1650
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You can also use Hollar's engravings as a source. While most are from
the 1640's, fashionable styles took decades to trickle down from
nobility to the servant class. Servants in London and other cities had
more exposure and opportunity to the newest fashions than servants in
the country. And even the wealthier people in the country were more apt
to keep to older fashions and newer fashions more adapted to everyday
wear.

As far as Anne Bonny and Mary Read, most fairly comprehensive books on
the history of pirates picture them as artists imagined them, not from
life. If they were mistaken as men, they probably dressed as men of the
times and wore their hair the same. Very long hair would have been most
impractical for a life at sea, so those surviving artist renditions
picturing both with long hair and breasts half exposed was probably not
the actuality. In Anne and Mary's time, the mantua, which was less
contricting in shape than previous fashionable gowns, was being replaced
by a sacque or even looser gowns with various names, all which could be
worn with no, or more comfortable fitting stays for less than formal
wear. Few mantuas or sacques survive in their original form today as the
fabric could be  easily picked apart and remade into newer styles,
curtains, or cushion covers.

Also the terms pirate and privateer depended on what side you were on.
Francis Drake was a brave, heroic privateer in the English view, while
Spain, naturally, branded him a brutal pirate. 

Hope this helps

Cindy Abel
-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
On Behalf Of aquazoo@patriot.net
Sent: Thursday, April 24, 2008 11:29 AM
To: Historical Costume
Subject: Re: [h-cost] Mid/Lower Class Womens Clothing - 1650


     Look for Marcellus Laroon's Street Cries prints.  There is a book
by
Sean Shesgreen that has them, _The Criers and Hawkers of London:
Engravings and Drawings_.  They are more 1690 - 1710.

     Good clothing, as well as baskets, etc.

     -Carol


> I was wondering if anyone here could point me towards paintings or
> drawings of middle or lower class women from any time between 1650
> and 1750.
>
> A friends daughter is wanting 'real' pirate clothing. :0) I can find
upper
> class garments reasonably easy, but I thought this might be the better
> place to start.

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Subject: Re: [h-cost] How Many Costume Books/Magazines/Photos Do You Own
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> About how many costume/fashion related books or magazines do you own?

Most of my work is now really "history" or "art history" with a focus on 
dress/textiles, so I buy a lot of books that aren't really about "costume" but 
which I use for the study of dress or textile history.

Books specifically about dress, textiles, fashion, or costuming: About 100.

Books on medieval art, history, literature, culture, archaeology, manuscripts, 
etc.:
  -- About 400 with pictures, filed in our "art" reference library. This 
includes coffee-table history books I bought primarily for the pictures.
  -- Maybe another 400 that are text-only references, mostly history or 
literature, filed in our "general collection."

Magazines: Not relevant to my period. I do have piles of journals, though, 
maybe 200, including pretty much a full run of the Monumental Brass Society 
Bulletin and a bunch of the MBS Transactions and old Costume journals. And 
lots of Xeroxed journal articles (that's how they usually come via ILL). I 
need to set up a proper filing system for articles, as right now they 
generally land in the file folder for whatever topic I'm researching at the 
time, and then I forget I have them.

> What was the first one you purchased?  Where did you purchase it?

For a costume book, probably the Dover reprint of Kohler, bought in my 
freshman year of college, but I was buying books on medieval art long before that.

> What was your most recent purchase?

English Medieval Sculpture by Arthur Gardner (1951), bought used for $35 at 
the Milwaukee airport on my way back from my lectures there a few weeks ago. 
Full of photos of effigies! Who know I'd find a decent used book store at the 
airport? And with a really good art section, too.

> What do you think was the best deal that you have every made when purchasing a publication?

Does it count as a "purchase" if you get it for free? I got Olga Sronkova's 
"Gothic Women's Fashion" as a library discard when I worked at World Book 
Encyclopedia. We moved offices and they culled the reference library, and I 
grabbed all the discarded costume and art books I could get.

> About how many period photographs do you own just for the costuming?

None, because my period of interest is pre-photography. I do have a few 
hundred art postcards, filed in two photo boxes. My own slide collection is 
about 900 catalogued and maybe another 700 not yet catalogued. When am I going 
to get around to that?

> What book or magazine is your most treasured...if your house was on fire, you would take it with you.

No single one. Too many that are irreplaceable -- I wouldn't go for the books, 
I think. Maybe my slide binders, as I *really* can't replace the photos I took 
from artworks in Europe.

> What is the worse costume book that you own?  I know Robin has a collection!

About 30 of the costume-specific books are filed with the Home for Wayward 
Useless Costume Books, though many of those are really sweet in their own 
right as Victorian books. The worst? If I had a copy of Peacock or Brooke, 
that would probably be it. As it stands, probably "Fashion in History" by 
Bigelow, which was my college costume history textbook and one of the first I 
bought, and only because I had to, but it's hard to rate the bad ones since 
they are all so awful in their own different ways.

> Do you have a room devoted to your collection?

Not a easy question to answer, as the costume stuff is divided into sections 
along with all the other thousands of books we have (my husband is also a 
historian, but in another field, and there's fiction and children's books 
too). The visual sources are in the main-floor "library" (which is also the 
music room); it holds all the art books and books with pretty pictures. The 
non-illustrated history and literature are part of the general collection in 
the basement. The costume reference books I use most frequently are on the 
wall of shelves in my office or the case just outside it, and my office also 
houses the Bad Costume Book collection and all the journals, photos, and slides.

> When did you start collecting?

When I was in college, in the late 1970s.

> Do you consider your collection for business or pleasure?

Is there a difference?

> How many sewing machines do you own?  What types and age?

One Singer, 1977, bottom of the line, well-maintained and still going strong.

> How many sewing patterns do you own? 

What are these "patterns" of which you speak?

--Robin

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From: "Lynn Downward" <lynndownward@gmail.com>
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I bought QEWU when it first came out. I don't think I paid $100 for it. On
the other end, I paid $200 for English Icon, but it's a first edition and
signed. I bought it from a friend who was selling off/giving away her
library. I feel I stole it from her, but that's what she asked for it.

Last month I paid the same amount for a Victorian bustle dress made by a
friend who wouldn't be wearing it again - underskirt, overskirt, dinner
bodice, train, hairpiece and purse. She was going to throw in a pair of
matching shoes but they didn't fit.

LynnD

On Thu, Apr 24, 2008 at 10:31 AM, MaggiRos <maggiros@yahoo.com> wrote:

> ey Bergeron-Morin <audreybmorin@gmail.com> wrote:
>
> > >  Time to come clean...What was the most price of
> > you have ever paid for a book, collection of work,
> > etc.
> >
> > Most I paid for a single costuming book was around
> > 120 $, for Moda a
> > Firenze. I spent more money on fabric over the years
> > than I did on
> > books. Not that I'm not lusting after QEWU, I just
> > don't want it
> > *enough* yet ;-)
> > ________________________________________
> I tend to buy costume books only when I find a
> wonderful price. I was one of the lucky ones who got
> QEWU from Amazon before they realized they'd posted
> the wrong price ($15 instead of $150). I got both J.R.
> Hale's "Artists & Warfare in the Renaissance" (which
> is FILLED with late 15th-early 16th century German and
> Italian soldiers, statesmen, and **campfollowers**)
> and The Art of Lucas Cranach on the sale table. Both
> were over $100 originally, and I paid about $30 for
> one of them, $15 for the other, I think.
>
> Those are probably the only expensive books of that
> kind I own. Otherwise, my collection is pretty modest.
>
>
> MaggiRos
>
>
>
>
> The Elizabethan World is at http://elizabethan.org
> coming soon in paperback!
>  _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>
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In a message dated 24/04/2008 16:20:30 GMT Standard Time,  =

h-costume-request@indra.com writes:

This  could be really fun to poll the list.  Lurkers come out, wherever you=
  =

are!

About how many costume/fashion related books or magazines do you  own?
Never actually counted, but a couple of bookcases full.  (Actually  with a =

(not so) little pile next to the bookshelf of ones that won't fit.   Eek!)



What was the first one you purchased?  Where did you  purchase it?
Erm...  think it was patterns of fashion (the 16th c one) at a  library sal=
e. =

 either that or metric pattern cutting when I was at college,  from either =

waterstones or the college shop (student discount).



What was your most recent purchase?
A book on ancestral jewellery.  And one on British naval  uniforms.  At =

Chester-le-Street market!



What do you think was the best deal that you have every made  when purchasi=
ng =

a publication?
Not sure.  =

Obscure books picked up for 50p at oxfam etc, probably.



About how many period photographs do you own just for the  costuming?
I have no idea - probably in the region of a couple of  thousand.



What book or magazine is your most treasured...if your house  was on fire, =

you would take it with you.
One of my Nana's 30s sewing and tailoring books - she gave me it for my  16=
th =

birthday.



What is the worse costume book that you own?  I know Robin  has a collectio=
n!
 =

Several, but probably the one that I don't remember the name and auther  of =

that goes through history by reign of monarch... (sorry - memory is swiss  =

cheesed at the mo).  If I still had the John Peacock I had for a while at  =
college =

I'd say that, though.



Do you have a room devoted to your  collection?
Nope - it's in my sewing room.



When did you start collecting?
Technically when I was 16, though have never looked on it as collecting  as =

such.



Do you consider your collection for business or  pleasure?
Is used most for work, but I do just like to look at the pretty  pictures!



Optional questions:

How many sewing machines do you  own?  What types and age?
4
Pax - 1960s (poss late 50s).  =

Not sure of brand (was boyfriend's nana's) - 1970s
Brother - about 5 years old (work back up).
Bernina - about 15 - 20 years old - my main work machine.
 =

Oh, and does the mini overlocker that I use very occasionally  count?  =

Doesn't cut, does edge - is about 10 years old.
 =

 =




How many sewing patterns do you own? =

Commercial ones - around fifty or so - but haven't really looked at one  in =

years.
 =

Blocks and patterns I've cut - thousands I'd imagine, though I've never  =

counted.  But I apparently average around 200 - 300 garments a year,  so....
 =

 =

 =


>I would like to add one more question:

>Time to come  clean...What was the most price of  you have ever paid for a =

book,  collection of work, etc.  We won't tell your mate! LOL!  You don't  =
have =

to >name give the title, just in case you were taken to the cleaners on  a =

purchase.  Example: a book and the amount.
 =

Erm.....
 =

Book, don't remember which, but one of the out of print cunningtons -  abou=
t =

60 quid or so.  Except I got a discount, so =A355?   =

 =

 =

 =

Debbie



   =

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On Apr 24, 2008, at 10:59 AM, Abel, Cynthia wrote:

>
> As far as Anne Bonny and Mary Read, most fairly comprehensive books on
> the history of pirates picture them as artists imagined them, not from
> life.

There's a contemporary woodcut of them.  They're wearing knee length,  
baggy smocks over long baggy trousers, and headrails that appear to  
be exposing stubbly scalp at the front.  Not exactly most people's  
vision of female pirates, alas.

Margo
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From: "Alexandria Doyle" <garbaholic@gmail.com>
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Subject: Re: [h-cost] How Many Costume Books/Magazines/Photos Do You Own
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> > About how many costume/fashion related books or magazines do you own?

I have about 3 liner feet of books specific to costuming with that
much and more that are technically on other subjects but are frequent
used for costuming research.

> > What was the first one you purchased?  Where did you purchase it?

I am not sure any more which was the first, there were several that I
considered "mine" that I frequently had checked out of the library
before I bought them.  I think I've been collecting costuming books
since the early nineties.

> > What was your most recent purchase?

Tudor Tailor for actual costume book, though the art book on portraits
have some wonderful illustrations.

> > What do you think was the best deal that you have every made when purchasing a publication?

There was a merchant offering QEWU for half off, son was preparing to
purchase a gift card for the local book store for my birthday that I
managed to convince him to put toward this book, ended up paying 25
plus shipping.

> > About how many period photographs do you own just for the costuming?

Lost of post cards since I do pre-1600 costuming, but no photos per se

> > What book or magazine is your most treasured...if your house was on fire, you would take it with you.

I would be hard press to chose, just one book, and it might just be an
embroidery book if I could only take one or two - Like Digby's
Elizabethan Embroidery or Schettue's the Art of Embroidery

> > What is the worse costume book that you own?  I know Robin has a collection!
Braun and sneider left by an ex who still thought it was a good book
>>
> > Do you have a room devoted to your collection?
>
My library and I share a bed room.

> > When did you start collecting?

Collecting books? I'd say about the eights, costuming in the nineties

> > Do you consider your collection for business or pleasure?

pleasure

> > How many sewing machines do you own?  What types and age?

My main machine is the 1952 Pfaff that I got from my mother about 28
years ago. (she'd gotten it "slightly used" in '54) I have to replace
the light bulb - it finally burnt out and I don't have a clue how to
get the old one out, I'm thinking I might need a manual aftr all...

I also have three other machines, either gifts or flea market, all are
circa 1960's, singer, kenmore, and I'm not sure on that last one.

> > How many sewing patterns do you own?

I've actually ended up with several file boxes of patterns from
someone who collected costume patterns on those five for a dollar
sales.  That was three/four years ago and while I've found a home for
a few of them since I have  most of them and rarely used such things.
I prefer to drape for anything new.  I have two or three file boxes of
those patterns.

alex
>
-- 
"I'm buying this fabric/book now in case I have an emergency...you
know, having to suddenly make presents for everyone, sickness,flood,
injury, mosquito infestations, not enough silk in the house, it's
Friday..."  ;)
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On Thursday 24 April 2008, Penny Ladnier wrote:
> Photograph question: Antique photographs and/or of antique costumes.

Ah.  Then the answer is "none," except for photos of my relatives or friends 
(which are very few in number).  But then, my costume interests are largely 
pre-1600.


>
> I would like to add one more question:
>
> Time to come clean...What was the most price of  you have ever paid for a
> book, collection of work, etc.  We won't tell your mate! LOL!  You don't
> have to name give the title, just in case you were taken to the cleaners on
> a purchase.  Example: a book and the amount.

The most?  $100 so far, for my copy of "Ancient Danish Textiles", by Margrethe 
Hald.  I have contemplated more expensive purchases, but not gotten up the 
nerve.  :-)




-- 
Cathy Raymond <cathy@thyrsus.com>

"You affect the world by what you browse."-- Tim Berners-Lee

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At 10:48 PM 4/23/2008, you wrote:
>I would like to add one more question:
>
>Time to come clean...What was the most price of  you have ever paid 
>for a book, collection of work, etc.  We won't tell your mate! 
>LOL!  You don't have to name give the title, just in case you were 
>taken to the cleaners on a purchase.  Example: a book and the amount.
>
>Penny Ladnier,
>Owner, The Costume Gallery Websites
>www.costumegallery.com
>www.costumelibrary.com
>www.costumeclassroom.com
>www.costumeencyclopedia.com

I paid $210 for one book (no, it's not QEWU :-P; that was only $135 
or so).  It's "Buckskin and Homespun" by David Holman and Billie 
Persons (1979), #88 of 450 (Regular Edition); published by Wind River 
Press.  It's a survey of Frontier Texas fashions from 1820 to 
1870.  Since I don't have a spouse, there's no one to hide the price from :-D.


Joan Jurancich
joanmj@surewest.net 

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---- Robin Netherton <robin@netherton.net> wrote: 
> 
> About how many costume/fashion related books or magazines do you own?

I've got a couple of book cases full of costuming books, art history books, portraiture books and history books. 

I've got several pieces that could qualify as magazines - Complete Anachronist, for example - but not many.

> What was the first one you purchased?  Where did you purchase it?

It was an Italian language book about the works of Agnolo Bronzino. I bought it in Arizona from a friend of mine.

> What was your most recent purchase?

Moda a Firenze

> What do you think was the best deal that you have ever made when purchasing a publication?

Oh, that's easy - it was when Amazon UK goofed up and had QEWU for 18 pounds. I think even with shipping it ended up costing less than $40.

> About how many period photographs do you own just for the costuming?
 
None, though I do have some photos that I took of extant 16th century clothing at the Victoria and Albert Museum.
 
> What book or magazine is your most treasured...if your house was on fire, you would take it with you.

Oh, golly. I don't think I can choose just one.

> What is the worse costume book that you own? 

I don't have any bad books. I've had excellent advice on what to buy. :-)

> Do you have a room devoted to your collection?

Not yet, but I'm working on it. My younger daughter is moving out soon, so I'll have a sewing/book room *and* a guest room!

> When did you start collecting?

In the early 1990's.

> Do you consider your collection for business or pleasure?

Pleasure. :-) 

> How many sewing machines do you own?  What types and age?

Well, if you ask my husband, I'm sure he'll say too many! LOL! I have a 1904 Singer treadle, an old Singer with a bentwood case, a 1980-something Viking (one of the first electronic models), a 1984 JC Penney free-arm machine, and a Euro-Pro basic machine. I bought it because my girls tidied up and I wasn't (and still can't) find the attachments for the JC Penney machine.

> How many sewing patterns do you own? 

Bunches. I have normal clothing patterns, costume patterns, and stuffed toys/doll patterns.

Kate
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> About how many costume/fashion related books or magazines do you own?
Somewhere around 500, more if you count the art books, but they're packed 
right now.

>
> What was the first one you purchased?  Where did you purchase it?
Payne's "History of Costume".  I didn't purchase it, my high school 
librarian gave it to me when I graduated, since I was the only person who 
had checked it out in three years and I knew it well enough to quote page 
numbers.
>
> What was your most recent purchase?
Mode a Firenze

> What do you think was the best deal that you have every made when 
> purchasing a publication?
That copy of Payne was pretty good, other than that, probably paying $25 for 
Boucher's "20,000 Years of Costume".

> About how many period photographs do you own just for the costuming?
About 20.  I've also got a couple of framed hand-tinted fashion plates, and 
I've got tons of pictures of existant garments.

> What book or magazine is your most treasured...if your house was on fire, 
> you would take it with you.

My great-grandmother's copy of "Encyclopedia of Embroidery".  It was 
originally her grandmother's.

> What is the worse costume book that you own?  I know Robin has a 
> collection!
"Let There Be Clothes".  It perpetuates every costuming myth there is.  I 
keep it to show my students what not to use.
>
> Do you have a room devoted to your collection?

Well, it's my workroom, where I use them.
>
> When did you start collecting?
1976

> Do you consider your collection for business or pleasure?
 Business, but I would collect them even if I didn't costume for a living. 
Having the business just makes it easier to justify my obsessions.

> What was the most price of  you have ever paid for a book, collection of > 
> work, etc.

$100 for Mode a Firenze.  Although, I've been looking at an out of print 
French book on costume in the reign of Louis XIII for $700.  It has pictures 
of garments that were lost during WWI and WWII.
>
> Optional questions:
>
> How many sewing machines do you own?  What types and age?
I'm down to 3 in the house right now:  My great-grandmother's 1909 Singer 
treadle, a Singer Featherweight that needs it's box repaired, and a 3 month 
old Brother.  My 1978 Kenmore just got reconditioned and sent to my youngest 
daughter.  Until fairly recently, I had 2 more electric machines and another 
treadle, but I pared them down.

> How many sewing patterns do you own?
The patterns live in two four drawer filing cabinets.  Probably half of 
those are one's I've drafted, but I collect patterns, usually when they're 
on sale for $1.  I like looking at them for inspiration and if I can start 
with a ready made pattern for something, great, that saves me a bit of time.

Melusine 

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From: "Penny Ladnier" <penny@costumegallery.com>
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First, I want to thank everyone who helped two weeks ago with the dance terms and origins from the Ringling Mansion's Ballroom murals.  I compiled most of your answers and put them on the slideshow.  I know have a website for all the slideshows.  You can see them at www.costumeslideshows.com .  Scroll down to the John and Mabel Ringling Museum of Art and click on the Ballroom to view the show.  The American Dance panels are still questionable.  But I am researching.  

I am sorry for being late with the thank yous.  I have been working on several slideshows.  My contract with Ringling is that all their images,  are free access but can not be saved to the visitors computers.  Last week, I added another slideshow from the Ringling Museum's Circus Collection.  This showcases 30 costumes with 95 photos.  I am alternating between putting slideshows online for the Ringling collection and VCU's.  When I finish the VCU slideshow that I am working on, I will be putting online either John Ringling wardrobe from the 1920s-early 1930s or Mrs. Ringling rose garden statues...all representing the 1700s.

H-costume was also discussing the HBO mini-series "John Adams."  A good bit of the show was filmed in the Richmond, Virginia area.  A large set was built just north of the Richmond and used for early Boston, early and late Philly.  My son, Patrick, worked as a CGI extra for the reading of the Declaration of Independence (DofI) scene.  He took my camera to set and photographed the fifteen CGI extras.  I have a slideshow of these people on my slideshow site.  It is also free access.  The business owner who supplied these costumes for the JA series was a member of h-costume.  I am not sure if she is still on the list, but I met her here.  The mini-series has a special On-Demand about how CGI was used heavily in the making of the show.  For example, the bottom floor of Independence Hall was on set in Richmond, the upper floor and roof was CGI-ed in.  Well, this group of CGI extras, were not really present when the principal actors read the DofI.  They moved around on set and wer!
 e filmed then they were CGI-ed into the scene.  The first second of the Reading scene on film, we counted my son at least 10 times.  Easy to spot the long brown ponytail...which is his natural hair and hairstyle.   

I need more help, please (batting my eyelashes, if that would help.)  
I am writing descriptions for dresses from 1910-1914.  My memory is brain-dead on a couple of terms.   Can you please look at two photographs and let me know what the terms are called.

1.  Image: http://www.costumegallery.com/temp/P1030368.jpg .  This is a skirt section of a dress.   The overdress has two panels hanging from the waist.  They are gathered on the hanging end and married by a rosette.  My questions: Is there a period term for these hanging panels?  I know I have seen this same type of treatment for curtains.  But I can not even recall the name for this type of curtains.

2. Image: http://www.costumegallery.com/temp/P1030429.jpg .  These medallions are borders on a three-tiered net dress.  My question:  What is the name of the type of hand-crochet around the medallions?  It is a cotton thread very similar what is used on doilies.  I am so embarrassed that I can't remember this term. I have made this type of crochet so many times.  It is made by using a double or triple crochet, then chain two or three and then repeat.  There are three rows of this type of crochet around each medallion.   
 
Penny Ladnier, 
Owner, The Costume Gallery Websites
www.costumegallery.com
www.costumelibrary.com
www.costumeclassroom.com
www.costumeencyclopedia.com 

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About how many costume/fashion related books or magazines do you own? 
About 30-35 (but 2 of those are Moda a Firenze and QEWU (bought from
Amazon/Canada for $192, which included shipping)

What was the first one you purchased? 
Historic Costume for the Stage 1974
 
Where did you purchase it? 
Humboldt State University for a costume class

What was your most recent purchase?
QEWU

What do you think was the best deal that you have every made when purchasing
a publication?
A friend found the 3 Janet Arnold books at a garage sale and bought them for
under $20, then gave them to me

About how many period photographs do you own just for the costuming?
Loads, because my family took lots of photos, then threw them in a box. If
anyone wants copies (some very nice turn of the century ones, I will scan
and email to you

What book or magazine is your most treasured...if your house was on fire,
you would take it with you.
Besides pics of my kids, nothing.

What is the worse costume book that you own?  I know Robin has a collection!
Let There Be Clothes

Do you have a room devoted to your collection?
no

When did you start collecting?
When I had some money

Do you consider your collection for business or pleasure?
pleasure

Optional questions:

How many sewing machines do you own?
One  
What types and age?
Husquevarna/Viking new this year, finally had to bite the bullet and get new
machine when old one (Elna) wouldn't work unless you picked it up and shook
it really hard

How many sewing patterns do you own? 
Tons, my friend, who was a costumer, gave me all she had after she decided
not to do shows anymore
 

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Penny Ladnier
Sent: Wednesday, April 23, 2008 9:03 PM
To: h-costume
Subject: [h-cost] How Many Costume Books/Magazines/Photos Do You Own

This could be really fun to poll the list.  Lurkers come out, wherever you
are!

About how many costume/fashion related books or magazines do you own?

What was the first one you purchased?  Where did you purchase it?

What was your most recent purchase?

What do you think was the best deal that you have every made when purchasing
a publication?

About how many period photographs do you own just for the costuming?

What book or magazine is your most treasured...if your house was on fire,
you would take it with you.

What is the worse costume book that you own?  I know Robin has a collection!

Do you have a room devoted to your collection?

When did you start collecting?

Do you consider your collection for business or pleasure?

Optional questions:

How many sewing machines do you own?  What types and age?

How many sewing patterns do you own? 

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

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

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From: REBECCA BURCH <ctrvlyfarm@sbcglobal.net>
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I don't know about Image 1, but Image 2 is bordered by
what my Grandmother called lattice work. I don't know
if that is general usage, but that is what I know it
to be.

--- Penny Ladnier <penny@costumegallery.com> wrote:
 
> 1.  Image:
> http://www.costumegallery.com/temp/P1030368.jpg . 
> This is a skirt section of a dress.   The overdress
> has two panels hanging from the waist.  They are
> gathered on the hanging end and married by a
> rosette.  My questions: Is there a period term for
> these hanging panels?  I know I have seen this same
> type of treatment for curtains.  But I can not even
> recall the name for this type of curtains.
> 
> 2. Image:
> http://www.costumegallery.com/temp/P1030429.jpg . 
> These medallions are borders on a three-tiered net
> dress.  My question:  What is the name of the type
> of hand-crochet around the medallions?  It is a
> cotton thread very similar what is used on doilies. 
> I am so embarrassed that I can't remember this term.
> I have made this type of crochet so many times.  It
> is made by using a double or triple crochet, then
> chain two or three and then repeat.  There are three
> rows of this type of crochet around each medallion. 
>  
>  
> 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
> 


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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--- Penny Ladnier <penny@costumegallery.com> wrote:

> This could be really fun to poll the list.  Lurkers
> come out, wherever you are!
> 
> About how many costume/fashion related books or
> magazines do you own?

Let's see - way too many to count. I have 3 two drawer
file cabinets with needlework/cross stitch, quilting,
weaving/spinning, and craft mags. Plus all the
needlework charts and patterns garnered from years of
trading with friends. Books on the same subjects as
well as all my costume books take up 4  48" shelves. 
> 
> What was the first one you purchased?  Where did you
> purchase it?
Survey of Costumes for Theater. Mary Washington
College Bookstore, 1972.
 
> What was your most recent purchase?
Most recently I replaced my Janet Arnold Patterns of
Fashion 1560. I was stupid enough to lend my original
copy to someone who was very careless and allowed it
to be trashed. 
 
> What do you think was the best deal that you have
> every made when purchasing a publication?
When I scored about 10 books from the needlework
section of the library during the Buck a Bag sale they
have every year. All ten fit into one bag. Pays to
belong to the Friends of the Library and go to the
pre-sale!
> 
> About how many period photographs do you own just
> for the costuming?
Do old fashion mags count? 
 
> What book or magazine is your most treasured...if
> your house was on fire, you would take it with you.
> 
> What is the worse costume book that you own?  I know
> Robin has a collection!
I have some of the Dover publications. I don't use
them, but my kids gave them to me because they know I
like to sew "Old timey stuff".

> Do you have a room devoted to your collection?
Yes, I do. My workroom holds just about everything.
 
> When did you start collecting?
Books, I have collected since childhood.  Needlework
and sewing since Jr. High. Costuming since college.

> Do you consider your collection for business or
> pleasure?
Both - 
 
> Optional questions:
> 
> How many sewing machines do you own?  What types and
> age?
4 - Great-grandmother's treadle (1890s?), Grandma's
cabinet Singer (prob 40s), Mom's Featherweight, my
Bernina Dressmaker from 1983. And a Brother overlock
that I use on occasion to make ditty bags for the
Scouts. I also have loaned out to family members
several machines inherited from my Great Aunt Mabel,
but since I don't really expect to ever get them back
I won't count them.
> 
> How many sewing patterns do you own? 
Until about a month ago I would have said at least
1000. I've been sewing for other people since High
School. I also inherited the sewing room contents of
my Grandmother and her sister(Aunt Mabel)- who never
got rid of anything. Because you never know when you
might need just that color or a little bit of that
color yarn or whatever. And for years I used to go
yardsaleing every weekend and buy whatever
sewing/crafting stuff I could find. Amazing what you
can find that way.

Unfortunately, last month while searching for
something in the storage room off the garage my hubby
discovered that the pattern boxes had become nesting
sites for many generations of mice. So I didn't even
sort through the boxes - most of them hadn't been
opened since we moved here 14 years ago - I just sent
them to the burn pile. So now I am down to the ones in
the house - probably about 50.


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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In a message dated 4/25/2008 3:24:16 AM Eastern Daylight Time,  
ctrvlyfarm@sbcglobal.net writes:

What was  your most recent purchase?
Most recently I replaced my Janet Arnold  Patterns of
Fashion 1560. I was stupid enough to lend my original
copy  to someone who was very careless and allowed it
to be trashed.  



Good thing it was one you could easily replace!  I don't let my books  out, 
ever.  Don't want to risk the loss of a long out-of-print book that  would cost 
$100s to replace, if available.
 
And, speaking of that, the most I ever spent for a book is the Ackermann's  
furniture one.  Don't remember the title, as it lives at my office.   Bought it 
used for about $300--a friend of mine was fortunate enough to get a  copy in 
England many years ago, and I had to have one, too.
 
First book I ever bought was Wilcox's "Mode in Costume."  Yes, I know  now 
that it is terrible, but it was one of the few costume books in my high  school 
library, and it really got me started.  So, when I saw it for $10 in  Florida, 
many years ago, I bought it.  Still have it, too, for sentimental  reasons.
 
I've run out of room for books, so I'm being pretty good about new one  in, 
old one out--passing on books on eras or topics I figure I'm pretty much  done 
with--either to individuals who can use them, or to the Costume Society of  
America silent auction every year.
 
Ann Wass



**************Need a new ride? Check out the largest site for U.S. used car 
listings at AOL Autos.      
(http://autos.aol.com/used?NCID=aolcmp00300000002851)
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Penny Ladnier wrote:
> About how many costume/fashion related books or magazines do you own?
>   
Far fewer than I used to. In a fit of anti-consumerism a few years ago I 
gave away a substantial portion of my library. Now I simply rely on the 
university library or ILL as needed.
> What was the first one you purchased?  Where did you purchase it?
>   
I had a couple survey-type books, and maybe some Dover's picked up 
second-hand, but the first I remember paying serious money for was Hill 
and Bucknell's "Evolution of Fashion." I had fit on semi-permanent loan 
from the college library but then found my own copy in a bookstore in 
Manchester Center, VT, around 1979.

> What do you think was the best deal that you have every made when purchasing a publication?
>   
Hmmm...not exactly a purchase--more of a barter: a copy of Hunnisett's 
19th century "Period Costume for Stage and Screen" for helping someone 
make a muslin for a corset.
> About how many period photographs do you own just for the costuming?
>   
Well, not too many photographs were taken in the periods I'm interested 
in :-). But I do have a nice bunch of photos taken during a private 
visit to the attic of the Fleming Museum, Burlington, VT.
> What book or magazine is your most treasured...if your house was on fire, you would take it with you.
>   
My Godey's, definitely.
> What is the worse costume book that you own?  I know Robin has a collection!
>   
I hate to say: I gave them away (I hate to admit to foisting them off on 
some unsuspecting person) but they included Norris and Peacock.

> Optional questions:
>
> How many sewing machines do you own?  What types and age?
>   
3. The one I use(Viking), the Singer my Mom bought us in the 60's to 
learn to sew on that we can no longer get parts for, and the 1920s 
Singer she inherited from her mother that still kind of works except for 
the popping noises and burning oil smell...
> How many sewing patterns do you own? 
>   
Got rid of most of those too. I still have about 2 dozen that I use 
various bits and pieces of, but mostly I just draft or drape my own.
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From: "Leif og Bjarne Drews" <drewscph@post12.tele.dk>
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Subject: [h-cost] How many costume books do you have?
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I have not counted my books, but if i include books about embroidery and lace making i think i have collected about 400 books.
My best buy was last year where i found a book with all fashion engravings of Moreau Le Jeunne from 18th century and i  payed about 1000 kr. for it wich is about 200 dollars in a second hand bookshop in Rome.
My most valued books are Janet Arnolds pattern books and also Norah Waughs, they have always ben my compannions, and still are when i need to get more informations about a special style of dress.
The best portrait book must be one i got this winter a book with all Alexander Roslins portraits from 18th century. They are incredible, you can see clearly the dust powder from the wigs has sprayed down on their clothes, wich i never noticed before in any other painter.
A future book would be a homemade one, where i print out all the fashion engravings in my database from 18th century, but this would become my most expensive projekt.

Bjarne
 
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Subject: [h-cost] The Home for Wayward Bad Costume Books
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This seems like a good time to make my periodic request:

Hope Greenberg wrote:
>> What is the worse costume book that you own?  I know Robin has a collection!
>>   
> I hate to say: I gave them away (I hate to admit to foisting them off on 
> some unsuspecting person) but they included Norris and Peacock.

For those of you who want to dump your Bad Old Costume Books, no need to foist 
them off on unsuspecting victims! I will gladly pay for shipping to receive 
donations to the Robin Netherton Home for Wayward Bad Costume Books. I do use 
them constructively to improve the field. For one thing, I often get inquiries 
from well-meaning scholars (beginning costumers, or historians in other 
fields) who have found something on the library shelves and want my opinion on 
it, so it helps if I have the books and can see what they're looking at. More 
important, one of my favorite research approaches is to track back modern 
misconceptions through the costume literature of the last 200 years, comparing 
different sources to figure out where mistakes originated and how concepts 
mutated from one author to the next.

Donations are always welcome! It's for a good cause, and better than letting 
these things fall into the hands of people who might actually use them for 
costuming ;-)

--Robin
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Wow, the Fleming Museum. I spent many days there when
I was a kid. My dad taught at the UVM College of
Forestry in the 60's and we would play on the grounds
while waiting for him. Do they still have the theater
in the basement? That was where I got my first taste
of costuming. 

My sister (7)and I(10) were messing around and came
across students spray painting chain mail for the
Shakespeare Festival and let us help. I don't remember
now if the outfits were knit or macrame, but they were
made of rug type yarn and were being painted silver. I
talked my folks into taking me to the show and
remember being really struck by how very different
things looked on stage versus off.

I also broke my arm running down that big hill in the
front. Do they still have the ice cream factory? Man,
all sorts of memories popping up now! It was a really
cool place to grow up.
--- Hope Greenberg <hope.greenberg@uvm.edu> wrote:
>> > About how many period photographs do you own just
> for the costuming?
> >   
> Well, not too many photographs were taken in the
> periods I'm interested 
> in :-). But I do have a nice bunch of photos taken
> during a private 
> visit to the attic of the Fleming Museum,
> Burlington, VT.


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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Do you by chance have a list of the ones you already own, so you don't end 
up with duplicates?

Jen

On Fri, 25 Apr 2008, Robin Netherton wrote:

> This seems like a good time to make my periodic request:
>
> For those of you who want to dump your Bad Old Costume Books, no need to foist
> them off on unsuspecting victims! I will gladly pay for shipping to receive
> donations to the Robin Netherton Home for Wayward Bad Costume Books. I do use
> them constructively to improve the field. For one thing, I often get inquiries
> from well-meaning scholars (beginning costumers, or historians in other
> fields) who have found something on the library shelves and want my opinion on
> it, so it helps if I have the books and can see what they're looking at. More
> important, one of my favorite research approaches is to track back modern
> misconceptions through the costume literature of the last 200 years, comparing
> different sources to figure out where mistakes originated and how concepts
> mutated from one author to the next.
>
> Donations are always welcome! It's for a good cause, and better than letting
> these things fall into the hands of people who might actually use them for
> costuming ;-)
>
> --Robin

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Pixel, Goddess and Queen wrote:
> Do you by chance have a list of the ones you already own, so you don't end 
> up with duplicates?

I ask people to e-mail me first before sending, and then I can check. They're 
all one one bookcase together, about 30 of them, so it's easy to see what I have.

--Robin
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About how many costume/fashion related books or magazines do you own?
Hundreds. My library is better than most public libraries-- at least for
art,  history and costume.

What was the first one you purchased?  197O (when I was in college)  Where
did you purchase it? Have no clue. Memory fails after a certain age. :-)

What was your most recent purchase? The new Henry VIII book (I can't
remember the title-- We are doing kitchen renovation and my brain is fried)

What do you think was the best deal that you have every made when purchasing
a publication? Roy Strong-- English Icons. Bought used for about $20. Also
his Elizabethan & Jacobean Portraits-- 2 volumes. Pristine. $45.00

About how many period photographs do you own just for the costuming? A
gazillion. I keep them in photo protective sheets in the largest 3 ring
binder made.

What book or magazine is your most treasured...if your house was on fire,
you would take it with you. Moda di Firenze. I have two copies (one is a
gift). Since I am writing about Cosimo and Eleonora, it is my best
reference. Of course, if push came to shove, I'd grab my manuscripts for the
3 books I've written. (on portable hard drive sticks)  

What is the worse costume book that you own?  I know Robin has a collection!
Me too. Mode in Costume by Ruth Turner Wilcox tops my list.

Do you have a room devoted to your collection? Actually several. We have a
library which houses Art and History. My dressmaking patternmaking and
costume history are in the sewing room. The other books are in our bedroom,
our guest room and the computer room. Not to mention the stuff under the
eaves. 

When did you start collecting? 1970
Do you consider your collection for business or pleasure? Both. I was a
costume designer for 6 years, a fashion designer for 24, and now I teach
fashion history. Plus I am in the SCA.

Optional questions:

How many sewing machines do you own? 4 . What types and age? 3 straight
stitch (one lives with my brother) and  a serger. The straight stitch
machines are 1940s and 1950s vintage Singers. The Serger is probably 15
years old and also a Singer. 

How many sewing patterns do you own? Commercial: less than 30. I make my own
patterns for the SCA garb since I am also a professional patternmaker.

Monica Spence



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>  From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
>  Behalf Of Penny Ladnier
>  Sent: Wednesday, April 23, 2008 9:03 PM
>  To: h-costume
>  Subject: [h-cost] How Many Costume Books/Magazines/Photos Do You Own
>
>  This could be really fun to poll the list.  Lurkers come out, wherever you
>  are!
>
>  About how many costume/fashion related books or magazines do you own?

[looks around at several shelves] I don't know. I'm guessing 100, at
least, and probably more.

>
>  What was the first one you purchased?  Where did you purchase it?

2nd ed. of "Survey of Historic Costume" for the college costume
history course that started me on this crazy path!
>
>  What was your most recent purchase?

North American Indian Jewelry and Adornment (waiting for it to get here)
>
>  What do you think was the best deal that you have every made when purchasing
>  a publication?
>
Without question, the ~$35 copy of QEWU acquired when Amazon.co.uk
misprinted the price on their site a few years back :P

>  About how many period photographs do you own just for the costuming?
>
Photos- none, but quite a few art books just for the paintings.

>  What book or magazine is your most treasured...if your house was on fire,
>  you would take it with you.

I can't even begin to choose!
>
>  What is the worse costume book that you own?  I know Robin has a collection!

I probably have Peacock lying around here somewhere. I sold the Norris
a few years back.
>
>  Do you have a room devoted to your collection?

Yes.
>
>  When did you start collecting?

I'm not exactly when it turned from occasional purchases building up
to full-on collecting - possibly when I discovered the joys of
half.com :P
>
>  Do you consider your collection for business or pleasure?

Pleasure, definitely, though I do think some costume
construction/design philosophies translate to other practical creative
endeavors.
>
>  Optional questions:
>
>  How many sewing machines do you own?  What types and age?
>
3 - one fairly new; two from ca. 1975 that I need to do something with
(either fix and use or sell)

>  How many sewing patterns do you own?

I'm scared to know! I started collecting Vogue patterns by Miyake
about the same time I started collecting books...
>
>  Penny Ladnier,

Allison T.
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Subject: [h-cost] 18th, 19th, & 20th C clothing auction
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This was originally posted on the Real Regency mailing list, but the clothing has a much wider appeal than just early 19thC:
http://www.bonhams.com/cgi-bin/public.sh/pubweb/publicSite.r?sContinent=EUR&screen=Catalogue&iSaleNo=16286
OR
http://snipurl.com/25vmj  [www_bonhams_com] 

-E House
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If you, however, made by chance such a list, post it here so that I know what not to buy... You cannot look inside books when you order them through amazon. I've already purchased quite a number of very disappointing books...

Robin Netherton <robin@netherton.net> wrote: Pixel, Goddess and Queen wrote:
> Do you by chance have a list of the ones you already own, so you don't end 
> up with duplicates?

I ask people to e-mail me first before sending, and then I can check. They're 
all one one bookcase together, about 30 of them, so it's easy to see what I have.

--Robin
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I didn't answer some of the questions on my last post.
 
I don't have a room devoted--that is why I'm running out of room!   
Textiles/quilt books in the office/sewing room, on one shelf.  Straight  how-to sewing 
books in a small case on top of my pattern cabinet--only one  drawer actually 
holds patterns, and I've been weeding them out.  Other  drawers hold utility 
fabrics, interfacings, and craft items.  Then stacks  of books wherever they 
will fit around the computer, mostly from the library, as  I write my book.  
Upstairs, in our bedroom, two cases with costume books  and one with 
miscellaneous histories on subjects like Lewis and Clark and  plantation households.  
Another two cases with the Time-Life History  Timeline series, old college texts, 
and other odd subjects.  Finally, a  tall skinny case in the corner of the 
guest bedroom with my Jane Austens and all  my slides, organized in binders (Yes, 
I finally did get that done, as they sit  their becoming obsolete.)
 
Sewing machines--A wonderful Bernina I bought in 2000.  A 1970s era  Singer 
that was my husband's and I guess I pretty much wore out--after repeated  trips 
to have it repaired, it still won't form a decent stitch.  My Kenmore  that I 
got for graduation in 1973.  Finally, my mom's White Rotary that she  bought 
used during the Depression, so not sure how old it is.  It is in  storage 
right now and needs a new plug.  Oh, and a Pfaff serger that I got  in 1992.
 
What would I save in a fire?  Probably have to grab my laptop first,  before 
any books.
 
Ann Wass
 
Ann Wass



**************Need a new ride? Check out the largest site for U.S. used car 
listings at AOL Autos.      
(http://autos.aol.com/used?NCID=aolcmp00300000002851)
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This was posted to another list I am on...  An upcoming auction of 17th-20th century clothing, textiles, hats, laces, fans, etc.  Lots of yummy things (and I wish there were more pictures!!).  I'm still working my way through the catalog, but one of my favorites so far is a complete man's court costume, down to the stockings, c.1800.  There are lots lace and lace-making items, and lots of fans.

http://www.bonhams.com/cgi-bin/public.sh/pubweb/publicSite.r?sContinent=EUR&screen=Catalogue&iSaleNo=16286

~mary

 
________________________________

The whole difference between construction and creation is exactly this: that a thing constructed can only be loved after it is constructed; but a thing created is loved before it exists.
~ Charles Dickens
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Zuzana Kraemerova wrote:
> If you, however, made by chance such a list, post it here so that I know what not to buy... You cannot look inside books when you order them through amazon. I've already purchased quite a number of very disappointing books...

My "bad" might be someone else's useful, particularly if that someone else is 
doing theatre costume. Also, my focus is on medieval dress, which may or may 
not be the same as your interest. Some of my favorite "bad" books cover many 
centuries and probably do a reasonably good job in the later ones, but not in 
medieval. (This is something that happens a lot with textbooks and survey 
books, particularly if the author is a specialist in, say, 18th or 19th 
century and writes the medieval section based on other books without knowing 
how to spot the errors.)

On the other hand: I don't think anyone here would mind if you asked here 
about specific books you're thinking of buying, and then people who have the 
book can tell you whether it's useful for specific periods and purposes.

FWIW, these are just some of the things on my own "bad" books shelf:

- Bigelow, Fashion in History (my old college textbook -- just horrible)
- Kohler, Dover reprint of 1928 edition (very good for some things, but 
unreliable in others)
- Norris's Tudor volume, original 1938 and also the Dover reprint (I still 
need to get the medieval one)
- Wilton, Book of Costume, 1986 Shep annotated reprint of 1846 edition
- Ashdown, original 1910 edition (but now it's out in Dover reprint)
- Gorsline, What People Wore, 1952 (not bad as a general overview for 
beginners, but it's all redrawings)
- Lister, Costumes of Everyday Life, 1972 (OK for visual overview but repeats 
a lot of myths, and all redrawings)
- Cremers-van der Does, Agony of Fashion, 1980 (agenda-heavy theory and bad 
information)
- Sage, Study of Costume, 1926 (typical of its time, regurgitated errors)
- Lester, Historic Costume, englarged fourth ed. 1956 (ditto), and 1961 
edition of same, expanded for later periods by Kerr
- Evans, Costume Throughout the Ages, 1930 (ditto)
- Laver, Costume and Fashion, 1985 reprint of 1969 ed. (at least this one has 
some real artwork!)
- Laver,  Costume through the Ages, 1963, (all redrawings, no text to speak of)
- Houston, Medieval Costume in England and France, 1996 Dover reprint of 1939 
volume

That's less than half of them. I have more like these, plus a number of 
non-English books, old coffee-table picture books, etc.

Again, I only looked at the medieval/Renaiassance sections of these. Some of 
them might be very good for Victorian! But most of them are in general badly 
sourced and simply repeat assumptions from previous books.

--Robin

-- 

Robin Netherton
Editor at Large
robin@netherton.net
voice: (314) 439-1222 // fax: (314) 439-1666
Life is just a bowl of queries.

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>
> 1.  Image: http://www.costumegallery.com/temp/P1030368.jpg .  This is a 
> skirt section of a dress.   The overdress has two panels hanging from the 
> waist.  They are gathered on the hanging end and married by a rosette.  My 
> questions: Is there a period term for these hanging panels?  I know I have 
> seen this same type of treatment for curtains.  But I can not even recall 
> the name for this type of curtains.
>
> 2. Image: http://www.costumegallery.com/temp/P1030429.jpg .  These 
> medallions are borders on a three-tiered net dress.  My question:  What is 
> the name of the type of hand-crochet around the medallions?  It is a 
> cotton thread very similar what is used on doilies.  I am so embarrassed 
> that I can't remember this term. I have made this type of crochet so many 
> times.  It is made by using a double or triple crochet, then chain two or 
> three and then repeat.  There are three rows of this type of crochet 
> around each medallion.
>
Hi Penny, is it 'filet' you mean?

Claire 

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"About how many costume/fashion related books or magazines do you own?"
Books strictly about costume or sewing techniques about 60, including some photocopies. Then I have a large collection of the Rundschau drafting magazines (still not all) and many Burdas (I actually don't know why do I keep buying them when I never use them...I draft all patterns myself). 

"What was the first one you purchased?  Where did you purchase it?"
Probably Peacock, I bought it in some bookshop in Germany. 

"What was your most recent purchase?"
Fashion and Fetishism, All about silk, Fashions of the Gilded Age, vol.2 (all arrived at once from amazon)

"What do you think was the best deal that you have every made when purchasing a publication?"
Probably succeeding to get the original of Medieval costume, armor, and weapons. For costumes, it's not very good, but the armor part is great and, there's a lot of pictures - redrawn, yes, but one could find the original when searching a little. I bought it for $50 fin a second hand bookshop.

"About how many period photographs do you own just for the costuming?"
I don't collect them.

"What book or magazine is your most treasured...if your house was on fire, you would take it with you."
The only not replaceable book is the already mentioned Medieval costume, armor and weapons, it's kind of a legend in the Czech republic and almost nobody owns it.

"What is the worse costume book that you own?  I know Robin has a collection!"
Probably What people wore or some Czech costume and fashion books that are really terrible. Then Geschichte der Mode im 20.Jhd. is also pretty scary. I would send some to Robin but the books are so awful that they're not even worth the shipping...and, almost none of them is in English.

"Do you have a room devoted to your collection?"
Not really, the books are in my sewing room.

"When did you start collecting?"
When I started sewing costumes, about 5 years ago.

"Do you consider your collection for business or pleasure?"
For pleasure, a bit for business. I sew for customers, so I need some information, but sewing costumes is my real love:-D

Optional questions:

"How many sewing machines do you own?  What types and age?"
3, one is Pfaff about 5 years old, one Janome oveclock (My lock213D) - perhaps 4 years old, and one Veritas about 30years old (an old Czech  sewing machine company). I'd need some good sewing machine for straight sewing, maybe I'll buy some industrial sewing machine one day.

"How many sewing patterns do you own?"
16, I don't use them much, I rather draft. Except for corsets, these I cannot draft.



       
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From: Zuzana Kraemerova <zkraemerova@yahoo.com>
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Yes, I agree, it is always important to say what's your point of interest when judging books. I always tend to judge books with practical instructions like how to make something etc. better than vast theory-based books, even though both can be of the same value.

Still, I think that some can be marked as "generally bad" - many of the general costume history books are very superficial in all periods, usually more in the earlier than in the later ones. 

Thanks for the list - I see I have 3 books from your list...some of them are very unuseful, some can be helpful in very special cases, but over all I think they're a waste of money.

Zuzana


Robin Netherton <robin@netherton.net> wrote:My "bad" might be someone else's useful, particularly if that someone else is 
doing theatre costume. Also, my focus is on medieval dress, which may or may 
not be the same as your interest. Some of my favorite "bad" books cover many 
centuries and probably do a reasonably good job in the later ones, but not in 
medieval. (This is something that happens a lot with textbooks and survey 
books, particularly if the author is a specialist in, say, 18th or 19th 
century and writes the medieval section based on other books without knowing 
how to spot the errors.)

On the other hand: I don't think anyone here would mind if you asked here 
about specific books you're thinking of buying, and then people who have the 
book can tell you whether it's useful for specific periods and purposes.

FWIW, these are just some of the things on my own "bad" books shelf:

- Bigelow, Fashion in History (my old college textbook -- just horrible)
- Kohler, Dover reprint of 1928 edition (very good for some things, but 
unreliable in others)
- Norris's Tudor volume, original 1938 and also the Dover reprint (I still 
need to get the medieval one)
- Wilton, Book of Costume, 1986 Shep annotated reprint of 1846 edition
- Ashdown, original 1910 edition (but now it's out in Dover reprint)
- Gorsline, What People Wore, 1952 (not bad as a general overview for 
beginners, but it's all redrawings)
- Lister, Costumes of Everyday Life, 1972 (OK for visual overview but repeats 
a lot of myths, and all redrawings)
- Cremers-van der Does, Agony of Fashion, 1980 (agenda-heavy theory and bad 
information)
- Sage, Study of Costume, 1926 (typical of its time, regurgitated errors)
- Lester, Historic Costume, englarged fourth ed. 1956 (ditto), and 1961 
edition of same, expanded for later periods by Kerr
- Evans, Costume Throughout the Ages, 1930 (ditto)
- Laver, Costume and Fashion, 1985 reprint of 1969 ed. (at least this one has 
some real artwork!)
- Laver,  Costume through the Ages, 1963, (all redrawings, no text to speak of)
- Houston, Medieval Costume in England and France, 1996 Dover reprint of 1939 
volume

That's less than half of them. I have more like these, plus a number of 
non-English books, old coffee-table picture books, etc.

Again, I only looked at the medieval/Renaiassance sections of these. Some of 
them might be very good for Victorian! But most of them are in general badly 
sourced and simply repeat assumptions from previous books.

--Robin

-- 

Robin Netherton
Editor at Large
robin@netherton.net
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 Time to come clean...What was the most price of  you have ever paid for a 
book, collection of work, etc.
>
I think it's a toss-up between $177 for the St. Louis Psalter facsimile
(which I wrote to the publisher for), and the ABEGG book, which was
something like $160.

If I'd thought I might have money I could have had a copy of Christie's
English Medieval Embroidery for $1500 about five years ago. *sigh*

Jen

The most I've ever paid for a book was $132 for Queen Elizabeth's Wardrobe 
Unlock'd.

Jen, if it's any comfort--my music-collector-DJ husband once had a copy of 
the Beatles Butcher Cover in his hands, and it was only $300. But he was 
young and poor (now he;s middle aged and poor) and he had a car payment he 
had to make.

Dianne

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To: "Historical Costume" <h-costume@indra.com>
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This  could be really fun to poll the list.  Lurkers come out, wherever you
are!


About how many costume/fashion related books or magazines do you  own?

Not all that many--finances are limited, so I try to only buy the ones that 
are truly useful to me. Since my costuming interests are strictly 15th-16th 
century, that helps. Though interests are expanding, and I have done 
everything from t-tunics to Viking to Elizabethan for customers. I traded a 
pile of custom-made t-tunics for a pavilion.

<What was the first one you purchased?  Where did you  purchase it?>

My first big (and so far biggest) purchase was QEWU, about two years ago. 
Purchased it from a German seller via ABEbooks.



<What was your most recent purchase? >
"The Tudor Tailor".  Next will be The Medieval Tailor's Assistant and Moda a 
Firenze. (I may wait and try to get that from Poison Pen Press at Pennsic)



?



About how many period photographs do you own just for the  costuming?

None

What book or magazine is your most treasured...if your house  was on fire,
you would take it with you.

QEWU undoubtedly


What is the worse costume book that you own?  I know Robin  has a 
collection!

See above--I have learned enough from other people to not spend my limited 
funds on books I won't use

Do you have a room devoted to your  collection?

My books are in a bookcase in my sewing room, so not directly, but yes, only 
computer and sewing activities happen in this room. (I understand there is a 
whole house attached to this room, but I think it's a dirty lie...)


When did you start collecting?

About when I found the SCA, so about eight or nine years ago


Do you consider your collection for business or  pleasure?

Both


Optional questions:

How many sewing machines do you  own?  What types and age?

I have an old Kenmore that is in need of minor repairs, and 1948 Singer 99k 
that is gorgeous and runs like a dream, a cheapo Brother that I use on a 
daily basis, and a Brother PE750D that does strictly embroidery.


How many sewing patterns do you own?

Not so many any more. I decided it was silly to hang onto most of my Big 3 
patterns, when my tastes (and skills!) have gone in a more accurate 
direction, so I got rid of most of them. I have about 30 from the 
independent pattern companies (Margo Anderson, Reconstructing History, Alter 
Years, and Fantasy Fashion) that live in a drawer of my sewing table where 
they are easily accessible.

Dianne

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What I find both interesting and depressing in this discussion is that 
(a) judging from the books discussed, almost all the people who collect 
and spend much money on costume books are in the SCA and (b) a lot of 
people would rather spend money on fabric and sewing machines.

Fran
Lavolta Press Books on Costuming
http://www.lavoltapress.com
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Hi Fran--
Why is it "depressing" that many of us are in the SCA?

In order to participate in the SCA, a person has to wear a "reasonable
attempt" at pre-17th C. clothing. A lot of us find there is challenge and
fun in going beyond the minimum. I think that it is great that so many go
the extra mile for their hobby.

Monica Spence

In Society known as:
Baroness Catriona MacDuff
OL,OP,CM,CSC,KoE,QoC,PA,PA,AoA,OSF,OSS
East Kingdom


-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of Lavolta Press
Sent: Sunday, April 27, 2008 3:33 PM
To: Historical Costume
Subject: Re: [h-cost] How Many Costume Books/Magazines/Photos Do You Own


What I find both interesting and depressing in this discussion is that
(a) judging from the books discussed, almost all the people who collect
and spend much money on costume books are in the SCA and (b) a lot of
people would rather spend money on fabric and sewing machines.

Fran
Lavolta Press Books on Costuming
http://www.lavoltapress.com
_______________________________________________
h-costume mailing list
h-costume@mail.indra.com
http://mail.indra.com/mailman/listinfo/h-costume


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It's not "depressing" that you are in the SCA, it's "depressing" that 
other groups do not seem to value books nearly as much.

Fran

monica spence wrote:
> Hi Fran--
> Why is it "depressing" that many of us are in the SCA?
> 
> In order to participate in the SCA, a person has to wear a "reasonable
> attempt" at pre-17th C. clothing. A lot of us find there is challenge and
> fun in going beyond the minimum. I think that it is great that so many go
> the extra mile for their hobby.
> 
> Monica Spence
> 
> In Society known as:
> Baroness Catriona MacDuff
> OL,OP,CM,CSC,KoE,QoC,PA,PA,AoA,OSF,OSS
> East Kingdom
> 
> 
> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
> Behalf Of Lavolta Press
> Sent: Sunday, April 27, 2008 3:33 PM
> To: Historical Costume
> Subject: Re: [h-cost] How Many Costume Books/Magazines/Photos Do You Own
> 
> 
> What I find both interesting and depressing in this discussion is that
> (a) judging from the books discussed, almost all the people who collect
> and spend much money on costume books are in the SCA and (b) a lot of
> people would rather spend money on fabric and sewing machines.
> 
> Fran
> Lavolta Press Books on Costuming
> http://www.lavoltapress.com
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 
> 
_______________________________________________
h-costume mailing list
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We are just lucky I guess.  Most of us garb-and-research-types are
book-aholics. She/he who dies with the most books wins the love and undying
affection of she/he who inherits the books. :-)
Monica

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of Lavolta Press
Sent: Sunday, April 27, 2008 4:06 PM
To: Historical Costume
Subject: Re: [h-cost] How Many Costume Books/Magazines/Photos Do You Own


It's not "depressing" that you are in the SCA, it's "depressing" that
other groups do not seem to value books nearly as much.

Fran

monica spence wrote:
> Hi Fran--
> Why is it "depressing" that many of us are in the SCA?
>
> In order to participate in the SCA, a person has to wear a "reasonable
> attempt" at pre-17th C. clothing. A lot of us find there is challenge and
> fun in going beyond the minimum. I think that it is great that so many go
> the extra mile for their hobby.
>
> Monica Spence
>
> In Society known as:
> Baroness Catriona MacDuff
> OL,OP,CM,CSC,KoE,QoC,PA,PA,AoA,OSF,OSS
> East Kingdom
>
>
> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
> Behalf Of Lavolta Press
> Sent: Sunday, April 27, 2008 3:33 PM
> To: Historical Costume
> Subject: Re: [h-cost] How Many Costume Books/Magazines/Photos Do You Own
>
>
> What I find both interesting and depressing in this discussion is that
> (a) judging from the books discussed, almost all the people who collect
> and spend much money on costume books are in the SCA and (b) a lot of
> people would rather spend money on fabric and sewing machines.
>
> Fran
> Lavolta Press Books on Costuming
> http://www.lavoltapress.com
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>
>
_______________________________________________
h-costume mailing list
h-costume@mail.indra.com
http://mail.indra.com/mailman/listinfo/h-costume


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At 21:06 27/04/2008, you wrote:
>It's not "depressing" that you are in the SCA, it's "depressing" that
>other groups do not seem to value books nearly as much.
>
>Fran

Why does anyone have to be in a "group" to buy costume related books?

Suzi
> > Hi Fran--
> > Why is it "depressing" that many of us are in the SCA?
> >
> > In order to participate in the SCA, a person has to wear a "reasonable
> > attempt" at pre-17th C. clothing. A lot of us find there is challenge and
> > fun in going beyond the minimum. I think that it is great that so many go
> > the extra mile for their hobby.
> >
> > Monica Spence
> >
> > In Society known as:
> > Baroness Catriona MacDuff
> > OL,OP,CM,CSC,KoE,QoC,PA,PA,AoA,OSF,OSS
> > East Kingdom
> >
> >
> > -----Original Message-----
> > From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
> > Behalf Of Lavolta Press
> > Sent: Sunday, April 27, 2008 3:33 PM
> > To: Historical Costume
> > Subject: Re: [h-cost] How Many Costume Books/Magazines/Photos Do You Own
> >
> >
> > What I find both interesting and depressing in this discussion is that
> > (a) judging from the books discussed, almost all the people who collect
> > and spend much money on costume books are in the SCA and (b) a lot of
> > people would rather spend money on fabric and sewing machines.
> >
> > Fran
> > Lavolta Press Books on Costuming
> > http://www.lavoltapress.com
> > _______________________________________________
> > h-costume mailing list
> > h-costume@mail.indra.com
> > http://mail.indra.com/mailman/listinfo/h-costume
> >
> >
> > _______________________________________________
> > h-costume mailing list
> > h-costume@mail.indra.com
> > http://mail.indra.com/mailman/listinfo/h-costume
> >
> >
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
>http://mail.indra.com/mailman/listinfo/h-costume

_______________________________________________
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Suzi Clarke wrote:
> At 21:06 27/04/2008, you wrote:
>> It's not "depressing" that you are in the SCA, it's "depressing" that
>> other groups do not seem to value books nearly as much.
>>
>> Fran
> 
> Why does anyone have to be in a "group" to buy costume related books?

What may be misleading is that a large proportion of the people on this list 
work in the medieval and Renaissance periods, so most of the people answering 
have been mentioning books from those periods. Many of those people are in the 
SCA, which is understandable given the size of the organization compared with 
other "groups." So the impression may be more a question of the proportional 
representation on this list than anything intrinsic to a specific group or 
study of a particular period.

I am not in the SCA or any other group, but I work only on medieval clothing, 
so my answers reflected that. I have lots and lots of books. It's the nature 
of my work. It's also the nature of Penny's work (she having started this 
thread, and she also specializes in periods later than medieval -- which is 
why she has lots of photos and magazines, and I don't!).

The nature of someone else's work might be served by a very narrow set of 
references, depending on type of the costuming they do and the availability of 
sources.

And a lot of people have to choose between books and fabric. You can't get 
fabric (or sewing machines!) from the library, so that often is where the 
money has to go. It doesn't mean these people aren't using books.

--Robin



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> Why does anyone have to be in a "group" to buy costume related books?

In terms of marketing demographics, everyone is in a group or multiple 
groups whether they consider themselves members of such a group or not.

Fran
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I was going through my "future project files" and came across this.  I love it, but don't remember where it comes from.  The book, and the painting it is illustrated from.  Thanks
 
http://saragrace.us/images/Misc/Unknown.pdf
 
Sg
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It=B4s in "Medieval Costume in England and France" by Mary G. Houston.

Hanna

At 23:48 27.04.2008, you wrote:
>I was going through my "future project files" =

>and came across this.  I love it, but don't =

>remember where it comes from.  The book, and the =

>painting it is illustrated from.  Thanks
>
>http://saragrace.us/images/Misc/Unknown.pdf
>
>Sg
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
>http://mail.indra.com/mailman/listinfo/h-costume


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Are there any costuming magazines worthy of reading? I haven't found any.
   
  Vicky
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At 23:04 27/04/2008, you wrote:
>Are there any costuming magazines worthy of reading? I haven't found any.
>
>   Vicky

"Costume" the annual journal of The Costume Society 
http://www.costumesociety.org.uk/ in the U.K. is full of articles, 
both learned and practical, book reviews etc.

Suzi

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>
>
> We are just lucky I guess.  Most of us garb-and-research-types are
> book-aholics. She/he who dies with the most books wins the love
> and undying
> affection of she/he who inherits the books. :-)
> Monica

Truer words were never written :-)  I have to watch my back around some of
my friends who know the books will be offered to them first when they carry
me out of my house.  Then there are the ones who complacently watch my
fabric stash grow to huge proportions (live near two Pendleton Woolen Mills
seconds stores and come from Pendleton.  At $3.99 a yard Pendleton wool can
be cheaper than either dead dinosaur or cotton!).  Certainly I have more
than I'm likely to use in the next 20 years or so.

Fancy sewing machines mean the "new" 1911 Singer Treadle I just got from
Good Will with every attachment ever made to that time plus the original
manual.  Then there is the 1929 Singer electric/hand crank, or the 1960
Touch and Sew, or the 1960 Morris, or the 1981 Pfaff or...
(Housemate is glaring and insisting that there are no more sewing machines
to come to the house.  She doesn't mention the three that she has rescued in
the last year - chuckle!)

I actually think that the fact that the SCA and it's offshoots in the
re-enactment and Renn Faire arenas are the reason why many books see
publication at all.  Dress in the Court of Henry VIII was eagerly welcomed
by David Brown/Oxbow books when Maney Publishing came up with the idea.
They knew it would sell like gangbusters, and it has.  Maney publishing is
eager to hear from the book buying public about what we would like to see
and spend money on.  The museum in Italy that put out Moda was evidently
completely surprised at the way it was received.  Rumor has it that there
will be a companion volume on male clothing from that same era now they know
it will sell.

The same is true of books on Medieval and Renaissance cooking and some of
the more "off the wall" cookbooks.  Who would think that a hardworking
Family Assistance program manager would put out $125 for a translation of a
13th century Mongolian cookbook?  (Well, the actual sale price was $225 when
the idiots got through with messing with the number published and who would
buy it but Barnes and Noble made the mistake of sending out a few at the
lower price.)  The answer is that SCA members and those who have fallen
under their spell would.

Any market is better than no market and a new generation is growing up that
will never think to thank us for creating it.  They will think that it's
obvious that someone would be interested in the grave finds on the Isle of
Man, or the cut and construction of Spanish clothing in 1578.

Wanda
>

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You don't have to own books to value them.  If someone on a limited income would rather spend their dollars on fabric and sewing machines, they can use the public library to access the books.

Cactus


--- On Sun, 4/27/08, Lavolta Press <fran@lavoltapress.com> wrote:

> From: Lavolta Press <fran@lavoltapress.com>
> Subject: Re: [h-cost] How Many Costume Books/Magazines/Photos Do You Own
> To: "Historical Costume" <h-costume@indra.com>
> Date: Sunday, April 27, 2008, 2:06 PM
> It's not "depressing" that you are in the SCA,
> it's "depressing" that 
> other groups do not seem to value books nearly as much.
> 
> Fran
> 
> monica spence wrote:
> > Hi Fran--
> > Why is it "depressing" that many of us are
> in the SCA?
> > 
> > In order to participate in the SCA, a person has to
> wear a "reasonable
> > attempt" at pre-17th C. clothing. A lot of us
> find there is challenge and
> > fun in going beyond the minimum. I think that it is
> great that so many go
> > the extra mile for their hobby.
> > 
> > Monica Spence
> > 
> > In Society known as:
> > Baroness Catriona MacDuff
> > OL,OP,CM,CSC,KoE,QoC,PA,PA,AoA,OSF,OSS
> > East Kingdom
> > 
> > 
> > -----Original Message-----
> > From: h-costume-bounces@indra.com
> [mailto:h-costume-bounces@indra.com]On
> > Behalf Of Lavolta Press
> > Sent: Sunday, April 27, 2008 3:33 PM
> > To: Historical Costume
> > Subject: Re: [h-cost] How Many Costume
> Books/Magazines/Photos Do You Own
> > 
> > 
> > What I find both interesting and depressing in this
> discussion is that
> > (a) judging from the books discussed, almost all the
> people who collect
> > and spend much money on costume books are in the SCA
> and (b) a lot of
> > people would rather spend money on fabric and sewing
> machines.
> > 
> > Fran
> > Lavolta Press Books on Costuming
> > http://www.lavoltapress.com
> > _______________________________________________
> > h-costume mailing list
> > h-costume@mail.indra.com
> > http://mail.indra.com/mailman/listinfo/h-costume
> > 
> > 
> > _______________________________________________
> > h-costume mailing list
> > h-costume@mail.indra.com
> > http://mail.indra.com/mailman/listinfo/h-costume
> > 
> > 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume


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For someone so gungho on authenticity, I am surprised that you would do period (whatever that may be) embroidery by machine rather than by hand.

Cactus


--- On Sun, 4/27/08, Lavolta Press <fran@lavoltapress.com> wrote:

> From: Lavolta Press <fran@lavoltapress.com>
> Subject: Re: [h-cost] How Many Costume Books/Magazines/Photos Do You Own
> To: "Historical Costume" <h-costume@indra.com>
> Date: Sunday, April 27, 2008, 4:27 PM
> " to buy costume related books?
> > 
> > What may be misleading is that a large proportion of
> the people on this list 
> > work in the medieval and Renaissance periods, so most
> of the people answering 
> > have been mentioning books from those periods. 
> 
> Perhaps a large proportion but not necessarily a majority.
> In a 
> multi-era e-list, SCA members are usually the most vocal,
> therefore they 
> often seem like a higher proportion of a group than they
> really are.
> 
> Many of those people are in the
> > SCA, which is understandable given the size of the
> organization compared with 
> > other "groups." So the impression may be
> more a question of the proportional 
> > representation on this list than anything intrinsic to
> a specific group or 
> > study of a particular period.
> 
> I belong to almost 100 Yahoo lists for historic costume and
> reenactment, 
> and have for some years. Though, admittedly, I do not
> receive direct 
> email from the vast majority of them, and these days,
> don't have time to 
> drop into their website archives more often than once every
> few months.
> 
> However, my impression is that SCA members are the group
> most inclined 
> to research and with the highest understanding of what
> research actually 
> consists of. That is, they are the least likely to do
> things like assume 
> that original sources are always 100% accurate and
> unbiased, that 
> secondary sources are always useless, and so on. They are
> the most 
> likely to assume that a multi-era e-group is "for
> them," often throwing 
> out references to things like "Is X in period?"
> under the assumption 
> that everyone on the e-list is always talking about some
> SCA period. 
> However, they tend to be more interested in a variety of
> time periods 
> and types of clothing within the SCA time frame.  They tend
> to spend the 
> most money on books, and buying the most expensive ones is
> a status 
> symbol, as is buying other expensive things (such as
> fabric) that help 
> in some way with an SCA "impression."
> 
> Although I've had less contact with them, 18th-century
> reenactors strike 
> me as the group next most interested in research and in
> books.
> 
> Early 19th-century reenactors come third, with an interest
> in "original 
> sources," but tending to confine them to sources
> approved by some group, 
> and especially reprints of diaries and other personal
> accounts.
> 
> The Civil War reenactors are a very large group but with
> few exceptions, 
> tend not to be very interested in books or research. They
> seem to regard 
> it as somehow virtuous to be conspicuously disinterested in
> everything 
> beyond their immediate and very narrow time frame and
> geographic area, 
> thus tend to lack a sense of context. They are conformist
> in ideas, and 
> rely heavily on the system of one group
> "authority" reading a book and 
> giving them a set of approved ideas to worth with.  All
> reenactment 
> communities do this to some extent, but the CW reenactors
> are the most 
> likely to come onto an e-group and say, "What is OK
> for me to wear?  I 
> want to 'fit in,'" rather than doing any
> research or original thinking 
> themselves. They also seem to have less formal education
> than the other 
> groups, judging by how they write, spell, etc.
> 
> > 
> > I am not in the SCA or any other group, but I work
> only on medieval clothing, 
> > so my answers reflected that. I have lots and lots of
> books. It's the nature 
> > of my work. It's also the nature of Penny's
> work (she having started this 
> > thread, and she also specializes in periods later than
> medieval -- which is 
> > why she has lots of photos and magazines, and I
> don't!).
> 
> I'm not in the SCA or any other reenactment group, but
> it's also the 
> nature of my work to have lots of books and magazines, and
> I also 
> collect vintage clothing. I don't have nearly as many
> photos as perhaps 
> I should. They are mostly ones my parents bought at estate
> auctions, I 
> haven't gone in for buying them myself.
> 
> 
> > > The nature of someone else's work might be
> served by a very narrow set of 
> > references, depending on type of the costuming they do
> and the availability of 
> > sources.
> 
> And very often it is. But because my lifelong profession
> has always been 
> various aspects of writing, editing, and publishing,
> naturally I like 
> people to want to read lots of books.  Everyone working in
> publishing 
> wants people to read lots of books.  Not only for marketing
> reasons, but 
>   people who read a lot usually believe that reading is
> enjoyable, 
> educational, and generally a good thing.
> 
> > 
> > And a lot of people have to choose between books and
> fabric. You can't get 
> > fabric (or sewing machines!) from the library, so that
> often is where the 
> > money has to go. It doesn't mean these people
> aren't using books.
> 
> I admit, I not only think books are where the money should
> go, I would 
> always rather own the book, if at all possible, than go to
> a library. I 
> like things right at hand where I can reach them instantly.
> 
> I have a lot of fabric and lace too, but only one sewing
> machine. I've 
> always sold the old one when I bought a new one. I hate the
> idea of a 
> serger. I understand that many people find them very
> useful, but I don't 
> want one myself.
> 
> I'm going to buy an embroidery machine, though, when we
> move to a bigger 
> house and have room for one. I want one that will do big
> motifs and 
> where I am not using canned patterns, but where I can
> create my own with 
> an embroidery graphics program, one that interfaces with my
> PC. I'd like 
> to scan in antique patterns from magazines and apply
> stitches to them 
> with a graphics program. I understand that the ordinary
> graphics 
> programs I use, which these days are mostly Corel
> PhotoPaint and Corel 
> Draw, don't apply stitches to embroidery patterns.
> Corel has a special 
> program for that which I have not really looked into, but
> I'm biased in 
> its favor anyway because it's Corel's. I have not
> looked into the 
> hardware all that much yet because buying a sewing or
> embroidery machine 
> these days is partly buying a computer; and with a computer
> both the 
> features and the prices change so rapidly, that it
> doesn't pay to 
> research too far in advance. I'm open to suggestions
> though. I could 
> either get an embroidery sewing machine--if it does big
> motifs and 
> allows me to create patterns--and sell my current
> Husqvarna, or get a 
> dedicated embroidery machine.
> 
> I admit it, I want a low-tech knitting machine too, since I
> love knitted 
>   garments but have never cared for knitting. I used to
> crochet and I 
> enjoyed it a lot, but there is something about hand
> knitting that has 
> never appealed to me. Maybe it's just that I need to
> sit down and work 
> on it some more, but having a knitting machine also
> appeals. It seems 
> rather like weaving and though I quit weaving when we moved
> here and had 
> to put the loom in the garage, since there wasn't
> enough room for it in 
> my sewing room, I really loved the process.
> 
> 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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Thanks, I'll check into it.
   
  Vicky

Suzi Clarke <suzi@suziclarke.co.uk> wrote:
  At 23:04 27/04/2008, you wrote:
>Are there any costuming magazines worthy of reading? I haven't found any.
>
> Vicky

"Costume" the annual journal of The Costume Society 
http://www.costumesociety.org.uk/ in the U.K. is full of articles, 
both learned and practical, book reviews etc.

Suzi

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"That is, they are the least likely to do things like assume 
that original sources are always 100% accurate and unbiased, that 
secondary sources are always useless, and so on."

I must disagree. You definitely cannot rely on secondary sources, but it can be very interesting and you can learn many points of view, many opinions, by just reading them. By the way, some authors have done good research that can save your time in finding sources, relations, etc. You can always go deep in research by searching for the primary sources cited in the book. Here I should say that a book with no given primary sources really could be almost useless.

Zuzana
 

       
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> Truer words were never written :-)  I have to watch my back around some of
> my friends who know the books will be offered to them first when they carry
> me out of my house.

Unless I predecease my husband and he wants to sell my books, I'm going 
to find a university library willing to house my collection (rather than 
selling it for general funding), and leave it to them.  I would like 
this to be a library that does not already have a large collection of 
such books.  My husband and I do not have wills and I suppose we ought 
to, though neither of us is expecting to die for some decades.

   Then there are the ones who complacently watch my
> fabric stash grow to huge proportions (live near two Pendleton Woolen Mills
> seconds stores and come from Pendleton.  At $3.99 a yard Pendleton wool can
> be cheaper than either dead dinosaur or cotton!).  Certainly I have more
> than I'm likely to use in the next 20 years or so.

I've never gone in for wool. I'm not technically allergic to it (when I 
was weaving a lot I got an allergy test), but it irritates my skin. I 
think mohair is a nightmare. Cashmere is perfectly fine. The softer 
woolens (from sheep) are OK if I wear them with enough layers of 
clothing under them, but I don't want to handle them enough to sew with 
them.  So I sew with cottons, linens, silks, and a few rayons. There are 
a few polyester brocades and embroidered fabrics that looked so great to 
me I have ignored their fiber content, especially if it was partly a 
natural fiber/blend.

> 
> Fancy sewing machines mean the "new" 1911 Singer Treadle I just got from
> Good Will with every attachment ever made to that time plus the original
> manual.

I learned to sew on a treadle when I was a kid, and later I had an early 
electric tabletop Singer with a bentwood case. Both had a great straight 
stitch, were incredibly sturdy and ran very smoothly after my father 
restored them. But these days I like a higher-tech machine, and I don't 
want to buy another old machine just to get a perfect straight stitch. 
I don't want to collect sewing machines, I have way too much other stuff 
in the house.

> I actually think that the fact that the SCA and it's offshoots in the
> re-enactment and Renn Faire arenas are the reason why many books see
> publication at all.  Dress in the Court of Henry VIII was eagerly welcomed
> by David Brown/Oxbow books when Maney Publishing came up with the idea.
> They knew it would sell like gangbusters, and it has.

And do you have the sales figures on (a) what "gangbusters" consists of 
in terms of both units sold and profits realized, and (b) how many of 
these copies were actually sold to SCA members?

Even the larger reenactor markets are not great sales markets. I find 
theatrical costumers to be a much larger, more profitable, and more 
reliable market. They will usually buy a book if they think it will 
facilitate their work; in other words, if they have a real professional 
need for it. Hobbyists usually pay less and are less likely to buy 
rather than borrow, or to not read the book at all.

   Maney publishing is
> eager to hear from the book buying public about what we would like to see
> and spend money on.

Every publisher with any sense does marketing research (especially if 
they don't have to pay for a survey) and is delighted to find additional 
markets, no matter how secondary. Many successful books, particularly 
those without an inherently large audience--which includes most 
scholarly books--have several markets. That does not mean that the SCA 
is the only or main market of Maney Publishing, or anyone else outside 
the SCA community.

I've lost track of how many members the SCA has, but last time I checked 
it was a few thousand. By publishing standards, that's tiny, considering 
that something like one to five percent of people in a target market 
actually buy. Compare a small percentage of the SCA membership against 
the (widely trumpted) sales for something like the Harry Potter books, 
and you'll have some idea how sales for a very-narrow-niche book might 
compare to sales for a mainstream book, that is a book that could 
potentially sell to anyone.

> 
>The answer is that SCA members and those who have fallen
> under their spell would.

Let's put it this way: I publish and sell narrow-niche books, and the 
SCA-only market is not large enough to make me all that interested in 
it. For costume books with patterns, there is a solid if niche 
bread-and-butter market of professional costumers who will buy them 
because they need them, and that's what we really rely on.

> 
> Any market is better than no market

No, it is not. Unless a market is a certain size compared to the costs 
of book publication, the book is not worth publishing. Unless a 
publisher is subsidized by a nonprofit, they simply cannot lose money 
and still stay in business.

Publishers do not generally publish a book and then find a market for 
it. That is much too risky and expensive. They do considerable research 
to find out how many members of a target market or markets there are, 
where to locate them, and so on, before even beginning work on a book. 
An author submitting a book proposal has to do a lot of this work before 
the publisher will even consider the proposal. And a great many books 
are sold on the basis of proposals. The chance of rejection 
everywhere/nonpublication is often pretty high; so the author just 
writes an outline, a chapter or two, and does that all-important 
marketing research to try and get a contract, before even writing the book.

Before offering a contract to the author, the publisher does more 
research, extrapolates from the sales volume of their other books, and 
so on. It has to look like the economics will work out from the very 
beginning. Granted, some books are financial failures even given 
extensive marketing research, but not doing the marketing research is 
usually a recipe for a real disaster. And granted, there are some books 
that do not have to be profitable because their publication is 
subsidized by museums or other nonprofit organizations.

There are many books that would probably be valuable cultural 
contributions that will never be published either because the market for 
them is not large enough, or because their authors did not do enough 
marketing research to convince the publisher of it.

  and a new generation is growing up that
> will never think to thank us for creating it.  They will think that it's
> obvious that someone would be interested in the grave finds on the Isle of
> Man, or the cut and construction of Spanish clothing in 1578.

As I said, I really doubt the SCA is solely responsible or even mainly 
responsible for supporting most scholarly books on the SCA period.

Fran
Lavolta Press
http://www.lavoltapress.com
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" to buy costume related books?
> 
> What may be misleading is that a large proportion of the people on this list 
> work in the medieval and Renaissance periods, so most of the people answering 
> have been mentioning books from those periods. 

Perhaps a large proportion but not necessarily a majority. In a 
multi-era e-list, SCA members are usually the most vocal, therefore they 
often seem like a higher proportion of a group than they really are.

Many of those people are in the
> SCA, which is understandable given the size of the organization compared with 
> other "groups." So the impression may be more a question of the proportional 
> representation on this list than anything intrinsic to a specific group or 
> study of a particular period.

I belong to almost 100 Yahoo lists for historic costume and reenactment, 
and have for some years. Though, admittedly, I do not receive direct 
email from the vast majority of them, and these days, don't have time to 
drop into their website archives more often than once every few months.

However, my impression is that SCA members are the group most inclined 
to research and with the highest understanding of what research actually 
consists of. That is, they are the least likely to do things like assume 
that original sources are always 100% accurate and unbiased, that 
secondary sources are always useless, and so on. They are the most 
likely to assume that a multi-era e-group is "for them," often throwing 
out references to things like "Is X in period?" under the assumption 
that everyone on the e-list is always talking about some SCA period. 
However, they tend to be more interested in a variety of time periods 
and types of clothing within the SCA time frame.  They tend to spend the 
most money on books, and buying the most expensive ones is a status 
symbol, as is buying other expensive things (such as fabric) that help 
in some way with an SCA "impression."

Although I've had less contact with them, 18th-century reenactors strike 
me as the group next most interested in research and in books.

Early 19th-century reenactors come third, with an interest in "original 
sources," but tending to confine them to sources approved by some group, 
and especially reprints of diaries and other personal accounts.

The Civil War reenactors are a very large group but with few exceptions, 
tend not to be very interested in books or research. They seem to regard 
it as somehow virtuous to be conspicuously disinterested in everything 
beyond their immediate and very narrow time frame and geographic area, 
thus tend to lack a sense of context. They are conformist in ideas, and 
rely heavily on the system of one group "authority" reading a book and 
giving them a set of approved ideas to worth with.  All reenactment 
communities do this to some extent, but the CW reenactors are the most 
likely to come onto an e-group and say, "What is OK for me to wear?  I 
want to 'fit in,'" rather than doing any research or original thinking 
themselves. They also seem to have less formal education than the other 
groups, judging by how they write, spell, etc.

> 
> I am not in the SCA or any other group, but I work only on medieval clothing, 
> so my answers reflected that. I have lots and lots of books. It's the nature 
> of my work. It's also the nature of Penny's work (she having started this 
> thread, and she also specializes in periods later than medieval -- which is 
> why she has lots of photos and magazines, and I don't!).

I'm not in the SCA or any other reenactment group, but it's also the 
nature of my work to have lots of books and magazines, and I also 
collect vintage clothing. I don't have nearly as many photos as perhaps 
I should. They are mostly ones my parents bought at estate auctions, I 
haven't gone in for buying them myself.


> > The nature of someone else's work might be served by a very narrow set of 
> references, depending on type of the costuming they do and the availability of 
> sources.

And very often it is. But because my lifelong profession has always been 
various aspects of writing, editing, and publishing, naturally I like 
people to want to read lots of books.  Everyone working in publishing 
wants people to read lots of books.  Not only for marketing reasons, but 
  people who read a lot usually believe that reading is enjoyable, 
educational, and generally a good thing.

> 
> And a lot of people have to choose between books and fabric. You can't get 
> fabric (or sewing machines!) from the library, so that often is where the 
> money has to go. It doesn't mean these people aren't using books.

I admit, I not only think books are where the money should go, I would 
always rather own the book, if at all possible, than go to a library. I 
like things right at hand where I can reach them instantly.

I have a lot of fabric and lace too, but only one sewing machine. I've 
always sold the old one when I bought a new one. I hate the idea of a 
serger. I understand that many people find them very useful, but I don't 
want one myself.

I'm going to buy an embroidery machine, though, when we move to a bigger 
house and have room for one. I want one that will do big motifs and 
where I am not using canned patterns, but where I can create my own with 
an embroidery graphics program, one that interfaces with my PC. I'd like 
to scan in antique patterns from magazines and apply stitches to them 
with a graphics program. I understand that the ordinary graphics 
programs I use, which these days are mostly Corel PhotoPaint and Corel 
Draw, don't apply stitches to embroidery patterns. Corel has a special 
program for that which I have not really looked into, but I'm biased in 
its favor anyway because it's Corel's. I have not looked into the 
hardware all that much yet because buying a sewing or embroidery machine 
these days is partly buying a computer; and with a computer both the 
features and the prices change so rapidly, that it doesn't pay to 
research too far in advance. I'm open to suggestions though. I could 
either get an embroidery sewing machine--if it does big motifs and 
allows me to create patterns--and sell my current Husqvarna, or get a 
dedicated embroidery machine.

I admit it, I want a low-tech knitting machine too, since I love knitted 
  garments but have never cared for knitting. I used to crochet and I 
enjoyed it a lot, but there is something about hand knitting that has 
never appealed to me. Maybe it's just that I need to sit down and work 
on it some more, but having a knitting machine also appeals. It seems 
rather like weaving and though I quit weaving when we moved here and had 
to put the loom in the garage, since there wasn't enough room for it in 
my sewing room, I really loved the process.

Fran
Lavolta Press
http://www.lavoltapress.com
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Actually, I'm not an authenticity police person, as my books should tell 
you, if you've read them. For example, although I have entirely 
hand-sewn a few undergarments and accessories, and enjoyed it, I sew 
most repros by machine.

The reality is that I do not have all day long to sew. I need to work on 
producing and marketing books, and making an income thereby. I don't 
have as much time as I'd like to sew, and with the time I have, I'd 
rather be sewing than doing hand embroidery.

Besides, I love techno-toys and modern equipment. I adore buying a new 
computer. Buying an embroidery machine and software to go with it, and 
learning the software, is the kind of thing that I really enjoy.

I don't think everyone has to conform to my personal standards of 
costume authenticity, and I have absolutely zero obligation to conform 
to yours or anyone else's.

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



Shirley Hobbs wrote:
> For someone so gungho on authenticity, 

I am surprised that you would do period (whatever that may be)

embroidery by machine rather than by hand.
> 
> Cactus
> 
> 
> --- On Sun, 4/27/08, Lavolta Press <fran@lavoltapress.com> wrote:
> 
>> From: Lavolta Press <fran@lavoltapress.com>
>> Subject: Re: [h-cost] How Many Costume Books/Magazines/Photos Do You Own
>> To: "Historical Costume" <h-costume@indra.com>
>> Date: Sunday, April 27, 2008, 4:27 PM
>> " to buy costume related books?
>>> What may be misleading is that a large proportion of
>> the people on this list 
>>> work in the medieval and Renaissance periods, so most
>> of the people answering 
>>> have been mentioning books from those periods. 
>> Perhaps a large proportion but not necessarily a majority.
>> In a 
>> multi-era e-list, SCA members are usually the most vocal,
>> therefore they 
>> often seem like a higher proportion of a group than they
>> really are.
>>
>> Many of those people are in the
>>> SCA, which is understandable given the size of the
>> organization compared with 
>>> other "groups." So the impression may be
>> more a question of the proportional 
>>> representation on this list than anything intrinsic to
>> a specific group or 
>>> study of a particular period.
>> I belong to almost 100 Yahoo lists for historic costume and
>> reenactment, 
>> and have for some years. Though, admittedly, I do not
>> receive direct 
>> email from the vast majority of them, and these days,
>> don't have time to 
>> drop into their website archives more often than once every
>> few months.
>>
>> However, my impression is that SCA members are the group
>> most inclined 
>> to research and with the highest understanding of what
>> research actually 
>> consists of. That is, they are the least likely to do
>> things like assume 
>> that original sources are always 100% accurate and
>> unbiased, that 
>> secondary sources are always useless, and so on. They are
>> the most 
>> likely to assume that a multi-era e-group is "for
>> them," often throwing 
>> out references to things like "Is X in period?"
>> under the assumption 
>> that everyone on the e-list is always talking about some
>> SCA period. 
>> However, they tend to be more interested in a variety of
>> time periods 
>> and types of clothing within the SCA time frame.  They tend
>> to spend the 
>> most money on books, and buying the most expensive ones is
>> a status 
>> symbol, as is buying other expensive things (such as
>> fabric) that help 
>> in some way with an SCA "impression."
>>
>> Although I've had less contact with them, 18th-century
>> reenactors strike 
>> me as the group next most interested in research and in
>> books.
>>
>> Early 19th-century reenactors come third, with an interest
>> in "original 
>> sources," but tending to confine them to sources
>> approved by some group, 
>> and especially reprints of diaries and other personal
>> accounts.
>>
>> The Civil War reenactors are a very large group but with
>> few exceptions, 
>> tend not to be very interested in books or research. They
>> seem to regard 
>> it as somehow virtuous to be conspicuously disinterested in
>> everything 
>> beyond their immediate and very narrow time frame and
>> geographic area, 
>> thus tend to lack a sense of context. They are conformist
>> in ideas, and 
>> rely heavily on the system of one group
>> "authority" reading a book and 
>> giving them a set of approved ideas to worth with.  All
>> reenactment 
>> communities do this to some extent, but the CW reenactors
>> are the most 
>> likely to come onto an e-group and say, "What is OK
>> for me to wear?  I 
>> want to 'fit in,'" rather than doing any
>> research or original thinking 
>> themselves. They also seem to have less formal education
>> than the other 
>> groups, judging by how they write, spell, etc.
>>
>>> I am not in the SCA or any other group, but I work
>> only on medieval clothing, 
>>> so my answers reflected that. I have lots and lots of
>> books. It's the nature 
>>> of my work. It's also the nature of Penny's
>> work (she having started this 
>>> thread, and she also specializes in periods later than
>> medieval -- which is 
>>> why she has lots of photos and magazines, and I
>> don't!).
>>
>> I'm not in the SCA or any other reenactment group, but
>> it's also the 
>> nature of my work to have lots of books and magazines, and
>> I also 
>> collect vintage clothing. I don't have nearly as many
>> photos as perhaps 
>> I should. They are mostly ones my parents bought at estate
>> auctions, I 
>> haven't gone in for buying them myself.
>>
>>
>>>> The nature of someone else's work might be
>> served by a very narrow set of 
>>> references, depending on type of the costuming they do
>> and the availability of 
>>> sources.
>> And very often it is. But because my lifelong profession
>> has always been 
>> various aspects of writing, editing, and publishing,
>> naturally I like 
>> people to want to read lots of books.  Everyone working in
>> publishing 
>> wants people to read lots of books.  Not only for marketing
>> reasons, but 
>>   people who read a lot usually believe that reading is
>> enjoyable, 
>> educational, and generally a good thing.
>>
>>> And a lot of people have to choose between books and
>> fabric. You can't get 
>>> fabric (or sewing machines!) from the library, so that
>> often is where the 
>>> money has to go. It doesn't mean these people
>> aren't using books.
>>
>> I admit, I not only think books are where the money should
>> go, I would 
>> always rather own the book, if at all possible, than go to
>> a library. I 
>> like things right at hand where I can reach them instantly.
>>
>> I have a lot of fabric and lace too, but only one sewing
>> machine. I've 
>> always sold the old one when I bought a new one. I hate the
>> idea of a 
>> serger. I understand that many people find them very
>> useful, but I don't 
>> want one myself.
>>
>> I'm going to buy an embroidery machine, though, when we
>> move to a bigger 
>> house and have room for one. I want one that will do big
>> motifs and 
>> where I am not using canned patterns, but where I can
>> create my own with 
>> an embroidery graphics program, one that interfaces with my
>> PC. I'd like 
>> to scan in antique patterns from magazines and apply
>> stitches to them 
>> with a graphics program. I understand that the ordinary
>> graphics 
>> programs I use, which these days are mostly Corel
>> PhotoPaint and Corel 
>> Draw, don't apply stitches to embroidery patterns.
>> Corel has a special 
>> program for that which I have not really looked into, but
>> I'm biased in 
>> its favor anyway because it's Corel's. I have not
>> looked into the 
>> hardware all that much yet because buying a sewing or
>> embroidery machine 
>> these days is partly buying a computer; and with a computer
>> both the 
>> features and the prices change so rapidly, that it
>> doesn't pay to 
>> research too far in advance. I'm open to suggestions
>> though. I could 
>> either get an embroidery sewing machine--if it does big
>> motifs and 
>> allows me to create patterns--and sell my current
>> Husqvarna, or get a 
>> dedicated embroidery machine.
>>
>> I admit it, I want a low-tech knitting machine too, since I
>> love knitted 
>>   garments but have never cared for knitting. I used to
>> crochet and I 
>> enjoyed it a lot, but there is something about hand
>> knitting that has 
>> never appealed to me. Maybe it's just that I need to
>> sit down and work 
>> on it some more, but having a knitting machine also
>> appeals. It seems 
>> rather like weaving and though I quit weaving when we moved
>> here and had 
>> to put the loom in the garage, since there wasn't
>> enough room for it in 
>> my sewing room, I really loved the process.
>>
>> Fran
>> Lavolta Press
>> http://www.lavoltapress.com
>> _______________________________________________
>> h-costume mailing list
>> h-costume@mail.indra.com
>> http://mail.indra.com/mailman/listinfo/h-costume
> 
> 
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From: Zuzana Kraemerova <zkraemerova@yahoo.com>
To: Historical Costume <h-costume@indra.com>
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You don't need a specific embroidery sewing machine to create a custom embroidery pattern. You just need to have the right software, which is usually quite expensive (but not so much compared to the embroidery machine itself) and it takes a LOT of time to make your desired pattern. There are some digitizing programs that somehow transfer a graphic to an embroidery file, but since I don't own it I don't really know how it works. You only have to know what file types your machine can read and save your graphic in that format. Be sure to check all this before purchasing the embroidery machine and software. 

Zuzana

P.S.: I use Embird, it's affordable and does a good job, they also have some digitizing studio plug-in, but I haven't used it. It might, however, happen that this program will be too simple for you.



I'm going to buy an embroidery machine, though, when we move to a bigger 
house and have room for one. I want one that will do big motifs and 
where I am not using canned patterns, but where I can create my own with 
an embroidery graphics program, one that interfaces with my PC. I'd like 
to scan in antique patterns from magazines and apply stitches to them 
with a graphics program. I understand that the ordinary graphics 
programs I use, which these days are mostly Corel PhotoPaint and Corel 
Draw, don't apply stitches to embroidery patterns. Corel has a special 
program for that which I have not really looked into, but I'm biased in 
its favor anyway because it's Corel's. I have not looked into the 
hardware all that much yet because buying a sewing or embroidery machine 
these days is partly buying a computer; and with a computer both the 
features and the prices change so rapidly, that it doesn't pay to 
research too far in advance. I'm open to suggestions though. I could 
either get an embroidery sewing machine--if it does big motifs and 
allows me to create patterns--and sell my current Husqvarna, or get a 
dedicated embroidery machine.


       
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Zuzana Kraemerova wrote:
> "That is, they are the least likely to do things like assume 
> that original sources are always 100% accurate and unbiased, that 
> secondary sources are always useless, and so on."
> 
> I must disagree. You definitely cannot rely on secondary sources,

What I meant is that you can't unthinkingly _rely_ on any source 
whatever, primary or secondary. They all have to be viewed analytically, 
with attention to their limitations, biases, intent, and so on.  I was 
educated as a historian and believe me, historians spend a great deal of 
time not only analyzing but creating secondary sources.

Many reenactors think that if someone "in period"--whatever period it 
is--said something, that of course they are knowledgeable, unbiased, and 
truthful. Not so. It is also "not so," that anyone who writes a 
secondary source, that is one that relies on primary sources, is 
automatically full of BS.

One way to look at it is, to give an example:  Suppose you analyze half 
a dozen newspapers and find ads for fabrics/materials for sale, which is 
the kind of primary-source research many reenactors do. OK, maybe you've 
found out something.

Now, suppose someone else spends several years combing hundreds of 
newspapers for such ads published in a certain geographic area and 
during a certain time period, and compiles a statistical study that 
includes every single ad they found in those papers. They also do 
research to study why certain materials were more popular, for example, 
was it the local climate? Was it the price? Was it availability? Was it 
current fashion? and other factors. By the time they finish this study-- 
they know a lot more than you found out by reading half a dozen newspapers.

Furthermore, if you didn't have several years of your own time available 
to do such a study, then you never would have found out all this without 
reading that secondary source. Granted, its author might have made what 
you believe to be misinterpretations--though the whole idea of 
"misconceptions" and "errors" is often not as black-and-white as many 
reenactors assert.

You might however analyze the study and find certain things. For 
example, that the researcher only studied newspapers from large cities, 
and perhaps the patterns of textile purchase in small towns might have 
been different. On the other hand, many studies will openly say this, 
since some limitations are always placed on every researcher by 
available resources, which include not only research sources but their 
own time and research budget. So this lack would not be an "error" on 
the researcher's part unless they extrapolated to things they did not 
study without enough evidence for doing so. It would merely mean that at 
some point it would be a good idea for someone else to study small-town 
newspapers for that time period, geographic era, etc.

It would however probably be perfectly legitimate for the researcher of 
big-city papers to read a few small-town papers, and say that on the 
basis of that limited research the patterns of textile purchase in small 
towns in their area seem to have been the same or different in certain 
ways, or admit that they are speculating or extrapolating to this or 
that, as long as they make it clear that they are doing so.

Fran
Lavolta Press
http://www.lavoltapress.com
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My Viking/Husqvarna is at least 10 years old and doesn't accept 
embroidery software or any kind of disks, so I would need a new machine 
of some sort for embroidery.

I am aware that people did free-machine embroidery even with straight 
stitch machines, I just want to get fancier than that.  Frankly, I want 
a new techno-toy.

Fran

Zuzana Kraemerova wrote:
> You don't need a specific embroidery sewing machine to create 

a custom embroidery pattern. You just need to have the right software,

which is usually quite expensive (but not so much compared to the 
embroidery machine itself) and it takes a LOT of time to make your 
desired pattern. There are some digitizing programs that somehow 
transfer a graphic to an embroidery file, but since I don't own it I 
don't really know how it works. You only have to know what file types 
your machine can read and save your graphic in that format. Be sure to 
check all this before purchasing the embroidery machine and software.
> 
> Zuzana
> 
> P.S.: I use Embird, it's affordable and does a good job, they also have some digitizing studio plug-in, but I haven't used it. It might, however, happen that this program will be too simple for you.
> 
> 
> 
> I'm going to buy an embroidery machine, though, when we move to a bigger 
> house and have room for one. I want one that will do big motifs and 
> where I am not using canned patterns, but where I can create my own with 
> an embroidery graphics program, one that interfaces with my PC. I'd like 
> to scan in antique patterns from magazines and apply stitches to them 
> with a graphics program. I understand that the ordinary graphics 
> programs I use, which these days are mostly Corel PhotoPaint and Corel 
> Draw, don't apply stitches to embroidery patterns. Corel has a special 
> program for that which I have not really looked into, but I'm biased in 
> its favor anyway because it's Corel's. I have not looked into the 
> hardware all that much yet because buying a sewing or embroidery machine 
> these days is partly buying a computer; and with a computer both the 
> features and the prices change so rapidly, that it doesn't pay to 
> research too far in advance. I'm open to suggestions though. I could 
> either get an embroidery sewing machine--if it does big motifs and 
> allows me to create patterns--and sell my current Husqvarna, or get a 
> dedicated embroidery machine.
> 
> 
>        
> ---------------------------------
> Be a better friend, newshound, and know-it-all with Yahoo! Mobile.  Try it now.
> _______________________________________________
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> 
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Thank you.  Can you tell me which painting it comes from?  I don't have the=
 book....

> Date: Sun, 27 Apr 2008 23:58:32 +0200> To: h-costume@indra.com> From: h.z=
ickermann@gmx.de> Subject: Re: [h-cost] Where is this from again?> > It=B4s=
 in "Medieval Costume in England and France" by Mary G. Houston.> =

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> Hi Fran--
> Why is it "depressing" that many of us are in the SCA?
> 
> In order to participate in the SCA, a person has to wear a 
> "reasonable
> attempt" at pre-17th C. clothing. A lot of us find there is 
> challenge and
> fun in going beyond the minimum. I think that it is great that so 
> many go
> the extra mile for their hobby.
> 
> Monica Spence
> 
> In Society known as:
> Baroness Catriona MacDuff
> OL,OP,CM,CSC,KoE,QoC,PA,PA,AoA,OSF,OSS
> East Kingdom


I'm with Her Excellency. The "reasonable attempt" does two important
things:

1) it doesn't scare off the new folks. We figure once you're here, you
should be given time to see what's out there, and make your own choices.

2) it doesn't scare off the new folks. We're not re-enactors, having to
come in with a full kit.

Arlys

> 
> 
> -----Original Message-----
> From: h-costume-bounces@indra.com 
> [mailto:h-costume-bounces@indra.com]On
> Behalf Of Lavolta Press
> Sent: Sunday, April 27, 2008 3:33 PM
> To: Historical Costume
> Subject: Re: [h-cost] How Many Costume Books/Magazines/Photos Do You 
> Own
> 
> 
> What I find both interesting and depressing in this discussion is 
> that
> (a) judging from the books discussed, almost all the people who 
> collect
> and spend much money on costume books are in the SCA and (b) a lot 
> of
> people would rather spend money on fabric and sewing machines.
> 
> Fran
> Lavolta Press Books on Costuming
> http://www.lavoltapress.com
> _______________________________________________
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On Sunday 27 April 2008, Lavolta Press wrote:
[snip]
> I've lost track of how many members the SCA has, but last time I checked
> it was a few thousand. By publishing standards, that's tiny, considering
> that something like one to five percent of people in a target market
> actually buy.

The version of the FAQ currently on sca.org says that they have about 29,500 
paid members, but that's still small by publishing standards.



-- 
Cathy Raymond <cathy@thyrsus.com>

"You affect the world by what you browse."-- Tim Berners-Lee

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Subject: Re: [h-cost] embroidery machines, was: How Many Costume Books...
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I am aware that people did free-machine embroidery even with straight 
stitch machines, I just want to get fancier than that.  Frankly, I want 
a new techno-toy.

Fran>>

They are an awful lot of fun. I'm enjoying mine thoroughly.

Dianne

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What I find both interesting and depressing in this discussion is that
(a) judging from the books discussed, almost all the people who collect
and spend much money on costume books are in the SCA and (b) a lot of
people would rather spend money on fabric and sewing machines.

Fran

Not always a matter of " would rather"--but if money is limited, I might buy 
a book this month, some fabric next month...I have to be judicious with my 
purchases. And we don't use credit cards, everything is cash only. Most of 
the time, if I regretfully sigh and put back the book I'd love to have, it's 
because the household bills have to come before pleasure.

Dianne

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What kind do you have and what do you like about it?

Fran

Dianne wrote:
> I am aware that people did free-machine embroidery even with straight 
> stitch machines, I just want to get fancier than that.  Frankly, I want 
> a new techno-toy.
> 
> Fran>>
> 
> They are an awful lot of fun. I'm enjoying mine thoroughly.
> 
> Dianne
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 
> 
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And assuming one could  ignore that momentarily, it becomes
> a debate of spending $45 on a book filled  with things that post-date the 
> Civil War, and which the author has stated that  accuracy is not the primary 
> focus of, or one which is relevant on both  counts. 

BTW, I earn my living by publishing books, and I've put several tens of 
thousands of dollars and at least two years of my work time into every 
one of them, totaling several hundreds of thousands of dollars of my own 
money and 14 years of my time. I feel fully justified in charging the 
cover prices I charge, many people pay them, and given the page count 
they are actually less expensive than many other nonsubsidized books on 
the market. If you do not wish to pay them that is your choice, but I 
have to address audiences who will pay enough for me to pay for my 
groceries, etc. as well as book production.

Fran
Lavolta Press
http://www.lavoltapress.com
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snip
 
> The version of the FAQ currently on sca.org says that they have about 29,500 
> paid members, but that's still small by publishing standards.

You do not have to be a paid member to participate, however, you must be a paid member if you fight or if you're an officer.

Figures vary as to how many people really play in the SCA, but I've heard as many as 3 to 4 times the number of paid members. The actual number of participants could be as high as 118,000.

With regards,

Kate
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From: "Penny Ladnier" <penny@costumegallery.com>
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Can we please change the email topic/subject header of the debate emails to something else.  When these debates start, a lot of people quit reading or create a message rule to delete the messages with that specific header.  Over the years some people quit h-costume because of heated debates.  So please leave the questionnaire title/header for just people answering the questions.     

I started the original questionnaire message as a fun way for us to get to know one another and something lurkers would feel comfortable answering.  I have enjoyed ready people's responses to the questions.  Some people are new to costuming could use the answers as what would interest them or what is available in the marketplace.  People answers and humor have given me a good giggle.  Personally, I have enjoyed reading the memories of their favorite bargains and memories of their sewing machines.   

H-costume is an email list that covers historic costuming into the 1950s.   So all are welcome...beginners to scholars!  We all began somewhere.  This is a wonderful place to learn. Fashion history is what made us what we are today.  

I like all areas...historic, fantasy, and present day fashion.  I collect depending what my area of interest is at the time.  Over the years, I went through a year of purchasing antique etiquette books and fashion dictionaries, got stuck in the 1920s fashion magazines for a couple of years, bustle era for several years, medieval for a while, Elizabethan, Regency, etc.  I float fashion around like a butterfly, landing on a time period and find out that I like it.   I love the history of the fashion industry, not just the styles of periods but the businesses and trades, people who influenced it, etc.  I physically can not sit behind a sewing machine or hand-stitching for 24 hours at a time like I did in my youth.  But I love to look every stitch in a dress.  That is how I can come up with 30 photos of one dress or 7 views of one hat.  I wish I could afford to purchase original text or images from pre-19th Century.  They are out of my pocketbook range.  People ask me frequently!
  what fashion time period is my favorite.  I answer, "That is like asking me which is my favorite child.  I love them all for different reasons."     

I deal with a wide variety of groups of study and interests.  This past weekend, I visited vintage car shows (some owners like antique clothing to go with their cars), and a wedding of two different cultures.  I am always watching fashion because you never know what you will see...like the 30ish year old man who drove up next to us.  He was driving a vintage Harley and wearing kaki pants, Polo shirt, penny-loafers, and designer sunglasses.  An interesting fashion statement!   

Since two of my college degrees heavily focus on fashion marketing and the topic is being discussed, here are some of my findings.  
---Currently published historic fashion books that sell the most are 20th Century ones, main focus 1940s-1970s.  Women's fashions books sell more than menswear and childrenswear.   
---Hot topics in current fashion publications, books, and magazines are past Hollywood fashions icons, hairstyles, celebrities, and designers.  The majority of college to thirty-something aged females state that their style icons in history are Audrey Hepburn and Jackie Kennedy.  Look at today's fashion and you can see these icons' influences...especially sunglasses, other accessories, and hairstyles.  Cary Grant's style is what men generally like.   
---In the U.S., the largest re-enactment group is the American Civil War.
---Quilters are the largest home sewing market.
---Resort-wear is the largest market in present day fashion.  Resort-wear and Halloween have higher grossing clothing selling seasons than the back-to-school season.   A good portion of the resort-wear are influenced after 1950-1970s fashions.  Hawaiian print shirts were very hot for last summer and this summer in menswear age 45 and older.  Go to any concert for a 1970s band and you will see a large variety of these shirts.  Present trend for women's resort-wear is halter tops from the 1940s-70s for all aged women and teenaged girls.
---I have a lot more but am tired and heading to bed.  

As for embroidery machines, visit quilting shows.  There you will find from the cheapest to the industrial machines and most dealers will let you experiment with them.  

Good night!
Penny Ladnier, 
Owner, The Costume Gallery Websites
www.costumegallery.com
www.costumelibrary.com
www.costumeclassroom.com
www.costumeslideshows.com 

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You=B4re welcome. The picture is taken from the =

British Museum MS. No. D. IX. (late fifteenth =

century). There=B4s also "The Depositon from the =

Cross" by Gerard David (1460-1523) in the =

National Gallery, London, which has similar cut =

armholes but no seam at the waist.

At 01:50 28.04.2008, you wrote:
>Thank you.  Can you tell me which painting it =

>comes from?  I don't have the book....
>
> > Date: Sun, 27 Apr 2008 23:58:32 +0200> To: =

> h-costume@indra.com> From: h.zickermann@gmx.de> =

> Subject: Re: [h-cost] Where is this from =

> again?> > It=B4s in "Medieval Costume in England =

> and France" by Mary G. Houston.>
>_______________________________________________
>h-costume mailing list
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My husband bought me an embroidery machine last year
and I love it.  It is a Janome E350 and is very user
friendly. It uses their cards but also uses a computer
jump drive. Designs can be downloaded from your
computer to the drive and plugged directly into the
machine. The other thing that I like about it is that
it is a stand alone embroidery machine and as I have
several sewing machines (Pfaff Creative 1473 which is
over 20 years old, a 15 year old Necchi, several
simplicity and singer machines, a serger and a singer
industrial machine) I did not another sewing machine.

Shop around before you invest that kind of money. I
found that a number of sewing centers will let you try
 their machines in their store and then there are the
"large" manufacturers that will demonstrate but not
let you touch.

Anyway, good hunting.

Kenet

--- Lavolta Press <fran@lavoltapress.com> wrote:

> My Viking/Husqvarna is at least 10 years old and
> doesn't accept 
> embroidery software or any kind of disks, so I would
> need a new machine 
> of some sort for embroidery.
> 
> I am aware that people did free-machine embroidery
> even with straight 
> stitch machines, I just want to get fancier than
> that.  Frankly, I want 
> a new techno-toy.
> 
> Fran
> 
> Zuzana Kraemerova wrote:
> > You don't need a specific embroidery sewing
> machine to create 
> 
> a custom embroidery pattern. You just need to have
> the right software,
> 
> which is usually quite expensive (but not so much
> compared to the 
> embroidery machine itself) and it takes a LOT of
> time to make your 
> desired pattern. There are some digitizing programs
> that somehow 
> transfer a graphic to an embroidery file, but since
> I don't own it I 
> don't really know how it works. You only have to
> know what file types 
> your machine can read and save your graphic in that
> format. Be sure to 
> check all this before purchasing the embroidery
> machine and software.
> > 
> > Zuzana
> > 
> > P.S.: I use Embird, it's affordable and does a
> good job, they also have some digitizing studio
> plug-in, but I haven't used it. It might, however,
> happen that this program will be too simple for you.
> > 
> > 
> > 
> > I'm going to buy an embroidery machine, though,
> when we move to a bigger 
> > house and have room for one. I want one that will
> do big motifs and 
> > where I am not using canned patterns, but where I
> can create my own with 
> > an embroidery graphics program, one that
> interfaces with my PC. I'd like 
> > to scan in antique patterns from magazines and
> apply stitches to them 
> > with a graphics program. I understand that the
> ordinary graphics 
> > programs I use, which these days are mostly Corel
> PhotoPaint and Corel 
> > Draw, don't apply stitches to embroidery patterns.
> Corel has a special 
> > program for that which I have not really looked
> into, but I'm biased in 
> > its favor anyway because it's Corel's. I have not
> looked into the 
> > hardware all that much yet because buying a sewing
> or embroidery machine 
> > these days is partly buying a computer; and with a
> computer both the 
> > features and the prices change so rapidly, that it
> doesn't pay to 
> > research too far in advance. I'm open to
> suggestions though. I could 
> > either get an embroidery sewing machine--if it
> does big motifs and 
> > allows me to create patterns--and sell my current
> Husqvarna, or get a 
> > dedicated embroidery machine.
> > 
> > 
> >        
> > ---------------------------------
> > Be a better friend, newshound, and know-it-all
> with Yahoo! Mobile.  Try it now.
> > _______________________________________________
> > h-costume mailing list
> > h-costume@mail.indra.com
> > http://mail.indra.com/mailman/listinfo/h-costume
> > 
> > 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 



      ____________________________________________________________________________________
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From: Robin Netherton <robin@netherton.net>
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Subject: Re: [h-cost] Where is this from again?
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Hanna Zickermann wrote:
> You=B4re welcome. The picture is taken from the =

> British Museum MS. No. D. IX. (late fifteenth =

> century). =


That's what Houston says, but that's not a recognizable MS shelfmark for th=
e =

British Museum. As far as I know, all manuscripts there have a collection n=
ame =

as part of the shelfmark (Harley, Royal, Cotton and its many subsets, etc.)=
. =

Plus Houston doesn't give a folio number, so you might as well whistle as f=
ind =

that thing. I've never seen it ... and I've looked, having been interested =
in =

her supposed "archway armhole" for many years. (Frankly, I don't think that =

straight sleeve cap will work in most fabrics, maybe none at all, without =

pinching deeply in front and back of the shoulder joint.)

I do know it's not London, British Library Royal 1 D. ix, which is =

Anglo-Saxon. So is MS Cotton Junius D. ix, I believe. Could be MS
Royal 18 D. ix, which is an illuminated Bible of Edward IV, from 1479 Bruge=
s,, =

but I've only seen a page or two from it, not enough to guess if the style =

matches up with Houston's drawing. There's also MS Nero D. ix., the Romance=
 of =

Sir Jehan de Santre, 15th c., which looks promising though I've seen only o=
ne =

image from it.

You can find Houston's text here:
http://books.google.com/books?id=3DZ430bgXpeUgC

Go to "Preview this Book" and look at p. 140 for the quotation, 141 for the =

pattern diagram, and 142 for her redrawing of the picture.

> There=B4s also "The Depositon from the =

> Cross" by Gerard David (1460-1523) in the =

> National Gallery, London, which has similar cut =

> armholes but no seam at the waist.

That's also what Houston says. Oddly, out of a huge pile of books on Flemis=
h =

art and loads of images of David's, I have only one image of this one, and =

it's not clear enough to show the seams. Ditton the several online versions=
. I =

presume the seams in question are on the lady in the light blue dress at th=
e =

lower left.

I surely must have seen the picture in person, but I don't have a slide of =
it, =

and I frankly don't remember the seams ... and you'd think I would have.

--Robin


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Good afternoon compadres!

I have been taking care of my Mom, so I have been just reading and not 
engaging in the conversations.   Today I am passing on news of my antique 
sale. I have to get rid of most all of my precious collections due to the 
amount of time it takes to care for an Alzheimer patient. It's been 3 long 
years.

This is meant for my Washington area CSA's. I hope you will think about 
coming to our lovely historic town of Frederick Md. Just a small smattering 
of historical treats:

Barbara Frietchie

Frances Scott Key

Supreme Court Justice Roger Brooke Taney

Hessian Barracks

Catoctin Furnace (both CW & Indep.)

Historical Society

CW Medical Museum

Rosehill Manor (Thomas Johnson, pres of CC &Gov.)

Schifferstat- German architectural home of 1700's

New -World renown trump l'oil painted bridge plus wall murals

Sign up for a tour at the tourism building

And for those of you too far to visit, take a look at my website 
(victorianmillinery.com) and order anything 30% off until the day of the 
sale.

 I have my huge antique hat block(let me know ahead of time if you are 
interested)

Hat collection of Ruth Norcross (including pictures of her wearing these 
hats. (let me know about this also)

Japanese clothing of hers also. (Most of her things were given to the 
Textile Museum )



Frederick is 1 hour from DC, 1hr. from Baltimore, 45 min. to Annapolis, 30 
min. to Gettysburg.  I guarantee great prices!



Frederick Antique Show and Sale

(May 17-18) The Great Frederick Fairgrounds.

Save yourself a drive to the Washington area for your antiques! Frederick 
now has its own antique show. One location for all your favorite vendors. 
Special collection of hat blocks and hats. For more information call 
301-694-8950 or frederickantiqueshow1@verizon.net

Sat. 10-6 Sun. 10-5 indoor facility ,free parking





Thank you for allowing me to share this with you.  I know it is usually 
frowned upon, But I would sure want to know if one of you were showing off 
your wares, lecturing somewhere, or have authored a book.

Sue Shatto

Victorian MIllinery

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What kind do you have and what do you like about it?

Fran

I have a Brother PE750D. (got the D version so I can make Goofy stuff for my 
collector husband)

I like it because it is fairly easy to use, it stitches beautifully, it has 
a 5x7 embroidery field (4x4 field is just too limiting) . I've embroidered 
dense designs on towels, beautiful airy free-standing lace, and quilt 
blocks, and it handles whatever I throw at it.

Reasonable price helps too. Right now I've got about $1000 into, for 
hardware and software, and if I sat down and diligently worked on learning 
to digitize my own designs, I could quite feasibly never have to buy 
anything else other than thread and stabilizer.

Of course, now I am drooling over the professional level machines....:-)

Dianne 

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From: Kathleen Gillies <scarlettquilts@yahoo.com>
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Subject: Re: [h-cost] books (tudor/elizabethan era),
	sewing and pattern advice
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Hi, I think I posted before.  I sew regular clothing
and "stuff" and was approached by some new friends to
make them some garb for their pirate act/ren fair
jobs.  I have done some alterations for formal wear
but nothing in the couture level of skill.  At this
point I am advance beginner, quick and dirty sewing
and yearning to learn more and advance my skill level.
 One area in which I am trying to gain is in the area
of pattern alteration/fitting (of which I can do a
fair amount) and pattern-making.  The other area is in
better technique.  I am thinking that I probably would
really like to work with costuming although my dh
cautions that I may lose the joy of my hobby.  

I have been living online looking at costume sites.  I
have utilized interlibrary loan to access the county's
collection on costume.  There is quite a range between
the "costume for stage" and "historic costume".    I
have returned a bunch but have seen one of the volumes
of Jane Arnold's Patterns of Fashion-- the second one
and have one of Jean Hunnisett's volumes--(Book II). 
I have a running shopping cart on Amazon (which is now
at over $200).  I have considered that I am really
impressed with Arnold's books and I do like
Hunnisett's book too.  I find I really like all the
different eras of fashion as well (as evidenced by my
rather obscene vintage pattern collection- some 1940's
and up).  

My question, if you could use 3 books for this (these)
eras, which would you buy?

The ones I have in my cart are Jane Arnold's Patterns
of Fashion 1560-1620, as well as her 1660-1860, Jean
Hunnisett's _Period Costume for Stage and Screen,
Patterns for Womens dress 1500-1800,   The Tudor
Tailor by Ninya Mikhaila, and Costume Close Up:
Clothing Construction and Pattern, 1750-1790 - Linda
Baumgarten.  I also have a book called Fine Machine
Sewing and Susan Khalje's Bridal Coutoure book.  Do
you have any other suggestions?  

I have purchased a package of Margo's patterns which
have some wonderful guides in them.  I plan on working
with them today.



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To: Historical Costume <h-costume@indra.com>
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Subject: Re: [h-cost] Where is this from again?
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At 13:33 28/04/2008, you wrote:
>Hanna Zickermann wrote:
> > You=B4re welcome. The picture is taken from the
> > British Museum MS. No. D. IX. (late fifteenth
> > century).
>
>That's what Houston says, but that's not a recognizable MS shelfmark for t=
he
>British Museum. As far as I know, all =

>manuscripts there have a collection name
>as part of the shelfmark (Harley, Royal, Cotton and its many subsets, etc.=
).
>Plus Houston doesn't give a folio number, so you =

>might as well whistle as find
>that thing. I've never seen it ... and I've looked, having been interested=
 in
>her supposed "archway armhole" for many years. (Frankly, I don't think that
>straight sleeve cap will work in most fabrics, maybe none at all, without
>pinching deeply in front and back of the shoulder joint.)
>
>I do know it's not London, British Library Royal 1 D. ix, which is
>Anglo-Saxon. So is MS Cotton Junius D. ix, I believe. Could be MS
>Royal 18 D. ix, which is an illuminated Bible of =

>Edward IV, from 1479 Bruges,,
>but I've only seen a page or two from it, not enough to guess if the style
>matches up with Houston's drawing. There's also =

>MS Nero D. ix., the Romance of
>Sir Jehan de Santre, 15th c., which looks promising though I've seen only =
one
>image from it.
>
>You can find Houston's text here:
>http://books.google.com/books?id=3DZ430bgXpeUgC
>
>Go to "Preview this Book" and look at p. 140 for the quotation, 141 for the
>pattern diagram, and 142 for her redrawing of the picture.
>
> > There=B4s also "The Depositon from the
> > Cross" by Gerard David (1460-1523) in the
> > National Gallery, London, which has similar cut
> > armholes but no seam at the waist.
>
>That's also what Houston says. Oddly, out of a huge pile of books on Flemi=
sh
>art and loads of images of David's, I have only one image of this one, and
>it's not clear enough to show the seams. Ditton =

>the several online versions. I
>presume the seams in question are on the lady in the light blue dress at t=
he
>lower left.
>
>I surely must have seen the picture in person, =

>but I don't have a slide of it,
>and I frankly don't remember the seams ... and you'd think I would have.
>
>--Robin


I will be going to an exhibition at the National =

Gallery in a couple of weeks, so I'll see what I =

can find in the appropriate gallery.

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Suzi Clarke wrote:

> I will be going to an exhibition at the National 
> Gallery in a couple of weeks, so I'll see what I 
> can find in the appropriate gallery.

That would be cool. Thanks.

--Robin
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I can't get this to work for me.  (I was glad you were even able to find th=
e place to do the search - I thought I was losing my marbles.)  I keep gett=
ing  "Page 141  You have reached your viewing limit for this book."  I am g=
oing to try from another computer in the house...then maybe over to my neig=
hbors.
 =

Sg
> > You can find Houston's text here:> http://books.google.com/books?id=3DZ=
430bgXpeUgC> > Go to "Preview this Book" and look at p. 140 for the quotati=
on, 141 for the > pattern diagram, and 142 for her redrawing of the picture=
.> > > There=B4s also "The Depositon from the > > Cross" by Gerard David (1=
460-1523) in the > > National Gallery, London, which has similar cut > > ar=
mholes but no seam at the waist.> =

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Thank you Penny for bringing this up!  Drives me Koo Koo....I stop reading after awhile because the original subject is lost.
 
Sg
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I can't give you any examples from the 15th century, but there are  
some images of this square-bottomed armscye from the 16th century,  
especially in Bruegel:

http://www.festiveattyre.com/research/images/back.jpg
http://www.dia.org/the_collection/overview/viewobject.asp? 
objectid=35573 (the lady in the foreground on the left in grey--zoom  
in as much as possible, and you can barely see the horizontal seams)   
If anyone with an interest in the 16th century has a chance to see  
this painting in person, do so.  It's amazing.

How the sleeve is cut is hard to say, as I've never tried it.  I'd  
guess that it does have corners but isn't actually rectangular at the  
top, because if it was cut that way and as tight-fitting as these  
images, it would be extremely awkward and wouldn't sit right.  But it  
was done somehow, at least in the 16th--possibly a survival from the  
15th?

Melanie Schuessler
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Kathleen Gillies wrote:
> Hi, I think I posted before.  I sew regular clothing
> and "stuff" and was approached by some new friends to
> make them some garb for their pirate act/ren fair
> jobs....
>   

> My question, if you could use 3 books for this (these)
> eras, which would you buy?
>
> The ones I have in my cart are Jane Arnold's Patterns
> of Fashion 1560-1620, as well as her 1660-1860,
Janet Arnold is wonderful, but limited. These books only cover selected 
women's outer garments.
>   The Tudor
> Tailor by Ninya Mikhaila, 
Another wonderful book, but with more depth, it covers men and women 
from the skin out. However, it is only for the Tudor period. It is not 
Renaissance, and it is not "pirate".

> and Costume Close Up:
> Clothing Construction and Pattern, 1750-1790 - Linda
> Baumgarten. 
Again, a very good book, with a variety of patterns for men and women, 
from the skin out. Again, neither renaissance or "pirate" era.

> Susan Khalje's Bridal Coutoure book.  
>
>   
Not familiar with this title, but if you are looking to improve your 
'quick and dirty' sewing then a couture manual is a good place to start.

> I have purchased a package of Margo's patterns which
> have some wonderful guides in them.  I plan on working
> with them today.
These are very popular patterns and can produce some spectacular 
results, even from beginner sewers. They would be good for renaissance 
festival wear, and basics like skirts, shirts and shifts can carry over 
into "pirate".

There really is no good costume pattern book for the Golden Age of 
Piracy period, 1680-1720.  You'll find a few pieces in the 2nd Arnold 
book, but it's not what people think of when you say 'pirate costume'. 
You might want to look up Norah Waugh's _Cut of Men's Clothing_, and the 
accompanying book for women. There are scale diagrams of clothing from 
the 1680-1720 period, and you can put together a reasonable outfit from 
what is available there if you can size them up, fit them to your 
customers, and work without instructions.

I also recommend the Gentlemen of Adventure website for an introduction 
into what real pirates wore and how they acquired their clothing.



Dawn

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>  There really is no good costume pattern book for the Golden Age of
>  Piracy period, 1680-1720.

Try Reconstructing History www.reconstructinghistory.com .
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To: Historical Costume <h-costume@indra.com>
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Subject: [h-cost] Vintage patterns and clothing, cigarette smoke
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Hi, all,
I am helping my 82-year-old parents clear out their house in preparation for moving to something more manageable. My mom used to sew, and I am finding boxes and boxes of patterns from the 60s and 70s -- Simplicity, Butterick, McCall's, Vogue. Likewise, there are four double closets full of, um, typical suburban clothes and shoes, mostly from the 70s. My question is whether there is a market for them, given that they have been kept for 40 years in a house with at least two and sometimes four cigarette smokers. Everything in the house has a strong cigarette smoke smell; many things are brown with what I guess is deposited tar. (Veimru: Yuck.) 

So before I tell my dad it should all go in a dumpster, I just wanted to check whether there was any point in trying to find a buyer for them. 

Likewise, though off-topic (because they are not costume books; apparently I developed that obsession on my own) are the books in the house rendered worthless by the smoke and tar? 

I am also hoping for some suggestions about how to get the smell out of the clothes, patterns, or books that I might want to save. 
Thanks for any thoughts you might share.
Lauren
lauren.walker@comcast.net
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Subject: Re: [h-cost] books, sewing and pattern advice re Pirates
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At 16:23 28/04/2008, you wrote:
>Kathleen Gillies wrote:
> > Hi, I think I posted before.  I sew regular clothing
> > and "stuff" and was approached by some new friends to
> > make them some garb for their pirate act/ren fair
> > jobs....
> >
>
> > My question, if you could use 3 books for this (these)
> > eras, which would you buy?
> >
> > The ones I have in my cart are Jane Arnold's Patterns
> > of Fashion 1560-1620, as well as her 1660-1860,
>Janet Arnold is wonderful, but limited. These books only cover selected
>women's outer garments.
> >   The Tudor
> > Tailor by Ninya Mikhaila,
>Another wonderful book, but with more depth, it covers men and women
>from the skin out. However, it is only for the Tudor period. It is not
>Renaissance, and it is not "pirate".
>
> > and Costume Close Up:
> > Clothing Construction and Pattern, 1750-1790 - Linda
> > Baumgarten.
>Again, a very good book, with a variety of patterns for men and women,
>from the skin out. Again, neither renaissance or "pirate" era.
>
> > Susan Khalje's Bridal Coutoure book.
> >
> >
>Not familiar with this title, but if you are looking to improve your
>'quick and dirty' sewing then a couture manual is a good place to start.
>
> > I have purchased a package of Margo's patterns which
> > have some wonderful guides in them.  I plan on working
> > with them today.
>These are very popular patterns and can produce some spectacular
>results, even from beginner sewers. They would be good for renaissance
>festival wear, and basics like skirts, shirts and shifts can carry over
>into "pirate".
>
>There really is no good costume pattern book for the Golden Age of
>Piracy period, 1680-1720.  You'll find a few pieces in the 2nd Arnold
>book, but it's not what people think of when you say 'pirate costume'.
>You might want to look up Norah Waugh's _Cut of Men's Clothing_, and the
>accompanying book for women. There are scale diagrams of clothing from
>the 1680-1720 period, and you can put together a reasonable outfit from
>what is available there if you can size them up, fit them to your
>customers, and work without instructions.
>
>I also recommend the Gentlemen of Adventure website for an introduction
>into what real pirates wore and how they acquired their clothing.

I think you mean  "Gentlemen of Fortune" 
http://www.gentlemenoffortune.com/pirate_news.htm  which used to be 
run by a customer of mine - don't know if he's still involved.

Suzi

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Saragrace Knauf wrote:

> I can't get this to work for me.  (I was glad you were even able to 
 > find the place to do the search - I thought I was losing my marbles.)
 > I keep getting  "Page 141  You have reached your viewing limit for this
 > book."  I am going to try from another computer in the house...then
 > maybe over to my neighbors.

When you do, don't go page by page! You really will run out of views. Use the 
scroll bar on the right to slide right down to the page you want without 
loading the others -- or (I think this works) type the desired page number in 
the box just above.


-- 

Robin Netherton
Editor at Large
robin@netherton.net
voice: (314) 439-1222 // fax: (314) 439-1666
Life is just a bowl of queries.

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Audrey Bergeron-Morin wrote:
>>  There really is no good costume pattern book for the Golden Age of
>>  Piracy period, 1680-1720.
>>     
>
> Try Reconstructing History www.reconstructinghistory.com .

I honestly have to say I don't recommend those patterns. They look nice, 
and they cover a neglected period, and I'm sure a lot of work went into 
them. However, I know of two people who have tried to use those patterns 
and not had good results. One fit poorly and had confusing directions, 
and one was poorly researched ( and misleadingly represented on the 
pattern cover.) and incompletely presented.  I'd rather someone use the 
Simplicity pirate patterns than those, where the directions are more 
clear from step to step and What-you-see-is-what-you-get on the cover.

Dawn

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From: Saragrace Knauf <wickedfrau@msn.com>
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Subject: [h-cost] Detroit Inst Art - Problems :  Where is this from again?
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I can't get the second image to come up given the object id.  Can you tell us what painting it is?  I looked through their artist list and didn't find any from Breughel....  Also tried to register......that doesn't seem to be working for me either!  (sad face).

> > http://www.festiveattyre.com/research/images/back.jpg> http://www.dia.org/the_collection/overview/viewobject.asp? > objectid=35573 (the lady in the foreground on the left in grey--zoom >
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> I think you mean  "Gentlemen of Fortune" 
> http://www.gentlemenoffortune.com/pirate_news.htm  which used to be 
> run by a customer of mine - don't know if he's still involved.
>
> Suzi

Yes, thanks Suzi!


Dawn

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From: Melanie Schuessler <melanie@faucet.net>
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Sorry--the object id should be part of the url and got chopped off in  
the message.  Try

http://tinyurl.com/5waqof

Melanie


On Apr 28, 2008, at 11:18 AM, Saragrace Knauf wrote:

> I can't get the second image to come up given the object id.  Can  
> you tell us what painting it is?  I looked through their artist  
> list and didn't find any from Breughel....  Also tried to  
> register......that doesn't seem to be working for me either!  (sad  
> face).
>
>>> http://www.festiveattyre.com/research/images/back.jpg> http:// 
>>> www.dia.org/the_collection/overview/viewobject.asp? >  
>>> objectid=35573 (the lady in the foreground on the left in grey-- 
>>> zoom >
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume

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From: "Abel, Cynthia" <CynthiaAbel@creighton.edu>
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 Simplicity summer catalog is out at my local Joann's so I snagged the
two new Civil War gown patterns, and the chemise, drawers and corset
pattern at the Thurs-Sat $1.99 pattern sale. The gowns are rather
dressy.

Cindy Abel
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From: Jackie Wyatt <vaanthro@yahoo.com>
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Subject: Re: [h-cost] books (tudor/elizabethan era),
	sewing and pattern advice
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> My question, if you could use 3 books for this (these)
> eras, which would you buy?

I have to agree with Dawn- Janet Arnold's book has excellent photos, but it is pretty limited in
terms of the outfits discussed in it.  (that said, I was very pleased to get a copy of it at
Christmas- it is an excellent reference book to have around)
Tudor Tailor is also a good book (I have it even though I've been concentrating more on
Elizabethan clothing), although it's a bit too early for 'pirate' costumes.

I'm not an expert by any means, but I do have a couple of friends who have done some research into
Elizabethan pirates, and from what I've heard from them (and read myself), pirates didn't really
have a particular outfit- what we think of as pirate outfits is a conglomeration of typical
clothing of the period with a good dose of fantasy tossed in.  
If you can afford it (or find a copy to borrow), a good overview book of clothing/items used by
sailors in the Elizabethan period is "Before the Mast: Life and Death aboard the Mary Rose".  It
does cover a lot more than just the clothing (it's only a section of it), but it has some good
info on some of the clothing found during the excavations.  It's also a bit pricey- I picked mine
up at Pennsic for $100, though it was well worth the cost for me since most publications deal with
the higher classes of society and this of course deals with sailors, most of whom were not
wealthy.  Also, for patterns, have you looked into www.reconstructinghistory.com?  They do carry
patterns for the Golden Age of Piracy- I've never looked into those particular patterns, but I own
two of her Elizabethan ones (the Shinrone gown and Dungiven outfit), and they were quite accurate
when I compared them to the research I had done on my own.  

Jackie Wyatt


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Subject: [h-cost] Sleeve construction: Was Detroit Inst Art - Problems &
 Where was this from again.
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Got the link to work- Thanks.
 
When studying to make my model of these (Breughel)  jackets, I interpreted the sleeve to actually set into an arm hole.  I see that it could also be interpreted without.  I just went on the "majority" rules - even within this painting the similar fashion is shown with a round armhole on women's clothes.  Most of the men's also are set into a round hole.  
 
Now I gotta get my hands on a good copy of the "Deposition .." by Gerard David.....Curious about the no waist seam...
 
In my memory, someone had done a pretty detailed evaluation of this gown, or at least the issue on a website somewhere....anyone remember?Sg
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On Apr 28, 2008, at 11:51 AM, Saragrace Knauf wrote:

> Got the link to work- Thanks.
>
> When studying to make my model of these (Breughel)  jackets, I  
> interpreted the sleeve to actually set into an arm hole.  I see  
> that it could also be interpreted without.  I just went on the  
> "majority" rules - even within this painting the similar fashion is  
> shown with a round armhole on women's clothes.  Most of the men's  
> also are set into a round hole.

It's true that some are shown with a regular round armscye, but some  
are clearly missing that seam, so I think the square-bottomed armscye  
was another option (especially if it shows up in the 15th century as  
well).  Someday I'll try one just to see how it works.

Melanie
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I haven't used the pirate ones, but the one I used was clear enough,
fit well together and generally worked well.

If you have issues about one of the patterns, you might want to tell
Kass, I'm sure she'd love to improve them.

I agree, though, that the cover gives an impression more than a
detailed look of the finished result. They're not line drawings of the
final piece...

On Mon, Apr 28, 2008 at 11:56 AM, Dawn <dawn@reddawn.net> wrote:
>
> Audrey Bergeron-Morin wrote:
>  >>  There really is no good costume pattern book for the Golden Age of
>  >>  Piracy period, 1680-1720.
>  >>
>  >
>  > Try Reconstructing History www.reconstructinghistory.com .
>
>  I honestly have to say I don't recommend those patterns. They look nice,
>  and they cover a neglected period, and I'm sure a lot of work went into
>  them. However, I know of two people who have tried to use those patterns
>  and not had good results. One fit poorly and had confusing directions,
>  and one was poorly researched ( and misleadingly represented on the
>  pattern cover.) and incompletely presented.  I'd rather someone use the
>  Simplicity pirate patterns than those, where the directions are more
>  clear from step to step and What-you-see-is-what-you-get on the cover.
>
>
>
>  Dawn
>
>  _______________________________________________
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>  I just wanted to check whether there was any point in trying to find a buyer for them.

Yes, as long as you advertise properly that they're from a smoker's
house. A few years ago, I would probably have bought the whole lot.
Now, I lack the space to store them!

>  Likewise, though off-topic (because they are not costume books; apparently I developed that obsession on my own) are the books in the house rendered worthless by the smoke and tar?

No. IMO, it takes much more than a bad smell and some yellowing to
render a book worthless - but then, I'm a book lover...

>  I am also hoping for some suggestions about how to get the smell out of the clothes, patterns, or books that I might want to save.

Baking soda is often recommended. Lots of it, change often. Activated
carbon supposedly does a good job too. Clothes, hang them out in the
wind and sun for several days (a good washing first always helps, if
they're the kind of clothes that can be washed).
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I think all of those books are worth having (except for The Costume close up - I don't know this book very well, so I cannot tell) and you would sooner or later buy them anyway. The Susan Khalje book is an excellent book of its sort - not speaking of the nice design and pictures, it tells you everything you would want to know when trying to make an evening or wedding dress. Susan Khalje gives many interesting tips and tricks that would otherwise be very time-consuming to figure them out, like how and where exactly attach boning, what layers to use under skirts to make them look as you want to, how to work with lace and how to place it on the curved bodice by hiding the cut places, she gives suggestions as what fabrics to use for what garments - she is very fond of silk organza - for petticoats, underlining, bone channels. 
This is one of the rare books that show you professional-done garments and reveal all their making secrets. Even if you're an advanced sewer, I still think you'll find many good tips here. Maybe a pure beginner would not be able to appreciate the value of the information given.

It has nothing to do with period costume, however, be aware of that, but if you sew modern or fantasy evening/bridal dresses, go for it, it is a very practical book with loads of information. I learned many interesting tips from here. It would be quite funny to see a different way of constructing the same garments - any tips on other books of this sort?

Zuzana





       
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Whoops - I guess I won't be looking for the Gerard David pic.  Thanks Suzie=
 - do let us know what you find out when you get to the National Galler!
Sg



> Date: Mon, 28 Apr 2008 07:33:38 -0500> From: robin@netherton.net> To: h-c=
ostume@indra.com> Subject: Re: [h-cost] Where is this from again?> > Hanna =
Zickermann wrote:> > You=B4re welcome. The picture is taken from the > > Br=
itish Museum MS. No. D. IX. (late fifteenth > > century). > > That's what H=
ouston says, but that's not a recognizable MS shelfmark for the > British M=
useum. As far as I know, all manuscripts there have a collection name > as =
part of the shelfmark (Harley, Royal, Cotton and its many subsets, etc.). >=
 Plus Houston doesn't give a folio number, so you might as well whistle as =
find > that thing. I've never seen it ... and I've looked, having been inte=
rested in > her supposed "archway armhole" for many years. (Frankly, I don'=
t think that > straight sleeve cap will work in most fabrics, maybe none at=
 all, without > pinching deeply in front and back of the shoulder joint.)> =
> I do know it's not London, British Library Royal 1 D. ix, which is > Angl=
o-Saxon. So is MS Cotton Junius D. ix, I believe. Could be MS> Royal 18 D. =
ix, which is an illuminated Bible of Edward IV, from 1479 Bruges,, > but I'=
ve only seen a page or two from it, not enough to guess if the style > matc=
hes up with Houston's drawing. There's also MS Nero D. ix., the Romance of =
> Sir Jehan de Santre, 15th c., which looks promising though I've seen only=
 one > image from it.> =

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I haven't used them, but I've seen many pictures of finished garments that were made with the help of these patterns and almost always the result was horrible. Some of the patterns were - let's say - relatively accurate (compared to some other patterns), but the look of the costumes - aahh... Accuracy and "good-looking" have the same value for me...that is why I sometimes tend to make non-historical adjustments to make the dress look better. I think though it is possible to make good-looking accurate dresses (depends very much on the period-I think the medieval period can be a trouble), but it is something I still have much trouble with.

Zuzana

Dawn <dawn@reddawn.net> wrote: Audrey Bergeron-Morin wrote:
>>  There really is no good costume pattern book for the Golden Age of
>>  Piracy period, 1680-1720.
>>     
>
> Try Reconstructing History www.reconstructinghistory.com .

I honestly have to say I don't recommend those patterns. They look nice, 
and they cover a neglected period, and I'm sure a lot of work went into 
them. However, I know of two people who have tried to use those patterns 
and not had good results. One fit poorly and had confusing directions, 
and one was poorly researched ( and misleadingly represented on the 
pattern cover.) and incompletely presented.  I'd rather someone use the 
Simplicity pirate patterns than those, where the directions are more 
clear from step to step and What-you-see-is-what-you-get on the cover.

Dawn

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> From: Lavolta Press <fran@lavoltapress.com>

"People seriously interested in research do not buy or read a book based 
on whether they know or like the author."


Ummmm, yes they do.  I consider myself a serious researcher.  I also will not buy any of your books.  There is enough information out there from other authors that I seriously doubt I will ever miss your information.  I think what you do is wonderful, but your attitude really turns people off.  I know this discussion has taken place many times before and you have made it plain that you don't care.  That's fine.  But there are lots of us out here that DO care!  And we matter also.

Cactus



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> I haven't used the pirate ones, but the one I used was clear enough,
> fit well together and generally worked well.

I had a few problems with the two patterns I've made from Reconstructing History, but I emailed
Kass and she was happy to help.  I should mention that these patterns (or at least the ones I've
done) are not for beginners- in the case of the two Irish patterns I have, they have been drafted
using the actual items themselves, which often goes contrary to what we are used to today.  For
example- I had an 'interesting' time with the Dungiven trews as they are constructed so they wrap
around the legs, rather than simply having the seams on the sides like most pairs of pants.  They
also look quite strange, and some people might think it is poorly fitted, however my own research
tells me that these are indeed correctly fitted- the legs are tight, yet you could almost fit a
small child in the seat of them due to their construction; amazingly, I've found them to be
extremely comfortable and durable, aside from needing to change the waist a bit to accommodate
female hips.  
I have never really looked at the later pieces, so I can't say for sure how good they are, but I
do know that Kass is always willing to take suggestions and answer questions about the patterns.
 
> I agree, though, that the cover gives an impression more than a
> detailed look of the finished result. They're not line drawings of the
> final piece...

That is very true, but I've found that to be the case with quite a few 'period' patterns...

Jackie Wyatt


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     I believe drycleaners use an ozone treatment for smoke smells on
clothing.  I don't know if that would work on paper also.  It depends
if the expense is worth the item.  I agree, truth in advertising and
the end buyer can decide.

     -Carol

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I have my sales figures, you don't, and I very seriously doubt that many 
people who'd buy a book anyway would not buy it just because they don't 
like me. I am not my books.

Also, you're right, I don't give a damn whether some stranger likes me.

Fran


I think what you do is wonderful, but your attitude really turns people 
off.

I know this discussion has taken place many times before and you have made

it plain that you don't care.
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	Where was this from again.
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----- Original Message ----- 
From: "Saragrace Knauf" <wickedfrau@msn.com>
<snip>
> Now I gotta get my hands on a good copy of the "Deposition .."
> by Gerard David.....Curious about the no waist seam...

Which version?  There's a nice zoomable hi-res version of the 1484 
Deposition (renamed Lamentation to avoid confusion, apparently, but called 
Deposition in many books) online at:
http://snipurl.com/266hs  [www_nationalgallery_org_uk]

The c1510 Deposition is also available in a hi-res zoomable version at the 
Frick Collection's website:
http://collections.frick.org/CUS.18.zoomobject._819$25901*1748915

-E House 

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Also, so we could avoid (or purge) them?

Patty

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
On Behalf Of Pixel, Goddess and Queen
Sent: Friday, April 25, 2008 2:13 PM
To: Historical Costume
Subject: Re: [h-cost] The Home for Wayward Bad Costume Books


Do you by chance have a list of the ones you already own, so you don't
end 
up with duplicates?

Jen

On Fri, 25 Apr 2008, Robin Netherton wrote:
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Subject: Re: [h-cost] Sleeve construction: Was Detroit Inst Art - Problems
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Exstock wrote:
> ----- Original Message ----- 
> From: "Saragrace Knauf" <wickedfrau@msn.com>
> <snip>
>> Now I gotta get my hands on a good copy of the "Deposition .."
>> by Gerard David.....Curious about the no waist seam...
> 
> Which version?  There's a nice zoomable hi-res version of the 1484 
> Deposition (renamed Lamentation to avoid confusion, apparently, but called 
> Deposition in many books) online at:
> http://snipurl.com/266hs  [www_nationalgallery_org_uk]

That's the one! I didn't find it in my own image search (because I was looking 
under both Deposition and Descent From the Cross, but not Lamentation), though 
I actually spent a lot more time going through a dozen or so books on Flemish 
15th c. painting (including two National Gallery catalogs!) and found only one 
poor image -- and I looked at every David I had in case it was retitled in those.

(E., where did you get 1484? The website says 1515-23.)

Those high-res museum scans are great. Zooming in on the woman in light blue 
at the lower left, you can see the "corner" at the armhole very well. If you 
look close you'll also see a side seam on the body under the arm. I think -- 
am not sure -- that there may be diagonal lacings on that.

I suspect there's a waist seam hidden in that fold at the waist, despite 
Houston saying there's none. The side seam does not continue down the skirt, 
and if the dress were cut in one, it would. At 1515 (or even 1484), waist 
seams would be quite likely anyway, though not exclusively the case. The lady 
in red in the back right does not have a waist seam, but also may be 
deliberately done in "old" style, given the subject matter. Magdalen (in 
green) is too dark for me to make out any seams below the shoulder.

No clue how the sleeve itself is shaped but I truly doubt Houston's diagram; 
it wouldn't want to bend in three dimensions and still leave room for an arm. 
Where to put the curves is another matter. I would probably start with some 
flexible wool and shape it over a suitable body to find out. Not high on my 
priority list at the moment, though.

--Robin
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Easiest way to get this to work:
 
I did have to go to a different computer - my husband's.  
 
I just typed "Medieval Costume in England and France" fig. 257 into Google's "normal" web search - I have been able to see the full pages before and after...so far no limit on the prieview.
 
Sg
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Thread-Topic: [h-cost] The Home for Wayward Bad Costume Books
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Thank you!

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
On Behalf Of Robin Netherton
Sent: Saturday, April 26, 2008 11:33 AM
To: Historical Costume
Subject: Re: [h-cost] The Home for Wayward Bad Costume Books

Zuzana Kraemerova wrote:
> If you, however, made by chance such a list, post it here so that I
know what not to buy... You cannot look inside books when you order them
through amazon. I've already purchased quite a number of very
disappointing books...

My "bad" might be someone else's useful, particularly if that someone
else is 
doing theatre costume. Also, my focus is on medieval dress, which may or
may 
not be the same as your interest. Some of my favorite "bad" books cover
many 
centuries and probably do a reasonably good job in the later ones, but
not in 
medieval. (This is something that happens a lot with textbooks and
survey 
books, particularly if the author is a specialist in, say, 18th or 19th 
century and writes the medieval section based on other books without
knowing 
how to spot the errors.)

On the other hand: I don't think anyone here would mind if you asked
here 
about specific books you're thinking of buying, and then people who have
the 
book can tell you whether it's useful for specific periods and purposes.

FWIW, these are just some of the things on my own "bad" books shelf:

- Bigelow, Fashion in History (my old college textbook -- just horrible)
- Kohler, Dover reprint of 1928 edition (very good for some things, but 
unreliable in others)
- Norris's Tudor volume, original 1938 and also the Dover reprint (I
still 
need to get the medieval one)
- Wilton, Book of Costume, 1986 Shep annotated reprint of 1846 edition
- Ashdown, original 1910 edition (but now it's out in Dover reprint)
- Gorsline, What People Wore, 1952 (not bad as a general overview for 
beginners, but it's all redrawings)
- Lister, Costumes of Everyday Life, 1972 (OK for visual overview but
repeats 
a lot of myths, and all redrawings)
- Cremers-van der Does, Agony of Fashion, 1980 (agenda-heavy theory and
bad 
information)
- Sage, Study of Costume, 1926 (typical of its time, regurgitated
errors)
- Lester, Historic Costume, englarged fourth ed. 1956 (ditto), and 1961 
edition of same, expanded for later periods by Kerr
- Evans, Costume Throughout the Ages, 1930 (ditto)
- Laver, Costume and Fashion, 1985 reprint of 1969 ed. (at least this
one has 
some real artwork!)
- Laver,  Costume through the Ages, 1963, (all redrawings, no text to
speak of)
- Houston, Medieval Costume in England and France, 1996 Dover reprint of
1939 
volume

That's less than half of them. I have more like these, plus a number of 
non-English books, old coffee-table picture books, etc.

Again, I only looked at the medieval/Renaiassance sections of these.
Some of 
them might be very good for Victorian! But most of them are in general
badly 
sourced and simply repeat assumptions from previous books.

--Robin

-- 

Robin Netherton
Editor at Large
robin@netherton.net
voice: (314) 439-1222 // fax: (314) 439-1666
Life is just a bowl of queries.

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Okay - now that I can read the text, I understand what Robin was saying - the figures 257 and 258 are not from the Deposition/Lamentation by Gerard David....so now to hunt down the reference MS No D IX...
 
Thanks for the links to the Lamentation!Sg



> Date: Mon, 28 Apr 2008 12:47:43 -0500> From: robin@netherton.net> To: h-costume@indra.com> Subject: Re: [h-cost] Sleeve construction: Was Detroit Inst Art - Problems & Where was this from again.> > Exstock wrote:> > ----- Original Message ----- > > From: "Saragrace Knauf" <wickedfrau@msn.com>> > <snip>> >> Now I gotta get my hands on a good copy of the "Deposition .."> >> by Gerard David.....Curious about the no waist seam...> > > > Which version? There's a nice zoomable hi-res version of the 1484 > > Deposition (renamed Lamentation to avoid confusion, apparently, but called > > Deposition in many books) online at:> > http://snipurl.com/266hs [www_nationalgallery_org_uk]> > That's the one! I didn't find it in my own image search (because I was looking > under both Deposition and Descent From the Cross, but not Lamentation), though > I actually spent a lot more time going through a dozen or so books on Flemish > 15th c. painting (including two National Gallery catalogs!) an!
 d found only one > poor image -- and I looked at every David I had in case it was retitled in those.> > (E., where did you get 1484? The website says 1515-23.)> > Those high-res museum scans are great. Zooming in on the woman in light blue > at the lower left, you can see the "corner" at the armhole very well. If you > look close you'll also see a side seam on the body under the arm. I think -- > am not sure -- that there may be diagonal lacings on that.> > I suspect there's a waist seam hidden in that fold at the waist, despite > Houston saying there's none. The side seam does not continue down the skirt, > and if the dress were cut in one, it would. At 1515 (or even 1484), waist > seams would be quite likely anyway, though not exclusively the case. The lady > in red in the back right does not have a waist seam, but also may be > deliberately done in "old" style, given the subject matter. Magdalen (in > green) is too dark for me to make out any seams below the shoulder.> >!
  No clue how the sleeve itself is shaped but I truly doubt Hou!
 ston's diagram; > it wouldn't want to bend in three dimensions and still leave room for an arm. > Where to put the curves is another matter. I would probably start with some > flexible wool and shape it over a suitable body to find out. Not high on my > priority list at the moment, though.> > --Robin> _______________________________________________> 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] h-cost] Vintage patterns and clothing, cigarette smoke
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A trick that I learned from a used book dealer friend of mine: Place 
the books into an air tight bag (trash bag) with Kitty Litter. The 
amount of litter varies with the number of books and amount of smoke. 
Let sit, checking every month or so. The smoke smell will gradually 
be removed. Any yellowing  will not change, however.

Beth

At 11:19 AM 4/28/2008, you wrote:
>Date: Mon, 28 Apr 2008 14:46:23 +0000
>From: lauren.walker@comcast.net
>
>Hi, all,
>I am helping my 82-year-old parents clear out their house in 
>preparation for moving to something more manageable. My mom used to 
>sew, and I am finding boxes and boxes of patterns from the 60s and 
>70s -- Simplicity, Butterick, McCall's, Vogue. Likewise, there are 
>four double closets full of, um, typical suburban clothes and shoes, 
>mostly from the 70s. My question is whether there is a market for 
>them, given that they have been kept for 40 years in a house with at 
>least two and sometimes four cigarette smokers. Everything in the 
>house has a strong cigarette smoke smell; many things are brown with 
>what I guess is deposited tar. (Veimru: Yuck.)
>
>So before I tell my dad it should all go in a dumpster, I just 
>wanted to check whether there was any point in trying to find a 
>buyer for them.
>
>Likewise, though off-topic (because they are not costume books; 
>apparently I developed that obsession on my own) are the books in 
>the house rendered worthless by the smoke and tar?
>
>I am also hoping for some suggestions about how to get the smell out 
>of the clothes, patterns, or books that I might want to save.
>Thanks for any thoughts you might share.
>Lauren
>lauren.walker@comcast.net

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Subject: Re: [h-cost] h-cost] Vintage patterns and clothing, cigarette smoke
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A trick that I learned from a used book dealer friend of mine: Place 
the books into an air tight bag (trash bag) with Kitty Litter. The 
amount of litter varies with the number of books and amount of smoke. 
Let sit, checking every month or so. The smoke smell will gradually 
be removed. Any yellowing  will not change, however.

Beth

At 11:19 AM 4/28/2008, you wrote:
>Date: Mon, 28 Apr 2008 14:46:23 +0000
>From: lauren.walker@comcast.net
>
>Hi, all,
>I am helping my 82-year-old parents clear out their house in 
>preparation for moving to something more manageable. My mom used to 
>sew, and I am finding boxes and boxes of patterns from the 60s and 
>70s -- Simplicity, Butterick, McCall's, Vogue. Likewise, there are 
>four double closets full of, um, typical suburban clothes and shoes, 
>mostly from the 70s. My question is whether there is a market for 
>them, given that they have been kept for 40 years in a house with at 
>least two and sometimes four cigarette smokers. Everything in the 
>house has a strong cigarette smoke smell; many things are brown with 
>what I guess is deposited tar. (Veimru: Yuck.)
>
>So before I tell my dad it should all go in a dumpster, I just 
>wanted to check whether there was any point in trying to find a 
>buyer for them.
>
>Likewise, though off-topic (because they are not costume books; 
>apparently I developed that obsession on my own) are the books in 
>the house rendered worthless by the smoke and tar?
>
>I am also hoping for some suggestions about how to get the smell out 
>of the clothes, patterns, or books that I might want to save.
>Thanks for any thoughts you might share.
>Lauren
>lauren.walker@comcast.net

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

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Subject: Re: [h-cost] Sleeve construction: Was Detroit Inst Art - Problems
	&	Where was this from again.
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----- Original Message ----- 
From: "Robin Netherton" <robin@netherton.net>
> (E., where did you get 1484? The website says 1515-23.)

That's another case of different sources, different dates, but 1515-1523 
must be a website type; it's way out.  This is one of his earlier works, and 
the style of the garments is well in line with what I've seen in the mid 
1480s.  I'm not sure where I first saw the 1484 date, but since I spent ages 
trying to track down a hi-res version of this painting, I've looked at lots 
of low res versions with (varying) attributions/dates/etc.

> I suspect there's a waist seam hidden in that fold at the waist, despite
> Houston saying there's none.

It was, in fact, Houston who made me try so hard to track this sucker down! 
I didn't believe her seaming then, and I don't believe it now.  However, 
there are a few Maitre de Francois (sorry that's the only name I have for 
him) illuminations c1475 that show similar sleeve heads (except with a 
rounded point) going into a vertical side-back seam, with no waist seam.

> No clue how the sleeve itself is shaped but I truly doubt Houston's 
> diagram;
> it wouldn't want to bend in three dimensions and still leave room for an 
> arm.
> Where to put the curves is another matter. I would probably start with 
> some
> flexible wool and shape it over a suitable body to find out. Not high on 
> my
> priority list at the moment, though.

I've fit this sleeve a few times, though for c1510-20 dresses.  It is NOT 
fun to fit.  I'll try to scan in or sketch out the sleeve head shape that I 
wound up with tonight.  The extra panels at the torso do help a ton with 
setting the sleeve in.

By the way, the reason I am so forlorn that the "Marriage at Cana" by G. 
David has not aged terribly well is that the woman in red, sitting with her 
back towards the audience, is also (as far as I can tell) wearing a dress 
with the sleeves seamed this way.  There are a handful of other images 
showing it; if anyone needs them, let me know, but expect to wait a day or 
so until I get the chance to upload them!

-E House 

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Saragrace Knauf wrote:
> Okay - now that I can read the text, I understand what Robin was saying - 
 > the figures 257 and 258 are not from the Deposition/Lamentation by
 > Gerard David....so now to hunt down the reference MS No D IX...

Yeah, well, good luck with that (see my previous post). I'm sure a little time 
in a good university library, with a manuscript catalog from the BL, would 
turn up some candidates for "D ix" other than the two 15th-century 
possibilities I listed earlier, but then you'd have to comb each of those 
books to find which image it might be (since Houston doesn't give folio 
numbers). BL has some of its illuminated mss online, but not anything from 
Royal or Cotton (and I think not from Harley either), which are really big, 
important collections. BL may have a full list of mss online somewhere, but 
the only search function I saw there in a cursory glance only covered those 
mss for which actual page images were online.

Bear in mind also that Houston very likely never saw the original 
illumination. A lot of her images are redrawings from earlier costume 
books--I've recognized some taken from Planche, Strutt, and Jacquemin--with 
those authors' "adjustments" incorporated and her own added. Her bibliography 
lists these sources and others, all of them secondary. (Some of her images 
come from published rubbings of monumental brasses, and she cites several 
standard references of those; those at least will be slightly less removed 
from the original sources than her redrawings from other costume authors.)

Houston's error in the shelfmark for "D. ix" could easily have been a 
misunderstanding or mistranscription of a fuller shelfmark cited by a previous 
author. Strutt in particular took a huge proportion of his images from mss in 
the British Library (and he *did* examine the originals and drew directly from 
them, and reasonably well), and he sourced everything by shelfmark. So if you 
can get your hands on a copy of Strutt, that might be a good place to look to 
identify the right MS. Planche mostly copied from Strutt, and Fairholt from 
both of them. IIRC, Jacquemin used mostly French sources, including some from 
the Bib. Nationale de Paris.

--Robin


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Why does anyone have to be in a "group" to buy costume related books?

I think that it's correlative, not causative.

Patty



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And a lot of people have to choose between books and fabric. You can't
get 
fabric (or sewing machines!) from the library, so that often is where
the 
money has to go. It doesn't mean these people aren't using books.


--Robin


Books are a lot easier to borrow than fabric! ;-)

Patty


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Yikes!  I just wrote the British Museum to see if they had a clue....  Oh well, I've looked like an idiot before!  :)
I will follow up with Strutt - thanks for your pointers.
Sg
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Look what I just found!  
 
http://www.dragonbear.com/strutt.html
 
May not be the text Robin was referring too, but....
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Subject: [h-cost] New Sewing Machine
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I own the Viking Designer SE, I love it so if you have the cash? I would 
Most assuredly state pick it, but also? Since you were mentioning a larger
field for embroidery? The newest Pfaff you should look at because at the
moment it has the largest field.

I went to several stores to play with the machines, once they see you are
doing this not to 'play' but to see which machine is right for you?
Typically they allow you to stitch out a design. 

Also? When speaking of embroidery machines it is more the program that you
have that will also achieve results.  If you are into or know Coreldraw,
there is an embroidery machine version.  Also Pfaff and Husqvarna have their
new program 4D which is very fun I am working with it, as well as
Generations and well I bet a bunch more.

So you don't have to get the TOP end machine, you can still get awesome
results with the top end program!

Cilean



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Lucky me - the entire book is available in PDF online!

> From: wickedfrau@msn.com> To: h-costume@indra.com> Date: Mon, 28 Apr 2008 11:49:49 -0700> Subject: [h-cost] Wow - Strutt - Was : Where is this from again.> > Look what I just found! > > http://www.dragonbear.com/strutt.html> > May not be the text Robin was referring too, but....> _______________________________________________> h-costume mailing list> h-costume@mail.indra.com> http://mail.indra.com/mailman/listinfo/h-costume
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I think libraries have something as well.

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
On Behalf Of aquazoo@patriot.net
Sent: Monday, April 28, 2008 12:59 PM
To: Historical Costume
Subject: Re: [h-cost] Vintage patterns and clothing, cigarette smoke


     I believe drycleaners use an ozone treatment for smoke smells on
clothing.  I don't know if that would work on paper also.  It depends
if the expense is worth the item.  I agree, truth in advertising and
the end buyer can decide.

     -Carol

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If you could have absolutely any embroidery machine you wanted, which 
would you buy?

As I said, I want a large field and compatibility with my PC and yes, I 
love Corel's s/w. Also, what kinds of stitches are available on the 
various embroidery machines, beyond the usual satin stitch and stuff 
that's been available in basic machines for a while? I'd like a broad 
range of stitches.

How easy is it to tile embroidery designs larger than your field, or can 
you?  For example, suppose I want something that is not a repeating 
pattern of, say, identical flowers along a border, but something like 
one picture of a dragon on the back of a modern blouse, that is several 
times as large as the machine's field?  Can I tile/embroider the large 
dragon in several seamless sections, or not?

The idea of a low-end commercial machine is tempting, but I don't know 
much about them other than that there is a kind I don't want, which has 
several embroidery heads that go along a length of fabric and 
essentially do stripes. I've bought commercial fabrics embroidered like 
that and they can be great, if the clothing pattern is carefully laid 
out on them. But with an embroidery machine I'd be looking to do designs 
on garment pieces that were customized to the garment shape.

If I get a machine like the Viking designer, I already have an older 
non-embroidery Viking for sewing, and I am very happy with it for that 
purpose. As I said I don't want to make room for a lot of machines. On 
the other hand, is it often desirable to leave a partly-embroidered 
project sitting on the machine while you go do something else?  If so I 
am wondering if it would be a good idea to also keep my old Viking so I 
have a machine free to sew with while an embroidery project is in process.

I admit it, I'm also looking for ease of use, in terms of things like 
keeping track of multiple colors of threads, and BTW, I assume any given 
machine can only handle so many spools at a time and that is a 
consideration?  But anyway, I don't want to stop the machine every few 
minutes to cut threads or change spools. My fantasy is to thread the 
machine, set it up to do the design, and then pretty much leave it alone 
till it finishes, as far as is feasible.

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



Monie wrote:
> I own the Viking Designer SE, I love it so if you have the cash? I would 
> Most assuredly state pick it, but also? Since you were mentioning a larger
> field for embroidery? The newest Pfaff you should look at because at the
> moment it has the largest field.
> 
> I went to several stores to play with the machines, once they see you are
> doing this not to 'play' but to see which machine is right for you?
> Typically they allow you to stitch out a design. 
> 
> Also? When speaking of embroidery machines it is more the program that you
> have that will also achieve results.  If you are into or know Coreldraw,
> there is an embroidery machine version.  Also Pfaff and Husqvarna have their
> new program 4D which is very fun I am working with it, as well as
> Generations and well I bet a bunch more.
> 
> So you don't have to get the TOP end machine, you can still get awesome
> results with the top end program!
> 
> Cilean
> 
> 
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 
> 
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> I haven't used them, but I've seen many pictures of finished garments that were made with the help of these patterns and almost always the result was horrible.

Maybe because most people who buy patterns expect to make a size 10
and have it fit like a glove. It works for modern garments with a
decent amount of ease, but for period, fitted garments, it doesn't.
Hey, this is just a wild guess! But those patterns were made to be
fitted to the wearer, not to be used as is.

I like them, or the ones I've seen and used. YMMV.
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Well said!
Anne

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Shirley Hobbs
Sent: Monday, April 28, 2008 12:51 PM
To: Historical Costume
Subject: Re: [h-cost] How Many Costume Books/Magazines/Photos Do You Own

> From: Lavolta Press <fran@lavoltapress.com>

"People seriously interested in research do not buy or read a book based 
on whether they know or like the author."


Ummmm, yes they do.  I consider myself a serious researcher.  I also will
not buy any of your books.  There is enough information out there from other
authors that I seriously doubt I will ever miss your information.  I think
what you do is wonderful, but your attitude really turns people off.  I know
this discussion has taken place many times before and you have made it plain
that you don't care.  That's fine.  But there are lots of us out here that
DO care!  And we matter also.

Cactus



 
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To deflate your little power trip, guys, there have to be thousands of 
people in an audience to even make a dent or have any influence on book 
sales at all.  I don't even know that many from e-mail lists, let alone 
that many who dislike me.

It may be fun to run around thinking that what you personally do can 
make or break someone's business, but it's sheer illusion.  And there is 
no reason why I personally should care what you think.

Fran

Anne Moeller wrote:
> Well said!
> Anne
> 
> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
> Behalf Of Shirley Hobbs
> Sent: Monday, April 28, 2008 12:51 PM
> To: Historical Costume
> Subject: Re: [h-cost] How Many Costume Books/Magazines/Photos Do You Own
> 
>> From: Lavolta Press <fran@lavoltapress.com>
> 
> "People seriously interested in research do not buy or read a book based 
> on whether they know or like the author."
> 
> 
> Ummmm, yes they do.  I consider myself a serious researcher.  I also will
> not buy any of your books.  There is enough information out there from other
> authors that I seriously doubt I will ever miss your information.  I think
> what you do is wonderful, but your attitude really turns people off.  I know
> this discussion has taken place many times before and you have made it plain
> that you don't care.  That's fine.  But there are lots of us out here that
> DO care!  And we matter also.
> 
> Cactus
> 
> 
> 
>  
> ____________________________________________________________________________
> ________
> Be a better friend, newshound, and 
> know-it-all with Yahoo! Mobile.  Try it now.
> http://mobile.yahoo.com/;_ylt=Ahu06i62sR8HDtDypao8Wcj9tAcJ
> _______________________________________________
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> 
> 
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> _______________________________________________
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> h-costume@mail.indra.com
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> 
> 
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OK you H-Costume folk, if you will take one more reflection on =
Books/Resources from a recently retired costumer,..
When I began my craft nearly 50 years ago,=C2=A0 I soon found that there =
were few books or resources for=C2=A0 period=C2=A0 costuming available =
from my local library or even the college library and bookstore. An early =
acquisition was a slim how-to volume by Jonston that based all her 2000 =
years of =22period design for the making =22on a man=E2=80=99s PJ pattern =
and a woman=E2=80=99s 4 piece dress pattern.=C2=A0 Size was of no =
consideration.=C2=A0 She even provided approximate yardage for the work-up =
for S-M-L.=C2=A0 I thought this was great. To enlarge the reality aspects, =
I spent days in the libraries=C2=A0 and museums studying the other details =
that would bring my primitive designs closer to the reality of the =
occasion at hand.=C2=A0 Honing my hand/eye skills using the basic Jonston =
method, I was soon finding that I could look at a picture and dissect the =
2D=C2=A0 design into the necessary shapes that would recreate the fashion =
before me.=C2=A0 With an indication of size, I could even do a lot of the =
cutting free handed using my tape measure and a vision of the shape =
necessary to get the right draping.=C2=A0 Wow.=C2=A0 I was on my =
way=E2=80=A6
I was given the one volume edition of Davernport, discovered Koehler, =
Barton, Evans, Laver, the Cunningtons and Gorseline.=C2=A0 Non was perfect =
but each added something of value, good or bad, to my self education =
toward the craft of costuming
About 5 years into my new career, and many shows later, I encountered =
Arnold for the first time and was bowled over by the concept and =
scholarship she was doing and this raised the bar somewhat for me toward =
becoming more scientific in my own scholarship and craft.=C2=A0 On first =
observation, I found that I had solved many of my design problems in the =
very same way that she had determined by firsthand observation, and this =
gave me an affirmation and encouragement that I was going about my =
costume=C2=A0 production in somewhat the right manner.
Also, about this time, I encountered Ann Hollander=E2=80=99s=22 Seeing =
Through Clothes=22 that had a profound influence on me concerning =
the=C2=A0 facts of perception and problems of replication when =
interpreting clothing and costume from the past.
Following some of her ideas, I began to look for obscure costume books =
that might have been on the cutting edge of what was known or perceived as =
costume in and of its own time period.=C2=A0 Thus began my significant =
collection of Godey=E2=80=99s, Peterson=E2=80=99s, Arthur=E2=80=99s; =
=22The Story of Clothes=22 by Agnes Allen, a four volume set of=22 English =
Costume=22 by=C2=A0 Dion Clayton Calthrope, =22Costumes and Scenery for =
Amateurs=22, Constance Darcy Mackay; =22Costume Fanciful, Historical and =
Theatrical=22 compiled by Mrs. Aria; Mrs. =
Earle=E2=80=99s,Wilton=E2=80=99s, Laver=E2=80=A6for just a few.=C2=A0 Each =
is valued for the view points given and taken of how they understood what =
Historical costuming meant for their own time.
In the early 1990s, my husband introduced me to the wonderful new world of =
H-costume.=C2=A0 For the very first time I felt connected to a host of new =
friends who were doing for joy or livelihood what I was doing=E2=80=A6who =
knew what the problems were and were willing to share solutions. It is =
hard to imagine interpreting the styles and clothing of the past without =
them.=20
Eons later, we have the wonderful Library that Penny is developing, =
Robin=E2=80=99s Medieval studies, Fran=E2=80=99s de-ciphers of 19th C =
pattern making, the various Shep reprints. Melanie=E2=80=99s patterns, =
Bjarne=E2=80=99s wonderful and inspiring embroideries, Lorena=E2=80=99s =
patterns and embroideries; pictoral work of Sally Keene.=C2=A0 The =
compilations and other resource material by Boumgarten Bissonet, Drea and =
such=E2=80=A6all a very rich heritage for the present and for years to =
come. Maybe even some of this work will strike those readers and do-ers of =
costume craft and history as outdated or uninformed but for the present, =
this is what we have.=C2=A0 Rejoice=21
Kathleen Mitchell=

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I'd be interested in any thing you have on it/them.  I have written the British Museum to see if they can help me track down the reference to MS. No. D. IX.....
 
 
> showing it; if anyone needs them, let me know, but expect to wait a day or > so until I get the chance to upload them! 
I'm patient!  
 
Sg
 
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From: Zuzana Kraemerova <zkraemerova@yahoo.com>
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I don't really think someone can dislike a person by just reading his posts and never seeing him personally.  If you're not a genius writer, you can never express your thoughts just as you have them in your head, which may lead to misunderstanding.  

Nevertheless, a book and his author can be two quite different things. I think people should be objective and regard the book as a result of work and study of the author, whatever his personality is. Technically-based women and most men would have this a bit easier. They would be more objective and would tend to say strictly what they want, which might sound a bit - hm - rude. Nothing to blame for , it's just a different way of thinking...

I think it's quite natural that you buy more books from an author who's sympathetic to you, but I don't really like the idea of doing the opposite - unless you have a very good reason for it.

Zuzana

Lavolta Press <fran@lavoltapress.com> wrote: To deflate your little power trip, guys, there have to be thousands of 
people in an audience to even make a dent or have any influence on book 
sales at all.  I don't even know that many from e-mail lists, let alone 
that many who dislike me.

It may be fun to run around thinking that what you personally do can 
make or break someone's business, but it's sheer illusion.  And there is 
no reason why I personally should care what you think.

Fran

Anne Moeller wrote:
> Well said!
> Anne
> 
> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
> Behalf Of Shirley Hobbs
> Sent: Monday, April 28, 2008 12:51 PM
> To: Historical Costume
> Subject: Re: [h-cost] How Many Costume Books/Magazines/Photos Do You Own
> 
>> From: Lavolta Press 
> 
> "People seriously interested in research do not buy or read a book based 
> on whether they know or like the author."
> 
> 
> Ummmm, yes they do.  I consider myself a serious researcher.  I also will
> not buy any of your books.  There is enough information out there from other
> authors that I seriously doubt I will ever miss your information.  I think
> what you do is wonderful, but your attitude really turns people off.  I know
> this discussion has taken place many times before and you have made it plain
> that you don't care.  That's fine.  But there are lots of us out here that
> DO care!  And we matter also.
> 
> Cactus
> 
> 
> 
>  
> ____________________________________________________________________________
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> _______________________________________________
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> 
> 
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Subject: Re: [h-cost] Where was this from again - FOUND IT
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> > > Yikes! I just wrote the British Museum to see if they had a clue.... Oh well, I've looked like an idiot before! :)> I will follow up with Strutt - thanks for your pointers.> Sg> > ------------------------------
 
http://www.thearma.org/spotlight/NotesLEJEUDELAHACHE.htm
 
Second and fifth image, caption MS Nero D.IX folio 103
 
Does this help?
 
Caithlinn 
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Subject: Re: [h-cost] Wow - Strutt
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Saragrace Knauf wrote:
> Lucky me - the entire book is available in PDF online!

I see the plates on the dragonbear site, but not the text. Did I miss it? 
That's where you'll find Strutt's list of ms citations, along with lots and 
lots more.

The intro on that site says "1862." Strutt wrote the book in 1796, and the 
original two-volume set is a wonder to behold if you are lucky enough to see 
one (usually in a rare book room). James Robinson Planche, the foremost 
Victorian English costume historian (at least he'd have said so if you'd asked 
him) published a revised Strutt edition, complete with his own annotations, in 
1842. There is no 1862 edition that I know of, so that may have been a typo 
for the 1842 edition, either by the site owner or the original eBay seller of 
the plates.

I don't think I've ever seen a copy of the Planche edition of Strutt that was 
hand-colored like these, but that doesn't mean this isn't one. It would make 
me ill to think that this might be a 1796 Strutt taken apart and sold page by 
page. Not so awful if it's the Planche edition, which is comparatively common, 
but still pretty distressing.

--Robin





> 
>> From: wickedfrau@msn.com> To: h-costume@indra.com> Date: Mon, 28 Apr 2008 11:49:49 -0700> Subject: [h-cost] Wow - Strutt - Was : Where is this from again.> > Look what I just found! > > http://www.dragonbear.com/strutt.html> > May not be the text Robin was referring too, but....> _______________________________________________> h-costume mailing list> h-costume@mail.indra.com> http://mail.indra.com/mailman/listinfo/h-costume
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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> 


-- 

Robin Netherton
Editor at Large
robin@netherton.net
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C M wrote:
>>>> Yikes! I just wrote the British Museum to see if they had a clue.... Oh well, I've looked like an idiot before! :)> I will follow up with Strutt - thanks for your pointers.> Sg> > ------------------------------
>  
> http://www.thearma.org/spotlight/NotesLEJEUDELAHACHE.htm
>  
> Second and fifth image, caption MS Nero D.IX folio 103

Well, very cool. Real needle-in-a-haystack stuff to find the right image from 
that truncated reference out of Houston. I am pleased it turned out to be one 
of the two candidates I turned up, and the one I thought was stylistically 
promising, but my patience in looking for examples of plates from those mss 
was exhausted much earlier ;-)

Note that's not just "Nero" in the BL cataloguing system, but actually "Cotton 
Nero." The Cotton collection has loads of sub-collections with different 
names. There's a superscript on the folio number 103 that (based on the 
elusive note 7 I found on another page on this website) is an r, meaning fol. 
103 recto, the front of the page.

If anyone is really hot for this image, you can probably purchase a slide of 
the image from the BM. You will need all the above information to specify what 
you want.

Can't tell on my monitor if the seams match Houston's, but from the position, 
it's certainly the figure she intended. Which secondary source she drew her 
copy from is anyone's guess.

--Robin
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Robin Netherton wrote:
>
> I don't think I've ever seen a copy of the Planche edition of Strutt that was 
> hand-colored like these, but that doesn't mean this isn't one. It would make 
> me ill to think that this might be a 1796 Strutt taken apart and sold page by 
> page. Not so awful if it's the Planche edition, which is comparatively common, 
> but still pretty distressing.

I can shed a little light here. 

As I recall, a few years back, someone on this list saw these plates up 
for sale on eBay.  I sent a note about them to my local SCA list, as an 
example of what people used to think folks wore in the middle ages.  At 
that point, Carol (webmistress of Dragonbear) saved the files for 
posterity and put them on her webpages.

Someone with more time than I have today (sorry) could search the H-Cost 
archives and find out more, if we ever knew more, about which edition.

Regards,
Cynthia

---
Vacation rentals on the coast of Maine, space still available.  
http://www.virtue.to/cottages.html
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Wow!  How'd you figure this out?  Thank you!

> From: caithlinn@hotmail.com> To: h-costume@indra.com> Date: Tue, 29 Apr 2008 06:41:42 +1000> Subject: Re: [h-cost] Where was this from again - FOUND IT> > > > > > Yikes! I just wrote the British Museum to see if they had a clue.... Oh well, I've looked like an idiot before! :)> I will follow up with Strutt - thanks for your pointers.> Sg> > ------------------------------> > http://www.thearma.org/spotlight/NotesLEJEUDELAHACHE.htm> > Second and fifth image, caption MS Nero D.IX folio 103> > Does this help?> > Caithlinn >
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Cynthia Virtue wrote:

> As I recall, a few years back, someone on this list saw these plates up 
> for sale on eBay.  I sent a note about them to my local SCA list, as an 
> example of what people used to think folks wore in the middle ages.  At 
> that point, Carol (webmistress of Dragonbear) saved the files for 
> posterity and put them on her webpages.

Yes, I did not mean to imply that the Dragonbear site was responsible for 
breaking up the book! The eBay story is explained on the index page there. But 
the edition date is not correct.

--Robin
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Robin Netherton wrote:
>
> Yes, I did not mean to imply that the Dragonbear site was responsible for 
> breaking up the book! The eBay story is explained on the index page there. But 
> the edition date is not correct.

Not to worry; didn't think you were.  I should have gone to reread the 
Dragonbear info before posting.

Likely the edition date is what the eBay poster listed.

cv
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Hi everyone,

I was just pointed to this discussion by a friend who remembered a
conversation we had a few months ago about the construction of common
people's clothing versus noble clothing.  As someone who's primarily studied
the garments of the working class, the sometimes striking differences in
construction intrigue me.

Last summer, I did a reconstruction of Netherlandish Working Woman's
Clothing using cutting techniques I learned from other 16th century working
people's garments such as the Shinrone Gown and the Dungiven Jacket.  Both
of these garments make use of rectangles and triangles in what could be
termed a "medieval" way.  And yet in shape the garments look like clothing
of more wealthy people, clothing whose construction is quite different and
more wasteful of fabric.

The reason I bring this up is that both the Shinrone Gown and the Dungiven
Jacket share a feature in common with the illustration in question (and the
line drawing in Houston):  square-bottom armholes.

The way the armholes are cut in the Dungiven Jacket and Shinrone Gown wastes
almost no fabric.  On one, the cut fabric is folded inward and becomes a
lining/facing.  On the other, the fabric is folded out and becomes a
shoulder wing.  It's a fascinating use of cut and incredible conservative on
yardage.

I used this armhole-cutting technique on my Netherlandish dress and it "cuts
the right jib".  I've blogged about my reconstruction here:
http://reconstructinghistory.blogspot.com/2007/09/netherlandish-working-wome
n-part-2.html

Kass
 <http://www.reconstructinghistory.com/>
Looking for the perfect gift for the RH fan on your list?  Try a RH Gift
Certificate
<http://www.reconstructinghistory.com/index.php?s=&c=123&d=160&e=&f=&g=&w=21
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-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of Robin Netherton
Sent: Monday, April 28, 2008 5:08 PM
To: Historical Costume
Subject: Re: [h-cost] Where was this from again - FOUND IT


C M wrote:
>>>> Yikes! I just wrote the British Museum to see if they had a clue.... Oh
well, I've looked like an idiot before! :)> I will follow up with Strutt -
thanks for your pointers.> Sg> > ------------------------------
>
> http://www.thearma.org/spotlight/NotesLEJEUDELAHACHE.htm
>
> Second and fifth image, caption MS Nero D.IX folio 103

Well, very cool. Real needle-in-a-haystack stuff to find the right image
from
that truncated reference out of Houston. I am pleased it turned out to be
one
of the two candidates I turned up, and the one I thought was stylistically
promising, but my patience in looking for examples of plates from those mss
was exhausted much earlier ;-)

Note that's not just "Nero" in the BL cataloguing system, but actually
"Cotton
Nero." The Cotton collection has loads of sub-collections with different
names. There's a superscript on the folio number 103 that (based on the
elusive note 7 I found on another page on this website) is an r, meaning
fol.
103 recto, the front of the page.

If anyone is really hot for this image, you can probably purchase a slide of
the image from the BM. You will need all the above information to specify
what
you want.

Can't tell on my monitor if the seams match Houston's, but from the
position,
it's certainly the figure she intended. Which secondary source she drew her
copy from is anyone's guess.

--Robin
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From: Lavolta Press <fran@lavoltapress.com>
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I buy a huge number of books by people I've never met (many of whom are 
dead, so I never will), and some by people I can't stand personally. 
The only thing that matters is the content of book.

Likewise, when working for other publishers and for computer companies, 
I have worked with some authors and co-workers who were temperamental, 
incompetent, had a lot of personal problems/crises, and who had other 
flaws that made them hard to work with. So what?  I had to work with 
them anyway, so I did, and we did a good job together.  What mattered 
was the work.

I don't think it pays to look at the world primarily in terms of 
personal relationships and feelings, and particularly the business 
world. Quite simply, things are not all about any individual and their 
personal feelings, whether mine or someone else's. I don't kid myself 
that anyone publishing a book, even one that I gladly buy the minute I 
hear about it, gives a rat's patootie about me personally or would spend 
any time whatever catering to my own personal tastes. Not unless those 
personal tastes were similar to thousands of other book buyers, which 
apparently they often are.

That does not mean I don't have a very sincere interest in costume--I 
wouldn't spend 14 years of full-time work writing about it if I didn't. 
   Nor would I sew. That doesn't mean I dislike everyone in some 
particular group, including h-costume. It doesn't mean I have no 
personal friends. But I think it would be very silly to run my life 
according to who I personally like or who personally likes me, or to 
expect everyone to personally like me. If people like me, they do. If 
they don't, they don't. And that's true for everyone else, as far as I 
can tell.

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



Zuzana Kraemerova wrote:
> I don't really think someone can dislike a

  person by just reading his posts and never seeing him personally.

  If you're not a genius writer, you can never express your thoughts

just as you have them in your head, which may lead to misunderstanding.
> 
> Nevertheless, a book and his author can be two quite different things.

  I think people should be objective and regard the book as a result of work

  and study of the author, whatever his personality is. 
Technically-based women

and most men would have this a bit easier. They would be more objective

and would tend to say strictly what they want, which might sound a bit - 
hm - rude.

  Nothing to blame for , it's just a different way of thinking...
> 
> I think it's quite natural that you buy more books from an author 

who's sympathetic to you, but I don't really like the idea of doing the 
opposite -

unless you have a very good reason for it.
> 
> Zuzana
>
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From: "Kass McGann" <historian@reconstructinghistory.com>
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Hi Monica,

Thanks for the warm welcome!

Can we talk about flat-bottomed armholes?  I'm totally on about
flat-bottomed armholes.

Kass
 <http://www.reconstructinghistory.com/>
Looking for the perfect gift for the RH fan on your list?  Try a RH Gift
Certificate
<http://www.reconstructinghistory.com/index.php?s=&c=123&d=160&e=&f=&g=&w=21
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-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of monica spence
Sent: Monday, April 28, 2008 6:00 PM
To: Historical Costume
Subject: [h-cost] New Topics-- please!!!!!



Hello Ladies and Gentlemen,

Anyone want to talk about costume and clothing?

Hi Kass-- Nice to see you here!

Anyone have any recommendations for costume in and around Florence? I am
thinking of side trips for the Janet Arnold Conference in November.

Monica Spence



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We realize we won't make a dent in your sales.  We are just stating that yes, how we feel about an author can influence whether or not we will buy that particular author's books.  Just our humble opinion, which I realize doesn't mean anything to you.  But it does matter to some of us.  And no, we are not the ones on a power trip.  


--- On Mon, 4/28/08, Lavolta Press <fran@lavoltapress.com> wrote:

> From: Lavolta Press <fran@lavoltapress.com>
> Subject: Re: [h-cost] How Many Costume Books/Magazines/Photos Do You Own
> To: "Historical Costume" <h-costume@indra.com>
> Date: Monday, April 28, 2008, 1:42 PM
> To deflate your little power trip, guys, there have to be
> thousands of 
> people in an audience to even make a dent or have any
> influence on book 
> sales at all.  I don't even know that many from e-mail
> lists, let alone 
> that many who dislike me.
> 
> It may be fun to run around thinking that what you
> personally do can 
> make or break someone's business, but it's sheer
> illusion.  And there is 
> no reason why I personally should care what you think.
> 
> Fran
> 
> Anne Moeller wrote:
> > Well said!
> > Anne
> > 
> > -----Original Message-----
> > From: h-costume-bounces@indra.com
> [mailto:h-costume-bounces@indra.com] On
> > Behalf Of Shirley Hobbs
> > Sent: Monday, April 28, 2008 12:51 PM
> > To: Historical Costume
> > Subject: Re: [h-cost] How Many Costume
> Books/Magazines/Photos Do You Own
> > 
> >> From: Lavolta Press <fran@lavoltapress.com>
> > 
> > "People seriously interested in research do not
> buy or read a book based 
> > on whether they know or like the author."
> > 
> > 
> > Ummmm, yes they do.  I consider myself a serious
> researcher.  I also will
> > not buy any of your books.  There is enough
> information out there from other
> > authors that I seriously doubt I will ever miss your
> information.  I think
> > what you do is wonderful, but your attitude really
> turns people off.  I know
> > this discussion has taken place many times before and
> you have made it plain
> > that you don't care.  That's fine.  But there
> are lots of us out here that
> > DO care!  And we matter also.
> > 
> > Cactus
> > 
> > 
> > 
> >  
> >
> ____________________________________________________________________________
> > ________
> > Be a better friend, newshound, and 
> > know-it-all with Yahoo! Mobile.  Try it now.
> >
> http://mobile.yahoo.com/;_ylt=Ahu06i62sR8HDtDypao8Wcj9tAcJ
> > _______________________________________________
> > h-costume mailing list
> > h-costume@mail.indra.com
> > http://mail.indra.com/mailman/listinfo/h-costume
> > 
> > 
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Hello Ladies and Gentlemen,

Anyone want to talk about costume and clothing?

Hi Kass-- Nice to see you here!

Anyone have any recommendations for costume in and around Florence? I am
thinking of side trips for the Janet Arnold Conference in November.

Monica Spence



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> Anyone have any recommendations for costume in and around Florence? I am
> thinking of side trips for the Janet Arnold Conference in November.

No, but I'm planning on being there and would love to see a friendly face!

Emma

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From: monica spence <monicaspence@optonline.net>
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I know nothing about them. Thanks for the links!
Monica

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of Kass McGann
Sent: Monday, April 28, 2008 6:06 PM
To: Historical Costume
Subject: Re: [h-cost] New Topics-- please!!!!!


Hi Monica,

Thanks for the warm welcome!

Can we talk about flat-bottomed armholes?  I'm totally on about
flat-bottomed armholes.

Kass
 <http://www.reconstructinghistory.com/>
Looking for the perfect gift for the RH fan on your list?  Try a RH Gift
Certificate
<http://www.reconstructinghistory.com/index.php?s=&c=123&d=160&e=&f=&g=&w=21
&q=1&p=360&r=Y> .  They never expire!
http://reconstructinghistory.com
http://community.livejournal.com/rh_community/
http://kass-rants.livejournal.com
http://www.reconstructinghistory.blogspot.com/


-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of monica spence
Sent: Monday, April 28, 2008 6:00 PM
To: Historical Costume
Subject: [h-cost] New Topics-- please!!!!!



Hello Ladies and Gentlemen,

Anyone want to talk about costume and clothing?

Hi Kass-- Nice to see you here!

Anyone have any recommendations for costume in and around Florence? I am
thinking of side trips for the Janet Arnold Conference in November.

Monica Spence



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

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


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From: "Abel, Cynthia" <CynthiaAbel@creighton.edu>
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The new Civil War era pattern numbers from Simplicity are 2881, 2887 and
2890.

Does anyone on the list know if Martha McCain is going to have new
patterns for Simplicity. Last I heard, she was working on 18th century
patterns. Is that correct?

Cindy Abel

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
On Behalf Of monica spence
Sent: Monday, April 28, 2008 5:23 PM
To: Historical Costume
Subject: Re: [h-cost] New Topics-- please!!!!!

I know nothing about them. Thanks for the links!
Monica

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of Kass McGann
Sent: Monday, April 28, 2008 6:06 PM
To: Historical Costume
Subject: Re: [h-cost] New Topics-- please!!!!!


Hi Monica,

Thanks for the warm welcome!

Can we talk about flat-bottomed armholes?  I'm totally on about
flat-bottomed armholes.

Kass
 <http://www.reconstructinghistory.com/>
Looking for the perfect gift for the RH fan on your list?  Try a RH Gift
Certificate
<http://www.reconstructinghistory.com/index.php?s=&c=123&d=160&e=&f=&g=&
w=21
&q=1&p=360&r=Y> .  They never expire!
http://reconstructinghistory.com
http://community.livejournal.com/rh_community/
http://kass-rants.livejournal.com
http://www.reconstructinghistory.blogspot.com/


-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of monica spence
Sent: Monday, April 28, 2008 6:00 PM
To: Historical Costume
Subject: [h-cost] New Topics-- please!!!!!



Hello Ladies and Gentlemen,

Anyone want to talk about costume and clothing?

Hi Kass-- Nice to see you here!

Anyone have any recommendations for costume in and around Florence? I am
thinking of side trips for the Janet Arnold Conference in November.

Monica Spence



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

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


_______________________________________________
h-costume mailing list
h-costume@mail.indra.com
http://mail.indra.com/mailman/listinfo/h-costume
_______________________________________________
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From: "Kass McGann" <historian@reconstructinghistory.com>
To: "Historical Costume" <h-costume@indra.com>
Date: Mon, 28 Apr 2008 18:35:02 -0400
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I was referring to the discussion about the 15th century armholes as
illustrated in Houston and the Jeu de Hache pictures.  They just make so
much sense to me!

Kass
 <http://www.reconstructinghistory.com/>

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of monica spence
Sent: Monday, April 28, 2008 6:23 PM
To: Historical Costume
Subject: Re: [h-cost] New Topics-- please!!!!!


I know nothing about them. Thanks for the links!
Monica

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of Kass McGann
Sent: Monday, April 28, 2008 6:06 PM
To: Historical Costume
Subject: Re: [h-cost] New Topics-- please!!!!!


Hi Monica,

Thanks for the warm welcome!

Can we talk about flat-bottomed armholes?  I'm totally on about
flat-bottomed armholes.

Kass

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On Mon, Apr 28, 2008 at 5:35 PM, Kass McGann
<historian@reconstructinghistory.com> wrote:
> I was referring to the discussion about the 15th century armholes as
>  illustrated in Houston and the Jeu de Hache pictures.  They just make so
>  much sense to me!
>
>  Kass
>   <http://www.reconstructinghistory.com/>

Not surprised to hear that, since they've always reminded me of the
Moy Bog gown's sleeves.  Not quite the same thing, but if you can
build one, you can build the other!

-E House
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Flat bottomed armhole make the rocking world go round!

    Apologies to Freddie Mercury

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of monica spence
Sent: Monday, April 28, 2008 6:23 PM
To: Historical Costume
Subject: Re: [h-cost] New Topics-- please!!!!!

I know nothing about them. Thanks for the links!
Monica

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of Kass McGann
Sent: Monday, April 28, 2008 6:06 PM
To: Historical Costume
Subject: Re: [h-cost] New Topics-- please!!!!!


Hi Monica,

Thanks for the warm welcome!

Can we talk about flat-bottomed armholes?  I'm totally on about
flat-bottomed armholes.

Kass
 <http://www.reconstructinghistory.com/>
Looking for the perfect gift for the RH fan on your list?  Try a RH Gift
Certificate
<http://www.reconstructinghistory.com/index.php?s=&c=123&d=160&e=&f=&g=&w=21
&q=1&p=360&r=Y> .  They never expire!
http://reconstructinghistory.com
http://community.livejournal.com/rh_community/
http://kass-rants.livejournal.com
http://www.reconstructinghistory.blogspot.com/


-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of monica spence
Sent: Monday, April 28, 2008 6:00 PM
To: Historical Costume
Subject: [h-cost] New Topics-- please!!!!!



Hello Ladies and Gentlemen,

Anyone want to talk about costume and clothing?

Hi Kass-- Nice to see you here!

Anyone have any recommendations for costume in and around Florence? I am
thinking of side trips for the Janet Arnold Conference in November.

Monica Spence



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From: monica spence <monicaspence@optonline.net>
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Anybody up for a roll call to see who from the h-cost list will be in
Florence for the conference?

Monica Spence, New York City (actually Long Island, but I teach in NYC)


-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of 00217146@bigred.unl.edu
Sent: Monday, April 28, 2008 6:17 PM
To: Historical Costume
Subject: Re: [h-cost] New Topics-- please!!!!!



> Anyone have any recommendations for costume in and around Florence? I am
> thinking of side trips for the Janet Arnold Conference in November.

No, but I'm planning on being there and would love to see a friendly face!

Emma

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Those are very interesting observations Kass.  I just love that kind of experimental investigation.
Now I will have to think about the progression from "sleeveless" to sleeved - where/when did the style become less driven by fabric limitations and more driven by fit and style....  (If I remember correctly the Shinrone gown sleeve is just another rectangle sewn in the top of the armscye and ties around the wrist??
 
 
Monica, I thought I was talking about new topics....  :)
Sg



 
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Not surprised to hear that, since they've always reminded me of the
Moy Bog gown's sleeves.  Not quite the same thing, but if you can
build one, you can build the other!

-E House
>>>>
Yes!  Precisely, E.  They're something like the Moy Gown's armholes.  And
they're A LOT like the Shinrone Gown and Dungiven Jacket's armholes.  Matter
of fact, the Dungiven Jacket's armhole would look exactly like that picture
by Gerard David if you didn't cut away the little bit at the bottom.

Kass

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Ron!  You're in my head!  That's been playing on a continuous loop in my
brain since I typed it!  LOL

Kass
 <http://www.reconstructinghistory.com/>
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-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of Ron Carnegie
Sent: Monday, April 28, 2008 6:51 PM
To: 'Historical Costume'
Subject: Re: [h-cost] flat bottomed holes


Flat bottomed armhole make the rocking world go round!

    Apologies to Freddie Mercury

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Good thought process, Saragrace!  You're right about the Shinrone Gown
sleeve -- it really has very little to do with the armhole at all since it's
attached to the back of the garment by means of a gore.  But the armhole is
created by cutting straight across, parallel to the floor, and folding that
fabric inside to make a kind of self-lining rather than discarding it. (The
same "lining" technique is done at the bottom of the bodice as well and
these two "linings" meet at the bottom of the shoulder strap.)

The Dungiven Jacket, however, is the one that really bears a resemblance to
the flat-bottomed armholes in these pictures.  The fabric in the armhole is
cut down the center and those pieces fold out to make shoulder wings on the
garment.  The sleeves actually attach to a pinch of fabric inside this, not
to any cut edges.

Neat, huh?

The thing that fascinates me is that these garments are late 16th century --
contemporary with many of the garments Janet Arnold patterned in PoF.  And
yet all of those have armholes cut in what I would term "the modern shape".
To me, this is evidence of a difference in the way that the (guild) tailors
of the rich and the (amateur? or just rural?) tailors of the poor cut their
clothing.

Kass
 <http://www.reconstructinghistory.com/>

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of Saragrace Knauf
Sent: Monday, April 28, 2008 6:51 PM
To: Historical Costume
Subject: [h-cost] Flat Bottomed Armholes WAS: New Topics-- please!!!!!


Those are very interesting observations Kass.  I just love that kind of
experimental investigation.
Now I will have to think about the progression from "sleeveless" to
sleeved - where/when did the style become less driven by fabric limitations
and more driven by fit and style....  (If I remember correctly the Shinrone
gown sleeve is just another rectangle sewn in the top of the armscye and
ties around the wrist??


Monica, I thought I was talking about new topics....  :)
Sg




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Subject: Re: [h-cost] Bruegel sleeve construction
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I don't remember a detailed treatment of the David gown... though I  
think it may be referenced somewhere on Drea's site (or we talked  
about it in her first Costume Classroom offering on women's dress,  
back in 2001...?).  If you mean the "Bruegel sleeve," we discussed  
this off-and-on for several years on the RenCostumer list [from at  
least 2002 through the first half of 2005].  Unfortunately, that list  
has gone dormant and when I search for the old personal websites  
where people had posted their findings, I only get junk.

If there are any other former RenCostumers on this list, they might  
remember more about it.
Suzanne

On Apr 28, 2008, at 11:19 AM, h-costume-request@indra.com wrote:

> From: Saragrace Knauf <wickedfrau@msn.com>
> Date: April 28, 2008 10:51:03 AM CDT
> To: Historical Costume <h-costume@indra.com>
> Subject: [h-cost] Sleeve construction: Was Detroit Inst Art -  
> Problems & Where was this from again.
>
> Got the link to work- Thanks.
>
> When studying to make my model of these (Breughel)  jackets, I  
> interpreted the sleeve to actually set into an arm hole.  I see  
> that it could also be interpreted without.  I just went on the  
> "majority" rules - even within this painting the similar fashion is  
> shown with a round armhole on women's clothes.  Most of the men's  
> also are set into a round hole.
>
> Now I gotta get my hands on a good copy of the "Deposition .." by  
> Gerard David.....Curious about the no waist seam...
>
> In my memory, someone had done a pretty detailed evaluation of this  
> gown, or at least the issue on a website somewhere....anyone  
> remember?Sg

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Subject: [h-cost] Tailoring Revolution Was: Flat Bottomed Armholes
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In very, very general terms the phenomenon you are looking at is known
as the "tailoring revolution."   It started roughly 1350s with the
advent of the button, in the higher echelons of society and as most
fashion/garment techniques moved down.   The flat bottom armhole that
we are talking about is an interesting study, not so frequently seen
in "higher" society - more readily seen in lower levels of society and
the working class.

And now it is far too late for me to write about this... must go sleep
and then think more before I make the whole thing into a horrid
muddle.

Mari

On Mon, Apr 28, 2008 at 5:50 PM, Saragrace Knauf <wickedfrau@msn.com> wrote:
> Those are very interesting observations Kass.  I just love that kind of experimental investigation.
>  Now I will have to think about the progression from "sleeveless" to sleeved - where/when did the style become less driven by fabric limitations and more driven by fit and style....  (If I remember correctly the Shinrone gown sleeve is just another rectangle sewn in the top of the armscye and ties around the wrist??
>
>
>  Monica, I thought I was talking about new topics....  :)
>  Sg
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Okay now - no cringing.  I have always been curious about a quote and a picture diagram in Kohler. http://saragrace.us/images/Misc/kohlerpleats1&2.pdf  We are all familiar now with the style of dress depicted in the first image - (Thanks Myra and Heather!)What I am curious about is the highlighted text.  He says  "If still more width were desired additional gussets were inserted at the sides and back.  These reached up to the hips." This is a link to a picture which shows the type of gussets I think he means - (Hmm, except it goes up further than the hips)  I am thinking he doesn't mean the triangular gussets we are all familiar with.http://heatherspages.net/Nuremberg%20dress/nuremberg%20images/tafel%2074a.jpg What I am wondering, is if what he means by side gussets is what you see in the picture on the second page.  This comes supposedly from the 16th century...I've never seen this side "gusset" pleating in a painting.  Has anyone else?  I'd love to know what painting the i!
 llustration is based on.  Any clue??  Saragrace P.S.  Sorry for the cross posts - had to get this to the German Ren folks too. 
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Sure, I'll chat this with you after I have a chance to read your full blog post.

Is there any chance at all that the upper classes might have used a
similar flattened opening? I've found the curved armholes found in
almost every 16th c. pattern/drafting a nightmare to fit on my wonky
shoulders....

Allison T.

On Mon, Apr 28, 2008 at 9:28 PM,  <h-costume-request@indra.com> wrote:

>  Behalf Of Kass McGann
>  Sent: Monday, April 28, 2008 6:06 PM
>  To: Historical Costume
>  Subject: Re: [h-cost] New Topics-- please!!!!!
>
>
>  Hi Monica,
>
>  Thanks for the warm welcome!
>
>  Can we talk about flat-bottomed armholes?  I'm totally on about
>  flat-bottomed armholes.
>
>  Kass
>   <http://www.reconstructinghistory.com/>
>  Looking for the perfect gift for the RH fan on your list?  Try a RH Gift
>  Certificate
>  <http://www.reconstructinghistory.com/index.php?s=&c=123&d=160&e=&f=&g=&w=21
>  &q=1&p=360&r=Y> .  They never expire!
>  http://reconstructinghistory.com
>  http://community.livejournal.com/rh_community/
>  http://kass-rants.livejournal.com
>  http://www.reconstructinghistory.blogspot.com/
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Subject: [h-cost] Florence
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I'll be one of the people going to the Janet Arnold symposium in Florence.

There's been a separate Yahoo Groups mailing list set up for people
going (or, indeed, any costume buffs that travel) so we can coordinate
our activities: http://groups.yahoo.com/group/Traveling4Costumers/

Allison T.
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I must admit that I love all the books you have mentioned with the addition
of A Tailor's Manuel from 1589 by Juan Alcega, translation by Ruth Bean.  I
did manage to gather up all the rest of the books available from David Brown
books and they are spoken for or sold.  However, I would be surprised if
there aren't some available from SCA booksellers (I'm not one, I just love
this particular book and want people to have it).  There might also be
perfect ones available from Ruth Bean (here on H-Costume) in England.

Once I figured out what in the world was going on with these original
patterns, it's a book that I'd run into the flames to rescue along with
Queen Elizabeth's Closet and Dress in the Court of Henry VIII.  I'd probably
burn to death because I'd keep trying to cram in one more book!

Seriously,  if you can get a copy of Alcega, as it's known in the SCA at
least, I highly recommend it.  The clothing I've made from it showed that
the patterns are actually to scale, not just drawings of what the pattern
piece should look like.  Not to put the Tudor Tailor down, but I think I'd
prefer the Alcega to it just because of the number of patterns.  Then again,
these are Spanish clothes of the middle class; however Spain was a lot like
the Paris of its time as far as clothing was concerned in the 16th century.

If you do go into things as a Pro.  Be prepared to do a lot of figuring and
planning first.  One of the most common errors people make is pricing their
time too cheaply.  Materials can be costly.  Trim can be costly (I have
gowns where the trim cost more than the fabric and other items combined!),
but you must value your time in a professional manner.  You also have to
treat it as a business.  Business owners have friends, but they can't afford
to sell something at cost very often.  It can be hard to tell your best
friend that the wedding dress she has drooled over all her life is going to
cost her XXX amount if you do it.

As an Amateur I can afford to spend time embroidering, pearling and
generally making something gorgeous for a friend, but I have a real job that
supports my hobby :-)

Wanda
> My question, if you could use 3 books for this (these)
> eras, which would you buy?
>
> The ones I have in my cart are Jane Arnold's Patterns
> of Fashion 1560-1620, as well as her 1660-1860, Jean
> Hunnisett's _Period Costume for Stage and Screen,
> Patterns for Women's dress 1500-1800,   The Tudor
> Tailor by Ninya Mikhaila, and Costume Close Up:
> Clothing Construction and Pattern, 1750-1790 - Linda
> Baumgarten.  I also have a book called Fine Machine
> Sewing and Susan Khalje's Bridal Coutoure book.  Do
> you have any other suggestions?
>
>

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Subject: ---- Robin Netherton <robin@netherton.net> wrote:
> About how many costume/fashion related books or magazines do you own?

I feel like I should start with:
"My name is Cynthia Barnes and I'm a costume addict."
I've got 350+ books on sewing, fashion, then there's vintage 19th c
fashion journals, some bound some not. Closely related are the
etiquette, housekeeping & dance manuals.

> What was the first one you purchased?  Where did you purchase it?

I dont remember.

> What was your most recent purchase?

Oh a handful.  I was at CostumeCon this afternoon. Beginner's
Blackwork is the most different thing for me.  Then I bought some
toupee clips.  I went to a wig lecture & found out this morning that
you can sew these clips to falls & switches then anchor them in your
hair.  Neat!  I'm looking forward to trying these.  This morning, my
Jane Seymour necklace by Pewter Replicas arrived from the UK.  I'm
wearing it!

>  best deal...

   I have 70+ 19th c hand-colored fashion plates; most were purchased
in Europe at teeny-tiny book & ephemera dealers' shops in obscure
areas.

> About how many period photographs do you own just for the costuming?

   400+ 19th c photographs.

> What book or magazine is your most treasured...if your house was on fire, you would take it with you.

   I'd burn to death rescuing treasures and throwing them out the
window to save them from peril.

> What is the worse costume book that you own?

  None!   Just donated them for a nice tax deduction.

> Do you have a room devoted to your collection?

   Double closet, 2 armoires, and 1/2 the garage.
> When did you start collecting?

   Dressups? Oh maybe age 5 or 6.  I had the biggest collection in the
neighborhood.  Hats?  Jewelry?  Oh, once you have 2-3 of anything,
people assume it's a collection and you get more.  My aunts are
particularly to blame for encouragement.

> Do you consider your collection for business or pleasure?

    I think if it more like a dragon's hoard.

> How many sewing machines do you own?  What types and age?

Six. All working.  1897 "portable" cast-iron hand-cranked machine in
it's wooden case with lots of nifty special-purpose feet,
1920s treadle converted to electric in the late 20s,
the turquoise 1950s cabinet machine operated by knee instead of footpedal,
a fantastic 1961 Kenmore that sews *anything* including kevlar,
Viking embroidery machine,
Babylock self-threading serger,
and a hand-carved wooded flax(?) spindle because it was mechanically
interesting.

> How many sewing patterns do you own?

   Two file cabinets of patterns.  Do books of patterns count like the
RL Shep reprints?  How 'bout the ones in the bound journals like
Godey's Ladies Book?  I dunno.  Conservatively:  I'd say "lots".

I'm so glad we have these Costumers Anonymous meetings.  I dont have a
problem  I can quit anytime.
--cin
Cynthia Barnes
CinBarnes@gmail.com
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Hi, All.

Where or from whom do I get the best buy for the money of multi-sized frock coat patterns? If you remember, I'm a small stage costume designer and wish to make five frock coats for our closet, sizes XS-XL. We don't have much money, ever! and I don't want to draft these myself as I don't have newer standard sizes for men.

Also a tip on the suppliers of light weight hard finish wool blends would be appreciated.

Thank you for your suggestions, Audy.

in the high boonies of Central Texas

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From: Mary Llewellyn <maryllewellyn@earthlink.net>
Date: Mon, 28 Apr 2008 20:53:31 -0700
To: Historical Costume <h-costume@indra.com>
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Subject: [h-cost] Speed Regency?  (was:  New Topics-- please!!!!!)
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Hello!  Lurker here, jumping in with a new topic since such were  
asked for.

I have two questions regarding "the airspeed velocity of a relatively  
unembellished Regency* gown c. 1805-1810":  :-)

1.  Can anyone opine as to how many "seamstress-hours" it would have  
taken an early-19c dressmaker's workshop to make a fashionable gown?   
Naturally the length of time would vary with the materials, the  
ornamentation of the gown, and how easy or difficult a particular  
customer might be to fit.  The only clue I have is from the second  
series of "Poldark", in which I vaguely remember Caroline telling  
Demelza that her Georgian gown, though a very fine one, will not do  
for London in 1799, and that the London dressmakers have partly made- 
up gowns that can be fitted to a customer in "four-and-twenty  
hours."  (I assume this means a one-day turnaround, but not  
necessarily that the apprentices would have been burning candles  
around the clock to complete a gown... or would they?)

2.  As a practical matter, do any of you have tips to simplify and/or  
speed up the construction of a Regency gown?  I tried to build one  
for a friend, using a commercial pattern from one of the Big Three (I  
forget which one, but the bodice is very narrow and the melon sleeves  
are huge and require underlining).  That dress fought me every step  
of the way.  It didn't help that I was using a lovely but very  
slippery China silk.  I've never finished the blasted thing -- it  
hangs, half-put-together, in my closet, reproaching me.  (Luckily for  
me, my friend is now too preoccupied with her new baby to be worried  
about not having anything to wear to a Regency dance!)  I want to try  
again with some cotton lawn or other reasonably well-behaved fabric  
and a different pattern, but I want to have some confidence that I  
can actually finish the project.  Any sage advice?

*to be pedantic, I'll just point out here that I'm using the term in  
the dressmaking sense - the actual English Regency was, of course,  
from 1811-1820...

Thanks!
Mary Llewellyn

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Subject: Re: [h-cost] FROCK COAT PATTERNS
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At Costume Con this last weekend, we were talking and someone said the
pattern from Laughing Moon Patterns was good. 

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of AVCHASE
Sent: Monday, April 28, 2008 8:18 PM
To: h-costume posts
Subject: [h-cost] FROCK COAT PATTERNS

Hi, All.

Where or from whom do I get the best buy for the money of multi-sized frock
coat patterns? If you remember, I'm a small stage costume designer and wish
to make five frock coats for our closet, sizes XS-XL. We don't have much
money, ever! and I don't want to draft these myself as I don't have newer
standard sizes for men.

Also a tip on the suppliers of light weight hard finish wool blends would be
appreciated.

Thank you for your suggestions, Audy.

in the high boonies of Central Texas

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PeoplePC Online
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From: "Elena House" <exstock@gmail.com>
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Why do you people have to have a discussion that I'm really interested
in and would love to jump feet first into with a ridiculously long
illustrated post, at a time when I have so much work I have to do
instead that at 1 am, I still have many hours worth of work to do
before I can sleep?  Spoilsports!

-E House
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From: "Aylwen Garden" <aylwengg@gmail.com>
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What era frock coats are you wanting to make? I can advise on regency
and 18C, but have yet to try 1830s +.
Cheers, Aylwen

On Tue, Apr 29, 2008 at 2:54 PM, Sharon Collier <sharon@collierfam.com> wrote:
> At Costume Con this last weekend, we were talking and someone said the
>  pattern from Laughing Moon Patterns was good.
>
>
>
>  -----Original Message-----
>  From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
>  Behalf Of AVCHASE
>  Sent: Monday, April 28, 2008 8:18 PM
>  To: h-costume posts
>  Subject: [h-cost] FROCK COAT PATTERNS
>
>  Hi, All.
>
>  Where or from whom do I get the best buy for the money of multi-sized frock
>  coat patterns? If you remember, I'm a small stage costume designer and wish
>  to make five frock coats for our closet, sizes XS-XL. We don't have much
>  money, ever! and I don't want to draft these myself as I don't have newer
>  standard sizes for men.
>
>  Also a tip on the suppliers of light weight hard finish wool blends would be
>  appreciated.
>
>  Thank you for your suggestions, Audy.
>
>  in the high boonies of Central Texas
>
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From: "Kass McGann" <historian@reconstructinghistory.com>
To: "Historical Costume" <h-costume@indra.com>
Date: Tue, 29 Apr 2008 05:14:37 -0400
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Subject: Re: [h-cost] FROCK COAT PATTERNS
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I'm terribly biased, but I think Reconstructing History patterns are the
best.  And here's why:

1)  They're on bond paper, not tissue, so you can use them again and again.
2)  They have all sizes in the same envelope, so you can make multiple
garments from one pattern.
3)  Our sizes run from the very small (34 chest) to the very large (54
chest).
4)  Our customer service is excellent -- through phone, email, and website
contacts, you can practically get us any time of the day.

Go here:  http://www.reconstructinghistory.com/fabric.php?c=22&w=24&r=Y  and
click on "Pirate Era" and "Mid-18thc and Regency" to see all our Frock
Coats.

PS -- We also sell a lovely lightweight wool flannel:
http://www.reconstructinghistory.com/fabric.php?c=103&w=24&r=Y

Kass
 <http://www.reconstructinghistory.com/>

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of AVCHASE
Sent: Monday, April 28, 2008 11:18 PM
To: h-costume posts
Subject: [h-cost] FROCK COAT PATTERNS


Hi, All.

Where or from whom do I get the best buy for the money of multi-sized frock
coat patterns? If you remember, I'm a small stage costume designer and wish
to make five frock coats for our closet, sizes XS-XL. We don't have much
money, ever! and I don't want to draft these myself as I don't have newer
standard sizes for men.

Also a tip on the suppliers of light weight hard finish wool blends would be
appreciated.

Thank you for your suggestions, Audy.

in the high boonies of Central Texas

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From h-costume-bounces@indra.com  Tue Apr 29 06:48:11 2008
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The yellowing is more of an issue with the clothing than the books or  
patterns, I'd say.
 
The value of any books and patterns will be reduced a little, but less than  
if the clothing is yellowed.
 
Not necessarily rendering the clothing worthless, as there are more ways to  
get marks and stains out of the clothes than the books.
 
As far as the smell goes, I have to say that the best thing in the world  for 
getting rid of cigarette smoke smell is just plain fresh air!  (which  can be 
indoor smoke free air as well as outdoor).
 
Sympathies on the smokiness though - I once moved into a flat that had to  
have the ceiling scrubbed with neat bleach to get rid of the tar.


 



   
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Hi,

I'm wondering about buying a book from these series, I'll be most interested in the 17th century and the 14th and 15th. Other periods are ok, but these three are my main interest right now. 

I'm not looking for a fashion theory itself, but for something practical, like advice on making, recreating etc. A sort of books that are very helpful to me are books with instructions or patterns for the re-creating the costume (The medieval tailor's assistant, The tudor tailor, Frances Grimble's books, Janet Arnold,...).

These book series seem to have two parts: one is theory, one is praxis. But I've seen no examples (excerpts), no "index", almost no reviews. 

Do you think these books might be a help if I'm looking for info of middle/lower class costume and am an advanced sewer? Or is it a waste of money? Any other books recommended?

Thanks,

Zuzana


       
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At 16:45 29/04/2008, you wrote:
>Hi,
>
>I'm wondering about buying a book from these series, I'll be most 
>interested in the 17th century and the 14th and 15th. Other periods 
>are ok, but these three are my main interest right now.

Is this a particular series, or are you just looking for general 
recommendations?

Suzi


>I'm not looking for a fashion theory itself, but for something 
>practical, like advice on making, recreating etc. A sort of books 
>that are very helpful to me are books with instructions or patterns 
>for the re-creating the costume (The medieval tailor's assistant, 
>The tudor tailor, Frances Grimble's books, Janet Arnold,...).
>
>These book series seem to have two parts: one is theory, one is 
>praxis. But I've seen no examples (excerpts), no "index", almost no reviews.
>
>Do you think these books might be a help if I'm looking for info of 
>middle/lower class costume and am an advanced sewer? Or is it a 
>waste of money? Any other books recommended?
>
>Thanks,
>
>Zuzana
>
>
>
>---------------------------------
>Be a better friend, newshound, and know-it-all with Yahoo! 
>Mobile.  Try it now.
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I didn't know that there were new ones out, or I would have been at Joann's too. Guess I'll have to wait until the next pattern sale as I love the green one. I'm starting on my first civil war era dress today, Simplicity 3727. Wish me luck.
   
  Vicky

 Cynthia" <CynthiaAbel@creighton.edu> wrote:
  

Simplicity summer catalog is out at my local Joann's so I snagged the
two new Civil War gown patterns, and the chemise, drawers and corset
pattern at the Thurs-Sat $1.99 pattern sale. The gowns are rather
dressy.

Cindy Abel
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You can find me at
http://360.yahoo.com/vickycoleen2007 
  or
  www.southerngracedesigns.com
  
 
  
 
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It is a particular series. If you, however, knew of something better, I'd be glad to hear about it.

Suzi Clarke <suzi@suziclarke.co.uk> wrote: At 16:45 29/04/2008, you wrote:
>Hi,
>
>I'm wondering about buying a book from these series, I'll be most 
>interested in the 17th century and the 14th and 15th. Other periods 
>are ok, but these three are my main interest right now.

Is this a particular series, or are you just looking for general 
recommendations?

Suzi


>I'm not looking for a fashion theory itself, but for something 
>practical, like advice on making, recreating etc. A sort of books 
>that are very helpful to me are books with instructions or patterns 
>for the re-creating the costume (The medieval tailor's assistant, 
>The tudor tailor, Frances Grimble's books, Janet Arnold,...).
>
>These book series seem to have two parts: one is theory, one is 
>praxis. But I've seen no examples (excerpts), no "index", almost no reviews.
>
>Do you think these books might be a help if I'm looking for info of 
>middle/lower class costume and am an advanced sewer? Or is it a 
>waste of money? Any other books recommended?
>
>Thanks,
>
>Zuzana
>
>
>
>---------------------------------
>Be a better friend, newshound, and know-it-all with Yahoo! 
>Mobile.  Try it now.
>_______________________________________________
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>h-costume@mail.indra.com
>http://mail.indra.com/mailman/listinfo/h-costume

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Cynthia,

Which two patterns are you talking about as the new ones? I was on the
Simplicity website and didn't see anything new, even under the "New Items"
that I hadn't seen before. Help please!

Thanks,
Lynn

On Tue, Apr 29, 2008 at 10:08 AM, Vicky Simpson <vickycoleen2000@yahoo.com>
wrote:

> I didn't know that there were new ones out, or I would have been at
> Joann's too. Guess I'll have to wait until the next pattern sale as I love
> the green one. I'm starting on my first civil war era dress today,
> Simplicity 3727. Wish me luck.
>
>  Vicky
>
>  Cynthia" <CynthiaAbel@creighton.edu> wrote:
>
>
> Simplicity summer catalog is out at my local Joann's so I snagged the
> two new Civil War gown patterns, and the chemise, drawers and corset
> pattern at the Thurs-Sat $1.99 pattern sale. The gowns are rather
> dressy.
>
> Cindy Abel
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>
>
>
> You can find me at
> http://360.yahoo.com/vickycoleen2007
>  or
>  www.southerngracedesigns.com
>
>
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>
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If someone's ever going to try the new corset, drawers and chemise pattern 2890, let me know the results! I was very satisfied with the 7215 corset pattern, so I'd like to try this one.

Zuzana



Lynn Downward <lynndownward@gmail.com> wrote: Cynthia,

Which two patterns are you talking about as the new ones? I was on the
Simplicity website and didn't see anything new, even under the "New Items"
that I hadn't seen before. Help please!

Thanks,
Lynn

On Tue, Apr 29, 2008 at 10:08 AM, Vicky Simpson 
wrote:

> I didn't know that there were new ones out, or I would have been at
> Joann's too. Guess I'll have to wait until the next pattern sale as I love
> the green one. I'm starting on my first civil war era dress today,
> Simplicity 3727. Wish me luck.
>
>  Vicky
>
>  Cynthia"  wrote:
>
>
> Simplicity summer catalog is out at my local Joann's so I snagged the
> two new Civil War gown patterns, and the chemise, drawers and corset
> pattern at the Thurs-Sat $1.99 pattern sale. The gowns are rather
> dressy.
>
> Cindy Abel
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>
>
>
> You can find me at
> http://360.yahoo.com/vickycoleen2007
>  or
>  www.southerngracedesigns.com
>
>
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>
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	<8296995c0804291031q94bc543te2fafc158974f2f@mail.gmail.com>
From: "Abel, Cynthia" <CynthiaAbel@creighton.edu>
To: "Historical Costume" <h-costume@indra.com>
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The Simplicity website may not have been updated yet. The dress patterns
are 2881 and 2887. The chemise, corset and drawers pattern is 2890. Very
often, McCalls, Butterick, Vogue, and Simplicity new pattern books and
patterns are available at major fabric stores before the websites get
updated. Look for the "Summer" Simplicity book. My local JoAnn's in
Omaha, NE had it, so others must too. There is also a men's c1880's
gambler, Wild West, whatever pattern, maybe inspired by the movie "There
Will be Blood" or HBO series "Deadwood." I was kind of disappointed that
there were no new patterns for circa 1300-1800, with summer RenFaires.
Hoping the Martha McCain 18th century patterns(last I heard, she was
researching them as Simplicity supposedly thought the Civil War period
was "done).

Cindy Abel

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
On Behalf Of Lynn Downward
Sent: Tuesday, April 29, 2008 12:32 PM
To: Historical Costume
Subject: Re: [h-cost] Simplicity new Civil War patterns

Cynthia,

Which two patterns are you talking about as the new ones? I was on the
Simplicity website and didn't see anything new, even under the "New
Items"
that I hadn't seen before. Help please!

Thanks,
Lynn

On Tue, Apr 29, 2008 at 10:08 AM, Vicky Simpson
<vickycoleen2000@yahoo.com>
wrote:

> I didn't know that there were new ones out, or I would have been at
> Joann's too. Guess I'll have to wait until the next pattern sale as I
love
> the green one. I'm starting on my first civil war era dress today,
> Simplicity 3727. Wish me luck.
>
>  Vicky
>
>  Cynthia" <CynthiaAbel@creighton.edu> wrote:
>
>
> Simplicity summer catalog is out at my local Joann's so I snagged the
> two new Civil War gown patterns, and the chemise, drawers and corset
> pattern at the Thurs-Sat $1.99 pattern sale. The gowns are rather
> dressy.
>
> Cindy Abel
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>
>
>
> You can find me at
> http://360.yahoo.com/vickycoleen2007
>  or
>  www.southerngracedesigns.com
>
>
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>
_______________________________________________
h-costume mailing list
h-costume@mail.indra.com
http://mail.indra.com/mailman/listinfo/h-costume
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At 18:30 29/04/2008, you wrote:
>It is a particular series. If you, however, knew of something 
>better, I'd be glad to hear about it.

My point is that I don't know it - can you give me more details?

Suzi


>Suzi Clarke <suzi@suziclarke.co.uk> wrote: At 16:45 29/04/2008, you wrote:
> >Hi,
> >
> >I'm wondering about buying a book from these series, I'll be most
> >interested in the 17th century and the 14th and 15th. Other periods
> >are ok, but these three are my main interest right now.
>
>Is this a particular series, or are you just looking for general
>recommendations?
>
>Suzi
>
>
> >I'm not looking for a fashion theory itself, but for something
> >practical, like advice on making, recreating etc. A sort of books
> >that are very helpful to me are books with instructions or patterns
> >for the re-creating the costume (The medieval tailor's assistant,
> >The tudor tailor, Frances Grimble's books, Janet Arnold,...).
> >
> >These book series seem to have two parts: one is theory, one is
> >praxis. But I've seen no examples (excerpts), no "index", almost no reviews.
> >
> >Do you think these books might be a help if I'm looking for info of
> >middle/lower class costume and am an advanced sewer? Or is it a
> >waste of money? Any other books recommended?
> >
> >Thanks,
> >
> >Zuzana
> >
> >
> >
> >---------------------------------
> >Be a better friend, newshound, and know-it-all with Yahoo!
> >Mobile.  Try it now.
> >_______________________________________________
> >h-costume mailing list
> >h-costume@mail.indra.com
> >http://mail.indra.com/mailman/listinfo/h-costume
>
>_______________________________________________
>h-costume mailing list
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>http://mail.indra.com/mailman/listinfo/h-costume
>
>
>
>---------------------------------
>Be a better friend, newshound, and know-it-all with Yahoo! 
>Mobile.  Try it now.
>_______________________________________________
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From: Zuzana Kraemerova <zkraemerova@yahoo.com>
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I know very little about it either, that's why I'm asking here. Amazon.uk has some copies: http://www.amazon.co.uk/s/ref=nb_ss_w_h_/202-2517721-5491063?url=search-alias%3Daps&field-keywords=clothes+of+the+common&x=0&y=0

I think someone here suggested these books to me, but I thought I'd need more feedback before purchasing books that might not be very helpful to me.

Zuzana

Suzi Clarke <suzi@suziclarke.co.uk> wrote: At 18:30 29/04/2008, you wrote:
>It is a particular series. If you, however, knew of something 
>better, I'd be glad to hear about it.

My point is that I don't know it - can you give me more details?

Suzi


>Suzi Clarke  wrote: At 16:45 29/04/2008, you wrote:
> >Hi,
> >
> >I'm wondering about buying a book from these series, I'll be most
> >interested in the 17th century and the 14th and 15th. Other periods
> >are ok, but these three are my main interest right now.
>
>Is this a particular series, or are you just looking for general
>recommendations?
>
>Suzi
>
>
> >I'm not looking for a fashion theory itself, but for something
> >practical, like advice on making, recreating etc. A sort of books
> >that are very helpful to me are books with instructions or patterns
> >for the re-creating the costume (The medieval tailor's assistant,
> >The tudor tailor, Frances Grimble's books, Janet Arnold,...).
> >
> >These book series seem to have two parts: one is theory, one is
> >praxis. But I've seen no examples (excerpts), no "index", almost no reviews.
> >
> >Do you think these books might be a help if I'm looking for info of
> >middle/lower class costume and am an advanced sewer? Or is it a
> >waste of money? Any other books recommended?
> >
> >Thanks,
> >
> >Zuzana
> >
> >
> >
> >---------------------------------
> >Be a better friend, newshound, and know-it-all with Yahoo!
> >Mobile.  Try it now.
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>
>
>---------------------------------
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>http://mail.indra.com/mailman/listinfo/h-costume

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At 19:14 29/04/2008, you wrote:
>I know very little about it either, that's why I'm asking here. 
>Amazon.uk has some copies: 
>http://www.amazon.co.uk/s/ref=nb_ss_w_h_/202-2517721-5491063?url=search-alias%3Daps&field-keywords=clothes+of+the+common&x=0&y=0
>
>I think someone here suggested these books to me, but I thought I'd 
>need more feedback before purchasing books that might not be very 
>helpful to me.


These books have been recommended on Living History sites in the U.K. 
The research is very thorough,  through wills and papers in Essex I 
think. I personally do not know them, and have not liked some the 
clothes made by Jane Huggett, but that is a personal opinion. I know 
other people who have been happy with what she's made.

Suzi 

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Zuzana Kraemerova wrote:
> I know very little about it either, that's why I'm asking here. Amazon.uk has some copies: http://www.amazon.co.uk/s/ref=nb_ss_w_h_/202-2517721-5491063?url=search-alias%3Daps&field-keywords=clothes+of+the+common&x=0&y=0

I'd never heard of them myself, but they do appear to have some volumes in my 
own periods of interest, so I'd be curious.

They appear to be printed by a living history organization. Here's the website:

http://www.stuart-hmaltd.com/index.php

The "About Us" section is very instructive. I bet these people and their books 
would be well known among the UK re-enactors and so it might be worth asking 
about this at the UK living history web forum, http://livinghistory.co.uk/forums/

For the books, look under "publications" on the Stuart site and follow the 
"Clothing" links by date range. The one name I recognize under the authors is 
Sarah Thursfield, who is also a living history costumer and of course has her 
own book on making medieval clothing. Most of the books, however, seem to be 
written by Robert Morris and Jane Hugget (or Huggett, they are inconsistent in 
spelling her name).

The prices here vary slightly from Amazon so it would be worth careful 
comparisons and consideration of shipping if you're going to buy. At least 
they give a line of description for each and a page count (some are obviously 
pamphlets).

Of interest is the note at the bottom: "Historical Management Associates Ltd. 
makes a range of historically-correct fabrics such as frieze, kersey, russet, 
cotton and say."

--Robin
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Of interest is the note at the bottom: "Historical Management Associates
Ltd.
makes a range of historically-correct fabrics such as frieze, kersey,
russet,
cotton and say."

--Robin
>>>>
I saw their offerings the last time I was in the UK.  Awesome stuff.
Limited in colour and availability, but the "real deal" -- made from period
fleeces and everything.  And of course outrageously expensive, especially
with the sinking dollar.  Unfortunately I don't think they sell to the US.
You kinda have to go to them.

Kass
 <http://www.reconstructinghistory.com/>

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At 19:42 29/04/2008, you wrote:
>Zuzana Kraemerova wrote:
> > I know very little about it either, that's why I'm asking here. 
> Amazon.uk has some copies: 
> http://www.amazon.co.uk/s/ref=nb_ss_w_h_/202-2517721-5491063?url=search-alias%3Daps&field-keywords=clothes+of+the+common&x=0&y=0
>
>I'd never heard of them myself, but they do appear to have some volumes in my
>own periods of interest, so I'd be curious.
>
>They appear to be printed by a living history organization. Here's 
>the website:
>
>http://www.stuart-hmaltd.com/index.php
>
>The "About Us" section is very instructive. I bet these people and 
>their books
>would be well known among the UK re-enactors and so it might be worth asking
>about this at the UK living history web forum, 
>http://livinghistory.co.uk/forums/
>
>For the books, look under "publications" on the Stuart site and follow the
>"Clothing" links by date range. The one name I recognize under the authors is
>Sarah Thursfield, who is also a living history costumer and of course has her
>own book on making medieval clothing. Most of the books, however, seem to be
>written by Robert Morris and Jane Hugget (or Huggett, they are 
>inconsistent in
>spelling her name).
>
>The prices here vary slightly from Amazon so it would be worth careful
>comparisons and consideration of shipping if you're going to buy. At least
>they give a line of description for each and a page count (some are obviously
>pamphlets).
>
>Of interest is the note at the bottom: "Historical Management Associates Ltd.
>makes a range of historically-correct fabrics such as frieze, kersey, russet,
>cotton and say."

The fabrics are dyed with dyes that would have been available at the 
time, and hand woven. They are highly recommended by U.K. re-enactors.

The group as a whole has an excellent reputation. (I do not use the 
books myself, as I am a snob, and only work with "gentry" and not the 
common people *snigger*)

Suzi

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At 19:52 29/04/2008, you wrote:
>Of interest is the note at the bottom: "Historical Management Associates
>Ltd.
>makes a range of historically-correct fabrics such as frieze, kersey,
>russet,
>cotton and say."
>
>--Robin
> >>>>
>I saw their offerings the last time I was in the UK.  Awesome stuff.
>Limited in colour and availability, but the "real deal" -- made from period
>fleeces and everything.  And of course outrageously expensive, especially
>with the sinking dollar.  Unfortunately I don't think they sell to the US.
>You kinda have to go to them.

And wait. It takes a long time to prepare the fabric. A colleague of 
mine just received hers after some longish wait, and was well pleased.

Suzi

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Oh!  You're talking about the Stuart Press Books.  Paul Meekins Books in the
UK carries them all:
http://www.paulmeekins.co.uk/pamphlets/pamphletindex.htm

They're not bad.  They use a lot of wills and probate inventories as
sources.  But they often don't give enough information to be really helpful
in constructing garments from the time period.  I've found their evidence to
be very historically accurate, but some of their patterns to be very
theatrical.

A great source for information -- not a great source for period construction
techniques.  They're nothing close to the level of Arnold, or even the Tudor
Tailor.

Kass
 <http://www.reconstructinghistory.com/>
Looking for the perfect gift for the RH fan on your list?  Try a RH Gift
Certificate
<http://www.reconstructinghistory.com/index.php?s=&c=123&d=160&e=&f=&g=&w=21
&q=1&p=360&r=Y> .  They never expire!
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-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of Zuzana Kraemerova
Sent: Tuesday, April 29, 2008 2:14 PM
To: Historical Costume
Subject: Re: [h-cost] Clothes of the common man/woman


I know very little about it either, that's why I'm asking here. Amazon.uk
has some copies:
http://www.amazon.co.uk/s/ref=nb_ss_w_h_/202-2517721-5491063?url=search-alia
s%3Daps&field-keywords=clothes+of+the+common&x=0&y=0

I think someone here suggested these books to me, but I thought I'd need
more feedback before purchasing books that might not be very helpful to me.

Zuzana

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From: lauren.walker@comcast.net
To: Historical Costume <h-costume@indra.com>,
        "Historical Costume" <h-costume@indra.com>
Date: Tue, 29 Apr 2008 19:49:54 +0000
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Uh-oh. A challenge! *grin*
Lauren Walker
aka lauren@timetraveltextiles.com

-------------- Original message -------------- 
From: "Kass McGann" <historian@reconstructinghistory.com> 

> Of interest is the note at the bottom: "Historical Management Associates 
> Ltd. 
> makes a range of historically-correct fabrics such as frieze, kersey, 
> russet, 
> cotton and say." 
> 
> --Robin 
> >>>> 
> I saw their offerings the last time I was in the UK. Awesome stuff. 
> Limited in colour and availability, but the "real deal" -- made from period 
> fleeces and everything. And of course outrageously expensive, especially 
> with the sinking dollar. Unfortunately I don't think they sell to the US. 
> You kinda have to go to them. 
> 
> Kass 
> 
> 
> _______________________________________________ 
> h-costume mailing list 
> h-costume@mail.indra.com 
> http://mail.indra.com/mailman/listinfo/h-costume 
_______________________________________________
h-costume mailing list
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Uh-oh. A challenge! *grin*
Lauren Walker
aka lauren@timetraveltextiles.com

-------------- Original message -------------- 
From: "Kass McGann" <historian@reconstructinghistory.com> 

> Of interest is the note at the bottom: "Historical Management Associates 
> Ltd. 
> makes a range of historically-correct fabrics such as frieze, kersey, 
> russet, 
> cotton and say." 
> 
> --Robin 
> >>>> 
> I saw their offerings the last time I was in the UK. Awesome stuff. 
> Limited in colour and availability, but the "real deal" -- made from period 
> fleeces and everything. And of course outrageously expensive, especially 
> with the sinking dollar. Unfortunately I don't think they sell to the US. 
> You kinda have to go to them. 
> 
> Kass 
> 
> 
> _______________________________________________ 
> 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

From h-costume-bounces@indra.com  Tue Apr 29 16:09:36 2008
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Subject: [h-cost] Patterns of Fashion Volume 4: linen
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Has anyone heard anymore about the publication below? Such as 
publisher and a real date?

Jenny Tiramani is currently preparing Janet Arnold's book, Patterns 
of Fashion Volume 4 ; The cut and construction of linen shirts, 
smocks, neckwear, headwear & accessories for men and women 
c.1540-1660 for publication in 2008.

Thanks,
Beth Matney

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

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Has anyone heard anymore about the publication below? Such as 
publisher and a real date?

Jenny Tiramani is currently preparing Janet Arnold's book, Patterns 
of Fashion Volume 4 ; The cut and construction of linen shirts, 
smocks, neckwear, headwear & accessories for men and women 
c.1540-1660 for publication in 2008.

Thanks,
Beth Matney

      All I know is that I really really really want this.......wish they'd
quit foolin' around....

Liadain
Who also wants to know


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Subject: Re: [h-cost] Patterns of Fashion Volume 4: linen
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At 22:20 29/04/2008, you wrote:

>Has anyone heard anymore about the publication below? Such as
>publisher and a real date?
>
>Jenny Tiramani is currently preparing Janet Arnold's book, Patterns
>of Fashion Volume 4 ; The cut and construction of linen shirts,
>smocks, neckwear, headwear & accessories for men and women
>c.1540-1660 for publication in 2008.

That's Santina Levey and Jenny Tiramani. The last time I spoke to 
them, they were expecting to be publishing early this year, but both 
have their own work, and I know Tina was ill for a while. They 
published Janet's notes on the Effigy Corset, plus her patterns, in 
"Costume", the journal of the Costume Society, in 2007.

Suzi

>Thanks,
>Beth Matney
>
>       All I know is that I really really really want this.......wish they'd
>quit foolin' around....
>
>Liadain
>Who also wants to know
>
>
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
>http://mail.indra.com/mailman/listinfo/h-costume

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From: "S Young" <sid.young@gmail.com>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] Simplicity new Civil War patterns
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All these patterns pop up on eBay from time to time, so you can usually find
them. I did a quick search and:

http://www.farthingales.on.ca/simplicity_patterns.php

Has a few of the patterns scanned with some details... I quite like
"Simplicity 5724 Civil War Ball Dress pattern"

The simplicity web site list the new patterns (2881, 2887 and 2890) right
down the bottom of the page:

http://www.simplicity.com/index.cfm?page=wnsimp.cfm

I quite like the new offerings... me thinks a trip to Spotlight one lunch
time might be in order!

Sidney


On Wed, Apr 30, 2008 at 4:03 AM, Abel, Cynthia <CynthiaAbel@creighton.edu>
wrote:

> The Simplicity website may not have been updated yet. The dress patterns
> are 2881 and 2887. The chemise, corset and drawers pattern is 2890. Very
> often, McCalls, Butterick, Vogue, and Simplicity new pattern books and
> patterns are available at major fabric stores before the websites get
> updated. Look for the "Summer" Simplicity book. My local JoAnn's in
> Omaha, NE had it, so others must too. There is also a men's c1880's
> gambler, Wild West, whatever pattern, maybe inspired by the movie "There
> Will be Blood" or HBO series "Deadwood." I was kind of disappointed that
> there were no new patterns for circa 1300-1800, with summer RenFaires.
> Hoping the Martha McCain 18th century patterns(last I heard, she was
> researching them as Simplicity supposedly thought the Civil War period
> was "done).
>
> Cindy Abel
>
> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
> On Behalf Of Lynn Downward
> Sent: Tuesday, April 29, 2008 12:32 PM
> To: Historical Costume
> Subject: Re: [h-cost] Simplicity new Civil War patterns
>
> Cynthia,
>
> Which two patterns are you talking about as the new ones? I was on the
> Simplicity website and didn't see anything new, even under the "New
> Items"
> that I hadn't seen before. Help please!
>
> Thanks,
> Lynn
>
> On Tue, Apr 29, 2008 at 10:08 AM, Vicky Simpson
> <vickycoleen2000@yahoo.com>
> wrote:
>
> > I didn't know that there were new ones out, or I would have been at
> > Joann's too. Guess I'll have to wait until the next pattern sale as I
> love
> > the green one. I'm starting on my first civil war era dress today,
> > Simplicity 3727. Wish me luck.
> >
> >  Vicky
> >
> >  Cynthia" <CynthiaAbel@creighton.edu> wrote:
> >
> >
> > Simplicity summer catalog is out at my local Joann's so I snagged the
> > two new Civil War gown patterns, and the chemise, drawers and corset
> > pattern at the Thurs-Sat $1.99 pattern sale. The gowns are rather
> > dressy.
> >
> > Cindy Abel
> > _______________________________________________
> > h-costume mailing list
> > h-costume@mail.indra.com
> > http://mail.indra.com/mailman/listinfo/h-costume
> >
> >
> >
> > You can find me at
> > http://360.yahoo.com/vickycoleen2007
> >  or
> >  www.southerngracedesigns.com
> >
> >
> >
> >
> > _______________________________________________
> > h-costume mailing list
> > h-costume@mail.indra.com
> > http://mail.indra.com/mailman/listinfo/h-costume
> >
> _______________________________________________
> h-costume mailing list
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> _______________________________________________
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>



-- 


Visit Sid's
"Classic Japanese Motorcycle Restoration Site"
http://z900.piczo.com/
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Date: Tue, 29 Apr 2008 15:47:51 -0700
To: h-costume@indra.com, margospatterns@yahoogroups.com
From: Joan Jurancich <joanmj@surewest.net>
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Subject: [h-cost] Fwd: Joan,
 Limited time promotional sale on new super light  weight fabric!
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>From: "Fabrics-Store.com Chronicle" <ask@fabrics-store.com>
>
>Dear Joan,
>
>What a better way to start your projects than with huge savings on 
>an incredibly popular fabric!
>
>You have heard of the very light weight fabric. Delicate and very 
>exclusive, this fabric is on the crafters most wanted list any time 
>of year, and even more so during the warm spring/summer seasons.
>
>Weighing only 2.8 ounces and woven with 78 threads per inch, this 
>refined cloth is to be used for projects that need the lightest yet 
>strongest of all available fabrics. To make sure that your fabric 
>needs are met, this cloth type was manufactured in 100% Linen and in 
>a Linen/Cotton blend.
>If you prefer less ironing and wrinkling- choose the IS001 
>Linen/Cotton blend and it will prove itself to be above your 
>expectations If you wish to maximize health benefits of your 
>article, to increase its longevity or simply because you are a 100% 
>linen kind of person, then the IL(030) is the right match for you
>
>Both these fabrics are certainly very easy to work with and can 
>definitely be washed. Ease of fabric care allows you to use anything 
>you have made out of this fabric everyday - even after an incredibly 
>humid and dusty day, you just throw your things in the washer and 
>they are as good as new and ready to go.
>
>This fabric tends to be difficult to find and if you find it, it 
>usually costs too much to be used everywhere it is needed. Starting 
>right now, you no longer need to search for more affordable 
>substitutes. With this promotional discount, you can get enough of 
>this fabric for all projects that require the finesse and durability 
>of this cloth be it a ladies slip, a man's pocket handkerchief or an 
>elegant window treatments.
>
>The promotion will be this week - only through Sunday May 3rd and is 
>an excellent opportunity to save an extra 10%.
><http://clicks.aweber.com/y/ct/?l=C4tym&m=1atVFD4dH7kVyH&b=kgkgUOTyOCT5W6QfEsJM2Q>Enter 
>here to go directly to the discounted 2.8 ounces a yard fabric and 
>start saving now!
>
>Thank you and enjoy,
>
>Nikolai Karpushin
>Owner and President,
><http://clicks.aweber.com/y/ct/?l=C4tym&m=1atVFD4dH7kVyH&b=kgkgUOTyOCT5W6QfEsJM2Q>Fabrics-store.com
>
>P.S. Don't forget that with every purchase, you earn points that can 
>be transferred into dollar credit.
>
>P.P.S. Sign up to receive our Doggie bag alerts and be the first to 
>know when new Doggie bags are posted. These are 1st quality precut 
>pieces of fabric. Since they are precut, you get them at terrific 
>discount. After all, you'd cut them anyway.
>
>P.P.P.S If you know someone who will value this information, feel 
>free to forward them this email.
>
>Terms & Conditions
>Offer cannot be applied to previous or pending purchases.

I just received this and thought about all those costumers who may 
need fine linen for shifts, coifs, etc.  Enjoy!
 From your friendly fabric stash facilitator >:-},

Joan Jurancich
joanmj@surewest.net 
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From: "Lynn Downward" <lynndownward@gmail.com>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] Simplicity new Civil War patterns
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I swear these new patterns weren't there last night when I checked. They're
certainly there now, though. I think I prefer Laughing Moon's Man's Frock
Coat, although the shirt in that pattern looks ok.

The two dresses are really pretty. Again, I think I prefer Laughing Moon's
underwear pattern to the Simplicity one, but it's a lovely chemise.

Lynn

On Tue, Apr 29, 2008 at 2:28 PM, S Young <sid.young@gmail.com> wrote:

> All these patterns pop up on eBay from time to time, so you can usually
> find
> them. I did a quick search and:
>
> http://www.farthingales.on.ca/simplicity_patterns.php
>
> Has a few of the patterns scanned with some details... I quite like
> "Simplicity 5724 Civil War Ball Dress pattern"
>
> The simplicity web site list the new patterns (2881, 2887 and 2890) right
> down the bottom of the page:
>
> http://www.simplicity.com/index.cfm?page=wnsimp.cfm
>
> I quite like the new offerings... me thinks a trip to Spotlight one lunch
> time might be in order!
>
> Sidney
>
>
> On Wed, Apr 30, 2008 at 4:03 AM, Abel, Cynthia <CynthiaAbel@creighton.edu>
>  wrote:
>
> > The Simplicity website may not have been updated yet. The dress patterns
> > are 2881 and 2887. The chemise, corset and drawers pattern is 2890. Very
> > often, McCalls, Butterick, Vogue, and Simplicity new pattern books and
> > patterns are available at major fabric stores before the websites get
> > updated. Look for the "Summer" Simplicity book. My local JoAnn's in
> > Omaha, NE had it, so others must too. There is also a men's c1880's
> > gambler, Wild West, whatever pattern, maybe inspired by the movie "There
> > Will be Blood" or HBO series "Deadwood." I was kind of disappointed that
> > there were no new patterns for circa 1300-1800, with summer RenFaires.
> > Hoping the Martha McCain 18th century patterns(last I heard, she was
> > researching them as Simplicity supposedly thought the Civil War period
> > was "done).
> >
> > Cindy Abel
> >
> > -----Original Message-----
> > From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
> > On Behalf Of Lynn Downward
> > Sent: Tuesday, April 29, 2008 12:32 PM
> > To: Historical Costume
> > Subject: Re: [h-cost] Simplicity new Civil War patterns
> >
> > Cynthia,
> >
> > Which two patterns are you talking about as the new ones? I was on the
> > Simplicity website and didn't see anything new, even under the "New
> > Items"
> > that I hadn't seen before. Help please!
> >
> > Thanks,
> > Lynn
> >
> > On Tue, Apr 29, 2008 at 10:08 AM, Vicky Simpson
> > <vickycoleen2000@yahoo.com>
> > wrote:
> >
> > > I didn't know that there were new ones out, or I would have been at
> > > Joann's too. Guess I'll have to wait until the next pattern sale as I
> > love
> > > the green one. I'm starting on my first civil war era dress today,
> > > Simplicity 3727. Wish me luck.
> > >
> > >  Vicky
> > >
> > >  Cynthia" <CynthiaAbel@creighton.edu> wrote:
> > >
> > >
> > > Simplicity summer catalog is out at my local Joann's so I snagged the
> > > two new Civil War gown patterns, and the chemise, drawers and corset
> > > pattern at the Thurs-Sat $1.99 pattern sale. The gowns are rather
> > > dressy.
> > >
> > > Cindy Abel
> > > _______________________________________________
> > > h-costume mailing list
> > > h-costume@mail.indra.com
> > > http://mail.indra.com/mailman/listinfo/h-costume
> > >
> > >
> > >
> > > You can find me at
> > > http://360.yahoo.com/vickycoleen2007
> > >  or
> > >  www.southerngracedesigns.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
> > _______________________________________________
> > h-costume mailing list
> > h-costume@mail.indra.com
> > http://mail.indra.com/mailman/listinfo/h-costume
> >
>
>
>
> --
>
>
> Visit Sid's
> "Classic Japanese Motorcycle Restoration Site"
> http://z900.piczo.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  Tue Apr 29 20:39:49 2008
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From: Vicky Simpson <vickycoleen2000@yahoo.com>
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In popular opinion, do they have the correct period look?
   
  Vicky

Lynn Downward <lynndownward@gmail.com> wrote:
  I swear these new patterns weren't there last night when I checked. They're
certainly there now, though. I think I prefer Laughing Moon's Man's Frock
Coat, although the shirt in that pattern looks ok.

The two dresses are really pretty. Again, I think I prefer Laughing Moon's
underwear pattern to the Simplicity one, but it's a lovely chemise.

Lynn

On Tue, Apr 29, 2008 at 2:28 PM, S Young wrote:

> All these patterns pop up on eBay from time to time, so you can usually
> find
> them. I did a quick search and:
>
> http://www.farthingales.on.ca/simplicity_patterns.php
>
> Has a few of the patterns scanned with some details... I quite like
> "Simplicity 5724 Civil War Ball Dress pattern"
>
> The simplicity web site list the new patterns (2881, 2887 and 2890) right
> down the bottom of the page:
>
> http://www.simplicity.com/index.cfm?page=wnsimp.cfm
>
> I quite like the new offerings... me thinks a trip to Spotlight one lunch
> time might be in order!
>
> Sidney
>
>
> On Wed, Apr 30, 2008 at 4:03 AM, Abel, Cynthia 
> wrote:
>
> > The Simplicity website may not have been updated yet. The dress patterns
> > are 2881 and 2887. The chemise, corset and drawers pattern is 2890. Very
> > often, McCalls, Butterick, Vogue, and Simplicity new pattern books and
> > patterns are available at major fabric stores before the websites get
> > updated. Look for the "Summer" Simplicity book. My local JoAnn's in
> > Omaha, NE had it, so others must too. There is also a men's c1880's
> > gambler, Wild West, whatever pattern, maybe inspired by the movie "There
> > Will be Blood" or HBO series "Deadwood." I was kind of disappointed that
> > there were no new patterns for circa 1300-1800, with summer RenFaires.
> > Hoping the Martha McCain 18th century patterns(last I heard, she was
> > researching them as Simplicity supposedly thought the Civil War period
> > was "done).
> >
> > Cindy Abel
> >
> > -----Original Message-----
> > From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
> > On Behalf Of Lynn Downward
> > Sent: Tuesday, April 29, 2008 12:32 PM
> > To: Historical Costume
> > Subject: Re: [h-cost] Simplicity new Civil War patterns
> >
> > Cynthia,
> >
> > Which two patterns are you talking about as the new ones? I was on the
> > Simplicity website and didn't see anything new, even under the "New
> > Items"
> > that I hadn't seen before. Help please!
> >
> > Thanks,
> > Lynn
> >
> > On Tue, Apr 29, 2008 at 10:08 AM, Vicky Simpson
> > 
> > wrote:
> >
> > > I didn't know that there were new ones out, or I would have been at
> > > Joann's too. Guess I'll have to wait until the next pattern sale as I
> > love
> > > the green one. I'm starting on my first civil war era dress today,
> > > Simplicity 3727. Wish me luck.
> > >
> > > Vicky
> > >
> > > Cynthia" wrote:
> > >
> > >
> > > Simplicity summer catalog is out at my local Joann's so I snagged the
> > > two new Civil War gown patterns, and the chemise, drawers and corset
> > > pattern at the Thurs-Sat $1.99 pattern sale. The gowns are rather
> > > dressy.
> > >
> > > Cindy Abel
> > > _______________________________________________
> > > h-costume mailing list
> > > h-costume@mail.indra.com
> > > http://mail.indra.com/mailman/listinfo/h-costume
> > >
> > >
> > >
> > > You can find me at
> > > http://360.yahoo.com/vickycoleen2007
> > > or
> > > www.southerngracedesigns.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
> > _______________________________________________
> > h-costume mailing list
> > h-costume@mail.indra.com
> > http://mail.indra.com/mailman/listinfo/h-costume
> >
>
>
>
> --
>
>
> Visit Sid's
> "Classic Japanese Motorcycle Restoration Site"
> http://z900.piczo.com/
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>
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You can find me at
http://360.yahoo.com/vickycoleen2007 
  or
  www.southerngracedesigns.com
  
 
  
 
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Hi, All,
Thanks so much for the references to good patterns. As was pointed out, I failed to say what era I am interested in at this time. I want 19c; 1820's - 1920's approximately. Audy

in the high boonies of Central Texas

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From: "Wanda Pease" <wandap@hevanet.com>
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> And do you have the sales figures on (a) what "gangbusters" consists of
> in terms of both units sold and profits realized, and (b) how many of
> these copies were actually sold to SCA members?

	Do you?  I can ask Ian Stevens when I see him tomorrow.  Although I doubt
that he has such figures at his fingertips any more than I would be expected
to.  That I get answers from various publishers who are pleased with their
SCA sales makes me think that we are not a contemptible source of revenue
for them.
>
> Even the larger reenactor markets are not great sales markets. I find
> theatrical costumers to be a much larger, more profitable, and more
> reliable market. They will usually buy a book if they think it will
> facilitate their work; in other words, if they have a real professional
> need for it. Hobbyists usually pay less and are less likely to buy
> rather than borrow, or to not read the book at all.

	Considering the less than stellar costumes we have been treated to in
various theatrical attempts this year I'd say that Theater Costumers are
pretty much wasting their time buying these books on costuming.  The basic
thrust of all theatrical costume books I've seen and have seem to be far
more interested in creating the "look" than the accurate cut and
construction of clothing.  Some renditions are enough to gag a maggot - "The
Tudors" being the worst I've seen lately.  The costume library of the
Shakespeare Festival in Ashland, Oregon (not a shabby small town effort) is
exactly that; a library meant for costumers, not researchers.
>
 That does not mean that the SCA
> is the only or main market of Maney Publishing, or anyone else outside
> the SCA community.

	Of course not.  They publish a great many journals for many societies to
include the Costume Society.  Why in the world would you expect them to
>
> I've lost track of how many members the SCA has, but last time I checked
> it was a few thousand.

Present PAID memberships in the SCA are 29,500.  This does not count those
who play but do not pay.  My experience both here in the US and in Europe is
that there are between 5 and 10 active SCA players to every paid member.
This is the result of not requiring an actual membership to play except to
hold an office.  Therefore we have a large number of college students and
even some quite old members who simply refuse to "pay to play".  It is
always amusing to see the professional names of well known SCA members who
are Medieval History professors in their mundane lives.
>
 For costume books with patterns, there is a solid if niche
> bread-and-butter market of professional costumers who will buy them
> because they need them, and that's what we really rely on.

Costume books for professional costumers...  Certainly there is The Tudor
Tailor, published by ladies who clothe the docents of Hampton Court, but
Film and stage costumers intent on accuracy, or on "the look"
>
> >
> > Any market is better than no market
>
> No, it is not. Unless a market is a certain size compared to the costs
> of book publication, the book is not worth publishing. Unless a
> publisher is subsidized by a nonprofit, they simply cannot lose money
> and still stay in business.

	The days of such publishers may be numbered.  Those who refuse to publish,
or publish with no intention of affording the authors of scholarly works
with any type of royalty (Kegan Paul in one incident I know of) may find
that publishing via the internet will become a viable alternative.  I have
favorite Science Fiction authors who have had a problem finding a publisher
until lately.  I was introduced to their work by a friend and now go to
their website, pay either via Pay Pal or credit card, and download the
books.  I then put them on my computer, or my hand held (the Kindle may be
one of my next purchases if they come out with a back-lit screen option for
reading in the dim light of an airplane).  Certainly nothing would stop me
from doing the same and printing it off, or sections of it off if I wanted.
The authors would then be assured of receiving at least something for their
efforts.  This assumes that the authors aren't doing their publish or perish
thing for academia.  For those who really want to put their information out
to the public.
>
> Publishers do not generally publish a book and then find a market for
> it. That is much too risky and expensive. They do considerable research
> to find out how many members of a target market or markets there are,
> where to locate them, and so on, before even beginning work on a book.

	Publishers are also sometimes surprised at their market since they never
even thought to look outside a narrow academic field.  The existence of
Oxbow and David Brown provides information on that.  I spoke to Ian Stevens
today and he mentioned that they are going to be getting some sale books
from Cambridge.  He was also interested in what type of books I knew would
be of interest to the several lists I'm on, from Cookery to leatherwork and
beyond.  Want to bet the Cambridge books will fit comfortably in someone's
library that the original publisher never surveyed?
>
> Before offering a contract to the author, the publisher does more
> research, extrapolates from the sales volume of their other books, and
> so on. It has to look like the economics will work out from the very
> beginning. Granted, some books are financial failures even given
> extensive marketing research, but not doing the marketing research is
> usually a recipe for a real disaster. And granted, there are some books
> that do not have to be profitable because their publication is
> subsidized by museums or other nonprofit organizations.

	And there are some books which are published with no intention of providing
the author with any kind of remuneration.  I call these the publish or
perish where the author practically has to pay the publisher.  Then again
there are those that are published at a price that is simply beyond the
means of any but a library audience.
>
> There are many books that would probably be valuable cultural
> contributions that will never be published either because the market for
> them is not large enough, or because their authors did not do enough
> marketing research to convince the publisher of it.

	These can now be electronically published.  The costs may be computer time,
one copy of the book in a readily readable format such as Microsoft Reader.
There are already several selling venues for such.  The trick is going to be
for the audience to find them.
>
>   and a new generation is growing up that
> > will never think to thank us for creating it.  They will think that it's
> > obvious that someone would be interested in the grave finds on
> the Isle of
> > Man, or the cut and construction of Spanish clothing in 1578.
>
> As I said, I really doubt the SCA is solely responsible or even mainly
> responsible for supporting most scholarly books on the SCA period.

	I doubt that it is solely responsible, but the entire
re-creation/recreation movement has made a market for books that would have
had a far smaller market without 40+ years of SCA and other group influence.

Wanda - book buyer, book gifter, book touter.
>

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On Tuesday 29 April 2008, Robin Netherton wrote:
> Just this minute I got my editor's copy of Medieval Clothing and Textiles
> vol. 4, so for those of you who have been asking me, I can now verify it
> exists and is making its way over the water.
>
> Of particular interest to costumers and re-enactors will be the articles on
> an extant 14th-century embroidered linen cap (with construction and
> embroidery diagrams); visual attributes of surviving archaeological
> textiles (with photos); a reassessment of the Greenland multi-gored gown
> (with diagrams); and Henry VIII's quilts. For the full contents, see:
>
> 	http://www.boydell.co.uk/43833662.HTM

<puddle of drool slowly collecting in my lap> :-)


-- 
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Well, there went my vow of poverty for the month.

Wanda
>
> On Tuesday 29 April 2008, Robin Netherton wrote:
> > Just this minute I got my editor's copy of Medieval Clothing
> and Textiles
> > vol. 4, so for those of you who have been asking me, I can now verify it
> > exists and is making its way over the water.
>

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Wanda Pease wrote:
>> And do you have the sales figures on (a) what "gangbusters" consists of
>> in terms of both units sold and profits realized, and (b) how many of
>> these copies were actually sold to SCA members?
> 
> 	Do you? 

I know exactly how many copies of each book I've sold, and how much each 
has earned to the penny. I also know how much it cost to produce, 
exactly how many copies I printed, and exactly how fast they've sold. 
I've got a whole set of spreadsheets for each book, as well as summary 
spreadsheets comparing figures for the different books.  I've also got a 
database program written on top of Microsoft Access specificially for my 
business needs, which contains different sections with names and 
addresses of different kinds of customers and potential, totaling many 
thousands.  I've got paper files full of printed info of reviews, 
customer comments, all kinds of stuff.  I also know which exactly 
retailers and wholesalers I'm selling to, which pay their bills 
regularly, etc.

This is all information I absolutely have to keep track of to stay in 
business, and it is comparable to that of larger publishers I have 
worked for. Since this is my business competitive information, no one 
else knows it but my husband/business partner, and for the financial 
part, my accountant and the IRS. Many publishers don't reveal this kind 
of info outside their businesses.

  I can ask Ian Stevens when I see him tomorrow.  Although I doubt
> that he has such figures at his fingertips any more than I would be expected
> to.  

I have them right here on the computer I am working at.


That I get answers from various publishers who are pleased with their
> SCA sales makes me think that we are not a contemptible source of revenue
> for them.

I did not say contemptible. I said that every book has multiple markets 
if the publisher can possibly find them, some considered primary and 
some secondary. The SCA is just one market, and it is not the usual 
primary market for academic books, which is university professors and 
students.

> 	Considering the less than stellar costumes we have been treated to in
> various theatrical attempts this year I'd say that Theater Costumers are
> pretty much wasting their time buying these books on costuming.

Not at all. Theaters have their own constraints and needs. They are not 
only by no means obligated to meet the "accuracy" standards some 
reenactors want to impose on them, usually they can't.  I'm not 
responsible for the quality of the costumes theatrical and film 
costumers make, and I don't care what they do with the patterns in my 
books. If they want to take a bustle dress pattern and make it up in 
turquoise PVC with little electric lights all over it because that's the 
director's vision for a production of _Midsummer Night's Dream_, that's 
fine with me.

   The basic
> thrust of all theatrical costume books I've seen and have seem to be far
> more interested in creating the "look" than the accurate cut and
> construction of clothing. 

You cannot generalize and say all books in a genre are the same. My 
books are my books, and other publishers' are theirs.  I am not 
responsible for the contents of anyone else's books.

Theatrical and film costumers often use SCA-sanctified sources like 
Janet Arnold too, you know.

  Some renditions are enough to gag a maggot - "The
> Tudors" being the worst I've seen lately.  The costume library of the
> Shakespeare Festival in Ashland, Oregon (not a shabby small town effort) is
> exactly that; a library meant for costumers, not researchers.

They buy mine too.  So?

Of course not.  They publish a great many journals for many societies to
> include the Costume Society. 

Since I've been a member of the (British) Costume Society for decades 
and have also bought many of Maney's books, I know that.

> Present PAID memberships in the SCA are 29,500.  This does not count those
> who play but do not pay.

That's nice to know. Maybe I'll consider the SCA as a market some day.

>> No, it is not. Unless a market is a certain size compared to the costs
>> of book publication, the book is not worth publishing. Unless a
>> publisher is subsidized by a nonprofit, they simply cannot lose money
>> and still stay in business.
> 
> The days of such publishers may be numbered.  

If you mean publishers who lose money, their days certainly are 
numbered--except, as I said, for subsidized publishers.  There are 
nonprofits--the Sierra Club is one of many examples--who publish books 
primarily to promote their vision, though they don't mind making money 
too if they can. Some museum and corporate publications are also 
subsidized.

   Those who refuse to publish,
> or publish with no intention of affording the authors of scholarly works
> with any type of royalty (Kegan Paul in one incident I know of) may find
> that publishing via the internet will become a viable alternative.

I've worked in publishing for 24 years, know numerous publishers on and 
off publishing e-lists, and hear these issues debated every day.

I used to edit academic and scientific papers for journals and authors, 
so am familiar with that world.  Not to mention, my mother was a 
university professor, and my husband is a researcher in artificial 
intelligence.

Academic papers have generally never paid much if anything, nor have 
scientific corporate R & D papers. The goal is to get the author's name 
(or often, multiple names on one paper), and/or the corporate or 
university name, and the cutting-edge research (especially in the 
sciences) out there. Yes, the Internet is a means of distributing many 
such papers. And scientific papers are frequently released by their 
authors to colleagues who need cutting-edge information, well before 
official publication.

But also, the same papers are not infrequently published in an academic 
print journal, which has more prestige than the Internet.  Prestige gets 
the author tenure, grant funding, and credits that help him or her move 
to the next job up the ladder at the same or another company--in other 
words, payment that does not come directly from the publication.  It 
also helps the corporations and universities who employ the people who 
write the papers, government grants and other very desirable benefits. 
When I was working as an editor and writer for R & D labs, the 
researchers were under employer pressure to publish, just as 
universities are.

However, an academic or scientific paper is a very specialized type of 
publication. Scholarly books are different, and textbooks can be very 
different indeed. Textbooks can make their authors and publishers a 
great deal of money.  And some books are both scholarly books and 
advanced textbooks.

The bottom line is that the more time and money go into publishing 
something, the more money has to come back to the author and publisher 
in some form or another. Outside the worlds of academia, R & D, and 
nonprofit corporations, that money generally has to come from purchasers 
of the publication.  And the longer a publication is--for example a book 
as compared to a paper--the more money and time is invested in it and 
has to be recouped.

   I have
> favorite Science Fiction authors who have had a problem finding a publisher
> until lately.  I was introduced to their work by a friend and now go to
> their website, pay either via Pay Pal or credit card, and download the
> books.  I then put them on my computer, or my hand held (the Kindle may be
> one of my next purchases if they come out with a back-lit screen option for
> reading in the dim light of an airplane).  Certainly nothing would stop me
> from doing the same and printing it off, or sections of it off if I wanted.

I hear this method debated _all the time_. Endlessly. Some publishers 
are for e-publishing, some against it. I'm against it myself.  The 
reading technology is not "there" yet, and no really effective technical 
copyright protection has been developed yet.  Well, it's being used for 
things like classified government info, but not in the commercial 
publishing world.  And copyright protection is the basis of making 
money. When it's gone, so is the money, and if the money is not coming 
from somewhere else, the author, the publisher, etc. are sunk.

Bear in mind that printing is not even remotely the only major cost of 
producing a book. There's (usually) years of time spent writing it, 
there's editing, there's indexing, there's (often) illustrations, 
there's book design, there's page layout, there's marketing, there's 
accounting, there's expensive computer equipment, there's overhead. 
Sometimes there is translation to or from a foreign language, and other 
costs.

E-publishing is not going to give the world a future of almost-free 
books--not if authors, publishers, editors, book designers, etc. are 
going to continue to eat.

> The authors would then be assured of receiving at least something for their
> efforts.  This assumes that the authors aren't doing their publish or perish
> thing for academia.  For those who really want to put their information out
> to the public.

Wanting to give information (or in the cases of many books, 
entertainment) to the public is by no means incompatible with making a 
profit. Profit is what enables authors, publishers, editors, indexers, 
book designers, translators, etc. to continue eating.

It might be nice if everyone could afford to give away all their time 
and money in the world.  The reality is that everyone--no matter how 
much they love their profession and no matter how good their work 
is--has to buy groceries.

> 	Publishers are also sometimes surprised at their market since they never
> even thought to look outside a narrow academic field.  The existence of
> Oxbow and David Brown provides information on that.  I spoke to Ian Stevens
> today and he mentioned that they are going to be getting some sale books
> from Cambridge.  He was also interested in what type of books I knew would
> be of interest to the several lists I'm on, from Cookery to leatherwork and
> beyond.  Want to bet the Cambridge books will fit comfortably in someone's
> library that the original publisher never surveyed?

Actually, it seems clear that Ian Stevens _is_ surveying the market.

Believe me, marketing departments generally speaking beat the bushes for 
absolutely any and every audience that will plausibly buy the book and 
which the publisher can afford to approach. There are numerous books on 
the process of marketing books, if you are interested.  My one comment 
is that salespeople and marketing people of all types tend to be 
relentlessly upbeat. The "your book can be a national bestseller" pitch 
is too upbeat to be realistic in most cases.
> 
> 	And there are some books which are published with no intention of providing
> the author with any kind of remuneration. 

I am not really sure what you are talking about. Publishers are not 
generally out to cheat or deceive authors.  On the other hand, authors 
often hire agents or contract lawyers to make sure they get as fair a 
deal as possible, and they always have the option of hiring at least a 
lawyer, if no agent will accept them.  Professional author are often 
very savvy indeed, and I'd recommend that all beginners find a good 
contract lawyer to help them out. A few hours of contract lawyer time 
can really pay off.

   Then again
> there are those that are published at a price that is simply beyond the
> means of any but a library audience.

Generally publishers price a book at more or less the lowest cover price 
they can, and still cover all their costs. The size of the book, the 
illustrations, and so on are very important cost considerations, as is 
the size of the audience.  In other words, publishers can afford to 
price a Steven King mass-market paperback at $6.50, but they cannot 
afford to price a large, heavily illustrated scholarly book that way.

Just because you cannot afford a book you want, does not mean the 
publisher is ripping anyone off.
> 
> 	These can now be electronically published.  The costs may be computer time,
> one copy of the book in a readily readable format such as Microsoft Reader.
> There are already several selling venues for such.  The trick is going to be
> for the audience to find them.

The trick is going to be actually making any significant money from 
them. Although a number of publishing experiments have been made, most 
publishers can't figure out how to make money off e-books, other than as 
things like loss leaders to promote the books they are really making 
money from. For a large publisher, the cost of both experiments and 
failed books is borne by the successful books. The smaller the 
publisher, the more a book _has_ to make money. I certainly can't afford 
to experiment, and I would not touch e-book publishing with a ten-foot pole.

> 	I doubt that it is solely responsible, but the entire
> re-creation/recreation movement has made a market for books that would have
> had a far smaller market without 40+ years of SCA and other group influence.

Sure--I've sold to the reenactor market for 14 years now, among other 
markets.  As I said, it's a good secondary market for my books and many 
others.

Fran
Lavolta Press
http://www.lavoltapress.com
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I completely second that!!  I can't wait
Anniecat> From: fathallas@collinscom.net> To: h-costume@indra.com> Date: Tu=
e, 29 Apr 2008 14:20:24 -0700> Subject: Re: [h-cost] Patterns of Fashion Vo=
lume 4: linen> > > Has anyone heard anymore about the publication below? Su=
ch as > publisher and a real date?> > Jenny Tiramani is currently preparing=
 Janet Arnold's book, Patterns > of Fashion Volume 4 ; The cut and construc=
tion of linen shirts, > smocks, neckwear, headwear & accessories for men an=
d women > c.1540-1660 for publication in 2008.> > Thanks,> Beth Matney> > A=
ll I know is that I really really really want this.......wish they'd> quit =
foolin' around....> > Liadain> Who also wants to know> > > ________________=
_______________________________> h-costume mailing list> h-costume@mail.ind=
ra.com> http://mail.indra.com/mailman/listinfo/h-costume
_________________________________________________________________
Back to work after baby=96how do you know when you=92re ready?
http://lifestyle.msn.com/familyandparenting/articleNW.aspx?cp-documentid=3D=
5797498&ocid=3DT067MSN40A0701A
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In a message dated 4/29/2008 9:09:00 PM Pacific Daylight Time,  
fran@lavoltapress.com writes:

You  cannot generalize and say all books in a genre are the same. My 
books are  my books, and other publishers' are theirs.  I am not 
responsible for  the contents of anyone else's books.



But isn't that what you did when you said the following:
 
In a message dated 4/27/2008 3:28:23 PM Pacific Daylight Time,  
fran@lavoltapress.com writes:

The  Civil War reenactors are a very large group but with few exceptions, 
tend  not to be very interested in books or research. They seem to regard 
it as  somehow virtuous to be conspicuously disinterested in everything 
beyond  their immediate and very narrow time frame and geographic area, 
thus tend  to lack a sense of context. They are conformist in ideas, and 
rely heavily  on the system of one group "authority" reading a book and 
giving them a  set of approved ideas to worth with.  All reenactment 
communities do  this to some extent, but the CW reenactors are the most 
likely to come  onto an e-group and say, "What is OK for me to wear?  I 
want to 'fit  in,'" rather than doing any research or original thinking 
themselves. They  also seem to have less formal education than the other 
groups, judging by  how they write, spell, etc.
 
Granted, we're individual people, not books, but the same concept  applies.
 
~Joseph



**************Need a new ride? Check out the largest site for U.S. used car 
listings at AOL Autos.      
(http://autos.aol.com/used?NCID=aolcmp00300000002851)
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I know Jane Huggett slightly (our music group sometimes plays for the dance group her husband Robert runs) and I've heard her give a talk on 17th century costume.

The "Green Valley" people are of course the ones who did the TV series "Tales from the Green Valley" which was much discussed on this list a couple of years ago.

I'm going to a big reenactment event this weekend and will look out for the books on the traders' stalls.

Kate Bunting
Cataloguing & Data Quality Librarian
University of Derby

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> 
> 	And there are some books which are published with no intention of providing
> the author with any kind of remuneration.  I call these the publish or
> perish where the author practically has to pay the publisher. 

Having spent 24 years working in professional publishing, as a full-time 
employee of book and magazine publishers, as a freelancer, as a 
journalist, and as a self-publisher, I will add that self-publishing is 
not an automatic, easy, or even feasible solution for everyone, and 
probably never will be.  Even though it's been around forever (some 
websites will give you lists of famous self-published authors, including 
Walt Whitman, Virginia Woolf, and hosts of others).

A book has to be researched (except for some kinds of fiction), written, 
edited, proofread, designed, often illustrated, and warehoused if a 
print book. Then there are essential services such as fulfillment 
(filling orders); bookkeeping, tax accounting, and other financial 
services; legal services; computer maintenance; and other support 
services. This is apart from expensive tasks that are only sometimes 
necessary, such as translation from foreign languages, or audio recording.

Before you condemn book publishers as greedy profiteers for having the 
gall to take a cut of the profits from authors, and increase the price 
of books for the public, consider that publishers provide the author and 
the public with most of these services. Readers do not think of things 
like editing, proofreading, or design when these tasks are well done; 
but when they are badly done or not done at all, readers complain loudly.

Having also written for other publishers, I will say that I often felt 
that I was not getting paid enough. And yes, publishers are shifting 
more of the burden of tasks like editing onto authors.

Just the same, again, self-publishing is not an easy solution.  It 
requires three things:  The right author, the right book, and the right 
marketing climate.

By the right author, I mean an author who has the time, expertise, and 
inclination to shoulder the burden of editing, proofreading, and ALL the 
other necessary tasks above in ADDITION to researching and writing the 
book. OR an author who has the money to pay freelancers to do all those 
tasks, and the knowledge and skill to choose, coordinate, and supervise 
those freelancers.  Even if the author does them all personally and has 
the skill to do them all, they don't come free. Time is money, and all 
the months spent on those tasks if one person does them, are many months 
not being paid by another employer. The author can put in sweat equity 
in terms of labor now and wait to get paid till the book sells, and then 
only get paid gradually--IF the author has enough other income to live 
on while he/she does all those tasks. But fairly paid the author and/or 
the freelancers, must be, one way or another, for the book to be 
commercially viable.

Furthermore, there are many people who strongly just want to write the 
book, and let a publisher take care of everything else.  I am not one of 
them, but I constantly encounter them; and in fact, that seems to be the 
standpoint of the majority of writers. I had the advantage of 10 years 
of training and experience working for other publishers before I 
self-published my first book. Some other authors have professional 
training in publishing tasks other than writing, but most don't seem to.

Then, it has to be the right book, from a marketing standpoint.  You 
cannot just throw a book up onto the net, or onto some website like 
Amazon, and expect it to sell itself. Believe me, books do not sell 
themselves. And the more books that are published, the harder you have 
to work to let potential buyers know about yours.

Marketing doesn't have to be gimmicky (though some marketers disagree 
with me on that); but you absolutely have to take action and tell 
potential buyers that the book exists, what it contains, and other 
essential facts.  Many people spend a year or two full time marketing 
their self-published book after writing it. I do the bare minimum--press 
releases and review copies and mailings. Marketing still takes at least 
four months of my full-time work for every book, and a lot of work in 
increments after that. Marketing never stops--it has to continue for the 
lifetime of the book. Many self-published authors do a great deal more 
work than I do, especially in terms of personal appearances of one form 
or another--TV, radio, lectures, book signings, and even national 
tours--and every penny at their own expense.

Getting back to what I said about the right kind of book--some 
self-published authors _have_ very successfully marketed "wrong" books; 
that is, books that are very hard for a self-publisher to market. I have 
always published the "right" kind of book; that is, the easiest kind for 
a self-publisher to market, because spending four months full time on 
marketing every book is as much as I can stand. _I'd_ rather be creating 
more books that doing things like radio shows, which I've always 
strenuously avoided. The "right," or rather the best, kind of book to 
self-publish is called a niche book. A niche book is one with an 
audience (or audiences) that can not only be easily identified, but 
easily reached, and which is also comparatively small.

The problem with almost all fiction and nonfiction on almost all very 
popular subjects, is that such books might sell to almost anyone.  And 
if they do sell to a large proportion of their markets they can make 
tons of money; but paradoxically, a huge potential market makes a book 
much harder and more expensive to sell. Such books are usually sold much 
more successfully by a large publisher, who can afford to do things like 
take out huge ads in every major newspaper and magazine in the US, and 
who has the clout to get the author onto major TV talk shows. If such 
books are self-published, they tend to quietly sink beneath the waves of 
the hundreds of other books competing for the same readers.

As for the right marketing climate--the increase in the number of books 
published every year brought on by new computer technology, has made 
reviewers, wholesalers, and bookstores anxious to save themselves a lot 
of screening work by simply ignoring all self-published books, and in 
fact all micropress books, whether self-published or not. Precisely the 
same book issued by a major publisher has a far better chance of being 
reviewed in major mainstream publications, carried by chain bookstores, 
and generally has more credibility and gets more attention. In other 
words, the right marketing climate actually isn't there, and many 
authors want a larger publisher for that reason. Again, paradoxically, 
it is true that larger publishers CAN sell many more copies of a book 
and make the author much more money; the fact is they WILL put major 
marketing effort into only a small proportion of their books, and expect 
the income from those to help carry all the rest. I don't create the 
kind of books a larger publisher would put major marketing effort into; 
but the author of a potentially popular novel or nonfiction should give 
seeking a larger publisher very serious consideration.

I have seen any number of new self-publishers say, "Oh goody, the net 
makes everything so easy, I can just write my book, put it up on Amazon, 
the public will automatically find it, and it will sell." No way. Self 
publishing is right for some authors, but it's a long, hard, risky, and 
expensive road. Major publishers are right for some authors, as I 
indicated above. Midsize publishers are right for many authors, too. But 
no matter how a book is published, it usually takes years of work either 
by one person or the combined time of multiple people, it usually takes 
a substantial financial investment, and it's usually a whole lot of hard 
work for someone to market.

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

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From: "Wanda Pease" <wandap@hevanet.com>
To: "Historical Costume" <h-costume@indra.com>
Date: Wed, 30 Apr 2008 03:35:30 -0700
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Subject: Re: [h-cost] Patterns of Fashion Volume 4: linen
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Several people from here in AnTir (SCA Kingdom including the Pacific
Northwest/Northwet of the United States) intend to go to its unveiling in
Florence, Italy in September.  The book has been long in the making.  To the
point where many of us have gotten tired of the wait and worried about the
possible demise of both the editors and picked up the various small papers
by Inter Library Loan.  Even so, I have orders for one or more of my
"friends" who are going to get me one too.  ("Friends" because I'm so
envious I can barely stand it but neither can my finances!

Wanda

> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
> Behalf Of Frank A Thallas Jr
> Sent: Tuesday, April 29, 2008 2:20 PM
> To: 'Historical Costume'
> Subject: Re: [h-cost] Patterns of Fashion Volume 4: linen
>
>
>
> Has anyone heard anymore about the publication below? Such as
> publisher and a real date?
>
> Jenny Tiramani is currently preparing Janet Arnold's book, Patterns
> of Fashion Volume 4 ; The cut and construction of linen shirts,
> smocks, neckwear, headwear & accessories for men and women
> c.1540-1660 for publication in 2008.
>
> Thanks,
> Beth Matney
>

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Ailith wrote:
> snip
>  
>   
>> The version of the FAQ currently on sca.org says that they have about 29,500 
>> paid members, but that's still small by publishing standards.
>>     
>
> You do not have to be a paid member to participate, however, you must be a paid member if you fight or if you're an officer.
>
> Figures vary as to how many people really play in the SCA, but I've heard as many as 3 to 4 times the number of paid members. The actual number of participants could be as high as 118,000.

This, I think, is high.  Since the non-member surcharge at events has 
been in effect, the ratio in my area seems much closer to approximately 
one non-member for every paid member.  I think something in the range of 
60,000 members is reasonable and might even be a bit high.

In standard book publishing circles, this is a small audience.  However, 
in academic book publishing circles, where many works struggle to sell 
500 copies, it's considered a decent-sized audience.

Susan

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Thank you Suzi,

 From Jenny Tiramani's web page, it looked like she had finished and 
it was in the hands of a publisher somewhere.. and I, too, was drooling.

Beth

>Date: Tue, 29 Apr 2008 21:33:27 +0100
>From: Suzi Clarke <suzi@suziclarke.co.uk>
>
>At 22:20 29/04/2008, you wrote:
>
> >Has anyone heard anymore about the publication below? Such as
> >publisher and a real date?
> >
> >Jenny Tiramani is currently preparing Janet Arnold's book, Patterns
> >of Fashion Volume 4 ; The cut and construction of linen shirts,
> >smocks, neckwear, headwear & accessories for men and women
> >c.1540-1660 for publication in 2008.
>
>That's Santina Levey and Jenny Tiramani. The last time I spoke to
>them, they were expecting to be publishing early this year, but both
>have their own work, and I know Tina was ill for a while. They
>published Janet's notes on the Effigy Corset, plus her patterns, in
>"Costume", the journal of the Costume Society, in 2007.
>
>Suzi

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Subject: Re: [h-cost] Simplicity new Civil War patterns
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Oh yummy... 2887 done in grey silk taffeta with gold silk cuffs and
trims would be scrumptious for a Confederate cavalry officer's lady,
now wouldn't it??  :)

Yes, I'll be shopping come sale time tomorrow....  :)

Thanks for posting the simplicity link!

Sharon/Meli
Virginia girl by inclination and carpetbag
:)
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Subject: Re: [h-cost] Patterns of Fashion Volume 4: linen
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At 13:22 30/04/2008, you wrote:
>Thank you Suzi,
>
>  From Jenny Tiramani's web page, it looked like she had finished and
>it was in the hands of a publisher somewhere.. and I, too, was drooling.

It will be with Maney's, the publishers of Janet's other books, but 
they haven't sent out any publicity about it. Their last big one was 
"Dress at the Court of Henry Vlll" (title?) and the flyers for that 
went out about 3 months in advance.

Suzi

> > >Has anyone heard anymore about the publication below? Such as
> > >publisher and a real date?
> > >
> > >Jenny Tiramani is currently preparing Janet Arnold's book, Patterns
> > >of Fashion Volume 4 ; The cut and construction of linen shirts,
> > >smocks, neckwear, headwear & accessories for men and women
> > >c.1540-1660 for publication in 2008.
> >
> >That's Santina Levey and Jenny Tiramani. The last time I spoke to
> >them, they were expecting to be publishing early this year, but both
> >have their own work, and I know Tina was ill for a while. They
> >published Janet's notes on the Effigy Corset, plus her patterns, in
> >"Costume", the journal of the Costume Society, in 2007.
> >
> >Suzi
>
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
>http://mail.indra.com/mailman/listinfo/h-costume

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----- Original Message ----
From: Robin Netherton <robin@netherton.net>
Subject: Re: [h-cost] Update on Medieval Clothing & Textiles

Amazon typically mines the Boydell site and picks up new entries, but there 
may be a lag of a few days.

Not sure about this one, though, because of the huge discount involved.

--Robin<<<<<



Thanks Robin. I hope they do because it would be a fair bit cheaper for me to buy from Amazon.com. Boydell won't allow me (Australian)  to purchase via the US, so I would be forced to pay 68 British pounds/$143 Aussie dollars ($37.75 of that is what they would charge me for shipping), instead of the $106 US dollars/$113 Aussie dollars (including $12 shipping) it would cost me via Amazon. So, I'll be keeping my fingers crossed on that one. :-)



Bella


      Get the name you always wanted with the new y7mail email address.
www.yahoo7.com.au/y7mail


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At 05:35 AM 4/30/2008, you wrote:
>Several people from here in AnTir (SCA Kingdom including the Pacific
>Northwest/Northwet of the United States)


Northwet?  Is that a reference to Washington and Oregon?  Please say 
you did this on purpose?

LOL

Genie
Who lived in Washington for three years and loved it! 

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On Wed, 30 Apr 2008 08:05:11 -0500 Genie Barrett
<ladymaggie@justinanimator.com> writes:
> At 05:35 AM 4/30/2008, you wrote:
> >Several people from here in AnTir (SCA Kingdom including the 
> Pacific
> >Northwest/Northwet of the United States)
> 
> 
> Northwet?  Is that a reference to Washington and Oregon?  Please say 
> you did this on purpose?

Hi Genie. She did it on purpose, and yes, that's exactly what she meant.
:-)

In An Tir, we have a heraldic blazon for it: "An Tir sky proper," meaning
gray and more than likely something wet is falling from it. ;)

Arlys

 
> LOL
> 
> Genie
> Who lived in Washington for three years and loved it! 
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 

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At 09:17 AM 4/30/2008, you wrote:

>Hi Genie. She did it on purpose, and yes, that's exactly what she meant.
>:-)
>
>In An Tir, we have a heraldic blazon for it: "An Tir sky proper," meaning
>gray and more than likely something wet is falling from it. ;)


I love it! 

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Me, too!!

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
On Behalf Of Genie Barrett
Sent: Wednesday, April 30, 2008 11:29 AM
To: Historical Costume
Subject: Re: [h-cost] Sorry, had to laugh

At 09:17 AM 4/30/2008, you wrote:

>Hi Genie. She did it on purpose, and yes, that's exactly what she
meant.
>:-)
>
>In An Tir, we have a heraldic blazon for it: "An Tir sky proper,"
meaning
>gray and more than likely something wet is falling from it. ;)


I love it! 

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h-costume@mail.indra.com
http://mail.indra.com/mailman/listinfo/h-costume
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Vicky Simpson asked if they have the correct period look. It's really hard
to say, Vicky, when you're looking at a tiny picture on a computer screen.
However, the waist seam on the day dress is lower than the natural waist and
I made a mental note to check position on all the other seams too. I haven't
seen any photographs of Victorian/Civil Way era dresses with a waist lower
than a natural waist, although earlier in the period the waist was shorter.

I say all that, but I don't believe that I'm the be-all to end-all in the
research world. I'm sure someone else will be able to give more information.

LynnD



On Wed, Apr 30, 2008 at 5:27 AM, Sharon Henderson <
henderson.sharon@gmail.com> wrote:

> Oh yummy... 2887 done in grey silk taffeta with gold silk cuffs and
> trims would be scrumptious for a Confederate cavalry officer's lady,
> now wouldn't it??  :)
>
> Yes, I'll be shopping come sale time tomorrow....  :)
>
> Thanks for posting the simplicity link!
>
> Sharon/Meli
> Virginia girl by inclination and carpetbag
> :)
>  _______________________________________________
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Can anyone give me a date for these new patterns other than "Civil War" 
era? Has anyone tracked down the fashion plates that inspired these to 
give a more specific year?

I'm also interested in dating the previous sets of Simplicity patterns, 
if there's someone who can provide better knowledge of the period.

Someone said the men's pattern looked 1880's. How can you tell? To me it 
looks a lot like the previous set of men's "civil war" patterns.



Dawn

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Kay Gagney actually has an online store front.  I have personally seen  
her work at it is rather good - and based on originals.  She does  
custom work as well as ready-to-wear.
Her website is:  www.originals-by-kay.com

Sarah


On Apr 30, 2008, at 12:35 PM, Dawn wrote:

> Can anyone give me a date for these new patterns other than "Civil  
> War"
> era? Has anyone tracked down the fashion plates that inspired these to
> give a more specific year?
>
> I'm also interested in dating the previous sets of Simplicity  
> patterns,
> if there's someone who can provide better knowledge of the period.
>
> Someone said the men's pattern looked 1880's. How can you tell? To  
> me it
> looks a lot like the previous set of men's "civil war" patterns.
>
>
>
> Dawn
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume

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I took a look at that one last night.  It's kind of like a vaguely basque-bodiced wrapper type thing.  Not saying that they DIDN'T have something like that back in the day, but I've never seen anything like it.  Granted, I'm no expert either, but in probably 300+ original garments I've examined, I've never seen all those elements put together in one garment.  It's more of an amalgam, IMO.  YMMV, of course.

LuAnn



> Date: Wed, 30 Apr 2008 09:17:19 -0700
> From: lynndownward@gmail.com
> To: h-costume@indra.com
> Subject: Re: [h-cost] Simplicity new Civil War patterns
> 
> Vicky Simpson asked if they have the correct period look. It's really hard
> to say, Vicky, when you're looking at a tiny picture on a computer screen.
> However, the waist seam on the day dress is lower than the natural waist and
> I made a mental note to check position on all the other seams too. I haven't
> seen any photographs of Victorian/Civil Way era dresses with a waist lower
> than a natural waist, although earlier in the period the waist was shorter.
> 
> I say all that, but I don't believe that I'm the be-all to end-all in the
> research world. I'm sure someone else will be able to give more information.
> 
> LynnD
> 
> 
> 
> On Wed, Apr 30, 2008 at 5:27 AM, Sharon Henderson <
> henderson.sharon@gmail.com> wrote:
> 
> > Oh yummy... 2887 done in grey silk taffeta with gold silk cuffs and
> > trims would be scrumptious for a Confederate cavalry officer's lady,
> > now wouldn't it??  :)
> >
> > Yes, I'll be shopping come sale time tomorrow....  :)
> >
> > Thanks for posting the simplicity link!
> >
> > Sharon/Meli
> > Virginia girl by inclination and carpetbag
> > :)
> >  _______________________________________________
> > h-costume mailing list
> > h-costume@mail.indra.com
> > http://mail.indra.com/mailman/listinfo/h-costume
> >
> _______________________________________________
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> h-costume@mail.indra.com
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Lynn: I thought the waist position on the pattern illustrated by the
yellow ballgown was odd, too. But I would check photographs and fashion
plates of the era both. I couldn't say either way, since the Civil War
isn't my era of expertise. I would trust photographic evidence more than
fashion plates. Few women could look as good in the fashions as shown in
the fashion plates. See photographs of Mary Todd Lincoln during her
years as First Lady as an example and also Queen Victoria before Prince
Albert's death Older women would cling to the styles of their youth or
adapt newer styles to what was comfortable for them. A waistline set at
least lower in front would appear more slimming to all figure types and
the smaller the waist, the more attractive the figure, even today. In my
very limited knowledge the round waist, often with sash, seems to have
been more prevalent in the late 1820's to mid 1830's than the early-mid
1860's. Even for women who could afford the latest styles as shown in
Godey's Ladies Magazine could be not as up-to-date as their European
counterparts as Godey's and other American publications published plates
of the latest fashions months or as much as a year later than European
magazines because of the perceived view of American women as being more
conservative, or less concerned with changes in fashion. A "good"
American or English woman was not supposed to be as fascinated with
fashion as their more frivolous European(read French)counterpart. And in
reality, the average Frenchwoman considered nouveau riche English and
Americans far more concerned with Dame Fashion than she was. Bottom line
was that few women could actually afford couture from the top designers
in France, probably even less than today.

After 1860, however, the waistline was preparing to drop into the
eventual princess-cut of the 1870's. Cutting waistlines lower in front
than back, apron-like overskirts and drapes, and tabbed extensions below
the fitted and/or belted waistline were more common as the crinolined
skirt started to change from the all-around bell shape to more fullness
in back after 1860.

Cindy Abel

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
On Behalf Of Lynn Downward
Sent: Wednesday, April 30, 2008 11:17 AM
To: Historical Costume
Subject: Re: [h-cost] Simplicity new Civil War patterns

Vicky Simpson asked if they have the correct period look. It's really
hard
to say, Vicky, when you're looking at a tiny picture on a computer
screen.
However, the waist seam on the day dress is lower than the natural waist
and
I made a mental note to check position on all the other seams too. I
haven't
seen any photographs of Victorian/Civil Way era dresses with a waist
lower
than a natural waist, although earlier in the period the waist was
shorter.

I say all that, but I don't believe that I'm the be-all to end-all in
the
research world. I'm sure someone else will be able to give more
information.

LynnD



On Wed, Apr 30, 2008 at 5:27 AM, Sharon Henderson <
henderson.sharon@gmail.com> wrote:

> Oh yummy... 2887 done in grey silk taffeta with gold silk cuffs and
> trims would be scrumptious for a Confederate cavalry officer's lady,
> now wouldn't it??  :)
>
> Yes, I'll be shopping come sale time tomorrow....  :)
>
> Thanks for posting the simplicity link!
>
> Sharon/Meli
> Virginia girl by inclination and carpetbag
> :)
>  _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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>
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On Wed 08/04/30 13:35 , Dawn dawn@reddawn.net sent:
> Can anyone give me a date for these new patterns other than "Civil War" era? Has anyone tracked down the fashion plates that 
inspired these to give a more specific year?

A post on another list indicated the patterns by Kay Gnagey are taken from drafts in "Der Bazar". 

> I'm also interested in dating the previous sets of Simplicity patterns, if there's someone who can provide better knowledge of 
the period.

Why not contact the designers and ask? Martha McCain is a member of this list. A summary of some of her research for her men's 
patterns, including photos of the original garments, is posted on Simplicity's web site. I've found her designs to be very accurate 
for the Civil War era. It's unfortunate Simplicity did not use her excellent instructions. Simplicity should be able to provide 
contact information for the other designer(s).

> Someone said the men's pattern looked 1880's. How can you tell? To me it looks a lot like the previous set of men's "civil war" 
patterns.

The new men's pattern by "Buckaroo Bobbins" seems to be rather "generic" - combining details from several decades to create 
an "impression". Looking at the information on the web site, I can see significant differences between it and the earlier patterns 
by Martha McCain, which are very accurate for the era.  

Carolann Schmitt
cschmitt@genteelarts.com
www.genteelarts.com
Ladies & Gentlemen of the 1860s Conference, March 6-9, 2008





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Thanks for the link to Kay's site!! Yum Yum!

See this link on Kay's site:
http://www.originals-by-kay.com/custom%20work%20studio/galleryballg.htm

It may be the dress shown on the front of the Simplicity yellow ball
gown, I bet. I have Frances Grimble's "Reconstruction Era Fashions" that
shows bodices and skirts from Harper's Bazaar patterns much like this
gown.

Cindy Abel

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
On Behalf Of cschmitt@genteelarts.com
Sent: Wednesday, April 30, 2008 12:26 PM
To: Historical Costume
Subject: Re: [h-cost] Simplicity new Civil War patterns

On Wed 08/04/30 13:35 , Dawn dawn@reddawn.net sent:
> Can anyone give me a date for these new patterns other than "Civil
War" era? Has anyone tracked down the fashion plates that 
inspired these to give a more specific year?

A post on another list indicated the patterns by Kay Gnagey are taken
from drafts in "Der Bazar". 

> I'm also interested in dating the previous sets of Simplicity
patterns, if there's someone who can provide better knowledge of 
the period.

Why not contact the designers and ask? Martha McCain is a member of this
list. A summary of some of her research for her men's 
patterns, including photos of the original garments, is posted on
Simplicity's web site. I've found her designs to be very accurate 
for the Civil War era. It's unfortunate Simplicity did not use her
excellent instructions. Simplicity should be able to provide 
contact information for the other designer(s).

> Someone said the men's pattern looked 1880's. How can you tell? To me
it looks a lot like the previous set of men's "civil war" 
patterns.

The new men's pattern by "Buckaroo Bobbins" seems to be rather "generic"
- combining details from several decades to create 
an "impression". Looking at the information on the web site, I can see
significant differences between it and the earlier patterns 
by Martha McCain, which are very accurate for the era.  

Carolann Schmitt
cschmitt@genteelarts.com
www.genteelarts.com
Ladies & Gentlemen of the 1860s Conference, March 6-9, 2008





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Blueprints--check with a local construction company or two; there ought to be somewhere that has a very large platen glass, and the construction industry will likely use it.  
Most blueprints are individually fed through a roller system; not suitable for a bound book, or any antique paper.

Ann in CT

--- On Thu, 4/24/08, Land of Oz <landofoz@netins.net> wrote:

> Penny wrote: "These are the only original prints.  They
> only see the light
> of day, when I show them to my college students.  One day I
> will find a
> scanner with a large enough bed to scan them."
> 
> 
> You should check with the media department of the college.
> They might have a 
> portable scanner that can scan your large items in parts,
> then reassemble 
> them in a digital file.
> 
> Denise


      ____________________________________________________________________________________
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From: Dawn <dawn@reddawn.net>
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Subject: Re: [h-cost] Simplicity new Civil War patterns
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cschmitt@genteelarts.com wrote:
> A post on another list indicated the patterns by Kay Gnagey are taken from drafts in "Der Bazar". 
>   
I'm sorry, I have no idea what that is. Is it a magazine? A pattern 
book? Where would I find a copy?

> Why not contact the designers and ask? Martha McCain is a member of this list. 
I have, and sadly received no response.

> A summary of some of her research for her men's 
> patterns, including photos of the original garments, is posted on Simplicity's web site. 
>   
Unfortunately, there are no dates given for the women's wear, which is 
the majority of the collection, and what I'd be wearing if I made any of 
these dresses.

> The new men's pattern by "Buckaroo Bobbins" seems to be rather "generic" - combining details from several decades to create 
> an "impression". Looking at the information on the web site, I can see significant differences between it and the earlier patterns 
Thanks Carolann. To my untrained eye they all look pretty much the same.





Dawn

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60,000 is a reasonable audience for some books, especially if there are 
also other markets. However, for many academic books, libraries are a 
very large and important market, sometimes the main market. Libraries 
are overall more likely customers than consumers, for some books.

I should add, for anyone who thinks that if they just put out an e-book 
on the net and the world will beat a path to their door, that only about 
15% of book sales are currently made on the Internet. You have to sell 
books in the marketing climate of right now, not in one that may, or may 
not, exist in some years.

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


> This, I think, is high.  Since the non-member surcharge at events has 
> been in effect, the ratio in my area seems much closer to approximately 
> one non-member for every paid member.  I think something in the range of 
> 60,000 members is reasonable and might even be a bit high.
> 
> In standard book publishing circles, this is a small audience.  However, 
> in academic book publishing circles, where many works struggle to sell 
> 500 copies, it's considered a decent-sized audience.
> 
> Susan


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In a message dated 4/30/2008 9:36:35 AM Pacific Daylight Time,  
dawn@reddawn.net writes:

Can  anyone give me a date for these new patterns other than "Civil War" 
era?  Has anyone tracked down the fashion plates that inspired these to 
give a  more specific year?


To add to what Carolann said about postings on another list, the yellow  
dress supposidly came from a pattern in der Bazaar.  The green dress in  #2887 is 
also an original pattern, but date and publication remaining  anonymous.
 
In terms of accuracy, I'd be extremely hesitant to use #2887 for a Civil  War 
dress, even when made out of the proper fabric.  I've personally seen  these 
princess line dresses in a few CDVs here and there, but I can't say that  I've 
ever seen an original.  I know the pattern Heidi Marsh used for her  
"polonaise traveling dress" came out of Peterson's, 1861, but there again, I've  never 
seen an original.
 
It really is lovely, but I think it would be better suited, altered to a  
slim coat sleeve, for post-Civil War applications, or as a nice wrapper.
 
~Joseph



**************Need a new ride? Check out the largest site for U.S. used car 
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Subject: [h-cost] Elizabethan frog closures
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I made a coat dress/Spanish Surcoat which has frogs up the whole front opening.  I'm trying to get documentation on the use of frogs in Elizabethan England.  There are a couple of pictures in Janet Arnold.  Does anyone have some links to either portraits or other primary type docs showing use of frogs and/or how the specific ones shown were tied?

I'm using some very clever doo dads carried by FolkWear for tying these frogs.  Much easier than just on a macrame board.  I can't find period pictures of exactly what I'm doing, but will settle for close <G>.

Thanks
Julie in Ramona (San Diego)
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I have a question. Its about the cut of a banyan.
I dreamed about this for manny years, finally i have the oportunity to make it, because there is an event in september where i can use it at breakfast.
I want to make my banyan in an oldfashioned 18th century cut, with t-shape and doubble breasted oriental closure at the neck.
Today i drafted the doubble breast part, because i want to embellish it with 3 rows of  silver bobbin lace and 2 rows in between the lace with an embroidered rose wreath.
Now my question, would 49 cm be two much width of the doubble breast at the fot hem?
The banyan is going to be made of shot silk taffeta, purple/green as a main collour, but the doubble breasted front is going to be a green shot taffeta, turquise blue/yellow like the cuffs and collar.
The banyan is very simple in cut, only i am not sure if 49 cm of overlapping in the foot hem would be two much.
Thanks for any inputs

Bjarne 
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Subject: Re: [h-cost] How Many Costume Books/Magazines/Photos Do You
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Tabloid sized (13 by 19 inches) flatbed scanners are available and 
some photo or print shops have them  (even here in Arkansas). These 
are capable of quite high resolutions.. but most work is still done 
at 300dpi (or less), due to large file sizes. Images larger than that 
are usually photographed with various setups.

Blueprints (in the old days) were done with a diazo (ammonia) 
process. Most are now directly printed from computer originals, 
either 11 by 17 or using large format inkjet printers (usually 36 or 
48 inches wide).

Beth Matney

>Date: Wed, 30 Apr 2008 10:40:20 -0700 (PDT)
>From: Ann Catelli <elvestoorder@yahoo.com>
>
>Blueprints--check with a local construction company or two; there 
>ought to be somewhere that has a very large platen glass, and the 
>construction industry will likely use it.
>Most blueprints are individually fed through a roller system; not 
>suitable for a bound book, or any antique paper.
>
>Ann in CT

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Subject: Re: [h-cost] Patterns of Fashion Volume 4: linen
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I just got this note in:

>The publisher is Macmillan and the publication date is
>7th November 2008. I think it will be on Amazon for
>pre-orders soon,
>
>Regards,
>Jenny Tiramani

Beth

At 12:23 PM 4/30/2008, you wrote:
>Date: Wed, 30 Apr 2008 03:35:30 -0700
>From: "Wanda Pease" <wandap@hevanet.com>
>
>Several people from here in AnTir (SCA Kingdom including the Pacific
>Northwest/Northwet of the United States) intend to go to its unveiling in
>Florence, Italy in September.  The book has been long in the making.  To the
>point where many of us have gotten tired of the wait and worried about the
>possible demise of both the editors and picked up the various small papers
>by Inter Library Loan.  Even so, I have orders for one or more of my
>"friends" who are going to get me one too.  ("Friends" because I'm so
>envious I can barely stand it but neither can my finances!
>
>Wanda

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At 19:23 30/04/2008, you wrote:
>I have a question. Its about the cut of a banyan.
>I dreamed about this for manny years, finally i have the oportunity 
>to make it, because there is an event in september where i can use 
>it at breakfast.
>I want to make my banyan in an oldfashioned 18th century cut, with 
>t-shape and doubble breasted oriental closure at the neck.
>Today i drafted the doubble breast part, because i want to embellish 
>it with 3 rows of  silver bobbin lace and 2 rows in between the lace 
>with an embroidered rose wreath.
>Now my question, would 49 cm be two much width of the doubble breast 
>at the fot hem?
>The banyan is going to be made of shot silk taffeta, purple/green as 
>a main collour, but the doubble breasted front is going to be a 
>green shot taffeta, turquise blue/yellow like the cuffs and collar.
>The banyan is very simple in cut, only i am not sure if 49 cm of 
>overlapping in the foot hem would be two much.
>Thanks for any inputs


I think 49cm. is far too much. Measure between armpits, and you will 
find a better guide. About 30cm. seems a better overlap.

Look here for lots of other information and pictures.

http://tinyurl.com/6gt3k6

Suzi
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From: "Abel, Cynthia" <CynthiaAbel@creighton.edu>
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Oh, thanks so much. I will probably pre-order it as soon as I see it on
Amazon

Cindy Abel

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
On Behalf Of Beth and Bob Matney
Sent: Wednesday, April 30, 2008 1:36 PM
To: h-costume@indra.com
Subject: Re: [h-cost] Patterns of Fashion Volume 4: linen

I just got this note in:

>The publisher is Macmillan and the publication date is
>7th November 2008. I think it will be on Amazon for
>pre-orders soon,
>
>Regards,
>Jenny Tiramani

Beth

At 12:23 PM 4/30/2008, you wrote:
>Date: Wed, 30 Apr 2008 03:35:30 -0700
>From: "Wanda Pease" <wandap@hevanet.com>
>
>Several people from here in AnTir (SCA Kingdom including the Pacific
>Northwest/Northwet of the United States) intend to go to its unveiling
in
>Florence, Italy in September.  The book has been long in the making.
To the
>point where many of us have gotten tired of the wait and worried about
the
>possible demise of both the editors and picked up the various small
papers
>by Inter Library Loan.  Even so, I have orders for one or more of my
>"friends" who are going to get me one too.  ("Friends" because I'm so
>envious I can barely stand it but neither can my finances!
>
>Wanda

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On Wed 08/04/30 14:44 , Dawn dawn@reddawn.net sent:
> I'm sorry, I have no idea what that is. Is it a magazine? A pattern 
> book? Where would I find a copy?

"Der Bazar" was a German fashion magazine. The only copies I know of are in the New York Public Library or in private collections. 
Individual fashion plates appear in other secondary sources. 

> Unfortunately, there are no dates given for the women's wear, which is 
> the majority of the collection, and what I'd be wearing if I made any of 
> these dresses.

Feel free to contact me off-list and I'll be happy to share my thoughts on dates. \

> Thanks Carolann. To my untrained eye they all look pretty much the same.

The differences in men's clothing are more subtle than women's, but they're there. Same offer if you'd like to discuss men's 
clothing. 

Carolann Schmitt
cschmitt@genteelarts.com
www.genteelarts.com
Ladies & Gentlemen of the 1860s Conference, March 6-9, 2008



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  Ooo.  I know what I'm wantin' for Christmas.....

Thanks!

Liadain
Anticipatin'

THL Liadain ni Mhordha OFO
wildernesse, the Outlands 
http://practical-blackwork.blogspot.com
http://www.flickr.com/photos/liadains_fancies

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Beth and Bob Matney
Sent: Wednesday, April 30, 2008 11:36 AM
To: h-costume@indra.com
Subject: Re: [h-cost] Patterns of Fashion Volume 4: linen

I just got this note in:

>The publisher is Macmillan and the publication date is
>7th November 2008. I think it will be on Amazon for
>pre-orders soon,
>
>Regards,
>Jenny Tiramani

Beth



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Subject: [h-cost] Janet Arnold Costuming Colloquium in Florence, Italy,
	November 2008  Anyone	 Going?
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Hello All


I have met some people who are saving up to go to the big event in November
for Janet Arnold. Here is the link:
http://www.fondazione-delbianco.org/inglese/InsertNews/Janet-Arnold.htm

I was wondering if anyone else was going to this event? I am hoping to get
to Florence during this time, as I will be in England so why not hop down?

There is rumor a new book in which Ms. Arnold was working on before her
demise will be unveiled at this event. 

Anyone else here of this rumor? 

I would give my eyeteeth to get there, but if not I want to give people some
money in case the book is shown and they are allowed to purchase it.


Cilean



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Subject: Re: [h-cost] Banyan
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Hi Suzi,
Thanks for your input!
I know its a lot, but its because i have it about 30 at the neck, but i 
increase the width from the neck to the hem. I want the banyan to have width 
at the hem, its not cut straight.
But maybe you are right about it being two much?

Bjarne
----- Original Message ----- 
From: "Suzi Clarke" <suzi@suziclarke.co.uk>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, April 30, 2008 8:43 PM
Subject: Re: [h-cost] Banyan


> At 19:23 30/04/2008, you wrote:
>>I have a question. Its about the cut of a banyan.
>>I dreamed about this for manny years, finally i have the oportunity
>>to make it, because there is an event in september where i can use
>>it at breakfast.
>>I want to make my banyan in an oldfashioned 18th century cut, with
>>t-shape and doubble breasted oriental closure at the neck.
>>Today i drafted the doubble breast part, because i want to embellish
>>it with 3 rows of  silver bobbin lace and 2 rows in between the lace
>>with an embroidered rose wreath.
>>Now my question, would 49 cm be two much width of the doubble breast
>>at the fot hem?
>>The banyan is going to be made of shot silk taffeta, purple/green as
>>a main collour, but the doubble breasted front is going to be a
>>green shot taffeta, turquise blue/yellow like the cuffs and collar.
>>The banyan is very simple in cut, only i am not sure if 49 cm of
>>overlapping in the foot hem would be two much.
>>Thanks for any inputs
>
>
> I think 49cm. is far too much. Measure between armpits, and you will
> find a better guide. About 30cm. seems a better overlap.
>
> Look here for lots of other information and pictures.
>
> http://tinyurl.com/6gt3k6
>
> Suzi
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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> 


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From: "Alexandria Doyle" <garbaholic@gmail.com>
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Subject: [h-cost] scanning large format items Was:How Many Costume Books
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In the last five years are so I've worked in companies that had large
format scanners, but the document is fed into the machine, not laid on
a flat bed.  Most of these are gentle enough with the material being
scanned - some of the drawings I've worked with were originally done
in the 1950's and are pretty fragile considering the use they have
had.

So if it's not bound in a book, it could go into the scanner, if it is bound...

Scanning rate is determined by the job, and can result in large files
as mentioned.

I'd check out some of the companies that sell the paper and do
reproduction jobs for engineering firms.  they might be able to scan
the image at a lesser cost than some of the standard copy places.

alex

On 4/30/08, Beth and Bob Matney <bmatney@alltel.net> wrote:
>> Blueprints (in the old days) were done with a diazo (ammonia)
> process. Most are now directly printed from computer originals,
> either 11 by 17 or using large format inkjet printers (usually 36 or
> 48 inches wide).
>
> Beth Matney
>
> >Date: Wed, 30 Apr 2008 10:40:20 -0700 (PDT)
> >From: Ann Catelli <elvestoorder@yahoo.com>
> >
> >Blueprints--check with a local construction company or two; there
> >ought to be somewhere that has a very large platen glass, and the
> >construction industry will likely use it.
> >Most blueprints are individually fed through a roller system; not
> >suitable for a bound book, or any antique paper.
> >
> >Ann in CT
>--
"I'm buying this fabric/book now in case I have an emergency...you
know, having to suddenly make presents for everyone, sickness,flood,
injury, mosquito infestations, not enough silk in the house, it's
Friday..."  ;)
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Santa better load up a separate sleigh for all those costumers and
Arnold fans who are going to be very, very good this year!! I also
finally broke down and ordered Patterns of Fashion vol 2 from a
amazon.com seller since my local library's copy was apparently
permanently "liberated" from its collection(along with volume 2 of Jean
Hunnisett's "Period Costume for Stage and Screen."). 

May the costume gods and goddesses do their wills upon the "liberator."

Cindy Abel

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
On Behalf Of Frank A Thallas Jr
Sent: Wednesday, April 30, 2008 3:06 PM
To: 'Historical Costume'
Subject: Re: [h-cost] Patterns of Fashion Volume 4: linen

  Ooo.  I know what I'm wantin' for Christmas.....

Thanks!

Liadain
Anticipatin'

THL Liadain ni Mhordha OFO
wildernesse, the Outlands 
http://practical-blackwork.blogspot.com
http://www.flickr.com/photos/liadains_fancies

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
On
Behalf Of Beth and Bob Matney
Sent: Wednesday, April 30, 2008 11:36 AM
To: h-costume@indra.com
Subject: Re: [h-cost] Patterns of Fashion Volume 4: linen

I just got this note in:

>The publisher is Macmillan and the publication date is
>7th November 2008. I think it will be on Amazon for
>pre-orders soon,
>
>Regards,
>Jenny Tiramani

Beth



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Hello!

Although I am still learning to sew, I have heard good things about Buckaroo 
Bobbins patterns. A pattern from them does range from tiny to HUGE.

Henry Osier
Chief Spy
Costume-Con 28 in Milwaukee in 2010
www.CC28.org
View the latest Intell: http://agent-milw.livejournal.com/
Questions?: http://community.livejournal.com/costume_con_28/    
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The photo workflow office is back in Orange County, and is still  
working like mad to process the over 20,000 pictures that volunteers  
shot and turned in. It's going to take a few days for these to get  
uploaded.

But don't wait! There's hope!

If you're a Flickr member, and you shot photos at Costume-Con 26,  
please consider adding your convention sets to the Costume-Con 26  
group photo pool. We've already got two members who have added their  
sets, but we would love to see more.

<http://www.flickr.com/groups/cc26/>

andy

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Subject: [h-cost]  Janet Arnold Costuming Colloquium in Florence,
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Would so love to go, but have a slight hitch in that am getting married in  
November...
 
*sigh*
 
:o)
 
 
 
 
In a message dated 30/04/2008 20:43:42 GMT Standard Time,  
h-costume-request@indra.com writes:

I have  met some people who are saving up to go to the big event in November
for  Janet Arnold. Here is the  link:
http://www.fondazione-delbianco.org/inglese/InsertNews/Janet-Arnold.htm

I  was wondering if anyone else was going to this event? I am hoping to get
to  Florence during this time, as I will be in England so why not hop  down?

There is rumor a new book in which Ms. Arnold was working on  before her
demise will be unveiled at this event. 

Anyone else here  of this rumor? 

I would give my eyeteeth to get there, but if not I  want to give people some
money in case the book is shown and they are  allowed to purchase it.


Cilean


 



   
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On Apr 30, 2008, at 12:42 PM, Alexandria Doyle wrote:
> In the last five years are so I've worked in companies that had large
> format scanners, but the document is fed into the machine, not laid on
> a flat bed.  Most of these are gentle enough with the material being
> scanned - some of the drawings I've worked with were originally done
> in the 1950's and are pretty fragile considering the use they have
> had.
>
> So if it's not bound in a book, it could go into the scanner, if it  
> is bound...

What you want for something like this is a copy stand and a high- 
resolution digital camera.

Lay the large original on the table. Position the copy stand so the  
object is completely in frame. Adjust the lights to ensure the  
document is evenly lit. Shoot.

It's just the evolution of film copying.

andy
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I'm combining it with thesis research.  No, really, I need to go to  
Europe anyway!

> Would so love to go, but have a slight hitch in that am getting married in
> November...
>
> *sigh*
>
> :o)
>
>
>
>
> In a message dated 30/04/2008 20:43:42 GMT Standard Time,
> h-costume-request@indra.com writes:
>
> I have  met some people who are saving up to go to the big event in November
> for  Janet Arnold. Here is the  link:
> http://www.fondazione-delbianco.org/inglese/InsertNews/Janet-Arnold.htm
>
> I  was wondering if anyone else was going to this event? I am hoping to get
> to  Florence during this time, as I will be in England so why not hop  down?
>
> There is rumor a new book in which Ms. Arnold was working on  before her
> demise will be unveiled at this event.
>
> Anyone else here  of this rumor?
>
> I would give my eyeteeth to get there, but if not I  want to give people some
> money in case the book is shown and they are  allowed to purchase it.
>
>
> Cilean
>
>
>
>
>
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>



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I'm looking at the new Pfaff Creative Vision and the Viking Designer SE. 
  The proprietary software looks on the face of it to be identical.  (I 
so far have not seen great reviews of Corel's.) Do you have any 
preferences as to which machine is the best?

Fran

Monie wrote:
> I own the Viking Designer SE, I love it so if you have the cash? I would 
> Most assuredly state pick it, but also? Since you were mentioning a larger
> field for embroidery? The newest Pfaff you should look at because at the
> moment it has the largest field.
> 
> I went to several stores to play with the machines, once they see you are
> doing this not to 'play' but to see which machine is right for you?
> Typically they allow you to stitch out a design. 
> 
> Also? When speaking of embroidery machines it is more the program that you
> have that will also achieve results.  If you are into or know Coreldraw,
> there is an embroidery machine version.  Also Pfaff and Husqvarna have their
> new program 4D which is very fun I am working with it, as well as
> Generations and well I bet a bunch more.
> 
> So you don't have to get the TOP end machine, you can still get awesome
> results with the top end program!
> 
> Cilean
> 
> 
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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> 
> 
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Subject: Re: [h-cost] Janet Arnold Costuming Colloquium in Florence,
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Honeymoon trip!

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Debloughcostumes@aol.com
Sent: Wednesday, April 30, 2008 6:20 PM
To: h-costume@indra.com
Subject: [h-cost] Janet Arnold Costuming Colloquium in Florence,

 
Would so love to go, but have a slight hitch in that am getting married in  
November...
 
*sigh*
 
:o)
 
 
 
 
In a message dated 30/04/2008 20:43:42 GMT Standard Time,  
h-costume-request@indra.com writes:

I have  met some people who are saving up to go to the big event in November
for  Janet Arnold. Here is the  link:
http://www.fondazione-delbianco.org/inglese/InsertNews/Janet-Arnold.htm

I  was wondering if anyone else was going to this event? I am hoping to get
to  Florence during this time, as I will be in England so why not hop  down?

There is rumor a new book in which Ms. Arnold was working on  before her
demise will be unveiled at this event. 

Anyone else here  of this rumor? 

I would give my eyeteeth to get there, but if not I  want to give people
some
money in case the book is shown and they are  allowed to purchase it.


Cilean


 



   
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Subject: [h-cost] Standard reference books on embroidery history?
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Ages ago I forwarded a question about blackwork to this list on behalf of a 
colleague. You folks were very helpful, so I'm coming back with an add-on query.

My colleague has continued her work and is approaching it from a different 
angle now, and for background, she needs to bring herself up to speed on 
what's known about embroidery in late medieval and early modern Western 
Europe, especially England. She is especially interested in seeing how 
blackwork fits into that context.

She asks for recommendations of good published sources that will give her a 
sense of what blackwork is and when it was done, based on specific examples 
(art, documents, and especially surviving artifacts). She needs sources she 
can cite in a formal paper, so Web sites will not do. Neither will how-to 
books that include a little historical background (e.g. that something was 
done in X century) but do not provide sources or evidence.

She particularly needs definitions: What specific characteristics lead 
historians to class the needlework on a 1550 shirt (for example) in the 
category of "blackwork" style (as the term is understood), while another 
example of embroidery that happens to be black would not be considered 
"blackwork"? A source that explains the stitches, motifs, patterns, etc. that 
are routinely associated by historians with the term "blackwork" would be great.

(I realize that some people could argue that you can call almost anything 
monochrome "blackwork" if you stretch the definition far enough, but she's 
interested in what's traditionally assumed by the accepted definitions, not 
ways to revise it.)

I am not asking anyone here to answer those questions for her ... even if you 
did, she'd still need published authorities she can cite in a formal paper. 
And she really needs to get up to speed on this on her own, and do her own 
reading. So all I'm bothering you folks for are recommendations for 
academic-quality reference books. She'll be getting them ILL, so cost and 
availability are not issues.

Bonus points if you can also point her to a good overview source on known
embroidery styles from, say, 1300-1600, based on surviving pieces, so she can 
get a sense of other known styles of this period and compare them with what 
she learns about "blackwork." I think she does not have much of a sense of 
just how much is known about specific embroidery styles, and how many types of 
embroidery there were in this period.

No need for anything beyond Europe or outside the 1300-1600 range.

Thanks for all your help!

--Robin



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From: "Wanda Pease" <wandap@hevanet.com>
To: "Historical Costume" <h-costume@indra.com>
Date: Wed, 30 Apr 2008 22:49:15 -0700
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Subject: Re: [h-cost] Sorry,  had to laugh
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The Pacific NorthWet is pretty standard alternate for Pacific Northwest :-)
I'm in Portland, Oregon where it is currently hailing, raining, sunning all
in the same 5 minutes.  Since my migraines are pressure triggered, I'm
pretty miserable even though I really love the green this produces as well
as the coolness!

Wanda
 (SCA Kingdom including the Pacific
> >Northwest/Northwet of the United States)
>
>
> Northwet?  Is that a reference to Washington and Oregon?  Please say
> you did this on purpose?
>
> LOL
>
> Genie
> Who lived in Washington for three years and loved it!
>
> _______________________________________________
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Date: Thu, 01 May 2008 14:38:38 +1000
From: Jane Stockton <jane_stockton@webcon.net.au>
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Subject: Re: [h-cost] Standard reference books on embroidery history?
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At 01:43 PM 1/05/2008, you wrote:
>Ages ago I forwarded a question about blackwork to this list on behalf of a
>colleague. You folks were very helpful, so I'm =

>coming back with an add-on query.
>
>My colleague has continued her work and is approaching it from a different
>angle now, and for background, she needs to bring herself up to speed on
>what's known about embroidery in late medieval and early modern Western
>Europe, especially England. She is especially interested in seeing how
>blackwork fits into that context.
>
>She asks for recommendations of good published sources that will give her a
>sense of what blackwork is and when it was done, based on specific examples
>(art, documents, and especially surviving artifacts). She needs sources she
>can cite in a formal paper, so Web sites will not do. Neither will how-to
>books that include a little historical background (e.g. that something was
>done in X century) but do not provide sources or evidence.
>
>She particularly needs definitions: What specific characteristics lead
>historians to class the needlework on a 1550 shirt (for example) in the
>category of "blackwork" style (as the term is understood), while another
>example of embroidery that happens to be black would not be considered
>"blackwork"? A source that explains the stitches, motifs, patterns, etc. t=
hat
>are routinely associated by historians with the =

>term "blackwork" would be great.

Such a beasty doesn't really exist. There isn't =

one or even two books that cover all this area. =

And not many articles either, not academic ones anyway.

General History of European Embroidey at this time:

Bridgeman, Harriet; and Drury, Elizabeth. (eds). =

=96 =93Needlework, an Illustrated History=94, (London: =

Paddington Press, 1978) - section on Great Briton
Schuette, Marie and M=FCller-Christensen, Sigrid. =

=93The Art of Embroidery=94 (London: Thames and Hudson, 1964)

Blackwork History/Techniques

Some of the best background about Blackwork comes from a how-to book:

Gostelow, Mary. Blackwork. (New York: Van Nostrand Reinhold, 1976)
Geddes, Elisabeth, and Moyra McNeill. Blackwork =

Embroidery. (New York: Dover, 1976)

I also have a handout which describes what I =

consider to be the three main types of blackwork =

during the Elizabethan period with examples and =

details for find original institutions hold the egs.

See "Embroidery for Clothing - Non-Counted =

Blackwork" under "Class Handouts" on =

http://needleprayse.webcon.net.au/research/index.html


>(I realize that some people could argue that you can call almost anything
>monochrome "blackwork" if you stretch the definition far enough, but she's
>interested in what's traditionally assumed by the accepted definitions, not
>ways to revise it.)

One thing to remember, most sources are heavily =

biased towards looking at early period Blackwork =

ie early Tudor under Henry VIII. You can find =

alot about that but much less about the later =

period stuff. Really there aren't any standard =

definitions of what constitutes blackwork.

>I am not asking anyone here to answer those questions for her ... even if =
you
>did, she'd still need published authorities she can cite in a formal paper.
>And she really needs to get up to speed on this on her own, and do her own
>reading. So all I'm bothering you folks for are recommendations for
>academic-quality reference books. She'll be getting them ILL, so cost and
>availability are not issues.
>
>Bonus points if you can also point her to a good overview source on known
>embroidery styles from, say, 1300-1600, based on surviving pieces, so she =
can
>get a sense of other known styles of this period and compare them with what
>she learns about "blackwork." I think she does not have much of a sense of
>just how much is known about specific embroidery =

>styles, and how many types of
>embroidery there were in this period.

My website:

Historical Needlework Resources - above period =

broken down by location, date and techniques. =

Some of the links to extant pieces may be broken =

as the museums etc keep changing their databases, =

but it will get her to the correct institution where she can search.

The quickest way to find extant examples is by =

looking in the "Period" section, which is then =

broken down by location and technique.

>No need for anything beyond Europe or outside the 1300-1600 range.

In relation to blackwork, I think that would be a =

mistake - look at the Mamluk embroidery such as =

the one on my site: =

http://medieval.webcon.net.au/loc_middle_east_mamluk.html =

and compare to the 16th C modelbuch patterns used =

a source by embroiderers in the 16th Century - almost identical.

>Thanks for all your help!
>
>--Robin

If she has specific questions I can probably =

chase down specific sources. I'm at work and don't have my books on hand.

Cheers,
Jane


------------------------------------
Jane Stockton - jane_stockton@webcon.net.au
Barony of Mordenvale, Kingdom of Lochac

In Prayse of the Needle - http://needleprayse.webcon.net.au/ (personal webs=
ite)
Historical Needlework Resources - =

http://medieval.webcon.net.au/ (resource website)
The Needles' Excellency - http://laren.blogspot.com/ (blog)
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Subject: Re: [h-cost] Sorry,  had to laugh
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The minute after this is the final phase of the cycle: steaming. ;-)

Arlys

On Wed, 30 Apr 2008 22:49:15 -0700 "Wanda Pease" <wandap@hevanet.com>
writes:
> The Pacific NorthWet is pretty standard alternate for Pacific 
> Northwest :-)
> I'm in Portland, Oregon where it is currently hailing, raining, 
> sunning all
> in the same 5 minutes.  Since my migraines are pressure triggered, 
> I'm
> pretty miserable even though I really love the green this produces 
> as well
> as the coolness!
> 
> Wanda
>  (SCA Kingdom including the Pacific
> > >Northwest/Northwet of the United States)

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I got the new Pfaff Creative Vision for Christmas last and I am loving it.  It has - I am told - the largest hoop of any home sewing machine.  If learning a new machine and software to go with it is an adventure to you I highly recommend this machine.  I'm also new to the machine embroidery scene.  Digitizing your own designs is so much easier than it use to be,  I bought the Floriani Embroidery suite Pro at quilt show at a very good discount.  I learn something new every time I open it up and go through a tutorial lesson.   
 
 Anniecat
 
 
> Date: Wed, 30 Apr 2008 17:39:39 -0700> From: fran@lavoltapress.com> To: h-costume@indra.com> Subject: Re: [h-cost] New Sewing Machine> > I'm looking at the new Pfaff Creative Vision and the Viking Designer SE. > The proprietary software looks on the face of it to be identical. (I > so far have not seen great reviews of Corel's.) Do you have any > preferences as to which machine is the best?> > Fran> > Monie wrote:> > I own the Viking Designer SE, I love it so if you have the cash? I would > > Most assuredly state pick it, but also? Since you were mentioning a larger> > field for embroidery? The newest Pfaff you should look at because at the> > moment it has the largest field.> > > > I went to several stores to play with the machines, once they see you are> > doing this not to 'play' but to see which machine is right for you?> > Typically they allow you to stitch out a design. > > > > Also? When speaking of embroidery machines it is more the program that you> > have that wi!
 ll also achieve results. If you are into or know Coreldraw,> > there is an embroidery machine version. Also Pfaff and Husqvarna have their> > new program 4D which is very fun I am working with it, as well as> > Generations and well I bet a bunch more.> > > > So you don't have to get the TOP end machine, you can still get awesome> > results with the top end program!> > > > Cilean> > > > > > > > _______________________________________________> > 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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