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From: "Gia Gavino-Gattshall" <ggavino@serv.net>
To: "Costume List" <h-costume@indra.com>
Subject: Fw: H-COST: SCA Costuming Rules?
Date: Mon, 4 Jan 1999 15:35:36 -0800
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-Poster: "Gia Gavino-Gattshall" <ggavino@serv.net>

Something went wrong and this didn't post to the list..Please forgive the
repeat..


-----Original Message-----
From: Gia Gavino-Gattshall <ggavino@serv.net>
To: h-costume@indra.com <h-costume@indra.com>
Date: Sunday, January 03, 1999 9:16 AM
Subject: Re: H-COST: SCA Costuming Rules?


>Greetings!
>
>Sarah, you responded with some wonderful ideas!  But as far as I know there
>aren't any <printed> *Rules for Costuming in the SCA*.  All I know about is
>the general info of "reasonable attempt".
>
>The best place to get information is to contact the local Costumer's Guild
>(SCA).  They usually have a 'library' or at the very least a list of
>reliable resources to help the costumer get a look and feel of what's
period
>or not.
>
>There's also Penny's web Page, if the costumer is not inclined to contact
>strangers.  A wonderful web site!! I have used it frequently.  And she has a
>wonderful section on colors.
>
>http://www.costumegallery.com/research.htm
>
>http://members.aol.com/nebula5/costume.html
>
>http://www.metmuseum.org/
>
>http://www.lacma.org/lacma.htm
>
>http://mistral.culture.fr/louvre/louvrea.htm
>
>http://www.lib.washington.edu/Art/internet.html
>
>
>The Costume Page and the Museums that have pictures online are also great.
>
>But if you can, do ask someone.  If you've seen someone that has impressive
>garb, talk to him/her about his/her resources, etc.
>
>Good luck!
>
>OASN:  This is *seriously* OT (sorry listers! SCA specific is a no-no!), so
>if you have questions re: resources, you can email privately to those you
>see have SCA affiliations in their emails.
>
>Gia/Giacinta
>
>>1)Boris Valejo, and DragonLance Series Book covers, and D+D handbooks, are
>>not good places for ideas.. or even to look.  groovey for fantasy, but
>>should never be considered in even a half-attempt at period costuming.
>>
>>2)Dispell all ideas from Disney, and (most) film, and most low budget
>>theatre. (not to slander those who work on these projects..you work very
>>hard. but the objectives are often different)
>>
>>3)If it is shiney, glittery, without being at least glass, or real
>>metalics you most likely will look fake. (unless great care to
>>individualize is taken)
>>
>>4)Lame' is evil.
>>
>>5)Commercial trims available at Chain stores are 'iffy' at best.  Try
>>Religious supply houses, and ethnic shops (such as Those found in Little
>>India, and import export stores)
>>
>>6)Body Type should not be an excuse to alter pattern styles.  ex.  I have
>>seen sideless surcotes worn with Rennaisance Chemises(and nothing else),
>>becausee they felt 'bloated' and didn't want to wear the fitted dress that
>>went with it.
>>
>>7)There is no excuse for not doing your research.  (even if you flip
>>through an art history book, look at the date on the painting, and say "I
>>want that" is a good start)
>>
>>8)Cheap materials make cheap costumes.  (Cheap as in chinzy... God knows
>>theres some fabulously created costumes out of inexpensive materials)
>>
>>9)Torn trim, ripped fabric/garb is not appropriate.  Nor is using your
>>persona to excuse bad costuming allowed. (Oh I just came back from a
>>battle/ Oh I'm too poor to sew dowm my trim)
>>
>>10)handiwork is second only to cleanliness on that way to godliness.  It
>>is _amazing_ what little details will do for a costume.  It can propel
>>T-Tunic... into T-Terrific.  (am I sounding peppy now? :-)
>>
>>11)pictures, pictures, pictures.  no- guesswork.  It is a good idea to
>>show the 'newbie' the obvious differences between primary medivael source,
>>and 18th centurey re-drawing of primary medieveal source (Ex, Violette Le
>>Duc)
>>
>>12) just becasue it is your first piece of 'garb' does not mean that it
>>should be a half attempt.  The SCA is full of generous individuals, who
>>have all types of costume closets open for eager beginners.  use them
>>first to see if you like the group.  THEN, save your pennies, for the good
>>stuff.
>>
>>13)If nothing else, Learn the period silouettes.  know viking=boxy,
>>11thcent= got more fitted, 12th= even more so.  13th= cotehardies. 14th=
>>houpellande, 15th= gather in the waist of the houpelande until it
>>fits.(this is the one word descrption --It does NOT substitute for
>>primary source materials--- see #11)  Learn to recogognize them in
>>pictures.
>>
>>14) Never underestimate the importance of good ascessories.  Headgear,
>>jewelry, shoes are easily made, and often overlooked... and without them,
>>even the most period dress can be looked down upon.
>>
>>15)Ask questions. Nicely.
>>
>>OK,I hope that helps out.
>>
>>Sarahj
>>
>>
>>**2Y's**UR**2Y's**UB**IC**UR**2Y's**4Me**
>>
>> _________________________________________________________________
>> To leave this mailing list, send mail to majordomo@indra.com
>> with the message UNSUBSCRIBE H-COSTUME
>>
>

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From owner-h-costume@indra.com  Mon Jan  4 23:29:33 1999
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From: Heather Law <lynnx@mc.net>
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-Poster: Heather Law <lynnx@mc.net>

> - -Poster: Merouda the True <keltia@serv.net>
> 
> > Please pardon me if this request is inappropriate for your group, but > > I
> > am looking for an on line list of SCA Costuming rules or guidelines.

The years are 600 to 1600 AD, with tolerance for Cavalier ("3-Musketeers
Look).  If you'll send me your email addy, I'll send you a list of my
favorite sites, plus several SCA web pages.  Also, you would be up to
your ears in help, I think, if you joined the SCA-Garb list, at
 
http://www.coollist.com

Not only will you get help, you will also find every "cheat-sheet"
method in the book, all designed to make garb *more* authentic,
comfortable, and **durable**.

SCA also publishes a series of mini-books, $4 apiece, and usually pretty
carefully researched, about various types of garb (Viking, Byzantine,
Russian, Japanese, European (of course) etc., and also, such things as
how to choose fabric appropriate for the period.  

Since folks on this list occasionally express having "had their fill" of
SCA stuff, please contact me at

lynnx@mc.net

and I'll be happy to steer you in some hopefully helpful directions.

In service,

Heather Law, s.k.a. Sister Ed the Disorganized


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From owner-h-costume@indra.com  Tue Jan  5 10:52:10 1999
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Subject: Re: H-COST: SCA Costuming Rules?
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-Poster: Margo Anderson <margo@directcon.net>


>Most folks follow the 10 foot rule.  If it looks good at 10 feet, it's okay.

I know that this rule gets quoted over and over for SCA and Faire purposes,
but I wish it would stop.  It's appropriate for theatrical performances, not
for up-close work.  If everyone in the SCA stood 10 feet away from each
other, it would make sense,  (although it would make fighting and dancing
tough)  but they don't.  I think a two-foot rule would be a better guideline.  

As to the poster who's looking for advice, I know that you're a busy
business woman, but if you're getting enough SCA clients for you to feel you
need help, it would probably be worth your time to go to a few events and do
some field research.  


Margo Anderson
"One Tough Costumer"


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From owner-h-costume@indra.com  Tue Jan  5 11:21:59 1999
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-Poster: kat@grendal.rain.com


> ><_For the period 1750 onwards, what evidence is there to suggest how 
> >much the <female body (both skeleton and organs) was permanently changed 
> >by wearing stays._
> 
> I heard a story about a woman during whose autopsy they found rib-marks on
> her liver from tight lacing.  I have no way of knowing if this is true or
> urban legend.

This is not just urban legend. I used to have a medical book which 
had photographs of autopsies. In it they had several photographs of 
"the evils of wearing corsets". The livers were very oddly shaped, 
like an elongated hour glass. It often pushed up into the cavity 
meant for the lungs as well as deep into the pelvis. There were rib 
marks on at least one of the livers that I can recall.

I no longer have the book but you might be able to go to a medical 
school library and find it in their old book section. It might also 
be in the anatomy or physiology section (as I recall it being an 
anatomy book.)

Even in this day and age you can get corset related liver 
problems, just ask Dolly Pardon.

When they were working out respiratory physiology (the study of how 
the breathing system works) in the 19th century, they thought that 
men and women had different ways of breathing because that's the way 
that they were made by God. It wasn't until the 20th Century when 
corsets were less common that they noticed that some women "breathed 
like men." 

Tight lacing definitely has an effect on one's breathing and heart 
function. Even a moderately laced corset should never be suddenly 
decompressed (like the sword swipe lace cutting) unless the person is 
actually in cardiac arrest. Otherwise you may *cause* cardiac arrest. 
It's no wonder that those tight laced women tended to faint more 
easily than a women now would. She didn't have the lung capacity she 
needed for any extended exercise. Also, she was at more risk for lung 
infections because of atelectesis (partial lung collapse caused by 
inadequate expansion of the lungs. That's the reason why they have 
you do deep breathing exercises with the little blow tube apparatus 
after major abdominal surgery.)

Interestingly, she may have had slightly less risk of dying of TB 
than a person of equal health. Almost everyone had TB until they 
developed drugs to fight it. In almost everyone it was inactive 
because it was encapsulated by the body in calcium. If one got ill 
with something or sometimes as a result of pregnancy/lactation, the 
body would reabsorb the calcium, thus releasing the tuberculosis 
bacterium. (That's probably why Edward VI sickened so after he had a 
case of measles. Although some people think he died of complications 
of congenital syphilus, he didn't have the right teeth for that and 
his health prior to the measles was relatively good for such a 
pampered little boy. However, from the descriptions, he was 
definitely consumptive.) Once you had active TB, even in this century 
one of the ways of treating it which actually worked was to tightly 
bind the rib cage. They even went so far as to do things to ribs make 
them collapse. (TB is very sensitive to oxygen. Decrease it's oxygen 
supply and it doesn't grow well.)

This sort of leads me to another subject: rib removal. I've heard it 
mentioned many times that this would have been impossible to do 
without killing the women. Actually, it wasn't. While I have only 
heard of one documented case of it for the sake of tight lacing (a 
famous actress of the day), it was done for the sake of treating TB. 
They could remove ribs in such a way that it will regrow in a 
collapsed position. My father had it done before antibiotics were 
available. (He just died this Halloween at age 93. He was lucky 
enough to be within a week of dying in a hospital back in the 1940s 
when they were experimenting on people nearly dead of TB. He was 
lucky enough to be in the group which got PAS/isoniazid instead of 
the control group who all died on schedule.)

Kat 

Kat(June Russell)
kat@grendal.rain.com
Heu! Tintinnuntius meus Sonat!
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Date: Tue, 5 Jan 1999 10:48:25 -0600
From: "I. Marc Carlson" <LIB_IMC@centum.utulsa.edu>
To: h-costume@indra.com
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-Poster: "I. Marc Carlson" <LIB_IMC@centum.utulsa.edu>

<Margo Anderson <margo@directcon.net>>
>>Most folks follow the 10 foot rule.  If it looks good at 10 feet, it's okay.
>I know that this rule gets quoted over and over for SCA and Faire purposes,
>but I wish it would stop.  It's appropriate for theatrical performances, not
>for up-close work.  If everyone in the SCA stood 10 feet away from each
>other, it would make sense,  (although it would make fighting and dancing
>tough)  but they don't.  I think a two-foot rule would be a better guideline.  

Ma'am, while I would personally prefer a two-foot, or even a two-millimeter
rule, I am content to encourage a ten-foot rule for accuracy since, to judge
from what I have seen at various things (including, but not limited to, SCA
and Faires) even -that-'s exceeding some people's levels of interest and 
willingness.  I don't mean to criticize those people in those venues who are
doing some darned good work.  I'm just saying that I find the "ten foot rule",
a good, non-threatening, basic standard to encourage when dealing with people
or places that have no other rigidly held standards.

It is true that when educating people in what is historically accurate, an 
"audience" may remain ten feet or more away, while when dealing with people 
in small groups they will likely come much closer than that, but it is my
understanding that most groups who are dealing with educating the public 
maintain much tighter standards than a mere "ten-foot rule".  Faires and
the SCA do not exist to educate the public, and so I do not expect them
to adhere to the rigid guidelines of those people who do.  If they can be
encouraged, as non-threateningly as possible, to help with educating themselves
and each other by dressing to a ten-foot standard, that's really all we can
hope for.

Now, if you want to get into whether or not the SCA or RenFaires *should* have
a universal standard for accuracy, I'll be happy to talk about that offlist
(since even if it *were* an appropriate topic for this list, it's not a
topic I choose to discuss publically), but really I think the question is one
of realistic expectations, and the frustrations of pushing people into running
who have not yet learned to walk.

Disagreements and flames may be directed to

Marc Carlson
LIB_IMC@centum.utulsa.edu
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From owner-h-costume@indra.com  Tue Jan  5 12:09:04 1999
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From: Merouda the True <keltia@serv.net>
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-Poster: Merouda the True <keltia@serv.net>

> >Most folks accept that the more research and the more accurate
> >the better, but also accept that not everyone is capable.

> I have to take exception to the phrase 'not capable'. Unless one is
> illiterate and/or blind, research is certainly 'capable' if the person
> 'cares' to do it.

Not everyone knows how to sew for one thing.  And to learn how
to sew and do the research before going to your first event so
that you can have a researched costume?

Let me rephrase.  Not everyone *wants* to be capable of sewing.  Maybe
they want to spend their precious spare time learning how to make armour.
Thank god for merchants.

Maybe we should require that the *merchants* at the events only sell
researched clothing.  Merchants selling fantastical historical clothing are
probably the most responsible for the image of poor research.


> I'll admit it. But I have never and will never slam a person for a bad
> outfit. If they ask I will try to gently and kindly point out aspects to
> improve or resources they could try. The only unsolicited feedback I will
> give is a compliment.

Excellent.  I try to do this as well.  I for one tend to close my ears
whengiven unkind criticism, but kindly compliments from a well dressed gentle

always inspires me to try harder next time.  :)


> I resent that having high standards of authenticity
> is often confused with the people who seem to be trying to build up their
> own egos by cutting other people down.

Huzzah!  I am just amazed by the stories I hear.

In agreement,  Cynthia

--
Merouda the True of Beaumaris
Barony of Madrone
Kingdom of An Tir


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From owner-h-costume@indra.com  Tue Jan  5 12:11:32 1999
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Subject: Re: H-COST: 10' Rule
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-Poster: Margo Anderson <margo@directcon.net>

At 10:48 AM 1/5/99 -0600, you wrote:
>
>-Poster: "I. Marc Carlson" <LIB_IMC@centum.utulsa.edu>

>Ma'am, while I would personally prefer a two-foot, or even a two-millimeter
>rule, I am content to encourage a ten-foot rule for accuracy since, to judge
>from what I have seen at various things (including, but not limited to, SCA
>and Faires) even -that-'s exceeding some people's levels of interest and 
>willingness.  I don't mean to criticize those people in those venues who are
>doing some darned good work.  I'm just saying that I find the "ten foot rule",
>a good, non-threatening, basic standard to encourage when dealing with people
>or places that have no other rigidly held standards.
>
Perhaps I should call it a guideline rather than a rule.  At any rate,
telling newcomers that it's okay to do bad work or use bad materials
because it'll look okay from ten feet away is doing them a diservice.  Why
not help them get started at a reasonable level?  It's just not that much
harder.

Margo

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From owner-h-costume@indra.com  Tue Jan  5 12:16:54 1999
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From: "Gia Gavino-Gattshall" <ggavino@serv.net>
To: <h-costume@indra.com>
Subject: Re: H-COST: rules of the list?
Date: Tue, 5 Jan 1999 09:26:42 -0800
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-Poster: "Gia Gavino-Gattshall" <ggavino@serv.net>

Please forgive me...I belong to the SCA...I was merely trying to beg
forgiveness of those who are sensitive about using the list to promote the
SCA.

Again, begging forgiveness for seeming to slight the SCA I love and
participate in.

Gia/Giacinta
-----Original Message-----
From: Sandra J. Westergren <Cassandy@compuserve.com>
To: costume ml <h-costume@indra.com>
Date: Monday, January 04, 1999 10:17 PM
Subject: H-COST: rules of the list?


>
>-Poster: "Sandra J. Westergren" <Cassandy@compuserve.com>
>
>
>>OASN:  This is *seriously* OT (sorry listers! SCA specific is a no-no!),
>so
>>if you have questions re: resources, you can email privately to those you
>>see have SCA affiliations in their emails.<
>
>Could the list manager refresh our memories about the rules for this list?
>What are the qualifications, education, and affiliations necessary to be a
>part of this sharing of knowledge?
>For what reasons can your membership here be denied?
>And please tell me if SCA specific topics really are a no-no.  If so, then
>I would hope the list of no-nos would also include:
>Civil War specific
>Movie specific
>Ren Fest specific
>Halloween specific
>Victorian specific
>Edwardian specific
>. . . . . . . .
>The listing could go on entirely too long.
>
>Usually I read such negative statements concerning the SCA and forgive and
>forget.  But I have seen SCA being singled out so often and rarely (if
>ever) does any other thread get the same treatment.  It leaves me pondering
>what the Society does or stands for that puts such a nasty taste in the
>mouths of historical costumers.  I read sane, logical, and researched posts
>with a signature line proudly proclaiming SCA participation.  I recognize
>names of others who, for reasons that may include avoidance of ridicule,
>purposely keep their SCA standing secret from this list.  I see many who
>wished to learn from the collective wealth of knowledge held herein only to
>be belittled and sent away simply for mentioning three letters.
>
>If the SCA is not welcomed, then proclaim that from the beginning.  Ask the
>questions and deny access to all who dare speak the words Society for
>Creative Anachronism.  I, for one, will walk away gladly.  For in the SCA I
>have found acceptance unmatched by this list.  I have found courtesy and
>noble bearing.  I revel in the respect given to any interest one cares to
>persue, to any degree of expertise one can manage.  And I have seen many
>well researched and exquisite articles made by those within Society ranks.
>It saddens me that their knowledge of historical costume seems to be
>unwelcomed on a list whose purpose is the study of clothing through the
>ages. It hurts even deeper to realize that SCA affiliation destroys the
>chance to ask questions and learn.
>
>Please let me know if I am no longer welcomed, for I am
>Mistress Cassandra of the Western Green, Member of the Order of the Laurel
>for costuming, abiding in the Barony of Nordskogen within the starry lands
>of Northshield, proud daughter of the Midrealm and card carrying member of
>the SCA since 1985.
>also known as
>Sandra Westergren from Minneapolis Minnesota USA, sewing since the age of
>10
> _________________________________________________________________
> To leave this mailing list, send mail to majordomo@indra.com
> with the message UNSUBSCRIBE H-COSTUME
>

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From owner-h-costume@indra.com  Tue Jan  5 12:25:52 1999
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Date: Tue, 05 Jan 1999 09:32:51 -0800
From: Merouda the True <keltia@serv.net>
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-Poster: Merouda the True <keltia@serv.net>

Thank you for this most informative post.  Thank god your
father lived.  :)   Cynthia

> This is not just urban legend. I used to have a medical book which
> had photographs of autopsies. In it they had several photographs of
> "the evils of wearing corsets".

> This sort of leads me to another subject: rib removal. I've heard it
> mentioned many times that this would have been impossible to do
> without killing the women. Actually, it wasn't.

--
Merouda the True of Beaumaris
Barony of Madrone
Kingdom of An Tir


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From owner-h-costume@indra.com  Tue Jan  5 12:45:49 1999
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-Poster: Jennie Chancey <jchancey@rica.net>

Back again after Christmas/New Year's vacation, and I've just been
handed a huge project that is quite exciting.

A new catalogue (which must remain nameless for now) is starting up,
which will feature authentic, high quality historical/nostalgic toys for
boys.  Kind of like the American Girls line with the dolls and matching
historical outfits, this new catalogue would like to offer five or six
complete outfits for boys that go along with a story from the past, like
Sergeant York, Davy Crockett, Squanto, etc.

I have been asked to design the outfits, and I am very excited to do
so.  However, because the company has never done anything in the
clothing area before, they do not know where to go to hire the labor to
have the outfits made.  They do not want to use China or Mexico
(sweatshops), but they do need to be able to order 500-1000 outfits at a
pop and keep them in stock in three sizes (3-5 year old; 6-9 year old;
10-12 year old).  I know a lot of great seamstresses out there who make
boys' reenacting clothing, etc., but I am clueless when it comes to
outsourcing something this huge.

Does anyone on the list know of a company or group that can make good
quality clothing (not Halloween costume "cheap-os," but not reenactment
quality goods, either)?  I would appreciate any and all suggestions.
I'm going to get on the net and look around, but I seriously doubt I'll
find something without a referral.  And I do need to be able to make
sure they do not use underpaid or "free" labor.

Thanks much!

Jennie Chancey
--
Sense and Sensibility
http://www.sensibility.com
winsome clothing with an old-fashioned appeal


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From owner-h-costume@indra.com  Tue Jan  5 12:53:01 1999
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-Poster: Lavolta Press <lavolta@best.com>

>
>
> This sort of leads me to another subject: rib removal. I've heard it
> mentioned many times that this would have been impossible to do
> without killing the women. Actually, it wasn't. While I have only
> heard of one documented case of it for the sake of tight lacing (a
> famous actress of the day), it was done for the sake of treating TB.
> They could remove ribs in such a way that it will regrow in a
> collapsed position. My father had it done before antibiotics were
> available. (He just died this Halloween at age 93. He was lucky
> enough to be within a week of dying in a hospital back in the 1940s
> when they were experimenting on people nearly dead of TB. He was
> lucky enough to be in the group which got PAS/isoniazid instead of
> the control group who all died on schedule.)

But did they remove ribs in the 19th century or earlier?  I don't know much
about medical history. But I believe that in the 1940s doctors were aware of how
to prevent infection (formerly a major cause of post-surgical death) by keeping
all tools, etc. free of bacteria.  They also may have had better surgical
techniques than in the 19th century.  I think by the 1940s they had sulfa drugs
(which are not strictly speaking antibiotics but which combat infections; when I
was a child people allergic to penicillin were given sulfa drugs).

There is also a difference between whether a doctor will perform a serious, even
potentially fatal operation in the hope of saving the life of someone who would
probably die without it, and whether the doctor would perform the same operation
for purely cosmetic reasons.

Fran

----------------------------------------------
Visit our web sites!
Books on historic costume and vintage clothes
http://www.best.com/~lavolta/index.htm
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http://www.best.com/~lavolta/dance/index.htm


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From owner-h-costume@indra.com  Tue Jan  5 13:13:53 1999
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-Poster: Merouda the True <keltia@serv.net>

> Perhaps I should call it a guideline rather than a rule.  At any rate,
> telling newcomers that it's okay to do bad work or use bad materials
> because it'll look okay from ten feet away is doing them a diservice.  Why
> not help them get started at a reasonable level?  It's just not that much
> harder.

Less than 2 years ago, I was a newcomer in the SCA.  One of the first things
I was told was the 10 foot guideline.  And thank god for the guideline.  I spent
days sewing and embroidering and beading a tunic.  No sleeve tunic.  Darts and
a zipper.  Poly twill.  I just put it in the gold key box.  *urp*  It was really
nice
actually, just no way was it period.  I wore it with a calf length silk velvet
circle
skirt and my biker boots.  I'm cracking up typing this.  My god, the tunic was
navy, the skirt plum.  I wore a crocheted leather top over all this as fake chain
mail.  *sigh*  *laugh*  Some nice lady was even kind enough to compliment
me on the skirt.  The fabric *was* gorgeous.

I just finished a gorgeous velvet cotehardie with silk embroidery, pearls,
and garnets.  The buttons, button holes, and eyelets are straight out of the
Museum of London's Textile book.  I have documentation for the velvet,
both as a fabric and as a color, red.  I can document the embroidery and
the beadwork.  I have made a reticulated head dress and have a nice metal
hip belt.  I made the linen undergarment completely by hand with linen thread.
I have pointy shoes although I need some work on that, and all my seams are
finished in a period manner.

If I had time to pull the documentation together and write the paper in three
days, I would enter it in the Court Garb contest this weekend at Coronation /
Twelth Night.

Why this long story?  Well, to illustrate that 10' foot rule helped me be
comfortable enough to attend a *second* event.  If I had been made to
feel like a complete idiot, I never would have returned.  I was nervous
enough as it was.  I was so grateful that the SCA was so accepting of
my first attempts.  My gold key donation box is full. *G*  Half my
fabric stash has gotta go too.

But I was so inspired by all the lovely period clothing that I couldn't
wait to get home and go to the library and the fabric store.  The fabric
stores of Seattle, WA, are grateful that the SCA was so welcoming as
well.  They have made a fortune on me.  The progress of my research
is documented in the clothing I made.  Each gown got better and better.

I am currently planning an Italian Renn, a Tudor, and an Elizabethan.
For the the next three annual costume contests.  This should keep
me busy until 2002.  heh.

So, in my not so humble ( ;-> ) opinion, I think the 10' foot rule
encouraged me to come back and learn something.  What I have
learned in the last 2 years has been phenomenal (everything I know
about historical costuming I learned in this 2 year period).  And
what I have found is my life's passion.

Not bad I think,
Cynthia
--
Merouda the True of Beaumaris
Barony of Madrone
Kingdom of An Tir



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-Poster: Charlene Charette <charlene@flash.net>

I'm sorry to have committed a netiquette faux pas.  I reference another
list and didn't provide an address.

The historical needlework list can be found at
h-needlework@ansteorra.org.  To join, send a message to
majordomo@ansteorra.org.  Or you can visit
http://lists.ansteorra.org/lists.html to join any number of lists.

I'll be gone 1/8/99-1/17/99 so if you have any problems getting on or
off the h-needlework list I won't be able to help until I return.  You
can reach me at owner-h-needlework@ansteorra.org or charlene@flash.net.

--Charlene

--
No snowflake in an avalanche ever feels responsible.  -- Stanislaus
Lezczynski


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From owner-h-costume@indra.com  Tue Jan  5 13:46:11 1999
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From: "Steve & Michelle Plumb" <splumb@ic.net>
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Date: Tue, 05 Jan 1999 13:12:42 -0400
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-Poster: "Steve & Michelle Plumb" <splumb@ic.net>

Hello!  

I am forwarding this message on behalf of
Donna, a member of the Knitlist.  She has a
costuming question.  Please send the answers
to her at:

huntdn@aimnet.com

Thanks!
Michelle


=================BEGIN FORWARDED MESSAGE=================

HELP
Completely off the knitting subject.  A dear friend of mine is writing
a
book and asked me a question that made my mind blank!  I know---big
surprise!!!!
Would a man (young man) wear a shirt of flax about 1000 years ago?  I
had
such a good laugh, because I can't remember what I wore yesterday half
the
time let alone 1,000 years ago.  If there is anyone out there that can
answer this, or tell me what was worn, John and I would be grateful.  

Have a great week everyone.


Donna Hunt and the Girls (Toaster and Indy)
Livermore, Ca.
Even in 1999 Knitting is still Chicken Soup for my Soul.


===================END FORWARDED MESSAGE===================



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From owner-h-costume@indra.com  Tue Jan  5 13:46:28 1999
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From: "Susan Carroll-Clark" <sclark@chass.utoronto.ca>
To: <h-costume-digest@indra.com>
Subject: H-COST: Rib removal
Date: Tue, 5 Jan 1999 13:55:51 -0500
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-Poster: "Susan Carroll-Clark" <sclark@chass.utoronto.ca>


Greetings!

Fran said,
>There is also a difference between whether a doctor will perform a serious, even
>potentially fatal operation in the hope of saving the life of someone who would
>probably die without it, and whether the doctor would perform the same operation
>for purely cosmetic reasons.


Precisely.  I can't see anyone in the 19th century wanting to undergo
elective surgery for *any* reason.  (Does anyone know when cosmetic surgery
as we know it started being done?).  I've also heard "rib removal" posited
for periods as far back as the 16th century (which demonstrates a
misunderstanding of the purpose of earlier corsets), which is even scarier
to think about.

Rib removal rumours are still with us.  We just had a thread discussing "rib
removal in supermodels" in alt.folklore.urban (conclusion:  removal of the
lower ribs would probably produce the reverse of the desired effect, since
they hold organs in place);  there's also the one that crops up from time to
time regarding rock stars (currently the trendy one is Marilyn Manson) who
do this to, uh, fellate themselves (also no proof....)

Rib removals happen.  The supermodels thread in a.f.u. brought up one
instance of a major league pitcher who had one of his ribs (in this case,
one of the upper ones) removed to increase circulation in his pitching arm;
and I'm sure there are other real medical reasons why they're done.

Susan Carroll-Clark

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From owner-h-costume@indra.com  Tue Jan  5 13:59:56 1999
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-Poster: MzScahlett@aol.com

I have a source for two types of traditional "cavalier", and I just used them
for a scene form Cyrano.  One in quantity that looks fine from a distance,
with plumes, for $8.75/ea,  the other is $45/ea and is high quality.  Let me
know if you're interested and I'll look them up and post.

angil
+++++
+ + + + + + +
Angela F. Lazear
Costumes & Custom Clothing

"Great Spirits Have Always Encountered Violent Opposition From Mediocre Minds"
A. Einstein

In a message dated 1/4/1999 23:00:44 Pacific Standard Time,
costumrs@binary.net writes:

<< >
 >The big problem I foresee is getting ahold of
 >some Musketeer hats, big broad-brimmed hats to be adorned with plumes.  I
 >would far rather not be driven to making them.  Does anyone know of a
 >supplier that deals in quantity with these?
 >
 Brenda >>
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From owner-h-costume@indra.com  Tue Jan  5 14:11:53 1999
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-Poster: pulliam@acadia.net (Deborah Pulliam)

<<For the period 1750 onwards, what evidence is there to suggest how
much the <female body (both skeleton and organs) was permanently changed
by wearing stays.>>

For this question, you  might contact the Museum of American History at the
Smithsonian -- they did quite a bit of research on the subject for the
"Life After the Revolution" exhibit when it was mounted about 12 years ago.
They had special mannikins  made for the women's clothing in particular, to
make them conform to a figure wearing stays.

Deborah


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From owner-h-costume@indra.com  Tue Jan  5 14:16:26 1999
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Date: Tue, 05 Jan 1999 11:19:44 -0800
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From: Lisa Scovel <reenactment.guide@miningco.com>
Subject: Re: H-COST: 10' Rule
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-Poster: Lisa Scovel <reenactment.guide@miningco.com>


I just *loved* this story!  

One of the things that stands out to me most in the argument that everyone
should be able to do research is that some people simply don't know that they
*need* to do research.  Seems silly to experienced people, but some folks just
need a good example set before them to scratch their heads and say, oh, I guess
I'm not doing it quite right.  Anyone who grew up watching the Hollywood movies
that approached costuming in, at best, a half-hearted manner, pretty much think
that if it kind of looks right, it's good enough.  It reminds me of being a kid
playing dress-up, when empty toilet paper tubes strung together around my head
*were* beautiful sausage curls, and no one could tell me differently.  It's
just idealistic ignorance, really.

It's important to be sympathetic towards the unenlightened costumer because we
have all done silly things when we started.  I once found a great pair of
strappy heels at a thrift store for $1 that I was convinced were 1930's.  Very
excited, I ran them over to my good friend's house (she was the reigning Miss
Art Deco at the time), just to have her tell me that no, they were 70's funky. 
Talk about embarrassed!  She was oh-so-tactful, though, and she and the other
Art Deco Society folks were very patient with my early attempts at period
dress, lending me things when I needed them.  Having witnessed snobbery among
similar groups, I have to say that I, too, would have run away had it not been
for the tolerance.  I would say that most people have good intentions - a
little tolerance and gentle guidance can go a long way.

The most important point to make, though, is that the SCA, in particular, 
holds mostly non-public events, so why be offended by another person, if
they're content with the results of their efforts?  Research takes a lot of
time that some people simply don't have to spare, and for those who do, it
often takes years (or lots of cash!) to learn enough to do better than the 10'
rule.  Which is more important, that all sorts of people are involved and
enjoying themsleves, or that we have a perfect bunch of historical fashion
models constantly attempting to outdo one another?

At 10:09 AM 1/5/99 -0800, you wrote:
>
>-Poster: Merouda the True <keltia@serv.net>

>Why this long story?  Well, to illustrate that 10' foot rule helped me be
>comfortable enough to attend a *second* event.  If I had been made to
>feel like a complete idiot, I never would have returned.  I was nervous
>enough as it was.  I was so grateful that the SCA was so accepting of
>my first attempts.  My gold key donation box is full. *G*  Half my
>fabric stash has gotta go too.

***********************
lisa scovel
historical reenactment guide
the mining co.
http://reenactment.miningco.com

"Learning from history is never a one-way process. To learn about the 
present in terms of the past means also to learn about the past in the light 
of the present. The function of history is to promote a profounder
understanding 
of both past and present through the interrelation between them."

Edward Hallett Carr

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From: Lisa Scovel <reenactment.guide@miningco.com>
Subject: Re: H-COST: Skeletons and stays
In-Reply-To: <36925029.D4CBB17B@best.com>
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-Poster: Lisa Scovel <reenactment.guide@miningco.com>

At 09:47 AM 1/5/99 -0800, you wrote:
>But I believe that in the 1940s doctors were aware of how
>to prevent infection (formerly a major cause of post-surgical death) by keeping
>all tools, etc. free of bacteria.  They also may have had better surgical
>techniques than in the 19th century. 

Wasn't it Florence Nightingale who was the first modern proponent of
sterilization of medical instruments?
***********************
lisa scovel
historical reenactment guide
the mining co.
http://reenactment.miningco.com

"Learning from history is never a one-way process. To learn about the 
present in terms of the past means also to learn about the past in the light 
of the present. The function of history is to promote a profounder
understanding 
of both past and present through the interrelation between them."

Edward Hallett Carr

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-Poster: Tsrra@aol.com

In a message dated 99-01-05 13:53:16 EST, you write:

<< Would a man (young man) wear a shirt of flax about 1000 years ago >>

Well, he wouldn't wear a shirt of flax, but he probably had one of linen.

TS Ohara
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Date: Tue, 5 Jan 1999 13:36:55 -0600
From: "I. Marc Carlson" <LIB_IMC@centum.utulsa.edu>
To: H-COSTUME@indra.com
Message-Id: <990105133655.1efc60@centum.utulsa.edu>
Subject: Re: H-COST: 10' Rule
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-Poster: "I. Marc Carlson" <LIB_IMC@centum.utulsa.edu>

<Margo Anderson <margo@directcon.net>>
>>Ma'am, while I would personally prefer a two-foot, or even a two-millimeter
>>rule, I am content to encourage a ten-foot rule for accuracy since, to judge
>>from what I have seen at various things (including, but not limited to, SCA
>>and Faires) even -that-'s exceeding some people's levels of interest and 
>>willingness.  I don't mean to criticize those people in those venues who are
>>doing some darned good work.  I'm just saying that I find the "ten foot rule",
>>a good, non-threatening, basic standard to encourage when dealing with people
>>or places that have no other rigidly held standards.
>Perhaps I should call it a guideline rather than a rule.  At any rate,
>telling newcomers that it's okay to do bad work or use bad materials
>because it'll look okay from ten feet away is doing them a diservice.  Why
>not help them get started at a reasonable level?  It's just not that much
>harder.

Under ideal circumstances, I agree with you completely.  Personally, I believe
that hard core adherence to historical accuracy is not only better looking, 
but also in the long run cheaper and easier than "faking it".  However, this 
is not an ideal world, and the reality is that there are a lot of new people
who want to be involved, and who are put off by the "threat" of authenticity.

I *think* this has to do with a fear of looking stupid, or of willingly
putting themselves into a situation where people can judge them and criticize
them.

Some places deal with this by having set standards to which new people can
refer and say, "ok, I need to do -this-, and I'll fit in".  It is a reality
that not everyone does this.  If the organizations you deal with have such,
I'm jealous.  Unfortunately, I have to deal with an organization that does
not give me the luxury of set standards beyond "an attempt at pre-17th century
garb", and no amount of holding my breath and being irritable and cranky 
about it will change that.

Certainly, when I see a new person (or even someone who's been around for a
decade or two) who's wearing something that has no origin in history, I can 
tell them that what they are wearing is inaccurate, that it drapes all wrong, 
it's made of the wrong fabric, and so on (and heck, I can *even* do it 
-nicely- if I put my mind to it), and some people will understand and others 
will be put off.  But leaving aside for the moment that it's not my *place*
to tell them that, if I can offend the fewest number of people, I am much
more likely to have more people willing to listen to me the next time.  In 
other words, if I suggest that it doesn't matter *what* their underwear is 
made of, that nobody cares if they are wearing linen or a reasonable looking
cotton fake, and that if from ten feet away, the visual difference between 
that wool and such a polyester is minimal (particularly if I (or someone else)
can then take the time to explain that wool has a certain drape to it that CAN
be distinguished from a distance, and such and such a polyester will mimic 
that drape sort of...), I can convey the impression that it ISN'T threatening.
That way, later, when I bring up thread-counts and Z and S spun threads 
casually in conversation, they don't get that scared "Marc's going to be mean 
to me" look in their eye (or worse, the "there's not going to be a test over
this, is there" look).

To be blunt, the seduction of the "innocent" to the accurate side of the street 
can take time and effort.  It's a process of gradual education.  If they 
don't want to hear it, you can't make them, and even trying to push can drive 
them even further from what you are trying to accomplish.  The "ten-foot rule"
should not be seen as an end result, but as part of an ongoing process of
education...

Marc
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From owner-h-costume@indra.com  Tue Jan  5 14:35:31 1999
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From: Lyssandre MacKenzie <lyssandre@yahoo.com>
Subject: H-COST: Dolly Levi's Dinner Dress
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-Poster: Lyssandre MacKenzie <lyssandre@yahoo.com>

Okay-  

Just got through watching "Hello DollY (B. Streisand) for the
umpteenth time, and finally have the courage to try and replicate the
gold beaded dinner dress, although I am still debating whether to bead
mine. (No patience for work like that. *sigh*)

Anyway, I am wondering if anyone can suggest where I can find good
pictures of the gown so I can figure out how the smocked hips and the
skirt were put together?

Thanks for any advise,

Noelle 




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From owner-h-costume@indra.com  Tue Jan  5 15:01:34 1999
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References: <19990105113322.746.qmail@hotmail.com>
	 <199901051629.IAA13110@smtp.pacifier.com> <4.1.19990105112044.00969b30@mail.tmsonline.com>
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-Poster: Lavolta Press <lavolta@best.com>



Lisa Scovel wrote:

> -Poster: Lisa Scovel <reenactment.guide@miningco.com>
>
> At 09:47 AM 1/5/99 -0800, you wrote:
> >But I believe that in the 1940s doctors were aware of
> >how
> >to prevent infection (formerly a major cause of post-surgical death) by
> keeping
> >all tools, etc. free of bacteria.  They also may have had better surgical
> >techniques than in the 19th century.
>
> Wasn't it Florence Nightingale who was the first modern proponent of
> sterilization of medical instruments?

I did not say that in the 19th century no one was aware of the need to clean
surgical instruments.  What I said was that it _was_common medical practice in
the 1940s, and surgical techniques for removing the ribs may have been better in
the1940s than in the 19th century.  The rib removal for cosmetic reasons idea
has been circulated for pre-19th-century periods.  Personally, I wouldn't
volunteer for it even in the 1990s.

Fran

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From owner-h-costume@indra.com  Tue Jan  5 15:09:26 1999
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-Poster: SAQUEEN@aol.com

Dear All,

I just received my show catalog for the Washington Antiques Show. Claudia
Kidwell, curator at National Museum of American History, has an excellent
article and drawings that explain stays, posture, women's silhouette of the
late 18th century. The show catalog is $10.00 -- a real value for the 5
articles and pictures of the special exhibition of 18th century garments from
Mary Doerings private collection.

This one article would help explain the period shape and answer many of your
questions about body shapes.

Sally Queen
Costume Calendar Series
http://www.sallyqueenassociates.com 

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From owner-h-costume@indra.com  Tue Jan  5 15:21:49 1999
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Date: Tue, 05 Jan 1999 12:28:58 -0800
To: h-costume@indra.com
From: Lisa Scovel <reenactment.guide@miningco.com>
Subject: Re: H-COST: Skeletons and stays
In-Reply-To: <36926E99.582C462C@best.com>
References: <19990105113322.746.qmail@hotmail.com>
 <199901051629.IAA13110@smtp.pacifier.com>
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-Poster: Lisa Scovel <reenactment.guide@miningco.com>


I wasn't arguing with you at all.  Your comment merely conjured up one of those
random facts stuck in my brain and I began to wonder what, in fact, the
timeframe was for widespread sterilization.  Personally, though sterilization
is an issue, of course, my immediate concern regarding such things would be
about anaesthesia!

At 11:57 AM 1/5/99 -0800, you wrote:
>
>-Poster: Lavolta Press <lavolta@best.com>

>> Wasn't it Florence Nightingale who was the first modern proponent of
>> sterilization of medical instruments?
>
>I did not say that in the 19th century no one was aware of the need to clean
>surgical instruments.  What I said was that it _was_common medical practice in
>the 1940s, and surgical techniques for removing the ribs may have been 
>better in
>the1940s than in the 19th century.  The rib removal for cosmetic reasons idea
>has been circulated for pre-19th-century periods.  Personally, I wouldn't
>volunteer for it even in the 1990s.

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From owner-h-costume@indra.com  Tue Jan  5 15:34:47 1999
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	 <199901051629.IAA13110@smtp.pacifier.com>
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-Poster: Lavolta Press <lavolta@best.com>



Lisa Scovel wrote:

> -Poster: Lisa Scovel <reenactment.guide@miningco.com>
>
> I wasn't arguing with you at all.

Sorry.


> Your comment merely conjured up one of those
> random facts stuck in my brain and I began to wonder what, in fact, the
> timeframe was for widespread sterilization.  Personally, though sterilization
> is an issue, of course, my immediate concern regarding such things would be
> about anaesthesia!
>

My guess would be opium or a derivative of same.  Don't know when they started
using ether.  We're probably getting off-topic here though.

Fran


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From owner-h-costume@indra.com  Tue Jan  5 16:06:44 1999
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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: Re:  Candle wax 
Date: Tue, 5 Jan 1999 15:49:20 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>


Heat up the tea kettle, stretch the waxy part of the
tablecloth over the sink or a bowl, and pour boiling water
through it until the wax is gone, then launder normally.
Works fast, with one teakettle full at most. If there's a
stain in the same area, scrub that out first with
dishwashing liquid soap, so that the boiling water doesn't
set the stain.

Hope H. Dunlap

-----Original Message-----
From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
Behalf Of Orlaith
Sent: Monday, January 04, 1999 4:56 PM
To: h-costume@indra.com
Subject: H-COST: Re: Candle wax and AlterYears Patterns



-Poster: Orlaith <Orlaith@usa.net>

I oopsed!  Is there a way to get candle wax out of fabric.
The fabric is a
nice demaskas(sp?) table cloth.  Any help would be extreamly
appreciated.

Thanks ahead of time,
Jonica

____________________________________________________________

This happened to me but with tree sap.  I was at an event
and sat under a
tree...  A friend was able to get out the sap when I lent
her the dress.  The
way to do it is to put a piece of plain typing paper on each
side of the
fabric and then iron.  She said it worked great in about 30
seconds.  :)  She
said something about the paper having less moisture than the
fabric so the
paper wicks out the wax.


Someone was asking about AlterYears Patterns (can you tell
I'm just catching
up on my digets from Christmas?)  I have used two of their
patterns: PAY-014
"Irish" Dress and Underskirt and PAY-015 "Irish" Leine
(Shirt).  This was my
first attempt at SCA garb and they seemed to work up pretty
easily.  As I
recall I did the Leine all by hand except the neckline.  I
wanted to practice
my hand stitiching but was running out of time with the
neckline.  I kind of
wish I had done it in reverse and made sure I did the
neckline by hand since I
think it would have turned out better.  The instructions
were pretty clear but
I just lent my patterns to a friend to make her first garb
and managed to give
them to her without the instructions.  She did not have any
problems putting togther her garb without them.

One word of warning though, on the Irish dress you need
about 2 more yards for
the skirt then the pattern calls for.  I think it was a
misprint but I
remember being really upset when I got to the last skirt
gore had to wait til
I could go back to the fabric store the next day.  The
misprint was later
confirmed by another source so I know it wasn't that I just
screwed up in the pattern layout.

Beth


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-Poster: pulliam@acadia.net (Deborah Pulliam)

<<<< Would a man (young man) wear a shirt of flax about 1000 years ago >>

Well, he wouldn't wear a shirt of flax, but he probably had one of linen.>>

Maybe this is how all those 10 foot rules come about -- making broad
assumptions about things.

He *might* have worn a linen shirt 1000 years ago, *if* he lived in a
smallish area of Europe: not if he lived in Africa, North or South America,
most of Asia or Australia.

In other words, we need a bit more information -- where did the man live?
We shouldn't answer the question based on an assumption that he lived in an
area just because it happens to be an area of our interest.

Deborah


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Date: Tue, 5 Jan 1999 15:26:22 -0600 (CST)
From: "Sara J. Davitt" <ophelia@dias.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: H-COST: SCA Costuming Rules?
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-Poster: "Sara J. Davitt" <ophelia@dias.net>

> Let me rephrase.  Not everyone *wants* to be capable of sewing.  Maybe
> they want to spend their precious spare time learning how to make armour.
> Thank god for merchants.
> 
> Maybe we should require that the *merchants* at the events only sell
> researched clothing.  Merchants selling fantastical historical clothing are
> probably the most responsible for the image of poor research.
> 

On Point one.  Historic reenactment is a hobby, and like most
semi-elabotea hobbies, require some sort of monetary commitment.  I simply
consider willingness to sew simply an advantage.  in Skydyving, You must
have a parachute.  You do not have the opportunity to Make a parachute,
(beaded and fringed as some may wish to land in style :-)  So you buy or
rent one.  It is the casualty of having a hobby.  The right parachutes and
costumes are out there... if you actually *Want* to find them.  (BTW,
handsewing can require little skill or commitment, as soon as one
dispells the preconception that it is obnoxious, too difficult, and too
slow.)

On point two.  This is a very good idea.  I wish it would be enforced,
along with New-age booths selling wicca daggers to those who want thier
persona's to have 'a blade'... And those merchants/companies who sell
anything with those overused cherubs under the guise of "victorian".
Creating the Autheticity Swat Team would be ideal... But I would think
that through early education, and supervised newbie shopping, and simply
showing merchant types that people won't buy that which is not appropriate
is the best way to do it.  (That and occasional knowledgable chatter
about certain details. to perhaps inform the merchants themselves [though
there are many knowledgeable ones out there]  Who have been 'fooled' by
bad wholesale catalogue representations, and assumptive middlemen.

We simply must, through good communication, break down the barriers of
preconcieved ideas about costuming, and commitment. 

Anyone for a crusade?
Sarahj :-)

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-Poster: The Purple Elephant <csmart@physics.adelaide.edu.au>

On Tue, 5 Jan 1999, Lavolta Press wrote:

> > Your comment merely conjured up one of those
> > random facts stuck in my brain and I began to wonder what, in fact, the
> > timeframe was for widespread sterilization.  Personally, though sterilization
> > is an issue, of course, my immediate concern regarding such things would be
> > about anaesthesia!
> >
> 
> My guess would be opium or a derivative of same.  Don't know when they started
> using ether.  We're probably getting off-topic here though.

Just to continue briefly off topic in the vague hope it might shed some
light on the rib removal thing, but anaesthetic (aside from drinking
yourself silly) was not really much used until the later Victorian times,
when they started using ether. Victoria herself was one of the first to
use it, when giving birth to her last one or two kiddies and was a big fan.
I can't remember where I read that unfortunately - it was a while ago.
Actual antiseptics (as opposed to general cleanliness) were not used until
a similar period.
------------------------------------------------------------------------------
Claire F. Clarke       "What is this world if, full of care, 
Physicist, writer,     We have no time to stand and stare?"
and non environmentally                     Robert Louis Stevenson
friendly substance.
------------------------------------------------------------------------------

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Subject: Re: H-COST: Skeletons and stays
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>


>This sort of leads me to another subject: rib removal. I've heard it 
>mentioned many times that this would have been impossible to do 
>without killing the women. Actually, it wasn't. While I have only 
>heard of one documented case of it for the sake of tight lacing (a 
>famous actress of the day), 

Was her name Pollaire?  I have seen photos of her and her teensy waist.



Kayta
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Date: Tue, 05 Jan 1999 11:53:34 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: Re: H-COST: Re:   h-costume-digest V4 #9
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>

I couldn't have said any better.  Thank you Susan.

  Mistress Kaethe Willig von Mainz, OL, OP

Susan Carroll-Clark writes, in a message sent 10:11 AM 1/5/99 -0500:
>
>-Poster: "Susan Carroll-Clark" <sclark@chass.utoronto.ca>
>
>Greetings!
>
>>If the SCA is not welcomed, then proclaim that from the beginning.  Ask the
>>questions and deny access to all who dare speak the words Society for
>>Creative Anachronism.  I, for one, will walk away gladly.  For in the SCA
>I
>>have found acceptance unmatched by this list.  I have found courtesy and
>>noble bearing.  I revel in the respect given to any interest one cares to
>>persue, to any degree of expertise one can manage.  And I have seen many
>>well researched and exquisite articles made by those within Society ranks.
>>
>>It saddens me that their knowledge of historical costume seems to be
>>unwelcomed on a list whose purpose is the study of clothing through the
>>ages. It hurts even deeper to realize that SCA affiliation destroys the
>>chance to ask questions and learn.
>
>
>I will speak personally as a fellow member of the SCA.  What I have found is
>that any discussion about historical costuming is welcomed here.  What is
>less welcomed is discussions about SCA (or any other group's) rules and regs
>or setup.  Example:  A discussion about how to find information on
>Burgundian clothing for an A&S project would be welcome, whereas a detailed
>discussion about a particular kingdom's A&S competition probably wouldn't.
>
>Philosophical discussions about a particular group's attitudes towards
>historic costuming have generally been accepted, but usually when they stop
>being about philosophy and start being "Well, MY group's better than YOURS"
>they stop being as welcome.
>
>I have never experienced lack of respect here because of my SCA
>affliliation, although I do post with my modern name since I'm not in an
>SCA-only audience.  I have found that if you're knowledgable, you'll be
>respected;  if you're here to learn and ask questions, you'll be assisted,
>regardless of affiliation.  Folks here are remarkably helpful and patient.
>However, I have sympathy for my non-SCA colleagues who probably grow tired
>of fielding questions about the SCA, and I personally don't need yet another
>forum to discuss SCA politics or structure.  Since I've always felt the
>purpose of this list was to bring together those interested in historic
>costume from all sorts of backgrounds (re-enactment, living history,
>re-creation, academia, theatre, and just plain keen interest), I think it's
>important that we don't turn this into a more limited list.
>
>Cheers--
>Susan Carroll-Clark
>SCA Mistress Nicolaa de Bracton
>
> _________________________________________________________________
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> with the message UNSUBSCRIBE H-COSTUME



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From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: Re: H-COST: Skeletons and stays
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>


>>But I believe that in the 1940s doctors were aware of 
>>how
>>to prevent infection (formerly a major cause of post-surgical death) by
>keeping
>>all tools, etc. free of bacteria.  They also may have had better surgical
>>techniques than in the 19th century. 
>
>Wasn't it Florence Nightingale who was the first modern proponent of
>sterilization of medical instruments?

I think this was Dr. Semmelweis reguarding child bed fever.  He advocated
washing the hands between the disecting room and the delivery room.  The
doctors under him were outraged, even after the statictics proved him right.


Kayta
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Date: Tue, 05 Jan 1999 13:09:54 -0800
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Subject: Re: H-COST: 10' Rule
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>


>Perhaps I should call it a guideline rather than a rule.  At any rate,
>telling newcomers that it's okay to do bad work or use bad materials
>because it'll look okay from ten feet away is doing them a diservice.  Why
>not help them get started at a reasonable level?  It's just not that much
>harder.

Even at Faire there are groups within it who help their own newbies.  Just
as some SCA households do.  But you're right about telling living history
newbies it's ok to cheat if the audience is 10 feet away.

Funny authenticity story about a ten foot rule from Dickens' Faire (held in
San Francisco):

Somebody in a costume workshop asked 'what if somebody is close enough to
notice that my fly is zippered not buttoned?'.  The instructor said 'well
in that case I don't think he's interested in authenticity.'


Kayta
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To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: Re: H-COST: 10' Rule
In-Reply-To: <4.1.19990105102631.0095e1e0@mail.tmsonline.com>
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>


>One of the things that stands out to me most in the argument that everyone
>should be able to do research is that some people simply don't know that they
>*need* to do research.  Seems silly to experienced people, but some folks just
>need a good example set before them to scratch their heads and say, oh, I guess
>I'm not doing it quite right.  Anyone who grew up watching the Hollywood movies
>that approached costuming in, at best, a half-hearted manner, pretty much think
>that if it kind of looks right, it's good enough.  It reminds me of being a kid
>playing dress-up, when empty toilet paper tubes strung together around my head
>*were* beautiful sausage curls, and no one could tell me differently.  It's
>just idealistic ignorance, really.

And then there are the people whose eye isn't trained to know what they are
seeing.  Like your 70's shoes which weren't Deco.  This, again, is
training.  The first-timer newbie doesn't have that and often needs to be
cut some slack for a while.  Old timers can help and, IMHO, ought to.
Putting them in touch with this list might well help.


Kayta
     ////.\\\
    ////-@@\\\
   ((((   7 (((
     |   -- ))))
     * )   (((((
  /----\   /---\

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-Poster: "Gaylin Walli" <gwalli@infoengine.com>

Susan Carroll-Clark asked:

>(Does anyone know when cosmetic surgery as we know it started being
>done?).

Most of the procedures necessary for cosmetic surgery as we
know it today for facial surgery have been known since the
time of the Egyptians, believe it or not.

Gaylin
gwalli@infoengine.com


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Date: Tue, 5 Jan 1999 16:34:13 -0500
From: Melanie Wilson <MelanieWilson@compuserve.com>
Subject: H-COST: Fwd HELP
To: "INTERNET:h-costume-digest@indra.com" <h-costume-digest@indra.com>
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-Poster: Melanie Wilson <MelanieWilson@compuserve.com>

>Well, he wouldn't wear a shirt of flax, but he probably had one of linen

From owner-h-costume@indra.com  Tue Jan  5 17:12:19 1999
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Date: Tue, 05 Jan 1999 14:19:30 -0800
From: Merouda the True <keltia@serv.net>
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-Poster: Merouda the True <keltia@serv.net>

Another h-cost person and myself are meeting
this weekend at the An Tir 12th Night celebration
slash coronation.  If there are any other folks from
the list that are going, email me privately and we'll
try to all get together for a meet and gab fest!\

Sounds like a blast to me, hope there's a few of us!

Merouda (aka Cynthia)

--
Merouda the True of Beaumaris
Barony of Madrone
Kingdom of An Tir


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From owner-h-costume@indra.com  Tue Jan  5 18:08:54 1999
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Date: Tue, 5 Jan 1999 18:12:55 -0500
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Subject: H-COST: Fwd Help
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-Poster: Melanie Wilson <MelanieWilson@compuserve.com>

>Well, he wouldn't wear a shirt of flax, but he probably had one of linen

From owner-h-costume@indra.com  Tue Jan  5 18:11:05 1999
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From: Katrina Worley <kworley@ns.net>
Subject: H-COST: ether
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-Poster: Katrina Worley <kworley@ns.net>

First documented use of ether as an anesthesia (rather than as a party
game) was in Glasgow, Scotland in 1846.  The surgery was (I believe) an
appendectomy.   It took a while to catch on among surgeons, though.  It
seemed to gain favor earlier on for childbirth.

Katrina

Katrina in Loomis, CA
kworley@ns.net
***************
History: what special people were doing in special places at special times;
Anthropology: what everyone else was doing the rest of the time.

						**K. Worley, 1997**


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To: h-costume@indra.com
Subject: H-COST: [Mid] Help? (fwd)
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-Poster: Parsla Liepa <parsla@engin.umich.edu>


Greetings! This request comes from another list that I'm on.  Perhaps
someone can help this lady?

Parsla

---------- Forwarded message ----------
Date: Tue, 5 Jan 1999 15:17:13 EST
From: KriSiena@aol.com

Greetings!

A while back while surfing costuming sites I came across a site or piece of a
site that had general descriptions of individual pieces of clothing.  Like,
this is what a farthingale was, when it was worn, by whom, etc.  A nice big
list, in easy to understand language, covering a pretty good chunk of time.
Well, now that I need it I can't find it.  Does anyone know where it is?  Or
something like it?  I'm teaching a basic garb class for my shire and this
would be an excellent jumping off point for it.
Thanks muchly,
Isabetta
From:  KriSiena@aol.com

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From: Merouda the True <keltia@serv.net>
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-Poster: Merouda the True <keltia@serv.net>

> We simply must, through good communication, break down the barriers of
> preconcieved ideas about costuming, and commitment.
>
> Anyone for a crusade?

My lady!  What exactly do you have in mind?  *weg*

--
Merouda the True of Beaumaris
Barony of Madrone
Kingdom of An Tir


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From owner-h-costume@indra.com  Tue Jan  5 18:38:17 1999
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Date: Tue, 05 Jan 1999 18:46:55 -0400
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-Poster: Laurel Wilson <lwilson16@earthlink.net>



Elizabeth Lear wrote:

> -Poster: Elizabeth Lear <eliz>
>
> Charlene:
> <Therefore, discussion of SCA period costuming is appropriate,
> <discussion of SCA politics is not.
>
> What she said.
>
> It's a fine line, but we tend to walk it pretty well.  When I have to
> step in to bring things back on track, the list members are
> understanding and cooperative.  This list has managed to survive well
> for many years, and I expect it will continue to do so as long as we
> follow the guidelines.  This list was founded by a woman who loved
> costuming regardless of affiliation or time period, and we need to
> always remember no group, time or gender is more or less important
> here than any other.
>
>

As a 'newbie' on the list, and a non-SCA member and an academic to boot, I
just wanted to add my supportive voice to this.  The members of this list are
remarkably knowledgeable, regardless of how they got their information, and I
appreciate that very much.
Lauri


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From owner-h-costume@indra.com  Tue Jan  5 20:16:39 1999
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Date: Tue, 5 Jan 1999 17:52:23 CST
Subject: Re: H-COST: Shakespeare In Love
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-Poster: robingoodfellow4@juno.com (Anne Louise Bannon)

I loved this film as well.  What a delight, although my historian spouse
spent a fair amount of time griping that the Virginia colonies weren't
around until after 1600 something or other.  Also, he said tobacco wasn't
an interest until well after that.

Has anybody got the correct dates on the establishment of the Virginia
colony?

Secondly, I do have a couple costume questions.  There seemed to be
buttoning (and a lot of *un* buttonning) of doublets.  Is that accurate? 
And shouldn't Will have been wearing a jerkin under his doublet?

Anne B.
robingoodfellow4@juno.com
Nobody gets out of here without a doggie bag

On Tue, 5 Jan 1999 07:46:21 -0800 (PST) Lyssandre MacKenzie
<lyssandre@yahoo.com> writes:
>
>-Poster: Lyssandre MacKenzie <lyssandre@yahoo.com>
>
>I saw "Shakespeare" last Saturday, and I am still hyped. It has been a
>long time since I saw a movie THAT good! IMHO this movie was
>everything Elizabeth should and could have been.  
>
>If you have not seen it, yet, I highly recommend it. 
>
>Okay- to bring this back on topic-  All the dresses they had Elizabeth
>wearing in "Shakespeare" were from some of her more famous portraits- 
>even the peacock dress. 
>
>I would love to hear the observations and opinions of other listies
>that have seen it. 
>
>Still on Cloud 7 anyway,
>
>Noelle 
>
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From owner-h-costume@indra.com  Tue Jan  5 20:58:15 1999
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-Poster: Margo Anderson <margo@directcon.net>


>Under ideal circumstances, I agree with you completely.  Personally, I believe
>that hard core adherence to historical accuracy is not only better looking, 
>but also in the long run cheaper and easier than "faking it".  

(SNIP rest of post)

Very well put, and convincing.  I've got to admit something here....You're
right, and I'm wrong. 

(wow!  That didn't hurt as much as I thought it would)

I guess I'll just have to leave it at this:  The "ten foot rule" is here to
stay, it's helpful, it's appropriate....and it irritates the @#$%^ out of me
sometimes, especially when I'm kicking chocolate.

Margo Anderson
"One Tough Costumer"

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From: "Mariea M. Goodinson-Dillenkofer" <stassja@bellatlantic.net>
Subject: H-COST: Corsets (Victorian)
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-Poster: "Mariea M. Goodinson-Dillenkofer" <stassja@bellatlantic.net>

	I've been following the corset thread with much interest and found the
Long Island Staylace Association (L.I.S.A.) website (
http://staylace.com/index.html ) had some very interesting images and
information.

	I had sought some vaguely remembered vintage photograph of a corsetted
woman in the Victorian era and, while this site doesn't have the woman I
remember seeing, it has several pictures of corsetted women, both
historical and contemporary. In the historical section, one image in
particular boggles the mind (Ethel Granger) as to where in the world her
internal organs have gone! <shudder>

	Much as I would personally love a smaller waist, I'm not sure I'd be ready
for the "waist training" rigors described in this website. Apparently it
works, though. I know a costumer in Rhode Island who has sewn for a woman
belonging to one of these corseting groups and she had to make a custom
dressmaker's dummy to create her outfit. Yes, the woman's body is actually
quite altered permanently from corsetting - she doesn't just look that way
in her corset. However, she is seldom out of her corset (other than to
bathe) - yup, sleeps in one too!

	Intriguing but I'm not sure entirely tempting. ;>

	Rie


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From owner-h-costume@indra.com  Tue Jan  5 21:05:47 1999
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-Poster: Margo Anderson <margo@directcon.net>

 Personally, though sterilization
>is an issue, of course, my immediate concern regarding such things would be
>about anaesthesia!

I am one of the few unlucky people who have had major surgery without
anaesthesia.  The epidural failed during a C-section, and they couldn't give
me anything else without endangering the baby.  (Now don't run out and get
your tubes tied, it's a very rare occurence)

Given the level of pain, I think that the likelihood of dying from shock
during a rib removal would  be very high indeed.  I certainley can't imagine
the procedure being popularized by word of mouth.

Margo Anderson

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From owner-h-costume@indra.com  Tue Jan  5 21:12:01 1999
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-Poster: Margo Anderson <margo@directcon.net>


>
>So, in my not so humble ( ;-> ) opinion, I think the 10' foot rule
>encouraged me to come back and learn something. 


I concede that the ten foot rule is probably reassuring to a lot of newbies.
I just don't understand why the same concession made to a brand new member
should apply to  dukes who have  been around since (sometimes literally) Day
One, and are still wearing  cotton poly T-tunics and blue jeans.  Shouldn't
there be a statute of limitations?

This is getting to be a discussion of SCA politics, rather than costuming,
and is therefore off topic.  I'd be glad to continue the discussion by email
or on the SCA list.

Margo Anderson
"One Tough Costumer"

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From owner-h-costume@indra.com  Tue Jan  5 21:18:44 1999
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From: Kathryn Baron <KBaron@salick.com>
To: h-costume@indra.com
Subject: RE: H-COST: Re: Musketeers
Date: Tue, 5 Jan 1999 18:22:52 -0800 
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-Poster: Kathryn Baron <KBaron@salick.com>

I'd be interested in knowing the details. Thanks.

> ----------
> From: 	MzScahlett@aol.com[SMTP:MzScahlett@aol.com]
> Sent: 	Tuesday, January 05, 1999 11:05 AM
> To: 	h-costume@indra.com
> Subject: 	Re: H-COST: Re: Musketeers
> 
> 
> -Poster: MzScahlett@aol.com
> 
> I have a source for two types of traditional "cavalier", and I just
> used them
> for a scene form Cyrano.  One in quantity that looks fine from a
> distance,
> with plumes, for $8.75/ea,  the other is $45/ea and is high quality.
> Let me
> know if you're interested and I'll look them up and post.
> 
> angil
> +++++
> + + + + + + +
> Angela F. Lazear
> Costumes & Custom Clothing
> 
> "Great Spirits Have Always Encountered Violent Opposition From
> Mediocre Minds"
> A. Einstein
> 
> In a message dated 1/4/1999 23:00:44 Pacific Standard Time,
> costumrs@binary.net writes:
> 
> << >
>  >The big problem I foresee is getting ahold of
>  >some Musketeer hats, big broad-brimmed hats to be adorned with
> plumes.  I
>  >would far rather not be driven to making them.  Does anyone know of
> a
>  >supplier that deals in quantity with these?
>  >
>  Brenda >>
>  _________________________________________________________________
>  To leave this mailing list, send mail to majordomo@indra.com
>  with the message UNSUBSCRIBE H-COSTUME
> 
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Date: Wed, 06 Jan 1999 12:54:00 +1100
From: Tricia Ostwald <phpmo@cc.newcastle.edu.au>
Subject: Re: H-COST: Skeletons and stays
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-Poster: Tricia Ostwald <phpmo@cc.newcastle.edu.au>

>-Poster: The Purple Elephant <csmart@physics.adelaide.edu.au>
>
>Just to continue briefly off topic in the vague hope it might shed some
>light on the rib removal thing, but anaesthetic (aside from drinking
>yourself silly) was not really much used until the later Victorian times,
>when they started using ether.

The first use of ether was in 1846, in Boston.

Which has nothing whatsoever to do with costuming - but the book I just
looked it up in "Mould's Medical Anecdotes" 1996,  has a cute little
picture of Mary Tudor laying hands on a boy's neck to cure him of the
"Queen's Evil" on Page 1, and a similar picture of Edward the Confessor on
Page 2. And I thought I didn't have any costume books at work :-)

Trish

Dr P. M. Ostwald
Senior Medical Physicist
Department of Medical Physics
Newcastle Mater Hospital, Australia
ph: Int+ 61 2 49211172
FAX: Int+ 61 2 49211129

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From owner-h-costume@indra.com  Tue Jan  5 22:38:22 1999
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-Poster: Tsrra@aol.com

In a message dated 99-01-05 16:18:14 EST, you write:

<< <<<< Would a man (young man) wear a shirt of flax about 1000 years ago >>
 
 Well, he wouldn't wear a shirt of flax, but he probably had one of linen.>>
 
 Maybe this is how all those 10 foot rules come about -- making broad
 assumptions about things.
 
 He *might* have worn a linen shirt 1000 years ago, *if* he lived in a
 smallish area of Europe: not if he lived in Africa, North or South America,
 most of Asia or Australia. >>

True, but I never claimed to be a researcher.  The point I was making is that
flax is not the fabric.

TS Ohara
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From: "Penny E. Ladnier" <penny.creative.outlets@erols.com>
To: <h-costume@indra.com>
Subject: Re: H-COST: Rib removal
Date: Tue, 5 Jan 1999 23:52:27 -0500
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-Poster: "Penny E. Ladnier" <penny.creative.outlets@erols.com>

Rib removal again...maybe a topic for FAQ (hint, hint)

Later...Penny
http://www.costumegallery.com



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-Poster: MissMela@aol.com

Jeannie, you need a sewing contractor.  Look in the business to business phone
book and there should be listings.  At least there are in CA. If not, contact
any local manufacturer of clothing and ask for a contracting source.  Most
sewing contractors bid off of a sample.  They will often make up the sample as
per your sketch, charging a higher fee for this and then bid the cost for the
multiples after they have "test driven" the pattern.  Some want a pattern of
the garment, some a marker, it depends.  I use them on the West coast a lot.
If you get to a point that you want it done out of state, let me know and I'll
look up my contracting book.  (There is a very expensive book that comes out
every other year or so that lists sewing contractors and basically what type
of garments and price range they do) I do not have an updated one, but on my
next weekly trek into the garment district, I could get the info for you.
Hope this helps a little. Mela
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From owner-h-costume@indra.com  Wed Jan  6 00:10:22 1999
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Date: Tue, 5 Jan 1999 23:18:44 -0600
From: "I. Marc Carlson" <LIB_IMC@centum.utulsa.edu>
To: mail2news-19990105-rec.org.sca@anon.lcs.mit.edu,
        sca-arts@raven.cc.ukans.edu, ANSTEORRA@ANSTEORRA.ORG,
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Subject: H-COST: Honorable Company of Cordwainers site
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-Poster: "I. Marc Carlson" <LIB_IMC@centum.utulsa.edu>

For those who are interested in shoemaking, there is a (unofficial as
yet) web site for the Honorable Company of Cordwainers at 
"http://www.bootmaker.com/hcc.htm".  Also there is the Chrispin
Coloquy, a web-based forum for those who want to discuss things about
shoemaking.

Please pass this information on to those who might also be interested.

Marc Carlson
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From owner-h-costume@indra.com  Wed Jan  6 00:48:30 1999
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-Poster: Ron Carnegie <rcarnegie@widomaker.com>

At 03:26 PM 1/5/99 -0600, you wrote:

>
>On Point one.  Historic reenactment is a hobby, and like most
>semi-elabotea hobbies, require some sort of monetary commitment.  

        Actually for quite a few, it is an occupation.

Cheers,
Ron Carnegie
rcarnegie@widomaker.com
	*************************************************
	"The poetry of history lies in the quasi-miraculous fact that
	 once on this earth, on this familiar spot of ground walked
	 other men and women as actual as we are today, thinking
	 their own thoughts, swayed by their own passions but now
	 all gone, vanishing after another, gone as utterly as we 
	 ourselves shall be gone like ghosts at cockcrow."
				G.M. Trevelyan
	*************************************************

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From owner-h-costume@indra.com  Wed Jan  6 01:14:56 1999
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Date: Wed, 06 Jan 1999 01:19:09 -0500
To: h-costume@indra.com
From: Ron Carnegie <rcarnegie@widomaker.com>
Subject: Re: H-COST: Shakespeare In Love
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-Poster: Ron Carnegie <rcarnegie@widomaker.com>

At 05:52 PM 1/5/99 CST, you wrote:
>
>-Poster: robingoodfellow4@juno.com (Anne Louise Bannon)
>
>I loved this film as well.  What a delight, although my historian spouse
>spent a fair amount of time griping that the Virginia colonies weren't
>around until after 1600 something or other.  Also, he said tobacco wasn't
>an interest until well after that.
>
>Has anybody got the correct dates on the establishment of the Virginia
>colony?
>
>Secondly, I do have a couple costume questions.  There seemed to be
>buttoning (and a lot of *un* buttonning) of doublets.  Is that accurate? 
>And shouldn't Will have been wearing a jerkin under his doublet?
>
>Anne B.
>robingoodfellow4@juno.com
>Nobody gets out of here without a doggie bag
>
        Depends on what you mean by Virginia.  The name comes from the
Virginia Company, who held the original Corporate charter to the colony.
The name, given by Sir Walter Raleigh in honour of the Virgin Queen a huge
area of North America, between New France and the Spanish Territory of
Florida.  The first settlment in Virginia (by the English) was at Roanoke in
1584, and failed after two years.

        The tobacco habit apparently found it's way into Europe through
Portugal and Spain in the early mid 16th century, by way of those stationed
in the New World.  By the mid century, dried tobacco was being shipped to
Europe, soon after the seeds, which quicly led to the plant being grown as a
medicinal herb.

        There are a number of references to tobacco in England during the
reign of the Queen.

        Now the first successful English settlement here was Jamestown in
1607, after the death of Elizabeth.  
  Tobacco as we are familiar with it is NOT native to Virginia, though there
is a wild tobacco that grows here.  The tobacco smoked in Europe was
imported into the colony by Pocohontas' husband, John Rolfe as a possible
way for the colony to turn a profit.  It was successful.  

        I do not know what you are referring to with the unbuttoning and
buttoning of the doublet.  There should be two upper body garments a doublet
and something else, be it a cassock, cap, cloak, coat, jerkin, etc.  The
Jerkin however seems to be worn over the doublet far more oft then under it.

Cheers,
Ron Carnegie
rcarnegie@widomaker.com
	*************************************************
	"The poetry of history lies in the quasi-miraculous fact that
	 once on this earth, on this familiar spot of ground walked
	 other men and women as actual as we are today, thinking
	 their own thoughts, swayed by their own passions but now
	 all gone, vanishing after another, gone as utterly as we 
	 ourselves shall be gone like ghosts at cockcrow."
				G.M. Trevelyan
	*************************************************

 _________________________________________________________________
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From owner-h-costume@indra.com  Wed Jan  6 01:33:58 1999
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From: "Franchesca Havas" <ches@io.com>
To: <h-costume@indra.com>
Subject: Re: H-COST: Shakespeare In Love
Date: Wed, 6 Jan 1999 00:56:48 -0600
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-Poster: "Franchesca Havas" <ches@io.com>

Image ref: (open the box of this email to see the whole address in one line)

http://www.miramax.com:8888/mm_front/owa/mp.entryPoint?action=1&midStr=742

select Joseph Finnes
JPEG 39 KB
Photograph by Laurie Sparham

You can see the shirt and the item in question.

Sincerely,
Ches
aka Chiara Francesca
Steward of Coronation XL
http://www.io.com/~ches/coronation99

-----Original Message-----
From: Ron Carnegie <rcarnegie@widomaker.com>
To: h-costume@indra.com <h-costume@indra.com>
Date: Wednesday, January 06, 1999 12:11 AM
Subject: Re: H-COST: Shakespeare In Love


:
:-Poster: Ron Carnegie <rcarnegie@widomaker.com>
:
:At 05:52 PM 1/5/99 CST, you wrote:
:>
:>-Poster: robingoodfellow4@juno.com (Anne Louise Bannon)
:>
:>I loved this film as well.  What a delight, although my historian spouse
:>spent a fair amount of time griping that the Virginia colonies weren't
:>around until after 1600 something or other.  Also, he said tobacco wasn't
:>an interest until well after that.
:>
:>Has anybody got the correct dates on the establishment of the Virginia
:>colony?
:>
:>Secondly, I do have a couple costume questions.  There seemed to be
:>buttoning (and a lot of *un* buttonning) of doublets.  Is that accurate?
:>And shouldn't Will have been wearing a jerkin under his doublet?
:>
:>Anne B.
:>robingoodfellow4@juno.com
:>Nobody gets out of here without a doggie bag
:>
:        Depends on what you mean by Virginia.  The name comes from the
:Virginia Company, who held the original Corporate charter to the colony.
:The name, given by Sir Walter Raleigh in honour of the Virgin Queen a huge
:area of North America, between New France and the Spanish Territory of
:Florida.  The first settlment in Virginia (by the English) was at Roanoke
in
:1584, and failed after two years.
:
:        The tobacco habit apparently found it's way into Europe through
:Portugal and Spain in the early mid 16th century, by way of those stationed
:in the New World.  By the mid century, dried tobacco was being shipped to
:Europe, soon after the seeds, which quicly led to the plant being grown as
a
:medicinal herb.
:
:        There are a number of references to tobacco in England during the
:reign of the Queen.
:
:        Now the first successful English settlement here was Jamestown in
:1607, after the death of Elizabeth.
:  Tobacco as we are familiar with it is NOT native to Virginia, though
there
:is a wild tobacco that grows here.  The tobacco smoked in Europe was
:imported into the colony by Pocohontas' husband, John Rolfe as a possible
:way for the colony to turn a profit.  It was successful.
:
:        I do not know what you are referring to with the unbuttoning and
:buttoning of the doublet.  There should be two upper body garments a
doublet
:and something else, be it a cassock, cap, cloak, coat, jerkin, etc.  The
:Jerkin however seems to be worn over the doublet far more oft then under
it.
:
:Cheers,
:Ron Carnegie
:rcarnegie@widomaker.com
: *************************************************
: "The poetry of history lies in the quasi-miraculous fact that
: once on this earth, on this familiar spot of ground walked
: other men and women as actual as we are today, thinking
: their own thoughts, swayed by their own passions but now
: all gone, vanishing after another, gone as utterly as we
: ourselves shall be gone like ghosts at cockcrow."
: G.M. Trevelyan
: *************************************************
:
: _________________________________________________________________
: To leave this mailing list, send mail to majordomo@indra.com
: with the message UNSUBSCRIBE H-COSTUME
:

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From owner-h-costume@indra.com  Wed Jan  6 01:44:40 1999
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Date: Wed, 06 Jan 1999 00:39:58 -0600
To: h-costume-digest@indra.com
From: Pierre & Sandy Pettinger <costumrs@binary.net>
Subject: H-COST: Re: corsets
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-Poster: Pierre & Sandy Pettinger <costumrs@binary.net>

>- -Poster: kat@grendal.rain.com:
>Tight lacing definitely has an effect on one's breathing and heart 
>function. Even a moderately laced corset should never be suddenly 
>decompressed (like the sword swipe lace cutting) unless the person is 
>actually in cardiac arrest. Otherwise you may *cause* cardiac arrest. 

Also, one should NEVER cut corset laces if someone is choking.  The sharp
intake of air will cause the person to aspirate the offending object
further.  Do the Heimlich with the corset in place.  I got this from
someone who has been there, done that.

Sandy

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From owner-h-costume@indra.com  Wed Jan  6 05:01:51 1999
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From: "Ella Lynoure Rajamaki" <lynoure@tuug.org>
Organization: Lyninine Federation
To: h-costume@indra.com
Date: Wed, 6 Jan 1999 12:07:33 +2
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Subject: Re: H-COST: 10' Rule
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-Poster: "Ella Lynoure Rajamaki" <lynoure@tuug.org>

On 5 Jan 99, at 9:14, Margo Anderson wrote:

> Perhaps I should call it a guideline rather than a rule.  At any rate,
> telling newcomers that it's okay to do bad work or use bad materials
> because it'll look okay from ten feet away is doing them a diservice.  Why
> not help them get started at a reasonable level?  It's just not that much
> harder.

I think it's not very easy to do bad work and use bad materials 
and still get a costume that looks good from 3m (10'). I mean 
one can spot errors in cut from that distance, grommets, 
(most) artificial fibres instead of silk and so on from that 
distance. From 60cm (2', about one's arms length) one can 
see almost every small mistake, perhaps even whether it's 
handsewn or not (and certainly whether embroidery was 
hand or machine made).

So what is reasonable level and what are good ways to help 
newcomers to achieve that? I think the point at first was that 
not everybody has money for the right materials (at least here 
ok quality linen costs about $11 per metre) or time for 
handsewing. 

(I hope at least someone understood my lousy English this time.)


--
-------(c) 1999--------------*        lynoure@tuug.org      *
Ella Lynoure Rajamaki--------* http://www.tuug.org/~lynoure *
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Subject: H-COST: Shakespeare/anachronisms
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-Poster: pulliam@acadia.net (Deborah Pulliam)

<<Has anybody got the correct dates on the establishment of the Virginia
colony?>>

The first permanent English settlement in North America was made in
Virginia, at Jamestown, where the first group of settlers landed in May of
1607. The popularity of tobacco came about 10 years later.

<<There seemed to be buttoning (and a lot of *un* buttonning) of doublets.
Is that accurate?  And shouldn't Will have been wearing a jerkin under his
doublet?>>

The majority of doublets were buttoned up the front. Jerkins, when worn,
were worn over sleeved doublets.


Deborah


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-Poster: Kent & Kat <kdyer@nash.tds.net>

Ella Lynoure Rajamaki wrote:
> 
> I think it's not very easy to do bad work and use bad materials
> and still get a costume that looks good from 3m (10'). I mean
> one can spot errors in cut from that distance, grommets,
> (most) artificial fibres instead of silk and so on from that
> distance. From 60cm (2', about one's arms length) one can
> see almost every small mistake, perhaps even whether it's
> handsewn or not (and certainly whether embroidery was
> hand or machine made).
> 
> So what is reasonable level and what are good ways to help
> newcomers to achieve that? I think the point at first was that
> not everybody has money for the right materials (at least here
> ok quality linen costs about $11 per metre) or time for
> handsewing.

I always recommend using a coarse weave or linen look
cotton, cutting out a t-tunic (or t-tunic dress), seaming
the interior seams with the machine as well as the hem and
then handsewing the hems.

Kat
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From owner-h-costume@indra.com  Wed Jan  6 08:45:47 1999
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From: "Penny E. Ladnier" <penny.creative.outlets@erols.com>
To: "costume newsgroup" <h-costume@indra.com>
Subject: H-COST: Jamestown
Date: Wed, 6 Jan 1999 08:52:02 -0500
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-Poster: "Penny E. Ladnier" <penny.creative.outlets@erols.com>

There is a wonderful article in Preservation magazine, July/August 1998
about Jamestown history and excavations called, "Jamestown Revisited".  The
subtitle: An ongoing dig and rediscovered papers are reprompting a
reassessment as the first permanent English settlement approaches its 400th
anniversary.  The article also discusses the importance of tabacco for the
area.

Later...Penny
http://www.costumegallery.com

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Subject: Re: H-COST: Shakespeare/anachronisms
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-Poster: cley@juno.com (cynthia j ley)


On Wed, 6 Jan 1999 08:27:42 -0500 pulliam@acadia.net (Deborah Pulliam)
writes:
>
>-Poster: pulliam@acadia.net (Deborah Pulliam)
>
><<Has anybody got the correct dates on the establishment of the 
>Virginia
>colony?>>
>
>The first permanent English settlement in North America was made in
>Virginia, at Jamestown, where the first group of settlers landed in 
>May of
>1607. The popularity of tobacco came about 10 years later.


Tobacco was being advertised in England much earlier though. The British
West Indies Company comissioned a Gentleman of the Chapel Royal, Thomas
Weelkes, to write them a jingle in the popular madrigal-esque style of
the day. The result is "Come Sirrah, Jack Ho!," published in his AYRES OR
PHANTASIK SPIRITS, 1608. if any wish more information on this, please
contact me privately at Cley@juno.com.



					Arlys

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From owner-h-costume@indra.com  Wed Jan  6 10:24:01 1999
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From: "Kyna Grannd" <kynagrannd@granndgarb.com>
To: <h-costume@indra.com>
Subject: H-COST: Flax Linen  was  re: HELP
Date: Wed, 6 Jan 1999 10:34:46 -0500
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-Poster: "Kyna Grannd" <kynagrannd@granndgarb.com>

Ok, I admit to missing almost all this thread, but I'm a bit confused. I've
often seen references to linen made of flax (the stalk) as well as other
parts of the plant. I could be wrong here. This is from the Textile
Dictionary:

Flax
Fibre:
Weave:
Characteristics: This fibre is taken from the stalk of the Linum
usitaatissimum plant. It is a long, smooth fibre and is cylindrical in
shape. It's length varies from 6 to 40 inches but on average is
between 15 and 25 inches. It's colour is usually off-white or tan and
due to it's natural wax content, flax has excellent luster. It is
considered to be the strongest of the vegetable fibres and is highly
absorbent, allowing moisture to evaporate with speed. It conducts
heat well and can be readily boiled. It's washability is great, however,
it has poor elasticity and does not easily return to it's original shape
after creasing.
Uses: Apparel fabric. When processed into fabric it is called linen. It
is also used for tablecloths, napkins, doilies, twine, aprons, fishing
tackle, and nets.

Doesn't it make sense then that if 100% linen was available and used...so
was flax linen??

just curious.

Suz

-----Original Message-----
From: Tsrra@aol.com <Tsrra@aol.com>
To: h-costume@indra.com <h-costume@indra.com>
Date: Tuesday, January 05, 1999 10:45 PM
Subject: Re: H-COST: re: HELP


>
>-Poster: Tsrra@aol.com
>
>In a message dated 99-01-05 16:18:14 EST, you write:
>
><< <<<< Would a man (young man) wear a shirt of flax about 1000 years ago
>>
>
> Well, he wouldn't wear a shirt of flax, but he probably had one of
linen.>>
>
> Maybe this is how all those 10 foot rules come about -- making broad
> assumptions about things.
>
> He *might* have worn a linen shirt 1000 years ago, *if* he lived in a
> smallish area of Europe: not if he lived in Africa, North or South America,
> most of Asia or Australia. >>
>
>True, but I never claimed to be a researcher.  The point I was making is that
>flax is not the fabric.
>
>TS Ohara
> _________________________________________________________________
> To leave this mailing list, send mail to majordomo@indra.com
> with the message UNSUBSCRIBE H-COSTUME
>

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From owner-h-costume@indra.com  Wed Jan  6 10:25:53 1999
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Date: Wed, 06 Jan 1999 10:33:23 -0500
From: Hope Greenberg <hope.greenberg@uvm.edu>
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-Poster: Hope Greenberg <hope.greenberg@uvm.edu>

> >-Poster: robingoodfellow4@juno.com (Anne Louise Bannon)
> >I loved this film as well.  What a delight, although my historian spouse
> >spent a fair amount of time griping that the Virginia colonies weren't
> >around until after 1600 something or other.  Also, he said tobacco wasn't
> >an interest until well after that.

Our library lists 72 entries in the category: America--Early Accounts to
1600. Many are Spanish accounts, of course, but Richard Hakluyt and John
Brereton both have plenty to say, in English, about theirs' and others'
voyages to the new world and published before 1600.

As for tobacco, it was certainly part of pre-1600 culture as evidenced
by the songs and poems of which it was the topic. For example, Sir John
Davies' "Of Tobacco" of 1586 as well as my personal favorite, a
delightful tune by Michael East titled "O, Metaphysical Tobacco"
published in his second book of madrigals in 1606.

These and several others extolling tobacco's virtues can be found at:
http://swamp.merriweb.com.au/books/tobacco/tobacco.html

Oh yes, and to bring this back to topic: a c1680 poem by Robert Herrick
titled "The Tobacconist" (which at this period refers to someone who
smokes, not someone who sells) begins with the line:
   Know you the garb? thus I accost you, what?

An early referral to some sort of smoking jacket do you think?   ;-)

- Hope G.

------------
hope.greenberg@uvm.edu, U of Vermont, http://www.uvm.edu/~hag
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From: "Susan Carroll-Clark" <sclark@chass.utoronto.ca>
To: <h-costume-digest@indra.com>
Subject: H-COST: Shakespeare in Love
Date: Wed, 6 Jan 1999 10:39:36 -0500
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-Poster: "Susan Carroll-Clark" <sclark@chass.utoronto.ca>

Greetings!

>I loved this film as well.  What a delight, although my historian spouse
>spent a fair amount of time griping that the Virginia colonies weren't
>around until after 1600 something or other.  Also, he said tobacco wasn't
>an interest until well after that.
>
>Has anybody got the correct dates on the establishment of the Virginia
>colony?


Jamestown, I believe, was founded in 1608, if I recall correctly, although
there was an unsuccessful colony before that in what would later be known as
the Carolinas.  However, "Virginia" had been known and explored before
that--hence the name, after Queen Elizabeth.  The period portrayed in the
movie would be mid-1590s, I believe.  So they were pushing it a bit with an
actual settled colony, but not with knowledge of the land.


As for tobacco, there's this lovely English madrigal called "Come, Sirrah
Jack, ho!" by Thomas Weelkes, which is about the tobacco craze.  It was
published in 1608, and by the familiarity demonstrated in the song, I
believe people must have been using it before that time.  My copy of _Daily
Life in Elizabethan England_ says that tobacco was first brought to England
during Elizabeth's reign and was common in alehouses.

Susan Carroll-Clark

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-Poster: AlbertCat@aol.com

In a message dated 1/6/99 1:21:09 AM Eastern Standard Time,
rcarnegie@widomaker.com writes:

<<  The first settlment in Virginia (by the English) was at Roanoke in
 1584, and failed after two years. >>

Yes...the "Lost Colony" which....if it weren't lost....would be on the Outer
Banks of NC. It was all Virginia then...in fact the 1st English child born in
America to Eleanor Dare was christened Virginia.
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-Poster: AlbertCat@aol.com

In a message dated 1/6/99 8:28:34 AM Eastern Standard Time, pulliam@acadia.net
writes:

<< 
 <<There seemed to be buttoning (and a lot of *un* buttonning) of doublets.
 Is that accurate?  And shouldn't Will have been wearing a jerkin under his
 doublet?>>
 
 The majority of doublets were buttoned up the front. Jerkins, when worn,
 were worn over sleeved doublets.
  >>

Of course the doublet should be laced at the waist to the hose....no? This
makes the "trunk hose and just a shirt" look very suspect to me.
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From owner-h-costume@indra.com  Wed Jan  6 10:52:14 1999
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-Poster: pulliam@acadia.net (Deborah Pulliam)

<<As for tobacco, it was certainly part of pre-1600 culture as evidenced
by the songs and poems of which it was the topic. >>

<<Tobacco was being advertised in England much earlier though. >>

There's no doubt about that. However, the original question was about the
anachronisms in the movie Shakespeare in Love, which is dated 1593. At that
point, there were no permanent settlements in Virginia, and therefore no
tobacco plantations. Therefore, Viola's husband's reference to the success
of his tobacco plantations is an anachronism.

Back to historic costuming, I hope.

Deborah


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From owner-h-costume@indra.com  Wed Jan  6 10:55:49 1999
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Subject: H-COST: Re: HELP
Message-ID: <19990106.095015.25342.15.seamstrix@juno.com>
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-Poster: seamstrix@juno.com

I think that we are having some terminology problems here people! Linen
in today's usage is made from the fibers of the stalk of the flax plant.
It's made from the fibers of the stalk because that's basically all flax
is, stalk. It is a grass with few leaves and an insignificant root
system. By the time the flax is ready to harvest, it's just stalk. In my
salad days as a re-enactor I did flax processing from dried stalk to spun
thread on a regular basis. the only part of the process I haven't
directly done is the retting (soaking in water to help the extraneous bit
decay).


 In other periods linen could apparently refer to any fabric made with
long plant fibers such as hemp, nettles, and ramie. Today those fibers
are generally called by their individual names and the term linen
reserved for fabric made from flax. If an inferior grade of flax fiber is
used you would get tow cloth which was generally used for clothing for
the very poor or industrial uses such as sacking.


Karen
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From owner-h-costume@indra.com  Wed Jan  6 11:17:23 1999
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-Poster: kat@grendal.rain.com

 
> Ma'am, while I would personally prefer a two-foot, or even a two-millimeter
> rule, I am content to encourage a ten-foot rule for accuracy since, to judge
> from what I have seen at various things (including, but not limited to, SCA
> and Faires) even -that-'s exceeding some people's levels of interest and 
> willingness.  I don't mean to criticize those people in those venues who are
> doing some darned good work.  I'm just saying that I find the "ten foot rule",
> a good, non-threatening, basic standard to encourage when dealing with people
> or places that have no other rigidly held standards.

I agree with that! I've also found that when people first start out 
(and sometimes for a long time after) they may have all the research 
in hand, but not know how to execute it.

I once was asked to step into a blowup after a costume contest 
judging. Unfortunately, the judges had not handled it especially well 
(combined with a lack of understanding on the part of the contestant, 
to be fair all the way around.) The contestant had been livid because 
the judges had not marked her costume very highly, especially in the 
"appearance of appropriate undergarments" portion.

The contestant had entered an Elizabethan in the Full Court contest. 
She had all sorts of lovely documentation (most of it period quotes 
as opposed to pictures). She had documented her farthingale from 
Norah Waugh's Corsets and Crinolines book. However, somehow she had 
missed the idea that the farthingale was a *boned* garment. She kept 
pointing to her nylon tube slip and saying "I am too wearing a 
farthingale!" 

Inexperienced people often don't know what they are seeing in the 
research they have in their hands. They need gentle guidance to do 
so. If letting them do their best efforts only results in looking 
acceptable at 10' until they get the hang of it isn't good enough, I 
suspect that they could never have the nerve to keep trying.

I don't think any of us starts perfect. Shoot, I had been costuming 
since I was old enough to hold a needle (about 3 year old, my family 
tells me), but it wasn't until I joined the SCA and found out about 
wonderful books like Francois Boucher's 20,000 years of fashion and 
Milia Davenport's costume book that I was able to "take off" in terms 
of my research. Without the gentle guidance of the group (any group), 
I would have stuck with the ones I had found at the library and the 
local book stores: Iris Brookes, Ruth Wilcox, Gorsline, and Selbie's 
_Anatomy of Costume_. (I call these "survey books". Good for getting 
a basic idea of the shape, but look in art books for their sources 
and try to find out from other sources how they were really made.) 
Now I'm doing things like going to museums to do original research. 

There's a big difference between where I am now and where I started. 
It is due to the guidance and, later, mental stimulation of all the
groups I've been in contact with since then. But it had to start 
somewhere!

Kat 

Kat(June Russell)
kat@grendal.rain.com
Heu! Tintinnuntius meus Sonat!
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From owner-h-costume@indra.com  Wed Jan  6 11:17:43 1999
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-Poster: kat@grendal.rain.com


> If I had time to pull the documentation together and write the paper in three
> days, I would enter it in the Court Garb contest this weekend at Coronation /
> Twelth Night.

Do it anyway and bring the books. Although we judges would prefer to 
have documentation a little better organized than that, in the 
catagory you would be (probably the lower level intermediate since 
since I don't remember you winning one of the contests before), you 
might be best of that class. Documentation *is* important. However, 
good workmanship is also important. The contest may also help guide 
you in areas where you may not realized you didn't quite catch the 
point (which I doubt from what you write, but I've heard a lot of 
people talk a good story but then miss the point. For example, one 
woman told me all about her wonderful Elizabethan costume. She told 
me all the undergarments she was wearing. It sounded good. However, 
her "farthingale" was a nylon tube slip. She had missed the point 
about the farthingale being a boned garment.) 

It would also give you a good idea of what to expect in future years, 
if you haven't entered in the past. (Please don't be insulted that I 
don't remember if you have/haven't entered. I barely remember what 
I've seen the day before, since I've been judging these things for 13 
years and see so many costumes each time. But then, I sometimes 
forget now what I wore the last event. They all seem to 
blurrrrrrrrrr.)

> I am currently planning an Italian Renn, a Tudor, and an Elizabethan.
> For the the next three annual costume contests.  This should keep
> me busy until 2002.  heh.

Go for it!!!!!

Kat 

Kat(June Russell)
kat@grendal.rain.com
Heu! Tintinnuntius meus Sonat!
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-Poster: kat@grendal.rain.com


> But did they remove ribs in the 19th century or earlier?  I don't know much
> about medical history. But I believe that in the 1940s doctors were aware of how
> to prevent infection (formerly a major cause of post-surgical death) by keeping
> all tools, etc. free of bacteria.  They also may have had better surgical
> techniques than in the 19th century. 

I know that there was a lot of surgery going on of various sorts from 
very early (such as Egyptian times.) In the 19th Century there were 
many techniques being practiced.

I have never seen any documentation for rib removal prior to the mid 
19th C. From what I know of corsetry, I doubt that there would have 
been any reason for it. (Except in Marie d'Medici's court, or was it 
Catherine, where they were aiming for a 15" waist. That was an 
anomaly of the time period though, not a world wide phenomenon, and 
I sincerely doubt anyone considered rib removal at that point.)

 I think by the 1940s they had sulfa drugs
> (which are not strictly speaking antibiotics but which combat infections; when I
> was a child people allergic to penicillin were given sulfa drugs).

There have been various things used to fight wound infection, 
including Basilica powder. I am currently short on time to do the 
research or I could tell you more explicitly.
 
> There is also a difference between whether a doctor will perform a serious, even
> potentially fatal operation in the hope of saving the life of someone who would
> probably die without it, and whether the doctor would perform the same operation
> for purely cosmetic reasons.

There's a big difference between a mainstream doctor (who would agree 
with you as I do) and the kinds of charlatans and quacks who were 
allowed to practice in the 19th Century. I have been shocked over the 
years about how socalled "doctors" will put their normal scruples 
aside for money, even now.

There are a whole host of mutilations (not necessarily voluntary) 
which have been done in the name of fashion: scarrification, tatoos, 
body piercing (to name some currently popular ones.) Circumcision (if 
you think it's really for medical purposes, think again. This is a 
*very* popular procedure and it is done more for "look alike" reasons 
than any other. I've finally stopped crying when I have to do one, 
but I still try to talk the parents out of it.) Female "circumcision" 
(which is *still* being practiced in some areas of the world, without 
anaesthesia, without antibiotics and without proper sterile 
technique). Castration. Neck elongation. Lip insertions. Flat head 
Indians (you didn't think that was a genetic head shape, do you?) 
Etc. Etc. Etc.


Kat 

Kat(June Russell)
kat@grendal.rain.com
Heu! Tintinnuntius meus Sonat!
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-Poster: kat@grendal.rain.com


> I just received my show catalog for the Washington Antiques Show. Claudia
> Kidwell, curator at National Museum of American History, has an excellent
> article and drawings that explain stays, posture, women's silhouette of the
> late 18th century. The show catalog is $10.00 -- a real value for the 5
> articles and pictures of the special exhibition of 18th century garments from
> Mary Doerings private collection.

Do you have an address where we can write to get one of these? 
(Pleading look is in eye, as I would love to have this but live in 
the "other" Washington.)


Kat 

Kat(June Russell)
kat@grendal.rain.com
Heu! Tintinnuntius meus Sonat!
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-Poster: Laurel Wilson <lwilson16@earthlink.net>

Somehow a lot of confusion seems to have come up on this thread about
the flax/linen issue.  Flax is *never* the name of a cloth.  Flax is a
bast plant; from its fibers, we make the cloth called linen.  However,
linen can also be made from, and in ancient and medieval times often was
made from, the hemp plant.  Thus there can be flaxen linen and hempen
linen, which is probably coarser than flaxen linen; in medieval England,
there was also something called 'harden' linen, which was made from the
nubbly bits left over after the various preparatory processes (hackling,
beating, combing, etc.) and was apparently extremely coarse.

In medieval English documents, whether in English, French, or Latin, it
is difficult to tell which kind of linen is being referred to; there is
at least one scholar, Anne F. Sutton, who believes that most ordinary
linen made in England was hempen linen, and I am inclined to agree.
There are many Latin references to 'tela de canabo,' which literally
means woven hemp, and presumably means hempen linen, since the English
were not producing canvas in the Middle Ages--they imported it all.

I hope this helps...

Lauri

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From owner-h-costume@indra.com  Wed Jan  6 11:53:47 1999
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From: Merouda the True <keltia@serv.net>
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-Poster: Merouda the True <keltia@serv.net>

> Do it anyway and bring the books. Although we judges would prefer to
> have documentation a little better organized than that, in the
> catagory you would be in [snip], you
> might be best of that class.

Hmmm, this feels so overwhelming.  I keep vacillating.  Mainly because I don't want
to turn in a shoddy research paper any more than a shoddy costume.

> (Please don't be insulted that I
> don't remember if you have/haven't entered.

No worries. :)   I haven't entered before.  This would be my first.

Merouda the dizzy

--
Merouda the True of Beaumaris
Barony of Madrone
Kingdom of An Tir


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From owner-h-costume@indra.com  Wed Jan  6 12:04:42 1999
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Subject: Re: H-COST: Shakespeare In Love
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-Poster: Lisa Scovel <reenactment.guide@miningco.com>

At 01:19 AM 1/6/99 -0500, you wrote:
>        The tobacco habit apparently found it's way into Europe through
>Portugal and Spain in the early mid 16th century, by way of those stationed
>in the New World.  By the mid century, dried tobacco was being shipped to
>Europe, soon after the seeds, which quicly led to the plant being grown as a
>medicinal herb.

Yes, actually, my 11th great-grandfather (geneaology is another hobby of mine)
was Sir Richard Hawkins (of defeating the Spanish Armada fame) and according to
some accounts I have read, he is credited with bringing tobacco to Europe from
the New World.  Of course, he was only born in 1560, so perhaps not.  Perhaps
it was his father, Sir John Hawkins, born in 1532?

Or perhaps this is just family legend?  One line of my tree quite literally
traces its roots back to Adam & Eve... :)
***********************
lisa scovel
historical reenactment guide
the mining co.
http://reenactment.miningco.com

"Learning from history is never a one-way process. To learn about the 
present in terms of the past means also to learn about the past in the light 
of the present. The function of history is to promote a profounder
understanding 
of both past and present through the interrelation between them."

Edward Hallett Carr

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-Poster: CONNECT@aol.com


In a message dated 1/5/99 8:22:37 PM, robingoodfellow4@juno.com writes:

<<Secondly, I do have a couple costume questions.  There seemed to be
buttoning (and a lot of *un* buttonning) of doublets.  Is that accurate? 
And shouldn't Will have been wearing a jerkin under his doublet?>>

My understanding of a jerkin is that it's a sleeveless doublet worn over a
doubtlet. Also, more often than not, a jerkin was made of leather--there were
lots of fancy fabric jerkins made as well. That's why I say more often than
not. 

If you're looking for pictures of doublets and jerkins, you might want to see
Roy Strong's The English Icon: Elizabethan and Jacobean Portraiture. You
should be able to get it on inter-library loan at your local public library.
That's where I go garb idea shopping. :)

Yours,
Pattie Rayl
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From owner-h-costume@indra.com  Wed Jan  6 12:55:18 1999
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Date: Wed, 6 Jan 1999 12:59:21 -0500
From: Melanie Wilson <MelanieWilson@compuserve.com>
Subject: H-COST: Flax Linen  was  re: HELP
To: "INTERNET:h-costume-digest@indra.com" <h-costume-digest@indra.com>
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-Poster: Melanie Wilson <MelanieWilson@compuserve.com>

>Doesn't it make sense then that if 100% linen was available and used...so
was flax linen??

I've tried to say this several times but not all the posting comes out.

Strictly speaking Flax are the fibres. Linen is the cloth.

Similar to calling a type of Nylon Fibre Tactel I guess.

Hope this clears it up.

Mel
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-Poster: SAQUEEN@aol.com

The Washington Antiques Show
8606 Country Club Drive
Bethesda, Maryland 20817

Catalogue(s) by mail @ $10.00 each

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From owner-h-costume@indra.com  Wed Jan  6 14:24:13 1999
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Subject: Re: H-COST: Skeletons and stays
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>


>I wasn't arguing with you at all.  Your comment merely conjured up one of
those
>random facts stuck in my brain and I began to wonder what, in fact, the
>timeframe was for widespread sterilization.  Personally, though sterilization
>is an issue, of course, my immediate concern regarding such things would be
>about anaesthesia!

Anaesthesia is relatively modern.  Starting with chloroform and ether.


Kayta
     ////.\\\
    ////-@@\\\
   ((((   7 (((
     |   -- ))))
     * )   (((((
  /----\   /---\

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From owner-h-costume@indra.com  Wed Jan  6 14:42:10 1999
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From: Kimberly Gilbert <kimberly@bluemarble.net>
Subject: Re: H-COST: Color associations
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-Poster: Kimberly Gilbert <kimberly@bluemarble.net>

>I thought this was a Victorian association.  The few *written*
>references to it that I've seen were referring to 19thC  
>fables/superstitions.  I first heard of it from an older friend of 
>the family (must have been in her sixties when I was a child) who 
>said that her mother would never let any of the family dress in green 
>and had told them that *her* mother had forbidden the family to wear 
>the colour either as it was said to be the colour of the fair-folk 
>and their mischief would bring sorrow on the house if they were 
>pretentious enough to claim kinship with the fairies.....

Is it possible that the fairy color story began because of the other
association (loose morals)?  Perhaps the Victorians began claiming the
fairies would not like people wearing green, because it was easier to
think of fairies than of grass stains?

Kimberly

Kimberly Gilbert	 	kimberly@bluemarble.net
"This is terrible news!  Do you actually intend to kill your 
enemies?  Can't you just speak sternly to them?"
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From owner-h-costume@indra.com  Wed Jan  6 14:59:35 1999
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From: Merouda the True <keltia@serv.net>
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-Poster: Merouda the True <keltia@serv.net>

So many of you wrote me about this so.....

I just wrote a rough draft for that red cotehardie.  I have sent it to
a friend of mine who is  good at this kind of thing for her input.
I've gone this far, I might as well go to Kinko's at 3am.  *sigh*  My
heart is pounding and I can't seem to catch my breath.  Oh god, what
have I done?

--
Merouda the True of Beaumaris
Barony of Madrone
Kingdom of An Tir


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From owner-h-costume@indra.com  Wed Jan  6 16:18:25 1999
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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: H-COST: RE: Green Color Associations
Date: Wed, 6 Jan 1999 16:23:30 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

Mrs. Delaney described the wedding dress of Anne Princess
Royal when she married William Prince of Orange in 1734:
"The queen's clothes were on a green ground flowered with
gold and several shades; but grave and very handsome; her
head loaded with pearls and diamonds..."  and "a manteau and
a petticoat, white damask, with the finest embroidery of
rich embossed gold and festoons of flowers intermixed with
their natural colours.  On one side of her head she had a
green diamond of a vast size, the shape of a pear, and two
pearls prodigiously large that were fastened to wires and
hung loose on her hair: on the other side small diamonds
prettily disposed, her earrings, necklace, and bars to her
stays, all extravagantly fine, presents of the Prince of
Orange to her.  Now could someone explain precisely what the
"bars to her stays" might have been?  Sort of a bar shaped
brooches of some kind???

Hope H. Dunlap

-----Original Message-----
From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
Behalf Of Kimberly Gilbert
Sent: Tuesday, January 05, 1999 10:42 PM
To: h-costume@indra.com
Subject: Re: H-COST: Color associations



-Poster: Kimberly Gilbert <kimberly@bluemarble.net>

>I thought this was a Victorian association.  The few *written*
>references to it that I've seen were referring to 19thC
>fables/superstitions.  I first heard of it from an older friend of
>the family (must have been in her sixties when I was a child) who
>said that her mother would never let any of the family dress in green
>and had told them that *her* mother had forbidden the family to wear
>the colour either as it was said to be the colour of the fair-folk
>and their mischief would bring sorrow on the house if they were
>pretentious enough to claim kinship with the fairies.....

Is it possible that the fairy color story began because of the other
association (loose morals)?  Perhaps the Victorians began claiming the
fairies would not like people wearing green, because it was easier to
think of fairies than of grass stains?

Kimberly

Kimberly Gilbert	 	kimberly@bluemarble.net
"This is terrible news!  Do you actually intend to kill your
enemies?  Can't you just speak sternly to them?"

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From owner-h-costume@indra.com  Wed Jan  6 17:17:07 1999
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From: ches <ches@io.com>
To: h-costume@indra.com
Subject: Re: H-COST: Flax Linen  was  re: HELP
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-Poster: ches <ches@io.com>

I have a different question but kinda the same. What material was used for
those egyptian headdresses? Are there any good source books about them and
thier construction that any of you have actually recreated these from?

Ches


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From owner-h-costume@indra.com  Wed Jan  6 19:39:12 1999
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-Poster: Margo Anderson <margo@directcon.net>

Somehow a lot of confusion seems to have come up on this thread about
>the flax/linen issue.  Flax is *never* the name of a cloth. 

I'm afraid  that should read  "should never be" not "is never".  Some years
ago, I was working at House of Fabrics.  We got a shipment of a new line of
fabric that was named "Flax".  As I recall, it was a nice heavy 50/50/
cotton/linen blend.  Perhaps the poster saw some of this fabric for sale?

Margo

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From owner-h-costume@indra.com  Wed Jan  6 19:47:34 1999
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Subject: Re: H-COST: Jerkin/doublet (was:Shakespeare In Love)
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-Poster: Margo Anderson <margo@directcon.net>


>My understanding of a jerkin is that it's a sleeveless doublet worn over a
>doubtlet.

Except that, according to Janet Arnold, there are period references to
sleeved jerkins and doublets without sleeves.  Since there appear to have
been people who called themselves jerkin makers, and tailors advertised
making doublets, she guessed that jerkins might have been an easier garment
to make, requiring less skill than that of a fully trained tailor.  It's
possible that the jerkin was a less structured, more loosely fitted garment
than the doublet. 

Margo Anderson

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From owner-h-costume@indra.com  Wed Jan  6 20:14:31 1999
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-Poster: Marionetta@aol.com


Hi all,

I'm finally starting to tackle a project I've been wanting to do for some time
- German Ren costumes for me and my husband.  My normal time period is the
1800s so this is quite a different ball of wax for me...I have patterns to use
as my basis for the costumes and I've done some research and found info
regarding silhouettes but I've got a few questions I don't know the answers
to, particularly regarding fabrics.

I'd like these to be reasonably accurate and would like to use velveteen since
I've got a ton of black velveteen.  But is cotton velveteen the right thing to
use?  Or is nylon/rayon velvet more appropriate?  (silk's outta price range)
Any tips on the best way to slash velvet?  Brocade is often mentioned as being
used in the plastron, but none of the illustrations I've seen are very clear
on what this brocade looks like, any hints on the types of  modern brocades
that might work for this? And what colors are correct?  I'm assuming the
puffs/undersleeves should be a light weight white cotton fabric, like batiste,
is this right? I've got an Elizabethan corset (a la hunniset) will this work
for German Ren?  Or do I even need one...?  And finally anyone know of
patterns/instructions on how to make those wacky hats they wore?

Any and all info is greatly appreciated.

Cheers,

Loren Dearborn
marionetta@aol.com
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From owner-h-costume@indra.com  Wed Jan  6 20:31:22 1999
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Subject: H-COST: egyptian headdresses
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-Poster: Susan Fatemi <susanf@netwiz.net>

ches wrote:
> 
> -Poster: ches <ches@io.com>
> 
> I have a different question but kinda the same. What material was used for
> those egyptian headdresses? Are there any good source books about them 

WHICH egyptian headresses?? There are so many.

Susan

-- 
Oh Noh! Kimonos!
susanf@netwiz.net
http://www.netwiz.net/~susanf
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From owner-h-costume@indra.com  Wed Jan  6 23:06:47 1999
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-Poster: Tsrra@aol.com

In a message dated 99-01-06 17:24:27 EST, you write:

<< What material was used for
 those egyptian headdresses? Are there any good source books about them and
 thier construction that any of you have actually recreated these from? >>

At the risk of having inadequate information again, I will respond:  leather,
stiffened linen, basketry, metalwork, beads.  If you refer to Pharonic crowns,
I have made them out of shaped felt, then put a fabric over them.  What
construction information I have, has been gleaned from archaeological reports.

TS Ohara
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From owner-h-costume@indra.com  Wed Jan  6 23:35:47 1999
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From: "Penny E. Ladnier" <penny.creative.outlets@erols.com>
To: "costume newsgroup" <h-costume@indra.com>
Subject: H-COST: Elizabethan Colors
Date: Wed, 6 Jan 1999 23:42:52 -0500
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-Poster: "Penny E. Ladnier" <penny.creative.outlets@erols.com>

Here is a wonderful article, "Colors for Lower-Class Elizabethan Clothing".
You may find it at
http://www.dnaco.net/~aleed/corsets/lowerclass/lcolors.html .

Later...Penny
http://www.costumegallery.com

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-Poster: Robin Netherton <robin@dgsys.com>


On Tue, 5 Jan 1999, Kimberly Gilbert wrote:

> Is it possible that the fairy color story began because of the other
> association (loose morals)?  Perhaps the Victorians began claiming the
> fairies would not like people wearing green, because it was easier to
> think of fairies than of grass stains?

I can't say yea or nay on whether the Victorians popularized (or
re-popularized) the folklore interpretation, or why. But there's plenty of
evidence back to medieval times for the idea of green being associated
with the supernatural and the magical. The "green man" is a common enough
fantasy image in cathedral stonecarvings and other artwork, though the
color reference is not associated with clothing in that case. The most
recognizable literary reference to green clothing as a sign of the
supernatural would be the Green Knight -- dressed completely in green,
with green skin and hair -- who challenged Gawain (the poem is 14th c.,
the story possibly earlier). Also in that poem, Ber(t/c)ilak's wife gives
Gawain a green belt with magical powers.  Ber(t/c)ilak is later revealed
to be the Green Knight (kind of like a secret identity), but the reader
doesn't know that when the magical green belt shows up, so the color
reference is not meant to represent a household color.

Regarding earlier posts on this thread (which I have been reading
sporadically; forgive me if I am repeating anything already said): It
should be noted that in the original text of the song Greensleeves, the
lady is not definitively a prostitute, because she never grants her favors
to the singer (despite his many gifts to her). The song can be easily
(maybe more easily) read as lampooning a foolish man who thinks he can buy
a lady's love, and who doesn't know how to take "no" for an answer. 

Referring to a person by the color of her clothing for identification
(particularly if you're being poetic and you don't want to reveal
someone's identity) is not at all hard to understand. It was common enough
in the Middle Ages and early Renaissance for people (even nobility)  to
wear the same gown day to day, and into the 15th century, it was rare that
anyone except the very rich and the royalty had more than a few changes of
clothes. Yes, there are plenty of exceptions, but if one does see the idea
of a small wardrobe as the norm -- which it was -- then you can understand
why a poet might describe his unidentified lady by her clothing. That
convention may have lasted into the 16th century, even after larger
wardrobes became more common. So while the color reference *may* have had
some significance in the "Greensleeves" appelation, there's no absolute
*need* to read any significance into it. 

I found the references to "giving a green gown" of interest -- I hadn't
heard that before. However, I find it dubious to extrapolate from the
"green gown" euphemism any implications about the wearing of actual green
cloth or clothing, in any period. I would place more credence in
inventories, wills, trade documents, or dyer's records that would indicate
whether green was a popular or unpopular color in a given place/time. 
Perhaps someone who has spent more time with Elizabethan color
descriptions can tell us whether green was oddly absent from records at
the time in which Greensleeves was popular.

In any case, I suspect any reference to "giving a green gown" is
independent of the (earlier) faerie folklore regarding the color.

Citations: I have the full text of Greensleeves in a Dover reprint of a
poetry collection called "A Handful of Pleasant Delights," by Clement
Robinson and Divers Others, ed. by Hyder E. Rollins. Actually, the Dover
edition is a reprint of a 1924 study that includes the full text of a
British Museum copy of the "Handful." The "Handful" itself is a collection
of broadside ballads that appeared over a span of years. It had more than
one edition; Shakespeare is thought to have been familiar with the
collection. The British Museum volume was published in 1584, according to
Rollins' introduction. The dating is complicated, and Rollins goes into
some length that I won't pursue here.

Rollins documents a slew of "response" ballads on Greensleeves that came
out in 1580, suggesting that the broadside version appeared in that year.
Some of the titles of those responses Rollins cites are "ye Ladie Greene
Sleeves answere to Donkyn hir frende" and "Greene Sleves moralised to the
Scripture Declaring the manifold benefites and blessinges of God bestowed
on sinfull manne." These are not obviously suggestive of a prostitute, but
that doesn't mean that there wasn't a response that presented Lady
Greensleeve as a prostitute, and so that reference may be to one specific
such ballad.

The "Handful" is a lot of fun, and has some good costume references. It
may be still available from Dover -- I bought mine for $1.75 in the 1970s. 

--Robin, passing through


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-Poster: Carolyn Richardson <benrumson@worldnet.att.net>



Marionetta@aol.com wrote:

> I'd like these to be reasonably accurate and would like to use velveteen since
> I've got a ton of black velveteen.  But is cotton velveteen the right thing to
> use?  Or is nylon/rayon velvet more appropriate?  (silk's outta price range)
> Any tips on the best way to slash velvet?

I'm certainly no expert but I did take a class at Costume College from Mistress
Juliana who is (imo) an expert on German Ren.  I wouldn't try to slash velvet.  If
you want slashed sleeves use a good felted wool.  It won't ravel and velvet will
ravel like crazy if you slash and not finish off the edges.

CArolyn

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From owner-h-costume@indra.com  Thu Jan  7 00:55:26 1999
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-Poster: Heather Law <lynnx@mc.net>

It was Queen Victoria's enthusiastism for ether during childbirth that
popularized it. Clergymen denounced the practice, but after all she was
head of the church and of course, everyone knew she would never do
anything wrong.
Carol Mitchell


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Date: Thu, 7 Jan 1999 01:18:41 EST
To: Vrhsnipes@aol.com, h-costume@indra.com
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-Poster: MzScahlett@aol.com

Vivien & list

Since this has come up a couple of times, I thought I'd cc the list.  

Southern Importers
4825 San Jacinto
Houston, TX  77004
(713) 524-8236
p. 40 of the 1999 catalog. Item #20 1) Best quality is $24.95; less expensive
is $8.95. I recently purchased several of the $8.95 variety and they were
pretty good for the price.  Sturdy and looked okay from the audience in a very
small theater.

Theater House, Inc.
400 West Third Street
P.O. Box 2090
Covington, KY 41012-2090

p.45 current catalog. Item #3830; price $11.95

++++++

Hatcrafters, Inc.
20 N. Springfield Road
Clifton Heights, PA  19018
610-623-2620
 they have 15 different models, wholesale prices vary $45 - $65  
 (Real Quality headwear, expensive, but well made, they supply film, tv,
stage, etc.)

All of the above will send you a mail-order catalog.

angil
++++++++
Angela F. Lazear
Costumes & Custom Clothing

"Yes, all my laurels you have riven away 
and all my roses; yet in spite of you, 
there is one crown I bear away with me, 
and tonight, when I enter before God, 
my salute shall sweep all the stars away
from the blue threshold!  One thing without stain, 
unspotted from the world, in spite of doom,
mine own!  

and that is.... my white plume!"

 ~~ Edmond Rostand's Cyrano de Bergerac

In a message dated 1/6/99 17:47:34 Pacific Standard Time, Vrhsnipes writes:

<< In h-costume digest V4#14 you made a note that you have two sources for
cavalier style hats. I would be very interested in knowing where you got them
if you would be so kind as to share it. We did 3 Musketeers in October of 1997
and had a heck of a time finding them. If we do Puss and Boots next year
(which is in the strong possible performance list) I'd be a step or three
ahead. >>
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From owner-h-costume@indra.com  Thu Jan  7 02:14:28 1999
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-Poster: kat@grendal.rain.com

Merouda wrote: 
> I just wrote a rough draft for that red cotehardie.  I have sent it to
> a friend of mine who is  good at this kind of thing for her input.
> I've gone this far, I might as well go to Kinko's at 3am.  *sigh*  My
> heart is pounding and I can't seem to catch my breath.  Oh god, what
> have I done?

As one of the people who will be on the judging panel for the contest 
she's talking about, I promise not to eat her. I promise not to let 
the other judges eat her. I've never bitten anyone in the 13 years 
I've been judging this contest and I don't plan on starting now.

I suspect that she'll probably win her class (as we have 4 classes: 
novice, not really novice but not much experience with entering 
costume contests or not feeling confident with costuming yet, 
intermediates who have won a contest before, and "experts" like those 
who are Laurels, journeyman or above in the non-SCA costume societies 
or who have won at the regular intermediate level of our contest.) I 
can't promise that she'll win her class (and we deliberately don't 
have an "overall" winner), but you all can cross your fingers for 
her!


Kat 

Kat(June Russell)
kat@grendal.rain.com
Heu! Tintinnuntius meus Sonat!
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-Poster: kat@grendal.rain.com


> <<Secondly, I do have a couple costume questions.  There seemed to be
> buttoning (and a lot of *un* buttonning) of doublets.  Is that accurate? 
> And shouldn't Will have been wearing a jerkin under his doublet?>>
> 
> My understanding of a jerkin is that it's a sleeveless doublet worn over a
> doubtlet. Also, more often than not, a jerkin was made of leather--there were
> lots of fancy fabric jerkins made as well. That's why I say more often than
> not. 
> 
> If you're looking for pictures of doublets and jerkins, you might want to see
> Roy Strong's The English Icon: Elizabethan and Jacobean Portraiture. You
> should be able to get it on inter-library loan at your local public library.
> That's where I go garb idea shopping. :)

For a description of the layers worn in Elizabethan costuming, I 
would suggest C. Willett Cunnington and Phillis Cunnington's book on 
Clothing in the 16th Century. It's not available on any booksearches 
for sale, but most of the better textile, costuming and drama 
libraries usually have a copy. I got my copy done by the UofW from 
their drama library (back in the days when they would copy whole out 
of print books for scholarly use.) 

Kat 

Kat(June Russell)
kat@grendal.rain.com
Heu! Tintinnuntius meus Sonat!
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Date: Wed, 06 Jan 1999 12:48:34 -0800
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From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: Re: H-COST: Shakespeare In Love
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>


>Secondly, I do have a couple costume questions.  There seemed to be
>buttoning (and a lot of *un* buttonning) of doublets.  Is that accurate? 
>And shouldn't Will have been wearing a jerkin under his doublet?

If memory serves, the jerkin goes over the doublet.  If he could have
afforded one he would have worn it.  And yes, they buttoned.  Unless they
hooked.


Kayta
     ////.\\\
    ////-@@\\\
   ((((   7 (((
     |   -- ))))
     * )   (((((
  /----\   /---\

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Subject: H-COST: 10' Rule - setting a good example
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>

I personally think that setting a good example is the most important single
thing we can do for newbies.  This goes for any period of clothes we are
doing.  It's more important than is the cloth linen or linen-look cotton,
more important than is it hand sewn or machine sewn, and more important
than is the colour perfect or just close.  If we hold to our high standards
and set that expectation for newbies, they will know we mean it.  This will
require teaching and tolerance (as it does with children, the original
newbies), but they will get there.  As more newbies graduate to knowing
what they are doing and teaching others what they know, everyone will get
better.

Disclaimer - I am not advocating treating of newbies like children.  I just
happen to be a Mom and am aware of different learning curves than my own.

>> I think it's not very easy to do bad work and use bad materials
>> and still get a costume that looks good from 3m (10'). I mean
>> one can spot errors in cut from that distance, grommets,
>> (most) artificial fibres instead of silk and so on from that
>> distance. From 60cm (2', about one's arms length) one can
>> see almost every small mistake, perhaps even whether it's
>> handsewn or not (and certainly whether embroidery was
>> hand or machine made).
>> 
>> So what is reasonable level and what are good ways to help
>> newcomers to achieve that? I think the point at first was that
>> not everybody has money for the right materials (at least here
>> ok quality linen costs about $11 per metre) or time for
>> handsewing.
>
>I always recommend using a coarse weave or linen look
>cotton, cutting out a t-tunic (or t-tunic dress), seaming
>the interior seams with the machine as well as the hem and
>then handsewing the hems.
>



Kayta
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Subject: Re: H-COST: Shakespeare/anachronisms
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-Poster: "Glenda Robinson" <glendar@aus.compassnet.com.au>

AlbertCat wrote:

>
>Of course the doublet should be laced at the waist to the hose....no? This
>makes the "trunk hose and just a shirt" look very suspect to me.

The hose that my husband wears in both 1525 and 1640 reenactment are both of
the type that tie to the doublet. However, that doesn't mean that they are
not worn without the doublet. With these types of hose, the ties are through
the waistband (which are not usually of the same material as the hose, BTW).
These waistbands tend to be tailored to fit the wearer, so are able to be
worn without the doublet without overly exposing oneself. There is quite
often a point tied across the front of the band as well, which can be seen
in the oft-quoted Arnold, Patterns of Fashion, to hold the front in.

Glenda
--------------------------------
Glenda Robinson
Flamberge Computer Services
glendar@compassnet.com.au


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To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: Re: H-COST: Skeletons and stays
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>

I have real trouble believing actual 15" waists.  There is a lot of
in-period talking about this, and even stories about women who supposedly
had them.  I remain unconvinced.  My Sweetie has a neck bigger than 15".

>I have never seen any documentation for rib removal prior to the mid 
>19th C. From what I know of corsetry, I doubt that there would have 
>been any reason for it. (Except in Marie d'Medici's court, or was it 
>Catherine, where they were aiming for a 15" waist. That was an 
>anomaly of the time period though, not a world wide phenomenon, and 
>I sincerely doubt anyone considered rib removal at that point.)



Kayta
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Date: Wed, 06 Jan 1999 23:55:59 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: Re: H-COST: help with men's and women's German Ren
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>

Aah, a woman after my own period...

>I'm finally starting to tackle a project I've been wanting to do for some time
>- German Ren costumes for me and my husband.  My normal time period is the
>1800s so this is quite a different ball of wax for me...I have patterns to use
>as my basis for the costumes and I've done some research and found info
>regarding silhouettes but I've got a few questions I don't know the answers
>to, particularly regarding fabrics.
>
>I'd like these to be reasonably accurate and would like to use velveteen since
>I've got a ton of black velveteen.  But is cotton velveteen the right thing to
>use?  Or is nylon/rayon velvet more appropriate?  (silk's outta price range)

Silk is what they had, but there is a story of a German Duchess who sold
one of her villiages to pay for a velvet dress.  If the garment must be
washed, use whatever you have to which includes washability.  If not, use
what shines most like the silk stuff.  Use it for the 'guards', that band trim.

>Any tips on the best way to slash velvet?  

Apply it on the grain, slash it exactly on the bias.  This way it will fuzz
a little (and shed lots of pile) but it won't actually fray.

Brocade is often mentioned as being
>used in the plastron, but none of the illustrations I've seen are very clear
>on what this brocade looks like, any hints on the types of  modern brocades
>that might work for this? 

Use what you can find with 'pineapples' or 'pomegranites' on it.  Look at
the Flemish illos from the late 1400's to see what I mean.  (As in, not
Hawaiian pineapples.)

And what colors are correct?  

Check in the same places.  Painters to look up include Cranach, Breughel,
and Durer, and all those photo-realistic Flemish guys from the late 1400's.

I'm assuming the
>puffs/undersleeves should be a light weight white cotton fabric, like batiste,
>is this right? 

Earlier this puffing is actually the shirt.  Later it could be thin
taffeta, and is colours other than white.  Muslin weight is best.  They
used linen not cotton, so look for a linen-look 100% natural fibre cloth
(or you'll roast in it).

I've got an Elizabethan corset (a la hunniset) will this work
>for German Ren?  

No.  The English used a cone-shaped corset, and the Germans didn't.   The
German ones allowed for the female shape in front.  There is one in Janet
Arnold. 

Or do I even need one...?  

Later yes, earlier, maybe not.

And finally anyone know of
>patterns/instructions on how to make those wacky hats they wore?

I have some.


Kayta
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-Poster: Dietmar <dietmar@pacbell.net>

Greetings good people,

Someone asked:

>> So what is reasonable level and what are good ways to help
>> newcomers to achieve that? I think the point at first was that
>> not everybody has money for the right materials (at least here
>> ok quality linen costs about $11 per metre) or time for
>> handsewing.

Kat responded:

> I always recommend using a coarse weave or linen look cotton,
> cutting out a t-tunic (or t-tunic dress), seaming the interior
> seams with the machine as well as the hem and then handsewing
> the hems.

Yes, but do you help them with period patterns or use the "trace around a
dress shirt" method?

I show people a pile of swatches (someday I'll make a swatch book) and give
them ideas for acceptable substitutions.  We tell them where they can buy
stuff cheap and occasionally schedule a "safari" to the garment district. 
I'll pass along the titles of good reference books, help with patterns and
patterning.  This month we'll be holding a workshop specifically for newcomers
to get some costumes patterned or have problems solved.

There is a definite learning curve, and we try to help them up it as fast as
is reasonable.  Everyone will settle into a level where they feel comfortable.
 That might not be as authentic as I would like, but I'm not going to drum
them out of the group.

Regards,

Dietmar


"Victory or Defeat rests in God's hands;
 over Honor, we ourselves are Lord and Master."
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From: Anne Foote <anne_foote@yahoo.com>
Subject: H-COST: Stays & girdles - effects
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-Poster: Anne Foote <anne_foote@yahoo.com>

Re rib removal - I am sure this fell into the "man bites dog"
category.  It may well have happened in Victorian times, but it was
never more than a few cases hitting the headlines ?

The original poster asked about the effects of stay wearing, and
replies have covered lung capacity, livers and such.   I think there
are more effects 

Not stays, but the 1920 boob squashing bras.  One I remember seeing in
a musuem  looked painfully effective - vertical bones across each
breast, and FLAT.  At the time doctors cited these as causing inverted
nipples and milk supply problems.

19C stays - apparently you were unlikely to slip a vertebra when laced
in.  Slipped disks were for men !

Posture and movement was important for both fashion and class.  If the
corset made you sit and stand in the <right> way  then surely there
must have been some long term effects on the poor old body?  Was it
posture & movement that was the reason behind Vict little girls
wearing corsets rather than the pursuit of the mythical 18 inch waist ?

I have seen in 19C beauty books one of the effects on the human body
of tight stays was constipation.This touched a raw nerve with the
Victorians.  They knew all about purging and stong laxatives.

Several r-enactors have told me that both 18  and 19 C have non
physical effects.  They tell me that they <feel> more elegant and
superior.  Also they feel <safer>.  

Don't forget the 1950/60s !  I am JUST old enough to remember the hot
and scratchy firm control girdles and long line bras of the early
1960s. (Bones, hooks and eyes, deep breath to get into them, anybody
else remember ?) They sure changed my shape, posture and movement. 
Look at 1950 movies / TV recordings - those women are not shaped as we
are today.

An afterthought for today's fashions.  Last Christmas two of my nieces
(14 &15 Yrs old) were discussing the younger's Christmas present - a
wonderbra.  I laughed when I heard that you "have to wear it for a few
days for your boobs to get used to it."

The human body is so malleable and accomodating - there must have been
many effects of wearing rigid and tight stays from an  early age.
Annie





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From owner-h-costume@indra.com  Thu Jan  7 05:49:55 1999
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Date: Thu, 07 Jan 1999 06:02:57 -0500
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From: Lynn Carpenter <alwen@i2k.com>
Subject: H-COST: Small wardrobe, was Color associations
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-Poster: Lynn Carpenter <alwen@i2k.com>

Robin Netherton <robin@dgsys.com> wrote:

>Referring to a person by the color of her clothing for identification
>(particularly if you're being poetic and you don't want to reveal
>someone's identity) is not at all hard to understand. It was common enough
>in the Middle Ages and early Renaissance for people (even nobility)  to
>wear the same gown day to day, and into the 15th century, it was rare that
>anyone except the very rich and the royalty had more than a few changes of
>clothes. Yes, there are plenty of exceptions, but if one does see the idea
>of a small wardrobe as the norm -- which it was -- then you can understand
>why a poet might describe his unidentified lady by her clothing. That
>convention may have lasted into the 16th century, even after larger
>wardrobes became more common. So while the color reference *may* have had
>some significance in the "Greensleeves" appelation, there's no absolute
>*need* to read any significance into it. 

This brings up something I've been wondering for a long time.  I'm in the
SCA, and my area groups often hog the bathrooms before feast to change
their clothing.  I can see this for the fighters, who are hot and sweaty.
But did pre-1600's people actually "change for dinner"?  This feels to me
to be a much later custom.  Anyone have dates on "dinner dress"?  It would
be way out of my 11th century timeframe...

Lynn

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From: starsinger@webtv.net (theresa sorrell)
Date: Thu, 7 Jan 1999 04:52:12 -0700 (MST)
To: h-costume@indra.com
Subject: Re: H-COST: Skeletons and stays
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-Poster: starsinger@webtv.net (theresa sorrell)

I believe, it is possible.  You would have to be petite like so many
women of that age, not an amazon like me :)  I looked at that website
sited and was amazed at how deformed those women looked.  Not attractive
at all.  One lady in the site had on what looked like a red leather job
and an incredibly tiny waist.

Starsinger

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From: Dora Barnes <dorabarnes@yahoo.com>
Subject: H-COST: Stays, skeletons and girdles
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-Poster: Dora Barnes <dorabarnes@yahoo.com>

<<<<Put on face of mock indignation !…….

Until now  I loved reading about medieval, 18 and 19 cent clothing,
gorgeous !  And now Anne Foote writes about stays and skeletons and
talks about 1950s firm control lingerie.  Hey stop it - I was there, I
am not an antique -   please don't talk about me like that.
……removes mock indignation and put on serious expression suitable for
H-cost discussions.>>>>>>>

I was wearing a girdle at age 14 in 195 ehem, and when I was 15 my
mother saw it natural for me to be in firm control girdle and longline
bra for best wear.  I was ambivalent towards them, it was rite of
passage to womanhood, and they could be very uncomfortable at the end
of a long day.  My sister  complained that after a week in bed ill and
had lost weight, she found it difficult to get back into her girdle -
I suppose she had gone back to her ungirdled shape during the week.  I
think this was an example of shape change in the medium term.  The
Victorians probably had similar effects, but magnified as their
corsets were much harsher.

I do not want to bore all you experts with the problems of my
underwear as an adolescent.  However, thinking back I can remember
what my mother, her mother etc were telling. And in those days the
older generation were always right.  "Nice firm girdles" were
essential, not only for the visual shape, but for support, posture and
the indefinable - "it was good for you".  I think my mother and her
generation genuinely expected some ladylike permanent changes in me
through the firm control lingerie.  I am still a tomboy !

Dora





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Date: Thu, 07 Jan 1999 08:09:21 -0600
From: Kent & Kat <kdyer@nash.tds.net>
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-Poster: Kent & Kat <kdyer@nash.tds.net>

Dietmar wrote:
> 
> Kat responded:
> 
> > I always recommend using a coarse weave or linen look cotton,
> > cutting out a t-tunic (or t-tunic dress), seaming the interior
> > seams with the machine as well as the hem and then handsewing
> > the hems.
> 
> Yes, but do you help them with period patterns or use the "trace
> around a dress shirt" method?

Yes. <grin>  It depends on the person (& I'm not very active
right now) but anyone who comes to me with a costuming
question gets an offer of me babysitting them through the
garment...I'd much rather teach than make it myself for a
fee and I never charge for teaching.
 
> I show people a pile of swatches (someday I'll make a swatch
> book) and give them ideas for acceptable substitutions.  We tell
> them where they can buy stuff cheap and occasionally schedule a
> "safari" to the garment district.

I usually use garb that's on hand as examples and have done
a number of 'walk-throughs' at the fabric stores. 
Unfortunately the excellent remnant store we had (corduroy
of the correct wale, fake fur & heavy cotton flannel for
~$1.50 a pound!) closed down (yes, I *still* have fabric
left five years after!) so now I travel down to
Fayetteville, TN to Sirs Fabric ($1.00/yd antique satin &
$5.50/yd cotton velvet) which is a day trip (leave at 9 get
back in the early afternoon).

> I'll pass along the titles of good reference books, help with
> patterns and patterning.  This month we'll be holding a workshop
> specifically for newcomers to get some costumes patterned or
> have problems solved.

BTDT!  <grin>  When our household was more active Mistress
Nerak would have all day costuming workshops at her house. 
My favorite piece of her advice that I pass on is to never,
ever, ever look at anything but the pictures when making a
Medieval Miscellania pattern and to buy a roll of butcher
paper to make your patterns on!
 
> There is a definite learning curve, and we try to help them up
> it as fast as is reasonable.  Everyone will settle into a level
> where they feel comfortable.  That might not be as authentic as
> I would like, but I'm not going to drum them out of the group.

No, but I *do* mention the fact that the higher the natural
fiber the more comfortable their clothing will be...since
most of the folx I help can't afford much beyond cotton I
point out that cotton will both keep them warm *and* cool
because it breathes.  I've had numerous folx astonished
because I wear a number of heavy cotton flannel cotehardies
& t-tunic dresses & overtunics which gives me an opportunity
to hammer...I mean, point this out again.

Kat
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-Poster: sue-historian@writeme.com

Dora Barnes (dare I say the young Dora ?) wrote about the reasons for 1950s firm control lingerie being more than shape - she mentioned 

>" support, posture and the indefinable - "it was good for you"

This strikes a chord in my own memories.  Can Dora or anyone else expand on these non shape values ?

Sue


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-Poster: Kent & Kat <kdyer@nash.tds.net>

Carolyn Kayta Barrows wrote:
> 
> I have real trouble believing actual 15" waists.  There is a lot
> of in-period talking about this, and even stories about women
> who supposedly had them.  I remain unconvinced.  My Sweetie has
> a neck bigger than 15".

I have understood it for some time having spent my youth
roaming through historical houses & looking at the clothing
(among other things...my dad is a historian so we would get
toooons of info about who lived in the house...hmmm, wonder
if he can find the time to do the same with our kids?).  I'm
5'8" but even when I was shorter it was pretty obvious that
the women were much, much shorter than I am.  Remember that
nutrition wasn't all that hot back in the good 'ole days and
while some women had real female figures (my dh looooves
Rubanesque! <grin>) a number of them did not.  Think how
small a supermodal's waist must be and then factor down for
the fact that most modals are considered tall for today's
standards as opposed to the norms of yesteryear.  When you
get a chance to actually look at clothing from earlier
periods it's amazing how much smaller they are...even just
looking in a vintage clothing store will show you...I've
seen stuff that *might* fit my daughter width-wise and she's
only five!

Kat
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From owner-h-costume@indra.com  Thu Jan  7 10:18:17 1999
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From: Hope Greenberg <hope.greenberg@uvm.edu>
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-Poster: Hope Greenberg <hope.greenberg@uvm.edu>

Robin Netherton wrote:
> It
> should be noted that in the original text of the song Greensleeves, the
> lady is not definitively a prostitute, because she never grants her favors
> to the singer (despite his many gifts to her). The song can be easily
> (maybe more easily) read as lampooning a foolish man who thinks he can buy
> a lady's love, and who doesn't know how to take "no" for an answer.

I wouldn't even go that far. Pick up any collection of 16th century
madrigals, canzonets, or balettes, choose one at random, and the chances
are you'll be reading one filled with the sighings and dyings of
unrequited love. It was a long-standing tradition.

> Rollins documents a slew of "response" ballads on Greensleeves that came
> out in 1580, . . . "Greene Sleves moralised to the
> Scripture Declaring the manifold benefites and blessinges of God bestowed
> on sinfull manne." 

Ah! Now that would be fun to read. I'd guess that text has nothing to do
with the morals of the lady subject at all. What I find interesting
about Greensleeves is how this particular ditty, of all the wonderful
things out there, became so enduringly popular. And where in the world
did the notion that this is about a prostitute come from? Researching
that tradition would probably be more fun than the song itself. Mary
Magdalen is often, but not always, pictured in green (and carrying that
neat little jar and usually wearing interesting headgear) but so are
several of the women saints so I don't think that helps.

By the way, a quick web search turned up this as one of the verses:

     My men were clothed all in green, 
     And they did ever wait on thee; 
     All this was gallant to be seen, 
     And yet thou wouldst not love me.

A charming idea, clothing your men in your lady's color as a token of
devotion. Wait...I can see it now...that REALLY means this guy had a
ring of pimps and...

Sorry! :-)

- Hope

-------------
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From owner-h-costume@indra.com  Thu Jan  7 10:57:45 1999
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-Poster: Hope Greenberg <hope.greenberg@uvm.edu>

If you plan to be in New York before Jan. 17th and haven't already been
there, don't bother with the costume exhibit at the Metropolitan Museum
of Art--go straight to the exhibit on early Netherlands painting. What
feasts for the eyes and a goldmine for the costumer! The Met has
collected over 140 paintings and sculptures from the period 1420-1550
and has them all on display at this exhibit. 

The colors are breathtaking, the artists' attention to detail
particularly gratifying from a costumers point of view, and the fact
that you can get right up close is perhaps the most amazing thing of
all. I saw one wooden sculture where a woman's bodice, though that
portion was only about an inch in height, actually had the side seam
carved in it. 

You can see some of the works at the museum's web site,
http://www.metmuseum.org, and many are available on the standard print
and online collections, but seeing them live was just wonderful. I was a
bit disappointed in the catalog, so didn't buy it--it focused on the art
and expression of the works instead of providing nice big color blow-ups
of the costuming details--how dare they!!

I do have two questions as a result. I want to make a houpellande
(probably mid century northern, haven't decided on the exact style yet)
and am wondering about the suitability of a piece of fabric I have.

1) It's antique satin but with a fine weave--no nubblies. Not linen,
wool, or real silk,     *sigh* though the black back makes it look
rather like shot silk. Is it an acceptable substitute for the
authenticity minded?

2) The color: it is between plum-purple-taupe-grey, very subdued. I saw
several gowns in the above exhibit of the same or nearly the same color
but I don't know if this is a paint-only color or if there would have
been a dye color like this in the mid-15th century. Any ideas?

Thanks, as always!

- Hope

-------------
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-Poster: Luiseach@aol.com


In a message dated 01/07/99 04:02:55 AM, Lynn wrote:

<<I'm in the
SCA, and my area groups often hog the bathrooms before feast to change
their clothing.  I can see this for the fighters, who are hot and sweaty.
But did pre-1600's people actually "change for dinner"?>>

Pre-1600, the people sitting down at the fancy tables for dinner wouldn't have
been taking down the pavillion and schlepping the gear half an hour
before--they would have had servants to do the grunt work and get dusty and
sweaty.

Lucinda
known in the SCA as Luighseach nic Lochlainn

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-Poster: EofAshley@aol.com

Kat:

I have been dying to get to Sir's for the past year. Are their prices as good
as they say?

Sometimes, all it takes is gentle direction, as some newcomers to historic
reenactment first go to fabric stores before they begin participation, and say
to themselves, " THIS looks kinda period!"  We've had many people after
beginning garb classes say, "So THAT'S what it's supposed to look like!"

Karla
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-Poster: EofAshley@aol.com

In our area of the World, it's Court that everyone is getting dressed up for,
before feast, and fine clothing worn in the court of Royalty would, needless
to say, have been appropriate.

karla
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From owner-h-costume@indra.com  Thu Jan  7 11:29:45 1999
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From: Jennifer McNitt <jenmcnitt@yahoo.com>
Subject: H-COST: SCA-Garb
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-Poster: Jennifer McNitt <jenmcnitt@yahoo.com>

What ever happened to the SCA-Garb mailing list?  It seems that
www.coollist.com is down (and I heard maybe for good).  Has anyone
setup a new list somewhere else?   If not, I have an account at
www.egroups.com and it could be hosted there.

Jen




==
-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
Jennifer McNitt
Rosemount, MN
E-mail: jenmcnitt@yahoo.com
SCA: Gweniver Kenwyn of Roseveth
-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-

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From owner-h-costume@indra.com  Thu Jan  7 11:38:21 1999
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Subject: H-COST: Fwd: Natural dyes
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-Poster: Lisa Scovel <reenactment.guide@miningco.com>

Another question from a reader....  Any ideas?
>
>Hi,I'm trying to find a school or university with classes in the
>lost artwork of natural dyes used for clothes,and to give color to 
>everything found in all textiles.Are there any resources to find a 
>school or an apprenticeship in this trade?
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From: "Cornelia W" <w_cornelia@hotmail.com>
To: h-costume@indra.com
Subject: H-COST: Stays, skeletons, breasts and posture.
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-Poster: "Cornelia W" <w_cornelia@hotmail.com>

This is a fascinating and rambling topic - here's a few more rambles.

Anne Foote mentioned in a post the 1920 bras.   I had a great aunt, 
brought up in New York, who was a la mode in the 1920s.  In the 60s she 
had a breast tumour removed, and claimed it was due to the tight binding 
she wore to get the flat look when young.  In photos taken in the 1920s 
she appeared quite well build, but without any trace of a bust.  I 
remember her talking about bandaging, not flattening bras.  I don’t know 
if binding would produce tumours, but anyway, she freely admitted doing 
it.  Do we have theater people or reenactors in this list who have tried 
to get the same look ?

Several postings have contrasted posture and shape as an effect of 
stays.  Of course, stays will change your posture - a solid wooden busk 
really does keep you upright.  The 18C was looking for even and expected 
women to have flat and narrow backs. 18 C girls in middle and upper 
class homes not only had stays (from age 4 or so ?) but also backboards 
and other devices to help their little skeletons into the proper shape.  
Try looking at page  174 of  the following (not easy navigate).  It is a 
1825? Dancing instruction book, with a lot of emphasis on posture.

http://memory.loc.gov/ammem/dihtml/dihome.html

Go to "search", then keyword search on "backboard" -and look at  page 
174.  I think it's not a standard html document so you can't point to it 
from here.

Does anyone know what the "steel collars" are mentioned as giving a too 
stiff a carriage on page 191

In her autobiography "Period Piece" Gwen Raverat tells when she was aged 
13 in the 1880s she  was made to wear stays, fond  them uncomfortable 
and took them off.  She adds "when my softshelled condition was 
discovered I was forcibly recorsetted."

They must have uncomfortable, poor girl.  By the time she was say 20, 
the 8 years in stays must  have had some effect on her body, bones and 
mental outlook.

Cornelia


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-Poster: Kate Pinner <pinner@mccc.edu>

Just got back from a week in London -- The British Museum has an exhibit
of modern "Cloth of Gold".  Seems someone in India is reviving the
classical skill and artistry.  They have shawls, panels and sashes that
are absolutely gorgeous!!! Silk and silver gilt.  And to think that one
could actually buy these now (if one had tons of money!).  Some of the
pieces have magnifying glasses so you can see the stitches.  They are
shown with some of the Indian paintings so you can see how they might be
used.
Wish I could have stayed longer & seen more.  The V&A has QEWardrobe at
75 pounds but you have to ask at the desk, it's not out on the shelves. 
I wish they would set up their costume displays with mirrors -- although
it's great they show the backs of some of the clothes, I also want to
see the front (and vice versa). 
At the National Gallery, I picked up a small book on Costume in Art. 
Haven't had time to really pore over it but am looking forward to that
this weekend.
Kate
>
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From: Kent & Kat <kdyer@nash.tds.net>
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-Poster: Kent & Kat <kdyer@nash.tds.net>

EofAshley@aol.com wrote:
> 
> Kat:
> 
> I have been dying to get to Sir's for the past year. Are their
> prices as good as they say?

I think so...I pay $1/yd for antique satin and the most
*I've* paid for fabric is $3/yd there (but most of my
costuming now is for theatrical purposes and so I'm not
buying some of the upper end fabrics one might use for court
garb.  Some of the antique satin has slub on both sides as
opposed to having a shiny side.  I've seen light silk every
time I've been in for ~$10.50/yd which are generally in
cream and light colors.  They have broadcloth, in dull
colors for the most part, for $0.50/yd (I buy a lot of
this!).  There are actually two stores...one is nothing but
upholstery which also has foam and fake fur (don't know why
it's in that store but...).  The other has upholstery fabric
as well as the more usual fabric one finds in a regular
store.  It also has a bridal section, a button bin where
I've found good pewter buttons every visit but I'm not as
impressed with the trim section and they don't have the very
heavy cotton flannel that I like.  They have a lot of mill
ends so what you encounter varies from visit to visit
although some things are 'normal' such as the cotton velvet
(yum...I need more money!).  My suggestion would be to
carpool with others who are interested in buying fabric (we
take a van or station wagon), go early in the morning and
explore.

> Sometimes, all it takes is gentle direction, as some newcomers
> to historic reenactment first go to fabric stores before they
> begin participation, and say to themselves, " THIS looks kinda
> period!"  We've had many people after beginning garb classes
> say, "So THAT'S what it's supposed to look like!"

LOL!  It may be easier depending on which fabric store you
go to.  The one I frequent most has workers who all know me
well and I've educated them as I buy fabric...which means
I've also overheard them giving other customers the same
information I've passed to them...and been accosted by a
worker wondering if I can answer a question for another
customer!  During the halloween period I had 'chance'
conversations about costumes every time I went in the store! 

Kat
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-Poster: AlbertCat@aol.com

In a message dated 1/6/99 7:57:35 PM Eastern Standard Time,
margo@directcon.net writes:

<<  It's
 possible that the jerkin was a less structured, more loosely fitted garment
 than the doublet.  >>

Interesting.....and feasible considering a jerkin goes over the doublet. And
just to complicate things further, some jerkins are made to match the doublet
[these are usually sleeveless] with same fabric & trim. In some portraits you
can hardly tell there's a jerkin at all.....the only clues being two sets of
tabs at the waist & armseye & if left unbuttoned [also probably more the case
with these matching jerkins] the 2 sets of buttons & holes. I believe in Janet
Arnold there is a silk brocade jerkin that is too narrow to button up...the
buttons & holes being purely decorative.
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-Poster: Kate Pinner <pinner@mccc.edu>

Carolyn Kayta Barrows wrote:
> 
Also some fire detection equipment might be sensitive to flash.  And
since fabric and paper are light sensitive, the galeries are kept at low
light levels;  if flashes go off they annoy the other visitors and could
also make the guards think that someone is trying to divert attention.
Kate (who worked in a museum for ten years)
> >odd question: is this photo-phobia of museums more of a commercial
> >interest or are certain items particularly sensitive to photo flash?
> 
> Sensitive to photo flash.  Same reason some keep their museums so dark you
> can't take your own pictures.
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-Poster: Kate Pinner <pinner@mccc.edu>

Dumb question time.  This morning's paper announced that a local Lion's
club will be sponsoring a Ren Faire this spring with a local SCA group
who dress in medieval costume.  What's medieval and what's Rennaisance? 
When does one stop and the other begin?  I know that it depends on the
country, but are there any specific signs or dates?
Kate
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From owner-h-costume@indra.com  Thu Jan  7 12:59:14 1999
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-Poster: Merouda the True <keltia@serv.net>

There have been server problems I understand, but the list is alive
and well.  I received several posts from the list this morning.
Cynthia


> What ever happened to the SCA-Garb mailing list?  It seems that
> www.coollist.com is down (and I heard maybe for good).  Has anyone
> setup a new list somewhere else?   If not, I have an account at
> www.egroups.com and it could be hosted there.



--
Merouda the True of Beaumaris
Barony of Madrone
Kingdom of An Tir


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-Poster: Merouda the True <keltia@serv.net>

> As one of the people who will be on the judging panel for the contest
> she's talking about, I promise not to eat her. I promise not to let
> the other judges eat her. I've never bitten anyone in the 13 years
> I've been judging this contest and I don't plan on starting now.

Hmmmmm, don't think that was my fear, but maybe deeeeeeep down.Actually, my
fear is that I'm rushing things.  But I feel better today.

> have an "overall" winner), but you all can cross your fingers for
> her!

Oh yes please do.  I received two posts this morning that absolutely almost
brought me to tears of happiness and a *blush*.  This was one of them.  You
honor me with your kind words, Mistress.

Till Saturday then,
Cynthia



--
Merouda the True of Beaumaris
Barony of Madrone
Kingdom of An Tir


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-Poster: Brenda and Larry Clough <clough@erols.com>

At 08:45 AM 1/7/99 -0800, you wrote:
>
>-Poster: Lisa Scovel <reenactment.guide@miningco.com>
>
>Another question from a reader....  Any ideas?
>>
>>Hi,I'm trying to find a school or university with classes in the
>>lost artwork of natural dyes used for clothes,and to give color to 
>>everything found in all textiles.Are there any resources to find a 
>>school or an apprenticeship in this trade?
> _________________________________________________________________
> To leave this mailing list, send mail to majordomo@indra.com
> with the message UNSUBSCRIBE H-COSTUME
>

I am told that the University of Texas in Austin does a lot of dyeing work,
in conjunction with the theater department.  (I know this because somebody
there offered to get an entire batch of fabric dyed for a charity project,
in the department's dyeing facility.)

Regards,
Brenda
--
Brenda Clough, author of HOW LIKE A GOD, a science fiction
novel from Tor Books    <http://www.sff.net/people/Brenda>

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-Poster: Lavolta Press <lavolta@best.com>



Kent & Kat wrote:

> -Poster: Kent & Kat <kdyer@nash.tds.net>
>
> Carolyn Kayta Barrows wrote:
> >
> > I have real trouble believing actual 15" waists.  There is a lot
> > of in-period talking about this, and even stories about women
> > who supposedly had them.  I remain unconvinced.  My Sweetie has
> > a neck bigger than 15".
>
> I have understood it for some time having spent my youth
> roaming through historical houses & looking at the clothing
> (among other things...my dad is a historian so we would get
> toooons of info about who lived in the house...hmmm, wonder
> if he can find the time to do the same with our kids?).  I'm
> 5'8" but even when I was shorter it was pretty obvious that
> the women were much, much shorter than I am.  Remember that
> nutrition wasn't all that hot back in the good 'ole days and
> while some women had real female figures (my dh looooves
> Rubanesque! <grin>) a number of them did not.  Think how
> small a supermodal's waist must be and then factor down for
> the fact that most modals are considered tall for today's
> standards as opposed to the norms of yesteryear.  When you
> get a chance to actually look at clothing from earlier
> periods it's amazing how much smaller they are...even just
> looking in a vintage clothing store will show you...I've
> seen stuff that *might* fit my daughter width-wise and she's
> only five!
>
> Kat
>

There are plenty of short women around in the 1990s.  It's not entirely
due to nutrition; it's also heredity.  I'm 4'9" and I grew up with
normal middle-class nutrition.  But my parents are short, my brother is
short, my grandparents were short, and most of my aunts, uncles and
cousins are short.  Anyway, I'm about as short as an adult can get
within the bounds of medical "norms." Not that it's uncommon in San
Francisco, which has a large Oriental population (I'm not Oriental
though).

I eat wholesome food, get lots of exercise, am in great health, and am
within my normal weight range according to the charts.  There is _no
way_ I, as an adult, could have a 15" waist.  At least not without
serious corseting.  I don't really remember my measurements as a
teenager, but I think that by the time I was 16 or 17 I had pretty much
my adult figure.  The closest I know anyone to have come to a 15" waist
is a slightly taller acquaintance who claims to be an ex-model and also
claims to have a 21" waist, which she tells everyone as soon as she
meets them and often thereafter.  She looks pretty gaunt, so I'd say her
hobby is certainly dieting.  As far as I know she does not wear corsets.

I think modern people are sometimes unaware the nuances of period
teenage or younger clothing as compared to adult.  Some of the clothes
that look so small actually didn't belong to adults.

Also, of course, devices such as hoops and bustles, plus garments that
look wide at the shoulders, can dramatically narrow the waist visually
without changing the actual measurements.

Fran



----------------------------------------------
Visit our web sites!
Books on historic costume and vintage clothes
http://www.best.com/~lavolta/index.htm
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http://www.best.com/~lavolta/dance/index.htm


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-Poster: seamstrix@juno.com

I wear an Elizabethan corset for long periods of time during the summer
and while I haven't seen any lasting physical changes, I have noticed
some 'deportment' changes. I find it very easy to maintain 'perfect
posture' after I have been wearing my corset (when you can't bend your
thorasic vertabrae or slouch, your body gets used to not doing it). I
also tend to perch on the edge of the chair (with the bum roll it is
difficult to sit back in many chairs) and have a mild tendency to balk at
going thru openings where my farthingale wouldn't fit until I remind my
self that I'm not wearing it. 


Karen 
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From owner-h-costume@indra.com  Thu Jan  7 14:07:42 1999
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From: Betsy Perry <betsyp@roguewave.com>
To: "'h-costume@indra.com'" <h-costume@indra.com>
Subject: RE: H-COST: Skeletons and stays
Date: Thu, 7 Jan 1999 11:14:37 -0800 
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-Poster: Betsy Perry <betsyp@roguewave.com>

The sizes of vintage humans and the sizes of vintage clothes are
related, but not identical.

As has been pointed out on this list before, large clothes can be remade
to fit another, possibly smaller, wearer, and so on until they wear out.
Small clothes are harder to reuse, and therefore have a slightly higher
chance of surviving.  For related reasons, some periods' clothes are
very rare: the pattern lines lent themselves to remaking, and people
took advantage of this.  (See Janet Arnold's comments on the rarity of
the 1866-1867 stone satin dress in Patterns of Fashion.)  

There's a lot of good research that persuades me that human stature has
indeed been increasing over the centuries.  I would be less certain if
surviving clothing were the only marker.


---
Elizabeth Hanes Perry
Rogue Wave Software 

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Date: Thu, 7 Jan 1999 12:15:42 -0700 (MST)
From: Sylvia Rognstad <sylvia@netherworld.com>
To: h-costume@indra.com
Subject: Re: H-COST: Skeletons and stays
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-Poster: Sylvia Rognstad <sylvia@netherworld.com>

Re 15" waists, anyone know how small Vampira's waist was in her corset?
It looked like about 15" to me.  For that matter, anyone old enough
besides me to remember Vampira?
Sylvia R

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Date: Thu, 7 Jan 1999 11:43:45 -0800
To: h-costume@indra.com
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-Poster: Lynn Downward <ldownward@mail.cho.org>

>-Poster: Sylvia Rognstad <sylvia@netherworld.com>
>
>Re 15" waists, anyone know how small Vampira's waist was in her corset?
>It looked like about 15" to me.  For that matter, anyone old enough
>besides me to remember Vampira?
>Sylvia R
>

I remember her froom "Plan 9 From Outer Space" and yes, she had a tiny
waist, but smaller than my husband's neck??  Well, maybe.

LynnD
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-Poster: Leslie Helms <leslieh@canfield.com>

The SCA garb list is alive and well.  Several of us are on both lists, and
the SCA list does provide a little more leeway for discussing
society-specific topics.  When I'm suggesting a list to a new enthusiast, I
usually recommend joining sca-garb first until they get their bearings.  

I don't know why  http://www.coollist.com wouldn't be working.  Keep trying.

Leslie/Larisa
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-Poster: Margo Anderson <margo@directcon.net>

 I wouldn't try to slash velvet.  If
>you want slashed sleeves use a good felted wool.  It won't ravel and velvet
will
>ravel like crazy if you slash and not finish off the edges.

I've had no problem at all with slashing velvet, as long as the slashes are
on the bias--but that's necessary for any woven fabric unless it's a heavily
fulled wool.  If you look at period garmets, the edges are supposed to look
ravelly, just not fall apart.  By the early 17th century, there are examples
of brocades woven with fake slashes, complete with ravelled edges.

I usually cut slashes with an Exacto knife.   Some people swear by rotary
cutters.


The other day I was at a specialty quilting and sewing store and they had a
tool called a "slash cutter"!  which looked somewhat like a rotary cutter.
Unfortunately my kids started acting up and I found it needful to get out
FAST!  I'll go back without them on Saturday, if it seems to be a useful
gizmo I'll let you all know.

Margo Anderson


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-Poster: Seton1355@aol.com

Go out & buy an issue of THREADS magazine. (This can be gotten at most new
stands or JoAnne's Fabrics or ClothWorld or the like)  Anyway, in the back of
the magazine are advertisments for such courses.....
Phillipa

In a message dated 1/7/99 11:45:51 AM Eastern Standard Time,
reenactment.guide@miningco.com writes:

> Hi,I'm trying to find a school or university with classes in the
>  >lost artwork of natural dyes
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-Poster: Margo Anderson <margo@directcon.net>


>"Yes, all my laurels you have riven away 
>and all my roses; yet in spite of you, 
>there is one crown I bear away with me, 
>and tonight, when I enter before God, 
>my salute shall sweep all the stars away
>from the blue threshold!  One thing without stain, 
>unspotted from the world, in spite of doom,
>mine own!  
>
>and that is.... my white plume!"
>
> ~~ Edmond Rostand's Cyrano de Bergerac


This translation rather misses the point.  The play is often performed in a
translation which leaves the last word in French, and therefore leaves the
word play intact:


"My Panache!"  Meaning, of course, his general air of style, dash, and flair.


Margo Anderson

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Date: Thu, 7 Jan 1999 15:08:35 -0600 (CST)
From: "Sara J. Davitt" <ophelia@dias.net>
To: h-costume@indra.com
Subject: H-COST: looking for seamstress.
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-Poster: "Sara J. Davitt" <ophelia@dias.net>


OK, I have a bishops cassock that I would like to have adapted into a
jacket.  Anyone up to the task?... I would supply the fabric, and the
cassock, and how much would this cost?

Thanks!  (Please relpy Off-List)

Sarahj

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-Poster: "BlackCat =^..^=" <BlackCat@BlueNeptune.Com>

> Dumb question time.  This morning's paper announced that a local Lion's
> club will be sponsoring a Ren Faire this spring with a local SCA group
> who dress in medieval costume.  What's medieval and what's Rennaisance?
> When does one stop and the other begin?  I know that it depends on the
> country, but are there any specific signs or dates?

This is one that professional historians can't even agree on...
Generally the beginning of the middle ages is agreed to be 476 AD when Romulus
Augustulus was deposed as Emperor and the western Roman Empire fell into
"barbarian" rule.  The beginning of the Renaissance occurs in the second half of
the 15th century.  The eastern half of the Roman Empire fell in Constantinople
was conquered in 1453 by the Turks.  This forced the educated elite (among
others) of Byzantium to flee back into the rest of Europe.  They brought with
them ideas and knowledge that had been forgotten in the 'barbaric' west.  I
prefer to see the Renaissance as a gradual event that traveled across Europe
like the ripple from a pebble thrown in a pond.  Italy was the first to undergo
the Renaissance, but it took decades for it's effects to fully filter through
northern Europe.  As to the end of the Renaissance, the Thirty Years War and the
English Civil War seem to be good stopping points, although some historians
stretch it as far as the 18th century.

Hope this helps.

--Chris

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From: "Kyna Grannd" <kynagrannd@granndgarb.com>
To: <h-costume@indra.com>
Cc: <SCA-garb@coollist.com>
Subject: H-COST: Coming at the MET in NYC
Date: Thu, 7 Jan 1999 16:17:10 -0500
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-Poster: "Kyna Grannd" <kynagrannd@granndgarb.com>

This is a multi-part message in MIME format.

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Something of interest coming up at the Met in NYC:

January 14, 1999 =97 March 28, 1999
              The court of Ferrara, presided over by a series of Este =
dukes in the 15th and 16th
              centuries, was one of the leading centers of Renaissance =
art and learning. Dosso Dossi (ca.
              1486/7=971542) was the greatest and most imaginative of =
the city=92s 16th-century painters,
              and one of the most alluring of all north Italian painters =
of the generation following
              Giorgione. This will be the first monographic exhibition =
of his work and will include some
              60 paintings carefully chosen to reflect the quality of =
the artist=92s achievement. Principal
              artist to Dukes Alphonso I and Ercole II from 1514, Dosso =
worked alongside Titian in the
              most important commission of the period, and developed a =
singular style that was well
              attuned to the cultural ambitions of the court. Featuring =
rarely lent masterpieces from
              collections in America and Europe =97 above all the =
Borghese Gallery in Rome =97 the
              exhibition will offer a unique opportunity to experience =
the full scope of Dosso=92s work, not
              seen since the end of Este rule in the late 16th century.=20

              The exhibition is made possible in part by The Andrew W. =
Mellon Foundation.

              The exhibition has been organized by The Metropolitan =
Museum of Art, the Ministero per i
              Beni Culturali e Ambientali (Gallerie Nazionali di =
Ferrara, Bologna e Modena), the
              Comune di Ferrara/Civiche Gallerie d=92Arte Moderna e =
Contemporanea, and The J. Paul
              Getty Museum.

              The accompanying publication is made possible in part by =
The Samuel H. Kress
              Foundation.

Suz

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-Poster: MzScahlett@aol.com

Margo, 

I use the standard English translation, because as a costumer, I enjoy the
reference to the "white plume" as being so important to Cyrano in his dying
moments.  I think the clothing statement it makes is appropriate to my own
extremely personal views on costuming.  After all, this is only my signature,
not anything meant to convey an in-depth study of the work itself.

However, I will mention, as long as you felt it necessary to bring it up, that
the play is not merely sometimes performed with a French tag line, but it is a
French work.  Any English translation is only that, a translation.  I've read
it in the French and I'm familiar with the panache ending.  I can quote most
of this play from memory, as my father began reading it to me, in character,
when I was only 7.

If I sound extremely offended, it is because I am.  I really don't get where
that came from, and am wondering why you felt it necessary to be so publicly
condescending.  If you did not mean to offend, I do not wish to become
embroiled in a series of flames, but I was really taken aback at your post,
and am otherwise not having a great day. 

In a message dated 1/7/1999 12:52:39 Pacific Standard Time,
margo@directcon.net writes:

<< >"Yes, all my laurels you have riven away 
 >and all my roses; yet in spite of you, 
 >there is one crown I bear away with me, 
 >and tonight, when I enter before God, 
 >my salute shall sweep all the stars away
 >from the blue threshold!  One thing without stain, 
 >unspotted from the world, in spite of doom,
 >mine own!  
 >
 >and that is.... my white plume!"
 >
 > ~~ Edmond Rostand's Cyrano de Bergerac
 
 
 This translation rather misses the point.  The play is often performed in a
 translation which leaves the last word in French, and therefore leaves the
 word play intact:
 
 
 "My Panache!"  Meaning, of course, his general air of style, dash, and flair.
  >>
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-Poster: ZBLGilbert@aol.com


Sue says:
<<Dora Barnes (dare I say the young Dora ?) wrote about the reasons for 1950s
firm control lingerie being more than shape - she mentioned 

>" support, posture and the indefinable - "it was 
>good for you"

This strikes a chord in my own memories.  Can Dora or anyone else expand on
these non shape values ?>>

My sense at the time was that women weren't supposed to "bounce."  Firm
foundation garments prevented that.  In addition, as I recall, my girlfriends
and I thought that the social popularity of panty girdles was due to the
difficulty of hanky panky while wearing them.

Zelda

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From owner-h-costume@indra.com  Thu Jan  7 16:22:54 1999
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-Poster: Margo Anderson <margo@directcon.net>


>As has been pointed out on this list before, large clothes can be remade
>to fit another, possibly smaller, wearer, and so on until they wear out.
>Small clothes are harder to reuse, and therefore have a slightly higher
>chance of surviving.  

there's also my sister's theory that many garments were bought for troussues
(sp?), and worn by young slender women  for a few months before they got
pregnant, and never got their old figures back.  Hence the number of very
small surviving garments.


Margo

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From owner-h-costume@indra.com  Thu Jan  7 16:23:06 1999
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-Poster: Margo Anderson <margo@directcon.net>

At 12:15 PM 1/7/99 -0700, you wrote:
>
>-Poster: Sylvia Rognstad <sylvia@netherworld.com>
>
>Re 15" waists, anyone know how small Vampira's waist was in her corset?
>It looked like about 15" to me.  For that matter, anyone old enough
>besides me to remember Vampira?

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From owner-h-costume@indra.com  Thu Jan  7 16:29:29 1999
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-Poster: Margo Anderson <margo@directcon.net>

>
>Re 15" waists, anyone know how small Vampira's waist was in her corset?
>It looked like about 15" to me.  For that matter, anyone old enough
>besides me to remember Vampira?

I remember a Vampira comic book character, but I assume you're talking about
a live person?  

I found myself watching a fitness arobics competition the other night, and I
noticed that every single one of those incredibly toned women had what I
would consider to be a figure flaw.  Their torsos were almost completely
tubular, i.e, there was no indentation at the waist at all.  I don't know if
this is from lack of fat on the hips or overdeveloped muscles in the waist
area, but it looks strange to me.  If I were visited by the Body Fairy, that
wouldn't be the one I'd ask for.  (I'd ask for the body of a belly dancer in
a book I have).

Margo

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From owner-h-costume@indra.com  Thu Jan  7 16:34:49 1999
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Date: Thu, 7 Jan 1999 15:41:34 -0600 (CST)
From: Emma Elizabeth Lehman <00217146@bigred.unl.edu>
To: h-costume@indra.com
Subject: Re: H-COST: Skeletons and stays
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-Poster: Emma Elizabeth Lehman <00217146@bigred.unl.edu>


> >Re 15" waists, anyone know how small Vampira's waist was in her corset?
> >It looked like about 15" to me.  For that matter, anyone old enough
> >besides me to remember Vampira?
> 
> I remember a Vampira comic book character, but I assume you're talking about
> a live person?  

I remember Vampira, she was in Ed Wood's classic bomb "Plan 9 From Outer
Space".  I remember (vaguely) seeing somewhere what her waist measurement
was, but I don't recall what it was or where I saw it.  I'd check the
L.I.S.A. page....

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From owner-h-costume@indra.com  Thu Jan  7 16:37:13 1999
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-Poster: Margo Anderson <margo@directcon.net>

 If you did not mean to offend, I do not wish to become
>embroiled in a series of flames, but I was really taken aback at your post,
>and am otherwise not having a great day. 

Obviously.  I did not intend to attack you in any way, simply to share with
the rest of the list what I consider to be an excellent sartorial play of words.


Margo Anderson

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From owner-h-costume@indra.com  Thu Jan  7 17:21:23 1999
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Date: Thu, 7 Jan 1999 17:23:13 -0500
From: Melanie Wilson <MelanieWilson@compuserve.com>
Subject: H-COST: Natural dyes
To: "INTERNET:h-costume-digest@indra.com" <h-costume-digest@indra.com>
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-Poster: Melanie Wilson <MelanieWilson@compuserve.com>

Have you tried the natural dye list, some people on it run classes I think

Mel
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From owner-h-costume@indra.com  Thu Jan  7 17:27:31 1999
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From: starsinger@webtv.net (theresa sorrell)
Date: Thu, 7 Jan 1999 15:31:49 -0700 (MST)
To: h-costume@indra.com
Subject: Re: H-COST: SCA-Garb
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-Poster: starsinger@webtv.net (theresa sorrell)

I'm subscribed to the SCA-garb list and it is still active.

Current thread is adapting mundane patterns for period use.

Starsinger

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From owner-h-costume@indra.com  Thu Jan  7 17:41:22 1999
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Subject: Re: H-COST: Skeletons and stays
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-Poster: cley@juno.com (cynthia j ley)

Trained singers have the same issue. Our torsos belong on football
players. The floating ribs spread permantantly with practice and time,
the torso muscles themselves get larger and stronger. As the saying goes,
you can annoy a singer by punching them in the stomach, but you'ld
probably *hurt* your hand. ;-)


					Arlys

On Thu, 7 Jan 1999 13:32:26 -0800 (PST) Margo Anderson
<margo@directcon.net> writes:
>
>-Poster: Margo Anderson <margo@directcon.net>

>I found myself watching a fitness arobics competition the other night, and I
>noticed that every single one of those incredibly toned women had what I
>would consider to be a figure flaw.  Their torsos were almost completely
>tubular, i.e, there was no indentation at the waist at all.  I don't know if
>this is from lack of fat on the hips or overdeveloped muscles in the waist
>area, but it looks strange to me.  If I were visited by the Body Fairy, that
>wouldn't be the one I'd ask for.  (I'd ask for the body of a belly dancer in
>a book I have).
>
>Margo
>
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From owner-h-costume@indra.com  Thu Jan  7 17:42:36 1999
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Date: Thu, 7 Jan 1999 16:49:00 -0600 (CST)
From: Emma Elizabeth Lehman <00217146@bigred.unl.edu>
To: h-costume@indra.com
Subject: H-COST: vintage bra (was stays, skeletons, etc.) 
In-Reply-To: <19990107.125415.25342.21.seamstrix@juno.com>
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-Poster: Emma Elizabeth Lehman <00217146@bigred.unl.edu>


While we're on an underwear thread, I was wondering if y'all could help me
date a vintage bra my mother got in a lot of stuff at an auction. It seems
to fit me, so I can give you an idea of the shape it gives.  It's pale
pink satin, with straps that seem unusually long to me, and it flattens,
but not completely.  

As far as actual construction, (I'm working from memory here, so I may
make some slight mistakes) it is a band of satin about four inches wide,
with a small dart taken beneath each breast.  As I said, the straps seem
extremely long, leaving the bust line lower than modern bras do.  It
closes in back with three hooks and eyes.  There is lace inset at the top.  

If anyone can help, I can give more details when I get home and have it
sitting in front of me.

Thanks

Emma

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From owner-h-costume@indra.com  Thu Jan  7 17:57:14 1999
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From: "Susan Carroll-Clark" <sclark@chass.utoronto.ca>
To: <h-costume-digest@indra.com>
Subject: H-COST: Medieval/Renaissance
Date: Thu, 7 Jan 1999 18:07:01 -0500
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-Poster: "Susan Carroll-Clark" <sclark@chass.utoronto.ca>

Greetings!

A few more thoughts on what is "medieval" and what is "Renaissance," from an
historical point of view:

Generally, historians equate the spread of the "Renaissance" (quotation
marks because it wasn't a society-wide phenomenom) to the spread of
humanism.  Some hallmarks of humanism were interest in classical antiquity
and its literature and artifacts, interest in vernacular languages and
history or glorification of a particular locale (sometimes termed "civic
humanism"), and critical research into texts.  Italian humanism had a more
secular feel than Northern humanism, but both espoused the same methods.

In Italy, humanism traditionally is seen as having its roots in the middle
of the fourteenth century, and Petrarch as its first proponent.  The
movement gained momentum through patronage of humanist scholars in various
Italian city-states, and interest in the classical languages, particularly
Greek, was helped by the influx of Greek scholars fleeing the tottering
Byzantine Empire.

The movement spread from there.  By the end of the fifteenth century, there
were humanist scholars in France, Germany, and the Low Countries, with
England joining in during the reign of Henry VIII (although there were
inroads before that time).  The Renaissance is a classic transitional period
in which there is no clear break with the past, but elements of both
medieval and modern coexisting within the same society.

Some historians with a political or military focus prefer to talk about the
"early modern" period, which in England starts around 1485 or so.

As far as clothing goes, "Renaissance" usually refers to the clothing worn
by the people in the eras I've mentioned above.  "Italian Ren" usually means
fifteenth and sixteenth century Italian;  "English Renaissance" is usually
Tudor or Elizabethan.

Hope that helps....

Susan Carroll-Clark

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From owner-h-costume@indra.com  Thu Jan  7 18:51:16 1999
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Date: Thu, 07 Jan 1999 15:57:56 -0800
To: h-costume@indra.com
From: Lisa Scovel <reenactment.guide@miningco.com>
Subject: Re: H-COST: Skeletons and stays
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-Poster: Lisa Scovel <reenactment.guide@miningco.com>

I really think it depends on how you're built.  I come from a line of very
small-waisted women, so in my early twenties, at 5'7" and 150 pounds I had a
22"waist, naturally.  Pretty tough to find clothes, I tell you, with 40" inch
hips and that small of a waist.  I was not gaunt, by any means, I am just
long-waisted, I guess, with quite a bit of space between the bottom of my ribs
and my hips.  I never tried corseting, but I've heard it was common to corset
3-5 inches off one's waist, yes?  It's not at all hard for me to imagine
someone with my build at 5'0 and 100 lbs having a 15" waist, at least if it
were corseted.

If I my New Year's resolution pans out and I get my waist again, I'll buy a
corset and be the h-costume guinea pig, I promise!

>I eat wholesome food, get lots of exercise, am in great health, and am
>within my normal weight range according to the charts.  There is _no
>way_ I, as an adult, could have a 15" waist.  At least not without
>serious corseting.  I don't really remember my measurements as a
>teenager, but I think that by the time I was 16 or 17 I had pretty much
>my adult figure.  The closest I know anyone to have come to a 15" waist
>is a slightly taller acquaintance who claims to be an ex-model and also
>claims to have a 21" waist, which she tells everyone as soon as she
>meets them and often thereafter.  She looks pretty gaunt, so I'd say her
>hobby is certainly dieting.  As far as I know she does not wear corsets.

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From: "David Stamper & Eve Harris" <evedave1@netcom.ca>
To: <h-costume@indra.com>
Subject: Re: H-COST: Jerkin/doublet (was:Shakespeare In Love)
Date: Thu, 7 Jan 1999 19:06:02 -0500
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-Poster: "David Stamper & Eve Harris" <evedave1@netcom.ca>

[these are usually sleeveless] with same fabric & trim. In some portraits you
>can hardly tell there's a jerkin at all.....the only clues being two sets of
>tabs at the waist & armseye & if left unbuttoned [also probably more the case
>with these matching jerkins] the 2 sets of buttons & holes. I believe in Janet
>Arnold there is a silk brocade jerkin that is too narrow to button up...the
>buttons & holes being purely decorative.


Yes - the green silk brocatelle one. Representative of a early 17th century
fashion of purposely unbuttoned (unbraced?) jerkins. There's a wonderful
little portrait in Patterns of Fashion showing a similar arrangement -
Henry, Prince of Wales with his jerkin unbuttoned.

Eve Harris

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Date: Thu, 7 Jan 1999 16:05:42 -0800 (PST)
From: "Kristen M. Sieber" <lady_gawain@yahoo.com>
Subject: H-COST: Sneed pattern
To: Historic Costume <h-costume@indra.com>,
        Historic Needlework <h-needlework@ansteorra.org>
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-Poster: "Kristen M. Sieber" <lady_gawain@yahoo.com>

Does anybody have, or know where I can get, a crochet snood pattern?

Kristen M. Sieber
lady_gawain@yahoo.com
_________________________________________________________
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To: h-costume@indra.com
From: Lisa Scovel <reenactment.guide@miningco.com>
Subject: Re: H-COST: Skeletons and stays
In-Reply-To: <4.1.19990107153012.009198e0@mail.tmsonline.com>
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-Poster: Lisa Scovel <reenactment.guide@miningco.com>

Found this on the Web:

A compelling question is of course, how tightly were the corsets laced? There
are many reports of waists between 18 and 14 inches - even 12 inch waists are
mentioned. [Steele, p. 163] However, it is believed that most accounts of these
very small waists represent fantasies. Measurements of corsets in museum
collections indicate that most corsets of the period 1860 to 1910 measured from
20 to 22 inches. Furthermore, those sizes do not indicate how tightly the
corsets were laced. They could easily have been laced out by several inches,
and probably were, because it was prestigious to buy small corsets. So ordinary
corsets were not so tight after all, and contrary to common belief, the
construction of the corset with the metal busk for front closure and the lacing
in the back, enabled the bearer to lace herself in. She did not need a maid or
husband to help her. Severe tight-lacing was practiced, and some corsetieres
specialized in cultivating very small waists. Some men developed a fetish for
small waists, a fetish which was regarded as quite acceptable. Small waists and
the corset probably played about the same role as full breasts and the
Wonderbra play today.

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-Poster: Merouda the True <keltia@serv.net>

http://crocheting.com/

Lots of free crochet patterns here.   Cynthia

Kristen M. Sieber wrote:

> -Poster: "Kristen M. Sieber" <lady_gawain@yahoo.com>
>
> Does anybody have, or know where I can get, a crochet snood pattern?
>
> Kristen M. Sieber
> lady_gawain@yahoo.com
> _________________________________________________________
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From owner-h-costume@indra.com  Thu Jan  7 19:28:08 1999
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Date: Thu, 7 Jan 1999 16:36:15 -0800 (PST)
From: "Kristen M. Sieber" <lady_gawain@yahoo.com>
Subject: H-COST: SNOOD pattern
To: Historic Costume <h-costume@indra.com>,
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-Poster: "Kristen M. Sieber" <lady_gawain@yahoo.com>

How embarassing, of course the subject line should have said SNOOD not
SNEED.  That's what I get for not proofreading!

Kristen M. Sieber
lady_gawain@yahoo.com
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Date: Thu, 07 Jan 1999 00:26:52 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: Re: H-COST: Shakespeare/anachronisms
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>


>>Of course the doublet should be laced at the waist to the hose....no? This
>>makes the "trunk hose and just a shirt" look very suspect to me.
>
>The hose that my husband wears in both 1525 and 1640 reenactment are both of
>the type that tie to the doublet. However, that doesn't mean that they are
>not worn without the doublet. With these types of hose, the ties are through
>the waistband (which are not usually of the same material as the hose, BTW).
>These waistbands tend to be tailored to fit the wearer, so are able to be
>worn without the doublet without overly exposing oneself. There is quite
>often a point tied across the front of the band as well, which can be seen
>in the oft-quoted Arnold, Patterns of Fashion, to hold the front in.

There are some woodcuts (German) by Jost Amman showing the back of the
"pants unit" left unlaced from the "jacket unit" during strenuous movement
(generic names used on purpose).  This implies a certain level of fit, or
this practice would impede movement not allow for it.  If the "pants"
didn't fit at least some on their own they'd fall down.


Kayta
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Date: Thu, 7 Jan 1999 17:14:29 -0700 (MST)
From: Sylvia Rognstad <sylvia@netherworld.com>
To: h-costume@indra.com
Subject: Re: H-COST: Skeletons and stays
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-Poster: Sylvia Rognstad <sylvia@netherworld.com>

What's the L.I.S.A. page?

On Thu, 7 Jan 1999, Emma Elizabeth Lehman wrote:

> 
> -Poster: Emma Elizabeth Lehman <00217146@bigred.unl.edu>
> 
> 
> > >Re 15" waists, anyone know how small Vampira's waist was in her corset?
> > >It looked like about 15" to me.  For that matter, anyone old enough
> > >besides me to remember Vampira?
> > 
> > I remember a Vampira comic book character, but I assume you're talking about
> > a live person?  
> 
> I remember Vampira, she was in Ed Wood's classic bomb "Plan 9 From Outer
> Space".  I remember (vaguely) seeing somewhere what her waist measurement
> was, but I don't recall what it was or where I saw it.  I'd check the
> L.I.S.A. page....
> 
>  _________________________________________________________________
>  To leave this mailing list, send mail to majordomo@indra.com
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> 


Divinity Designs                      http://www.d-e-designs.com/divinity/
515 Manhattan Drive, #203                           sylvia@netherworld.com
Boulder, CO 80303  USA                         complete catalog on website

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-Poster: Lois <books@woodenporch.com>



kat@grendal.rain.com wrote:

>
> For a description of the layers worn in Elizabethan costuming, I
> would suggest C. Willett Cunnington and Phillis Cunnington's book on
> Clothing in the 16th Century. It's not available on any booksearches
> for sale, but most of the better textile, costuming and drama
> libraries usually have a copy. I got my copy done by the UofW from
> their drama library (back in the days when they would copy whole out
> of print books for scholarly use.)
>
> Kat

You won't find Cunnington's book as Clothing in the 16th Century. The title is
Handbook of English Costume in the 16th Century. That may be why you can not find
it.
Lois


>
>
> Kat(June Russell)
> kat@grendal.rain.com
> Heu! Tintinnuntius meus Sonat!
>  _________________________________________________________________
>  To leave this mailing list, send mail to majordomo@indra.com
>  with the message UNSUBSCRIBE H-COSTUME

--
Lois Mueller
Wooden Porch Books
books@woodenporch.com


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Date: Thu, 07 Jan 1999 17:22:52 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: Re: H-COST: foundation garments
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>


>My sense at the time was that women weren't supposed to "bounce."  Firm
>foundation garments prevented that.  In addition, as I recall, my girlfriends
>and I thought that the social popularity of panty girdles was due to the
>difficulty of hanky panky while wearing them.

Women weren't supposed to bounce.  Look up the phrase 'loose woman'.

No corset can entirely prevent 'hanky panky'.  Shakespeare In Love shows
that pretty clearly.  In my (somewhat limited) experience, most 'hanky
panky' occours above the waist...


Kayta
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Date: Thu, 07 Jan 1999 17:32:22 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: H-COST: 15" waists - any surviving garments?
In-Reply-To: <3694C347.F46BBBE5@nash.tds.net>
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>

I own an 1898 bodice which is so small that the smaller of my daughters
couldn't wear it after she was about 5 or 6 (I tried it on her once about
then).  The waist is about 22" measured by the waist band, hook to eye.
And I have looked at the waist measurements of the garments in Nancy
Bradfield's Costume In Detail, which go back to the 1700's.  

I believe 22"-teensy,  I just don't believe 15"-teensy.  If this were
anything like common I would expect to encounter more teensy-waist antique
garments in collections.  I have seen none.  Has anyone else on this list?
(real question here, not rhetorical - I really want to know)

BTW, the daughter in question is the one who had inherited the small bones
my Mother has, not the big 'German' bones I have.  I wanted to know when
this one's uncorsetted waist would grow larger than 18", so I kept track of
that measurement.  By the time she was two it was 20".  She is and always
has been short and small.
 
>> I have real trouble believing actual 15" waists.  
 
  and

When you
>get a chance to actually look at clothing from earlier
>periods it's amazing how much smaller they are...even just
>looking in a vintage clothing store will show you...I've
>seen stuff that *might* fit my daughter width-wise and she's
>only five!



Kayta
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Date: Thu, 7 Jan 1999 21:13:38 -0500 (EST)
From: Robin Netherton <robin@dgsys.com>
To: h-costume@indra.com
Subject: Re: H-COST: 15" waists - any surviving garments?
In-Reply-To: <4.1.19990107165438.00b8c5e0@pop.slip.net>
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-Poster: Robin Netherton <robin@dgsys.com>


On Thu, 7 Jan 1999, Carolyn Kayta Barrows wrote:

> I believe 22"-teensy,  I just don't believe 15"-teensy.  If this were
> anything like common I would expect to encounter more teensy-waist antique
> garments in collections.  I have seen none.  Has anyone else on this list?

I was under the impression that the contemporary references to things like
15" waists were actually referring to the *corset* size, which was
measured in inches, and that a gap of as much as six inches could be left
between the edges when the corset was worn. It would thus make sense for
women to refer to their size as a "15-inch waist" the same way we talk
about being a "size 12" or a "33 inseam" or whatever. Today, unfamiliar
with this specialized use of "inch," we hear or read a quote saying
"15-inch waist" and we automatically think of actual inch measurements
around the waist.

I wish I had a source for that, but it's something I read long ago and
filed away in my mind as an interesting bit of trivia -- this is not my
period of study. Perhaps someone else can confirm? I wonder if old Sears
catalogs had sizing information :-)

--Robin

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From: starsinger@webtv.net (theresa sorrell)
Date: Thu, 7 Jan 1999 19:36:03 -0700 (MST)
To: h-costume@indra.com
Subject: H-COST: SCA-Garb list
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-Poster: starsinger@webtv.net (theresa sorrell)

The following is what I got when I joined the SCA-Garb List. I believe
this is the list when I had problems of verifing my desire to join that
forwarding the notice got me on. Hope this is of some help to those of
you who are interested. If there are problems let me know and I'll
forward your name and address to the list for joining.  Starsinger 
Date:    Mon, Sep 28, 1998, 7:18pm (MST+3) To:    
starsinger@webtv.net (theresa sorrell) From:   
sca-garb@coollist.com Subject:    You have been subscribed Note:
This is an automated Response Congratulations! You have been subscribed
to the sca-garb list. To post to this list, just email your posting to
"sca-garb@coollist.com" To unsubscribe from this list, just send a blank
email to:       unsubscribe@coollist.com  If you did not ask to be
subscribed, please send this email to nospam@coollist.com  If you
encounter any problems at all, email support@coollist.com Thank you and
Have fun!

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From owner-h-costume@indra.com  Thu Jan  7 21:41:39 1999
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From: "Vickers, Jill" <jvickers@TELESENSORY.com>
To: "'h-costume'" <h-costume@indra.com>
Subject: H-COST: Resource Books
Date: Thu, 7 Jan 1999 18:49:20 -0800 
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-Poster: "Vickers, Jill" <jvickers@TELESENSORY.com>


I'm interested in starting a historic costume reference library, but as a 
costuming newbie (although long-time sewer), I'm not sure what to 
start with.

Could someone please tell me what the top five or so books are that 
are considered "must haves" (and hopefully currently in print!) for 
those just starting out?  I am most interested in the general references
that span several periods, as well as books specifically on the 
Elizabethan and Early Victorian periods.

Thanks,
-Jill


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From owner-h-costume@indra.com  Thu Jan  7 21:53:59 1999
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-Poster: Morghana@aol.com

In a message dated 99-01-07 19:51:53 EST,  writes:

<< - -Poster: starsinger@webtv.net (theresa sorrell)
 
 I'm subscribed to the SCA-garb list and it is still active.
 
 Current thread is adapting mundane patterns for period use.
 
 Starsinge >>

So how does one get on this list?  The web page (which I assume you must use
to subscribe) has been down for days now...... I've checked at all hours and
have never gotten through.  Is there another way to subscribe beyond a web
interface?

~Morghana
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From owner-h-costume@indra.com  Thu Jan  7 21:57:36 1999
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Date: Mon, 04 Jan 1999 21:03:10 -0500
To: h-costume@indra.com
From: Kevin + Mara Riley <lindo@Radix.Net>
Subject: Re: H-COST: wool allergies
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-Poster: Kevin + Mara Riley <lindo@Radix.Net>

My personal history with allergies is that I didn't have horrible allergies
until we lived near a cotton field for a few years (when I was in 2nd/3rd
grade) and got the overspray from the crop dusters.  Now my allergies are
horrible.

Also, I find that I'm gluten intolerant and lactose intolerant -- but if I
avoid wheat products, I can handle more milk products, so the gluten
allergy exacerbates the milk allergy.  Interesting, considering what a very
small part of the diet wheat was in the Scottish Highlands.  (They ate more
barley, and LOTS of milk products.)  Likewise, many people on the Sheltie
listserv find that their dogs' skin and sometimes behavior problems go away
when they put the dog on a wheat- and corn-free diet.   (Wheat and corn are
the most commonly used fillers in dog food.)  

I think many of us are allergic because of overexposure to chemicals.  I
wish there were some serious attention to this problem ...

Mara

At 10:14 AM 12/28/1998 -0800, you wrote:
>
>-Poster: Margo Anderson <margo@directcon.net>
>
>
>>In my case, touching wool is rather like pouring acid on my hands, which
>>inflame instantly on contact. Fortunately, thoroughly rinsing the
>>affected area seems to take care of it. It doesn't seem to matter if the
>>wool is very fine or very coarse, or in between. Sounds silly, but I
>>think this problem developed after a particularly bad case of some Asian
>>flu virus a number of years ago; before that, I could wear wool with
>>impunity!
>>
>>Now this is fascinating!  I've just been reading Michael Oldstone's
>Viruses, Plagues, and History.  One of the intresting points is that
>influenza viruses usually originate in animals and cross over to humans.
>(The Spanish Influenza that killed millions at the end of WWI has been
>traced to a pig farm, for example).  I wonder if the virus you had
>originated in sheep?
>
>Margo
>
> _________________________________________________________________
> To leave this mailing list, send mail to majordomo@indra.com
> with the message UNSUBSCRIBE H-COSTUME
> 
Kevin + Mara Riley
Home Page http://www.radix.net/~lindo
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From owner-h-costume@indra.com  Thu Jan  7 22:17:53 1999
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From: The Purple Elephant <csmart@physics.adelaide.edu.au>
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Subject: Re: H-COST: 15" waists - any surviving garments?
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-Poster: The Purple Elephant <csmart@physics.adelaide.edu.au>

On Thu, 7 Jan 1999, Carolyn Kayta Barrows wrote:

> 
> -Poster: Carolyn Kayta Barrows <kayta@slip.net>
> 
> I own an 1898 bodice which is so small that the smaller of my daughters
> couldn't wear it after she was about 5 or 6 (I tried it on her once about
> then).  The waist is about 22" measured by the waist band, hook to eye.
> And I have looked at the waist measurements of the garments in Nancy
> Bradfield's Costume In Detail, which go back to the 1700's.  
> 
> I believe 22"-teensy,  I just don't believe 15"-teensy.  If this were
> anything like common I would expect to encounter more teensy-waist antique
> garments in collections.  I have seen none.  Has anyone else on this list?
> (real question here, not rhetorical - I really want to know)
> 
About three years ago when I was somewhat thinner I had a 24-inch waist
at my skinny times of the month. I think it wouldn't be too unrealistic
for me to have corsetted myself down to 22", though I've never worn 
Victorian style corsets so I couldn't say. I am short admittedly,
but not especially fine boned (I meet plenty of women more petite than
me), and very curvy. 

------------------------------------------------------------------------------
Claire F. Clarke       "What is this world if, full of care, 
Physicist, writer,     We have no time to stand and stare?"
and non environmentally                     Robert Louis Stevenson
friendly substance.
------------------------------------------------------------------------------

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-Poster: Lavolta Press <lavolta@best.com>



Robin Netherton wrote:

> -Poster: Robin Netherton <robin@dgsys.com>
>
> On Thu, 7 Jan 1999, Carolyn Kayta Barrows wrote:
>
> > I believe 22"-teensy,  I just don't believe 15"-teensy.  If this were
> > anything like common I would expect to encounter more teensy-waist antique
> > garments in collections.  I have seen none.  Has anyone else on this list?

Not that belonged to adults.

There is significant evidence, other than surviving garments, available for the
Victorian and Edwardian periods.  Many tailors and dressmakers developed and
published pattern-drafting "systems" that included what they thought, from
professional experience, were "standard" measurements for given heights.  Much
like the size charts on modern pattern envelopes. The accuracy of any "system"
was an important marketing point, because the whole idea was to build more fit
into the pattern and spend less time fitting the garment on the wearer. There
are also size charts available for various paper pattern companies, either in
their sewing manuals (which many of them published) or on the pattern envelopes.



>
>
> I was under the impression that the contemporary references to things like
> 15" waists were actually referring to the *corset* size, which was
> measured in inches, and that a gap of as much as six inches could be left
> between the edges when the corset was worn. It would thus make sense for
> women to refer to their size as a "15-inch waist" the same way we talk
> about being a "size 12" or a "33 inseam" or whatever. Today, unfamiliar
> with this specialized use of "inch," we hear or read a quote saying
> "15-inch waist" and we automatically think of actual inch measurements
> around the waist.
>

Also, people do wishfully exaggerate their measurements.  When I studied
clothing design I remember people teaming up to take each others' measurements
for slopers.  The instructor told everyone they had to take accurate
measurements and if the sloper didn't fit right the person (the wearer) who made
it would have to fix it.  Just the same there were a lot of people saying things
like, "That's not my real waist size, I just ate a big dinner last night.  Write
it down as thus-and-so."

And the art of retouching photos is as old as photography, not to mention
painting flattering portraits.

The topic "Were people really smaller 'then'?" and in particular, "Did they
really have super-small waists 'then'?"  seems to be a perennial on h-costume.
I'm not criticising anyone, but I do wonder why.  Because it seems many people
_want_ to believe in the tiny-waist myths, despite the fact that, as far as I
know, no one has come up with much real evidence.  Most people on this list at
least know what corseting, and possibly modern diet-and-exercise programs, can
do for them personally.

Fran

----------------------------------------------
Visit our web sites!
Books on historic costume and vintage clothes
http://www.best.com/~lavolta/index.htm
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http://www.best.com/~lavolta/dance/index.htm


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From owner-h-costume@indra.com  Thu Jan  7 22:34:14 1999
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From: Heather Law <lynnx@mc.net>
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-Poster: Heather Law <lynnx@mc.net>

Whoops -- I seem to have led some of you (including me!) on a
(temporary, I hope) wylde goose chase.  I can't get to the Coollist
server either, and a couple of others on SCA garb list also haven't
been.  This looks like a problem with the server (I've tried directly
from posts to the list) and I've posted to the list asking if anyone
knows what the problem is or can find out.  I'll post to this list as
soon as I hear anything, promise!

Heather Law/"Sister Ed"
> - -Poster: Orlaith <Orlaith@usa.net>
> 
> The years are 600 to 1600 AD, with tolerance for Cavalier ("3-Musketeers
> Look).  If you'll send me your email addy, I'll send you a list of my
> favorite sites, plus several SCA web pages.  Also, you would be up to
> your ears in help, I think, if you joined the SCA-Garb list, at
> 
> http://www.coollist.com
> 
> Is anyone else having problems getting into this website?  I have been trying
> for more than a week and I keep getting connection refused.  I really would
> like to get the digest version of the SCA Garb list if it is available since
> there does seem to be a Anti-SCA feeling on this list sometimes and I would
> like to read both.
> 
> Beth
> Orlaith of Storvik
> Orlaith@usa.net
>
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From: Margo Anderson <margo@directcon.net>
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-Poster: Margo Anderson <margo@directcon.net>


>
>No corset can entirely prevent 'hanky panky'.  Shakespeare In Love shows
>that pretty clearly.  In my (somewhat limited) experience, most 'hanky
>panky' occours above the waist...


Really?  Can you document that?  Are there hanky panky guidelines somewhere?
:-)

At the risk of sharing a bit too much, once in my mispent youth I went to an
event in my candy-pink, brain sucking Cavalier costume.  There's something
about that gown that makes me misbehave, and  I ended up spending a large
portion of the evening out in the underbrush with a young man who was quite
chagrined to find that a well fitted corset of the period does not have
*any* extra room....but that the full skirts of the period offer interesting
possibilities.

Margo


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-Poster: Laurel Wilson <lwilson16@earthlink.net>



Margo Anderson wrote:

> Since there appear to have
> been people who called themselves jerkin makers, and tailors advertised
> making doublets

I think the reason for this, aside from guild regulations, is that doublets,
at least in the fourteenth and fifteenth centuries, were always padded and
quilted.  However, I don't know if that continues to be true in Elizabethan
times.

Lauri


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From owner-h-costume@indra.com  Thu Jan  7 22:51:09 1999
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-Poster: Heather Law <lynnx@mc.net>

*nyuk* Let's hear it for gutsy Fresh Meat (er, excuse me, Newcomers) in
groups everywhere!  I was in college way back when I first joined, and
showed up at my first event in... Sweat pants, a sleeveles jerkin of the
(un-)finest polyester-- I think I *did* try to make the thing lace up
the front -- and a "coif" of army-green pinwale cordurouy (sp??).  And
tennies.  I wouldn't have passed the *screaming distance* rule, let
alone 10 feet!  And I got less criticism on this mess than I did on my
Edo-period, wide-shoulder-kami-shimo samurai garb I made later on. 
(Also, less compliments.)  Now I'm in the 2nd piece of garb I ever made,
a black hooded T-tunic with a veil that covers the hood.  ("Old habits
die hard...")  I've gotten compliments on this, from the 1 1/2 feet
behind my table, (fabric, anyone?) not I think because of "authenticity"
but because of *convincingness*.  However, one of these days, I am going
to make me a *new* habit...

Heather Law/"Sister Ed"
> 
> Less than 2 years ago, I was a newcomer in the SCA.  One of the first things
> I was told was the 10 foot guideline.  And thank god for the guideline.  I spent
> days sewing and embroidering and beading a tunic.  No sleeve tunic.  Darts and
> a zipper.  Poly twill.  I just put it in the gold key box.  *urp*  It was really
> nice
> actually, just no way was it period.  I wore it with a calf length silk velvet
> circle
> skirt and my biker boots.  I'm cracking up typing this.  My god, the tunic was
> navy, the skirt plum.  I wore a crocheted leather top over all this as fake chain
> mail.  *sigh*  *laugh*  Some nice lady was even kind enough to compliment
> me on the skirt.  The fabric *was* gorgeous.
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-Poster: Laurel Wilson <lwilson16@earthlink.net>

Both of you might wish to point out, for the benefit of those on the
list who may not know this, that 'panache' in French has the double
meaning of  *both* the white plume and 'style', 'flair', etc.

Lauri

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From owner-h-costume@indra.com  Thu Jan  7 23:00:53 1999
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-Poster: Heather Law <lynnx@mc.net>

Jennie,

Have you looked into local sheltered workshops, job-training programs,
and the like?  You might have to provide some teaching/supervision, or
maybe could work with a job-training program to get something set up. 
Sheltered workshops often do sewing, although it may have to be the easy
stuff, than farm out the harder stuff to someone else.  Even if you have
to ship the stuff to a city in another state, it could solve the
sweatshop, price, and a few people's jobless problems.  

I'd call the Chambers of Commerce for towns in your area, the county,
and also your state capitol.  If you can't find the right phone number,
call your area's state rep or the Governor's office.  They're usually
well-staffed and helpful, and besides, you're paying their salaries --
and they know it!

Good luck,
Heather Law
 
> From: Jennie Chancey <jchancey@rica.net>
> Date: Tue, 05 Jan 1999 12:31:58 -0500
> Subject: H-COST: Major Design Project -- Need sources!
> 
> - -Poster: Jennie Chancey <jchancey@rica.net>
> 
> Back again after Christmas/New Year's vacation, and I've just been
> handed a huge project that is quite exciting.
> 
> A new catalogue (which must remain nameless for now) is starting up,
> which will feature authentic, high quality historical/nostalgic toys for
> boys.  Kind of like the American Girls line with the dolls and matching
> historical outfits, this new catalogue would like to offer five or six
> complete outfits for boys that go along with a story from the past, like
> Sergeant York, Davy Crockett, Squanto, etc.
> 
> I have been asked to design the outfits, and I am very excited to do
> so.  However, because the company has never done anything in the
> clothing area before, they do not know where to go to hire the labor to
> have the outfits made.  They do not want to use China or Mexico
> (sweatshops), but they do need to be able to order 500-1000 outfits at a
> pop and keep them in stock in three sizes (3-5 year old; 6-9 year old;
> 10-12 year old).  I know a lot of great seamstresses out there who make
> boys' reenacting clothing, etc., but I am clueless when it comes to
> outsourcing something this huge.
> 
> Does anyone on the list know of a company or group that can make good
> quality clothing (not Halloween costume "cheap-os," but not reenactment
> quality goods, either)?  I would appreciate any and all suggestions.
> I'm going to get on the net and look around, but I seriously doubt I'll
> find something without a referral.  And I do need to be able to make
> sure they do not use underpaid or "free" labor.
> 
> Thanks much!
> 
> Jennie Chancey
> - --
> Sense and Sensibility
> http://www.sensibility.com
> winsome clothing with an old-fashioned appeal
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-Poster: kat@grendal.rain.com


>   The closest I know anyone to have come to a 15" waist
> is a slightly taller acquaintance who claims to be an ex-model and also
> claims to have a 21" waist, which she tells everyone as soon as she
> meets them and often thereafter.  She looks pretty gaunt, so I'd say her
> hobby is certainly dieting.  As far as I know she does not wear corsets.

When Catherine was doing the 15" thing, she was sorting out people 
for her court ladies in waiting. Some of those would have been 
teenage women.

When I was in high school and college, I had a 19" waist when I 
pooched my stomach out. I was fairly thin, but I'm also 5'4". I was 
about 105# at the time. I had to buy a size 6 pattern (when they 
could be found in the pattern books) and decrease it from 23" (which 
was the measurements for that size) down so that they didn't bag in 
the waist. Still have my fitting sloper from then. Boy, is it a hoot. 
My hips and shoulders were large compared to my waist (and still 
are.) (I don't want to be that small ever again. I like my 25" waist 
and the breasts I never had when I was 16 and could have used them 
for self esteem reasons!) I think I probably could have gotten down 
to a 15" pretty easily with a restricting corset (not that I would 
have wanted to, however.)

I see a lot of teenage girls (sports physicals, well visits and the 
like.) Some of them have pretty small waists. My hands can span them 
(and I'm not talking about anorexics either.) They might be able to 
have a 15" over corseted waist. While I doubt any of the adults or 
anyone who's had a baby would get a 15" waist, I can't say it never 
happened either. I just think that in this day and age it's unlikely. 

Kat 

Kat(June Russell)
kat@grendal.rain.com
Heu! Tintinnuntius meus Sonat!
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From owner-h-costume@indra.com  Fri Jan  8 05:36:00 1999
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From: "Ella Lynoure Rajamaki" <lynoure@tuug.org>
Organization: Lyninine Federation
To: Leslie Helms <leslieh@canfield.com>, h-costume@indra.com
Date: Fri, 8 Jan 1999 12:43:13 +2
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-Poster: "Ella Lynoure Rajamaki" <lynoure@tuug.org>

On 7 Jan 99, at 12:06, Leslie Helms wrote:

> The SCA garb list is alive and well.  Several of us are on both lists, and
> the SCA list does provide a little more leeway for discussing
> society-specific topics.  When I'm suggesting a list to a new enthusiast, I
> usually recommend joining sca-garb first until they get their bearings.  
> 
> I don't know why  http://www.coollist.com wouldn't be working.  Keep trying.

If you can send the list address here, perhaps we can still 
subscribe even though the web site doesn't work. Sometimes 
<list name>-subscribe@<host> lets one subscribe (at least it 
works with ONElist lists).


--
-------(c) 1999--------------*        lynoure@tuug.org      *
Ella Lynoure Rajamaki--------* http://www.tuug.org/~lynoure *
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-Poster: Gaelscot@aol.com



Karen is right, the colors in the paintings are spectacular. Most people don't
realize that printing is simply not able to reproduce art. Oh, specialized
printers can do a good job -- but a fine art reproduction, for instance, might
have several special color inks (to reproduce particular shades) and varnishes
(to reproduce painting effects). It still won't look exactly like the
original, and a normal four-color process reproduction, such as those found in
books and postcards, won't come close. Likewise, lithography can't produce the
extremely sharp lines found in most artwork. Can you tell that my husband is a
printer?

I was lucky enough to be able to get to the Vermeer exhibit in Washington. I
have loved his paintings (well, the good ones) for years and seen many
reproductions. I was not prepared for the amazing colors and crispness of the
real thing. Wait until you see the famous portrait by -- Holbein? -- of the
two ambassadors. The green background will knock your socks off. As will the
size -- that thing is gigantic!

Gail Finke


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-Poster: Gaelscot@aol.com



Re: our recent discussions about what in what careers women can currently wear
trousers to the office --

I noticed at least one woman Senator in trousers (a suit) at today's
impeachment opening ceremony. 

Gail Finke

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-Poster: Mazelle@aol.com

Karla,
	Yes, the prices at Sirs are very good. If I remember correctly they do not
take credit cards, however. So you might want to call and double check that
before going there. 

Alysia
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From owner-h-costume@indra.com  Fri Jan  8 09:07:46 1999
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To: "Guinevere Gurtler" <guineverel@hotmail.com>, h-costume@indra.com
Subject: H-COST: Re: F-COST: Maid's Uniform help
From: "Maid For Her" <maidforher@webmail.bellsouth.net>
Date: Fri, 08 Jan 1999 09:15:51 -0500
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-Poster: "Maid For Her" <maidforher@webmail.bellsouth.net>

At Fri, 08 Jan 1999 07:00:02 MST, you wrote:
>
>-Poster: "Guinevere Gurtler" <guineverel@hotmail.com>
>
>
>
[snip]
>>
>>Can anyone help?  Any suggestions will be appreciated.
>>
>>Maid For Her
>
>Sorry to be nosey but, what in the world did you do to deserve such a 
>penitence?  Must have been one ____ of a bet! 
>

It was!!!!!  A little background...  I had a BS in Geology from LSU and lived in College Station, TX and Tallahasee, FL.  So the three teams closest to my haert are the Tigers, the Aggies and the Noles.  The one team I won't cheer for is Tulane.  

My wife has a degree from Tulane, which leads to quite a bit of strife during football season <G> as well as some creative bets.

So I lost the bet on 3 bowl games and Tulane's standing in the final AP poll.  With that strong rivally, her "punishment" was merciless.  But who knows, this might be a little fun.

 
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From owner-h-costume@indra.com  Fri Jan  8 09:10:57 1999
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-Poster: Kent & Kat <kdyer@nash.tds.net>

Mazelle@aol.com wrote:
> Karla,
>  Yes, the prices at Sirs are very good. If I remember correctly
> they do not take credit cards, however. So you might want to
> call and double check that before going there.

They do take out-of-town checks...don't know about
out-of-state but I would assume with proper id they'd take
that too.

Kat
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From owner-h-costume@indra.com  Fri Jan  8 09:18:51 1999
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Subject: H-COST: Apologies to the list
From: "Maid For Her" <maidforher@webmail.bellsouth.net>
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-Poster: "Maid For Her" <maidforher@webmail.bellsouth.net>

Please accept my apologies.  I typed h-costume by accident instead of f-costume.  I'm typing a little to fast today....

Sorry.
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From owner-h-costume@indra.com  Fri Jan  8 09:49:10 1999
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From: aleed <aleed@dnaco.net>
To: Historic Costume <h-costume@indra.com>
cc: Historic Needlework <h-needlework@ansteorra.org>
Subject: Re: H-COST: Sneed pattern
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-Poster: aleed <aleed@dnaco.net>


I have a page up on 16th c. hairnets/cauls that has a link to
a crochet snood pattern at
http://www.dnaco.net/~aleed/corsets/headwear/snood.html


Enjoy,

Drea

On Thu, 7 Jan 1999, Kristen M. Sieber wrote:

> 
> -Poster: "Kristen M. Sieber" <lady_gawain@yahoo.com>
> 
> Does anybody have, or know where I can get, a crochet snood pattern?
> 
> Kristen M. Sieber
> lady_gawain@yahoo.com
> _________________________________________________________
> DO YOU YAHOO!?
> Get your free @yahoo.com address at http://mail.yahoo.com
> 
>  _________________________________________________________________
>  To leave this mailing list, send mail to majordomo@indra.com
>  with the message UNSUBSCRIBE H-COSTUME
> 

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From owner-h-costume@indra.com  Fri Jan  8 10:29:52 1999
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From: "Sterling Ranne" <sranne@hydroseal.com>
To: <h-costume@indra.com>, <f-costume@indra.com>
Subject: H-COST: WTD: Kilt jacket pattern.
Date: Fri, 8 Jan 1999 09:35:53 -0600
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-Poster: "Sterling Ranne" <sranne@hydroseal.com>

I'm looking for a pattern for a Sheriffmuir kilt jacket.  Also looking for
a pattern for the jabot shirt that is worn with it.  I can find the Prince
Charlie jacket but much prefer the looks of the Sheriffmuir.

Any help finding patterns greatly appreciated.

Sterling
92.5% Pure
sranne@hydroseal.com
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From owner-h-costume@indra.com  Fri Jan  8 11:12:31 1999
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From: "Sterling Ranne" <sranne@hydroseal.com>
To: <h-costume@indra.com>
Subject: H-COST: WTD: Kilt jacket pattern.
Date: Fri, 8 Jan 1999 10:20:16 -0600
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-Poster: "Sterling Ranne" <sranne@hydroseal.com>

I'm looking for a pattern for a Sheriffmuir kilt jacket.  Also looking for
a pattern for the jabot shirt that is worn with it.  I can find the Prince
Charlie jacket but much prefer the looks of the Sheriffmuir.

Any help finding patterns greatly appreciated.

Sterling
92.5% Pure
sranne@hydroseal.com
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 with the message UNSUBSCRIBE H-COSTUME

From owner-h-costume@indra.com  Fri Jan  8 11:19:53 1999
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-Poster: Chindora@aol.com

I have a 15 year old daughter that I just made an Elizabethan corset for, and
her un-corseted bust and waist measurements are 34" and 21", respectively, and
no, she definately does NOT have any kind of eating disorder......


<sigh>

I don't think I was ever that tiny after about the age of 8, so she must be a
throwback to an earlier generation of willowy women.....

Jane
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Subject: RE: H-COST: Re:  Candle wax 
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> -Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>
> 
> 
> Heat up the tea kettle, stretch the waxy part of the
> tablecloth over the sink or a bowl, and pour boiling water
> through it until the wax is gone, then launder normally.
> Works fast, with one teakettle full at most. If there's a
> stain in the same area, scrub that out first with
> dishwashing liquid soap, so that the boiling water doesn't
> set the stain.
> 

I have two quick questions-How would you recommend removing wax from 
a velvet mantle cover? It is backed with acetate and heavily beaded.

Second-does anyone know of a place to order or buy thimbles by size. 
I need a size 8 for my mother-in-law.

Thank you list for your help.
p. 

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Subject: Re: H-COST: Skeletons and stays
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> -Poster: Lisa Scovel <reenactment.guide@miningco.com>
> 
> I really think it depends on how you're built.

Our Maggie is 15 years old. She is 6 ft. tall. She also weighs about 
119 on a good day. She is not anorexic-she eats like mad but she just 
came like that (built like her dad, certainly not moi!) She can 
easily corset down to 15 or 16 inches. When we were walking through 
the Nicholas and Alexandria exhibit her favorite game was "Mom, 
could I wear that?" The waists on these actual garments were tiny and 
though they would have been too short for her she loved thinking that 
she could squiggle into the tiny waists. I would guess that there 
were large variations in size as today with the tiny waist being the 
goal.
p.

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From owner-h-costume@indra.com  Fri Jan  8 12:01:34 1999
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Subject: Re: H-COST: Stays, skeletons and girdles
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-Poster: pame@nothinbut.net


> -Poster: Dora Barnes <dorabarnes@yahoo.com>
> 
> <<<<Put on face of mock indignation !...
>

It was not just a fifties thing...The army was still requiring women 
enlistees to arrive with a full length slip, a firm control long line 
girdle and two cotton white bras in 1974. They did not, at that time 
supply underpinnings and you couldn't ship out without your supply 
list filled. It was so bizarre in the age of free spirits and the 
braless look.

By the by, S&E has an underwear (history of) coming up in January. It 
should be really interesting so check the listing to check it out.
P.
> 
> 
> _________________________________________________________
> DO YOU YAHOO!?
> Get your free @yahoo.com address at http://mail.yahoo.com
> 
>  _________________________________________________________________
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>  with the message UNSUBSCRIBE H-COSTUME
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> 

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> It's important to be sympathetic towards the unenlightened costumer because we
> have all done silly things when we started.  Which is more important, that all sorts of people are involved and
> enjoying themsleves, or that we have a perfect bunch of historical fashion
> models constantly attempting to outdo one another?
> 

I would like to point out as well, that when my husband and I started 
in the SCA a billion years ago, the fighters were all wearing freon 
cans on their and wearing armour made of carpet remnants! Historical 
costuming has come a long way in 25 years whether at ren faires or 
SCA or even in local theatre groups. We can't now turn snobs and 
figure we have come as far as we can. It is a hobby for all that it 
is an expensive one. Remember, guys, even history is suposed to be 
fun.
p. 

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Subject: Re: H-COST: looking for seamstress.
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Hi Sara, 
 
I don't know where you are -- or if you would be comfortable working 
with someone long distance -- but I can strongly recommend Kathleen 
Anne Crowley in San Francisco. She is very nice, extremely talented 
and has fair prices. She's not yet on email but here's how to reach 
her: 
 
Kathleen Anne Crowley 
861 Fell St., Apt. A 
San Francisco, CA 94117 
415.864.5616 
 
Good luck, 
 
Sally Norton 
snorton@us.oracle.com

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Date: 07 Jan 99 13:08:35
From:"Sara J. Davitt" <ophelia@dias.net>
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-Poster: "Sara J. Davitt" <ophelia@dias.net>


OK, I have a bishops cassock that I would like to have adapted into a
jacket.  Anyone up to the task?... I would supply the fabric, and the
cassock, and how much would this cost?

Thanks!  (Please relpy Off-List)

Sarahj

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From owner-h-costume@indra.com  Fri Jan  8 12:37:58 1999
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-Poster: Marionetta@aol.com


For whomever it was who was looking for pics of Audrey Hepburn in the Embassy
Ball dress in My Fair Lady, there are two pics of this dress in the book
"Cecil Beaton stage and film designs" isbn 1 85490 398 5   On pages 119, a 3/4
shot of her sitting in the dress, and p 120 a full length frontal view.  BTW
for anyone interested in the costumes from the Ascot scene (as I am) there are
some great photos and sketches of the extras costumes from that scene in this
book as well.  

Cheers,

Loren Dearborn
marionetta@aol.com
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-Poster: Laurel Wilson <lwilson16@earthlink.net>

Too bad--I was getting really curious!

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-Poster: "S.B. McDaniel" <fretknot@earthlink.net>

Dora wrote:

> .  "Nice firm girdles" were
> essential, not only for the visual shape, but for support, posture >> and the indefinable - "it was good for you".  


I'm showing my age, too.  When I started parochial high school in 1967,
my mother insisted that a "proper" girdle was necessary as I was wearing
stockings (None of us would be caught dead in the uniform alternative:
bobby socks!!).  While pantyhose had been around for a few years, they
were essentially unwearable. (Anyone else remember the revolutionary
introduction of "Little Prune" stretch panythose?)
I finally was able to find a garter belt (They weren't easily available
here in AZ in 1967.) which solved the problem.



Sandy
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-Poster: Lavolta Press <lavolta@best.com>


Chindora@aol.com wrote:

> -Poster: Chindora@aol.com
>
> I have a 15 year old daughter that I just made an Elizabethan corset for, and
> her un-corseted bust and waist measurements are 34" and 21", respectively, and
> no, she definately does NOT have any kind of eating disorder......
>

Well, I wouldn't say age 15 is adult . . .

Fran

----------------------------------------------
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From owner-h-costume@indra.com  Fri Jan  8 13:17:42 1999
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-Poster: seamstrix@juno.com

In a bit of synchronicity, apparently the cable channel A&E will be
having a program on underclothing in the next few days. I think it's
either Saturday or Sunday and I remember seeing shots of period corsets
and hoop constructions in the preview. 


Karen
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From owner-h-costume@indra.com  Fri Jan  8 13:53:26 1999
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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: Resource Books
Date: Fri, 8 Jan 1999 14:01:29 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

Francois Boucher's 20,000 Years of Fashion, $35 from
www.Amazon.com
Alternatively, I heard great things about Naomi Tarrant's
survey book.  Se's at the National Museum of Scotland.
Kohler's History of Costume, very inexpensive in paper.
Janet Arnold: Patterns of Fashion, Volumes I, II, and III,
or Norah Waugh's The Cut of Women's Clothes, expensive, but
essential.
Norah Waugh:  Corsets and Crinolines, essential, and
inexpensive
Norah Waugh:  The Cut of Men's Clothes

I think all of these are in print now.  I get my books
mostly from interlibrary loan or used at a considerable
discount at http://www.bookfinder.com (formerly
http://www.mxbf.com), which is a multi search engine of
about 20 used book sellers.  The following are out of print
too, except for Beck and Bradfield, but I love them:

Phillips & Tomkinson's English Women in Life and Letters,
Oxford University Press 1926
Dion Clayton Calthrop's English Costume, 1906 in four
volumes
Alice Morse Earle's Dress in America, an older book in 2
volumes.
Jaqueline Herald's Italian Renaissance Dress in Italy
1400-1500
Nancy Bradfield's Costume in Detail, for 1725 to about 1935
English women's clothing
Thomasina Beck's The Embroiderer's Story, spans 1650 to 1950

You can get an  lot off the Web these days.  The best source
of non-western garb is Max Tilke's 1922 volume of
watercolors based on garments in the Berlin Ethnographic
Museum, and it's very hard to find and expensive.  However,
its on the Web in its entirety at:
http://www.indiana.edu/librcsd/etext/tilke.  It includes
North Africa, the Balkans, The Mid-East,   SW Russia, and
almost all of Asia, except the Arctic.

Here are URL's for the often-requested Greenland Dress(es):
http://www.virtualelpaso.com/neverwinter/dress/dress.htm
http://www.geocities.com/Athens/Parthenon/5923/cloth/herjbac
k.html


The best sources I know for cutting systems and tailoring
books are online at
R.L. Shep / Fred Struthers:
http://www.mcn.org/e/fsbks/HTML/booklist.htm and
Lavolta Press: http://www.best.com/~lavolta/index.htm

These Webpages link to a huge variety of things, in addition
to having strong content of their own:

http://members.aol.com/nebula5/costume.html     Best
all-round costume reference site by Julie Zetterberg, who
must be a librarian at heart.  There’s an incredible “how
 to” section, everything from children’s Halloween to
ethnic, to movies, to historical, to ice skating, to
fantasy, to dance, to art history image sources,
 to ……frequently updated and expanded.
http://www.costumes.org  More theatrically oriented site,
done by incredibly creative and enthusiastic Tara
McGuinness, who heads the costume shop for the student
theatre for the University of Alaska at Fairbanks.
http://www.costumegallery.com  by Penny Dunlap Ladnier is
another good one.  My favorite parts are the “library” and
Yoshiwara’s “La Couturiere Parisienne de la Marquise de
Pompadour” which has great images and patterns for
historical dresses of the last 3-4 centuries.

Got to stop.  There is a slew of web-based sourses for
paintings, woodcuts, and engravings which I find very
helpful, too.  Direct your questions to
http://www.metacrawler.com, which is a consortium of about 8
search engines and thus the most comprehensive search engine
I know.

Hope H. Dunlap


-----Original Message-----
From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
Behalf Of Vickers, Jill
Sent: Thursday, January 07, 1999 9:49 PM
To: 'h-costume'
Subject: H-COST: Resource Books



-Poster: "Vickers, Jill" <jvickers@TELESENSORY.com>


I'm interested in starting a historic costume reference library, but as a
costuming newbie (although long-time sewer), I'm not sure what to start with.

Could someone please tell me what the top five or so books are that
are considered "must haves" (and hopefully currently in print!) for
those just starting out?  I am most interested in the general references
that span several periods, as well as books specifically on the
Elizabethan and Early Victorian periods.

Thanks,
-Jill



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From owner-h-costume@indra.com  Fri Jan  8 14:19:09 1999
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-Poster: MzScahlett@aol.com

In a message dated 1/7/1999 19:58:24 Pacific Standard Time,
lwilson16@earthlink.net writes:

<< Both of you might wish to point out, for the benefit of those on the
 list who may not know this, that 'panache' in French has the double
 meaning of  *both* the white plume and 'style', 'flair', etc. Lauri >>


Lauri, we took it off list, and Margo and I figured out the problem.  If we
had been discussing Cyrano, or the quote, or whatever, her comments were
appropriate.  However, it's just my *sig* file and I was really annoyed that
it was apparently being "critiqued" since that isn't a statement to anyone,
but rather a small statement *about* myself.  She had misread the quote and
thought it was part of my post, and in that context, was simply commenting on
the translation, which is no big deal.

All is well, no guns are blazing.  However, French literature is kinda OT for
the list, so I don't think we'll be getting into it much.


angil

+ + + + + + +
Angela F. Lazear
Costumes & Custom Clothing

"Great Spirits Have Always Encountered Violent Opposition From Mediocre Minds"
A. Einstein
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From owner-h-costume@indra.com  Fri Jan  8 17:31:07 1999
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Date: Fri, 8 Jan 1999 16:03:36 -0600 (CST)
From: Emma Elizabeth Lehman <00217146@bigred.unl.edu>
To: h-costume@indra.com
Subject: Re: H-COST: Skeletons and stays
In-Reply-To: <Pine.SOL.3.95.990107171410.19149G-100000@isis.netherworld.com>
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-Poster: Emma Elizabeth Lehman <00217146@bigred.unl.edu>


Sorry, Long Island Staylace Association. 
www.staylace.com
Be aware that while this site does have some neat images and resources for
the historical costumer, it also has quite a bit fetish stuff, too.
I took a look yesterday and couldn't find the quote on Vampyra's waist
measurement.  I must have seen it elsewhere.

> -Poster: Sylvia Rognstad <sylvia@netherworld.com>
> 
> What's the L.I.S.A. page?
> 
> On Thu, 7 Jan 1999, Emma Elizabeth Lehman wrote:
> 
> > 
> > -Poster: Emma Elizabeth Lehman <00217146@bigred.unl.edu>
> > 
> > 
> > > >Re 15" waists, anyone know how small Vampira's waist was in her corset?
> > > >It looked like about 15" to me.  For that matter, anyone old enough
> > > >besides me to remember Vampira?
> > > 
> > > I remember a Vampira comic book character, but I assume you're talking about
> > > a live person?  
> > 
> > I remember Vampira, she was in Ed Wood's classic bomb "Plan 9 From Outer
> > Space".  I remember (vaguely) seeing somewhere what her waist measurement
> > was, but I don't recall what it was or where I saw it.  I'd check the
> > L.I.S.A. page....
> > 
> >  _________________________________________________________________
> >  To leave this mailing list, send mail to majordomo@indra.com
> >  with the message UNSUBSCRIBE H-COSTUME
> > 
> 
> 
> Divinity Designs                      http://www.d-e-designs.com/divinity/
> 515 Manhattan Drive, #203                           sylvia@netherworld.com
> Boulder, CO 80303  USA                         complete catalog on website
> 
>  _________________________________________________________________
>  To leave this mailing list, send mail to majordomo@indra.com
>  with the message UNSUBSCRIBE H-COSTUME
> 


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From owner-h-costume@indra.com  Fri Jan  8 17:54:23 1999
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Date: Thu, 07 Jan 1999 22:15:22 -0500
To: h-costume@indra.com
From: Danielle Nunn <dnunn@interlog.com>
Subject: Re: H-COST: Skeletons and stays
In-Reply-To: <3694C347.F46BBBE5@nash.tds.net>
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-Poster: Danielle Nunn <dnunn@interlog.com>

Greetings,

>When you get a chance to actually look at clothing from earlier
>periods it's amazing how much smaller they are...

That reminded me, when I was young (I think I was just under 10 yrs) I got
to try on my great-aunt's wedding dress.  It was too small for me as
*skinny* 10 year old.  Her shoes were about a size 3 I think.  The dress
was beautiful white silk & lace 1920's "flapper" dress and is now in a
small museum.

If she was still alive the size difference would be extremely marked; I'm a
rubenesque 5'10".  :)

Cheers,
Danielle

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Date: Fri, 08 Jan 1999 07:49:24 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: Re: H-COST: 15" waists - any surviving garments?
In-Reply-To: <Pine.SUN.3.90.990108134419.23239I-100000@pilot>
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>


>About three years ago when I was somewhat thinner I had a 24-inch waist
>at my skinny times of the month. I think it wouldn't be too unrealistic
>for me to have corsetted myself down to 22", though I've never worn 
>Victorian style corsets so I couldn't say. I am short admittedly,
>but not especially fine boned (I meet plenty of women more petite than
>me), and very curvy. 

I believe you.  In 1972 I could (and did) corset down to 26", and I am far
from petite.  What I don't believe is corseting down to 15". 

  and

>I was under the impression that the contemporary references to things like
>15" waists were actually referring to the *corset* size, which was
>measured in inches, and that a gap of as much as six inches could be left
>between the edges when the corset was worn. It would thus make sense for
>women to refer to their size as a "15-inch waist" the same way we talk
>about being a "size 12" or a "33 inseam" or whatever. Today, unfamiliar
>with this specialized use of "inch," we hear or read a quote saying
>"15-inch waist" and we automatically think of actual inch measurements
>around the waist.

This is my impression as well.  Brag about the corset size, then don't lace
it all the way shut. 

  and

>Not that belonged to adults.

  and

>Also, people do wishfully exaggerate their measurements.  

I think this is what we are seeing when we read acounts of teensy waists in
the 15" range.  This includes paintings done to suit clients and photos
retouched for the same reason.  Certainly people were smaller then, but not
that much smaller.  This is why I wanted to find an actual antique adult
garment in that size.  It would tend to prove that at least one person
really was that small.  (And we could get the rest of her proportions at
the same time.)  I'm still waiting, still unconvinced.

When I studied
>clothing design I remember people teaming up to take each others' measurements
>for slopers.  The instructor told everyone they had to take accurate
>measurements and if the sloper didn't fit right the person (the wearer) who made
>it would have to fix it.  Just the same there were a lot of people saying things
>like, "That's not my real waist size, I just ate a big dinner last night.  Write
>it down as thus-and-so."
>
>And the art of retouching photos is as old as photography, not to mention
>painting flattering portraits.
>
>The topic "Were people really smaller 'then'?" and in particular, "Did they
>really have super-small waists 'then'?"  seems to be a perennial on h-costume.
>I'm not criticising anyone, but I do wonder why.  Because it seems many people
>_want_ to believe in the tiny-waist myths, despite the fact that, as far as I
>know, no one has come up with much real evidence.  Most people on this list at
>least know what corseting, and possibly modern diet-and-exercise programs, can
>do for them personally.


Kayta
     ////.\\\
    ////-@@\\\
   ((((   7 (((
     |   -- ))))
     * )   (((((
  /----\   /---\

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From owner-h-costume@indra.com  Fri Jan  8 20:05:49 1999
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-Poster: "Erin K. Gault" <flapper@wolfenet.com>

I went to the A&E website and found a description of this show. It shows
on January 17 9pm/1am ET (6pm/10pm PT). Here's the link:

http://www.aande.com/viewers/premieres/unmentionables.html

Erin

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-Poster: Lavolta Press <lavolta@best.com>

> I think this is what we are seeing when we read acounts of teensy waists in
> the 15" range.  This includes paintings done to suit clients and photos
> retouched for the same reason.  Certainly people were smaller then, but not
> that much smaller.  This is why I wanted to find an actual antique adult
> garment in that size.  It would tend to prove that at least one person
> really was that small.  (And we could get the rest of her proportions at
> the same time.)  I'm still waiting, still unconvinced.

One thing I didn't make clear is:  The rest of a person's measurements don't change
with height as much as you might think.  As I said, I'm 4'9".  I can't say how my
body would have developed with different nutrition, or childhood corseting that
might have altered my bones or internal organs.  But, I'm a pretty standard modern
size except for height.  I got bored making modern clothes, and I don't need to
because I can buy perfectly good ones at department stores. The historic patterns I
make now aren't as standardized as modern Vogue, etc, and I change the styles; so
the amount of alteration I do on those doesn't indicate much.  But when I used
Vogue and so forth, all I had to do was buy a standard size, reduce the waist and
sleeve lengths an inch each, reduce the waist-to-hip measurement another 1 1/2 to 2
inches, and take some more off the skirt below the hips, the amount depending on
the skirt style.  And I had a well-fitting pattern.

What I'm trying to say is, being shorter doesn't give you a whole different body.
And yes, when I was 15 I was smaller than now--everywhere.  I didn't have a fully
adult figure yet.

As for corseting from 22" to 15"--my theory is the thinner you are the fewer inches
you can squeeze off without discomfort, because the corset is not just displacing
fat but pushing on the ribcage (and possibly the hip bones depending on the
style).  If anyone wants to try it, let me know if it can be endured for an entire
day, not just a few minutes of experimentation.  I don't tight-lace, have no wish
to, and would have to make a new corset to experiment with.

Fran

----------------------------------------------
Visit our web sites!
Books on historic costume and vintage clothes
http://www.best.com/~lavolta/index.htm
Vintage and historic dance
http://www.best.com/~lavolta/dance/index.htm


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To: lynoure@tuug.org, h-costume@indra.com
From: Leslie Helms <leslieh@canfield.com>
Subject: Re: H-COST: SCA garb list
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-Poster: Leslie Helms <leslieh@canfield.com>

It appears that although the sca-garb list is still operating, the control
functions are down and subscriptions can't be processed.  Weird!  They're
trying to regroup.

Leslie
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From: WICKHAM  Raymond <raymond.wickham@customs.gov.au>
To: h-costume@indra.com
Subject: RE: H-COST: rules of the list?
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-Poster: WICKHAM  Raymond <raymond.wickham@customs.gov.au>

Just to state that I also stand with the gentles 
and ratify Sandras comments

Enough said
Play on

Damocles Truhart
Principality of Lachac
Barony of Rowany
 
Sometimes I have a terrible need of, shall I say the word, religion. 
Then I go out at night and paint the stars.  --Vincent van Gogh


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From owner-h-costume@indra.com  Fri Jan  8 23:52:01 1999
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Subject: H-COST: Sutter's Fort 1999 Schedule
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-Poster: Joan M Jurancich <joanj@quiknet.com>

As I have in past years (just a little slow this time <g>), here is the
schedule for docent activities at Sutter's Fort in Sacramento, CA, during 1999. 

When I am at the Fort, I can usually be found in the Blanket Factory or the
Kitchen.

SUTTER'S FORT STATE HISTORIC PARK
2701 L Street, Sacramento, CA  95816

During all of the "special days" described below, the participants are in
clothing circa 1846 (Living History and Summer Interpretive Program are most
accurately costumed), working at tasks of the time.  Come in and "set a
spell".  An added bonus, if a particular room is being used by an
interpreter, you are invited in.

FORT GIFT SHOP/BOOK STORE open daily.  Well worth a visit. Call for
information at 916-442-4966.

LIVING HISTORY DAYS for 1999
10am to 4pm, $6 for adults [over 13], $3 for children [6 - 12], under 6 free

During Living History Days we try to bring you back to 1846, rather like
walking into the past.  These events go on rain or shine; in the past we
have had
some real downpours.

Saturday,  March 6
Saturday, April 17
Saturday, June 19
Saturday, September 18
Saturday, November 20*

*Evening Living History, call 916-445-7373 for reservations starting on
October 15th; this is a reservation-only, no-refund, guided tour of Sutter's
Fort at
night.  You can be a "ghost from the future" and eavesdrop.

PIONEER DEMONSTRATION DAYS for 1999
10am to 5pm, $3 for adults, $1.50 for children, under 6 free; increased fee in
June/July/August

During "Demo Days" we show you some of the activities that our ancestors
worked at.

Saturday, January 23
Saturday, February 13 & 20
Saturday, March 20
+Friday, Saturday, Sunday April 23, 24, 25 [increased fee]
Saturday, May 8 & 16
Saturday, June 12 [increased fee]
Saturday, July 10 & 17 [increased fee]
Saturday, August 14 & 21 [increased fee]
Saturday, September 11
Saturday, October 9 & 15
Saturday, November 13
Saturday, December 11 (Christmas at the Fort)

+Mountain Man/Pioneer Traders' & Crafts Faire:  Early 1800s era goods sold
(mostly reproduction, but some antiques), historic demonstrations,
"hands-on" activities.  Friday & Saturday 10am-5pm, Sunday 10am-4pm.

"HISTORY LIVE", A SUMMER PROGRAM
Memorial Day weekend through Labor Day
10am to 5pm, $6 for adults, $3 for children, under 6 free 
Live Reenactors on site every day

Please call the Fort for more information 916-445-4422.
Joan Jurancich
Sacramento, CA
joanj@quiknet.com

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From owner-h-costume@indra.com  Sat Jan  9 00:00:03 1999
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From: "Franchesca Havas" <ches@io.com>
To: <h-costume@indra.com>
Subject: Re: H-COST: SCA garb list
Date: Fri, 8 Jan 1999 23:26:08 -0600
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-Poster: "Franchesca Havas" <ches@io.com>

Site fails ping and all other tests. I think they are gone gone gone. They
may have lost their domain registration.

Sincerely,
Ches
aka Chiara Francesca
Steward of Coronation XL
http://www.io.com/~ches/coronation99

-----Original Message-----
From: Leslie Helms <leslieh@canfield.com>
To: lynoure@tuug.org <lynoure@tuug.org>; h-costume@indra.com
<h-costume@indra.com>
Date: Friday, January 08, 1999 8:51 PM
Subject: Re: H-COST: SCA garb list


:
:-Poster: Leslie Helms <leslieh@canfield.com>
:
:It appears that although the sca-garb list is still operating, the control
:functions are down and subscriptions can't be processed.  Weird!  They're
:trying to regroup.
:
:Leslie
: _________________________________________________________________
: To leave this mailing list, send mail to majordomo@indra.com
: with the message UNSUBSCRIBE H-COSTUME
:

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From owner-h-costume@indra.com  Sat Jan  9 01:33:29 1999
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Date: Sat, 09 Jan 1999 01:12:52 -0800
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Organization: Interstellar Trading Company
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-Poster: Heather Law <lynnx@mc.net>

Hi everyone, 

Sorry for another slightly OT SCA posting, but hoping the efforts will
provide a separate forum for SCA-specific stuff and help keep it off
here. (We are a big group, BTW, so maybe that's why we seem to get
"targetted" a lot for discussing OT stuff here.) 

Seems that the server is indeed down, and the list owner is searching
for another one to move the list to (a couple of suggestions have
already been offered).  As soon as I hear back from her, I'll let you
know.

Heather/Sister Ed the Disorganized
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Message-ID: <060c01be3b96$d13e3240$cb860318@CC1010062-A.avnl1.nj.home.com>
From: "Kyna Grannd" <kynagrannd@granndgarb.com>
To: <h-costume@indra.com>
Subject: Re: H-COST: SCA garb list
Date: Sat, 9 Jan 1999 01:10:54 -0500
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-Poster: "Kyna Grannd" <kynagrannd@granndgarb.com>

The server has to still exist or the email wouldn't go through it :)

Here's their info from Internic:

Registrant:
Cool List Mail Services (COOLLIST-DOM)
   PO Box 692
   Melbourne, Victoria 3106
   AU

   Domain Name: COOLLIST.COM

   Administrative Contact, Technical Contact, Zone Contact:
      Astra Labs Hostmaster  (ALH2-ORG)  domain@ASTRAWEB.COM
      +613-9846-6482
Fax- -
   Billing Contact:
      Astra Labs Hostmaster  (ALH2-ORG)  domain@ASTRAWEB.COM
      +613-9846-6482
Fax- -

   Record last updated on 02-Aug-98.
   Record created on 10-May-97.
   Database last updated on 8-Jan-99 05:02:12 EST.

   Domain servers in listed order:

   NS1.ASTRAWEB.COM             209.133.34.81
   NS1.NOC.ASTRAWEB.COM         209.133.78.10


Perhaps emailing the tech person to ask how to subscribe and unsubscribe?
Think I'll do that now, as a matter of fact :)

Suz

-----Original Message-----
From: Franchesca Havas <ches@io.com>
To: h-costume@indra.com <h-costume@indra.com>
Date: Saturday, January 09, 1999 12:06 AM
Subject: Re: H-COST: SCA garb list


>
>-Poster: "Franchesca Havas" <ches@io.com>
>
>Site fails ping and all other tests. I think they are gone gone gone. They
>may have lost their domain registration.
>
>Sincerely,
>Ches
>aka Chiara Francesca
>Steward of Coronation XL
>http://www.io.com/~ches/coronation99
>
>-----Original Message-----
>From: Leslie Helms <leslieh@canfield.com>
>To: lynoure@tuug.org <lynoure@tuug.org>; h-costume@indra.com
><h-costume@indra.com>
>Date: Friday, January 08, 1999 8:51 PM
>Subject: Re: H-COST: SCA garb list
>
>
>:
>:-Poster: Leslie Helms <leslieh@canfield.com>
>:
>:It appears that although the sca-garb list is still operating, the control
>:functions are down and subscriptions can't be processed.  Weird!  They're
>:trying to regroup.
>:
>:Leslie
>: _________________________________________________________________
>: To leave this mailing list, send mail to majordomo@indra.com
>: with the message UNSUBSCRIBE H-COSTUME
>:
>
> _________________________________________________________________
> To leave this mailing list, send mail to majordomo@indra.com
> with the message UNSUBSCRIBE H-COSTUME
>

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From owner-h-costume@indra.com  Sat Jan  9 05:40:51 1999
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-Poster: MaggiRos@aol.com

In a message dated 1/6/99 4:48:52 PM Pacific Standard Time,
margo@directcon.net writes:

> 
>  -Poster: Margo Anderson <margo@directcon.net>
>  
>  Somehow a lot of confusion seems to have come up on this thread about
>  >the flax/linen issue.  Flax is *never* the name of a cloth. 
>  
>  I'm afraid  that should read  "should never be" not "is never".  Some years
>  ago, I was working at House of Fabrics.  We got a shipment of a new line of
>  fabric that was named "Flax".  As I recall, it was a nice heavy 50/50/
>  cotton/linen blend.  Perhaps the poster saw some of this fabric for sale?
>  
>  Margo

Back in the bad old days when Cloth World was polyester-city, I saw "linen-
look" fabric (something poly/rayon I think) posted as linen. Scandalous. But I
believe the subtle point was the flax is a plant, linen is a fabric.
Curiously, wool is wool and cotton is cotton, but flax is linen. 

The remaining linguistic analysis is left as an exercise for the student.

MaggiRos
~what, HER again?
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-Poster: MaggiRos@aol.com

In a message dated 1/6/99 9:11:19 PM Pacific Standard Time,
benrumson@worldnet.att.net writes:

> 
>  Marionetta@aol.com wrote:
>  
>  > I'd like these to be reasonably accurate and would like to use velveteen 
> since
>  > I've got a ton of black velveteen.  But is cotton velveteen the right 
> thing to
>  > use?  Or is nylon/rayon velvet more appropriate?  (silk's outta price 
> range)
>  > Any tips on the best way to slash velvet?
>  
>  I'm certainly no expert but I did take a class at Costume College from 
> Mistress
>  Juliana who is (imo) an expert on German Ren.  I wouldn't try to slash 
> velvet.  If
>  you want slashed sleeves use a good felted wool.  It won't ravel and velvet
> will
>  ravel like crazy if you slash and not finish off the edges.
>  
>  CArolyn

If you're going to slash anything (as opposed to making individual panes) best
to cut to the bias (diagonal to the grain). Oh, it will ravel, but it will max
out eventually. Depending on the persona, this can be a character defining
moment in costume!

I wouldn't slash velvet either. For Ren German, stick with wool for most
things. For economy, I have used brushed denim --all cotton--which strikes me
as an acceptable substitute for frieze. (I'd like to recommend no-wale
corduroy, but I'm not willing to take the flak, plus it's nearly impossible to
find anymore so never mind.) Cotton poplin works well too. Either is a
serviceable, sturdy, workaday fabric suitable for plain working campfollowers
who have a job to do.  They also take cuttes, pinks, and slashes quite nicely.
Yeah, they ravel. So? (oops, channelling Clara there for a second! Attitude
adjustment <thwap>)  

If your German Ren persona is something rather more gently bred, fine wool is
still reliable, and good cotton velvet is even better.  The bands, on fine
ladies, anyway seem to have been most often, but not exclusively, golden. Just
as most //but not all// of the plackets in placket-front dresses were white.
Just as not every dress was a placket front dress.

There are LOTS of pictures to show you what kinds of brocade patterns are
period. No little bitty milles-fleurs flowers or cabbage roses.

In any case, modern silk velvet probably isn't much like 16th century silk
velvet, so don't worry about that!. A heavy cotton velvet (the brand name
DeBall is revered in my house) has the weight, the depth of colour, and the
drape that I can see an 16th C. noblewoman finding to her taste.  Some
cotton/rayon velveteens are very fine indeed (M... M...  damn, the
manufacturer name has just gone out of my head!). 

I know budgets are always an issue, but try to keep some perspective.  Create
a persona who would wear what you can afford.  

MaggiRos
~and yes, Juliana is definitly THE German Ren expert.
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From owner-h-costume@indra.com  Sat Jan  9 06:56:56 1999
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-Poster: MaggiRos@aol.com


Responding as a stuffy purist...

In a message dated 1/7/99 8:03:59 AM Pacific Standard Time,
hope.greenberg@uvm.edu writes:

> 
>  1) It's antique satin but with a fine weave--no nubblies. Not linen,
>  wool, or real silk,     *sigh* though the black back makes it look
>  rather like shot silk. Is it an acceptable substitute for the
>  authenticity minded?

No nubblies?  It may very well be quite nice. However, I have learned my
lesson about approving anything "over the phone". :)  But I think I know what
you mean, and suspect I'd say OK.  Assuming you were waiting for my approval 

>  
>  2) The color: it is between plum-purple-taupe-grey, very subdued. I saw
>  several gowns in the above exhibit of the same or nearly the same color
>  but I don't know if this is a paint-only color or if there would have
>  been a dye color like this in the mid-15th century. Any ideas?
>  

I've never been a big fan of this "paint only" idea. That's usually someone's
way of excusing their own lack of care.  Silk can take pretty much any color,
in an astonishing range of shades.  And if it were a portrait of ME, I'd
expect the man to paint it as I wore it, dammit!  I like that gown!  

But in any case, as you describe it, I see no reason why this should be
thought of as a "made up " color. Still, as I say, I'm not convinced that any
color in a painting was impossble to a dyer, or that any patron would want it
to be.

MaggiRos
~All my men wear a sword, or they wear nothing at all.


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-Poster: MaggiRos@aol.com

In a message dated 1/7/99 12:35:00 PM Pacific Standard Time,
margo@directcon.net writes:

> 
>  I usually cut slashes with an Exacto knife.   Some people swear by rotary
>  cutters.

For small cuttes I use a charp. No dragging against the fabric, Just a sharp
bang, and voila! 
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-Poster: MaggiRos@aol.com

In a message dated 1/7/99 1:22:25 PM Pacific Standard Time, ZBLGilbert@aol.com
writes:

> 
>  My sense at the time was that women weren't supposed to "bounce."  Firm
>  foundation garments prevented that.  In addition, as I recall, my 
> girlfriends
>  and I thought that the social popularity of panty girdles was due to the
>  difficulty of hanky panky while wearing them.

Not to mention that before pantyhose, you had to have some place to stick the
"garters" that held up your stockings. 

MaggiRos
class of '68
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From owner-h-costume@indra.com  Sat Jan  9 11:20:17 1999
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-Poster: Appin1@aol.com

I have seen a female skeleton from the Mutter Museum  (a medical museum) in
Philadelphia that dates from late Victorian times. The ribcage is deformed
from the tightness of the corsetry. This is the only example I have seen.

Kathleen Norvell
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-Poster: Appin1@aol.com

Robin -- I saw a portrait of Queen Elizabeth in a forest green gown at the
"Treasure Houses of Britain" exhibit many years ago. At the time, I had some
fairly heavy green changement taffeta that I wanted to make into an
Elizabethan gown, but I had been cautioned about the color green. I figured,
after seeing the portrait, that if it was good enough for Queen Elizabeth, it
was good enough for me!

Kathleen Norvell
(Alyson of Islay, OL) 
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From owner-h-costume@indra.com  Sat Jan  9 13:23:49 1999
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From: "Kristen M. Sieber" <lady_gawain@yahoo.com>
Subject: H-COST: Crochet hook
To: Historic Costume <h-costume@indra.com>
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-Poster: "Kristen M. Sieber" <lady_gawain@yahoo.com>

I do not crochet, but my mother has been kind enough to agree to
crochet me a snood.  The pattern calls for a #9 hook but all the hooks
she has have letter indicators.  Is there a corresponding
leeter/number or should she just buy a new hook?

kristen M. Sieber
lady_gawain@yahoo.com
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From owner-h-costume@indra.com  Sat Jan  9 13:26:28 1999
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From: "Kristen M. Sieber" <lady_gawain@yahoo.com>
Subject: H-COST: Whoops
To: Historic Costume <h-costume@indra.com>
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-Poster: "Kristen M. Sieber" <lady_gawain@yahoo.com>

The crochet hook question was supposed to go to h-needlework, but if
you have an answer, I'll take it!

Kristen M. Sieber
lady_gawain@yahoo.com
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From owner-h-costume@indra.com  Sat Jan  9 14:57:22 1999
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Subject: Re: H-COST: help with men's and women's German Ren
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-Poster: Julie Adams <savaskan@sd.znet.com>

>-Poster: Marionetta@aol.com
>I'd like these to be reasonably accurate and would like to use velveteen since
>I've got a ton of black velveteen.  But is cotton velveteen the right thing to
>use?  Or is nylon/rayon velvet more appropriate?  (silk's outta price range)

I don't think the modern nylon/rayon or even the silk/acetate velvets are
thick enough to replicate 16th c velvet.  IMHO, the most appropriate
velvets are ones that are so thick in the pile that they have no nap. Many
of the heavy cotton velvets are pretty good, but my favorite is a 100%
cotton velvet that I get a yardage city. Its very plush.  A matinee' velvet
can also be good (cotton/sythetic blend).

I personally don't like velveteen because the nap wears off easier than the
velvets over time, but its better IMHO than the rayon or silk velvets with
the thin pile.

>Any tips on the best way to slash velvet?

If I'm going to slash velvet, I prefer to use a heavy cotton apholstery
velvet with a rubberized backing. But I'll only use that for slashed
banding or small areas because the rubberized backing makes it too hot.

Some velvet takes pinking well (slashes less than 1" or so), but most won't
take slashes longer than that without looking cheap.  The backing is
usually not strong enough and the slashes won't hold out in nice period
looking arcs, but will crumple.  I don't like to do bonded
interfacings/backings because even then they tend to roll over a bit and
you can see the interfacing. If you want slashes longer than 1" of velvet,
I recommend biting the bullet and sewing them into lined panes (sew them
into tubes or bag line each pane) and attaching them individually.  If you
don't want to go through the work, then use the velvet as base fabric and
apply slashed bands of wool  or leather over the top.

>Brocade is often mentioned as being
>used in the plastron, but none of the illustrations I've seen are very clear
>on what this brocade looks like, any hints on the types of  modern brocades
>that might work for this?

If you are making a Cranach-style with an open front, then the plastron
(or placket) is usually, but not always white and there is a band of
brocade with pearl embroidery along the top which is about 3"-5" wide.  I
suggest having it scale to the size of your bustline (wider the larger
busted you are).  The pearl embroidery is done over the top of gold
brocade, but the pearled pattern never matches the brocade pattern.  Be
sure your lacing doesn't go over the decorated band. The lacing is always
zig-zag or straight across lacing, never cross-lacing.  The lacing holes,
or loops are placed inside the edge of the bodice so they are invisible.
Many German bodices do not have plackets and I suggest that you try one of
those before going for a placket-front style.  Hooks and eyes should be
used to attach the bodice to the decorated band of the plastron to keep it
tight. I suggest color on color damask brocades as Maggie described.

>I'm assuming the
>puffs/undersleeves should be a light weight white cotton fabric, like batiste,
>is this right? I've got an Elizabethan corset (a la hunniset) will this work
>for German Ren?  Or do I even need one...?

Puffs at the elbow and armscye are often the shift puffed through, but
other puffing in the sleeve is usually applied false puffing.  The higher
class you are, the less likely your puffing will be the shift. In lower
class women, most of the puffing is the shift puffed through.

If you are a large woman, I highly recommend some kind of corselet or
support built into the bodice.  It should not be cone-shaped like
Elizabethan, but preferably keeps your natural curves. The placket front
bodice will look really bad if you are a woman of substance and do not use
support.  The plastron should have some support as well.  I've seen
Victorian corsets used and they actually look much better than Elizabethan
ones.

The tricky part of the Cranach dress is that the skirt is always done as
organ-pipe pleating, knife pleating or box pleating. Don't cartridge pleat
it. The opening of the skirt should be in the side front along one side of
the bodice edge.  The skirt is attached to a band or ribbon then basted
inside the bodice and placket.  The placket must have some hooks and eyes
near the skirt as well.

I'll  look for some hat instructions in some of my private posts later.
Gotta go. Check out my web site:

http://www.znet.com/~savaskan/germans

Julie Adams
aka Meisterin Julianna


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From owner-h-costume@indra.com  Sun Jan 10 03:30:18 1999
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From: "Kristen M. Sieber" <lady_gawain@yahoo.com>
Subject: H-COST: Side lacing
To: Historic Costume <h-costume@indra.com>
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-Poster: "Kristen M. Sieber" <lady_gawain@yahoo.com>

When putting side lacings in a cotehardie/kirtle/or whatever it's
called, how far down the waist/hip does the opening go?

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From: "Kristen M. Sieber" <lady_gawain@yahoo.com>
Subject: H-COST: Side lacing
To: Historic Costume <h-costume@indra.com>
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-Poster: "Kristen M. Sieber" <lady_gawain@yahoo.com>

Sorry, forgot to sign this.

When putting side lacings in a cotehardie/kirtle/or whatever it's
called, how far down the waist/hip does the opening go?

==
Morgaine of Glastonbury 
MKA Kristen Morgaine Sieber
lady_gawain@yahoo.com
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From owner-h-costume@indra.com  Sun Jan 10 03:39:43 1999
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Date: Sat, 09 Jan 1999 22:36:50 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: H-COST: thimbles, size 8 
In-Reply-To: <199901081706.MAA14249@bigpapa.nothinbut.net>
References: <000201be38f0$c4b5ae20$5d14ffd0@default>
 <19990104215618.25469.qmail@www0r.netaddress.usa.net>
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>


>Second-does anyone know of a place to order or buy thimbles by size. 
>I need a size 8 for my mother-in-law.
>
>Thank you list for your help.
>p. 

Try Lacis.  I got one in a size 12 to accommodate a lump on my
thimble-finger, so you should have no trouble at all.  Lacis has a web site
(www.lacis.com???) and they mail order.


Kayta
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From owner-h-costume@indra.com  Sun Jan 10 03:43:48 1999
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Date: Sat, 09 Jan 1999 22:25:03 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: Re: H-COST: 15" waists - any surviving garments?
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>

My guess is that she hasn't stopped growing either.

>I have a 15 year old daughter that I just made an Elizabethan corset for, and
>her un-corseted bust and waist measurements are 34" and 21", respectively, and
>no, she definately does NOT have any kind of eating disorder......
>
>
><sigh>
>
>I don't think I was ever that tiny after about the age of 8, so she must be a
>throwback to an earlier generation of willowy women.....
>
>Jane
> _________________________________________________________________
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> with the message UNSUBSCRIBE H-COSTUME



Kayta
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From: starsinger@webtv.net (theresa sorrell)
Date: Sat, 9 Jan 1999 17:44:23 -0700 (MST)
To: h-costume@indra.com
Subject: Re: H-COST: Crochet hook
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In-Reply-To: "Kristen M. Sieber" <lady_gawain@yahoo.com>'s message of Sat, 9 Jan 1999 10:33:02 -0800 (PST)
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-Poster: starsinger@webtv.net (theresa sorrell)

Having crocheted for years, I have some experience in the numbering.

Hooks with B, C, D on up are used for wools and corser material.

Hooks with 00, 00 thru 16 (think miniatures) are used for thread
crochet.

I believe the cross over in hook sizes is B/0 and C/00.  

What your mom needs is the steel hooks not the aluminum or plastic.

Hope this helps.

Starsinger

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From: "Connie Carroll" <Connie.Bunny@worldnet.att.net>
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To: lady_gawain@yahoo.com
Date: Sat, 9 Jan 1999 16:06:27 +0000
Subject: Re: H-COST: Crochet hook
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-Poster: "Connie Carroll" <Connie.Bunny@worldnet.att.net>

Kristen,

Saw you message.I'm a crocheter and I'm afriad you'll need to buy a 
#9 hook. The lettered hooks, some of which claim they corrspond to 
the numbers don't really. I've never found them to. I own a 
collection of both and I recommend buying a #9 steel hook. They only 
cost about $1 at Walmart or Michaels.

Kassandra NickKraken


> -Poster: "Kristen M. Sieber" <lady_gawain@yahoo.com>
> 
> I do not crochet, but my mother has been kind enough to agree to
> crochet me a snood.  The pattern calls for a #9 hook but all the
> hooks she has have letter indicators.  Is there a corresponding
> leeter/number or should she just buy a new hook?
> 
> kristen M. Sieber
> lady_gawain@yahoo.com
JUST CALL ME MISTRESS BUNNY
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From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: Re: H-COST: Skeletons and stays
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>

Fascinating.  And you have measured her at this small corseted size?  I'm
impressed.

>Our Maggie is 15 years old. She is 6 ft. tall. She also weighs about 
>119 on a good day. She is not anorexic-she eats like mad but she just 
>came like that (built like her dad, certainly not moi!) She can 
>easily corset down to 15 or 16 inches. When we were walking through 
>the Nicholas and Alexandria exhibit her favorite game was "Mom, 
>could I wear that?" The waists on these actual garments were tiny and 
>though they would have been too short for her she loved thinking that 
>she could squiggle into the tiny waists. I would guess that there 
>were large variations in size as today with the tiny waist being the 
>goal.
>p.
>
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Kayta
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Subject: Re: H-COST: Color associations
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-Poster: <aquazoo@patriot.net>

Hope Greenberg wrote about Greensleeves,

>And where in the world
>did the notion that this is about a prostitute come from? Researching
>that tradition would probably be more fun than the song itself. Mary
>Magdalen is often, but not always, pictured in green (and carrying that
>neat little jar and usually wearing interesting headgear) but so are
>several of the women saints so I don't think that helps.

     The idea that Mary Magdalen was a prostitute is actually combining 
her life story with that of other women, some of whom were prostitutes. A 
good book is _Mary Magdalen: Myth and Metaphor_, (sorry I forget the 
author) which separates the myths. Magdalen's "truth" is that she knew 
Jesus (she was practically an apostle). After His death, she became a 
hermit in the desert, and her hair grew to such an extent as to hide her 
nakedness. (that's a rather non-costume connection!)

     Hope's point make's sense as the green dress images may have been 
painted at a time when Magdalen was thought to be a prostitute. Her 
distinguishing characteristic, however, is her long hair. Is the 
interesting headgear arrangement of a great quantity of hair?

     Myths die hard, whether it's the reputation of saints or beliefs 
about costume!

     -Carol Kocian
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Date: Sat, 09 Jan 1999 23:00:31 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: Re: H-COST: field trip report and color question
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>


>>  but I don't know if this is a paint-only color or if there would have
>>  been a dye color like this in the mid-15th century. Any ideas?
>>  
>
>I've never been a big fan of this "paint only" idea. That's usually someone's
>way of excusing their own lack of care.  Silk can take pretty much any color,
>in an astonishing range of shades.  And if it were a portrait of ME, I'd
>expect the man to paint it as I wore it, dammit!  I like that gown!  

The 'paint only' idea makes sense when the artist (Medieval) is
illuminating a manuscript from memory, has a limited palate to work from,
and uses his colours pure without mixing.  Some of their illos are very
cartoony and not very believable  for actual fabric colour.  The silk-like
reds and blues they used for painting wool garments, which don't take dye
like silk does, are what I would mean by 'paint only' colours.

But after the Flemmish painters (and others) had introduced the kind of
painting where they were looking at real things and painting them as they
saw them, I agree with you.  The palate was larger by then, if only by
mixing.  But the Medieval illuminaters mostly didn't do portraits from life
anyway.


Kayta
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Date: Sat, 9 Jan 1999 21:26:08 -0500 (EST)
From: Robin Netherton <robin@dgsys.com>
To: h-costume@indra.com
Subject: H-COST: Pigments, dyes, and the accuracy of paintings (was: color question)
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-Poster: Robin Netherton <robin@dgsys.com>


On Sat, 9 Jan 1999 MaggiRos@aol.com wrote:

> >  2) The color: it is between plum-purple-taupe-grey, very subdued. I saw
> >  several gowns in the above exhibit of the same or nearly the same color
> >  but I don't know if this is a paint-only color or if there would have
> >  been a dye color like this in the mid-15th century. Any ideas?
> 
> I've never been a big fan of this "paint only" idea. That's usually someone's
> way of excusing their own lack of care.  Silk can take pretty much any color,
> in an astonishing range of shades.  And if it were a portrait of ME, I'd
> expect the man to paint it as I wore it, dammit!  I like that gown!  
> ... I'm not convinced that any
> color in a painting was impossble to a dyer, or that any patron would want it
> to be.

I can't speak authoritatively to the color in the specific painting
described (offhand, it sounds workable to me), but I can vouch for the
fact that certain colors that were available in pigments did not exist as
dyes, and yet these colors were still frequently used to depict clothing
in paintings, at least through the 15th century. The obvious example is
ultramarine blue, which is made into paint by grinding a mineral into dust
and mixing it with a binder to lay it on the paper -- a process that
cannot be used to dye fabric. I am not a dyer, but people who have made
medieval dyes their specialty have assured me that there is no dye
equivalent for ultramarine blue. That means that, say, those bright blue
gowns in the Tres Riches Heures do not represent anything that existed in
life, and in looking at these sources, we need to readjust our eye to
allow for the change in palette.

As to why patrons would want artists to use a nonexistent color to depict
clothing, we need to remember that the purpose of portraiture was, for a
long time, not the same as it is today. Many depictions in panel and
manuscript paintings did not have the primary purpose of providing an
accurate visual representation of the individual. (The same is true of
donor images in stained glass and other media, and effigy images in
alabasters and monumental brasses.)  Many of the artist's (and patron's)
choices may may have been intended to designate the importance, wealth, or
social status of the person. 

Michael Baxandall, in _Painting and Experience in Fifteenth-Century
Italy_, provides some excellent examples of the symbolic use of pigment
based on written contracts between patrons and painters. I will type in
one longish passage below because it's too good not to share (typos are
mine): 

"Ghirlandaio's contract insists on the painter using a good quality of
colours and particularly of ultramarine. The contracts' general anxiety
about the quality of blue pigment as well as of gold was reasonable. After
gold and silver, ultramarine was the most expensive and difficult colour
the painter used. There were cheap and dear grades and there were even
cheaper substitutes, generally referred to as German blue. (Ultramarine
was made from powdered lapis lazuli expensively imported from the Levant; 
the powder was soaked several times to draw off the colour and the first
yield -- a rich violet blue -- was the best and most expensive. German
blue was just carbonate of copper; it was less splendid in its colour and,
much more seriously, unstable in use, particularly in fresco.) To avoid
being let down about blues, clients specified ultramarine; more prudent
clients stipulated a particular grade -- ultramarine at one or two or four
florins an ounce. The painters and their public were alert to all this,
and the exotic and dangerous character of ultramarine was a means of
accent that we, for whom dark blue is probably no more striking than
scarlet or vermilion, are liable to miss. We can follow well enough when
it is used simply to pick out the principal figure of Christ or Mary in a
biblical scene, but the interesting uses are more subtle than this. In
Sassetta's panel of _St. Frances Renouncing His Heritage_ in [London's]
National Gallery, the gown St. Francis discards is an ultramarine gown. In
Masaccio's expensively pigmented _Crucifixion,_ the vital narrative
gesture of St. John's right arm is an ultramarine gesture. And so on. Even
beyond this the contracts point to a sophistication about blues, a
capacity to discriminate between one and another, with which our own
culture does not equip us. In 1408 Gherardo Starnina contracted to paint
in S. Stefano at Empoli frescoes, now lost, of the _Life of the Virgin._
The contract is meticulous about blue: the ultramarine used for Mary is to
be of the quality of two florins to the ounce, while for the rest of the
picture ultramarine at one florin to the ounce will do. Importance is
registered with a violet tinge." 

Baxandall goes on to note that the emphasis on gold and ultramarine in
painting declined by the latter half of the century for a variety of
reasons (and he includes some good costume anecdotes), but the point
remains that people clearly placed value on certain pigments for reasons
other than their ability to accurately reproduce real clothing. I would
guess that the Limbourg brothers had specific reasons for painting the Duc
of Berry in ultramarine (and using the color so liberally throughout the
books they made in his employ), just as Marie de Gueldre knew exactly what
she was doing when she had herself painted in a stylish houppelande that
just happened to be Virgin-blue (in a portrait full of other iconographic
details typically reserved for Annunciation portraits of the Virgin).

Many other pigments were also derived from methods that could not be used
to produce dye, so if the same color was achievable in dye, that was happy
coincidence. For that reason I generally assume that the exact shades of
colors in paintings are suspect unless proven otherwise -- though in the
case of later paintings, as portraiture for its own sake became more
common, I'm more inclined to assume that there's at least a passing
resemblance between fabric and canvas. For an accurate representation of
available dye colors, particularly 15th-century and earlier, I usually
rely on extant textiles, tapestries, and embroideries, which by definition
use colors that were available in dyes.  Seeing them in person is best,
and if you can get permission to see something up close, you can look at
the fibers in turned edges or covered by other threads that have otherwise
been protected from fading.

(In general, I find it's worth remembering that it was relatively easy for
painters and other artists to put trim, jewels, stripes, patterns, etc. on
depictions of clothing, compared with the expense and physical
considerations of doing the same on real garments. For instance, I've made
a hobby of looking for evidence of jeweled hems in artwork
(pre-Elizabethan or so), and so far I've only seen them on such figures as
angels, saints, goddesses, and fantasy figures.  There's a splendid _Last
Judgment_ by Jan Provoost in the Groening Museum in Bruges, in which the
souls lined up to go to heaven are being issued plain white robes -- with
jeweled hems.  Once I started seeing jeweled hems as a clue for the
viewer, I found it helped with my readings of some more ambiguous works,
such as the Lady with the Unicorn tapestries. But that's another lecture.
Differentiating the real from the unreal is my favorite teaching theme.)

--Robin


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Date: Sun, 10 Jan 1999 09:59:08 -0700 (MST)
From: Sylvia Rognstad <sylvia@netherworld.com>
To: h-costume@indra.com
Subject: Re: H-COST: Color associations/Mary magdalene
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-Poster: Sylvia Rognstad <sylvia@netherworld.com>

> -Poster: <aquazoo@patriot.net>
>      The idea that Mary Magdalen was a prostitute is actually combining 
> her life story with that of other women, some of whom were prostitutes. A 
> good book is _Mary Magdalen: Myth and Metaphor_, (sorry I forget the 
> author) which separates the myths. Magdalen's "truth" is that she knew 
> Jesus (she was practically an apostle). After His death, she became a 
> hermit in the desert, and her hair grew to such an extent as to hide her 
> nakedness. (that's a rather non-costume connection!)

Then where did the story in the Bible come from if she wasnt a prostitute?
Why were they trying to stone her to death and why did Jesus tell her to
go and sin no more, or whatever it was?

Sylvia R

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To: h-costume@indra.com
From: Brenda and Larry Clough <clough@erols.com>
Subject: Re: H-COST: Color associations/Mary magdalene
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-Poster: Brenda and Larry Clough <clough@erols.com>

At 09:59 AM 1/10/99 -0700, you wrote:
>
>-Poster: Sylvia Rognstad <sylvia@netherworld.com>
>
>> -Poster: <aquazoo@patriot.net>
>>      The idea that Mary Magdalen was a prostitute is actually combining 
>> her life story with that of other women, some of whom were prostitutes. A 
>> good book is _Mary Magdalen: Myth and Metaphor_, (sorry I forget the 
>> author) which separates the myths. Magdalen's "truth" is that she knew 
>> Jesus (she was practically an apostle). After His death, she became a 
>> hermit in the desert, and her hair grew to such an extent as to hide her 
>> nakedness. (that's a rather non-costume connection!)
>
>Then where did the story in the Bible come from if she wasnt a prostitute?
>Why were they trying to stone her to death and why did Jesus tell her to
>go and sin no more, or whatever it was?
>
>Sylvia R
>

That was "the woman taken in adultery," who is not named in any way.  There
is also Mary sister of Martha and Lazarus, and Mary Magdalen, the jazzy
liver who repented and crashed a dinner party so as to pour a jar of
expensive ointment over Jesus's feet.  Tradition says all three of these
ladies are the same person, but this isn't supported by the Bible, and you
could just as well assume they were three separate persons.

Brenda
--
Brenda Clough, author of HOW LIKE A GOD, a science fiction
novel from Tor Books    <http://www.sff.net/people/Brenda>

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Date: Sun, 10 Jan 1999 10:02:33 -0800
To: h-costume@indra.com
From: lilinah@grin.net
Subject: Re: H-COST: 15" waists - any surviving garments?
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-Poster: lilinah@grin.net

Carolyn Kayta Barrows wrote:
>
>I own an 1898 bodice which is so small that the smaller of my daughters
>couldn't wear it after she was about 5 or 6 (I tried it on her once about
>then).  The waist is about 22" measured by the waist band, hook to eye.
>And I have looked at the waist measurements of the garments in Nancy
>Bradfield's Costume In Detail, which go back to the 1700's.
>
>I believe 22"-teensy,  I just don't believe 15"-teensy.  If this were
>anything like common I would expect to encounter more teensy-waist antique
>garments in collections.  I have seen none.  Has anyone else on this list?
>(real question here, not rhetorical - I really want to know)

I'm 5 foot 1 inch tall. From about age 11 until i got pregnant at age 30, i
weighed 97 pounds and had no eating disorders-i loved ice cream and
cheeses, besides healthful vegetables. My natural measurements were
36-22-36 inches, with a 32 inch back and narrow shoulders. I fit into a
number of vintage garments from around either side of the turn of the
century (19th to 20th, that is) without corseting. Fitting into modern
clothes, however, wasn't always easy, since they're designed for less of a
difference between bust and waist or waist and hips (while bust and hips
are usually standardized as being pretty close to the same measurement). I
was thin, though, and while i might have been able to lace myself down a
few inches (i'd guess 4, since i don't mind very tight lacing), i don't
think i could have tight-laced myself down a full 7 inches.

However, if one looks carefully at late-19th century photos of women with
amazingly tiny waists, one can see that many photos have been retouched.
They could paint on the pictures even then, often hand-coloring them, and
they could touch-up photo images, as well. Thus often the claims of these
women (usually, uh, "artistes") to astonishingly tiny waists were more
"bragging" than real.

Lilinah


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From owner-h-costume@indra.com  Sun Jan 10 13:48:10 1999
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From: "Henk 't Jong" <scapreel@tip.nl>
To: <h-costume@indra.com>
Subject: Re: H-COST: color question and portraits
Date: Sun, 10 Jan 1999 19:56:57 +0100
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-Poster: "Henk 't Jong" <scapreel@tip.nl>

Henk & Pauline 't Jong
tScapreel
Medieval Advisors
Dordrecht, Netherlands

Hi all,

Kayta wrote: 
> The 'paint only' idea makes sense when the artist (Medieval) is
> illuminating a manuscript from memory, has a limited palate to work from,
> and uses his colours pure without mixing.  Some of their illos are very
> cartoony and not very believable  for actual fabric colour.  The
silk-like
> reds and blues they used for painting wool garments, which don't take dye
> like silk does, are what I would mean by 'paint only' colours.
> 
Indeed, you should never take the colours in miniatures as the 100 %
authentic real colours of the costumes represented. They might be, however,
the nearest the artist could get. A lot of these pictures had symbolical or
biblical themes anyway and costume for these themes was more or less
stylised. Old testament persons wore a kind of carnavalesk costume with
lots of pointy hats (Jew-hats), the new testament pictures had sort of
toga's for the disciples and a lot of byzantine-like liturgical clothing up
to ca 1300, in classical illustration there was a of gold armour, etc. Only
when there are soldiers, peasants and burghers depicted you can get close
to the costume of the day. And sometimes portraits of contemporary persons
(mostly princes) are meant to be represented... (see below).

The farther you get into the middle ages the richer the palette became, the
richer the patron the more colours the artist would be able to use.
Painters have always mixed colours, but some mixed them more than others.
Around 1300 there was a rule which has kept on until the late 15th c-early
16th c; there is a middle colour, most of the time the pure pigment and
binder, a darker one; the pure colour mixed with black for the shadow, and
a lighter one mixed with white for the lights, with pure white for the
high-lights.

> But after the Flemish painters (and others) had introduced the kind of
> painting where they were looking at real things and painting them as they
> saw them, I agree with you.  The palette was larger by then, if only by
> mixing.  But the Medieval illuminaters mostly didn't do portraits from
life
> anyway.

Already in the 9th c there are portraits of several emperors and kings of
the Karolingian line which look pretty realistic. There are also some very
small inked portraits of Egbert, bishop of Trier in two very different
books which both show that he was cross-eyed. But I give you; real
portraits in painting only started in about the second quarter of the 14th
c, although sculpture of the 12th and 13th c already show some remarkable
portraits of kings, queens and nobles. The miniatures of the late 14th to
all of the 15th c are very rich in very realistic portraits.

Hope this helps,

Henk
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From owner-h-costume@indra.com  Sun Jan 10 14:09:56 1999
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From: "Penny E. Ladnier" <penny.creative.outlets@erols.com>
To: "Costume DC" <costumedc@onelist.com>
Subject: H-COST: Williamsburg Festival Week
Date: Sun, 10 Jan 1999 14:11:48 -0500
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-Poster: "Penny E. Ladnier" <penny.creative.outlets@erols.com>

Williamsburg  (Virginia) Festival Week is February 25-28, 1999  There are
four shows that go on at the same time:
Mid Atlantic Quilt Festival X
Mid Atlantic Wearable Art Festival V
Williamsburg Vintage Fashion & Accessories Show V (opens Feb. 26)
Mid Atlantic Fiber Art Fair III (opens Feb. 26)

Detailed information can be found at:
http://www.quiltfest.com/wfw/wfwhome.htm

I have gone to this festival for the past two years and had a blast.  I have
also had the opportunity to meet many people from email lists.  So if you
are going let me know.  I will be there the 27-28.

On my website I have pictures from the Wearable Arts Show at
http://www.costumegallery.com/Hoffman/Challenge.html  Make sure to click on
the garments to see details of that item.

Later...Penny
http://www.costumegallery.com



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From owner-h-costume@indra.com  Sun Jan 10 15:45:53 1999
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Date: Sun, 10 Jan 1999 12:53:33 -0800
To: h-costume@indra.com
From: "Carol J. Bell Cannon" <cjcannon@greymists.com>
Subject: Re: H-COST: 15" waists - any surviving garments?
In-Reply-To: <l03130302b2be97e536a6@[208.202.189.119]>
References: <4.1.19990107165438.00b8c5e0@pop.slip.net>
 <3694C347.F46BBBE5@nash.tds.net>
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-Poster: "Carol J. Bell Cannon" <cjcannon@greymists.com>

At 10:02 AM 1/10/99 -0800, you wrote:
>
>-Poster: lilinah@grin.net
>
>Carolyn Kayta Barrows wrote:
>>
>>I own an 1898 bodice which is so small that the smaller of my daughters
>>couldn't wear it after she was about 5 or 6 (I tried it on her once about
>>then).  The waist is about 22" measured by the waist band, hook to eye.
>>And I have looked at the waist measurements of the garments in Nancy
>>Bradfield's Costume In Detail, which go back to the 1700's.
>>
>>I believe 22"-teensy,  I just don't believe 15"-teensy.  If this were
>>anything like common I would expect to encounter more teensy-waist antique
>>garments in collections.  I have seen none.  Has anyone else on this list?
>>(real question here, not rhetorical - I really want to know)
             I'm not sure whether it was Carolyn or Lilinah who wrote the I
don't believe paragraph above.  My maternal grandmother grew up just after
that time.  Like the Chinese binding of feet, the ladies in the South at
least were laced into their corsets so tightly sometimes that their ribs
started to misplace and overlap.  My grandmother's aunt tried to do it to
her when my grandmother was a young woman, and my grandmother, being in
pain and being rather strongwilled, cut the ties that bound her in and
refused to wear the device again.  But many women, then as now, went with
the fashionable, not what would have been healthy/comforbable.  Carol
Cannon, repeating to you what my maternal grandmother told me when I was
myself a child
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From owner-h-costume@indra.com  Sun Jan 10 19:06:50 1999
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From: "Gia Gavino-Gattshall" <ggavino@serv.net>
To: "Costume List" <h-costume@indra.com>
Subject: H-COST: successful Candle wax removal 
Date: Sun, 10 Jan 1999 16:11:54 -0800
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-Poster: "Gia Gavino-Gattshall" <ggavino@serv.net>

A success story from me, finally!

At a feast this December I accidentally dragged my white chemise sleeve
through the green candle not only putting it out, but smearing a goodly
amount into the material!

Alas!  Woe!

But H-Costume to the rescue!  It just happened that a few days after I done
the deed, the list started to post remedies for this laundering challenge.

I stuck the chemise out in the garage in my large freezer.  My good husband
woke me up at midnite to ask me if I wanted the chemise in the freezer ( you
should have *seen* the look on his face!!! *guffaw* It was worth him waking
me up; if I hadn't been so sleepy I would have laughed right then and there.
But I digress)

I explained to him that one of the ladies of the H-list said to put the
garment in the freezer and then scrape off as much as you could; and another
lady of the list said to put the waxy part over steam and then the rest will
melt off and then launder.  And I went back to sleep...

Bless his heart...he did both for me so when I woke up the next morning the
candle wax was not only gone but I had to *really* search to find which
sleeve had the wax on it!

Bless you all for all your help over the year!  You have been an fount of
information and inspiration.

Gia/Giacinta
costuming nut


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From owner-h-costume@indra.com  Sun Jan 10 19:16:02 1999
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Subject: Re: H-COST: successful Candle wax removal 
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-Poster: Chantal Pecourt <chanty@idsi.net>

You can also place a paper bag under and over the spot and iron it with a
low iron. Works wonders


Chantal


At 04:11 PM 1/10/99 -0800, you wrote:
>
>-Poster: "Gia Gavino-Gattshall" <ggavino@serv.net>
>
>A success story from me, finally!
>
>At a feast this December I accidentally dragged my white chemise sleeve
>through the green candle not only putting it out, but smearing a goodly
>amount into the material!
>
>Alas!  Woe!
>
>But H-Costume to the rescue!  It just happened that a few days after I done
>the deed, the list started to post remedies for this laundering challenge.
>
>I stuck the chemise out in the garage in my large freezer.  My good husband
>woke me up at midnite to ask me if I wanted the chemise in the freezer ( you
>should have *seen* the look on his face!!! *guffaw* It was worth him waking
>me up; if I hadn't been so sleepy I would have laughed right then and there.
>But I digress)
>
>I explained to him that one of the ladies of the H-list said to put the
>garment in the freezer and then scrape off as much as you could; and another
>lady of the list said to put the waxy part over steam and then the rest will
>melt off and then launder.  And I went back to sleep...
>
>Bless his heart...he did both for me so when I woke up the next morning the
>candle wax was not only gone but I had to *really* search to find which
>sleeve had the wax on it!
>
>Bless you all for all your help over the year!  You have been an fount of
>information and inspiration.
>
>Gia/Giacinta
>costuming nut
>
>
> _________________________________________________________________
> To leave this mailing list, send mail to majordomo@indra.com
> with the message UNSUBSCRIBE H-COSTUME


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From: Margretta de <smstrss@yahoo.com>
Subject: Re: H-COST: Side lacing
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-Poster: Margretta de <smstrss@yahoo.com>


> -Poster: "Kristen M. Sieber" <lady_gawain@yahoo.com>
> 
> When putting side lacings in a cotehardie/kirtle/or 
> whatever it's called, how far down the waist/hip does 
> the opening go?

Probably to the widest point of your hip, the idea being that it
should be tight to the body from there upwards.  
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From: Margretta de <smstrss@yahoo.com>
Subject: Re: H-COST: help with men's and women's German Ren
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-Poster: Margretta de <smstrss@yahoo.com>







> -Poster: MaggiRos@aol.com

> >  I usually cut slashes with an Exacto knife.   Some 
> >  people swear by rotary cutters.
> For small cuttes I use a charp. No dragging against 
> the fabric, Just a sharp bang, and voila! 


I just wanted to note that I read once that it was common to treat the
line to be slashed with wax, then cut down the middle, reducing fraying.
==

Margretta de Vries

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From: Margretta de Vries <smstrss@yahoo.com>
Subject: Re: H-COST: 10' Rule
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-Poster: Margretta de Vries <smstrss@yahoo.com>


> -Poster: Kent & Kat <kdyer@nash.tds.net>

> I think so...I pay $1/yd for antique satin and the 
> most *I've* paid for fabric is $3/yd there.  They 
> have broadcloth for $0.50/yd.  
> The other has upholstery fabric as well as the more 
> usual fabric one finds in a regular store.  It also 
> has a bridal section, a button bin where I've found 
> good pewter buttons every visit They have a lot of 
> mill ends so what you encounter varies from visit to 
> visit although some things are 'normal' such as the 
> cotton velvet (yum...I need more money!).  

Wow, this sounds like a great place!  Could you give an address and
directions?  
==

Margretta de Vries

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From: "David Stamper & Eve Harris" <evedave1@netcom.ca>
To: <h-costume@indra.com>
Subject: H-COST: Wax and Fraying
Date: Sun, 10 Jan 1999 21:12:28 -0500
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-Poster: "David Stamper & Eve Harris" <evedave1@netcom.ca>

Margretta de Vries said:

>I just wanted to note that I read once that it was common to treat the
>line to be slashed with wax, then cut down the middle, reducing fraying.


Janet Arnold talks about treating velvet edges on seams with wax to stop
fraying. She mentions that the turned over edges on one extant garment still
had waxy feeling stuff on them, blackened by the cut velvet pile. I had the
initial impression that wax was applied after cutting, but it makes sense
that one would apply it first.

I have read somewhere that wardrobe accounts mention a special kind of wax
used for this express purpose. Does anyone know its composition? What would
be considered a mundane substitute?

(New question)

Susan Carrol-Clark asked a while ago about sourcing silk and linen thread
(we are both Toronto/Ontario area), but I don't remember a response to her
query. The linen thread I do know is available is a fairly coarse grade. Is
there a good on-line source for notions of this nature?

I am particularly interested because I have embarked on an A&S challenge
(THE leather jerkin from Janet Arnold + relevant accessories) and I really
want to do a good job on every detail. In fact, where can I source iron
needles/authentic-style awls etc.?

(New question again, I'll stop soon)

16th century period finishing techniques. I find it hard to tell from my
sources exactly how garments were finished. I'll be discussing this as well
with excellent costumers in my area; in the meantime, are there any good
texts that lay this out? Stitching and finishing techniques seem to have
different names in different books and different countries; I want to get
things straight.

Thank you!

Eve Harris

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From owner-h-costume@indra.com  Sun Jan 10 21:06:15 1999
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-Poster: ZBLGilbert@aol.com

My copy of "Metropolitan Fashions of the 1880s: From the 1885 Butterick
Catalog" shows the various patterns and lists the waist sizes available.  For
example, there is a pattern for No. 9712, the Ladies' Walking Skirt, ". . . in
9 sizes for ladies from 20 to 36 inches waist measure."  All the patterns that
list waist measurements generally show the same range.  (For comparison, my
new Laughing Moon 1909-1913 Day and Evening Dress pattern is available for
waists 21 to 40 inches.)  This suggests that the average woman who might buy
patterns from Butterick in 1885 had a waist between 20 and 36 inches.  I am
far from an expert in any historical period at all, but this looks like good
evidence that waists are about the same now as then.  Does my logic need
help?  Is the Butterick reprint a poor source of information?

Zelda

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From owner-h-costume@indra.com  Sun Jan 10 22:42:13 1999
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Date: Sun, 10 Jan 1999 21:29:58 -0600
From: Sheridan Alder <alderweb@vaxxine.com>
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-Poster: Sheridan Alder <alderweb@vaxxine.com>

Hello everyone:

I was browsing in a bookstore yesterday, and came across the following
"techniques-type" title which list members might find useful:

Wolf, Colette. Art of Manipulating Fabric. Iola, Wisconsin: Krause
Publishing.
 (Sorry, forgot to jot down the date of publication!)  ISBN:
0-8019-8496-3

Krause Publishing
700 E. State St.
Iola, WI
(715) 445-2214
$ 38.95 Canadian.

I didn't have time to study it (idiot girl forgot to turn off her
headlights
while grocery shopping and was putting in time until spouse arrived,
jumper
cables in hand, to rescue her in middle of yet ANOTHER snowstore!) but
it appeared to be chock-a-block with information to achieve those funky
little details original period garments boast.  For example, the author
gave
instructions on how to do serpentine ruchings similar to those on 18th
century gowns, not to mention more gathers, ruches,  puckerings and
pleatings than you could shake a stick at.

It appeared to be directed to an audience of crafty-types or home
decorators,
rather than costumers (but as I said before, I whipped through, and
scampered
off back to the dead car, before I was throttled with the
afore-mentioned
jumper cables) but I was impressed with the impressive range and variety
of effects
the author covered.

Dang, I've gone and  talked myself into going back and buying it.

Sheridan Alder





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From owner-h-costume@indra.com  Sun Jan 10 23:17:14 1999
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-Poster: Julie Adams <savaskan@sd.znet.com>

While one can use a variety of things to prevent fraying, the thickness and
body of the fabric is so important to the final look. Always do a test
check before counting on it to look right. The problem with using wax to
prevent fraying is that most modern velvets have too thin a base fabric and
it does not usually have the body to support the slashes.

Julie Adams


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From owner-h-costume@indra.com  Mon Jan 11 00:28:52 1999
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From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: Re: H-COST: 15" waists - any surviving garments?
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>

It's relatively easy to imagine you corseted down to 18", at least long
enough to win a bet.  It's the 15" thing I am still having trouble with.
And yes, I have seen the retouched photos too.  The only one I believe not
to be retouched are the ones of Polaire, which you can see in a book called
The Unfashionable Human Body.

>I'm 5 foot 1 inch tall. From about age 11 until i got pregnant at age 30, i
>weighed 97 pounds and had no eating disorders-i loved ice cream and
>cheeses, besides healthful vegetables. My natural measurements were
>36-22-36 inches, with a 32 inch back and narrow shoulders. I fit into a
>number of vintage garments from around either side of the turn of the
>century (19th to 20th, that is) without corseting. Fitting into modern
>clothes, however, wasn't always easy, since they're designed for less of a
>difference between bust and waist or waist and hips (while bust and hips
>are usually standardized as being pretty close to the same measurement). I
>was thin, though, and while i might have been able to lace myself down a
>few inches (i'd guess 4, since i don't mind very tight lacing), i don't
>think i could have tight-laced myself down a full 7 inches.
>
>However, if one looks carefully at late-19th century photos of women with
>amazingly tiny waists, one can see that many photos have been retouched.
>They could paint on the pictures even then, often hand-coloring them, and
>they could touch-up photo images, as well. Thus often the claims of these
>women (usually, uh, "artistes") to astonishingly tiny waists were more
>"bragging" than real.
>
>Lilinah
>
>
> _________________________________________________________________
> To leave this mailing list, send mail to majordomo@indra.com
> with the message UNSUBSCRIBE H-COSTUME



Kayta
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Date: Sun, 10 Jan 1999 21:30:39 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: Re: H-COST: help with men's and women's German Ren
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>


>I just wanted to note that I read once that it was common to treat the
>line to be slashed with wax, then cut down the middle, reducing fraying.

I refer to fraying as letting threads loose parallel to the cut edge.  If
you cut on the bias, the ends frizz a little but don't really fray.  

There's a Bronzino portrait in the Metropolitan Museum which occours in
several costume books.  It's of a guy wearing a slashed black doublet-thing
with big sleeves.  He has one hand on his hip and he looks straight out of
the picture at you.  When I saw that in person I got as close as I could
talk the security guard into letting me get, and (bless him) Bronzino had
painted the frizzed edges of the slashes!  I took a couple of close-up
pictures of the painting right under the subject's arm where this shows
best as the doublet wraps around his ribs.  Same frizzing on the sleeves.
It really sticks out - maybe an eighth of an inch in a life-sized painting.

I seem to recall Janet Arnold talking about a 'searing candle' used to deal
with cut edges of velvet by waxing.  This was along the cut edges of the
velvet, not where it was slashed (no slashing on the garment).  Very much
like serging velvet today to get it to behave itself.  It must have been
done after the garment pieces were cut because there were loose bits of
pile stuck in the wax.  This is on one of the pairs of pluderhosen of the
Sture family, either in the photo section or in the pattern section, I
don't remember which.


Kayta
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Date: Sun, 10 Jan 1999 21:16:42 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: Re: H-COST: 15" waists - any surviving garments?
In-Reply-To: <E0zzRr6-0000KZ-00@beaver.slip.net>
References: <l03130302b2be97e536a6@[208.202.189.119]>
 <4.1.19990107165438.00b8c5e0@pop.slip.net>
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>

I wrote both of the >>> paragraphs below.  And it's easy to believe
'waist-binding'.  European foot binding is still practiced if you are
female - compare a two-year-old child's foot with a "normal" pointey-toed
woman's shoe to see what I mean.

>>>I own an 1898 bodice which is so small that the smaller of my daughters
>>>couldn't wear it after she was about 5 or 6 (I tried it on her once about
>>>then).  The waist is about 22" measured by the waist band, hook to eye.
>>>And I have looked at the waist measurements of the garments in Nancy
>>>Bradfield's Costume In Detail, which go back to the 1700's.
>>>
>>>I believe 22"-teensy,  I just don't believe 15"-teensy.  If this were
>>>anything like common I would expect to encounter more teensy-waist antique
>>>garments in collections.  I have seen none.  Has anyone else on this list?
>>>(real question here, not rhetorical - I really want to know)

>             I'm not sure whether it was Carolyn or Lilinah who wrote the I
>don't believe paragraph above.  My maternal grandmother grew up just after
>that time.  Like the Chinese binding of feet, the ladies in the South at
>least were laced into their corsets so tightly sometimes that their ribs
>started to misplace and overlap.  My grandmother's aunt tried to do it to
>her when my grandmother was a young woman, and my grandmother, being in
>pain and being rather strongwilled, cut the ties that bound her in and
>refused to wear the device again.  But many women, then as now, went with
>the fashionable, not what would have been healthy/comforbable.  Carol
>Cannon, repeating to you what my maternal grandmother told me when I was
>myself a child
> _________________________________________________________________
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> with the message UNSUBSCRIBE H-COSTUME



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From owner-h-costume@indra.com  Mon Jan 11 00:30:43 1999
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Date: Sun, 10 Jan 1999 21:34:38 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: Re: H-COST: Skeletons and stays
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>

Nothing wrong with your logic, but this does not prove that only full-grown
women used the patterns.  A couple of replies to my original post have
referred to 15-year-olds with small waists I bet they didn't keep past 18.

I am still waiting for actual measurements from someone.  This question
keeps coming up, and I would dearly love having hard evidence, if only to
win bets with.

>My copy of "Metropolitan Fashions of the 1880s: From the 1885 Butterick
>Catalog" shows the various patterns and lists the waist sizes available.  For
>example, there is a pattern for No. 9712, the Ladies' Walking Skirt, ". . . in
>9 sizes for ladies from 20 to 36 inches waist measure."  All the patterns that
>list waist measurements generally show the same range.  (For comparison, my
>new Laughing Moon 1909-1913 Day and Evening Dress pattern is available for
>waists 21 to 40 inches.)  This suggests that the average woman who might buy
>patterns from Butterick in 1885 had a waist between 20 and 36 inches.  I am
>far from an expert in any historical period at all, but this looks like good
>evidence that waists are about the same now as then.  Does my logic need
>help?  Is the Butterick reprint a poor source of information?



Kayta
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From: WICKHAM  Raymond <raymond.wickham@customs.gov.au>
To: h-costume@indra.com
Subject: RE: H-COST: Skeletons and stays
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-Poster: WICKHAM  Raymond <raymond.wickham@customs.gov.au>

Two observations about the age concept
> A couple of replies to my original post have
> referred to 15-year-olds with small waists I bet they didn't keep past
> 18.
> 
	The marriageable ie age when women would dress to impress was as
low as twelve
	But also the women were in these garments during their formative
growing years 

	Just an illustration of the possibilities are the Javaese women
with the extended necks (by rings)
	Sears mentions the change from corsetry to body braces with full
body structure and posture control 

	Ray  


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-Poster: kat@grendal.rain.com


> Janet Arnold talks about treating velvet edges on seams with wax to stop
> fraying. She mentions that the turned over edges on one extant garment still
> had waxy feeling stuff on them, blackened by the cut velvet pile. I had the
> initial impression that wax was applied after cutting, but it makes sense
> that one would apply it first.

She also mentioned finding gum arabic at the edges in a lecture I 
went to.

> I have read somewhere that wardrobe accounts mention a special kind of wax
> used for this express purpose. Does anyone know its composition? What would
> be considered a mundane substitute?

I would think that they would have used bees wax, unless you are 
talking about 19th century when paraffin wax became available. The 
bees wax might be mixed with something (perhaps the gumarabic that 
J.A. mentioned or some other sort of resin.) An alternative might be 
to use fray check (try it on a sample first) or one of the ones which 
start out looking like white glue. Put it only on the back side, not 
the pile, and let it soak in, not just on the very surface. I've 
found this helpful when I don't want to have fraying in the slashing. 

Sometimes you want some fraying so that it shows more. I still have a 
late 16th Spanish coat which I remember spending a long period of 
time scraping at the slashing so that they would be visible. I've had 
it now for many years and it still looks like it did when we made it. 
It's also successfully been to my drycleaners at least 4 times. (The 
thing is so heavy that the first time I sent it they had to use 3 
hangers taped together to hold it. Now I send it to the dry cleaners 
with the hanger with it so they don't have to go through that again.)

> 16th century period finishing techniques. I find it hard to tell from my
> sources exactly how garments were finished. I'll be discussing this as well
> with excellent costumers in my area; in the meantime, are there any good
> texts that lay this out? Stitching and finishing techniques seem to have
> different names in different books and different countries; I want to get
> things straight.

Janet Arnold (Patterns of Fashion: 1560-1620) is probably the best 
source I know for that period's finishing techniques. The best thing 
is that it shows photographs of the seams so that you can see the 
stitching. No translation needed!

For an earlier treatment of seams/finishing (which I find doesn't 
look that different from the Arnold stuff but is specifically 
discussed and diagrammed, unlike in the Arnold book) is the Museum of 
London's Finds from Medieval London series: Clothing and Textiles 
1150-1450 (or something close to that.)

Kat 

Kat(June Russell)
kat@grendal.rain.com
Heu! Tintinnuntius meus Sonat!
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Date: Mon, 11 Jan 1999 04:11:11 +0000
Subject: Re: H-COST: "Art of Manipulating Fabric"
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-Poster: "Connie Carroll" <Connie.Bunny@worldnet.att.net>

I vought my copy at Pennsic as did my freidn. It's a great book.

Kassandra NickKraken

> 
> -Poster: Sheridan Alder <alderweb@vaxxine.com>
> 
> Hello everyone:
> 
> I was browsing in a bookstore yesterday, and came across the
> following "techniques-type" title which list members might find
> useful:
> 
> Wolf, Colette. Art of Manipulating Fabric. Iola, Wisconsin: Krause
> Publishing.
>  (Sorry, forgot to jot down the date of publication!)  ISBN:
> 0-8019-8496-3
> 
> Krause Publishing
> 700 E. State St.
> Iola, WI
> (715) 445-2214
> $ 38.95 Canadian.
> 
> I didn't have time to study it (idiot girl forgot to turn off her
> headlights while grocery shopping and was putting in time until
> spouse arrived, jumper cables in hand, to rescue her in middle of
> yet ANOTHER snowstore!) but it appeared to be chock-a-block with
> information to achieve those funky little details original period
> garments boast.  For example, the author gave instructions on how to
> do serpentine ruchings similar to those on 18th century gowns, not
> to mention more gathers, ruches,  puckerings and pleatings than you
> could shake a stick at.
> 
> It appeared to be directed to an audience of crafty-types or home
> decorators, rather than costumers (but as I said before, I whipped
> through, and scampered off back to the dead car, before I was
> throttled with the afore-mentioned jumper cables) but I was
> impressed with the impressive range and variety of effects the
> author covered.
> 
> Dang, I've gone and  talked myself into going back and buying it.
> 
> Sheridan Alder
> 
> 
> 
> 
> 
>  _________________________________________________________________
>  To leave this mailing list, send mail to majordomo@indra.com with
>  the message UNSUBSCRIBE H-COSTUME
JUST CALL ME MISTRESS BUNNY
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From: Teddy <Teddy@mdx.ac.uk>
Subject: H-COST: Paint Colours v. Dye Colours (was field-trip report...)
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-Poster: Teddy <Teddy@mdx.ac.uk>


> - -Poster: MaggiRos@aol.com
> 
> Responding as a stuffy purist...

> >  several gowns in the above exhibit of the same or nearly the same color
> >  but I don't know if this is a paint-only color or if there would have
> >  been a dye color like this in the mid-15th century. Any ideas?
> >  
> I've never been a big fan of this "paint only" idea. That's usually
> someone's way of excusing their own lack of care.  Silk can take
> pretty much any color, in an astonishing range of shades.  And if it
> were a portrait of ME, I'd expect the man to paint it as I wore it,
> dammit!  I like that gown!  
> 
> But in any case, as you describe it, I see no reason why this should
> be thought of as a "made up " color. Still, as I say, I'm not
> convinced that any color in a painting was impossble to a dyer, or
> that any patron would want it to be.

What she said.

I'm sure *this* subject has come up on h-costume before too, but...

I agree with MaggiRos on this one.  A lot of the old arguements that 
the colour in a painting wouldn't indicate the colour of the actual 
garment doesn't really hold much water (especially in portraiture). 

To be fair, it is *possible* that the paint may have faded or changed 
over time.  Perfectly reasonable, but to take an example of one of 
the arguements I've heard again and again... "Pink isn't a period 
colour, the pink of that garment was probably a *red* when it was 
painted..."  Strangely enough, the people who trot out this one (and 
similar comments), don't have much of an answer when I reply,  
"Really?  The fading's very *even* and why haven't the reds worn by 
other people in that painting faded to pink as well?"

The idea does have *some* merit, but (Usual Disclaimer: In *my* 
opinion) it's not as strong and argument as is often claimed.

Probably, the best thing to do if you realy *are* uncertain, is to 
check out as many other paintings of the period for similar 
shades/colours, thay can't *all* have faded in the same way.  
Personally, I tend to believe the colour as seen unless there is some 
reason *not* to (like parts of the painting obviously having faded, 
or other bits of the figure(s), like skin tome etc,  having a 
faded/washed out look that might indicate a substantial degree of 
fading).

Teddy
(Trustworthy Evil-Bunny of Destiny, part-time Knave and Creature of
air and darkness, apparently!)
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Subject: Re: H-COST: Skeletons and stays
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-Poster: pame@nothinbut.net

 
> -Poster: Carolyn Kayta Barrows <kayta@slip.net>
> 
> Fascinating.  And you have measured her at this small corseted size?  I'm
> impressed.
> 
> >Our Maggie is 15 years old. She is 6 ft. tall. She also weighs about 
> >119 on a good day. She is not anorexic-she eats like mad but she just 
> >came like that (built like her dad, certainly not moi!) She can 
> >easily corset down to 15 or 16 inches.

Yes-she has been measured recently.  She is used to being in garb as 
she has been active in the SCA since birth (actually, she wasn't that 
active in it at birth-she just kinda lay there). Now, she is 
fascninated with corseting as a fashion thing as well. I do not 
approve of tight corseting. Neither is she permitted to dress ala 
Madonna but we did give it a shot and she can get to 15 1/2 and still 
breath and still function. Hope this helps to dispels your disbelief. 
By the way, when she can find things she is a size three in skirts, 
dresses etc and still borrows her eight year old sister's shirts when 
she can get away with it.
p.

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Subject: Re: H-COST: 15" waists - any surviving garments?
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-Poster: Elizabeth Higgins <Lissa@duchess.globalnet.co.uk>

At 21:11 10/01/99 -0800, you wrote:
>
>-Poster: Carolyn Kayta Barrows <kayta@slip.net>
>
>It's relatively easy to imagine you corseted down to 18", at least long
>enough to win a bet.  It's the 15" thing I am still having trouble with.
>And yes, I have seen the retouched photos too.  The only one I believe not
>to be retouched are the ones of Polaire, which you can see in a book called
>The Unfashionable Human Body.

Take a look in The Guinness Book of Records. Ethel Grainger had a 15 inch
waist
until she died in the 50's (I think) and there is also Britta Fleming in
Germany
(who I met last year) and a very few others who have 15 inch waists. Such a
things
has, and still exists so why not also durung the 19th century as well?

Elizabeth.


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

aquazoo@patriot.net wrote:
>      Hope's point make's sense as the green dress images may have been
> painted at a time when Magdalen was thought to be a prostitute. Her
> distinguishing characteristic, however, is her long hair. Is the
> interesting headgear arrangement of a great quantity of hair?

I didn't really want to imply that the Magdalen/green dress/prostitute
connection was valid. And I still wonder about the history of the idea
that puts the lady in Greensleeves in the role of prostitute, since
there appears, to me at least, to be no internal evidence in the song to
suggest that. 

Now I'm beginning to wonder how far back the idea of Lazarus' sister
Mary, the foot-annointing Magdalen, the "stoning" harlot, and any other
assorted non-Virgin Mary's all being the same person actually goes. In
any event, if you take a look at 15th century northern paintings,
particularly of the descent from the cross or the pieta, the composition
is often Mary in blue flowing gown (or somtimes red) and Mary Magdalen
often in a fitted (modern?) gown, often with pinned on sleeves, and
often in a more complicated, or sometimes "foreign-looking" headdress
and holding that little pot. Sometimes she wears green, but that might
be color balancing in the painting more than anything else. But more
often the identifying features are the ones mentioned. (Hmmm...time to
go back though the images and do a more consistent survey.) 
Oh yes, and my favorite "weird hat" Magdalen has to be Rogier van der
Weyden's, in the right wing of the Brach family triptych, available at 
http://sunserv.kfki.hu/arthp/html/w/weyden/altar/index.html
She looks like she's taken vinyl floor base cove and wrapped it around
her head. (That's not a suggestion for how to construct this particular
headdress! :-)  )

By the way, another costume caveat I've heard is "don't wear yellow,
especially yellow sleeves, because that's a prostitutes color." Where
does that one come from?

- Hope

--------------
hope.greenberg@uvm.edu, U of Vermont, http://www.uvm.edu/~hag
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From owner-h-costume@indra.com  Mon Jan 11 09:53:36 1999
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Subject: H-COST: Fwd: The 13th century
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-Poster: Lisa Scovel <reenactment.guide@miningco.com>


Oh, generous listers....

Can any of you recommend good sites for the 13th century French this woman is
looking for?

>Hi,  I am trying to find out information about the 13th century.  I am
>especially trying to find information about costume for a 13th century
>French woman.  I can easily find sites for earlier and later periods but
>nothing about the century I am interested in.  Pictures and patterns for
>13th century garb would be extremely helpful.  Can you point me in the
>right direction?
>
>Thanks
>Michelle Newton

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From owner-h-costume@indra.com  Mon Jan 11 10:15:31 1999
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From: "Susannah Eanes" <oh_susannah@hotmail.com>
To: h-costume@indra.com
Subject: H-COST: ACW Gloves for Daywear
Date: Mon, 11 Jan 1999 07:22:00 PST
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-Poster: "Susannah Eanes" <oh_susannah@hotmail.com>

Does ANYONE have a good idea or source for ACW-era reproduction gloves?  
I would love a nice pair of plain, dove-grey ones for day wear.  I am 
not afraid to undertake the making of these gloves if I could find a 
good pattern, preferable from an original pair.  Help, help!

Thanks,
Susannah

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From owner-h-costume@indra.com  Mon Jan 11 10:20:26 1999
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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: H-COST: RE: !6th Century finishing techniques
Date: Sun, 10 Jan 1999 23:11:46 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

The Museum of Fine Arts in Boston has a man's leather
doublet and breeches from late 1500's early 1600's France in
their collection.  It's a day's drive from you, but you have
the option of having a look at it personally by appointment.
You might also check the excellent Canadian museums in your
area as well as the Cleveland Art Museum (which has an
excellent textile collection, tho I don't know about their
costumes) to determine if they have similar garments for you
to examine.  With the new MAX Kodak 800 film, or even lower
ASA, it should be possible  to get usable snapshots without
flash to study back in the costume shop.    Handheld camera
with the right ASA film should be fine---or sketch
everything!

Hope H. Dunlap

-----Original Message-----
From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
Behalf Of David Stamper & Eve Harris
Sent: Sunday, January 10, 1999 9:12 PM
To: h-costume@indra.com
Subject: H-COST: Wax and Fraying



-Poster: "David Stamper & Eve Harris" <evedave1@netcom.ca>

Margretta de Vries said:

>I just wanted to note that I read once that it was common
to treat the
>line to be slashed with wax, then cut down the middle,
reducing fraying.


Janet Arnold talks about treating velvet edges on seams with
wax to stop
fraying. She mentions that the turned over edges on one
extant garment still
had waxy feeling stuff on them, blackened by the cut velvet
pile. I had the
initial impression that wax was applied after cutting, but
it makes sense
that one would apply it first.

I have read somewhere that wardrobe accounts mention a
special kind of wax
used for this express purpose. Does anyone know its
composition? What would
be considered a mundane substitute?

(New question)

Susan Carrol-Clark asked a while ago about sourcing silk and
linen thread
(we are both Toronto/Ontario area), but I don't remember a
response to her
query. The linen thread I do know is available is a fairly
coarse grade. Is
there a good on-line source for notions of this nature?

I am particularly interested because I have embarked on an
A&S challenge
(THE leather jerkin from Janet Arnold + relevant
accessories) and I really
want to do a good job on every detail. In fact, where can I
source iron
needles/authentic-style awls etc.?

(New question again, I'll stop soon)

16th century period finishing techniques. I find it hard to
tell from my
sources exactly how garments were finished. I'll be
discussing this as well
with excellent costumers in my area; in the meantime, are
there any good
texts that lay this out? Stitching and finishing techniques
seem to have
different names in different books and different countries;
I want to get
things straight.

Thank you!

Eve Harris


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-Poster: kat@grendal.rain.com


> By the way, another costume caveat I've heard is "don't wear yellow,
> especially yellow sleeves, because that's a prostitutes color." Where
> does that one come from?

Sumptuary laws in some areas of Europe. They were definitely not 
across the board but very specific to the area where it was found. In 
other places it was a different sign like a specific kind of cloak or 
a specific kind of headgear or a badge which had to be worn in a 
visible manner. If they were rich enough they could buy dispensations 
not to have to wear the identifying color/object.

These laws are often found side by side with laws about special thing 
which were required to be worn by Jews.


Kat 

Kat(June Russell)
kat@grendal.rain.com
Heu! Tintinnuntius meus Sonat!
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From: Kent & Kat <kdyer@nash.tds.net>
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-Poster: Kent & Kat <kdyer@nash.tds.net>

Has anyone else heard of red striped stockings being
associated with prostitutes?

Kat
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From owner-h-costume@indra.com  Mon Jan 11 12:44:54 1999
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From: Emma Elizabeth Lehman <00217146@bigred.unl.edu>
To: h-costume@indra.com
Subject: Re: H-COST: Skeletons and stays
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-Poster: Emma Elizabeth Lehman <00217146@bigred.unl.edu>


For the record: How old is she now?
 
> Yes-she has been measured recently.  She is used to being in garb as 
> she has been active in the SCA since birth (actually, she wasn't that 
> active in it at birth-she just kinda lay there). Now, she is 
> fascninated with corseting as a fashion thing as well. I do not 
> approve of tight corseting. Neither is she permitted to dress ala 
> Madonna but we did give it a shot and she can get to 15 1/2 and still 
> breath and still function. Hope this helps to dispels your disbelief. 
> By the way, when she can find things she is a size three in skirts, 
> dresses etc and still borrows her eight year old sister's shirts when 
> she can get away with it.
> p.
> 

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



kat@grendal.rain.com wrote:

> > By the way, another costume caveat I've heard is "don't wear yellow,
> > especially yellow sleeves, because that's a prostitutes color." Where
> > does that one come from?
>
> Sumptuary laws in some areas of Europe.

Ah yes! I should have been more specific. What I should have asked was:

1) has anyone come across proscriptions on wearing the color yellow, or
associations of that color with any particular class or group, in any
sumptuary laws between, let's say 1100 and 1600 for western europe? Anybody
have a resource for Italian early-16th cent. sumptuary laws?

2) has anyone heard of the association of the color yellow with prostitutes
in any modern-day re-enactment/re-creation groups and if so, any details
about where the idea comes from? That is, is this another one of those
costume myths?

I especially want to know if I need to tear those big yellow sleeves off my
early 16thc. Italian ren.

Thanks!

- Hope

-------------
hope.greenberg@uvm.edu, U of Vermont, http://www.uvm.edu/~hag

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From owner-h-costume@indra.com  Mon Jan 11 14:17:57 1999
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-Poster: seamstrix@juno.com

According to "London-The Synfulle Citie" by E.J Burford:

In 1352 the mayor, Adam Francis, procured an Act of Parliment, again
seeking control over City prostitution and repeating the ancient
proscription,'....that no known Whore shoulde be so bold as to wear any
Hood or Attire on her head except ray(striped red cloth of diverse
colors)....' this proved just as ineffective as all previous injunctions.



Karen
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From owner-h-costume@indra.com  Mon Jan 11 14:18:06 1999
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From: "Susan Carroll-Clark" <sclark@chass.utoronto.ca>
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Subject: H-COST: Re:   Colours
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-Poster: "Susan Carroll-Clark" <sclark@chass.utoronto.ca>

Greetings!

I think the thing to keep in mind when examining the issue about whether
such and so colour was really worn is to use both kinds of evidence--e.g.
paintings and knowledge about dye technology--together.  For instance, using
the pink example--if we have examples of people wearing it and we also know
that it's possible to get pinks with the dye technology of the period, we
might be able to safely conclude that such pink clothing might have actually
existed.  From there, we can keep adding in new evidence (e.g. written
accounts, archaeological records) to broaden the picture.

However, if it's simply impossible (or extremely difficult) to get a certain
colour using the technology of the period, we can probably safely conclude
that we're running into a case of dyes and pigments being different.  This
can get very subtle--for instance, while the depiction of a red dress in a
painting (particularly an earlier one) might indicate that red dresses were
worn, it does not mean that the shade of red was exactly the same as in the
painting.

Susan Carroll-Clark

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From owner-h-costume@indra.com  Mon Jan 11 14:22:12 1999
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From: Orlaith <Orlaith@usa.net>
To: <h-costume@indra.com>
Subject: H-COST: RE: 15" waists 
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-Poster: Orlaith <Orlaith@usa.net>

I have a 15 year old daughter that I just made an Elizabethan corset for, and
>her un-corseted bust and waist measurements are 34" and 21", respectively,
and
>no, she definately does NOT have any kind of eating disorder......
>
>
><sigh>
>
>I don't think I was ever that tiny after about the age of 8, so she must be a
>throwback to an earlier generation of willowy women.....
>

Okay, someone please change the subject before I get REALLY depressed.  I was
just trying to figure out what was making my purse so heavy and ran across a
tape measure.  Remembering this thread, I thought "I wonder what 15 inches
really looks like...Oh that's not very big...I wonder....what MY NECK IS 15
INCHES!!!!"

Beth
Orlaith of Storvik

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-Poster: Lynn Downward <ldownward@mail.cho.org>

>-Poster: Kent & Kat <kdyer@nash.tds.net>
>
>Has anyone else heard of red striped stockings being
>associated with prostitutes?
>
>Kat


No, only with the Wicked Witch of the West.

LynnD
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From owner-h-costume@indra.com  Mon Jan 11 15:05:08 1999
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From: "Wylie A. & Gail D. Smith" <wyliesmith@isomedia.com>
To: <h-costume@indra.com>
Subject: =?iso-8859-1?Q?RE:_H-COST:_Hello=2C_I=B4m_new?=
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-Poster: "Wylie A. & Gail D. Smith" <wyliesmith@isomedia.com>

Welcome to the group, Diana. You will learn a lot, but it's pretty chatty
here, so be prepared! <g>

~Gail
Seattle, WA

> -----Original Message-----
> From: owner-h-costume@indra.com [mailto:owner-h-costume@indra.com]On
> Behalf Of Andrea Clef
> Sent: Thursday, January 07, 1999 11:22 AM
> To: h-costume@indra.com
> Subject: H-COST: Hello, I´m new
>
>
>
> -Poster: Andrea Clef <a.clef@ndh.net>
>
> Hello costume friends!
>
> With this I just want to introduce myself to you as I`m new on the list.
>
> I`m not a costume artist myself ( at least I haven`t tried yet...) but I
> `m very
> interested in the topic of costume history.
>
> My name`s Diana, I`m 21 years old and live in Cologne, Germany.
> I love reenactment and I`m active in medieval and baroque groups here in
> Europe.
> But I`m also interested in other decades, like the 19th and early 20th
> century.
>
> If you have special questions concerning European things, feel free to
> ask, I`ve got
> some good literature and could look for things.
>
> Your talk is in every case very interesting!
>
> Many greetings,
> Diana
>
> P.S.: Somebody else living in Europe here?
>
>  _________________________________________________________________
>  To leave this mailing list, send mail to majordomo@indra.com
>  with the message UNSUBSCRIBE H-COSTUME
>

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From owner-h-costume@indra.com  Mon Jan 11 15:07:38 1999
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-Poster: Andrea Clef <a.clef@ndh.net>

Hello costume friends!

With this I just want to introduce myself to you as I`m new on the list.

I`m not a costume artist myself ( at least I haven`t tried yet...) but I
`m very
interested in the topic of costume history.

My name`s Diana, I`m 21 years old and live in Cologne, Germany.
I love reenactment and I`m active in medieval and baroque groups here in
Europe.
But I`m also interested in other decades, like the 19th and early 20th
century.

If you have special questions concerning European things, feel free to
ask, I`ve got
some good literature and could look for things.

Your talk is in every case very interesting!

Many greetings,
Diana

P.S.: Somebody else living in Europe here?

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Subject: H-COST: Spanish costumes
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-Poster: ches <ches@io.com>

Cna anyone help them out or send me info to point them in the right
direction?

Sincerely,
Ches
aka Chiara Francesca
Steward of Coronation XL
<http://www.io.com/~ches/coronation99>

-----Original Message-----
From: Phil and Karan Foster < phil@globeco.net <mailto:phil@globeco.net>>
To: ches@io.com <mailto:ches@io.com> < ches@io.com <mailto:ches@io.com>>
Date: Sunday, January 10, 1999 10:42 AM
Subject: Clothing


I am interested in the clothing of Scotland around the 1350s. Can you
maybe give me a direction to look. Book titles would be helpful.
Thank you and have a good week.

Phil
(ska Angus Forrest)

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From owner-h-costume@indra.com  Mon Jan 11 16:00:46 1999
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From: "Sue W" <suew@excite.co.uk>
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Subject: H-COST: Stays, the body - backboards
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-Poster: "Sue W" <suew@excite.co.uk>


Cornelia referred to backboards and steel collars.  
I have read that backboards were in general domestic
 use in the 18  and early 19C . See chapter 1 of 
W Thackery "Vanity Fair".  There are examples in 
UK museums - Cambridge and Birmingham.  These devices
 were either held across the back by the handles, 
or were strapped on.  The late 19C doctor H Bigg 
said they could cause unnecessary suffering, so 
they must have been unpleasant to wear.  Their 
continued use must be have been seen as effective,
 I suppose you learn always to be bolt upright 
(but would not your stays do that ?)

I was fascinated that Cornelia's reference  to 
dancing manuals includes an exercise for lengthening 
the collar bones - thereby expanding the chest !  
Can you really do that, or was it wishful thinking?

Sue


This E-mail brought to you by Excite's free E-mail service.
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From owner-h-costume@indra.com  Mon Jan 11 16:58:30 1999
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Date: Mon, 11 Jan 1999 17:04:24 -0500
From: Melanie Wilson <MelanieWilson@compuserve.com>
Subject: H-COST: 13th Century
To: "INTERNET:h-costume-digest@indra.com" <h-costume-digest@indra.com>
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-Poster: Melanie Wilson <MelanieWilson@compuserve.com>

Look at Circa 1265 sites

http://homepages.strath.ac.uk/~cjis28/Medieval/index.html

and

http://www.shef.ac.uk/misc/personal/cs1jwh/c1265/index.html

I'm a member of c1265 too, which is 13th C English/Welsh, if she wants to
contact me further I have some bits and pieces, mainly paper based I could
send

Mel
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From owner-h-costume@indra.com  Mon Jan 11 17:34:49 1999
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From: Heather Law <lynnx@mc.net>
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-Poster: Heather Law <lynnx@mc.net>



To get subscribed to the SCA garb list, send your request to
 
        Gwenllyan@aol.com

She will subscribe you as soon as they get the server thing straightened
out, or find another one.

In service,

Heather/Sister Ed




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From owner-h-costume@indra.com  Mon Jan 11 17:48:11 1999
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Date: Mon, 11 Jan 1999 14:47:04 -0600
From: Kent & Kat <kdyer@nash.tds.net>
Organization: Oak, Ash, and Thorn
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-Poster: Kent & Kat <kdyer@nash.tds.net>

Hope Greenberg wrote:
> 
> Oh yes, and my favorite "weird hat" Magdalen has to be
> Rogier van der Weyden's, in the right wing of the Brach
> family triptych, available at
> http://sunserv.kfki.hu/arthp/html/w/weyden/altar/index.html

This link didn't work for me...is there an alternate?

Kat
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From: "Jessica Wilbur" <jessica@pop.net>
To: h-costume@indra.com
Date: Mon, 11 Jan 1999 16:55:29 -0500
Subject: Re: H-COST: help with men's and women's German Ren
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-Poster: "Jessica Wilbur" <jessica@pop.net>



> 
> -Poster: MaggiRos@aol.com
> 
> In a message dated 1/7/99 12:35:00 PM Pacific Standard Time,
> margo@directcon.net writes:
> 
> > 
> >  I usually cut slashes with an Exacto knife.   Some people swear by rotary
> >  cutters.
> 
> For small cuttes I use a charp. No dragging against the fabric, Just a sharp
> bang, and voila! 

OK, at the risk of showing my ignorance, I *have* to ask: What's a charp??

Thanks!
--Jessica
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From owner-h-costume@indra.com  Mon Jan 11 19:00:21 1999
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From: "David Stamper & Eve Harris" <evedave1@netcom.ca>
To: <h-costume@indra.com>
Subject: Re: H-COST: Color associations
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-Poster: "David Stamper & Eve Harris" <evedave1@netcom.ca>

>By the way, another costume caveat I've heard is "don't wear yellow,
>especially yellow sleeves, because that's a prostitutes color." Where
>does that one come from?
>
>- Hope


Lives of the Courtesans mentions yellow veils in particular as being an
identifier for prostitutes in Italy. I'm not sure, but I think it also
mentioned that a couple of the city states had legislation in this vein,
along with the "no pearls" rule for courtesans, who of course paid no heed
to such laws.

Eve Harris

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Date: Mon, 11 Jan 1999 17:33:45 -0700 (MST)
From: Sylvia Rognstad <sylvia@netherworld.com>
To: h-costume@indra.com
Subject: Re: H-COST: Color associations
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-Poster: Sylvia Rognstad <sylvia@netherworld.com>

> 
> -Poster: "David Stamper & Eve Harris" <evedave1@netcom.ca>
> Lives of the Courtesans mentions yellow veils in particular as being an
> identifier for prostitutes in Italy. I'm not sure, but I think it also
> mentioned that a couple of the city states had legislation in this vein,
> along with the "no pearls" rule for courtesans, who of course paid no heed
> to such laws.
I seem to recall yellow being associated with courtesans from way back in
ancient Rome.  Anyone familiar with that notion?
SylviA

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From: starsinger@webtv.net (theresa sorrell)
Date: Mon, 11 Jan 1999 17:54:02 -0700 (MST)
To: h-costume@indra.com
Subject: Re: H-COST: Color associations
Message-ID: <13748-369A9D2A-1156@mailtod-142.iap.bryant.webtv.net>
In-Reply-To: Sylvia Rognstad <sylvia@netherworld.com>'s message of Mon, 11
	Jan 1999 17:33:45 -0700 (MST)
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-Poster: starsinger@webtv.net (theresa sorrell)

< I seem to recall yellow being associated with courtesans from way back
in ancient Rome. Anyone familiar with that notion? SylviA>



The closet to yellow I can remember is the prostitutes were supposed to
be blonde or wear a blond wig.  Anyone familiar with this one?

Starsinger

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-Poster: AliaClaire@aol.com

In a message dated 1/11/99 2:25:48 PM EST, seamstrix@juno.com writes:

<< 
 In 1352 the mayor, Adam Francis, procured an Act of Parliment, again
 seeking control over City prostitution and repeating the ancient
 proscription,'....that no known Whore shoulde be so bold as to wear any
 Hood or Attire on her head except ray(striped red cloth of diverse
 colors)....' this proved just as ineffective as all previous injunctions.
  >>

This is interesting...I can't quote anything specific, although I can try and
find some references if anyone's intersted, that the custom of prostitues
going with their heads uncovered lasted all the way through the American Civil
War, when it was a sign of decency fo females to keep their heads covered.

-Alison Stacy
AliaClaire@aol.com
Canton, Ohio
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Date: Mon, 11 Jan 1999 16:52:30 -0800
To: h-costume@indra.com
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-Poster: Lynn Downward <ldownward@mail.cho.org>

>-Poster: Sylvia Rognstad <sylvia@netherworld.com>
>
>>
>> -Poster: "David Stamper & Eve Harris" <evedave1@netcom.ca>
>> Lives of the Courtesans mentions yellow veils in particular as being an
>> identifier for prostitutes in Italy. I'm not sure, but I think it also
>> mentioned that a couple of the city states had legislation in this vein,
>> along with the "no pearls" rule for courtesans, who of course paid no heed
>> to such laws.
>I seem to recall yellow being associated with courtesans from way back in
>ancient Rome.  Anyone familiar with that notion?
>SylviA
>
I recall that in either ancient Greece or ancient Rome, prostitutes were
the only women to have blonde hair, but that's the only connection I can
remember.
LynnD
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From owner-h-costume@indra.com  Mon Jan 11 20:43:00 1999
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-Poster: Jennie Chancey <jchancey@rica.net>

Does anyone know anything about Millia Davenport's _The Book of Costume_
(two volumes)?  I have never heard of it before, but it looks like a
good one to purchase.  I'd appreciate any feedback!

Thanks,
Jennie
--
Sense and Sensibility
http://www.sensibility.com
winsome clothing with an old-fashioned appeal


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From owner-h-costume@indra.com  Mon Jan 11 21:21:07 1999
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From: "Franchesca Havas" <ches@io.com>
To: <h-costume@indra.com>
Subject: H-COST: Scottish costumes
Date: Mon, 11 Jan 1999 20:48:16 -0600
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-Poster: "Franchesca Havas" <ches@io.com>

Sorry wrong title to the wrong email, switched the same thing to the other
person, aaaugggghhh!

Sincerely,
Ches
aka Chiara Francesca
Steward of Coronation XL
http://www.io.com/~ches/coronation99

-----Original Message-----
From: ches <ches@io.com>
To: Multiple recipients of list H-COSTUME <h-costume@indra.com>
Date: Monday, January 11, 1999 2:44 PM
Subject: H-COST: Spanish costumes


:
:-Poster: ches <ches@io.com>
:
:Cna anyone help them out or send me info to point them in the right
:direction?
:
:Sincerely,
:Ches
:aka Chiara Francesca
:Steward of Coronation XL
:<http://www.io.com/~ches/coronation99>
:
:-----Original Message-----
:From: Phil and Karan Foster < phil@globeco.net <mailto:phil@globeco.net>>
:To: ches@io.com <mailto:ches@io.com> < ches@io.com <mailto:ches@io.com>>
:Date: Sunday, January 10, 1999 10:42 AM
:Subject: Clothing
:
:
:I am interested in the clothing of Scotland around the 1350s. Can you
:maybe give me a direction to look. Book titles would be helpful.
:Thank you and have a good week.
:
:Phil
:(ska Angus Forrest)
:
: _________________________________________________________________
: To leave this mailing list, send mail to majordomo@indra.com
: with the message UNSUBSCRIBE H-COSTUME
:

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-Poster: AlbraKat@aol.com

THAT should be one of the basics in your costumne library, M'Dear! It's
definite keeper!
Cheers---
Albra
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From owner-h-costume@indra.com  Mon Jan 11 22:56:47 1999
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-Poster: Appin1@aol.com

Jennie -- Buy it. It's one of those "must have" overview books.

Kathleen Norvell
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From owner-h-costume@indra.com  Mon Jan 11 23:43:53 1999
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Date: Mon, 11 Jan 1999 20:54:21 -0800
From: don and carolyn richardson <benrumson@worldnet.att.net>
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-Poster: don and carolyn richardson <benrumson@worldnet.att.net>

Connie Carroll wrote:

> It's a great book.
> 
> Kassandra NickKraken
> > Hello everyone:
> >
> > I was browsing in a bookstore yesterday, and came across the
> > following "techniques-type" title which list members might find
> > useful:
> >
> > Wolf, Colette. Art of Manipulating Fabric. Iola, Wisconsin: Krause
> > Publishing.
> >  (Sorry, forgot to jot down the date of publication!)  ISBN:
> > 0-8019-8496-3

It's definitely worth the money.  I bought my copy about 8 months ago at
Border's and it's worth its weight in gold IMHO.  

Carolyn
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From: WICKHAM  Raymond <raymond.wickham@customs.gov.au>
To: h-costume@indra.com
Subject: RE: H-COST: RE: 15" waists 
Date: Tue, 12 Jan 1999 16:25:49 +1100
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-Poster: WICKHAM  Raymond <raymond.wickham@customs.gov.au>

Has anyone interested in pursueing the things humans put their bodies
through for fashion 
The Museum of London has been running an interesting exhibition (with a
cheap mail order publication) on just this subject
http://www.museum-london.org.uk/MOLsite/menu.htm

Ray
"Victory or Defeat rests in God's hands; over Honour,
 We ourselves are Lord and Master."

>  
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Date: Mon, 11 Jan 1999 21:55:02 -0800
From: Cynthia Virtue <cvirtue@ricochet.net>
Organization: Virtue Ventures http://www.virtue.to
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Subject: Re: H-COST: Pigments, dyes, and the accuracy of paintings (was: color question)
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-Poster: Cynthia Virtue <cvirtue@ricochet.net>

That's a great posting, Robin, thank you!

> cannot be used to dye fabric. I am not a dyer, but people who have made
> medieval dyes their specialty have assured me that there is no dye
> equivalent for ultramarine blue.

Maybe not exactly equivalent, but I have seen some amazing blues quite close
to Ultramarine in the Devonshire Hunting Tapestries.  So they could get fairly
close, if not spot-on.

> jeweled hems.  Once I started seeing jeweled hems as a clue for the
> viewer, I found it helped with my readings of some more ambiguous works,
> such as the Lady with the Unicorn tapestries. But that's another lecture.

Do tell!

=-=-=-=-=
  "Such virtue hath my pen...."  -Shakespeare, Sonnet LXXXI
       "I knew this wasn't _my_ pen!"  --Cynthia Virtue
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From owner-h-costume@indra.com  Tue Jan 12 01:10:40 1999
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Date: Mon, 11 Jan 1999 21:36:56 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: Re: H-COST: RE: 15" waists 
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>


>Okay, someone please change the subject before I get REALLY depressed.  I was
>just trying to figure out what was making my purse so heavy and ran across a
>tape measure.  Remembering this thread, I thought "I wonder what 15 inches
>really looks like...Oh that's not very big...I wonder....what MY NECK IS 15
>INCHES!!!!"

Don't get me going about depressing sizes.  I grew up when 36-26-36 was
supposed to be the perfect set of measurements.  My ribs currently measure
larger around than that 36 part...


Kayta
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From owner-h-costume@indra.com  Tue Jan 12 01:11:17 1999
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Date: Mon, 11 Jan 1999 21:39:26 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: =?iso-8859-1?Q?Re:_H-COST:_Hello,_I=B4m_new?=
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>

Welcome Diana.  Many of us here like the 19th and 20th centuries too.  I
hope you like it here.

>Hello costume friends!
>
>With this I just want to introduce myself to you as I`m new on the list.
>
>I`m not a costume artist myself ( at least I haven`t tried yet...) but I
>`m very
>interested in the topic of costume history.
>
>My name`s Diana, I`m 21 years old and live in Cologne, Germany.
>I love reenactment and I`m active in medieval and baroque groups here in
>Europe.
>But I`m also interested in other decades, like the 19th and early 20th
>century.
>
>If you have special questions concerning European things, feel free to
>ask, I`ve got
>some good literature and could look for things.
>
>Your talk is in every case very interesting!
>
>Many greetings,
>Diana
>
>P.S.: Somebody else living in Europe here?


Kayta
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From owner-h-costume@indra.com  Tue Jan 12 01:20:37 1999
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Date: Mon, 11 Jan 1999 21:57:22 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: Re: H-COST: Need info about a costume book...
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>


>Does anyone know anything about Millia Davenport's _The Book of Costume_
>(two volumes)?  I have never heard of it before, but it looks like a
>good one to purchase.  I'd appreciate any feedback!

I have owned my copy (I have the edition with both volumes in one cover)
thru 40+ years and two bindings.  It is FULL of pictures (2,778 of them)
from original sources and of original garments, tho none in colour in my
copy.  I only wish the pictures were a little clearer/sharper, and didn't
abruptly end in about 1867.  Davenport is the one thing I would rescue from
the hypothetical house fire if there were only time to grab one thing
(right after making sure my kids got out safely, that is).

I un-humbly think it's the best one-book costume library anywhere.  I'm biased.

P.S.  Jennie - I think I owe you a Regency shoe pattern from a couple of
years ago. 


Kayta
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From owner-h-costume@indra.com  Tue Jan 12 01:20:51 1999
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Date: Mon, 11 Jan 1999 21:34:42 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: Re: H-COST: Re:   Colours
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>


>I think the thing to keep in mind when examining the issue about whether
>such and so colour was really worn is to use both kinds of evidence--e.g.
>paintings and knowledge about dye technology--together.  For instance, using
>the pink example--if we have examples of people wearing it and we also know
>that it's possible to get pinks with the dye technology of the period, we
>might be able to safely conclude that such pink clothing might have actually
>existed.  From there, we can keep adding in new evidence (e.g. written
>accounts, archaeological records) to broaden the picture.
>
>However, if it's simply impossible (or extremely difficult) to get a certain
>colour using the technology of the period, we can probably safely conclude
>that we're running into a case of dyes and pigments being different.  This
>can get very subtle--for instance, while the depiction of a red dress in a
>painting (particularly an earlier one) might indicate that red dresses were
>worn, it does not mean that the shade of red was exactly the same as in the
>painting.

I keep hearing the one about pink not being period, but I never believed
that one.  It's too easy to get, if only by dying with the lees of the red.


Kayta
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From owner-h-costume@indra.com  Tue Jan 12 01:34:41 1999
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Subject: Re: H-COST: Re:   Colours
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-Poster: Joan M Jurancich <joanj@quiknet.com>

At 09:34 PM 01/11/1999 -0800, Carolyn Kayta Barrows wrote:
>
>-Poster: Carolyn Kayta Barrows <kayta@slip.net>
>
>
>>I think the thing to keep in mind when examining the issue about whether
>>such and so colour was really worn is to use both kinds of evidence--e.g.
>>paintings and knowledge about dye technology--together.  For instance, using
>>the pink example--if we have examples of people wearing it and we also know
>>that it's possible to get pinks with the dye technology of the period, we
>>might be able to safely conclude that such pink clothing might have actually
>>existed.  From there, we can keep adding in new evidence (e.g. written
>>accounts, archaeological records) to broaden the picture.
[snip]
>
>I keep hearing the one about pink not being period, but I never believed
>that one.  It's too easy to get, if only by dying with the lees of the red.
>
>
>Kayta
[snip cute sig]

And I have a copy of a portrait of Sir Francis Drake, yes the famouse
circumnavigator, in a full suit (doublet or jerkin, cloak, venetians, and
nether hose) of rather bright pink. The portrait was painted "by an unknown
artist", c. 1580-85. The original is in the National Portrait Gallery in
London. (I was able to purchase a 1997 Tudor Portraits calendar of NPG
paintings, but I haven't seen any subsequent ones. Has anyone seen a 1998 or
1999 edition?)

Joan Jurancich
aka Lady Dorothy (Hastings) Devereux [RPFN], mother [in-law] to Lady Essex
joanj@quiknet.com

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From owner-h-costume@indra.com  Tue Jan 12 01:34:44 1999
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-Poster: Joan M Jurancich <joanj@quiknet.com>

At 09:34 PM 01/11/1999 -0800, Carolyn Kayta Barrows wrote:
>
>-Poster: Carolyn Kayta Barrows <kayta@slip.net>
>
>
>>I think the thing to keep in mind when examining the issue about whether
>>such and so colour was really worn is to use both kinds of evidence--e.g.
>>paintings and knowledge about dye technology--together.  For instance, using
>>the pink example--if we have examples of people wearing it and we also know
>>that it's possible to get pinks with the dye technology of the period, we
>>might be able to safely conclude that such pink clothing might have actually
>>existed.  From there, we can keep adding in new evidence (e.g. written
>>accounts, archaeological records) to broaden the picture.
[snip]
>
>I keep hearing the one about pink not being period, but I never believed
>that one.  It's too easy to get, if only by dying with the lees of the red.
>
>
>Kayta
[snip cute sig]

And I have a copy of a portrait of Sir Francis Drake, yes the famouse
circumnavigator, in a full suit (doublet or jerkin, cloak, venetians, and
nether hose) of rather bright pink. The portrait was painted "by an unknown
artist", c. 1580-85. The original is in the National Portrait Gallery in
London. (I was able to purchase a 1997 Tudor Portraits calendar of NPG
paintings, but I haven't seen any subsequent ones. Has anyone seen a 1998 or
1999 edition?)

Joan Jurancich
aka Lady Dorothy (Hastings) Devereux [RPFN], mother [in-law] to Lady Essex
joanj@quiknet.com

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From owner-h-costume@indra.com  Tue Jan 12 02:55:15 1999
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-Poster: MaggiRos@aol.com

In a message dated 1/10/99 9:31:14 AM Pacific Standard Time, clough@erols.com
writes:

> 
>  -Poster: Brenda and Larry Clough <clough@erols.com>
>  
>  At 09:59 AM 1/10/99 -0700, you wrote:
>  >
>  >-Poster: Sylvia Rognstad <sylvia@netherworld.com>
>  >
>  >> -Poster: <aquazoo@patriot.net>
>  >>      The idea that Mary Magdalen was a prostitute is actually combining 
>  >> her life story with that of other women, some of whom were prostitutes.
A 
> 
>  >> good book is _Mary Magdalen: Myth and Metaphor_, (sorry I forget the 
>  >> author) which separates the myths. Magdalen's "truth" is that she knew 
>  >> Jesus (she was practically an apostle). After His death, she became a 
>  >> hermit in the desert, and her hair grew to such an extent as to hide her
>  >> nakedness. (that's a rather non-costume connection!)
>  >
>  >Then where did the story in the Bible come from if she wasnt a prostitute?
>  >Why were they trying to stone her to death and why did Jesus tell her to
>  >go and sin no more, or whatever it was?
>  >
>  >Sylvia R
>  >
>  
>  That was "the woman taken in adultery," who is not named in any way.  There
>  is also Mary sister of Martha and Lazarus, and Mary Magdalen, the jazzy
>  liver who repented and crashed a dinner party so as to pour a jar of
>  expensive ointment over Jesus's feet.  Tradition says all three of these
>  ladies are the same person, but this isn't supported by the Bible, and you
>  could just as well assume they were three separate persons.
>  
>  Brenda

Precisely, Brenda, and thank you.

Interested parties may want to look at "Mary Magdalen: Myth and Metaphor" by
Susan Haskins (Harcourt, 1993   ISBN 0-15-157765-X) for a slightly over-stated
but certainly thorough explanation of why the Magdalen was NOT a prostitute
and why she had to become one.  

For historical interpretive purposes, unhappily, we have to remember that she
came to be used as an exemplum of a fallen woman redeemed, and has been for
1800 years or so, regardless of what the documentation.  A pity, but there it
is.  The iconography is what it is.  You know how hard it is for a girl to
recover from a bad reputation. :)

MaggiRos

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From owner-h-costume@indra.com  Tue Jan 12 03:05:40 1999
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-Poster: MaggiRos@aol.com

I'm delighted to get the arguments for "paint only" made clearer. I get so
tired of the broad dismissal of portrait colors, just because someone can't
imagine, but without backing it up. 

>From what I'm seeing here, by the time of the mid-16th century Mannerists,
it's probably no longer safe to presume the color of a noblewoman's carnation
gown, or an earl's peacock blue hose, is paint-only. 

On the one hand, I'm delighted to be reliably instructed, even when it means
having to re-think what I thought!  On the other, I can now make my stand on
the Elizabethans (Ok, not counting the eyes-and-ears dress) with more
confidence than bravado.  I come out ahead, either way :-)

You can't get this kind of conversation just anywhere!  

MaggiRos
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-Poster: MaggiRos@aol.com

In a message dated 1/11/99 3:15:00 PM Pacific Standard Time, jessica@pop.net
writes:

> 
>  OK, at the risk of showing my ignorance, I *have* to ask: What's a charp??
>  

Oh damn, I'm sorry. A typoe PLUS an ommitted word.  I meant a sharp chisel. 

The real joke, I suppose, is that the chisels I used to have for this purpose
were made by one of the finest knifemakers on the planet (not just my
opinion), Jim Hrisoulas, aka Master Atar Baktar. That much talent probably
isn't necessary, although it did mean custom sizes :).

Sorry for introducing an element of random confusion without meaning to. (I'd
always rather be confusing on purpose!)

MaggiRos
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-Poster: Schmitt100@aol.com

In a message dated 1/10/99 6:24:01 PM Central Standard Time, owner-h-costume-
digest@indra.com writes:

> Then where did the story in the Bible come from if she wasnt a prostitute?
>  Why were they trying to stone her to death and why did Jesus tell her to
>  go and sin no more, or whatever it was?
>  
>  Sylvia R

Take a look at your Bible - that woman was NEVER identified; tradition/myth
ascribed her as Mary M.

**********************
Rebecca Schmitt
So many books, so little time
schmitt100@aol.com
**********************
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From owner-h-costume@indra.com  Tue Jan 12 10:10:41 1999
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Date: Tue, 12 Jan 1999 15:16:08 +0000 (GMT)
From: Teddy <Teddy@mdx.ac.uk>
Subject: H-COST: Cuff puzzle in painting
To: h-costume-digest@indra.com
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-Poster: Teddy <Teddy@mdx.ac.uk>

Hello all,

I was glancing at a few pictures on the web and in one noticed 
something I find puzzling so was hoping the collective knowledge of 
the listmembers would throw some light on the matter.

http://www.costumegallery.com/pompadour/material.1500.151x_1.jpg

This picture (of a "nobleman" by Jan Gossaert) shows a richly dressed 
man wearing a white brocade gown over a black slashed doublet.  Under 
the doublet is a white shirt which is very full and puffs through the 
slashes in the doublet body and sleeves beautifully.

The shirt has a high collar (which is either a band of brocade or is 
highly embroidered) and what looks like matching cuffs (possibly 
embroidered with pearls) are visible through the slashes on the 
doublet sleeve at both wrists.

What puzzles me is that under the ruffles at the wrists of the shirt 
there is a row of tabs/picadils.  I thought a first that the subject 
might be wearing gloves, and these tabs were decorating the opening 
at the wrist, but on closer inspection, the finger-nails are visible 
on at least the left hand of the sitter.

Is this man wearing another, long sleeved, garment *under* that 
beautiful shirt, the only part visible being the picadils/tabs at 
the wrist??

Can anyone shed some light on this matter?

Thanks in advance


Teddy
(Trustworthy Evil-Bunny of Destiny, part-time Knave and Creature of
air and darkness, apparently!)
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-Poster: Laurel Wilson <lwilson16@earthlink.net>



:

> In a message dated 1/11/99 3:15:00 PM Pacific Standard Time, jessica@pop.net
> writes:
>
> >
> >  OK, at the risk of showing my ignorance, I *have* to ask: What's a charp??
> >
>
> Oh damn, I'm sorry. A typoe PLUS an ommitted word.  I meant a sharp chisel.
>

I too thought a 'charp' was a tool I had never heard of, but unlike Jessica, I
wasn't smart enough to ask--I guess this proves one should *always* ask!

Lauri

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From owner-h-costume@indra.com  Tue Jan 12 10:30:35 1999
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From: "Susan Carroll-Clark" <sclark@chass.utoronto.ca>
To: <h-costume-digest@indra.com>
Subject: H-COST: Re:   h-costume-digest V4 #31
Date: Tue, 12 Jan 1999 10:40:44 -0500
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-Poster: "Susan Carroll-Clark" <sclark@chass.utoronto.ca>

Greetings!

>- -Poster: Melanie Wilson <MelanieWilson@compuserve.com>
>
>Look at Circa 1265 sites
>
>http://homepages.strath.ac.uk/~cjis28/Medieval/index.html
>
>and
>
>http://www.shef.ac.uk/misc/personal/cs1jwh/c1265/index.html
>
>I'm a member of c1265 too, which is 13th C English/Welsh, if she wants to
>contact me further I have some bits and pieces, mainly paper based I could
>send

I wanted to mention that I've seen the c1265 site and I'm extremely jealous.
This is almost precisely the same period, places, and people I concentrate
on.  I certainly enjoy the SCA but there are times I wish for a group here
in North America where everyone knew who Simon de Montfort was.

Cheers--
Susan Carroll-Clark
Mistress Nicolaa de Bracton of Leicester


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From owner-h-costume@indra.com  Tue Jan 12 10:43:29 1999
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From: "Susan Carroll-Clark" <sclark@chass.utoronto.ca>
To: <h-costume-digest@indra.com>
Subject: H-COST: Re:   Colours
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-Poster: "Susan Carroll-Clark" <sclark@chass.utoronto.ca>

Greetings!

>I keep hearing the one about pink not being period, but I never believed
>that one.  It's too easy to get, if only by dying with the lees of the red

I hope you didn't think I was claiming it wasn't period in my post.  I've
seen some absolutely amazing schocking pinks created by lichen dyes--colours
you intially look at and say "that can't possibly have been period!" but
yep, entirely possible.

One thing it's difficult to know is whether being able to obtain a dye
through a period process necessarily means it was used, or how much it was
used.  This is where looking at paintings, household accounts, and
achaeological finds can help.  For instance, we have so many archaeological
finds which were dyed with madder that I think it's a safe bet that if you
can get it with madder, there's a good possibility it was used.  But a pink
from madder (from the remnants of a red dyebath) will look different than a
pink from lichen.  In a more general sense, simply knowing that green or
purple were possible colours won't tell you which shades of green or purple
were meant.  (My favourite here is "Imperial purple" which isn't the
eggplanty or grapey shade we think of as "royal purple" today, but rather a
deep purplish red.  Fabulous colour....)

Susan Carroll-Clark

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From: "Jessica Wilbur" <jessica@pop.net>
To: h-costume@indra.com
Date: Tue, 12 Jan 1999 11:08:49 -0500
Subject: Re: H-COST: help with men's and women's German Ren
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-Poster: "Jessica Wilbur" <jessica@pop.net>


> 
> -Poster: MaggiRos@aol.com
> 
> In a message dated 1/11/99 3:15:00 PM Pacific Standard Time, jessica@pop.net
> writes:
> 
> > 
> >  OK, at the risk of showing my ignorance, I *have* to ask: What's a charp??
> >  
> 
> Oh damn, I'm sorry. A typoe PLUS an ommitted word.  I meant a sharp chisel. 
> 
Oh, whew! No wonder I was so confused....  =D  That makes *much* more sense!

> The real joke, I suppose, is that the chisels I used to have for this purpose
> were made by one of the finest knifemakers on the planet (not just my
> opinion), Jim Hrisoulas, aka Master Atar Baktar. That much talent probably
> isn't necessary, although it did mean custom sizes :).
> 
> Sorry for introducing an element of random confusion without meaning to. (I'd
> always rather be confusing on purpose!)

Oh, random confusion always brightens my day...   =)

--Jessica
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Date: Tue, 12 Jan 1999 11:16:01 -0500 (EST)
From: Robin Netherton <robin@dgsys.com>
To: h-costume@indra.com
Subject: Re: H-COST: Re:   Colours
In-Reply-To: <006a01be3e43$c2f32c40$89a06480@dsc>
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-Poster: Robin Netherton <robin@dgsys.com>


Someone wrote:
> >I keep hearing the one about pink not being period, but I never believed
> >that one...

Oddly, I've heard this in regard to paints as well as dyes! Evidently from
people who haven't looked at very many primary sources -- pink is common
in medieval manuscripts, in many wonderful shades, and achievable in a
variety of ways.

I wonder if this urban myth originated with someone misunderstanding the
quite accurate statement that the *word* "pink" is not medieval (or
Elizabethan). Rather, the word is period, but not as a color name. The OED
(I just checked) has nine different main headers for pink, and many more
sub-meanings. The first citation for a color name meaning "light red" is
1681 (and you can figure it was in use slightly before that, but only
slightly). Oddly, the same word was defined as a "yellowish-green" pigment
starting a bit earlier in the 1600s. (The citations are interesting worth
reading.)

The OED cites the origins of the color-name use as "obscure." One theory
I've heard is that it came from the the name of certain flowers known as
"pinks" that happened to be that color. The flowers, in turn, may have
drawn their name because their ruffled edges resembled the small slashes
on "pinked" garments. The OED is dubious about this -- it cites a pre-1600
meaning of "pinking" as putting decorative holes or eyelets in fabric, but
not as edge-slashing till *much* later. Funny, I always assumed that the
Elizabethans called that fringy stuff "pinking." I would have to delve
deeper on that one to see if the OED missed some references that were
common in tailor's usage and wardrobe accounts. But the OED doesn't miss
much. 

Oops, sorry, I digressed. Anyway, I can see someone teaching in, say, a
poetry-writing class that "pink" is "not period," and that statement
getting taken out of context and mistakenly applied to clothing or
painting. 

--Robin, who really should be doing work and not reading this list

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From owner-h-costume@indra.com  Tue Jan 12 11:28:05 1999
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-Poster: kat@grendal.rain.com


> I keep hearing the one about pink not being period, but I never believed
> that one.  It's too easy to get, if only by dying with the lees of the red.

I think that pink is period but dying with the lees was something 
that was avoided. I don't have time to look it up now but I've seen 
statutes where it was illegal to sell them, letters where it was 
discussed as something to be avoided as low class and numerous things 
which indicated that the medievals preferred intense colors requiring 
several overdyings to make sure that it was as intense as possible. 
True pastels were not popular until late Elizabethan. The pinks that 
I have seen in tapestries were not baby pink but intense pinks (deep 
roses, brilliant peach, almost fluorescent pinks in some cases.)


Kat 

Kat(June Russell)
kat@grendal.rain.com
Heu! Tintinnuntius meus Sonat!
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-Poster: someone@eskimo.com

I went to see it yesterday, and I concur with the other comments I've 
seen here -- wonderful movie, wonderful costumes.

The only thing that caught my eye as a possible false note (and I'm 
willing to accept the possibility that it's just my eye, and not 
really anything not in period) is the shade of many of the blues used 
in the costumes.

I have extensive experience dyeing with indigo, alone and in 
combination with other natural dyes, and many of the blues in the 
film didn't fit in with the range I'm accustomed to seeing.  For the 
most part, they were more in the teal/aqua/turquiose range than I 
expected.  There was also something (a piece of cloth?  a costume?) 
hanging on a rack backstage at the theatre that was a clear, 
jewel-toned sapphire.

So, what is the opinion of those on this list in the know?  Are those 
blues wrong for the period?  Was it just my eyes?  Possibly a bad 
print of the film, with the colors off from what they were when 
filmed?  Any other ideas?

Pam Dotson
Everett, WA  USA
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From owner-h-costume@indra.com  Tue Jan 12 12:59:07 1999
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-Poster: Cynthia Virtue <cvirtue@ricochet.net>

Two years ago the ChicagoInst. of Art had a show of ecclisiastic garments,
including many from the 1400s.  One that I recall strongly was dark pink
(fairly intense, but not flourescent!) with quarter-sized metalic gold
polka dots on it.  Not at all what one would think of for this time
period, but there it was, right in front of me.  I believe it was heavy
silk.

--
Cynthia Virtue
Virtue is her own reward.

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From: "KATE M BUNTING" <K.M.Bunting@derby.ac.uk>
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Subject: H-COST: uncovered heads
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-Poster: "KATE M BUNTING" <K.M.Bunting@derby.ac.uk>

Alison Stacy wrote: 
This is interesting...I can't quote anything specific, although I can try and
find some references if anyone's intersted, that the custom of prostitues
going with their heads uncovered lasted all the way through the American Civil
War, when it was a sign of decency fo females to keep their heads covered.

-
In  the Sealed Knot  society (English Civil War!) the question of whether only whores went bareheaded  resurfaces from time to time. I think the general consensus is that, while it was usual for both sexes to wear something on the head indoors and out, it isn't a hard and fast rule.  Illustrations show well-dressed ladies of the 17th century with only a small hair decoration. I don't remember seeing any documentary references to prostitutes' headgear, or lack of,  from any period. Anyone else?

Kate Bunting
King's Lifeguard of Foote, SK
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From owner-h-costume@indra.com  Tue Jan 12 13:54:28 1999
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From: Christina Conklin <textiles@earthlink.net>
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-Poster: Christina Conklin <textiles@earthlink.net>

First posting to this group . . .

I am interested in creating historic ethnic costumes, like 16th c.
Mughal robes, traditional Turkish jackets, ceremonial Korean gowns and
the like.

I have the little book Cut My Cote (long out of print) and am looking at
buying Max Tilke's 1922 book on Oriental Costumes. But it costs over
$100 (also long OOP), and the on-line version at Univ of Indiana just
isn't the same. Is this the best book to get, or are there other
resources people would recommend? I'm interested in all parts of the
world, but particularly Asia, in the largest sense of that word.

Also are there others out there doing this sort of thing, either for fun
or profit? Any purveyors or web sites you all would recommend?? Many
thanks,

Christy Conklin

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From owner-h-costume@indra.com  Tue Jan 12 14:07:21 1999
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From: "Crystal Webb" <vinesqueen@hotmail.com>
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-Poster: "Crystal Webb" <vinesqueen@hotmail.com>

Hello,

I'm getting married this summer (*gasp!*) and I would really like to 
have a dress that I could use again. My future husband will be in Black 
Tails, top hat, the whole shebang. I'd like something that would look 
really good with this. I think Edwardian would look nice, but I'm more 
interested in something pre 1700.

I was wondering if any of you have suggestions?

Oh yeah, my body type is round and busty.

Thanks in advance,
Crystal

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-Poster: Carolyn Kayta Barrows <kayta@slip.net>


>> cannot be used to dye fabric. I am not a dyer, but people who have made
>> medieval dyes their specialty have assured me that there is no dye
>> equivalent for ultramarine blue.
>
>Maybe not exactly equivalent, but I have seen some amazing blues quite close
>to Ultramarine in the Devonshire Hunting Tapestries.  So they could get fairly
>close, if not spot-on.

>From natural dyes?  Period ones?  I am new to dyeing and would like to know
them.


Kayta
     ////.\\\
    ////-@@\\\
   ((((   7 (((
     |   -- ))))
     * )   (((((
  /----\   /---\

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From: "Henk 't Jong" <scapreel@tip.nl>
To: <h-costume@indra.com>
Subject: Re: H-COST: Color associations
Date: Tue, 12 Jan 1999 19:35:25 +0100
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-Poster: "Henk 't Jong" <scapreel@tip.nl>

Henk & Pauline 't Jong
tScapreel
Medieval Advisors
Dordrecht, Netherlands


Hi Listers,

Hope wrote:
> 1) has anyone come across proscriptions on wearing the color yellow, or
> associations of that color with any particular class or group, in any
> sumptuary laws between, let's say 1100 and 1600 for western europe?
Anybody
> have a resource for Italian early-16th cent. sumptuary laws?
> 
According to Joachim Bumke (Hoefische Kultur, 1989) the nobility in the
12th c was of the opnion that the lower orders should not be allowed to
wear the same dress as they did and be confused with them. They called in
the help of the emperor and in a 'Kaiserchronik' of about 1150, which was
supposed to be a collection of laws by Charlemagne, they had the emperor
ordering peasants to wear only black (!) or grey, no gussets except at the
sides, shoes only made of cowhide, 7 ells of cloth for a shirt and pants of
common boadcloth, no more, etc. For the record: although there are
Carolingian 'capitularia' concerning military dress and equipment, to the
best of my knowledge, there are none about dress. 
The middle of the 12th c is also the period when the church rallies against
the aristocratic fashions of the time, among others that of noble women who
wear yellow veils and later in the 13th c yellow fillets and barbettes
instead of the normal white ones. Heinrich von Melk (end 12th c), Hugo von
Trimberg (end 13th c) and the franciscan Berthold von Regensburg (end 13th
c) all condemn the yellow 'bands' as sinful, being the colour of
prostitution. In courtly literature, funnily enough, yellow was the colour
of unfullfilled love; which to say the least gives this striven for goal a
rather piquant touch.


> 2) has anyone heard of the association of the color yellow with
prostitutes
> in any modern-day re-enactment/re-creation groups and if so, any details
> about where the idea comes from? That is, is this another one of those
> costume myths?
> 
We in the LHO discourage the wearing of yellow as a basic colour for normal
people and nobility (it can be used in woven bands, trim, and in some
linings), except as a heraldic colour (which always goes together with
another colour). Our strolling players and incidental whores on the other
hand  make use of it, based on the above mentioned sources and others. I'll
try to find some of them, but it won't be soon. Busy, busy...:-)

Henk


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-Poster: "Henk 't Jong" <scapreel@tip.nl>

Henk & Pauline 't Jong
tScapreel
Medieval Advisors
Dordrecht, Netherlands

Hi Diana,
> 
You wrote:
> With this I just want to introduce myself to you as I`m new on the list.
> 
> I`m not a costume artist myself ( at least I haven`t tried yet...) but I
> `m very
> interested in the topic of costume history.
> 
> My name`s Diana, I`m 21 years old and live in Cologne, Germany.
> I love reenactment and I`m active in medieval and baroque groups here in
> Europe.

Can you tell us which ones? I'm a member of the LHO a medieval living
history group (see: www.dsdelft.nl/~lho/) in Nederland, we have connections
with Belgian and English groups, and recently, IG Wolf in Deutschland.

> But I`m also interested in other decades, like the 19th and early 20th
> century.
> 
Welcome to the list! Hope you get some good information here; I know I got
lots...

> If you have special questions concerning European things, feel free to
> ask, I`ve got
> some good literature and could look for things.

Maybe we can exchange information. Looking forward to your contributions.
> 
> Your talk is in every case very interesting!
> 
> Many greetings,
> Diana
> 
> P.S.: Somebody else living in Europe here?
> 
As you see, I live in Dordrecht, Nederland, and there is another Dutchman,
a few Swedes, a Finn, a Francaise and several English, and of course lots
of Americans, and some Australians.


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-Poster: Andrea Clef <a.clef@ndh.net>

Hello everybody!

Thank you for your nice welcome mails which I received!
And there are even some "older" friends here ;-)!

Ok, many of you asked me about the medieval reenactment group in which
I`m active,
it`s a local German one called "Düsseldorfer Lehnsritter".
They do mainly tournaments on horseback of the Staufer-period in
Germany,
late 13th century.
Everybody (of the men) portrays a knight that has really lived and
fought at the
battle of Worringen to free themselves from the strict laws of the
archbishop of
Cologne.
This battle is well researched, so many names of the knights and their
lives have been
kept in the memory of historically interested people.

Thanks for your interest!
Many greetings,
Diana

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-Poster: Margo Anderson <margo@directcon.net>


>>  OK, at the risk of showing my ignorance, I *have* to ask: What's a charp??
>>  
>
>Oh damn, I'm sorry. A typoe PLUS an ommitted word.  I meant a sharp chisel. 

Aha!  It SOUNDED like a chisel, so I assumed it was some specialized
variety.  After consulting four of my husband's books on exotic and archaic
tools, I was  baffled.

Margo

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Subject: Re: H-COST: Color associations
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-Poster: Danielle Nunn <dnunn@interlog.com>

Greetings

>1) has anyone come across proscriptions on wearing the color yellow, or
>associations of that color with any particular class or group, in any
>sumptuary laws between, let's say 1100 and 1600 for western europe? 

I *think* that jews were required to wear those strange hats in yellow.
Couldn't tell you exactly when or where.

Cheers,
Danielle

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-Poster: Danielle Nunn <dnunn@interlog.com>

Greetings,

>Has anyone else heard of red striped stockings being
>associated with prostitutes?

I seem to remember reading a reference that said: in England in either the
13th or 14th century (can't remember which) prostitutes were required by
law to wear red and white striped hoods as identification.

> > By the way, another costume caveat I've heard is "don't wear yellow,
> > especially yellow sleeves, because that's a prostitutes color." Where
> > does that one come from?

If I remember correctly I believe there was a late 15th or 16th century law
in Venice pertaining to prositutes wearing yellow sleeves.  Eve do you have
any more info on this?

Cheers,
Danielle

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Date: Tue, 12 Jan 1999 12:53:32 -0700 (MST)
Subject: Re: H-COST: requesting suggestions for a wedding dress
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-Poster: KATHLEEN.MAHER@asu.edu


First of all, Congratulations!

Keeping your body type in mind, I would suggest late Tudor/early Elizabethian,
Italian Renn or German Renn.   

On Tue, 12 Jan 1999, Crystal Webb wrote:

> 
> -Poster: "Crystal Webb" <vinesqueen@hotmail.com>
> 
> Hello,
> 
> I'm getting married this summer (*gasp!*) and I would really like to 
> have a dress that I could use again. My future husband will be in Black 
> Tails, top hat, the whole shebang. I'd like something that would look 
> really good with this. I think Edwardian would look nice, but I'm more 
> interested in something pre 1700.
> 
> I was wondering if any of you have suggestions?
> 
> Oh yeah, my body type is round and busty.
> 
> Thanks in advance,
> Crystal
> 
> ______________________________________________________
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From: Merouda the True <keltia@serv.net>
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-Poster: Merouda the True <keltia@serv.net>

For those of you who are wondering, I *did* enter the Costume Contest,
they were pleased with my documentation, and I think they liked the
gown too.  I had headdress and undergarments and that was a plus.

However, the results have not been tallied yet (I think that's what's
up) and will not be announced until the Kingdom newsletter comes out.
Wah!  So, I have no idea how I did.  I can say that there was *stiff*
competition.  Lots of lovely entries.

Cynthia

--
Merouda the True of Beaumaris
Barony of Madrone
Kingdom of An Tir


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-Poster: Lavolta Press <lavolta@best.com>

Well, I already bought the English translation of Il Libro del Sarto elsewhere.
Meanwhile I had contacted the Italian publisher, who does still have copies, and
this is what they said:

>
> along with your fax dated 18/12/98, I am glad to inform you that the price
> for the book in reference is Lit. 300.000 (we just have the Italian edition,
> no other languages commentary is available) and we can send it to you by
> mail at Lit. 50.000.
> As for the payment, we accept VISA, MASTERCARD, CARTASI credit cards.
> Please let me know how you want to proceed.
> Best wishes
> Antonella Vincenzi

Fran Grimble

----------------------------------------------
Visit our web sites!
Books on historic costume and vintage clothes
http://www.best.com/~lavolta/index.htm
Vintage and historic dance
http://www.best.com/~lavolta/dance/index.htm


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-Poster: cley@juno.com (cynthia j ley)

Look through any of Jean de Berry's Books of Hours (14th c.) You'll see
pinks unrivaled even today, shown on costumes, flora and fauna. Get a
good repro, not the cheap ones. The Brazilier editions are stunning.

						Arlys



On Tue, 12 Jan 1999 11:16:01 -0500 (EST) Robin Netherton
<robin@dgsys.com> writes:
>
>-Poster: Robin Netherton <robin@dgsys.com>
>
>
>Someone wrote:
>> >I keep hearing the one about pink not being period, but I never 
>believed
>> >that one...
>
>Oddly, I've heard this in regard to paints as well as dyes! Evidently 
>from
>people who haven't looked at very many primary sources -- pink is 
>common
>in medieval manuscripts, in many wonderful shades, and achievable in a
>variety of ways.
>
>I wonder if this urban myth originated with someone misunderstanding 
>the
>quite accurate statement that the *word* "pink" is not medieval (or
>Elizabethan). Rather, the word is period, but not as a color name. The 
>OED
>(I just checked) has nine different main headers for pink, and many 
>more
>sub-meanings. The first citation for a color name meaning "light red" 
>is
>1681 (and you can figure it was in use slightly before that, but only
>slightly). Oddly, the same word was defined as a "yellowish-green" 
>pigment
>starting a bit earlier in the 1600s. (The citations are interesting 
>worth
>reading.)
>
>The OED cites the origins of the color-name use as "obscure." One 
>theory
>I've heard is that it came from the the name of certain flowers known 
>as
>"pinks" that happened to be that color. The flowers, in turn, may have
>drawn their name because their ruffled edges resembled the small 
>slashes
>on "pinked" garments. The OED is dubious about this -- it cites a 
>pre-1600
>meaning of "pinking" as putting decorative holes or eyelets in fabric, 
>but
>not as edge-slashing till *much* later. Funny, I always assumed that 
>the
>Elizabethans called that fringy stuff "pinking." I would have to delve
>deeper on that one to see if the OED missed some references that were
>common in tailor's usage and wardrobe accounts. But the OED doesn't 
>miss
>much. 
>
>Oops, sorry, I digressed. Anyway, I can see someone teaching in, say, 
>a
>poetry-writing class that "pink" is "not period," and that statement
>getting taken out of context and mistakenly applied to clothing or
>painting. 
>
>--Robin, who really should be doing work and not reading this list
>
> _________________________________________________________________
> To leave this mailing list, send mail to majordomo@indra.com
> with the message UNSUBSCRIBE H-COSTUME
>

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-Poster: Danielle Nunn <dnunn@interlog.com>

Welcome Diana,

>>I'm not a costume artist myself ( at least I haven`t tried yet...) but
>>I'm very interested in the topic of costume history.

Well, you've certainly come to the right place.  ;)

>>My name's Diana, I`m 21 years old and live in Cologne, Germany.

Do you by any chance have information on the the Waffen und Kostümkunde
publication?  I've been trying to get my hands on some back issues.

>>I love reenactment and I`m active in medieval and baroque groups here
>>in Europe.

Do you do 16th century stuff too?

>As you see, I live in Dordrecht, Nederland, and there is another Dutchman,
>a few Swedes, a Finn, a Francaise and several English, and of course lots
>of Americans, and some Australians.

Henk, you're forgetting us Canadians!

Cheers,
Danielle

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-Poster: Anah <anah@tymeportal.com>

I have to vouch for diana's sources. She's shared several things with
me, and I am working on getting it all scanned (I scanned the castle she
sent me and a picture of herself in garb so far) the computer has been
limping along being as the upgrade didn't go well AT ALL..(among
everything else)  And it's set adding all of the wonderful information
she has sent to me back.  (as far as adding it to the webpage)
INCREDIBLE artwork she has sent me!
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From owner-h-costume@indra.com  Tue Jan 12 15:32:56 1999
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-Poster: AliaClaire@aol.com

I loved this movie...it was so nice to see an intelligent romantic comedy! My
theatre teacher is going to make us all sit through it again...not that I
mind. And Judi Dench is my hero.

As for costumes, I'm nowhere near an expert in that time period, but I did
notice a few things. First, the dress Viola wears when she is first presented
to the queen looks slightly later- the head dress looks to me more of the
1620, and some of her dresses look a little early- the first one, at the play,
has the square neckline I associate with earlier Elizabethian- correct me if
I'm wrong, please.

The one thing that I noticed rather blatently is her wedding dress. It was a
_beautiful_ dress unto itself, but the waist (rounded except for a rounded
point in front) is much later then 1593. In Jane Ashelford's _Art of Dress_ (I
just got it for Christmas...excellent book!) on page 96 there is an ivory
origional bodice in that same shape. It is clearly dated from the 1660s, and I
can't find anything earlier in any of my other books. All of the pointed
bodices I can see in Elizabethian pictures show a much sharper point.

Queen Elizabeth's dresses, however, looked magnificant to me!

-Alison Stacy
AliaClaire@aol.com
Canton, Ohio
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From owner-h-costume@indra.com  Tue Jan 12 15:39:35 1999
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Date: Fri, 08 Jan 1999 02:42:21 +0100
From: Andrea Clef <a.clef@ndh.net>
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-Poster: Andrea Clef <a.clef@ndh.net>

Hello Danielle!

>Do you by any chance have information on the the Waffen und Kostümkunde

publication?  I've been trying to get my hands on some back issues.

There has been a very new publication of a book called "Kleidung und
Waffen der
Früh- und Hochgotik 1150-1250" (costume and weapons of the early ang
high
Gothic period) by Ulrich Lehnart
It`s the most precise book about clothing of that period I know so far
with detailed
descriptions of sewing techniques and fabrics.
There are also some patterns in it.
So far it was only published in German.

Maybe it uses infos from an older edition, if you meant a different one.

Do you know the author?

>Do you do 16th century stuff too?

So far not, but as I know myself, I end up doing that as well ;-)...
I simply have too many interests, that`s hard to cope with sometimes,
believe me!
I love Tudor style dresses, I prefer them to the German slashed gowns
but I also
have some pics of these.

Greetings,
Diana

P.S. : Thanks for so much praise, Anah, I hope I can fulfill everyone`s
expectations
now ;-)!

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Date: Tue, 12 Jan 1999 12:53:29 -0800
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-Poster: Lynn Downward <ldownward@mail.cho.org>

>-Poster: AliaClaire@aol.com wrote:
>
>I loved this movie...it was so nice to see an intelligent romantic comedy! My
>theatre teacher is going to make us all sit through it again...not that I
>mind. And Judi Dench is my hero.
>SNIP all the On-topic stuff to go to the off-topic sentence>


I recently saw a snippet of an interview of Lady Judi.  She was, of course,
talking about SiL.  She said, "And you know what we call Shakespeare in our
house . . . the man who pays the rent."

Lynn Downward
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From: ches <ches@io.com>
To: h-costume@indra.com
Subject: H-COST: Waffen und Kostmkunde
In-Reply-To: <3.0.1.32.19990112151259.0093f100@mail.interlog.com>
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-Poster: ches <ches@io.com>

I have several different articles at home in my files. Copies from
Libraries that they sold me. The way I did it was through my local
library. I searched for the magazine then ordered the aritcles. It was
cheaper than making the copies myself!

Ches

On Tue, 12 Jan 1999, Danielle Nunn wrote:

> Date: Tue, 12 Jan 1999 15:12:59 -0500
> From: Danielle Nunn <dnunn@interlog.com>
> Reply-To: h-costume@indra.com
> To: h-costume@indra.com
> Subject: [iso-8859-1] Re: H-COST: Hello, I´m new
> 
> 
> -Poster: Danielle Nunn <dnunn@interlog.com>
> 
> Do you by any chance have information on the the Waffen und Kostümkunde
> publication?  I've been trying to get my hands on some back issues.
> 

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-Poster: Anah <anah@tymeportal.com>

lol  just wait til I post the url when it's all done, I hope yu like the
stone jpg I sent you, I am working on adjusting it to something that
will do the page justice...

Andrea Clef wrote:
> 
> -Poster: Andrea Clef <a.clef@ndh.net>
> 
> Hello Danielle!
> 
> >Do you by any chance have information on the the Waffen und Kostümkunde
> 
> publication?  I've been trying to get my hands on some back issues.
> 
> There has been a very new publication of a book called "Kleidung und
> Waffen der
> Früh- und Hochgotik 1150-1250" (costume and weapons of the early ang
> high
> Gothic period) by Ulrich Lehnart
> It`s the most precise book about clothing of that period I know so far
> with detailed
> descriptions of sewing techniques and fabrics.
> There are also some patterns in it.
> So far it was only published in German.
> 
> Maybe it uses infos from an older edition, if you meant a different one.
> 
> Do you know the author?
> 
> >Do you do 16th century stuff too?
> 
> So far not, but as I know myself, I end up doing that as well ;-)...
> I simply have too many interests, that`s hard to cope with sometimes,
> believe me!
> I love Tudor style dresses, I prefer them to the German slashed gowns
> but I also
> have some pics of these.
> 
> Greetings,
> Diana
> 
> P.S. : Thanks for so much praise, Anah, I hope I can fulfill everyone`s
> expectations
> now ;-)!
> 
>  _________________________________________________________________
>  To leave this mailing list, send mail to majordomo@indra.com
>  with the message UNSUBSCRIBE H-COSTUME
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Subject: Re: H-COST: requesting suggestions for a wedding dress
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-Poster: The Purple Elephant <csmart@physics.adelaide.edu.au>

On Tue, 12 Jan 1999, Crystal Webb wrote:

> 
> -Poster: "Crystal Webb" <vinesqueen@hotmail.com>
> 
> Hello,
> 
> I'm getting married this summer (*gasp!*) and I would really like to 
> have a dress that I could use again. My future husband will be in Black 
> Tails, top hat, the whole shebang. I'd like something that would look 
> really good with this. I think Edwardian would look nice, but I'm more 
> interested in something pre 1700.
> 
> I was wondering if any of you have suggestions?
> 
Congratulations *grin* If you are going to do what I did, and have a white
dress with the plan to dye it for use after, be very careful to check that
the fabric will dye.  Acetate is bad..... :-(

------------------------------------------------------------------------------
Claire F. Clarke       "What is this world if, full of care, 
Physicist, writer,     We have no time to stand and stare?"
and non environmentally                     Robert Louis Stevenson
friendly substance.
------------------------------------------------------------------------------

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From owner-h-costume@indra.com  Tue Jan 12 16:05:28 1999
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-Poster: Lavolta Press <lavolta@best.com>

> There has been a very new publication of a book called "Kleidung und
> Waffen der
> Früh- und Hochgotik 1150-1250" (costume and weapons of the early ang
> high
> Gothic period) by Ulrich Lehnart
> It`s the most precise book about clothing of that period I know so far
> with detailed
> descriptions of sewing techniques and fabrics.
> There are also some patterns in it.
> So far it was only published in German.
>

Who is the publisher?  Did they put their address in the book?  If so what
is it?   And what is the ISBN?  Do you know how an American can buy a copy?

Thanks for any info,

Fran Grimble

----------------------------------------------
Visit our web sites!
Books on historic costume and vintage clothes
http://www.best.com/~lavolta/index.htm
Vintage and historic dance
http://www.best.com/~lavolta/dance/index.htm


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From owner-h-costume@indra.com  Tue Jan 12 16:23:14 1999
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From: Cynthia Virtue <cvirtue@ricochet.net>
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To: h-costume@indra.com
Subject: Re: H-COST: Pigments, dyes, and the accuracy of paintings  (was: color question)
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-Poster: Cynthia Virtue <cvirtue@ricochet.net>

Yes, the Devonshire Hunting Tapestries are original medieval tapestryies
from about 1420 or so.  They're in the V&A.  They have *wonderful* costume
detail in 3 out of the 4 of them -- if you have the "Medieval Lovers" book
of days, the couple in houps on horeseback on June or July 1 is from one
of them.

Unfortunately, like the Roses tapestries, images of them are very hard to
come by.  One of the figures is even a woman with a stuffed roll hat, from
the back, so that you can see that the liripipe starts as a cone shape
from inside the roll, just like if it were a rolled up hood like the men.

I went to the V&A print library and ordered my own copies of photos of
them, but alas, that's only good for local folks to see.  I'm pretty sure
the thing I signed promised I'd never distribute them without permission
(ie, no scanning, etc.) but perhaps I'll check sometime soon.

 -- Cynthia Virtue
 Virtue is her own reward.


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From owner-h-costume@indra.com  Tue Jan 12 16:35:59 1999
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-Poster: SNSpies@aol.com

Cindy, you have a good point here:

<< Two years ago the ChicagoInst. of Art had a show of ecclisiastic garments,
 including many from the 1400s.  One that I recall strongly was dark pink
 (fairly intense, but not flourescent!) with quarter-sized metalic gold
 polka dots on it.  Not at all what one would think of for this time
 period, but there it was, right in front of me.  I believe it was heavy
 silk. >>

>From my research on brocaded tabletwoven bands, I can tell you that the silks
could be dyed virtually any shade you can imagine.  It is the wools and linens
that have a more limited repetoire.

Nancy
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From owner-h-costume@indra.com  Tue Jan 12 16:40:36 1999
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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: ethnic costume resource books
Date: Tue, 12 Jan 1999 16:49:09 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

The American Museum of Natural History has the biggest
collection of ethnic costume in this part of the world, and
they did publish a book about 20 years back which was
wonderful.  Lots of photos and sketches, but absolutely no
pattern layouts.  This is an interest of mine, and I don't
know anything better than Cut My Cote and Tilke's 1922 book.
At a mere $100, by the way, the very rare Tilke book is an
absolute steal, in my opinion.

The recent book called Make Your Own Japanese Clothes by
John Marshall has good layouts and detail instructions for
custom cutting a number of Japanese coats, jackets, and
pants to size.  It's available at www.Amazon.com, list $25
printed on the book, but they often have things for less.

The Moghul stuff is beginning to show up as antiques on a
number of websites, and it's fascinating.  I found this  an
18th c. Tibetan "chuba", a Chinese silk brocade robe cut in
the Tibetan style at
http://www.zeestone.com/textiles.htm.Tibetan  with similar
embroidery motifs, but at a far bigger scale, as the
standard white linen woman's jacket with polychrome
embroidery of 17th Century England. I suspect the Chinese
brocade is an older style design, and the English jacket is
a copy of the motif, but that's only conjecture on my part.

The Topkapi Palace Museum in Istanbul, Turkey WebPages  have
a half-dozen or more sultan's caftans on the Web too at :
http://www.ee.bilkent.edu.tr/~history/topkapi.html. They
have over 2000 sultan's garments in their collection, but
unfortunately display but a tiny fraction of them on the Web
and at the museum.  I have a few pretty poor, but
interesting .jpgs I snapped when I was at the museum, which
I can e-mail you if you wish.  They won't show any
construction details, as the light was dim and I used no
tripod or flash, but they do convey the patterns on the
caftans nicely enough to replicate them in applique (the
originals are woven, not appliqued, and the fabrics are no
longer made).

Hope H.Dunlap


-----Original Message-----
From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
Behalf Of Christina Conklin
Sent: Tuesday, January 12, 1999 2:04 PM
To: h-costume@indra.com
Subject: H-COST: ethnic costume resource books



-Poster: Christina Conklin <textiles@earthlink.net>

First posting to this group . . .

I am interested in creating historic ethnic costumes, like
16th c.
Mughal robes, traditional Turkish jackets, ceremonial Korean
gowns and
the like.

I have the little book Cut My Cote (long out of print) and
am looking at
buying Max Tilke's 1922 book on Oriental Costumes. But it
costs over
$100 (also long OOP), and the on-line version at Univ of
Indiana just
isn't the same. Is this the best book to get, or are there
other
resources people would recommend? I'm interested in all
parts of the
world, but particularly Asia, in the largest sense of that
word.

Also are there others out there doing this sort of thing,
either for fun
or profit? Any purveyors or web sites you all would
recommend?? Many
thanks,

Christy Conklin


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To: Historic Costume List <h-costume@indra.com>
Subject: H-COST: Source on medieval colors
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-Poster: Robin Netherton <robin@dgsys.com>


Serendipitously, a librarian friend of mine just passed me this title. He
says it's cataloged as "middle ages," and otherwise this is all I know
about it. But it sounds somewhat connected to our discussion. Perhaps of
interest to someone.

P. J. Gibbs, Berberine and huangbo: ancient colorants and dyes (London:
British Library, 1997).

--Robin

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From owner-h-costume@indra.com  Tue Jan 12 18:15:20 1999
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Date: Tue, 12 Jan 1999 16:25:03 -0600 (CST)
From: Emma Elizabeth Lehman <00217146@bigred.unl.edu>
To: Historical Costume <h-costume@indra.com>
Subject: Re: H-COST: Costume Contest
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-Poster: Emma Elizabeth Lehman <00217146@bigred.unl.edu>


Are you going to post a picture somewhere where we can see it?

On Tue, 12 Jan 1999, Merouda the True wrote:

> 
> -Poster: Merouda the True <keltia@serv.net>
> 
> For those of you who are wondering, I *did* enter the Costume Contest,
> they were pleased with my documentation, and I think they liked the
> gown too.  I had headdress and undergarments and that was a plus.
> 
> However, the results have not been tallied yet (I think that's what's
> up) and will not be announced until the Kingdom newsletter comes out.
> Wah!  So, I have no idea how I did.  I can say that there was *stiff*
> competition.  Lots of lovely entries.
> 
> Cynthia
> 
> --
> Merouda the True of Beaumaris
> Barony of Madrone
> Kingdom of An Tir
> 
> 
>  _________________________________________________________________
>  To leave this mailing list, send mail to majordomo@indra.com
>  with the message UNSUBSCRIBE H-COSTUME
> 

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-Poster: Merouda the True <keltia@serv.net>

> Are you going to post a picture somewhere where we can see it?

What I'll probably have to do is send it to someone to put on their web
site.  Or something.  Hmmmm, I'm starting to acquire some pictures and
stuff.  Wonder if I should consider a website.

Does h-costume have a web site?  And will someone please tell me about how
to reach archives?
A list web site would be a great place to post pics of stuff we do.  I just
don't know if I have the capabilities.

Cynthia

--
Merouda the True of Beaumaris
Barony of Madrone
Kingdom of An Tir


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From owner-h-costume@indra.com  Tue Jan 12 18:28:59 1999
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Subject: Re: H-COST: Re:   Colours
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-Poster: Julie Adams <savaskan@sd.znet.com>

There are plenty of washed out pinks on peasants and middle class women
throughout the period. And since some are shown in the same pictures with
people wearing brighter pinks and reds, my assumption would be that pink is
period. Reds fade so easily anyway...


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From owner-h-costume@indra.com  Tue Jan 12 19:00:09 1999
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Subject: Re: H-COST: Costume Contest etc...
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-Poster: "Frank&Tracy Thallas JR" <hardcorps@vcn.com>

    This is an excellent idea..... or perhaps a section in the
Costume Gallery for us?

  All Health!
    Liadain

----------
>
> -Poster: Merouda the True <keltia@serv.net>
>
> > Are you going to post a picture somewhere where we can see it?
>
> What I'll probably have to do is send it to someone to put on their web
> site.  Or something.  Hmmmm, I'm starting to acquire some pictures and
> stuff.  Wonder if I should consider a website.
>
> Does h-costume have a web site?  And will someone please tell me about how
> to reach archives?
> A list web site would be a great place to post pics of stuff we do.  I just
> don't know if I have the capabilities.
>
> Cynthia
>
> --
> Merouda the True of Beaumaris
> Barony of Madrone
> Kingdom of An Tir
>
>
>  _________________________________________________________________
>  To leave this mailing list, send mail to majordomo@indra.com
>  with the message UNSUBSCRIBE H-COSTUME
>


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From owner-h-costume@indra.com  Tue Jan 12 19:09:21 1999
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Date: Tue, 12 Jan 1999 16:17:36 -0800
To: h-costume@indra.com
From: Karla Sexsmith <karla@silverspin.net>
Subject: Re: H-COST: Costume Contest etc...
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-Poster: Karla Sexsmith <karla@silverspin.net>

>> Are you going to post a picture somewhere where we can see it?
>
>What I'll probably have to do is send it to someone to put on their web
>site.  Or something.  Hmmmm, I'm starting to acquire some pictures and
>stuff.  Wonder if I should consider a website.
>
>Does h-costume have a web site?  And will someone please tell me about how
>to reach archives?
>A list web site would be a great place to post pics of stuff we do.  I just
>don't know if I have the capabilities.

I would be willing to do something like this... I have the server space, I
can make the pages, I even  have the capability to scan stuff for people if
they can't do it themselves.

Karla

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Karla Sexsmith   ~  karla@silverspin.net
http://www.silverspin.net
ICQ#916055 (work) or 1595696 (home)
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From owner-h-costume@indra.com  Tue Jan 12 20:01:04 1999
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From: "Gia Gavino-Gattshall" <ggavino@serv.net>
To: <h-costume@indra.com>
Subject: H-COST: FO report
Date: Tue, 12 Jan 1999 17:11:12 -0800
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-Poster: "Gia Gavino-Gattshall" <ggavino@serv.net>

Greetings, list!

I recently did a elizabethan for my 3 yr old that I am glad to say was one
of the winners of the "Well Dressed Child" contest at Twelfth Night, this
last weekend.

I made it out of a black silk (well, I got the silk cheap...) with a pansy
motif woven in damask style.  Using one of the dresses in QEWU as a guide, I
did the sleeves out of white taffeta with black flocking.  The sleeves were
puffy at the head and fitted at the wrist.  Also I had hanging sleeves,
lined with the white taffeta.  The hanging sleeves hung to the hem.  I hand
stitched the gold trim around the edges of the hanging sleeves and on the
front of the gown (diagonally from neckline corners to waist point).  The
bodice of the gown is fully lined and interlined with horsehair interfacing.
If I hadn't taken ill I would had time to do a proper corset and farthingale
for her.  Those will be next.

I also did cartridge pleating for the first time and could have shot myself
for not doing it before!  It's easy and I found the drape of the skirt to be
just what I was hoping it would do.  I plan on doing it on all my Italian
rens from now on, too!

The chemise I gathered the fullness of the neckline and sleeves into a band
with a pleated ruffle.  I handstitched the band onto the body of the chemise
and liked doing that as well.  I found I was able to control the gathering
much better than doing by machine.   I also handstitched the ties into the
bands.

I cheated and used my serger for the long seam of the skirt.

The next elizabethan I plan to make I will do a french seam on the skirt.

Gia/Giacinta
costuming nut

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From owner-h-costume@indra.com  Tue Jan 12 21:22:46 1999
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From: "David S. Mallinak" <matchlck@erols.com>
Organization: Red Dragon Bridge Enterprizes
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-Poster: "David S. Mallinak" <matchlck@erols.com>

> From: Phil and Karan Foster < phil@globeco.net <mailto:phil@globeco.net>>
>
> I am interested in the clothing of Scotland around the 1350s. Can you
> maybe give me a direction to look. Book titles would be helpful.
> Thank you and have a good week.

The best for the Highland area of Scotland, if you can find it, is
                    "Old Highland Dress"
                    H. F. McClintock.
                    Dundalgan Press, Ltd.  Dundalk
                    1943, 1949, 1950.

David S Mallinak

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From owner-h-costume@indra.com  Tue Jan 12 21:58:39 1999
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Date: Tue, 12 Jan 1999 22:09:04 -0400
From: Laurel Wilson <lwilson16@earthlink.net>
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-Poster: Laurel Wilson <lwilson16@earthlink.net>

I'm sorry that I don't remember the exact uses of the different colors
and patterns, but there is information on the Italian sumptuary laws
about prostitutes, including the colors which they were forced to wear,
and also on those which applied to Jews, in:

Diane Owen Hughes
"Sumptuary Laws and Social Relations in Renaissance Italy." In a book
called
*Disputes and Settlements*, ed. by John Bossy
Cambridge University Press, 1983

Diane Owen Hughes
"Distinguishing Signs:  Ear Rings, Jews and Franciscan Rhetoric in the
Italian Renaissance City."  In the journal *Past and Present*, no. 112,
1986.
This is mostly about distinguishing signs for Jews, concentrating on
jewelry but mentioning other things as well.

James Brundage
"Sumptuary Laws and Prostitution in Late Medieval Italy"
Journal of Medieval History, vol. 13 no. 4 (1987)


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From owner-h-costume@indra.com  Tue Jan 12 22:11:43 1999
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From: "Allison Thurman" <athurman@cybergal.com>
To: <h-costume@indra.com>
Subject: H-COST: re: mary magdalene
Date: Tue, 12 Jan 1999 22:21:37 -0500
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-Poster: "Allison Thurman" <athurman@cybergal.com>

> Then where did the story in the Bible come from if she wasnt a prostitute?
>  Why were they trying to stone her to death and why did Jesus tell her to
>  go and sin no more, or whatever it was?

if i remember correctly she was initially referred to  as "the woman out of
whom 7 devils were cast" - ie, perhaps she worshipped a cult and would
therefore be viewed by jesus and his apostles as a sinner - this was later
reinterpreted to mean that she was a prostitute. however, as mentioned
previously any of several marys mentioned in the new testament could have
been the same person.

(i wont go further, as this is off topic, but if anyone wants documentation
email me privately and i'll scratch it up.)
>
>  Sylvia R
allison

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From robin@dgsys.com  Tue Jan 12 22:15:07 1999
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To: Eric Praetzel <fashion@sca.uwaterloo.ca>
Subject: H-cost archives
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Just wanted to thank you for the wonderful service you've provided with
the searchable archives. Even though they're just the early ones -- the
search function is marvelous, and the posts are just not accessible
elsewhere.

I look forward to perhaps seeing you add the new archives from the list's
current site. They're a pain to use through the conventional route,
because they're indexed only by digest number.

Thanks again for your willingness to share these records.

--Robin 

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Date: Tue, 12 Jan 1999 19:27:34 -0800
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From: "Carol J. Bell Cannon" <cjcannon@greymists.com>
Subject: Re: H-COST: book publication
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-Poster: "Carol J. Bell Cannon" <cjcannon@greymists.com>

At 04:01 PM 1/12/99 -0500, you wrote:
>
>-Poster: Anah <anah@tymeportal.com>
>
>lol  just wait til I post the url when it's all done, I hope yu like the
>stone jpg I sent you, I am working on adjusting it to something that
>will do the page justice...
>             You caught my interest...what's the site going to be?
Thanks. Carol / Gra/inne
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From owner-h-costume@indra.com  Tue Jan 12 23:26:17 1999
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From: "Penny E. Ladnier" <penny.creative.outlets@erols.com>
To: "costume newsgroup" <h-costume@indra.com>
Subject: H-COST: Incas
Date: Tue, 12 Jan 1999 23:34:05 -0500
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-Poster: "Penny E. Ladnier" <penny.creative.outlets@erols.com>

I just watched a really good video on the Inca civilization.  It was
originally aired on PBS in 1980, and produced by the BBC.  It is titled
Incas (PBS Video 1061).  They briefly touched upon the importance of
clothing in their culture.  One of the sources credited was The Textile
Museum.  The video talked of a person in the 1500's who wrote over 1200
letters about the society including detailed illustrations of the people
with various occupations in the civilization.  Some illustrations are shown
on the video.

Now for my questions:
1. Does anyone have an idea which Textile Museum they would be crediting?
Two groups of historians were shown in the video, researching two different
forts, a British group and the Museum of American History.  But the credits
stated plainly, The Textile Museum.
2. Are some of these letters available in publication or on the web for
people to study?  These letters seem like a great find.  I am interested in
comparing the costumes within the culture.
3. Why is this civilization not touched on more in history classes?  The
Incas were very advanced in architecture, agriculture, and textile develop.
I remember in grade school the Incas was touched upon briefly (for the gold
and European invasion).  In my art history courses, one professor showed two
slides of their housing.  In my costume history classes the Incas were never
covered.

Enough questions for the night...
Penny (who is always learning something new)
http://www.costumegallery.com


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From owner-h-costume@indra.com  Tue Jan 12 23:48:22 1999
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From: "Penny E. Ladnier" <penny.creative.outlets@erols.com>
To: "costume newsgroup" <h-costume@indra.com>
Subject: H-COST: Codpiece giggle
Date: Tue, 12 Jan 1999 23:56:00 -0500
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-Poster: "Penny E. Ladnier" <penny.creative.outlets@erols.com>

I have to giggle at this letter I received tonight via my website.  I wrote
the lady back and explained what a codpiece was.  But I thought you all
would enjoy reading the letter.  Imagine yourself in this mother's position.

The letter....
Hello: my 13 year old daughter is very curios about the wedding costume in
the
movie, "Shakespeare in love." The question: why does the man's costume has
an
accessory that looks like a penis? What is the symbolic meaning of it?
could you let her know?

Back to Penny... what happened to the website about codpieces???  I used to
link to it but it disappeared about a year ago.

Later... a Giggling Gal

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From owner-h-costume@indra.com  Tue Jan 12 23:54:39 1999
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Date: Tue, 12 Jan 1999 22:09:44 -0500
To: h-costume@indra.com
From: Danielle Nunn <dnunn@interlog.com>
Subject: Re: H-COST: book publication
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-Poster: Danielle Nunn <dnunn@interlog.com>

Greetings,

>>Do you by any chance have information on the the Waffen und Kostümkunde
>
>publication?  I've been trying to get my hands on some back issues.

>There has been a very new publication of a book called "Kleidung und
>Waffen der
>Früh- und Hochgotik 1150-1250" (costume and weapons of the early ang
>high
>Gothic period) by Ulrich Lehnart
>It`s the most precise book about clothing of that period I know so far
>with detailed
>descriptions of sewing techniques and fabrics.
>There are also some patterns in it.
>So far it was only published in German.

Are there good photos/pictures in it?  If the pictures are good enough I'd
get it even though I can't read German.  Do you have an ISBN number for it?

>Maybe it uses infos from an older edition, if you meant a different one.
>Do you know the author?

It is actually, a periodical so there is not an "author" per say.  However,
I've only seen them once and didn't take note of an editor.  Frankly, I'm
not sure I could have figured it out from the German.

>So far not, but as I know myself, I end up doing that as well ;-)...
>I simply have too many interests, that`s hard to cope with sometimes,
>believe me!
>I love Tudor style dresses, I prefer them to the German slashed gowns
>but I also
>have some pics of these.

You sound like a woman after my own heart!

Cheers,
Danielle

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Date: Wed, 13 Jan 1999 00:09:45 -0500
To: h-costume@indra.com
From: Danielle Nunn <dnunn@interlog.com>
Subject: Re: H-COST: Shakespeare in Love
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-Poster: Danielle Nunn <dnunn@interlog.com>

Greetings,

>As for costumes, I'm nowhere near an expert in that time period, but I did
>notice a few things. First, the dress Viola wears when she is first presented
>to the queen looks slightly later- the head dress looks to me more of the
>1620, and some of her dresses look a little early- the first one, at the
play,
>has the square neckline I associate with earlier Elizabethian- correct me if
>I'm wrong, please.

I really need to see it again to notice the details.

>The one thing that I noticed rather blatently is her wedding dress. It was a
>_beautiful_ dress unto itself, but the waist (rounded except for a rounded
>point in front) is much later then 1593. In Jane Ashelford's _Art of
Dress_ (I
>just got it for Christmas...excellent book!) on page 96 there is an ivory
>origional bodice in that same shape. It is clearly dated from the 1660s,
and I
>can't find anything earlier in any of my other books. All of the pointed
>bodices I can see in Elizabethian pictures show a much sharper point.

Although, I was disappointed in the costuming (the way people were raving I
was expecting it to be better) but I digress.  If you look at Alcega
(1580s) the points of the bodices are quite rounded.

>Queen Elizabeth's dresses, however, looked magnificant to me!

But what was that gold spikey thing around her neck?   I've never seen the
like, or the the peacock feather "ruff".

Cheers,
Danielle

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From owner-h-costume@indra.com  Tue Jan 12 23:54:49 1999
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To: h-costume@indra.com
From: Danielle Nunn <dnunn@interlog.com>
Subject: RE: H-COST: ethnic costume resource books
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-Poster: Danielle Nunn <dnunn@interlog.com>

Greetings,

>The Topkapi Palace Museum in Istanbul, Turkey WebPages  have
>a half-dozen or more sultan's caftans on the Web too at :
>http://www.ee.bilkent.edu.tr/~history/topkapi.html. They
>have over 2000 sultan's garments in their collection, but
>unfortunately display but a tiny fraction of them on the Web
>and at the museum.  I have a few pretty poor, but
>interesting .jpgs I snapped when I was at the museum, which
>I can e-mail you if you wish.  They won't show any
>construction details, as the light was dim and I used no
>tripod or flash, but they do convey the patterns on the
>caftans nicely enough to replicate them in applique (the
>originals are woven, not appliqued, and the fabrics are no
>longer made).

The Topkapi Palace Museum actually published a series of books and one of
them is on textiles.  It has a number of photos of surviving caftans from
about 16th century on.  If anyone is interested I'll dig out the book and
post the info.

Cheers,
Danielle

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From: lilinah@grin.net
Subject: Re: H-COST: Incas
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-Poster: lilinah@grin.net

Penny E. Ladnier asked:

>1. Does anyone have an idea which Textile Museum they would be crediting?
>Two groups of historians were shown in the video, researching two different
>forts, a British group and the Museum of American History.  But the credits
>stated plainly, The Textile Museum.

Most likely The Textile Museum in Washington, D.C. They have produced a
number of publications about textile finds from Peru. They publish The
Textile Museum Journal on textile research.The museum isn't huge, but they
have contacts to other resources.

THE TEXTILE MUSEUM
2320 S Street, NW
Washington, DC 20008-4088

Phone: (202) 667-0441
Fax: (202) 483-0994

Open:  Monday - Saturday 10:00 am - 5:00 pm,
       Sunday 1:00 to 5:00 pm
Closed:All Federal Holidays and December 24

Website:
http://www.textilemuseum.org/

>2. Are some of these letters available in publication or on the web for
>people to study?  These letters seem like a great find.  I am interested in
>comparing the costumes within the culture.

You may be able to get more information on these from The Textile Museum. I
participated in a symposium there on Indonesian textiles in the late 1970's
and they were very friendly and helpful then. I sure hope they still are :-)

>3. Why is this civilization not touched on more in history classes?  The
>Incas were very advanced in architecture, agriculture, and textile develop.
>I remember in grade school the Incas was touched upon briefly (for the gold
>and European invasion).  In my art history courses, one professor showed two
>slides of their housing.  In my costume history classes the Incas were never
>covered.

We covered them in the series of textile history classes i had at
UC-Berkeley, back in the late '60's-early '70's when they had a textiles
program, one that was destroyed while Ronald Regan was governor. They even
had a draw loom! which got shipped off elsewhere or sold. What a shame.

My 18-year-old daughter says her middle school class had a whole unit on
them. Kids now, at least in California, get much more exposure to other
cultures than i did in my day, when we had absolutely none--and my high
school history class only mentioned the Egyptians as forerunners of the
Greeks, that was a multicultural as it got.

Lilinah


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From owner-h-costume@indra.com  Wed Jan 13 01:49:32 1999
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From: Heather Law <lynnx@mc.net>
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-Poster: Heather Law <lynnx@mc.net>

I read somewhere that a lot of nobility would pass on their "old"
(already wore it once? :-)) garments to "lesser" nobility, servants and
the like... Seems to me that some of the sturdier garments could have
been hand-me-downed enough times to make it to the middle classes.  And
yes, the reds would fade - I've had that happen plenty with *modern*
dyes!  

Also, in the Middle East, there is a tribe sometimes called the "blue
men".  They wear indigo dyed garments, and darker = richer, because the
richer you are, the more dips in the dyebath you can afford for your
clothes, to the point where they look black and the dye comes off and
stains the person wearing it?  Don't know squat about madder and other
reds, but if it took more dye (and/or time) to get a deeper red, the
lower classes might have only been able to afford pink, the
**filthy**rich, maroon...

Heather
> 
> - -Poster: Julie Adams <savaskan@sd.znet.com>
> 
> There are plenty of washed out pinks on peasants and middle class women
> throughout the period. And since some are shown in the same pictures with
> people wearing brighter pinks and reds, my assumption would be that pink is
> period. Reds fade so easily anyway...
>
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From owner-h-costume@indra.com  Wed Jan 13 07:58:23 1999
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From: "David Stamper & Eve Harris" <evedave1@netcom.ca>
To: <h-costume@indra.com>
Subject: Re: H-COST: Color associations
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-Poster: "David Stamper & Eve Harris" <evedave1@netcom.ca>

>-Poster: Danielle Nunn <dnunn@interlog.com>
>If I remember correctly I believe there was a late 15th or 16th century law
>in Venice pertaining to prositutes wearing yellow sleeves.  Eve do you have
>any more info on this?


I mentioned earlier in the thread that _Lives of The Courtesans_  discusses
this and (copy at the library right now, dammit!) I seem to remember that it
briefly discussed a few sumptuary laws pertaining to prostitutes, which as I
recall mentioned yellow veils and pearls. I'm going to borrow it again - in
the meantime, does anyone else OWN this book and could back me up on this?

_Lives of the Courtesans_ is an amusing book. The research is fairly good,
but where it falls down for me is when it proceeds to take almost every
well-known female portrait from the Italian Renaissance and suggest that the
female portrayed is probably a prostitute. (Aside of course from the Estes
etc.! And Bia.) In particular, it cited La Donna Velata by Raphael as a
prostitute (she's wearing a beautiful yellow dress, chemise adorned with
deep yellow or gold trim, and a yellow veil). Humph. The book says that the
placement of the hands in Ital Ren portraits is a telling factor i.e. are
they cradling or suggestively pointing to the breasts or nether regions?
(instead of holding a prayer book) If so, then they are prostitutes.

I don't know much about symbolism in portraits other than actual items. Is
hand placement important?

I'm going to get that book and wring its little neck. It does have a good
bibliography.

Eve Harris

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From owner-h-costume@indra.com  Wed Jan 13 08:37:46 1999
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From: Heather Law <lynnx@mc.net>
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-Poster: Heather Law <lynnx@mc.net>

One of my favorites (more specific than you're interested in, maybe) is
Art of Arabian Costume, one edition goes for $50 from various online
booksellers, the other is $75 -- don't know what the difference is.  I
also recommend 5,000 Years of Chinese Costume, Mongol Costume (out of
print, but you can get it from interlib. loans), and I saw one on
Southeast Asian costume a while ago at Borders or Barnes & Noble -- $50
or so, out of my reach!  

About the best place to find books is the Unicorn Books (don't know the
exact title -- I can't find mine) catalog -- they have just about
everything on costume, sewing, textiles etc. in print.  It costs around
$2, and you will *drool*!

Heather Law

> - -Poster: Christina Conklin <textiles@earthlink.net>
> 
<snip>
> are there
> other
> resources people would recommend? I'm interested in all
> parts of the
> world, but particularly Asia, in the largest sense of that
> word.
> 
> Also are there others out there doing this sort of thing,
> either for fun
> or profit? Any purveyors or web sites you all would
> recommend?? Many
> thanks,
> 
> Christy Conklin
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From owner-h-costume@indra.com  Wed Jan 13 09:35:25 1999
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-Poster: Laurel Wilson <lwilson16@earthlink.net>



Penny E. Ladnier wrote:

> 1. Does anyone have an idea which Textile Museum they would be crediting?
> Two groups of historians were shown in the video, researching two different
> forts, a British group and the Museum of American History.  But the credits
> stated plainly, The Textile Museum.
>

The Textile Museum is a wonderful museum in Washington, D.C., and that is its
full name.  I don't have the information handy, but I'm sure they have a
website.  They have a library, although I don't think they lend, and they have
many wonderful publications.  They are particularly strong in South American
and Central Asian publications, if I remember rightly.
Lauri


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From owner-h-costume@indra.com  Wed Jan 13 09:37:56 1999
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-Poster: SAQUEEN@aol.com

Penny,

The Textile Museum in Washington DC is the probable source from the
documentary. They are considered the experts in textiles and have wonderful
exhibits and fabulous collections. Don't know about web site -- would love to
know.

Sally Queen,
who does what she does because she loves to learn!
http://www.sallyqueenassociates.com
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From owner-h-costume@indra.com  Wed Jan 13 09:56:58 1999
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To: h-costume@indra.com
From: Lisa Scovel <reenactment.guide@miningco.com>
Subject: Re: H-COST: Costume Contest etc...
In-Reply-To: <3.0.1.32.19990112161736.006bfdd0@silverspin.net>
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-Poster: Lisa Scovel <reenactment.guide@miningco.com>

And I would dearly love to feature some of them on my Mining Co. site!

At 04:17 PM 1/12/99 -0800, you wrote:
>
>-Poster: Karla Sexsmith <karla@silverspin.net>
>I would be willing to do something like this... I have the server space, I
>can make the pages, I even  have the capability to scan stuff for people if
>they can't do it themselves.


***********************
lisa scovel
historical reenactment guide
the mining co.
http://reenactment.miningco.com

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From owner-h-costume@indra.com  Wed Jan 13 09:57:34 1999
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Date: Wed, 13 Jan 1999 10:03:47 -0500 (EST)
From: Mara Riley <lindo@Radix.Net>
To: h-costume@indra.com
Subject: Re: H-COST: re: mary magdalene
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-Poster: Mara Riley <lindo@Radix.Net>

There's a book called (I think) 'The Word According to Eve' about how
women have been written out of the Bible -- I think it discusses how Mary
Magdalen was confused with a woman (unnamed) who had been a prostitute.
It's possible that this was a deliberate effort on the part of the early
Church Fathers because Mary Magdalen was thought by some Gnostic sects of
Christianity to have been Christ's secret wife.  (Yes, that's all very
controversial.)  Hence the effort to make her 'shameful', so as to quash
those sects that revered her.

Didn't quite work, though, judging from the statues of Mary that show up
in the late Middle Ages/Renaissance, wearing nothing more than her hair
(strategically draped, of course).

Mara


On Tue, 12 Jan 1999, Allison Thurman wrote:

> 
> -Poster: "Allison Thurman" <athurman@cybergal.com>
> 
> > Then where did the story in the Bible come from if she wasnt a prostitute?
> >  Why were they trying to stone her to death and why did Jesus tell her to
> >  go and sin no more, or whatever it was?
> 
> if i remember correctly she was initially referred to  as "the woman out of
> whom 7 devils were cast" - ie, perhaps she worshipped a cult and would
> therefore be viewed by jesus and his apostles as a sinner - this was later
> reinterpreted to mean that she was a prostitute. however, as mentioned
> previously any of several marys mentioned in the new testament could have
> been the same person.
> 
> (i wont go further, as this is off topic, but if anyone wants documentation
> email me privately and i'll scratch it up.)
> >
> >  Sylvia R
> allison


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Date: Wed, 13 Jan 1999 10:09:54 -0500 (EST)
From: Mara Riley <lindo@Radix.Net>
To: costume newsgroup <h-costume@indra.com>
Subject: Re: H-COST: Incas
In-Reply-To: <000101be3ead$f8239b60$ec56accf@s0peladn>
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-Poster: Mara Riley <lindo@Radix.Net>

On Tue, 12 Jan 1999, Penny E. Ladnier wrote:
> -Poster: "Penny E. Ladnier" <penny.creative.outlets@erols.com>
> 
> I just watched a really good video on the Inca civilization.  It was
> originally aired on PBS in 1980, and produced by the BBC.  It is titled
> Incas (PBS Video 1061).  They briefly touched upon the importance of
> clothing in their culture.  One of the sources credited was The Textile
> Museum.  The video talked of a person in the 1500's who wrote over 1200
> letters about the society including detailed illustrations of the people
> with various occupations in the civilization.  Some illustrations are shown
> on the video.
> 
> Now for my questions:
> 1. Does anyone have an idea which Textile Museum they would be crediting?
> Two groups of historians were shown in the video, researching two different
> forts, a British group and the Museum of American History.  But the credits
> stated plainly, The Textile Museum.

(snip)
It's likely to be The Textile Museum in Washington, DC, which (to my
disappointment) specializes in non-European textiles.  (Their library does
have some European stuff, tho.)

I'm afraid I don't have their address/phone number, but they shouldn't be
hard to find.

Mara

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Date: Wed, 13 Jan 1999 10:20:58 -0500 (EST)
From: Mara Riley <lindo@Radix.Net>
To: h-costume@indra.com
Subject: Re: H-COST: Color associations
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-Poster: Mara Riley <lindo@Radix.Net>

That's a new one by me -- I seem to recall reading about Roman women of
all classes buying blond wigs or bleaching their hair.  Same with later
Italy.  Of course I don't have a source at hand, but...

Considering that the Italian nobility (Middle Ages, of course, not ancient
Rome) had a lot of Lombard blood, you'd expect them to have blond hair.
Which a number of them do, in paintings.  So maybe imitating the nobility
was what prompted people to bleach thair hair.  (Including ladies of ill
repute.)

Mara


On Mon, 11 Jan 1999, Lynn Downward wrote:

> 
> -Poster: Lynn Downward <ldownward@mail.cho.org>
> 
> >-Poster: Sylvia Rognstad <sylvia@netherworld.com>
> >
> >>
> >> -Poster: "David Stamper & Eve Harris" <evedave1@netcom.ca>
> >> Lives of the Courtesans mentions yellow veils in particular as being an
> >> identifier for prostitutes in Italy. I'm not sure, but I think it also
> >> mentioned that a couple of the city states had legislation in this vein,
> >> along with the "no pearls" rule for courtesans, who of course paid no heed
> >> to such laws.
> >I seem to recall yellow being associated with courtesans from way back in
> >ancient Rome.  Anyone familiar with that notion?
> >SylviA
> >
> I recall that in either ancient Greece or ancient Rome, prostitutes were
> the only women to have blonde hair, but that's the only connection I can
> remember.
> LynnD

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From: Mara Riley <lindo@Radix.Net>
To: h-costume@indra.com
Subject: Re: H-COST: Color associations
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-Poster: Mara Riley <lindo@Radix.Net>

On Tue, 12 Jan 1999, Henk 't Jong wrote:
> According to Joachim Bumke (Hoefische Kultur, 1989) the nobility in the
> 12th c was of the opnion that the lower orders should not be allowed to
> wear the same dress as they did and be confused with them. They called in
> the help of the emperor and in a 'Kaiserchronik' of about 1150, which was
> supposed to be a collection of laws by Charlemagne, they had the emperor
> ordering peasants to wear only black (!) or grey, no gussets except at the
> sides, shoes only made of cowhide, 7 ells of cloth for a shirt and pants of
> common boadcloth, no more, etc. For the record: although there are
> Carolingian 'capitularia' concerning military dress and equipment, to the
> best of my knowledge, there are none about dress. 

(snip)
It's interesting that 7 ells are allotted for shirts, since later in
Ireland, the English tried to keep the Irish from using more than 7 ells
(I think) of fabric (probably 30" wide) in their _leinte_ (shirts).  Which
of course were yellow, with no association made to loose morals at all.
But people think that a leine is very voluminous, when, considering that
the fabric width was narrower, it's actually a reasonable amount of cloth.

Mara

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-Poster: Gaelscot@aol.com



Anne:

I enjoyed your Anne's post on undergarments, particularly the "update" to the
1960s. I am 34 years old, of a generation that never wore anything but basic
bra (Bali "natural" ideal) and cotton panties. Girdles, etc., were oddities
for old people in the Sears catalogue when I was growing up! Even after I had
grown up and gotten interested in vintage clothing, including corsets etc., it
didn't occur to me that styles a few years before my birth needed major
underwear. I *really* thought those women just had flat stomachs!

Now nearing middle age, and having two children, I have realized that my
stomach will never be flat again without some serious workouts -- and that it
never was all that flat to begin with! This year I was in a wedding and had
the humiliating experience of buying various undergaments to look good in my
dress. I was surprised to find a vast array of foundation garments -- a good
number of them of no use to anyone with even a little extra flesh, but a lot
that were quite rigid. Looking at myself in those unforgiving mirrors, I
briefly wondered if I ought to wear some of that stuff all the time. I did buy
a sort of girdle that I thought I might wear again, but I haven't. I'm just
too addicted to comfort.

I wonder why I think that corsets were rather charming, but modern girdles are
horrible? I love the "New Look" but I'd never wear what those women wore to
get it! Are other historic costumers of like opinion, or is it just me? And
just how many people wear foundation garments all the time today? Judging from
the department store, a lot more than I thought!

Gail Finke

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From owner-h-costume@indra.com  Wed Jan 13 10:50:31 1999
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Date: Wed, 13 Jan 1999 10:48:35 -0500
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-Poster: Jennie Chancey <jchancey@rica.net>

I've been cleaning out the pattern collection again and pulling out
doubles.  I just put a bunch up on eBay, all of which are from the 1910s
to 1920s.  You can see them at
http://cgi3.ebay.com/aw-cgi/eBayISAPI.dll?ViewListedItems&userid=chanceys.

All patterns are "new" old store stock and have never even been opened.

Cheers,
Jennie
--
Sense and Sensibility
http://www.sensibility.com
winsome clothing with an old-fashioned appeal


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From owner-h-costume@indra.com  Wed Jan 13 10:54:10 1999
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Date: Wed, 13 Jan 1999 10:59:35 -0500 (EST)
From: Mara Riley <lindo@Radix.Net>
To: h-costume@indra.com
Subject: Re: H-COST: undergarments
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-Poster: Mara Riley <lindo@Radix.Net>

I think modern foundation garments -are- ugly.  Having never worn one, I
can't say whether it's more or less comfortable than my period stays
(1750s), but I think my stays, which are plain linen, are definitely more
charming than the lycra-and-elastic monstrosities I've seen.  I never wear
polyester or fibers that don't breathe next to my skin, so I've never been
tempted to buy one, either.  Maybe if they made them out of linen, cotton
or silk, with some charming ribbons and a touch of lace!

Mara


On Wed, 13 Jan 1999 Gaelscot@aol.com wrote:
> Anne:
> 
> I enjoyed your Anne's post on undergarments, particularly the "update" to the
> 1960s. I am 34 years old, of a generation that never wore anything but basic
> bra (Bali "natural" ideal) and cotton panties. Girdles, etc., were oddities
> for old people in the Sears catalogue when I was growing up! Even after I had
> grown up and gotten interested in vintage clothing, including corsets etc., it
> didn't occur to me that styles a few years before my birth needed major
> underwear. I *really* thought those women just had flat stomachs!
> 
> Now nearing middle age, and having two children, I have realized that my
> stomach will never be flat again without some serious workouts -- and that it
> never was all that flat to begin with! This year I was in a wedding and had
> the humiliating experience of buying various undergaments to look good in my
> dress. I was surprised to find a vast array of foundation garments -- a good
> number of them of no use to anyone with even a little extra flesh, but a lot
> that were quite rigid. Looking at myself in those unforgiving mirrors, I
> briefly wondered if I ought to wear some of that stuff all the time. I did buy
> a sort of girdle that I thought I might wear again, but I haven't. I'm just
> too addicted to comfort.
> 
> I wonder why I think that corsets were rather charming, but modern girdles are
> horrible? I love the "New Look" but I'd never wear what those women wore to
> get it! Are other historic costumers of like opinion, or is it just me? And
> just how many people wear foundation garments all the time today? Judging from
> the department store, a lot more than I thought!
> 
> Gail Finke
> 
>  _________________________________________________________________
>  To leave this mailing list, send mail to majordomo@indra.com
>  with the message UNSUBSCRIBE H-COSTUME
> 

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Date: Wed, 13 Jan 1999 08:58:32 -0700 (MST)
From: Sylvia Rognstad <sylvia@netherworld.com>
To: h-costume@indra.com
cc: h-costume-digest@indra.com
Subject: Re: H-COST: undergarments
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-Poster: Sylvia Rognstad <sylvia@netherworld.com>

> 
> -Poster: Gaelscot@aol.com
> 
> I wonder why I think that corsets were rather charming, but modern girdles are
> horrible? I love the "New Look" but I'd never wear what those women wore to
> get it! Are other historic costumers of like opinion, or is it just me? And
> just how many people wear foundation garments all the time today? Judging from
> the department store, a lot more than I thought!

Gail, I don't think you're alone.  I was a child in the fifties and
remember seeing my mother struggle into one of those rubber crotchless
girdles with holes in them for air (I guess so you wouldn't sweat to death
in it) all the time.  Since I grew up with that mentality, my transition
to comfort was a slow one.  I wore girdles (but not THAT kind) when I got
dressed up as a teen and in my first year at college, along with
uncomfortable spiked heels.  Since I went to college at UC Berkeley, I
lost the girdle pretty fast.  The heels took longer, especially as I
worked in so many offices where I thought you had to have heels to look
good in dresses and suits. Actually I still think that, just dont work in
offices anymore, so now I cant stand to have to wear heels for very long. 

Now that I have that middle aged spread, I probably would look better with
some foundation, but I'll opt for comfort any day.  I dont like wearing
anything more than panties and I usually have my bra off by dinner time.
Btw, has anyone else noticed that it seems impossible to buy anything but
wonder bras these days, you know, the kind with underwires?  I dont like
sports bras.  I just want one of those little nothing kind of bras that
were so popular in the 70s that women bought to try to look like they were
braless.  At least they were comfortable.  Anyone know where to find one
of those today, or at least something without underwires that doesnt look
like one of those Playtex pointy things? Who still wears those? They
havent changed since the fifties, I dont think.
Sylvia R

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-Poster: Betsy Perry <betsyp@roguewave.com>

Not terribly historic, but I've been able to find non-underwire,
soft-cup (or is it cupless?  Stretch material with no foam lining)
brassieres at Target.  One good brand is Hanes Her Way.


---
Elizabeth Hanes Perry
Rogue Wave Software 

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Date: Tue, 12 Jan 1999 13:28:57 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: H-COST: pinking chisels
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>


>The real joke, I suppose, is that the chisels I used to have for this purpose
>were made by one of the finest knifemakers on the planet (not just my
>opinion), Jim Hrisoulas, aka Master Atar Baktar. That much talent probably
>isn't necessary, although it did mean custom sizes :).

Does he make these just for you, or does he make them for anyone who
asks/pays?  I could sure use one or two of these myself, and I see this
person occasionally.  If he made them they would look period enough to use
in public.


Kayta
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From owner-h-costume@indra.com  Wed Jan 13 11:13:24 1999
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Date: Tue, 12 Jan 1999 13:41:22 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: Re: H-COST: Re:   Colours
In-Reply-To: <199901121635.IAA02515@smtp.pacifier.com>
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>

Two problems here:  I do Renaissance not really Medieval, and I AM lower
class.  We do all kinds of things to survive which you upper class folks
don't even consider doing (and we have a great time doing them).  

Non commercial dyers did many things commercial dyers didn't, especially
for family use.  If pink was fashionable (assuming they even were aware of
that fact) they would do what they could to recreate it using whatever they
had, including lees of something else and multiple dipping.  With whatever
level of success.  Alternatively, if they had seen the colour and wanted to
try to recreate it with home methods, it might not have matched too well
anyway.

>I think that pink is period but dying with the lees was something 
>that was avoided. I don't have time to look it up now but I've seen 
>statutes where it was illegal to sell them, letters where it was 
>discussed as something to be avoided as low class and numerous things 
>which indicated that the medievals preferred intense colors requiring 
>several overdyings to make sure that it was as intense as possible. 
>True pastels were not popular until late Elizabethan. The pinks that 
>I have seen in tapestries were not baby pink but intense pinks (deep 
>roses, brilliant peach, almost fluorescent pinks in some cases.)
>


Kayta
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Date: Tue, 12 Jan 1999 14:11:12 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: Re: H-COST: Shakespeare in Love
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>

You saw the wrong turquoise/aqua blue, being a dyer.  (They didn't look
just right to me either.)  I saw a smooth ochre-yellow glazed mug with a
Ren Faire logo on it, being more of a potter.  (He threw a piece of trash
into it early on in the film.)

someone@eskimo.com writes, in a message sent 08:52 AM 1/12/99 +0000:
>
>-Poster: someone@eskimo.com
>
>I went to see it yesterday, and I concur with the other comments I've 
>seen here -- wonderful movie, wonderful costumes.
>
>The only thing that caught my eye as a possible false note (and I'm 
>willing to accept the possibility that it's just my eye, and not 
>really anything not in period) is the shade of many of the blues used 
>in the costumes.
>
>I have extensive experience dyeing with indigo, alone and in 
>combination with other natural dyes, and many of the blues in the 
>film didn't fit in with the range I'm accustomed to seeing.  For the 
>most part, they were more in the teal/aqua/turquiose range than I 
>expected.  There was also something (a piece of cloth?  a costume?) 
>hanging on a rack backstage at the theatre that was a clear, 
>jewel-toned sapphire.
>
>So, what is the opinion of those on this list in the know?  Are those 
>blues wrong for the period?  Was it just my eyes?  Possibly a bad 
>print of the film, with the colors off from what they were when 
>filmed?  Any other ideas?
>
>Pam Dotson
>Everett, WA  USA
> _________________________________________________________________
> To leave this mailing list, send mail to majordomo@indra.com
> with the message UNSUBSCRIBE H-COSTUME


Kayta
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Date: Wed, 13 Jan 1999 08:06:55 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: Re: H-COST: ethnic costume resource books
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>

There are other books than Tilke.  Look for specific books about garments
from the area you want.  Look also for books about the embroidery,
textiles, or crafts of those areas.  Books, for example, about the ikat
dying technique are usually illustrated with pictures of ethnic ikat
garments.  The captions often tell how old the garments are, what
age/gender of person wore them, and the name of the village in which they
were produced.  The best of these books also have old photos of ethnic
people wearing these garments, and the jewelry, hats, shoes, etc. which
originally went with them.

Other than folk dancers, I can't think of any groups which make or wear
ethnic costumes.  I think this is because one can't 'play' ethnic like one
can play Victorian or SCA.  Occasionally ethnic garments get reproduced for
showing at CostumeCon.  

Ethnic garments are a big interest for me too.  It is my opinion that any
garment which looks ethnic to the modern eye is historical, a living
fossil.  These garments are being replaced almost everywhere by the same
garments we homogenized 'un-ethnics' wear, at a loss to the culture which
discards them.  The few exceptions include India and 'Palestine'.  There
the traditional ethnic garments are worn daily (if only as signs of
cultural pride), and new designs in the same idiom are still evolving and
being produced.

Christina Conklin writes, in a message sent 11:03 AM 1/12/99 -0800:
>
>-Poster: Christina Conklin <textiles@earthlink.net>
>
>First posting to this group . . .
>
>I am interested in creating historic ethnic costumes, like 16th c.
>Mughal robes, traditional Turkish jackets, ceremonial Korean gowns and
>the like.
>
>I have the little book Cut My Cote (long out of print) and am looking at
>buying Max Tilke's 1922 book on Oriental Costumes. But it costs over
>$100 (also long OOP), and the on-line version at Univ of Indiana just
>isn't the same. Is this the best book to get, or are there other
>resources people would recommend? I'm interested in all parts of the
>world, but particularly Asia, in the largest sense of that word.
>
>Also are there others out there doing this sort of thing, either for fun
>or profit? Any purveyors or web sites you all would recommend?? Many
>thanks,
>
>Christy Conklin
>
> _________________________________________________________________
> To leave this mailing list, send mail to majordomo@indra.com
> with the message UNSUBSCRIBE H-COSTUME



Kayta
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From owner-h-costume@indra.com  Wed Jan 13 11:34:40 1999
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From: "Jessica Wilbur" <jessica@pop.net>
To: h-costume@indra.com
Date: Wed, 13 Jan 1999 11:41:50 -0500
Subject: RE: H-COST: undergarments
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-Poster: "Jessica Wilbur" <jessica@pop.net>

Yup! I get mine at Wal-mart. I think there are a couple of brands that work well. They're not 
sports bras, but they're pretty substantial. I am rather well-endowed and I was getting sick 
of underwires poking me and digging into my flesh. The bras I wear now have maybe a little 
less support than ones with underwires, but I'm so much more comfortable! Now if only I 
can figure out how to keep the straps from digging into my shoulders....

--Jessica

> 
> -Poster: Betsy Perry <betsyp@roguewave.com>
> 
> Not terribly historic, but I've been able to find non-underwire,
> soft-cup (or is it cupless?  Stretch material with no foam lining)
> brassieres at Target.  One good brand is Hanes Her Way.
> 
> 
> ---
> Elizabeth Hanes Perry
> Rogue Wave Software 
> 
>  _________________________________________________________________
>  To leave this mailing list, send mail to majordomo@indra.com
>  with the message UNSUBSCRIBE H-COSTUME
> 


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Date: Wed, 13 Jan 1999 08:57:31 -0800
To: h-costume@indra.com
From: Lisa Scovel <reenactment.guide@miningco.com>
Subject: Re: H-COST: undergarments
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-Poster: Lisa Scovel <reenactment.guide@miningco.com>


I have a couple of the lycra bodyshapers (I call them sucker-inners) that I
wear under my more form-fitting clothes and  I just love them.  I look for ones
that are comfortable, of course, but I find the control-top bike short thingies
(many have a special tummy panel) serve double duty for a smooth line and
keeping my hose up during the day.  I also have a couple of the full body ones
that I wear under dresses to keep everything 'in place' - they aren't as
comfortable as the shorts, but I like them for formal occasions.  They key for
me is getting them in a large enough size that they smooth, but do not
constrict.

At 10:46 AM 1/13/99 -0500, you wrote:
>I was surprised to find a vast array of foundation garments -- a good
>number of them of no use to anyone with even a little extra flesh, but a lot
>that were quite rigid. Looking at myself in those unforgiving mirrors, I
>briefly wondered if I ought to wear some of that stuff all the time. I did buy
>a sort of girdle that I thought I might wear again, but I haven't. I'm just
>too addicted to comfort.

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Date: Wed, 13 Jan 1999 10:49:37 -0600
Subject: Re: H-COST: Shakespeare in Love
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-Poster: seamstrix@juno.com


On Tue, 12 Jan 1999 14:11:12 -0800 Carolyn Kayta Barrows <kayta@slip.net>
writes:
>
> I saw a smooth ochre-yellow glazed mug with 
>a Ren Faire logo on it, being more of a potter.  (He threw a piece of 
>trash into it early on in the film.)
It wasn't a RenFaire mug, it was a souvenir of Stratford-On-Avon. It was
deliberately put there by the writer (Stoppard) to poke fun at the modern
Bard-mania. It's a total anachronism. That's all it was ever meant to be.
Personally I hope they are selling copies of it in Stratford when I go
next month because I'd cough up bucks for something that silly!


Karen
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From owner-h-costume@indra.com  Wed Jan 13 12:04:58 1999
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-Poster: Christina Conklin <textiles@earthlink.net>

> Danielle,

I'm very interested in these books, and would be grateful if you can give me some
bibliographic info. Many thanks.

Christy Conklin

> - -Poster: Danielle Nunn <dnunn@interlog.com>
>
> The Topkapi Palace Museum actually published a series of books and one of
> them is on textiles.  It has a number of photos of surviving caftans from
> about 16th century on.  If anyone is interested I'll dig out the book and
> post the info.
>
> Cheers,
> Danielle
>
>  _________________________________________________________________



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-Poster: Andrea Clef <a.clef@ndh.net>


--------------B876C9D52995243EE4327E99
Content-Type: text/plain; charset=iso-8859-1
Content-Transfer-Encoding: 8bit

> Who is the publisher?  Did they put their address in the book?  If so what
> is it?   And what is the ISBN?  Do you know how an American can buy a copy?
>
> Thanks for any info,
>
> Fran Grimble
>
The publisher of the book is "Karfunkel Verlag" which is a small
business that also
edits a German magazine for medieval reenactment.
The ISBN-Nr. is 3-9805642-2-3.

To order it, I would try the German branch of amazon.com first, that`s
http://www.amazon.de
If they don`t have it ,ask me again, I could order it here for you and
send it over.
It costs 43,-DM, that`s about $ 26 (I would accept dollar payment).


> Are there good photos/pictures in it?
>
There are eight detailed colour plates in it showing men´s and women`s
wear as well
as weaponry.
I think Anah is going to put two of these plates onto her website as I
sent her copies.
But there are also little drawings which illustrate how to do special
stitches that
were used during this period and patterns of basic garments are given
(mainly for
men).
This is going to be the first book in a series, so I believe that other
editions will folllow
dealing with earlier and later medieval periods.
I`ll keep you up to date!

Diana

P.S. : I haven`t heard of these periodicals yet, must be an older
thing...


--------------B876C9D52995243EE4327E99
Content-Type: text/html; charset=us-ascii
Content-Transfer-Encoding: 7bit

<HTML>

<BLOCKQUOTE TYPE=CITE>
<PRE>Who is the publisher?&nbsp; Did they put their address in the book?&nbsp; If so what
is it?&nbsp;&nbsp; And what is the ISBN?&nbsp; Do you know how an American can buy a copy?

Thanks for any info,

Fran Grimble</PRE>
</BLOCKQUOTE>
The publisher of the book is "Karfunkel Verlag" which is a small business
that also
<BR>edits a German magazine for medieval reenactment.
<BR>The ISBN-Nr. is 3-9805642-2-3.

<P>To order it, I would try the German branch of amazon.com first, that`s
<BR><A HREF="http://www.amazon.de">http://www.amazon.de</A>
<BR>If they don`t have it ,ask me again, I could order it here for you
and send it over.
<BR>It costs 43,-DM, that`s about $ 26 (I would accept dollar payment).
<BR>&nbsp;
<BLOCKQUOTE TYPE=CITE>
<PRE>Are there good photos/pictures in it?</PRE>
</BLOCKQUOTE>
There are eight detailed colour plates in it showing men&acute;s and women`s
wear as well
<BR>as weaponry.
<BR>I think Anah is going to put two of these plates onto her website as
I sent her copies.
<BR>But there are also little drawings which illustrate how to do special
stitches that
<BR>were used during this period and patterns of basic garments are given
(mainly for
<BR>men).
<BR>This is going to be the first book in a series, so I believe that other
editions will folllow
<BR>dealing with earlier and later medieval periods.
<BR>I`ll keep you up to date!

<P>Diana

<P>P.S. : I haven`t heard of these periodicals yet, must be an older thing...
<BR>&nbsp;</HTML>

--------------B876C9D52995243EE4327E99--

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Subject: Re: H-COST: undergarments--modern (OT)
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-Poster: "Doris J. Nash" <djnash@iastate.edu>

At 08:58 AM 1/13/99 -0700, you wrote:
>
>-Poster: Sylvia Rognstad <sylvia@netherworld.com>

<snip>

>Btw, has anyone else noticed that it seems impossible to buy anything but
>wonder bras these days, you know, the kind with underwires?  I dont like
>sports bras.  I just want one of those little nothing kind of bras that
>were so popular in the 70s that women bought to try to look like they were
>braless.  At least they were comfortable.  Anyone know where to find one
>of those today, or at least something without underwires that doesnt look
>like one of those Playtex pointy things? Who still wears those? They
>havent changed since the fifties, I dont think.
>Sylvia R
>

I'm a great fan of Just My Size bras.  They have a variety of styles--some
underwired, some not.  And reasonably priced, too!

Doris
==============
Doris Nash    <djnash@iastate.edu>
Costume Shop Supervisor, Iowa State University
"...with ruffs and cuffs, and farthingales and things."  
--Shakespeare, The Taming of the Shrew

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From: "Henk 't Jong" <scapreel@tip.nl>
To: <h-costume@indra.com>
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-Poster: "Henk 't Jong" <scapreel@tip.nl>

Henk & Pauline 't Jong
tScapreel
Medieval Advisors
Dordrecht, Netherlands

 
> Henk, you're forgetting us Canadians!


Oooops!!! I'm sorry!!!   (A large blush is spreading from my bottom
upwards...)


Henk
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-Poster: Margo Anderson <margo@directcon.net>




>>The real joke, I suppose, is that the chisels I used to have for this purpose
>>were made by one of the finest knifemakers on the planet (not just my
>>opinion), Jim Hrisoulas, aka Master Atar Baktar. 

Geez, Maggie...who carved your kitchen spoons, Mr. Chippendale?

Margo

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-Poster: Margo Anderson <margo@directcon.net>

I'm just old enough  (41) to have been subjected to panty girdles in my
early teens.  I remember them as being agonizingly uncomfortable.  This may
have been due to my mom's tendacy to buy my clothes a size too small
"because you'll lose the weight soon"--hah!  but some of it, I'm sure, has
to do with the style.

When my sister had a 1930's wedding, my bias cut dress required a girdle.  I
bought an old fashioned "tube" girdle with garter clips and was surprised
how comfortable it was. In fact, I took to wearing it under my work skirts
quite happily, even though I was in the first months of pregnancy.  Tight
waistbands were unberable, but the allover pressure from the girdle was
rather soothing.  

It's interesting how many people have their first experiences with serious
support garments when they're needed for a wedding.  I guess for many of us,
that's the only time we dress so formally--in modern clothing, at least.

Margo

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From owner-h-costume@indra.com  Wed Jan 13 15:38:31 1999
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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: H-COST: RE: Kilt jacket, shirt, and Jabot Pattern.
Date: Wed, 13 Jan 1999 15:48:59 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

While their WebPages offer no patterns, this is a custom
maker of several historical styles of Scots jackets,
including the Sheriffmuir kilt jacket.  The WebPages include
front and back views of their products.  The pictures are
awesome, as are all of their handmade products and
accessories.  You might inquire about the availability of a
pattern to your measurements at

Tartan Web
Ratchill, Broughton, Peeblesshire, Scotland ML12 6HH
Telephone: +44 (0) 1899 830 239
Fax: +44 (0) 1899 830 461
email: enquiries@tartanweb.co.uk

Their jacket WebPages are available at
http://www.scottish-selection.com/tweb/jackets.htm. Made up,
the Sheriffmuir is one of their more expensive jackets at
$457. Note that if you want it to close in front, it's
called something else, and they have that too. They have
less expensive jacket styles.  In any event, I can't offer
any help with the pattern other than referring you to Amazon
Drygoods catalog available at 1-800-798-7979.  They have a
number of riding coats, cadet coats, and frock coat
patterns, which you could modify with the Sheriffmuir style
jacket skirts of your own devising. Or, if you prefer, try
the pattern generating engine at
http://www.panix.com/~aqn/tailoring/drafting/index.html, and
follow the directions to enter the site for body and sleeve
(again, you'll have to develop your own skirts).This site
also has two terrific old-fashioned men's vest patterns on
it which it will custom- generate a pattern to your
measurements.

 http://www.piobmhor.com/doublet.html is another Scots
company with bagpiper's gear for sale, including a variety
of sleeved and sleeveless doublets, very similar to the
Sheriffmuir to give you some alternatives.  They offer
regalia for any jacket you make yourself, the braids, trims
and other trim which will give it that authentic touch at
http://www.piobmhor.com/regalia.html.

The shirt varies by the century you are trying to portray,
but prior to the mid- to late- 19th Century,  something of
simple rectangles will be appropriate.  The jabot is about
5-7 feet long, six-eight inches wide after hemming, lace at
ends optional.  It is separate from the shirt.  The shirt
may have ruffles or not, your choice. They are sewn onto
each side of the neck opening. This company above also sells
shirts and jabots, too.

 The Kirke's Lambs Uniforms website at
http://www.geocities.com/Paris/Rue/1663/kirkes_uniform.html
has a good shirt and jabot pattern (they call the jabot a
cravat, but it's virtually the same thing.) The shirt
pattern at
http://http://ares.redsword.com/dduperault/shirt.htm has
good measuring info and directions, but gather your shirt
all in at the neck, not across the top of the shoulders.  If
you want a true collar, which isn't necessary if you wear a
jabot, add about 3" to the width of the collar pieces on
this site and make it up the same way.

Not quite what you asked for, but I hope this helps. . . .

Hope H. Dunlap



-----Original Message-----
From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
Behalf Of Sterling Ranne
Sent: Friday, January 08, 1999 11:20 AM
To: h-costume@indra.com
Subject: H-COST: WTD: Kilt jacket pattern.



-Poster: "Sterling Ranne" <sranne@hydroseal.com>

I'm looking for a pattern for a Sheriffmuir kilt jacket.
Also looking for
a pattern for the jabot shirt that is worn with it.  I can
find the Prince
Charlie jacket but much prefer the looks of the Sheriffmuir.

Any help finding patterns greatly appreciated.

Sterling
92.5% Pure
sranne@hydroseal.com

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Date: Wed, 13 Jan 1999 12:02:20 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: RE: H-COST: ethnic costume resource books
In-Reply-To: <3.0.1.32.19990112221609.009473c0@mail.interlog.com>
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>


>The Topkapi Palace Museum actually published a series of books and one of
>them is on textiles.  It has a number of photos of surviving caftans from
>about 16th century on.  If anyone is interested I'll dig out the book and
>post the info.
>

Please post this.  I am drooling in my (ethnic) shoes in anticipation.


Kayta
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Date: Wed, 13 Jan 1999 12:38:32 -0800
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Subject: Re: H-COST: Color associations
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>

Sicily has a lot of natural blonde people, again because of their history
of being invaded by blonde conquerors.

>Considering that the Italian nobility (Middle Ages, of course, not ancient
>Rome) had a lot of Lombard blood, you'd expect them to have blond hair.
>Which a number of them do, in paintings.  So maybe imitating the nobility
>was what prompted people to bleach thair hair.  (Including ladies of ill
>repute.)


Kayta
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Date: Wed, 13 Jan 1999 12:00:28 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: Re: H-COST: Incas
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>


>3. Why is this civilization not touched on more in history classes?  The
>Incas were very advanced in architecture, agriculture, and textile develop.
>I remember in grade school the Incas was touched upon briefly (for the gold
>and European invasion).  In my art history courses, one professor showed two
>slides of their housing.  In my costume history classes the Incas were never
>covered.

Because 'history' means European history, or did till recently.  The latest
thing (and about time) is to offer history classes about other parts of the
world like parts of Africa and South America, etc.  These are often found,
in California at least, under some kind of ethnic studies department.  


Kayta
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Date: Wed, 13 Jan 1999 11:12:27 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: Re: H-COST: requesting suggestions for a wedding dress
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>

Round and busty, otherwise known as 'Reubenesque', looks very good in
anything Reuben painted, and that's pre-1700.  I can identify with the
ladies he painted nude (which is why I am dieting this year).  But they
sure look good in the dresses he painted.

>I'm getting married this summer (*gasp!*) and I would really like to 
>have a dress that I could use again. My future husband will be in Black 
>Tails, top hat, the whole shebang. I'd like something that would look 
>really good with this. I think Edwardian would look nice, but I'm more 
>interested in something pre 1700.
>
>I was wondering if any of you have suggestions?
>
>Oh yeah, my body type is round and busty. 


Kayta
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From owner-h-costume@indra.com  Wed Jan 13 15:54:36 1999
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-Poster: The Purple Elephant <csmart@physics.adelaide.edu.au>

On Wed, 13 Jan 1999, Mara Riley wrote:

> 
> -Poster: Mara Riley <lindo@Radix.Net>
> 
> I think modern foundation garments -are- ugly.  Having never worn one, I
> can't say whether it's more or less comfortable than my period stays
> (1750s), but I think my stays, which are plain linen, are definitely more
> charming than the lycra-and-elastic monstrosities I've seen.  I never wear
> polyester or fibers that don't breathe next to my skin, so I've never been
> tempted to buy one, either.  Maybe if they made them out of linen, cotton
> or silk, with some charming ribbons and a touch of lace!
> 
This could be a good reason....perhaps the lack of individual fit is
another. I own two pieces of underwear that might be considered as modern
control garments I suppose (though only light control), both full body.
One is lightly boned and horribly uncomfortable. The bones seem in just
the right places to poke me. The other is of lycra and has a nice smoothing
effect. It's far more comfortable, but I wouldn't wear it in hot weather
or for serious body-shaping.

------------------------------------------------------------------------------
Claire F. Clarke       "What is this world if, full of care, 
Physicist, writer,     We have no time to stand and stare?"
and non environmentally                     Robert Louis Stevenson
friendly substance.
------------------------------------------------------------------------------

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From owner-h-costume@indra.com  Wed Jan 13 15:55:08 1999
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Date: Wed, 13 Jan 1999 11:53:43 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: H-COST: 'baby walker' Elizabethan
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>


>I recently did a elizabethan for my 3 yr old that I am glad to say was one
>of the winners of the "Well Dressed Child" contest at Twelfth Night, this
>last weekend.

I made an Elizabethan for my oldest kid for her first Twelfth Night, when
she was just learning to walk.  I made the drum farthingale out of a
circular-top baby walker from a thrift store.  I gave her dress leading
strings, and used them in their period function as kid leashes when she was
in the walker.  I was able to pick her up out of the walker when she needed
picking up, so I had to make the walker a petticoat/cover.  It was fun.  

Wheeled baby walkers are period from at least the 1400's, as shown in a
woodcut in the Dover history of woodcuts.  They even occur in doll houses
from the 1600's, by which time they have casters! 


Kayta
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Date: Wed, 13 Jan 1999 12:54:00 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: H-COST: 1940's-50's undergarments
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>


>I wonder why I think that corsets were rather charming, but modern girdles are
>horrible? I love the "New Look" but I'd never wear what those women wore to
>get it! Are other historic costumers of like opinion, or is it just me? And
>just how many people wear foundation garments all the time today? Judging from
>the department store, a lot more than I thought!

I am old enough to have worn girdles and I occasionally wear historical
corsets.  I think the major difference between these two kinds of
foundation garments is the length.  Corsets are long enough allow for the
flesh they displace, and most girdles are not.  This means that it shows
and must be dealt with, like by a long line bra.  The extra flesh gets
pinched in between the two garments.  In addition there are other
discomfort factors.  Corsets are worn with an undergarment to reduce
chafing and girdles are not.  Corsets stay in place, and girdles must be
tugged at occasionally.

The best solution for 1940's-50's is to wear a one-piece garment which
includes bra and girdle in the same garment.  These are 40's-50's period
things, and are enough like a corset that if you can wear a
Victorian/Edwardian one you can successfully wear one of them.


Kayta
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Date: Wed, 13 Jan 1999 11:44:14 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: Re: H-COST: Costume Contest etc...
In-Reply-To: <3.0.1.32.19990112161736.006bfdd0@silverspin.net>
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>


>>A list web site would be a great place to post pics of stuff we do.  I just
>>don't know if I have the capabilities.
>
>I would be willing to do something like this... I have the server space, I
>can make the pages, I even  have the capability to scan stuff for people if
>they can't do it themselves.

Please do this?  Big please (see below)

PLEASEPLEASEPLEASE
PLEASE      PLEASE
PLEASE      PLEASE
PLEASEPLEASEPLEASE
PLEASE
PLEASE
PLEASE
PLEASE

PLEASE 
PLEASE
PLEASE
PLEASE
PLEASE
PLEASE
PLEASE
PLEASEPLEASEPLEASE

PLEASEPLEASEPLEASE
PLEASE
PLEASE
PLEASEPLEASE
PLEASE
PLEASE
PLEASE
PLEASEPLEASEPLEASE

      PLEASE
PLEASE      PLEASE
PLEASE      PLEASE
PLEASEPLEASEPLEASE
PLEASE      PLEASE
PLEASE      PLEASE
PLEASE      PLEASE
PLEASE      PLEASE

PLEASEPLEASEPLEASE
PLEASE      PLEASE
PLEASE
PLEASEPLEASE
      PLEASEPLEASE
            PLEASE
PLEASE      PLEASE
PLEASEPLEASEPLEASE

PLEASEPLEASEPLEASE
PLEASE
PLEASE
PLEASEPLEASE
PLEASE
PLEASE
PLEASE
PLEASEPLEASEPLEASE



Kayta
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     |   -- ))))
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From owner-h-costume@indra.com  Wed Jan 13 16:00:18 1999
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-Poster: The Purple Elephant <csmart@physics.adelaide.edu.au>

On Wed, 13 Jan 1999, Mara Riley wrote:

> Didn't quite work, though, judging from the statues of Mary that show up
> in the late Middle Ages/Renaissance, wearing nothing more than her hair
> (strategically draped, of course).

Are you sure that was Mary Magdalene? This is the common way of depicting
St Agnes who was popular in the Middle Ages I believe.

------------------------------------------------------------------------------
Claire F. Clarke       "What is this world if, full of care, 
Physicist, writer,     We have no time to stand and stare?"
and non environmentally                     Robert Louis Stevenson
friendly substance.
------------------------------------------------------------------------------

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From owner-h-costume@indra.com  Wed Jan 13 16:06:31 1999
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Date: Wed, 13 Jan 1999 13:08:51 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: RE: H-COST: undergarments
In-Reply-To: <QQfxzu14606.199901131641@smtp0-alterdial.uu.net>
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>

This is why I was asking about those modern bra/corset things a while ago.
I still haven't solved the problem.  The best I can do is remove the
underwires and slide the straps farther out on my shoulders.

>Yup! I get mine at Wal-mart. I think there are a couple of brands that work 
>well. They're not 
>sports bras, but they're pretty substantial. I am rather well-endowed and I 
>was getting sick 
>of underwires poking me and digging into my flesh. The bras I wear now have 
>maybe a little 
>less support than ones with underwires, but I'm so much more comfortable! 
>Now if only I 
>can figure out how to keep the straps from digging into my shoulders....
>
>--Jessica
>
>> 
>> -Poster: Betsy Perry <betsyp@roguewave.com>
>> 
>> Not terribly historic, but I've been able to find non-underwire,
>> soft-cup (or is it cupless?  Stretch material with no foam lining)
>> brassieres at Target.  One good brand is Hanes Her Way.
>> 


Kayta
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From owner-h-costume@indra.com  Wed Jan 13 16:06:31 1999
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Date: Wed, 13 Jan 1999 13:10:40 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: Re: H-COST: Shakespeare in Love
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>


>> I saw a smooth ochre-yellow glazed mug with 
>>a Ren Faire logo on it, being more of a potter.  (He threw a piece of 
>>trash into it early on in the film.)
>It wasn't a RenFaire mug, it was a souvenir of Stratford-On-Avon. It was
>deliberately put there by the writer (Stoppard) to poke fun at the modern
>Bard-mania. It's a total anachronism. That's all it was ever meant to be.
>Personally I hope they are selling copies of it in Stratford when I go
>next month because I'd cough up bucks for something that silly!

Even I knew it HAD to be somebody's joke...


Kayta
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From owner-h-costume@indra.com  Wed Jan 13 16:07:34 1999
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Date: Wed, 13 Jan 1999 13:14:24 -0800
To: h-costume@indra.com
From: Lisa Scovel <reenactment.guide@miningco.com>
Subject: Re: H-COST: Costume Contest etc...
In-Reply-To: <4.1.19990113113800.00bba6c0@pop.slip.net>
References: <3.0.1.32.19990112161736.006bfdd0@silverspin.net>
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-Poster: Lisa Scovel <reenactment.guide@miningco.com>

In the meantime, I'd love to do an article for my site about the list's
creations if I could get pictures and descriptions of items...  It's a place to
start, anyway.  I can also scan stuff for those who don't have scanners.

At 11:44 AM 1/13/99 -0800, you wrote:
>
>-Poster: Carolyn Kayta Barrows <kayta@slip.net>
>>I would be willing to do something like this... I have the server space, I
>>can make the pages, I even  have the capability to scan stuff for people if
>>they can't do it themselves.
>
>Please do this?  Big please (see below)
>
>PLEASEPLEASEPLEASE
>PLEASE      PLEASE
>PLEASE      PLEASE
>PLEASEPLEASEPLEASE

<lotsa pleases snipped>
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From owner-h-costume@indra.com  Wed Jan 13 16:33:45 1999
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Date: Wed, 13 Jan 1999 13:46:13 +0000
From: Dietmar <dietmar@pacbell.net>
Organization: Completely Disorganized
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-Poster: Dietmar <dietmar@pacbell.net>

Greetings good gentles,

Fran had asked:

>> Who is the publisher?  Did they put their address in the book?  If so what
>> is it?   And what is the ISBN?  Do you know how an American can buy a copy?

Diana replied:

> The publisher of the book is "Karfunkel Verlag" which is a small business
> that also edits a German magazine for medieval reenactment.
> The ISBN-Nr. is 3-9805642-2-3. 
>
> To order it, I would try the German branch of amazon.com first, that`s
> http://www.amazon.de 

I was hoping to sweep in and save the day, but it turned out to be more of a
good news/bad news game.  I checked last night.

The good news is that there is indeed a German version of Amazon.com.  The
browser interface is almost identical to the American version.  If you don't
speak German (or not very well), you can open up two windows and use the
different language versions side-by-side.

The bad news is that they don't have this book (or some of the others that I'm
looking for).  Most of the others I was looking for are in the $100 range.
:-(

> If they don`t have it ,ask me again, I could order it here for you and
> send it over.  It costs 43,-DM, that`s about $ 26 (I would accept dollar
> payment). 

Ach, Diana mein wunderschoene Leibling!  ;-)

> This is going to be the first book in a series, so I believe that other
> editions will folllow dealing with earlier and later medieval periods.
> I`ll keep you up to date! 

I'm drooling already!!

In anticipation,

Dietmar


"Victory or Defeat rests in God's hands;
 over Honor, we ourselves are Lord and Master."
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From owner-h-costume@indra.com  Wed Jan 13 16:40:31 1999
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Date: Wed, 13 Jan 1999 14:47:42 +0000
From: "S.B. McDaniel" <fretknot@earthlink.net>
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Subject: H-COST: Blonde Prostitutes
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-Poster: "S.B. McDaniel" <fretknot@earthlink.net>

Mon, 11 Jan 1999, Lynn Downward wrote:
> >
> I recall that in either ancient Greece or ancient Rome, prostitutes 
>were the only women to have blonde hair, but that's the only  >connection I can remember.

 LynnD

> Considering that the Italian noOnbility (Middle Ages,
 of course, not  >ancient Rome) had a lot of Lombard blood, you'd expect
them to have     >blond hair. Which a number of them do, in paintings. 
So maybe  >imitating the nobility was what prompted people to bleach
thair hair.   (Including ladies of ill repute.)
 
 Mara


I'd tend to agree with Mara.  There were periods of intense fashions for
blonde hair in Ancient Rome, and one would expect prostitutes to follow
these fashions.  I don't know about "blonde" prostitutes in ancient
Greece, though there were natural blondes in that population too.

Sandy McDaniel (Yes, a blonde- doesn't that explain a lot?)
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Date: Wed, 13 Jan 1999 11:37:38 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: H-COST: Colours, laws against
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>


>> I keep hearing the one about pink not being period, but I never believed
>> that one.  It's too easy to get, if only by dying with the lees of the red.
>
>I think that pink is period but dying with the lees was something 
>that was avoided. I don't have time to look it up now but I've seen 
>statutes where it was illegal to sell them, 

That there are statutes against any practice tells us that somebody had
been doing the proscribed thing.  Human nature tells us that not everybody
stops doing something the minute it becomes against the law, especially if
there's a market for it.  

This seems to be a social class question.  I can't believe the lower
classes didn't use all the lees they had to get any colours people of their
time could imagine.  (Not that I believe they could imagine all the colours
I can imagine.)  And there had to be some dying operations too small or too
non-commercial for the authorities to notice.  That would explain why
peasant garb is so many different colours of brownish, yellowish, and greenish.

letters where it was 
>discussed as something to be avoided as low class and numerous things 
>which indicated that the medievals preferred intense colors requiring 
>several overdyings to make sure that it was as intense as possible. 
>True pastels were not popular until late Elizabethan. The pinks that 
>I have seen in tapestries were not baby pink but intense pinks (deep 
>roses, brilliant peach, almost fluorescent pinks in some cases.)
> 


Kayta
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From owner-h-costume@indra.com  Wed Jan 13 16:55:33 1999
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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: ethnic costume resource books
Date: Wed, 13 Jan 1999 17:05:34 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

I saw the Topkapi Textiles book when I was in Turkey, and it
was enormously expensive and insufficient content for my
taste.  A coffee table book. There a lot of full page photos
of the actual silk fabric, showing the weave, which was not
hugely unusual, just fine.  So I guess if you want magnified
photos of fabric it's OK, but really lacking something I
thought for the price.  Turkish sultans typically wore
caftans with enormous patterns on them, typically repeating
only three times from hem to collar.  Some are smaller, but
still no smaller than the size of a big fist.  Hugely
geometric, the most of the patterns in the book do not rely
on the weave for their pattern or beauty like a detailed
plaid or fruit and flower brocade.  So I thought all the
expensive close-up detail was sort of a waste.  No interior
photos of the garments that I recall.  The silk woven or
maybe tablet woven or passementerie braids and covered
buttons benefit from the close-up photography, but there is
still a lot of book and price for the content. ILL this one
before you buy it. I didn't see the other books in the
series, but am also interested in the references.
Hope H. Dunlap
-----Original Message-----
From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
Behalf Of Carolyn Kayta Barrows
Sent: Wednesday, January 13, 1999 3:02 PM
To: h-costume@indra.com
Subject: RE: H-COST: ethnic costume resource books



-Poster: Carolyn Kayta Barrows <kayta@slip.net>


>The Topkapi Palace Museum actually published a series of
books and one of
>them is on textiles.  It has a number of photos of
surviving caftans from
>about 16th century on.  If anyone is interested I'll dig
out the book and
>post the info.
>

Please post this.  I am drooling in my (ethnic) shoes in
anticipation.


Kayta
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From owner-h-costume@indra.com  Wed Jan 13 16:57:24 1999
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Date: Wed, 13 Jan 1999 12:34:07 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: H-COST: hand-me-downs
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>


>I read somewhere that a lot of nobility would pass on their "old"
>(already wore it once? :-)) garments to "lesser" nobility, servants and
>the like... Seems to me that some of the sturdier garments could have
>been hand-me-downed enough times to make it to the middle classes.  And
>yes, the reds would fade - I've had that happen plenty with *modern*
>dyes!  

One of the 'perks' of being a servant was getting these hand-me-downs.
These would either be remodeled and worn, or sold to a used clothing
dealer.  Often trim from one garment was reused on another garment.  It
doesn't take more than one or two remodelings before a dress is completely
used up.  This is why more period bodices than period skirts have survived.
 And fashion changes with time, so when unfashionable garments are handed
down either they get remade into fashionable ones or they get worn by less
fashionable people.  Of course the jewels would not be handed down with the
dress.  

My guess is that the lesser nobility would have used up these garments
before they ever got as far as the middle class since the garments wouldn't
have survived more than a couple of handings.  And a middle class woman
would have to be careful where she wore a second-hand dress fancy enough to
have belonged to a noble lady, so she'd have to be careful not to buy
something too fancy for her class.  (OK, I can see her wanting some upward
mobility and buying something a teensy bit above her usual class...)  

Davenport writes that James I 's queen inherited Elizabeth I 's wardrobe,
and had some pieces remodeled for herself (ill.1469, p.561-2).

Davenport shows a used clothing dealer in a 'dance of death' set of
pictures from 1486 (ills.899-902, p.344).  She's as overdressed as a modern
flea market antique dealer (two necklaces, two pouches, a belt with a
clasp, a headdress jewel and another jewel on her sleeve).  There are seven
contemporary women to compare her with.


Kayta
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From owner-h-costume@indra.com  Wed Jan 13 16:58:58 1999
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To: Multiple recipients of list H-COSTUME <h-costume@indra.com>
Subject: H-COST: Gloves (fwd)
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-Poster: ches <ches@io.com>

If anyone lives in austin texas that makes gloves this lady could use your
help. I normally do not do out of town weddings because too many things go
wrong. Let me know if you all can help her.

Ches

---------- Forwarded message ----------
Date: Wed, 13 Jan 1999 14:02:36 -0600
From: cayoung@mail.utexas.edu
To: ches@io.com
Subject: Gloves

Help!  I found your glove website while desperately looking for someone to
make a custom pair of long satin gloves for my sister.  She is getting
married here in Austin on February 6, and her dress is an unusual shade of
ivory.  We have been unable to find any gloves to match.  The dress maker
will sell us the fabric for gloves - but I can't find anyone who makes them.

Do you make gloves for other people?  Is it hopeless??
 
Any help, advice, etc. that you can offer would be greatly appreciated.  In
fact, if you are willing to talk on the phone, please send me your number
and I will call you.

Thank you,

C. Young

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From owner-h-costume@indra.com  Wed Jan 13 17:02:53 1999
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Subject: Re: H-COST: Costume Contest etc...
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-Poster: Karla Sexsmith <karla@silverspin.net>

>>
>>I would be willing to do something like this... I have the server space, I
>>can make the pages, I even  have the capability to scan stuff for people if
>>they can't do it themselves.
>
>Please do this?  Big please (see below)

Ok!  Is the consensus that this is ok for me to do?

But I need input from the list members!  Pictures, articles, etc...  do we
want a member section?

I can do the design, but to be honest, I'd only been on the list a day when
I volunteered for this :)  Although, I've been on it before, so I'm not
completely new, and I've been in the SCA for about 2 years, so I know some
about costuming... but my strength is in webdesign.

I'm sure I can come up with lots of links and stuff, but you guys will have
to help provide content...

And if anyone wants to take advantage of my scanning services, email me
privately for my mailing address.

Karla

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Date: Wed, 13 Jan 1999 22:18:03 +0000
To: h-costume@indra.com
From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: H-COST: 'baby walker' Elizabethan
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-Poster: Jean Waddie <anne@montgomerie.demon.co.uk>

In message <4.1.19990113114444.00b645a0@pop.slip.net>, Carolyn Kayta
Barrows <kayta@slip.net> writes
>
>-Poster: Carolyn Kayta Barrows <kayta@slip.net>
>
>
>>I recently did a elizabethan for my 3 yr old that I am glad to say was one
>>of the winners of the "Well Dressed Child" contest at Twelfth Night, this
>>last weekend.
>
>I made an Elizabethan for my oldest kid for her first Twelfth Night, when
>she was just learning to walk.  I made the drum farthingale out of a
>circular-top baby walker from a thrift store.  I gave her dress leading
>strings, and used them in their period function as kid leashes when she was
>in the walker.  I was able to pick her up out of the walker when she needed
>picking up, so I had to make the walker a petticoat/cover.  It was fun.  
>
>Wheeled baby walkers are period from at least the 1400's, as shown in a
>woodcut in the Dover history of woodcuts.  They even occur in doll houses
>from the 1600's, by which time they have casters! 
>
>A quick off-topic note - one of the historic houses in Edinburgh has
one of these baby walkers, probably about 17th century.  There has been
a lot in the news recently about baby walkers causing injuries by
children falling down stairs in them, or pulling things down on top of
them.  The period one shows clearly that modern ones are missing the
point - the baby walker is square, and its base is wider than the
doorways of the room or the child's reach.  Its function is to stop the
child going where it shouldn't.

Jean


>Kayta
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> _________________________________________________________________
> To leave this mailing list, send mail to majordomo@indra.com
> with the message UNSUBSCRIBE H-COSTUME

-- 
Jean Waddie
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-Poster: Merouda the True <keltia@serv.net>

What a fantastic offer!  Let's change the subject head line.  :)  Cynthia

> Ok!  Is the consensus that this is ok for me to do?
> But I need input from the list members!  Pictures, articles, etc...  do we
> want a member section?

--
Merouda the True of Beaumaris
Barony of Madrone
Kingdom of An Tir


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Date: Wed, 13 Jan 1999 14:01:48 -0800
Subject: H-COST: Re: h-costume-digest V4 #36
Message-ID: <19990113.143340.-116567.0.mor-plentyn@juno.com>
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-Poster: mor-plentyn@juno.com (Carmen J Beaudry)

I saw your child with a couple others also suitably dressed playing
ring-around-the-rosy in the lobby.  It was one of the magic moments that
made the event for me.

Melusine d'Argent

>- -Poster: "Gia Gavino-Gattshall" <ggavino@serv.net>
>
>Greetings, list!
>
>I recently did a elizabethan for my 3 yr old that I am glad to say was 
>one
>of the winners of the "Well Dressed Child" contest at Twelfth Night, 
>this
>last weekend.
>
>I made it out of a black silk (well, I got the silk cheap...) with a 
>pansy
>motif woven in damask style.  Using one of the dresses in QEWU as a 
>guide, I
>did the sleeves out of white taffeta with black flocking.  The sleeves 
>were
>puffy at the head and fitted at the wrist.  Also I had hanging 
>sleeves,
>lined with the white taffeta.  The hanging sleeves hung to the hem.  I 
>hand
>stitched the gold trim around the edges of the hanging sleeves and on 
>the
>front of the gown (diagonally from neckline corners to waist point).  
>The
>bodice of the gown is fully lined and interlined with horsehair 
>interfacing.
>If I hadn't taken ill I would had time to do a proper corset and 
>farthingale
>for her.  Those will be next.
>
>I also did cartridge pleating for the first time and could have shot 
>myself
>for not doing it before!  It's easy and I found the drape of the skirt 
>to be
>just what I was hoping it would do.  I plan on doing it on all my 
>Italian
>rens from now on, too!
>
>The chemise I gathered the fullness of the neckline and sleeves into a 
>band
>with a pleated ruffle.  I handstitched the band onto the body of the 
>chemise
>and liked doing that as well.  I found I was able to control the 
>gathering
>much better than doing by machine.   I also handstitched the ties into 
>the
>bands.
>
>I cheated and used my serger for the long seam of the skirt.
>
>The next elizabethan I plan to make I will do a french seam on the 
>skirt.
>
>Gia/Giacinta
>costuming nut

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From owner-h-costume@indra.com  Wed Jan 13 18:02:57 1999
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Date: Wed, 13 Jan 1999 17:59:46 -0500
To: h-costume@indra.com
From: Danielle Nunn <dnunn@interlog.com>
Subject: RE: H-COST: ethnic costume resource books
In-Reply-To: <4.1.19990113120132.00bbfc50@pop.slip.net>
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-Poster: Danielle Nunn <dnunn@interlog.com>

Greetings,

>>The Topkapi Palace Museum actually published a series of books and one of
>>them is on textiles.  It has a number of photos of surviving caftans from
>>about 16th century on.  If anyone is interested I'll dig out the book and
>>post the info.

>Please post this.  I am drooling in my (ethnic) shoes in anticipation.

Well here it is:

The Topkapi Saray Museum
Costumes, Embroideries and other Textiles
translated, expanded and edited by 
J.M. Rogers
from the original Turkish by 
Hulye Tezcan and Selma Delibas  (with an umlaut over the "u" and a vergule
under the last "s")
A New York Graphic Society Book
Little, Brown and Company
Boston, c 1986
ISBN: 0-8212-1634-1
Library of Congress #: 86-61004

Although you don't see the insides, you can still derive a great deal of
detail from what you do see.  I personally really like the book, the photos
are WONDERFUL.  Enjoy.

Cheers,
Danielle

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From owner-h-costume@indra.com  Wed Jan 13 18:10:23 1999
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-Poster: Lavolta Press <lavolta@best.com>

>
>
> Ok!  Is the consensus that this is ok for me to do?

What exactly are you planning?

>
>
> But I need input from the list members!  Pictures, articles, etc...  do we
> want a member section?

I would suggest including a page with information on the charter of h-costume,
instructions on how to sign on (maybe an automatic sign-on), so people surfing
the web hear about the list and can join it.  Also a page of links to
costume-related web sites owned by members.

Fran


----------------------------------------------
Visit our web sites!
Books on historic costume and vintage clothes
http://www.best.com/~lavolta/index.htm
Vintage and historic dance
http://www.best.com/~lavolta/dance/index.htm


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From owner-h-costume@indra.com  Wed Jan 13 18:28:39 1999
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Date: Wed, 13 Jan 1999 14:45:31 -0800
From: Merouda the True <keltia@serv.net>
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Subject: Re: H-COST: Colours, laws against
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-Poster: Merouda the True <keltia@serv.net>

> >> I keep hearing the one about pink not being period, but I never believed
> >> that one.  It's too easy to get, if only by dying with the lees of the red.

I have a weaver/dyer friend and her favorite in period (SCA) color is madder pink.

Cynthia

--
Merouda the True of Beaumaris
Barony of Madrone
Kingdom of An Tir


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From owner-h-costume@indra.com  Wed Jan 13 18:45:03 1999
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From: "David Stamper & Eve Harris" <evedave1@netcom.ca>
To: <h-costume@indra.com>
Subject: H-COST: Yellow = Prostitute
Date: Wed, 13 Jan 1999 18:57:30 -0500
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-Poster: "David Stamper & Eve Harris" <evedave1@netcom.ca>

Okay, to continue the yellow question, I got out _Lives of the Courtesans_
by Lynne Lawner again.

"An interesting characteristic of some Magdalene paintings is the presence
of the yellow shawl courtesans were required by law to wear as an insignia
of their profession: it was similar to the yellow stars and armbands that
have identified Jews through the centuries as protected or persecuted
pariahs. By the sixteenth century, in Venice and many other places,
courtesans no longer had to wear the yellow veil, but procuresses wore them,
and painters evidently did not forget that courtesans had been subjected to
this ignominy." p. 178

Here's an example of Venetian sumptuary laws from 1562 (p. 25, same book):

"Prostitutes of this city are forbidden to wear gold, silver, or silk,
except for caps made of pure silk. They are not to wear chains, rings set
with precious stones, or any other kind of ring or earring. In addition,
they are not to wear any jewels, real or false, and this applies both inside
and outside their houses, even when they are outside the city. Furnishings
must comply in every way to the law. There should not be anything of silk in
the house. Forbidden are tapestries, fancy materials on the walls, elaborate
headboards (spalliere), decorated chests, gilded leathers (cuori d' oro).
Instead, prostitutes are to use only Bergamasque or Brescian materials
(rough materials manufactured on the mainland, mainly for export), fifty
percent wool, plainly striped or coloured as they are nowadays. They are not
allowed to slash these materials (in order to insert, ribbon-style, more
precious ones); if they do, they will be fined 10 ducats the first time and
banished the next time."

A cursory glance at the relevant portraiture of the time shows that these
rules were not obeyed in the slightest.

Eve Harris

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-Poster: Seton1355@aol.com

Dear Katya,
Your baby walker outfit sounds so cool!  Any way to see pictures?
Phillipa
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-Poster: kat@grendal.rain.com


> >A quick off-topic note - one of the historic houses in Edinburgh has
> one of these baby walkers, probably about 17th century.  There has been
> a lot in the news recently about baby walkers causing injuries by
> children falling down stairs in them, or pulling things down on top of
> them.  The period one shows clearly that modern ones are missing the
> point - the baby walker is square, and its base is wider than the
> doorways of the room or the child's reach.  Its function is to stop the
> child going where it shouldn't.

None of the walkers I've seen from the 14th century through at least 
the 16th Century would prevent the child's reach or keep them from 
tipping or going through doorways.

One of the most common things which maimed and killed children of 
that time is falling into the fire. 

Leading strings attached to the backs of the doublet or shoulders of 
the tunic is something you also see with the pre16th century. This is 
so charming (and very costume oriented;) and it works.


Kat 

Kat(June Russell)
kat@grendal.rain.com
Heu! Tintinnuntius meus Sonat!
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From owner-h-costume@indra.com  Wed Jan 13 19:22:10 1999
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Subject: Re: H-COST: undergarments
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-Poster: cley@juno.com (cynthia j ley)

I can't stand underwires. I found some bras at Modern Woman that are
nothing more or less than cotton and Lycra in all the right places. Not
busty, but sing, and have a huge rib cage to get around. These fit
perfectly and are very comfortable. No, I have no affiliation with the
company. But I find clothes there that fit when they're otherwise nowhere
to be found.


						Arlys


On Wed, 13 Jan 1999 13:08:51 -0800 Carolyn Kayta Barrows <kayta@slip.net>
writes:
>
>-Poster: Carolyn Kayta Barrows <kayta@slip.net>
>
>This is why I was asking about those modern bra/corset things a while 
>ago.
>I still haven't solved the problem.  The best I can do is remove the
>underwires and slide the straps farther out on my shoulders.
>
>>Yup! I get mine at Wal-mart. I think there are a couple of brands 
>that work 
>>well. They're not 
>>sports bras, but they're pretty substantial. I am rather well-endowed 
>and I 
>>was getting sick 
>>of underwires poking me and digging into my flesh. The bras I wear 
>now have 
>>maybe a little 
>>less support than ones with underwires, but I'm so much more 
>comfortable! 
>>Now if only I 
>>can figure out how to keep the straps from digging into my 
>shoulders....
>>
>>--Jessica
>>
>>> 
>>> -Poster: Betsy Perry <betsyp@roguewave.com>
>>> 
>>> Not terribly historic, but I've been able to find non-underwire,
>>> soft-cup (or is it cupless?  Stretch material with no foam lining)
>>> brassieres at Target.  One good brand is Hanes Her Way.
>>> 
>
>
>Kayta
>     ////.\\\
>    ////-@@\\\
>   ((((   7 (((
>     |   -- ))))
>     * )   (((((
>  /----\   /---\
>
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From owner-h-costume@indra.com  Wed Jan 13 19:24:41 1999
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From: "Ms Blasta" <cruiskeen@hotmail.com>
To: h-costume@indra.com
Subject: Re: H-COST: re: mary magdalene
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-Poster: "Ms Blasta" <cruiskeen@hotmail.com>


I've always seen Agnes portrayed holding a lamb (Agnes = latin Agnus)
>
>Are you sure that was Mary Magdalene? This is the common way of 
depicting
>St Agnes who was popular in the Middle Ages I believe.
>


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-Poster: Seton1355@aol.com

Imust have missed something.  Can someone please fill me in?
Thanks, Phillipa


In a message dated 1/13/99 5:34:34 PM Eastern Standard Time, keltia@serv.net
writes:

> 
>  What a fantastic offer!  Let's change the subject head line.  :)  Cynthia
>  
>  > Ok!  Is the consensus that this is ok for me to do?
>  > But I need input from the list members!  Pictures, articles, etc...  do
we
>  > want a member section?
>  
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From: Harvey Georgia <harveyg@acer.edu.au>
Subject: Re: H-COST: 1940's-50's undergarments
To: "'H-costume'" <h-costume@indra.com>
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-Poster: Harvey Georgia <harveyg@acer.edu.au>


- -Poster: Carolyn Kayta Barrows <kayta@slip.net>

>I wonder why I think that corsets were rather charming, but modern girdles
are
>horrible? I love the "New Look" but I'd never wear what those women wore to
>get it! Are other historic costumers of like opinion, or is it just me? And
>just how many people wear foundation garments all the time today? Judging
from
>the department store, a lot more than I thought!

The best solution for 1940's-50's is to wear a one-piece garment which
includes bra and girdle in the same garment.  These are 40's-50's period
things, and are enough like a corset that if you can wear a
Victorian/Edwardian one you can successfully wear one of them.
---

I'd *love* to try one of these, but they are impossible to get in large cup
sizes, unless you are large all over.

I have enough problems not being able to buy a bra in this *country* that's
a 34FF, without trying to get a 'foundation garment' the same size. 

Does anybody know of anywhere that makes them in larger cup sizes, but with
smaller body sizes? Or even second-hand ?

_sarcasm on_
Altough it seems to me that breasts mustn't have been that big in the 50s.
There are no older styles bigger than about a D cup around.
_sarcasm off_

What did larger busted women do? Same as I do now - squash into something
smaller?

Georgia
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From owner-h-costume@indra.com  Wed Jan 13 19:58:21 1999
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From: "David Stamper & Eve Harris" <evedave1@netcom.ca>
To: <h-costume@indra.com>
Subject: Re: H-COST: Cuff puzzle in painting
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-Poster: "David Stamper & Eve Harris" <evedave1@netcom.ca>

Here's another link: (the one Teddy provided doesn't work from my server)

http://gallery.euroweb.hu/art/m/mabuse/baudouin.jpg

>What puzzles me is that under the ruffles at the wrists of the shirt
>there is a row of tabs/picadils.  I thought a first that the subject
>might be wearing gloves, and these tabs were decorating the opening
>at the wrist, but on closer inspection, the finger-nails are visible
>on at least the left hand of the sitter.

>Is this man wearing another, long sleeved, garment *under* that
>beautiful shirt, the only part visible being the picadils/tabs at
>the wrist??

The first impression I got was that he was wearing a leather doublet
underneath (strange!!!). The picadilled cuffs look very leathery, especially
when you consider the width between snips, there's no evident fraying, and
the colour - a sort of light rose-orange - is also suggestive.

Or is it possible that this fabric has been sewn on beneath as a guard to
protect the delicately pleated cuffs?

He's wearing three garments for certain - the creamy brocade robe, the
slashed black doublet, the very full and decorated shirt. Is it possible
that he is also wearing a leather underdoublet and perhaps an undershirt
beneath that, for comfort?

Eve Harris

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From: "Gia Gavino-Gattshall" <ggavino@serv.net>
To: <h-costume@indra.com>
Subject: H-COST: Baa baa black sheep?
Date: Wed, 13 Jan 1999 17:28:18 -0800
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-Poster: "Gia Gavino-Gattshall" <ggavino@serv.net>

Greetings, again!

I was singing the nursery rhyme with my Amybyrlee when I became
curious...Were there sheep with black wool, medievally?  Where would one
find such a beastie, if there were black wool producing sheep?  Or is this a
rather modern genetically induced sheep?

Gia/Giacinta
costuming nut, ever curious...

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From: "Gia Gavino-Gattshall" <ggavino@serv.net>
To: <h-costume@indra.com>
Subject: H-COST: leading strings
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-Poster: "Gia Gavino-Gattshall" <ggavino@serv.net>

Love the walker idea!

When Ambyr was about 1, I did a dress for her with leading strings.
Wonderful for going through merchants row!

A walker wasn't really practical for me, though, for she was a 'climber'
before she was a 'walker' and she kept escaping from the walker!  So leading
strings worked better.

I also did a stroller 'cozy' out of a tapestry type of material so that the
modern stroller was 'hidden'.  Not period (I think?) but it worked
especially when she needed a nap and wouldn't lay down.  A spin in the
stroller usually did the trick to get her nodding off!

Giacinta


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From: pulliam@acadia.net (Deborah Pulliam)
Subject: H-COST: flax / linen
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-Poster: pulliam@acadia.net (Deborah Pulliam)

<<but flax is linen.

The remaining linguistic analysis is left as an exercise for the student.>>

I believe this got mentioned before, but perhaps it got lost in the other
messages: until the 19th century, the word "linen" referred to fabric or
thread from any of a variety of bast fibers, including (but not limited to)
that from the flax plant. Therefore, a shift made of linen could have been
made from flax or hemp, but the buyer wouldn't know (and most likely did
not care.)

On the other hand, today, upholsterers use the word linen to refer to a
specific kind of fabric, which can be made from flax, cotton and/or
synthetics.


Deborah


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From: pulliam@acadia.net (Deborah Pulliam)
Subject: H-COST: Waffen und Kostumkunde
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-Poster: pulliam@acadia.net (Deborah Pulliam)

<<>Do you by any chance have information on the the Waffen und Kost¸mkunde

publication?  I've been trying to get my hands on some back issues.>>

Waffen und Kostumkunde is a German publication, and a periodical, not a
book. The articles are generally in the language they're submitted in, so
there are some in English (Janet Arnold wrote several pieces for them).

Some larger academic libraries get it; you may be able to get articles via ILL.


Deb orah


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From: Cynthia Virtue <cvirtue@ricochet.net>
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Subject: Re: H-COST: 'baby walker' Elizabethan
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-Poster: Cynthia Virtue <cvirtue@ricochet.net>

Kat wrote:
> None of the walkers I've seen from the 14th century through at least
> the 16th Century would prevent the child's reach or keep them from
> tipping or going through doorways.

In the "Shakespeare's Birthplace" house in Stratford, there is a "child
minder" that would prevent this.  In the floor and ceiling, there is a socket,
and into it is fitted a pole, so that it can turn freely.  On the pole, at
about the height of a child's waist, is a short horizontal bar, with a strap
that would go around the child.  The child can then run in circles (or
possibly sit down, if the bar is adjustable) within a limited range -- never
getting close to the fire or geting away to another room.

And for the bra-questions, I swear by http://www.decentexposures.com

=-=-=-=-=
  "Such virtue hath my pen...."  -Shakespeare, Sonnet LXXXI
       "I knew this wasn't _my_ pen!"  --Cynthia Virtue
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From owner-h-costume@indra.com  Wed Jan 13 20:41:09 1999
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-Poster: Cynthia Virtue <cvirtue@ricochet.net>

Eve Harris wrote:
> http://gallery.euroweb.hu/art/m/mabuse/baudouin.jpg
> Or is it possible that this fabric has been sewn on beneath as a guard to
> protect the delicately pleated cuffs?

That would be my guess -- as the ground color of the embroidered collar on his
shirt is very nearly the same color as the picadills.  But I'm no expert.

=-=-=-=-=
  "Such virtue hath my pen...."  -Shakespeare, Sonnet LXXXI
       "I knew this wasn't _my_ pen!"  --Cynthia Virtue
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From owner-h-costume@indra.com  Wed Jan 13 21:17:36 1999
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Subject: H-COST: for Janet's friends
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-Poster: pulliam@acadia.net (Deborah Pulliam)

The celebration of Janet Arnold's life will be held Sunday, April 25 at the
Globe Theater in London. Doors will open at 5:30 p.m. It is indicative of
the respect for Janet in the theater world that when the request was made
for using one of the meeting rooms at the Globe, the management offered the
entire theater complex.

Everyone who knew Janet and her work are invited to come, but if you do
plan to come, please call Susan North (171 938 8411) at the V&A and let her
know, so they can have an idea of how many people are coming.

The study day, in conjunction with the retrospective of Janet's work in the
Costume and Textile Gallery of the V&A, will be the day before.

Deborah


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From owner-h-costume@indra.com  Wed Jan 13 21:51:25 1999
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From: "Allison Thurman" <athurman@cybergal.com>
To: <h-costume@indra.com>
Subject: H-COST: re: h-costume online
Date: Wed, 13 Jan 1999 22:01:26 -0500
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-Poster: "Allison Thurman" <athurman@cybergal.com>

i would be interested in contributing to this! i am also a web developer and
would like to help out.

allison

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From owner-h-costume@indra.com  Wed Jan 13 21:59:35 1999
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To: <h-costume@indra.com>
Subject: H-COST: re:undergarments
Date: Wed, 13 Jan 1999 22:09:47 -0500
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-Poster: "Allison Thurman" <athurman@cybergal.com>

this may be an odd question but it is on the undergarments topic:

i am 25 years old. while i was growing up i remember battling my mother on
sundays because she insisted i wear a slip with all my skirts - even thick
winter ones. i always hated the things because they invariably had static
cling and/or showed through the kickpleat. my mother still wears them with
all her skirts, but ive not worn one in years - imho, if a skirt is THAT
sheer i'll do without it. also, many ready-made skirts i see have built-in
linings lately, particularly if they are part of a suit.

is this just my peculiarity or does it seem like more women (or at least
women my age) are shunning slips?  is the garment industry making up for
this by adding lining?just wondering.

allison

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From owner-h-costume@indra.com  Wed Jan 13 22:14:18 1999
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-Poster: Tsrra@aol.com

In a message dated 99-01-13 20:29:15 EST, you write:

<< Were there sheep with black wool, medievally?  Where would one
 find such a beastie, if there were black wool producing sheep?  Or is this a
 rather modern genetically induced sheep?
  >>

Colored sheep are what nature prefers.  White is the 'genetically induced'
color.  My source tells me that they are currently working on an 'optically
white' sheep.  I cringe at the thought, and so, it seems, does Mother Nature.

TS Ohara
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From owner-h-costume@indra.com  Wed Jan 13 22:30:00 1999
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From: starsinger@webtv.net (theresa sorrell)
Date: Wed, 13 Jan 1999 20:37:32 -0700 (MST)
To: h-costume@indra.com
Subject: Re: H-COST: Baa baa black sheep?
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-Poster: starsinger@webtv.net (theresa sorrell)

My understanding of black sheep is that they are any sheep not white.
Black, brown, grey/gray, any thing but white.  White was desired becase
it could be dyed.  A true black sheep is usually black only for the
first shirring after that the coat gets lighter and lighter shades of
black due to exposure to the elements and age.

Starsinger

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From owner-h-costume@indra.com  Wed Jan 13 22:44:49 1999
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From: The Purple Elephant <csmart@physics.adelaide.edu.au>
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-Poster: The Purple Elephant <csmart@physics.adelaide.edu.au>

On Wed, 13 Jan 1999, Allison Thurman wrote:

> i am 25 years old. while i was growing up i remember battling my mother on
> sundays because she insisted i wear a slip with all my skirts - even thick
> winter ones. i always hated the things because they invariably had static
> cling and/or showed through the kickpleat. my mother still wears them with
> all her skirts, but ive not worn one in years - imho, if a skirt is THAT
> sheer i'll do without it. also, many ready-made skirts i see have built-in
> linings lately, particularly if they are part of a suit.
> 
> is this just my peculiarity or does it seem like more women (or at least
> women my age) are shunning slips?  is the garment industry making up for
> this by adding lining?just wondering.
> 
I'm about the same age as you Allison, and I used to wear a slip quite
a bit when I was a kiddie. Although I haven't worn one since I was about
13 I think I still have one in my underwear drawer. My mother still 
occasionally wears one (she has a couple at full-length, not just skirts),
usually under a see-through blouse. I can't say I've noticed an increase
in lined skirts though. Mind you it's a while since I bought something in
a standard clothes shop or department store.

------------------------------------------------------------------------------
Claire F. Clarke       "What is this world if, full of care, 
Physicist, writer,     We have no time to stand and stare?"
and non environmentally                     Robert Louis Stevenson
friendly substance.
------------------------------------------------------------------------------

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From owner-h-costume@indra.com  Wed Jan 13 23:12:27 1999
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-Poster: Christina <magdlena@texas.net>




>
>
> In the "Shakespeare's Birthplace" house in Stratford, there is a "child
> minder" that would prevent this.  In the floor and ceiling, there is a socket,
> and into it is fitted a pole, so that it can turn freely.  On the pole, at
> about the height of a child's waist, is a short horizontal bar, with a strap
> that would go around the child.  The child can then run in circles (or
> possibly sit down, if the bar is adjustable) within a limited range -- never
> getting close to the fire or geting away to another room.

Along the same subject, didn't the phrase "tied to her apron strings" refer to the
practice of leashing one's kid to the ties on an apron?
-Magdalena

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-Poster: Laurel Wilson <lwilson16@earthlink.net>



Deborah Pulliam wrote:

> - a shift made of linen could have been
> made from flax or hemp, but the buyer wouldn't know (and most likely did
> not care.)
>

It's my impression that the buyer most likely would have both known and cared,
since hempen linen is apparently considerably coarser than flaxen linen, and
apparently somewhat darker in color as well.
Lauri

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-Poster: Julie Adams <savaskan@sd.znet.com>

>-Poster: Cynthia Virtue <cvirtue@ricochet.net>
>
>Kat wrote:
>> None of the walkers I've seen from the 14th century through at least
>> the 16th Century would prevent the child's reach or keep them from
>> tipping or going through doorways.

In my recent find "Yesterday's Children" and in some of my German woodcuts
as well, there are several examples of 16th c walkers that would keep them
from tipping and would keep them out of reach of dangerous items. The bases
are very wide and the child is held in the center.

Julie Adams



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From: The Purple Elephant <csmart@physics.adelaide.edu.au>
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-Poster: The Purple Elephant <csmart@physics.adelaide.edu.au>

I found a cheap piece of wool in the remnant box of a local fabric store,
about the size to make a bodice, and have a strange hankering to make
some nice accurate lower class garb....ie I don't want to make the
standard SCA 'wenching' garb. 
I have been looking at the paintings of Pieter Brueghel (any idea where to
find piccies of English peasants ?). I notice that in the summer scenes
the women wear sleeveless bodices (sometimes with separate sleeves pinned
on) and skirts. Some of the skirts are different colours from the bodices
- does this mean they are separate objects or are they still seamed 
together? If the latter, would it be okay to make the skirt out of a 
different fabric, not just a different colour (ie say a linen skirt on a
wool bodicve)?
 In the winter scenes the women wear closed, long-sleeved gowns. Would they
likely be wearing these over the 'summer' garb described above?

------------------------------------------------------------------------------
Claire F. Clarke       "What is this world if, full of care, 
Physicist, writer,     We have no time to stand and stare?"
and non environmentally                     Robert Louis Stevenson
friendly substance.
------------------------------------------------------------------------------

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Subject: H-COST: Lecture on 1790s
Date: Thu, 14 Jan 99 01:34:17 -0500
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-Poster: <aquazoo@patriot.net>



Sat., Jan. 16, 1999, 1 p.m., Gadsby's Tavern Museum, 134 N Royal St.,
Alex. Va. 703-836-2863; Free w/admission or $4 for adults: "The 1790s:
Bridging the Fashion Gap," Lecture by Alden O'Brien, Assoc. Curator of
Costume, DAR Museum. "The 1790s is a fascinating but neglected decade in
the history of costume. How did fashion make the transition from the
stiff-bodied, voluminous dresses of George Washington's time to the
soft, high-waisted styles of the era of Jane Austen? Both men's and
women's fashions underwent a period of great innovation and
experimentation."

This lecture is a revised, expanded and improved (I hope) version of the
lecture I gave at the 1st Gadsby's Symposium two years ago. Here I'll
venture into men's dress a bit, and will go into details of construction
of the variety of transitional styles that appear in the 1790s, with
more conservative uses overlapping with newer styles and piecing
methods. Some attention will be given to accessories and hair, but I
want to concentrate on the dress construction overall--also the
transitional underpinnings. Hope to see some of you there!

No reservations necessary; for more info call 703-838-4605.

Alden O'Brien
<aobrien@dar.org>
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From owner-h-costume@indra.com  Thu Jan 14 01:30:19 1999
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From: Heather Law <lynnx@mc.net>
Organization: Interstellar Trading Company
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-Poster: Heather Law <lynnx@mc.net>

Karla,
Hope it's a go-ahead!  I have Adobe Photoshop, (and other coolstuff) and
if you don't, I'd like to volunteer my services for "cleaning up" photos
and other graphics, such as "despeckling" drawings, sharpening photos,
etc.  I also have a program that can convert photos etc. to line art
(might be useful for clarity if we decide to add a "reference section"
sort of like a costuming FAQ ("I'm sure someone has asked this before
but...)

Please let me know if you need or want any of these services.

In service,

Heather Law/Sister Ed the Disorganized

> - -Poster: Karla Sexsmith <karla@silverspin.net>
> 
> Ok!  Is the consensus that this is ok for me to do?
> 
> But I need input from the list members!  Pictures, articles, etc...  do we
> want a member section?
> 
> I can do the design, but to be honest, I'd only been on the list a day when
> I volunteered for this :)  Although, I've been on it before, so I'm not
> completely new, and I've been in the SCA for about 2 years, so I know some
> about costuming... but my strength is in webdesign.
>
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Date: Wed, 13 Jan 1999 23:39:33 +0000
From: Dietmar <dietmar@pacbell.net>
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-Poster: Dietmar <dietmar@pacbell.net>

Greetings all,

Teddy wrote:

> What puzzles me is that under the ruffles at the wrists of the shirt there
> is a row of tabs/picadils.  I thought a first that the subject might be
> wearing gloves, and these tabs were decorating the opening at the wrist,
> but on closer inspection, the finger-nails are visible on at least the
> left hand of the sitter.

I may be in the minority, but I think that they are gloves.  The color of the
tabs are the same color as the rest of the hand and the 'fingernails' don't
show enough detail.  Tight fitting kid gloves can show that kind of detail. 
It's really tough to make a call based on the picture on the web,  but until I
see a better picture, I'm going to assume that there are gloves.

Regards,

Dietmar


"Victory or Defeat rests in God's hands;
 over Honor, we ourselves are Lord and Master."

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Date: Thu, 14 Jan 1999 02:41:58 -0500
From: Melanie Wilson <MelanieWilson@compuserve.com>
Subject: H-COST: flax/linen/hemp
To: "INTERNET:h-costume-digest@indra.com" <h-costume-digest@indra.com>
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-Poster: Melanie Wilson <MelanieWilson@compuserve.com>

> - a shift made of linen could have been
> made from flax or hemp, but the buyer wouldn't know (and most likely did
> not care.)
>

>It's my impression that the buyer most likely would have both known and
cared,
since hempen linen is apparently considerably coarser than flaxen linen,
and
apparently somewhat darker in color as well.

Yes indeed I cited a ref a while back about the class associations with
wearing flax or hemp linen shirts ! It was in a Ciba review I think if
anyone wants to look it up.

Mel
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Date: Thu, 14 Jan 1999 02:42:01 -0500
From: Melanie Wilson <MelanieWilson@compuserve.com>
Subject: H-COST: Baa baa black sheep?
To: "INTERNET:h-costume-digest@indra.com" <h-costume-digest@indra.com>
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-Poster: Melanie Wilson <MelanieWilson@compuserve.com>

Yes you can get black sheep (well amost black) I have a lovely Shetland
fleece (black ) waiting to be spun, my understanding is dark brown was
overdyed to produce black quite often.

Older breeds of sheep are often Black or brown or grey or piebald (two
colurs) I is easy , at least in the UK , to get fleeces from many different
shades of sheep !

Mel
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From: "Christopher Ballis" <stilskin@netspace.net.au>
To: <h-costume@indra.com>
Subject: Re: H-COST: re: mary magdalene
Date: Thu, 14 Jan 1999 19:47:51 +1100
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-Poster: "Christopher Ballis" <stilskin@netspace.net.au>

Dear all,

Firstly, apologies for wading into off-topic territory.

On the Mary Magdalene front, there is some evidence that mary was actually
the wife of Jesus. Assorted Christian writers with an agenda of keeping
Christ and the Apostles "pure", knew they could not easily write her out of
history so dirtied her down instead.

If you think of it, the idea of an unmairried 30-something rabbi in Isreal
at that time is pretty hard to take.


-C.
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From owner-h-costume@indra.com  Thu Jan 14 04:21:52 1999
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-Poster: MaggiRos@aol.com

In a message dated 1/13/99 8:23:28 AM Pacific Standard Time, kayta@slip.net
writes:

> 
>  Does he make these just for you, or does he make them for anyone who
>  asks/pays?  I could sure use one or two of these myself, and I see this
>  person occasionally.  If he made them they would look period enough to use
>  in public.

LOL, I don't believe they're in his regular catalog. And as for looking
period, they were pretty much raw flat stock, wedged into a chisel at one end.
No finish. No handle/grip. No grace. Pure functionality. Period enough for me!
Plus, it does the job without drawing against the leather. Lay it on the line,
and strike!  No drag, no guessing, no fuss.

It has also been suggested that a shoemaker's knife (sort of a round edge with
a handle in the middle) may have been the actual tool, but I'm quite sure the
flat chisel and a hammer is plausible enough, lacking firm documentation
otherwise.


MaggiRos
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From owner-h-costume@indra.com  Thu Jan 14 04:35:30 1999
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-Poster: MaggiRos@aol.com

In a message dated 1/11/99 12:22:42 AM Pacific Standard Time,
raymond.wickham@customs.gov.au writes:

> 
>  -Poster: WICKHAM  Raymond <raymond.wickham@customs.gov.au>
>  
>  Two observations about the age concept
>  > A couple of replies to my original post have
>  > referred to 15-year-olds with small waists I bet they didn't keep past
>  > 18.

Or past the second child!

M.-R.
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From owner-h-costume@indra.com  Thu Jan 14 04:36:13 1999
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-Poster: MaggiRos@aol.com

In a message dated 1/11/99 5:38:25 AM Pacific Standard Time,
Lissa@duchess.globalnet.co.uk writes:

> 
>  (who I met last year) and a very few others who have 15 inch waists. Such a
>  things
>  has, and still exists so why not also durung the 19th century as well?
>  
As an anomoly, not as a rule. No more then than now?

MaggiRos
~Not my period, not my problem
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From owner-h-costume@indra.com  Thu Jan 14 04:39:50 1999
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-Poster: MaggiRos@aol.com

In a message dated 1/11/99 7:23:07 AM Pacific Standard Time,
oh_susannah@hotmail.com writes:

> 
>  Does ANYONE have a good idea or source for ACW-era reproduction gloves?  
>  I would love a nice pair of plain, dove-grey ones for day wear.  I am 
>  not afraid to undertake the making of these gloves if I could find a 
>  good pattern, preferable from an original pair.  Help, help!
>  

Hammer's in Hollywood (CA) is the only place I know for custom gloves.  Being
Hollywood, you tell therm what you need, they can do it. Not cheap, but there.
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-Poster: MaggiRos@aol.com

In a message dated 1/11/99 8:36:42 AM Pacific Standard Time,
kdyer@nash.tds.net writes:

> 
>  Has anyone else heard of red striped stockings being
>  associated with prostitutes?
>  

No, but it sounds like just the sort of thing an honest woman would decry and
a flash professional girl would adore!  I wouldn't spend too much time on it.

MaggiRos
sometimes Clara Munter, the soldier's friend
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From owner-h-costume@indra.com  Thu Jan 14 04:44:56 1999
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-Poster: MaggiRos@aol.com

Actually, we had a conversation somewhat like this a year or so ago. There is
some argument for yellow (headress or sash) as an emblematic mark for light
women/whores. But as someone else pointed out, not everywhere or at all times.
The past is not all the same place.

Does anyone still have that thread saved?

MaggiRos
ren.dm.net
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-Poster: MaggiRos@aol.com

In a message dated 1/11/99 9:47:34 AM Pacific Standard Time,
hope.greenberg@uvm.edu writes:

> 
>  I especially want to know if I need to tear those big yellow sleeves off my
>  early 16thc. Italian ren.

Off hand, I'd say no. In the late 16th century English court, yellow was a
colour of happiness and good cheer.
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-Poster: MaggiRos@aol.com

In a message dated 1/11/99 4:55:54 PM Pacific Standard Time,
starsinger@webtv.net writes:

> 
>  The closet to yellow I can remember is the prostitutes were supposed to
>  be blonde or wear a blond wig.  Anyone familiar with this one?

LOL, no. But enough bleched their hair for blonde to perhaps become thought of
as a sign of a loose woman.  What must those Northern Italian girls have done
to set themselves apart.

MaggiRos
who is sometimes Clara, 
who can make change in 5 languages
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-Poster: MaggiRos@aol.com

In a message dated 1/11/99 5:51:50 PM Pacific Standard Time,
ldownward@mail.cho.org writes:

> 
>  I recall that in either ancient Greece or ancient Rome, prostitutes were
>  the only women to have blonde hair, but that's the only connection I can
>  remember.

Because foreign women must, in Athens, be of questionable character.  Any
Macedonian woman ...

Mistrust anything you think you remember

M.-r.
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-Poster: MaggiRos@aol.com

In a message dated 1/12/99 5:25:52 AM Pacific Standard Time,
Schmitt100@aol.com writes:

> 
>  
>  Take a look at your Bible - that woman was NEVER identified; tradition/myth
>  ascribed her as Mary M.

Trouble is, it takes more than one look, and it takes a certain amount of
nerve to assemble your observations against what seems to be the prevailiing
tradition.  Tradition is a powerful thing.  In some ways, it doesn't entirely
matter what the truth may have been. What everyone believes is what everyone
acts on. And as I said, in period, the Magdalene was identified with a certain
thing for a certain reason. As a scholar, I am happier to know better, but in
character, I have to remember to closet that understanding away.

MaggiRos
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From owner-h-costume@indra.com  Thu Jan 14 05:25:11 1999
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-Poster: MaggiRos@aol.com

In a message dated 1/12/99 8:36:07 AM Pacific Standard Time,
kat@grendal.rain.com writes:

> True pastels were not popular until late Elizabethan. 
Not popular isn't the same as not possible.  The Wedding at Bermondsey shows
at least one gown that is undeniably pink.

Actually, I support the notion that the flower was called "pink" for its
ruffled edge--as if cut with pinking shears. Carnation was an older color
name, I believe, and that has a Latin root that takes us into other fields. 

The names of colors are their own reward.  Why does "watchet" mean light blue?

MaggiRos
~
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From owner-h-costume@indra.com  Thu Jan 14 05:56:56 1999
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-Poster: MaggiRos@aol.com

Ah-ha!  Ok, here's the one post I kept from the last time this came up, uhm oh
dear, more like 18 months ago. I admire this principally for its use of
documentation.

MaggiRos
===========

Subj:	H-COST: restrictions on prostitutes (colors,etc.)
Date:	97-06-11 10:17:46 EDT
From:	talk2meg@mychoice.net (Mary-Gayle Jany)
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-Poster: "Mary-Gayle Jany" <talk2meg@mychoice.net>

Bill asked:  Have you got any ref.s for this? I have been trying to track
down this
association of yellow headdress and prostitution in the 13th cent

Someone has finally asked a question that I can help answer!  The following
references not only have the information about colors, but also explain all
the restrictions prostitutes were governed by.  The references are fully
documented from primary sources (laws and ordinances within various
countries and cities).

Bassermann, Lujo.  _The Oldest Profession: A History of Prostitution_. 
trans. from German by James Cleugh.  New York: Dorset Press, 1993.  (ISBN:
0-88029-248-2)

Goldberg, P. J. P.  _Women, Work, and Life Cycle in a Medieval Economy:
Women in York and Yorkshire c.1300-1520_.  Oxford: Clarendon Press, 1992.

Rossiaud, Jacques. _Medieval Prostitution_. trans. by Lydia G. Cochrane. 
New York: Basil Blackwell, Inc., 1988.  (ISBN: 0-631-15141-9)

Wiesner, Merry E.  _Working Women in Renaissance Germany_.  New Brunswick,
NJ: Rutgers U. Press, 1986.  (ISBN: 0-8135-1138-0)

  Hope these help.  

M
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From: "KATE M BUNTING" <K.M.Bunting@derby.ac.uk>
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Subject: H-COST: baa baa black sheep
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-Poster: "KATE M BUNTING" <K.M.Bunting@derby.ac.uk>

It's my understanding that the occasional black sheep crops up naturally in a flock, but was regarded as a nuisance because the wool couldn't be dyed - hence the expression "black sheep of the family" for an embarrassing relation.

Kate Bunting
Library, University of Derby
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From owner-h-costume@indra.com  Thu Jan 14 06:09:36 1999
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Subject: H-COST: Black sheep
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-Poster: Lynn Carpenter <alwen@i2k.com>

The "black" of a black sheep is a sort of "rusty black,"  which was
probably another reason it was a less desirable color.  While black fabric
was often desired, the "rusty black", sort of like a bad hair dye, was not.

Lynn

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From owner-h-costume@indra.com  Thu Jan 14 06:21:27 1999
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From: Elizabeth Higgins <Lissa@duchess.globalnet.co.uk>
Subject: Re: H-COST: 15" waists - any surviving garments?
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-Poster: Elizabeth Higgins <Lissa@duchess.globalnet.co.uk>

Hi Maggi,

At 04:43 14/01/99 EST, you wrote:
>>  (who I met last year) and a very few others who have 15 inch waists.
Such a
>>  things has, and still exists so why not also durung the 19th century as
well?
>>  
>As an anomoly, not as a rule. No more then than now?

Very true, the number of women who corset to that extent is very, very
small. I
vaguely recall reading something about a survey of corset makers in the latter
half of the 19th century that showed that the average size of corsets made was
for 22 inch waists with the numbers falling off in a bell curve above and
below]
that size. If you want details I can search my archives for the reference.

Elizabeth

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From owner-h-costume@indra.com  Thu Jan 14 06:51:33 1999
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From: "Bob and TC Carstensen" <eccentri@m5.sprynet.com>
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-Poster: "Bob and TC Carstensen" <eccentri@m5.sprynet.com>

Allison Thurman wrote: 
> is this just my peculiarity or does it seem like more women (or at least
> women my age) are shunning slips? 

I'm 36 and I rarely wore a slip until the past few years when I had to 
start wearing a lot of skirts in cold weather.   Since I wear cotton or 
wool tights, slips are a necesssity unless the skirt is lined (I am 
always a litle boggled when I watch old movies from the first half of 
this century and see women running around in cold weather with 
the stretch of leg between the bottom of their coats to the top of 
their short boots covered by nothing but hose.  How did they keep 
from freezing?!).  I also appreciate the warmth an extra layer adds.  
However, I don't think I would have been inclined to wear slips if I 
hadn't gotten my hand on some nice vintage woven silk or rayon 
slips.  I hate those nasty nylon tricot things I grew up with.  I can't 
imagine how women could stand wearing them at all, let alone in 
warm weather.

> is the garment industry making up for
> this by adding lining? 

Comparing my collection of vintage clothes to modern ready to 
wear garments, I don't think the garment industry is more inclined 
to add linings than they used to be.


TC Carstensen
<eccentri@sprynet.com>
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From owner-h-costume@indra.com  Thu Jan 14 07:43:02 1999
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From: "David Stamper & Eve Harris" <evedave1@netcom.ca>
To: <h-costume@indra.com>
Subject: H-COST: Blond/Bleached Hair
Date: Thu, 14 Jan 1999 07:55:39 -0500
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-Poster: "David Stamper & Eve Harris" <evedave1@netcom.ca>

>>  The closet to yellow I can remember is the prostitutes were supposed to
>>  be blonde or wear a blond wig.  Anyone familiar with this one?


Venetian women and other Italian women spent a great deal of time dyeing
their hair blond. It was THE colour to have. There's a charming engraving of
an Italian woman wearing a crownless hat, dabbing at her hair with a sponge
in the sun while admiring herself in a mirror. Anyone who used Sun-In in the
80's knows what that's like. (Remember how the box said to use a hair dryer
in the winter to get the right heat?) Ouch.The French also prized blond
hair. There were some really odd recipes used to bleach the hair.

Thank God for L'Oreal.

Eve Harris

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From: "Knauf, Saragrace T(Z02001)" <SKNAUF@apsc.com>
To: "'h-costume@indra.com'" <h-costume@indra.com>
Subject: H-COST: Other new list: what was it again?
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-Poster: "Knauf, Saragrace T(Z02001)" <SKNAUF@apsc.com>

Last week or so, one of the 'regulars' posted information on a new list for
historical women's issues - could you repost please-or send to me off-list?
Thanks in advance.

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From owner-h-costume@indra.com  Thu Jan 14 08:56:47 1999
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From: aleed <aleed@dnaco.net>
To: costume list <h-costume@indra.com>
Subject: Re: H-COST: Peasant garb
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-Poster: aleed <aleed@dnaco.net>


Claire,

I've harvested a bunch of lower class garb pics from the 1550s to 1570s
(almost all of them Flemish) with the intention of putting together a web
page on the subject eventually...but you can check out the pictures
at http://www.dnaco.net/~aleed/corsets/lowerclass/piclist.html .  Between
them all, the pictures contain clear images of most pieces of clothing.


Enjoy,

Drea

> 
> -Poster: The Purple Elephant <csmart@physics.adelaide.edu.au>
> 
> I found a cheap piece of wool in the remnant box of a local fabric store,
> about the size to make a bodice, and have a strange hankering to make
> some nice accurate lower class garb....ie I don't want to make the
> standard SCA 'wenching' garb. 
> I have been looking at the paintings of Pieter Brueghel (any idea where to
> find piccies of English peasants ?). I notice that in the summer scenes
> the women wear sleeveless bodices (sometimes with separate sleeves pinned
> on) and skirts. Some of the skirts are different colours from the bodices
> - does this mean they are separate objects or are they still seamed 
> together? If the latter, would it be okay to make the skirt out of a 
> different fabric, not just a different colour (ie say a linen skirt on a
> wool bodicve)?
>  In the winter scenes the women wear closed, long-sleeved gowns. Would they
> likely be wearing these over the 'summer' garb described above?
> 
> ------------------------------------------------------------------------------
> Claire F. Clarke       "What is this world if, full of care, 
> Physicist, writer,     We have no time to stand and stare?"
> and non environmentally                     Robert Louis Stevenson
> friendly substance.
> ------------------------------------------------------------------------------
> 
>  _________________________________________________________________
>  To leave this mailing list, send mail to majordomo@indra.com
>  with the message UNSUBSCRIBE H-COSTUME
> 

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Subject: H-COST: hemp and linen
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-Poster: pulliam@acadia.net (Deborah Pulliam)

<< hempen linen is apparently considerably coarser than flaxen linen, and
apparently somewhat darker in color as well.>>

I believe this assumption is based on modern forms of hemp and flax. It is
certainly not true of all hemp used in the past. Hemp can be as fine, or
finer than flax, and color has more to do with growing and processing than
with the plant itself.



Deborah


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From: Elizabeth Lear <eliz@indra.com>
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-Poster: Elizabeth Lear <eliz>


<-Poster: Christina Conklin <textiles@earthlink.net>
<I am interested in creating historic ethnic costumes, like 16th c.
<Mughal robes, traditional Turkish jackets, ceremonial Korean gowns and
<the like.

I have made and worn 16th C Mughal garb at SCA events and at Pennsic.
I've also made and worn SCA period Turkish, Russian, and Ukranian.
Those are my main areas of interest, and I have an extensive library.
Unfortunately, I have to update the online copy of my bibliography.
I'll try to make that available again in a couple of days.  

						...eliz
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-Poster: kat@grendal.rain.com

> > True pastels were not popular until late Elizabethan. 
> Not popular isn't the same as not possible.  The Wedding at Bermondsey shows
> at least one gown that is undeniably pink.

Yes, but that is Elizabethan. (Hey, I'm one of the believers in 
"pink" as a color, even if it wasn't called that.)

> Actually, I support the notion that the flower was called "pink" for its
> ruffled edge--as if cut with pinking shears. Carnation was an older color
> name, I believe, and that has a Latin root that takes us into other fields. 

Carnation is one of my favorite colors. (Even if Linthicum does 
describe it as "the color of fresh meat" or something similar.)

> The names of colors are their own reward.  Why does "watchet" mean light blue?

Like Peacock really being the color of the brown feathers (which I'd 
say is more "peahen" so why didn't they call it that!)

Or Milk-and-water, Dead Spaniard Yellow, Gooseturd Green....


Kat 

Kat(June Russell)
kat@grendal.rain.com
Heu! Tintinnuntius meus Sonat!
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From owner-h-costume@indra.com  Thu Jan 14 11:00:49 1999
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From: Jennifer Carlson <JCarlson@firstchurchtulsa.org>
To: "'h-costume@indra.com'" <h-costume@indra.com>
Subject: H-COST: Corseted Skeletons - A Museum Exhibit!
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-Poster: Jennifer Carlson <JCarlson@firstchurchtulsa.org>

I heard a news article on NPR this morning about a new exhibit at the 
Museum of London.  It is titled "London Bodies" and is comprised of 
skeletons dug up from the various construction sites in London.  The 
skeletons span from Roman Britain through the 18th century, and are 
interesting in what they show that confirms or refutes our beliefs about 
how tall people were.  The Roman Briton is described as being of an average 
*modern* height and build.  Later skeletons are smaller, then get larger 
the closer they are to present.  The widespread use of sugar in the 17th 
century shows in a sudden rise in dental caries and missing teeth.  The use 
of corsets is testified to by the permanent compression of ribs in the 
16-18th centuries.

I'd love to go see this one.  Perhaps someone on the list who is in, or 
will be in, London in the near future can check it out for us?

Jennifer Carlson
Jcarlson@firstchurchtulsa.org

Authenticity Police, Department of Internal Affairs:
"Lord BigSword, you will desist from telling schoolchildren that a knight 
was incapable of climbing onto his horse in 50 pounds of armor, or my 
assistants here, Sir Purpleheart and Sir NamVet, will strap you into a 
standard-issue, 50-pound Army field pack, give you an M-16, and run you 
through a standard Army obstacle course.  It's your choice, my lord.




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-Poster: Jon Enge <jenge@cars.com>

I am making a new 16th century upper-middle class outfit for faire this
year. I have found a brought a brocade that is white and I want to dye it
burgandy... It is 100% cotton and takes dye well (I tried a swatch before I
bought it) My one concern is that, with the intensity of the sun baking me
all day it will most likely fade quickly with RIT. Is there any way to keep
this from happening? Is there a finish I can put on to keep it from fading?
Is there a better kind of dye than RIT that I can use that won't fade so
easily? Anyone have any tips?

Jon...


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-Poster: Margo Anderson <margo@directcon.net>

 (I am 
>always a litle boggled when I watch old movies from the first half of 
>this century and see women running around in cold weather with 
>the stretch of leg between the bottom of their coats to the top of 
>their short boots covered by nothing but hose.  How did they keep 
>from freezing?!).

We didn't.  We suffered.  Actually, at the same time as short skirts and
boots were popular,  the ankle length maxicoat came into style.  I didn't
have one, though, just a long black cloak (If there had been Goths in 1972,
I'd have been one).

Margo

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-Poster: Margo Anderson <margo@directcon.net>


>
>Last week or so, one of the 'regulars' posted information on a new list for
>historical women's issues - could you repost please-or send to me off-list?




H-fem is a list for discussing menstruation, breastfeeding, pregnancy, and other
physical issues related to women's lives throughout history. Emphasis is placed
on open discussion and serious research, but topics involving legends, educated
guesses, and old wives' tales are also welcome. In addition to emotional and
spiritual issues, we also want to focus on the practical approaches used through
the ages.

To subscribe,   go to http://www.onelist.com/


Margo Anderson

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-Poster: Sylvia Rognstad <sylvia@netherworld.com>

> -Poster: Jon Enge <jenge@cars.com>
> 
> I am making a new 16th century upper-middle class outfit for faire this
> year. I have found a brought a brocade that is white and I want to dye it
> burgandy... It is 100% cotton and takes dye well (I tried a swatch before I
> bought it) My one concern is that, with the intensity of the sun baking me
> all day it will most likely fade quickly with RIT. Is there any way to keep
> this from happening? Is there a finish I can put on to keep it from fading?
> Is there a better kind of dye than RIT that I can use that won't fade so
> easily? Anyone have any tips?
Yes.  Get some procion mx.  Dont use Rit.
Sylvia R 

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-Poster: AliaClaire@aol.com

In a message dated 1/14/99 4:48:09 AM EST, MaggiRos@aol.com writes:

<< > 
 >  Does ANYONE have a good idea or source for ACW-era reproduction gloves?  
 >  I would love a nice pair of plain, dove-grey ones for day wear.  I am 
 >  not afraid to undertake the making of these gloves if I could find a 
 >  good pattern, preferable from an original pair.  Help, help!
 >   >

They can be something of a trick to find, especially kid, like the originals.
Sometimes very upper-class department store carry them.

I've gotten a lovely pair of black kid gloves from Glenna Jo Christen. I don't
know if she's still on the list of not, but her e-mail is gwjchris@rust.net.
She's wonderful to do business with and always has a lot of neat stuff, well
researched- highest recommendations (and no, I'm not getting paid for saying
this :-))

-Alison Stacy
AliaClaire@aol.com
Canton, Ohio
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Date: Thu, 14 Jan 1999 13:50:44 -0500
From: Melanie Wilson <MelanieWilson@compuserve.com>
Subject: H-COST: Baa Baa Black Sheep
To: "INTERNET:h-costume-digest@indra.com" <h-costume-digest@indra.com>
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-Poster: Melanie Wilson <MelanieWilson@compuserve.com>

>It's my understanding that the occasional black sheep crops up naturally =
in a flock, but was regarded as a nuisance because the wool couldn't be =
dyed - hence the expression "black sheep of the family" for an
embarrassing=
 relation.

Well one farmer in Melton is having really BAD luck then, he has an entire
flock !

They can be bred that way, but there is a tendancy to have bred them out
historically, and yes you can get one crop up by accident from time to
time, in White sheep.

Mel
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From owner-h-costume@indra.com  Thu Jan 14 13:53:08 1999
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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: Baa baa black sheep?
Date: Thu, 14 Jan 1999 13:52:45 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

Sheep come in a wide range of colors, more so in days of old
than now. The fair isle knitters took advantage of all those
naturally occurring colors to make those lovely shaded
patterns.  I was just reading last night in the Mary  Thomas
Embroidery Book that the Spaniards used naturally occurring
black wool on white linen or wool for blackwork and other
embroidery.  Black hair and fur will turn rusty with sun
exposure.  Fur from different parts of a sheep are used to
make different sorts of yarn for different uses. I wonder if
they used any method of protecting the fur from the sun, or
whether underbelly fur would be blacker, or what.  It sure
does provide a color-fast embroidery floss, as opposed to
black silk which would often bleed. It seems to like you'd
be better off with blackish wool as a starting point for
over-dying to a more fashionable blue-black shade, than
starting with a lighter wool.

Hope H. Dunlap

-----Original Message-----
From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
Behalf Of Melanie Wilson
Sent: Thursday, January 14, 1999 2:42 AM
To: INTERNET:h-costume-digest@indra.com
Subject: H-COST: Baa baa black sheep?



-Poster: Melanie Wilson <MelanieWilson@compuserve.com>

Yes you can get black sheep (well amost black) I have a
lovely Shetland
fleece (black ) waiting to be spun, my understanding is dark
brown was
overdyed to produce black quite often.

Older breeds of sheep are often Black or brown or grey or
piebald (two
colurs) I is easy , at least in the UK , to get fleeces from
many different
shades of sheep !

Mel

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From owner-h-costume@indra.com  Thu Jan 14 13:57:32 1999
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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: re:undergarments
Date: Thu, 14 Jan 1999 14:08:10 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

When I was in junior and senior high school in the 1960's,
only fast girls wnt without a slip.  I mean a full slip.
The mothers in general and a large contingent of girls
thought it was pretty tasteless to wear a bra alone under a
white blouse.  It was much more becoming to wear a full slip
with it's built-in camisole between the bra and the blouse.
It became the norm to wear a half slip among the younger
generation by the end of the decade, but I still think it's
a little tacky to see that bra line across a woman's back
under a white blouse, but confess I do it all the time.

Houses and buildings are kept warmer than the old farmhouse
I grew up in, and all those layers do require a fuss. If you
could get a slip anymore in any decent material, it would be
an attractive altrnative, but after shelling out big bucks
for a dress for success silk and wool outfit, it kills me to
think about stepping into a crummy antron nylon synthetic,
wobbly, static-laden slip, which is about as cheap and
unattractive a garment as you can get. The waist elastic on
mine gave out in no time so years back and I never replaced
them.

When I was in elementary school in the 1950's I wouldn't be
caught dead without my frothy nylon tafetta and lace slip
petticoats to make my skirts stand out.  It was a great
pleasure to buy two more each year and to wear them, as they
were in and of themselves so pretty and not the least bit of
trouble.

Hope H. Dunlap


 -----Original Message-----
From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
Behalf Of Allison Thurman
Sent: Wednesday, January 13, 1999 10:10 PM
To: h-costume@indra.com
Subject: H-COST: re:undergarments



-Poster: "Allison Thurman" <athurman@cybergal.com>

this may be an odd question but it is on the undergarments
topic:

i am 25 years old. while i was growing up i remember
battling my mother on
sundays because she insisted i wear a slip with all my
skirts - even thick
winter ones. i always hated the things because they
invariably had static
cling and/or showed through the kickpleat. my mother still
wears them with
all her skirts, but ive not worn one in years - imho, if a
skirt is THAT
sheer i'll do without it. also, many ready-made skirts i see
have built-in
linings lately, particularly if they are part of a suit.

is this just my peculiarity or does it seem like more women
(or at least
women my age) are shunning slips?  is the garment industry
making up for
this by adding lining?just wondering.

allison


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From owner-h-costume@indra.com  Thu Jan 14 14:24:19 1999
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-Poster: Lavolta Press <lavolta@best.com>

> When I was in junior and senior high school in the 1960's,
> only fast girls wnt without a slip.  I mean a full slip.
> The mothers in general and a large contingent of girls
> thought it was pretty tasteless to wear a bra alone under a
> white blouse.  It was much more becoming to wear a full slip
> with it's built-in camisole between the bra and the blouse.
> It became the norm to wear a half slip among the younger
> generation by the end of the decade, but I still think it's
> a little tacky to see that bra line across a woman's back
> under a white blouse, but confess I do it all the time.

What I remember is slips, and any kind of heavy support garment (such as
girdles and padded bras), mostly went out of fashion in the late
1960s/early 1970s.  Slips and camisoles made a comeback sometime in the
1980s, I forget exactly when, when Victoria's Secret, followed by other
stores, starting selling silk lingerie as a luxury item.  Last time I
dropped into Victoria's Secret at the local mall, all their merchandise
was synthetic.  On the other hand, Nordstrom's currently sells pure silk
lingerie at reasonable prices.  I bought several silk slips there a few
months ago for somewhere between $20 and $30.  You can also find unused,
old-store-stock silk lingerie from the 1920s and 1930s for good prices
if you look around.

I find the current  trend in foundation garments a little strange.  My
memory is a few years ago I went to Macy's downtown to shop for bras and
saw practically a whole floor of soft sports bras. Next time I went
there, I saw practically a whole floor of padded, underwired ones.  In
neither case did I see much in between.

Fran


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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: H-COST: RE: Keeping Legs Warm in "The Old Days!"
Date: Thu, 14 Jan 1999 14:27:03 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

What did we wear underneath the dresses to keep warm?  Well,
depends when.  I used to wear flannel-lined corduroy pants
to school under my dresses and take them off when I got to
school.

That is until 1958 when tights were invented.  I still have
the photo my grandfather took at Xmas that year of my
younger cousin, with her new red tights on, holding up her
dress to the waist, to show the assembled elderly relatives
what the new fangled things were.  Imagine, panties and
stockings in one garment! And colors! It was revolutionary!
We loved the warmth, and got dispensation to do gym in our
tights rather than have to slip on trousers or shorts under
our dresses.

Then in the early sixties, there were knee-sox and
petti-pants.  Petti-pants were drawers of brushed nylon or
nylon tricot to a few inches above the knee.  They were
highly decorated near the hems with tucks, lace, and
ribbons.  They were great!

Then in the late 60's or early 70's, perhaps due to the
popularity of the movie "Grease," it was leggings, like what
dancers wear to keep their muscles warm.  They were handknit
tubes, the wilder colored the better, which we wore over our
ankles, calves and knees---over nylons, over jeans, over
tights as an extra layer to be shed indoors usually, but
sometimes worn as a fashion statement all its own.  I'd like
to hear from those who remember the 20's-40's and hear how
they dealt with the chill!

Hope H. Dunlap

-----Original Message-----
From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
Behalf Of Margo Anderson
Sent: Thursday, January 14, 1999 11:08 AM
To: h-costume@indra.com
Subject: Re: H-COST: re:undergarments



-Poster: Margo Anderson <margo@directcon.net>

 (I am
>always a litle boggled when I watch old movies from the
first half of
>this century and see women running around in cold weather
with
>the stretch of leg between the bottom of their coats to the
top of
>their short boots covered by nothing but hose.  How did
they keep
>from freezing?!).

We didn't.  We suffered.  Actually, at the same time as
short skirts and
boots were popular,  the ankle length maxicoat came into
style.  I didn't
have one, though, just a long black cloak (If there had been
Goths in 1972,
I'd have been one).

Margo


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Date: Thu, 14 Jan 1999 11:30:31 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: Re: H-COST: 'baby walker' Elizabethan
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>


>Dear Katya,
>Your baby walker outfit sounds so cool!  Any way to see pictures?

There aren't any.  But if you know the period at all you can make one of
these dress/walker combinations.


Kayta
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From owner-h-costume@indra.com  Thu Jan 14 14:34:23 1999
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To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: Re: H-COST: 'baby walker' Elizabethan
In-Reply-To: <199901140000.QAA26957@smtp.pacifier.com>
References: <y634hFAbuRn2IwUz@montgomerie.demon.co.uk>
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>


>None of the walkers I've seen from the 14th century through at least 
>the 16th Century would prevent the child's reach or keep them from 
>tipping or going through doorways.

Me neither.  They have square bases, like mine had under the round plastic
bits.  Some look like modern old-people walkers, and some look like mine
with a seat in the middle.

>One of the most common things which maimed and killed children of 
>that time is falling into the fire. 
>
>Leading strings attached to the backs of the doublet or shoulders of 
>the tunic is something you also see with the pre16th century. This is 
>so charming (and very costume oriented;) and it works.

I think the leading strings are the method of tying a baby to your own
apron strings.  It gives a toddler about 6' of 'freedom' in any direction,
and gives Mom a handle.


Kayta
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Subject: Re: H-COST: undergarments
Date: Thu, 14 Jan 99 16:08:23 -0500
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-Poster: <aquazoo@patriot.net>

Sylvia R asked,

> Anyone know where to find one
>of those today, or at least something without underwires that doesnt look
>like one of those Playtex pointy things? Who still wears those? They
>havent changed since the fifties, I dont think.

     Another source - the Vermont Country Store has cotton bras without 
underwires. I don't know if they have the size range some people were 
seeking. Vermont Country Store also has slips & pants liners.

     They have all sorts of old-fashioned items that are useful to 
costumers. Another favorite of mine is the extra large metal hairpins.

     Of course, I can't find a catalog now to share information. And I 
thought getting rid of clutter was a good thing!

     -Carol Kocian
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From owner-h-costume@indra.com  Thu Jan 14 16:10:24 1999
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From: "Jessica Wilbur" <jessica@pop.net>
To: h-costume@indra.com
Date: Thu, 14 Jan 1999 16:18:30 -0500
Subject: Re: H-COST: Peasant garb
Priority: normal
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-Poster: "Jessica Wilbur" <jessica@pop.net>

The Poulet Gauche web page has some information on peasant dress in the 16th c. 
(though of course they are French-oriented). The gallery page has some good pictures, 
some of which are the same as the ones on Drea's page. There are some different ones, 
though. I like the Poulet Gauche Poster Girl's outfit, myself...  There are some tips for 
making that outfit on the page.

Here's the URL for the gallery page:
http://www.lepg.org/gallery.htm

Hope this helps!
--Jessica

> 
> -Poster: The Purple Elephant <csmart@physics.adelaide.edu.au>
> 
> I found a cheap piece of wool in the remnant box of a local fabric store,
> about the size to make a bodice, and have a strange hankering to make
> some nice accurate lower class garb....ie I don't want to make the
> standard SCA 'wenching' garb. 
> I have been looking at the paintings of Pieter Brueghel (any idea where to
> find piccies of English peasants ?). I notice that in the summer scenes
> the women wear sleeveless bodices (sometimes with separate sleeves pinned
> on) and skirts. Some of the skirts are different colours from the bodices
> - does this mean they are separate objects or are they still seamed 
> together? If the latter, would it be okay to make the skirt out of a 
> different fabric, not just a different colour (ie say a linen skirt on a
> wool bodicve)?
>  In the winter scenes the women wear closed, long-sleeved gowns. Would they
> likely be wearing these over the 'summer' garb described above?
> 
> ------------------------------------------------------------------------------
> Claire F. Clarke       "What is this world if, full of care, 
> Physicist, writer,     We have no time to stand and stare?"
> and non environmentally                     Robert Louis Stevenson
> friendly substance.
> ------------------------------------------------------------------------------
> 
>  _________________________________________________________________
>  To leave this mailing list, send mail to majordomo@indra.com
>  with the message UNSUBSCRIBE H-COSTUME
> 


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Date: Thu, 14 Jan 1999 11:44:28 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: Re: H-COST: 'baby walker' Elizabethan
In-Reply-To: <369D4CD8.5881060A@ricochet.net>
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>


>In the "Shakespeare's Birthplace" house in Stratford, there is a "child
>minder" that would prevent this.  In the floor and ceiling, there is a socket,
>and into it is fitted a pole, so that it can turn freely.  On the pole, at
>about the height of a child's waist, is a short horizontal bar, with a strap
>that would go around the child.  The child can then run in circles (or
>possibly sit down, if the bar is adjustable) within a limited range -- never
>getting close to the fire or geting away to another room.

I have seen a photo of this contraption.  Not what I would call a walker,
but the floor shows signs of heavy use by some little person(s).


Kayta
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From: "Wylie A. & Gail D. Smith" <wyliesmith@isomedia.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: Cuff puzzle in painting
Date: Thu, 14 Jan 1999 11:51:26 -0800
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-Poster: "Wylie A. & Gail D. Smith" <wyliesmith@isomedia.com>

I really have to agree with Dietmar. I too think they are gloves. The
wrinkles between each finger of his right hand look like they are made from
very thin leather. I wish there was a larger picture to look at- I find it
difficult in most online pictures to distinguish details.

~Gail

> -----Original Message-----
> From: owner-h-costume@indra.com [mailto:owner-h-costume@indra.com]On
> Behalf Of Dietmar
> Sent: Wednesday, January 13, 1999 3:40 PM
> To: h-costume@indra.com
> Subject: Re: H-COST: Cuff puzzle in painting
>
>
>
> -Poster: Dietmar <dietmar@pacbell.net>
>
> Greetings all,
>
> Teddy wrote:
>
> > What puzzles me is that under the ruffles at the wrists of the
> shirt there
> > is a row of tabs/picadils.  I thought a first that the subject might be
> > wearing gloves, and these tabs were decorating the opening at the wrist,
> > but on closer inspection, the finger-nails are visible on at least the
> > left hand of the sitter.
>
> I may be in the minority, but I think that they are gloves.  The
> color of the
> tabs are the same color as the rest of the hand and the
> 'fingernails' don't
> show enough detail.  Tight fitting kid gloves can show that kind
> of detail.
> It's really tough to make a call based on the picture on the web,
>  but until I
> see a better picture, I'm going to assume that there are gloves.
>
> Regards,
>
> Dietmar
>
>
> "Victory or Defeat rests in God's hands;
>  over Honor, we ourselves are Lord and Master."
>
>  _________________________________________________________________
>  To leave this mailing list, send mail to majordomo@indra.com
>  with the message UNSUBSCRIBE H-COSTUME
>

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From: "Wylie A. & Gail D. Smith" <wyliesmith@isomedia.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: Lecture on 1790s
Date: Thu, 14 Jan 1999 11:53:41 -0800
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-Poster: "Wylie A. & Gail D. Smith" <wyliesmith@isomedia.com>

Oh, this sounds good! Too bad I'm in the wrong Washington! ;-( Perhaps you
could put your paper online? I'd love to read it!!
~Gail

> -----Original Message-----
> From: owner-h-costume@indra.com [mailto:owner-h-costume@indra.com]On
> Behalf Of aquazoo@patriot.net
> Sent: Wednesday, January 13, 1999 10:34 PM
> To: h-costume@indra.com
> Subject: H-COST: Lecture on 1790s
>
>
>
> -Poster: <aquazoo@patriot.net>
>
>
>
> Sat., Jan. 16, 1999, 1 p.m., Gadsby's Tavern Museum, 134 N Royal St.,
> Alex. Va. 703-836-2863; Free w/admission or $4 for adults: "The 1790s:
> Bridging the Fashion Gap," Lecture by Alden O'Brien, Assoc. Curator of
> Costume, DAR Museum. "The 1790s is a fascinating but neglected decade in
> the history of costume. How did fashion make the transition from the
> stiff-bodied, voluminous dresses of George Washington's time to the
> soft, high-waisted styles of the era of Jane Austen? Both men's and
> women's fashions underwent a period of great innovation and
> experimentation."
>
> This lecture is a revised, expanded and improved (I hope) version of the
> lecture I gave at the 1st Gadsby's Symposium two years ago. Here I'll
> venture into men's dress a bit, and will go into details of construction
> of the variety of transitional styles that appear in the 1790s, with
> more conservative uses overlapping with newer styles and piecing
> methods. Some attention will be given to accessories and hair, but I
> want to concentrate on the dress construction overall--also the
> transitional underpinnings. Hope to see some of you there!
>
> No reservations necessary; for more info call 703-838-4605.
>
> Alden O'Brien
> <aobrien@dar.org>
>  _________________________________________________________________
>  To leave this mailing list, send mail to majordomo@indra.com
>  with the message UNSUBSCRIBE H-COSTUME
>

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From: Ninni M Pettersson <vidumavi@swipnet.se>
Subject: Re: H-COST: Cuff puzzle in painting
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-Poster: Ninni M Pettersson <vidumavi@swipnet.se>

At 00.39 +0100 99-01-14, Dietmar wrote:
>Teddy wrote:
>
>> What puzzles me is that under the ruffles at the wrists of the shirt there
>> is a row of tabs/picadils.  I thought a first that the subject might be
>> wearing gloves, and these tabs were decorating the opening at the wrist,
>> but on closer inspection, the finger-nails are visible on at least the
>> left hand of the sitter.
>
>I may be in the minority, but I think that they are gloves.  The color of the
>tabs are the same color as the rest of the hand and the 'fingernails' don't
>show enough detail.  Tight fitting kid gloves can show that kind of detail.
>It's really tough to make a call based on the picture on the web,  but until I
>see a better picture, I'm going to assume that there are gloves.

	After taking a long and detailed look (I downloaded the picture and
used another program to enlarge it) I agree with Dietmar. Both because the
yellowish / buff colour of the tabs and the colour of the hands match (and
they *don't* match the colour of the face - that is much pinker); and
because I seem to see "wrinkles" on the hands that look more like thin
leather or cloth than skin (at the lower part of fingers on the right hand
for example) and the nail also looks like it has a tightly stretched layer
of thin leather or cloth over it.

/Ninni Pettersson


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From owner-h-costume@indra.com  Thu Jan 14 16:37:31 1999
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Date: Thu, 14 Jan 1999 15:45:08 -0600 (CST)
From: Emma Elizabeth Lehman <00217146@bigred.unl.edu>
To: h-costume@indra.com
Subject: Re: H-COST: Cuff puzzle in painting
In-Reply-To: <l03102802b2c411e4d2e3@[130.244.76.211]>
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-Poster: Emma Elizabeth Lehman <00217146@bigred.unl.edu>



My difficulty with this idea is that I see no seams on the hands that
would imply that he's wearing gloves.  On the other hand, I didn't see any
seams elsewhere, either, and I'm not sure if that's because the artist
didn't pay attention to seams, or that the fabric is just too dark for me
too see on this monitor.  Can you see any on the enlargement?

Emma

> 
> -Poster: Ninni M Pettersson <vidumavi@swipnet.se>
> 
> 	After taking a long and detailed look (I downloaded the picture and
> used another program to enlarge it) I agree with Dietmar. Both because the
> yellowish / buff colour of the tabs and the colour of the hands match (and
> they *don't* match the colour of the face - that is much pinker); and
> because I seem to see "wrinkles" on the hands that look more like thin
> leather or cloth than skin (at the lower part of fingers on the right hand
> for example) and the nail also looks like it has a tightly stretched layer
> of thin leather or cloth over it.
> 
> /Ninni Pettersson
> 
> 
>  _________________________________________________________________
>  To leave this mailing list, send mail to majordomo@indra.com
>  with the message UNSUBSCRIBE H-COSTUME
> 

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From owner-h-costume@indra.com  Thu Jan 14 16:50:06 1999
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From: Betsy Perry <betsyp@roguewave.com>
To: "'h-costume@indra.com'" <h-costume@indra.com>
Subject: H-COST: RE: Vermont Country Store
Date: Thu, 14 Jan 1999 13:57:50 -0800
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-Poster: Betsy Perry <betsyp@roguewave.com>

The VCS has very useful hair stuff: rats (the kind you use for puffy
hair), large plastic 'tortoiseshell' hairpins, you name it.  Also
Florida Water, Burt's Bees, LiLi of Bermuda perfumes, a non-synthetic
violet perfume (!), and other goodies.

1-802-362-8300, or
P.O. Box 3200
Manchester Ctr, VT
05255-3200

---
Elizabeth Hanes Perry
Rogue Wave Software 

>
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From owner-h-costume@indra.com  Thu Jan 14 16:51:41 1999
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Date: Thu, 14 Jan 1999 16:52:43 -0500
To: h-costume@indra.com
From: Danielle Nunn <dnunn@interlog.com>
Subject: Re: H-COST: Other new list: what was it again?
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-Poster: Danielle Nunn <dnunn@interlog.com>

Greetings,

>Last week or so, one of the 'regulars' posted information on a new list for
>historical women's issues - could you repost please-or send to me off-list?
>Thanks in advance.

When was this posted?  I really don't think I'm getting every message. :(

Thanks,
Danielle

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-Poster: M311@aol.com

In a message dated 1/14/99 3:45:22 PM Central Standard Time,
00217146@bigred.unl.edu writes:

<< My difficulty with this idea is that I see no seams on the hands that
 would imply that he's wearing gloves.  >>

Okay, once again I somehow missed something.  This time it is the url of where
this picture is at.  Can someone please send it to me?
Kelly Albrecht
m311@aol.com
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From owner-h-costume@indra.com  Thu Jan 14 16:57:06 1999
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Date: Thu, 14 Jan 1999 16:04:53 -0600 (CST)
From: Emma Elizabeth Lehman <00217146@bigred.unl.edu>
To: h-costume@indra.com
Subject: Re: H-COST: Cuff puzzle in painting
In-Reply-To: <e7d8c7fd.369e66c2@aol.com>
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-Poster: Emma Elizabeth Lehman <00217146@bigred.unl.edu>



On Thu, 14 Jan 1999 M311@aol.com wrote:
> 
> << My difficulty with this idea is that I see no seams on the hands that
>  would imply that he's wearing gloves.  >>
> 
> Okay, once again I somehow missed something.  This time it is the url of where
> this picture is at.  Can someone please send it to me?
> Kelly Albrecht
> m311@aol.com

Sorry, that should have been included.
http://gallery.euroweb.hu/art/m/mabuse/baudouin.jpg


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From owner-h-costume@indra.com  Thu Jan 14 17:00:46 1999
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From: Parsla Liepa <parsla@engin.umich.edu>
To: h-costume@indra.com
Subject: Re: H-COST: Cuff puzzle in painting
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-Poster: Parsla Liepa <parsla@engin.umich.edu>


Why would his hands be the same color as his face? My aren't.

Parsla


> > 
> > << My difficulty with this idea is that I see no seams on the hands that
> >  would imply that he's wearing gloves.  >>
> > 
> > Okay, once again I somehow missed something.  This time it is the url of where
> > this picture is at.  Can someone please send it to me?
> > Kelly Albrecht
> > m311@aol.com
> 
> Sorry, that should have been included.
> http://gallery.euroweb.hu/art/m/mabuse/baudouin.jpg

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From owner-h-costume@indra.com  Thu Jan 14 17:48:32 1999
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Date: Fri, 15 Jan 1999 09:49:56 +1100
From: Harvey Georgia <harveyg@acer.edu.au>
Subject: H-COST: 50's/60's Underwear
To: "'H-costume'" <h-costume@indra.com>
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-Poster: Harvey Georgia <harveyg@acer.edu.au>

Now *here's* a question a friend and I were discussing this week, having
recently acquired some of those long, boned (50s??) girdles, that goes from
under the bust to thigh level. Are these the 50s ones?

What did one wear under them? And, if one did wear something under them, how
on earth does one manage to go to the toilet in under half an hour? And, if
not, how does one manage to look...decent...

Georgia
-in search of knowledge :-)
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From owner-h-costume@indra.com  Thu Jan 14 20:20:39 1999
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From: The Purple Elephant <csmart@physics.adelaide.edu.au>
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Subject: Re: H-COST: Peasant garb
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-Poster: The Purple Elephant <csmart@physics.adelaide.edu.au>

On Thu, 14 Jan 1999, aleed wrote:

> 
> I've harvested a bunch of lower class garb pics from the 1550s to 1570s
> (almost all of them Flemish) with the intention of putting together a web
> page on the subject eventually...but you can check out the pictures
> at http://www.dnaco.net/~aleed/corsets/lowerclass/piclist.html .  Between
> them all, the pictures contain clear images of most pieces of clothing.

The curious thing is, I was pootling about on the web yesterday and found
this very page!!!!
------------------------------------------------------------------------------
Claire F. Clarke       "What is this world if, full of care, 
Physicist, writer,     We have no time to stand and stare?"
and non environmentally                     Robert Louis Stevenson
friendly substance.
------------------------------------------------------------------------------

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-Poster: Laurel Wilson <lwilson16@earthlink.net>



Hope H. Dunlap wrote:

> Then in the early sixties, there were knee-sox and
> petti-pants.  Petti-pants were drawers of brushed nylon or
> nylon tricot to a few inches above the knee.  They were
> highly decorated near the hems with tucks, lace, and
> ribbons.  They were great!
>

I had totally forgotten about petti-pants!  I also remember, when I was
very little, say 3 or 4 (1949/50), outfits with matching coats and
leggings, as they were called:  they were actually heavy wool pants of a
fabric that matched the coat, and you wore them under your dress (my
mother still has pictures).

The knitted tubes you described are what dancers call 'legwarmers', and
dancers still wear them; I wish they hadn't gone out of fashion, as they
were awfully handy.

Lauri

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-Poster: Laurel Wilson <lwilson16@earthlink.net>



Wylie A. & Gail D. Smith wrote:

>  Perhaps you
> could put your paper online? I'd love to read it!!
> ~Gail
>

Ditto.

Lauri

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-Poster: Laurel Wilson <lwilson16@earthlink.net>



Harvey Georgia wrote:

> -Poster: Harvey Georgia <harveyg@acer.edu.au>
>
> Now *here's* a question a friend and I were discussing this week, having
> recently acquired some of those long, boned (50s??) girdles, that goes from
> under the bust to thigh level. Are these the 50s ones?
>
> What did one wear under them? And, if one did wear something under them, how
> on earth does one manage to go to the toilet in under half an hour? And, if
> not, how does one manage to look...decent...
>
> Georgia
> -in search of knowledge :-)
>  _________________________________________________________________
>  To leave this mailing list, send mail to majordomo@indra.com
>  with the message UNSUBSCRIBE H-COSTUME

If these are the kind that snap to the stocking, I seem to remember that one
unsnapped the garters and rolled them up to reach the panties.  With the
shorter ones, you wore your panties *over* the girdle, and it was simple enough
to take them down.
Lauri, eternally grateful to not have worn one of these in at least thirty-five
years.


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-Poster: Laurel Wilson <lwilson16@earthlink.net>



The Purple Elephant wrote:

> The curious thing is, I was pootling about on the web yesterday and found
> this very page!!!!
>

thank you for making me chuckle with that delightful word!

Lauri


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-Poster: Joan M Jurancich <joanj@quiknet.com>

At 05:28 PM 01/13/1999 -0800, Gia Gavino-Gattshall wrote:
>
>-Poster: "Gia Gavino-Gattshall" <ggavino@serv.net>
>
>Greetings, again!
>
>I was singing the nursery rhyme with my Amybyrlee when I became
>curious...Were there sheep with black wool, medievally?  Where would one
>find such a beastie, if there were black wool producing sheep?  Or is this a
>rather modern genetically induced sheep?
>
>Gia/Giacinta
>costuming nut, ever curious...

Any sheep that is not pure white is a "black sheep". And the colors range
from grays and light browns to brown-black to reddish-browns. All these
colors are natural and could have been found in medieval sheep. Of course,
the white wool takes dyes much more clearly than naturally-colored wool, so
it was more valuable. The "black" wools, of whatever shade, could well have
been given to the poor.

>From one with far too many spinning wheels and spindles and far too little
time to use them,
Joan Jurancich
Sacramento, CA
joanj@quiknet.com

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-Poster: Joan M Jurancich <joanj@quiknet.com>

And whenever I see a youngster with a modern version of leading strings
(usually when I am at Sutter's Fort during Crafts Demonstration Days [see, I
can bring in costume <g>]), I always compliment them on their cleverness
wearing them to make certain that Mommy (or Daddy) doesn't get lost <g>.

Joan Jurancich
Sacramento, CA

At 05:23 PM 01/13/1999 -0800, Gia Gavino-Gattshall wrote:
>
>-Poster: "Gia Gavino-Gattshall" <ggavino@serv.net>
>
>Love the walker idea!
>
>When Ambyr was about 1, I did a dress for her with leading strings.
>Wonderful for going through merchants row!
>
>A walker wasn't really practical for me, though, for she was a 'climber'
>before she was a 'walker' and she kept escaping from the walker!  So leading
>strings worked better.
>
>I also did a stroller 'cozy' out of a tapestry type of material so that the
>modern stroller was 'hidden'.  Not period (I think?) but it worked
>especially when she needed a nap and wouldn't lay down.  A spin in the
>stroller usually did the trick to get her nodding off!
>
>Giacinta
>

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From owner-h-costume@indra.com  Thu Jan 14 22:39:57 1999
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From: " The days" <days@alltel.net>
To: <H-costume@indra.com>
Subject: H-COST: Survey of Fabrics
Date: Thu, 14 Jan 1999 22:39:59 -0500
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-Poster: " The days" <days@alltel.net>

Hello!
	I seem to have seen a earlier post for someone wanting the "Survey of Period Fabrics"
from the stock clerk's office of the SCA. I can't find the origional message from who it
may have come from. If this person subscribes to this list please contact me at
days@alltel.net fro mor information. Thank you.

						Scarlett Day
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-Poster: Appin1@aol.com

I have to agree with Dietmar. I examined the picture and I think they are
gloves too. Thin, tight gloves of fine leather or kidskin can show detail like
that.

Kathleen Norvell
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-Poster: M311@aol.com

In a message dated 1/14/99 10:00:27 PM Central Standard Time, Appin1@aol.com
writes:

<< I have to agree with Dietmar. I examined the picture and I think they are
 gloves too. Thin, tight gloves of fine leather or kidskin can show detail
like
 that.
 
 >>
I looked at the picture today on my computer.  Now I have a 17 inch moniter
and things look differently on them since things are bigger.  In the case of
looking at pictures of clothes and paintings I have always found them a plus.
On my screen I think it just looks like hands, no gloves.  I just don't see
gloves at all.  Just thought that I would let you know.
Kelly Albrecht
m311@aol.com
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From owner-h-costume@indra.com  Thu Jan 14 23:36:04 1999
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From: "Franchesca Havas" <ches@io.com>
To: <h-costume@indra.com>
Subject: Re: H-COST: Cuff puzzle in painting
Date: Thu, 14 Jan 1999 22:48:33 -0600
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-Poster: "Franchesca Havas" <ches@io.com>

They look like a pair of gloves I have but they were made with in the last
20 years. Very soft and supple kid, very fragile now, they fit so
wonderfully that you can see the outlines of my finger nails. But I think
that what happened in this painting, and you would have to ask the
conservationist to see if they did an x-ray of it, is that the artist
painted the structure of the hands first then painted the gloves on top of
the hands. Wild guess on my part.

Upon color analysis by my eye and 2 different art programs, vector and
raster, the color coding of the piccalils matches the last collar that is
all but hidden on the right side of the neck more than the gloves, my vote
is that it is an undershirt that is separate from the rest of the outfit.

Sincerely,
Ches
aka Chiara Francesca
Steward of Coronation XL
http://www.io.com/~ches/coronation99

-----Original Message-----
From: M311@aol.com <M311@aol.com>
To: h-costume@indra.com <h-costume@indra.com>
Date: Thursday, January 14, 1999 10:16 PM
Subject: Re: H-COST: Cuff puzzle in painting


:
:-Poster: M311@aol.com
:
:In a message dated 1/14/99 10:00:27 PM Central Standard Time,
Appin1@aol.com
:writes:
:
:<< I have to agree with Dietmar. I examined the picture and I think they
are
: gloves too. Thin, tight gloves of fine leather or kidskin can show detail
:like
: that.
:
: >>

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From owner-h-costume@indra.com  Fri Jan 15 01:17:35 1999
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Date: Thu, 14 Jan 1999 15:05:11 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: Re: H-COST: Cuff puzzle in painting
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>


>
>I may be in the minority, but I think that they are gloves.  The color of the
>tabs are the same color as the rest of the hand and the 'fingernails' don't
>show enough detail.  Tight fitting kid gloves can show that kind of detail. 
>It's really tough to make a call based on the picture on the web,  but until I
>see a better picture, I'm going to assume that there are gloves.
>

The tab-things look like the slashed glove cuffs I have seen in other
pictures from this period.  Slashed glove cuffs are done in about four to
six slashes around, rather than in half-inch-apart slashes the way doublet
sleeve-ends are.  Gloves are often rendered thin like this with no seams
visible, and with the cuffs folded toward the hand.  My vote is for gloves,
a status-symbol accessory of this period.


Kayta
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From owner-h-costume@indra.com  Fri Jan 15 01:17:35 1999
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Date: Thu, 14 Jan 1999 21:26:42 -0800
To: h-costume@indra.com
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Subject: Re: H-COST: Re:   Colours
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>


>The names of colors are their own reward.  Why does "watchet" mean light blue?

I own two dictionaries which list watchet, a Websters New International
Dictionary, Second Edition from 1950 and a Century Cyclopedia from 1906.
Both cite Old North French as the language of origin.  The Websters thinks
the origin is obscure (duh), and the Century Cyclopedia thinks it
originally relates to the word 'woad', tho it gives no intermediate
derrivation.


Kayta
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From owner-h-costume@indra.com  Fri Jan 15 01:17:53 1999
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Date: Thu, 14 Jan 1999 21:38:09 -0800
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Subject: Re: H-COST: RE: h-costume-digest V4 #35
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>

Dylon dye.  It is as easy to use as that dye-emulater Rit, but it is real dye.

>I am making a new 16th century upper-middle class outfit for faire this
>year. I have found a brought a brocade that is white and I want to dye it
>burgandy... It is 100% cotton and takes dye well (I tried a swatch before I
>bought it) My one concern is that, with the intensity of the sun baking me
>all day it will most likely fade quickly with RIT. Is there any way to keep
>this from happening? Is there a finish I can put on to keep it from fading?
>Is there a better kind of dye than RIT that I can use that won't fade so
>easily? Anyone have any tips? 


Kayta
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From owner-h-costume@indra.com  Fri Jan 15 01:18:08 1999
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From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: Re: H-COST: RE: Keeping Legs Warm in "The Old Days!"
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>


I'd like
>to hear from those who remember the 20's-40's and hear how
>they dealt with the chill!

My mother (born 1924) says wear warm coats and walk faster.  In Montana (on
a family farm) she says her mother (born 1880) made her wear wool stockings
with garters (late 20's).  Boots cost too much, so her mother never had
them for outdoors wear.  They didn't wear hats except to dress up nice.  (I
can't believe they didn't have some kind of hats in a Montana winter, but
my mother was young when they moved to California and may not remember hats.)  

She says cold is mostly across the shoulders, so they wore more coats and
sweaters in winter in Southern California (San Diego, 30's-40's).
Overshoes and galoshes are nice and warm, but were mostly used for keeping
out rain and wet, she says.  

She remembers that my grandmother from Portland Oregon, her Mother-in-law,
wrapped a scarf around her head in winter and wore a long coat.  Mom
differentiates between a jacket and what she calls a long coat (which I
would just call a coat).  The grandmother in Oregon grew up on a farm, but
I don't know when she was born.  Mom and Dad went to college in Oregon in
the late 40's, by which time it was OK for her to wear trousers in the winter.

She says that one winter in Minneapolis when she was in high school (late
30's) she had to wear two long sleeved garments at the same time for the
first time, and remembers having to be told to grab the cuffs of the
underneath layer so the sleeves wouldn't ride up. 


Kayta
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From owner-h-costume@indra.com  Fri Jan 15 01:18:09 1999
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Date: Thu, 14 Jan 1999 21:42:07 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: RE: H-COST: re:undergarments
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>


>When I was in elementary school in the 1950's I wouldn't be
>caught dead without my frothy nylon tafetta and lace slip
>petticoats to make my skirts stand out.  It was a great
>pleasure to buy two more each year and to wear them, as they
>were in and of themselves so pretty and not the least bit of
>trouble.

Nasty things to sit on.  I remember these, and nylon net marks on my legs.
Itchy scratchy and no fun.


Kayta
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From owner-h-costume@indra.com  Fri Jan 15 01:39:29 1999
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Date: Fri, 15 Jan 1999 01:44:11 -0500
From: "Lisa R." <martyr@gti.net>
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-Poster: "Lisa R." <martyr@gti.net>

Hi-

I would love to attend the Gadsby's Tavern lecture but unfortunately cannot.
Is there some way I could receive/purchase any literature/info. packet that
may be part of the lecture? Please?

Deb Rand

aquazoo@patriot.net wrote:

> -Poster: <aquazoo@patriot.net>
>
> Sat., Jan. 16, 1999, 1 p.m., Gadsby's Tavern Museum, 134 N Royal St.,
> Alex. Va. 703-836-2863; Free w/admission or $4 for adults: "The 1790s:
> Bridging the Fashion Gap," Lecture by Alden O'Brien, Assoc. Curator of
> Costume, DAR Museum. "The 1790s is a fascinating but neglected decade in
> the history of costume. How did fashion make the transition from the
> stiff-bodied, voluminous dresses of George Washington's time to the
> soft, high-waisted styles of the era of Jane Austen? Both men's and
> women's fashions underwent a period of great innovation and
> experimentation."
>
> This lecture is a revised, expanded and improved (I hope) version of the
> lecture I gave at the 1st Gadsby's Symposium two years ago. Here I'll
> venture into men's dress a bit, and will go into details of construction
> of the variety of transitional styles that appear in the 1790s, with
> more conservative uses overlapping with newer styles and piecing
> methods. Some attention will be given to accessories and hair, but I
> want to concentrate on the dress construction overall--also the
> transitional underpinnings. Hope to see some of you there!
>
> No reservations necessary; for more info call 703-838-4605.
>
> Alden O'Brien
> <aobrien@dar.org>
>  _________________________________________________________________
>  To leave this mailing list, send mail to majordomo@indra.com
>  with the message UNSUBSCRIBE H-COSTUME



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-Poster: "Connie Carroll" <Connie.Bunny@worldnet.att.net>

Would someone repost the URL for the painting or tell how  to find it 
on the web site. I couldn't get there.

Kassandra NickKraken
JUST CALL ME MISTRESS BUNNY
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From owner-h-costume@indra.com  Fri Jan 15 08:47:41 1999
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Date: Thu, 14 Jan 1999 17:24:49 -0500
To: h-costume@indra.com
From: Danielle Nunn <dnunn@interlog.com>
Subject: Re: H-COST: Cuff puzzle in painting
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-Poster: Danielle Nunn <dnunn@interlog.com>

Greetings,

>Here's another link: (the one Teddy provided doesn't work from my server)
>http://gallery.euroweb.hu/art/m/mabuse/baudouin.jpg

I had the same problem.

>>Is this man wearing another, long sleeved, garment *under* that
>>beautiful shirt, the only part visible being the picadils/tabs at
>>the wrist??

Nope, I think they are gloves.  If you look at the left side of his index
finger on his right hand I see a faint line which *could* be a seam.  I
also think that the wrinkles shown are in the wrong place for a bare hand.

>The picadilled cuffs look very leathery, especially when you consider >the
width between snips, there's no evident fraying, and the colour - a >sort
of light rose-orange - is also suggestive.

I would have to agree with this as well.  Also the Spanish were known for
making incredibly fine leather gloves.  There are records of a Spanish
noble woman (can't remember who) who bought her gloves a gross at a time!
This suggests to me that they were so fine that they would wear out quickly
- these gloves seem to me, to be of that sort.

>Or is it possible that this fabric has been sewn on beneath as a guard to
>protect the delicately pleated cuffs?

Well I've never seen any evidence for something like that.  I don't
understand what the guards would be sewn to?

>He's wearing three garments for certain - the creamy brocade robe, the
>slashed black doublet, the very full and decorated shirt. Is it possible
>that he is also wearing a leather underdoublet and perhaps an undershirt
>beneath that, for comfort?

In my understanding of 16th century layering is: he *could* have worn
another shirt under that one but not a doublet or jerkin.

Isn't his outfit just gorgeous though!  I think it's interesting that his
sleeves, doublet/jerkin, and hosen are all a very dark blue or a very blue
black.

Cheers,
Danielle

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Date: Thu, 14 Jan 1999 17:33:01 -0500
To: h-costume@indra.com
From: Danielle Nunn <dnunn@interlog.com>
Subject: H-COST: On the subject of children & puzzles
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-Poster: Danielle Nunn <dnunn@interlog.com>

Greetings,

Isn't the outfit on Giovanni de Medici strange for a child?  You can see leg!

http://gallery.euroweb.hu/art/b/bronzino/portrait/g_medici.jpg

Cheers,
Danielle

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Subject: Re: H-COST: Cuff puzzle in painting
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-Poster: aleed <aleed@dnaco.net>


> >http://gallery.euroweb.hu/art/m/mabuse/baudouin.jpg
> 
> >>Is this man wearing another, long sleeved, garment *under* that
> >>beautiful shirt, the only part visible being the picadils/tabs at
> >>the wrist??

I, too, think they are gloves--the coloring is different than that of his
face, and there are distinct wrinkles between his fingers.  Another
portrait of his which shows a man's hands   
(http://gallery.euroweb.hu/art/m/mabuse/carondel.jpg) has the man's hands
and face painted an identical color & texture, and lacks the wrinkles that
baudouin.jpg has. This is one of those cases where a look at the original
painting would be incredibly useful.

Drea


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-Poster: kat@grendal.rain.com


> Any sheep that is not pure white is a "black sheep". And the colors range
> from grays and light browns to brown-black to reddish-browns. All these
> colors are natural and could have been found in medieval sheep. Of course,
> the white wool takes dyes much more clearly than naturally-colored wool, so
> it was more valuable. The "black" wools, of whatever shade, could well have
> been given to the poor.

>From what I understand, when you are trying to get a really white 
flock, the black sheep lambs became stew, sausage, lamb chops, etc.

Kat 

Kat(June Russell)
kat@grendal.rain.com
Heu! Tintinnuntius meus Sonat!
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-Poster: kat@grendal.rain.com


> The knitted tubes you described are what dancers call 'legwarmers', and
> dancers still wear them; I wish they hadn't gone out of fashion, as they
> were awfully handy.

They're out of fashion!!!! Oh, no. I guess I'll have to stop wearing 
mine!


Kat 

Kat(June Russell)
kat@grendal.rain.com
Heu! Tintinnuntius meus Sonat!
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-Poster: Laurel Wilson <lwilson16@earthlink.net>



Carolyn Kayta Barrows wrote:

> I own two dictionaries which list watchet, a Websters New International
> Dictionary, Second Edition from 1950 and a Century Cyclopedia from 1906.
> Both cite Old North French as the language of origin.  The Websters thinks
> the origin is obscure (duh), and the Century Cyclopedia thinks it
> originally relates to the word 'woad', tho it gives no intermediate
> derrivation.
>

The OED says much the same:  definitely from Old French, possibly related to
'woad' but the derivation can't be established with certainty.
Lauri

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-Poster: "karrissa david" <arizona63@hotmail.com>

Hello All,

My name is Karrissa David.  I have been searching for this list serve 
for a while.  I am glad I have found it.  

I have just started to study the history of clothing.  I has intrigued 
me for a very long time now.  I was introduced to a couple of 
organtizations which study rennaisance (sp?) history and fell in love.  
Now I am trying to get all of the information that I can.  

I am a secretary by day and a fashion designer by night.  I wouldn't 
mind history repeating itself when it comes to fashion.  I use many 
historical elements in my designs.  I also have started recreating 
historical pieces for myself and would like to open a business doing 
such.  

I have found tons of patterns and books on sillouetts.  However, I would 
love to get information on fabric used as well as popular colors.  

I hope to get lots of information.  I look forward to hearing from you. 

Karrissa

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-Poster: margo king <mkings@earthlink.net>

Dear List - I need some help! The Theme of The 45th Washington Antiques
Show (Jan6-9, 2000) is "Behind Closed Doors: Victorian Secrets". In both
our eductional catalogue, loan exhibition, and Symposium we want to take
a look at things that were not what they appeared to be - for example -
all the corsetry that produced a great figure but caused all those
problems. This look at things will extend into other areas - fantastic
silver that upon looking at it you can't imaginewhat it is - "slice of
real life". Does anyone have a reference for early Victorian ladies
putting bits of material on back side of buttons impregnated with their
'perfume or scent' - as a remider of them when their men went to war,
away, etc? Jewelry that was not what it appeared to be? Any Victorian
refences, sources that are accurate (any subject area) would be
wonderful.We are also looking for writers for catalogue/speakers for
Symposium - thoughts, ideas are welcome. We are also thinking of doing a
costume ball on Saturday, Jan 8, 2000. It would have to be more
expensive than most period dances, sincewe are a  charity show - but I
think we have the population to draw from - Washington, DC metropolitan
area. Talk to me please!!! Margo King, Show Chair 2000 - email directly
(mkings@earthlink.net), through the list if you think info would be of
general interest, or call 301-983-8835. THANKS!

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From owner-h-costume@indra.com  Fri Jan 15 10:52:56 1999
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Subject: H-COST: Re: ethnic costume -- eliz
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-Poster: Christina Conklin <textiles@earthlink.net>

> eliz . . . When youdo, could you please let me/us know where to find it online?
> Many thanks,

Christy

> I have made and worn 16th C Mughal garb at SCA events and at Pennsic.
> I've also made and worn SCA period Turkish, Russian, and Ukranian.
> Those are my main areas of interest, and I have an extensive library.
> Unfortunately, I have to update the online copy of my bibliography.
> I'll try to make that available again in a couple of days.
>
>                                                 ...eliz
>  _________________________________________________________________



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From owner-h-costume@indra.com  Fri Jan 15 10:53:01 1999
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To: h-costume@indra.com
From: Lisa Scovel <reenactment.guide@miningco.com>
Subject: Re: H-COST: Just an Introduction
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-Poster: Lisa Scovel <reenactment.guide@miningco.com>


The people on this list are just wonderful for answering this sort of
question, but you may also want to check out some of the available
resources on the Web and see if you find the stuff you're looking for.  I
have  a whole list of Renaissance Era links that includes some color and
fabric inormation.

http://reenactment.miningco.com/msub21.htm

For the specific kind of information you're looking for, the Elizabethan
Costuming Page (maintained by one of our very own list members) would be a
great place to start.  

http://www.dnaco.net/~aleed/corsets/general.html

Also try some general costuming sites like:

http://users.aol.com/nebula5/costume.html

The history section includes several early Renaissance links, in addition
to the Tudor and Elizabethan.

http://users.aol.com/nebula5/tcpinfo2.html#history

If you're more interested in early
At 10:46 AM 1/15/99 -0500, you wrote:

>I have found tons of patterns and books on sillouetts.  However, I would 
>love to get information on fabric used as well as popular colors.  
>

***********************
lisa scovel
historical reenactment guide
the mining co.
http://reenactment.miningco.com

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From owner-h-costume@indra.com  Fri Jan 15 11:02:28 1999
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-Poster: Merouda the True <keltia@serv.net>

Probably isn't worth much, but I *totally* disagree.  There is no way I could
agree that he is wearing gloves.  :)  Doesn't mean I can explain the picked
cuffs, however. :}   Cynthia

--
Merouda the True of Beaumaris
Barony of Madrone
Kingdom of An Tir


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From owner-h-costume@indra.com  Fri Jan 15 11:15:58 1999
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-Poster: margo king <mkings@earthlink.net>

Textile Museum - 2320 S Street, Washington, DC 20008 - (202-667-0441) -
Founded in 1925 with the collection of George Hewitt-Myers, museum
houses over 10,000 woven pieces of artistic and archaeological
significance - museum is small, they can only display a fraction of
their treasures. World's finest collecion of Peruin weavings. Library
divided into fine arts, decorative arts, techniques, costumes, and
textile processes (all organized by nationality!) Library open to
public, gift shop has wide variety of books on textile work. They also
have a newsletter. I have found the staff very good to work with, and
helpful! Hopes this helps those that were wondering about the museum - a
must see if you are visitingWashington. Margo King

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-Poster: Margo Anderson <margo@directcon.net>

At 11:30 AM 1/14/99 -0800, you wrote:
>
>-Poster: Carolyn Kayta Barrows <kayta@slip.net>
>
>
>>Dear Katya,
>>Your baby walker outfit sounds so cool!  Any way to see pictures?
>
>There aren't any. 


How many of us are guilty of this?  I know I am, I've made dozens of
costumes that never got photographed because I was waiting till I got around
to getting then potographed in a proper setting, by a good photographer, etc.

One of my New Year's resolutions is to keep a camera in my studio and never
let anything out the door without a photo.  It might not look pretty, but at
least I'll have some kind of record.

I saw that baby walker/farthingale, and it was awesome.  A tiny elizabethan
lady, scooting across the hall as she were on wheels..Oh! she is!


Margo Anderson
"One Tough Costumer"

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Subject: Re: H-COST: RE: Keeping Legs Warm in "The Old Days!"
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-Poster: Margo Anderson <margo@directcon.net>

  I'd like
>to hear from those who remember the 20's-40's and hear how
>they dealt with the chill!

 I  have pictures of my father's sister in the 30's, in Brooklyn, all
dressed up in wool coats with matching leggings.  These were made of the
same cloth as the coat, fitted to the leg, and came down over the shoe top
and up higher than the coat hem.  They buttoned up the sides, which must
have been a tedious chore.

These outfits were made for my aunt by her grandfather, a tailor, but I
think it was the standard style for little girls.

Margo

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-Poster: Margo Anderson <margo@directcon.net>



>hair), large plastic 'tortoiseshell' hairpins,

I just have to tell everyone:  after years of searching for these hairpins
in obscure outlets and paying big bucks for them,  I've now found them at
K-Mart!  2 for $2, with all the other hair stuff, packaged under the
"Cosmopolitan" brand name.  the same line includes hair sticks, combs, and
other doodads, all in a good looking imitation tortoiseshell.

Margo

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From owner-h-costume@indra.com  Fri Jan 15 11:34:50 1999
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-Poster: Margo Anderson <margo@directcon.net>

At 04:52 PM 1/14/99 -0500, you wrote:
>
>-Poster: Danielle Nunn <dnunn@interlog.com>
>
>Greetings,
>
>>Last week or so, one of the 'regulars' posted information on a new list for
>>historical women's issues - could you repost please-or send to me off-list?
>>Thanks in advance.
>
>When was this posted?  I really don't think I'm getting every message. :(

I sent it on the 1st.  I seem to have missed a few messages, too.  Anybody
know what could be going on?

Margo

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From owner-h-costume@indra.com  Fri Jan 15 11:56:38 1999
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From: Sylvia Rognstad <sylvia@netherworld.com>
To: h-costume@indra.com
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-Poster: Sylvia Rognstad <sylvia@netherworld.com>

On Thu, 14 Jan 1999, Carolyn Kayta Barrows wrote:

> 
> Dylon dye.  It is as easy to use as that dye-emulater Rit, but it is real dye.
> 
> >I am making a new 16th century upper-middle class outfit for faire this
> >year. I have found a brought a brocade that is white and I want to dye it
> >burgandy... It is 100% cotton and takes dye well (I tried a swatch before I
> >bought it) My one concern is that, with the intensity of the sun baking me
> >all day it will most likely fade quickly with RIT. Is there any way to keep
> >this from happening? Is there a finish I can put on to keep it from fading?
> >Is there a better kind of dye than RIT that I can use that won't fade so
> >easily? Anyone have any tips? 

Rit is real dye, of course, or it wouldnt dye fabric.   The problem with
Rit is that it has all different types of dye so that at least one of them
will bind with whatever fabric you are using  This means that the rest of 
it just washes down the drain, which I now realize is pretty wasteful.
I used to run a theatrical costume shop and we bought Rit by the gallon.  
Now that I know more about dyeing, I would never do that.  It's much more 
cost effective to buy smaller amounts of specific kinds of dyes.
Sylvia.

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From owner-h-costume@indra.com  Fri Jan 15 12:03:20 1999
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-Poster: pulliam@acadia.net (Deborah Pulliam)

<<This is one of those cases where a look at the original painting would be
incredibly useful.>>

Yes, and keep in mind that whatever seams in the gloves might have been
painted in may also have been faded/removed entirely by cleaning the
painting in recent years.


Deborah


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Date: Fri, 08 Jan 1999 11:24:53 +0100
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-Poster: Andrea Clef <a.clef@ndh.net>


--------------56007D64D6AF7893DA2613F7
Content-Type: text/plain; charset=us-ascii
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> Are the patterns taken from extant garments, or are they the author's own
> guesses?
>
> I would consider ordering the book if the patterns are from real garments.
>
> --Robin
>
Surviving garments of this medieval period are very rare, it is said in
the book that they
reconstructed the stitches from these but it is not mentioned whether
they also
copied the patterns from real garments.
The most used method of medieval pattern reconstruction is looking at
stone figures
or paintings that have survived.
So I can`t say for sure where the patterns originate from.


> The bad news is that they don't have this book
>
Ok, so if somebody would like to get this book, please tell me.
But I`m not sure about the shipping costs to the States yet, that also
depends on
if you choose surface or air mail.
You could then send me the money ($26 + shipping) either in dollar notes
in a letter
(ok, could be risky) or wire it to my bank account.
I`ve made bad experiences with checks, so that`s not the best method.
If you`re interested, please contact me by personal e-mail, thanks!

Many greetings,
Diana


--------------56007D64D6AF7893DA2613F7
Content-Type: text/html; charset=us-ascii
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<HTML>

<BLOCKQUOTE TYPE=CITE>
<PRE>Are the patterns taken from extant garments, or are they the author's own
guesses?

I would consider ordering the book if the patterns are from real garments.&nbsp;

--Robin</PRE>
</BLOCKQUOTE>
Surviving garments of this medieval period are very rare, it is said in
the book that they
<BR>reconstructed the stitches from these but it is not mentioned whether
they also
<BR>copied the patterns from real garments.
<BR>The most used method of medieval pattern reconstruction is looking
at stone figures
<BR>or paintings that have survived.
<BR>So I can`t say for sure where the patterns originate from.
<BR>&nbsp;
<BLOCKQUOTE TYPE=CITE>
<PRE>The bad news is that they don't have this book</PRE>
</BLOCKQUOTE>
Ok, so if somebody would like to get this book, please tell me.
<BR>But I`m not sure about the shipping costs to the States yet, that also
depends on
<BR>if you choose surface or air mail.
<BR>You could then send me the money ($26 + shipping) either in dollar
notes in a letter
<BR>(ok, could be risky) or wire it to my bank account.
<BR>I`ve made bad experiences with checks, so that`s not the best method.
<BR>If you`re interested, please contact me by personal e-mail, thanks!

<P>Many greetings,
<BR>Diana
<BR>&nbsp;</HTML>

--------------56007D64D6AF7893DA2613F7--

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Subject: Re: H-COST: Skeletons and stays
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-Poster: pame@nothinbut.net


> -Poster: Emma Elizabeth Lehman <00217146@bigred.unl.edu>
> 
> 
> For the record: How old is she now?
>  

My oldest daughter is fifteen. She is 6 ft. tall and weighs around 
119 lbs. Will she thicken up as she ages-my guess would be yes..
pame

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From owner-h-costume@indra.com  Fri Jan 15 12:17:54 1999
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-Poster: Susan Fatemi <susanf@netwiz.net>

>   I'd like
> >to hear from those who remember the 20's-40's and hear how
> >they dealt with the chill!

Why just the 40's? I went to high school in the 60's and girls
could not wear pants to school unless it was actually snowing
or the temp. dropped below 32. You could wear dancer's tights
if you could find them. One "new" girl wore ski pants to
church (it was *freezing*) and everyone was scandalized!
I wore knee socks and pettipants and/or one of those long panty
girdles that were discussed. I didn't have much "jiggle" in
those days, but the girdle was warm!

(this was N.E. California, if anyone thinks it doesn't snow
here. A horrible little hick town, but in my senior year I
got to move to Santa Cruz: no snow. beaches. surfers. Heaven.
but girls still got sent home for wearing culottes or granny
dresses. )

Susan F.
-- 
Oh Noh! Kimonos!
susanf@netwiz.net
http://www.netwiz.net/~susanf
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From owner-h-costume@indra.com  Fri Jan 15 12:25:58 1999
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Date: Fri, 08 Jan 1999 12:00:08 +0100
From: Andrea Clef <a.clef@ndh.net>
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-Poster: Andrea Clef <a.clef@ndh.net>

Hello!

I believe that many of you have got own websites that deal with our
favorite topic
historical costuming!
If that`s the case, I`d be glad to get the adresses of them as I`m
always looking for
good ones with new information.
At the moment I`m not looking for a special period, so name them all,
thanks!

And the idea of an own website for this mailing list is also a great
idea, of course!
When it is being realized, I`d love to give some pics as well.

Many greetings,
Diana

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From owner-h-costume@indra.com  Fri Jan 15 12:37:51 1999
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From: "Franchesca Havas" <ches@io.com>
To: <h-costume@indra.com>
Subject: Re: H-COST: Your websites
Date: Fri, 15 Jan 1999 11:51:41 -0600
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-Poster: "Franchesca Havas" <ches@io.com>

Gloves: http://www.io.com/~ches/gloves.html
Links: http://www.io.com/~ches/links.html
Illuminations: http://www.io.com/~ches/illuminations/


Sincerely,
Ches
aka Chiara Francesca
Steward of Coronation XL
http://www.io.com/~ches/coronation99

-----Original Message-----
From: Andrea Clef <a.clef@ndh.net>
To: h-costume@indra.com <h-costume@indra.com>
Date: Friday, January 15, 1999 11:28 AM
Subject: H-COST: Your websites


:
:-Poster: Andrea Clef <a.clef@ndh.net>
:
:Hello!
:
:I believe that many of you have got own websites that deal with our
:favorite topic
:historical costuming!
:If that`s the case, I`d be glad to get the adresses of them as I`m
:always looking for
:good ones with new information.
:At the moment I`m not looking for a special period, so name them all,
:thanks!
:
:And the idea of an own website for this mailing list is also a great
:idea, of course!
:When it is being realized, I`d love to give some pics as well.
:
:Many greetings,
:Diana
:
: _________________________________________________________________
: To leave this mailing list, send mail to majordomo@indra.com
: with the message UNSUBSCRIBE H-COSTUME
:

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From: "Susan Carroll-Clark" <sclark@chass.utoronto.ca>
To: <h-costume-digest@indra.com>
Subject: H-COST: Re:   h-costume-digest V4 #46
Date: Fri, 15 Jan 1999 10:19:45 -0500
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-Poster: "Susan Carroll-Clark" <sclark@chass.utoronto.ca>

Greetings!

>Any sheep that is not pure white is a "black sheep". And the colors range
>from grays and light browns to brown-black to reddish-browns. All these
>colors are natural and could have been found in medieval sheep. Of course,
>the white wool takes dyes much more clearly than naturally-colored wool, so
>it was more valuable. The "black" wools, of whatever shade, could well have
>been given to the poor.


In fact, it's thought that this is how the Dominican Order got their
black-coloured garments (most of their habit was white, but the black hood
which draped over the shoulders gave them the name of Black Friars).  Being
a mendicant Order, they were dependent on alms for everything, including
clothing.  I'd be curious to know whether the Benedictines, who wore all
black, did this as well or whether they actually used a dye of some kind.

Susan Carroll-Clark

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From: Melanie Wilson <MelanieWilson@compuserve.com>
Subject: H-COST: WW II Help Kids clothing
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-Poster: Melanie Wilson <MelanieWilson@compuserve.com>

Has anyone any pictures of Children in Britain in World War 2 they could
scan and send me for my daughters school project ?

Also any kids games & special memories of food ?

Thanks

Mel
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From owner-h-costume@indra.com  Fri Jan 15 14:49:45 1999
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Date: Fri, 15 Jan 1999 14:06:12 -0600 (CST)
From: "Sara J. Davitt" <ophelia@dias.net>
To: h-costume@indra.com
Subject: Re: H-COST: RE: Keeping Legs Warm in "The Old Days!"
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-Poster: "Sara J. Davitt" <ophelia@dias.net>

> >   I'd like
> > >to hear from those who remember the 20's-40's and hear how
> > >they dealt with the chill!
> 
> Why just the 40's? I went to high school in the 60's and girls
> could not wear pants to school unless it was actually snowing
> or the temp. dropped below 32. You could wear dancer's tights


Why just the 60's???  I went to gradeschool in the 80's!.. and It wasn't
until 1987 or so that the schoolboard passed a allowance for girls to wear
pants.  The thing that annoyed us girls the most was that they would not
allow us to huddle together in little groups, or be anywhere within 5 feet
from the building, and it's warmer nooks, and cranies.  That was the rule.
and All we could wear was our little plaid catholic girl uniforms.  They
used to have some old ones  for sale that you could buy from the school,
and those were really nice wool with little secret pockets to put your
hands... But since the Polyester revolution... alas, they are no more.

I really loved that skirt.  *sigh*

But we had to wear those big thick cabled tights (the kind that they don't
make for women)  and Moonboots.  We also huddled around and wrapped our
scarves around our legs in a spiral mummy type of things.  Then there was
slways the standard girlie bouncing and gigglgin to keep us distracted.

Cheers,
Sarahj


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From owner-h-costume@indra.com  Fri Jan 15 15:24:33 1999
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From: Susan Fatemi <susanf@netwiz.net>
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-Poster: Susan Fatemi <susanf@netwiz.net>

Some time ago there was a thread about what Russian women
settlers at Fort Ross (Calif.) might have worn. I wasn't
interested at the time, but my boss's wife and daughter
want to "dress up" to go to some event there and he's
asked if I could find any info. on it.
  I lent him my Tilke book (explaining how much it would
cost to replace it!) But if anyone has any info.
specific to Fort Ross, I'd sure appreciate it.
(I wallowed around in the archives, but couldn't find
what I wanted, sorry)

BTW, that Tilke book, Patterns and costume of design(?)
1990 ed. is one of my top 5 ethnic/Asian costuming 
books. the others would be the Topkapi Textiles book
(which I got for what I consider a perfectly reasonable
price) The Mongol Costumes, and the 5000 years of Chinese
costume (all previously mentioned in this thread) No. 5
would probably be Wada's Shibori book, or one of the
other umpteen Japanese costume/textile books.

Another good book, which I don't own, is by Jennifer
Scarce; Women's costume from the Near East (something
like that) It's mostly Turkish and she includes
diagrams of real garments. I photocopied a *lot*
of it.

Haven't seen anything good on Moghul costumes. has
anyone else??

Susan F.
-- 
Oh Noh! Kimonos!
susanf@netwiz.net
http://www.netwiz.net/~susanf
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-Poster: Margo Anderson <margo@directcon.net>

At 09:21 AM 1/15/99 -0800, you wrote:
>
>-Poster: Susan Fatemi <susanf@netwiz.net>
>

>(this was N.E. California, if anyone thinks it doesn't snow
>here. A horrible little hick town,

Really?  Me too!  What town was it?

Margo

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From owner-h-costume@indra.com  Fri Jan 15 17:07:30 1999
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Date: Fri, 15 Jan 1999 17:24:16 -0500
To: h-costume@indra.com
From: Sue Shatto <Sue@VictorianMillinery.com>
Subject: Re: H-COST: Your websites
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-Poster: Sue Shatto <Sue@VictorianMillinery.com>

Diana,
	Yes, I'm sure many of us do have web sites we could share with the group.
I hope you will look up my site.  I specialize in Civil War head wear, but
have a very large and searchable vintage clothing section.





Cordially,

Sue Shatto

Sue@VictorianMillinery.com
http://www.VictorianMillinery.com

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Date: Thu, 14 Jan 1999 17:33:01 -0500
To: h-costume@indra.com
From: Danielle Nunn <dnunn@interlog.com>
Subject: H-COST: On the subject of children & puzzles
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-Poster: Danielle Nunn <dnunn@interlog.com>


-Poster: Danielle Nunn <dnunn@interlog.com>

Greetings,

Isn't the outfit on Giovanni de Medici strange for a child?  You can see leg!

http://gallery.euroweb.hu/art/b/bronzino/portrait/g_medici.jpg

Cheers,
Danielle

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Date: Thu, 14 Jan 1999 17:24:49 -0500
To: h-costume@indra.com
From: Danielle Nunn <dnunn@interlog.com>
Subject: Re: H-COST: Cuff puzzle in painting
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-Poster: Danielle Nunn <dnunn@interlog.com>


-Poster: Danielle Nunn <dnunn@interlog.com>

Greetings,

>Here's another link: (the one Teddy provided doesn't work from my server)
>http://gallery.euroweb.hu/art/m/mabuse/baudouin.jpg

I had the same problem.

>>Is this man wearing another, long sleeved, garment *under* that
>>beautiful shirt, the only part visible being the picadils/tabs at
>>the wrist??

Nope, I think they are gloves.  If you look at the left side of his index
finger on his right hand I see a faint line which *could* be a seam.  I
also think that the wrinkles shown are in the wrong place for a bare hand.

>The picadilled cuffs look very leathery, especially when you consider >the
width between snips, there's no evident fraying, and the colour - a >sort
of light rose-orange - is also suggestive.

I would have to agree with this as well.  Also the Spanish were known for
making incredibly fine leather gloves.  There are records of a Spanish
noble woman (can't remember who) who bought her gloves a gross at a time!
This suggests to me that they were so fine that they would wear out quickly
- these gloves seem to me, to be of that sort.

>Or is it possible that this fabric has been sewn on beneath as a guard to
>protect the delicately pleated cuffs?

Well I've never seen any evidence for something like that.  I don't
understand what the guards would be sewn to?

>He's wearing three garments for certain - the creamy brocade robe, the
>slashed black doublet, the very full and decorated shirt. Is it possible
>that he is also wearing a leather underdoublet and perhaps an undershirt
>beneath that, for comfort?

In my understanding of 16th century layering is: he *could* have worn
another shirt under that one but not a doublet or jerkin.

Isn't his outfit just gorgeous though!  I think it's interesting that his
sleeves, doublet/jerkin, and hosen are all a very dark blue or a very blue
black.

Cheers,
Danielle

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-Poster: aleed <aleed@dnaco.net>


-Poster: aleed <aleed@dnaco.net>


> >http://gallery.euroweb.hu/art/m/mabuse/baudouin.jpg
> 
> >>Is this man wearing another, long sleeved, garment *under* that
> >>beautiful shirt, the only part visible being the picadils/tabs at
> >>the wrist??

I, too, think they are gloves--the coloring is different than that of his
face, and there are distinct wrinkles between his fingers.  Another
portrait of his which shows a man's hands   
(http://gallery.euroweb.hu/art/m/mabuse/carondel.jpg) has the man's hands
and face painted an identical color & texture, and lacks the wrinkles that
baudouin.jpg has. This is one of those cases where a look at the original
painting would be incredibly useful.

Drea


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From owner-h-costume@indra.com  Fri Jan 15 17:52:47 1999
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From: "Joseph & Christine" <malruck@rma.edu>
To: "Historic Costume Mailing List" <h-costume@indra.com>,
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Subject: H-COST: Commode Question
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-Poster: "Joseph & Christine" <malruck@rma.edu>

I have a question on the head dress commonly known as the "commode,"
"fontage" or "tower," ca. late 17th C.

In James Laver's "Costume & Fashion" is the following statement:

"Louis XIV had grown tired of it by 1699 and expressed his disapproval, but
it was the appearance at Court of an Englishwoman, Lady Sandwich, 'avec une
petite coiffure basse,' which really changed the mode."

Later, "We find the Mercure Galant for November 1699 remarking that the old
style of high coiffure was beginning to appear ridiculous."

My question is, what is the "petite coiffure basse" worn by Lady Sandwich,
and how appropriate is it really to appear the the high headdress that "was
beginning to appear ridiculous" for the Williamsburg tercentenary?

Thank you,

Christine L. Malson-Ruckman

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From owner-h-costume@indra.com  Fri Jan 15 17:53:39 1999
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-Poster: Susan Fatemi <susanf@netwiz.net>


-Poster: Susan Fatemi <susanf@netwiz.net>

>   I'd like
> >to hear from those who remember the 20's-40's and hear how
> >they dealt with the chill!

Why just the 40's? I went to high school in the 60's and girls
could not wear pants to school unless it was actually snowing
or the temp. dropped below 32. You could wear dancer's tights
if you could find them. One "new" girl wore ski pants to
church (it was *freezing*) and everyone was scandalized!
I wore knee socks and pettipants and/or one of those long panty
girdles that were discussed. I didn't have much "jiggle" in
those days, but the girdle was warm!

(this was N.E. California, if anyone thinks it doesn't snow
here. A horrible little hick town, but in my senior year I
got to move to Santa Cruz: no snow. beaches. surfers. Heaven.
but girls still got sent home for wearing culottes or granny
dresses. )

Susan F.
-- 
Oh Noh! Kimonos!
susanf@netwiz.net
http://www.netwiz.net/~susanf
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From: Andrea Clef <a.clef@ndh.net>
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-Poster: Andrea Clef <a.clef@ndh.net>


-Poster: Andrea Clef <a.clef@ndh.net>

Hello!

I believe that many of you have got own websites that deal with our
favorite topic
historical costuming!
If that`s the case, I`d be glad to get the adresses of them as I`m
always looking for
good ones with new information.
At the moment I`m not looking for a special period, so name them all,
thanks!

And the idea of an own website for this mailing list is also a great
idea, of course!
When it is being realized, I`d love to give some pics as well.

Many greetings,
Diana

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From owner-h-costume@indra.com  Fri Jan 15 18:13:40 1999
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-Poster: kang@cyberramp.net

Joseph & Christine wrote:
> 
> -Poster: "Joseph & Christine" <malruck@rma.edu>
> 
> I have a question on the head dress commonly known as the "commode,"
> "fontage" or "tower," ca. late 17th C.
> 
> In James Laver's "Costume & Fashion" is the following statement:
> 
> "Louis XIV had grown tired of it by 1699 and expressed his disapproval, but
> it was the appearance at Court of an Englishwoman, Lady Sandwich, 'avec une
> petite coiffure basse,' which really changed the mode."
> 
> Later, "We find the Mercure Galant for November 1699 remarking that the old
> style of high coiffure was beginning to appear ridiculous."
> 
> My question is, what is the "petite coiffure basse" worn by Lady Sandwich,
> and how appropriate is it really to appear the the high headdress that "was
> beginning to appear ridiculous" for the Williamsburg tercentenary?
> 
> Thank you,
> 
> Christine L. Malson-Ruckman
> 
>  _________________________________________________________________
>  To leave this mailing list, send mail to majordomo@indra.com
>  with the message UNSUBSCRIBE H-COSTUME


 If someone dressed an infant in a "commode" headress, would that make
it a commode-baby?
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From owner-h-costume@indra.com  Fri Jan 15 18:27:38 1999
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From: "Franchesca Havas" <ches@io.com>
To: <h-costume@indra.com>
Subject: Re: H-COST: Your websites
Date: Fri, 15 Jan 1999 11:51:41 -0600
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-Poster: "Franchesca Havas" <ches@io.com>


-Poster: "Franchesca Havas" <ches@io.com>

Gloves: http://www.io.com/~ches/gloves.html
Links: http://www.io.com/~ches/links.html
Illuminations: http://www.io.com/~ches/illuminations/


Sincerely,
Ches
aka Chiara Francesca
Steward of Coronation XL
http://www.io.com/~ches/coronation99

-----Original Message-----
From: Andrea Clef <a.clef@ndh.net>
To: h-costume@indra.com <h-costume@indra.com>
Date: Friday, January 15, 1999 11:28 AM
Subject: H-COST: Your websites


:
:-Poster: Andrea Clef <a.clef@ndh.net>
:
:Hello!
:
:I believe that many of you have got own websites that deal with our
:favorite topic
:historical costuming!
:If that`s the case, I`d be glad to get the adresses of them as I`m
:always looking for
:good ones with new information.
:At the moment I`m not looking for a special period, so name them all,
:thanks!
:
:And the idea of an own website for this mailing list is also a great
:idea, of course!
:When it is being realized, I`d love to give some pics as well.
:
:Many greetings,
:Diana
:
: _________________________________________________________________
: To leave this mailing list, send mail to majordomo@indra.com
: with the message UNSUBSCRIBE H-COSTUME
:

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From: "Susan Carroll-Clark" <sclark@chass.utoronto.ca>
To: <h-costume-digest@indra.com>
Subject: H-COST: Re:   h-costume-digest V4 #46
Date: Fri, 15 Jan 1999 10:19:45 -0500
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-Poster: "Susan Carroll-Clark" <sclark@chass.utoronto.ca>


-Poster: "Susan Carroll-Clark" <sclark@chass.utoronto.ca>

Greetings!

>Any sheep that is not pure white is a "black sheep". And the colors range
>from grays and light browns to brown-black to reddish-browns. All these
>colors are natural and could have been found in medieval sheep. Of course,
>the white wool takes dyes much more clearly than naturally-colored wool, so
>it was more valuable. The "black" wools, of whatever shade, could well have
>been given to the poor.


In fact, it's thought that this is how the Dominican Order got their
black-coloured garments (most of their habit was white, but the black hood
which draped over the shoulders gave them the name of Black Friars).  Being
a mendicant Order, they were dependent on alms for everything, including
clothing.  I'd be curious to know whether the Benedictines, who wore all
black, did this as well or whether they actually used a dye of some kind.

Susan Carroll-Clark

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-Poster: kat@grendal.rain.com


-Poster: kat@grendal.rain.com


> Any sheep that is not pure white is a "black sheep". And the colors range
> from grays and light browns to brown-black to reddish-browns. All these
> colors are natural and could have been found in medieval sheep. Of course,
> the white wool takes dyes much more clearly than naturally-colored wool, so
> it was more valuable. The "black" wools, of whatever shade, could well have
> been given to the poor.

>From what I understand, when you are trying to get a really white 
flock, the black sheep lambs became stew, sausage, lamb chops, etc.

Kat 

Kat(June Russell)
kat@grendal.rain.com
Heu! Tintinnuntius meus Sonat!
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-Poster: kat@grendal.rain.com


-Poster: kat@grendal.rain.com


> The knitted tubes you described are what dancers call 'legwarmers', and
> dancers still wear them; I wish they hadn't gone out of fashion, as they
> were awfully handy.

They're out of fashion!!!! Oh, no. I guess I'll have to stop wearing 
mine!


Kat 

Kat(June Russell)
kat@grendal.rain.com
Heu! Tintinnuntius meus Sonat!
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-Poster: Laurel Wilson <lwilson16@earthlink.net>


-Poster: Laurel Wilson <lwilson16@earthlink.net>



Carolyn Kayta Barrows wrote:

> I own two dictionaries which list watchet, a Websters New International
> Dictionary, Second Edition from 1950 and a Century Cyclopedia from 1906.
> Both cite Old North French as the language of origin.  The Websters thinks
> the origin is obscure (duh), and the Century Cyclopedia thinks it
> originally relates to the word 'woad', tho it gives no intermediate
> derrivation.
>

The OED says much the same:  definitely from Old French, possibly related to
'woad' but the derivation can't be established with certainty.
Lauri

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From: "karrissa david" <arizona63@hotmail.com>
To: h-costume@indra.com
Subject: H-COST: Just an Introduction
Date: Fri, 15 Jan 1999 10:46:17 EST
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-Poster: "karrissa david" <arizona63@hotmail.com>


-Poster: "karrissa david" <arizona63@hotmail.com>

Hello All,

My name is Karrissa David.  I have been searching for this list serve 
for a while.  I am glad I have found it.  

I have just started to study the history of clothing.  I has intrigued 
me for a very long time now.  I was introduced to a couple of 
organtizations which study rennaisance (sp?) history and fell in love.  
Now I am trying to get all of the information that I can.  

I am a secretary by day and a fashion designer by night.  I wouldn't 
mind history repeating itself when it comes to fashion.  I use many 
historical elements in my designs.  I also have started recreating 
historical pieces for myself and would like to open a business doing 
such.  

I have found tons of patterns and books on sillouetts.  However, I would 
love to get information on fabric used as well as popular colors.  

I hope to get lots of information.  I look forward to hearing from you. 

Karrissa

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From owner-h-costume@indra.com  Fri Jan 15 19:07:15 1999
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Date: Fri, 15 Jan 1999 11:10:47 +0000
From: margo king <mkings@earthlink.net>
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-Poster: margo king <mkings@earthlink.net>


-Poster: margo king <mkings@earthlink.net>

Dear List - I need some help! The Theme of The 45th Washington Antiques
Show (Jan6-9, 2000) is "Behind Closed Doors: Victorian Secrets". In both
our eductional catalogue, loan exhibition, and Symposium we want to take
a look at things that were not what they appeared to be - for example -
all the corsetry that produced a great figure but caused all those
problems. This look at things will extend into other areas - fantastic
silver that upon looking at it you can't imaginewhat it is - "slice of
real life". Does anyone have a reference for early Victorian ladies
putting bits of material on back side of buttons impregnated with their
'perfume or scent' - as a remider of them when their men went to war,
away, etc? Jewelry that was not what it appeared to be? Any Victorian
refences, sources that are accurate (any subject area) would be
wonderful.We are also looking for writers for catalogue/speakers for
Symposium - thoughts, ideas are welcome. We are also thinking of doing a
costume ball on Saturday, Jan 8, 2000. It would have to be more
expensive than most period dances, sincewe are a  charity show - but I
think we have the population to draw from - Washington, DC metropolitan
area. Talk to me please!!! Margo King, Show Chair 2000 - email directly
(mkings@earthlink.net), through the list if you think info would be of
general interest, or call 301-983-8835. THANKS!

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Date: Fri, 15 Jan 1999 07:59:58 -0800
To: h-costume@indra.com
From: Lisa Scovel <reenactment.guide@miningco.com>
Subject: Re: H-COST: Just an Introduction
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-Poster: Lisa Scovel <reenactment.guide@miningco.com>


-Poster: Lisa Scovel <reenactment.guide@miningco.com>


The people on this list are just wonderful for answering this sort of
question, but you may also want to check out some of the available
resources on the Web and see if you find the stuff you're looking for.  I
have  a whole list of Renaissance Era links that includes some color and
fabric inormation.

http://reenactment.miningco.com/msub21.htm

For the specific kind of information you're looking for, the Elizabethan
Costuming Page (maintained by one of our very own list members) would be a
great place to start.  

http://www.dnaco.net/~aleed/corsets/general.html

Also try some general costuming sites like:

http://users.aol.com/nebula5/costume.html

The history section includes several early Renaissance links, in addition
to the Tudor and Elizabethan.

http://users.aol.com/nebula5/tcpinfo2.html#history

If you're more interested in early
At 10:46 AM 1/15/99 -0500, you wrote:

>I have found tons of patterns and books on sillouetts.  However, I would 
>love to get information on fabric used as well as popular colors.  
>

***********************
lisa scovel
historical reenactment guide
the mining co.
http://reenactment.miningco.com

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From owner-h-costume@indra.com  Fri Jan 15 19:08:53 1999
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Subject: H-COST: Re: ethnic costume -- eliz
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-Poster: Christina Conklin <textiles@earthlink.net>


-Poster: Christina Conklin <textiles@earthlink.net>

> eliz . . . When youdo, could you please let me/us know where to find it online?
> Many thanks,

Christy

> I have made and worn 16th C Mughal garb at SCA events and at Pennsic.
> I've also made and worn SCA period Turkish, Russian, and Ukranian.
> Those are my main areas of interest, and I have an extensive library.
> Unfortunately, I have to update the online copy of my bibliography.
> I'll try to make that available again in a couple of days.
>
>                                                 ...eliz
>  _________________________________________________________________



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-Poster: Merouda the True <keltia@serv.net>


-Poster: Merouda the True <keltia@serv.net>

Probably isn't worth much, but I *totally* disagree.  There is no way I could
agree that he is wearing gloves.  :)  Doesn't mean I can explain the picked
cuffs, however. :}   Cynthia

--
Merouda the True of Beaumaris
Barony of Madrone
Kingdom of An Tir


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Subject: Re: H-COST: 'baby walker' Elizabethan
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-Poster: Margo Anderson <margo@directcon.net>


-Poster: Margo Anderson <margo@directcon.net>

At 11:30 AM 1/14/99 -0800, you wrote:
>
>-Poster: Carolyn Kayta Barrows <kayta@slip.net>
>
>
>>Dear Katya,
>>Your baby walker outfit sounds so cool!  Any way to see pictures?
>
>There aren't any. 


How many of us are guilty of this?  I know I am, I've made dozens of
costumes that never got photographed because I was waiting till I got around
to getting then potographed in a proper setting, by a good photographer, etc.

One of my New Year's resolutions is to keep a camera in my studio and never
let anything out the door without a photo.  It might not look pretty, but at
least I'll have some kind of record.

I saw that baby walker/farthingale, and it was awesome.  A tiny elizabethan
lady, scooting across the hall as she were on wheels..Oh! she is!


Margo Anderson
"One Tough Costumer"

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-Poster: Margo Anderson <margo@directcon.net>


-Poster: Margo Anderson <margo@directcon.net>

  I'd like
>to hear from those who remember the 20's-40's and hear how
>they dealt with the chill!

 I  have pictures of my father's sister in the 30's, in Brooklyn, all
dressed up in wool coats with matching leggings.  These were made of the
same cloth as the coat, fitted to the leg, and came down over the shoe top
and up higher than the coat hem.  They buttoned up the sides, which must
have been a tedious chore.

These outfits were made for my aunt by her grandfather, a tailor, but I
think it was the standard style for little girls.

Margo

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-Poster: Margo Anderson <margo@directcon.net>


-Poster: Margo Anderson <margo@directcon.net>

At 04:52 PM 1/14/99 -0500, you wrote:
>
>-Poster: Danielle Nunn <dnunn@interlog.com>
>
>Greetings,
>
>>Last week or so, one of the 'regulars' posted information on a new list for
>>historical women's issues - could you repost please-or send to me off-list?
>>Thanks in advance.
>
>When was this posted?  I really don't think I'm getting every message. :(

I sent it on the 1st.  I seem to have missed a few messages, too.  Anybody
know what could be going on?

Margo

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From owner-h-costume@indra.com  Fri Jan 15 19:29:23 1999
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-Poster: Morghana@aol.com

Anyone else seeing this?  Tons of duplicates!

Can the list admin take a look, please?

~Morghana
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From owner-h-costume@indra.com  Fri Jan 15 19:29:34 1999
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-Poster: Margo Anderson <margo@directcon.net>


-Poster: Margo Anderson <margo@directcon.net>



>hair), large plastic 'tortoiseshell' hairpins,

I just have to tell everyone:  after years of searching for these hairpins
in obscure outlets and paying big bucks for them,  I've now found them at
K-Mart!  2 for $2, with all the other hair stuff, packaged under the
"Cosmopolitan" brand name.  the same line includes hair sticks, combs, and
other doodads, all in a good looking imitation tortoiseshell.

Margo

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From owner-h-costume@indra.com  Fri Jan 15 19:34:38 1999
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Date: Fri, 15 Jan 1999 09:55:30 -0700 (MST)
From: Sylvia Rognstad <sylvia@netherworld.com>
To: h-costume@indra.com
Subject: Re: H-COST: RE: h-costume-digest V4 #35
In-Reply-To: <4.1.19990114213624.00be7e30@pop.slip.net>
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-Poster: Sylvia Rognstad <sylvia@netherworld.com>


-Poster: Sylvia Rognstad <sylvia@netherworld.com>

On Thu, 14 Jan 1999, Carolyn Kayta Barrows wrote:

> 
> Dylon dye.  It is as easy to use as that dye-emulater Rit, but it is real dye.
> 
> >I am making a new 16th century upper-middle class outfit for faire this
> >year. I have found a brought a brocade that is white and I want to dye it
> >burgandy... It is 100% cotton and takes dye well (I tried a swatch before I
> >bought it) My one concern is that, with the intensity of the sun baking me
> >all day it will most likely fade quickly with RIT. Is there any way to keep
> >this from happening? Is there a finish I can put on to keep it from fading?
> >Is there a better kind of dye than RIT that I can use that won't fade so
> >easily? Anyone have any tips? 

Rit is real dye, of course, or it wouldnt dye fabric.   The problem with
Rit is that it has all different types of dye so that at least one of them
will bind with whatever fabric you are using  This means that the rest of 
it just washes down the drain, which I now realize is pretty wasteful.
I used to run a theatrical costume shop and we bought Rit by the gallon.  
Now that I know more about dyeing, I would never do that.  It's much more 
cost effective to buy smaller amounts of specific kinds of dyes.
Sylvia.

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From: pulliam@acadia.net (Deborah Pulliam)
Subject: H-COST: gloves in paintings
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-Poster: pulliam@acadia.net (Deborah Pulliam)


-Poster: pulliam@acadia.net (Deborah Pulliam)

<<This is one of those cases where a look at the original painting would be
incredibly useful.>>

Yes, and keep in mind that whatever seams in the gloves might have been
painted in may also have been faded/removed entirely by cleaning the
painting in recent years.


Deborah


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From owner-h-costume@indra.com  Fri Jan 15 19:38:06 1999
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Date: Fri, 15 Jan 1999 11:40:01 +0000
From: margo king <mkings@earthlink.net>
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-Poster: margo king <mkings@earthlink.net>


-Poster: margo king <mkings@earthlink.net>

Textile Museum - 2320 S Street, Washington, DC 20008 - (202-667-0441) -
Founded in 1925 with the collection of George Hewitt-Myers, museum
houses over 10,000 woven pieces of artistic and archaeological
significance - museum is small, they can only display a fraction of
their treasures. World's finest collecion of Peruin weavings. Library
divided into fine arts, decorative arts, techniques, costumes, and
textile processes (all organized by nationality!) Library open to
public, gift shop has wide variety of books on textile work. They also
have a newsletter. I have found the staff very good to work with, and
helpful! Hopes this helps those that were wondering about the museum - a
must see if you are visitingWashington. Margo King

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From owner-h-costume@indra.com  Fri Jan 15 19:38:46 1999
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Date: Fri, 08 Jan 1999 11:24:53 +0100
From: Andrea Clef <a.clef@ndh.net>
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-Poster: Andrea Clef <a.clef@ndh.net>


-Poster: Andrea Clef <a.clef@ndh.net>


--------------56007D64D6AF7893DA2613F7
Content-Type: text/plain; charset=us-ascii
Content-Transfer-Encoding: 7bit

> Are the patterns taken from extant garments, or are they the author's own
> guesses?
>
> I would consider ordering the book if the patterns are from real garments.
>
> --Robin
>
Surviving garments of this medieval period are very rare, it is said in
the book that they
reconstructed the stitches from these but it is not mentioned whether
they also
copied the patterns from real garments.
The most used method of medieval pattern reconstruction is looking at
stone figures
or paintings that have survived.
So I can`t say for sure where the patterns originate from.


> The bad news is that they don't have this book
>
Ok, so if somebody would like to get this book, please tell me.
But I`m not sure about the shipping costs to the States yet, that also
depends on
if you choose surface or air mail.
You could then send me the money ($26 + shipping) either in dollar notes
in a letter
(ok, could be risky) or wire it to my bank account.
I`ve made bad experiences with checks, so that`s not the best method.
If you`re interested, please contact me by personal e-mail, thanks!

Many greetings,
Diana


--------------56007D64D6AF7893DA2613F7
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Content-Transfer-Encoding: 7bit

<HTML>

<BLOCKQUOTE TYPE=CITE>
<PRE>Are the patterns taken from extant garments, or are they the author's own
guesses?

I would consider ordering the book if the patterns are from real garments.&nbsp;

--Robin</PRE>
</BLOCKQUOTE>
Surviving garments of this medieval period are very rare, it is said in
the book that they
<BR>reconstructed the stitches from these but it is not mentioned whether
they also
<BR>copied the patterns from real garments.
<BR>The most used method of medieval pattern reconstruction is looking
at stone figures
<BR>or paintings that have survived.
<BR>So I can`t say for sure where the patterns originate from.
<BR>&nbsp;
<BLOCKQUOTE TYPE=CITE>
<PRE>The bad news is that they don't have this book</PRE>
</BLOCKQUOTE>
Ok, so if somebody would like to get this book, please tell me.
<BR>But I`m not sure about the shipping costs to the States yet, that also
depends on
<BR>if you choose surface or air mail.
<BR>You could then send me the money ($26 + shipping) either in dollar
notes in a letter
<BR>(ok, could be risky) or wire it to my bank account.
<BR>I`ve made bad experiences with checks, so that`s not the best method.
<BR>If you`re interested, please contact me by personal e-mail, thanks!

<P>Many greetings,
<BR>Diana
<BR>&nbsp;</HTML>

--------------56007D64D6AF7893DA2613F7--

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-Poster: pame@nothinbut.net


-Poster: pame@nothinbut.net


> -Poster: Emma Elizabeth Lehman <00217146@bigred.unl.edu>
> 
> 
> For the record: How old is she now?
>  

My oldest daughter is fifteen. She is 6 ft. tall and weighs around 
119 lbs. Will she thicken up as she ages-my guess would be yes..
pame

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From owner-h-costume@indra.com  Fri Jan 15 19:52:28 1999
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To: h-Costume@indra.com
From: Lady Lisette <starkiller@picknowl.com.au>
Subject: H-COST: More on black dyes in period
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-Poster: Lady Lisette <starkiller@picknowl.com.au>

Just to add another element to the discussion of black sheep and black dyed
clothing in period, here are two quotes from the book "Accounts from a 13th
Century Baronial Household" by Margaret Labarge. The book is a collection
of all the accounts of the lady of an English household and is a
fascinating collection of various household goods and items. If you're
interested I can dig out the publisher and date.

Quote 1, page 133
"Ten ells of black serge for only 17s were bought for Richard De Montforte
before his departure for Bigorre-this quantity was sufficient for a robe
and also trappings for his horse."

Quote 2, page 144
"The articles (of the GUild of Cappers, March 1270) warned against the
common fraud of dyeing an old cap black and reselling it, as new. This
particular sharp practise was oon detected as the colour ran in the rain."

Just to add to the discussion! <G>

Yours 

Lydie.

___________________________________
Sharpei carpe diem. 
(Seize the wrinkle dog now!)
http://www.geocities.com/Area51/Lair/5459/cover.htm (Cover page to all my
pages, including all my historical costume ones, of which there are several!)
starkiller@picknowl.com.au

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From owner-h-costume@indra.com  Fri Jan 15 20:12:12 1999
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Date: Fri, 15 Jan 1999 19:22:14 -0600
From: "I. Marc Carlson" <LIB_IMC@centum.utulsa.edu>
To: H-COSTUME@indra.com
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-Poster: "I. Marc Carlson" <LIB_IMC@centum.utulsa.edu>

<Andrea Clef <a.clef@ndh.net>>
>I believe that many of you have got own websites that deal with our
>favorite topic historical costuming!...

http://www.geocities.com/athens/parthenon/5923
http://www.pbm.com/~lindahl/carlson/SHOEHOME.HTM

Marc
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From owner-h-costume@indra.com  Fri Jan 15 20:42:35 1999
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-Poster: Brenda and Larry Clough <clough@erols.com>

For this Musketeer stunt, I'm going to buy quite a few ostrich plumes.  Now,
the question: How do I curl a feather?

Brenda

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-Poster: Sue Shatto <Sue@VictorianMillinery.com>

Brenda,
	Just take the feather between your thumb and a butter knife and pull
through just as if you were curling ribbon.


At 08:50 PM 1/15/99 -0500, you wrote:
>
>-Poster: Brenda and Larry Clough <clough@erols.com>
>
>For this Musketeer stunt, I'm going to buy quite a few ostrich plumes.  Now,
>the question: How do I curl a feather?
>
>Brenda
>
> _________________________________________________________________
> To leave this mailing list, send mail to majordomo@indra.com
> with the message UNSUBSCRIBE H-COSTUME
>
>

Cordially,

Sue Shatto

Sue@VictorianMillinery.com
http://www.VictorianMillinery.com

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-Poster: Susan Fatemi <susanf@netwiz.net>

Margo Anderson wrote:
> 
> -Poster: Margo Anderson <margo@directcon.net>
> 
> At 09:21 AM 1/15/99 -0800, you wrote:
> >
> >-Poster: Susan Fatemi <susanf@netwiz.net>
> >
> 
> >(this was N.E. California, if anyone thinks it doesn't snow
> >here. A horrible little hick town,
> 
> Really?  Me too!  What town was it?
> 
> Margo
> 
Susanville. County seat of Lassen Co. 85 miles NW of Reno.
Backdoor of hell. It's been over 30 years since I was there
and I still hate it!

Susan
-- 
Oh Noh! Kimonos!
susanf@netwiz.net
http://www.netwiz.net/~susanf
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-Poster: Margo Anderson <margo@directcon.net>


>> >(this was N.E. California, if anyone thinks it doesn't snow
>> >here. A horrible little hick town,
>> 
>> Really?  Me too!  What town was it?
>> 
>> Margo
>> 
>Susanville

Ooh, I've been to Susanville.  You're right, it makes my hick home town
(Placerville) look cosmopolitan.  

Margo

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-Poster: Cynthia Virtue <cvirtue@ricochet.net>

Yes, please tell us more about this household account book!  I need to start
finding copies of this sort of thing, for more edification.

> Sharpei carpe diem.
> (Seize the wrinkle dog now!)

Oh, my, yes!

cv
=-=-=-=-=
  "Such virtue hath my pen...."  -Shakespeare, Sonnet LXXXI
       "I knew this wasn't _my_ pen!"  --Cynthia Virtue
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-Poster: Appin1@aol.com

You can mail order silk underwear, both men's and women's, from Wintersilks,
2700 Laura Lane, P.O. Box 620130, Middleton, W! 53562. Phone number:
1-800-648-7455. Customer service phone number: 1-800-621-3229, 7 AM-7PM,
Central Standard Time, Mon-Sat, 11AM-5PM, CST Sunday. Major Credit cards
accepted.

They also carry outer clothings too. I swear by their sock liners and glove
liners.

Standard disclaimer, but a satisfied customer.

Kathleen Norvell
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Subject: H-COST: Medieval Source Mentions Black Wool
Date: Sat, 16 Jan 1999 09:37:20 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

In the year 1186, Giraldus of Cambridge, a scholar-monk,
wrote about the Irish in *Topographica Hibernica,* "They
wear their woolen clothes mostly black, because the sheep in
Ireland are in general of that colour; the dress itself is
of a barbarous fashion . . . ."

This quoted in the Countess of Wilton's *The Book of
Costume* in 1846, annotated and republished by R. L. Shep,
ISBN 0-914046-04-7.  This book is a wonderful source, by the
way, of many historic things, including European and Asian
folk costume.

I find her to be an excellent scholar, with fabulous access
to period accounts, and a good ability to discern between
popular conception and what actually was.  Her work has the
benefit of being 150 years closer to her time periods on
than modern authors, so much of the understanding of things
was not yet lost.  On the other hand, she mentions
underclothes not at all, as one might expect of a Lady. . .

From owner-h-costume@indra.com  Sat Jan 16 09:51:43 1999
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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: Commode Question
Date: Sat, 16 Jan 1999 10:01:14 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

The high commode went out of fashion abruptly somewhere
between 1711 and 1713, sorry I can't remember more exactly.
What is the Williamsburg Tercentenary?
Hope H. Dunlap

-----Original Message-----
From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
Behalf Of Joseph & Christine
Sent: Friday, January 15, 1999 5:53 PM
To: Historic Costume Mailing List; DC Costume Mailing List
Subject: H-COST: Commode Question



-Poster: "Joseph & Christine" <malruck@rma.edu>

I have a question on the head dress commonly known as the
"commode,"
"fontage" or "tower," ca. late 17th C.

In James Laver's "Costume & Fashion" is the following
statement:

"Louis XIV had grown tired of it by 1699 and expressed his
disapproval, but
it was the appearance at Court of an Englishwoman, Lady
Sandwich, 'avec une
petite coiffure basse,' which really changed the mode."

Later, "We find the Mercure Galant for November 1699
remarking that the old
style of high coiffure was beginning to appear ridiculous."

My question is, what is the "petite coiffure basse" worn by
Lady Sandwich,
and how appropriate is it really to appear the the high
headdress that "was
beginning to appear ridiculous" for the Williamsburg
tercentenary?

Thank you,

Christine L. Malson-Ruckman


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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: fort ross/ ethnic
Date: Sat, 16 Jan 1999 10:38:28 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>


Susan, do you know where the Russian immigrants to
California originated from?  That would help.  The R.L. Shep
republication by the Countess of Wilton, The Book of
Costume, originally published in 1846 has a whole chapter on
Russian costume of the period, but as it was diverse and
multi-ethnic, she includes Russian, Mordvine,Kalmuk Tartar,
Woltiak, Kamtschatkian, Kasan, Tscherask, Muscovite (no
picture, just a description), and a number of others.  Let
me know if there's something specific you need me to look
up.

Hope H. Dunlap

-----Original Message-----
From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
Behalf Of Susan Fatemi
Sent: Friday, January 15, 1999 3:28 PM
To: h-costume@indra.com
Subject: H-COST: fort ross/ ethnic



-Poster: Susan Fatemi <susanf@netwiz.net>

Some time ago there was a thread about what Russian women
settlers at Fort Ross (Calif.) might have worn. I wasn't
interested at the time, but my boss's wife and daughter
want to "dress up" to go to some event there and he's
asked if I could find any info. on it.
  I lent him my Tilke book (explaining how much it would
cost to replace it!) But if anyone has any info.
specific to Fort Ross, I'd sure appreciate it.
(I wallowed around in the archives, but couldn't find
what I wanted, sorry)

BTW, that Tilke book, Patterns and costume of design(?)
1990 ed. is one of my top 5 ethnic/Asian costuming
books. the others would be the Topkapi Textiles book
(which I got for what I consider a perfectly reasonable
price) The Mongol Costumes, and the 5000 years of Chinese
costume (all previously mentioned in this thread) No. 5
would probably be Wada's Shibori book, or one of the
other umpteen Japanese costume/textile books.

Another good book, which I don't own, is by Jennifer
Scarce; Women's costume from the Near East (something
like that) It's mostly Turkish and she includes
diagrams of real garments. I photocopied a *lot*
of it.

Haven't seen anything good on Moghul costumes. has
anyone else??

Susan F.
--
Oh Noh! Kimonos!
susanf@netwiz.net
http://www.netwiz.net/~susanf

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From owner-h-costume@indra.com  Sat Jan 16 10:44:33 1999
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Date: Sat, 16 Jan 1999 10:55:37 -0400
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-Poster: Laurel Wilson <lwilson16@earthlink.net>





> -Poster: Cynthia Virtue <cvirtue@ricochet.net>
>
> Yes, please tell us more about this household account book!

Ditto.
Lauri

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From owner-h-costume@indra.com  Sat Jan 16 10:54:28 1999
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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: re:undergarments
Date: Sat, 16 Jan 1999 11:04:56 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

The nylon net on mine was always attached to a smooth,
soft-to-the-skin nylon taffeta base, so I never had any
discomfort from my frothy petticoats.  We disn't have a lot
of clothes in those days, but my mother was a real stickler
for comfort and quality.  To afford taste like that,
everything she didn't make for us, she bought "on sale."
These petticoats came from the local high-end children's
specialty shop during their twice yearly sale.  I agree,
unlined nylon net would be a torture!

Hope H. Dunlap

-----Original Message-----
From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
Behalf Of Carolyn Kayta Barrows
Sent: Friday, January 15, 1999 12:42 AM
To: h-costume@indra.com
Subject: RE: H-COST: re:undergarments



-Poster: Carolyn Kayta Barrows <kayta@slip.net>


>When I was in elementary school in the 1950's I wouldn't be
>caught dead without my frothy nylon tafetta and lace slip
>petticoats to make my skirts stand out.  It was a great
>pleasure to buy two more each year and to wear them, as
they
>were in and of themselves so pretty and not the least bit
of
>trouble.

Nasty things to sit on.  I remember these, and nylon net
marks on my legs.
Itchy scratchy and no fun.


Kayta
     ////.\\\
    ////-@@\\\
   ((((   7 (((
     |   -- ))))
     * )   (((((
  /----\   /---\


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From owner-h-costume@indra.com  Sat Jan 16 13:06:07 1999
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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: Cuff puzzle in painting
Date: Sat, 16 Jan 1999 13:16:03 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

The cuff detail often appears on a man's jacket (sleeved
waistcoat) or a woman's dress, such as in these Italian
paintings.  Could it be that his white blousey shirt is
decorative (not a smock), and that he is wearing a waistcoat
(and presumably a hidden undersmock) beneath it?  In my Web
version of the painting, the cuff is decidedly more of a
golden burnt sienna color than his hand, which is the same
color as his face.  Gloves are most often seen with one on,
and one off and held in the hand.  This could indicate a
golden brown satin cuff of a sleeved waistcoat. See other
similar details on cuffs in other paintings:
http://gallery.euroweb.hu/art/m/moroni/taylor.jpg  Double
tabs on fine tailor's waistcoat.
http://gallery.euroweb.hu/art/m/moroni/contarin.jpg  Single
tabs on red cardinal's(?) robe.
http://gallery.euroweb.hu/art/v/veronese/lady.jpg Single
tabs on brown velvet dress.

Hope H. Dunlap

-----Original Message-----
From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
Behalf Of Danielle Nunn
Sent: Thursday, January 14, 1999 5:25 PM
To: h-costume@indra.com
Subject: Re: H-COST: Cuff puzzle in painting



-Poster: Danielle Nunn <dnunn@interlog.com>

Greetings,

>Here's another link: (the one Teddy provided doesn't work
from my server)
>http://gallery.euroweb.hu/art/m/mabuse/baudouin.jpg

I had the same problem.

>>Is this man wearing another, long sleeved, garment *under*
that
>>beautiful shirt, the only part visible being the
picadils/tabs at
>>the wrist??

Nope, I think they are gloves.  If you look at the left side
of his index
finger on his right hand I see a faint line which *could* be
a seam.  I
also think that the wrinkles shown are in the wrong place
for a bare hand.

>The picadilled cuffs look very leathery, especially when
you consider >the
width between snips, there's no evident fraying, and the
colour - a >sort
of light rose-orange - is also suggestive.

I would have to agree with this as well.  Also the Spanish
were known for
making incredibly fine leather gloves.  There are records of
a Spanish
noble woman (can't remember who) who bought her gloves a
gross at a time!
This suggests to me that they were so fine that they would
wear out quickly
- these gloves seem to me, to be of that sort.

>Or is it possible that this fabric has been sewn on beneath
as a guard to
>protect the delicately pleated cuffs?

Well I've never seen any evidence for something like that.
I don't
understand what the guards would be sewn to?

>He's wearing three garments for certain - the creamy
brocade robe, the
>slashed black doublet, the very full and decorated shirt.
Is it possible
>that he is also wearing a leather underdoublet and perhaps
an undershirt
>beneath that, for comfort?

In my understanding of 16th century layering is: he *could*
have worn
another shirt under that one but not a doublet or jerkin.

Isn't his outfit just gorgeous though!  I think it's
interesting that his
sleeves, doublet/jerkin, and hosen are all a very dark blue
or a very blue
black.

Cheers,
Danielle


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From owner-h-costume@indra.com  Sat Jan 16 13:38:33 1999
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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: 'baby walker' Elizabethan
Date: Sat, 16 Jan 1999 13:50:05 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

The leading strings may have been useful, atavistic sleeves.
The wealthy medieval Persians  had sleeves to the ground,
with openings at the point where they met the body and  also
(or alternatively ) part way down the sleeve to put the arms
or hands through, respectively.  If the sleeves were not
used, they hung from the shoulders down to the ground.  Max
Tilke's on-line book shows more modern versions of these
ancient costumes.

I've seen at least one painting of a little boy in
Italian(?) dress with his sleeves hanging from his shoulders
and buttoned together (using the wrist closure buttons)
behind him to keep them out of his way.  They were real
sleeves, which he would have put on to keep warm if he were
outdoors.  Sort of like people tie the belt of their
raincoat behind them today, to keep it handy but out of the
way.   I can easily  see these sleeves, atavistic and
otherwise, used to keep squirmy people securely in their
high chairs and out of harm's way.

Hope H. Dunlap


-----Original Message-----
From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
Behalf Of Carolyn Kayta Barrows
Sent: Thursday, January 14, 1999 2:35 PM
To: h-costume@indra.com
Subject: Re: H-COST: 'baby walker' Elizabethan



-Poster: Carolyn Kayta Barrows <kayta@slip.net>


>None of the walkers I've seen from the 14th century through
at least
>the 16th Century would prevent the child's reach or keep
them from
>tipping or going through doorways.

Me neither.  They have square bases, like mine had under the
round plastic
bits.  Some look like modern old-people walkers, and some
look like mine
with a seat in the middle.

>One of the most common things which maimed and killed
children of
>that time is falling into the fire.
>
>Leading strings attached to the backs of the doublet or
shoulders of
>the tunic is something you also see with the pre16th
century. This is
>so charming (and very costume oriented;) and it works.

I think the leading strings are the method of tying a baby
to your own
apron strings.  It gives a toddler about 6' of 'freedom' in
any direction,
and gives Mom a handle.


Kayta
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From owner-h-costume@indra.com  Sat Jan 16 13:42:08 1999
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Subject: Re: H-COST: Lecture on 1790s
Date: Sat, 16 Jan 99 13:49:40 -0500
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-Poster: <aquazoo@patriot.net>

Deb Rand wrote,

>I would love to attend the Gadsby's Tavern lecture but unfortunately cannot.
>Is there some way I could receive/purchase any literature/info. packet that
>may be part of the lecture? Please?

     I think this is the second request about the lecture. Alden O'Brien, 
the curator who is giving the lecture, is not on the h-costume list. I 
would suggest contacting her directly <aobrien@dar.org>. Her address was 
included in the original message!

  -Carol Kocian
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Subject: H-COST: Rit
Date: Sat, 16 Jan 99 14:20:37 -0500
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-Poster: <aquazoo@patriot.net>

Sylvia wrote,

>Rit is real dye, of course, or it wouldnt dye fabric.   The problem with
>Rit is that it has all different types of dye so that at least one of them
>will bind with whatever fabric you are using  This means that the rest of 
>it just washes down the drain, which I now realize is pretty wasteful.


     I use Rit to dye small quanties of yarn or trim. I knew about it 
being a combination dye. If I'm dyeing a cellulose fiber, I also throw in 
a protien fiber so half the dye is not wasted.

     -Carol Kocian
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From owner-h-costume@indra.com  Sat Jan 16 15:51:52 1999
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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <H-costume@indra.com>
Subject: H-COST: Sleeves of Childhood, Was Elizabethan walker
Date: Sat, 16 Jan 1999 16:02:01 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

Here is an image of a Turkish caftan with Persian style
sleeves, which I suggested might be the original source for
the "sleeves of childhood," or "leading strings."
http://ps.theatre.tulane.edu/Period.Styles/Costumes/text/Ita
lian.Renaissance/CJ38.html
In this photograph, the sleeves are draped to the front of
the mannequin, so you can't see the openings for the hands
and arms.  But in real life, they were worn draped to the
back when not in use.

Hope H. Dunlap


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From owner-h-costume@indra.com  Sat Jan 16 16:26:41 1999
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Date: Sat, 16 Jan 1999 20:53:27 +0100
To: h-costume@indra.com
From: Ninni M Pettersson <vidumavi@swipnet.se>
Subject: H-COST: Doll clothes (was:  Double messages?)
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-Poster: Ninni M Pettersson <vidumavi@swipnet.se>

At 05.37 +0100 99-01-16, Renata McAdams wrote:
>-Poster: Renata McAdams <renatamc@bellsouth.net>
>
>Hi, I am new to this list and have thoroughly enjoyed all the wonderful info
>re: costuming. One of my main interests is making historically correct
>dolls.  <snip>

	Welcome to the list! I think there are several of us who dabbles in
doll-making now and then. Myself I'm hard at work (yes everybody, I know I
said she would be ready by Christmas, but I've been terribly delayed :-) on
the finishing touches on my first doll: a young girl with a compleat and
(as far as I can make it) correct c.1545 outfit. And this spring I'm
tentatively thinking on starting on one with mid-19th century clothes - an
elderly lady this time.
	By 'historically correct dolls' do you mean that they look like a
doll would have done in, for example, the 18th century, or do you mean that
they have historically correct clothes? Personally it's the clothes I'm
interested in, the doll is mostly just something to put them on :-)

/Ninni Pettersson


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From owner-h-costume@indra.com  Sat Jan 16 16:45:27 1999
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Subject: Re: H-COST: Just an Introduction
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>

karrissa david writes, in a message sent 10:46 AM 1/15/99 -0500:
>
>-Poster: "karrissa david" <arizona63@hotmail.com>
>
>Hello All,
>
>My name is Karrissa David.  I have been searching for this list serve 
>for a while.  I am glad I have found it.  

(snip)

>I have found tons of patterns and books on sillouetts.  However, I would 
>love to get information on fabric used as well as popular colors.  
>
>I hope to get lots of information.  I look forward to hearing from you. 

You'll get an earful of all of the above here.  We're a pretty friendly
group, even when we are in the middle of a heavy discussion.  Welcome
aboard - the more the merrier!


Kayta
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From owner-h-costume@indra.com  Sat Jan 16 16:45:36 1999
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To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: H-COST: School uniform skirts
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>


>Why just the 60's???  I went to gradeschool in the 80's!.. and It wasn't
>until 1987 or so that the schoolboard passed a allowance for girls to wear
>pants.  The thing that annoyed us girls the most was that they would not
>allow us to huddle together in little groups, or be anywhere within 5 feet
>from the building, and it's warmer nooks, and cranies.  That was the rule.
>and All we could wear was our little plaid catholic girl uniforms.  They
>used to have some old ones  for sale that you could buy from the school,
>and those were really nice wool with little secret pockets to put your
>hands... But since the Polyester revolution... alas, they are no more.

I was appalled when I saw my kid's school uniform for Middle School just a
few years ago.  (This is on top of being appalled that she had to wear a
uniform in public school.)  The plaid polyester skirt cost $30 and had its
pleats set with hot glue!  Then when I tried to re-hem it my hands broke
out in allergic spots from whatever they had treated the fabric with.
(fume fume fume - I had voted against school uniforms...)


Kayta
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From owner-h-costume@indra.com  Sat Jan 16 16:45:42 1999
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Date: Sat, 16 Jan 1999 07:31:42 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: Re: H-COST: fort ross/ ethnic
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>

Have you tried contacting Fort Ross directly?  Last time I was there they
put me in touch with the reenactors who 'play' there.  Those folks knew
what they themselves were wearing.

>Some time ago there was a thread about what Russian women
>settlers at Fort Ross (Calif.) might have worn. I wasn't
>interested at the time, but my boss's wife and daughter
>want to "dress up" to go to some event there and he's
>asked if I could find any info. on it.
>  I lent him my Tilke book (explaining how much it would
>cost to replace it!) But if anyone has any info.
>specific to Fort Ross, I'd sure appreciate it.
>(I wallowed around in the archives, but couldn't find
>what I wanted, sorry)


Kayta
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From: "Matt Dragonfly Drury" <matt@csi.com>
To: <h-costume@indra.com>
Subject: Re: H-COST: re:undergarments
Date: Sat, 16 Jan 1999 17:33:47 -0500
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-Poster: "Matt Dragonfly Drury" <matt@csi.com>

>You can mail order silk underwear, both men's and women's, from
Wintersilks,


Satisfied customer as well. Our order was lost days before we were going up
to DC from Orlando (brr), and they shipped a replacement with enough time
for us to enjoy them.



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From owner-h-costume@indra.com  Sat Jan 16 18:46:27 1999
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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: fort ross/ ethnic
Date: Sat, 16 Jan 1999 18:56:16 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

There is a costume book for mid-19th Century California and
the far West, which I personally have not seen, so I don't
know if it includes Russian immigrant costume of the type
you want.

But it is by Rickman, David W. and called, Costume Manual:
Guide to Clothing Worn in California and Far West ca. 1845.
nd. Sutter's Fort.  detailed costume reconstruction: Euro &
Native American, Californio, 121 Costume plates b/w and
color, lg. 4to. notebook bound 202p.

New/used costume and textile bookseller Fred Struthers lists
it as "new or noteworthy" and sells it for $26.  He's
on-line at www.mcn.org/e/fsbks and e-mail at fsbks@mcn.org
in Ft. Bragg, California.  If in doubt, e-mail him about
whether it applies to Fort Ross, includes Russian, and go
from there.

Hope H. Dunlap

-----Original Message-----
From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
Behalf Of Carolyn Kayta Barrows
Sent: Saturday, January 16, 1999 10:32 AM
To: h-costume@indra.com
Subject: Re: H-COST: fort ross/ ethnic



-Poster: Carolyn Kayta Barrows <kayta@slip.net>

Have you tried contacting Fort Ross directly?  Last time I
was there they
put me in touch with the reenactors who 'play' there.  Those
folks knew
what they themselves were wearing.

>Some time ago there was a thread about what Russian women
>settlers at Fort Ross (Calif.) might have worn. I wasn't
>interested at the time, but my boss's wife and daughter
>want to "dress up" to go to some event there and he's
>asked if I could find any info. on it.
>  I lent him my Tilke book (explaining how much it would
>cost to replace it!) But if anyone has any info.
>specific to Fort Ross, I'd sure appreciate it.
>(I wallowed around in the archives, but couldn't find
>what I wanted, sorry)


Kayta
     ////.\\\
    ////-@@\\\
   ((((   7 (((
     |   -- ))))
     * )   (((((
  /----\   /---\


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From owner-h-costume@indra.com  Sat Jan 16 20:03:44 1999
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-Poster: Joan M Jurancich <joanj@quiknet.com>

At 06:56 PM 01/16/1999 -0500, Hope H. Dunlap wrote:
>
>-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>
>
>There is a costume book for mid-19th Century California and
>the far West, which I personally have not seen, so I don't
>know if it includes Russian immigrant costume of the type
>you want.
>
>But it is by Rickman, David W. and called, Costume Manual:
>Guide to Clothing Worn in California and Far West ca. 1845.
>nd. Sutter's Fort.  detailed costume reconstruction: Euro &
>Native American, Californio, 121 Costume plates b/w and
>color, lg. 4to. notebook bound 202p.
>
>New/used costume and textile bookseller Fred Struthers lists
>it as "new or noteworthy" and sells it for $26.  He's
>on-line at www.mcn.org/e/fsbks and e-mail at fsbks@mcn.org
>in Ft. Bragg, California.  If in doubt, e-mail him about
>whether it applies to Fort Ross, includes Russian, and go
>from there.
>
>Hope H. Dunlap
[snip]

This handbook is three-hole-punched and ready to be put in a 3-ring binder.
While it is *not* a definitive source, it is not a bad starting place;
though we have been talking about needing an updated edition, especially for
some of the women's sections. It is primarily designed for Sutter's Fort. I
can't remember offhand whether or not "Russian" clothing Fort Ross is
covered. By the time Sutter's Fort was founded (1839), the Russians were
looking to get out of California. 

I do know that the Sutter's Fort Trade Store still has lots of copies. You
can call the store any day the Fort is open between 10am and 4:30pm to talk
to a live body (though we have had a few days lately when *everyone* is out
sick), or call at other times to leave a message. The telephone number is
916-442-4966. Or you could send an email to the store manager, Dori Cavala,
at dcavala@mother.com.

Can you tell I'm a Sutter's Fort docent?

Joan Jurancich
Sutter's Fort Costume Committee
Sacramento, CA

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From owner-h-costume@indra.com  Sat Jan 16 20:19:35 1999
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Date: Sat, 16 Jan 1999 20:27:51 -0500
From: Renata McAdams <renatamc@bellsouth.net>
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-Poster: Renata McAdams <renatamc@bellsouth.net>

Thanks for the welcome Ninni!  Of course I want the dolls to be as beautiful as
possible and look like the people of the country and era, I am recreating, but
that is for another list <g>.  Here, I hope to learn about fabric, style,
technique, etc.

Being a first-generation Italian-American, I naturally gravitate to most things
Italian. I love the dress of Ancient Rome, Greece, and the Etruscans....these
people were all intermingled before and during the Roman Empire.  I particularly
love the dress of the Italian Renaissance. Big jump in periods, I know, but the
clothing from these periods (to me)was so alive, flowing and vibrant

Ninni: I think it's great that you will be customing your "elderly lady" in
Victorian garb.  That was also a great period of style, in particular the
mid-late Victorian era.

I am very curious about the dress of the people of southern Italian, but can't
seem to find
any books, sources on that region of Italy.  Most references are made to the
northern part of Italy such as Tuscany, Florence and Venice.

Does anyone have any suggestions?

Renata McAdams


Ninni M Pettersson wrote:

>         By 'historically correct dolls' do you mean that they look like a
> doll would have done in, for example, the 18th century, or do you mean that
> they have historically correct clothes? Personally it's the clothes I'm
> interested in, the doll is mostly just something to put them on :-)
>
> /Ninni Pettersson
>
>  _________________________________________________________________
>  To leave this mailing list, send mail to majordomo@indra.com
>  with the message UNSUBSCRIBE H-COSTUME



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From owner-h-costume@indra.com  Sat Jan 16 22:01:43 1999
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-Poster: Joan M Jurancich <joanj@quiknet.com>

I have been knitting long purses (aka miser's purses) lately and have been
wondering how long this style has been around. I know that they were popular
for much of the 19th Century and at least the later part of the 18th. Has
anyone ever run across references for this style (two-ended with a slit in
the middle and two rings to keep things inside; made in fabric, thin
leather, knitting, etc.) that pre-date the later half of the 18th Century? 

Joan Jurancich
Sacramento, CA
joanj@quiknet.com

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From owner-h-costume@indra.com  Sat Jan 16 22:03:00 1999
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From: "Bob and TC Carstensen" <eccentri@m5.sprynet.com>
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-Poster: "Bob and TC Carstensen" <eccentri@m5.sprynet.com>

On 16 Jan 99, at 18:56, Hope H. Dunlap wrote: 
> There is a costume book for mid-19th Century California and
> the far West, which I personally have not seen, so I don't
> know if it includes Russian immigrant costume of the type
> you want.
> 
> But it is by Rickman, David W. and called, Costume Manual:
> Guide to Clothing Worn in California and Far West ca. 1845.
> nd. Sutter's Fort.  detailed costume reconstruction: Euro &
> Native American, Californio, 121 Costume plates b/w and
> color, lg. 4to. notebook bound 202p.

Oh, dear - another book to put on my "To buy" list!

While doing a search on the Bookfinder web site for this (alas, they 
don't have it), I came across another title that sounded like a 
possibility - Early California Costumes 1769 - 1850 by  Margaret 
Gilbert MacKey and Louis Pinkney Sooy.  Not having seen the 
book, I likewise can't say if it covers Russian immigrant clothing.  



TC Carstensen
<eccentri@sprynet.com>
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From owner-h-costume@indra.com  Sat Jan 16 22:46:49 1999
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Subject: H-COST: H-Cost:  Synthetic whalebone?
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-Poster: Margo Anderson <margo@directcon.net>

About two years, ago, someone posted to this list about a new type of
synthetic whalebone that was supposed to closely replicate the real thing.
I believe it was made in Germany.  Does anyone know anything about it?

Margo

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From owner-h-costume@indra.com  Sat Jan 16 22:52:54 1999
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Organization: Costume & Dressmaker Press
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-Poster: Mary Denise Smith <costumemag@earthlink.net>

Hello Margo and List,

I bought some and found it "remembered" its curve entirely too well. I think it is all polyester, is
very white, feels nice and the cut ends (I had to use heavy wire cutters, as scissors just didn't do
the job) softened and smoothed over very nicely in a candle flame or rubbed on the soleplate of an
iron.

It does come in a variety of weights, but this is the only one I tried.

I have since given the remainders to another member of this list.

Hope this helps,
Mary Denise Smith

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Date: Sat, 16 Jan 1999 22:03:00 -0600
Subject: H-COST: Fw: [sewingbusinesses] Re: Digest Number 40
Message-ID: <19990116.220303.-169117.1.kimberlykdobbs@juno.com>
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-Poster: kimberlykdobbs@juno.com (Kimberly K Dobbs)



Hi,
I received this on my list. I thought maybe someone on here could help
her!

Kimberly

--------- Forwarded message ----------
From: MsMystic1@aol.com
To: sewingbusinesses@onelist.com
Date: Sat, 16 Jan 1999 21:18:52 EST
Subject: [sewingbusinesses] Re: Digest Number 40
Message-ID: <92b64ca5.36a1488c@aol.com>

From: MsMystic1@aol.com

This was posted on aol sewing board, pattern search.  Can any of you help
her
out?  I thought maybe you could, since so many of you make wedding gowns.
 Her
email is Ortmayer@aol.com.  Carole


Subject: helphelphelp
Date: 1/16/1999 4:05 PM Eastern Standard Time
From: <A HREF="aol://3548:Ortmayer">Ortmayer</A>
Message-id: <19990116160506.21939.00002003@ng152.aol.com>


I am not burned out (yet) but I am frantic.  My future daughter-in-law is
letting me make her wedding dress, which pleases me a lot since she can
afford
anything she wants.  I ordered a pattern from Harper House, MM41, which
we
both liked since she will be 8 months pregnant when the wedding day
arrives,
and it is cut high under the bust with a full skirt.  I ordered the
pattern
right after Thanksgiving, and it has not arrived.

I can't phone them because their number gives you lots of other numbers
to
press and none of them get to a real person.  There is one for leaving a
message, but after half a dozen tries, no response.  I used to be able to
contact someone by email (harperh@epix.net) but the last three emails
went
unanswered.  Shriek!!

I have learned that Harper House is a clearing house for a number of
other
pattern companies, who provide the patterns that HH sells.  The one that
makes
the pattern I want is called Period Patterns.  I can't find an ad for
them in
Threads or any of my other sewing publications.  Does anyone have any
ideas?

There is definitely a deadline - I have to take the dress in muslin to
the San
Juan Islands for the bride to try on the first of March, and the idea of
designing a dress from a drawing for someone who can go to Paris to buy
things
leaves me all stomach-quivery.

Needless to say, if someone has the pattern I will gladly pay $50 for it.
 I
will also DEEPLY appreciate any hints on what to do now, barring going to
Paris myself and getting Dior to make it.
Jane, Escondido, CA



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From owner-h-costume@indra.com  Sun Jan 17 00:18:21 1999
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Subject: H-COST: Blackwork on coifs??
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-Poster: "BlackCat =^..^=" <BlackCat@BlueNeptune.Com>

Does anyone know if blackwork was done on early 16th century men's
coifs?

--~Chris

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From owner-h-costume@indra.com  Sun Jan 17 01:25:00 1999
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To: h-costume@indra.com
From: Joan M Jurancich <joanj@quiknet.com>
Subject: Re: H-COST: Blackwork on coifs??
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-Poster: Joan M Jurancich <joanj@quiknet.com>

Chris,
I know that there are surviving examples of embroidered nightcaps from the
*late* sixteenth and early *seventeen* centuries. I have never seen it
suggested in any references I've looked at that blackwork (as we now define
it) was done in England at the beginning of the 16th century. It seemed to
become fashionable for cuffs and collars of men's shirts and women's shifts
after Catherine of Aragon married Henry VIII.

Given the detail with which some wills were written, or household
inventories, such sources may be your best bet. All I can suggest is to keep
looking, but don't get your hopes up.

Joan Jurancich
aka Lady Devereux (RPFN)
Sacramento, CA

At 09:24 PM 01/16/1999 -0800, BlackCat =^..^= wrote:
>
>-Poster: "BlackCat =^..^=" <BlackCat@BlueNeptune.Com>
>
>Does anyone know if blackwork was done on early 16th century men's
>coifs?
>
>--~Chris
Joan Jurancich
Sacramento, CA
joanj@quiknet.com

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From owner-h-costume@indra.com  Sun Jan 17 02:38:11 1999
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Date: Sat, 16 Jan 1999 14:05:45 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: RE: H-COST: 'baby walker' Elizabethan
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>

I was talking about the ones called leading strings, which were up to 3
inches wide by several feet long, and which occour in periods where there
are no exact parallel form of actual sleeves.  These occour as late as the
1600's, 1700's, and early 1800's.  Certainly they were derived from hanging
sleeves, but they no longer are by the time they are called leading strings.

Check out ill.605 p.264 and ill.691 p.287 in Boucher/20K Years to see what
I am talking about.  In the first illo they are thin strap-like things.  In
the second illo they look like flat narrow vestigial hanging sleeves
attached where an adult womens' dress had none.

>The leading strings may have been useful, atavistic sleeves.
>The wealthy medieval Persians  had sleeves to the ground,
>with openings at the point where they met the body and  also
>(or alternatively ) part way down the sleeve to put the arms
>or hands through, respectively.  If the sleeves were not
>used, they hung from the shoulders down to the ground.  Max
>Tilke's on-line book shows more modern versions of these
>ancient costumes.
>
>I've seen at least one painting of a little boy in
>Italian(?) dress with his sleeves hanging from his shoulders
>and buttoned together (using the wrist closure buttons)
>behind him to keep them out of his way.  They were real
>sleeves, which he would have put on to keep warm if he were
>outdoors.  Sort of like people tie the belt of their
>raincoat behind them today, to keep it handy but out of the
>way.   I can easily  see these sleeves, atavistic and
>otherwise, used to keep squirmy people securely in their
>high chairs and out of harm's way.
>
>Hope H. Dunlap
>
>
>-----Original Message-----
>From: owner-h-costume@indra.com
>[mailto:owner-h-costume@indra.com]On
>Behalf Of Carolyn Kayta Barrows
>Sent: Thursday, January 14, 1999 2:35 PM
>To: h-costume@indra.com
>Subject: Re: H-COST: 'baby walker' Elizabethan
>
>
>
>-Poster: Carolyn Kayta Barrows <kayta@slip.net>
>
>
>>None of the walkers I've seen from the 14th century through
>at least
>>the 16th Century would prevent the child's reach or keep
>them from
>>tipping or going through doorways.
>
>Me neither.  They have square bases, like mine had under the
>round plastic
>bits.  Some look like modern old-people walkers, and some
>look like mine
>with a seat in the middle.
>
>>One of the most common things which maimed and killed
>children of
>>that time is falling into the fire.
>>
>>Leading strings attached to the backs of the doublet or
>shoulders of
>>the tunic is something you also see with the pre16th
>century. This is
>>so charming (and very costume oriented;) and it works.
>
>I think the leading strings are the method of tying a baby
>to your own
>apron strings.  It gives a toddler about 6' of 'freedom' in
>any direction,
>and gives Mom a handle.
>
>
>Kayta
>     ////.\\\
>    ////-@@\\\
>   ((((   7 (((
>     |   -- ))))
>     * )   (((((
>  /----\   /---\
>
>
>____________________________________________________________
>_____
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>majordomo@indra.com
> with the message UNSUBSCRIBE H-COSTUME
>
>
> _________________________________________________________________
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> with the message UNSUBSCRIBE H-COSTUME



Kayta
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From owner-h-costume@indra.com  Sun Jan 17 02:39:49 1999
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Date: Sat, 16 Jan 1999 23:45:01 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: Re: H-COST: Sleeves of Childhood, Was Elizabethan walker
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>


>Here is an image of a Turkish caftan with Persian style
>sleeves, which I suggested might be the original source for
>the "sleeves of childhood," or "leading strings."
>http://ps.theatre.tulane.edu/Period.Styles/Costumes/text/Ita
>lian.Renaissance/CJ38.html
>In this photograph, the sleeves are draped to the front of
>the mannequin, so you can't see the openings for the hands
>and arms.  But in real life, they were worn draped to the
>back when not in use.

This may be what Turkish/Persian mothers used, but by the time they had the
name leading strings they weren't sleeves anymore.


Kayta
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From owner-h-costume@indra.com  Sun Jan 17 03:24:12 1999
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Date: Sun, 17 Jan 1999 00:03:26 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: Re: H-COST: Doll clothes (was:  Double messages?)
In-Reply-To: <l03102800b2c69b825c95@[130.244.242.75]>
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>


>>Hi, I am new to this list and have thoroughly enjoyed all the wonderful info
>>re: costuming. One of my main interests is making historically correct
>>dolls.  <snip>
>
>	Welcome to the list! I think there are several of us who dabbles in
>doll-making now and then. Myself I'm hard at work (yes everybody, I know I
>said she would be ready by Christmas, but I've been terribly delayed :-) on
>the finishing touches on my first doll: a young girl with a compleat and
>(as far as I can make it) correct c.1545 outfit. And this spring I'm
>tentatively thinking on starting on one with mid-19th century clothes - an
>elderly lady this time.
>	By 'historically correct dolls' do you mean that they look like a
>doll would have done in, for example, the 18th century, or do you mean that
>they have historically correct clothes? Personally it's the clothes I'm
>interested in, the doll is mostly just something to put them on :-)

Does anyone on this list dabble in paper dolls?  My research shows these
going back to the mid 1600's (if I read the photo correctly).  Certainly
they go back to the early 1800's as cheap 'fashion babies'.  I draw well
enough to be able to manage this, and it would do very well for the dresses
I am not sure I want to take the time sewing for dolls.  I was thinking I
could put my face on them and draw any waist size I like.


Kayta
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To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: Re: H-COST: Blackwork on coifs??
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>

I have seen photos of Elizabethan blackwork on what they were calling men's
nightcaps, but not on any day wear for Elizabethan men.
>
>Does anyone know if blackwork was done on early 16th century men's
>coifs?


Kayta
     ////.\\\
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     * )   (((((
  /----\   /---\

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Date: Sun, 17 Jan 1999 04:25:28 -0500 (EST)
From: Sheryl Knowles <knowles@altum.com>
Message-Id: <199901170925.EAA09228@ns.altum.com>
To: h-costume@indra.com
Subject: Re: H-COST: Doll clothes (was:  Double messages?)
Cc: knowles@thegrid.net, sknowles@worldsaway.com
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-Poster: Sheryl Knowles <knowles@altum.com>

Hello, I am a long-time lurker on this list
and have collected paper dolls (and drawn and
published them) for years and years.
They can be an interesting facet of historical
clothing and have the "feature" of frequently
displaying underclothes.

Paper toys, of course, had to wait until
paper became commonly available.  According
to C.H.Fawcett "Collector's Guide to Antique
Paper Dolls" originally published in 1951,
paper dolls as fashion models did not appear
until 1791, altho paper pantins (jumping jacks)
were introduced into Europe in 1662.

The first was advertised in the "Journal der
Moden" thusly:
	"A new and very pretty invention is the
so-called English doll which we have lately
received from London.... a young female figure
cut out of stout cardboard.  It is about eight
inches high, has simply curled hair, and is 
dressed in underclothing and corset.  With it go
six sets of tastefully designed dresses and 
head-dresses which are cut out of paper...."

M.B. Howard in "Those Fascinating Paper Dolls",
originally published in 1965 and republished
by Dover in 1981, describes 'ritual figures of
paper' used in rites in the orient in 900AD and
mentions the pre-Columbian use of paper figures
in MesoAmerica, but, technically, most people
class paper _dolls_ as dolls of paper (or
cardboard) with changes of attire.

Ms Howard states that the earliest such paper doll
published in the United States came out in 1812.

I must admit that my 100s of paper dolls take up 
far less room and show far more styles than my 
collections of dolls or SCA garb.  *sigh*  But they 
are not as tactile.  :-)
	---Sheryl Knowles
	   SCA:  Teleri Tawel, Crosston, Mists, West


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From owner-h-costume@indra.com  Sun Jan 17 05:12:00 1999
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From: "Ella Lynoure Rajamaki" <lynoure@tuug.org>
Organization: Lyninine Federation
To: Margo Anderson <margo@directcon.net>, h-costume@indra.com
Date: Sun, 17 Jan 1999 12:19:59 +2
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Subject: Re: H-COST: H-Cost:  Synthetic whalebone?
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-Poster: "Ella Lynoure Rajamaki" <lynoure@tuug.org>

On 16 Jan 99, at 19:50, Margo Anderson wrote:

> About two years, ago, someone posted to this list about a new type of
> synthetic whalebone that was supposed to closely replicate the real thing.
> I believe it was made in Germany.  Does anyone know anything about it?

I have been using it (only the 1mm x 10mm and 2.5mm x 6mm 
sizes, though others are also available) in the corsets and 
bodices I have made during the last couple of years. I cannot 
compare it to real whalebone, as I have never had access to 
that, but perhaps I can answer some questions anyway.


--
-------(c) 1999--------------*        lynoure@tuug.org      *
Ella Lynoure Rajamaki--------* http://www.tuug.org/~lynoure *
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From owner-h-costume@indra.com  Sun Jan 17 05:12:19 1999
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From: "Ella Lynoure Rajamaki" <lynoure@tuug.org>
Organization: Lyninine Federation
To: Mary Denise Smith <costumemag@earthlink.net>, h-costume@indra.com
Date: Sun, 17 Jan 1999 12:20:33 +2
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-Poster: "Ella Lynoure Rajamaki" <lynoure@tuug.org>

On 16 Jan 99, at 21:05, Mary Denise Smith wrote:


> It does come in a variety of weights, but this is the only one I tried.

What weight did you try?

 
--
-------(c) 1999--------------*        lynoure@tuug.org      *
Ella Lynoure Rajamaki--------* http://www.tuug.org/~lynoure *
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From owner-h-costume@indra.com  Sun Jan 17 07:24:28 1999
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Date: Sun, 17 Jan 1999 07:39:22 -0500
To: h-costume-digest@indra.com
From: Lynn Carpenter <alwen@i2k.com>
Subject: H-COST: Wintersilks
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-Poster: Lynn Carpenter <alwen@i2k.com>

"Matt Dragonfly Drury" <matt@csi.com> wrote:
>
>>You can mail order silk underwear, both men's and women's, from
>>Wintersilks,
>
>
>Satisfied customer as well. Our order was lost days before we were going up
>to DC from Orlando (brr), and they shipped a replacement with enough time
>for us to enjoy them.

Has anyone dealt with them recently?  I did an Altavista search to find the
URL
http://www.wintersilks.com/
and the second article was this one, which said they were filing for
Chapter 11 bankruptcy protection.  The article is dated August 6, 1988.
http://www.mediacentral.com/Magazines/CatalogAge/Weekly/98/1998080602.htm

Anyone know if they have their finances straightened out?

Lynn

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From owner-h-costume@indra.com  Sun Jan 17 07:39:35 1999
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Date: Sun, 17 Jan 1999 07:54:42 -0500
To: h-costume-digest@indra.com
From: Lynn Carpenter <alwen@i2k.com>
Subject: H-COST: Miser's Purses
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-Poster: Lynn Carpenter <alwen@i2k.com>

Joan M Jurancich <joanj@quiknet.com> wrote:

>I have been knitting long purses (aka miser's purses) lately and have been
>wondering how long this style has been around. I know that they were popular
>for much of the 19th Century and at least the later part of the 18th. Has
>anyone ever run across references for this style (two-ended with a slit in
>the middle and two rings to keep things inside; made in fabric, thin
>leather, knitting, etc.) that pre-date the later half of the 18th Century? 
>
Coincidentally, working on my New Year's resolution to de-clutter my house,
I found a Piecework magazine my mom gave me with an article on miser's
purses by Gwen Blakley Kinsler, which includes directions for crocheting a
beaded one. (Piecework, Nov/Dec 1996, pages 46-51)  She says, "...the
tube-shaped miser's purses were popular for nearly 150 years, between 1780
to 1925" and that they were most popular during the second half of the 19th
century, becoming one of the most common purses carried by Victorians, and
used by both men and women.  The shape is supposed to have originated from
the practice of carrying coins in the toe of a stocking.  The article is
illustrated with examples from the collection of the Kliots (the Lacis
people), including one which looks exactly like a tube sock with the top
sewn shut.  That is, one end is rounded like the sock toe, and the other is
squared off like the top of the sock.  But I should mention that it is
beaded with shiny silvery beads, and has "danglies" of large silvery beads
at both ends.

So this doesn't date them any earlier than 1780.  Wish I could show you
these cool pictures!

Lynn

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-Poster: Andrea Clef <a.clef@ndh.net>


--------------EEB473939BD224B6E0A43EB1
Content-Type: text/plain; charset=iso-8859-1
Content-Transfer-Encoding: 8bit

> I just now got this message, its 4:41 (PST) pm Friday, 1/15.  It's dated
> Jan 8th.  Even though I check my mail on an hourly basis while at work, I
> keep looking back and finding new messages from you dated a week ago.  You
> may want to check the date on your computer to see if it's right.  I
> couldn't figure it out at first, and I'm sure I'm not the only person
> you're confusing!
>
> Yours,
> Lynn D
>
Sorry, but my computer clock doesn´t work correctly, I know.
I correct the date from time to time but after some days it is always
late.
I believe that it`s stops counting when the computer is off.
But now I`ll try to remember to correct the date every time before
writing a message,
so nobody gets confused.
Thanks for mentioning the problem.

Greetings,
Diana

--------------EEB473939BD224B6E0A43EB1
Content-Type: text/html; charset=us-ascii
Content-Transfer-Encoding: 7bit

<HTML>

<BLOCKQUOTE TYPE=CITE>
<PRE>I just now got this message, its 4:41 (PST) pm Friday, 1/15.&nbsp; It's dated
Jan 8th.&nbsp; Even though I check my mail on an hourly basis while at work, I
keep looking back and finding new messages from you dated a week ago.&nbsp; You
may want to check the date on your computer to see if it's right.&nbsp; I
couldn't figure it out at first, and I'm sure I'm not the only person
you're confusing!

Yours,
Lynn D</PRE>
</BLOCKQUOTE>
Sorry, but my computer clock doesn&acute;t work correctly, I know.
<BR>I correct the date from time to time but after some days it is always
late.
<BR>I believe that it`s stops counting when the computer is off.
<BR>But now I`ll try to remember to correct the date every time before
writing a message,
<BR>so nobody gets confused.
<BR>Thanks for mentioning the problem.

<P>Greetings,
<BR>Diana</HTML>

--------------EEB473939BD224B6E0A43EB1--

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From owner-h-costume@indra.com  Sun Jan 17 09:06:51 1999
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From: pulliam@acadia.net (Deborah Pulliam)
Subject: H-COST: nightcaps
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-Poster: pulliam@acadia.net (Deborah Pulliam)

<<I have seen photos of Elizabethan blackwork on what they were calling men's
nightcaps, but not on any day wear for Elizabethan men.>>

Men's nightcaps, until the 19th century, were *not* worn for sleeping (bed
caps were), they were fashionable "undress" which meant  they were worn at
home in informal situations, especially if the wearer habitually wore a wig
(they were worn well into the 19c though, when wigs were no longer worn.)


Deborah


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From owner-h-costume@indra.com  Sun Jan 17 09:29:38 1999
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Date: Sun, 17 Jan 1999 09:32:42 -0500
Subject: H-COST: Elizabethan sites
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-Poster: kiri5@juno.com (Bette Anne Adams)



Are there any Elizabethan or Renaissance sites out there?  My husband and
I have very lightly dabbled in CW and I think the former would be more to
our tastes.  Especially my husband's interest in armor.  Anything
earlier.   

Thank you,
Bette Anne Adams

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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: Sleeves of Childhood, Was Elizabethan walker
Date: Sun, 17 Jan 1999 09:55:34 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

I think you may have missed my earlier post.  You are quite
right, they had ceased to be sleeves, hence my use of the
word "atavistic." But the shape of the extremely slender
Persian sleeves is precisely the shape used on some old
children's dresses. I could have used the word "vestigial"
too.  Repeating from my first post on the subject:

"The leading strings may have been useful, atavistic
sleeves.  The wealthy medieval Persians  had sleeves to the
ground, with openings at the point where they met the body
and  also (or alternatively ) part way down the sleeve to
put the arms or hands through, respectively.  If the sleeves
were not used, they hung from the shoulders down to the
ground.  Max Tilke's on-line book shows more modern versions
of these ancient costumes.

I've seen at least one painting of a little boy in
Italian(?) dress with his sleeves hanging from his shoulders
and buttoned together (using the wrist closure buttons)
behind him to keep them out of his way.  They were real
sleeves, which he would have put on to keep warm if he were
outdoors.  Sort of like people tie the belt of their
raincoat behind them today, to keep it handy but out of the
way.   I can easily  see these sleeves, atavistic and
otherwise, used to keep squirmy people securely in their
high chairs and out of harm's way."

These sleeves were used on grown-up's Persian caftans.  In
my house, the children would use them to tie their parents
to their chairs.

Hope H. Dunlap
-----Original Message-----
From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
Behalf Of Carolyn Kayta Barrows
Sent: Sunday, January 17, 1999 2:45 AM
To: h-costume@indra.com
Subject: Re: H-COST: Sleeves of Childhood, Was Elizabethan
walker



-Poster: Carolyn Kayta Barrows <kayta@slip.net>


>Here is an image of a Turkish caftan with Persian style
>sleeves, which I suggested might be the original source for
>the "sleeves of childhood," or "leading strings."
>http://ps.theatre.tulane.edu/Period.Styles/Costumes/text/It
a
>lian.Renaissance/CJ38.html
>In this photograph, the sleeves are draped to the front of
>the mannequin, so you can't see the openings for the hands
>and arms.  But in real life, they were worn draped to the
>back when not in use.

This may be what Turkish/Persian mothers used, but by the
time they had the
name leading strings they weren't sleeves anymore.


Kayta
     ////.\\\
    ////-@@\\\
   ((((   7 (((
     |   -- ))))
     * )   (((((
  /----\   /---\


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From owner-h-costume@indra.com  Sun Jan 17 10:00:24 1999
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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: H-COST: RE: Paper Dolls
Date: Sun, 17 Jan 1999 10:07:44 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

In Little Men, by Louisa May Alcott, there is a scene where
little Daisy sacrifices her paper doll babies on a fire made
by the boys.  They were drawn for her by her Aunt Amy, who
was very artistic and also very fond of nice feminine
clothes.  Published 1871.

Hope H. Dunlap

-----Original Message-----
From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
Behalf Of Sheryl Knowles
Sent: Sunday, January 17, 1999 4:25 AM
To: h-costume@indra.com
Cc: knowles@thegrid.net; sknowles@worldsaway.com
Subject: Re: H-COST: Doll clothes (was: Double messages?)



-Poster: Sheryl Knowles <knowles@altum.com>

Hello, I am a long-time lurker on this list
and have collected paper dolls (and drawn and
published them) for years and years.
They can be an interesting facet of historical
clothing and have the "feature" of frequently
displaying underclothes.

Paper toys, of course, had to wait until
paper became commonly available.  According
to C.H.Fawcett "Collector's Guide to Antique
Paper Dolls" originally published in 1951,
paper dolls as fashion models did not appear
until 1791, altho paper pantins (jumping jacks)
were introduced into Europe in 1662.

The first was advertised in the "Journal der
Moden" thusly:
	"A new and very pretty invention is the
so-called English doll which we have lately
received from London.... a young female figure
cut out of stout cardboard.  It is about eight
inches high, has simply curled hair, and is
dressed in underclothing and corset.  With it go
six sets of tastefully designed dresses and
head-dresses which are cut out of paper...."

M.B. Howard in "Those Fascinating Paper Dolls",
originally published in 1965 and republished
by Dover in 1981, describes 'ritual figures of
paper' used in rites in the orient in 900AD and
mentions the pre-Columbian use of paper figures
in MesoAmerica, but, technically, most people
class paper _dolls_ as dolls of paper (or
cardboard) with changes of attire.

Ms Howard states that the earliest such paper doll
published in the United States came out in 1812.

I must admit that my 100s of paper dolls take up
far less room and show far more styles than my
collections of dolls or SCA garb.  *sigh*  But they
are not as tactile.  :-)
	---Sheryl Knowles
	   SCA:  Teleri Tawel, Crosston, Mists, West



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From owner-h-costume@indra.com  Sun Jan 17 10:12:31 1999
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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Cc: <Ortmayer@aol.com>
Subject: RE: H-COST: Fw: [sewingbusinesses] Re: Digest Number 40
Date: Sun, 17 Jan 1999 10:23:07 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

Amazon Drygoods also carries Period Patterns.  They have an
Italian Renaissance number in their catalogue, Period
Patterns, Medieval Miscellanea Number 41, which may be the
one this lady needs.  Call them at 1-800-798-7979 to place
an order.
Hope H. Dunlap

-----Original Message-----
From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
Behalf Of Kimberly K Dobbs
Sent: Saturday, January 16, 1999 11:03 PM
To: h-costume@indra.com; sewinghistoric@onelist.com;
sewing@onelist.com
Subject: H-COST: Fw: [sewingbusinesses] Re: Digest Number 40



-Poster: kimberlykdobbs@juno.com (Kimberly K Dobbs)



Hi,
I received this on my list. I thought maybe someone on here
could help
her!

Kimberly

--------- Forwarded message ----------
From: MsMystic1@aol.com
To: sewingbusinesses@onelist.com
Date: Sat, 16 Jan 1999 21:18:52 EST
Subject: [sewingbusinesses] Re: Digest Number 40
Message-ID: <92b64ca5.36a1488c@aol.com>

From: MsMystic1@aol.com

This was posted on aol sewing board, pattern search.  Can
any of you help
her
out?  I thought maybe you could, since so many of you make
wedding gowns.
 Her
email is Ortmayer@aol.com.  Carole


Subject: helphelphelp
Date: 1/16/1999 4:05 PM Eastern Standard Time
From: <A HREF="aol://3548:Ortmayer">Ortmayer</A>
Message-id: <19990116160506.21939.00002003@ng152.aol.com>


I am not burned out (yet) but I am frantic.  My future
daughter-in-law is
letting me make her wedding dress, which pleases me a lot
since she can
afford
anything she wants.  I ordered a pattern from Harper House,
MM41, which
we
both liked since she will be 8 months pregnant when the
wedding day
arrives,
and it is cut high under the bust with a full skirt.  I
ordered the
pattern
right after Thanksgiving, and it has not arrived.

I can't phone them because their number gives you lots of
other numbers
to
press and none of them get to a real person.  There is one
for leaving a
message, but after half a dozen tries, no response.  I used
to be able to
contact someone by email (harperh@epix.net) but the last
three emails
went
unanswered.  Shriek!!

I have learned that Harper House is a clearing house for a
number of
other
pattern companies, who provide the patterns that HH sells.
The one that
makes
the pattern I want is called Period Patterns.  I can't find
an ad for
them in
Threads or any of my other sewing publications.  Does anyone
have any
ideas?

There is definitely a deadline - I have to take the dress in
muslin to
the San
Juan Islands for the bride to try on the first of March, and
the idea of
designing a dress from a drawing for someone who can go to
Paris to buy
things
leaves me all stomach-quivery.

Needless to say, if someone has the pattern I will gladly
pay $50 for it.
 I
will also DEEPLY appreciate any hints on what to do now,
barring going to
Paris myself and getting Dior to make it.
Jane, Escondido, CA



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-Poster: Seton1355@aol.com

 <A HREF="http://www.dnaco.net/%7Ealeed/corsets/general.html">Elizabethan
Costuming Homepage</A>  
<A HREF="http://www.dnaco.net/~aleed/corsets/lizcolor.html">Color in 16th
Century Dress</A>  <A HREF="http://www.uvm.edu/~hag/sca/tudor/">Tudor dress:
portfolio of images</A>  
<A HREF="http://www.vincents.demon.co.uk/stays/stays.htm">17th Century Stays -
How to make them</A>  <A HREF="http://www.dnaco.net/~aleed/corsets/">The
Elizabethan Corset Page</A>  
<A HREF="http://www.costumegallery.com/pompadour/material/1600/index.html">
17th Century Fashion, 1600-1630</A>  
<A HREF="http://www.teleport.com/%7Ecodpiece/definition/index.html">What is a
Codpiece?</A>  <A HREF="http://www.teleport.com/%7Ecodpiece/menu.html">
Codpiece International Menu</A>  <A HREF="http://jan.ucc.nau.edu/%7Ewew/celt-
clothing/">Celtic Dress of the 16th C.</A>  
<A HREF="http://www.plimoth.org/nacostum.htm">Native Clothing in the 17th
Century</A>  <A HREF="http://www.plimoth.org/costume.htm">Pilgrim Clothing:
Dress in Early New England</A>  <A HREF="http://www.plimoth.org/pilcloth.htm">
Pilgrim Costume</A>  <A HREF="http://tudor.simplenet.com/">Welcome to Tudor
England</A>  
<A HREF="http://www.rmplc.co.uk/eduweb/sites/wickham/topics/tudors/tudors.html
">Tudors and Stuarts</A>  <A HREF="http://www.queenofscots.co.uk/">THE QUEEN
OF SCOTS</A> 

I have lots of others.  
Phillipa

> Are there any Elizabethan or Renaissance sites out there?
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From owner-h-costume@indra.com  Sun Jan 17 14:02:42 1999
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-Poster: Gerekr@aol.com

On 1/15/99 11:35 AM you wrote:

>-Poster: Melanie Wilson <MelanieWilson@compuserve.com>
>
>Has anyone any pictures of Children in Britain in World War 2 they could
>scan and send me for my daughters school project ?
>
>Also any kids games & special memories of food ?
>
>Thanks
>
>Mel

I just happen to have at home a book from the children's section of the 
public library called "After the war was over" by the illustrator Michael 
Foreman.  It's his personal recollections of the period, mostly in 
watercolor but with a few photos thrown in, in which the children's or 
other clothing corresponds 100% to that in the illustrations...

The point being that Mr Foreman has also written an "award-winning" book, 
titled "War Boy", which is about himself during the war years.  If in the 
same style, that might be a good place to look for all three, clothes, 
games and food.

I'm pretty sure both of these were published in GB first, as he still 
lives there, so that might be of some assistance, if you have time to 
collect them.

About food, my library also has recently received "Food and Feasts 
Between the Wars", a children's series, no idea how available where you 
are, that might be pertinent; it would have factual reproductions mostly, 
vs. illustrations, as it follows the other titles in the series I've seen 
(F&F in the Middle ages, Ren, with the Vikings, Victorians, etc. as I 
recall).  Based on Vikings and MA books, the text may not be 100%, but 
the illustrations are fine. 

Good luck,
Chimene/Patsy
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From: Glenda Hohmann <katrynka2@yahoo.com>
Subject: H-COST: undergarments
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-Poster: Glenda Hohmann <katrynka2@yahoo.com>

> - -Poster: Sylvia Rognstad <sylvia@netherworld.com>
> 
> Btw, has anyone else noticed that it seems impossible to buy anything
> but wonder bras these days, you know, the kind with underwires?  I
dont  
> like sports bras.  I just want one of those little nothing kind of
bras  
> that were so popular in the 70s that women bought to try to look like 
> they were braless.  At least they were comfortable.  Anyone know
where to 
> find one of those today, or at least something without underwires
that 
> doesnt look like one of those Playtex pointy things? Who still wears 
> those? 
[from v4n38]

They can be found, you just have to look and look and look, although
it seems that it is easier to find them here in Canada from what you
are saying.  In the last couple of years, I have found that the best
place to find bras that fit me and at a reasonable price is Walmart of
all places.  I don't know if they have the same customer service where
you live as here, but when I was looking for more of the same bra and
they didn't have any, they immediately asked if I wanted them to order
me some more and, if so, how many (without me even asking if they
would!).

You have to keep in mind that the closest thing that I have found to
fitting me there (and they do fit reasonably well) is a Fruit of the
Loom bra with cotton spandex fabric, for both the cups and band, and
underwire in a 34D.  This is not too bad, considering that I fit a
32DD, although the "official" measurement guidelines tell me that I
"should" fit a 38 with what size cup I'm not sure, but I have 8"
difference between my under bust (33") and my bust (40") measurements,
and what a lot of women hate about me most is that it is all natural. 
Go figure.....

The other thing that you could do is give up and start making your
own.  I have started doing this for my sister's sports bras as she
can't find any that fit her entirely correctly, or are large enough,
or that keep everything from bouncing out when she is playing
volleyball.  The ones that do fit her are cut too low and, to fit her
bust, are too large around her ribs.  And mine are next.

I have altered the sportsbra pattern that I made for my sister to fit
me yet resemble more of a regular bra.  The real great joy - it
supports me with NO underwire :> (happy, happy, joy, joy, joy!) and
that is when it is made with 2 layers of cotton/spandex fabric.  I
also have a Vogue bustier pattern (9273 - I think it is still current)
and view B has fitted cups on it with an integrated strap (no seam
attachment to the top of the cup) that I am going to alter (shorten)
and turn into a bra pattern.  This one I am going to make with regular
woven fabric.  As I am making it to fit myself, and no one else, a
couple of inches of elastic in the straps and the band are all that is
required for ease when you move around.

There are patterns available out there for making your own bras,
panties, and other lingeree.  I don't know what you have available in
your area for pattern companies, but a couple of good ones that I have
found, aside from the one Vogue, are Kwik Sew brand and Stretch-n-Sew
brand.  Both companies are out of the US and do a lot of stuff that is
actionwear/stretchy/ lingeree type stuff with great instructions.

It's definitely something for you to think about.  From what you
described of the bra type that you are looking for, it is basically
the same as I used to wear the first few years of highschool -- an
elastic band with the cups being two triangles of lycra, gathered a
bit on the sides, and two skinny elastic straps.  That style would
definitely be easier to make than what I need to be able to support my
figure.

Anyway, I hope this helps you a bit.  I would have answered sooner,
but I am getting really backed up on my reading as the list is a bit
more active than I expected (and I get the digested form).

Sincerely,

Glenda Hohmann          (Katrynka Chornovoloskaya)
Kamloops, BC, Canada    (MoAS, Ramsgaard, An Tir)





==
*****************************************
*  Two things stand like stone:         *
*       Kindness in another's trouble,  *
*       Courage in your own.            *
*****************************************
_________________________________________________________
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From owner-h-costume@indra.com  Sun Jan 17 14:30:21 1999
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Date: Sun, 17 Jan 1999 11:37:22 -0800 (PST)
From: Glenda Hohmann <katrynka2@yahoo.com>
Subject: H-COST: cartridge pleats
To: h-costume@indra.com
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-Poster: Glenda Hohmann <katrynka2@yahoo.com>

> - -Poster: "Gia Gavino-Gattshall" <ggavino@serv.net>
> 
> I also did cartridge pleating for the first time and could have shot
> myself for not doing it before!  It's easy and I found the drape of
the 
> skirt to be just what I was hoping it would do.  I plan on doing it
on 
> all my Italian rens from now on, too!
[from V4n36]

Now, my question would be:  did you hand sew the skirt to the bodice,
or did you do it by machine?  And if you did it by machine, how were
you able to keep the pleats from flattening out (if you did at all)? 
Or (assuming you did it by machine) did you start stitching from the
center front of the bodice around to the back and just let the pleats
flatten out as you went?

Okay, I guess that's three questions, but I think you can see where I
am going with this one...

Katrynka

Katrynka Chornovoloskaya     (Glenda Hohmann)
MoAS, Ramsgaard, An Tir      (Kamloops, BC, Canada)

==
*****************************************
*  Two things stand like stone:         *
*       Kindness in another's trouble,  *
*       Courage in your own.            *
*****************************************
_________________________________________________________
DO YOU YAHOO!?
Get your free @yahoo.com address at http://mail.yahoo.com

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Subject: Re: H-COST: cartridge pleats
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-Poster: Joan M Jurancich <joanj@quiknet.com>

At 11:37 AM 01/17/1999 -0800, Glenda Hohmann wrote:
>
>-Poster: Glenda Hohmann <katrynka2@yahoo.com>
>
>> - -Poster: "Gia Gavino-Gattshall" <ggavino@serv.net>
>> 
>> I also did cartridge pleating for the first time and could have shot
>> myself for not doing it before!  It's easy and I found the drape of
[snip]
>
>Now, my question would be:  did you hand sew the skirt to the bodice,
>or did you do it by machine?  And if you did it by machine, how were
>you able to keep the pleats from flattening out (if you did at all)? 
>Or (assuming you did it by machine) did you start stitching from the
>center front of the bodice around to the back and just let the pleats
>flatten out as you went?
>
>Okay, I guess that's three questions, but I think you can see where I
>am going with this one...
>
>Katrynka
>
>Katrynka Chornovoloskaya     (Glenda Hohmann)
>MoAS, Ramsgaard, An Tir      (Kamloops, BC, Canada)

In order for the cartridge pleats to hang properly, you really need to sew
them by hand. You *don't* want to flatten them out at all. Only the top of
the fold is sewn to the bodice, the bottom can just hang free. 

Joan Jurancich
aka Lady Dorothy (Hastings) Devereux [RPFN], mother [in-law] to Lady Essex
joanj@quiknet.com

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Subject: Re: H-COST: Wintersilks
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-Poster: koz@value.net

Date sent:      	Sun, 17 Jan 1999 07:39:22 -0500
To:             	h-costume-digest@indra.com
From:           	Lynn Carpenter <alwen@i2k.com>
Subject:        	H-COST: Wintersilks
Send reply to:  	h-costume@indra.com

> 
> Has anyone dealt with them recently?  I did an Altavista search to find the
> URL
> http://www.wintersilks.com/
> and the second article was this one, which said they were filing for
> Chapter 11 bankruptcy protection.  The article is dated August 6, 1988.
> http://www.mediacentral.com/Magazines/CatalogAge/Weekly/98/1998080602.htm
> 
> Anyone know if they have their finances straightened out?
> 
> Lynn
___________________________________________________

I believe my wife and I bought some things from wintersilks just last 
year...and I am sure that they sent us at least 2 new catalogs for 
Christmas sales and such.

Hope this helps

Michael


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From: "Gia Gavino-Gattshall" <ggavino@serv.net>
To: <h-costume@indra.com>
Subject: Re: H-COST: cartridge pleats
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-Poster: "Gia Gavino-Gattshall" <ggavino@serv.net>

Hi!


No, the only thing I machine stitched on was the twill tape along the top
edge of the skirt I cartridge pleated.  I really was trying to do the thing
'by hand', so that's the only concession I made, for speed.

I 'inherited' some white 2" wide twill tape which I  machine long stitched
on, folded the skirt top edge along the 'seam line' (about 5/8 ") and hand
stitched the cartridge pleating stitches, using double strand of thread
(quilters), beeswaxed for strength, making sure I had nice tails for pulling
to make the pleats.  My stitches were at about 1/2 " intervals to make a
nice deep pleat. The first row about 1/4 inch down and the second row about
another 1/4 down from the first row of pleating stitches.  I used matching
thread because I wanted to keep the pleating stitches in the garment for
stability.

I then hand stitched the pleats onto the finished bodice (by that I mean
that the bodice was completely finished, even the waist seam; all seams were
encased by the lining).

I read Mistress Kat's instructions on how to do this in the FTSO years ago
and was doing it from memory of those instructions...I have been trying to
find my issue with the instructions but no luck yet.  Hopefully I was close
enough to how it was done!

I didn't want the pleating to flatten out, and I knew that in order for me
to get the 'full' pleating effect I wanted, I had to hand stitch it.  This
of course is only my opnion and others may not agree; that's ok...


Gia/Giacinta
costuming nut


>Now, my question would be:  did you hand sew the skirt to the bodice,
>or did you do it by machine?  And if you did it by machine, how were
>you able to keep the pleats from flattening out (if you did at all)?
>Or (assuming you did it by machine) did you start stitching from the
>center front of the bodice around to the back and just let the pleats
>flatten out as you went?
>
>Okay, I guess that's three questions, but I think you can see where I
>am going with this one...
>
>Katrynka
>
>Katrynka Chornovoloskaya     (Glenda Hohmann)
>MoAS, Ramsgaard, An Tir      (Kamloops, BC, Canada)
>
>==
>*****************************************
>*  Two things stand like stone:         *
>*       Kindness in another's trouble,  *
>*       Courage in your own.            *
>*****************************************
>_________________________________________________________
>DO YOU YAHOO!?
>Get your free @yahoo.com address at http://mail.yahoo.com
>
> _________________________________________________________________
> To leave this mailing list, send mail to majordomo@indra.com
> with the message UNSUBSCRIBE H-COSTUME
>

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Subject: Re: H-COST: Baa baa black sheep?
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-Poster: The Purple Elephant <csmart@physics.adelaide.edu.au>

On Fri, 15 Jan 1999 kat@grendal.rain.com wrote:

> 
> -Poster: kat@grendal.rain.com
> 
> 
> > Any sheep that is not pure white is a "black sheep". And the colors range
> > from grays and light browns to brown-black to reddish-browns. All these
> > colors are natural and could have been found in medieval sheep. Of course,
> > the white wool takes dyes much more clearly than naturally-colored wool, so
> > it was more valuable. The "black" wools, of whatever shade, could well have
> > been given to the poor.
> 
> >From what I understand, when you are trying to get a really white 
> flock, the black sheep lambs became stew, sausage, lamb chops, etc.

Actually I saw a thing about this on the telly last week. Modern sheep
farmers (this report was focusing on merinos in particular) really, really
hate black sheep of any degree of 'blackness', because the dark wool is
so hard to dye a different colour. Even being in the same paddock they
'contaminate' the fleeces of the white sheep when they rub against them etc.
A great big black hair in the middle of some wool you were trying to dye
lemon yellow would be unfortunate, yes?

------------------------------------------------------------------------------
Claire F. Clarke       "What is this world if, full of care, 
Physicist, writer,     We have no time to stand and stare?"
and non environmentally                     Robert Louis Stevenson
friendly substance.
------------------------------------------------------------------------------

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From owner-h-costume@indra.com  Sun Jan 17 20:33:55 1999
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-Poster: Renata McAdams <renatamc@bellsouth.net>

What a fascinating piece of information! Did men during that period of time, also
wear hats indoors (in addition to the fashion) because it was considered improper
to expose the head?

Interesting how customs change.  During the 1950s when I was a little girl and
until my dad passed away in 1980 (he was born in 1890), he (and other gents of
his era) always wore a hat outside, but it was considered rude and in poor taste
if one did not remove the hat when coming inside a house or church. And, tipping
one's hat to a woman in greeting was considered the norm.

Renata McAdams
renatamc@bellsouth.net
Raleigh, NC

Deborah Pulliam wrote:

> -Men's nightcaps, until the 19th century, were *not* worn for sleeping (bed
> caps were), they were fashionable "undress" which meant  they were worn at
> home in informal situations, especially if the wearer habitually wore a wig
> (they were worn well into the 19c though, when wigs were no longer worn.)
>



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From: Susan Fatemi <susanf@netwiz.net>
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-Poster: Susan Fatemi <susanf@netwiz.net>

Hope H. Dunlap wrote:
> 
> -Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>
> 
> There is a costume book for mid-19th Century California and
> the far West, which I personally have not seen, so I don't
> know if it includes Russian immigrant costume of the type
> you want.
> 
> But it is by Rickman, David W. and called, Costume Manual:
> Guide to Clothing Worn in California and Far West ca. 1845.
> nd. Sutter's Fort.  detailed costume reconstruction: Euro &
> Native American, Californio, 121 Costume plates b/w and
> color, lg. 4to. notebook bound 202p.
> 

Thanks, Hope, I will pass on the info. I assume middle-class
Russian women would have worn the same clothing as any
Western woman in the 19th c., but I'm guessing that hunter's
or trader's wives would have worn more "peasant" type
clothing. Embroidered blouses? babushkas??

As I said, the info isn't for me, and I assume the lady
in question has some contact with Fort Ross as she is
planning to attend the event. I don't think she's going
for serious authenticity, just "dress up".

Susan
-- 
Oh Noh! Kimonos!
susanf@netwiz.net
http://www.netwiz.net/~susanf
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From owner-h-costume@indra.com  Sun Jan 17 20:45:38 1999
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Subject: RE: H-COST: 'baby walker' Elizabethan
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-Poster: Julie Adams <savaskan@sd.znet.com>

According to "Yesterday's Children" Leading strings were also used so that
adults could help little ones walk without falling.  It indicated that
prior to the 19th c, crawling was discouraged as "beast-like", so if
possible children were pushed directly to walking using leading strings and
walkers.

Julie Adams


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From owner-h-costume@indra.com  Sun Jan 17 20:55:01 1999
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Date: Sun, 17 Jan 1999 18:06:57 -0800
From: Lawrence Kincaid <lkincaid@wenet.net>
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-Poster: Lawrence Kincaid <lkincaid@wenet.net>

I still get the Winter Silks catalogue in the mail but I havent bought anything
from them in at least 3 years. The socks were two tight at the top and not
streachy enough and seemed to rough as well as the jocky type underwear (a knit)
was very rough. The neck openings on most of their long sleeved turtle necked
shirts is not set forward just a front and back of the same pattern. I believe
the designers are Asian and are doing the sizing for a smaller people population.
My overall opinion is that not much thought goes into the designing but then
knits make room for a lot of leeway. The company is honest and I love the state
of Wisconsin. I was always going to write them about their fabrics and designs
but never got around to it. I know that all these postings about Winter Silks are
off topic but then I felt compelled put this info out. sincerly larry Kincaid

koz@value.net wrote:

> -Poster: koz@value.net
>
> Date sent:              Sun, 17 Jan 1999 07:39:22 -0500
> To:                     h-costume-digest@indra.com
> From:                   Lynn Carpenter <alwen@i2k.com>
> Subject:                H-COST: Wintersilks
> Send reply to:          h-costume@indra.com
>
> >
> > Has anyone dealt with them recently?  I did an Altavista search to find the
> > URL
> > http://www.wintersilks.com/
> > and the second article was this one, which said they were filing for
> > Chapter 11 bankruptcy protection.  The article is dated August 6, 1988.
> > http://www.mediacentral.com/Magazines/CatalogAge/Weekly/98/1998080602.htm
> >
> > Anyone know if they have their finances straightened out?
> >
> > Lynn
> ___________________________________________________
>
> I believe my wife and I bought some things from wintersilks just last
> year...and I am sure that they sent us at least 2 new catalogs for
> Christmas sales and such.
>
> Hope this helps
>
> Michael
>
>  _________________________________________________________________
>  To leave this mailing list, send mail to majordomo@indra.com
>  with the message UNSUBSCRIBE H-COSTUME

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Subject: Re: H-COST: fort ross/ ethnic
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-Poster: Ron Carnegie <rcarnegie@widomaker.com>

At 12:28 PM 1/15/99 -0800, you wrote:
>
>-Poster: Susan Fatemi <susanf@netwiz.net>
>
>Some time ago there was a thread about what Russian women
>settlers at Fort Ross (Calif.) might have worn. I wasn't
>interested at the time, but my boss's wife and daughter
>want to "dress up" to go to some event there and he's
>asked if I could find any info. on it.
>  I lent him my Tilke book (explaining how much it would
>cost to replace it!) But if anyone has any info.
>specific to Fort Ross, I'd sure appreciate it.
>(I wallowed around in the archives, but couldn't find
>what I wanted, sorry)
>
Hmm...an ex-member of this list did a bit of work on this very subject.  He
also has a very good book available through Sutter's Fort (or at least it
was back when I was still in the Golden State).  We have a member on the
list now who works at the fort and may be able to help you with this.  Or
call the Fort Ross in Jenner and they can help you.  

Cheers,
Ron Carnegie
rcarnegie@widomaker.com
	*************************************************
	"The poetry of history lies in the quasi-miraculous fact that
	 once on this earth, on this familiar spot of ground walked
	 other men and women as actual as we are today, thinking
	 their own thoughts, swayed by their own passions but now
	 all gone, vanishing after another, gone as utterly as we 
	 ourselves shall be gone like ghosts at cockcrow."
				G.M. Trevelyan
	*************************************************

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From owner-h-costume@indra.com  Sun Jan 17 21:10:33 1999
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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: H-COST: WW II Help Kids clothing
Date: Sun, 17 Jan 1999 21:18:45 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

There's a terrific movie, made about 7 years back, on this
subject, but darned if I can remember the name of it.  Dad
was away at war, and Mom and the kids left the city to avoid
the bombing.  The boy got sent to boarding school, while the
girl and her mom stayed with relatives. It was filmed from
the point of view of the boy. The costuming was good.  My
favorite scene in the whole movie, was when the boy went
back to school from vacation and found it wasn't there
anymore, just a smoking pile of rubble.  The mothers in the
audience were thinking, "Oh, gee, just a few hours
different, and the children would have been bombed, too."
The boy in the movie, however, had a different take on it.
He rolled his eyes heavenwards, and in a heartfelt shudder
that came from his toes, he cried, "Thank-you, Hitler!"

He wore woolen shorts in winter and a matching wool jacket
and cap with brim.  Sometimes a knitted balaclava.  Mom wore
frocks, knee length, with cardigans. They seemed cold a good
deal, and did without a great deal in creature comforts.
Their home in the country was snug and safe and warm, full
of life, love, diversions, and fun, but of course the adults
were often quite worried about their loved ones in the
cities and the war, but they did not share this with the
children.

I wish I could remember the name of the movie for you,
because your children would appreciate it.

Hope H. Dunlap

-----Original Message-----
From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
Behalf Of Gerekr@aol.com
Sent: Sunday, January 17, 1999 2:10 PM
To: h-costume@indra.com; h-costume-digest@indra.com
Subject: Re: H-COST: WW II Help Kids clothing



-Poster: Gerekr@aol.com

On 1/15/99 11:35 AM you wrote:

>-Poster: Melanie Wilson <MelanieWilson@compuserve.com>
>
>Has anyone any pictures of Children in Britain in World War
2 they could
>scan and send me for my daughters school project ?
>
>Also any kids games & special memories of food ?
>
>Thanks
>
>Mel

I just happen to have at home a book from the children's
section of the
public library called "After the war was over" by the
illustrator Michael
Foreman.  It's his personal recollections of the period,
mostly in
watercolor but with a few photos thrown in, in which the
children's or
other clothing corresponds 100% to that in the
illustrations...

The point being that Mr Foreman has also written an
"award-winning" book,
titled "War Boy", which is about himself during the war
years.  If in the
same style, that might be a good place to look for all
three, clothes,
games and food.

I'm pretty sure both of these were published in GB first, as
he still
lives there, so that might be of some assistance, if you
have time to
collect them.

About food, my library also has recently received "Food and
Feasts
Between the Wars", a children's series, no idea how
available where you
are, that might be pertinent; it would have factual
reproductions mostly,
vs. illustrations, as it follows the other titles in the
series I've seen
(F&F in the Middle ages, Ren, with the Vikings, Victorians,
etc. as I
recall).  Based on Vikings and MA books, the text may not be
100%, but
the illustrations are fine.

Good luck,
Chimene/Patsy

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From: lilinah@grin.net
Subject: Re: H-COST: nightcaps
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-Poster: lilinah@grin.net

Deborah Pulliam wrote:
> -Men's nightcaps, until the 19th century, were *not* worn for sleeping (bed
> caps were), they were fashionable "undress" which meant  they were worn at
> home in informal situations, especially if the wearer habitually wore a wig
> (they were worn well into the 19c though, when wigs were no longer worn.)

Renata McAdams responded:
>What a fascinating piece of information! Did men during that period of
>time, also
>wear hats indoors (in addition to the fashion) because it was considered
>improper
>to expose the head?

When you consider that most houses in the past had much poorer heating than
we have in the Western world since the mid-century (a few fireplaces here
and there, and bed-warming-pans), and considering that many wig-wearers had
little head hair, it makes sense that men would wear a head-covering
indoors, other reasons aside (such as "morality").

Renata McAdams continued:
>Interesting how customs change.  During the 1950s when I was a little girl and
>until my dad passed away in 1980 (he was born in 1890), he (and other gents of
>his era) always wore a hat outside, but it was considered rude and in poor
>taste
>if one did not remove the hat when coming inside a house or church. And,
>tipping
>one's hat to a woman in greeting was considered the norm.

Customs often change, albeit sometimes reluctantly, as technology changes.
Of course, women wore (and some still wear) hats in church, although i
believe it is generally considered proper to take them off indoors
otherwise, unless one is Hedda Hopper :-) Hats are often more a "fashion
thing" nowadays, except when worn to protect one from the elements
out-of-doors.

Lilinah


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From owner-h-costume@indra.com  Sun Jan 17 21:22:20 1999
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Subject: Re: H-COST: Elizabethan sites
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-Poster: Julie Adams <savaskan@sd.znet.com>

>Are there any Elizabethan or Renaissance sites out there?

I have some 16th c German info on my site and other Cool 16th c links from
the link at the bottom of the page.

http://www.znet.com/~savaskan/germans/

Julie Adams


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Subject: Re: H-COST: On the subject of children & puzzles
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-Poster: Julie Adams <savaskan@sd.znet.com>

>Isn't the outfit on Giovanni de Medici strange for a child?  You can see leg!
>
>http://gallery.euroweb.hu/art/b/bronzino/portrait/g_medici.jpg
>
>Cheers,
>Danielle

This kind of short doublet or even little waffenrocks seem to be pretty
common in the early 16th c in Germany and Italy. In the summer most kids in
that age group seem to run around in short sleeved white shirts about that
length  (what I'd call short tunic length) and not much else.

Julie Adams


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From owner-h-costume@indra.com  Sun Jan 17 21:29:23 1999
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Subject: RE: H-COST: fort ross/ ethnic
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-Poster: Ron Carnegie <rcarnegie@widomaker.com>

At 10:09 PM 1/16/99 -0500, you wrote:

>
>While doing a search on the Bookfinder web site for this (alas, they 
>don't have it), I came across another title that sounded like a 
>possibility - Early California Costumes 1769 - 1850 by  Margaret 
>Gilbert MacKey and Louis Pinkney Sooy.  Not having seen the 
>book, I likewise can't say if it covers Russian immigrant clothing.  
>
>
>
There really was not a lot of Russian immigrant clothing to be seen at Ft
Ross.  Most of the women present were not Russians at all but Meti (as I
recall).  The Fort was built to gather otter skins, not to settle Russian
California.  Most of the real work at Fort Ross was done by these indians,
including the hunting of the otters.

There were women there, but they were mostly the indian wives of the indian
and russian employees of the fort.  I recall that at least one of the
leaders of the Fort brought his Russian wife, but they Russian women were
far and few between.  (Regardless of this fact a number of female
participants of Ft. Ross' living history day wear a russian peasent gown
which has a name that I forget.  Some of these re-enactors also wear
standard european clothing.

        The Fort used to dress at about 1835, but I think they changed there
year some few years ago.

Cheers,
Ron Carnegie
rcarnegie@widomaker.com
	*************************************************
	"The poetry of history lies in the quasi-miraculous fact that
	 once on this earth, on this familiar spot of ground walked
	 other men and women as actual as we are today, thinking
	 their own thoughts, swayed by their own passions but now
	 all gone, vanishing after another, gone as utterly as we 
	 ourselves shall be gone like ghosts at cockcrow."
				G.M. Trevelyan
	*************************************************

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-Poster: Ron Carnegie <rcarnegie@widomaker.com>

At 08:42 PM 1/17/99 -0500, you wrote:
>
>-Poster: Renata McAdams <renatamc@bellsouth.net>
>
>What a fascinating piece of information! Did men during that period of
time, also
>wear hats indoors (in addition to the fashion) because it was considered
improper
>to expose the head?
>
>Interesting how customs change.  During the 1950s when I was a little girl and
>until my dad passed away in 1980 (he was born in 1890), he (and other gents of
>his era) always wore a hat outside, but it was considered rude and in poor
taste
>if one did not remove the hat when coming inside a house or church. And,
tipping
>one's hat to a woman in greeting was considered the norm.
>
        There was no social requirement to remove one's hat simply because
one was indoors in the 18th Century.  Several prints document this as well
as the Minuet, which uses the hat as a prop.  It was required that hats be
removed in Church and Court, though, at least according to Virginia law Jews
and Quakers were exempt from this activity in court, in light of their
religious believes. 

Cheers,
Ron Carnegie
rcarnegie@widomaker.com
	*************************************************
	"The poetry of history lies in the quasi-miraculous fact that
	 once on this earth, on this familiar spot of ground walked
	 other men and women as actual as we are today, thinking
	 their own thoughts, swayed by their own passions but now
	 all gone, vanishing after another, gone as utterly as we 
	 ourselves shall be gone like ghosts at cockcrow."
				G.M. Trevelyan
	*************************************************

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From owner-h-costume@indra.com  Sun Jan 17 21:47:44 1999
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-Poster: The Purple Elephant <csmart@physics.adelaide.edu.au>

On Sun, 17 Jan 1999 lilinah@grin.net wrote:

> 
> Renata McAdams responded:
> >What a fascinating piece of information! Did men during that period of
> >time, also
> >wear hats indoors (in addition to the fashion) because it was considered
> >improper
> >to expose the head?
> 
> When you consider that most houses in the past had much poorer heating than
> we have in the Western world since the mid-century (a few fireplaces here
> and there, and bed-warming-pans), and considering that many wig-wearers had
> little head hair, it makes sense that men would wear a head-covering
> indoors, other reasons aside (such as "morality").

You quite often see illuminations of mediaeval couples in bed wearing nothing
but their hats. Sometimes they just have a bit of linen wrapped around
their heads, sometimes full on fashionable headdresses.

------------------------------------------------------------------------------
Claire F. Clarke       "What is this world if, full of care, 
Physicist, writer,     We have no time to stand and stare?"
and non environmentally                     Robert Louis Stevenson
friendly substance.
------------------------------------------------------------------------------

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From owner-h-costume@indra.com  Sun Jan 17 22:42:54 1999
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-Poster: Gerekr@aol.com

So, the world skips directly from Rome to the 15th C.?  Good thing we 
usually multi-task while the tube is on anyway.

Chimene & Gerek
disappointed but not surprised

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-Poster: The Purple Elephant <csmart@physics.adelaide.edu.au>

On Sun, 17 Jan 1999 Gerekr@aol.com wrote:

> 
> -Poster: Gerekr@aol.com
> 
> So, the world skips directly from Rome to the 15th C.?  Good thing we 
> usually multi-task while the tube is on anyway.

Well it does in Italy anyway....few people seem interested in what
happened there between Rome and the Renaissance *grin*

------------------------------------------------------------------------------
Claire F. Clarke       "What is this world if, full of care, 
Physicist, writer,     We have no time to stand and stare?"
and non environmentally                     Robert Louis Stevenson
friendly substance.
------------------------------------------------------------------------------

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-Poster: Seton1355@aol.com

>>  You quite often see illuminations of mediaeval couples in bed wearing
nothing but their hats>>

Why do you think this was?  Were they painted right after or before making
love?  It was too cold (most of the time) to hang about naked.
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-Poster: Anah <anah@tymeportal.com>



I'm trying to find this place...Help?  I kno it's in deleware, yet when
I call to TRY and get a # I get "what city"? 

I have NO idea!  My ignorance is showing here I'm afraid.  Help?
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-Poster: The Purple Elephant <csmart@physics.adelaide.edu.au>

On Sun, 17 Jan 1999 Seton1355@aol.com wrote:

> 
> -Poster: Seton1355@aol.com
> 
> >>  You quite often see illuminations of mediaeval couples in bed wearing
> nothing but their hats>>
> 
> Why do you think this was?  Were they painted right after or before making
> love?  It was too cold (most of the time) to hang about naked.
I don't know, though it mostly seems to be married couples so depicted.
I've seen lovers drawn lying on a bed fully clothed. Also in the Museum
of London Dress Accessories book (I think) there's a reproduction of
a quite blatant drawing of two people making love behind a market stall.
Both are fully clothed (apart from the necessary skirts up, pants down).

------------------------------------------------------------------------------
Claire F. Clarke       "What is this world if, full of care, 
Physicist, writer,     We have no time to stand and stare?"
and non environmentally                     Robert Louis Stevenson
friendly substance.
------------------------------------------------------------------------------

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From owner-h-costume@indra.com  Sun Jan 17 23:25:12 1999
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-Poster: PiranhaBB@aol.com

Hope and Glory was a nice movie depiction of middle class England during WW
II.

Best regards,

Lisa
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From owner-h-costume@indra.com  Sun Jan 17 23:36:29 1999
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-Poster: Lee Carter <mouse@well.com>

Another good movie is National Velvet and Mrs. Miniver.   Shows what kids
wore before and during the War.  The modern remake of "Goodbye Mr. Chips"
with Michael Caine and Petula Clark is very good in the clothing dept.   

Lee Carter

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From owner-h-costume@indra.com  Sun Jan 17 23:46:19 1999
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From: Margretta de Vries <smstrss@yahoo.com>
Subject: Re: H-COST: Elizabethan sites
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-Poster: Margretta de Vries <smstrss@yahoo.com>


---Julie Adams <savaskan@sd.znet.com> wrote:
> I have some 16th c German info on my site and other 
> Cool 16th c links from the link at the bottom of the 
> page.
> http://www.znet.com/~savaskan/germans/

Julie, 
Thanks so much for sharing this!  The information you've compiled is
amazing, and I highly recommend that anyone who hasn't gone there yet
should definitely do so!!!


==

Margretta de Vries

_________________________________________________________
DO YOU YAHOO!?
Get your free @yahoo.com address at http://mail.yahoo.com

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From owner-h-costume@indra.com  Mon Jan 18 01:33:23 1999
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From: "Penny E. Ladnier" <penny.creative.outlets@erols.com>
To: "costume newsgroup" <h-costume@indra.com>
Subject: H-COST: Handbook of German Costume
Date: Mon, 18 Jan 1999 01:40:27 -0500
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-Poster: "Penny E. Ladnier" <penny.creative.outlets@erols.com>

I just gave a makeover to one of my websites, Handbuch der Deutschen Tracht
(The Handbook of German Dress).  It is located at
http://www.costumegallery.com/germbook.htm  This is a German historic
costume book printed in 1892.  I placed online costume images from 1200 -
late 1800s (about 150 images).  There are three main areas, the color
plates, hair & headdress (my favorite), and poor people.  The enlargement
links are all functional.  Many of the enlargements are grainy but I do not
intend to re-scan them until this summer.  This book was one of my first big
projects when I began my website in 1995. I have learned a lot since first
scanning these images.  But the site is fun to learn from.

Later...Penny
http://www.costumegallery.com

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From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: Re: H-COST: undergarments
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>


 I
>also have a Vogue bustier pattern (9273 - I think it is still current)
>and view B has fitted cups on it with an integrated strap (no seam
>attachment to the top of the cup) that I am going to alter (shorten)
>and turn into a bra pattern.  

I got that pattern from Vogue, then spent over an hour re-fitting it.  The
cups are too close together AND too small.  My fitter and I had to redesign
as we went.

>There are patterns available out there for making your own bras,
>panties, and other lingeree.  

All in my teenager's size...  


Kayta
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From owner-h-costume@indra.com  Mon Jan 18 01:33:28 1999
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Subject: H-COST: corset/bra support idea
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>

A friend of mine, who is similarly built and also makes Victorian corsets,
suggested using a solid bone in the center front of a corset/bra garment
instead of underwires.  She was talking about the large kind of bone you
can salvage out of those leg braces you can sometimes find in thrift
stores.  It would be like the 1700's/early 1800's solid busks instead of
like the later 1800's front-opening ones.  

The busk idea ought to work.  The anatomy would be supported from the
center like a suspension bridge is supported.  It would be still necessary
to bone the sides and back to prevent wrinkling, but that's OK with me.  It
might need straps to keep it from shifting, but not seriously load-bearing
ones.  I think I'd also want to put a hook placket where I could reach it
from the front, so I could get in and out by myself.  Maybe on the side
somewhere?

Anybody got any opinions on this idea?


Kayta
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From owner-h-costume@indra.com  Mon Jan 18 01:33:35 1999
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Subject: Re: H-COST: cartridge pleats
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>


>... I knew that in order for me
>to get the 'full' pleating effect I wanted, I had to hand stitch it.  This
>of course is only my opnion and others may not agree; that's ok...

How can one do cartridge-pleating on a home sewing machine?  My presser
foot doesn't lift high enough to allow it.  And even if I removed the
presser foot to get more clearance, the machine would choke on the
thickness.  (It was bad enough when I felled the seams on my tent.)


Kayta
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-Poster: "Connie Carroll" <Connie.Bunny@worldnet.att.net>


> > So, the world skips directly from Rome to the 15th C.?  Good thing
> > we usually multi-task while the tube is on anyway.
> 
> Well it does in Italy anyway....few people seem interested in what
> happened there between Rome and the Renaissance *grin*

This was an interesting show but it has a lot of gaps.Also errors. 
The main one that comes to mind was when they talked about the bra 
that Jane Russell wore for The OutLaw. A&E had just run thier 
biograpghy show on Jane Russel where it told about Howard Hughs 
designing an airo-dynamic bra for Russell but she didn't like it. She 
didn't wear it and never told Hughs so aparently couldn't tell the 
difference.

That was funny.



Kassandra NickKraken
JUST CALL ME MISTRESS BUNNY
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Subject: RE: H-COST: fort ross/ ethnic
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>

(Regardless of this fact a number of female
>participants of Ft. Ross' living history day wear a russian peasent gown
>which has a name that I forget.  

Sarafan is the name of the dress.  It looks like an armpit-high skirt with
shoulder straps, and a buttoned front closure all the way down.  It is
cleverly made from a large half circle, and it looks cone-shaped when worn.
 My copy of Tilke has one. 

The head scarf thing we now call a babushka (I don't remember the name for
it) is usually worn over another thing sort of like a cap.  This 'cap' is
sometimes large and uncaplike, and encrusted with seed pearls in extreme
cases of peasant wealth.  The name I have for the 'cap' is kokochnik, tho I
think there are many other names for it as the shape varies. 

This only applies for Russian peasants living in Russia.  I don't know what
they really wear at Ft. Ross because I have never played there.


Kayta
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From owner-h-costume@indra.com  Mon Jan 18 02:50:35 1999
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From: "karrissa david" <arizona63@hotmail.com>
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Subject: RE: H-COST: fort ross/ ethnic
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-Poster: "karrissa david" <arizona63@hotmail.com>

>The head scarf thing we now call a babushka


That is wierd.  I was taught that Babushka means grandmother.

Karrissa



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Date: Mon, 18 Jan 1999 00:45:09 +0000
From: Dietmar <dietmar@pacbell.net>
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-Poster: Dietmar <dietmar@pacbell.net>

Greetings,

I found some wonderful raw silk in a bright yellow and I'd like to darken it
to a golden color.  I'm not a tea drinker, but coffee is always at hand.

Is coffee an acceptable substitute for tea darkening?

Do I need to add salt as a mordant?

Should I use a vinegar bath to set the color afterward?

Thank you in advance,

Dietmar


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Date: Mon, 18 Jan 1999 00:41:55 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: RE: H-COST: fort ross/ ethnic
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>


>
>>The head scarf thing we now call a babushka
>
>
>That is wierd.  I was taught that Babushka means grandmother.

It does.  We now call that scarf by that name because after a while it
became associated with grandmothers.  By the 1950's almost nobody else wore
them.  The scarf thing's real name is something else. 


Kayta
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From: "Christopher Ballis" <stilskin@netspace.net.au>
To: <h-costume@indra.com>
Subject: Re: H-COST: Tea Darkening
Date: Mon, 18 Jan 1999 20:02:26 +1100
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-Poster: "Christopher Ballis" <stilskin@netspace.net.au>

Hey, list,

On the subject of colouring with coffee...

An old friend was a navy officer stationed in Darwin (northern Australia)
during the early years of the war in the Pacific.

When Darwin was bombed it was realised that the sailors needed something
other than their whites so they would be harder to see. Seeing that new
clothing would be some time in coming, my friend tells me that he and his
fellow were ordered to boil their clothes in coffee.

So, the answer is, yes.

As an aside, I used the coffee suggestion to take the sting out of some
fabric for a monk's robe some years back and it worked well (I spooned a
whole heap of it into my big old washing machine and ran it through a very
hot cycle...I guess you could boil on the stove or in a copper (a boiling
drum, not a policeman).

I used salt afterwards but, having no non-salt test, cannot say whether it
really aided the process - can't hurt, though.


-C.

> Is coffee an acceptable substitute for tea darkening?

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Date: Mon, 18 Jan 1999 01:12:37 -0800
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From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: Re: H-COST: Tea Darkening
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>


>I found some wonderful raw silk in a bright yellow and I'd like to darken it
>to a golden color.  I'm not a tea drinker, but coffee is always at hand.
>
>Is coffee an acceptable substitute for tea darkening?

I am told that caffeine free tea is better, as it is better for the cloth
(no acid).  I would therefore recommend caffeine free coffee, it having no
other use IMHO.


Kayta
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From owner-h-costume@indra.com  Mon Jan 18 07:06:24 1999
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Date: Mon, 18 Jan 1999 07:15:02 -0500
Subject: Re: H-COST: Tea Darkening
Message-ID: <19990118.071537.3678.1.Alysea@juno.com>
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-Poster: alysea@juno.com (Karen J Farris)

It also depends on the color you are trying to achieve. Tea will have
pink overtones, coffee more yellow. I use coffee more than tea.

Karen Farris

On Mon, 18 Jan 1999 01:12:37 -0800 Carolyn Kayta Barrows <kayta@slip.net>
writes:
>
>-Poster: Carolyn Kayta Barrows <kayta@slip.net>
>
>
>>I found some wonderful raw silk in a bright yellow and I'd like to 
>darken it
>>to a golden color.  I'm not a tea drinker, but coffee is always at 
>hand.
>>
>>Is coffee an acceptable substitute for tea darkening?
>
>I am told that caffeine free tea is better, as it is better for the 
>cloth
>(no acid).  I would therefore recommend caffeine free coffee, it 
>having no
>other use IMHO.
>
>
>Kayta
>     ////.\\\
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From owner-h-costume@indra.com  Mon Jan 18 07:43:07 1999
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From: Calvin Girvin <calvingirvin@yahoo.com>
Subject: H-COST: Benedictine Habit
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-Poster: Calvin Girvin <calvingirvin@yahoo.com>

I am searching for information on constructing an authentic
Benedictine monastic habit as commonly worn by monks in Northern
Europe during the nineteenth century. Any information you can direct
me to will be greatly appreciated.
Cal




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From owner-h-costume@indra.com  Mon Jan 18 08:19:31 1999
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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: H-COST: Hope and Glory: WW II Movie
Date: Mon, 18 Jan 1999 08:13:57 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

Thanks, Lisa, this was the movie I was thinking of.  I
described the scene where the little boy cries "Thank you,
Hitler!" to my 9-year-old, and it was something he could
really relate to!  Off to the video store to rent it now!

Hope H. Dunlap

-----Original Message-----
From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
Behalf Of PiranhaBB@aol.com
Sent: Sunday, January 17, 1999 11:33 PM
To: h-costume-digest@indra.com
Subject: H-COST: Hope and Glory: WW II Movie



-Poster: PiranhaBB@aol.com

Hope and Glory was a nice movie depiction of middle class
England during WW
II.

Best regards,

Lisa

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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

I saw National Velvet, and it is terrific for this.  Haven't
seen Mrs. Miniver, but I understand it is also a classic.
Try a search on http://www.metacrawler.com, the search
engine which combines several search engines, for these
movies, children in W.W.II, etc. Your local library may have
magazines and newspapers in their stacks or on microfilm
dating back to the W.W.II years, and these would be very
interesting for your children.

Hope H. Dunlap


-----Original Message-----
From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
Behalf Of Lee Carter
Sent: Sunday, January 17, 1999 11:44 PM
To: h-costume@indra.com
Subject: H-COST: WWII Help-- Kids Clothing



-Poster: Lee Carter <mouse@well.com>

Another good movie is National Velvet and Mrs. Miniver.
Shows what kids
wore before and during the War.  The modern remake of
"Goodbye Mr. Chips"
with Michael Caine and Petula Clark is very good in the
clothing dept.

Lee Carter


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From owner-h-costume@indra.com  Mon Jan 18 08:48:22 1999
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-Poster: Mary Denise Smith <costumemag@earthlink.net>

I would contact you nearest Benedictine convent or abbey. Call your diocesan office and ask where
they are.

When I was in high school in Los Angeles in the '60s, the Mother Superior of my convent school was
the consultant for the Benedictine habits worn in the movie version of The Sound of Music.

Of course, all this presumes you are doing honest, scholarly work and not making some Grade B film
of "Lusty Nuns".

Mary Denise Smith

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From owner-h-costume@indra.com  Mon Jan 18 08:54:12 1999
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-Poster: Viv Watkins <ht40@dial.pipex.com>

I have just come across a review in the current 'Times Literary
Supplement', of a book called "Ladies Errant: Wayward women and social
order in early modern Italy" by Deanna Shemek.  It discusses social
attitudes to various non-conformist women in Rennaisance Italy and,
includes a couple of chapters on prostitutes.  The review does not
mention costume but it might be worth a look.  It is an American
publication - Drake University Press, and Amazon have the paperback at 18
dollars - it is as much in pounds in England!  Your books are so much
cheaper than ours - sigh!  The ISBN is 0 8223 2167X.

If anyone does read it - please let us have a proper costume-related
review!

Best wishes.      Viv.

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From owner-h-costume@indra.com  Mon Jan 18 09:28:27 1999
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To: h-costume@indra.com
Date: Mon, 18 Jan 1999 09:34:10 +0000
Subject: Re: H-COST: Tea Darkening
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-Poster: "Connie Carroll" <Connie.Bunny@worldnet.att.net>

I'm sure I read somewhere that coloring fabric with tea/coffee would 
age the fabric more  plus make the fabric more susceptible to damage

Kassandra NickKraken
> -Poster: alysea@juno.com (Karen J Farris)
> 
> It also depends on the color you are trying to achieve. Tea will
> have pink overtones, coffee more yellow. I use coffee more than tea.
> 
> Karen Farris
> 
> On Mon, 18 Jan 1999 01:12:37 -0800 Carolyn Kayta Barrows
> <kayta@slip.net> writes: > >-Poster: Carolyn Kayta Barrows
> <kayta@slip.net> > > >>I found some wonderful raw silk in a bright
> yellow and I'd like to >darken it >>to a golden color.  I'm not a
> tea drinker, but coffee is always at >hand. >> >>Is coffee an
> acceptable substitute for tea darkening? > >I am told that caffeine
> free tea is better, as it is better for the >cloth >(no acid).  I
> would therefore recommend caffeine free coffee, it >having no >other
> use IMHO. > > >Kayta >     ////.\\\ >    ////-@@\\\ >   ((((   7 (((
> >     |   -- )))) >     * )   ((((( >  /----\   /---\ > >
> _________________________________________________________________ >
> To leave this mailing list, send mail to majordomo@indra.com > with
> the message UNSUBSCRIBE H-COSTUME >
> 
> ___________________________________________________________________
> You don't need to buy Internet access to use free Internet e-mail.
> Get completely free e-mail from Juno at
> http://www.juno.com/getjuno.html or call Juno at (800) 654-JUNO
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From owner-h-costume@indra.com  Mon Jan 18 09:36:47 1999
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Date: Mon, 18 Jan 1999 09:47:08 -0400
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-Poster: Laurel Wilson <lwilson16@earthlink.net>

I have to admit that I couldn't watch more than about the first five
minutes of this:  after they'd referred three different times to
underclothing being fetishized in the Victorian era and shown
eighteenth-century illustrations each time, I turned it off.  Do I
gather from your comments that it didn't get better?
Lauri

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From owner-h-costume@indra.com  Mon Jan 18 09:41:31 1999
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-Poster: Laurel Wilson <lwilson16@earthlink.net>



karrissa david wrote:

>
>
> >The head scarf thing we now call a babushka
>
> That is wierd.  I was taught that Babushka means grandmother.
>
>

My understanding is that it's used for both, presumably since older
women were more likely to wear that style of head scarf.
Lauri


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From owner-h-costume@indra.com  Mon Jan 18 10:06:20 1999
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From: "Cal Girvin" <girvin@texoma.net>
To: <h-costume@indra.com>
Subject: RE: H-COST: Benedictine Habit
Date: Mon, 18 Jan 1999 09:19:19 -0600
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-Poster: "Cal Girvin" <girvin@texoma.net>

Mary Denise, thank you for your assistance.
Cal

> -----Original Message-----
> From: owner-h-costume@indra.com [mailto:owner-h-costume@indra.com]On
> Behalf Of Mary Denise Smith
> Sent: Monday, January 18, 1999 8:01 AM
> To: h-costume@indra.com
> Subject: Re: H-COST: Benedictine Habit
> 
> 
> 
> -Poster: Mary Denise Smith <costumemag@earthlink.net>
> 
> I would contact you nearest Benedictine convent or abbey. Call 
> your diocesan office and ask where
> they are.
> 
> When I was in high school in Los Angeles in the '60s, the Mother 
> Superior of my convent school was
> the consultant for the Benedictine habits worn in the movie 
> version of The Sound of Music.
> 
> Of course, all this presumes you are doing honest, scholarly work 
> and not making some Grade B film
> of "Lusty Nuns".
> 
> Mary Denise Smith
> 
>  _________________________________________________________________
>  To leave this mailing list, send mail to majordomo@indra.com
>  with the message UNSUBSCRIBE H-COSTUME
> 
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From owner-h-costume@indra.com  Mon Jan 18 10:17:57 1999
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To: "'h-costume@indra.com'" <h-costume@indra.com>
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-Poster: Betsy Perry <betsyp@roguewave.com>


>   Do I
> gather from your comments that it didn't get better?
> Lauri

It didn't.  After 20 minutes of shouting at the TV set, I turned it off.
You missed the wonderful corset collage -- discussing 16th-century
corsets while cross-cutting between 18th-century and 19th-century
corsets.  Oh, and they propagated the iron-corset-as-everyday-wear myth,
too.

My husband commented, "This is the most content-free TV I've ever seen."
It was very obviously a pretext to run modern girlie photographs.  (How
_do_ they airbrush the nipples out of video images?)
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From owner-h-costume@indra.com  Mon Jan 18 10:23:47 1999
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To: h-costume@indra.com
cc: h-costume-digest@indra.com
Subject: Re: H-COST: Wintersilks
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-Poster: Sue Toorans <suetoo@svpal.org>

On Sun, 17 Jan 1999, Lynn Carpenter wrote:

> 
> -Poster: Lynn Carpenter <alwen@i2k.com>
> 
> "Matt Dragonfly Drury" <matt@csi.com> wrote:
> >
> >>You can mail order silk underwear, both men's and women's, from
> >>Wintersilks,
> >
> >
> >Satisfied customer as well. Our order was lost days before we were going up
> >to DC from Orlando (brr), and they shipped a replacement with enough time
> >for us to enjoy them.
> 
> Has anyone dealt with them recently?  I did an Altavista search to find the

   I have.  And they just sent me another catalog within the last couple
of weeks.  

> URL
> http://www.wintersilks.com/
> and the second article was this one, which said they were filing for
> Chapter 11 bankruptcy protection.  The article is dated August 6, 1988.
> http://www.mediacentral.com/Magazines/CatalogAge/Weekly/98/1998080602.htm
> 
> Anyone know if they have their finances straightened out?
> 
> Lynn
> 
>  _________________________________________________________________
>  To leave this mailing list, send mail to majordomo@indra.com
>  with the message UNSUBSCRIBE H-COSTUME
> 

   Sue                         I am *NOT* a rabid feminist!
                               I had my shots last year.

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From owner-h-costume@indra.com  Mon Jan 18 10:45:35 1999
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To: h-costume@indra.com
From: Chantal Pecourt <chanty@idsi.net>
Subject: RE: H-COST: A&E Unmentionables
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-Poster: Chantal Pecourt <chanty@idsi.net>

 I agree
	It was the most content free tv show I have seen in a long time. I was
rather dissapointed.I had expected more of the history and evolution of
underware from early middle ages through today, but alas, it was not so.
Perhaps the TV execs thought we would not be able to pay attention to
something like that :-)
> (How
>_do_ they airbrush the nipples out of video images?)

I was wondering the same thing!!!


Chantal






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From owner-h-costume@indra.com  Mon Jan 18 11:05:26 1999
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From: Sylvia Rognstad <sylvia@netherworld.com>
To: h-costume@indra.com
Subject: Re: H-COST: Joy Trim
In-Reply-To: <36A2B2E0.575D817D@tymeportal.com>
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-Poster: Sylvia Rognstad <sylvia@netherworld.com>

> 
> -Poster: Anah <anah@tymeportal.com>
> 
> I'm trying to find this place...Help?  I kno it's in deleware, yet when
> I call to TRY and get a # I get "what city"? 
> 
You dont mean JAy Trims in NY, by any chance, do you?

Sylvia

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From owner-h-costume@indra.com  Mon Jan 18 11:11:24 1999
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-Poster: Anah <anah@tymeportal.com>

no,  Joy trim in Delaware, but I kept getting asked "what city"  I
couldn't tell them.
but, it's at 212 west 9th Street in Wilmington DE the phone # is
302-654-4108 

also, I was given another way to find things, so that helped immensely.

www.switchboard.com

Sylvia Rognstad wrote:
> > -Poster: Anah <anah@tymeportal.com>
> >
> > I'm trying to find this place...Help?  I kno it's in deleware, yet when
> > I call to TRY and get a # I get "what city"?
> >
> You dont mean JAy Trims in NY, by any chance, do you?
> 
> Sylvia
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From owner-h-costume@indra.com  Mon Jan 18 11:23:39 1999
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From: "Chandler, Sally" <S.A.Chandler@shu.ac.uk>
To: "'h-costume@indra.com'" <h-costume@indra.com>
Subject: H-COST: Silk Cords
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-Poster: "Chandler, Sally" <S.A.Chandler@shu.ac.uk>

I want to make some silk cords and braids for the 15th century.  I have no 
problem getting hold of the silk but don't know whether I should get the 
shiny, smooth sort or the softer looking, slightly fluffy sort.  Does 
anyone know what is authentic for the period?

Many thanks,

Sally Ann

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From owner-h-costume@indra.com  Mon Jan 18 11:42:25 1999
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-Poster: Margo Anderson <margo@directcon.net>

At 09:18 PM 1/17/99 -0500, you wrote:
>
>-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>
>
>There's a terrific movie, made about 7 years back, on this
>subject, but darned if I can remember the name of it. 

"Hope and Glory".  Yes, it's a fabulous movie!

Margo

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From owner-h-costume@indra.com  Mon Jan 18 12:26:40 1999
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From: "Allison Thurman" <athurman@cybergal.com>
To: <h-costume@indra.com>
Subject: H-COST: A&E unmentionables
Date: Mon, 18 Jan 1999 12:37:00 -0500
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-Poster: "Allison Thurman" <athurman@cybergal.com>

i agree that the show is not all it could be - my biggest peeve is that it
showed too much modern stuff, and besides the roman/15th c. gap, little was
discussed about what wwI era women wore if they werent wearing steel. but
what can you expect in 2 hours? i did like that they covered the marketing
aspects, and with tv you do get to see how some of the more complicated
items moved in situ. a decent try, imho.

personally im pleased that a&e networks finally did a show about costume. im
a frequent watcher of a&e and the history channel and this is the first time
ive seen ANYTHING about it - history of guns, warfare, toys, holidays,
food....but not clothing.
i actually sent them a feedback email asking for more of the same!

did anyone get this on tape? my vcr somehow taped static. please email me
privately if you did, id like a copy!

if anyone else wants to email a&e with commendations/gripes, the url is:
http://www.4cities.com/cgi-perl/rfr.cgi?l=http://www.aetv.com/index2.html

allison

p.s. elizabeth I (or anyone else) DIDNT really wear iron corsets did they?


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From owner-h-costume@indra.com  Mon Jan 18 12:47:21 1999
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Date: Mon, 18 Jan 1999 09:45:21 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: Re: H-COST: Benedictine Habit
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>


>I am searching for information on constructing an authentic
>Benedictine monastic habit as commonly worn by monks in Northern
>Europe during the nineteenth century. Any information you can direct
>me to will be greatly appreciated.

I think there are still Benedictines you could contact.  They'd know all
about that.  See if they have a web site.  Many cloistered 20th-century
monks do these days, especially the ones who engage in e-commerce. 


Kayta
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From owner-h-costume@indra.com  Mon Jan 18 12:47:34 1999
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Date: Mon, 18 Jan 1999 09:48:33 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: Re: H-COST: Tea Darkening
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>


>I'm sure I read somewhere that coloring fabric with tea/coffee would 
>age the fabric more  plus make the fabric more susceptible to damage

That's why I heard to use caffeine-free tea/coffee.


Kayta
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From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: Re: H-COST: Wayward Women
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>

it is as much in pounds in England!  Your books are so much
>cheaper than ours - sigh!  

Yes, but your books are not as cheap to us as to you - sigh from this side
of 'the Pond'. 


Kayta
     ////.\\\
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     * )   (((((
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From owner-h-costume@indra.com  Mon Jan 18 13:59:41 1999
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-Poster: lilinah@grin.net

Betsy Perry queried:
>How _do_ they airbrush the nipples out of video images?

Same way they colorize videos. Computer technology is quite versatile.
There are special set-ups for altering videos. No need to resort to
hand-tools like air-brushes. Or to painting on film, the way the Melies
brothers hand-colored all their films from the 1890's (such as "A Trip to
the Moon"). A healthy dose of tightly corseted, scantily clad dancing girls
in these, among the very first movies.

Lilinah


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From owner-h-costume@indra.com  Mon Jan 18 14:04:31 1999
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To: <h-costume@indra.com>
Subject: H-COST: RE: kakofnitch
Date: Mon, 18 Jan 1999 14:12:25 -0500
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-Poster: "Kerry Cotter" <kerryc@staffing.net>

Can anyone tell me what the above referenced word is?  I know it's a
coostuming term.

Thanks.

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From owner-h-costume@indra.com  Mon Jan 18 14:20:50 1999
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Subject: RE: H-COST: fort ross/ ethnic
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-Poster: Joan M Jurancich <joanj@quiknet.com>

At 02:51 AM 01/18/1999 EST, karrissa david wrote:
>
>-Poster: "karrissa david" <arizona63@hotmail.com>
>
>>The head scarf thing we now call a babushka
>
>
>That is wierd.  I was taught that Babushka means grandmother.
>
>Karrissa

Actually, the babushka is the head scarf. It came to mean "grandmother"
because it was worn mostly by older women after the fashion had changed. Of
course, I seem to have buried my Russian language texts the last time I
rearranged my bookshelves ... and it's been far too long since I studied the
language to dredge up the proper word for "grandmother" from depths of my
memory <sigh>. The formal word for "mother" is "matya" (IIRC), but
"grandmother" still escapes me.



Joan Jurancich
Sacramento, CA
joanj@quiknet.com

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From owner-h-costume@indra.com  Mon Jan 18 14:26:34 1999
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From: Joan M Jurancich <joanj@quiknet.com>
Subject: Re: H-COST: Silk Cords
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-Poster: Joan M Jurancich <joanj@quiknet.com>

At 04:34 PM 01/18/1999 -0000, Chandler, Sally wrote:
>
>-Poster: "Chandler, Sally" <S.A.Chandler@shu.ac.uk>
>
>I want to make some silk cords and braids for the 15th century.  I have no 
>problem getting hold of the silk but don't know whether I should get the 
>shiny, smooth sort or the softer looking, slightly fluffy sort.  Does 
>anyone know what is authentic for the period?
>
>Many thanks,
>
>Sally Ann

Go for the smooth, shiny silk. The soft, fluffy stuff won't hold up and
isn't appropriate anyway.

Joan Jurancich
aka Lady Dorothy (Hastings) Devereux [RPFN], mother [in-law] to Lady Essex
joanj@quiknet.com

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From owner-h-costume@indra.com  Mon Jan 18 15:19:40 1999
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-Poster: Heather Law <lynnx@mc.net>

Anah,

Found this with a Netscape Yellow Pages search -- no email addy, doesn't
look like they have a website.

Joy Trimming Corporation 
 212 W 9th St
 Wilmington, DE 19801-1620
 Phone: 302-654-4108 

Hope it's the one you're looking for,

Heather
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From owner-h-costume@indra.com  Mon Jan 18 15:25:49 1999
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-Poster: Margo Anderson <margo@directcon.net>

At 02:37 PM 1/18/99 +1030, you wrote:
>
>-Poster: The Purple Elephant <csmart@physics.adelaide.edu.au>
>
>On Sun, 17 Jan 1999 Seton1355@aol.com wrote:
>
>> 
>> -Poster: Seton1355@aol.com
>> 
>> >>  You quite often see illuminations of mediaeval couples in bed wearing
>> nothing but their hats>>
>> 
>> Why do you think this was?  Were they painted right after or before making
>> love?  It was too cold (most of the time) to hang about naked.


I once lived in an "apartment" that was basically a converted toolshed, in
South Lake Tahoe, CA, (i.e, a very cold climate).  The bedroom was
completely unheated and uninsulated, to the point where a glass of water
left on the nightstand would freeze solid overnight.  My partner and I found
that we were warmest sleeping under many blankets, but naked except for
wooly hats. 

I seem to have blocked out how we handled getting out of bed and dashing
through the breezeway (!) to the bathroom.  I suppose being young and in
love helped.

Margo

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From owner-h-costume@indra.com  Mon Jan 18 15:29:55 1999
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From: Calvin Girvin <calvingirvin@yahoo.com>
Subject: Re: H-COST: Benedictine Habit
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-Poster: Calvin Girvin <calvingirvin@yahoo.com>

Kayta, thank you for your suggestion.
I appreciate your help.
Cal




---Carolyn Kayta Barrows <kayta@slip.net> wrote:
>
> 
> -Poster: Carolyn Kayta Barrows <kayta@slip.net>
> 
> 
> >I am searching for information on constructing an authentic
> >Benedictine monastic habit as commonly worn by monks in Northern
> >Europe during the nineteenth century. Any information you can direct
> >me to will be greatly appreciated.
> 
> I think there are still Benedictines you could contact.  They'd know
all
> about that.  See if they have a web site.  Many cloistered
20th-century
> monks do these days, especially the ones who engage in e-commerce. 
> 
> 
> Kayta
>      ////.\\\
>     ////-@@\\\
>    ((((   7 (((
>      |   -- ))))
>      * )   (((((
>   /----\   /---\
> 
>  _________________________________________________________________
>  To leave this mailing list, send mail to majordomo@indra.com
>  with the message UNSUBSCRIBE H-COSTUME
> 

_________________________________________________________
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From owner-h-costume@indra.com  Mon Jan 18 15:38:56 1999
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-Poster: Heather Law <lynnx@mc.net>

You mean a sarafan?  (Sort of like a long jumper, laid out flat it goes
about 45 degrees out on each side from under the arms, covers the bust
and has straps over the shoulders.  Worn with a pretty typical-looking
E. Euro peasant blouse.) The Tilke book has the layouts if that's what
you're looking for (unfortunately not his online Oriental Costume book).

Heather

<snip>
> (Regardless of this fact a number of female
> participants of Ft. Ross' living history day wear a russian peasent 
> gown which has a name that I forget.
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-Poster: Heather Law <lynnx@mc.net>

Please excuse my 2 "redundant and repetitive" postings, sarafans and Joy
Trim... Teach me to check for more that 1 HCOST digest before I jump in!

Heather
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From owner-h-costume@indra.com  Mon Jan 18 16:28:48 1999
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-Poster: The Purple Elephant <csmart@physics.adelaide.edu.au>

On Mon, 18 Jan 1999, Margo Anderson wrote:

> 
> I once lived in an "apartment" that was basically a converted toolshed, in
> South Lake Tahoe, CA, (i.e, a very cold climate).  The bedroom was
> completely unheated and uninsulated, to the point where a glass of water
> left on the nightstand would freeze solid overnight.  My partner and I found
> that we were warmest sleeping under many blankets, but naked except for
> wooly hats. 
> 
Good point actually.....Something like 90% of body heat is lost through
the head (hence the need for hats) but human body heat is quite 
efficient in warming the other parts. In fact one of the best ways of
dealing with hypothermia when hiking is to get as naked as you can and
crawl into a sleeping bag with the person....

------------------------------------------------------------------------------
Claire F. Clarke       "What is this world if, full of care, 
Physicist, writer,     We have no time to stand and stare?"
and non environmentally                     Robert Louis Stevenson
friendly substance.
------------------------------------------------------------------------------

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Date: Mon, 18 Jan 1999 15:38:52 -0600 (CST)
From: Emma Elizabeth Lehman <00217146@bigred.unl.edu>
To: h-costume@indra.com
Subject: Re: H-COST: nightcaps
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-Poster: Emma Elizabeth Lehman <00217146@bigred.unl.edu>



> Good point actually.....Something like 90% of body heat is lost through
> the head (hence the need for hats) but human body heat is quite 
> efficient in warming the other parts. In fact one of the best ways of
> dealing with hypothermia when hiking is to get as naked as you can and
> crawl into a sleeping bag with the person....

Does this mean I can go skiing naked, as long as I wear a hat? *grin
Emma

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From owner-h-costume@indra.com  Mon Jan 18 16:35:38 1999
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From: "Van Cleave & Fleming" <tweedlebop@earthlink.net>
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Subject: H-COST: Re: WW II Help Kids clothing
Date: Mon, 18 Jan 1999 16:43:28 -0500
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-Poster: "Van Cleave & Fleming" <tweedlebop@earthlink.net>

This is a multi-part message in MIME format.

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- -Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

>There's a terrific movie, made about 7 years back, on this
>subject, but darned if I can remember the name of it.

That movie is called "Hope & Glory" and its fabulous!

- Kendra Van Cleave


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<DIV>- -Poster: &quot;Hope H. Dunlap&quot; &lt;<A=20
href=3D"mailto:hhdunlap@email.msn.com">hhdunlap@email.msn.com</A>&gt;<BR>=
<BR>&gt;There's=20
a terrific movie, made about 7 years back, on this<BR>&gt;subject, but =
darned if=20
I can remember the name of it.</DIV>
<DIV>&nbsp;</DIV>
<DIV>That movie is called &quot;Hope &amp; Glory&quot; and its =
fabulous!</DIV>
<DIV>&nbsp;</DIV>
<DIV>- Kendra Van Cleave</DIV>
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From owner-h-costume@indra.com  Mon Jan 18 17:25:35 1999
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-Poster: Karen Heim <axejudge@ninenet.com>

On a similar note:

I have a vinyl doll I want to color brown.  Is there a natural-looking way to
do this?  Will the coffee/tea technique work?  Or perhaps a type of dye?  I
don't really want to paint it - that's not something I'm comfortable with, and
I don't think it will look natural.

Karen
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-Poster: The Purple Elephant <csmart@physics.adelaide.edu.au>

On Mon, 18 Jan 1999, Emma Elizabeth Lehman wrote:

> 
> 
> Does this mean I can go skiing naked, as long as I wear a hat? *grin
And strap another naked human being to yourself....:-)

------------------------------------------------------------------------------
Claire F. Clarke       "What is this world if, full of care, 
Physicist, writer,     We have no time to stand and stare?"
and non environmentally                     Robert Louis Stevenson
friendly substance.
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From: "Andrea Gideon" <andrea.gideon@erols.com>
To: "H-Costume" <h-costume@indra.com>
Subject: H-COST: modern sewing ?
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-Poster: "Andrea Gideon" <andrea.gideon@erols.com>

Any suggestions on how to create a nursing opening in a dress pattern that
has bust darts?  It will be worn with a short matching jacket so the opening
do not really have to be hidden.
Andrea

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-Poster: pulliam@acadia.net (Deborah Pulliam)

<<I want to make some silk cords and braids for the 15th century.  I have no
problem getting hold of the silk but don't know whether I should get the
shiny, smooth sort or the softer looking, slightly fluffy sort.  Does
anyone know what is authentic for the period?>>

The shiny, smooth kind. Original cords were made from reeled, not spun
silk, so the fluffy looking stuff is inaccurate (also wouldn't wear as
well.)


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Date: Mon, 18 Jan 1999 17:24:32 -0600
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-Poster: Kent & Kat <kdyer@nash.tds.net>

Andrea Gideon wrote:
> 
> Any suggestions on how to create a nursing opening in a
> dress pattern that has bust darts?  It will be worn with
> a short matching jacket so the opening do not really have
> to be hidden.

I generally use vertical slits for nursing dresses.  You
might try looking at these two sites.  One sells nursing
patterns and the other clothes but it might help give you
some ideas about how to modify the pattern.
http://www.motherwear.com/  clothes
http://www.snj.com/eldesigns/  patterns

Kat
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To: h-costume@indra.com
From: Joan M Jurancich <joanj@quiknet.com>
Subject: Costume Manual, was RE: H-COST: fort ross/ ethnic
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-Poster: Joan M Jurancich <joanj@quiknet.com>

I looked at the Costume Manual this afternoon. There are no references for
Fort Ross.

Joan Jurancich
Sutter's Fort Docent

>-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>
>
>There is a costume book for mid-19th Century California and
>the far West, which I personally have not seen, so I don't
>know if it includes Russian immigrant costume of the type
>you want.
>
>But it is by Rickman, David W. and called, Costume Manual:
>Guide to Clothing Worn in California and Far West ca. 1845.
>nd. Sutter's Fort.  detailed costume reconstruction: Euro &
>Native American, Californio, 121 Costume plates b/w and
>color, lg. 4to. notebook bound 202p.
[snip]
>Hope H. Dunlap
[snip]

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From owner-h-costume@indra.com  Mon Jan 18 19:41:07 1999
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From: "Penny E. Ladnier" <penny.creative.outlets@erols.com>
To: "costume newsgroup" <h-costume@indra.com>
Subject: H-COST: Dior book
Date: Mon, 18 Jan 1999 19:48:14 -0500
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-Poster: "Penny E. Ladnier" <penny.creative.outlets@erols.com>

I came across a book on Dior at Barnes & Noble.  I would like to hear some
feedback on two areas addressed in the book I found interesting:

1.  A picture shows a woman with a U shaped device with a pencil at the
bottom of the U.  The lady was using the device to draw lines on the back of
her legs simulating hose seams.  Has anyone seen this device before and what
is it called?

2.  The book states that models were called mannequins prior to WW2.  Has
anyone heard of this before?  What was the reason for the change of name?

Lastly, a question that has puzzled me for a few years... while in school my
professor stated that Dior was not responsible for "The New Look".  That he
just received credit for it.  If Dior was not responsible for "The New
Look", who was?  Did another designer come up with the idea and Dior make it
fashionable?

Later...Penny
http://www.costumegallery.com


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From owner-h-costume@indra.com  Mon Jan 18 19:50:04 1999
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To: h-costume@indra.com
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Subject: Re: H-COST: RE: kakofnitch
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>

I know a word 'kokoshnik', meaning the pearled cap-like thing worn by
Russian women under their head scarf.  Where does your word come from?
Context?
>
>Can anyone tell me what the above referenced word is?  I know it's a
>coostuming term.


Kayta
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From owner-h-costume@indra.com  Mon Jan 18 19:50:08 1999
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Subject: Re: H-COST: modern sewing ?
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>


>Any suggestions on how to create a nursing opening in a dress pattern that
>has bust darts?  It will be worn with a short matching jacket so the opening
>do not really have to be hidden.

I made a garment with nursing slits by making the slits then putting a
panel over them.  The slits were narrower together than the edges of the
panel were, so the panel covered them.  I suggest a panel which looks like
the front of the dress ought to, because I think you do have to hide the
slits so it looks like they aren't there.  Then let the edges of the panel
be disguised by the jacket.\

_____      _____ <-jacket
  ____________ <-panel
____ _______ ___ <-dress


Kayta
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From owner-h-costume@indra.com  Mon Jan 18 19:50:15 1999
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Subject: Re: H-COST: Tea Darkening
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>


>I have a vinyl doll I want to color brown.  Is there a natural-looking way to
>do this?  Will the coffee/tea technique work?  Or perhaps a type of dye?  I
>don't really want to paint it - that's not something I'm comfortable with, and
>I don't think it will look natural.

Dylon's hot water dye will dye plastic buttons.  I'd try the technique out
on a plastic doll from the thrift store before trying it on your doll.  It
ought to work...


Kayta
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From owner-h-costume@indra.com  Mon Jan 18 20:43:02 1999
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-Poster: Margo Anderson <margo@directcon.net>

At 06:03 PM 1/18/99 -0800, you wrote:
>
>-Poster: "Andrea Gideon" <andrea.gideon@erols.com>
>
>Any suggestions on how to create a nursing opening in a dress pattern that
>has bust darts?  It will be worn with a short matching jacket so the opening
>do not really have to be hidden.

My favorite way to make a nursing opening is to make a center front opening
from an inch or two below the neckline, to just above waist level.  Then use
your bodice pattern to cut a panel with the same neckline as the dress, just
narrower than the  width from bust point to point, and long enough to reach
the waistline.  Line this piece, leaving the neckline area unturned. Stitch
it to the neckline, then apply the neck facing or binding, treating thethree
layers as one.  Sew a snap (I like the large nylon ones)  to each lower
corner and to the dress in the corresponding location.

If your dress is a woven fabric without much ease, it's best to replace the
underlay area with a stretch knit.



Margo Anderson


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From owner-h-costume@indra.com  Mon Jan 18 20:52:52 1999
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Date: Mon, 18 Jan 1999 20:59:44 -0500
To: h-costume@indra.com
From: Ron Carnegie <rcarnegie@widomaker.com>
Subject: Re: Costume Manual, was RE: H-COST: fort ross/ ethnic
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-Poster: Ron Carnegie <rcarnegie@widomaker.com>

At 05:37 PM 1/18/99 -0700, you wrote:
>
>-Poster: Joan M Jurancich <joanj@quiknet.com>
>
>I looked at the Costume Manual this afternoon. There are no references for
>Fort Ross.
>
>Joan Jurancich
>Sutter's Fort Docent

        Actually there are, but they are limited, and male.  The russian men
wore mostly uniforms, a number of those uniforms were apparently purchased
by Mr. Sutter after Fort Ross closed.  Mr. Rickman shows some of those in
his book, though I do not have the page number with me.

Cheers,
Ron Carnegie
rcarnegie@widomaker.com
	*************************************************
	"The poetry of history lies in the quasi-miraculous fact that
	 once on this earth, on this familiar spot of ground walked
	 other men and women as actual as we are today, thinking
	 their own thoughts, swayed by their own passions but now
	 all gone, vanishing after another, gone as utterly as we 
	 ourselves shall be gone like ghosts at cockcrow."
				G.M. Trevelyan
	*************************************************

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From owner-h-costume@indra.com  Mon Jan 18 21:13:13 1999
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From: "Allison Thurman" <athurman@cybergal.com>
To: <h-costume@indra.com>
Subject: H-COST: dior and new look
Date: Mon, 18 Jan 1999 21:23:50 -0500
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-Poster: "Allison Thurman" <athurman@cybergal.com>

i believe the foundations for the new look were in the works in paris before
wwII/the occupation - needless to say it was put on hold until after the
war. however, i believe an issue of 'fashion theory" from last year
discusses fashion in paris during wwII and mentions that dressmakers in
paris would sometimes make "new look" type dresses in order to use up yards
of fabric that would otherwise go towards the nazi war effort. im not
looking at the issue this second but i can go sift through my back issues
for credits if need be.

allison

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-Poster: "David S. Mallinak" <matchlck@erols.com>

Penny E. Ladnier wrote:

> I just watched a really good video on the Inca civilization.  It was
> originally aired on PBS in 1980, and produced by the BBC.  It is titled
> Incas (PBS Video 1061).

A related source of information may be the Museum of Man in San Deago,
Calf.  When I visit the museum in early 90's , there was a exhibit of clothing
of MesoAmerica.  At that time there was no catalog of exhibit (no money).
I know I spent the afternoon of one visit tracking down the official
responsible.

David S Mallinak

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From owner-h-costume@indra.com  Mon Jan 18 23:04:13 1999
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Date: Mon, 18 Jan 1999 22:38:26 -0500
To: h-costume@indra.com
From: Danielle Nunn <dnunn@interlog.com>
Subject: RE: H-COST: leading strings
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-Poster: Danielle Nunn <dnunn@interlog.com>

Greetings,

Has anyone seen any 16th century portraits with children in leading
strings?  I would be curious to see what they actually look like.

Cheers,
Danielle

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From owner-h-costume@indra.com  Mon Jan 18 23:04:16 1999
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Date: Mon, 18 Jan 1999 22:57:54 -0500
To: h-costume@indra.com
From: Danielle Nunn <dnunn@interlog.com>
Subject: Re: H-COST: H-Cost:  Synthetic whalebone?
In-Reply-To: <19990117101951Z40845-1450+4@tuug.org>
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-Poster: Danielle Nunn <dnunn@interlog.com>

Greetings,

>I have been using it (only the 1mm x 10mm and 2.5mm x 6mm 
>sizes, though others are also available) in the corsets and 
>bodices I have made during the last couple of years. I cannot 
>compare it to real whalebone, as I have never had access to 
>that, but perhaps I can answer some questions anyway.

Where did you get it?

Cheers,
Danielle

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From owner-h-costume@indra.com  Mon Jan 18 23:15:20 1999
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-Poster: ROXDUDLEY@aol.com

Greetings to the List !

I need to ask a favor....I set up my new computer this past weekend & forgot
to get all my favorite places off the old one before packing it all up in a
box.  There is a costume site that I can't for the life of me remember its
name.  The only thing I can recall is that the web design page is pinkish in
color and has a design of a single row of pastel sequins on it (at least
that's what I remember it looking like). It's a huge link site with many
related sites of interest.  If this vague description strikes a chord of
recognition with anyone, please email me privately.

Vowing never to lose a site again,
Roxanne    
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From owner-h-costume@indra.com  Mon Jan 18 23:50:01 1999
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Date: Mon, 18 Jan 1999 23:43:06 -0500
To: h-costume@indra.com
From: Danielle Nunn <dnunn@interlog.com>
Subject: Re: H-COST: Silk Cords
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-Poster: Danielle Nunn <dnunn@interlog.com>

Greetings,

>I want to make some silk cords and braids for the 15th century.  I have no 
>problem getting hold of the silk but don't know whether I should get the 
>shiny, smooth sort or the softer looking, slightly fluffy sort. 

Where do you get it?

Cheers,
Danielle

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From owner-h-costume@indra.com  Mon Jan 18 23:57:22 1999
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-Poster: "Frank&Tracy Thallas JR" <hardcorps@vcn.com>

  Greetings!

  It's "The Costume Page" -
     http://members.aol.com/nebula5/costume.html

     the sequins gave it away...<G>

   Liadain

----------
>
> -Poster: ROXDUDLEY@aol.com
>
> Greetings to the List !
>
> I need to ask a favor....I set up my new computer this past weekend & forgot
> to get all my favorite places off the old one before packing it all up in a
> box.  There is a costume site that I can't for the life of me remember its
> name.  The only thing I can recall is that the web design page is pinkish in
> color and has a design of a single row of pastel sequins on it (at least
> that's what I remember it looking like). It's a huge link site with many
> related sites of interest.  If this vague description strikes a chord of
> recognition with anyone, please email me privately.
>
> Vowing never to lose a site again,
> Roxanne
>  _________________________________________________________________
>  To leave this mailing list, send mail to majordomo@indra.com
>  with the message UNSUBSCRIBE H-COSTUME
>


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From owner-h-costume@indra.com  Mon Jan 18 23:57:36 1999
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-Poster: kat@grendal.rain.com


> Lastly, a question that has puzzled me for a few years... while in school my
> professor stated that Dior was not responsible for "The New Look".  That he
> just received credit for it.  If Dior was not responsible for "The New
> Look", who was?  Did another designer come up with the idea and Dior make it
> fashionable?

If it's the book I'm thinking of, it explains the precise origins of 
"The New Look." (The book I read went into great detail about what he 
was doing and when each idea came along.)


Kat 

Kat(June Russell)
kat@grendal.rain.com
Heu! Tintinnuntius meus Sonat!
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From owner-h-costume@indra.com  Tue Jan 19 00:22:17 1999
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Date: Mon, 18 Jan 1999 23:25:48 -0600
From: Charlene Charette <charlene@flash.net>
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-Poster: Charlene Charette <charlene@flash.net>

This is slightly off-topic, but I'm hoping someone will have an answer.
A friend of ours went home to Hawaiian recently and my husband asked him
to bring back a shirt.  It's a cotton print, but the shirt is made so
that the fabric is wrong-side out.  My friend assures me that this is
the way these shirts are made although he has no idea why.  Does anyone
know why they're made this way?  It almost makes me want to take it
apart and resew it.  *almost*  :-)

--Charlene

--
No snowflake in an avalanche ever feels responsible.  -- Stanislaus
Lezczynski


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From owner-h-costume@indra.com  Tue Jan 19 00:34:34 1999
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From: The Purple Elephant <csmart@physics.adelaide.edu.au>
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-Poster: The Purple Elephant <csmart@physics.adelaide.edu.au>

On Mon, 18 Jan 1999, Charlene Charette wrote:

> 
> -Poster: Charlene Charette <charlene@flash.net>
> 
> This is slightly off-topic, but I'm hoping someone will have an answer.
> A friend of ours went home to Hawaiian recently and my husband asked him
> to bring back a shirt.  It's a cotton print, but the shirt is made so
> that the fabric is wrong-side out.  My friend assures me that this is
> the way these shirts are made although he has no idea why.  Does anyone
> know why they're made this way?  It almost makes me want to take it
> apart and resew it.  *almost*  :-)
> 
Maybe so the sun doesn't fade it? I try to hang a lot of my clothes
out to dry inside out to slow down the effects of the sun here.....

------------------------------------------------------------------------------
Claire F. Clarke       "What is this world if, full of care, 
Physicist, writer,     We have no time to stand and stare?"
and non environmentally                     Robert Louis Stevenson
friendly substance.
------------------------------------------------------------------------------

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-Poster: SNSpies@aol.com

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<< >I want to make some silk cords and braids for the 15th century.  I have no
 >problem getting hold of the silk but don't know whether I should get the 
 >shiny, smooth sort or the softer looking, slightly fluffy sort. 
 
And  Danielle asked:

<< Where do you get it? >>

You can get wonderful silk thread from one of any of the suppliers listed
below.  It is a list of suggested suppliers which is provided to tablet
weavers.  Cheers!  Nancy

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SUGGESTED LIST OF SUPPLIERS


1.  Aurora Silk, 5806 North Vancouver Avenue, Portland, OR  97217  (503) =
286-4149 -  silk threads
2.  Beggar=92s Lace, P.O. Box 481223, Denver, CO 80248  (303) 722-5557  l=
acelady@rmii.com - silk, linen, cotton threads
3.  Bob Patterson, P.O. Box 424, Orinda, CA  94563  (925) 943-5243 - silk=
, linen, and cotton threads
4.  Books in Transit, 2830 Case Way, Turlock, CA 95382  (209) 632-6984 - =
out-of-print  books
5.  Carolina Homespun, 190 Eastridge Rd., Ridgeway, VA 24148  (800) 450-7=
786  homespun@kimbanet.com - tablets, 
=09shuttles, belt tablet-weaving holder, looms, warping pegs, books
6.  Daisy Chain, P.O. Box 1258, Parkersburg, WV 26102  (304) 428-9500 - s=
ilk, metallic, real gold and silver threads
7.  Earth Guild, 33 Haywood Street, Asheville, NC 28801  (800) 327-8448  =
inform@earthguild.com or =09catalog.earthguild.com - square cardboard tab=
lets, belt shuttles, books, linen, cotton, and wool threads
8.  Fiber Hut, 2316 Crestwood Rd., SE, Calgary, Alberta T2C 0C6 Canada  (=
403) 279-2658 - square cardboard tablets, 
=09books, silk, linen, cotton, and wool threads
9.  Fibrecrafts, Style Cottage, Lower Eashing, Godalming, Surrey GU7 2QD =
England (48) 342-1853) - square cardboard 
=09tablets, warping pegs with clamps, shuttles, books
10.  Halcyon Yarns, 12 School Street, Bath, ME 04530  (800) 341-0282 - sq=
uare cardboard tablets, warping pegs, books, 
=09silk, linen, cotton, wool, and metallic threads
11.  Handweavers Studio and Gallery, 29 Haroldstone Road, London E17 7AN =
England  (81) 521-2281 - square and =09hexagonal cardboard tablets, warpi=
ng pegs with clamps, shuttles, silk, linen, cotton, wool, and metallic th=
reads
12.  Linda Hendrickson, 140 SE 39th Avenue, Portland, OR 97214  (503) 239=
-5016  lindahendrickson@cnnw.net - 
=09square cardboard tablets, shuttles, kits, books, video
13. Heritage Looms, Route 6, Box 731-E, Alvin, TX 77511  (409) 925-4161 -=
 tabletop looms, square cardboard tablets
14. Frank Herring & Sons, 27 High West Street, Dorchester, Dorset DT1 1UP=
 England  (30) 524-4449 - square 
=09plastic tablets, warping pegs with clamps, shuttles
15. Howell=92s Weaving Emporium, 4832 Salmon Drive, Paradise, CA 95969  (=
503) 877-4539 - tabletop looms, shuttles
16. LACIS, 3163 Adeline Street, Berkeley, CA 94703  (510) 843-7178  staff=
@lacis.com - silk, linen, cotton, and metallic 
=09threads, including G=FCtermann silks and color card
17. Lou=EBt, P.O. Box 267, Ogdensburg, NY 13669  (613) 925-4502 - square =
wooden tablets
18. Laura Morgan, 1633 Stoney Creek Drive, Charlottesville, VA 22902  (80=
4) 984-0537 - handmade wooden tablets
19. Needle Arts, Inc., 2211 Monroe, Dearborn, MI 48124  (313) 278-6266 - =
silk, linen, cotton, metallic, real gold threads
20. Nordic Needle, 1314 Gateway Drive, Fargo, ND 58103  (800) 433-4321 ne=
edle@corpcomm.com - silk, cotton, and 
=09metallic threads
21. Robin and Russ Handweavers, 533 North Adams Street, McMinnville, OR 9=
7128  (800) 932-8391 =09robin&russ@onlinemac.com - square and hexagonal c=
ardboard tablets. shuttles, books, videos
22.  The Silk Tree, 20297 Stanton Ave., Maple Ridge, BC V2X 9A5 Canada  (=
604)465-9816  aurum@axionet.com - 
=09silk threads
23. Otfried Staudigel, H=F6ppnerstrasse 108, D - 47809 Krefeld, Germany -=
 floor-standing looms
24. Textile Reproductions, Box 48, West Chesterfield, MA 01084  (413) 296=
-4437  - silk, linen, cotton, and wool  threads 
=09(early vegetable dyes used)
25. Things Japanese, 9805 NE 116th Street, Suite 7160, Kirkland, WA 98034=
  (206) 821-2287 - silk and metallic threads
26. Treenway Crafts, 725 Caledonia Avenue, Victoria, BC V8T 1E4 Canada  (=
604) 383-1661 treenway@coastnet.com - 
=09silk threads
27. Unicorn Books and Crafts, 1338 Ross Street, Petaluma, CA 94954  (800)=
 289-9276 - square cardboard tablets, belt 
=09shuttles, belt tablet weaving holder, books, videos
28. The Weaving Works, 4717 Brooklyn Ave., NE, Seattle, WA 98105  (206) 5=
24-1221 - square cardboard tablets, =09shuttles, warping pegs, belt table=
t weaving holder, books, videos
29. WEBS, P.O. Box 147, Northampton, MA 01061-0147  (413) 584-2225  webs@=
yarn.com - silk threads
30. Yarn Barn, P.O. Box 396, Dillwyn, VA 23936  (800) 850-6008  pkirtland=
@yarnbarn.com - square cardboard tablets, 
=09shuttles, warping pegs, books




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From owner-h-costume@indra.com  Tue Jan 19 01:37:04 1999
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Date: Mon, 18 Jan 1999 22:45:50 -0800
To: h-costume@indra.com
From: "Carol J. Bell Cannon" <cjcannon@greymists.com>
Subject: Re: H-COST: nightcaps
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-Poster: "Carol J. Bell Cannon" <cjcannon@greymists.com>

At 08:06 AM 1/19/99 +1030, you wrote:
  My partner and I found
>> that we were warmest sleeping under many blankets, but naked except for
>> wooly hats. 
       Yep.   I'll bet the trip through the breezeway was made swiftly in
any case, and sometimes pulling on a robe/&c. as you went... .   
>Good point actually.....Something like 90% of body heat is lost through
>the head (hence the need for hats) but human body heat is quite 
>efficient in warming the other parts. In fact one of the best ways of
>dealing with hypothermia when hiking is to get as naked as you can and
>crawl into a sleeping bag with the person....
>---------------------------------------------------------------------------
---
>Claire F. Clarke    
        I'll vouch, having had to do that before.  It worked.  Though the
person was prone to chill easily for a while thereafter, no other harm was
taken.  Thanks be. Carol Cannon, who grew up in a cold area
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From owner-h-costume@indra.com  Tue Jan 19 01:38:02 1999
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Date: Mon, 18 Jan 1999 22:46:57 -0800
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From: "Carol J. Bell Cannon" <cjcannon@greymists.com>
Subject: Re: H-COST: nightcaps
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-Poster: "Carol J. Bell Cannon" <cjcannon@greymists.com>

At 03:38 PM 1/18/99 -0600, you wrote:
>
>-Poster: Emma Elizabeth Lehman <00217146@bigred.unl.edu>
>Does this mean I can go skiing naked, as long as I wear a hat? *grin
>Emma
       You could, I suppose...ever hear of windburn?  It's also a reality.
:-) Carol Cannon
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From owner-h-costume@indra.com  Tue Jan 19 02:19:40 1999
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Date: Tue, 19 Jan 1999 02:27:05 -0500
From: Melanie Wilson <MelanieWilson@compuserve.com>
Subject: H-COST: Dior book
To: "INTERNET:h-costume-digest@indra.com" <h-costume-digest@indra.com>
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-Poster: Melanie Wilson <MelanieWilson@compuserve.com>

>1.  A picture shows a woman with a U shaped device with a pencil at the
bottom of the U.  The lady was using the device to draw lines on the back
of
her legs simulating hose seams.  Has anyone seen this device before and
what
is it called?

Well I know some people used eye liner, but a specific device, what was it
like I'll ask my Mother in law she was in her late teens so might have used
one.

>2.  The book states that models were called mannequins prior to WW2.  Has
anyone heard of this before?  What was the reason for the change of name?

You mean the models that are used in shop windows ? I think they are still
called mannequins in the UK. Models are people on catwalks arn't they ?

>Lastly, a question that has puzzled me for a few years... while in school
my
professor stated that Dior was not responsible for "The New Look".  That he
just received credit for it.  If Dior was not responsible for "The New
Look", who was?  Did another designer come up with the idea and Dior make
it
fashionable?

I've heard the New Look was a response to more fabric being avaliable after
the Utility clothing of the war. One of the London Muiseums did a big
display (and book I think) on it all last year (or the year before) Can't
remember which one though.

Mel
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From owner-h-costume@indra.com  Tue Jan 19 02:36:47 1999
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Date: Tue, 19 Jan 1999 02:43:31 -0500
From: Melanie Wilson <MelanieWilson@compuserve.com>
Subject: H-COST: Dior-stocking seams
To: LIST historic costume <h-costume-digest@indra.com>
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-Poster: Melanie Wilson <MelanieWilson@compuserve.com>

Having woken up a bit more I think eyeliner was the wrong term to use
(sorry I don't wear makeup !)  eyebrow pencil maybe ? Any way it is a soft
leaded pencil, that was designed to be used somewhere near your eyes,
rather than your legs. I know everytime I dress up in 40s stuff out comes
that pencil & my Mum starts drawing on my legs :) I know it was quite a
skill to get it looking straight, try it it's hard !

Mel
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From owner-h-costume@indra.com  Tue Jan 19 02:47:08 1999
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-Poster: MissMela@aol.com

My husband had several Hawaiian shirts made with the fabric inside out in the
early 1980s and I see that they are back in our "resort" shops in California.
After being made out of bright fabrics for so long, everyone needs a change.
(Look how often woman change dress styles!)  Men don't seem to be able to deal
with structural changes as much as a color or fabric change and even then,
it's limited.  My husband always preferred the reversed shirts because they
were more muted and didn't look as resorty or cruise ship like.  No fact, just
personal history. Mela
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From owner-h-costume@indra.com  Tue Jan 19 02:50:29 1999
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-Poster: MissMela@aol.com

Penny- My Worth book talks about his models being called mannequins and my mom
was a model in the the 1930s and she says that that's what she was called, not
a model.  She said you were a mannequin, you did modeling.  Granted, that's
info from one person, but it makes sense. (She used to draw lines on the back
of her legs with an eyebrow pencil, does remember there being  a device to do
it with but couldn't afford it and doesn't remember the name at the movement)
Mela
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From owner-h-costume@indra.com  Tue Jan 19 03:33:33 1999
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From: starsinger@webtv.net (theresa sorrell)
Date: Tue, 19 Jan 1999 01:41:53 -0700 (MST)
To: h-costume@indra.com
Subject: Re: H-COST: Dior-stocking seams
Message-ID: <24344-36A44551-108@mailtod-141.iap.bryant.webtv.net>
In-Reply-To: Melanie Wilson <MelanieWilson@compuserve.com>'s message of Tue,
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-Poster: starsinger@webtv.net (theresa sorrell)

I believe that due to the shortage of silk stockings in WW II, many
women went without stockings.  They put the line on the back of their
legs as a fake stockings seam.  If you "saw" the seam, you must be
wearing stockings.  Nylons were a few years in the future.

Starsinger

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From owner-h-costume@indra.com  Tue Jan 19 06:32:28 1999
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Date: Tue, 19 Jan 1999 12:40:31 +0100
To: h-costume-digest@indra.com
From: Barbara Maren Winkler <barbara@math.tu-berlin.de>
Subject: Re: H-COST: Dior book
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-Poster: Barbara Maren Winkler <barbara@math.tu-berlin.de>


>From: "Penny E. Ladnier" <penny.creative.outlets@erols.com>
>Subject: H-COST: Dior book
>
>I came across a book on Dior at Barnes & Noble... 
>
>2.  The book states that models were called mannequins prior to WW2.  Has
>anyone heard of this before?  What was the reason for the change of name?

I remember models being called "Mannequins" in Germany before the fashion
craze of the 1990s, when modelling became hip and a showbiz-like way of
making a career. The term "model" came over from America or the
international fashion scene.

Not contradicting earlier uses of the word "model".
At least that's my impression... Dietmar??

Barbara Maren

--
Barbara Maren Winkler                         barbara@math.tu-berlin.de

  
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From owner-h-costume@indra.com  Tue Jan 19 07:42:16 1999
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From: "Matt Dragonfly Drury" <matt@csi.com>
To: <h-costume@indra.com>
Subject: Re: H-COST: Wintersilks
Date: Tue, 19 Jan 1999 07:45:30 -0500
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-Poster: "Matt Dragonfly Drury" <matt@csi.com>

>Has anyone dealt with them recently?  I did an Altavista search to find the


My order was re-delivered in mid-December after the shipping company lost it
a week earlier. I have no complaints; they handled the problem politely and
with humour. I certainly don't hold a mistake on the part of the shipping
company as representative of a problem on their end.

As for their internal financial restructuring, that doesn't concern me
overmuch. I always order with my credit card, so that if any sort of problem
arises, I have recourse.




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From owner-h-costume@indra.com  Tue Jan 19 08:42:31 1999
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From: Laurel Wilson <lwilson16@earthlink.net>
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-Poster: Laurel Wilson <lwilson16@earthlink.net>



Joan M Jurancich wrote:

> -The formal word for "mother" is "matya" (IIRC), but
> "grandmother" still escapes me.
>

According to both my English-Russian dictionary and my elementary Russian text,
the word for 'grandmother' really is 'babushka':  neither source gives an
alternative, so this must be the formal term.
Lauri

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From owner-h-costume@indra.com  Tue Jan 19 08:47:38 1999
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-Poster: Laurel Wilson <lwilson16@earthlink.net>



Allison Thurman wrote:

>  i believe an issue of 'fashion theory" from last year
> discusses fashion in paris during wwII

Please, more information on this publication!Lauri


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From owner-h-costume@indra.com  Tue Jan 19 09:25:08 1999
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From: "Linda Lassman" <lassman@Ms.UManitoba.CA>
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-Poster: "Linda Lassman" <lassman@Ms.UManitoba.CA>

> 
> Joan M Jurancich wrote:
> 
> > -The formal word for "mother" is "matya" (IIRC), but
> > "grandmother" still escapes me.
> >
> 
> According to both my English-Russian dictionary and my elementary Russian
> text, the word for 'grandmother' really is 'babushka':  neither source gives
> an alternative, so this must be the formal term. Lauri
> 
Around here, where there is a large Ukrainian (and a somewhat smaller Russian) 
community, "babushka" is the formal term for "grandmother" (and also for the 
scarves they traditionally wear--but you all know that ;-) ), but most people 
actually refer to their "baba".  It seems to be the same term in both 
languages.

- Linda Lassman
  Winnipeg, Manitoba
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From owner-h-costume@indra.com  Tue Jan 19 10:02:57 1999
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Subject: H-COST: ANST - Manx Garb (fwd)
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-Poster: ches <ches@io.com>

Please reply to spatsman@aol.com, thank you!

---------- Forwarded message ----------
Date: Mon, 18 Jan 1999 23:20:47 EST
From: Spatsman@aol.com
Reply-To: ansteorra@Ansteorra.ORG
To: ansteorra@Ansteorra.ORG
Subject: ANST - Manx Garb

Slainte, gang!

Just a curiousity, I was wondering if anyone had any suggestions or sources
for early Manx garb, especially for women 1000-1200 AD.
I have had suggestions for Irish, Viking, and Norman garb with island celt
influences, but these suggestions are based on guesswork, not research.
I am aware that McClintlocks "Early Irish and Highland Dress" contains some
notes concerning Manx fashion, but since its been out of date for forty years,
I'm having a bigle of a time finding it.
Here's hoping someone out there can turn me toward an answer.
Fionnagan
============================================================================
Go to http://lists.ansteorra.org/lists.html to perform mailing list tasks.

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From owner-h-costume@indra.com  Tue Jan 19 10:26:11 1999
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-Poster: Luiseach@aol.com

"Inside-out" Hawaiian shirts have been made for a long time, especially in the
prints that are just 1 color + white.  My husband had one about 18 years ago
and I remember seeing older ones in a collection, actually a mini-museum, at
the store where we bought his.

Lucinda
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From owner-h-costume@indra.com  Tue Jan 19 10:32:12 1999
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From: "Gaylin Walli" <gwalli@infoengine.com>
Subject: H-COST: Jamaican costume?
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-Poster: "Gaylin Walli" <gwalli@infoengine.com>

I recently found out that our company is gifting all of us
with a trip to Jamaica. Since I still have a little time,
I was wondering if anyone could point me to or describe to
me, some of the traditional costumes of Jamaica. I have this
vision of lush, bright fabrics in my head that border on
those of Hawaii, which I'm sure is wrong. What I'm aiming
to find is something that I could wear with class and a
little jewelry that would suffice for "dressing for dinner"
at the resort. Historically accurate would be even better. :)

Any ideas?

Gaylin
gwalli@infoengine.com
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-Poster: SAQUEEN@aol.com

Dear Penny et al,

There is a great Dior book that can be ordered online from Biddingtons Online
Antiques and Collectibles at
http://www.biddingtons.com/os/category/FIXcur161.shtml?161

Great price of $8.00 which includes the shipping.

Check it out,
Sally Queen
Costume Calendar Series
http://www.sallyqueenassociates.com
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From owner-h-costume@indra.com  Tue Jan 19 11:35:31 1999
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From: "Ella Lynoure Rajamaki" <lynoure@tuug.org>
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To: Danielle Nunn <dnunn@interlog.com>, h-costume@indra.com
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Subject: Re: H-COST: H-Cost:  Synthetic whalebone?
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-Poster: "Ella Lynoure Rajamaki" <lynoure@tuug.org>

On 18 Jan 99, at 22:57, Danielle Nunn wrote:

> Where did you get it?

A German company Wissner sells it, but they have a 200m 
(over 200 yard) minimum. You is USA and Canade might be 
more interested to know Farthingale Fabrics ( 
http://www.farthingales.on.ca/pricelist4.htm )also sells it (at 
least 1mm x 10mm and 1mm x 7mm, I think) by the metre and 
they do not have a minimum, I think.



--
-------(c) 1999--------------*        lynoure@tuug.org      *
Ella Lynoure Rajamaki--------* http://www.tuug.org/~lynoure *
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From owner-h-costume@indra.com  Tue Jan 19 11:42:12 1999
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From: Emma Elizabeth Lehman <00217146@bigred.unl.edu>
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Subject: Re: H-COST: silk for cord
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-Poster: Emma Elizabeth Lehman <00217146@bigred.unl.edu>


Okay, so what's the difference between "reeled" and "spun"?
Emma the Non-Spinner

On Mon, 18 Jan 1999, Deborah Pulliam wrote:

> 
> The shiny, smooth kind. Original cords were made from reeled, not spun
> silk, so the fluffy looking stuff is inaccurate (also wouldn't wear as
> well.)

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From owner-h-costume@indra.com  Tue Jan 19 11:46:26 1999
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-Poster: PiranhaBB@aol.com

When I took Russian in college, we learned that the term for grandmother was
pronounced ba'-bushka (with the emphasis on the first syllable) and the term
for the head scarf thingy was pronounced ba-bu'-shka (with the emphasis on the
second syllable).

Hope this doesn't further confuse.

Best regards,
Lisa
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From owner-h-costume@indra.com  Tue Jan 19 11:46:44 1999
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To: H-Costume List <h-costume@indra.com>
Subject: Re: H-COST: Hawaiian shirts
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-Poster: lisaleon@hawaii.edu

Yes, they're supposed to be that way and it's usually the better quality
ones and more expensive brands that make them inside out.  Aloha shirts
are often worn as business wear (especially on Fridays) and some of the
aloha prints are just TOO loud.  

Although it may have started as a way to use fabric that was too bold I
think it may have evolved into a status thing.  Now for the most part,
reverse prints are used by the "good" companies--you don't see
reverse print aloha shirts on the $14.99 rack at K-Mart.  Also, some of
those companies have fabric printed specially for them and the right side
is tame enough so it's become a fashion issue.

lisa

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From owner-h-costume@indra.com  Tue Jan 19 11:49:00 1999
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Subject: H-COST: Re:"mannequin"
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-Poster: Marie Schulte <mschulte@post.its.mcw.edu>

In the Dorothy Sayers novel _Have His Carcase_ the term 'mannequin' is
used.  It refers to a minor character who does modelling.  I cannot recall
exactly when the book was written, but my guess is between 1932 and 1937. 

-marie

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From owner-h-costume@indra.com  Tue Jan 19 11:59:22 1999
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-Poster: pulliam@acadia.net (Deborah Pulliam)

<<I've heard the New Look was a response to more fabric being avaliable after
the Utility clothing of the war. One of the London Muiseums did a big
display (and book I think) on it all last year (or the year before) Can't
remember which one though.>>

It was at the Museum of London, and they still had copies of the catalog in
their bookshop last spring, so you might contact them.


Deborah


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-Poster: Andrea Clef <a.clef@ndh.net>


--------------2BA0424C8A9069C6B233FC07
Content-Type: text/plain; charset=us-ascii
Content-Transfer-Encoding: 7bit

> >
> >2.  The book states that models were called mannequins prior to WW2.  Has
> >anyone heard of this before?  What was the reason for the change of name?
>
> I remember models being called "Mannequins" in Germany before the fashion
> craze of the 1990s, when modelling became hip and a showbiz-like way of
> making a career. The term "model" came over from America or the
> international fashion scene.
>
> Not contradicting earlier uses of the word "model".
> At least that's my impression... Dietmar??
>
> Barbara Maren
>
I can only verify that.
My grandmother and mother never used the term "model" before it appeared
in
magazines and Claudia Schiffer became famous.
The usual expression was "mannequin" which originates from the French.
But now it has got lost almost completely.

Diana

--------------2BA0424C8A9069C6B233FC07
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<HTML>

<BLOCKQUOTE TYPE=CITE>
<PRE>>
>2.&nbsp; The book states that models were called mannequins prior to WW2.&nbsp; Has
>anyone heard of this before?&nbsp; What was the reason for the change of name?

I remember models being called "Mannequins" in Germany before the fashion
craze of the 1990s, when modelling became hip and a showbiz-like way of
making a career. The term "model" came over from America or the
international fashion scene.

Not contradicting earlier uses of the word "model".
At least that's my impression... Dietmar??

Barbara Maren</PRE>
</BLOCKQUOTE>
I can only verify that.
<BR>My grandmother and mother never used the term "model" before it appeared
in
<BR>magazines and Claudia Schiffer became famous.
<BR>The usual expression was "mannequin" which originates from the French.
<BR>But now it has got lost almost completely.

<P>Diana</HTML>

--------------2BA0424C8A9069C6B233FC07--

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Date: Tue, 19 Jan 1999 10:57:41 -0600
Subject: H-COST: Digest???
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-Poster: Kimberly K Dobbs <kimberlykdobbs@juno.com>




Hi everyone,

Can someone tell me how to switch to digest on this list? I have tried 
everything I know how and it still isn't working. 

Help!!
Thanks in advance!
Kimberly
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References: <cd979626.36a41e85@aol.com> from "SNSpies@aol.com" at Jan 19,
 99 00:56:21 am
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From: Ninni M Pettersson <vidumavi@swipnet.se>
Subject: Re: H-COST: Re:"mannequin"
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-Poster: Ninni M Pettersson <vidumavi@swipnet.se>

At 17.55 +0100 99-01-19, Marie Schulte wrote:
>-Poster: Marie Schulte <mschulte@post.its.mcw.edu>
>
>In the Dorothy Sayers novel _Have His Carcase_ the term 'mannequin' is
>used.  It refers to a minor character who does modelling.  I cannot recall
>exactly when the book was written, but my guess is between 1932 and 1937.

	It was 1932.

	Another costume question regarding a Sayers' novel: In _Busman's
Honeymoon_, written 1937 (where Harriet and Lord Peter gets married),
Harriet Vane's wedding gown is described as "period gown in stiff gold
brocade, long sleeves, square neck" and the Dean likens her to "a
Renaissance portrait stepped out of it's frame". I've always had great
difficulties visualizing this dress. What kind of dress would have been
described as a period gown in 1937? What could Renaissance mean in this
context - Italian Ren, English Tudor, or what? Are there any photos on the
web somewhere that may help me get to grips with this dress?

/Ninni Pettersson


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From owner-h-costume@indra.com  Tue Jan 19 13:17:54 1999
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From: "Wylie A. & Gail D. Smith" <wyliesmith@isomedia.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: Re:"mannequin"
Date: Tue, 19 Jan 1999 10:25:07 -0800
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-Poster: "Wylie A. & Gail D. Smith" <wyliesmith@isomedia.com>

That sounds Tudor to me.
~G

> -----Original Message-----
> From: owner-h-costume@indra.com [mailto:owner-h-costume@indra.com]On
> Behalf Of Ninni M Pettersson
> Sent: Tuesday, January 19, 1999 10:14 AM
> To: h-costume@indra.com
> Subject: Re: H-COST: Re:"mannequin"
>
>
>
> -Poster: Ninni M Pettersson <vidumavi@swipnet.se>
>
> At 17.55 +0100 99-01-19, Marie Schulte wrote:
> >-Poster: Marie Schulte <mschulte@post.its.mcw.edu>
> >
> >In the Dorothy Sayers novel _Have His Carcase_ the term 'mannequin' is
> >used.  It refers to a minor character who does modelling.  I
> cannot recall
> >exactly when the book was written, but my guess is between 1932 and 1937.
>
> 	It was 1932.
>
> 	Another costume question regarding a Sayers' novel: In _Busman's
> Honeymoon_, written 1937 (where Harriet and Lord Peter gets married),
> Harriet Vane's wedding gown is described as "period gown in stiff gold
> brocade, long sleeves, square neck" and the Dean likens her to "a
> Renaissance portrait stepped out of it's frame". I've always had great
> difficulties visualizing this dress. What kind of dress would have been
> described as a period gown in 1937? What could Renaissance mean in this
> context - Italian Ren, English Tudor, or what? Are there any photos on the
> web somewhere that may help me get to grips with this dress?
>
> /Ninni Pettersson
>
>
>  _________________________________________________________________
>  To leave this mailing list, send mail to majordomo@indra.com
>  with the message UNSUBSCRIBE H-COSTUME
>

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From owner-h-costume@indra.com  Tue Jan 19 14:08:48 1999
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From: "Henk 't Jong" <scapreel@tip.nl>
To: <h-costume@indra.com>
Subject: Re: H-COST: Handbook of German Costume
Date: Tue, 19 Jan 1999 20:18:08 +0100
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-Poster: "Henk 't Jong" <scapreel@tip.nl>

Henk & Pauline 't Jong
tScapreel
Medieval Advisors
Dordrecht, Netherlands

Hello,

Penny wrote:
> I just gave a makeover to one of my websites, Handbuch der Deutschen
Tracht
> (The Handbook of German Dress).  It is located at
> http://www.costumegallery.com/germbook.htm  This is a German historic
> costume book printed in 1892.  

Sorry to be grumpy again, but I make it a rule not to trust costumebooks
earlier than say the seventies of this century (and even then I'm careful).
I recognised several of the drawings as being rather inept re-drawings of
well known sources (Manesse manuscript, Tourneybook of Roy Rene (not all of
them are German!), Albrecht Duerer, Cranach, etc. (of course I only looked
at sources from before ca 1530) Especially the medieval ones are rather
untrustworthy. DO NOT COPY or try to make a costume after them.

By the way, the people in the 'poor sections' were by no means all poor.
Common burghers and strolling players, they were, but not many beggars or
poor farmers.

I suggest: go to the artwork of the real artists (lots on the web), try to
see them in colour, and as large as possible. Don';t trust a 
costumebook of 1892 (or earlier: Braun & Schneider (1861-90) or Viollet le
Duc 1880's), because the artists did not know what they were drawing and
had no idea about sewing such a costume (as many on this list do) or what
is was like to wear it. And even if they reconstructed costume (Mrs
Ashdown, early 1900's, Dorothy Hartley 1931, Carl Koehler (costumes made
after his patterns ca 1927)) they didn't look at all like the originals.

Henk




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From owner-h-costume@indra.com  Tue Jan 19 14:31:51 1999
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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: H-COST: Medieval Textiles and Embroideries of Scandinavia
Date: Tue, 19 Jan 1999 14:27:30 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

Stockholm's Museum of National Antiquities has a stunning
web page called The Textile Chamber at
http://www.rashm.se/shm/museet/textil/textilkammaren-e.html.
The double-cloth and the soumak-woven hanging are my
favorites.  The hanging portrays people in costume, which is
very interesting. One piece of Opus Anglicanum is shown.
All too brief, but worth a visit!
Don't miss the 19,2 cm Queen's (?) gold broach from the 14th
century which looks like a rose window with chimera found in
a river in 1818 in the Medieval link at the bottom.
Hope H. Dunlap


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From: "KATE M BUNTING" <K.M.Bunting@derby.ac.uk>
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-Poster: "KATE M BUNTING" <K.M.Bunting@derby.ac.uk>

Some comments on topics raised in the last few days' digests -

Children's leggings; I wore these with my winter coat as a toddler in the early 50s. They were separate legs, not a pair of trousers, and held up by being anchored to some part of the person by tapes, but I can't remember exactly how!

Michael Foreman's "War boy" is published in the UK by Puffin (ISBN 0140342990)

Mannequins; my mother was born in 1912  and I've heard her refer to a fashion parade as a "mannequin parade". No idea why the term died out. She has also told me about using leg makeup and drawing fake stocking seams when nylons were unobtainable during the war, but I've never heard of a device for doing both legs at once.

Renata - Yes, men commonly wore hats indoors in the 17th century (Pepys complained he had caught a cold from leaving his off) - even in church at this period, although you were supposed to  "uncover" in the King's presence. I agree with other posters that wearing caps was more for warmth than consderations of decency, though I suppose a man accustomed to wear a wig must have "felt" naked without it.

Kate Bunting
Library. University of Derby
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From owner-h-costume@indra.com  Tue Jan 19 17:53:43 1999
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Date: Tue, 19 Jan 1999 13:56:35 -0800
To: h-costume@indra.com
From: "Carol J. Bell Cannon" <cjcannon@greymists.com>
Subject: Re: H-COST: Dior-stocking seams
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-Poster: "Carol J. Bell Cannon" <cjcannon@greymists.com>

At 02:43 AM 1/19/99 -0500, you wrote:
>
>-Poster: Melanie Wilson <MelanieWilson@compuserve.com>
>
>Having woken up a bit more I think eyeliner was the wrong term to use
>(sorry I don't wear makeup !)  eyebrow pencil maybe ? Any way it is a soft
>leaded pencil, that was designed to be used somewhere near your eyes,
>rather than your legs. I know everytime I dress up in 40s stuff out comes
>that pencil & my Mum starts drawing on my legs :) I know it was quite a
>skill to get it looking straight, try it it's hard !
>
>Mel
         I'll vouch for that.  Tried once, just for curiosity, as it's what
my Mother & three Aunts did when they were in high school/immed. following.
 My conclusion?  That's what sisters & best friends must be for... :-)
Carol Cannon
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Date: Tue, 19 Jan 1999 14:02:19 -0800
To: h-costume@indra.com
From: "Carol J. Bell Cannon" <cjcannon@greymists.com>
Subject: Re: H-COST: Dior-stocking seams
In-Reply-To: <24344-36A44551-108@mailtod-141.iap.bryant.webtv.net>
References: <Melanie Wilson <MelanieWilson@compuserve.com>
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-Poster: "Carol J. Bell Cannon" <cjcannon@greymists.com>

At 01:41 AM 1/19/99 -0700, you wrote:
>
>-Poster: starsinger@webtv.net (theresa sorrell)
>
>I believe that due to the shortage of silk stockings in WW II, many
>women went without stockings.  They put the line on the back of their
>legs as a fake stockings seam.  If you "saw" the seam, you must be
>wearing stockings.  Nylons were a few years in the future.
>
>Starsinger
        Yes, that's it exactly, as my maternal grandmother, who raised 4
who did this told it to me, with my Aunts nodding agreement in the
background.  Everyone agreed they were glad to be past that time.  That was
around the Depression in the USA.  Not many had money for much that wasn't
necessity.  I'm not even going to try to explain how eyebrow pencil/mascara
came to be a necessity. :-)  Carol Cannon
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From owner-h-costume@indra.com  Tue Jan 19 18:54:45 1999
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Date: Wed, 20 Jan 1999 10:57:04 +1100
From: Harvey Georgia <harveyg@acer.edu.au>
Subject: H-COST: 18th Century Frock Coat on Ebay
To: "'H-costume'" <h-costume@indra.com>, "'sca-garb'" <sca-garb@coollist.com>
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-Poster: Harvey Georgia <harveyg@acer.edu.au>

I don't usually do this, but this coat is *amazing* to look at....

It's an 18th Century man's frock coat, with lots of tapestry, decorated
buttons, etc. I found it while browsing on Ebay, and thought there might be
at least a few of you who'd like to look at it, before it gets sold. Seems
to me the reserve price on it is pretty cheap, but then I don't know enough
about either the period or restoration of such a garment.

http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&item=57146102

I have absolutely no affiliation with the owner of this coat, just a happy
browser :-)

Georgia
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-Poster: lilinah@grin.net

"Mannequin" is still the French word for "model".

I have a feeling the usage in English changed somewhere between the late
40's to mid-50's, but this isn't backed up by any hard evidence.

Lilinah


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From owner-h-costume@indra.com  Tue Jan 19 19:45:51 1999
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Subject: H-COST: Getting rid of musty smells?
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-Poster: Jennie Chancey <jchancey@rica.net>

I am restoring a 19teens-30s lace wedding gown, remaking the underdress
(which was in shreds) and repairing as the original lace overdress.  The
lace did well through a gentle hand soaking (lots of brown water rinsed
out), but it still retains its musty smell.  Anyone have any tips on how
to get rid of that?  Usually I find it goes away or is greatly reduced
by the hand washing--but not in this case.

Thanks!
Jennie
--
Sense and Sensibility
http://www.sensibility.com
winsome clothing with an old-fashioned appeal


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From: "Allison Thurman" <athurman@cybergal.com>
To: <lwilson16@earthlink.net>, <h-costume@indra.com>
Subject: H-COST: fashion theory
Date: Tue, 19 Jan 1999 20:53:22 -0500
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-Poster: "Allison Thurman" <athurman@cybergal.com>


>From: Laurel Wilson <lwilson16@earthlink.net>
>Date: Tue, 19 Jan 1999 08:59:05 -0400
>Subject: Re: H-COST: dior and new look

>- -Poster: Laurel Wilson <lwilson16@earthlink.net>

>Allison Thurman wrote:

>>  i believe an issue of 'fashion theory" from last year
>> discusses fashion in paris during wwII

>Please, more information on this publication!Lauri

regrettably, i cant find the article i was thinking of (and im kind of
embarassed, because i KNOW i read this and cant find where!) but i did find
one  in the sept. 1997 issue about the forties fashion to new look exhibit
in london - it was at the imperial war museum.

fashion theory is a great journal - only 4 times a year but always packed
with thought-provoking research. valerie steele is the editor, and the
magazine itself is published through berg publishers in england. some
specialty sewing shops carry it (like g st in dc) but amazon always seems to
have the latest issue as well.
allison

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From owner-h-costume@indra.com  Tue Jan 19 20:53:57 1999
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Date: Tue, 19 Jan 1999 21:03:52 -0500
To: h-costume@indra.com
From: Kevin + Mara Riley <lindo@Radix.Net>
Subject: Re: H-COST: Re: H-Cost: Your websites
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-Poster: Kevin + Mara Riley <lindo@Radix.Net>

><Andrea Clef <a.clef@ndh.net>>
>>I believe that many of you have got own websites that deal with our
>>favorite topic historical costuming!...

http://www47.pair.com/lindo/Textiles_Page.htm

Regards,
Mara
Kevin + Mara Riley
Home Page http://www.radix.net/~lindo
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From owner-h-costume@indra.com  Tue Jan 19 21:37:05 1999
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From: "Penny E. Ladnier" <penny.creative.outlets@erols.com>
To: <h-costume@indra.com>
Subject: Re: H-COST: fashion theory
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-Poster: "Penny E. Ladnier" <penny.creative.outlets@erols.com>

>fashion theory is a great journal - only 4 times a year but always packed
>with thought-provoking research. valerie steele is the editor, and the
>magazine itself is published through berg publishers in england. some
>specialty sewing shops carry it (like g st in dc) but amazon always seems
to
>have the latest issue as well.


Where does Valerie find the time to do all that she does?  She must be a
never ending source of energy.  Thanks for the tip on the journal!

Later...Penny
http://www.costumegallery.com


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From owner-h-costume@indra.com  Tue Jan 19 21:45:01 1999
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Date: Tue, 19 Jan 1999 21:53:02 -0500
To: h-costume@indra.com
From: "Laurie L. Kittle" <gunstonian@mindspring.com>
Subject: Re: H-COST: 18th Century Frock Coat on Ebay
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-Poster: "Laurie L. Kittle" <gunstonian@mindspring.com>

At 10:57 AM 1/20/99 +1100, you wrote:
>
>It's an 18th Century man's frock coat, with lots of tapestry, decorated
>buttons, etc. I found it while browsing on Ebay, and thought there might be
>at least a few of you who'd like to look at it, before it gets sold. Seems
>to me the reserve price on it is pretty cheap, but then I don't know enough
>about either the period or restoration of such a garment.
>
>http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&item=57146102

I agree it is gorgeous; however, it's not a frock coat--it's a long-sleeved
waistcoat or vest.

Laurie

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From owner-h-costume@indra.com  Tue Jan 19 22:42:49 1999
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Date: Tue, 19 Jan 1999 19:42:00 -0800
Subject: H-COST: Q - Lace repair
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-Poster: wench359@juno.com


My latest thrift score:  A nice Edwardian(?) petticoat, with a drawstring
waist and *lots* of pintucking and lace.  

The bottom layer of lace is torn, but not too badly.  The rip is about
4".

I'd like to repair the rip, but don't know where to begin. Recommended
needle type, size?  Thread type?

The petticoat is also in need of cleaning.  Would hand washing it in
quilt soap be appropriate?

Any and all assisstance greatly appreciated :)

- Cat
----------------------------------------------
Mistress of Pewter
Wench #359, Int'l Wenches Guild
Executive Babysitter Starquest '97- '98

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From owner-h-costume@indra.com  Tue Jan 19 22:43:13 1999
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Subject: Re: H-COST:OT/babushka
References: <199901191433.IAA10515@naos.cc.umanitoba.ca>
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-Poster: Laurel Wilson <lwilson16@earthlink.net>



Linda Lassman wrote:

> Around here, where there is a large Ukrainian (and a somewhat smaller Russian)
> community, "babushka" is the formal term for "grandmother" (and also for the
> scarves they traditionally wear--but you all know that ;-) ), but most people
> actually refer to their "baba".  It seems to be the same term in both
> languages.

"Bubbe" is the Yiddish/Jewish word for grandmother (as in "bubbemeise," which
means 'old wives' tales').  It's usually pronounced 'bubba'--I wonder if they're
related words.
Lauri


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From owner-h-costume@indra.com  Tue Jan 19 22:57:25 1999
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-Poster: Susan Fatemi <susanf@netwiz.net>

Emma Elizabeth Lehman wrote:
> 
> -Poster: Emma Elizabeth Lehman <00217146@bigred.unl.edu>
> 
> Okay, so what's the difference between "reeled" and "spun"?
> Emma the Non-Spinner

I know! I know! (hand waving in air)
Silk is normally "reeled" off the cocoon in one long filament.
Many strands are then plied (is this the right word, guys??)
together. When the cocoons are broken, either because the moth
got out or the filament broke, the broken fibers are spun like
cotton or wool. 
  While reeled silk is considered higher quality, cloth made
from spun silk has "slubs" and more texture. In Japanese,
it's called "tsumugi".
Dupioni is supposed to be woven from double cocoons.

Susan F.
-- 
Oh Noh! Kimonos!
susanf@netwiz.net
http://www.netwiz.net/~susanf
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From owner-h-costume@indra.com  Tue Jan 19 23:11:51 1999
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-Poster: Appin1@aol.com

I don't know about that, but I DID get a Christmas (holiday) issue for 1998,
so I guess they're still around. Order from them, so maybe their financial
postion will improve! 

Kathleen Norvell
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From owner-h-costume@indra.com  Tue Jan 19 23:21:10 1999
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-Poster: Seton1355@aol.com

 First, I'd bet the pettycoat needs to be cleaned.  Since I cannot see your
pettycoat, I'd suggest first swishing it around in a solution of hydrogen
peroxide & water.(50-50) Hydrogen peroxide is a kind of bleach...we use it to
clean our mouths sometimes, so you can be sure it's gentle.  If that doesn't
"Whiten" your petticoat, then try Ivory Soap, the stuff you wash baby clothes
in.  Be sure to hand wash in a basin and also get all of the soap OUT of the
peticoat after you've washed it.

Is the lace completely missing from the bottom of the peticoat or just kind of
hanging there?
I strongly suggest that, assuming it is cotton, use only cotton thread to
repair the petticoat.  If you use a blend thread like cotton covered polyester
, the cotton covering the polyester thread eventually wears off, exposing the
polyester and the polyester part is much stronger than cotton, and acts like a
knife, cutting through the petticoat.  I lost a quilt this way once!
 I would try to match up the size of the thread to the size of the threads
making up the petticoat.  This should be no real problem.  If the petticoat is
like ones I have, your regular cotton thread should do just fine. If the
petticoat is of a very, very fine cloth, then take it to a speciality
threads/fabric store & see what size threads they have.

Of course, mend it by hand (oh, use a small, sharp embroidry needle, or a
"between" needle used in quilting would be best.)  Take your time & make small
stitches.  You'll be just fine!  Good luck

Phillipa
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From owner-h-costume@indra.com  Tue Jan 19 23:23:45 1999
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-Poster: Appin1@aol.com

Joy Trim is in Wilmington, DE.

Kathleen Norvell
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From owner-h-costume@indra.com  Tue Jan 19 23:28:51 1999
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Date: Wed, 20 Jan 1999 15:30:36 +1100
From: Harvey Georgia <harveyg@acer.edu.au>
Subject: Re:H-COST: Getting rid of musty smells?
To: "'H-costume'" <h-costume@indra.com>
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-Poster: Harvey Georgia <harveyg@acer.edu.au>

- -Poster: Jennie Chancey <jchancey@rica.net>

I am restoring a 19teens-30s lace wedding gown, remaking the underdress
(which was in shreds) and repairing as the original lace overdress.  The
lace did well through a gentle hand soaking (lots of brown water rinsed
out), but it still retains its musty smell.  Anyone have any tips on how
to get rid of that?  Usually I find it goes away or is greatly reduced
by the hand washing--but not in this case.

--

Jennie

I usually find that adding a couple of drops of lavender oil to whatever I'm
rinsing helps. I'm not sure of its effect on the fabric though...but as long
as I add the oil to the water and swish it round, I've not had any problems
with it on silks, or other materials.

This is just what works for me - might be worth testing a small area of the
dress?

Georgia
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From owner-h-costume@indra.com  Tue Jan 19 23:32:55 1999
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From: Ron Carnegie <rcarnegie@widomaker.com>
Subject: Re: H-COST: 18th Century Frock Coat on Ebay
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-Poster: Ron Carnegie <rcarnegie@widomaker.com>

At 10:57 AM 1/20/99 +1100, you wrote:
>
>-Poster: Harvey Georgia <harveyg@acer.edu.au>
>
>I don't usually do this, but this coat is *amazing* to look at....
>
>It's an 18th Century man's frock coat, with lots of tapestry, decorated
>buttons, etc. I found it while browsing on Ebay, and thought there might be
>at least a few of you who'd like to look at it, before it gets sold. Seems
>to me the reserve price on it is pretty cheap, but then I don't know enough
>about either the period or restoration of such a garment.
>

They have the thing misnamed.  It is not a Frock coat (which is actually a
style of coat) it is not even a coat.  It is a sleeved waistcoat.  This is
why the fashion fabric (brocade) is only on the front and at the cuffs.  It
is also why the sleeves are so tight fitting and the lacing up the rear.  It
is earlier than our period, and designed to be worn under the coat.

Cheers,
Ron Carnegie
rcarnegie@widomaker.com
	*************************************************
	"The poetry of history lies in the quasi-miraculous fact that
	 once on this earth, on this familiar spot of ground walked
	 other men and women as actual as we are today, thinking
	 their own thoughts, swayed by their own passions but now
	 all gone, vanishing after another, gone as utterly as we 
	 ourselves shall be gone like ghosts at cockcrow."
				G.M. Trevelyan
	*************************************************

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From owner-h-costume@indra.com  Tue Jan 19 23:36:14 1999
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-Poster: Ron Carnegie <rcarnegie@widomaker.com>


>They have the thing misnamed.  It is not a Frock coat (which is actually a
style of coat) it is not even a coat.  It is a sleeved waistcoat.  This is
why the fashion fabric (brocade) is only on the front and at the cuffs.  It
is also why the sleeves are so tight fitting and the lacing up the rear.  It
is earlier than our period, and designed to be worn under the coat.


Whoops...I thought I was posting to a different list.  Of course it is not
earlier than THIS list's period, it hardly can be ;).

                Probably dates from the earlier portion of the 18th century,
not the third quarter (which the list I thought I was posting is concerned with.

Cheers,
Ron Carnegie
rcarnegie@widomaker.com
	*************************************************
	"The poetry of history lies in the quasi-miraculous fact that
	 once on this earth, on this familiar spot of ground walked
	 other men and women as actual as we are today, thinking
	 their own thoughts, swayed by their own passions but now
	 all gone, vanishing after another, gone as utterly as we 
	 ourselves shall be gone like ghosts at cockcrow."
				G.M. Trevelyan
	*************************************************

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From owner-h-costume@indra.com  Tue Jan 19 23:55:16 1999
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-Poster: Appin1@aol.com

A kakotchnik is a Russian headdress. I'm sure some one can give you a good
definition and a link.

Kathleen Norvell
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From owner-h-costume@indra.com  Wed Jan 20 00:15:30 1999
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Date: Tue, 19 Jan 1999 23:59:01 -0800
From: Heather Law <lynnx@mc.net>
Organization: Interstellar Trading Company
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-Poster: Heather Law <lynnx@mc.net>

At 09:38 19/01/99 -0700, you wrote:
>I'm relatively new to the list and hope this question hasn't
been answered.
>I'm reading _Miss Marjoribanks_ by Mrs. Oliphant with great
pleasure, but
>am stumped by a reference to a character wearing a "tin
dress."  She's a
>minor character, a tawdry and passionate contralto who lures
one of Miss
>M's suitors away, and one gathers that her dress is just one
more marker of
>her unfeminine showiness and tackiness, which she displays in
particular
>during a contested election.  Here's the pertinent
description:
>
>"She . . . was arrayed in the tin dress--her best available
garment--which
>was made long, according to the fashion, and which, as [she]
scorned to
>tuck it up, was continually getting trodden on, and talked
about, and
>reviled at, on that crowded pavement. . . . [The onlookers]
saw, and even
>it might be said heard, the sweep of the metallic garment,
which was
>undersgoing such rough usage, and which was her best, poor
soul."
>
>Does anyone know what a "tin dress" is?  How was it
made--sheets of tin, or
>some sort of knitted tin/fibre yarn?
>
>Thanks,
>Anita Hemphill McCormick
>
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-Poster: Appin1@aol.com

It looks like a sleeved waistcoat to me. I've never seen an outer frock coat
with lacing down the back, or with the front and back in different fabric.

Just a "WAG" on my part. Any other opinions?

Kathleen Norvell
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From owner-h-costume@indra.com  Wed Jan 20 03:57:11 1999
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To: h-costume@indra.com
From: Wanda <bridgeta@slip.net>
Subject: Re: H-COST: Dior-stocking seams
In-Reply-To: <4.0.2.19990119140001.00a401e0@mail.slip.net>
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 <Melanie Wilson <MelanieWilson@compuserve.com>
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-Poster: Wanda <bridgeta@slip.net>

they may have used a grease pencil too!
So far as i know the one must-have cosmetic was a liipstick! Even during
the depression most women had at least one lipstick!At 02:02 PM 1/19/99
-0800, you wrote:
>
>-Poster: "Carol J. Bell Cannon" <cjcannon@greymists.com>
>
>At 01:41 AM 1/19/99 -0700, you wrote:
>>
>>-Poster: starsinger@webtv.net (theresa sorrell)
>>
>>I believe that due to the shortage of silk stockings in WW II, many
>>women went without stockings.  They put the line on the back of their
>>legs as a fake stockings seam.  If you "saw" the seam, you must be
>>wearing stockings.  Nylons were a few years in the future.
>>
>>Starsinger
>        Yes, that's it exactly, as my maternal grandmother, who raised 4
>who did this told it to me, with my Aunts nodding agreement in the
>background.  Everyone agreed they were glad to be past that time.  That was
>around the Depression in the USA.  Not many had money for much that wasn't
>necessity.  I'm not even going to try to explain how eyebrow pencil/mascara
>came to be a necessity. :-)  Carol Cannon
> _________________________________________________________________
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> with the message UNSUBSCRIBE H-COSTUME
> 

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From owner-h-costume@indra.com  Wed Jan 20 04:44:46 1999
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Date: Wed, 20 Jan 1999 01:58:54 +0000
From: Dietmar <dietmar@pacbell.net>
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-Poster: Dietmar <dietmar@pacbell.net>

Greetings all,

Barbara wrote:

> I remember models being called "Mannequins" in Germany before the
> fashion craze of the 1990s, when modelling became hip and a showbiz-
> like way of making a career. The term "model" came over from America
> or the international fashion scene.
>
> Not contradicting earlier uses of the word "model".
> At least that's my impression... Dietmar??

I'm sorry, but I'll have to defer to those who know better than I.  Haute
culture was never my strong suit (no pun intended) and I live in the States,
so I don't know the jargon.

Dietmar


"Victory or Defeat rests in God's hands;
 over Honor, we ourselves are Lord and Master."
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From owner-h-costume@indra.com  Wed Jan 20 05:15:54 1999
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-Poster: Dietmar <dietmar@pacbell.net>

Greetings all,

Lauri wrote:

> "Bubbe" is the Yiddish/Jewish word for grandmother (as in "bubbemeise,"
> which means 'old wives' tales').  It's usually pronounced 'bubba'--I
> wonder if they're related words.

In German, the word 'bube' means 'boy', and I'd be really surprised if there
was that big a difference between the German and the Yiddish.  Yiddish is a
Germanic language (the word 'yiddish' comes from MHG 'juedisch').  But then, I
don't speak Yiddish at all.  Perhaps, since Yiddish comes from Eastern Europe,
there is a connection.

Speculating wildly,

Dietmar


"Victory or Defeat rests in God's hands;
 over Honor, we ourselves are Lord and Master."
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From owner-h-costume@indra.com  Wed Jan 20 05:21:36 1999
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Subject: Re: H-COST: Getting rid of musty smells?
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-Poster: Dietmar <dietmar@pacbell.net>

Greetings all,

Jennie wrote:

> I am restoring a 19teens-30s lace wedding gown, remaking the underdress
> (which was in shreds) and repairing as the original lace overdress.  The
> lace did well through a gentle hand soaking (lots of brown water rinsed
> out), but it still retains its musty smell.  Anyone have any tips on how
> to get rid of that?  Usually I find it goes away or is greatly reduced
> by the hand washing--but not in this case.

I've heard great things about the product known as 'Fabreeze'.  It's available
at the grocery store.  You simply spray it on and it lifts the smells out as
it dries.  I've never tried it though.

A friend of mine uses vodka.  Buy some el cheapo vodka without flavorings or
scents.  (Believe it or not some vodkas have them.)  Dilute it in half or one
fourth with water in a spray bottle.  Lightly mist the fabric until it is damp
and let it air dry.  It's worked wonderfully.

In service,

Dietmar


"Victory or Defeat rests in God's hands;
 over Honor, we ourselves are Lord and Master."
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From owner-h-costume@indra.com  Wed Jan 20 05:32:17 1999
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-Poster: Dietmar <dietmar@pacbell.net>

Greetings all,

I had written,

> I found some wonderful raw silk in a bright yellow and I'd like to darken
> it to a golden color.  I'm not a tea drinker, but coffee is always at hand.
>
> Is coffee an acceptable substitute for tea darkening?
>
> Do I need to add salt as a mordant?

Just to update everyone, I soaked the fabric today and it came out a nice
mustard color.  I used about six cups of dark coffee and a cup of salt in
about six gallons of water.

I didn't bother with decaffeinated coffee.  Caffeine is acidic, but there is
so little in coffee that it doesn't effect the acidity.  Most of the acidity
in coffee and tea come from tannin.  Besides, I figured that the vinegar bath
is more acidic than either coffee or tea.

Regards,

Dietmar


"Victory or Defeat rests in God's hands;
 over Honor, we ourselves are Lord and Master."
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From owner-h-costume@indra.com  Wed Jan 20 06:39:36 1999
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Date: Wed, 20 Jan 1999 06:54:32 -0500
To: h-costume-digest@indra.com
From: Lynn Carpenter <alwen@i2k.com>
Subject: H-COST: British Museum question
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-Poster: Lynn Carpenter <alwen@i2k.com>

One of my 11th century "sources" of costume information is an illustration
in the front of a book called "British Poetry and Prose."  The description
reads,

"Decorations on an Old English calendar show scenes from the daily life of
Anglo-Saxon England.  The illustration below, for the month of March, show
laborers at the spring fieldwork.  The manuscript of the calendar was done
by monks at Durham in the eleventh century; it narrowly escaped destruction
in 1731 in the same fire that damaged the Beowulf manuscript."  The
illustration has "(c) British Museum" at the top and shows four men in
long-sleeved, knee-length tunics, either bloused or tucked into belts,
raking, digging, and broadcasting seed.

My question is, has the British Museum (or anywhere else) published this
calendar?  Does anyone know where I could find the rest of the months?  I
am sorry the information is so scanty, but that is all that is in the book.

Lynn

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From: pulliam@acadia.net (Deborah Pulliam)
Subject: H-COST: reeled silk
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-Poster: pulliam@acadia.net (Deborah Pulliam)

<<Many strands are then plied (is this the right word, guys??) together. >>

Reeled silk is not plied together (which implies twisting), but several
strands of the filaments are reeled off together, and the seracin sort of
gums them together. About six or eight cocoons reeled together constitute a
denier.

<<Dupioni is supposed to be woven from double cocoons.>>

Dupioni means double cocoon, and since the two are woven together, they
can't be reeled, and so are either used for wadding or chopped up and spun.

Deborah


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-Poster: Parsla Liepa <parsla@engin.umich.edu>


> > "Bubbe" is the Yiddish/Jewish word for grandmother (as in "bubbemeise,"
> > which means 'old wives' tales').  It's usually pronounced 'bubba'--I
> > wonder if they're related words.
> 
> In German, the word 'bube' means 'boy', and I'd be really surprised if there
> was that big a difference between the German and the Yiddish.  Yiddish is a
> Germanic language (the word 'yiddish' comes from MHG 'juedisch').  But then, I
> don't speak Yiddish at all.  Perhaps, since Yiddish comes from Eastern Europe,
> there is a connection.

I was actually taught that Yiddish is a Pigeon (or a Creole, I don't
rememebr which...), a strange combination of Hebrew and whatever the local
language was.  So you would get Russian-Yiddish, Polish-Yiddish,
German-Yiddish, and so forth.

Parsla

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From owner-h-costume@indra.com  Wed Jan 20 09:25:52 1999
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Date: Wed, 20 Jan 1999 09:33:49 -0500 (EST)
From: Parsla Liepa <parsla@engin.umich.edu>
To: h-costume@indra.com
Subject: Re: H-COST: Getting rid of musty smells?
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-Poster: Parsla Liepa <parsla@engin.umich.edu>


Wouldn't rubbing alcohol do the same thing, but more cheaply?
Parsla

> A friend of mine uses vodka.  Buy some el cheapo vodka without flavorings or
> scents.  (Believe it or not some vodkas have them.)  Dilute it in half or one
> fourth with water in a spray bottle.  Lightly mist the fabric until it is damp
> and let it air dry.  It's worked wonderfully.


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From owner-h-costume@indra.com  Wed Jan 20 09:30:18 1999
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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: Re: Coffee Darkening
Date: Wed, 20 Jan 1999 09:40:56 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

Silk enjoys a bit of acid, and it helps it to maintain its
luster.  Indians wash their saris in nothing but a little
lime juice and water, and I've read other manufacturer's
directions for washing silk, which recommend  shampoo or
similar soap with a final rinse of water and a teaspoon of
white vinegar.

Hope H. Dunlap

-----Original Message-----
From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
Behalf Of Dietmar
Sent: Tuesday, January 19, 1999 9:45 PM
To: h-costume@indra.com
Subject: H-COST: Re: Coffee Darkening



-Poster: Dietmar <dietmar@pacbell.net>

Greetings all,

I had written,

> I found some wonderful raw silk in a bright yellow and I'd
like to darken
> it to a golden color.  I'm not a tea drinker, but coffee
is always at hand.
>
> Is coffee an acceptable substitute for tea darkening?
>
> Do I need to add salt as a mordant?

Just to update everyone, I soaked the fabric today and it
came out a nice
mustard color.  I used about six cups of dark coffee and a
cup of salt in
about six gallons of water.

I didn't bother with decaffeinated coffee.  Caffeine is
acidic, but there is
so little in coffee that it doesn't effect the acidity.
Most of the acidity
in coffee and tea come from tannin.  Besides, I figured that
the vinegar bath
is more acidic than either coffee or tea.

Regards,

Dietmar


"Victory or Defeat rests in God's hands;
 over Honor, we ourselves are Lord and Master."

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From owner-h-costume@indra.com  Wed Jan 20 09:30:22 1999
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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: tin dress?
Date: Wed, 20 Jan 1999 09:21:35 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

Where does the story take place?  And in what time period?

Hope H. Dunlap

-----Original Message-----
From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
Behalf Of Heather Law
Sent: Wednesday, January 20, 1999 2:59 AM
To: h-costume-digest@indra.com
Subject: H-COST: tin dress?



-Poster: Heather Law <lynnx@mc.net>

At 09:38 19/01/99 -0700, you wrote:
>I'm relatively new to the list and hope this question
hasn't
been answered.
>I'm reading _Miss Marjoribanks_ by Mrs. Oliphant with great
pleasure, but
>am stumped by a reference to a character wearing a "tin
dress."  She's a
>minor character, a tawdry and passionate contralto who
lures
one of Miss
>M's suitors away, and one gathers that her dress is just
one
more marker of
>her unfeminine showiness and tackiness, which she displays
in
particular
>during a contested election.  Here's the pertinent
description:
>
>"She . . . was arrayed in the tin dress--her best available
garment--which
>was made long, according to the fashion, and which, as
[she]
scorned to
>tuck it up, was continually getting trodden on, and talked
about, and
>reviled at, on that crowded pavement. . . . [The onlookers]
saw, and even
>it might be said heard, the sweep of the metallic garment,
which was
>undersgoing such rough usage, and which was her best, poor
soul."
>
>Does anyone know what a "tin dress" is?  How was it
made--sheets of tin, or
>some sort of knitted tin/fibre yarn?
>
>Thanks,
>Anita Hemphill McCormick
>

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From owner-h-costume@indra.com  Wed Jan 20 09:30:39 1999
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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: Re: OT/babushka
Date: Wed, 20 Jan 1999 09:29:54 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

"Bubbe" is indeed the affectionate, informal Yiddish term
for grandmother, as in "my Bubbe and Zede," meaning "my
Grandma and Grandpa," and it is still used today by members
of the American Jewish community.

Hope H. Dunlap


-----Original Message-----
From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
Behalf Of Dietmar
Sent: Tuesday, January 19, 1999 9:30 PM
To: h-costume@indra.com
Subject: H-COST: Re: OT/babushka



-Poster: Dietmar <dietmar@pacbell.net>

Greetings all,

Lauri wrote:

> "Bubbe" is the Yiddish/Jewish word for grandmother (as in
"bubbemeise,"
> which means 'old wives' tales').  It's usually pronounced
'bubba'--I
> wonder if they're related words.

In German, the word 'bube' means 'boy', and I'd be really
surprised if there
was that big a difference between the German and the
Yiddish.  Yiddish is a
Germanic language (the word 'yiddish' comes from MHG
'juedisch').  But then, I
don't speak Yiddish at all.  Perhaps, since Yiddish comes
from Eastern Europe,
there is a connection.

Speculating wildly,

Dietmar


"Victory or Defeat rests in God's hands;
 over Honor, we ourselves are Lord and Master."

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From owner-h-costume@indra.com  Wed Jan 20 09:47:32 1999
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From: aleed <aleed@dnaco.net>
To: h-costume@indra.com
Subject: H-COST: Fabricclub.com review
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-Poster: aleed <aleed@dnaco.net>


Just thought I'd let you all know what kind of linen it is that
Fabricclub.com sells--my order arrived yesterday.  It's a smooth weave,
somewhat finer than the rather coarsely woven "linen-look" fabric you find
at Jo-Anns & other local fabric stores, but not by much. It has more of a
shine to it as well, and a very nice drape. Not handkerchief weight by any
means, but good for, say, a lower- to middle-class 16th c. bodice, kirtle
or jacket.  at $5 a yard, I call it a great deal!

Two thumbs up,

Drea

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From owner-h-costume@indra.com  Wed Jan 20 09:55:06 1999
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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: Re: OT/Yiddish
Date: Wed, 20 Jan 1999 10:06:29 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

Recognizing the strong similarity between German and
Yiddish, I've always felt that it was a "pigeon" or hybrid
type of language too.  Jewish people sometimes find this
concept offensive, saying Yiddish is an independent language
in its own right.  Whatever!  There are no pure anythings,
and haven't ever been, as near as I can tell.  People are
always borrowing from other cultures, it is just human
nature.  I was reading an ancient diatribe against the
Vikings the other day, in which the complainer claimed that
everything good in the Viking culture was not invented by a
Viking, but borrowed from the Sythians!  I won't tread on
that one further, but I don't think Yiddish integrates
Russian and Polish to anywhere near the same degree as
German.

My observation is that Yiddish was (an still is, of course)
a language which connected Jews across national boundaries,
just as nomadic peoples above the Arctic Circle around the
globe all speak Inuit, regardless of the national language
used by the government of the place where they are.  For the
Ashkenazi Jews in the northern and eastern European areas
including Germany, Poland, and Russia, their common language
was Yiddish.  For the Sephardic Jews of Spain, Italy,
Morocco, and other Mediterranean areas, their common
language was Ladino.

Hope H. Dunlap

-----Original Message-----
From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
Behalf Of Parsla Liepa
Sent: Wednesday, January 20, 1999 9:32 AM
To: h-costume@indra.com
Subject: Re: H-COST: Re: OT/Yiddish



-Poster: Parsla Liepa <parsla@engin.umich.edu>


> > "Bubbe" is the Yiddish/Jewish word for grandmother (as
in "bubbemeise,"
> > which means 'old wives' tales').  It's usually
pronounced 'bubba'--I
> > wonder if they're related words.
>
> In German, the word 'bube' means 'boy', and I'd be really
surprised if there
> was that big a difference between the German and the
Yiddish.  Yiddish is a
> Germanic language (the word 'yiddish' comes from MHG
'juedisch').  But then, I
> don't speak Yiddish at all.  Perhaps, since Yiddish comes
from Eastern Europe,
> there is a connection.

I was actually taught that Yiddish is a Pigeon (or a Creole,
I don't
rememebr which...), a strange combination of Hebrew and
whatever the local
language was.  So you would get Russian-Yiddish,
Polish-Yiddish,
German-Yiddish, and so forth.

Parsla


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-Poster: Laurel Wilson <lwilson16@earthlink.net>



Susan Fatemi wrote:

> Silk is normally "reeled" off the cocoon in one long filament.
> Many strands are then plied (is this the right word, guys??)
> together.

Precisely the right word.  It is my understanding that this is what the
silk 'throwing mills' which began to appear in the Middle Ages were
doing:  that is, plying several strands together to make a thicker,
stronger thread.
Lauri

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-Poster: Laurel Wilson <lwilson16@earthlink.net>



Deborah Pulliam wrote:

> -
>
> Reeled silk is not plied together (which implies twisting), but several
> strands of the filaments are reeled off together, and the seracin sort of
> gums them together. About six or eight cocoons reeled together constitute a
> denier.
>

I stand corrected--thank you, this makes perfect sense, and is doubtless what
the throwing mills were doing.
Lauri

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-Poster: Laurel Wilson <lwilson16@earthlink.net>



Parsla Liepa wrote:

> I was actually taught that Yiddish is a Pigeon (or a Creole, I don't
> rememebr which...), a strange combination of Hebrew and whatever the local
> language was.  So you would get Russian-Yiddish, Polish-Yiddish,
> German-Yiddish, and so forth.
>
>

Actually, there aren't that many variants of Yiddish, or at least the ones there
are are relatively close to each other.  It's based on Medieval German, with some
Hebrew and smatterings of all the other Eastern European languages, as well as some
surprises:  for instance, the Yiddish word 'aipikorus' (sp?), which means atheist,
comes from the Greek Epicurus, who was a Stoic philosopher.  My guess is that the
Yiddish 'bubbe' really is related to the Russian 'baba'.Lauri


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From owner-h-costume@indra.com  Wed Jan 20 10:19:58 1999
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From: Elizabeth Lear <eliz@indra.com>
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Subject: Re: H-COST: RE: kakofnitch
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-Poster: Elizabeth Lear <eliz>

<A kakotchnik is a Russian headdress. I'm sure some one can give you a good
<definition and a link.
<Kathleen Norvell

Here are some extended definitions and pictures of kokoshniks from the
Russian costuming sources on my home page:

http://indra.com/~eliz/Pictures/SCA/USSR-9.gif
http://indra.com/~eliz/Pictures/SCA/USSR-30.gif
http://indra.com/~eliz/Pictures/SCA/USSR-31.gif
http://indra.com/~eliz/Pictures/SCA/Encyclo-349.gif

					...eliz
					(SCA: Yelizaveta Medvedeva)
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From owner-h-costume@indra.com  Wed Jan 20 10:20:34 1999
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-Poster: Hilary Doda <vaqqa@ibm.net>


Laurel Wilson wrote:

>"Bubbe" is the Yiddish/Jewish word for grandmother (as in
>"bubbemeise," which means 'old wives' tales').  It's usually
>pronounced 'bubba'--I wonder if they're related words.

As far as I know, Bubbe (Bubby, Boba, Baba, etc) comes from the hebrew
word for Grandmother - Saba. The word for Grandfather is Safta, which gets
transformed into Zaide. I don't remember where I picked up that tidbit,
tho'. Possibly congregational school... anyone know a different source?

ObCostume: I've been embroidering fake (plastic and glass) pearls onto
cotton velveteen. I will eventually need to get the penciled-on guidelines
off. I don't want to put it in the laundry, as I have a vision of it
coming out all melted. The pencil lines are on the reverse (non-piled)
side, and the fabric is 100% cotton. What's the best way to do this?
Dabbing with a cloth? Shout stick? ;)

Hilary Doda/Joane Steward


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From owner-h-costume@indra.com  Wed Jan 20 10:42:07 1999
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From: Kristi Kelly <Kristi.Kelly@mci.com>
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Subject: H-COST: Regency gown pattern suggestions
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-Poster: Kristi Kelly <Kristi.Kelly@mci.com>


Hi,

My girlfriend is going to a Regency wedding and needs a dress.  I am
looking for a pattern and I hope someone can point me in the right
direction.

Any material and trim pointers would be great!  Also, any idea of what
to do with one's hair?  Hats were in? or were they just naked curls?

Also, does the movie Emma with Gwyenth Paltrow give a reasonable idea
of what the clothes looked like?  Are there any other places that we
should look?

Thanks for your help in advance.

IMPORTANT: I am not on the list, please send your responses directly
to my email address.

Thanks

Kristi 


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-Poster: Luiseach@aol.com


In a message dated 01/20/99 06:32:46 AM, Parsla wrote:

<<I was actually taught that Yiddish is a Pigeon (or a Creole, I don't
rememebr which...)>>

Basically the difference is that a pidgin language is only used for
communication between groups, i.e. all speakers of a pidgin have another
language as their first language.  When a language that started out as a
pidgin starts to be used as a first language, it becomes a creole.  Yiddish is
a creole and has been for centuries.  Pidgin English is not actually a pidgin
anymore, it has become a creole also.

Lucinda, who had to take linguistics to get a speech/language patholigist
credential
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From: Barbara Maren Winkler <barbara@math.tu-berlin.de>
Subject: H-COST: Re: OT/babushka/Yiddish
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-Poster: Barbara Maren Winkler <barbara@math.tu-berlin.de>

>- -Poster: Dietmar <dietmar@pacbell.net>
>
>> "Bubbe" is the Yiddish/Jewish word for grandmother (as in "bubbemeise,"
>> which means 'old wives' tales').  It's usually pronounced 'bubba'--I
>> wonder if they're related words.
>
>In German, the word 'bube' means 'boy', and I'd be really surprised if there
>was that big a difference between the German and the Yiddish.  Yiddish is a
>Germanic language (the word 'yiddish' comes from MHG 'juedisch').  But
then, I
>don't speak Yiddish at all.  Perhaps, since Yiddish comes from Eastern
Europe,
>there is a connection.

>- -Poster: Parsla Liepa <parsla@engin.umich.edu>
>
>I was actually taught that Yiddish is a Pigeon (or a Creole, I don't
>rememebr which...), a strange combination of Hebrew and whatever the local
>language was.  So you would get Russian-Yiddish, Polish-Yiddish,
>German-Yiddish, and so forth.

Yiddish: 
	Grandma -- "Babe" or "Bobe" or "Bubbe" (English pronunciation)
	Grandpa -- "sejde"
Russian:
	woman (derogatively), farmer's wife -- "baba"
	Grandma -- "babka", "babushka"
	witch -- "Babayaga"
Slovak:
	Grandma -- "Babka"
German:
	Grandma -- "Oma", "Großmutter"
	Grandpa -- "Opa", "Großvater"
	Special-style scarf, hose shaped, used much in the navy -- "Oma"
	Boy -- "Bube" (obsolete)

Yiddish: Language of Eastern Europe Jews. A pigeon language with germanic,
semitic and slavic elements: From mediaeval German (largest part), semitic:
Hebrew and Aramaic (from the Talmud), slavic: Polish, Ukrainian, white
Russian. Oldest written document in Yiddish: 1396 (That's what my 1955
Brockhaus says). Western Yiddish is closely related to German dialects but
obviously vanished due to assimilation of the Jews in Germany and America
(19th century). Modern written Yiddish apparently stems from Eastern
Yiddish as spoken mainly in Poland. This would be the "u"-variant of
Yiddish, spoken by 3/4ths of all yiddish speaking people, as opposed to the
"o"-variant in Belarus, Lithuania etc. Yiddish was brought to Poland by
German Jews who had to flee from Germany during the time of the crusades
and developed there since the end of the middle ages.

Most "basic" words are "like German" and even recognizable for a German
reader. But there are too many words from other languages for me to really
understand it without translation.

... guess which language(s) the Yiddish term for "grandmother" was taken from.

Barbara Maren

... who shouldn't be doing this ...

--
Barbara Maren Winkler                         barbara@math.tu-berlin.de

  
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Subject: H-COST: Sources for 16th c. make-up info
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-Poster: aleed <aleed@dnaco.net>


Hopefully someone on here can help...

I've been looking for some good sources, preferably primary or containing 
primary quotes, on 16th century cosmetics and make-up information.  Does
anyone know of any good books or articles on the subject?  Most of what I
know is anecdotal and comes from other people--belladonna in the eyes,
mercury water for the complexion, white lead on the face.  Does anyone
know where I can find the written info? 

Thanks much,

Drea

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From: "Griggs, Margaret (SHEP)" <Margaret.Griggs@shepards.com>
To: "'h-costume@indra.com'" <h-costume@indra.com>
Subject: RE: H-COST: Sources for 16th c. make-up info
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-Poster: "Griggs, Margaret (SHEP)" <Margaret.Griggs@shepards.com>

Here are a couple of links to start with:

Avriel - Beauty products from the Dead Sea -
http://www.37.cyberhost.net/avriel/beuatyhis.html

Beauty in the 17th Century, http://www.nmm.ac.uk/ei/fact/beauty.html.

I don't know how accurate they are but I seem to recall some bib info on one
of these sites that may help as well.

Maggie

margaret.griggs@shepards.com

-----Original Message-----
From: aleed [mailto:aleed@dnaco.net]
Sent: Wednesday, January 20, 1999 10:41 AM
To: h-costume@indra.com
Subject: H-COST: Sources for 16th c. make-up info



-Poster: aleed <aleed@dnaco.net>


Hopefully someone on here can help...

I've been looking for some good sources, preferably primary or containing 
primary quotes, on 16th century cosmetics and make-up information.  Does
anyone know of any good books or articles on the subject?  Most of what I
know is anecdotal and comes from other people--belladonna in the eyes,
mercury water for the complexion, white lead on the face.  Does anyone
know where I can find the written info? 

Thanks much,

Drea

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From owner-h-costume@indra.com  Wed Jan 20 12:41:06 1999
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Date: Wed, 20 Jan 1999 09:53:08 -0800
From: Fred Struthers <fsbks@mcn.org>
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-Poster: Fred Struthers <fsbks@mcn.org>

> > This is slightly off-topic, but I'm hoping someone will have an answer.
> > A friend of ours went home to Hawaiian recently and my husband asked him
> > to bring back a shirt.  It's a cotton print, but the shirt is made so
> > that the fabric is wrong-side out.  My friend assures me that this is
> > the way these shirts are made although he has no idea why.  Does anyone
> > know why they're made this way?  It almost makes me want to take it
> > apart and resew it.  *almost*  :-)


Robb Shep tells me that this "wrong-side out" fabric is the taste of the
Hawaiians themselves - that shirts made the conventional way were/are 
made for the mainlanders (this from a curator at the University of
Hawaii).

Any Hawaiians on the list to vouch for this?
-- 
Fred Struthers
http://www.mcn.org/e/fsbks
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From owner-h-costume@indra.com  Wed Jan 20 12:41:13 1999
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From: "Wylie A. & Gail D. Smith" <wyliesmith@isomedia.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: Sources for 16th c. make-up info
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-Poster: "Wylie A. & Gail D. Smith" <wyliesmith@isomedia.com>

Drea,
There is an SCA publication, The Compleat Anachronist, number 53 from
January 1991 on Period Cosmetics for that timeframe that would be helpful. I
don't have a copy, but could let you know how to get it from the SCA stock
clerk, or our local Canton library for more on the sources.
Email me privately if you think this would be helpful.
~G

> -----Original Message-----
> From: owner-h-costume@indra.com [mailto:owner-h-costume@indra.com]On
> Behalf Of aleed
> Sent: Wednesday, January 20, 1999 9:41 AM
> To: h-costume@indra.com
> Subject: H-COST: Sources for 16th c. make-up info
>
>
>
> -Poster: aleed <aleed@dnaco.net>
>
>
> Hopefully someone on here can help...
>
> I've been looking for some good sources, preferably primary or containing
> primary quotes, on 16th century cosmetics and make-up information.  Does
> anyone know of any good books or articles on the subject?  Most of what I
> know is anecdotal and comes from other people--belladonna in the eyes,
> mercury water for the complexion, white lead on the face.  Does anyone
> know where I can find the written info?
>
> Thanks much,
>
> Drea
>
>  _________________________________________________________________
>  To leave this mailing list, send mail to majordomo@indra.com
>  with the message UNSUBSCRIBE H-COSTUME
>

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From owner-h-costume@indra.com  Wed Jan 20 12:43:43 1999
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From: Ariyana Kylstram <ariyana@cats.UCSC.EDU>
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-Poster: Ariyana Kylstram <ariyana@cats.UCSC.EDU>


Ok, since only one person has gotten this right so far...

a pidgeon is a bird (generally pidg-un, where I come from)
pidgin describes a type of language (generally pid-gin -- not gin like 
the type of alcohol, but rather the same g sound as in again, the short g 
sound)

Sorry, but the repeated abuse of birds to describe language finally got 
to me.

Your frienly neighborhood spelling nazi
.ari
The Lady Ariyana of House Kylstram 
ariyana@cats.ucsc.edu
http://www.kithrup.com/~ariyana/


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From owner-h-costume@indra.com  Wed Jan 20 13:24:04 1999
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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: H-COST: Russian Costume/Fort Ross
Date: Wed, 20 Jan 1999 13:32:19 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

There is a big website for Fort Ross, the Russian-American
sea otter fur trade fort, half-way between San Francisco and
Oregon border, at this URL:
http://www.mcn.org/ed/ross/gv.htm


It links to period paintings of the fort, bibliography, book
ordering information, and educational resources and contact
names in Russia and Alaska and California.  There is one
photo of native dress from Irkutsk, Siberia, but I don't
know how accurate these beautiful costumes would be for the
time period you want to portray. There are photographs of
the last living history costume day in July 1997 on the
site.  There are many women participants, but they are all
pictured in American calico frontier dress and cotton
bonnets. You can link to the various images here:
http://www.mcn.org/ed/ross/Referenc/ref.HTM

There are also links to people and information in the native
American communites.  If you can't find exactly what you
need on this site, contact one of the Russians by e-mail and
ask your questions.  It is not at all clear that the dress
with the shoulder straps we have been discussing is at all
relevant, as the Russians seem to have originated in
Irkutsk, Siberia, not western Russia, where that dress was
more common.  I don't have the answers, but you should be
able to get started here.  I've attached a bibliography for
your interest:

The Fort Ross Museum Bookstore specializes in books about
the
cultural and natural history of Fort Ross, California,
Russian America & the maritime history of the Pacific Rim.
PRIMARY REFERENCE MATERIALS ABOUT FORT ROSS
INDIANS OF THE ROSS SETTLEMENT According to the Censuses by
Kuskov, 1820-1821, Istomin 3.50
OUTPOST OF AN EMPIRE: FORT ROSS THE RUSSIAN COLONY IN
CALIFORNIA, Watrous 6.00 (Basic history of Fort Ross during
the Russian era.)
FORT ROSS BROCHURE, California Department of Parks .50
THE CARETAKERS OF FORT ROSS AFTER RUSSIAN AMERICA, Fort Ross
Interpretive Association 6.50 ( The history of Fort Ross
after the Russians left to the present.)
WALKING TOUR OF FORT ROSS, Fort Ross Interpretive
Association .25
SELECTED HISTORY BOOKS
ARCHAEOLOGY AND ETHNOHISTORY OF FORT ROSS, Lightfoot 25.00
(Excellent compilation of cultural and natural history of
Ross along with contemporary archaeology.)
ARCHAEOLOGY AND ETHNOHISTORY OF FORT ROSS, VOL. 2: THE
NATIVE ALASKAN NEIGHBORHOOD, Lightfoot 35.00
CROSSROADS OF CONTINENTS, Fitzhugh/Crowell 34.95 (Excellent
reference on the native people of the North Pacific Rim.)
COLONIAL RUSSIAN AMERICA, Khlebnikov 21.9 (Journal entries
written in 1818 by Russian-American Company official.
Includes accounts of Fort Ross.)
FORT ROSS: CALIFORNIA OUTPOST OF RUSSIAN AMERICA, Essig
et.al. 12.50 (A compilation of articles about various
aspects of life in the Russian colony.)
HANDBOOK OF NORTH AMERICAN INDIANS, Smithsonian Institution
Press
VOL. 5 ARCTIC, VOL. 6 SUBARCTIC, VOL. 8 CALIFORNIA, VOL. 7
NORTHWEST each 62.00
HANDBOOK OF THE INDIANS OF CALIFORNIA, Kroeber 20.95
KHLEBNIKOV ARCHIVE, Khlebnikov 17.50 (Journal entries by
Russian-American Company official detail life at Ross 1820 -
1822.)
NATURAL WORLD OF THE CALIFORNIA INDIANS, Elasser/Heizer
15.95
RUSSIAN AMERICA: A BIOGRAPHICAL DICTIONARY, Pierce 45.00
RUSSIAN AMERICAN COLONIES, Dmytryshyn/Vaughn 40.00 (Research
with many details about the colonies, including Fort Ross.)
RUSSIAN AMERICA, STATISTICAL AND ETHNOGRAPHIC INFORMATION,
Wrangell 18.00 (Includes ethnographic accounts on the Fort
Ross area written by a governor of Russian America.)

ORDERING INFORMATION
(707) 847-3437 Fax (707) 847-3601 E-Mail fria@mcn.org



Hope H. Dunlap


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-Poster: Luiseach@aol.com


In a message dated 01/20/99 09:50:49 AM, you wrote:

<< frienly>>

oops -- 
I'd hoped that if I spelled pidgin right, someone else would pick up on it,
the problem is that even if you ran a spell checker, they HAD spelled the bird
correctly  -- reminds me of an event announcement  where the autocrat's spell
checker had corrected "Gentles" to "Gentiles" and he didn't catch it before it
went to our kingdom newsletter.  Oh well.

Happy Wednesday from not-so-sunny Riverside/Dreiburgen

Lucinda/Luighseach

btw, does UCSC.EDU stand for UC Santa Cruz?

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-Poster: Gaelscot@aol.com



This is off-topic, but you guys are the only sewing folks I know. Or sort-of
know. :-) Anyway, I got my Clothilde catalogue yesterday and saw an ad for
something called "unique," which is called a club. You send in $50 and they
send you a video on how to take 47 different measurements, which you then send
back to the company. Four times a year, you get pattern catalogues. When you
order a pattern, you get one sized exactly to you. The ad says they have more
than 200 patterns.

Has anyone heard of or used this? I am okay with making up my own historic
patterns, but awful at altering modern ones. It sounds pretty neat, but there
isn't a number to call or anything.

Gail Finke

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-Poster: Gaelscot@aol.com



On the topic of Hawaiian shirts -- why are they so expensive? My parents were
recently in Hawaii, and found that even there the shirts cost about $70. Now,
my husband and I have lots of short-sleeved cotton shirts, and none of them
cost $70! Does it have something to do with the dyes? The quality of the
cotton? Or is it just a status thing?

Gail Finke

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From owner-h-costume@indra.com  Wed Jan 20 14:44:31 1999
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Date: Wed, 20 Jan 1999 11:33:04 -0800
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From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: Re: H-COST: Re: OT/Yiddish
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>

Yiddish is just this kind of hybrid.  But it has more German in it than any
other Eastern European language, at least as it is spoken in this country.
My mother isn't Jewish but she minored in German in college, and had no
trouble understanding Yiddish when she read "The Joys of Yiddish'.  She
kept commenting on the similarities between the two languages.

>I was actually taught that Yiddish is a Pigeon (or a Creole, I don't
>rememebr which...), a strange combination of Hebrew and whatever the local
>language was.  So you would get Russian-Yiddish, Polish-Yiddish,
>German-Yiddish, and so forth.



Kayta
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From owner-h-costume@indra.com  Wed Jan 20 14:44:35 1999
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Date: Wed, 20 Jan 1999 11:47:50 -0800
To: h-costume@indra.com, Kristi.Kelly@mci.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: Re: H-COST: Regency gown pattern suggestions
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>

The standard advice is to go to pictures made in that period and see what
the people in them are wearing.  The artists of any time period knew what
other people of that period were wearing, and they left pictures you can copy.

Recent movies - and there are several recent Jane Austin ones - should get
you thru one event.  They aren't always perfect, but they ought to be good
enough for what you are doing.  The people who do this period more often
than one wedding usually study period sources of information.  You can
probably get away with just watching a movie or two and making something
out of one of them.  Rent the video so you can stop it and take a close
look without the dress you are looking at moving.

>Any material and trim pointers would be great!  Also, any idea of what
>to do with one's hair?  Hats were in? or were they just naked curls?
>
>Also, does the movie Emma with Gwyenth Paltrow give a reasonable idea
>of what the clothes looked like?  Are there any other places that we
>should look?


Kayta
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From owner-h-costume@indra.com  Wed Jan 20 14:44:41 1999
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Date: Wed, 20 Jan 1999 11:39:43 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: H-COST: removing pencil from velveteen
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>

Why bother removing the pencil marks?  Are you going to compete with this
piece?  Won't you lining cover the marks?

>ObCostume: I've been embroidering fake (plastic and glass) pearls onto
>cotton velveteen. I will eventually need to get the penciled-on guidelines
>off. I don't want to put it in the laundry, as I have a vision of it
>coming out all melted. The pencil lines are on the reverse (non-piled)
>side, and the fabric is 100% cotton. What's the best way to do this?
>Dabbing with a cloth? Shout stick? ;)


Kayta
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From owner-h-costume@indra.com  Wed Jan 20 14:45:34 1999
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From: Parsla Liepa <parsla@engin.umich.edu>
To: h-costume@indra.com
Subject: H-COST: Wet dress?
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-Poster: Parsla Liepa <parsla@engin.umich.edu>



I know that this same question was answered last Halloween, but as is too
often the case, I don't pay attention because I don't need the info right
then.

I've got a costume party coming up.  The plan is to go as a Dead Ophelia.
How do I get the wet look?

Parsla

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From owner-h-costume@indra.com  Wed Jan 20 14:47:31 1999
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Date: Wed, 20 Jan 1999 11:54:18 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: Re: H-COST: hawaiian shirts
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>


>On the topic of Hawaiian shirts -- why are they so expensive? My parents were
>recently in Hawaii, and found that even there the shirts cost about $70. Now,
>my husband and I have lots of short-sleeved cotton shirts, and none of them
>cost $70! Does it have something to do with the dyes? The quality of the
>cotton? Or is it just a status thing?

It may have something to do with the label/brand name, or it might have
something to do with the fact that they had to import all the parts., or it
might have something to do with custom designed cloth.


Kayta
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From: Merouda the True <keltia@serv.net>
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-Poster: Merouda the True <keltia@serv.net>


--------------3481A59D60C28A9FD8BF175B
Content-Type: text/plain; charset=us-ascii
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A friend and I were talking and it occurred to me that I have never
seen an official definition of "reasonable facsimile".  I bet that
several of us has varying versions of a similar idea.  So, please,
tell us your definition.  This is what we came up with.


> > A textile, material or construction technique ( may or may
> > not have been available in that time period) which can produce the
> > silohette, texture or the general appearance a costumer is attempting to
> > achieve by the use of that textile, material or construction technique.
>
> I guess I add a reason why the original can't be used.  For me, there has to be a
> justification.  Such as "they would have used silk velvet in this time frame, but the
> modern cost was so prohibitive, I used cotton velveteen".
>

So!  Let me know what you think!  Cynthia

--
Merouda the True of Beaumaris
Barony of Madrone
Kingdom of An Tir


--------------3481A59D60C28A9FD8BF175B
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<HTML>
A friend and I were talking and it occurred to me that I have never seen
an official definition of "reasonable facsimile".&nbsp; I bet that several
of us has varying versions of a similar idea.&nbsp; So, please, tell us
your definition.&nbsp; This is what we came up with.
<BR>&nbsp;
<BLOCKQUOTE TYPE=CITE>
<PRE>> A textile, material or construction technique ( may or may
> not have been available in that time period) which can produce the
> silohette, texture or the general appearance a costumer is attempting to
> achieve by the use of that textile, material or construction technique.

I guess I add a reason why the original can't be used.&nbsp; For me, there has to be a
justification.&nbsp; Such as "they would have used silk velvet in this time frame, but the
modern cost was so prohibitive, I used cotton velveteen".</PRE>
</BLOCKQUOTE>
&nbsp;
<BR>So!&nbsp; Let me know what you think!&nbsp; Cynthia

<P>--
<BR>Merouda the True of Beaumaris
<BR>Barony of Madrone
<BR>Kingdom of An Tir
<BR>&nbsp;</HTML>

--------------3481A59D60C28A9FD8BF175B--

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-Poster: Merouda the True <keltia@serv.net>

I second Kayta's questions.  Even if you are competing, the marks will never
show even if you don't line the garment.  I say, don't worry about it.  :)
Cynthia

> Why bother removing the pencil marks?  Are you going to compete with this
> piece?  Won't you lining cover the marks?
>
> >ObCostume: I've been embroidering fake (plastic and glass) pearls onto
> >cotton velveteen. I will eventually need to get the penciled-on guidelines
> >off. I don't want to put it in the laundry, as I have a vision of it
> >coming out all melted. The pencil lines are on the reverse (non-piled)
> >side, and the fabric is 100% cotton. What's the best way to do this?

--
Merouda the True of Beaumaris
Barony of Madrone
Kingdom of An Tir


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-Poster: Ninni M Pettersson <vidumavi@swipnet.se>

At 20.27 +0100 99-01-19, Hope H. Dunlap wrote:
>Stockholm's Museum of National Antiquities has a stunning
>web page called The Textile Chamber at
>http://www.rashm.se/shm/museet/textil/textilkammaren-e.html.
>The double-cloth and the soumak-woven hanging are my
>favorites.  The hanging portrays people in costume, which is
>very interesting. One piece of Opus Anglicanum is shown.
>All too brief, but worth a visit!

	This must be knew! (Relatively so anyway, I didn't found it when I
was looking for something from them during the discussion we had sometime
ago about museums to visit for their textiles.) Anyone visiting Stockholm
just *have* to visit the Museum of National Antiquities' Textile Chamber,
all of the textiles on this web-page, and several others, are on permanent
display.

>Don't miss the 19,2 cm Queen's (?) gold broach from the 14th
>century which looks like a rose window with chimera found in
>a river in 1818 in the Medieval link at the bottom.

	In the basement of the museum is the new Treasury, where all of the
silver and gold treasures pre-1600  found in Sweden (lots of Migration and
Viking Era finds) are displayed. Before this was built (some five years ago
I think) they were all locked away in a vault somewhere. Also a must-see.

/Ninni Pettersson


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From owner-h-costume@indra.com  Wed Jan 20 15:12:25 1999
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Date: Wed, 20 Jan 1999 15:19:59 -0500 (EST)
From: Ioana Timariu <ioana@yucc.yorku.ca>
To: h-costume@indra.com
Subject: Re: H-COST: Wet dress?
In-Reply-To: <Pine.SOL.4.02.9901201450370.15041-100000@mux.engin.umich.edu>
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-Poster: Ioana Timariu <ioana@yucc.yorku.ca>


On Wed, 20 Jan 1999, Parsla Liepa wrote:

> 
> I've got a costume party coming up.  The plan is to go as a Dead Ophelia.
> How do I get the wet look?
> 
> Parsla

Sorry, I can't hold this in: 
Water usually does the trick ;-)
- (lurkin' ioana)

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From owner-h-costume@indra.com  Wed Jan 20 17:21:47 1999
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Date: Wed, 20 Jan 1999 16:38:05 -0600 (CST)
From: "Sara J. Davitt" <ophelia@dias.net>
To: Dietmar <dietmar@pacbell.net>
cc: h-costume@indra.com, JennieChancey <jchancey@rica.net>
Subject: Re: H-COST: Getting rid of musty smells?
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-Poster: "Sara J. Davitt" <ophelia@dias.net>

> 
> I've heard great things about the product known as 'Fabreeze'.  It's available
> at the grocery store.  You simply spray it on and it lifts the smells out as
> it dries.  I've never tried it though.
> 

It's called Febreeze, and I have officially finished off my trial bottle
of it, and have thus far, been very pleased.  Though it does help, Esp. if
a garment is lined, to spray it both inside and out.  I have also used
Glade Neutralizer, Room Spray (just sprayed the clothing)  and it smells
like little herbal things... not those scents that come straight out of
potpourii hell. (which do make me physically ill, hence the strong words)  

Though i'd be wary of spritzing it on old fabric... it is chemicals.. and
god knows what they'll do to the fabric.... Though everything modern seems
to be just fine. (Even my fake fur coat!!)

spritz spritz!
Sarahj

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From owner-h-costume@indra.com  Wed Jan 20 17:24:00 1999
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From: "Sara J. Davitt" <ophelia@dias.net>
To: h-costume@indra.com
Subject: Re: H-COST: Getting rid of musty smells?
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-Poster: "Sara J. Davitt" <ophelia@dias.net>



Wouldn't rubbing alcohol do the same thing, but more cheaply?
Parsla

But think of all the fun you'd miss going in and telling the clerk that
you need that case of flieschmanns Vodka to get rid of the musty smells in
your house!... not to mention if there is any left over!

Sarahj

**2Y's**UR**2Y's**UB**IC**UR**2Y's**4Me**

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From owner-h-costume@indra.com  Wed Jan 20 17:53:28 1999
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Date: Wed, 20 Jan 1999 18:01:05 -0500
From: Bill and/or Glenna Jo Christen <gwjchris@rust.net>
Organization: The Curiosity Shop
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-Poster: Bill and/or Glenna Jo Christen <gwjchris@rust.net>

Yiddish is very likely a creole language much like Swahili or Cajun. A
pidgin language is a hybrid of two or more languages developed as a
means of communication between people who have no common language.
Pidgins have their own grammar and vocabulary taken partly from the
common languages and some unique to the new language. Pidgin languages
become creoles when one group of people start using the language as
their native tongue. A creole is not a 'second rate language', but
rather one that is not specifically linked to one nationality, but
rather a cultural group. The dominant root language is usually that of
the dominant group that contributed to the pidgin/creole if there is one
dominant language. Variations of German dominates Yiddish, but there are
some of Hebrew words as well as other Easter European languages.
My nieces both call their father's mother 'Grandma Bubbe' and their
mother's mother 'Grandma Nana' to keep them straight. :-)

Glenna Jo Christen
gwjchris@rust.net
Visit our web site, "The Curiosity Shop"
http://www.rust.net/~gwjchris/


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Date: Tue, 19 Jan 1999 16:54:13 -0500
To: h-costume@indra.com
From: Danielle Nunn <dnunn@interlog.com>
Subject: Re: H-COST: Silk Cords
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-Poster: Danielle Nunn <dnunn@interlog.com>

Greetings!


>You can get wonderful silk thread from one of any of the suppliers listed
>below.  It is a list of suggested suppliers which is provided to tablet
>weavers.  Cheers!  Nancy

Wow, thank you!

Cheers,
Danielle

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Date: Wed, 20 Jan 1999 18:56:04 -0500
From: Hilary Doda <vaqqa@ibm.net>
To: h-costume@indra.com
Subject: H-COST: Re: h-costume-digest V4 #68
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-Poster: Hilary Doda <vaqqa@ibm.net>


>>ObCostume: I've been embroidering fake (plastic and glass) pearls onto
>>cotton velveteen. I will eventually need to get the penciled-on
guidelines
>>off.

Poster: Carolyn Kayta Barrows <kayta@slip.net>

>Why bother removing the pencil marks?  Are you going to compete with this
>piece?  Won't you lining cover the marks?

Yes, I've been thinking about entering it in an A&S, and no, the marks
won't get covered. They're not horribly visible (light pencil, *bright*
red velveteen), but I do want to get rid of them. Besides - even if they
were covered, *I'd* still know they were there. :}

So - is gentle dabbing still my best bet?

Hilary/Joane

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From owner-h-costume@indra.com  Wed Jan 20 18:51:04 1999
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-Poster: Brenda and Larry Clough <clough@erols.com>

I need to make a neck ruff, not a huge Elizabethan one, but a smallish
Cavalier or Rembrandt-like one.  What is the geometry of this?  I realized
that if I took a long rectangle of fabric, gathered it along the long edge,
and then put it around my neck, that the ruffles would unruffle at the outer
circumference -- not the right effect.  Should I be cutting a
doughtnut-shaped piece of fabric, the inner hole rather larger than my neck
measurement, and then gathering around the inner hole so it fits my neck?  I
feel sure this is an easy problem in topology, that others before me have
solved.

Brenda

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From owner-h-costume@indra.com  Wed Jan 20 19:01:51 1999
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Date: Wed, 20 Jan 1999 16:10:38 -0800
From: Merouda the True <keltia@serv.net>
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-Poster: Merouda the True <keltia@serv.net>

> Yes, I've been thinking about entering it in an A&S, and no, the marks
> won't get covered. They're not horribly visible (light pencil, *bright*
> red velveteen), but I do want to get rid of them. Besides - even if they
> were covered, *I'd* still know they were there. :}

I know how that is.  You said they were on the inside on the cloth right?

> So - is gentle dabbing still my best bet?

I doubt it.  Graphite (pencil lead isn't lead anymore) wouldn't dab I don't
think.   Actually if the pencil marks are on the inside (wrong side) of
velveteen, I would try erasing it.  Yes, that's right, try an eraser.  Make
sure it's a clean, soft, *fresh* eraser, *NOT* an old, hard, dry thing.  Rub
the eraser on paper to get any graphite off between rubbings, assuming it has
started to work for you.  If the pencil marks are on the plush side (right
side), I don't know what I'd do.  The eraser on the plush side would pull out
all your lovely plushie bits.  In fact, before trying too hard on the wrong
side do a test swatch.  Too much hard rubbing, even on the wrong side, might
pull out all your little plushie bits even from the back.

Hope you find something that works.  Worse case scenario would be lining it.
I love lining because it covers up any ookie things, and it makes the garment
last longer.  I found when I lined my recent red velveteen cotehardie that the
folds folded right.  It actually made it look closer to heavier velvet.  It
added extra weight and felt great!

Cynthia
--
Merouda the True of Beaumaris
Barony of Madrone
Kingdom of An Tir


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From: "VANVRANKEN,RUTHANN (HP-Roseville,ex1)"
	 <ruthann_vanvranken@am.exch.hp.com>
To: "'h-costume@indra.com'" <h-costume@indra.com>
Subject: RE: H-COST: Fabricclub.com review
Date: Wed, 20 Jan 1999 17:10:22 -0700
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-Poster: "VANVRANKEN,RUTHANN (HP-Roseville,ex1)" <ruthann_vanvranken@am.exch.hp.com>

How long did it take for you to receive your order?  I ordered some on
1/5/99 and I still haven't received it.  I did however, receive an
acknowledgement of my order, so I know they received that.

Thanks.

 - Rhodry

> -----Original Message-----
> Just thought I'd let you all know what kind of linen it is that
> Fabricclub.com sells--my order arrived yesterday.  It's a 
> smooth weave,
> somewhat finer than the rather coarsely woven "linen-look" 
> fabric you find
> at Jo-Anns & other local fabric stores, but not by much. It 
> has more of a
> shine to it as well, and a very nice drape. Not handkerchief 
> weight by any
> means, but good for, say, a lower- to middle-class 16th c. 
> bodice, kirtle
> or jacket.  at $5 a yard, I call it a great deal!
> 
> Two thumbs up,
> 
> Drea
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Date: Wed, 13 Jan 1999 21:31:59 -0500
To: h-costume@indra.com
From: Kevin + Mara Riley <lindo@Radix.Net>
Subject: Re: H-COST: undergarments
In-Reply-To: <Pine.SOL.3.95.990113084510.1663C-100000@isis.netherworld.c
 om>
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-Poster: Kevin + Mara Riley <lindo@Radix.Net>

>-Poster: Sylvia Rognstad <sylvia@netherworld.com>
(snip)
>Btw, has anyone else noticed that it seems impossible to buy anything but
>wonder bras these days, you know, the kind with underwires?  I dont like
>sports bras.  I just want one of those little nothing kind of bras that
>were so popular in the 70s that women bought to try to look like they were
>braless.  At least they were comfortable.  Anyone know where to find one
>of those today, or at least something without underwires that doesnt look
>like one of those Playtex pointy things? Who still wears those? They
>havent changed since the fifties, I dont think.
>Sylvia R

I've taken to cutting the wires out of my underwire bras.  It doesn't cut
down on their wearability, IMO... but then, I'm somewhere between a B and a C.

Mara
Kevin + Mara Riley
Home Page http://www.radix.net/~lindo
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From owner-h-costume@indra.com  Wed Jan 20 19:10:36 1999
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Date: Tue, 19 Jan 1999 21:43:43 -0500
To: h-costume@indra.com
From: Kevin + Mara Riley <lindo@Radix.Net>
Subject: H-COST: Brief History of Unmentionables
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-Poster: Kevin + Mara Riley <lindo@Radix.Net>

Did anyone else catch the 'Brief History of Unmentionables', or whatever it
was called, on A&E?  I taped it, and watched it the next day.  It had some
interesting parts, but I was sorely disappointed that it jumped back and
forth between the 18th and 19th centuries, then mentioned the French
Revolution as an influence on loosening up corsetry, so to speak.. then
went right back to the Victorian era.  The producer seemed incapable of
differentiating between one century and another...  

Oh well!

Mara
Kevin + Mara Riley
Home Page http://www.radix.net/~lindo
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Date: Wed, 20 Jan 1999 19:26:56 -0500
From: Hilary Doda <vaqqa@ibm.net>
To: h-costume@indra.com
Subject: H-COST: Re: h-costume-digest V4 #69
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-Poster: Hilary Doda <vaqqa@ibm.net>


- -Poster: Merouda the True <keltia@serv.net>

>I know how that is.  You said they were on the inside on the cloth right?

Yep - on the non-piled side. Would pencil even show on the pile?

>Actually if the pencil marks are on the inside (wrong side) of
>velveteen, I would try erasing it.  Yes, that's right, try an eraser.
Make
>sure it's a clean, soft, *fresh* eraser, *NOT* an old, hard, dry thing.

</me runs to get an eraser...>

Prognosis - success! The fuzzies don't come out. While it doesn't get all
of the pencil off, it's certainly a lot better! Thanks muchly!

>I love lining because it covers up any ookie things, and it makes the
>garment
>last longer.  I found when I lined my recent red velveteen cotehardie
that >the
>folds folded right.  It actually made it look closer to heavier velvet.
It
>added extra weight and felt great!

Most of the thing will be lined - it's just that the way the turnbacks
worked out on the sleeves precludes lining. <sigh>. I've really got to
learn to think things through more before I start them... :}

Thanks again for the help!

Hilary/Joane


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-Poster: Merouda the True <keltia@serv.net>

> Yep - on the non-piled side. Would pencil even show on the pile?

Probably depends on the pencil # and how hard you tried.  Come to think of it,
it would probably futz up the pile considerably.

> >velveteen, I would try erasing it.  Yes, that's right, try an eraser.
> Prognosis - success! The fuzzies don't come out. While it doesn't get all
> of the pencil off, it's certainly a lot better! Thanks muchly!

Fantastic!!!

> Most of the thing will be lined - it's just that the way the turnbacks
> worked out on the sleeves precludes lining. <sigh>. I've really got to
> learn to think things through more before I start them... :}

Gosh, I wouldn't know anything about that kind of dilemma.  Moi?
*innocent look*   *G*

Cynthia

--
Merouda the True of Beaumaris
Barony of Madrone
Kingdom of An Tir


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Date: Wed, 20 Jan 1999 18:49:16 -0600
Subject: Re: H-COST: Re: OT/Yiddish
From: "Susan Krakower" <highland@soltec.net>
To: h-costume@indra.com
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-Poster: "Susan Krakower" <highland@soltec.net>

> THIS MESSAGE IS IN MIME FORMAT. Since your mail reader does not understand
this format, some or all of this message may not be legible.

--MS_Mac_OE_2999702956_182303_MIME_Part
Content-type: text/plain; charset="ISO-8859-1"
Content-transfer-encoding: 7bit


>Recognizing the strong similarity between German and
>Yiddish, I've always felt that it was a "pigeon" or hybrid
>type of language too.  Jewish people sometimes find this
>concept offensive, saying Yiddish is an independent language
>in its own right.  Whatever!  There are no pure anythings,
>and haven't ever been, as near as I can tell.  People are
>always borrowing from other cultures, it is just human
>nature.

The similarity between German and Yiddish is obvious, it sounds the same, as
well as uses many of the same words. But sometimes the words may have
slightly different meanings. Such as the word for man, which in German is
"mench" but in Yiddish it means a gentleman, or someone of good and
thoughtful manners. The German also has a history of having a formal, or
high German, and a low German, which is the language of the commoner. (This
is from the olden days ;-) The Yiddish language is adapted from this low
German language in which there were differences from the German that we know
now, or High German. The main thing that made Yiddish different, as Ladino
different is that it was written using the Hebrew alphabet and characters.
This was purposely done so that not everyone could read it and understand
what was being said. The Jews suffered many persecutions, and needed at time
a way of secretly sending messages. This was the way. The reason some may
think that it is a pigeon, or hybrid language may be because the language
wasn't dynamic like most languages are where new words are added all the
time, as technology and other new items and concepts are added to our
lifestyle. So instead of adding new words in Yiddish, since the low German
wasn't really spoken anymore, people would add the words that they knew in
there present language. If someone from Russia were to talk Yiddish to
someone in the United States, there would still be a number of words that
would not be understood. Such as there is no word in Yiddish for car, so
everyone from whatever country they come from have added to the language in
there own. I hope this helps in understanding the language. Then Ladino is a
similar language only based on Spanish, rather than German. 

Any other questions on this I will be glad to answer privately.

Susan
highland@soltec.net

--MS_Mac_OE_2999702956_182303_MIME_Part
Content-type: text/html; charset="ISO-8859-1"
Content-transfer-encoding: quoted-printable

<HTML>
<HEAD>
<TITLE>Re: H-COST: Re: OT/Yiddish</TITLE>
</HEAD>
<BODY BGCOLOR=3D"#FFFFFF">
<BR>
&gt;Recognizing the strong similarity between German and<BR>
&gt;Yiddish, I've always felt that it was a &quot;pigeon&quot; or hybrid<BR=
>
&gt;type of language too.  Jewish people sometimes find this<BR>
&gt;concept offensive, saying Yiddish is an independent language<BR>
&gt;in its own right.  Whatever!  There are no pure anythings,<BR>
&gt;and haven't ever been, as near as I can tell.  People are<BR>
&gt;always borrowing from other cultures, it is just human<BR>
&gt;nature.<BR>
<BR>
The similarity between German and Yiddish is obvious, it sounds the same, a=
s well as uses many of the same words. But sometimes the words may have slig=
htly different meanings. Such as the word for man, which in German is &quot;=
mench&quot; but in Yiddish it means a gentleman, or someone of good and thou=
ghtful manners. The German also has a history of having a formal, or high Ge=
rman, and a low German, which is the language of the commoner. (This is from=
 the olden days ;-) The Yiddish language is adapted from this low German lan=
guage in which there were differences from the German that we know now, or H=
igh German. The main thing that made Yiddish different, as Ladino different =
is that it was written using the Hebrew alphabet and characters. This was pu=
rposely done so that not everyone could read it and understand what was bein=
g said. The Jews suffered many persecutions, and needed at time a way of sec=
retly sending messages. This was the way. The reason some may think that it =
is a pigeon, or hybrid language may be because the language wasn't dynamic l=
ike most languages are where new words are added all the time, as technology=
 and other new items and concepts are added to our lifestyle. So instead of =
adding new words in Yiddish, since the low German wasn't really spoken anymo=
re, people would add the words that they knew in there present language. If =
someone from Russia were to talk Yiddish to someone in the United States, th=
ere would still be a number of words that would not be understood. Such as t=
here is no word in Yiddish for car, so everyone from whatever country they c=
ome from have added to the language in there own. I hope this helps in under=
standing the language. Then Ladino is a similar language only based on Spani=
sh, rather than German. <BR>
<BR>
Any other questions on this I will be glad to answer privately.<BR>
<BR>
Susan<BR>
highland@soltec.net
</BODY>
</HTML>

--MS_Mac_OE_2999702956_182303_MIME_Part--

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Subject: Re: H-COST: Getting rid of musty smells?
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-Poster: "Carrie J. Bryant" <cbryant@requestltd.com>

Another treatment I've heard of is to put baking soda in a large plastic
bag, put the garment in the bag, shake it around and leave it in the bag
for several days.

Carrie


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From: lilinah@grin.net
Subject: RE: H-COST: Re: OT/Yiddish
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-Poster: lilinah@grin.net

Hope H. Dunlap wrote:
>
>Recognizing the strong similarity between German and
>Yiddish, I've always felt that it was a "pigeon" or hybrid
>type of language too.

There is a strong similarity between German and Yiddish because Yiddish IS
a from of German, basically Medieval High German, with new words borrowed
from other languages, just as English has foreign loan words. Yiddish isn't
a pidgin or creole.

>Jewish people sometimes find this
>concept offensive, saying Yiddish is an independent language
>in its own right.  Whatever!

The terms pidgin and creole aren't insulting, but they do have specific
linguistic meanings. Yiddish isn't an example of either of them.

>but I don't think Yiddish integrates
>Russian and Polish to anywhere near the same degree as
>German.

Yiddish doesn't integrate German, it IS a form of German. Unless you mean
that German integrates Russian and Polish more than Yiddish integrates
them. I don't know enough modern German to comment on that.

>My observation is that Yiddish was (an still is, of course)
>a language which connected Jews across national boundaries,
>just as nomadic peoples above the Arctic Circle around the
>globe all speak Inuit, regardless of the national language
>used by the government of the place where they are.  For the
>Ashkenazi Jews in the northern and eastern European areas
>including Germany, Poland, and Russia, their common language
>was Yiddish.

This is essentially true, or at least was before the Nazi Holocaust. There
is currently something of a Yiddish revival going on among USA Jews,
reviving the language, the theater, the songs, the literature, the poetry,
etc.

>For the Sephardic Jews of Spain, Italy,
>Morocco, and other Mediterranean areas, their common
>language was Ladino.

And Ladino is basically Medieval Spanish, what the Jews spoke before they
were driven from Spain in 1492, and continue to speak wherever they moved.
It is not a pidgin or creole language either.

What some may find confusing is that both Yiddish and Ladino are often
written using the Hebrew alephbeth.

Lilinah


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-Poster: lilinah@grin.net

Susan Krakower wrote:
>> The similarity between German and Yiddish is obvious, it sounds the
>>same, as well as uses many of the same words. But sometimes the words may
>>have slightly different meanings. Such as the word for man, which in
>>German is "mench" but in Yiddish it means a gentleman, or someone of good
>>and thoughtful manners. The German also has a history of having a formal,
>>or high German, and a low German, which is the language of the commoner.
>>(This is from the olden days ;-) The Yiddish language is adapted from
>>this low German language in which there were differences from the German
>>that we know now, or High German.<<

This is untrue. High and Low are more geographical designations. Yiddish is
a form of High German.

Lilinah


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From owner-h-costume@indra.com  Wed Jan 20 20:50:32 1999
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Subject: Re: H-COST: Neck Ruffs
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-Poster: Margo Anderson <margo@directcon.net>

At 06:59 PM 1/20/99 -0500, you wrote:
>
>-Poster: Brenda and Larry Clough <clough@erols.com>
>
>I need to make a neck ruff, not a huge Elizabethan one, but a smallish
>Cavalier or Rembrandt-like one.  What is the geometry of this?  I realized
>that if I took a long rectangle of fabric, gathered it along the long edge,
>and then put it around my neck, that the ruffles would unruffle at the outer
>circumference -- not the right effect. 

This is how ruffs were made in period. After all, many, if not most, ruffs
were  made of lace, drawn thread cuttwork, or blackwork, none of which would
lend themselves well to a ruff cut on the circle.   The common way of making
ruffs by cartridge pleating them into a neckband  seems to be a modern
invention.  If you look at period portraits, ruffs were gathered into one
edge of  the band and the large "S" curves were formed after sewing.   They
don't "unruffle" if you stitch or glue them together where the "s" curves
meet. (in period, this was sometimes done with tiny balls of sticky wax).

Margo Anderson

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From owner-h-costume@indra.com  Wed Jan 20 20:57:00 1999
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Subject: Re: H-COST: reeled silk
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-Poster: Susan Fatemi <susanf@netwiz.net>

Deborah Pulliam wrote:
> 
> -Poster: pulliam@acadia.net (Deborah Pulliam)
> 
> <<Many strands are then plied (is this the right word, guys??) together. >>
> 
> Reeled silk is not plied together (which implies twisting), but several
> strands of the filaments are reeled off together, and the seracin sort of
> gums them together. About six or eight cocoons reeled together constitute a
> denier.

But aren't they twisted together to make the individual yarns for
weaving??

I assumed it would be like silk sewing thread, which you can see
is "twisted". 

thanks,

Susan
-- 
Oh Noh! Kimonos!
susanf@netwiz.net
http://www.netwiz.net/~susanf
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Date: Wed, 20 Jan 1999 21:18:05 -0500
To: h-costume@indra.com
From: Kevin + Mara Riley <lindo@Radix.Net>
Subject: Re: H-COST: A&E Unmentionables
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-Poster: Kevin + Mara Riley <lindo@Radix.Net>

No, it was pretty awful...

Mara

At 09:47 AM 01/18/1999 -0400, you wrote:
>
>-Poster: Laurel Wilson <lwilson16@earthlink.net>
>
>I have to admit that I couldn't watch more than about the first five
>minutes of this:  after they'd referred three different times to
>underclothing being fetishized in the Victorian era and shown
>eighteenth-century illustrations each time, I turned it off.  Do I
>gather from your comments that it didn't get better?
>Lauri
>
> _________________________________________________________________
> To leave this mailing list, send mail to majordomo@indra.com
> with the message UNSUBSCRIBE H-COSTUME
> 
Kevin + Mara Riley
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From owner-h-costume@indra.com  Wed Jan 20 21:20:29 1999
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Date: Wed, 20 Jan 1999 20:55:59 -0500
To: h-costume@indra.com
From: Kevin + Mara Riley <lindo@Radix.Net>
Subject: Re: H-COST: Baa baa black sheep?
In-Reply-To: <19033-369D667C-468@mailtod-141.iap.bryant.webtv.net>
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-Poster: Kevin + Mara Riley <lindo@Radix.Net>

At 08:37 PM 01/13/1999 -0700, you wrote:
>
>-Poster: starsinger@webtv.net (theresa sorrell)
>
>My understanding of black sheep is that they are any sheep not white.
>Black, brown, grey/gray, any thing but white.  White was desired becase
>it could be dyed.  A true black sheep is usually black only for the
>first shirring after that the coat gets lighter and lighter shades of
>black due to exposure to the elements and age.
>
>Starsinger

Actually, it's the effect of sun fading that bleaches out a fleece.  I've
gotten fleeces that are pure black on the inside, but the outer tips are
faded from the sun, so you get a deep chocolate brown effect when you comb
it all out and spin it -- a pleasing color, IMO.  I suppose you could
overdye this to get a deeper black.  I haven't tried that yet, but one of
these days I will.

Mara



Kevin + Mara Riley
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Date: Wed, 20 Jan 1999 20:55:14 -0500
To: h-costume@indra.com
From: Kevin + Mara Riley <lindo@Radix.Net>
Subject: Re: H-COST: Baa Baa Black Sheep
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-Poster: Kevin + Mara Riley <lindo@Radix.Net>

At 01:50 PM 01/14/1999 -0500, you wrote:
>
>-Poster: Melanie Wilson <MelanieWilson@compuserve.com>
>
>>It's my understanding that the occasional black sheep crops up naturally =
>in a flock, but was regarded as a nuisance because the wool couldn't be =
>dyed - hence the expression "black sheep of the family" for an
>embarrassing=
> relation.
>
>Well one farmer in Melton is having really BAD luck then, he has an entire
>flock !
>
>They can be bred that way, but there is a tendancy to have bred them out
>historically, and yes you can get one crop up by accident from time to
>time, in White sheep.
>
>Mel


They WERE undesirable, but now handspinners love naturally-colored wool and
these fleeces are in high demand! :D

Mara
Kevin + Mara Riley
Home Page http://www.radix.net/~lindo
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Date: Wed, 20 Jan 1999 21:19:34 -0500
To: h-costume@indra.com
From: Kevin + Mara Riley <lindo@Radix.Net>
Subject: RE: H-COST: A&E Unmentionables
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-Poster: Kevin + Mara Riley <lindo@Radix.Net>

At 07:27 AM 01/18/1999 -0800, you wrote:
>
>-Poster: Betsy Perry <betsyp@roguewave.com>
>
>
>>   Do I
>> gather from your comments that it didn't get better?
>> Lauri
>
>It didn't.  After 20 minutes of shouting at the TV set, I turned it off.
>You missed the wonderful corset collage -- discussing 16th-century
>corsets while cross-cutting between 18th-century and 19th-century
>corsets.  Oh, and they propagated the iron-corset-as-everyday-wear myth,
>too.
>
>My husband commented, "This is the most content-free TV I've ever seen."
>It was very obviously a pretext to run modern girlie photographs.  (How
>_do_ they airbrush the nipples out of video images?)
> _________________________________________________________________

Not to mention the bun and crotch shots of the male models...

Mara
Kevin + Mara Riley
Home Page http://www.radix.net/~lindo
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From: "Carol J. Bell Cannon" <cjcannon@greymists.com>
Subject: Re: H-COST: Sources for 16th c. make-up info
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-Poster: "Carol J. Bell Cannon" <cjcannon@greymists.com>

At 12:40 PM 1/20/99 -0500, you wrote: -Poster: aleed <aleed@dnaco.net>
>Hopefully someone on here can help...
>I've been looking for some good sources, preferably primary or containing 
>primary quotes, on 16th century cosmetics and make-up information.  Does
>anyone know of any good books or articles on the subject?  Most of what I
>know is anecdotal and comes from other people--belladonna in the eyes,
>mercury water for the complexion, white lead on the face.  Does anyone
>know where I can find the written info?  Thanks much, Drea
         I don't have the info., but I would just mention that every one of
those items can be quite toxic...& both mercury & lead cumulatively so...
but you all knew that. Carol 
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-Poster: M311@aol.com

In a message dated 1/20/99 6:16:33 PM Central Standard Time, lindo@Radix.Net
writes:

<< 
 I've taken to cutting the wires out of my underwire bras.  It doesn't cut
 down on their wearability, IMO... but then, I'm somewhere between a B and a
C. >>

Okay, I have some with and some bras without underwires.  I am a D cup.  I
don't mind the wires but I don't like it when they push out of the fabric or
break, especially when wearing them.  
Now over the weekend I was out shopping with the family and low and behold the
wire poked through the fabric.  I went in the bath room to try and fix it.  I
really didn't see how so I took that wire out.  I wondered how it would wear,
with one wire in and one out.  They both  wore okay but there was stress on
the seam of the one without.
This bra has the 2 thin straps in the front that hold the two cups together.
I could see the stress on the one worn without the wire by the time we got
home.  The wire diffiently helped to keep the stress off the seams in that
area.
I beleive that if the bra had been made differently that the stress thing
wouldn't have been a problem.
I have heard of bras that had an elastic (braided i think) in place of the
underwire but I can't find any in the stores.  Does anyone know where to find
some like that?  
Anyway that is just my 2 cent review.
Kelly Albrecht
m311@aol.com
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From owner-h-costume@indra.com  Wed Jan 20 22:12:07 1999
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From: <lisaleon@hawaii.edu>
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To: h-costume@indra.com
Subject: Re: H-COST: hawaiian shirts
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-Poster: <lisaleon@hawaii.edu>

> On the topic of Hawaiian shirts -- why are they so expensive? My parents were
> recently in Hawaii, and found that even there the shirts cost about $70. Now,
> my husband and I have lots of short-sleeved cotton shirts, and none of them
> cost $70! Does it have something to do with the dyes? The quality of the
> cotton? Or is it just a status thing?

	I vote for the status thing.  Some brands are very expensive and
there are "generic" types that you can buy at K-Mart or other discount
stores for under $15.

	To be fair, some of the expensive brands _are_ very nice.  Nowhere
near enough to justify $60-$70 IMHO, but nice.  The fabric is sometimes
very smooth, fine, tightly woven cotton and there are companies that do
have fabric printed especially for them.  

	A year or so ago the local paper did an article about this very
thing--quality of aloha shirts and the big price difference.  Besides the
fabric quality and prints some of the things I remember being mentioned
were seaming and construction techniques.  More expensive brands have
flat felled or French seams with no exposed raw edges while the
cheapie ones are just serged.  Also, the front placket and pockets
are cut and applied so the placement of the pieces on the rest of the
shirt has the design matching exactly.  They looked for puckering along
seamlines, finishing techniques, quality of buttons, and I don't remember
what else.

	You can get very well made shirts for under $30 on sale so I think
anything above that is partly a status thing.  Wearing a recognizable Reyn
Spooner or Mamo Howell print shirt that cost $60-$70 is conspicuous
consumption in the 90s.

lisa

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From owner-h-costume@indra.com  Wed Jan 20 23:15:31 1999
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From: "Steve & Michelle Plumb" <splumb@ic.net>
To: "historic costume group" <h-costume@indra.com>
Date: Wed, 20 Jan 1999 23:24:38 -0400
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-Poster: "Steve & Michelle Plumb" <splumb@ic.net>

Hello all.

My mother-in-law has given me a large piece 
of cotton velveteen that she decided she
didn't want.

Before I make plans for this fabric, I want to
know if (and how) it can be washed.  It is
definitely cotton, but I wondered if washing
would affect the pile.

Can I just chuck this in the washing machine?

Thanks in advance,
Michelle
================================================================================
                      Steve & Michelle Plumb   --    splumb@ic.net
                                     Plymouth, Michigan


HAL 9000: "Dave? What are you doing, Dave? Put that Windows 98 CD down.  Dave?"

================================================================================


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-Poster: Joan M Jurancich <joanj@quiknet.com>

At 06:56 PM 01/20/1999 -0500, Hilary Doda wrote:
>
>-Poster: Hilary Doda <vaqqa@ibm.net>
>
>>>ObCostume: I've been embroidering fake (plastic and glass) pearls onto
>>>cotton velveteen. I will eventually need to get the penciled-on guidelines
>>>off.
>
>Poster: Carolyn Kayta Barrows <kayta@slip.net>
>
>>Why bother removing the pencil marks?  Are you going to compete with this
>>piece?  Won't you lining cover the marks?
>
>Yes, I've been thinking about entering it in an A&S, and no, the marks
>won't get covered. They're not horribly visible (light pencil, *bright*
>red velveteen), but I do want to get rid of them. Besides - even if they
>were covered, *I'd* still know they were there. :}
>
>So - is gentle dabbing still my best bet?
>
>Hilary/Joane

Actually, if it's a regular pencil, just get a eraser from a quilt store
(they work better than the old pink eraser on fabric) and rub them out.

Joan Jurancich
Sacramento, CA
joanj@quiknet.com

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From owner-h-costume@indra.com  Wed Jan 20 23:24:18 1999
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-Poster: lilinah@grin.net

Michelle asked:
>My mother-in-law has given me a large piece
>of cotton velveteen that she decided she
>didn't want.
>
>Before I make plans for this fabric, I want to
>know if (and how) it can be washed.  It is
>definitely cotton, but I wondered if washing
>would affect the pile.
>
>Can I just chuck this in the washing machine?

Wash cold, dry cool/delicate/whatever is appropriate for your dryer.

Wash before cutting anything out, since it may shrink. And after it's made
up, keep washing and drying cool.

I've had decent results.

Lilinah


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From owner-h-costume@indra.com  Wed Jan 20 23:37:02 1999
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Date: Wed, 20 Jan 1999 23:45:33 -0500
From: Renata McAdams <renatamc@bellsouth.net>
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-Poster: Renata McAdams <renatamc@bellsouth.net>

Thanks Kate and everyone on this list for providing such excellent information.  I cannot tell you how much I am learning in such a shorter period of time. From experience, I know doing research on my own can be an extremely frustrating and laborious task.  You guys are great!

Renata
renatamc@bellsouth.net


KATE M BUNTING wrote:

> -Poster: "KATE M BUNTING" <K.M.Bunting@derby.ac.uk>
>
> Some comments on topics raised in the last few days' digests -
>
> Children's leggings; I wore these with my winter coat as a toddler in the early 50s. They were separate legs, not a pair of trousers, and held up by being anchored to some part of the person by tapes, but I can't remember exactly how!
>
> Michael Foreman's "War boy" is published in the UK by Puffin (ISBN 0140342990)
>
> Mannequins; my mother was born in 1912  and I've heard her refer to a fashion parade as a "mannequin parade". No idea why the term died out. She has also told me about using leg makeup and drawing fake stocking seams when nylons were unobtainable during the war, but I've never heard of a device for doing both legs at once.
>
> Renata - Yes, men commonly wore hats indoors in the 17th century (Pepys complained he had caught a cold from leaving his off) - even in church at this period, although you were supposed to  "uncover" in the King's presence. I agree with other posters that wearing caps was more for warmth than consderations of decency, though I suppose a man accustomed to wear a wig must have "felt" naked without it.
>
> Kate Bunting
> Library. University of Derby
>  _________________________________________________________________
>  To leave this mailing list, send mail to majordomo@indra.com
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Date: Wed, 20 Jan 1999 21:50:36 -0800
To: h-costume@indra.com
From: "Carol J. Bell Cannon" <cjcannon@greymists.com>
Subject: H-COST: Cosmetics
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-Poster: "Carol J. Bell Cannon" <cjcannon@greymists.com>


  I put this question, in which the orig. msg. mentioned belladona for the
eyes, mercury ... and white lead... to another list I frequent.  Here's one
response:  The only thing I have is "Delights for Ladies" by Sir Hugh Plat
which was originally printed in 1609 (only slightly late!). A facsimile was
printed of it in 1948 by Crosby Lockwood & Son Ltd. It has sections on
preserving, distillation, cooking, and beauty aids. Most of the beauty aid
stuff appears non-toxic from the *brief* review I've done of the recipes.
Looking in period books on cooking and huswifery will probably be her best
bet. -- Elspeth      So, there's one suggestion--good luck!
Carol  
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From owner-h-costume@indra.com  Thu Jan 21 00:42:07 1999
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Date: Wed, 20 Jan 1999 23:52:48 -0600
To: h-costume@indra.com
From: Deb Baddorf <baddorf@inil.com>
Subject: H-COST: tiny waists, photos
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-Poster: Deb Baddorf <baddorf@inil.com>

I'm way behind in reading my mail,  so I hope nobody
already posted these links.
But here are three photos of two ladies with tiny
waists.   The measurements were listed on whatever
cover page I originally got the links from.

Of the three pics,  only the second is in any way
appealing,  to my eye.

http://ourworld.compuserve.com/homepages/Bernhard_Foltz/CORGRA1.JPG
Mrs Edith Granger  -   13" waist

actress Polaire,  18" waist
http://ourworld.compuserve.com/homepages/Bernhard_Foltz/CORPOLA.JPG

http://ourworld.compuserve.com/homepages/Bernhard_Foltz/COR0001.JPG


Deb Baddorf


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From owner-h-costume@indra.com  Thu Jan 21 01:27:42 1999
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Date: Wed, 20 Jan 1999 22:37:27 -0800 (PST)
From: Glenda Hohmann <katrynka2@yahoo.com>
Subject: H-COST: renaissance study/history
To: h-costume@indra.com
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-Poster: Glenda Hohmann <katrynka2@yahoo.com>

- -Poster: "karrissa david" <arizona63@hotmail.com>

Hello All,

My name is Karrissa David.  I have been searching for this list serve 
for a while.  I am glad I have found it.  

I have just started to study the history of clothing.  I has intrigued 
me for a very long time now.  I was introduced to a couple of 
organtizations which study rennaisance (sp?) history and fell in love.  
Now I am trying to get all of the information that I can.  
<snip>

=================

Greetings Karrissa :>

One place that you might want to check out is a website for a group
called "The Guilded Pearl".  I don't have the URL but if you type the
name "Guilded Pearl" (in quotes as I have typed) into Alta Vista or
Yahoo search engines, you should find it.

They are a group of SCA people who enjoy and study the Italian
Renaissance and may prove to be very helpful to you.

Sincerely,

Katrynka Chornovoloskaya     (Glenda Hohmann)
MoAS, Ramsgaard, An Tir      (Kamloops, BC, Canada)


==
*****************************************
*  Two things stand like stone:         *
*       Kindness in another's trouble,  *
*       Courage in your own.            *
*****************************************
_________________________________________________________
DO YOU YAHOO!?
Get your free @yahoo.com address at http://mail.yahoo.com

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From owner-h-costume@indra.com  Thu Jan 21 02:50:37 1999
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Subject: Re: H-COST: hawaiian shirts
Date: Wed, 20 Jan 99 23:57:15 -0800
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From: Pelikan <haggis@sirius.com>
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-Poster: Pelikan <haggis@sirius.com>

90 bucks for a Hawaiian shirt is insane.  I wear cheaper versions 
probably 3-4 days a week to work (one of the few benefits of working in 
Silicon Valley).  A couple of my favorite shirts I picked up at a Longs 
Drugs store for about 15.  However, I don't refer to mine as "Hawaiian 
shirts".  I just call them "Uahs" (pronounced "OOH-ahs"), which is an 
acronym for "Ugly A** Hawaiian Shirts."  The more likely the pattern is 
to frighten small children, the better in my book.

There are some really cool ones I've seen in antique stores, though, that 
are beautifully constructed.  Still not worth the 70+ bucks asking price.

Steve Pelikan
haggis@sirius.com
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From owner-h-costume@indra.com  Thu Jan 21 02:58:59 1999
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Date: Thu, 21 Jan 1999 00:13:20 +0000
From: Dietmar <dietmar@pacbell.net>
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Subject: H-COST: Re: Getting rid of musty smells?
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-Poster: Dietmar <dietmar@pacbell.net>

Greetings all,

I had written:

> A friend of mine uses vodka.  Buy some el cheapo vodka without flavorings
> or scents.  (Believe it or not some vodkas have them.)  Dilute it in half
> or one fourth with water in a spray bottle.  Lightly mist the fabric until
> it is damp and let it air dry.  It's worked wonderfully.

Parsla asked:

> Wouldn't rubbing alcohol do the same thing, but more cheaply?

Yes, but then you will have fabric that reeks of rubbing alcohol.  I don't
want to smell like a hospital room.  Besides, I don't have a problem with
leftovers.  I can make schnapps out of the rest.  ;-)


Dietmar


"Victory or Defeat rests in God's hands;
 over Honor, we ourselves are Lord and Master."
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From owner-h-costume@indra.com  Thu Jan 21 03:00:51 1999
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-Poster: M311@aol.com

In a message dated 1/21/99 1:59:13 AM Central Standard Time, haggis@sirius.com
writes:

<<  "Hawaiian  shirts" >>

This reminds me of when I was in 8th grade.  Even though I was already sewing
at home I took sewing in school.  You, know easy A and all plus being
something I liked.  One of the things I made was a nice pull over shirt but
out of a nice Hawaiian print.  It was just lovely.  Never seen anything like
it since.  Found another I liked a few years later, a nice purple background
with orange flowers and tan leaves.  I used the neatest orange buttons.  I
just loved it, made it into a one piece shorts jumper.
I live in the Midwest where this type of prints aren't readily available.
Does anyone know of a mail order source for Hawaiian print material?  
Kelly Albrecht
m311@aol.com
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From owner-h-costume@indra.com  Thu Jan 21 07:10:34 1999
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From: "Christopher Ballis" <stilskin@netspace.net.au>
To: <h-costume@indra.com>
Subject: Re: H-COST: Can velveteen be washed?
Date: Thu, 21 Jan 1999 23:22:41 +1100
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-Poster: "Christopher Ballis" <stilskin@netspace.net.au>

Yes it can, you can do it in a machine on very gentle cycle but by hand in
a trough is the better option. To recover the pile, iron it as you would
velevet.

-C.

> Before I make plans for this fabric, I want to
> know if (and how) it can be washed.  It is
> definitely cotton, but I wondered if washing
> would affect the pile.

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From owner-h-costume@indra.com  Thu Jan 21 07:57:26 1999
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From: "Andrea Gideon" <andrea.gideon@erols.com>
To: <h-costume@indra.com>
Subject: Re: H-COST: undergarments
Date: Thu, 21 Jan 1999 08:07:46 -0800
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-Poster: "Andrea Gideon" <andrea.gideon@erols.com>


>I beleive that if the bra had been made differently that the stress thing
>wouldn't have been a problem.
>I have heard of bras that had an elastic (braided i think) in place of the
>underwire but I can't find any in the stores.  Does anyone know where to
find
>some like that?

Try Platex "Body Language".  It is a new line designed for larger sizes and
every one that I own has NO underwire and is very supportive and comfy. They
are availible at most department stores.
Andrea

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From owner-h-costume@indra.com  Thu Jan 21 08:06:12 1999
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To: h-costume@indra.com
From: Jane Paunicka <Jane.K.Paunicka.1@nd.edu>
Subject: H-COST: rullion
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-Poster: Jane Paunicka <Jane.K.Paunicka.1@nd.edu>

Could someone please tell me what a rullion is?  Thanks

Jane K. Paunicka
Costume Shop Supervisor
114 Washington Hall
Department of Communication and Theatre
University of Notre Dame
Notre Dame, IN  46556
(219)631-0633


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-Poster: EofAshley@aol.com

There is a good Compleat Anachronist, written by Micaela Burnham, about period
cosmetics, available through the SCA office.

Karla
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-Poster: Elizabeth Lear <eliz>


As the subject line notes, this is an off-topic discussion for this
mailing list.  If you would like to continue it, please do so in
private mail.  Thanks.

						...eliz, list admin
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From: Teddy <Teddy@mdx.ac.uk>
Subject: H-COST: Can velveteen be washed?
In-reply-to: <199901210809.BAA24754@indra.com>
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-Poster: Teddy <Teddy@mdx.ac.uk>



> >Before I make plans for this fabric, I want to
> >know if (and how) it can be washed.  It is
> >definitely cotton, but I wondered if washing
> >would affect the pile.
> >
> >Can I just chuck this in the washing machine?
> 
> Wash cold, dry cool/delicate/whatever is appropriate for your dryer.
> Wash before cutting anything out, since it may shrink. And after
> it's made up, keep washing and drying cool.

I've had great success machine washing cotton velvet on all 
temperatures up to and including the boil setting (especially when 
dying it).  It comes out looking like a crumpled rag, but the creases 
mostly drop right out when it's hung to dry adn any that don't can be 
steamed out by hanging it in the bathroom while you shower...

Teddy
(Trustworthy Evil-Bunny of Destiny, part-time Knave and Creature of
air and darkness, apparently!)
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-Poster: cynthia j ley <cley@juno.com>

What sort of eraser would you use for fabric? A regular one (a la Pink
Pearl) or an art  eraser? Does it matter?



					Arlys

On Wed, 20 Jan 1999 16:40:18 -0800 Merouda the True <keltia@serv.net>
writes:
>
>-Poster: Merouda the True <keltia@serv.net>
>
>> Yep - on the non-piled side. Would pencil even show on the pile?
>
>Probably depends on the pencil # and how hard you tried.  Come to 
>think of it,
>it would probably futz up the pile considerably.
>
>> >velveteen, I would try erasing it.  Yes, that's right, try an 
>eraser.
>> Prognosis - success! The fuzzies don't come out. While it doesn't 
>get all
>> of the pencil off, it's certainly a lot better! Thanks muchly!
>
>Fantastic!!!
>
>> Most of the thing will be lined - it's just that the way the 
>turnbacks
>> worked out on the sleeves precludes lining. <sigh>. I've really got 
>to
>> learn to think things through more before I start them... :}
>
>Gosh, I wouldn't know anything about that kind of dilemma.  Moi?
>*innocent look*   *G*
>
>Cynthia
>
>--
>Merouda the True of Beaumaris
>Barony of Madrone
>Kingdom of An Tir
>
>
> _________________________________________________________________
> To leave this mailing list, send mail to majordomo@indra.com
> with the message UNSUBSCRIBE H-COSTUME
>

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From owner-h-costume@indra.com  Thu Jan 21 12:13:50 1999
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-Poster: Margo Anderson <margo@directcon.net>


>I've had great success machine washing cotton velvet on all 
>temperatures up to and including the boil setting (especially when 
>dying it).  It comes out looking like a crumpled rag, but the creases 
>mostly drop right out when it's hung to dry adn any that don't can be 
>steamed out by hanging it in the bathroom while you shower...


I've had even better sucess with machine drying it.  It fluffs the pile up
nicely.  And since cotton velveteen shrinks like a !@$, I usually prewash
and dry it on the hottest possible settings,  to shrink it as much as possible.

Teddy, do you actually have a washing machine that BOILS the fabric?  tell
me more!

Margo Anderson

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-Poster: Merouda the True <keltia@serv.net>

> My mother-in-law has given me a large piece
> of cotton velveteen that she decided she
> didn't want.
>
> Before I make plans for this fabric, I want to
> know if (and how) it can be washed.

I throw mine in on hot and dry regular the first time just to shrink it.  Then I
wash and dry just like my regular laundry.  However, I try not to dirty it so that I
don't have to this too often.  If I take the velveteen out of the dryer right away,
I don't have to iron it at all.  And frankly, I don't like the hand of velveteen
until it's been washed.  It feels much nicer afterwards.  And I make sure the edges
are finished on any garment.  Remember though that it fades just like other fabrics
over time.  So, wash as little as possible.

Cynthia

--
Merouda the True of Beaumaris
Barony of Madrone
Kingdom of An Tir


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From owner-h-costume@indra.com  Thu Jan 21 12:52:35 1999
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From: Christina Conklin <textiles@earthlink.net>
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-Poster: Christina Conklin <textiles@earthlink.net>

vidumavi@swipnet.se wrote: (Relatively so anyway, I didn't found it when
I
was looking for something from them during the discussion we had
sometime
ago about museums to visit for their textiles.)

Can this thread on museums start again?? I'm new to the list and would
love to know peoples' thoughts on this. My #1 is the Victoria and Albert
in London and #2 is the Costume Museum in Bath, England. The Textile
Museum in DC is my American mecca, but I also understand the following
have good costume collections:

The Valentine Museum, Richmond, VA
Cincinnati Art Museum
Museum of Fine Arts, Houston
McCord Museum, Montreal
Cleveland's Chisholm Halle Wing
LA County Museum
Philadelphia Museum of Art
NC Museum of History

Also saw some fabulous ehtnic costumes at the National Museum of
Lithuania in Vilnius, and can't wait to someday go to the Calico Museum
of Textiles in Ahmedabad, India. Incidentally, the most fabulous
textiles I think I've ever seen were recently on display in the British
Museum -- spectacular Mughal sashes and shawls repoduced by a great
worshop in Dehli. (I like to travel, if y'all couldn't tell!)

Christy Conklin

PS Thanks to everyone who sent me suggestions on ethnic costume
reference books. Much appreciated!

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From owner-h-costume@indra.com  Thu Jan 21 13:08:35 1999
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-Poster: Merouda the True <keltia@serv.net>

> What sort of eraser would you use for fabric? A regular one (a la Pink
> Pearl) or an art  eraser? Does it matter?

I don't know that the brand matters, just the condition of the eraser.
Erasers get hard over time.  Make sure it's clean and *SOFT*.  Don't just
scrub away, but start lightly.  I shouldn't take much.

Merouda

--
Merouda the True of Beaumaris
Barony of Madrone
Kingdom of An Tir


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From owner-h-costume@indra.com  Thu Jan 21 14:01:41 1999
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Date: Thu, 21 Jan 1999 14:07:34 -0500 (EST)
From: Mara Riley <lindo@Radix.Net>
To: Costume List <h-costume@indra.com>
Subject: H-COST: Shinrone Gown
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-Poster: Mara Riley <lindo@Radix.Net>

I just got a note from Kass McGann stating that the Reconstructing History
page on the Shinrone Gown has been updated.  I gave it a quick glance and
she seems to have done a very good job:

http://www.reconstructinghistory.com/fenians/Shinrone/Shinrone.htm

Mara

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-Poster: <aquazoo@patriot.net>

Christina Conklin wrote,

>...The Textile Museum in DC is my American mecca, but I also understand
>the following have good costume collections:

     Though the Textile Museum is nice, it does not have many costume 
pieces compared to other textiles.

     Other places in Washington DC - The National Museum of American 
History, Smithsonian Institution, and the Daughters of the American 
Revolution Museum. Both have costume collections, but not much on display 
at any one time. The Smithsonian does have the First Ladies exhibit, and 
costumes are used in other exhibits most of the time. I hear that the DAR 
museum will soon have a case dedicated to costume, so there will be 
something up even when they do not have an exhibit.

     Christina did not mention the Costume Institute, in the Meropolitan 
Museum of Art, New York! They have one of the largest collections in 
America, and almost always have a fairly large exhibit.

>Also saw some fabulous ehtnic costumes at the National Museum of
>Lithuania in Vilnius,

     There is also a Lithuanian museum in Chicago. They do have some 
costumes, though probably not nearly to the extent of Vilnius!

     For fans of Eastern Europe, the Delaware Historic Society 
(Wilmington, DE) has an exhibit called "The Other Side of the Empire", 
featuring ethnic costumes. I believe this exhibit has been extended to 
coincide with the Nicholas & Alexandra exhibit, which closes February 14.

     -Carol Kocian
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From owner-h-costume@indra.com  Thu Jan 21 15:11:48 1999
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From: "Hope H. Dunlap (E-mail)" <hhdunlap@msn.com>
To: <h-costume@indra.com>
Subject: H-COST: Washing Cotton Velveteen
Date: Thu, 21 Jan 1999 09:13:02 -0500
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-Poster: "Hope H. Dunlap (E-mail)" <hhdunlap@msn.com>

I would wash it in cool water to keep it from bleeding (only
necessary if it's a rich color), then in a hot dryer to
shrink it.  Do it twice, as it will shrink again the second
time.  The fluffing in the dryer is the best way to restore
the nap.  Then cut it out and sew, taking care to protect
the edges from raveling. Cotton velveteen is quite durable,
and I wouldn't hesitate to treat it without fuss.

Hope H. Dunlap


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From: "Penny E. Ladnier" <penny.creative.outlets@erols.com>
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Subject: Re: H-COST: textile and costume museums
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-Poster: "Penny E. Ladnier" <penny.creative.outlets@erols.com>

Several universities have good collections, many are used for educational
purposes.

Later...Penny
http://www.costumegallery.com

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-Poster: SAQUEEN@aol.com

Christina,

In addition to the 8 museums you mentioned, there were 4 other fine
collections featured in the 1998 costume calendar -- the ones you missed were
Colonial Williamsburg Foundation, Museum of Fine Arts San Francisco, Kent
State University Museum, and the National Museum of American History.

There are hundreds of fine museums and private collections in the United
States with rotating costume exhibitions and/or symposia and study tours that
highlight their objects of dress and appearance. Many have web sites and
general information on their collections.

We know most of these collections through membership in Costume Society of
America (www.costumesocietyamerica.com), American Association of Museums
(www.aam.org), or American Association of State and Local History
(www.aaslh.org). Great connections.

Sally Queen
Costume Calendar Series
www.sallyqueenassociates.com

 
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From: Susan Fatemi <susanf@netwiz.net>
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-Poster: Susan Fatemi <susanf@netwiz.net>

Hope H. Dunlap wrote:
> 
> -Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>
> 
> There is a big website for Fort Ross, the Russian-American
> sea otter fur trade fort, half-way between San Francisco and
> Oregon border, at this URL:
> http://www.mcn.org/ed/ross/gv.htm
> 

This is great, Hope! I just forwarded it to my boss.
Will undoubtedly earn brownie points!

Susan
-- 
Oh Noh! Kimonos!
susanf@netwiz.net
http://www.netwiz.net/~susanf
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From owner-h-costume@indra.com  Thu Jan 21 22:05:47 1999
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From: Glenda Hohmann <katrynka2@yahoo.com>
Subject: Re: H-COST: removing pencil from velveteen
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-Poster: Glenda Hohmann <katrynka2@yahoo.com>

And I'll add my voice to this, too.  Even if you are competing, I
would say, why bother.  Yes, I know that you will know that it is
there.  Personally, I used to feel the same way (don't you just *hate*
being compulsive about silly things like this <grin>).  Even
medievally, would they not have marked patterns onto their fabric for
embroidery or embelishment?  And they definitely would have not had
all the wonderful things that we do today like dissolving stabilizers
and vanishing/wash out pens, would they?

I know that would be what I would be thinking if I were judging
something in a contest, and I know that they make allowances for silly
little things like sewing machines, polyester thread and
blended/modern fabrics as substitutions.  Doing it entirely as it
would have been done medievally doesn't necessarily make one person's
entry any better than someone who has used modern equipment to make
theirs.  In fact, someone who recreates something medieval but *only*
recreates what they have documented, is less likely to win than
someone who not only recreates something medieval but adds to it to
make it their own.  Understand?

Just the opinion of this mistress of Arts and Sciences for the small
Shire of Ramsgaard, An Tir.

and in regards to this:

<Most of the thing will be lined - it's just that the way the turnbacks
worked out on the sleeves precludes lining. <sigh>. I've really got to
learn to think things through more before I start them... :}

Thanks again for the help!

Hilary/Joane>

The next time, why don't you consider using a removable stabilizer
like tear away or Sulky Solvy (washes out) to draw your pattern on and
then you will be able to remove it when you are done :>

Katrynka Chornovoloskaya
(mka Glenda Hohmann)
(Kamloops, BC, Canada)
========================

- -Poster: Merouda the True <keltia@serv.net>

I second Kayta's questions.  Even if you are competing, the marks will
never
show even if you don't line the garment.  I say, don't worry about it. 
:)
Cynthia
> Why bother removing the pencil marks?  Are you going to compete with
this
> piece?  Won't you lining cover the marks?
>







==
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*  Two things stand like stone:         *
*       Kindness in another's trouble,  *
*       Courage in your own.            *
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From owner-h-costume@indra.com  Thu Jan 21 22:06:52 1999
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-Poster: Kim Graham <kgraham@flash.net>



Gia Gavino-Gattshall wrote:

> -Poster: "Gia Gavino-Gattshall" <ggavino@serv.net>
>
> Hi!
>
> No, the only thing I machine stitched on was the twill tape along the top
> edge of the skirt I cartridge pleated.  I really was trying to do the thing
> 'by hand', so that's the only concession I made, for speed.
>
> I 'inherited' some white 2" wide twill tape which I  machine long stitched
> on, folded the skirt top edge along the 'seam line' (about 5/8 ") and hand
> stitched the cartridge pleating stitches, using double strand of thread
> (quilters), beeswaxed for strength, making sure I had nice tails for pulling
> to make the pleats.

I've used a pleater tape found in the drapery department of the fabric store for
a REALLY quick way to do cartridge pleats.  It's about 1" wide, with 2 cords
running lengthwise along the outer edges.  I just sewed it along the waist of
the skirt, yanked up the cords and  tah-dah! Almost instant cartridge pleats.
You can take out the tape after you secure the pleats onto the waist band, if
you want.  I didn't on the first skirt I made using this (ahem)"technique", and
fortunately the thread I used exactly matched the skirt material.  So far, it's
held up quite well.

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-Poster: EofAshley@aol.com

Have you tried the nylon pleater tape? This creates lovely curves to the
cartridge pleats.

Karla
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-Poster: EofAshley@aol.com

Have you tried the nylon pleater tape? This creates lovely curves to the
cartridge pleats.

Karla
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-Poster: Schiap1@aol.com

There is a very good book called "The Elizabethan Woman" by Milton Carrol (if
I recall the author's name correctly). It was published in the 40s or 50s and
is long out of print.  It gives great detail about the Elizabethan woman's
makeup and dress, as well as other social aspects.  I have it somewhere with
my books, but I just tried to find it and it's mixed in with a ton of books.
I'll try to look for it this weekend and see if I can get some info for you.

Hope this helps.

Lyn

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-Poster: Appin1@aol.com

I believe Richard Corson has done a book on make-up, which I seem to recall as
pretty good, but I can't remember the title of the book. Does anyone out there
know the title?

Kathleen Norvell
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From owner-h-costume@indra.com  Fri Jan 22 00:09:38 1999
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Subject: H-COST: Re: Shinrone gown
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-Poster: Leslie Helms <leslieh@canfield.com>

Wow!  What a great analysis.  A few points still don't make sense, but I
think they would to someone who was building a reconstruction.  I'm so glad
I didn't yet hack into the wool that's eventually supposed to be an Irish
dress.

The changes in interpretation of this garment are a great example of how
even photos can't be trusted, much less portraiture.  (If it doesn't look
like it would have worked, and your mockup doesn't work, there's probably
something important that you don't know yet!)

Thanks, Mara.

Leslie

If anyone missed the first note, the address for the updated Shinrone info is 


http://www.reconstructinghistory.com/fenians/Shinrone/Shinrone.htm

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From owner-h-costume@indra.com  Fri Jan 22 00:40:23 1999
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Subject: H-COST: 20,000 Years of Costume
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-Poster: <aquazoo@patriot.net>

     This is a question forwarded from a friend:

I understand from a friend who works at Prentiss Hall publishers that 
a new edition of Boucher's 20,000 Years of Costume is out.  I'm 
wondering if any academic (or other) reviews are available on the new 
edition?
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From owner-h-costume@indra.com  Fri Jan 22 00:42:30 1999
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Date: Fri, 22 Jan 1999 00:19:18 -0500
To: h-costume@indra.com
From: Danielle Nunn <dnunn@interlog.com>
Subject: Re: H-COST: Sources for 16th c. make-up info
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-Poster: Danielle Nunn <dnunn@interlog.com>

Greetings,

>I've been looking for some good sources, preferably primary or containing 
>primary quotes, on 16th century cosmetics and make-up information.  Does
>anyone know of any good books or articles on the subject?  Most of what I
>know is anecdotal and comes from other people--belladonna in the eyes,
>mercury water for the complexion, white lead on the face.  Does anyone
>know where I can find the written info? 

Try Sir Hugh Plat's "Delight for Ladies" I think it was actually written in
1609 but, it's close.  The cool thing is, most of the receipes aren't
toxic!  Also I've recently heard of a book called "Nostradamus's elixers"
I'm ordering it and I'll let you know when I get it.

Cheers,
Danielle

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From owner-h-costume@indra.com  Fri Jan 22 00:42:53 1999
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Date: Fri, 22 Jan 1999 00:46:59 -0500
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From: Danielle Nunn <dnunn@interlog.com>
Subject: Re: H-COST: Neck Ruffs
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-Poster: Danielle Nunn <dnunn@interlog.com>

Greetings,

>This is how ruffs were made in period. After all, many, if not most, ruffs
>were  made of lace, drawn thread cuttwork, or blackwork, none of which would
>lend themselves well to a ruff cut on the circle.   The common way of making
>ruffs by cartridge pleating them into a neckband  seems to be a modern
>invention.  If you look at period portraits, ruffs were gathered into one
>edge of  the band and the large "S" curves were formed after sewing.   They
>don't "unruffle" if you stitch or glue them together where the "s" curves
>meet. (in period, this was sometimes done with tiny balls of sticky wax).

I would be curious as to where you got this information?  According to the
Janet Arnold about ruffs and neckware published in Waffen und Kostümkunde
(I'm sorry but I can't find the article at the moment to give you the exact
title or issue number) she analyzises and includes pictures of existing
ruffs.  They are long strips of fabric essentially cartridge pleated onto a
neck band.  It is only stitched along one edge as is typical of cartridge
pleating.  

Cheers,
Danielle

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From owner-h-costume@indra.com  Fri Jan 22 00:42:58 1999
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To: h-costume@indra.com
From: Danielle Nunn <dnunn@interlog.com>
Subject: Re: H-COST: Can velveteen be washed?
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-Poster: Danielle Nunn <dnunn@interlog.com>

Greetings,

>It is definitely cotton, but I wondered if washing would affect the pile.

Nope.

>Can I just chuck this in the washing machine?

Yup.  I do it all the time.

Cheers,
Danielle

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From owner-h-costume@indra.com  Fri Jan 22 01:50:12 1999
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-Poster: Dietmar <dietmar@pacbell.net>

Greetings all,

I didn't have the time to see their clothing and textile exhibits (and YES,
I'm still kicking myself about it) but the Kunsthistorisches Museum in Vienna
has the Imperial regalia of the Holy Roman Emperors.  They're incredible to
look at, from what I've seen in books.  They also have one of the foremost
collections of medieval and renaissance paintings...and I got photos of most
of them.

Regards,

Dietmar


"Victory or Defeat rests in God's hands;
 over Honor, we ourselves are Lord and Master."
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-Poster: Dietmar <dietmar@pacbell.net>

Greetings all,

Arlys asked:

> What sort of eraser would you use for fabric? A regular one (a la Pink
> Pearl) or an art  eraser? Does it matter?

I've been a professional draftsman for fifteen years and I do calligraphy and
illumination in my free time.  My favorite eraser for use on pencil is
'premium white vinyl'.  It's a very white, soft eraser.  One brand that I know
of is Staedtler/Mars.  A neat trick that I've learned to prevent smudges is to
clean the eraser.  You can do this buy rubbing it on some sturdy fabric to
remove the graphite build up.  Blue jeans are handy for this, but I use the
carpet in a pinch.

Regards,

Dietmar


"Victory or Defeat rests in God's hands;
 over Honor, we ourselves are Lord and Master."
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Date: Thu, 21 Jan 1999 22:42:00 -0800
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From: "Carol J. Bell Cannon" <cjcannon@greymists.com>
Subject: H-COST: Sources for 16th c. make-up info
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-Poster: "Carol J. Bell Cannon" <cjcannon@greymists.com>

<blockquote type=cite cite>In a message dated 99-01-20 23:18:00 EST, you
write:&lt;&lt; &gt;From: aleed &lt;aleed@dnaco.net&gt; &gt;I've been
looking for some good sources, preferably primary or containing
&gt;primary quotes, on 16th century cosmetics and make-up
information.&nbsp; ...&nbsp; Does anyone &gt;know where I can find the
written info?&nbsp; Thanks much, Drea &gt;&gt;Drea,I'm what is commonly
known as a &quot;high-maintenance woman&quot;; haven't left thehouse
without makeup since age 12, except for once that I can recall, and thatwas
a dire emergency...so I have a reasonable interest in period makeup,
andhave done some checking myself!&nbsp; :)As long as anecdotal information
comes from contemporary sources (such asShakespeare, etc.), it shouldn't be
discounted.&nbsp; The Bard makes comments aboutmakeup and fashion now and
then, though you'll have to hunt for them!&nbsp; I'vealso found a number of
decent references in the &quot;Thousand and One Nights&quot; -such as
'lengthening the eyes with kohl', decorating with henna, scentingone's
clothing, etc.For a good solid late-period European source, you should
search your localuniversity library for a re-print or microfiche copy of
Philip Stubbes' &quot;TheAnatomie of Abuses in England&quot;...I'm not sure
of the exact date, but it'sElizabethan.&nbsp; I've e-mailed my friend
Mistress Maria Theresa Ipenarrieta, whois not only a Laurel with research
qualifications, but holds a Masters' inElizabethan history, with a
specialty in sumptuary laws...Stubbes is one ofher favorites, so she should
be able to give some more info on how to find acopy.&nbsp; He rails against
cosmetics, ruffs, bum rolls, and a host of other'sins'.Books such as
&quot;The Good Housewife's Jewell&quot; (1596) and &quot;Delights for
Ladies&quot;(1600) -- both available in reprint from Potboiler Press at
Pennsic -- willgive recipes for cosmetics to cleanse and perfume the skin,
but don't reallymention those to add to the skin as coloring or
enhancement.&nbsp; For these&quot;paints&quot;, you'll probably have your
best luck with Stubbes, and withcontemporary playwrights, novelists,
moralists, etc.An easy source to come by as a 'starter' is Compleat
Anachronist #53, byMistress Rosamounde of Mercia.&nbsp; (Should be
available through Milpitas, alsothrough Potboiler Press.)&nbsp; She gives
quite a bit of information, mostly fromsecondary/tertiary sources, with a
few direct quotes from primary sources.Her bibliography is a great list of
places to look for further information.(Frankly, I'm surprised no one else
has mentioned this C.A. yet; I'd swear Iremember reading posts from a
couple of her apprentices on this list!)My own interpretation of period
makeup isn't too much of a stretch from mynormal routine...very pale skin
(mixing talcum powder with your normal looseface powder will assist you if
Mother Nature hasn't created you pasty to beginwith); a little
natural-colored blush and a touch of mascara; and matte lipcolors within
the realm of possibility for period pigment (terra cotta, atouch of brick
red VERY well blotted and diffused, a berry color slightlydarker than
normal lips, etc.).&nbsp; No frosty lipstick or eyeshadow.&nbsp; This
lookworks reasonably well for everything from cotehardies through Italians
throughElizabethans.&nbsp; If I'm wearing Middle Eastern, I add some black
eyeliner,gently smudged, and either real henna on hands and feet, or
red-brown eyelinersealed with stage makeup sealant (so the 'henna' won't
smudge or wash offwithout spirit gum remover!).&nbsp; For anyone who does
Middle Eastern, forgoodness sake stay away from the silly 'tribal marks' on
your face, unless youuse a sealant...otherwise they smudge and look like
dirt!&nbsp; Blue/greeneyeshadow isn't out of the realm of possibility for
Middle Eastern, but likethe tribal marks, there's as much document for not
having it as for having it,and I tend not to like it.Hope this is helpful
to you, and my apologies for rambling!Regards,Arianna Kateryn
NunneschildLyondemere, Caid</blockquote></html>
>
> In a message dated 99-01-20 23:18:00 EST, you write:> > &lt;&lt;
&gt;From: aleed &lt;aleed@dnaco.net&gt;>  &gt;I've been looking for some
good sources, preferably primary or containing >  &gt;primary quotes, on
16th century cosmetics and make-up information.&nbsp; ...&nbsp; Does
anyone>  &gt;know where I can find the written info?&nbsp; Thanks much,
Drea &gt;&gt;> > Drea,> > I'm what is commonly known as a
&quot;high-maintenance woman&quot;; haven't left the> house without makeup
since age 12, except for once that I can recall, and that> was a dire
emergency...so I have a reasonable interest in period makeup, and> have
done some checking myself!&nbsp; :)> > As long as anecdotal information
comes from contemporary sources (such as> Shakespeare, etc.), it shouldn't
be discounted.&nbsp; The Bard makes comments about> makeup and fashion now
and then, though you'll have to hunt for them!&nbsp; I've> also found a
number of decent references in the &quot;Thousand and One Nights&quot; ->
such as 'lengthening the eyes with kohl', decorating with henna, scenting>
one's clothing, etc.> > For a good solid late-period European source, you
should search your local> university library for a re-print or microfiche
copy of Philip Stubbes' &quot;The> Anatomie of Abuses in
England&quot;...I'm not sure of the exact date, but it's>
Elizabethan.&nbsp; I've e-mailed my friend Mistress Maria Theresa
Ipenarrieta, who> is not only a Laurel with research qualifications, but
holds a Masters' in> Elizabethan history, with a specialty in sumptuary
laws...Stubbes is one of> her favorites, so she should be able to give some
more info on how to find a> copy.&nbsp; He rails against cosmetics, ruffs,
bum rolls, and a host of other> 'sins'.> > Books such as &quot;The Good
Housewife's Jewell&quot; (1596) and &quot;Delights for Ladies&quot;> (1600)
-- both available in reprint from Potboiler Press at Pennsic -- will> give
recipes for cosmetics to cleanse and perfume the skin, but don't really>
mention those to add to the skin as coloring or enhancement.&nbsp; For
these> &quot;paints&quot;, you'll probably have your best luck with
Stubbes, and with> contemporary playwrights, novelists, moralists, etc.> >
An easy source to come by as a 'starter' is Compleat Anachronist #53, by>
Mistress Rosamounde of Mercia.&nbsp; (Should be available through Milpitas,
also> through Potboiler Press.)&nbsp; She gives quite a bit of information,
mostly from> secondary/tertiary sources, with a few direct quotes from
primary sources.> Her bibliography is a great list of places to look for
further information.> (Frankly, I'm surprised no one else has mentioned
this C.A. yet; I'd swear I> remember reading posts from a couple of her
apprentices on this list!)> > My own interpretation of period makeup isn't
too much of a stretch from my> normal routine...very pale skin (mixing
talcum powder with your normal loose> face powder will assist you if Mother
Nature hasn't created you pasty to begin> with); a little natural-colored
blush and a touch of mascara; and matte lip> colors within the realm of
possibility for period pigment (terra cotta, a> touch of brick red VERY
well blotted and diffused, a berry color slightly> darker than normal lips,
etc.).&nbsp; No frosty lipstick or eyeshadow.&nbsp; This look> works
reasonably well for everything from cotehardies through Italians through>
Elizabethans.&nbsp; If I'm wearing Middle Eastern, I add some black
eyeliner,> gently smudged, and either real henna on hands and feet, or
red-brown eyeliner> sealed with stage makeup sealant (so the 'henna' won't
smudge or wash off> without spirit gum remover!).&nbsp; For anyone who does
Middle Eastern, for> goodness sake stay away from the silly 'tribal marks'
on your face, unless you> use a sealant...otherwise they smudge and look
like dirt!&nbsp; Blue/green> eyeshadow isn't out of the realm of
possibility for Middle Eastern, but like> the tribal marks, there's as much
document for not having it as for having it,> and I tend not to like it.> >
Hope this is helpful to you, and my apologies for rambling!> > Regards,> >
Arianna Kateryn Nunneschild> Lyondemere, Caid> </blockquote></html>>

</html>
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From owner-h-costume@indra.com  Fri Jan 22 02:22:40 1999
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Date: Fri, 22 Jan 1999 02:06:51 -0800
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-Poster: Heather Law <lynnx@mc.net>

Is that TI you're talking about the one that came out 10 years or so
again on period cosmetics? I gave a copy to a friend who was a
cosmetician, and she was thrilled with it.
Carol Mitchell
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Date: Fri, 22 Jan 1999 10:06:17 +0000 (GMT)
From: Teddy <Teddy@mdx.ac.uk>
Subject: Re:  H-COST: Can velveteen be washed?
In-reply-to: <199901220212.TAA15300@indra.com>
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-Poster: Teddy <Teddy@mdx.ac.uk>

> - -Poster: Margo Anderson <margo@directcon.net>

> Teddy, do you actually have a washing machine that BOILS the fabric?
>  tell me more!

Hi Margo,

>From discussions about the use of machine dyes (specifically 
those made by *Dylon*) I've come to the conclusion that washing 
machines in the UK differ a bit from their US counterparts. 

Most of them a re front-loading and have a control for different 
types of wash programme (longer, shorter, delicates, woolens, with 
and without rinse and/or spin cycles etc) and seperate temperature 
controls.  It can vary from machine to machine.  Some have the top 
temp setting at 90 or 95 degrees and others (like the one I have at 
present) go up to 95 degrees and have one further setting on the dial 
labelled "MAX"

When dying by machine I "set" they dye by putting in the usual 
detergent, the longest wash (without pre-wash) and at the 95 degree 
setting (if the fabric can take high temperatures).   Before I use 
(cut out and make up) any fabric I try to "boil" (long wash at 95 or 
MAX) it or wash it at the highest temperature it can take.  That way 
I can be sure it has shrunk as much as it's ever likely to.

I *have* been caught out....  A few years ago, in a rush to get 
something basic together to wear to an event, I cut and made a simple 
pair of drawstring-waist britches to go with a T-tunic I already had.

They are of thickish wool in what I call a "heather-purple" (far too 
grey a shade for my liking, but I I only had 45 minutes before I had 
to leave for the event and the fabric was in my stash).   Anyway, 
they wored fine and were comfortable so they have been worn a lot 
over the past few years.  Perfect for slipping on first thing in the 
morning when I'm on breaksfast shift in the castle kitchen at St. 
Briavels, or wearing when the fighters or "the villiage" are on an 
outing and scrambling around old casltes or ruins.

4 years down the line, having been through the wash numerous times, 
they shrank.  They were slightly loose on me when made but I had 
gained 3 stone and they had shunk slightly in the first wash, so they 
weren't loose but they weren't tight either.  All of a sudden, they 
only come up as far as my thighs and I can't get my feet through the 
bottom part of the leg.

A friend's seven year old now had a thickly felted pair of 
heather-purple trousers for wearing at winter events....<g>

Teddy
(Trustworthy Evil-Bunny of Destiny, part-time Knave and Creature of
air and darkness, apparently!)
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From: "KATE M BUNTING" <K.M.Bunting@derby.ac.uk>
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Subject: H-COST: Tin dress
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-Poster: "KATE M BUNTING" <K.M.Bunting@derby.ac.uk>

I don't know what a tin dress was (unless it was made of an early form of lurex?) but I can tell Hope that "Miss Marjoribanks" was published in 1866 and is set in an imaginary English small town. 

Kate Bunting
Library, University of Derby
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Date: Fri, 22 Jan 1999 10:09:05 +0000 (GMT)
From: Teddy <Teddy@mdx.ac.uk>
Subject: Re: H-COST: Shinrone Gown
In-reply-to: <199901220212.TAA15300@indra.com>
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-Poster: Teddy <Teddy@mdx.ac.uk>

> - -Poster: Mara Riley <lindo@Radix.Net>
> 
> I just got a note from Kass McGann stating that the Reconstructing
> History page on the Shinrone Gown has been updated.  I gave it a
> quick glance and she seems to have done a very good job:
> 
> http://www.reconstructinghistory.com/fenians/Shinrone/Shinrone.htm

I finally got around to looking at this (having heard/read) mention 
of the gown numerous times.

Can anyone explain the skirt "welts" better or point me to any illos 
of them.  I'm not sure my mental image from the description is 
entirely accurate.

Thanks

Teddy
(Trustworthy Evil-Bunny of Destiny, part-time Knave and Creature of
air and darkness, apparently!)
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-Poster: starsinger@webtv.net (theresa sorrell)

My understanding of ruffs, in part from looking at portraits, is they
developed from gathered in the collar to separate and enormous separate
pieces of clothing.

Early/middle Tudor shows modest gathered ruffs as part of the neck of
the shirt/shift.  These started to grow and by the time of Elizabeth
were inches wide attached to a tie-on band.  They continued to grow for
awhile due to the use of starch, which permitted their size to grow and
still retain their shape.  Many of the Dutch painters showed the
cartwheel ruff well in to the 1600's.

Anyone care to add to this?  I've never made one, but they look easy
enough, just a lot of hand work in pleating into the band.

Starsinger

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Date: Fri, 22 Jan 1999 05:57:58 -0500
From: Melanie Wilson <MelanieWilson@compuserve.com>
Subject: H-COST: Clogs in England & History
To: LIST historic costume <h-costume-digest@indra.com>
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-Poster: Melanie Wilson <MelanieWilson@compuserve.com>

I have just read Clogs or Wooden Soled Shoes by Evelyn Vigeon

Most is of a much later period than I am involved with but here are the
bits which had some relevance to me

It is often said that clogs (as know in England) were introduced by Flemish
weavers in the 14th C, the article thinks not as the sabot all wooden clog
and wooden sole clog as in England , are made using different tools and a
differnt craft.

Romans wore wooden soled footwear in England.

Also in the tomb of Bernard King of Italy Buried 904 AD , his footwear wear
read leather uppers on a wooden sole.

In the later medieval period we see pattens. There appears to be a
Nottingham alabaster of St Giles shoeing a horse where he appears to be
wearing a clog. The author suggests their use can perhaps be inferred from
' His luddokkys thai lowke walk-mylne cloggs' in the Wakefielf Mystery
plays of the same century.

An early ref to wooden soled shoe  in Lancaster is Jan 1660 ' a pre of
cloggs for the cow boy vjd'

1602 ref 'clogging the boy Watmough a pr of showes iijp'

The article notes that pattens are difficult to walk in for any period of
time, and it is possible that agricultural workers began to have wooden
soles fixed to the sole of their shoe, rather than wear an over shoe.

Finally the article sayes that because the word 'clog' can mean just a
piece of wood, it can confuse the issue as exactly what is meant at any
given time and place is not always clear.

For instance what type of clog did the members of the Clog & Pattenmakers
Company make in medieval times.

Hope somebody finds a use for that info :)

Oh yes if anyone want the name of a Clog making company in the UK , I have
one somewhere ! They will also supply just the soles if you want to make
more period style clogs.


Mel
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From owner-h-costume@indra.com  Fri Jan 22 08:36:53 1999
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Date: Fri, 22 Jan 1999 05:18:07 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: Re: H-COST: Neck Ruffs
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>

(My comments follow at the bottom.)

I need to make a neck ruff, not a huge Elizabethan one, but a smallish
Cavalier or Rembrandt-like one.  What is the geometry of this?  I realized
that if I took a long rectangle of fabric, gathered it along the long edge,
and then put it around my neck, that the ruffles would unruffle at the outer
circumference -- not the right effect.  Should I be cutting a
doughtnut-shaped piece of fabric, the inner hole rather larger than my neck
measurement, and then gathering around the inner hole so it fits my neck?  I
feel sure this is an easy problem in topology, that others before me have
solved.

  and

>This is how ruffs were made in period. After all, many, if not most, ruffs
>were  made of lace, drawn thread cuttwork, or blackwork, none of which would
>lend themselves well to a ruff cut on the circle.   The common way of making
>ruffs by cartridge pleating them into a neckband  seems to be a modern
>invention.  If you look at period portraits, ruffs were gathered into one
>edge of  the band and the large "S" curves were formed after sewing.   They
>don't "unruffle" if you stitch or glue them together where the "s" curves
>meet. (in period, this was sometimes done with tiny balls of sticky wax).

  and

I would be curious as to where you got this information?  According to the
Janet Arnold about ruffs and neckware published in Waffen und Kostümkunde
(I'm sorry but I can't find the article at the moment to give you the exact
title or issue number) she analyzises and includes pictures of existing
ruffs.  They are long strips of fabric essentially cartridge pleated onto a
neck band.  It is only stitched along one edge as is typical of cartridge
pleating. 

  and

>My understanding of ruffs, in part from looking at portraits, is they
>developed from gathered in the collar to separate and enormous separate
>pieces of clothing.
>
>Early/middle Tudor shows modest gathered ruffs as part of the neck of
>the shirt/shift.  These started to grow and by the time of Elizabeth
>were inches wide attached to a tie-on band.  They continued to grow for
>awhile due to the use of starch, which permitted their size to grow and
>still retain their shape.  Many of the Dutch painters showed the
>cartwheel ruff well in to the 1600's.
>
>Anyone care to add to this?  I've never made one, but they look easy
>enough, just a lot of hand work in pleating into the band.

(My comments:)

Janet Arnold notwithstanding, period pictures of the 'mill wheel' ruffs
show much less thickness at the neck edge than at the outer edge.
Cartridge pleating deep enough to produce the required outer thickness
would be as thick as the wearer's neck is tall and, as shown in the
pictures, this isn't the case.  Cartridge pleats also maintain a constant
width from one end to the other.  So if the inner circumference is smaller
than the outer one, as on a ruff, the pleats would have to get farther
apart towards the outer edge.  Period ruffs don't do either of these
things, so they can't have been made by cartridge pleating.  

If ruffs were flat pleated and the pleatings were then gathered, there
would be a straight line from the neck edge to the outer edge.  This is how
flat pleats behave.  (Make a mock-up and see.)  The period pictures show a
curved line here, usually one which rises up then sharply curves away from
the base of the neck and flattens out towards the outer edge.  This sharp
curve is where the gathers release in a 'mill wheel' ruff.  It's as far in
as the goffering iron will reach as it induces the pleated effect we see.
In some Elizabeth I portraits you can even see the bottoms of these induced
pleats.  This is where the material is still to tightly gathered to be
pleatable by the iron.  Real pleats would look like pleats there at the
bottom, not like gatherings as these do.  So these ruffs can't have been
made by flat pleating either.
 
The best views of ruffs are in pictures of Mary Queen of Scots.  These
pictures have an end-on view AND a side view of the same ruff, which is
what makes them especially useful.  In these it can be seen that the neck
edge of the ruff is super-tightly gathered (not pleated) into a tiny band
at the edge of a shirt neck, and that the outer edge is several inches
wide.  This tiny band shows all the bulgy thickness one would expect if all
that material was gathered into it.  On a separate ruff this tiny band is
still there doing its job, and is visible in some portraits.  (Separate
ruffs were called bands, and one stored them in a bandbox.)

BTW, most Cavalier "ruffs" are flat, and require no pleating of any kind.


Kayta
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Date: Fri, 22 Jan 1999 05:28:27 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: Re: H-COST: Re: OT/Yiddish
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>


>This is untrue. High and Low are more geographical designations. Yiddish is
>a form of High German.
>
Last I heard, "Low German" was what all social classes spoke in the "Low
Countries".  And you can't get much lower than Holland in terms of feet
below sea level.


Kayta
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-Poster: AlbraKat@aol.com

Hi there--Mel, 
I would be very interested in knowing the name of the UK company that makes
clogs that could be used in  historical re-creation. Or companies in any other
place as well--
Many thanks!
Albra-
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Date: Fri, 22 Jan 1999 10:04:18 -0500 (EST)
From: aleed <aleed@dnaco.net>
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Subject: H-COST: Anatomie of Abuses?
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-Poster: aleed <aleed@dnaco.net>

I found a copy of Philip Stubbes Anatomie of Abuses & other writings,
leather-bound, for $185, which seems pretty high.  Has anyone else bought
this book?  How much did they pay for it?

Thanks,

Drea

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-Poster: Merouda the True <keltia@serv.net>

> Can anyone explain the skirt "welts" better or point me to any illos
> of them.  I'm not sure my mental image from the description is
> entirely accurate.

Great question.  Yes, please, a clue?  I was reading through the page
and was completely confused by what the writer was talking about.

Cynthia

--
Merouda the True of Beaumaris
Barony of Madrone
Kingdom of An Tir


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-Poster: cynthia j ley <cley@juno.com>

I have a problem and was wondering if any here might have some
suggestions.

I have some jeans which have a gathered waistband. They fit fine, except
that I have lost some weight and need to take the waist in. There's about
5 lines of stitching running across the waistline gathers. I need to take
them in about an inch. Any suggestions on how to do this?

Thank you for your help!




					Arlys


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Date: Fri, 22 Jan 1999 11:58:59 -0400
From: Laurel Wilson <lwilson16@earthlink.net>
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-Poster: Laurel Wilson <lwilson16@earthlink.net>



aquazoo@patriot.net wrote:

> -Poster: <aquazoo@patriot.net>
>
>      This is a question forwarded from a friend:
>
> I understand from a friend who works at Prentiss Hall publishers that
> a new edition of Boucher's 20,000 Years of Costume is out.  I'm
> wondering if any academic (or other) reviews are available on the new
> edition?
>

There was an earlier discussion of this on the list, in which I think we
reached the conclusion that the 1987 edition, which is still in print,
is the latest one.  There was apparently a rumor that a new one was
coming out, but it remains merely a rumor.  I just purchased a brand-new
copy of the book from Barnes and Noble on-line, and it is the 1987
edition, which contains what is described as a "new" chapter by Yvonne
Deslandres.
Hope this helps.
Lauri


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Date: Fri, 22 Jan 1999 18:30:54 +0000
To: h-costume@indra.com
From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: H-COST: Clogs in England & History
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-Poster: Jean Waddie <anne@montgomerie.demon.co.uk>

In message <199901220558_MC2-6791-2442@compuserve.com>, Melanie Wilson
<MelanieWilson@compuserve.com> writes
>
>
>Oh yes if anyone want the name of a Clog making company in the UK , I have
>one somewhere ! They will also supply just the soles if you want to make
>more period style clogs.
>
>
Yes please! Do you know if they will make to order, or are they just
standard sizes?  I have to wear orthotic insoles, and I have a dream of
getting someone to carve me wooden soles in the same shape for clogs, so
I can wear reasonably authentic footwear without aching legs.
-- 
Jean Waddie
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From owner-h-costume@indra.com  Fri Jan 22 13:39:58 1999
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		<36A7B598.D7AAA753@pacbell.net> <19990122.083051.4783.0.cley@juno.com>
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-Poster: Merouda the True <keltia@serv.net>

The only thing I can think of is to take out the stitches and the old elastic
and put in a newer, shorter piece of elastic.   Cynthia

> I have some jeans which have a gathered waistband. They fit fine, except
> that I have lost some weight and need to take the waist in. There's about
> 5 lines of stitching running across the waistline gathers. I need to take
> them in about an inch. Any suggestions on how to do this?

--
Merouda the True of Beaumaris
Barony of Madrone
Kingdom of An Tir


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-Poster: Margo Anderson <margo@directcon.net>


>I would be curious as to where you got this information?  According to the
>Janet Arnold about ruffs and neckware published in Waffen und Kostümkunde
>(I'm sorry but I can't find the article at the moment to give you the exact
>title or issue number) she analyzises and includes pictures of existing
>ruffs.  They are long strips of fabric essentially cartridge pleated onto a
>neck band.  It is only stitched along one edge as is typical of cartridge
>pleating.  


Most period portraits show the gathering on theneckband edge quite clearly.

Margo

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-Poster: Margo Anderson <margo@directcon.net>


>
>> Can anyone explain the skirt "welts" better or point me to any illos
>> of them.  I'm not sure my mental image from the description is
>> entirely accurate.
>
>Great question.  Yes, please, a clue?  I was reading through the page
>and was completely confused by what the writer was talking about.
>

I think this is a simple problem of terminology.  The"welts"  are tucks,
with the tuck on the inside of the garment.  I haven't made up the entire
garment, but I was intrigued enough  to make a sample of the technique, and
it looks as if it would work very well.

Margo




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From owner-h-costume@indra.com  Fri Jan 22 14:37:59 1999
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-Poster: Margo Anderson <margo@directcon.net>

I've just been looking over the Shinrone Gown page again, and I find myself
intrigued by the unusual shape of the front opening.  The way it's cut over
the abdomen in that "keyhole" shape, patticularly.  Once again, I surmise
that this is a maternity dress.  The shape seems ideal for pregnancy, as
there is bust support and it leaves accomodation for a belly to grow and be
proudly displayed.

Does anyone who knows more than I about Irish attitudes toward pregnancy at
the time think this is likely?

Margo Anderson

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From owner-h-costume@indra.com  Fri Jan 22 14:42:38 1999
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-Poster: Margo Anderson <margo@directcon.net>

Oops, forgot to add this:  The darts taken in thebodice sometime after the
gown's construction may have been added to raise the skirt front after the
pregnancy was over, and there was no longer a belly holding the skirt higher.


Yes, I know that I tend to think everything's a maternity dress,  but
considering that until this century most women were pregnant or nursing for
most of their adult lives, it seems like a reasonable conclusion.  Of
course, there's the fact that this is my current area of study, and, as they
say, "when all you have is a hammer, everything looks like a nail".

Margo

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From owner-h-costume@indra.com  Fri Jan 22 15:36:12 1999
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From: "karrissa david" <arizona63@hotmail.com>
To: h-costume@indra.com
Subject: Re: H-COST: undergarments
Date: Fri, 22 Jan 1999 15:43:41 EST
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-Poster: "karrissa david" <arizona63@hotmail.com>

Sylvia,


<I've taken to cutting the wires out of my underwire bras.  It doesn't 
cut down on their wearability>


That is exactly what I do.  In better made bras (especially for larger 
cups)  the underwire really does not do anything.  And I am a D cup.  I 
have never had a problem.  I would however suggest that you only do this 
to more expensive bras.  I have found that the cheaper ones do not 
support as well after the wire is taken out.

Just my 3 cents.  (inflation ya know)
Karrissa

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Date: Fri, 22 Jan 1999 12:43:39 -0500
To: h-costume@indra.com
From: Danielle Nunn <dnunn@interlog.com>
Subject: Re: H-COST: Anatomie of Abuses?
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-Poster: Danielle Nunn <dnunn@interlog.com>

Greetings,

>I found a copy of Philip Stubbes Anatomie of Abuses & other writings,
>leather-bound, for $185, which seems pretty high.  Has anyone else bought
>this book?  How much did they pay for it?

I have a photocopy of it but, given the fact that the facsimilie was
published in 1860's (I think) I don't think it is to high.  You can always
try and ILL and photocopy the thing.  It's hilarious to read!

Cheers,
Danielle

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-Poster: SNSpies@aol.com

<< Philip Stubbes Anatomie of Abuses & other writings, >>

Could you please tell me what this is about?  Thanks.

Nancy
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From: Parsla Liepa <parsla@engin.umich.edu>
To: Costume List <h-costume@indra.com>
Subject: Re: H-COST: Shinrone Gown
In-Reply-To: <Pine.SV4.3.96.990121140548.8918D-100000@saltmine.radix.net>
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-Poster: Parsla Liepa <parsla@engin.umich.edu>

When I try this URL, I get a 404-page not found error.  The only way I can
see it is by snippinng backwards to reconstructinghistory.com, and
navigating through the Irish section.

Parsla

 On Thu, 21 Jan 1999, Mara Riley wrote:

> 
> -Poster: Mara Riley <lindo@Radix.Net>
> 
> I just got a note from Kass McGann stating that the Reconstructing History
> page on the Shinrone Gown has been updated.  I gave it a quick glance and
> she seems to have done a very good job:
> 
> http://www.reconstructinghistory.com/fenians/Shinrone/Shinrone.htm
> 
> Mara
> 
>  _________________________________________________________________
>  To leave this mailing list, send mail to majordomo@indra.com
>  with the message UNSUBSCRIBE H-COSTUME
> 

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Date: Fri, 22 Jan 1999 16:12:47 -0800 (PST)
From: Glenda Hohmann <katrynka2@yahoo.com>
Subject: H-COST: pencil marks
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-Poster: Glenda Hohmann <katrynka2@yahoo.com>


I copied the following (see below) from some information sent to me by
a gracious lady in the Kingdom of the West.  My question would be: 
why worry about pencil design marks on your costume/entry when in
medieval Russia they used *India Ink* or *Chinese White* (types of
ink) to trace their design on the garment after creating a
"connect-the-dots" type pattern with *charcoal*?  The design marks
*still!* exist on Christian Church artifacts from Russia, therefore
design marks on your entry would be perfectly period.

Katrynka

Katrynka Chornovoloskaya,  MoAs, Ramsgaard, An Tir.
(Glenda Hohmann, Kamloops, BC, Canada)

=============================================================================
The following was taken from:
RUSSIAN EMBROIDERY AND LACE by Yefimova (pages 11-

The influence of the Middle East is evident in the needlework of the
early Christian Church in Russia.... The surviving ecclesiastical
vestments of this period are worked with small figures or religious
scenes, comparable in style with early Russian manuscript
illustrations, framed by foliage scrolls or set in geometrical or
architectural compartments. These designs are worked with colored
silks in a fine regular split-stitch, generally on backgrounds of
couched gold thread.

First, the design to be embroidered was transferred on to the
material. Such designs, called cartoons, were either made by the
embroiderer himself or commissioned from an artist. The outlines of
the cartoon were pricked on to  a sheet of paper, which was then laid
on the fabric. Powdered charcoal or other such substance, called
'pounce', was rubbed over the paper, so that it passed through the
pricked holes and marked the outline on the fabric. The outline design
would then be traced with Chinese white or Indian ink.






==
*****************************************
*  Two things stand like stone:         *
*       Kindness in another's trouble,  *
*       Courage in your own.            *
*****************************************
_________________________________________________________
DO YOU YAHOO!?
Get your free @yahoo.com address at http://mail.yahoo.com

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Date: Fri, 22 Jan 1999 20:17:05 -0500
From: Renata McAdams <renatamc@bellsouth.net>
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-Poster: Renata McAdams <renatamc@bellsouth.net>

Hi Glenda,

I've tried find the url site for The Guilded Pearl with and without
quotes.  I even tried "Ask Jeeves" but, to no avail.  Do you have any
other suggestion?  I too am very interested in the costuming of the
Italian Renaissance.

BTW what is the SCA?

Thanks for your help,

Renata McAdams
renatamc@bellsouth.net
Raleigh, NC

Glenda Hohmann wrote:

> -Poster: Glenda Hohmann <katrynka2@yahoo.com>
> One place you might want to check out is a website for a group
> called "The Guilded Pearl".  I don't have the URL but if you type the
> name "Guilded Pearl" (in quotes as I have typed) into Alta Vista or
> Yahoo search engines, you should find it.
>
> They are a group of SCA people who enjoy and study the Italian
> Renaissance and may prove to be very helpful to you.
>



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Date: Fri, 22 Jan 1999 20:17:35 -0500
From: Melanie Wilson <MelanieWilson@compuserve.com>
Subject: Re:  H-COST: Clogs in England & History
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-Poster: Melanie Wilson <MelanieWilson@compuserve.com>

Walkleys clogs (elland) Ltd tel 01422 372371 fax: 01422 378718 no email as
far as I know !

Mel
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-Poster: Renata McAdams <renatamc@bellsouth.net>

Back in 1970s when I was still living in NYC, the Metropolitan Museum of Art
used to have a rotating collection of theatrical, movie and ballet
costumes.  I don't know if the museum still has this collection.

Renata McAdams
renatamc@bellsouth.net



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References: Conversation <Pine.GSU.4.05.9901221002250.5663-100000@kirk.dnaco.net> with last message <3.0.1.32.19990122124339.00a395f0@mail.interlog.com>
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From: "Frank&Tracy Thallas JR" <hardcorps@vcn.com>
Subject: Re: H-COST: Anatomie of Abuses?
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-Poster: "Frank&Tracy Thallas JR" <hardcorps@vcn.com>


  This is too weird... I was just searching the Net last night for
excerpts from this book.  I was particularly wanting his rant on
"fancy shirts", for documentation on a current project....

   Liadain
----------
>
> -Poster: Danielle Nunn <dnunn@interlog.com>
>
> Greetings,
>
> >I found a copy of Philip Stubbes Anatomie of Abuses & other writings,
> >leather-bound, for $185, which seems pretty high.  Has anyone else bought
> >this book?  How much did they pay for it?
>
> I have a photocopy of it but, given the fact that the facsimilie was
> published in 1860's (I think) I don't think it is to high.  You can always
> try and ILL and photocopy the thing.  It's hilarious to read!
>
> Cheers,
> Danielle
>
>  _________________________________________________________________
>  To leave this mailing list, send mail to majordomo@indra.com
>  with the message UNSUBSCRIBE H-COSTUME
>


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From: starsinger@webtv.net (theresa sorrell)
Date: Fri, 22 Jan 1999 19:21:26 -0700 (MST)
To: h-costume@indra.com
Subject: Re: H-COST: renaissance study/history
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-Poster: starsinger@webtv.net (theresa sorrell)

The Guilded Pearl may be reached through links in the SCA arts and
sciences page or Drea's Elizabethan costume page.

or

http://www.geocities.com/Athens/Acropolis/2344/gpearl.htm

Starsinger

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From: "Susan Carroll-Clark" <sclark@chass.utoronto.ca>
To: <h-costume-digest@indra.com>
Subject: H-COST: Re:   h-costume-digest V4 #75
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-Poster: "Susan Carroll-Clark" <sclark@chass.utoronto.ca>

Greetings!

>My daughter, who lives in Toronto, Ontario, Canada is to be married in
>August of the year 2000 and is searching for a wedding gown or pattern
>for a style similar to that seen in the film "Sense and Sensibility".  I
>believe it to be a style worn in the mid to late 1700's or perhaps
>closer to the turn of the century.  Do you know of anyone in the Toronto
>area that would be able to accommodate her request or could you put us
>in touch with a company that she could contact?


I'm in the Toronto area, but this is not my field at all :-).  What you
might want to do if you can't find anyone is check out the Forever Timeless
website (which I think is www.forevertimeless.com) --they've got wonderful
patterns, they're Canadian, and they might be able to put you in touch with
a seamstress.


Susan Carroll-Clark

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From owner-h-costume@indra.com  Sat Jan 23 00:03:55 1999
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Date: Fri, 22 Jan 1999 17:17:27 -0500
To: h-costume@indra.com
From: Danielle Nunn <dnunn@interlog.com>
Subject: Re: H-COST: Neck Ruffs
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-Poster: Danielle Nunn <dnunn@interlog.com>

Greetings,

>>I would be curious as to where you got this information? 

>Most period portraits show the gathering on theneckband edge quite clearly.

Actually, I was more interested in where you found the information on
holding the "figure 8s" together with wax or stitching them.

Also, for the falling bands (what more unstructured and neckware was
called) I have some pictures of some surviving lace ones.  They are
gorgeous!  They basically look like a section of donought for lack of a
better description.

Cheers,
Danielle

P.S. I wasn't meaning to make it sound like you were wrong.  After all it
seems that there were always more than one way to do something or more than
one style at a time.  We are talking about somewhat different styles I believe.

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From owner-h-costume@indra.com  Sat Jan 23 00:06:34 1999
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-Poster: Joan M Jurancich <joanj@quiknet.com>

At 06:59 PM 01/20/1999 -0500, Brenda and Larry Clough wrote:
>
>-Poster: Brenda and Larry Clough <clough@erols.com>
>
>I need to make a neck ruff, not a huge Elizabethan one, but a smallish
>Cavalier or Rembrandt-like one.  What is the geometry of this?  I realized
>that if I took a long rectangle of fabric, gathered it along the long edge,
>and then put it around my neck, that the ruffles would unruffle at the outer
>circumference -- not the right effect.  Should I be cutting a
>doughtnut-shaped piece of fabric, the inner hole rather larger than my neck
>measurement, and then gathering around the inner hole so it fits my neck?  I
>feel sure this is an easy problem in topology, that others before me have
>solved.
>
>Brenda

One way to get the look I think you are describing is to box-pleat the
lace-edged (or slightly stiffened edge) length of fine linen into a
neckband. The outer edges of the box pleats will give you the
Christmas-ribbon-candy edge when worn around the neck. So your idea of
gathering one long edge is quite near to the mark. As long as the ruff
material is somewhat stiff (compare similar weights of linen and cotton,
linen is "stiffer", even without starching) and you have not ironed the
pleat in, a box pleat will flare out and give the impression that it may be
cartridge-pleated. I find that box-pleating using at a little over 3 times
the length of the final neckband (or wristband) works quite well for small
ruffs. Extremely deep wide ruffs, as shown in some of Rembrandt's portraits
of a Dutch woman (e.g., No. 1617 on page 613 in Davenport's Book of
Costume), look to me like they are cartridge pleated on to a neckband and
then carefully starched and ironed with poking sticks; I don't expect that
the pristine arrangement lasted all that long for any one wearing.

Joan Jurancich
Sacramento, CA
joanj@quiknet.com

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From owner-h-costume@indra.com  Sat Jan 23 01:10:40 1999
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From: "Penny E. Ladnier" <penny.creative.outlets@erols.com>
To: "costume newsgroup" <h-costume@indra.com>
Subject: H-COST: Virtual Costume Tours
Date: Sat, 23 Jan 1999 01:19:30 -0500
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-Poster: "Penny E. Ladnier" <penny.creative.outlets@erols.com>

Way to cool!  The Museum of Costume (Bath) now has a virtual tour of their
museum online.  You may check it out at
http://www.museumofcostume.co.uk/tour.htm .  I am considering making a
webpage for The Costume Gallery's Online Library that links to museums'
virtual tours.  If you know of other museums that are hosting these type of
tours, please send me the URLs.

Later...Penny
http://www.costumegallery.com

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From owner-h-costume@indra.com  Sat Jan 23 04:43:56 1999
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-Poster: MaggiRos@aol.com

If you're definition of Renaissance includes 16th century England, yuo will
want to look at:  http://ren.dm.net

Ok ok, I have no shame.  It's my site. :)

MaggiRos
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From owner-h-costume@indra.com  Sat Jan 23 05:19:18 1999
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-Poster: MaggiRos@aol.com

In a message dated 1/20/99 2:30:18 AM Pacific Standard Time,
dietmar@pacbell.net writes:

> 
>  
>  I've heard great things about the product known as 'Fabreeze'.  It's 
> available
>  at the grocery store.  You simply spray it on and it lifts the smells out
as
>  it dries.  I've never tried it though.
>  
>  A friend of mine uses vodka.  Buy some el cheapo vodka without flavorings
or
>  scents.  (Believe it or not some vodkas have them.)  Dilute it in half or 
> one
>  fourth with water in a spray bottle.  Lightly mist the fabric until it is 
> damp
>  and let it air dry.  It's worked wonderfully.

We talked about this roughly a year ago, but it's certainly worth a re-visit
since the product has now had time to be test driven, as you might say. I know
a friend of mine doing costume chores for "Tamara" a few years ago in L.A. was
spraying a l ight solution of alcohol in the arm pits of quick change garments
that could only be laundered once a week or so, and it was very effective.
Febreeze came out last year some time, and I finally did get a chance to buy
and use it and yep!  It works.  

Spray till the offending fabric is wet, then let it dry. Even the evidence of
a cat expressing on a sofa cushion her dissatisfaction with the state of her
kitty box has been neutrallized!  It's actualy safe to invite people into my
living room (opposing opinions will, I hope, email me privily!)  

Now of course, in a thick foam pillow, the offense may be so deep that you
have to saturate it more than the cover will stand. And maybe that's a clue to
remove the flashy brocade scrap you dound a way to preserve and toss the foam!
<grin>  But for ordinary light use, I'm convinced.

Just my tuppence ha'penny (1586 values)

MaggiRos
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From owner-h-costume@indra.com  Sat Jan 23 05:22:59 1999
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-Poster: MaggiRos@aol.com

I haven't checked for responses to this yet, so I may be way behind... Given
that, may I ask, have you washed the garment yet, after the coffee bath?

I only ask because my personal experience with tea and coffee has been that
they wash right out. Not a scientific study. I've thought that maybe a vinegar
bath (sort of like coloring Easter eggs) would help.  But my coffee/tea dying
attempts have been pretty disappointing.  Perhaps I left somethingout?

M.-R.
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From owner-h-costume@indra.com  Sat Jan 23 05:37:28 1999
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-Poster: MaggiRos@aol.com

In a message dated 1/20/99 12:01:39 PM Pacific Standard Time, keltia@serv.net
writes:

> A friend and I were talking and it occurred to me that I have never
>  seen an official definition of "reasonable facsimile".  I bet that
>  several of us has varying versions of a similar idea.  So, please,
>  tell us your definition.  This is what we came up with.
>  

I'd say it's in the same corner as "reasonable doubt."  Good enough for jazz.

maggiRos
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To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: Re: H-COST: Re: h-costume-digest V4 #69
In-Reply-To: <19990122.083051.4783.0.cley@juno.com>
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 <36A7B598.D7AAA753@pacbell.net>
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>


>I have some jeans which have a gathered waistband. They fit fine, except
>that I have lost some weight and need to take the waist in. There's about
>5 lines of stitching running across the waistline gathers. I need to take
>them in about an inch. Any suggestions on how to do this?

Take them in at the sides.  Do this just behind belt loops so it will show
the least.


Kayta
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     * )   (((((
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Date: Sat, 23 Jan 1999 00:16:42 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: Re: H-COST: Clogs in England & History
In-Reply-To: <Q3bgiKAePMq2IwJE@montgomerie.demon.co.uk>
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>


>Yes please! Do you know if they will make to order, or are they just
>standard sizes?  I have to wear orthotic insoles, and I have a dream of
>getting someone to carve me wooden soles in the same shape for clogs, so
>I can wear reasonably authentic footwear without aching legs.

Your legs are likely to ache anyway, because clogs have no give in the
soles, those being wood.  With no padding it may resemble walking on
concrete.  If your orthotics are padded this may help, but I don't believe
it will.


Kayta
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From owner-h-costume@indra.com  Sat Jan 23 05:40:16 1999
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Date: Sat, 23 Jan 1999 00:41:41 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: Re: H-COST: Neck Ruffs
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>

Joan M Jurancich writes, in a message sent 10:15 PM 1/22/99 -0700:
>
>-Poster: Joan M Jurancich <joanj@quiknet.com>
>
>At 06:59 PM 01/20/1999 -0500, Brenda and Larry Clough wrote:
>>
>>-Poster: Brenda and Larry Clough <clough@erols.com>
>>
>>I need to make a neck ruff, not a huge Elizabethan one, but a smallish
>>Cavalier or Rembrandt-like one.  What is the geometry of this?  I realized
>>that if I took a long rectangle of fabric, gathered it along the long edge,
>>and then put it around my neck, that the ruffles would unruffle at the outer
>>circumference -- not the right effect.  Should I be cutting a
>>doughtnut-shaped piece of fabric, the inner hole rather larger than my neck
>>measurement, and then gathering around the inner hole so it fits my neck?  I
>>feel sure this is an easy problem in topology, that others before me have
>>solved.
>>
>>Brenda
>
>One way to get the look I think you are describing is to box-pleat the
>lace-edged (or slightly stiffened edge) length of fine linen into a
>neckband. The outer edges of the box pleats will give you the
>Christmas-ribbon-candy edge when worn around the neck. So your idea of
>gathering one long edge is quite near to the mark. 

IMHO, simply box pleating doesn't get the right look if the ruff is deeper
than about an inch.   Deeper than that and the ruff looks really skimpy.
You'd need to pleat back and forth a few times on top of each other to get
all the thickness you'd need at the outer edge.  But I still don't think
that's how they did it.


Kayta
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From owner-h-costume@indra.com  Sat Jan 23 05:44:13 1999
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-Poster: MaggiRos@aol.com

In a message dated 1/20/99 6:31:14 PM Pacific Standard Time, lindo@Radix.Net
writes:

> 
>  No, it was pretty awful...

My opinion too. I can't recall right now, but several note in the naration
caused my co0viewers and I to raise an eyebrow at each other.  A terribly
tendency to muddle eras with another, and to repeat old costume myths long
disabused in THIS comnay at any rate.

I taped it.  I'm not worried about taping over it. 

Maggiros
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From owner-h-costume@indra.com  Sat Jan 23 07:08:09 1999
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-Poster: MaggiRos@aol.com

In a message dated 1/22/99 11:46:29 AM Pacific Standard Time,
margo@directcon.net writes:

> 
>  I've just been looking over the Shinrone Gown page again, and I find myself
>  intrigued by the unusual shape of the front opening.  The way it's cut over
>  the abdomen in that "keyhole" shape, patticularly.  Once again, I surmise
>  that this is a maternity dress.  The shape seems ideal for pregnancy, as
>  there is bust support and it leaves accomodation for a belly to grow and be
>  proudly displayed.
>  
Part of the trouble with the gown is that it's displayed for years over a
man's mannikin. That would tend to distend it in some inappropriate form. And
of course, it is too fragile to be laced up, so we can't really tell what it
looked like over a female frame.

Irish women, to my understanding, would not have been shy or retiring about
their pregnancies. Bastardy was not the shameful business it was elsewhere in
Europe, given that inheritance passed through the female line. In large
chiefly households it was said that children were held in common, and that
often enough, many children weren't certain of their fathers (The English
found this shocking!) and didn't care. After all, men come and go, buit
everyone knows who your mother is!  But there are stories that a mother's sons
might gather round her death bed enquiring who their fathers might be, each
one hoping she would give him a good one :)

It's so hard to tell for sure.  Most of the sources we have are English, and
we know they thought the Irish depraved--Which might explain the shocking
desertion rate amongst English soldiers in service in Ireland. It was well
known that Irish girls were, uhm, friendly. Possibly because there was no
shame attached to an unattributed pregnancy?  (Many of those men stayed and
founded families.) 

We also are pretty sure that not every Irish woman wore that gown (which opens
over the middle then closes all down the skirt!)  Some reports complain that a
leine and mantle might be her only garments.  Again, foreign and unfriendly or
3rd hand reports, so who knows.

Yes, I have sources. No, I am not going to list them just now.

Still, I don't think we should ever draw a whole cultural conclusion from one
gown.  

Mairghread-Ros FitzGarret of Desmond, O.L. (Caid.)
and la di da
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From owner-h-costume@indra.com  Sat Jan 23 07:14:02 1999
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-Poster: MaggiRos@aol.com

Oh and, lest anyone feel flames arising... I am of both English and Irish
extraction, and half Flemish, just to confuse things. All of my opinions are
400 years old if they're a day.

M.-R.
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From owner-h-costume@indra.com  Sat Jan 23 11:35:47 1999
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Date: Sat, 23 Jan 1999 11:40:30 -0500
From: Melanie Wilson <MelanieWilson@compuserve.com>
Subject: H-COST: Clogs
To: "INTERNET:h-costume-digest@indra.com" <h-costume-digest@indra.com>
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-Poster: Melanie Wilson <MelanieWilson@compuserve.com>

>Yes please! Do you know if they will make to order, or are they just
>standard sizes?  I have to wear orthotic insoles, and I have a dream of
>getting someone to carve me wooden soles in the same shape for clogs, so
>I can wear reasonably authentic footwear without aching legs.

Did you get the address ? I'm not sure on that , have you spoken to any of
the shoemakers (for period stuff ?) or their is a shoemaker in Leicester
that does orthotic  shoes and just might do something to order, what period
do you need ?

>
Your legs are likely to ache anyway, because clogs have no give in the
soles, those being wood.

Traditionally you fill them with straw, leaves, wool  or Bracken  to give
you padding

> With no padding it may resemble walking on
concrete.  If your orthotics are padded this may help, but I don't believe
it will.

Have you tried the high end walking insoles their is one very good make
Mohr or something similar , I know one of the shops in Ambergate nr 
Windemere stock them & do mail order.

Mel
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From owner-h-costume@indra.com  Sat Jan 23 11:35:47 1999
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Date: Sat, 23 Jan 1999 11:40:32 -0500
From: Melanie Wilson <MelanieWilson@compuserve.com>
Subject: H-COST: Clogs in England & History
Cc: LIST historic costume <h-costume-digest@indra.com>
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-Poster: Melanie Wilson <MelanieWilson@compuserve.com>

I'm sending some addresses of US list members for the catalogue anyone else
who'd like adding, speak now or forever hold your peace !

Mel
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From owner-h-costume@indra.com  Sat Jan 23 12:31:46 1999
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Date: Sat, 23 Jan 1999 12:37:01 -0500
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From: KATHY HOOVER <khoover@wvnvm.wvnet.edu>
Subject: Re: H-COST: fashion theory
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-Poster: KATHY HOOVER <khoover@wvnvm.wvnet.edu>

At 09:45 PM 1/19/99 -0500, you wrote:
>
>-Poster: "Penny E. Ladnier" <penny.creative.outlets@erols.com>
>
>>fashion theory is a great journal - only 4 times a year but always packed
>>with thought-provoking research. valerie steele is the editor, 
>
>
>Where does Valerie find the time to do all that she does?  She must be a
>never ending source of energy.  
>Later...Penny
>http://www.costumegallery.com

Two years ago at the Costume Society Annual Symposium in Pittsburgh, I felt
like I was having a "brush with greatness" when Valerie asked to sit down
to have breakfast at the table with me and a few others.  She had a little
(very little) to eat and about FOUR cups of coffee in the span of about
15-20 minutes!  Maybe that's the secret of her success!

Kathy Hoover
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From: Margo Anderson <margo@directcon.net>
Subject: H-COST: Fabric help?
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-Poster: Margo Anderson <margo@directcon.net>

Can anyone recommend a source, preferably on-line, for chiffon and matching
opaque fabrics in a good range of colors?   I'd prefer silk, but would
settle for poly.

Margo Anderson

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From owner-h-costume@indra.com  Sat Jan 23 16:07:40 1999
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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: Clogs in England & History
Date: Sat, 23 Jan 1999 11:31:33 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

Dress in Ireland by Mairead Dunlevy shows a number of
leather topped clogs, both actual and in engravings and
other artwork.  She calls them pattens, but they look just
like a leather shoe nailed to a wooden base.  In some cases
the wooden base is flat, and in others, the wooden base has
two or three wooden (say 2") "stilts" underneath, sometimes
clad in metal, to hold the wearer up out of the muck, and
the toe of the leather top is open slightly, like a woman's
open-toed dressy pump of our modern day. The leather comes
up very high over the vamp, with a flap reaching to the
ankle, and the leather surrounds the heel completely, rising
about 3-4" up the ankle to a high flat point at the back.
Very Leprachaun-like!  In engravings they are shown worn
with bare feet, or perhaps rough hose or other leggings.

Hope H. Dunlap

-----Original Message-----
From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
Behalf Of Melanie Wilson
Sent: Friday, January 22, 1999 5:58 AM
To: LIST historic costume
Subject: H-COST: Clogs in England & History



-Poster: Melanie Wilson <MelanieWilson@compuserve.com>

I have just read Clogs or Wooden Soled Shoes by Evelyn
Vigeon

Most is of a much later period than I am involved with but
here are the
bits which had some relevance to me

It is often said that clogs (as know in England) were
introduced by Flemish
weavers in the 14th C, the article thinks not as the sabot
all wooden clog
and wooden sole clog as in England , are made using
different tools and a
differnt craft.

Romans wore wooden soled footwear in England.

Also in the tomb of Bernard King of Italy Buried 904 AD ,
his footwear wear
read leather uppers on a wooden sole.

In the later medieval period we see pattens. There appears
to be a
Nottingham alabaster of St Giles shoeing a horse where he
appears to be
wearing a clog. The author suggests their use can perhaps be
inferred from
' His luddokkys thai lowke walk-mylne cloggs' in the
Wakefielf Mystery
plays of the same century.

An early ref to wooden soled shoe  in Lancaster is Jan 1660
' a pre of
cloggs for the cow boy vjd'

1602 ref 'clogging the boy Watmough a pr of showes iijp'

The article notes that pattens are difficult to walk in for
any period of
time, and it is possible that agricultural workers began to
have wooden
soles fixed to the sole of their shoe, rather than wear an
over shoe.

Finally the article sayes that because the word 'clog' can
mean just a
piece of wood, it can confuse the issue as exactly what is
meant at any
given time and place is not always clear.

For instance what type of clog did the members of the Clog &
Pattenmakers
Company make in medieval times.

Hope somebody finds a use for that info :)

Oh yes if anyone want the name of a Clog making company in
the UK , I have
one somewhere ! They will also supply just the soles if you
want to make
more period style clogs.


Mel

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From owner-h-costume@indra.com  Sat Jan 23 18:54:19 1999
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Date: Sat, 23 Jan 1999 19:13:21 -0500
To: h-costume@indra.com
From: Sue Shatto <Sue@VictorianMillinery.com>
Subject: Re: H-COST: renaissance study/history
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-Poster: Sue Shatto <Sue@VictorianMillinery.com>

Maggi,
	What a beautiful and thorough web site!



At 04:51 AM 1/23/99 EST, you wrote:
>
>-Poster: MaggiRos@aol.com
>
>If you're definition of Renaissance includes 16th century England, yuo will
>want to look at:  http://ren.dm.net
>
>Ok ok, I have no shame.  It's my site. :)
>
>MaggiRos
> _________________________________________________________________
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> with the message UNSUBSCRIBE H-COSTUME
>
>

Cordially,

Sue Shatto

Sue@VictorianMillinery.com
http://www.VictorianMillinery.com

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From owner-h-costume@indra.com  Sat Jan 23 19:16:59 1999
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Date: Sat, 23 Jan 1999 19:23:29 -0600
From: Sheridan Alder <alderweb@vaxxine.com>
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Subject: H-COST: Paper costumes, or, And your friends and family think YOU'RE crazy!
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-Poster: Sheridan Alder <alderweb@vaxxine.com>

Greetings everyone:

Imagine my astonishment when I opened my local paper, the St. Catharines
Standard, to find a full page article on two historic costume and textiles
lovers
who have created 25 full size reproductions of garments from museum collections

in, of all things, paper! The article included five colour photographs.

Rita Brown, head of wardrobe and senior cutter for the Shaw Festival Theatre in

Niagara-on-the-Lake, Ontario, Canada and Isabelle de Brochgrave, who works for
a Belgian greeting card design company, have been working on this project for
four
years.

Brown drew and outlined on  tissue paper, and  de Brochgrave painted to create
the effect of fabric. Then Brown cut out and folded and glued the costumes
together.
The results, even judging from the murky newsprint colour photos, are
astonishing.
In one case, they used paper from the headrest of an Amtrak train for sleeve
ruffles.
(I can tell you, I'll be looking at the napkins from the local Tim Horton
Donuts with
a speculative eye!)

They are currently on display at the Musee de L-Impression Sur Etoffes,
Mulhouse,
France. From April 26th to the End of May they will be at the Museum of Fine
Arts,
Boston, June to August at the Museum of the Fashion Institute of Technology in
New York, then on to Los Angeles and possibly Tokyo (article doesn't say where
but the Kyoto Costume Institute might be a natural venue!)

I immediately dashed off to refer to my costume books - let's play "guess". One
appears
to be the red-and-white striped silk faille  p. 55, from "Revolution in
Fashion, 1715-1815",
except they haven't included the "retrousee dans les poches". Yet another
appears to be
a Fortuny jacket and dress, but not the one from "Four Hundred Years of
Fashion", but
very similar. One is labelled an 1840's dress,but it reminds me very much of an
1860's
dress in an older work on Canadian costume, "From Mod to Modesty" (just
checked-
similar fabric but bodice different - so much for being a smarty-pants!)
There's a French
evening dress c.1908, and a yellow floral print gown c. 1770.

Anyways, perhaps an exhibit for the east-coast and L.A. members of this group
to
keep an eye out for. An interesting concept, exquisitely executed, but for
myself,
after going to all that work, I'd want to be able to WEAR it! On the other
hand,
it's a way to deal with the problem of finding that perfect but unobtainable
fabric for
my dream dresses.

Sheridan Alder


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From owner-h-costume@indra.com  Sat Jan 23 19:32:24 1999
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-Poster: MaggiRos@aol.com

In a message dated 1/23/99 4:03:11 PM Pacific Standard Time,
Sue@VictorianMillinery.com writes:

> 
>  	What a beautiful and thorough web site!
>  

Thank you ma'am!  We aim to please.

MaggiRos
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From owner-h-costume@indra.com  Sat Jan 23 21:19:42 1999
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Date: Sat, 23 Jan 1999 19:19:46 -0700 (MST)
From: Sylvia Rognstad <sylvia@netherworld.com>
To: historic costume list <h-costume@indra.com>
Subject: H-COST: History of menswear
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-Poster: Sylvia Rognstad <sylvia@netherworld.com>

A friend who had just seen the movie "Elizabeth" just inquired about mens
clothing from the period.  He wanted to know if the male species was
really that colorful and I told him, yes, it wasn't until the 19th century
that mens clothing became somber, much as it is today.  When he
asked why, I really couldnt think of an answer.  It's been too long since
I studied costume history and I'm sure there are a number of factors that
go into the gradual changes that took place from the 1700s to the 1800s.
It seemed like a good question to pose to this group.  I'm sure there must
be a few of you historians out there who can provide some input.
Sylvia R

Divinity Designs                      http://www.d-e-designs.com/divinity/
515 Manhattan Drive, #203                           sylvia@netherworld.com
Boulder, CO 80303  USA                         complete catalog on website

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From owner-h-costume@indra.com  Sat Jan 23 21:41:46 1999
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Date: Sat, 23 Jan 1999 18:45:25 -0800 (PST)
From: "Kristen M. Sieber" <lady_gawain@yahoo.com>
Subject: H-COST: Cloth-of-gold
To: Historic Costume <h-costume@indra.com>,
        SCAGarb list <SCA-garb@coollist.com>
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-Poster: "Kristen M. Sieber" <lady_gawain@yahoo.com>

It is my understanding that cloth-of-gold no longer exists, correct? 
If so, is there any way to "fake" it with modern materials?

==
Morgaine of Glastonbury 
MKA Kristen Morgaine Sieber
lady_gawain@yahoo.com
_________________________________________________________
DO YOU YAHOO!?
Get your free @yahoo.com address at http://mail.yahoo.com

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Date: Sat, 23 Jan 1999 22:31:51 -0500
From: "David S. Mallinak" <matchlck@erols.com>
Organization: Red Dragon Bridge Enterprizes
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Subject: Re: H-COST: Joy Trim
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-Poster: "David S. Mallinak" <matchlck@erols.com>

> -Poster: Anah <anah@tymeportal.com>
>
> I'm trying to find this place...Help?  I kno it's in deleware, yet when
> I call to TRY and get a # I get "what city"?

Joy Trim is in Williamington Delaware.

==================================================================
 David S Mallinak   :  The ultimate measure of a person is not
      ISTJ          :  where they stand in moments of comfort
    Reenactor       :  and convenience, but where they stand
 matchlck@erols.com :  at time of challenge and controversy.
==================================================================


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From: "karrissa david" <arizona63@hotmail.com>
To: h-costume@indra.com
Subject: Re: H-COST: Neck Ruffs
Date: Sat, 23 Jan 1999 23:00:53 EST
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-Poster: "karrissa david" <arizona63@hotmail.com>

Joan Stated:

>As long as the ruff material is somewhat stiff (compare similar 
>weights of linen and cotton, linen is "stiffer", even without 
>starching) and you have not ironed the pleat in, a box pleat will 
>flare out and give the impression that it may be
>cartridge-pleated. 


I agree with Joan.  I would add this one tip if you did not want to 
starch the ruff.  Measure how far you want the ruff to stick out from 
the person's neck.  Double that measurement and cut accordingly.  Fold 
in half and make the box pleats using the salvage sides.  It sticks out 
beautifully.

In service to all the known world
Karrissa
Unique Creations

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From owner-h-costume@indra.com  Sat Jan 23 23:14:19 1999
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-Poster: Tsrra@aol.com

In a message dated 99-01-23 21:50:53 EST, you write:

<< It is my understanding that cloth-of-gold no longer exists, correct? 
 If so, is there any way to "fake" it with modern materials? >>

Incorrect, if you can afford it, it is still being made.  One piece I saw
recently was $1200/yd (that's right...twelve hundred).  Mylar tissue with an
underlining to give it body are a reasonable impersonation for those
financially handicapped (of which I, of course, am one).

TS Ohara
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From owner-h-costume@indra.com  Sat Jan 23 23:24:45 1999
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From: "Allison Thurman" <athurman@cybergal.com>
To: <h-costume@indra.com>
Subject: H-COST: menswear
Date: Sat, 23 Jan 1999 23:35:52 -0500
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-Poster: "Allison Thurman" <athurman@cybergal.com>

one of the main reasons menswear became so subdued in the early 19th c was
the french revolution - excessive display in mens clothing (this included
wigs and makeup) became associated with the hated french royalty, and a
rather more somber style became popular in france and then spread to the
rest of europe.

this however, does not explain why womens clothing wasnt subjected to the
same pressure to "tone down", or the early 1800's fad of the "incroyables"
and "mervieulles"(sp?). if anyone can give a more thorough answer id love to
hear it!

allison

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From owner-h-costume@indra.com  Sun Jan 24 01:27:18 1999
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-Poster: AliaClaire@aol.com


I've recently finished my senior thesis (high school, not college), which was
a 25-page research paper on regency clothing, and I found this book to be
_invaluable_. It is FULL of original sources! I found it very good with
Regency and 1820-30s clothing, but by the time I got up to the American Civil
War it seemed a bit less focused to me. Still, EASILY worth the money for all
the original portraits. 

-Alison Stacy
AliaClaire@aol.com
Canton, Ohio
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From owner-h-costume@indra.com  Sun Jan 24 02:27:33 1999
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Date: Sun, 24 Jan 1999 01:17:19 -0600
To: h-costume-digest@indra.com
From: Pierre & Sandy Pettinger <costumrs@binary.net>
Subject: H-COST: Re: cloth of gold
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-Poster: Pierre & Sandy Pettinger <costumrs@binary.net>

>
>- -Poster: "Kristen M. Sieber" <lady_gawain@yahoo.com>
>
>It is my understanding that cloth-of-gold no longer exists, correct? 
>If so, is there any way to "fake" it with modern materials?
>
>==
>Morgaine of Glastonbury 
>MKA Kristen Morgaine Sieber
>lady_gawain@yahoo.com

IIRC, I was told by someone who visited the U.K. (although this was several
years ago) that cloth of gold was still available either in the U.K. or
possibly Germany.  However, if you had to ask the price, you couldn't
afford it.  Can any of our European list members confirm this?

Sandy

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From owner-h-costume@indra.com  Sun Jan 24 08:21:00 1999
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To: h-costume@indra.com
Date: Sun, 24 Jan 1999 08:26:06 -0500
Subject: Re: H-COST: Neck Ruffs
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-Poster: Karen J Farris <alysea@juno.com>

Organza or cotten organdy also makes a dandy ruff.

Karen Farris


>Joan Stated:
>
>>As long as the ruff material is somewhat stiff (compare similar 
>>weights of linen and cotton, linen is "stiffer", even without 
>>starching) and you have not ironed the pleat in, a box pleat will 
>>flare out and give the impression that it may be
>>cartridge-pleated. 
>Get Your Private, Free Email at http://www.hotmail.com
> _________________________________________________________________
> To leave this mailing list, send mail to majordomo@indra.com
> with the message UNSUBSCRIBE H-COSTUME
>

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From owner-h-costume@indra.com  Sun Jan 24 08:21:00 1999
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To: h-costume@indra.com
Date: Sun, 24 Jan 1999 08:28:08 -0500
Subject: Re: H-COST: Cloth-of-gold
Message-ID: <19990124.083051.3702.1.Alysea@juno.com>
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-Poster: Karen J Farris <alysea@juno.com>

Tissue lame' with appropriate underlining will also approximate cloth of
gold.

Karen Farris

On Sat, 23 Jan 1999 23:22:22 EST Tsrra@aol.com writes:
>
>-Poster: Tsrra@aol.com
>
>In a message dated 99-01-23 21:50:53 EST, you write:
>
><< It is my understanding that cloth-of-gold no longer exists, 
>correct? 
> If so, is there any way to "fake" it with modern materials? >>
> _________________________________________________________________
> To leave this mailing list, send mail to majordomo@indra.com
> with the message UNSUBSCRIBE H-COSTUME
>

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From owner-h-costume@indra.com  Sun Jan 24 11:20:38 1999
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Date: Sun, 24 Jan 1999 11:29:15 -0500 (EST)
From: Parsla Liepa <parsla@engin.umich.edu>
To: h-costume@indra.com
Subject: Re: H-COST: Cloth-of-gold
In-Reply-To: <a6b1f9e3.36aa9ffe@aol.com>
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-Poster: Parsla Liepa <parsla@engin.umich.edu>


Oh, dear.  Now you've done it.  My boyfriend was reading my email over my
shoulder and has decided it would be really neat to have a three-piece
suit.  Wham! Instant televangelist!

Parsla

> 
> << It is my understanding that cloth-of-gold no longer exists, correct? 
>  If so, is there any way to "fake" it with modern materials? >>
> 
> Incorrect, if you can afford it, it is still being made.  One piece I saw
> recently was $1200/yd (that's right...twelve hundred).  Mylar tissue with an
> underlining to give it body are a reasonable impersonation for those
> financially handicapped (of which I, of course, am one).
> 
> TS Ohara
>  _________________________________________________________________
>  To leave this mailing list, send mail to majordomo@indra.com
>  with the message UNSUBSCRIBE H-COSTUME
> 

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From owner-h-costume@indra.com  Sun Jan 24 12:01:46 1999
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Date: Sun, 24 Jan 1999 16:53:08 +0000
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From: Paul Poynton <paul@unikko.demon.co.uk>
Subject: Re: H-COST: Baa baa black sheep?
In-Reply-To: <199901140242_MC2-6691-AC8@compuserve.com>
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-Poster: Paul Poynton <paul@unikko.demon.co.uk>

In message <199901140242_MC2-6691-AC8@compuserve.com>, Melanie Wilson
<MelanieWilson@compuserve.com> writes
>
Do pure bred Texel sheep come in any other colour than white, dark brown
for instance. 

>-Poster: Melanie Wilson <MelanieWilson@compuserve.com>
>
>Yes you can get black sheep (well amost black) I have a lovely Shetland
>fleece (black ) waiting to be spun, my understanding is dark brown was
>overdyed to produce black quite often.
>
>Older breeds of sheep are often Black or brown or grey or piebald (two
>colurs) I is easy , at least in the UK , to get fleeces from many different
>shades of sheep !
>
>Mel
> _________________________________________________________________
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-- 
Paul Poynton
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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: Neck Ruffs
Date: Sun, 24 Jan 1999 13:03:49 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

No expert here, but I thought ruffs were cartridge-pleated
onto a 1" wide neck band, with each pleat sewn on at top and
bottom of the pleat (as opposed to a skirt, where you might
just sew the top of the pleat to the bodice.

Hope H. Dunlap

-----Original Message-----
From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
Behalf Of Karen J Farris
Sent: Sunday, January 24, 1999 8:26 AM
To: h-costume@indra.com
Subject: Re: H-COST: Neck Ruffs



-Poster: Karen J Farris <alysea@juno.com>

Organza or cotten organdy also makes a dandy ruff.

Karen Farris


>Joan Stated:
>
>>As long as the ruff material is somewhat stiff (compare
similar
>>weights of linen and cotton, linen is "stiffer", even
without
>>starching) and you have not ironed the pleat in, a box
pleat will
>>flare out and give the impression that it may be
>>cartridge-pleated.
>Get Your Private, Free Email at http://www.hotmail.com
>
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From owner-h-costume@indra.com  Sun Jan 24 13:58:04 1999
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-Poster: AlbertCat@aol.com


In a message dated 1/24/99 2:04:21 PM, you wrote:

<<No expert here, but I thought ruffs were cartridge-pleated

onto a 1" wide neck band, with each pleat sewn on at top and

bottom of the pleat (as opposed to a skirt, where you might

just sew the top of the pleat to the bodice.

>>

This works but is not accurate. There are complete & understandable
instructions for making a real ruff in Honnisette's 1st volume.
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From owner-h-costume@indra.com  Sun Jan 24 15:46:41 1999
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Date: Sun, 24 Jan 1999 12:54:41 -0800
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-Poster: "Erin K. Gault" <flapper@wolfenet.com>

I found out today that Powell's books (the big new and used bookstore in
Portland, OR) is having a 20% off sale on their new art annex books.
These include costuming, sewing, knitting, etc. If anyone lives nearby
you should check it out. Their fashion and costuming section seems
larger since they moved into the new annex. I didn't buy anything but
only because I don't have any money to spare right now. The sale goes
through the end of the month and I'm not sure if the discount is
available on the website.

Erin

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From owner-h-costume@indra.com  Sun Jan 24 15:52:34 1999
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From: Heather Law <lynnx@mc.net>
Organization: Interstellar Trading Company
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-Poster: Heather Law <lynnx@mc.net>

> Once upon a time (around 9/98), asim@mindspring.com (or someone else?) wrote:
> 
> << Within this week, I should also have my Ghawazee Cost/Yelek handout from
>  my Pennsic class on-line, which will talk about this in more detail...
>  
Is that up?  I admit I missed a lot of the list discussions last fall
due to illness, finincial whinewhinewhine etc.  But if it is, could you
(re-)post the URL?

Thanks,
Heather
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From owner-h-costume@indra.com  Sun Jan 24 16:02:45 1999
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-Poster: "S.B. McDaniel" <fretknot@earthlink.net>

Don't have an online source, but I happened to be in a local JoAnne's
yesterday and found that they not only carry silk chiffon, but had it on
sale! I brought some lovely sheer white stuff for veiling. (They also
had gorgeous silk satins and brocades.) My friend the manager said that
this line can only be found at their "designer fabrics" locations.  It
might be worth a call around locally.


> Can anyone recommend a source, preferably on-line, for chiffon and matching
> opaque fabrics in a good range of colors?   I'd prefer silk, but would
> settle for poly.
> 
> Margo Anderson
>
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From owner-h-costume@indra.com  Sun Jan 24 17:01:36 1999
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Subject: RE: H-COST: Neck Ruffs
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-Poster: Margo Anderson <margo@directcon.net>

At 01:03 PM 1/24/99 -0500, you wrote:
>
>-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>
>
>No expert here, but I thought ruffs were cartridge-pleated
>onto a 1" wide neck band, with each pleat sewn on at top and
>bottom of the pleat (as opposed to a skirt, where you might
>just sew the top of the pleat to the bodice.
>
That's a fairly common way of making them, but, as Kayta pointed out, if you
look at period portraits, they don't appear to be made that way. 

 When I made a ruff out of very heavy stiffened lace, I sewed it to a 1"
strip of organdy and gathered that edge into a neckband.  then I formed the
outer edge into "S" curves.  Because of the stiffness of the lace, the whole
strip conforms to the curves and they do, indeed, appear to be cartridge
pleated, unless you look at the innermost bit.  The same holds true for
portraits--look right next to the neck and you can see that they are tightly
gathered, not cartridge pleated.

Margo Anderson

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From owner-h-costume@indra.com  Sun Jan 24 17:03:13 1999
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From: fairburn@ix.netcom.com (Ann Fairburn)
To: h-costume@indra.com
Subject: Re: H-COST: Anatomie of Abuses?
Date: Sun, 24 Jan 1999 22:02:20 GMT
Message-ID: <36ac93fc.26510352@smtp.ix.netcom.com>
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-Poster: fairburn@ix.netcom.com (Ann Fairburn)




	I bought a copy of Philip Stubbes  Anatomie of Abuses from
the series The English Experience about 15 years ago. It is a
facsimile version published in 1972  ISBN 90 221 0489 3.  It was
number 489 in a whole series of facsimiles of early printed books. It
was printed by Da Capo Press which has a website at
http://plenumweb.infor.com/dacapo_list.cgi?970  No mention of the
series that I could find. I know that I did not spend anything near a
hundred dollars.

Ann
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-Poster: Margo Anderson <margo@directcon.net>

At 02:11 PM 1/24/99 +0000, you wrote:
>
>-Poster: "S.B. McDaniel" <fretknot@earthlink.net>
>
>Don't have an online source, but I happened to be in a local JoAnne's
>yesterday and found that they not only carry silk chiffon, but had it on
>sale! 

I'm on my way to JoAnne's....  Thanks!

Margo

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-Poster: M311@aol.com


In a message dated 1/21/99 1:59:13 AM Central Standard Time, haggis@sirius.com
writes:

<<  "Hawaiian  shirts" >>

This reminds me of when I was in 8th grade.  Even though I was already sewing
at home I took sewing in school.  You, know easy A and all plus being
something I liked.  One of the things I made was a nice pull over shirt but
out of a nice Hawaiian print.  It was just lovely.  Never seen anything like
it since.  Found another I liked a few years later, a nice purple background
with orange flowers and tan leaves.  I used the neatest orange buttons.  I
just loved it, made it into a one piece shorts jumper.
I live in the Midwest where this type of prints aren't readily available, so
which brings me to this question:
Does anyone know of a mail order source for Hawaiian print material?  
Kelly Albrecht
m311@aol.com
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Date: Sun, 24 Jan 1999 18:26:44 -0500
From: Melanie Wilson <MelanieWilson@compuserve.com>
Subject: H-COST: Baa Baa Black Sheep
To: "INTERNET:h-costume-digest@indra.com" <h-costume-digest@indra.com>
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-Poster: Melanie Wilson <MelanieWilson@compuserve.com>

>Do pure bred Texel sheep come in any other colour than white, dark brown
for instance. 

Sorry not familiar with that breed , is it an American breed ?

Mel
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Subject: H-COST: [h-costume] Cosmetics
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-Poster: "Carol J. Bell Cannon" <cjcannon@greymists.com>


>  I put this question, in which the orig. msg. mentioned belladona for the
>eyes, mercury ... and white lead... to another list I frequent.  Here's one
>response:  The only thing I have is "Delights for Ladies" by Sir Hugh Plat
>which was originally printed in 1609 (only slightly late!). A facsimile was
>printed of it in 1948 by Crosby Lockwood & Son Ltd. It has sections on
>preserving, distillation, cooking, and beauty aids. Most of the beauty aid
>stuff appears non-toxic from the *brief* review I've done of the recipes.
>Looking in period books on cooking and huswifery will probably be her best
>bet. -- Elspeth      So, there's one suggestion--good luck!
>Carol  
> _________________________________________________________________
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From: The Purple Elephant <csmart@physics.adelaide.edu.au>
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-Poster: The Purple Elephant <csmart@physics.adelaide.edu.au>

On Thu, 21 Jan 1999, Carol J. Bell Cannon wrote:

> 
Um...Is there a quick and easy way of translating this?

> -Poster: "Carol J. Bell Cannon" <cjcannon@greymists.com>
> 
> <blockquote type=cite cite>In a message dated 99-01-20 23:18:00 EST, you
> write:&lt;&lt; &gt;From: aleed &lt;aleed@dnaco.net&gt; &gt;I've been
> looking for some good sources, preferably primary or containing
> &gt;primary quotes, on 16th century cosmetics and make-up
> information.&nbsp; ...&nbsp; Does anyone &gt;know where I can find the
> written info?&nbsp; Thanks much, Drea &gt;&gt;Drea,I'm what is commonly
> known as a &quot;high-maintenance woman&quot;; haven't left thehouse
> without makeup since age 12, except for once that I can recall, and thatwas
> a dire emergency...so I have a reasonable interest in period makeup,
> andhave done some checking myself!&nbsp; :)As long as anecdotal information
> comes from contemporary sources (such asShakespeare, etc.), it shouldn't be
> discounted.&nbsp; The Bard makes comments aboutmakeup and fashion now and
> then, though you'll have to hunt for them!&nbsp; I'vealso found a number of
> decent references in the &quot;Thousand and One Nights&quot; -such as
> 'lengthening the eyes with kohl', decorating with henna, scentingone's
> clothing, etc.For a good solid late-period European source, you should
> search your localuniversity library for a re-print or microfiche copy of
> Philip Stubbes' &quot;TheAnatomie of Abuses in England&quot;...I'm not sure
> of the exact date, but it'sElizabethan.&nbsp; I've e-mailed my friend
> Mistress Maria Theresa Ipenarrieta, whois not only a Laurel with research
> qualifications, but holds a Masters' inElizabethan history, with a
> specialty in sumptuary laws...Stubbes is one ofher favorites, so she should
> be able to give some more info on how to find acopy.&nbsp; He rails against
> cosmetics, ruffs, bum rolls, and a host of other'sins'.Books such as
> &quot;The Good Housewife's Jewell&quot; (1596) and &quot;Delights for
> Ladies&quot;(1600) -- both available in reprint from Potboiler Press at
> Pennsic -- willgive recipes for cosmetics to cleanse and perfume the skin,
> but don't reallymention those to add to the skin as coloring or
> enhancement.&nbsp; For these&quot;paints&quot;, you'll probably have your
> best luck with Stubbes, and withcontemporary playwrights, novelists,
> moralists, etc.An easy source to come by as a 'starter' is Compleat
> Anachronist #53, byMistress Rosamounde of Mercia.&nbsp; (Should be
> available through Milpitas, alsothrough Potboiler Press.)&nbsp; She gives
> quite a bit of information, mostly fromsecondary/tertiary sources, with a
> few direct quotes from primary sources.Her bibliography is a great list of
> places to look for further information.(Frankly, I'm surprised no one else
> has mentioned this C.A. yet; I'd swear Iremember reading posts from a
> couple of her apprentices on this list!)My own interpretation of period
> makeup isn't too much of a stretch from mynormal routine...very pale skin
> (mixing talcum powder with your normal looseface powder will assist you if
> Mother Nature hasn't created you pasty to beginwith); a little
> natural-colored blush and a touch of mascara; and matte lipcolors within
> the realm of possibility for period pigment (terra cotta, atouch of brick
> red VERY well blotted and diffused, a berry color slightlydarker than
> normal lips, etc.).&nbsp; No frosty lipstick or eyeshadow.&nbsp; This
> lookworks reasonably well for everything from cotehardies through Italians
> throughElizabethans.&nbsp; If I'm wearing Middle Eastern, I add some black
> eyeliner,gently smudged, and either real henna on hands and feet, or
> red-brown eyelinersealed with stage makeup sealant (so the 'henna' won't
> smudge or wash offwithout spirit gum remover!).&nbsp; For anyone who does
> Middle Eastern, forgoodness sake stay away from the silly 'tribal marks' on
> your face, unless youuse a sealant...otherwise they smudge and look like
> dirt!&nbsp; Blue/greeneyeshadow isn't out of the realm of possibility for
> Middle Eastern, but likethe tribal marks, there's as much document for not
> having it as for having it,and I tend not to like it.Hope this is helpful
> to you, and my apologies for rambling!Regards,Arianna Kateryn
> NunneschildLyondemere, Caid</blockquote></html>
> >
> > In a message dated 99-01-20 23:18:00 EST, you write:> > &lt;&lt;
> &gt;From: aleed &lt;aleed@dnaco.net&gt;>  &gt;I've been looking for some
> good sources, preferably primary or containing >  &gt;primary quotes, on
> 16th century cosmetics and make-up information.&nbsp; ...&nbsp; Does
> anyone>  &gt;know where I can find the written info?&nbsp; Thanks much,
> Drea &gt;&gt;> > Drea,> > I'm what is commonly known as a
> &quot;high-maintenance woman&quot;; haven't left the> house without makeup
> since age 12, except for once that I can recall, and that> was a dire
> emergency...so I have a reasonable interest in period makeup, and> have
> done some checking myself!&nbsp; :)> > As long as anecdotal information
> comes from contemporary sources (such as> Shakespeare, etc.), it shouldn't
> be discounted.&nbsp; The Bard makes comments about> makeup and fashion now
> and then, though you'll have to hunt for them!&nbsp; I've> also found a
> number of decent references in the &quot;Thousand and One Nights&quot; ->
> such as 'lengthening the eyes with kohl', decorating with henna, scenting>
> one's clothing, etc.> > For a good solid late-period European source, you
> should search your local> university library for a re-print or microfiche
> copy of Philip Stubbes' &quot;The> Anatomie of Abuses in
> England&quot;...I'm not sure of the exact date, but it's>
> Elizabethan.&nbsp; I've e-mailed my friend Mistress Maria Theresa
> Ipenarrieta, who> is not only a Laurel with research qualifications, but
> holds a Masters' in> Elizabethan history, with a specialty in sumptuary
> laws...Stubbes is one of> her favorites, so she should be able to give some
> more info on how to find a> copy.&nbsp; He rails against cosmetics, ruffs,
> bum rolls, and a host of other> 'sins'.> > Books such as &quot;The Good
> Housewife's Jewell&quot; (1596) and &quot;Delights for Ladies&quot;> (1600)
> -- both available in reprint from Potboiler Press at Pennsic -- will> give
> recipes for cosmetics to cleanse and perfume the skin, but don't really>
> mention those to add to the skin as coloring or enhancement.&nbsp; For
> these> &quot;paints&quot;, you'll probably have your best luck with
> Stubbes, and with> contemporary playwrights, novelists, moralists, etc.> >
> An easy source to come by as a 'starter' is Compleat Anachronist #53, by>
> Mistress Rosamounde of Mercia.&nbsp; (Should be available through Milpitas,
> also> through Potboiler Press.)&nbsp; She gives quite a bit of information,
> mostly from> secondary/tertiary sources, with a few direct quotes from
> primary sources.> Her bibliography is a great list of places to look for
> further information.> (Frankly, I'm surprised no one else has mentioned
> this C.A. yet; I'd swear I> remember reading posts from a couple of her
> apprentices on this list!)> > My own interpretation of period makeup isn't
> too much of a stretch from my> normal routine...very pale skin (mixing
> talcum powder with your normal loose> face powder will assist you if Mother
> Nature hasn't created you pasty to begin> with); a little natural-colored
> blush and a touch of mascara; and matte lip> colors within the realm of
> possibility for period pigment (terra cotta, a> touch of brick red VERY
> well blotted and diffused, a berry color slightly> darker than normal lips,
> etc.).&nbsp; No frosty lipstick or eyeshadow.&nbsp; This look> works
> reasonably well for everything from cotehardies through Italians through>
> Elizabethans.&nbsp; If I'm wearing Middle Eastern, I add some black
> eyeliner,> gently smudged, and either real henna on hands and feet, or
> red-brown eyeliner> sealed with stage makeup sealant (so the 'henna' won't
> smudge or wash off> without spirit gum remover!).&nbsp; For anyone who does
> Middle Eastern, for> goodness sake stay away from the silly 'tribal marks'
> on your face, unless you> use a sealant...otherwise they smudge and look
> like dirt!&nbsp; Blue/green> eyeshadow isn't out of the realm of
> possibility for Middle Eastern, but like> the tribal marks, there's as much
> document for not having it as for having it,> and I tend not to like it.> >
> Hope this is helpful to you, and my apologies for rambling!> > Regards,> >
> Arianna Kateryn Nunneschild> Lyondemere, Caid> </blockquote></html>>
> 
> </html>
>  _________________________________________________________________
>  To leave this mailing list, send mail to majordomo@indra.com
>  with the message UNSUBSCRIBE H-COSTUME
> 

------------------------------------------------------------------------------
Claire F. Clarke       "What is this world if, full of care, 
Physicist, writer,     We have no time to stand and stare?"
and non environmentally                     Robert Louis Stevenson
friendly substance.
------------------------------------------------------------------------------

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From owner-h-costume@indra.com  Sun Jan 24 21:38:23 1999
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Date: Sun, 24 Jan 1999 21:42:32 -0500 (EST)
From: Mara Riley <lindo@Radix.Net>
To: historic costume list <h-costume@indra.com>
Subject: Re: H-COST: History of menswear
In-Reply-To: <Pine.SOL.3.95.990123191355.11543B-100000@isis.netherworld.com>
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-Poster: Mara Riley <lindo@Radix.Net>

Didn't the change occur around the Regency period?  Something about people
dressing in less finery after the French Revolution and all that...  Plus
the more somber Victorian era kinda nailed that trend down.

Mara


On Sat, 23 Jan 1999, Sylvia Rognstad wrote:

> 
> -Poster: Sylvia Rognstad <sylvia@netherworld.com>
> 
> A friend who had just seen the movie "Elizabeth" just inquired about mens
> clothing from the period.  He wanted to know if the male species was
> really that colorful and I told him, yes, it wasn't until the 19th century
> that mens clothing became somber, much as it is today.  When he
> asked why, I really couldnt think of an answer.  It's been too long since
> I studied costume history and I'm sure there are a number of factors that
> go into the gradual changes that took place from the 1700s to the 1800s.
> It seemed like a good question to pose to this group.  I'm sure there must
> be a few of you historians out there who can provide some input.
> Sylvia R
> 
> Divinity Designs                      http://www.d-e-designs.com/divinity/
> 515 Manhattan Drive, #203                           sylvia@netherworld.com
> Boulder, CO 80303  USA                         complete catalog on website
> 
>  _________________________________________________________________
>  To leave this mailing list, send mail to majordomo@indra.com
>  with the message UNSUBSCRIBE H-COSTUME
> 

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-Poster: CONNECT@aol.com


In a message dated 1/23/99 11:24:14 PM, Tsrra@aol.com writes:

<<ncorrect, if you can afford it, it is still being made.  One piece I saw
recently was $1200/yd (that's right...twelve hundred).  Mylar tissue with an
underlining to give it body are a reasonable impersonation for those
financially handicapped (of which I, of course, am one).

TS Ohara>>

At that price, it makes $100/yd silk velvet look like a bargain basement
fabric!  (huge grin)

Yours,
Pattie Rayl
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From owner-h-costume@indra.com  Sun Jan 24 22:09:43 1999
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Date: Sun, 24 Jan 1999 15:56:18 -0500
To: h-costume@indra.com
From: Danielle Nunn <dnunn@interlog.com>
Subject: Re: H-COST: Canadian gal looking for local help with Regency 
  gown...
In-Reply-To: <4.1.19990123002012.00c341c0@pop.slip.net>
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 <8320d494.3692edda@aol.com>
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-Poster: Danielle Nunn <dnunn@interlog.com>

Greetings,

>The Royal Ontario Museum in Toronto, and the Bata shoe Museum, also in
>Toronto, would be my first guesses at places to look.  These museums are
>very good and much closer to her than to me here in California.  

Unfortunately, the Royal Ontario Museum (ROM) actually displays VERY little
of a *large* clothing and textile collection.  About all the every display
is half a dozen Victorian and Edwardian outfits.  It is extremely
disappointing.  I'm a member and they won't listen to my desparate pleas to
show us more of their collection.  :(

On the other hand, the Bata Shoe Museum has some Regency shoes on display.
But, they are very friendly and if you make an appointment, seem to be very
happy to show you the goodies in the "vault".

Good luck.

Cheers,
Danielle (a fellow Torontonian)

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From owner-h-costume@indra.com  Sun Jan 24 22:09:50 1999
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Date: Sun, 24 Jan 1999 20:58:56 -0500
To: h-costume@indra.com
From: Danielle Nunn <dnunn@interlog.com>
Subject: Re: H-COST: Cloth-of-gold
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-Poster: Danielle Nunn <dnunn@interlog.com>

Greetings,

>It is my understanding that cloth-of-gold no longer exists, correct? 
>If so, is there any way to "fake" it with modern materials?

The closest approximation I get is an Indain textile (approx $10 yard)-
metallic shot silk organza.  The warp is a coloured silk thread and the
weft is a fine metal filament (for lack of a better term) over a fibre
core.  The fabric has a fair amount of body due to the metal but is rather
hard on scissors.  My only complaint is the sheerness of it.  It definitely
has to be lined.

Cheers,
Danielle

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From owner-h-costume@indra.com  Sun Jan 24 22:35:33 1999
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Date: Sun, 24 Jan 1999 19:44:31 -0800
To: h-costume@indra.com
From: "Carol J. Bell Cannon" <cjcannon@greymists.com>
Subject: Re: H-COST: Sources for 16th c. make-up info
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-Poster: "Carol J. Bell Cannon" <cjcannon@greymists.com>

At 11:29 AM 1/25/99 +1030, you wrote:
>
>-Poster: The Purple Elephant <csmart@physics.adelaide.edu.au>
>
>On Thu, 21 Jan 1999, Carol J. Bell Cannon wrote:
>
>> 
>Um...Is there a quick and easy way of translating this?
>
        No my mailer left in the html coding.  It was asked to do plain txt
only...my apologies.  Maybe later when I have more time.  Carol
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From owner-h-costume@indra.com  Sun Jan 24 23:14:18 1999
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Date: Sun, 24 Jan 1999 23:21:16 -0500
To: h-costume@indra.com
From: Danielle Nunn <dnunn@interlog.com>
Subject: RE: H-COST: Neck Ruffs
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-Poster: Danielle Nunn <dnunn@interlog.com>

Greetings,

> When I made a ruff out of very heavy stiffened lace, I sewed it to a 1"
>strip of organdy and gathered that edge into a neckband.  then I formed the
>outer edge into "S" curves.  Because of the stiffness of the lace, the whole
>strip conforms to the curves and they do, indeed, appear to be cartridge
>pleated, unless you look at the innermost bit.  The same holds true for
>portraits--look right next to the neck and you can see that they are tightly
>gathered, not cartridge pleated.

I just have to reiterate that YOU make them that way and they work for you.
 There are EXISTING, SURVIVING RUFFS which are essentially cartridge
pleated and sewn to the neck band along the top edge.  So saying your way
is the only way they were done is as silly as my saying my way was the only
way they were done.  If you look at portraits you will also notice for just
about everything there was more than one style.  :)

Just trying to keep this friendly,
Danielle

P.S. I've done it "my way" and it works too.

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Date: Sun, 24 Jan 1999 23:29:57 -0500
To: h-costume@indra.com
From: Danielle Nunn <dnunn@interlog.com>
Subject: Re: H-COST: Cloth-of-gold
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-Poster: Danielle Nunn <dnunn@interlog.com>

Greetings,

>At that price, it makes $100/yd silk velvet look like a bargain basement
>fabric!  (huge grin)

Ooooo.  Is that COMPLETELY (i.e. no rayon sneeking in) silk velevet?  Where
or where?  We can only find rayon pile on a silk ground up here.

Cheers,
Danielle

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-Poster: CONNECT@aol.com


In a message dated 1/24/99 11:23:53 PM, dnunn@interlog.com writes:

<<>At that price, it makes $100/yd silk velvet look like a bargain basement
>fabric!  (huge grin)

Ooooo.  Is that COMPLETELY (i.e. no rayon sneeking in) silk velevet?  Where
or where?  We can only find rayon pile on a silk ground up here.

Cheers,
Danielle>>

Designer Fabric Outlet (also know as the Oarge Bag Store) in Toronto, Ontario
has 100% silk velvet for only $120 CAN a yard.

Yours,
Pattie Rayl
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From owner-h-costume@indra.com  Mon Jan 25 00:43:22 1999
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-Poster: Heather Law <lynnx@mc.net>

One of the members of our costumer's Guild will not be able to attend
CostumeCon. Her membership is on sale for $40 OBO. Contact
Maija123@worldnet.att.net
Carol Mitchell President Chicagoland Costumer's Guild
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From owner-h-costume@indra.com  Mon Jan 25 01:08:04 1999
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Date: Mon, 25 Jan 1999 01:19:46 -0400
From: Laurel Wilson <lwilson16@earthlink.net>
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-Poster: Laurel Wilson <lwilson16@earthlink.net>

> -Poster: Sylvia Rognstad <sylvia@netherworld.com>
>
> A friend who had just seen the movie "Elizabeth" just inquired about mens
> clothing from the period.  He wanted to know if the male species was
> really that colorful and I told him, yes, it wasn't until the 19th century
> that mens clothing became somber, much as it is today.  When he
> asked why, I really couldnt think of an answer.



One psychologist called this the "Great Masculine Renunciation," and the name
seems to have stuck (J.C. Flugel, "The Psychology of Clothes," published in
English in 1930, interestingly by Leonard and Virginia Woolf's Hogarth
Press).  It starts in the mid- to late-eighteenth century, and appears to
have political associations:  aristocrats = peacocks, so us
'just-plain-folks' will dress to show our plainness, simplicity, honesty,
goodness, etc--at least, that's the most current theory.  The style seems to
have been more or less based on English country gentry clothes.  Boucher
wrote an early article about this, in the 1950s, but his big book doesn't
really treat it as an overall phenomenon until the French Revolution.
Hope this helps,
Lauri


>
>

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From owner-h-costume@indra.com  Mon Jan 25 01:55:10 1999
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Date: Mon, 25 Jan 1999 00:59:13 -0600
From: Charlene Charette <charlene@flash.net>
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-Poster: Charlene Charette <charlene@flash.net>

Laurel Wilson wrote:

> > A friend who had just seen the movie "Elizabeth" just inquired about mens
> > clothing from the period.  He wanted to know if the male species was
> > really that colorful and I told him, yes, it wasn't until the 19th century
> > that mens clothing became somber, much as it is today.  When he
> > asked why, I really couldnt think of an answer.

On a slightly related note, can someone please tell me how were the men's clothes
in Dangerous Beauty.  A male friend has fallen in love with a couple of the
outfits and was asking me how authentic they were.  Wrong gender and time period
for me.

--Charlene

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From: lilinah@grin.net
Subject: H-COST: Sources for 16th c. make-up info-DECODED
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-Poster: lilinah@grin.net

Here is the message "decoded" - i wanted to see what it said myself...

>-Poster: "Carol J. Bell Cannon" <cjcannon@greymists.com>
>
> Drea,
>
> I'm what is commonly known as a "high-maintenance woman"; haven't left the
> house without makeup since age 12, except for once that I can recall, and
>that
> was a dire emergency...so I have a reasonable interest in period makeup, and
> have done some checking myself! :)
>
> As long as anecdotal information comes from contemporary sources (such as
> Shakespeare, etc.), it shouldn't be discounted. The Bard makes comments about
> makeup and fashion now and then, though you'll have to hunt for them! I've
> also found a number of decent references in the "Thousand and One Nights" -
> such as 'lengthening the eyes with kohl', decorating with henna, scenting
> one's clothing, etc.
>
> For a good solid late-period European source, you should search your local
> university library for a re-print or microfiche copy of Philip Stubbes' "The
> Anatomie of Abuses in England"...I'm not sure of the exact date, but it's
> Elizabethan. I've e-mailed my friend Mistress Maria Theresa Ipenarrieta, who
> is not only a Laurel with research qualifications, but holds a Masters' in
> Elizabethan history, with a specialty in sumptuary laws...Stubbes is one of
> her favorites, so she should be able to give some more info on how to find a
> copy. He rails against cosmetics, ruffs, bum rolls, and a host of other
> 'sins'.
>
> Books such as "The Good Housewife's Jewell" (1596) and "Delights for Ladies"
> (1600) -- both available in reprint from Potboiler Press at Pennsic -- will
> give recipes for cosmetics to cleanse and perfume the skin, but don't really
> mention those to add to the skin as coloring or enhancement. For these
> "paints", you'll probably have your best luck with Stubbes, and with
> contemporary playwrights, novelists, moralists, etc.
>
> An easy source to come by as a 'starter' is Compleat Anachronist #53, by
> Mistress Rosamounde of Mercia. (Should be available through Milpitas, also
> through Potboiler Press.) She gives quite a bit of information, mostly from
> secondary/tertiary sources, with a few direct quotes from primary sources.
> Her bibliography is a great list of places to look for further information.
> (Frankly, I'm surprised no one else has mentioned this C.A. yet; I'd swear I
> remember reading posts from a couple of her apprentices on this list!)
>
> My own interpretation of period makeup isn't too much of a stretch from my
> normal routine...very pale skin (mixing talcum powder with your normal loose
> face powder will assist you if Mother Nature hasn't created you pasty to
>begin
> with); a little natural-colored blush and a touch of mascara; and matte lip
> colors within the realm of  possibility for period pigment (terra cotta, a
> touch of brick red VERY well blotted and diffused, a berry color slightly
> darker than normal lips, etc.). No frosty lipstick or eyeshadow. This look
> works reasonably well for everything from cotehardies through Italians
>through
> Elizabethans. If I'm wearing Middle Eastern, I add some black eyeliner,
> gently smudged, and either real henna on hands and feet, or red-brown
>eyeliner
> sealed with stage makeup sealant (so the 'henna' won't smudge or wash off
> without spirit gum remover!). For anyone who does Middle Eastern, for
> goodness sake stay away from the silly 'tribal marks' on your face,
>unless you
> use a sealant...otherwise they smudge and look like dirt! Blue/green
> eyeshadow isn't out of the realm of possibility for Middle Eastern, but like
> the tribal marks, there's as much document for not having it as for
>having it,
> and I tend not to like it.
>
> Hope this is helpful to you, and my apologies for rambling!
>
> Regards,
>
> Arianna Kateryn Nunneschild
> Lyondemere, Caid


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From owner-h-costume@indra.com  Mon Jan 25 02:14:05 1999
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-Poster: MaggiRos@aol.com

In a message dated 1/24/99 10:17:02 PM Pacific Standard Time,
lwilson16@earthlink.net writes:

> 
>  One psychologist called this the "Great Masculine Renunciation," and the 
> name
>  seems to have stuck (J.C. Flugel, "The Psychology of Clothes," published in
>  English in 1930, interestingly by Leonard and Virginia Woolf's Hogarth
>  Press).  It starts in the mid- to late-eighteenth century, and appears to
>  have political associations:  aristocrats = peacocks, so us
>  'just-plain-folks' will dress to show our plainness, simplicity, honesty,
>  goodness, etc--at least, that's the most current theory.

That seems to work.  Also, the merchant class and craftsmen too had always
been less flashy than the Nobility. As the merchant class and "business" came
more to be the ruling factors in Europe, I can see that staid and sober dress
coming in as well.  Middle-class women, tho, given the opportunity to dress
up, probably took it!

Just a thought.

MaggiRos
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From owner-h-costume@indra.com  Mon Jan 25 02:54:34 1999
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-Poster: Dietmar <dietmar@pacbell.net>

Greetings all,

Renata wrote:

> I've tried find the url site for The Guilded Pearl with and without
> quotes.  I even tried "Ask Jeeves" but, to no avail.  Do you have any
> other suggestion?  I too am very interested in the costuming of the
> Italian Renaissance.

I'm afraid you got sidetracked by a spelling error.  The Gilded Lily is at:

http://www.geocities.com/Athens/Acropolis/2344/gpearl.htm

> BTW what is the SCA?

The SCA is the Society for Creative Anachronism, an international non-profit
corporation dedicated to the study and recreation of pre-1600 Western
civilization.  They can be reached at:

http://www.sca.org

Good luck,
 
Dietmar


"Victory or Defeat rests in God's hands;
 over Honor, we ourselves are Lord and Master."
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From owner-h-costume@indra.com  Mon Jan 25 03:05:26 1999
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-Poster: Dietmar <dietmar@pacbell.net>

Greetings all,

MaggiRos asked:

> I haven't checked for responses to this yet, so I may be way behind...
> Given that, may I ask, have you washed the garment yet, after the coffee
> bath?

Yes, I pre-washed it with Borax and 'All' detergent.

> I only ask because my personal experience with tea and coffee has been
> that they wash right out. Not a scientific study. I've thought that maybe
> a vinegar bath (sort of like coloring Easter eggs) would help.  But my
> coffee/tea dying attempts have been pretty disappointing.  Perhaps I left
> somethingout?

Well, I guess I've had better luck.  ;-)  I have a pair of hose that I made
with poly/cotton t-shirt ribbing over four years ago and they're still not the
bright yellow they started out as.

I didn't bother with the vinegar, since I never got any feedback one way or
the other.  I just used very dark tea (or, in this case, coffee) and washed
normally.  Perhaps it's my bachelor's laundry skills.  ;-)

Regards,

Dietmar

P.S.:  MaggiRos, I remember taking a Collegium class on men's German ren from
you some six or seven years ago at PCC.


"Victory or Defeat rests in God's hands;
 over Honor, we ourselves are Lord and Master."
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From owner-h-costume@indra.com  Mon Jan 25 06:16:11 1999
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Date: Mon, 25 Jan 1999 11:23:33 +0000 (GMT)
From: Teddy <Teddy@mdx.ac.uk>
Subject: Re:  H-COST: Re: cloth of gold
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-Poster: Teddy <Teddy@mdx.ac.uk>


> IIRC, I was told by someone who visited the U.K. (although this was
> several years ago) that cloth of gold was still available either in
> the U.K. or possibly Germany.  However, if you had to ask the price,
> you couldn't afford it.  Can any of our European list members
> confirm this?

It depends if you want "real" gold or will make do with a 
gold-coloured metalic thread as a substitute....?

It *is* available, but is expensive.  

I bought some beautiful fine "cloth of gold" pieces a few years ago  
as presents for my cousin (who does Eastern dance) to use as 
veils/scarves.  They were expensive, but cheaper than usual as they 
were from the remnant bins.

The silk was real silk, the metal was described as "metalic"

They were pretty sheer, with metalic-gold threads in one direction 
and silk in the other (the pieces I got were in three colours.  One 
bright red, one orange and one in a more reddish orange).

In the sales after this Christmas, I found another piece in a 
different branch of the smae department store.  This is just as 
fine/sheer as the others but the silk is white/off-white and my 
partner bought it for use as veiling on the 15th century dress he's 
making for a friend's wedding this summer.  The bride has been 
worried about finding something suitable and we haven't told her 
about our find - she'll se it on Saturday when we visit her for a 
fitting....<g>

Also, there's a string of shops (mostly seen at large stations in the 
city) called "Accessorize" where they sell big scarves/shawls of 
slightly less sheer "cloth -f gold" and "cloth of silver" fo around 
35 pounds each.  Beautiful  but out of my price range for a shawl (I 
would cut them up and use them for costumes, but even then I'm not 
paying that much for about a yard and a half length of fairly narrow 
fabric!)

Teddy
(Trustworthy Evil-Bunny of Destiny, part-time Knave and Creature of
air and darkness, apparently!)
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From: Teddy <Teddy@mdx.ac.uk>
Subject: H-COST: Regency events in Boston???
To: h-costume-digest@indra.com
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-Poster: Teddy <Teddy@mdx.ac.uk>

Can anyone in the Boston (USA) area help?

I have a friend in Boston who is busily making herself some outfits 
using the wonderful La Mode Bagatelle Regency patterns.  The problem 
is, she doesn't know of any events in her area where she could wear 
them.

It's a real shame.  When I spoke to her yesterday, the silk she 
ordered fro the evening dress hadn't been delivered so she had 
started cutting out a cotton day dress for something to do in the 
meantime...

Anyone know of any events in the area I could send her details of?

Many thanks

Teddy
(Trustworthy Evil-Bunny of Destiny, part-time Knave and Creature of
air and darkness, apparently!)
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-Poster: EofAshley@aol.com

I've discovered 4-5 cutting 12"doughnuts, sewing them into a spiral, and
cartridge-pleating them into a neckband makes a great ruff with the proper
silhouette. If anyone would like, I can send a jpg privately of a child with
such a ruff, made of silk organdy, so you can see how this appears.

I've also discovered that the feather stitch on a sewing machine, often used
to mend lingerie, can be used to finish the edges of the ruff, if you run the
edge directly under the foot. This ends up looking like a buttonhole stitch,
and creates a great anchor ofr your stitching to the neckband. This Stitch
also works great to attach the lace to the outer edge of the ruff. so that the
top and bottom look the same. The fabric retains its flexibility, and yet has
a nice finished edge.

karla
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Date: Mon, 25 Jan 1999 8:56:53 -0600
From: "I. Marc Carlson" <LIB_IMC@centum.utulsa.edu>
To: H-COSTUME@indra.com
Message-Id: <990125085653.119423@centum.utulsa.edu>
Subject: H-COST: Moy Dress/Help with research
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-Poster: "I. Marc Carlson" <LIB_IMC@centum.utulsa.edu>

I have to admit it, I've come to a momentary standstill while I am waiting
to hear back from my last few leads.  So I come to ask any of you who have
access to a series of texts known as _World Textile Abstracts_ if you would
be willing to assist me in a bit of tedious research.

I am trying to track down any information on the dress pulled from the 
Moy Bog, Co. Clare, Ireland, in 1931 (you know that 16th C era "Bog Dress"
that's in all the photos?  The one with the open front?  This isn't it).
This dress is discussed lightly in Dunleavy, and conceivably mentioned
in McLintock (although, if so, it was so obscurely that it had no useable
information).  As far as I can tell, that was it.  Dunleavy's source was
the museum catalog number, which means that she was working from the actual
garment.

What I'm trying to find out is if there have been any other articles that
have discussed this garment.

I would be most grateful for any assistance or suggestions on where else to
look.

Marc Carlson
lib_imc@centum.utulsa.edu
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From owner-h-costume@indra.com  Mon Jan 25 10:03:03 1999
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Date: Mon, 25 Jan 1999 9:14:25 -0600
From: "I. Marc Carlson" <LIB_IMC@centum.utulsa.edu>
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-Poster: "I. Marc Carlson" <LIB_IMC@centum.utulsa.edu>

<margo@directcon.net>
> 
>  I've just been looking over the Shinrone Gown page again, and I find myself
>  intrigued by the unusual shape of the front opening.  The way it's cut over
>  the abdomen in that "keyhole" shape, patticularly.  Once again, I surmise
>  that this is a maternity dress.  The shape seems ideal for pregnancy, as
>  there is bust support and it leaves accomodation for a belly to grow and be
>  proudly displayed.
>  

I'm no expert on 16th century women's fashions, but isn't it likely that 
there's just part of the garment, say some sort of removeable "stomacher" 
panel that's missing?  I know that some of the women I know who wear 16c
garments wear them.  Certainly, they don't appear on the drawings of Irish
native dress we have, but weren't the English starting to seriously "encourage"
the Irish to wear more "civilized" (at least to them) clothes by then?

Marc Carlson
lib_imc@centum.utulsa.edu
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From owner-h-costume@indra.com  Mon Jan 25 11:45:03 1999
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Subject: Re: H-COST: Color associations
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-Poster: Kimberly Gilbert <kimberly@bluemarble.net>

I know the thread about wearing the color green has died down, but I
just came across this on the Color Matters web site.

"In Celtic myths the Green man was the God of fertility.
Later in the millennium, Early Christians banned green because it had been
used in pagan ceremonies."

I didn't see any sources, so I don't know how accurate this is.  Still, it is
interesting to consider.  It might explain how green then went on to be 
associated with loose morals/grass stains and why there are stories that are
intended to deter the wearing of green.

Thanks to everyone who was so forthcoming with information on these color
topics.  It was fascinating to read all your information.

Kimberly

Kimberly Gilbert	 	kimberly@bluemarble.net
"This is terrible news!  Do you actually intend to kill your 
enemies?  Can't you just speak sternly to them?"
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From owner-h-costume@indra.com  Mon Jan 25 12:14:53 1999
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Date: Mon, 25 Jan 1999 09:26:16 -0800
From: Cynthia Virtue <cvirtue@ricochet.net>
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-Poster: Cynthia Virtue <cvirtue@ricochet.net>

Hi Folks,

This summer we discussed the idea that one method of making the houppelande
was as a quarter circle with the point of the circle above the shoulder.  I
finally found one of my pictures of the dress, although not from the front,
and it's up on my website.  Comments welcome.

http://www.virtue.to/virtue/articles/circle_houp.html

cv
-- 
  "Such virtue hath my pen...."  -Shakespeare, Sonnet LXXXI
       "I knew this wasn't _my_ pen!"  --Cynthia Virtue
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From owner-h-costume@indra.com  Mon Jan 25 13:27:39 1999
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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: H-COST: Levite
Date: Mon, 25 Jan 1999 13:37:22 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

http://www.jaffebros.com/lee/gulliver/bohn/bohn.2a.jpeg
shows the Anglo-Irish early 18th century deshabille costume,
the Levite. Can anyone confirm positively the name of the
garment and its cut? Taken altogether, the various pictures
of this garment suggest a raglan sleeve version like the one
shown here.  Other versions exist and are also of interest.

Hope H. Dunlap


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From owner-h-costume@indra.com  Mon Jan 25 14:18:23 1999
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From: "Henk 't Jong" <scapreel@tip.nl>
To: <h-costume@indra.com>
Subject: Re: H-COST: Re: OT/Yiddish
Date: Mon, 25 Jan 1999 19:52:46 +0100
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-Poster: "Henk 't Jong" <scapreel@tip.nl>

Henk & Pauline 't Jong
tScapreel
Medieval Advisors
Dordrecht, Netherlands

Somebody wrote:
> >This is untrue. High and Low are more geographical designations. Yiddish
is
> >a form of High German.
> >
They are not geographical designations, but dialectgroups formed by the
slow change of the original Westgermanic (note: not german, but germanic)
language.

Kayta wrote:
> Last I heard, "Low German" was what all social classes spoke in the "Low
> Countries".  And you can't get much lower than Holland in terms of feet
> below sea level.
> 
The Dutch language, which has kept many unique and very old Oldgermanic
aspects, is a member of the same family as Low and High German, Frisian and
English are, but it is a seperate language.

Some of us do indeed live below sealevel, but behind strong dikes (no pun
intended, that's what they are called). Everyonce in a while we get wet
feet, but most of the time we keep fairly dry, thank you.

Henk



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From owner-h-costume@indra.com  Mon Jan 25 14:25:39 1999
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From: aleed <aleed@dnaco.net>
To: h-costume@indra.com
Subject: Re: H-COST: Anatomie of Abuses?
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-Poster: aleed <aleed@dnaco.net>


Stubbes hated the fashionable froo-fra of the day, and sounded off about
it at length and in great detail.    As a result, he's a great resource
for people trying to recreate historical fashions.

Drea


On Fri, 22 Jan 1999 SNSpies@aol.com wrote:

> 
> -Poster: SNSpies@aol.com
> 
> << Philip Stubbes Anatomie of Abuses & other writings, >>
> 
> Could you please tell me what this is about?  Thanks.
> 
> Nancy
>  _________________________________________________________________
>  To leave this mailing list, send mail to majordomo@indra.com
>  with the message UNSUBSCRIBE H-COSTUME
> 

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From owner-h-costume@indra.com  Mon Jan 25 14:51:38 1999
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-Poster: Gerekr@aol.com

Ancient history here... by the time I realized I was interested in this, 
the original post with the URL was gone, and I've had zip-all luck 
finding it by myself... re-post, please?

Thanks,
Chimene
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From owner-h-costume@indra.com  Mon Jan 25 15:17:03 1999
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-Poster: Stephen Bergdahl <madly@2xtreme.net>

Working with Tissue Lame is not that difficult.  I've made a number of costumes
out of it over the years.  As it has been pointed out you do have to back it.
What I use is 100% cotton either sheeting or broadcloth depending on what weight
you want the finished fabric.  I cut the pattern piece out of both the tissue and
the cotton than over lock them together and then sew up the sandwich pieces
together like I would any other pattern.  I have had no problems with the wear or
tearing.  Also the cotton makes them much more comfortable to wear.  You can also
change the color of the gold by changing the color of the cotton.  If you back it
in a yellow cotton the gold is much brighter.  A dark red will give the gold an
antique look.  I have also used some patterned cotton to produce some fun
effects.  Hope this helps!

Yours Stephen Bergdahl - Madly Stitching

CONNECT@aol.com wrote:

> -Poster: CONNECT@aol.com
>
> In a message dated 1/24/99 11:23:53 PM, dnunn@interlog.com writes:
>
> <<>At that price, it makes $100/yd silk velvet look like a bargain basement
> >fabric!  (huge grin)
>
> Ooooo.  Is that COMPLETELY (i.e. no rayon sneeking in) silk velevet?  Where
> or where?  We can only find rayon pile on a silk ground up here.
>
> Cheers,
> Danielle>>
>
> Designer Fabric Outlet (also know as the Oarge Bag Store) in Toronto, Ontario
> has 100% silk velvet for only $120 CAN a yard.
>
> Yours,
> Pattie Rayl
>  _________________________________________________________________
>  To leave this mailing list, send mail to majordomo@indra.com
>  with the message UNSUBSCRIBE H-COSTUME

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To: h-costume@indra.com
Cc: "INTERNET:h-costume-digest@indra.com" <h-costume-digest@indra.com>
From: Paul Poynton<paul@unikko.demon.co.uk>
Subject: Re: H-COST: Baa Baa Black Sheep
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-Poster: Paul Poynton<paul@unikko.demon.co.uk>

In message <199901241827_MC2-67D6-57@compuserve.com>, Melanie Wilson
<MelanieWilson@compuserve.com> writes
>
>-Poster: Melanie Wilson <MelanieWilson@compuserve.com>
>
>>Do pure bred Texel sheep come in any other colour than white, dark brown
>for instance. 
>
>Sorry not familiar with that breed , is it an American breed ?
>
>Mel
>
The Texel breed of sheep oridginally comes from Holland.  There is also
a British Texel.
> _________________________________________________________________
> To leave this mailing list, send mail to majordomo@indra.com
> with the message UNSUBSCRIBE H-COSTUME

-- 
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From owner-h-costume@indra.com  Mon Jan 25 16:14:56 1999
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To: H-COSTUME <h-costume@indra.com>
From: Ninni M Pettersson <vidumavi@swipnet.se>
Subject: H-COST: Doll maker's list?
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-Poster: Ninni M Pettersson <vidumavi@swipnet.se>

Greetings!

	A little while ago someone wrote about a special doll maker's list.
I thought I had kept that message, but now that I need it, I of course find
that I haven't :-) So please, whoever you are, will you send that info to
me?

Thanks in advance,
Ninni Pettersson


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From owner-h-costume@indra.com  Mon Jan 25 16:38:40 1999
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From: "Henk 't Jong" <scapreel@tip.nl>
To: <h-costume@indra.com>
Subject: Re: H-COST: Baa Baa Black Sheep
Date: Mon, 25 Jan 1999 19:58:41 +0100
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-Poster: "Henk 't Jong" <scapreel@tip.nl>

Henk & Pauline 't Jong
tScapreel
Medieval Advisors
Dordrecht, Netherlands

Hi Mel,

> >Do pure bred Texel sheep come in any other colour than white, dark brown
> for instance. 
> 
> Sorry not familiar with that breed , is it an American breed ?

No, it's a Dutch white sheep, but I sometimes see some 'black' sheep among
the hundreds of white ones around here. Texel is an island aff the north
coast of the province of North Holland. I guess this is where they bred
them first.

Henk
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From owner-h-costume@indra.com  Mon Jan 25 17:22:23 1999
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Subject: RE: H-COST: Neck Ruffs
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-Poster: Margo Anderson <margo@directcon.net>


>
>I just have to reiterate that YOU make them that way and they work for you.
> There are EXISTING, SURVIVING RUFFS which are essentially cartridge
>pleated and sewn to the neck band along the top edge.  So saying your way
>is the only way they were done is as silly as my saying my way was the only
>way they were done.  If you look at portraits you will also notice for just
>about everything there was more than one style.  :)

I don't recall ever saying that my way is the only way.

Most of my work is done for actors working within guidelines that state that
their costumes should relect the usual, not the less common, styles.  I
haven't seen the Janet Arnold article, to my annoyance, but I'm familiar
with the standard references for the period and I can't recall ever seeing a
photo, or even a description, of *any* extant ruff, never mind the method of
construction.  If, having done the amount of research I have, I haven't
found pictorial evidence of cartridge pleating ruffs to the neck band, I
feel justified in assuming that it was a fairly uncommon style, and not one
I would choose to use.

 I'm describing how to make a ruff by what I believe, based on research and
experimentation,  is the most common method used at the time.  This is my
opinion.  Of course I can't claim it was the only way, but it is the one I
use because I believe it's the best choice for my requirements.

I used to make them with cartridge pleating, too, and it does make a very
regularly pleated, tidy ruff, but it doesn't give the look I was trying for.  



Margo Anderson

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-Poster: Margo Anderson <margo@directcon.net>

A
>I'm no expert on 16th century women's fashions, but isn't it likely that 
>there's just part of the garment, say some sort of removeable "stomacher" 
>panel that's missing?  

Yes, I think it probably was worn with a stomacher, especially if it's a
maternity garment, as laces or ties across a pregnancy bulge could be
uncomfortable with just a chemise.  We know 16th century women wore
stomachers in pregnancy,  I believe there's a quote in Ashelford, which of
course I just took back to the library.

It's the odd shape of the opening, which is wider over the belly than at the
top, which makes me think it's a maternity dress.  When I first saw photos
of it, I thought it was caused by its being displayed on a too large
mannequin and that the opening was forced wider, but apparently further
inspection has shown that it actually is cut that way.

Margo Anderson

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From owner-h-costume@indra.com  Mon Jan 25 17:35:22 1999
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-Poster: Margo Anderson <margo@directcon.net>


>
>	A little while ago someone wrote about a special doll maker's list.
>I thought I had kept that message, but now that I need it, I of course find
>that I haven't :-) So please, whoever you are, will you send that info to
>me?

Hi Ninni:  

Here's the URL for information about the dollmakers list.  See you there!

Margo

>Usage guidelines for the dollmakers list are located at
>www.everink.com/dm
>along with automated forms to subscribe, unsubscribe, or perform other
>listserv tasks.
>

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From owner-h-costume@indra.com  Mon Jan 25 18:17:10 1999
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From: starsinger@webtv.net (theresa sorrell)
Date: Mon, 25 Jan 1999 16:25:13 -0700 (MST)
To: h-costume@indra.com
Subject: Re: H-COST: medieval hairnet instructions?
Message-ID: <20432-36ACFD59-928@mailtod-141.iap.bryant.webtv.net>
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-Poster: starsinger@webtv.net (theresa sorrell)

I also lost this wonderful article and found it by looking at Drea's
Elizabethan Costume site.  I love her work.

http://www.geocities.com/Athens/Acropolis/5145/nets.html



YIS

Starsinger

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From owner-h-costume@indra.com  Mon Jan 25 18:27:00 1999
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From: starsinger@webtv.net (theresa sorrell)
Date: Mon, 25 Jan 1999 16:33:56 -0700 (MST)
To: h-costume@indra.com
Subject: Re: H-COST: medieval hairnet instructions?
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-Poster: starsinger@webtv.net (theresa sorrell)

Sorry, that was the pictures of the hairnets

http://www.geocities.com/Athens/Acropolis/5145/hairnet.html


Starsinger

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Date: Mon, 25 Jan 1999 16:30:26 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: Re: H-COST: Cloth-of-gold
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>


>It is my understanding that cloth-of-gold no longer exists, correct? 
>If so, is there any way to "fake" it with modern materials?

I have a couple of pieces of cloth of silver which are at least from the
1920's, maybe older.  On is part of a doll dress.  The stuff is loosely
woven, as you might suspect, but not especially sheer.  Mine are silk one
way and silver-plated copper the other (I tested a wire).  It folds much
better parallel to the wire than across it.  Folding across the wires puts
bends in them which are nearly impossible to re-straighten.  The cloth is
stiff, so I wouldn't make a scarf out of it, and it's too stiff and heavy
for a shirt.  Trousers would be possible.  The real thing has a sheen like
changeable taffeta, silver one way and the silk colour the other way.  I
don't know how I'd copy that in tissue lame', which is flat and drapey by
comparison.  Copying the tarnish - even a realistic little bit of tarnish -
would also be tough.

If I were looking for cloth of gold I would go to an India import store
which had high-end sarees.  You might find something there.  I can usually
find saree trim with metal gold threads in it.  


Kayta
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Date: Mon, 25 Jan 1999 19:28:33 -0600
From: Sheridan Alder <alderweb@vaxxine.com>
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-Poster: Sheridan Alder <alderweb@vaxxine.com>


--------------0B9E3ED5ABAC29DACD0395B6
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As much as I enjoyed this delicious phrase, the "Great Masculine Renunciation",
(thanks, Laurel,  for sharing it with us!) I prefer  another  theory. Modern,
democratic people are SO reluctant to use the "C" word -"class". Humans
are  monkeys or chickens, always reacting to changes in the social order and
our own perceived status. You could also attribute this considerable change in
male clothing style to the "Great Masculine Retaliation"!

By the French Revolution the Industrial Revolution (or evolution, as some
economists would have it) had been proceeding for fifty years. Novelists such
as Smollet, Sterne and Fielding had been taking literary pot shots at the
parvenu's and "Nabobs" who had been merrily making their fortunes abroad
and at home, and were conspicuously spending it in Bath and elsewhere.
Not to mention every footman or apprentice who spent everything he had
on the finest and most impractical clothes he could afford. I'm sure we all know
their modern counterparts - people who "haven't got a pot to piss in , or a
window to throw it out of" who spend what little they have on a sports car or a
Rolex.

What better way to signal your real class, when obnoxious fools like "Romeo"
Coates were tooling around Regency London in (by then) ridiculous and
ostentatious silks and satins, than to affect exquisitely and subtly tailored
garments that only those "in the know"- presumably your peers with similar
family background, education and value systems, (or those with both
money and enough smarts to suss out how to REALLY fit in) could recognize?.

A modern example - when I was working in Ottawa in the '80's (the capital of
Canada, and where all good civil servants go when they die) you could usually
guess female employees' position by their dress. Many of the clerical staff
sported "Dynasty" and "Dallas" knock-offs (remember those dresses gathered
at the shoulders, wrapped over, that Crystal always wore!) - sexier, more
revealing, (and cheap) clothes.  Professional women dressed more
conservatively in quiet understated suits and dresses. I'm sure the clerical
staff thought the clothes of the professionals  were boring, and the
professionals thought the clerical staff dressed unprofessionally, insofar as
they thought about it at all. Both groups had different perceptions and
aspirations.

So people are still signaling status like crazy- the cues are just more subtle -
"Bombazine would show a deeper sense of loss" and "the little black dress".
This system is even better- it's not enough to just have money! you need to
have an eye and taste. And a lot of people don't have and never will develop
the "eye". Look how much we enjoy it when the tabloids pillory some celebrity
for wearing something dreadful to the Oscars. Canada's own Marlen Cowpland
is a case in point.

On the subject of class, an excellent antidote to Titanic-mania is Robert Roberts

"The Classic Slum" where describes a pre-WWI Manchester slum. Some costume
stuff, although I doubt if anyone in this group will ever be driven to re-enact
an Edwardian scuttler, moll or old queen, but it's interesting for it's complex
and sympathetic depiction of an almost vanished working class mindset. In many
ways, people thought very differently, but the poor were also as acutely
class-conscious
as the most competitive subdivision. (I mention this because I've heard so much
"the poor never did this because..." ad naseum from reenactors on various topics
.)

I wish I could remember the original source for this theory. Guess my eye is
willing but
my brain is weak.

Sheridan Alder


--------------0B9E3ED5ABAC29DACD0395B6
Content-Type: text/html; charset=us-ascii
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<HTML>
<FONT SIZE=-1>As much as I enjoyed this delicious phrase, the "Great Masculine
Renunciation",</FONT>
<BR><FONT SIZE=-1>(thanks, Laurel,&nbsp; for sharing it with us!) I prefer&nbsp;
another&nbsp; theory. Modern,</FONT>
<BR><FONT SIZE=-1>democratic people are SO reluctant to use the "C" word
-"class". Humans</FONT>
<BR><FONT SIZE=-1>are&nbsp; monkeys or chickens, always reacting to changes
in the social order and</FONT>
<BR><FONT SIZE=-1>our own perceived status. You could also attribute this
considerable change in</FONT>
<BR><FONT SIZE=-1>male clothing style to the "Great Masculine Retaliation"!</FONT>

<P><FONT SIZE=-1>By the French Revolution the Industrial Revolution (or
evolution, as some</FONT>
<BR><FONT SIZE=-1>economists would have it) had been proceeding for fifty
years. Novelists such</FONT>
<BR><FONT SIZE=-1>as Smollet, Sterne and Fielding had been taking literary
pot shots at the</FONT>
<BR><FONT SIZE=-1>parvenu's and "Nabobs" who had been merrily making their
fortunes abroad</FONT>
<BR><FONT SIZE=-1>and at home, and were conspicuously spending it in Bath
and elsewhere.</FONT>
<BR><FONT SIZE=-1>Not to mention every footman or apprentice who spent
everything he had</FONT>
<BR><FONT SIZE=-1>on the finest and most impractical clothes he could afford.
I'm sure we all know</FONT>
<BR><FONT SIZE=-1>their modern counterparts - people who "haven't got a
pot to piss in , or a</FONT>
<BR><FONT SIZE=-1>window to throw it out of" who spend what little they
have on a sports car or a</FONT>
<BR><FONT SIZE=-1>Rolex.</FONT>

<P><FONT SIZE=-1>What better way to signal your real class, when obnoxious
fools like "Romeo"</FONT>
<BR><FONT SIZE=-1>Coates were tooling around Regency London in (by then)
ridiculous and</FONT>
<BR><FONT SIZE=-1>ostentatious silks and satins, than to affect exquisitely
and subtly tailored</FONT>
<BR><FONT SIZE=-1>garments that only those "in the know"- presumably your
peers with similar</FONT>
<BR><FONT SIZE=-1>family background, education and value systems, (or those
with both</FONT>
<BR><FONT SIZE=-1>money and enough smarts to suss out how to REALLY fit
in) could recognize?.</FONT>

<P><FONT SIZE=-1>A modern example - when I was working in Ottawa in the
'80's (the capital of</FONT>
<BR><FONT SIZE=-1>Canada, and where all good civil servants go when they
die) you could usually</FONT>
<BR><FONT SIZE=-1>guess female employees' position by their dress. Many
of the clerical staff</FONT>
<BR><FONT SIZE=-1>sported "Dynasty" and "Dallas" knock-offs (remember those
dresses gathered</FONT>
<BR><FONT SIZE=-1>at the shoulders, wrapped over, that Crystal always wore!)
- sexier, more</FONT>
<BR><FONT SIZE=-1>revealing, (and cheap) clothes.&nbsp; Professional women
dressed more</FONT>
<BR><FONT SIZE=-1>conservatively in quiet understated suits and dresses.
I'm sure the clerical</FONT>
<BR><FONT SIZE=-1>staff thought the clothes of the professionals&nbsp;
were boring, and the</FONT>
<BR><FONT SIZE=-1>professionals thought the clerical staff dressed unprofessionally,
insofar as</FONT>
<BR><FONT SIZE=-1>they thought about it at all. Both groups had different
perceptions and</FONT>
<BR><FONT SIZE=-1>aspirations.</FONT>

<P><FONT SIZE=-1>So people are still signaling status like crazy- the cues
are just more subtle -</FONT>
<BR><FONT SIZE=-1>"Bombazine would show a deeper sense of loss" and "the
little black dress".</FONT>
<BR><FONT SIZE=-1>This system is even better- it's not enough to just have
money! you need to</FONT>
<BR><FONT SIZE=-1>have an eye and taste. And a lot of people don't have
and never will develop</FONT>
<BR><FONT SIZE=-1>the "eye". Look how much we enjoy it when the tabloids
pillory some celebrity</FONT>
<BR><FONT SIZE=-1>for wearing something dreadful to the Oscars. Canada's
own Marlen Cowpland</FONT>
<BR><FONT SIZE=-1>is a case in point.</FONT>

<P><FONT SIZE=-1>On the subject of class, an excellent antidote to Titanic-mania
is Robert Roberts</FONT>
<BR><FONT SIZE=-1>"The Classic Slum" where describes a pre-WWI Manchester
slum. Some costume</FONT>
<BR><FONT SIZE=-1>stuff, although I doubt if anyone in this group will
ever be driven to re-enact</FONT>
<BR><FONT SIZE=-1>an Edwardian scuttler, moll or old queen, but it's interesting
for it's complex</FONT>
<BR><FONT SIZE=-1>and sympathetic depiction of an almost vanished working
class mindset. In many</FONT>
<BR><FONT SIZE=-1>ways,</FONT> <FONT SIZE=-1>people thought very differently,
but the poor were also as acutely class-conscious</FONT>
<BR><FONT SIZE=-1>as the most competitive subdivision. (I mention this
because I've heard so much</FONT>
<BR><FONT SIZE=-1>"the poor never did this because..." ad naseum from reenactors
on various topics .)</FONT>

<P><FONT SIZE=-1>I wish I could remember the original source for this theory.
Guess my eye is willing but</FONT>
<BR><FONT SIZE=-1>my brain is weak.</FONT>

<P><FONT SIZE=-1>Sheridan Alder</FONT>
<BR>&nbsp;</HTML>

--------------0B9E3ED5ABAC29DACD0395B6--


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From owner-h-costume@indra.com  Mon Jan 25 20:09:50 1999
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Date: Mon, 25 Jan 1999 19:03:37 -0500
To: h-costume@indra.com
From: Danielle Nunn <dnunn@interlog.com>
Subject: Re: H-COST: Dangerous Beauty
In-Reply-To: <36AC1641.7148124@flash.net>
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-Poster: Danielle Nunn <dnunn@interlog.com>

Greetings,

>On a slightly related note, can someone please tell me how were the men's
clothes
>in Dangerous Beauty.  A male friend has fallen in love with a couple of the
>outfits and was asking me how authentic they were.  Wrong gender and time
period
>for me.

>From what I remember they weren't too bad, certainly better than what the
cortesans (sp?) were wearing.  I don't think you can go too wrong with
those.  Have fun.

Cheers,
Danielle

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From Cheryl@sessionware.com  Mon Jan 25 20:20:24 1999
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Subject: FAN-tastic update! European FANS just added!
Date: Mon, 25 Jan 1999 17:31:37 -0800
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If you have received this message in error, please enter the word REMOVE in
the Subject line.  Your name will be removed from the mailing list.

I was so excited about the latest addition to the International Fan
Collector's Guild website, that I decided not to wait for the completion of
all the other changes to be finished.

I have just added 6 pages of antique fans from Serge Davoudian's store in
Paris to the Dealer section!

I'm not adding it to the front page yet; I wanted to give each of the Guild
members a chance to purchase them first!

Serge is already working on descriptions and pricing on the remaining fans,
so please be a bit patient and I will post the detailed information as soon
as its received!

Enjoy the tour of Serge's Store!

Cheryl
Webmistress
International Fan Collector's Guild
http://www.hand-fan.org

From owner-h-costume@indra.com  Mon Jan 25 20:21:06 1999
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From: "Penny E. Ladnier" <penny.creative.outlets@erols.com>
To: "costume newsgroup" <h-costume@indra.com>
Subject: H-COST: Shakespear Treasure Hunt
Date: Mon, 25 Jan 1999 20:29:49 -0500
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-Poster: "Penny E. Ladnier" <penny.creative.outlets@erols.com>

This might be fun!  This is a high school virtual classroom assignment,
called Shakespeare Treasure Hunt at
http://www.kn.pacbell.com/wired/fil/pages/huntshakespear3.html  I found this
page linked to my website when I was checking my daily stats.  Yea!!!  The
high school kids are really getting into costume now a days.  Check it out,
its fun!

Later...Penny
http://www.costumegallery.com

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From: "Susan Carroll-Clark" <sclark@chass.utoronto.ca>
To: <h-costume-digest@indra.com>
Subject: H-COST: Re:   Medieval hairnet instructions
Date: Mon, 25 Jan 1999 21:41:04 -0500
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-Poster: "Susan Carroll-Clark" <sclark@chass.utoronto.ca>

Greetings!

I'm glad folks like my hairnet site.....I can attest that once you get the
hang of making them, they're *really* easy and you can get them incredibly
fine-scale (I used the smallest size metal netting needle from Lacis for the
purple one I've got the pictures of--that was my third complete net.)

If folks have any questions, feel free to ask!  (And yes, I'm working on how
to make them in the round.....)

Susan Carroll-Clark
www.geocities.com/Athens/Acropolis/5145/hairnet.html
(Mistress Nicolaa de Bracton)

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-Poster: Sue Shatto <Sue@VictorianMillinery.com>

Where is the conference?


At 12:27 AM 1/25/99 -0800, you wrote:
>
>-Poster: Heather Law <lynnx@mc.net>
>
>One of the members of our costumer's Guild will not be able to attend
>CostumeCon. Her membership is on sale for $40 OBO. Contact
>Maija123@worldnet.att.net
>Carol Mitchell President Chicagoland Costumer's Guild
> _________________________________________________________________
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>

Cordially,

Sue Shatto

Sue@VictorianMillinery.com
http://www.VictorianMillinery.com

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From: karolee@fenris.net (Karolee Smiley)
Subject: Re: H-COST: Neck Ruffs
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-Poster: karolee@fenris.net (Karolee Smiley)


>I realized that if I took a long rectangle of fabric, gathered it along
>the long edge,
>and then put it around my neck, that the ruffles would unruffle at the outer
>circumference -- not the right effect.

Some ruffs have the ruffles close together- they are very tightly pleated
and/or probably have some means of holding them together.  However, there
are some ruffs which are fairly open on the edge.  In the English Icon
p180- Mary Cornwallis has the former and Lettice Knollys has the latter
(both in the 1580s). So some opening is seen in some large ruffs.  It
probably is a matter of taste.
                             . .   . .                  . .
                           .     .     .        .     .     .     .
                          . .    .    .         .     .     .     .
                         .   .  .  . .    vs    .     .     .     .
                        .     .     .           .     .     .     .
                         . . . . . .             . . .       . . .


>>This is how ruffs were made in period. After all, many, if not most, ruffs
>>were  made of lace, drawn thread cuttwork, or blackwork, none of which would
>>lend themselves well to a ruff cut on the circle.

However-many are only lace edged or are made of several pieces and even
types of lace-which allows for a few possible variations.


>>Anyone care to add to this?  I've never made one, but they look easy
>>enough, just a lot of hand work in pleating into the band.

My husband and I have made a variety of collars (none of the BIG ruffs
though).  The collars were done on flat bands pleated and the Jacobean and
cavalier collars were variations on the donut theme.  The ones we made were
pretty easy, but we aren't perfectly happy with them either.  Of course,
that is also due to the problems with underproppers.  So I'm very eager to
hear everyone's ideas.

Karolee J. Smiley
Kaitlin MacPherson


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From owner-h-costume@indra.com  Mon Jan 25 22:35:41 1999
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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: Shinrone Gown
Date: Mon, 25 Jan 1999 22:44:10 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

Native Irish did not corset themselves. No stomachers have
been found to my knowledge nor are any shown in the period
woodcuts or watercolors I've seen.  Period accounts I've
seen speak of the woman's chemise showing through the
lacings if she were poor, and the slightly better off
tucking the ends of a silk neckscarf under the lacings. They
had silk commonly as early as the 8th Century I
believe.There is so little evidence, that it's not possible
to say that there weren't stomachers, but there are a few
pieces of evidence suggesting "no stomacher" was
commonplace.  While the shinrone gown might have been worn
by someone during maternity, it's really not an ideal
costume for it.  The waist seam would be less comfortable
than something loose, and there were plenty of loose
alternative garments in that culture, usually belted when no
pregnancy, easy enough to remove the belt or place it higher
when pregnant.  The standard belt for a millennia seems to
have reached to the hem of the garment, so the belt was
plenty long enough to tie in alternative ways.  There are
some period watercolors on the Reconstructing History
WebPages which show the Shinrone gown, and it doesn't look
like any of the women wearing it are pregnant. I also think
there is evidence that large breasts are more common today
than they were in olden times , and I can only speculate as
to the reasons. But I've read that the Irish were strong and
healthy and scarcely ever overweight, in distinction from
their Anglo-Norman visitors and overlords.  I just question
the whole premise that bust support was any kind of
universal necessity, especially for a people who were
frequently without clothes entirely during the Anglo-Norman
period, except if they were lucky, with an Irish "cape."

Hope H. Dunlap


-----Original Message-----
From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
Behalf Of Margo Anderson
Sent: Monday, January 25, 1999 5:33 PM
To: h-costume@indra.com
Subject: Re: H-COST: Shinrone Gown



-Poster: Margo Anderson <margo@directcon.net>

A
>I'm no expert on 16th century women's fashions, but isn't
it likely that
>there's just part of the garment, say some sort of
removeable "stomacher"
>panel that's missing?

Yes, I think it probably was worn with a stomacher,
especially if it's a
maternity garment, as laces or ties across a pregnancy bulge
could be
uncomfortable with just a chemise.  We know 16th century
women wore
stomachers in pregnancy,  I believe there's a quote in
Ashelford, which of
course I just took back to the library.

It's the odd shape of the opening, which is wider over the
belly than at the
top, which makes me think it's a maternity dress.  When I
first saw photos
of it, I thought it was caused by its being displayed on a
too large
mannequin and that the opening was forced wider, but
apparently further
inspection has shown that it actually is cut that way.

Margo Anderson


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From owner-h-costume@indra.com  Mon Jan 25 22:53:13 1999
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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: Neck Ruffs
Date: Mon, 25 Jan 1999 23:03:24 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

Saw a painting today with a multitiered ruff, box-pleated
and then gathered as well.   Couldn't see enough to confirm
a neck bank or not, but it spoke to the variety of ruffs out
there!

Hope H. Dunlap

-----Original Message-----
From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
Behalf Of Margo Anderson
Sent: Monday, January 25, 1999 5:19 PM
To: h-costume@indra.com
Subject: RE: H-COST: Neck Ruffs



-Poster: Margo Anderson <margo@directcon.net>


>
>I just have to reiterate that YOU make them that way and
they work for you.
> There are EXISTING, SURVIVING RUFFS which are essentially
cartridge
>pleated and sewn to the neck band along the top edge.  So
saying your way
>is the only way they were done is as silly as my saying my
way was the only
>way they were done.  If you look at portraits you will also
notice for just
>about everything there was more than one style.  :)

I don't recall ever saying that my way is the only way.

Most of my work is done for actors working within guidelines
that state that
their costumes should relect the usual, not the less common,
styles.  I
haven't seen the Janet Arnold article, to my annoyance, but
I'm familiar
with the standard references for the period and I can't
recall ever seeing a
photo, or even a description, of *any* extant ruff, never
mind the method of
construction.  If, having done the amount of research I
have, I haven't
found pictorial evidence of cartridge pleating ruffs to the
neck band, I
feel justified in assuming that it was a fairly uncommon
style, and not one
I would choose to use.

 I'm describing how to make a ruff by what I believe, based
on research and
experimentation,  is the most common method used at the
time.  This is my
opinion.  Of course I can't claim it was the only way, but
it is the one I
use because I believe it's the best choice for my
requirements.

I used to make them with cartridge pleating, too, and it
does make a very
regularly pleated, tidy ruff, but it doesn't give the look I
was trying for.



Margo Anderson


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Organization: Costume & Dressmaker Press
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-Poster: Mary Denise Smith <costumemag@earthlink.net>

Hi Sue,

CostumeCon is in Cherry Hill NJ, just across the river from Philadelphia. Almost in your back yard!
Take a look at the website, off of www.costumecon.org

Hope this helps,
Mary Denise Smith

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-Poster: Schiap1@aol.com

I am also studying textiles.  Is there a textile list that I could subscibe
to?  I tried looking up textiles on www.liszt.com (which is how I found this
costume list) and it listed a TEXTILES list, but I am having trouble
subscribing to it.  I don't know if it's been discontinued or if I am doing it
wrong through majordomo.  I don't know what the server address is (is it also
indra.com?).  If anyone on this list also subscribes to the textiles list,
could you please tell me the address to subscribe to it?

Thanks in advance.

Lyn FitzGerald
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From owner-h-costume@indra.com  Tue Jan 26 00:17:58 1999
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          Mon, 25 Jan 1999 23:29:30 -0600
Date: Mon, 25 Jan 1999 23:29:30 -0600
From: "I. Marc Carlson" <LIB_IMC@centum.utulsa.edu>
To: H-COSTUME@indra.com
Message-Id: <990125232930.1022d9@centum.utulsa.edu>
Subject: Re: H-COST: Shinrone Gown
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-Poster: "I. Marc Carlson" <LIB_IMC@centum.utulsa.edu>

<Margo Anderson <margo@directcon.net>>
>...It's the odd shape of the opening, which is wider over the belly than at the
>top, which makes me think it's a maternity dress.  When I first saw photos
>of it, I thought it was caused by its being displayed on a too large
>mannequin and that the opening was forced wider, but apparently further
>inspection has shown that it actually is cut that way.

I can't say whether it's a maternity outfit (none of the women I know who
wear stomachers, for example, have ever been pregnant), but it does appear to 
emphasize the tummy.  Of course, the "peascod" belly on men's garments 
emphasizes the tummy more than a little bit :)

Marc Carlson
lib_imc@centum.utulsa.edu
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Date: Tue, 26 Jan 1999 02:32:46 -0500
From: Melanie Wilson <MelanieWilson@compuserve.com>
Subject: H-COST: Baa Baa black sheep
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-Poster: Melanie Wilson <MelanieWilson@compuserve.com>

>The Texel breed of sheep oridginally comes from Holland.  There is also
a British Texel.

Got it now I was having a particularly dyslexic day where written words
don't line up with spoken.  I still don't know the answer though :) But I
can ask my sheep farmin friend, why on this breed particularly ?

Look like Henk has seen black ones ! So I guess you can, I don't believe it
is a breed known for other clours, ie I've never seen Texel black wool
advertised as such in fleece sales

Mel
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Date: Mon, 25 Jan 1999 23:51:18 -0800 (PST)
From: Anne Foote <anne_foote@yahoo.com>
Subject: H-COST: RE:tiny waists, photos
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-Poster: Anne Foote <anne_foote@yahoo.com>

Deb wrote recently giving web addresses for more photographs of
Victorian ladies with extremely small waists.  

I know some of prints may have been retouched, but where they were not
I cannot help wondering if their waists were like that all day or just
hauled in for the studio sitting.

They must have breathed a sigh of relief when loosened. I can remember
1960s firm control girdles - after a  coming home from a party I can
remember rushing upstairs with the only thought on my mind - getting
the wretched girdle off.

Hands up all those who sympathise with Joyce Grenfell, the British
actress.  She wrote in her autobio (1985 ?)
"There is no pleasure so great as taking off a corset a the end of the
day".

Annie




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From owner-h-costume@indra.com  Tue Jan 26 02:52:15 1999
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-Poster: MaggiRos@aol.com

In a message dated 1/25/99 11:33:41 AM Pacific Standard Time, aleed@dnaco.net
writes:

> 
>  -Poster: aleed <aleed@dnaco.net>
>  
>  
>  Stubbes hated the fashionable froo-fra of the day, and sounded off about
>  it at length and in great detail.    As a result, he's a great resource
>  for people trying to recreate historical fashions.
>  

With the caveat that a preacher inveighing against excesses is inclined to
exaggerate. It's not entirely safe to take anything from Stubbe's literally
without a back up source.

MaggiRos
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From owner-h-costume@indra.com  Tue Jan 26 03:53:26 1999
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From: "Ella Lynoure Rajamaki" <lynoure@tuug.org>
Organization: Lyninine Federation
To: h-costume@indra.com
Date: Tue, 26 Jan 1999 11:01:50 +2
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-Poster: "Ella Lynoure Rajamaki" <lynoure@tuug.org>

On 25 Jan 99, at 23:51, Anne Foote wrote:

> Hands up all those who sympathise with Joyce Grenfell, the British
> actress.  She wrote in her autobio (1985 ?)
> "There is no pleasure so great as taking off a corset a the end of the
> day".

Actually, taking the corset off can feel very good even if the 
corset is extremely comfortable. I could almost imagine 
someone wearing a corset because getting out of it feels 
good. :)




--
-------(c) 1999--------------*        lynoure@tuug.org      *
Ella Lynoure Rajamaki--------* http://www.tuug.org/~lynoure *
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From owner-h-costume@indra.com  Tue Jan 26 05:46:52 1999
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Date: Tue, 26 Jan 1999 06:02:33 -0500
To: h-costume-digest@indra.com
From: Lynn Carpenter <alwen@i2k.com>
Subject: H-COST: Netting in the round?
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-Poster: Lynn Carpenter <alwen@i2k.com>

"Susan Carroll-Clark" <sclark@chass.utoronto.ca> wrote:

>I'm glad folks like my hairnet site.....I can attest that once you get the
>hang of making them, they're *really* easy and you can get them incredibly
>fine-scale (I used the smallest size metal netting needle from Lacis for the
>purple one I've got the pictures of--that was my third complete net.)
>
>If folks have any questions, feel free to ask!  (And yes, I'm working on how
>to make them in the round.....)
>
>Susan Carroll-Clark
>www.geocities.com/Athens/Acropolis/5145/hairnet.html
>(Mistress Nicolaa de Bracton)

When you say, netting in the round, do you mean making a circular net?  I
make and use these for bags quite a lot.  The instructions I used were in
Charles Holdgate's "Net Making," Emerson Books Inc., copyright 1972,
"standard book number" 87523-180-2.  To make a flat circle, I mesh 6-12-18
(etc., multiples of 6).  To make a bag, after I get to the number of meshes
I want, I just stop increasing, so it becomes tubular.

And I can't make any post about netting without mentioning this beautiful
and inspirational site, which also has instructions for circular netting:
http://www.the-spa.com/bartholomew/netting/

Lynn
Who *still* hasn't found size 18-22 cotton cable cord to make the hammock
that inspired her to learn to net two summers ago!


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From owner-h-costume@indra.com  Tue Jan 26 08:26:59 1999
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-Poster: Gaelscot@aol.com



Lauri: Thanks for that posting on "The Psychology of Clothes," I will have to
look for it. I have long wondered why, when men wore fancier clothes than
women for pretty much all of recorded history, men's clothes suddenly became
so dull. If I were going back to school I'd do a Master's thesis about it --
and whether there is any corresponding wound to male psyches. I'm only partly
kidding about the wounded psyche thing. I mean, it does look like male
adornment is a pretty universal human thing. So perhaps depriving men of it
hurts them in some way. Hey, there have been a lot dumber things claimed about
women.

Gail Finke

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From owner-h-costume@indra.com  Tue Jan 26 09:31:00 1999
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From: "karrissa david" <arizona63@hotmail.com>
To: h-costume@indra.com
Subject: Re: H-COST: Are there any textile forums like this one for costume?
Date: Tue, 26 Jan 1999 09:37:24 EST
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-Poster: "karrissa david" <arizona63@hotmail.com>

<I don't know if it's been discontinued or if I am doing it wrong 
through majordomo.>

The list on majordomo is discontinued.  I had the same problem when I 
tried to find it.  I discovered this by requesting the list from 
majordomo.

I would also like more information on the study of historic textiles and 
colors. If there are other lists (or sources), I would like to have them 
emailed to me at Arizona63@hotmail.com.

Thanks,
Karrissa

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From owner-h-costume@indra.com  Tue Jan 26 10:25:04 1999
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From: "KATE M BUNTING" <K.M.Bunting@derby.ac.uk>
To: <h-costume@indra.com>
Subject: H-COST: Re: History of Menswear
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-Poster: "KATE M BUNTING" <K.M.Bunting@derby.ac.uk>

For the record, I have always understood that it was "Beau" Brummell who popularised the fashion for plain but exquisitely cut clothing during the Regency period. No doubt it was for the reasons given by other posters that the style caught on.

Kate Bunting
Library, University of Derby
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From owner-h-costume@indra.com  Tue Jan 26 11:08:20 1999
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From: "Marsha J. Hamilton" <mhamilto@pop.service.ohio-state.edu>
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-Poster: "Marsha J. Hamilton" <mhamilto@pop.service.ohio-state.edu>

Has anyone ever tried wiring the outer edge of the ruff to help it 
maintain the shape?  Some of the Elizabethan standing ruffs must have 
been wired from the look of the portraits.  Anyone have any info?

Marsha

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From owner-h-costume@indra.com  Tue Jan 26 11:48:20 1999
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From: aleed <aleed@dnaco.net>
To: h-costume@indra.com
Subject: Re: H-COST: Neck Ruffs
In-Reply-To: <2.2.32.19990126161714.0069eec0@pop.service.ohio-state.edu>
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-Poster: aleed <aleed@dnaco.net>

I know that some people use a layer of horsehair braid along the edge of
their ruffs to keep the edges crisper.

Drea

On Tue, 26 Jan 1999, Marsha J. Hamilton wrote:

> 
> -Poster: "Marsha J. Hamilton" <mhamilto@pop.service.ohio-state.edu>
> 
> Has anyone ever tried wiring the outer edge of the ruff to help it 
> maintain the shape?  Some of the Elizabethan standing ruffs must have 
> been wired from the look of the portraits.  Anyone have any info?
> 
> Marsha
> 
>  _________________________________________________________________
>  To leave this mailing list, send mail to majordomo@indra.com
>  with the message UNSUBSCRIBE H-COSTUME
> 

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From: Heather Law <lynnx@mc.net>
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-Poster: Heather Law <lynnx@mc.net>

Thai (Exotic) Silks and a few other silk places have the silk/metallic
"tissui" for around $8-$12 a yard.  This stuff is sheer, but would take
to fusing with a backing (woven fusible interfacing would be my choice).

Since most of the companies have a 10-17-yard minimum, I'd buy either
the white/silver or white/gold, then dye pieces of it to the colors you
want. (Jacquard is especially formulated for silk, Dylon and Procion
should also work.)

Y.I.S.,
Heather
> 
> If I were looking for cloth of gold I would go to an India import store
> which had high-end sarees.  You might find something there.  I can usually
> find saree trim with metal gold threads in it.
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From: "Henk 't Jong" <scapreel@tip.nl>
To: <h-costume@indra.com>
Subject: Re: H-COST: Re: Menswear - an another theory
Date: Tue, 26 Jan 1999 19:00:24 +0100
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-Poster: "Henk 't Jong" <scapreel@tip.nl>

Henk & Pauline 't Jong
tScapreel
Medieval Advisors
Dordrecht, Netherlands

Hi List,

Sheridan wrote:
As much as I enjoyed this delicious phrase, the "Great Masculine
Renunciation",
(thanks, Laurel,  for sharing it with us!) I prefer  another  theory.
Modern,
democratic people are SO reluctant to use the "C" word -"class". Humans
are  monkeys or chickens, always reacting to changes in the social order
and
our own perceived status. You could also attribute this considerable change
in
male clothing style to the "Great Masculine Retaliation"!

By the French Revolution the Industrial Revolution (or evolution, as some
economists would have it) had been proceeding for fifty years. Novelists
such
as Smollet, Sterne and Fielding had been taking literary pot shots at the
parvenu's and "Nabobs" who had been merrily making their fortunes abroad
and at home, and were conspicuously spending it in Bath and elsewhere.
Not to mention every footman or apprentice who spent everything he had
on the finest and most impractical clothes he could afford. I'm sure we all
know
their modern counterparts - people who "haven't got a pot to piss in , or a
window to throw it out of" who spend what little they have on a sports car
or a
Rolex.

What better way to signal your real class, when obnoxious fools like
"Romeo"
Coates were tooling around Regency London in (by then) ridiculous and
ostentatious silks and satins, than to affect exquisitely and subtly
tailored
garments that only those "in the know"- presumably your peers with similar
family background, education and value systems, (or those with both
money and enough smarts to suss out how to REALLY fit in) could recognize?.

A modern example - when I was working in Ottawa in the '80's (the capital
of
Canada, and where all good civil servants go when they die) you could
usually
guess female employees' position by their dress. Many of the clerical staff
sported "Dynasty" and "Dallas" knock-offs (remember those dresses gathered
at the shoulders, wrapped over, that Crystal always wore!) - sexier, more
revealing, (and cheap) clothes.  Professional women dressed more
conservatively in quiet understated suits and dresses. I'm sure the
clerical
staff thought the clothes of the professionals  were boring, and the
professionals thought the clerical staff dressed unprofessionally, insofar
as
they thought about it at all. Both groups had different perceptions and
aspirations.

So people are still signaling status like crazy- the cues are just more
subtle -
"Bombazine would show a deeper sense of loss" and "the little black dress".
This system is even better- it's not enough to just have money! you need to
have an eye and taste. And a lot of people don't have and never will
develop
the "eye". Look how much we enjoy it when the tabloids pillory some
celebrity
for wearing something dreadful to the Oscars. Canada's own Marlen Cowpland
is a case in point.

On the subject of class, an excellent antidote to Titanic-mania is Robert
Roberts

"The Classic Slum" where describes a pre-WWI Manchester slum. Some costume
stuff, although I doubt if anyone in this group will ever be driven to
re-enact
an Edwardian scuttler, moll or old queen, but it's interesting for it's
complex
and sympathetic depiction of an almost vanished working class mindset. In
many
ways, people thought very differently, but the poor were also as acutely
class-conscious
as the most competitive subdivision. (I mention this because I've heard so
much
"the poor never did this because..." ad naseum from reenactors on various
topics
.)

I wish I could remember the original source for this theory. Guess my eye
is
willing but
my brain is weak.

I would like for 100 % to support his theory. But not only in the age of
the Industrial and French Revolution has class dictated fashion and have
the not so rich and tasteful aped them: this is from all ages. I could show
you behaviour like this in the middle ages as well, but I won't, because I
have done so often enough and most medieval re-enactors among you know
these sources as well as I.

Thanks, Sheridan,

Henk

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-Poster: Margo Anderson <margo@directcon.net>


>
>For the record, I have always understood that it was "Beau" Brummell who
popularised the fashion for plain but exquisitely cut clothing during the
Regency period. No doubt it was for the reasons given by other posters that
the style caught on.
>

I don't know if this has been mentioned, but I understood that the
changeover to more somber clothes for men in England occurred after Prince
Albert's death, when the entire nation went into mourning.  Of course,
social factors have much to do with it, but it was probably a factor.

Margo Anderson

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-Poster: Margo Anderson <margo@directcon.net>

At 11:17 AM 1/26/99 -0500, you wrote:
>
>-Poster: "Marsha J. Hamilton" <mhamilto@pop.service.ohio-state.edu>
>
>Has anyone ever tried wiring the outer edge of the ruff to help it 
>maintain the shape? 

I've tried it and didn't like it--every time I moved my head I bent the wire
out of shape.  I've had better luck with heavy fishing line, handpicked,
zigzagged or serged to the edge.  Of course, this is only a good idea if you
hide it in a fold or cover it with trim.

  For one of the large, flat standing collars, wire would be necessary.
I've only made them for dolls, not people, so movement wasn't a problem.  To
make a full size one, you  would need to use  a very rigid wire, not a soft
one.  Heavy millinery wire might work, and would have the advantage that
it's fabric covered and fairly unobtrusive.

Margo Anderson

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-Poster: Laurel Wilson <lwilson16@earthlink.net>



karrissa david wrote:

> I would also like more information on the study of historic textiles and
> colors. If there are other lists (or sources), I would like to have them
> emailed to me at Arizona63@hotmail.com.
>

I too am interested, so if anybody has this info, please share it with the
whole list.
Thanks,
Lauri

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Subject: H-COST: Picot?
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-Poster: Margo Anderson <margo@directcon.net>

I'm making a 1920's dress in silk chiffon, working from a contempory
dressmaking instruction manual.  The instructions for edging the draped
skirt panels simply tell me to have the pieces "picoted".  I understand that
there used to be businesses that did this, but they are no more. 

Can anyone tell me what modern finish would be the closest aproximation to
picoting?  My serger manual gives instructions for a "picot hem" which seems
to involve using the rolled hem setting, but with a long stitch.  Would that
be it?  I also have a baby hemmer for my standard machine, but I'm not good
with it, especially on corners, which this piece has.  My client's budget
does not extend to having me hand roll the hem.

Margo Anderson

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-Poster: Laurel Wilson <lwilson16@earthlink.net>



KATE M BUNTING wrote:

>
>
> For the record, I have always understood that it was "Beau" Brummell who popularised the fashion for plain but exquisitely cut clothing during the Regency period.

Although Beau Brummell certainly helped to popularize the fashion in its most subdued form, it actually began as early as the second quarter of the 18th century in England.  There's an article by a historian named David Kuchta (I am unfortunately
unable to put my hands on the reference, but I will find it and post it) that gives a good overview.
Lauri

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Date: Tue, 26 Jan 1999 13:32:20 -0600
From: "I. Marc Carlson" <LIB_IMC@centum.utulsa.edu>
To: H-COSTUME@indra.com
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-Poster: "I. Marc Carlson" <LIB_IMC@centum.utulsa.edu>

<MaggiRos@aol.com>
>With the caveat that a preacher inveighing against excesses is inclined to
>exaggerate. It's not entirely safe to take anything from Stubbe's literally
>without a back up source.

Not simply exaggeration, but often when someone is attempting to ridicule
someone else, they take an extreme detail and emphasize that to the exclusion
of everything else to that the extreme assumes an important all out of 
proportion to the reality (e.g., the medieval pointed shoe that was so long
it had to be chained to the knee is either an exaggeration or a 
misrepresentation of an extreme example).

Personally, with the discussion of the Shinrone Gown and some of my other
research lately, I'm forced to wonder if that isn't some of the reason for
the appearance of some of the 16th century drawings of Irish garments.  I
mean, the grave sculptures are probably fairly accurate, but some of the 
drawings are almost caricaturish in their extremes.  Now, since the English
(and possibly pro-English Irish) were doing the drawings, and they were trying
to do things like outlaw Irish-specific things, like clothing styles, it 
stands to reason (at least to me) that making those look laughable would
help that.  Conversely, the English (sorry Mel) often looked down on the
Irish in general (not to mention many of their other neighbors), and 
presenting them as looking foolish in general wouldn't be too hard for me to 
believe.

Of course, this is just speculation.

Marc Carlson
lib_imc@centum.utulsa.edu
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From: Margo Anderson <margo@directcon.net>
Subject: RE: H-COST: Shinrone Gown
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-Poster: Margo Anderson <margo@directcon.net>

At 10:44 PM 1/25/99 -0500, you wrote:
>
>-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>
>
>Native Irish did not corset themselves. No stomachers have
>been found to my knowledge nor are any shown in the period
>woodcuts or watercolors I've seen. 

I agree that it seems unlikely that Irish women wore any form of corset.
The reference to a stomacher for maternity wear that I was thinking of,
though, speaks of it as a garment worn for warmth, while riding.  Perhaps
"stomacher" in this context means some sort of waistcoat or other warm
garment.    At any rate, it's English, not Irish, so I'm grasping at straws
here.

I'm not sure that the presence of a waist seam precludes this as a maternity
garment.   I wore my Ren Faire bodice and skirt quite comfortably during
pregnancy, by lacing across the waistband gap and covering it with an apron,
and leaving the bottom hooks of my bodice open.

Margo Anderson

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From owner-h-costume@indra.com  Tue Jan 26 15:37:36 1999
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Date: Tue, 26 Jan 1999 15:41:54 -0500 (EST)
From: Mara Riley <lindo@Radix.Net>
To: h-costume@indra.com
Subject: RE: H-COST: Shinrone Gown
In-Reply-To: <000201be48de$7c8fefe0$ab17ffd0@default>
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-Poster: Mara Riley <lindo@Radix.Net>

I'd be interested to hear more about the 'alternative garments' you're
talking about, since, aside from those DeHeere drawings, I haven't seen
any other evidence for Irish women's clothing.

Also, it's pretty well accepted that when the English said the Irish went
naked beneath their brats, it meant they were wearing a linen leine (which
had a long history in Ireland as a primary outer garment) without any
'proper' woolen garments over it.  The English would have seen this as the
equivalent of running around in one's nightshirt -- i.e., running around
naked. 

Regards,
Mara

On Mon, 25 Jan 1999, Hope H. Dunlap wrote:

> 
> -Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>
> 
> Native Irish did not corset themselves. No stomachers have
> been found to my knowledge nor are any shown in the period
> woodcuts or watercolors I've seen.  Period accounts I've
> seen speak of the woman's chemise showing through the
> lacings if she were poor, and the slightly better off
> tucking the ends of a silk neckscarf under the lacings. They
> had silk commonly as early as the 8th Century I
> believe.There is so little evidence, that it's not possible
> to say that there weren't stomachers, but there are a few
> pieces of evidence suggesting "no stomacher" was
> commonplace.  While the shinrone gown might have been worn
> by someone during maternity, it's really not an ideal
> costume for it.  The waist seam would be less comfortable
> than something loose, and there were plenty of loose
> alternative garments in that culture, usually belted when no
> pregnancy, easy enough to remove the belt or place it higher
> when pregnant.  The standard belt for a millennia seems to
> have reached to the hem of the garment, so the belt was
> plenty long enough to tie in alternative ways.  There are
> some period watercolors on the Reconstructing History
> WebPages which show the Shinrone gown, and it doesn't look
> like any of the women wearing it are pregnant. I also think
> there is evidence that large breasts are more common today
> than they were in olden times , and I can only speculate as
> to the reasons. But I've read that the Irish were strong and
> healthy and scarcely ever overweight, in distinction from
> their Anglo-Norman visitors and overlords.  I just question
> the whole premise that bust support was any kind of
> universal necessity, especially for a people who were
> frequently without clothes entirely during the Anglo-Norman
> period, except if they were lucky, with an Irish "cape."
> 
> Hope H. Dunlap
> 
> 
> -----Original Message-----
> From: owner-h-costume@indra.com
> [mailto:owner-h-costume@indra.com]On
> Behalf Of Margo Anderson
> Sent: Monday, January 25, 1999 5:33 PM
> To: h-costume@indra.com
> Subject: Re: H-COST: Shinrone Gown
> 
> 
> 
> -Poster: Margo Anderson <margo@directcon.net>
> 
> A
> >I'm no expert on 16th century women's fashions, but isn't
> it likely that
> >there's just part of the garment, say some sort of
> removeable "stomacher"
> >panel that's missing?
> 
> Yes, I think it probably was worn with a stomacher,
> especially if it's a
> maternity garment, as laces or ties across a pregnancy bulge
> could be
> uncomfortable with just a chemise.  We know 16th century
> women wore
> stomachers in pregnancy,  I believe there's a quote in
> Ashelford, which of
> course I just took back to the library.
> 
> It's the odd shape of the opening, which is wider over the
> belly than at the
> top, which makes me think it's a maternity dress.  When I
> first saw photos
> of it, I thought it was caused by its being displayed on a
> too large
> mannequin and that the opening was forced wider, but
> apparently further
> inspection has shown that it actually is cut that way.
> 
> Margo Anderson
> 
> 
> ____________________________________________________________
> _____
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> 
>  _________________________________________________________________
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From: lilinah@grin.net
Subject: Re: H-COST: Neck Ruffs
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-Poster: lilinah@grin.net

Marsha J. Hamilton wrote:
>>
>>Has anyone ever tried wiring the outer edge of the ruff to help it
>>maintain the shape?

Margo Anderson wrote:
>I've tried it and didn't like it--every time I moved my head I bent the wire
>out of shape.  I've had better luck with heavy fishing line, handpicked,
>zigzagged or serged to the edge.  Of course, this is only a good idea if you
>hide it in a fold or cover it with trim.
>
>  For one of the large, flat standing collars, wire would be necessary.
>I've only made them for dolls, not people, so movement wasn't a problem.  To
>make a full size one, you  would need to use  a very rigid wire, not a soft
>one.  Heavy millinery wire might work, and would have the advantage that
>it's fabric covered and fairly unobtrusive.

Sometimes to hold up a big ruff the Elizabethans in the later period wore a
supportasse, a flat shape that fit under the ruff made with wires and often
merely covered with paper, although occasionally covered with cloth.
Usually they aren't round, they're deeper in the back and shallow in the
front and tilt upward in the back and down in the front, framing the face,
not the neck.

These are discussed in costume books and sometimes shown in portraits. I've
never made one since my personad doesn't wear a ruff. Has anyone tried one
of these?

Lilinah


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From: aleed <aleed@dnaco.net>
To: h-costume@indra.com
Subject: RE: H-COST: Shinrone Gown
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-Poster: aleed <aleed@dnaco.net>


Perhaps the opening across the front had hooks and eyes on either side,
and was laced on over a kirtle.  Lower-class garments of the 1570s in
Flanders & England were worn like this at the time.

Drea



 > >
> >Native Irish did not corset themselves. No stomachers have
> >been found to my knowledge nor are any shown in the period
> >woodcuts or watercolors I've seen. 
> 
> I agree that it seems unlikely that Irish women wore any form of corset.
> The reference to a stomacher for maternity wear that I was thinking of,
> though, speaks of it as a garment worn for warmth, while riding.  Perhaps
> "stomacher" in this context means some sort of waistcoat or other warm
> garment.    At any rate, it's English, not Irish, so I'm grasping at straws
> here.
> 

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From owner-h-costume@indra.com  Tue Jan 26 17:05:14 1999
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-Poster: SAQUEEN@aol.com

Renata and Penny,

The Museum of City of New York has two costume collections -- historical
fashions and theatrical costumes. They are being featured in Calendar 2000 and
they have fabulous things. 

Currently, they have a virtual exhibit at www.mcny.org and should be on your
virtual tour list. Glad you liked my suggestion and acted so quickly on it.

Cheers,
Sally
Costume Calendar Series
http://www.sallyqueenassociates.com
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From owner-h-costume@indra.com  Tue Jan 26 17:49:55 1999
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Date: Tue, 26 Jan 1999 22:49:45 +0000
To: h-costume@indra.com
From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: H-COST: Lasting cloth
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-Poster: Jean Waddie <anne@montgomerie.demon.co.uk>

Dear list

Can anyone help my reference-librarian sister with this enquiry, which
is completely out of my range?  Please reply to me and I will collate
replies to pass on - I'm not sure what her work would think of a sudden
flood of mail from the US!  Thanks in advance,

Jean

 We have had an enquiry to find out about "lasting cloth"
which was apparently used for military uniforms, gunpowder magazines and even
boots during the 19th century. It's for a member of staff and there is "no
hurry", but we have run out of sources. Do you know of any good books on
textiles/costume(or any web sites) which might tell us how it was made or
anything else? All suggestions gratefully received.


-- 
Jean Waddie
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From owner-h-costume@indra.com  Tue Jan 26 19:17:05 1999
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Subject: Re: H-COST: cloth-of-gold: fakin' it
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-Poster: pnomail@bratshb.uwc.edu

JoAnns has some 50% silk-50% metal fabric on their custom cut rack in home
decorating.  
It's similar to the sheer samples I have from Thai silks.  
Since I have never actually seen cloth of gold, I don't know if it's a good
substitute.
It's considered a sheer, so when home dec sheers go on sale this does also.
 It comes in 4 
colors, if memory serves and is pretty reasonably priced (if you find it at
50% off).  
Minimum purchase is (I think) 1/2 yard, might be as high as 1 yard.  

I don't think I'd fuse it.  Tailor's tacks or something similar would be a
better choice.  
It would stay more liquid.

DJ


>Thai (Exotic) Silks and a few other silk places have the silk/metallic
>"tissui" for around $8-$12 a yard.  This stuff is sheer, but would take
>to fusing with a backing (woven fusible interfacing would be my choice).
>
>Since most of the companies have a 10-17-yard minimum, I'd buy either
>the white/silver or white/gold, then dye pieces of it to the colors you
>want. (Jacquard is especially formulated for silk, Dylon and Procion
>should also work.)


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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: Netting in the round?
Date: Tue, 26 Jan 1999 19:12:38 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

Thanks so much for the reference to the netting WebPages.
They are fantastic!  The 1838 Workwoman's Guide, reprinted
in facsimile by RL. Shep has a number of patterns for
netting, including the standard string bag, a lacy window
curtain (which looked super-easy, and sounded just beautiful
in place), a hairnet, and several fishnet doilies. It's
available from many sources, including Amazon Drygoods, Fred
Struthers Books (www.fsbks.com).  I loved the range of
beuatiful projects in this book.  My only complaint, and it
was a small one, given the quality of the book, was that
there was not a picture of each item with the instructions,
so the crafter requires a bit of blind faith. The Civil War
or Dickens renactor however, can be sure to get a perfectly
period result.

Hope H. Dunlap

-----Original Message-----
From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
Behalf Of Lynn Carpenter
Sent: Tuesday, January 26, 1999 6:03 AM
To: h-costume-digest@indra.com
Subject: H-COST: Netting in the round?



-Poster: Lynn Carpenter <alwen@i2k.com>

"Susan Carroll-Clark" <sclark@chass.utoronto.ca> wrote:

>I'm glad folks like my hairnet site.....I can attest that
once you get the
>hang of making them, they're *really* easy and you can get
them incredibly
>fine-scale (I used the smallest size metal netting needle
from Lacis for the
>purple one I've got the pictures of--that was my third
complete net.)
>
>If folks have any questions, feel free to ask!  (And yes,
I'm working on how
>to make them in the round.....)
>
>Susan Carroll-Clark
>www.geocities.com/Athens/Acropolis/5145/hairnet.html
>(Mistress Nicolaa de Bracton)

When you say, netting in the round, do you mean making a
circular net?  I
make and use these for bags quite a lot.  The instructions I
used were in
Charles Holdgate's "Net Making," Emerson Books Inc.,
copyright 1972,
"standard book number" 87523-180-2.  To make a flat circle,
I mesh 6-12-18
(etc., multiples of 6).  To make a bag, after I get to the
number of meshes
I want, I just stop increasing, so it becomes tubular.

And I can't make any post about netting without mentioning
this beautiful
and inspirational site, which also has instructions for
circular netting:
http://www.the-spa.com/bartholomew/netting/

Lynn
Who *still* hasn't found size 18-22 cotton cable cord to
make the hammock
that inspired her to learn to net two summers ago!



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From owner-h-costume@indra.com  Tue Jan 26 21:24:51 1999
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	 Tue, 26 Jan 1999 18:30:25 -0800
From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: H-COST: Shinrone Gown, Lacing, Nakedness, and Green
Date: Tue, 26 Jan 1999 21:33:38 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

Well, I personally think "naked" meant naked.  If they
wanted to indicate the person was in a chemise, they would
have referred to them being "in their linen," or "in their
leine, shirt, smock" or somesuch.  I am personally  guessing
that some Victorian who just couldn't believe it, credited
the naked reference with another meaning than the obvious.
But that's my 2 cents, having spent a few days recently
reading some of those period accounts and peering at the
woodcuts and things.

Mairead Dunlevy confirms it in Dress in Ireland, when she
writes, quoting Spencer's comments of 1583, for instance:
"Considering such destitution it is not surprising that
many, 'as well women as men, go commonly all naked saving
only a loose mantle hanging about them; if any of them have
a shirt or a pair of single-soled shoes, which they call
brogs, they are especially provided for.' There is
sufficient corroborative evidence that such nakedness,
covered with a mantle, was the unselfconscious style of
dress of the impoverished: a people innocent of thoughts of
immodesty.  This was indeed the case when Francisco de
Cuillar, who was shipwrecked from the Spanish Armada, was
stripped by thieves, nobody in his retreat at the Castle of
Rossclogher was abashed, nor was he uncomfortable at being
clothed daily in little more than a 'bad old blanket full of
vermin'."

As far as alternative women's garments, they'd fall into the
smock, tunic, gown, jacket, and robe categories. Add to that
the cloak, mantle, stole, and shawl. Naomi Tarrant's The
Development of Costume has a picture of an Anglian woman of
the 6th Century with a linen undergarment and a woolen
peplos type garment, like a loose jumper or pinafore
fastened with brooches at the shoulders, and belted with a
tablet-woven belt at the waist. Aprons back and front,
anything worn by a Viking or Dane is likely to have also
been worn in Ireland, she postulates. Then there's the
Knocktopher gown, late 1400's, referenced in Dunlevy. The
Moy gown found in Co. Claire is partially photograhed in
Dunlevey's book, p. 39., similar or slightly later period.

Regarding the Shinrone gown's "circular" cutout under the
bosom, consider this:  If the gown were removed from that
mannequin and laced up the front so that the two vertical
edges were parallel like the period prints, that "circle"
would close up, and a more shapely waist would be defined.
Actually, it's really not a circle, but an opening with two
straight vertical sides, and  a lower edge that cants ever
so slightly to a very shallow V-shape right above the skirt
seam. The Shinrone gown dates from the late 16th, early 17th
century, and period writer and observer Luke Gernon
describes in some detail how the middle class dress was worn
in 1620, quoted in Dunlevy's Dress in Ireland.  It was a
long-lived style, also pictured in Lucas de Heere's color
plates of 1575 on the Reconstructing History WebPages.  No
mention of pregnancy.

Another fun reference: Dublin, A Traveller's Companion, by
the Pakenhams, 1988,

>From Giraldus Cambrensis' Topographia Hibernica: "In this
country the children are not, as elsewhere, delicately
brought up; for everything over and above the homely and
somewhat scanty nourishment they receive from their parents
is left to nature.  They are laid in no cradle, nor swathed
in swaddling clothes; their tender limbs know not the use of
a warm bath, neither are they adjusted with the help of art.
Yet Nature, as if to show what her unaided power can do,
fails not to rear and mould them through infancy and
childhood, until in the fullness of time she leads each to
man's estate conspicuous for a tall and handsome form,
regular features, and a fresh complexion."

Luke Gernon's "Discourses," on the state of Dublin in 1620,
"The women of Ireland are comely creatures, tall, slender,
and upright. Of complexion, very fayre and cleare-skinned
(but freckled) with tresses of bright yellow hayre, which
they chain up in curious knots and devises.  They are not
straight-laced or plated in their youth, but suffered to
grow at liberty so that you shall hardly see one crooked or
deformed . . . "



William Curry in the early 1800's describing Dublin's
"haves" and have-nots":  "Here is a lass almost bouyant with
satin and feathers; there is a trembling girl of eighteen,
purple from cold,shrinking from shame, and drawing around
her the poor rags which, with all her care, scarce cover her
body;"

And this about Parnell in approximately 1881, a little OT,
but too good to leave out:

"A lady worked for him, while he was in prison, a superb
eider-down quilt, covered in green satin, with his monogram
worked in gold bullion---a present worthy of a king.  I am
sure he must have sent a sweet and gracious acknowledgement,
but the gorgeous quilt never rested on his bed.  It was
hidden away carefully underneath a press, where, I'm afraid,
the mice soon tarnished its glory.  Lady devotees sent him
innumerable other marks of homage worked in the dangerous
color --- embroidered smoking caps, tea-cozeys, and even
bright green hosiery. The latter he insisted resolutely on
destroying; the others he distributed freely among his
brother-prisoners, until almost every man in the prison,
except himself, had his green tasselled turban and green
woolen vests. . ."

Hope H. Dunlap



-----Original Message-----
From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
Behalf Of Mara Riley
Sent: Tuesday, January 26, 1999 3:42 PM
To: h-costume@indra.com
Subject: RE: H-COST: Shinrone Gown



-Poster: Mara Riley <lindo@Radix.Net>

I'd be interested to hear more about the 'alternative
garments' you're
talking about, since, aside from those DeHeere drawings, I
haven't seen
any other evidence for Irish women's clothing.

Also, it's pretty well accepted that when the English said
the Irish went
naked beneath their brats, it meant they were wearing a
linen leine (which
had a long history in Ireland as a primary outer garment)
without any
'proper' woolen garments over it.  The English would have
seen this as the
equivalent of running around in one's nightshirt -- i.e.,
running around
naked.

Regards,
Mara

On Mon, 25 Jan 1999, Hope H. Dunlap wrote:

>
> -Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>
>
> Native Irish did not corset themselves. No stomachers have
> been found to my knowledge nor are any shown in the period
> woodcuts or watercolors I've seen.  Period accounts I've
> seen speak of the woman's chemise showing through the
> lacings if she were poor, and the slightly better off
> tucking the ends of a silk neckscarf under the lacings.
They
> had silk commonly as early as the 8th Century I
> believe.There is so little evidence, that it's not
possible
> to say that there weren't stomachers, but there are a few
> pieces of evidence suggesting "no stomacher" was
> commonplace.  While the shinrone gown might have been worn
> by someone during maternity, it's really not an ideal
> costume for it.  The waist seam would be less comfortable
> than something loose, and there were plenty of loose
> alternative garments in that culture, usually belted when
no
> pregnancy, easy enough to remove the belt or place it
higher
> when pregnant.  The standard belt for a millennia seems to
> have reached to the hem of the garment, so the belt was
> plenty long enough to tie in alternative ways.  There are
> some period watercolors on the Reconstructing History
> WebPages which show the Shinrone gown, and it doesn't look
> like any of the women wearing it are pregnant. I also
think
> there is evidence that large breasts are more common today
> than they were in olden times , and I can only speculate
as
> to the reasons. But I've read that the Irish were strong
and
> healthy and scarcely ever overweight, in distinction from
> their Anglo-Norman visitors and overlords.  I just
question
> the whole premise that bust support was any kind of
> universal necessity, especially for a people who were
> frequently without clothes entirely during the
Anglo-Norman
> period, except if they were lucky, with an Irish "cape."
>
> Hope H. Dunlap
>
>
> -----Original Message-----
> From: owner-h-costume@indra.com
> [mailto:owner-h-costume@indra.com]On
> Behalf Of Margo Anderson
> Sent: Monday, January 25, 1999 5:33 PM
> To: h-costume@indra.com
> Subject: Re: H-COST: Shinrone Gown
>
>
>
> -Poster: Margo Anderson <margo@directcon.net>
>
> A
> >I'm no expert on 16th century women's fashions, but isn't
> it likely that
> >there's just part of the garment, say some sort of
> removeable "stomacher"
> >panel that's missing?
>
> Yes, I think it probably was worn with a stomacher,
> especially if it's a
> maternity garment, as laces or ties across a pregnancy
bulge
> could be
> uncomfortable with just a chemise.  We know 16th century
> women wore
> stomachers in pregnancy,  I believe there's a quote in
> Ashelford, which of
> course I just took back to the library.
>
> It's the odd shape of the opening, which is wider over the
> belly than at the
> top, which makes me think it's a maternity dress.  When I
> first saw photos
> of it, I thought it was caused by its being displayed on a
> too large
> mannequin and that the opening was forced wider, but
> apparently further
> inspection has shown that it actually is cut that way.
>
> Margo Anderson
>
>
>
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>
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From owner-h-costume@indra.com  Tue Jan 26 21:47:29 1999
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	 Tue, 26 Jan 1999 18:53:39 -0800
From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: H-COST: Picot
Date: Tue, 26 Jan 1999 21:56:58 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

Any blanket-style stitch will develop the picot edge stitch,
spaced to suit, maybe 1/4 or 3/8" apart. Unlike the blanket
stitch, though, the continuing thread is not along the outer
edge of the garment, but on the other side (inside edge) of
the rolled hem. The rolled silk hem fluffs out a bit between
the stitches, giving a pretty shell-like scalloped edge to
silk lingerie.

Hope H. Dunlap

-----Original Message-----
From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
Behalf Of Margo Anderson
Sent: Tuesday, January 26, 1999 2:13 PM
To: h-costume@indra.com
Subject: H-COST: Picot?



-Poster: Margo Anderson <margo@directcon.net>

I'm making a 1920's dress in silk chiffon, working from a
contempory
dressmaking instruction manual.  The instructions for edging
the draped
skirt panels simply tell me to have the pieces "picoted".  I
understand that
there used to be businesses that did this, but they are no
more.

Can anyone tell me what modern finish would be the closest
aproximation to
picoting?  My serger manual gives instructions for a "picot
hem" which seems
to involve using the rolled hem setting, but with a long
stitch.  Would that
be it?  I also have a baby hemmer for my standard machine,
but I'm not good
with it, especially on corners, which this piece has.  My
client's budget
does not extend to having me hand roll the hem.

Margo Anderson


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From owner-h-costume@indra.com  Tue Jan 26 21:48:24 1999
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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: Shinrone Gown
Date: Tue, 26 Jan 1999 21:38:34 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

Dunvlevy remarks on the similarity of the Shinrone Gown with
the dress of the low countries of the time.  Also mentions
silver buttons both sides laced over, but I'm sure not
everyone could afford them.

Hope H. Dunlap

-----Original Message-----
From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
Behalf Of aleed
Sent: Tuesday, January 26, 1999 4:39 PM
To: h-costume@indra.com
Subject: RE: H-COST: Shinrone Gown



-Poster: aleed <aleed@dnaco.net>


Perhaps the opening across the front had hooks and eyes on
either side,
and was laced on over a kirtle.  Lower-class garments of the
1570s in
Flanders & England were worn like this at the time.

Drea



 > >
> >Native Irish did not corset themselves. No stomachers
have
> >been found to my knowledge nor are any shown in the
period
> >woodcuts or watercolors I've seen.
>
> I agree that it seems unlikely that Irish women wore any
form of corset.
> The reference to a stomacher for maternity wear that I was
thinking of,
> though, speaks of it as a garment worn for warmth, while
riding.  Perhaps
> "stomacher" in this context means some sort of waistcoat
or other warm
> garment.    At any rate, it's English, not Irish, so I'm
grasping at straws
> here.
>


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From: The Purple Elephant <csmart@physics.adelaide.edu.au>
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-Poster: The Purple Elephant <csmart@physics.adelaide.edu.au>

On Mon, 25 Jan 1999, Margo Anderson wrote:

> 
> It's the odd shape of the opening, which is wider over the belly than at the
> top, which makes me think it's a maternity dress.  When I first saw photos
> of it, I thought it was caused by its being displayed on a too large
> mannequin and that the opening was forced wider, but apparently further
> inspection has shown that it actually is cut that way.

Hmmmm....I have seen another dress that looked like this. Not an extant
dress, but a drawing of a woman lacing up a kirtle or cote-hardie with
a front opening that widens out at the bottom (almost the shape of a 
spoon busk). I've seen it as redrawings in a couple of books I think,
but can't remember what the original was in (or indeed, if there even
is an original).

------------------------------------------------------------------------------
Claire F. Clarke       "What is this world if, full of care, 
Physicist, writer,     We have no time to stand and stare?"
and non environmentally                     Robert Louis Stevenson
friendly substance.
------------------------------------------------------------------------------

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From owner-h-costume@indra.com  Tue Jan 26 23:19:02 1999
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From: "VANVRANKEN,RUTHANN (HP-Roseville,ex1)"
	 <ruthann_vanvranken@am.exch.hp.com>
To: "'h-costume@indra.com'" <h-costume@indra.com>
Subject: H-COST: RE:Byzantine Frescoes (was henk question -- sleeves)
Date: Tue, 26 Jan 1999 21:25:55 -0700
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-Poster: "VANVRANKEN,RUTHANN (HP-Roseville,ex1)" <ruthann_vanvranken@am.exch.hp.com>

Hello,

Many apologies for the extended delay getting this posted (life is a four
letter word...)

*Byzantine Frescoes and Icons in Yugoslavia*   Text by: Oto Bihalji-Merin, 
Publisher:  Harry N. Abrams, Inc., New York
No ISBN listed, Library of Congress Catalog Card Number 60-9705
Copyright 1958 in Germany by Hanns Reich Verlag, Munich

The short-sleeved women are on pages 28, 36, and 58.

If anyone needs any further data about the images (i.e. if you weren't able
to locate the book, etc).  Please email me directly at
jarlrolf@table.jps.net, especially as I have to temporarily unsubscribe from
H-Costume .  (P.S. I'll do my best to reply faster...)

 - Rhodry

> -----Original Message-----
> From:	Jessica Wilbur [SMTP:jessica@pop.net]
> Sent:	Friday, December 18, 1998 12:29
> To:	h-costume@indra.com
> Subject:	RE: H-COST: henk question -- sleeves
> 
> -Poster: "Jessica Wilbur" <jessica@pop.net>
>  
> > -Poster: "VANVRANKEN,RUTHANN (HP-Roseville,ex1)"
> <ruthann_vanvranken@am.exch.hp.com>
> > 
> > Is the original poster wanting to limit the short sleeves specifically
> to
> > undergowns?
> > 
> > I have found short sleeved gowns on women in Byzantine Fresco in
> Yugoslovia.
> > I can post the editor/publisher/isbn info if you would like it.  There
> are
> > naturally, earlier than 15C.
> > 
> >  - Rhodry
> 
> Hi Rhodry,
> 
> I would love to see the info for your reference. Sounds really
> interesting! Please post it!
> 
> Thanks!
> --Jessica
> 
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-Poster: Laurel Wilson <lwilson16@earthlink.net>



Margo Anderson wrote:

>
>
> I don't know if this has been mentioned, but I understood that the
> changeover to more somber clothes for men in England occurred after Prince
> Albert's death, when the entire nation went into mourning.  Of course,
> social factors have much to do with it, but it was probably a factor.
>
>

Sorry again, but, although mourning for Prince Albert may have helped to keep
men's clothes on a somber track, the change to less colorful clothing for men
is definitely an eighteenth-century phenomenon.
Lauri


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From owner-h-costume@indra.com  Wed Jan 27 00:16:30 1999
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-Poster: Appin1@aol.com

I too wondered about the gap in the front of the Shinrone gown. I recently saw
the dress in Dublin and it is definitely displayed strangely. However, if
anyone has "Dress in Ireland", look at color plate #2. If you pull the pieces
of the Shinrone gown together, it will fit like the woman's dress in Plate #2.
I made a similar dress in wool with welted seams, like the dress in Plate #2
and when it is opened and spread out, it looks like the displayed Shinrone
gown.

Hope this helps.
Kathleen Norvell
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From owner-h-costume@indra.com  Wed Jan 27 00:27:02 1999
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-Poster: Appin1@aol.com

It looks terrific. Can we see a photo of you in the houppelande?

Kathleen Norvell
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From owner-h-costume@indra.com  Wed Jan 27 00:57:06 1999
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Date: Wed, 27 Jan 1999 00:00:35 -0600
To: h-costume-digest@indra.com
From: Pierre & Sandy Pettinger <costumrs@binary.net>
Subject: H-COST: Re: picot edge
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-Poster: Pierre & Sandy Pettinger <costumrs@binary.net>

>- -Poster: Margo Anderson <margo@directcon.net>
>
>I'm making a 1920's dress in silk chiffon, working from a contempory
>dressmaking instruction manual.  The instructions for edging the draped
>skirt panels simply tell me to have the pieces "picoted".  I understand that
>there used to be businesses that did this, but they are no more. 
>
>Can anyone tell me what modern finish would be the closest aproximation to
>picoting?  My serger manual gives instructions for a "picot hem" which seems
>to involve using the rolled hem setting, but with a long stitch.  Would that
>be it?  I also have a baby hemmer for my standard machine, but I'm not good
>with it, especially on corners, which this piece has.  My client's budget
>does not extend to having me hand roll the hem.
>
>Margo Anderson
>
Margo,

I don't know what a "picoted" edge is, but having made a skirt out of silk
chiffon (10 full fabric widths in the skirt, making it about 450" around
the hem), this is what worked for me.  After much trial and error (and
chewed up silk), I used monofilament thread in both the needle and bobbin,
and did a basic zigzag.  I think I used about a 2-3 mm stitch width, and
about a 1.5 mm stitch length.  I made a very small fold on the edge (about
1/4 in.) and sewed it with the zigzag going just over the edge of the fold.
 It rolled up just like a rolled hem, without fussing with the serger or a
special foot.  In fact, my serger ate the fabric, rather than sewed it.  I
used the superfine monofilament "Wonder thread" (I think made by YLI). I
think JoAnns carries it, or you can get it from Clothilde.  It's much nicer
than the basic monofilament (Coat's, or whatever).  I also used the same
method to seam the pieces together, making a very unobtrusive seam.

Hope this helps.  

Sandy

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From owner-h-costume@indra.com  Wed Jan 27 01:28:51 1999
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-Poster: Appin1@aol.com

I actually HAVE seen cloth of gold at the Suleyman the Magnificent exhibition
(National Gallery of Art). It is wonderful and practically glows in the dark.
I think the method of manufacture involves wrapping fine gold (or silver or
copper) wire with colored silk and then weaving it. You get subtle differences
in color depending on the type of wire used.

Kathleen Norvell
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From owner-h-costume@indra.com  Wed Jan 27 07:16:55 1999
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Date: Wed, 27 Jan 1999 04:28:38 -0800
From: Cynthia Virtue <cvirtue@ricochet.net>
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-Poster: Cynthia Virtue <cvirtue@ricochet.net>

> It looks terrific. Can we see a photo of you in the houppelande?

Thanks!  But the answer is "not until the end of Feb at the earliest."  I'm
moving to Philadelphia and we're in the middle of fevered sorting-out.

cv
=-=-=-=-=
  "Such virtue hath my pen...."  -Shakespeare, Sonnet LXXXI
       "I knew this wasn't _my_ pen!"  --Cynthia Virtue
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From owner-h-costume@indra.com  Wed Jan 27 09:01:10 1999
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-Poster: Gaelscot@aol.com



Okay, men, you can stop reading now.

A couple of people have written in looking for bras with support but without
underwires. The new Vermont Country Store catalogue (mentioned here before)
has a whole page of cotton bras without underwires. They all come in large
sizes. They all claim great support. There are several styles, including one
call "Exquisite Form," which is apparently an old customer favorite -- it
looks quite pointy from the illustration. The rest look more modern. Prices
range from $14.95 to $32.95. I have never ordered anything from them and I
have no idea what their service is like. You can call them at 802-362-8440.

I don't know what the deal is with underwires. When I was nursing I had some
great Playtex bras with an "underwire alternative." When I stopped nursing I
tried to find cotton, non-underwire, supportive bras in the department stores
with no success. When I talked to salesladies about it, they thought I was
nuts.

Gail Finke

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From owner-h-costume@indra.com  Wed Jan 27 11:41:39 1999
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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: Hawaiian material
Date: Wed, 27 Jan 1999 11:51:20 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

Many of the "Hawaiian" prints are actually batiks from
Thailand,  Indonesia, Malaysia, and China.  There are
companies in both countries which sell them mail-order.  The
Thai Queen is an artist with a strong textile bent, and she
designed a line of wonderful, sophisticated batik prints in
black and white, which I've seen for sale on the Web.  I
don't have the URL's, but start with
http://www.MetaCrawler.com, the consortium of search
engines, and ask about "Batik," Thai textiles, Thai Silk,
and you'll find some nice stuff. I bought a nice batik rayon
in Apple Annie's in Swansea, MA, recently, but hated paying
$16/yard for it.  The exchange rate favors buying overseas
now, and you'd have a much wider range of choices at more
modest prices.

Hope H. Dunlap

-----Original Message-----
From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
Behalf Of M311@aol.com
Sent: Sunday, January 24, 1999 5:31 PM
To: h-costume@indra.com
Subject: H-COST: Hawaiian material



-Poster: M311@aol.com


In a message dated 1/21/99 1:59:13 AM Central Standard Time,
haggis@sirius.com
writes:

<<  "Hawaiian  shirts" >>

This reminds me of when I was in 8th grade.  Even though I
was already sewing
at home I took sewing in school.  You, know easy A and all
plus being
something I liked.  One of the things I made was a nice pull
over shirt but
out of a nice Hawaiian print.  It was just lovely.  Never
seen anything like
it since.  Found another I liked a few years later, a nice
purple background
with orange flowers and tan leaves.  I used the neatest
orange buttons.  I
just loved it, made it into a one piece shorts jumper.
I live in the Midwest where this type of prints aren't
readily available, so
which brings me to this question:
Does anyone know of a mail order source for Hawaiian print
material?
Kelly Albrecht
m311@aol.com
 _________________________________

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From owner-h-costume@indra.com  Wed Jan 27 13:07:14 1999
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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: non-underwire bras
Date: Wed, 27 Jan 1999 11:14:44 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

In mhy area anyway, cotton bras are becoming a normal
department store item.  I used to mail order them from a
small home-based business in Virginia, which carried the
nursing and regular varieties, in a fabulous range of sizes.
Sorry I can no longer find her address and phone---but
Warner's makes a couple of versions of their "Friday bra" in
all-cotton knit goods, very comfortable, and my personal
standby for every day of the week.  I buy with a little
ease, because they do shrink a bit going through the hot
dryer.  They need to fit initially hooked on the inside-most
set of hooks, and with less support than you'd ideally want
in the cup. After shrinkage, the cup will offer the correct
support, and you'll wear it hooked on the middle or outer
set of hooks.  By mail order, besides The Vermont County
Store (which is super-reliable and fair-priced), Garnet Hill
in Vermont or New Hampshire (I forget) is also a good
source, particularly of the more expensive and decorative
European cotton bras.

Hope H. Dunlap

-----Original Message-----
From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
Behalf Of Gaelscot@aol.com
Sent: Wednesday, January 27, 1999 9:08 AM
To: h-costume-digest@indra.com
Subject: H-COST: non-underwire bras



-Poster: Gaelscot@aol.com



Okay, men, you can stop reading now.

A couple of people have written in looking for bras with
support but without
underwires. The new Vermont Country Store catalogue
(mentioned here before)
has a whole page of cotton bras without underwires. They all
come in large
sizes. They all claim great support. There are several
styles, including one
call "Exquisite Form," which is apparently an old customer
favorite -- it
looks quite pointy from the illustration. The rest look more
modern. Prices
range from $14.95 to $32.95. I have never ordered anything
from them and I
have no idea what their service is like. You can call them
at 802-362-8440.

I don't know what the deal is with underwires. When I was
nursing I had some
great Playtex bras with an "underwire alternative." When I
stopped nursing I
tried to find cotton, non-underwire, supportive bras in the
department stores
with no success. When I talked to salesladies about it, they
thought I was
nuts.

Gail Finke


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From owner-h-costume@indra.com  Wed Jan 27 13:08:24 1999
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-Poster: Christina Conklin <textiles@earthlink.net>

Not that I'm in the market for $1200/yd cloth, but I would be very
interested to know if such a thing is still being made, if anyone has a
lead on sources. . . .

Also, yesterday I was replying to a message in an h-digest and I
inadvertantly hit 'send' before deleting a large hunk of the digest.
Apologies for garbaging up the list. I was just trying to say that I,
too, am interested in joining a historic textiles newsgroup, mentioned
several times of late.

Christy Conklin

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From owner-h-costume@indra.com  Wed Jan 27 15:14:35 1999
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-Poster: Margo Anderson <margo@directcon.net>

At 09:56 PM 1/26/99 -0500, you wrote:
>
>-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>
>
>Any blanket-style stitch will develop the picot edge stitch,
>spaced to suit, maybe 1/4 or 3/8" apart. Unlike the blanket
>stitch, though, the continuing thread is not along the outer
>edge of the garment, but on the other side (inside edge) of
>the rolled hem. The rolled silk hem fluffs out a bit between
>the stitches, giving a pretty shell-like scalloped edge to
>silk lingerie.

 So this is what some sewing machine manuals call a shell hem?  Cool, my
machine does that.  thanks!

Margo

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From owner-h-costume@indra.com  Wed Jan 27 16:03:00 1999
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Date: Tue, 26 Jan 1999 11:22:03 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: Re: H-COST: History of menswear
In-Reply-To: <Pine.SV4.3.96.990124213905.10506A-100000@saltmine.radix.ne
 t>
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>

The change toward boring men's clothing began to happen at the Revolution,
but men still got to wear cool stuff till about the 1830's (except for
waistcoats, of which there are cool examples throughout the dull times).  

I personally think the Industrial Revolution made the moneyed middle class
so important that after a while most men were dressing like them, that is
unimaginatively.  With men thinking women were butterflies needing bright
colours and novelty in garments, while thinking men were above all this,
factory production in clothing would help standardize and narrow men's
choices in garments.   

It wasn't till the late 1950's that men really started wearing colours
again (except for Hawaiian shirts and the occasional cool neckties).  The
Zoot suits in the 1940's were the first really radical change in cut in
many decades.  The English designers like Mary Quant in the early 60's put
colour and pattern back on men, along with differently cut suits.  Then all
sartorial-**** broke loose, leading to the Hippies and the Unisex clothing
experiments of the late 60's-early 70's.

>Didn't the change occur around the Regency period?  Something about people
>dressing in less finery after the French Revolution and all that...  Plus
>the more somber Victorian era kinda nailed that trend down.
>
 
>> A friend who had just seen the movie "Elizabeth" just inquired about mens
>> clothing from the period.  He wanted to know if the male species was
>> really that colorful and I told him, yes, it wasn't until the 19th century
>> that mens clothing became somber, much as it is today.  When he
>> asked why, I really couldnt think of an answer.  It's been too long since
>> I studied costume history and I'm sure there are a number of factors that
>> go into the gradual changes that took place from the 1700s to the 1800s.
>> It seemed like a good question to pose to this group.  I'm sure there must
>> be a few of you historians out there who can provide some input.


Kayta
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From owner-h-costume@indra.com  Wed Jan 27 16:03:07 1999
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Date: Tue, 26 Jan 1999 11:25:08 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: RE: H-COST: Neck Ruffs
In-Reply-To: <3.0.1.32.19990124232116.00a72330@mail.interlog.com>
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>


>I just have to reiterate that YOU make them that way and they work for you.
> There are EXISTING, SURVIVING RUFFS which are essentially cartridge
>pleated and sewn to the neck band along the top edge.  So saying your way
>is the only way they were done is as silly as my saying my way was the only
>way they were done.  If you look at portraits you will also notice for just
>about everything there was more than one style.  :)
>
>Just trying to keep this friendly,
>Danielle
>
>P.S. I've done it "my way" and it works too.

Please cite pictures in commonly available costume books so I can see these
too.  I haven't seen them, or don't remember having seen them.


Kayta
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From owner-h-costume@indra.com  Wed Jan 27 16:03:20 1999
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Date: Tue, 26 Jan 1999 11:34:54 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: Re: H-COST: Regency events in Boston???
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>

These days Science Fiction conventions often have Regency dance events one
or two nights.  This has to be from the crossover between fen and Georgette
Heyer fen.  I know Boston has SF cons, so she could check on a con's
website for Regency dancing.  Bookstores which specialize in SF books will
know dates for local cons, maybe websites too.  A one day membership ought
to get her in, or maybe they have a one-night/party-only membership.

>Can anyone in the Boston (USA) area help?
>
>I have a friend in Boston who is busily making herself some outfits 
>using the wonderful La Mode Bagatelle Regency patterns.  The problem 
>is, she doesn't know of any events in her area where she could wear 
>them.
>
>It's a real shame.  When I spoke to her yesterday, the silk she 
>ordered fro the evening dress hadn't been delivered so she had 
>started cutting out a cotton day dress for something to do in the 
>meantime...
>
>Anyone know of any events in the area I could send her details of?


Kayta
     ////.\\\
    ////-@@\\\
   ((((   7 (((
     |   -- ))))
     * )   (((((
  /----\   /---\

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From owner-h-costume@indra.com  Wed Jan 27 17:34:44 1999
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Date: Tue, 26 Jan 1999 20:57:15 -0500
To: h-costume@indra.com
From: Kevin + Mara Riley <lindo@Radix.Net>
Subject: Re: H-COST: Possible misrepresentation (was Anatomie of
  Abuses?)
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-Poster: Kevin + Mara Riley <lindo@Radix.Net>

At 01:32 PM 01/26/1999 -0600, you wrote:
>
>-Poster: "I. Marc Carlson" <LIB_IMC@centum.utulsa.edu>
>
><MaggiRos@aol.com>
>>With the caveat that a preacher inveighing against excesses is inclined to
>>exaggerate. It's not entirely safe to take anything from Stubbe's literally
>>without a back up source.
>
>Not simply exaggeration, but often when someone is attempting to ridicule
>someone else, they take an extreme detail and emphasize that to the exclusion
>of everything else to that the extreme assumes an important all out of 
>proportion to the reality (e.g., the medieval pointed shoe that was so long
>it had to be chained to the knee is either an exaggeration or a 
>misrepresentation of an extreme example).
>
>Personally, with the discussion of the Shinrone Gown and some of my other
>research lately, I'm forced to wonder if that isn't some of the reason for
>the appearance of some of the 16th century drawings of Irish garments.  I
>mean, the grave sculptures are probably fairly accurate, but some of the 
>drawings are almost caricaturish in their extremes.  Now, since the English
>(and possibly pro-English Irish) were doing the drawings, and they were
trying
>to do things like outlaw Irish-specific things, like clothing styles, it 
>stands to reason (at least to me) that making those look laughable would
>help that.  Conversely, the English (sorry Mel) often looked down on the
>Irish in general (not to mention many of their other neighbors), and 
>presenting them as looking foolish in general wouldn't be too hard for me to 
>believe.
>
>Of course, this is just speculation.
>
>Marc Carlson
>lib_imc@centum.utulsa.edu

Yes, but the Shinrone gown isn't that different from the DeHeere drawings.
Also, the DeHeere drawings don't show many of the other signs of being
caricatures -- distorted limbs, etc. -- and they also match other
contemporary depictions of what the Irish (men, at least) were wearing,
such as the Durer engraving and a few other illustrations.  So I see no
reason to think he was being inaccurate, particularly as the women he was
portraying were supposed to be townswomen, not from the country, and
therefore were probably Anglo-Irish.  
Wasn't DeHeere Dutch?

Cheers,
Mara


Kevin + Mara Riley
Home Page http://www.radix.net/~lindo
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From owner-h-costume@indra.com  Wed Jan 27 17:55:12 1999
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From: "Glenda Robinson" <glendar@aus.compassnet.com.au>
To: <h-costume@indra.com>
Subject: Re: H-COST: Sources for the REAL cloth of gold?
Date: Thu, 28 Jan 1999 10:05:50 +1100
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-Poster: "Glenda Robinson" <glendar@aus.compassnet.com.au>

Christy Conklin wrote:

> I was just trying to say that I, too, am interested in joining a historic
textiles newsgroup, mentioned several times of late.


As am I! And I've got another couple of reenactor friends here in Australia
who would be interested. Maybe someone should start one (I would, but I'm
only on the net an hour a day at the most).

Glenda.



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From owner-h-costume@indra.com  Wed Jan 27 18:26:46 1999
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-Poster: Brenda and Larry Clough <clough@erols.com>

At 11:34 AM 1/26/99 -0800, you wrote:
>
>-Poster: Carolyn Kayta Barrows <kayta@slip.net>
>
>These days Science Fiction conventions often have Regency dance events one
>or two nights.  This has to be from the crossover between fen and Georgette
>Heyer fen.  I know Boston has SF cons, so she could check on a con's
>website for Regency dancing.  Bookstores which specialize in SF books will
>know dates for local cons, maybe websites too.  A one day membership ought
>to get her in, or maybe they have a one-night/party-only membership.
>
>>Can anyone in the Boston (USA) area help?


The next major SF convention in the Boston area is Boskone, over the
Washington's Birthday weekend.  They nearly always do have a Regency dance
of some sort.  They have a web page, and there's a link from my web page.

Brenda
Brenda W. Clough, author of HOW LIKE A GOD from Tor Books.
http://www.sff.net/people/Brenda

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From owner-h-costume@indra.com  Wed Jan 27 20:09:20 1999
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From: "Mariea M. Goodinson-Dillenkofer" <stassja@bellatlantic.net>
Subject: H-COST: 1950's costuming
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-Poster: "Mariea M. Goodinson-Dillenkofer" <stassja@bellatlantic.net>

Hi all!

	I just wondered if anyone knows of any good patterns available for a
1950's type dress, the kind usually referred to as a "prom dress" -
strapless fitted bodice with a very full skirt gathered at the waist and
usually with a wide sash that makes a bow in back. I know this sounds
simple to put together from scratch but I wondered if there's a pattern out
there to make the work simpler (also, I'm not sure what fabrics would get
used other than taffeta, net and organdy for this type of party dress).

	Thanks for any leads!

	Rie


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From owner-h-costume@indra.com  Wed Jan 27 21:00:49 1999
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-Poster: Kim Graham <kgraham@flash.net>



Melanie Wilson wrote:

> -Poster: Melanie Wilson <MelanieWilson@compuserve.com>
>
> I'm sending some addresses of US list members for the catalogue anyone else
> who'd like adding, speak now or forever hold your peace !
>

Me, too! Me, too! she cried, tripping over 3 pair of modern clogs as she
ran...  I LOVE my clogs.  Thanks for adding me!

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From owner-h-costume@indra.com  Wed Jan 27 21:01:00 1999
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-Poster: Kim Graham <kgraham@flash.net>



Melanie Wilson wrote:

> -Poster: Melanie Wilson <MelanieWilson@compuserve.com>
>
> I'm sending some addresses of US list members for the catalogue anyone else
> who'd like adding, speak now or forever hold your peace !
>

Me, too! Me, too! she cried, tripping over 3 pair of modern Swedish clogs as
she ran...  I LOVE my clogs.  Thanks for adding me!

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From owner-h-costume@indra.com  Wed Jan 27 21:01:49 1999
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From: "Christine Robb" <cedar@mail.interlog.com>
Organization: Stepping Stately
To: h-costume-digest@indra.com
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-Poster: "Christine Robb" <cedar@mail.interlog.com>

A peculiar little site, probably better looked at on April 1:

http://www.ffutures.demon.co.uk/fashion/fut_fash.htm


Christine

cedar@interlog.com
For information on English Country and vintage dance in Toronto:
http://www.interlog.com/~cedar
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From owner-h-costume@indra.com  Wed Jan 27 21:29:28 1999
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Date: Wed, 27 Jan 1999 19:27:51 -0700 (MST)
From: Sylvia Rognstad <sylvia@netherworld.com>
To: h-costume@indra.com
Subject: Re: H-COST: History of menswear
In-Reply-To: <4.1.19990126105726.00c08100@pop.slip.net>
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-Poster: Sylvia Rognstad <sylvia@netherworld.com>

On Tue, 26 Jan 1999, Carolyn Kayta Barrows wrote:

> 
> It wasn't till the late 1950's that men really started wearing colours
> again (except for Hawaiian shirts and the occasional cool neckties).
The
> Zoot suits in the 1940's were the first really radical change in cut in
> many decades.  The English designers like Mary Quant in the early 60's put
> colour and pattern back on men, along with differently cut suits.  Then all
> sartorial-**** broke loose, leading to the Hippies and the Unisex clothing
> experiments of the late 60's-early 70's.

Yea, but that didn't last long.
Sylvia

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Date: Wed, 27 Jan 1999 21:10:15 -0600
To: h-costume@indra.com
Subject: Re: H-COST: 1950's costuming
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-Poster: pnomail@bratshb.uwc.edu

Vogue (Vintage) has released an old pattern for a 50's long dress full skirt.
Also look at Style and New Look, they usually have interesting things.

DJ

>Hi all!
>
>	I just wondered if anyone knows of any good patterns available for a
>1950's type dress, the kind usually referred to as a "prom dress" -
>strapless fitted bodice with a very full skirt gathered at the waist and
>usually with a wide sash that makes a bow in back. I know this sounds
>simple to put together from scratch but I wondered if there's a pattern out
>there to make the work simpler (also, I'm not sure what fabrics would get
>used other than taffeta, net and organdy for this type of party dress).
>
>	Thanks for any leads!
>
>	Rie
>
>
> _________________________________________________________________
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> with the message UNSUBSCRIBE H-COSTUME
>
>

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From owner-h-costume@indra.com  Wed Jan 27 23:21:19 1999
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Subject: H-COST: pricing question
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-Poster: Margo Anderson <margo@directcon.net>

I have a question about pricing a costume.  A friend of my parents wants me
to make her a 1920's dress, suitable for a dinner party, that she could also
wear to other, non costume formal events.  We found a design for a very
pretty chiffon dress with long sleeves and draped panels on the skirt.  To
make this dress, in silk chiffon, I quoted her a price of $300.   Although
she was very nice about it, she was flabbergasted at the price, and said
she's never spent this much on any piece of clothing.

Now, I've been out of the loop for quite some time as far as formal clothing
goes, but does this price really seem that high?  Isn't this about what a
dressy dress of decent quality, bought off the rack, costs these days?  Or
am I just too expensive?  

Margo Anderson

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From owner-h-costume@indra.com  Wed Jan 27 23:29:23 1999
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Date: Wed, 27 Jan 1999 23:45:01 -0500
To: h-costume@indra.com
From: Danielle Nunn <dnunn@interlog.com>
Subject: Re: H-COST: Neck Ruffs
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-Poster: Danielle Nunn <dnunn@interlog.com>

Greetings,

>Has anyone ever tried wiring the outer edge of the ruff to help it 
>maintain the shape?  Some of the Elizabethan standing ruffs must have 
>been wired from the look of the portraits.  Anyone have any info?

I think they were just normal ruffs worn over a supportasse/ undrepropper,
i.e. unwired.  Remember some of the funky perspectives which were happening
in some of the paintings.  Also, once the lace is startched it is
remarkably stiff.  (It is also next to impossible to wash out completely
afterwards.)

I've seen some photos/pictures of some surviving ones (supportasses) and
they range from functional to lovely.  If I remember correctly, one of the
flat lace "ruffs" was still tacked to one of the supportasses.

Just my thoughts...
Danielle

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From owner-h-costume@indra.com  Thu Jan 28 00:01:41 1999
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Subject: RE: H-COST: Shinrone Gown
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-Poster: Julie Adams <savaskan@sd.znet.com>

>-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>
>
>Dunvlevy remarks on the similarity of the Shinrone Gown with
>the dress of the low countries of the time.

The low countries gowns with the open fronts were normally either worn so
they were laced over a stomacher/placket or an undergown.

Julie Adams


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From owner-h-costume@indra.com  Thu Jan 28 00:12:15 1999
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Date: Wed, 27 Jan 1999 20:41:03 -0600
Subject: Re: H-COST: 1950's costuming
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-Poster: seamstrix@juno.com

In Vogue Pattern's new Vintage Vogue line, they have a pattern for a
1950's era formal gown that seems to fit your description. I don't have
the exact pattern number handy, but I'm sure a quick look through the
pattern section of your local fabric store.


Karen 
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From owner-h-costume@indra.com  Thu Jan 28 00:39:11 1999
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Date: Wed, 27 Jan 1999 23:49:07 -0600
From: "I. Marc Carlson" <LIB_IMC@centum.utulsa.edu>
To: H-COSTUME@indra.com
Message-Id: <990127234907.10d6dc@centum.utulsa.edu>
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-Poster: "I. Marc Carlson" <LIB_IMC@centum.utulsa.edu>

<Kevin + Mara Riley <lindo@Radix.Net>>
>Yes, but the Shinrone gown isn't that different from the DeHeere drawings.
>Also, the DeHeere drawings don't show many of the other signs of being
>caricatures -- distorted limbs, etc. -- and they also match other
>contemporary depictions of what the Irish (men, at least) were wearing,
>such as the Durer engraving and a few other illustrations.  So I see no
>reason to think he was being inaccurate, particularly as the women he was
>portraying were supposed to be townswomen, not from the country, and
>therefore were probably Anglo-Irish.  
>Wasn't DeHeere Dutch?

I don't wish to seem argumentative, but having seen the DeHeere drawings,
as well as the Durer and the Weckherlin, I'm not sure that there is that
great a similarity between the Shinrone gown and the dresses represented
there.  For example, what evidence do we have that the Shinrone gown was,
in fact, laced up the front?  Even if it were, it appears that any lacing
would have ended below the bust, something not demonstrated in the drawings.

As for caricatures, certainly today many caricatures are so drawn.  But there
are many forms of stereotyping that do not demonstrate those distortions.
Satire can sometimes be very subtle.  For example, the sterotype of the
"Noble Savage" is rarely shown to be a cariatural stereotype, but is one 
nonetheless.  Another example, and one that is perhaps more in line with 
what I was suggesting, is that of the "hillbilly".

As for the artists we see, true, none of the artwork we see were done by 
English artists, but then again, none of them were done by people who had
actually been to Ireland (or so says McClintock).  And yes, while they
DO resemble each others, this could be attributable to using a similar
source.

I'm not saying that they shouldn't be used, but that there might be other
agendas to the representations.  Particularly since they do not readily
resemble the few examples we have, or the funerary artwork.

Marc
lib_imc@centum.utulsa.edu
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From owner-h-costume@indra.com  Thu Jan 28 01:03:50 1999
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Date: Wed, 27 Jan 1999 13:12:21 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: Re: H-COST: Re: Menswear - an another theory
In-Reply-To: <36AD1A40.CFA132FC@vaxxine.com>
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>


>
> although I doubt if anyone in this group will ever be driven to re-enact 
> an Edwardian scuttler, moll or old queen, 


A lot of people did just this, except for it's being mid-Victorian, for the
Dickens' Faires which used to be in San Francisco.  Chimney sweeps, denizens of
a dockside 'dive', etc.  It was great fun.



Kayta
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From owner-h-costume@indra.com  Thu Jan 28 01:03:50 1999
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Date: Wed, 27 Jan 1999 13:22:24 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: RE: H-COST: Shinrone Gown
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>

I just question
>the whole premise that bust support was any kind of
>universal necessity, especially for a people who were
>frequently without clothes entirely during the Anglo-Norman
>period, except if they were lucky, with an Irish "cape."

It's not support, in the modern sense, which is necessary.  Any snugly
laced bodice can do a sufficient job of holding one together without any
portion of the anatomy being supported/repositioned higher than its normal
gravity-induced position (if flopping is prevented, support is not
necessary).  If bodices are used for this purpose, said anatomy looks
smaller than a modern bra makes it look.  Bodices are the low-tech way of
doing this.  Corsets are a higher-tech way. 


Kayta
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From owner-h-costume@indra.com  Thu Jan 28 01:04:53 1999
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To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: Re: H-COST: Picot?
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>

So that's what that edge stitch is called.  I had an original 20's dress
which had ruffles with edges which looked like they had been zig-zagged,
and I was going crazy figuring out how they got a zig-zag edge before the
zig-zag stitch was common.  If I were you I'd zig-zag your edges.  It will
look a lot like the edges on my original do.  You might touch the edge with
fray check first, altho they must have done without.  Stitch right on the
edge so it doesn't roll.  (BTW, you can almost fake a rolled hem by
zig-zagging the edge so it does roll.)

>I'm making a 1920's dress in silk chiffon, working from a contempory
>dressmaking instruction manual.  The instructions for edging the draped
>skirt panels simply tell me to have the pieces "picoted".  I understand that
>there used to be businesses that did this, but they are no more. 
>
>Can anyone tell me what modern finish would be the closest aproximation to
>picoting?  My serger manual gives instructions for a "picot hem" which seems
>to involve using the rolled hem setting, but with a long stitch.  Would that
>be it?  I also have a baby hemmer for my standard machine, but I'm not good
>with it, especially on corners, which this piece has.  My client's budget
>does not extend to having me hand roll the hem.


Kayta
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From owner-h-costume@indra.com  Thu Jan 28 01:05:26 1999
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Date: Wed, 27 Jan 1999 13:41:49 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: Re: H-COST: Neck Ruffs
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>


>
>Has anyone ever tried wiring the outer edge of the ruff to help it 
>maintain the shape?  Some of the Elizabethan standing ruffs must have 
>been wired from the look of the portraits.  Anyone have any info?

'Tons' of starch will give the same look.  Simpler too.


Kayta
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Date: Wed, 27 Jan 1999 13:35:01 -0800
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Subject: RE: H-COST: Neck Ruffs
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>


>Saw a painting today with a multitiered ruff, box-pleated
>and then gathered as well.   Couldn't see enough to confirm
>a neck bank or not, but it spoke to the variety of ruffs out
>there!

Where can we see the picture?  Is it in a commonly available costume or
painting book or web site?


Kayta
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From owner-h-costume@indra.com  Thu Jan 28 01:05:34 1999
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Date: Wed, 27 Jan 1999 13:39:23 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: Re: H-COST: Anatomie of Abuses?
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>

  
>>  Stubbes hated the fashionable froo-fra of the day, and sounded off about
>>  it at length and in great detail.    As a result, he's a great resource
>>  for people trying to recreate historical fashions.
>>  
>
>With the caveat that a preacher inveighing against excesses is inclined to
>exaggerate. It's not entirely safe to take anything from Stubbe's literally
>without a back up source.

Yes, but what a great place to start!  If he hates everything and gives
names, then you have the road map for your research right there in one book.


Kayta
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From owner-h-costume@indra.com  Thu Jan 28 01:13:13 1999
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Date: Wed, 27 Jan 1999 13:59:56 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: H-COST: high waists for pregnancy
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>

I think you re-invented the traditional way of making non-maternity clothes
do maternity duty.  

BTW, look at illustration 136, p.126, in the 16th century volume of the A
Visual History of Costume series.  That lady's got to be pregnant, and no
sign (c.1595) of a stomacher.  And her waist is raised to right where it
would have to be for the end of the third trimester.

I wore my Ren Faire bodice and skirt quite comfortably during
>pregnancy, by lacing across the waistband gap and covering it with an apron,
>and leaving the bottom hooks of my bodice open.


Kayta
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Date: Wed, 27 Jan 1999 14:12:01 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: Re: H-COST: Lasting cloth
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>

I get so much use out of my 1906 Century Dictionary and Cyclopedia on this
list.  They say:
  "2.  A strong and durable woolen or worsted fabric:  also called
everlasting, and formerly durance.  It is usually black, and is used for
buttons and for the uppers of women's shoes.  It is woven either with a
double twill or with a satin-twill (then called Denmark satin).  Draw-bays,
prunella, and serge de berry are varieties of lasting."  (italics omitted
everywhere above)

> We have had an enquiry to find out about "lasting cloth"
>which was apparently used for military uniforms, gunpowder magazines and even
>boots during the 19th century. It's for a member of staff and there is "no
>hurry", but we have run out of sources. Do you know of any good books on
>textiles/costume(or any web sites) which might tell us how it was made or
>anything else? All suggestions gratefully received.


Kayta
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Date: Wed, 27 Jan 1999 13:44:25 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: Re: H-COST: Neck Ruffs
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>

Whenever I tried wiring the edge of the ruff, the edge stayed in place just
fine but the rest of the ruff sagged.  That looked really dumb.  I like
someone's organdy suggestion better.

>>Has anyone ever tried wiring the outer edge of the ruff to help it 
>>maintain the shape? 
>
>I've tried it and didn't like it--every time I moved my head I bent the wire
>out of shape.  I've had better luck with heavy fishing line, handpicked,
>zigzagged or serged to the edge.  Of course, this is only a good idea if you
>hide it in a fold or cover it with trim.
>
>  For one of the large, flat standing collars, wire would be necessary.
>I've only made them for dolls, not people, so movement wasn't a problem.  To
>make a full size one, you  would need to use  a very rigid wire, not a soft
>one.  Heavy millinery wire might work, and would have the advantage that
>it's fabric covered and fairly unobtrusive.


Kayta
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From owner-h-costume@indra.com  Thu Jan 28 01:15:03 1999
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Date: Wed, 27 Jan 1999 14:14:56 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: Re: H-COST: cloth-of-gold: fakin' it
In-Reply-To: <3.0.5.32.19990126174350.00800de0@bratshb.uwc.edu>
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 <199901260032.RAA10886@indra.com>
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>

Real cloth of gold is stiff and not sheer.  It looks a little like heavy
satin.  I don't know how you'd fake that stiffness with a sheer, which
seems to be the only 'inexpensive' substitute these days.

>JoAnns has some 50% silk-50% metal fabric on their custom cut rack in home
>decorating.  
>It's similar to the sheer samples I have from Thai silks.  
>Since I have never actually seen cloth of gold, I don't know if it's a good
>substitute.
>It's considered a sheer, so when home dec sheers go on sale this does also.
> It comes in 4 
>colors, if memory serves and is pretty reasonably priced (if you find it at
>50% off).  
>Minimum purchase is (I think) 1/2 yard, might be as high as 1 yard.  
>
>I don't think I'd fuse it.  Tailor's tacks or something similar would be a
>better choice.  
>It would stay more liquid.


Kayta
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Subject: Re: H-COST: cloth-of-gold: fakin' it
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>

Kathleen - I'd like to compare notes about cloth of gold/silver with you.
Apparently nobody else on the list has seen the stuff up close.  Not sheer,
and not especially drapey, right?  And a gleam like nothing else.  Almost
like it was wet.

BTW, the weaving is a simpler process than you think.  It's silk threads
one way and gold-plated/silver-plated wire the other way (like changeable
taffeta is two colours of silk, one colour one way and the other colour the
other way).  The silk in cloth of silver/gold gives it it's non-metallic
colour.  The gold/silver gives it that incredible shine.

>I actually HAVE seen cloth of gold at the Suleyman the Magnificent exhibition
>(National Gallery of Art). It is wonderful and practically glows in the dark.
>I think the method of manufacture involves wrapping fine gold (or silver or
>copper) wire with colored silk and then weaving it. You get subtle differences
>in color depending on the type of wire used. 


Kayta
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From owner-h-costume@indra.com  Thu Jan 28 01:15:33 1999
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To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: Re: H-COST: Neck Ruffs
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>

I have.  Don't make them of thin wire or they bend under load and don't
work.  They are inverted U-shaped things, and the front ends can fasten to
the bodice in the vicinity of the armhole seams to keep them at the right
angle.  They work pretty well for holding the ruff where it needs to be,
but they don't help it keep its shape.  That's the job for the starch (fake
with organdy/organza).

>Sometimes to hold up a big ruff the Elizabethans in the later period wore a
>supportasse, a flat shape that fit under the ruff made with wires and often
>merely covered with paper, although occasionally covered with cloth.
>Usually they aren't round, they're deeper in the back and shallow in the
>front and tilt upward in the back and down in the front, framing the face,
>not the neck.
>
>These are discussed in costume books and sometimes shown in portraits. I've
>never made one since my personad doesn't wear a ruff. Has anyone tried one
>of these?


Kayta
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-Poster: MzScahlett@aol.com

In a message dated 1/27/99 20:28:22 Pacific Standard Time, margo@directcon.net
writes:

<< Now, I've been out of the loop for quite some time as far as formal
clothing
 goes, but does this price really seem that high?  Isn't this about what a
 dressy dress of decent quality, bought off the rack, costs these days?  Or
 am I just too expensive?  
 
 Margo Anderson >>

Margo, you're absolutely within the ballpark.  If you go into any major
department store to look at the prom dresses, they run $300 - $500, and they
are, as you might guess, not particularly well made.  I think people just feel
like "home" sewn means cheap, and that hasn't been the case (particulary given
the cost of materials alone) since, say 1972...

If they don't want to pay what it's worth, then it's not worth your time.
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Subject: Re: H-COST: Clogs in England & History
Message-ID: <19990127.224159.4783.0.cley@juno.com>
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-Poster: cynthia j ley <cley@juno.com>

I'ld be interested too. :-)

Cynthia Ley
4400 SE Naef Rd #C21
Milwaukie, OR 97267
USA

Do I owe you any $ for this?


Thanks!


					Arlys


On Wed, 27 Jan 1999 20:06:06 -0600 Kim Graham <kgraham@flash.net> writes:
>
>-Poster: Kim Graham <kgraham@flash.net>
>
>
>
>Melanie Wilson wrote:
>
>> -Poster: Melanie Wilson <MelanieWilson@compuserve.com>
>>
>> I'm sending some addresses of US list members for the catalogue 
>anyone else
>> who'd like adding, speak now or forever hold your peace !
>>
>
>Me, too! Me, too! she cried, tripping over 3 pair of modern Swedish 
>clogs as
>she ran...  I LOVE my clogs.  Thanks for adding me!
>
> _________________________________________________________________
> To leave this mailing list, send mail to majordomo@indra.com
> with the message UNSUBSCRIBE H-COSTUME
>

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From owner-h-costume@indra.com  Thu Jan 28 02:41:18 1999
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Date: Thu, 28 Jan 1999 02:46:26 -0500
From: Melanie Wilson <MelanieWilson@compuserve.com>
Subject: H-COST: Clogs in England & History
To: "INTERNET:h-costume-digest@indra.com" <h-costume-digest@indra.com>
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-Poster: Melanie Wilson <MelanieWilson@compuserve.com>

I'll add you but I need your mailing address ! Please send direct to my
email address

Mel
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From owner-h-costume@indra.com  Thu Jan 28 03:50:47 1999
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From: "Christopher Ballis" <stilskin@netspace.net.au>
To: <h-costume@indra.com>
Subject: H-COST: CC17 touristy stuff
Date: Thu, 28 Jan 1999 20:00:23 +1100
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-Poster: "Christopher Ballis" <stilskin@netspace.net.au>

Dear all,


I am posting this message on behalf of David Scanlon, an Australian
Costumers' Guild member who will be at Costume Con 17.

David will be in the C-C area for about a week after the con and then in LA
for a few days. He is looking for recommendations of things to see and do
for a costumer abroad in these areas.

Any suggestions will be greatly appreciated by him.

You can contact him at one of the following E-mails or I am happy to pass
any messages along:

C772639@vncpbnco3.telstra.com.au

Or

Lord_Necro@bigpond.com

(the Lord Necro name is just a big joke, he is nothing like that really (I
hope)).

With thanks,


-C.

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From owner-h-costume@indra.com  Thu Jan 28 04:53:12 1999
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From: Viv Watkins <ht40@dial.pipex.com>
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-Poster: Viv Watkins <ht40@dial.pipex.com>

Dear All

I thought you might be interested in the one, real piece of cloth of gold
that I have actually handled.  I don't know how typical it is - it is a
piece about 12 inches by 8, part of the stash of an elderly lady who did
ecclesiastical embroidery.  She was Royal School of Needlework trained in
the twenties and the samples of her work she still kept were exquisite -
soft angel faces in immaculate split stitch and or nue of amazing
quality.

Sorry, off topic for this list - back to the cloth of gold.  It is
plainly woven with a satin-like but, slightly rough surface - there is no
pattern or any other color of thread.  I don't know what the warp is, it
is very closely woven, thick and very stiff, about the same hand as a
plastic coated fabric!  It is not a bit sparkly, it has a heavy, soft
glow - very subtle.

Sorry, I don't have more technical details but, it was a long time ago.

Best wishes.     Viv.

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-Poster: kathleen@niagara.com


>I actually HAVE seen cloth of gold at the Suleyman the Magnificent exhibition
>(National Gallery of Art). It is wonderful and practically glows in the dark.
>I think the method of manufacture involves wrapping fine gold (or silver or
>copper) wire with colored silk and then weaving it. You get subtle differences
>in color depending on the type of wire used.
>
>Kathleen Norvell

Whereas the stuff with coloured silk one way and metallic the other (I can
never remember which is the warp and which is the weft) is, I believe, what
they called "tinsel" in period. (Arnold, "Lost from Her Majesty's Back")

The Other Kathleen ;)
(Catriona)
 

                                                ()
                                              _/)(\_
"Tehee!" quod she, and clapte the wyndow to    /~~\
                                              /____\

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-Poster: kathleen@niagara.com


>>Has anyone ever tried wiring the outer edge of the ruff to help it 
>>maintain the shape?  Some of the Elizabethan standing ruffs must have 
>>been wired from the look of the portraits.  Anyone have any info?
>
>I think they were just normal ruffs worn over a supportasse/ undrepropper,
>i.e. unwired.   Also, once the lace is startched it is
>remarkably stiff.  

Besides, wiring a regular circular ruff wouldn't make sense considering the
later falling ruff. (Van Dyck, etc.) You can see they are pleated the same
as stiff ruffs...just limp.  If the ruff itself had been wired, it would
never achieve that look.  The flat, squared front "cavalier" collars look
remarkably like limp standing ruffs, too, don't you think?

I can't get into the pleating controversy, simply because I still haven't
cartridge pleated.  (Soon, I promise)  As soon as I figure out what you
people mean by the possible methods <g> I plan to check it out in context
with the ruff-ironing hardware of the time, the really good sketches of
ruffs in the farthingale shop drawing and the falling ruffs, where you can
see a bit closer to the neck.

Considering how fast I am about this...I'll get back to you sometime in the
summer. :P

Kathleen (Catriona)
 

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From owner-h-costume@indra.com  Thu Jan 28 07:27:48 1999
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-Poster: kathleen@niagara.com


>>With the caveat that a preacher 

>From what I understand, Philip Stubbes was just an intellectual (dropped out
of two universities) with puritanical leanings and a taste for spouting off.
His brother was the actual church man.

Am I wrong?

Kathleen (Catriona)
 

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From owner-h-costume@indra.com  Thu Jan 28 08:41:41 1999
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-Poster: Mary Denise Smith <costumemag@earthlink.net>

These comments on lasting cloth are from Cricket Bauer:

I've come across references to it, but it is referred to as "everlasting"
in the textile dictionaries. The S.F.A. Caufield Encyclopedia of
Victorian Needlework (1882/1887) says, "a description of woollen JEAN, employed for the tops of
boots.  It is another name for PRUNELLA."  I've come across it in other dictionaries as everlasting,
too. Of course, Jean cloth was commonly used by the Confederate army, as well as by the Union army
and civilians for work clothes.

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-Poster: SAQUEEN@aol.com

MD,

What time period are you talking about? Everlasting in 1770's was a stout
worsted cloth used a lot for shoes. Have seen milliner trade cards and orders
from colonial Virginia to England for everlasting shoes. A prunella was a
specific style, type of everlasting.

Fiber content often changed over time thus a 19th century "lasting" could very
well be different than the 18th century worsted. Osnaburg is another good
example ... name the same but fiber content different over time (18th century
linen, 19th and 20th century cotton).

Sally

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-Poster: "Mariea M. Goodinson-Dillenkofer" <stassja@bellatlantic.net>

	Thank you DJ and Karen for the info regarding Vogue Vintage Patterns,
Style and New Look! I can't wait to get out there and start looking
throught them! :)

	Rie


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From owner-h-costume@indra.com  Thu Jan 28 09:40:55 1999
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-Poster: Cynthia Virtue <cvirtue@ricochet.net>

>Everlasting in 1770's was a stout worsted cloth used a lot for shoes.

Is it possible that the name (lasting, everlasting) came from its use in
shoes, (which are/were usually made around "lasts") rather than its durability?

cv
=-=-=-=-=
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       "I knew this wasn't _my_ pen!"  --Cynthia Virtue
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From owner-h-costume@indra.com  Thu Jan 28 09:54:17 1999
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From: "karrissa david" <arizona63@hotmail.com>
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-Poster: "karrissa david" <arizona63@hotmail.com>

-Poster: Margo Anderson 
<I quoted her a price of $300.   
 -snip-
Now, I've been out of the loop for quite some time as far as formal 
clothing goes, but does this price really seem that high?  Isn't this 
about what a dressy dress of decent quality, bought off the rack, costs 
these days?  Or am I just too expensive?>

It depends on where you live.  I currently live in West Virginia and 
most people here will not buy a dress for over $200 unless it is a 
wedding dress.  (I am also in the specialty dress making business.)  
However, in New Jersey (where I used to live) most people will think 
that a custom made dress of that price would be a steal.

I personally have come to think convienence has overshadowed quality.  
To get high quality clothing, one has to pay for it.  I think that if 
you tell your client the differences of what you would do versus if they 
bought the dress (or a faxcimile) off of the rack, they would understand 
why it is worth the higher price.

I hope I was of service,
Karrissa

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From owner-h-costume@indra.com  Thu Jan 28 10:03:37 1999
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-Poster: SAQUEEN@aol.com

In a message dated 99-01-28 09:48:32 EST, you write:

> Is it possible that the name (lasting, everlasting) came from its use in
>  shoes, (which are/were usually made around "lasts") rather than its 
> durability?
>  
What an interesting thought. Don't know, though. Haven't seen any contemporary
sources with that direct link. Ah, to have a pool of money (a very, deep
pool!) for primary source research.

Sally
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From owner-h-costume@indra.com  Thu Jan 28 10:37:21 1999
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From: "Abbott, Ruth" <r-abbott@oar-xch1.oar.uiuc.edu>
To: "'h-costume@indra.com'" <h-costume@indra.com>
Subject: H-COST: Garb thoughts for large men
Date: Thu, 28 Jan 1999 09:48:05 -0600
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-Poster: "Abbott, Ruth" <r-abbott@oar-xch1.oar.uiuc.edu>

I am looking for all tips and ideas for garbing a large man in medieval
attire.  (By large, I mean that his waist is larger than his chest, and
under that he's fairly well muscled all over.)  I've read many
suggestions for adapting to women's shapes, but I'm wondering how to
make my dear husband both comfortable and attractive.  

Alix 
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From: Merouda the True <keltia@serv.net>
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-Poster: Merouda the True <keltia@serv.net>

> >Has anyone ever tried wiring the outer edge of the ruff to help it
> >maintain the shape?  Some of the Elizabethan standing ruffs must have
> >been wired from the look of the portraits.  Anyone have any info?

My "secret"?  25# fishing line, sewn into the edge.  It makes a perfect and
graceful ruffle.  Cynthia

--
Cynthia Long
Merouda the True of Beaumaris
Barony of Madrone
Kingdom of An Tir


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Date: Thu, 28 Jan 1999 10:58:30 -0500 (EST)
From: aleed <aleed@dnaco.net>
To: "'h-costume@indra.com'" <h-costume@indra.com>
Subject: Re: H-COST: Garb thoughts for large men
In-Reply-To: <6BAA9E7DB36AD2118FA60060943F1CAF1466C8@oar-xch1.oar.uiuc.edu>
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-Poster: aleed <aleed@dnaco.net>



I've always found Tudor to be a good period for large men.  The broad
shoulders tend to balance out  the sillhouete, and looks very grand &
dignified.

Drea


On Thu, 28 Jan 1999, Abbott, Ruth wrote:

> 
> -Poster: "Abbott, Ruth" <r-abbott@oar-xch1.oar.uiuc.edu>
> 
> I am looking for all tips and ideas for garbing a large man in medieval
> attire.  (By large, I mean that his waist is larger than his chest, and
> under that he's fairly well muscled all over.)  I've read many
> suggestions for adapting to women's shapes, but I'm wondering how to
> make my dear husband both comfortable and attractive.  
> 
> Alix 
>  _________________________________________________________________
>  To leave this mailing list, send mail to majordomo@indra.com
>  with the message UNSUBSCRIBE H-COSTUME
> 

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From owner-h-costume@indra.com  Thu Jan 28 10:56:04 1999
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Date: Thu, 28 Jan 1999 08:00:22 -0800 (PST)
From: Sue Toorans <suetoo@svpal.org>
To: h-costume@indra.com
Subject: Re: H-COST: cloth-of-gold: fakin' it
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-Poster: Sue Toorans <suetoo@svpal.org>



   I have been reading all the descriptions of cloth-of-gold until
my mouth waters and I want to DO something.  A while ago I found
a supply of pre-Lurex metal thread.  Some of it has that lovely,
rich patina that can only come from age and real metal.  Now
I want to weave with the stuff.  If I did, what would I use
it for?  Any suggestions?  Selling it is probably not an option.
It would cost like the real thing, once all my time was factored
in.


   Sue                         I am *NOT* a rabid feminist!
                               I had my shots last year.

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From owner-h-costume@indra.com  Thu Jan 28 11:46:46 1999
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-Poster: Marionetta@aol.com


Hi folks,

I've been working on a ton of different things all at once (so what else is
new) including a sweet 1830s dress.  Everything's going fine but I'm having
some difficulty with the belt, that is in none of the fashion plates of the
period am I able to see whether or not the belt is of self fabric.  And the
actual photos I've seen of existing dresses don't seem to have belts.  Were
belts not really worn all that often in real life?  And if they were were they
self fabric or something else?  I've looked thru my whole library on this and
have come up empty handed.  Thanks for any and all tips.

Cheers,

Loren Dearborn
marionetta@aol.com
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From owner-h-costume@indra.com  Thu Jan 28 12:01:21 1999
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Date: Thu, 28 Jan 1999 11:03:56 -0500
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From: Walter Robin Findlay <findlay@griffon.mwsc.edu>
Subject: Re: H-COST: Neck Ruffs
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-Poster: Walter Robin Findlay <findlay@griffon.mwsc.edu>

the smaller ruffs relied on starch to hold them out ....the larger ones
have stiffeners under the ruff to hold them up.  like a shelf  (sort of)
to rest on. there are some paintings that show this feature. Lucy Barton
has a drawing in her book to show this.  Janet arnold show the support
devise under a wisk in her Patters of Fashion   1560-1620 book.  they were
made of materials like wood , heavy paper of stiffened fabrics.  Wiring the
outer edge will keep the end shape but not support the ruff.


>-Poster: Merouda the True <keltia@serv.net>
>
>> >Has anyone ever tried wiring the outer edge of the ruff to help it
>> >maintain the shape?  Some of the Elizabethan standing ruffs must have
>> >been wired from the look of the portraits.  Anyone have any info?
>
>My "secret"?  25# fishing line, sewn into the edge.  It makes a perfect and
>graceful ruffle.  Cynthia
>
>--
>Cynthia Long
>Merouda the True of Beaumaris
>Barony of Madrone
>Kingdom of An Tir
>
>
> _________________________________________________________________
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> with the message UNSUBSCRIBE H-COSTUME


THANK YOU
W. ROBIN FINDLAY

"Is that all there is?".................Miss Peggy Lee


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From owner-h-costume@indra.com  Thu Jan 28 12:30:09 1999
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-Poster: Merouda the True <keltia@serv.net>

I forgot to mention the silk organza and horsetail braid. *g*  Even 8 inch ruffs
stay stiff after a hand  wash and hang dry.  I got my "recipe" for ruffs from a
Costume Laurel in my neck of the woods.  She freely admits to cheating on it,
but the results are spectacular.  Her most recent Elizabethan was breathtaking,
she had a ruff that was probably 12" out plus lace points with a huge organza
heart coming up behind her head.  Ohmigod, I have to get those pictures
developed.  Perfect down to the ruff bugs.

> the smaller ruffs relied on starch to hold them out ....the larger ones
> have stiffeners under the ruff to hold them up.  like a shelf  (sort of)
> to rest on.
>
> >My "secret"?  25# fishing line, sewn into the edge.  It makes a perfect and
> >graceful ruffle.  Cynthia

--
Cynthia Long
Merouda the True of Beaumaris
Barony of Madrone
Kingdom of An Tir


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From owner-h-costume@indra.com  Thu Jan 28 13:00:13 1999
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Date: Thu, 28 Jan 1999 11:44:04 -0600
Subject: Re: H-COST: cloth-of-gold: fakin' it
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-Poster: seamstrix@juno.com

I have seen what I believe is cloth of gold at the Chicago Historical
Society last spring. The Chicagoland Costumers Guild was priviledged to
take a behind the scenes tour of their costume collection, and they had a
fabulous '20's dress out on a mannequin. I saw it from across the room
and immediately went sprinting over to it crying "My gosh, that's cloth
of gold!" It looked like it had dark blue/black threads one way and the
gold running the other way. It was a typical mid-'20's design with
dropped waist and lots of detail on the skirt. I seem to remember it
being in blue and gold, but Carol could confirm or deny this. I was able
to get my nose right up to it and as previously stated it didn't so much
glitter as gleam. I think the description of it having a hand like heavy
satin is about right, there was certainly a weight to the way it hung. I
seem to remember it having a slightly crinkly texture, it wasn't smooth. 
The provenance of the dress was not known, but many Chicago society women
have donated older items to the collection, so I'm sure it came from one
of the Gold Coast elite. I tried to visualize a whole Elizabethan made
from fabric like that, and the effect would have been stunning!



Karen
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From owner-h-costume@indra.com  Thu Jan 28 13:01:49 1999
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Subject: Re: H-COST: Neck Ruffs
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-Poster: cynthia j ley <cley@juno.com>

An Tir's current Queen made one for her Coronation and it is magnificent.
Hers fit down the back of her gown, but was easily removable, and covered
with cloth to match the gown. The ruff looked perfect. She elicited gasps
of pleased astonishment when she came into Court for the first time.
She's a Costuming Laurel.


					Arlys


>>Sometimes to hold up a big ruff the Elizabethans in the later period 
>wore a
>>supportasse, a flat shape that fit under the ruff made with wires and 
>often
>>merely covered with paper, although occasionally covered with cloth.
>>Usually they aren't round, they're deeper in the back and shallow in 
>the
>>front and tilt upward in the back and down in the front, framing the 
>face,
>>not the neck.
>>
>>These are discussed in costume books and sometimes shown in 
>portraits. I've
>>never made one since my personad doesn't wear a ruff. Has anyone 
>tried one
>>of these?
>
>
>Kayta
>     ////.\\\
>    ////-@@\\\
>   ((((   7 (((
>     |   -- ))))
>     * )   (((((
>  /----\   /---\
>
> _________________________________________________________________
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-Poster: Merouda the True <keltia@serv.net>

A minor correction.  The part that attached at the back of her gown was the
huge heart shaped organza fan.  It did have a stiff handle that fit down into
the back of the gown into the corset.  The ruff was actually a seperate
piece.  It was of the kind seen in the Elizabeth Ditchley portrait.  I was
fortunate enough to see it on the dress maker's dummy in progress.  wow.
Cynthia

> An Tir's current Queen made one for her Coronation and it is magnificent.
> Hers fit down the back of her gown, but was easily removable, and covered
> with cloth to match the gown. The ruff looked perfect. She elicited gasps
> of pleased astonishment when she came into Court for the first time.
> She's a Costuming Laurel.

--
Cynthia Long
Merouda the True of Beaumaris
Barony of Madrone
Kingdom of An Tir


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Date: Thu, 28 Jan 1999 09:08:03 -0800
To: h-costume@indra.com
From: Lynn Downward <ldownward@mail.cho.org>
Subject: Re: H-COST: 1950's costuming
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-Poster: Lynn Downward <ldownward@mail.cho.org>

>-Poster: "Mariea M. Goodinson-Dillenkofer" <stassja@bellatlantic.net>
>
>Hi all!
>
>	I just wondered if anyone knows of any good patterns available for a
>1950's type dress, the kind usually referred to as a "prom dress" -
>strapless fitted bodice with a very full skirt gathered at the waist and
>usually with a wide sash that makes a bow in back. I know this sounds
>simple to put together from scratch but I wondered if there's a pattern out
>there to make the work simpler (also, I'm not sure what fabrics would get
>used other than taffeta, net and organdy for this type of party dress).
>
>	Thanks for any leads!
>
>	Rie


Hi, Rei,
Me again with my plug for Vogue patterns.  In Nov/Dec, I mentioned that
there were the "new" Vogue Vintage patterns available - four patterns of
suits and dresses that were originally sold in the 30's and 40's.  Excuse
me, 1930's and 1940's (sometimes I forget to whom I'm writing).  Vogue
added a fifth pattern in early January, a 1950's strapless, fitted bodice
with a very full skirt gathered at the waist.  I can't remember if it had
the sash and bow in the back, but probably.  Joann's had it available when
I was there yesterday buying up their Vogue patterns at 70% off and their
Butterick patterns for $1.99.  This sale lasts until Friday? Saturday?
It's a lovely dress; it would even make someone as short and stubby as I am
tall and thin.

No relationship to Joann's.  No relationship to Vogue except that my mom
taught me to sew with their patterns first.

LynnD
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From owner-h-costume@indra.com  Thu Jan 28 13:38:38 1999
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-Poster: "S.B. McDaniel" <fretknot@earthlink.net>

The following is from the novel "St. Peter's Finger" by Gladys Mitchell,
published in 1938:

	" Ulrica Doyle sat in class sewing her hopes and fears into a calico
nightdress.  The material was harsh with 'dress', her needle- the second
one that morning, for she had broken the first... was too fine for this
type of work."


Anybody out there have a clue what the author means by "'dress'"?

Sandy
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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: H-COST: Picot
Date: Thu, 28 Jan 1999 10:29:44 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

I've seen the machine made edge Carolyn refers to on 20's
and 30's silk garments for ruffles and to finish seams.  It
was standard issue, if you can say that about a silk evening
dress, machine done.  (I grew up outside of Newport, Rhode
Island, and my dress-up clothes in the '50's included all
those 10's and 20's and '30's silk dresses cast off by the
rich and titled who lived "down the Avenue") The zigzag was
incredibly narrow, and done in superfine silk thread, and
the fabric edge, was scarcely turned, folded once at most
about 1/32".  If you were to use standard dressmaking thread
of today, a close zigzag stitch wouldn't work on silk
fabric, in that the edge would become hard and stiff with
all that thread. With superfine silk thread, yes, it will
work nicely, and because the edge is turned only once, a lot
easier.  Industrial machines could do a lot then that wasn't
available on home sewing machines.

The picot edge I described using a blanket type stitch is a
slightly different animal, in that the fabric edge is turned
twice, about 1/8" each time, the stitches were further
apart, and the scalloped edge results when each stitch
cinches in the hem.  It is called a "shell stitch", no. 13
on the Elna 9000, number 11 on the Elna 8000.  It is more of
a lingerie edge finish, and can be done with normal
dressmaking thread because the stitches are far enough apart
so that the edge isn't stiffened by too much thread.  My
advice is to find out which of your machine stitches is
compatible with your available thread and fabric, by trying
out several alternative samples until you get the result you
like.  I am always imagining things for my Elna 9000 to do,
only to find out that the fancy stitch doesn't work with
that thread on that fabric, although it worked perfectly
fine with other materials.

I haven't broken down and ordered silk thread by mail order
yet, although that day is coming.... I prefer the picot edge
because I can use standard dressmaking cotton or polyester
thread commercially available in my area to make an edge
which is soft enough against my ultra-sensitive skin.  My
skin always notices polyester thread as an unwelcome foreign
object, so I try to use it as sparingly as possible, usually
using French seams to keep it from rubbing me.

In any event, your  garment will be rendered most
scrumptious and luxurious by finishing off those edges.

Hope H. Dunlap

-----Original Message-----
From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
Behalf Of Carolyn Kayta Barrows
Sent: Wednesday, January 27, 1999 4:50 PM
To: h-costume@indra.com
Subject: Re: H-COST: Picot?



-Poster: Carolyn Kayta Barrows <kayta@slip.net>

So that's what that edge stitch is called.  I had an
original 20's dress
which had ruffles with edges which looked like they had been
zig-zagged,
and I was going crazy figuring out how they got a zig-zag
edge before the
zig-zag stitch was common.  If I were you I'd zig-zag your
edges.  It will
look a lot like the edges on my original do.  You might
touch the edge with
fray check first, altho they must have done without.  Stitch
right on the
edge so it doesn't roll.  (BTW, you can almost fake a rolled
hem by
zig-zagging the edge so it does roll.)

>I'm making a 1920's dress in silk chiffon, working from a
contempory
>dressmaking instruction manual.  The instructions for
edging the draped
>skirt panels simply tell me to have the pieces "picoted".
I understand that
>there used to be businesses that did this, but they are no
more.
>
>Can anyone tell me what modern finish would be the closest
aproximation to
>picoting?  My serger manual gives instructions for a "picot
hem" which seems
>to involve using the rolled hem setting, but with a long
stitch.  Would that
>be it?  I also have a baby hemmer for my standard machine,
but I'm not good
>with it, especially on corners, which this piece has.  My
client's budget
>does not extend to having me hand roll the hem.


Kayta
     ////.\\\
    ////-@@\\\
   ((((   7 (((
     |   -- ))))
     * )   (((((
  /----\   /---\


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From owner-h-costume@indra.com  Thu Jan 28 13:48:44 1999
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Date: Thu, 28 Jan 1999 13:54:20 -0500
To: h-costume-digest@indra.com
From: "Mariea M. Goodinson-Dillenkofer" <stassja@bellatlantic.net>
Subject: H-COST: 1950's costuming / Vogue Patterns
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-Poster: "Mariea M. Goodinson-Dillenkofer" <stassja@bellatlantic.net>

Lynn wrote:
>Me again with my plug for Vogue patterns.  In Nov/Dec, I mentioned that
>there were the "new" Vogue Vintage patterns available - ...
>added a fifth pattern in early January, a 1950's strapless, fitted bodice
>with a very full skirt gathered at the waist.  

	I found a website for Vogue Patterns and, oddly enough, they didn't have
it listed under the "Vintage Patterns" but had it listed in their evening
wear / bridal section. What's odd is that is IS labelled as a "Vogue
Vintage" and it's pattern number 2239 for anyone interested ($25 american).
It's got a pattern for using a sash or a small belt. Looks good!

	Also found two on the Simplicity website in the Style catalog in the
evening & bridal which can be easily adapted. #2901 (which is shown as a
wedding dress but shortening it would do the trick) and #2873 (which is
shown sleeveless, not strapless and seems to have a slight dip at the waist
in front but is still in the ballpark). Don't know the pattern prices (they
don't list them) but they're probably less than the vogue patterns. I'd
like to see them all to compare, though. :)

	The above is just in case anyone else happens to want to make this 1950's
repro. :)

> Joann's had it available when
>I was there yesterday buying up their Vogue patterns at 70% off and their
>Butterick patterns for $1.99.  This sale lasts until Friday? Saturday?

	Wow! That's a deal considering the $25 price tag!

	Thank you for all your help!

	Rie


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-Poster: Margo Anderson <margo@directcon.net>


>
>It depends on where you live. 

I think that's the problem here.  I used to live and work in the San
Francisco Bay Area.  Now I'm in a small town in rural Northern California,
and the attitudes toward these things are completely different.  Just
another thing to get used to, like the fact that the public library has five
costume books.  Oh well,  rent is less than half the amount it used to be!

I'm not interested in dropping my prices to the locally acceptable levels,
So I think I'll just have to face facts and figure that costuming is going
to mostly be my hobby, not my business, from now on. 


Margo Anderson

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From: Merouda the True <keltia@serv.net>
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-Poster: Merouda the True <keltia@serv.net>

>         " Ulrica Doyle sat in class sewing her hopes and fears into a calico
> nightdress.  The material was harsh with 'dress', her needle- the second
> one that morning, for she had broken the first... was too fine for this
> type of work."
>
> Anybody out there have a clue what the author means by "'dress'"?

It's my guess that her use of dress implies something more along the lines of
"gown".  The calico being to harsh and common to be in a category of "dress".

FWIW,  Cynthia

--
Cynthia Long
Merouda the True of Beaumaris
Barony of Madrone
Kingdom of An Tir


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Subject: Re: H-COST: Garb thoughts for large men
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-Poster: Margo Anderson <margo@directcon.net>

At 09:48 AM 1/28/99 -0600, you wrote:
>
>-Poster: "Abbott, Ruth" <r-abbott@oar-xch1.oar.uiuc.edu>
>
>I am looking for all tips and ideas for garbing a large man in medieval
>attire.  (By large, I mean that his waist is larger than his chest, and
>under that he's fairly well muscled all over.) 

It having been my fortune to have married a man shaped like that, I
sympathize.   I've had good luck with dressing him in dark tunics with
"yokes" of decoration or trim, drawing the eye upward to the broad
shoulders. They look best cut long (at least to the lower thigh, with nether
garments in the same tone, but ankle length is even better. TRY to get him
to wear his belt around his waist, not his hips where most men want them.
If the belt is a color that matches or tones with the tunic, it will be
unobtrusive but still give him a place to hang his pouch, etc.

Of course, the ideal look for this build is Henry VIII.  It emphasizes the
shoulders, skims over the waist, and shows off the legs.  Unfortunately, it
takes fairly high skills and a lot of fabric and trim, so I've never been in
a position to make one.  Someday!

Margo Anderson

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Subject: Re: H-COST: Re: 'dress'- What is it?
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-Poster: Margo Anderson <margo@directcon.net>


>
>Anybody out there have a clue what the author means by "'dress'"?

Sounds like sizing, a nasty, starch like substance they treat cloth with to
make it feel more substantial and better than it is.  You know how new
sheets sometimes have a stiff feel until you wash them?  That's sizing.

Margo

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From owner-h-costume@indra.com  Thu Jan 28 14:26:32 1999
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-Poster: Lavolta Press <lavolta@best.com>



S.B. McDaniel wrote:

> -Poster: "S.B. McDaniel" <fretknot@earthlink.net>
>
> The following is from the novel "St. Peter's Finger" by Gladys Mitchell,
> published in 1938:
>
>         " Ulrica Doyle sat in class sewing her hopes and fears into a calico
> nightdress.  The material was harsh with 'dress', her needle- the second
> one that morning, for she had broken the first... was too fine for this
> type of work."
>
> Anybody out there have a clue what the author means by "'dress'"?

Dressing, a finish applied to the fabric to approve its appearance.  Possibly in
some cases applied to cheap fabric to deceive customers into thinking they are
buying better quality.  Usually comes out in the first washing. I'd say Ulrica
did not preshrink her fabric and is in for a surprise.

Fran Grimble


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-Poster: AliaClaire@aol.com

Loren-

I'm not near an expert on this, but here's my two cents.

In the existing 1830s dresses I've seen, most have had only a small self-
fabric waistband to which the bodice was basted. This was what the skirt was
gathered/pleated/gauged/whatnot into. I do not remember seeing decorative
belts still existing, but I have also not looked at many fashion plates of the
time.

Out of curiosity, what pattern are you using?

-Alison Stacy
AliaClaire@aol.com
Canton, Ohio
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From owner-h-costume@indra.com  Thu Jan 28 15:23:12 1999
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-Poster: Margo Anderson <margo@directcon.net>

 Jean cloth was commonly used by the Confederate army, as well as by the
Union army
>and civilians for work clothes.
>
Now, is "jean cloth" denim, or is there some other reason they're called
"jeans"?  I've heard the rumor that they got the name by being worn by
French sailors, many of whom were named Jean, but it sounds like a costume
myth to me.  Anyone?

Margo

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From owner-h-costume@indra.com  Thu Jan 28 15:26:44 1999
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From: "Susan Carroll-Clark" <sclark@chass.utoronto.ca>
To: <h-costume-digest@indra.com>
Subject: H-COST: Re:   Dress
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-Poster: "Susan Carroll-Clark" <sclark@chass.utoronto.ca>


-Greetings!

> " Ulrica Doyle sat in class sewing her hopes and fears into a calico
>nightdress.  The material was harsh with 'dress', her needle- the second
>one that morning, for she had broken the first... was too fine for this
>type of work."


I'm assuming it's some sort of finish or "dressing" to the cloth.  You know
how when you buy some cottons or quilting fabrics they're shiny and stiff?
That sort of thing.

Susan Carroll-Clark

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From owner-h-costume@indra.com  Thu Jan 28 15:31:35 1999
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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: Neck Ruffs
Date: Thu, 28 Jan 1999 15:02:06 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

I'll keep my eye out for the book again.  I've been cruising
through a lot of English, Irish, and French lately, and this
wasn't my primary focus.  Re the 25# fishing line, I saw it
in Turkey used in exquisite and very fun edgings made for
veils in the shape of flowers of every sort.  You could buy
the handmade edgings in the Street of Women's Handicrafts in
Bursa, and they are made of very fine colored crochet cotton
with a needle-made flower every inch or so on the border.
Pansies, lilies, tulips, and 100's more.  They use the nylon
fishing line to stiffen the edges of the flowers, and it is
impossible to detect it.  Women buy it to sew on the edge of
their rayon veiling. I wonder if there was an old-fashioned
substitute like horsehair or beeswax impregnated thread or
something? In any event, this is culture evolving!

Hope H. Dunlap

-----Original Message-----
From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
Behalf Of Carolyn Kayta Barrows
Sent: Wednesday, January 27, 1999 4:35 PM
To: h-costume@indra.com
Subject: RE: H-COST: Neck Ruffs



-Poster: Carolyn Kayta Barrows <kayta@slip.net>


>Saw a painting today with a multitiered ruff, box-pleated
>and then gathered as well.   Couldn't see enough to confirm
>a neck bank or not, but it spoke to the variety of ruffs
out
>there!

Where can we see the picture?  Is it in a commonly available
costume or
painting book or web site?


Kayta
     ////.\\\
    ////-@@\\\
   ((((   7 (((
     |   -- ))))
     * )   (((((
  /----\   /---\


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From owner-h-costume@indra.com  Thu Jan 28 15:33:29 1999
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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: cloth-of-gold: fakin' it
Date: Thu, 28 Jan 1999 14:28:02 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

Our family still has a number of white wool shawls which my
grandmother wove, probably in the 40's, using pre-lurex
metal thread occasionally for a rich look. There seems to be
an occasional rayon yarn in white, and occasional boucle
yarn also in white, but the bulk of it is lightweight soft
white wool, not very twisted, for both the warp and the
weft, and loosely woven.  The current users inherited them
when family members passed away, and there's a waiting list.
They've been in constant use, winter and summer since the
40's.  By rights they should be rags, but they're not.
There is just enough shimmer for it to be dressy, but not
enough so that it can't play a casual role.  It's wide, so
it's a stole, but soft and light enough so that it also
functions as a scarf.  The pattern is basically a plaid, but
all white with gold threads.  It would have worked well in
beige, black, or virtually any color which looks nice with
gold for that matter. Hope you have as good luck with yours
as she did with this one!

P.S. 100 year old damasks I saw in Turkey used a gilt thread
in one direction and silk ones the other direction.  Could
be developed as a brocaded band or an all-over pattern if
you're really dedicated. There are a number of embroidery
uses which beg for such nice stuff too!


Hope H. Dunlap

-----Original Message-----
From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
Behalf Of Sue Toorans
Sent: Thursday, January 28, 1999 11:00 AM
To: h-costume@indra.com
Subject: Re: H-COST: cloth-of-gold: fakin' it



-Poster: Sue Toorans <suetoo@svpal.org>



   I have been reading all the descriptions of cloth-of-gold
until
my mouth waters and I want to DO something.  A while ago I
found
a supply of pre-Lurex metal thread.  Some of it has that
lovely,
rich patina that can only come from age and real metal.  Now
I want to weave with the stuff.  If I did, what would I use
it for?  Any suggestions?  Selling it is probably not an
option.
It would cost like the real thing, once all my time was
factored
in.


   Sue                         I am *NOT* a rabid feminist!
                               I had my shots last year.


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From owner-h-costume@indra.com  Thu Jan 28 15:38:41 1999
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-Poster: MzScahlett@aol.com

In a message dated 1/28/1999 09:27:59 Pacific Standard Time,
Cindy.Abel@creighton.edu writes:

I'm not sure what the point you are trying to make is.  As a costumer, I
frequently shop in consignment/used clothing, etc. shops.  But the original
question was what should someone expect to pay for a one of a kind hand-made
dress.  The price that Margo quoted of  $300 was more than reasonable.  There
is no question that an an evening wear/prom, etc., dress can be found for
less, but that isn't really the point.  If someone wants to pay a seamstress
to make them a dress, they should expect to pay for what that kind of time,
care and creativity will provide.  Ready-made wear on sale or used not-
withstanding.

angil
+ + + + + + +
Angela F. Lazear
Costumes & Custom Clothing

"Great Spirits Have Always Encountered Violent Opposition From Mediocre Minds"
A. Einstein


<< There are prom dresses on the rack at JC Penney's for $100-$150 on 
 sale.  Most will be worn once and sent to a consignment shop.  This 
 is fine if one can fit into these things, but alterations are often 
 necessary and of course the sizes are mostly Juniors which is why so 
 many of them are 30-50% off just before and after prom.  My sixteen 
 year old niece usually needs to alter any off the rack dress since 
 she is large-busted in relation to her other measurements.
 
 She chose a streach satin and velvet short dress for fall prom this 
 last year even though her mom was more than willing to pay to have a 
 gorgous(and more expensive)burgundy full-lenght Titanic-style dress 
 she really looked wonderful in altered.  Her reasons:  I can wear the 
 black dress again and it won't need altering.  Besides I already have 
 shoes.  Disgustingly practical child--I was ready to buy her shoes to 
 match the burgundy dress! I said she could probably sell the dress 
 second-hand right away for decent bucks if money was the question 
 since her school's fall prom was one of the first of the season.  
 Many girls in Omaha now shop the consignment shops in the ritzy part 
 of town for prom dresses and can rent one at some bridal stores now.  
 Last weekend there were several mother-daughter(and sometimes grandma 
 too who I suspected would be doing the prom-dress making)teams out at 
 the fabric stores hunting.  The girls all wanted something different 
 than what was out there to buy off the rack or hunting through the 
 on-sale materials for something cheaper. >>
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From owner-h-costume@indra.com  Thu Jan 28 15:38:49 1999
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From: Lynn Downward <ldownward@mail.cho.org>
Subject: Re: H-COST: Re: 'dress'- What is it?
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-Poster: Lynn Downward <ldownward@mail.cho.org>

>-Poster: "S.B. McDaniel" <fretknot@earthlink.net>
>
>The following is from the novel "St. Peter's Finger" by Gladys Mitchell,
>published in 1938:
>
>	" Ulrica Doyle sat in class sewing her hopes and fears into a calico
>nightdress.  The material was harsh with 'dress', her needle- the second
>one that morning, for she had broken the first... was too fine for this
>type of work."
>
>
>Anybody out there have a clue what the author means by "'dress'"?
>
>Sandy



Some sort of finish??
LynnD
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From owner-h-costume@indra.com  Thu Jan 28 15:54:50 1999
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-Poster: Susan Fatemi <susanf@netwiz.net>

Does that *include* the fabric?? Sounds like a bargain to me!

Maybe she's never spent that much 'cause she's never had a
really nice dress (or whatever) Explain the difference between
"custom made" (or hand made) and "home made".

good luck!

Susan F.

Margo Anderson wrote:
> 
> -Poster: Margo Anderson <margo@directcon.net>
> 
> I have a question about pricing a costume.  A friend of my parents wants me
> to make her a 1920's dress, suitable for a dinner party, that she could also
> wear to other, non costume formal events.  We found a design for a very
> pretty chiffon dress with long sleeves and draped panels on the skirt.  To
> make this dress, in silk chiffon, I quoted her a price of $300.   Although
> she was very nice about it, she was flabbergasted at the price, and said
> she's never spent this much on any piece of clothing.
> 
> Now, I've been out of the loop for quite some time as far as formal clothing
> goes, but does this price really seem that high?  Isn't this about what a
> dressy dress of decent quality, bought off the rack, costs these days?  Or
> am I just too expensive?
> 
> Margo Anderson
> 


Oh Noh! Kimonos!
susanf@netwiz.net
http://www.netwiz.net/~susanf
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From owner-h-costume@indra.com  Thu Jan 28 16:11:10 1999
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-Poster: Heather Law <lynnx@mc.net>

> Subject: H-COST: 1893 fashion prediction
> 
> - -Poster: "Christine Robb" <cedar@mail.interlog.com>
> 
> A peculiar little site, probably better looked at on April 1:
> 
http://www.ffutures.demon.co.uk/fashion/fut_fash.htm

Or a few weeks before attending a science-fiction convention!  (Reminds
me of those egg- and other odd-shaped cars they always have as "cars of
the future at auto shows.  And now, back to our topic...:-)
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From owner-h-costume@indra.com  Thu Jan 28 16:26:01 1999
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-Poster: Heather Law <lynnx@mc.net>

Have you checked out the patterns on eBay?  Also, there are a couple of
sites that sell old patterns, including at least one of The Big Ones;
try a search on Vogue, Butterick, Simplicity, and McCalls -- or just
clothing patterns, vintage.

Heather
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From: "Abbott, Ruth" <r-abbott@oar-xch1.oar.uiuc.edu>
To: "'h-costume@indra.com'" <h-costume@indra.com>
Subject: H-COST: Garb for large men, additional
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-Poster: "Abbott, Ruth" <r-abbott@oar-xch1.oar.uiuc.edu>

I see that I should have made a few things clearer:  I can understand
the suggestions to dress my husband like Henry VIII or in the less
flamboyant Tudor style, but in all honesty I am not going to go to that
much work on his behalf unless he asks me to.  Or, I am at least going
to make some elaborate garb for myself first.  I will mentally file the
idea away, though, even though simpler garb was what I had in mind.

What I was mostly hoping for was those little tricks to deal with
fitting and such.  Margo mentioned a few things about "disguising"
girth, but are there any techniques that would assure a good fit?  For
example, I have considered whether adding gores to a T-tunic would make
sense, to allow for more room.  It seems to me that the gores would have
to start quite high to be of help, since it's not a matter of wanting to
flair out at the hips as with a woman.  Then they would just look silly
(I imagine) and likely draw the eye right to his middle.  Also, is there
any way to include extra ease across the back, without distorting the
shapes of garments?  These are the kinds of questions I am pondering.

Alix


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-Poster: kathleen@niagara.com


>simpler garb was what I had in mind.


Middle Eastern.  A long caftan covered by the loose aba (lovely vertical
lines and flowing to the heels) 

The sashes are folded in nifty ways that act as a change purse, too.
(added bonus)  And those headcoverings are great for avoiding sunstroke and
sunburns on the back of his neck.  Wonderful, practical and flattering garb.

I made a set (with the short caftan and chalwar...kind of Bedoin-rider) for
a friend of mine with the "Tudor" physique...it worked great. (A more
accessible example...John Rhys-Davies in Raiders of the Lost Ark) The
vertical lines of the aba provide a great illusion. If you make chalwar,
make the ones with the narrow calf, not the balloony ones women wear.  Tucks
into boots better. And it's more comfortable if you use a strip of cloth
instead of a drawstring at the waist.

Simple...great for camping...and one size covers all...

Kathleen (Catriona)
(with apologies for not remembering most of the real words)
 

                                                ()
                                              _/)(\_
"Tehee!" quod she, and clapte the wyndow to    /~~\
                                              /____\

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-Poster: ErrickII@aol.com

In a message dated 1/28/1999 10:45:12 AM Eastern Standard Time, r-abbott@oar-
xch1.oar.uiuc.edu writes:

> 
>  I am looking for all tips and ideas for garbing a large man in medieval
>  attire.  (By large, I mean that his waist is larger than his chest, and
>  under that he's fairly well muscled all over.)  I've read many
>  suggestions for adapting to women's shapes, but I'm wondering how to
>  make my dear husband both comfortable and attractive.  
>  
What time frame are you considering? Early medieval is very easy, late period
can be more of a challange. I've done early for years, and my wife is working
on a new outfit of late period garb, think a Henery the VIII style.

Errick
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From: Merouda the True <keltia@serv.net>
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-Poster: Merouda the True <keltia@serv.net>

> What I was mostly hoping for was those little tricks to deal with
> fitting and such.

I have a friend whose husband is quite large, top to bottom so to speak.  At
any rate, she cuts his T-tunics from 60' fabric and makes no other
concessions.  They appear to fit him fine, he appears happy with his simple
manly garb.  Occassionally, she might do something like use a different
color at the top in a point-down pattern.   But it she doesn't seem to have
any difficulties.  You might not either.  Certainly color choices help,
black and darker colors are slimming for instance.

--
Cynthia Long
Merouda the True of Beaumaris
Barony of Madrone
Kingdom of An Tir


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From: starsinger@webtv.net (theresa sorrell)
Date: Thu, 28 Jan 1999 17:32:47 -0700 (MST)
To: h-costume@indra.com
Subject: Re: H-COST: 50's prom dress
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-Poster: starsinger@webtv.net (theresa sorrell)

Didn't Folkwear have a 50's dress?   It's been awhile, but I think I
remember one.

Starsinger

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From owner-h-costume@indra.com  Thu Jan 28 19:29:34 1999
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From: "Allison Thurman" <athurman@cybergal.com>
To: <h-costume@indra.com>
Subject: H-COST: menswear
Date: Thu, 28 Jan 1999 19:37:51 -0500
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-Poster: "Allison Thurman" <athurman@cybergal.com>

it wasnt that these styles didnt last long (im even told that in la the
retro-swing kid scene has brought the zoot back) but that they werent the
"norm" - typically these colorful styles are worn only by fashion
subcultures, not by the general populace. the more outrageous mens styles
mentioned generally dont reach mainstream acceptance until they are
seriously toned down.
allison

- -Poster: Sylvia Rognstad <sylvia@netherworld.com>

On Tue, 26 Jan 1999, Carolyn Kayta Barrows wrote:

>
> It wasn't till the late 1950's that men really started wearing colours
> again (except for Hawaiian shirts and the occasional cool neckties).
The
> Zoot suits in the 1940's were the first really radical change in cut in
> many decades.  The English designers like Mary Quant in the early 60's put
> colour and pattern back on men, along with differently cut suits.  Then
all
> sartorial-**** broke loose, leading to the Hippies and the Unisex clothing
> experiments of the late 60's-early 70's.

Yea, but that didn't last long.
Sylvia

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From owner-h-costume@indra.com  Thu Jan 28 19:33:34 1999
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From: "Wylie A. & Gail D. Smith" <wyliesmith@isomedia.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: Garb for large men, additional
Date: Thu, 28 Jan 1999 16:37:05 -0800
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-Poster: "Wylie A. & Gail D. Smith" <wyliesmith@isomedia.com>

I don't think you have to create such elaborate garb for your large Lord. I
am going thru the same problem with my husband. He has a huge gut, and is an
ex-swimmer, so is very bulky in the back shoulders. He is also very short
legged, and loves to wear things on his hip.
I try to use only 60 inch wide yardage to make his tunics.  I am still
learning the right length for him, however. The tunics that go to the floor
(or the knee) look very attractive on a large man. When constructing the
garment, I find that I have to move his neck opening down his front an inch
or so to adjust for his large shoulders. I also have to make sure that I
make his arms are large enough to be comfortable, and not pull across his
shoulders. (Rounding the tunic seam line under the arm works better than
angling it. Does that make sense?)
I'm still learning too, but I hope some of this helps.
~Meryld


> -----Original Message-----
> From: owner-h-costume@indra.com [mailto:owner-h-costume@indra.com]On
> Behalf Of Abbott, Ruth
> Sent: Thursday, January 28, 1999 1:35 PM
> To: 'h-costume@indra.com'
> Subject: H-COST: Garb for large men, additional
>
>
>
> -Poster: "Abbott, Ruth" <r-abbott@oar-xch1.oar.uiuc.edu>
>
> I see that I should have made a few things clearer:  I can understand
> the suggestions to dress my husband like Henry VIII or in the less
> flamboyant Tudor style, but in all honesty I am not going to go to that
> much work on his behalf unless he asks me to.  Or, I am at least going
> to make some elaborate garb for myself first.  I will mentally file the
> idea away, though, even though simpler garb was what I had in mind.
>
> What I was mostly hoping for was those little tricks to deal with
> fitting and such.  Margo mentioned a few things about "disguising"
> girth, but are there any techniques that would assure a good fit?  For
> example, I have considered whether adding gores to a T-tunic would make
> sense, to allow for more room.  It seems to me that the gores would have
> to start quite high to be of help, since it's not a matter of wanting to
> flair out at the hips as with a woman.  Then they would just look silly
> (I imagine) and likely draw the eye right to his middle.  Also, is there
> any way to include extra ease across the back, without distorting the
> shapes of garments?  These are the kinds of questions I am pondering.
>
> Alix
>
>
>  _________________________________________________________________
>  To leave this mailing list, send mail to majordomo@indra.com
>  with the message UNSUBSCRIBE H-COSTUME
>

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From owner-h-costume@indra.com  Thu Jan 28 19:39:09 1999
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-Poster: CONNECT@aol.com

Good People,

I'm planning on making some fighting pants for the SCA. I found a
rayon/linen/lycra blend at my local Jo-Anns. I want linen because it soaks up
sweat with ease. However, I have no idea how rayon treats sweat. Does it work
like linen in that regard? 

I've been told that rayon is treated cellulose, and therefore technically a
"natural" fiber. But I've never paid much attention to how it deals with
moisture. Please help!

Yours,
Pattie Rayl
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From owner-h-costume@indra.com  Thu Jan 28 19:39:52 1999
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Date: Thu, 28 Jan 1999 19:53:50 -0500
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From: Lynn Carpenter <alwen@i2k.com>
Subject: RE: H-COST: Netting in the round?
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-Poster: Lynn Carpenter <alwen@i2k.com>

I got a "No DNS entry error" for www.fsbks.com.  Could you share an ISBN
number or other info for this book?

Always ready to increase my netting library!

Has anyone ever seen the netted edging (like on the website below) on
clothing (or 
even dresser scarves)?

Lynn

"Hope H. Dunlap" <hhdunlap@email.msn.com> wrote:

>Thanks so much for the reference to the netting WebPages.  They are
fantastic!  >The 1838 Workwoman's Guide, reprinted in facsimile by RL. Shep
has a number of >patterns for netting, including the standard string bag, a
lacy window curtain (which >looked super-easy, and sounded just beautiful
in place), a hairnet, and several >fishnet doilies. It's available from
many sources, including Amazon Drygoods, Fred
>Struthers Books (www.fsbks.com).

Lynn Carpenter <alwen@i2k.com> wrote:

>>And I can't make any post about netting without mentioning this beautiful
and >>inspirational site, which also has instructions for circular netting:
>>http://www.the-spa.com/bartholomew/netting/

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From owner-h-costume@indra.com  Thu Jan 28 19:52:40 1999
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From: Merouda the True <keltia@serv.net>
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-Poster: Merouda the True <keltia@serv.net>

While not an expert by any means, I wouldn't be concerned about the rayon or
linen, but I would wonder about the lycra.  Even though 3% lycra isn't very much,
it definitely effects absorbency and breathability.  IMHO.

> I'm planning on making some fighting pants for the SCA. I found a
> rayon/linen/lycra blend at my local Jo-Anns. I want linen because it soaks up
> sweat with ease. However, I have no idea how rayon treats sweat. Does it work
> like linen in that regard?
>
> I've been told that rayon is treated cellulose, and therefore technically a
> "natural" fiber. But I've never paid much attention to how it deals with
> moisture. Please help!
>
> Yours,
> Pattie Rayl
>  _________________________________________________________________
>  To leave this mailing list, send mail to majordomo@indra.com
>  with the message UNSUBSCRIBE H-COSTUME



--
Cynthia Long
Merouda the True of Beaumaris
Barony of Madrone
Kingdom of An Tir


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Date: Fri, 29 Jan 1999 12:03:20 +1100
From: Harvey Georgia <harveyg@acer.edu.au>
Subject: Re: H-COST: Garb for large men, additional
To: "'H-costume'" <h-costume@indra.com>
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-Poster: Harvey Georgia <harveyg@acer.edu.au>

Alix posted:

[snip]

What I was mostly hoping for was those little tricks to deal with
fitting and such.  Margo mentioned a few things about "disguising"
girth, but are there any techniques that would assure a good fit?  For
example, I have considered whether adding gores to a T-tunic would make
sense, to allow for more room.  It seems to me that the gores would have
to start quite high to be of help, since it's not a matter of wanting to
flair out at the hips as with a woman.  Then they would just look silly
(I imagine) and likely draw the eye right to his middle.  Also, is there
any way to include extra ease across the back, without distorting the
shapes of garments?  These are the kinds of questions I am pondering.

Alix

---

What about a shortened version of "the greenland dress"? My notes suggest
that at knee length, with hose, this would be acceptable for men...You could
certainly adjust the gores to fit.

Georgia
my 0.02
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From owner-h-costume@indra.com  Thu Jan 28 20:05:19 1999
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From: starsinger@webtv.net (theresa sorrell)
Date: Thu, 28 Jan 1999 17:20:41 -0700 (MST)
To: h-costume@indra.com
Subject: Re: H-COST: Re: 'dress'- What is it?
Message-ID: <6050-36B0FED9-170@mailtod-141.iap.bryant.webtv.net>
In-Reply-To: Merouda the True <keltia@serv.net>'s message of Thu, 28 Jan
	1999 10:50:54 -0800
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-Poster: starsinger@webtv.net (theresa sorrell)

Could dress refer to a form of stiffening in order to weave the cloth.
Sizing is used to stiffen warp on a loom. 

Starsiner

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From owner-h-costume@indra.com  Thu Jan 28 20:15:30 1999
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From: "Griggs, Margaret (SHEP)" <Margaret.Griggs@shepards.com>
To: "'h-costume@indra.com'" <h-costume@indra.com>
Subject: RE: H-COST: Garb for large men, additional
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-Poster: "Griggs, Margaret (SHEP)" <Margaret.Griggs@shepards.com>

I've never gotten to sew for a gentleman who's middle didn't match or exceed
his chest measurements.  I did discover a couple of things that helped.  For
tunics, you can piece in extra gores starting at the underarm and expanding
toward the hem.  Same principle as setting them in at a woman's hips.  Also,
adding gussets at the underarms helps.  Large diamond shaped pieces that
allow extra movement both for the arm and the back and are not very
noticeable during wear.  Tunics can be cut so that the shoulders are a bit
wider.  When determining how wide to make the tunic, measure the front and
back separately and cut them separately if necessary.  The extra fabric will
be where its needed and won't be in the way where its not.  

If you go for more fitted garments, look at tailoring books that tell you
how to construct a modern man's jacket.  They put additional padding in the
chest area to prevent saggy areas and give the garment some body.  I've made
a number of fitted jackets for men, Tudor and something that resembles a
ghawazii coat that I think is Turkish, and they never looked right until I
discovered the padding.  Doublets also need this principle.  I've used 1/8"
thick cotton quilt batting and laid it into an inner lining that wound up
being quilted to death.  You have to stagger the layers so you get a smooth
transition and don't be afraid to add extra padding to one side that you
don't need in the other.  I think there's got to be an easier way so I'm
looking for another tailoring book.  Oh, the fitted doublet I did all this
padding in wound up looking so good that the gentleman has requested all
future jackets be padded!  He actually had shoulders and a chest which made
his middle look smaller!  The end result looked a lot more like the
paintings than any of the previous attempts.

As for getting them to wear the waistband around their waist and not their
hips, if you ever discover a method you'll probably make a fortune selling
it.  :)

Does that help?
Maggie

margaret.griggs@shepards.com or Lyssa@kktv.com
http://members.iex.net/~norseman/dragon.html
http://members.iex.net/~norseman/outlands/outlands.html

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From owner-h-costume@indra.com  Thu Jan 28 20:18:41 1999
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Date: Thu, 28 Jan 1999 16:11:02 -0800
From: Lavolta Press <lavolta@best.com>
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-Poster: Lavolta Press <lavolta@best.com>

> As a costumer, I
> frequently shop in consignment/used clothing, etc. shops.  But the original
> question was what should someone expect to pay for a one of a kind hand-made
> dress.  The price that Margo quoted of  $300 was more than reasonable.  There
> is no question that an an evening wear/prom, etc., dress can be found for
> less, but that isn't really the point.  If someone wants to pay a seamstress
> to make them a dress, they should expect to pay for what that kind of time,
> care and creativity will provide.  Ready-made wear on sale or used not-
> withstanding.

On the nonhistoric sewing groups, people who do custom dressmaking often complain
about customers who expect quality custom-made garments to cost less than
off-the-rack.  My theory is, sewing is one of the activities that some people do
as a hobby and some do professionally, and that people thinking about payment
somewhat willfully confuse the two.  I suspect way back in home ec, teachers told
them, "Clothing is cheaper if you make it yourself."  Well, it is (or at least you
get better quality for your money)--but that's because you're putting in your
labor/time instead of paying someone else for it.  The same teachers told them,
"Sewing is fun."  Well, it wasn't for these customers, or they'd be making their
own clothes instead of hiring a dressmaker.  But they noticed that  _some_
students thought it was fun and kept on sewing.  So if your dressmaker is having
so much fun, why pay them a lot in addition?  To clinch the matter, everybody has
known at least one loving mother who has made clothing for her children free,
maybe well into adulthood--so after all, why shouldn't people sew free for casual
acquaintances?

Then, sewing is traditionally women's work.  There's a long tradition of paying
women less than men.  And of assuming this is OK because of course they're really
being supported by their husbands or fathers, right?

Anyway, the solution repeatedly advocated by professional dressmakers is to point
out to the customer, in detail, how they are getting a higher-quality,
better-fitting garment, possibly a unique style they couldn't even buy off the
rack.  And furthermore, to make sure to behave very professionally in all
respects.  Apparently, although some customers do just go away, it is possible to
educate others and get appropriately paid by them.

Also, some people who just sew for themselves as a hobby say they are sometimes
asked by coworkers, casual acquaintances, etc. to sew for them free.  The best
suggestion I heard is, one woman said she kept a supply of business cards for a
friend who was a professional dressmaker.  Whenever someone asked her for free
sewing, she'd hand them her friend's card.

Fran

----------------------------------------------
Visit our web sites!
Books on historic costume and vintage clothes
http://www.best.com/~lavolta/index.htm
Vintage and historic dance
http://www.best.com/~lavolta/dance/index.htm


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From owner-h-costume@indra.com  Thu Jan 28 21:12:59 1999
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From: Christina Conklin <textiles@earthlink.net>
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-Poster: Christina Conklin <textiles@earthlink.net>

The whole 'cloth of gold' thread got me thinking. . . .

What are people's favorite places to get REALLY GOOD historic fabrics?
Internet, direct mail, overseas, local shops, whatever. . . . I'm
interested in all of the above! Are there any sources for authentic
reproduction fabrics out there or do people use fabrics that are
close-enough, but lacking provenance? I'm new to this list, so please
pardon my ignorance if this is a Historic Costume 101 question!

Thanks,
Christy

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From owner-h-costume@indra.com  Thu Jan 28 21:14:32 1999
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-Poster: Appin1@aol.com

Katya-- 

Actually, the cloth of gold was stiff, not like the chiffon-like stuff you see
today. It looked to be scratchy (it was either under glass or hanging on the
wall and not able to be touched of course) rather than soft and drapey. But it
sure was gorgeous. And it was woven just as you described.

Kathleen Norvell
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From owner-h-costume@indra.com  Thu Jan 28 21:34:11 1999
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-Poster: Appin1@aol.com

It makes lovely sleeves, veils, sashes -- I've seen it in an Ottoman Empire
context, remember.

Kathleen Norvell
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From owner-h-costume@indra.com  Thu Jan 28 21:36:14 1999
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-Poster: Appin1@aol.com

Perhaps sizing of some sort. I've breoken needles on fabric stiff with sizing
(it wouldn't come out).

Kathleen Norvell
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From owner-h-costume@indra.com  Thu Jan 28 21:42:33 1999
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-Poster: Appin1@aol.com

Tell him to get a Whole Costumer's Catalogue, then hie himself to New York
City, a short drive away, and run through the NYC entries. He'll never make it
to LA.

I will be at CostumeCon (one of the judges for the historical masquerade).
Tell him to drop by and say hello.

Kathleen Norvell
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From owner-h-costume@indra.com  Thu Jan 28 21:53:57 1999
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-Poster: Appin1@aol.com

Rayon can do terrible things when it gets wet. I'd be careful.

Kathleen Norvell
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-Poster: Sheridan Alder <alderweb@vaxxine.com>


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Hello Loren:

As it happens, my husband gave me a silly and totally unnecessary,
(but rather sweet and thoughtful) Christmas present of "The Ladies
Cabinet of Fashion, Music & Romance, Vol. IX, 1836.
from January to June, inclusive.

The term "ceinture" seems to be used interchangeably for both
sashes and the waistline in general. Generally, the "walking
dresses" have self-fabric or contrasting waistbands while the
evening and  ball dresses just have a waist seam, which isn't surprising
since their bodices are either pointed or rounded. In January  "Paris
Fashions for the Month"  the waist is described being "rather long,
rounded in front, and without a ceinture" (also mentions a very rich satin
- a "triple satin" - I want some!) However there is an illustration of an
evening dress, white satin with rose ribbons "in the stomacher fashion"
with a final plain band around the waist. February illustrates a pelisse
with a plain waistband of the same fabric- it appears to open n the side.
A rose dinner dress with a "Ceinture of broad rose satin ribbon, richly
fringed" - it's a sash in the same fabric or colour, tied with a small, neat bow.

A purple walking dress in May seems to have a self-fabric belt
with a matching buckle (between the gigantic sleeves and a
shawl it's hard to tell) about 2 1/2 to 3 inches wide. A morning
visiting dress in white includes a pink sash which appears to be
wrapped all round, and to the front again, with a small neat
bow and the ends short - maybe four inches long. A grey and
pink carriage dress in June shows an identical waist treatment.
A May morning dress in purple (Hey! any period that liked purple so
much can't be all bad!) also has a about four inches wide purple
ribbon sash, tied in a small bow again, but with ends of the sash
reaching to at least the knee. A "dust-coloured" (looks pale green
to me!) morning visiting dress features yet another belt with a really
narrow buckle, more vertical than horizontal, as does an emerald green
promenade dress.

In 1836 (in this source at least) - quite wide belts (or possibly waistbands)
with very narrow buckles, or else sashes tied in bows with either very short,
or very long ends.

The text doesn't mention what was going on around the waist much -
much more fascinated by what direction the outrageous sleeves would
explode in next!

Hope this helps a bit. My husband just gave me a dig - "I see you're
using that book you said I shouldn't have bought you" Maybe I'll
admit he's right - later!

Sheridan


--------------DADB4D000B5123FF5420C48F
Content-Type: text/html; charset=us-ascii
Content-Transfer-Encoding: 7bit

<HTML>
Hello Loren:

<P>As it happens, my husband gave me a silly and totally unnecessary,
<BR>(but rather sweet and thoughtful) Christmas present of "The Ladies
<BR>Cabinet of Fashion, Music &amp; Romance, Vol. IX, 1836.
<BR>from January to June, inclusive.

<P>The term "ceinture" seems to be used interchangeably for both
<BR>sashes <B>and</B> the waistline in general. Generally, the "walking
<BR>dresses" have self-fabric or contrasting waistbands while the
<BR>evening and&nbsp; ball dresses just have a waist seam, which isn't
surprising
<BR>since their bodices are either pointed or rounded. In January&nbsp;
"Paris
<BR>Fashions for the Month"&nbsp; the waist is described being "rather
long,
<BR>rounded in front, and without a ceinture" (also mentions a very rich
satin
<BR>- a "triple satin" - I want some!) However there is an illustration
of an
<BR>evening dress, white satin with rose ribbons "in the stomacher fashion"
<BR>with a final plain band around the waist. February illustrates a pelisse
<BR>with a plain waistband of the same fabric- it appears to open n the
side.
<BR>A rose dinner dress with a "Ceinture of broad rose satin ribbon, richly
<BR>fringed" - it's a sash in the same fabric or colour, tied with a small,
neat bow.

<P>A purple walking dress in May seems to have a self-fabric belt
<BR>with a matching buckle (between the gigantic sleeves and a
<BR>shawl it's hard to tell) about 2 1/2 to 3 inches wide. A morning
<BR>visiting dress in white includes a pink sash which appears to be
<BR>wrapped all round, and to the front again, with a small neat
<BR>bow and the ends short - maybe four inches long. A grey and
<BR>pink carriage dress in June shows an identical waist treatment.
<BR>A May morning dress in purple (Hey! any period that liked purple so
<BR>much can't be all bad!) also has a about four inches wide purple
<BR>ribbon sash, tied in a small bow again, but with ends of the sash
<BR>reaching to at least the knee. A "dust-coloured" (looks pale green
<BR>to me!) morning visiting dress features yet another belt with a <B>really</B>
<BR>narrow buckle, more vertical than horizontal, as does an emerald green
<BR>promenade dress.

<P>In 1836 (in this source at least) - quite wide belts (or possibly waistbands)
<BR>with very narrow buckles, or else sashes tied in bows with either very
short,
<BR>or very long ends.

<P>The text doesn't mention what was going on around the waist much -
<BR>much more fascinated by what direction the outrageous sleeves would
<BR>explode in next!

<P>Hope this helps a bit. My husband just gave me a dig - "I see you're
<BR>using that book you said I shouldn't have bought you" Maybe I'll
<BR>admit he's right - later!

<P>Sheridan
<BR>&nbsp;</HTML>

--------------DADB4D000B5123FF5420C48F--


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From owner-h-costume@indra.com  Thu Jan 28 22:52:10 1999
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Date: Thu, 28 Jan 1999 15:30:48 -0600
Subject: Re: H-COST: Lasting cloth
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-Poster: seamstrix@juno.com

It was my understanding that 'jeans' were called such because another
name for 'serge de Nimes' was 'de Genoa' which got shortened and
bastardized to 'jean'. That makes more sense than the sailors named Jean
story, but I still don't know if it's true.


Karen


On Thu, 28 Jan 1999 10:59:54 -0800 (PST) Margo Anderson
<margo@directcon.net> writes:
>
>-Poster: Margo Anderson <margo@directcon.net>
>
> Jean cloth was commonly used by the Confederate army, as well as by 
>the
>Union army
>>and civilians for work clothes.
>>
>Now, is "jean cloth" denim, or is there some other reason they're 
>called
>"jeans"?  I've heard the rumor that they got the name by being worn by
>French sailors, many of whom were named Jean, but it sounds like a 
>costume
>myth to me.  Anyone?
>
>Margo
>
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From owner-h-costume@indra.com  Thu Jan 28 22:56:35 1999
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From: "Janis James" <jesa@direct.ca>
To: <h-costume@indra.com>
Subject: Re: H-COST: Re: 'dress'- What is it?
Date: Thu, 28 Jan 1999 20:04:47 -0800
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-Poster: "Janis James" <jesa@direct.ca>

Hello Folks:
    "Dress"  IS sizing.  Before 1962-65 it was purely natural
vegetable starchs. In varying strengths to help support the
fibres of the cloth. eg: More for limp fabric, etc.
   During the 1960's certain chemicals were experimented
with to see which would give the same effects to fabrics but
be cheaper to use, less noticeable to the customer, etc.
   In our rampant chemical oriented society of today, "dressing"
or sizing is almost totally of man-made chemicals.  Very harsh
for the fabrics and certainly for our water system and our skin.
But...for the manufacturer the bottom line is the most important
and often customers are completely fooled now with what 
appears to be a perfect fabric (until it is washed once).
   I for one, am also allergic to most of these chemicals and it
plays havoc with my hands.  I try to bring my fabrics directly
to the washing machine from the shopping bags.
  (-been in the "fabric" business for over 20 years now and 
know all the games!!)
    For the fabric mentioned in the first question - the flannel
would be quite different after washing - but likely would have
been much softer and thinking of the 1930's fabrics - it would
have become quite lovely.
                                   Regards,   Janis
 


 
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From owner-h-costume@indra.com  Thu Jan 28 23:53:40 1999
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From: "Janis James" <jesa@direct.ca>
To: <h-costume@indra.com>
Subject: H-COST: Garb for large men, addit.(long)
Date: Thu, 28 Jan 1999 21:01:25 -0800
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-Poster: "Janis James" <jesa@direct.ca>

Dear Alix and other's interested:
    I have been costuming "extra-large" men for over
15 years now.  Professionally in theatre and the SCA.
   The most important thing to consider for the costumes
is comfort.  I have found that if men are comfortable then
they will agree to wear most things.
   Keeping the proportion correct will help with comfort.
Cut larger, fuller back yolks than front yolks - even with
the larger tummy.  Fullness through the back means less
fabric straining through the stomach.  Definately
make the tunics longer.  At least lower-thigh to the knee.
Tunics that end just below the natural waist make a larger
stomached man look stumpy and they will be continually
twitching with the tunic and their belt.
   Triangular shaped gussets in the immediate underarm
seam help, but I have always found that unnecessary if I
have allowed enough fullness in the upper arm of the tunic
and if the underarm seam is cut in a full curve.
   Run a panel of a different fabric under the arm from
sleeve hem to tunic hem.  This will be a straight piece of
fabric usually 4 to 6 inches wide throughout.  It can be
the same colour/type of fabric or totally different.  The
front and back silouette will be greatly enhanced and this
was a very "medieval" thing to do - as clothing was valuable
and often handed-down.  A bequeathment of a tunic of a
small man to a large man meant something had to be done
and strips of fabric could be run along the underarm seam
to add size and another band could be run along the bottom
to add length.  Very "correct" and very easy.  For the large
man of today - it adds fullness and ease in arm movement
without adding bulk in the shoulders.
   Watch your necklines.  Wide open necklines are 
uncomfortable on the larger man and will not help with
his proportioning.  Tunics will slide on each other and
not fit well.  It is better to have a smaller neckline with a
small slit and a button or penanular pin closure. Deer horn
buttons are wonderful for this and I have often solved the
neck problem with a slit opening at the neck on each 
shoulder which allows me to build more fabric into the back
of the tunic at the shoulders.
   Unless you wish to go "later-period" - I would not 
recommend putting too many gores in the side seams. It
would be quite correct to start them from the actual under-
arm seam, (if you use them) but that will usually cause great
fullness at the hem.  This gives a very "gathered" effect and
the straighter sillouette is far more flattering - and the gentleman
won't be bothered with wondering where all that hem fabric is
getting to - like still being tucked into his pants - without his
knowing!!! etc.  Ladies cannot always be around to "twitch" the
tunic straight for him.  One narrower gore on each side with
no more than 6 - 8 inches at the hem is fine.
   Keeping the belts at the waist is good - but usually isn't their
fault - with the big tummy the belt just seems to slip under it.
If there is enough fullness in the tunic through the stomach 
section to pull a little of the tunic up through the belt to fall 
over it - then you have achieved even more comfort and less
pull on the arms too. 
   Try to keep the sleeve of the "overtunic" about elbow
length and reasonably full as this will not pull on the underarm
section and cause puckers.  Undertunics made in softer
more stretchable fabrics will be more comfortable for larger
men and will not allow as many puckers in the underarms.
Linen (if well washed and soft) will also act the same way
and is very, very comfortable and lasts forever.  Wool overtunics
are wonderful in the cooler weather and it is quite "correct" to
have very finely woven and delicate woolen fabrics.
   Try to avoid "broadcloth" if at all possible.  We all have some
"throw-on" tunics, but in the long run, they do not drape as well,
are certainly not as comfortable.  Polyester in the cotton will
cause perspiration and usually I find broadcloth wrinkles and
becomes very limp.  Try to look for fabrics with drape and body.
    I highly recommend Celtic, Norse, Byzantine and Middle
Eastern costuming for the larger man.  They give a wide range
of styles - all adaptable for embellishing - as you wish and get
more into the costuming for him and again, most importantly,
they are all very, very comfortable. 
   I hope some of these suggestions help.  I would be happy
to help more if needed.      Janis   (HL Sine)











 















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-Poster: Laurel Wilson <lwilson16@earthlink.net>




>
>
> >         " Ulrica Doyle sat in class sewing her hopes and fears into a calico
> > nightdress.  The material was harsh with 'dress', her needle- the second
> > one that morning, for she had broken the first... was too fine for this
> > type of work."
> >
> > Anybody out there have a clue what the author means by "'dress'"?
>
>

According to the OED, dress can mean any kind of finish, and they give the
specific example of "the stiffening of fabric with starch, glue, size, or the
like."
Lauri


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From owner-h-costume@indra.com  Fri Jan 29 00:14:10 1999
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-Poster: MaggiRos@aol.com

In a message dated 1/26/99 6:32:00 PM Pacific Standard Time,
hhdunlap@email.msn.com writes:

> 
>  Luke Gernon's "Discourses," on the state of Dublin in 1620,
>  "The women of Ireland are comely creatures, tall, slender,
>  and upright. Of complexion, very fayre and cleare-skinned
>  (but freckled) with tresses of bright yellow hayre, which
>  they chain up in curious knots and devises.  They are not
>  straight-laced or plated in their youth, but suffered to
>  grow at liberty so that you shall hardly see one crooked or
>  deformed . . . "

Great quotes, and thank you for this one in particular.  Back when this was my
speciality, I was not as conscientious a researcher, and I have lots of notes
without proper citations (or any, in some cases.)  This one tells me that
perhaps Irish girls dressed their hair rather elaborately, but perhaps weren't
into the compulsive hat/veil/head cloth restriction we're used to elsewhere at
the same time.  Unhappily, it's the only source I've found to suggest it.
<sigh>

How about the one from 1780 (?) wherein the author cites his aged granny who
told him that when she was young, her grandmother's gown had a train so long
she had to have a page to bear it up.  I can't for the life of me find that
one. Does it sound at all familiar?

Of the shinrone gown, I quite agree, that if it could be handled, it would
lace up in a perfectly ordinary way, and the keyhole opening doesn't need to
mean anything except incorrect display. In my experience, any fitted, front
laced gown, when just sitting on the mannikin, looks like it will NEVER close
up, but it does.   The few Irish pictures we have do look like that dress,
laced closed.  Incidentally, There's a painting by Piero della Francesco
called "Madonna del Parto" that shows a similar gown closed at the neckline,
but open or loose from below the bust to maybe 10 inches below the waist.
After that, the center front seam is closed again.  Sort of like the Shinrone.

Of nakedness, well, there is that story of a Bohemian tourist visiting "The
O'Kane" being welcomed in by the daughters of the house who he calls "all
naked". But the rest of the paragraph sure makes it sound as if they are naked
but for their shift. Maybe it's a translation problem?

Ah well, enough rambling.  As I say, it's no longer really my speciality, just
a continuing interest.

MaggiRos
Mairghread-Ros FitzGarret of Desmond, and so on.
~all my men wear a sword, or they wear nothing at all 

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Subject: Re: H-COST: 1830s dress belts
Date: Thu, 28 Jan 99 21:21:21 -0800
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-Poster: Pelikan <haggis@sirius.com>

> Everything's going fine but I'm having
>some difficulty with the belt, that is in none of the fashion plates of the
>period am I able to see whether or not the belt is of self fabric.  And the
>actual photos I've seen of existing dresses don't seem to have belts.  Were
>belts not really worn all that often in real life?  And if they were were 
>they
>self fabric or something else?  I've looked thru my whole library on this and
>have come up empty handed.  Thanks for any and all tips.
When I was in Scotland I picked up a wonderful book called,_The Rise and 
Fall of The Sleeve, 1825-1840, by Naomi Tarrant. It is full of photos of 
1830s dresses. There are a lot of belts shown on dresses and most of them 
are of the same fabric as the dress. Those that are not of the  same 
fabric generally are of a color to match the background of the printed 
dress fabric.
Nadine
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-Poster: MaggiRos@aol.com

In a message dated 1/28/99 4:36:48 AM Pacific Standard Time,
kathleen@niagara.com writes:

> 
>  From what I understand, Philip Stubbes was just an intellectual (dropped
out
>  of two universities) with puritanical leanings and a taste for spouting
off.
>  His brother was the actual church man.

I'm only aware of him being referred to as a Puritan preacher. Not a minister,
a preacher.  Any puritan on a streetcorner could preach, and often did.  Many
dissenters had no formal "authority", and acknowleged no one's ability to
grant them one, except God.  

But yes, he is a wonderul resource.  Just use him, or any single source,
wisely.

MaggiRos
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-Poster: MaggiRos@aol.com

In a message dated 1/28/99 1:30:41 PM Pacific Standard Time, r-abbott@oar-
xch1.oar.uiuc.edu writes:

> 
>  What I was mostly hoping for was those little tricks to deal with
>  fitting and such.  Margo mentioned a few things about "disguising"
>  girth, but are there any techniques that would assure a good fit?  

Well, there's no way to hide the fact that he's a big guy. How about a grand
Burgundian houpelande? Cut it full from the shoulders, so it falls in
wonderful drapes of wool or velvet.  Wide sleeves with interesting dags.   I
used to live with a man built along such lines, and he always looked wonderful
in that style.  

After that, look at the early-middle 16th century Germans.  You can emulate
the Henry VIII style without having to do Henry VIII.  A coat with bases makes
a manly man look just that much more manly.  Yes, make sure the waist is at
his real waist,--where he normally wears his sword belt, not were he wears his
jeans. Anything longer waisted winds up looking silly.

In any case, don't try to hide his size.  Revel in it! :-)

MaggiRos
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-Poster: MaggiRos@aol.com

But the French name "Jean" is pronounced "zhawn" and likely to be
mispronounced "john"  and Genoa is pronounced JEN-oh-a or sometimes jen-OH-a.
Neither one works out to "jean", unless the only source for the word was in
writing. And somehow i don't think that's how all those miners and cowboys
came to call them jeans.

On the other hand, I can't offer a better answer. <sigh>

MaggiRos

In a message dated 1/28/99 8:01:19 PM Pacific Standard Time,
seamstrix@juno.com writes:

> 
>  It was my understanding that 'jeans' were called such because another
>  name for 'serge de Nimes' was 'de Genoa' which got shortened and
>  bastardized to 'jean'. That makes more sense than the sailors named Jean
>  story, but I still don't know if it's true.
>  
>  
>  Karen
>  
>  
>  On Thu, 28 Jan 1999 10:59:54 -0800 (PST) Margo Anderson
>  <margo@directcon.net> writes:
>  >
>  >-Poster: Margo Anderson <margo@directcon.net>
>  >
>  > Jean cloth was commonly used by the Confederate army, as well as by 
>  >the
>  >Union army
>  >>and civilians for work clothes.
>  >>
>  >Now, is "jean cloth" denim, or is there some other reason they're 
>  >called
>  >"jeans"?  I've heard the rumor that they got the name by being worn by
>  >French sailors, many of whom were named Jean, but it sounds like a 
>  >costume
>  >myth to me.  Anyone?
>  >
>  >Margo
>  >
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From owner-h-costume@indra.com  Fri Jan 29 01:00:13 1999
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-Poster: Marionetta@aol.com


I'm lucky enough to have G Street fabrics close by and they've got just about
anything I could want (except maybe cloth of gold).  In addition to the super
expensive silk taffetas/velvets they have I've lately mined the quilting
section.  Many good fabric stores, including G Street, have reproductions of
historic cottons in the quilting section.  P&B textiles has several lines of
reproductions cottons out including one line from the Oakland Museum in CA
based on the gold rush, and one from the DAR museum in DC from the
1780s-1830s.  There are a bunch of other companies out there doing this too.
To see a bunch of these patterns online visit http://www.patchworks-usa.com/
Hope this helps.

Cheers

Loren Dearborn
marionetta@aol.com
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From owner-h-costume@indra.com  Fri Jan 29 01:04:53 1999
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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: H-COST: Rullions
Date: Fri, 29 Jan 1999 01:08:37 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

Rullions are to the Scots what pampooties are to the Irish.
It is footwear made of untanned leather, fur (usually)
remaining on the outside, a single thickness of skin,
gathered up around the edge with a sinew which allows it to
conform to the foot. The lines vary somewhat from place to
place, but it's basically a bag tied over  the foot,
sometimes cut low, just to cover the toes, sometimes with an
integral vamp sewn across, and sometimes gathered up to the
ankle.

The footgear is very ancient, said to be worn all over
Northern Europe prior to the influx of the Romans, and still
seen in the 20th Century in remote islands off the northern
coast of Ireland.  Examples survive from Iceland.
References found in Doreen Yarwood's Dictionary of Fashion
with several drawings, Mairead Dunlevy's Dress in Ireland
with illustrations of various kinds, and many quotations
from writers over a very long time frame in John Tefler
Dunbar's History of Highland Dress, 1962, Oliver and Boyd,
Edinburgh and London, ie. John Elder's proposal of 1542 to
Henry VIII to join Scotland and England, now in the British
Museum:

"And agayne in wyntre when the froest is most vehement (as I
have saide) which we cannot suffir bair footide, so weill as
snow, .... we go ahuntynge, and after that we have slayne
redd deir, we flaye of the skyne, bey and bey, and setting
our bair foote on the inside therof, for neide of cunnynge
shoemakers, by your Grace's pardon, we play the sutters;
compasinge and mesuringe so moche therof, as shall retche up
to our anklers, pryckynge the upper part therof also with
holis, that the water may repas where it entris, and
stretchide up with a strong twange of the same, meitand
above our said anklers, so, and please your noble Grace, we
make our shoois: Therefor we usinge suche maner of shoois,
the roghe hairie syde outwart, in your Grace's dominion of
England we be callit roghefootide Scottis...."

He goes on to assure the King that the Scottish nobles all
have fine clothes of velvet and silk, which they would of
course wear to Court to honor him in the appropriate manner,
leaving their furry booties at home.

See also Richard James (1592-1638) account right before 1618
of his travels to Scotland in the Bodlian Library, "rawhide
shoes with the hair side outwards."

Hope H. Dunlap


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From owner-h-costume@indra.com  Fri Jan 29 01:43:02 1999
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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: Netting in the round?
Date: Fri, 29 Jan 1999 01:52:34 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

Sorry about that.... the correct URL for RL Shep's books at
Fred Struthers is http://www.mcn.org/e/fsbks/HTML/fred.htm.
http://www.amazon.com may carry it, too, as I got an RL Shep
book from there recently.

Hope H. Dunlap


-----Original Message-----
From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
Behalf Of Lynn Carpenter
Sent: Thursday, January 28, 1999 7:54 PM
To: h-costume-digest@indra.com
Subject: RE: H-COST: Netting in the round?



-Poster: Lynn Carpenter <alwen@i2k.com>

I got a "No DNS entry error" for www.fsbks.com.  Could you
share an ISBN
number or other info for this book?

Always ready to increase my netting library!

Has anyone ever seen the netted edging (like on the website
below) on
clothing (or
even dresser scarves)?

Lynn

"Hope H. Dunlap" <hhdunlap@email.msn.com> wrote:

>Thanks so much for the reference to the netting WebPages.
They are
fantastic!  >The 1838 Workwoman's Guide, reprinted in
facsimile by RL. Shep
has a number of >patterns for netting, including the
standard string bag, a
lacy window curtain (which >looked super-easy, and sounded
just beautiful
in place), a hairnet, and several >fishnet doilies. It's
available from
many sources, including Amazon Drygoods, Fred
>Struthers Books (www.fsbks.com).

Lynn Carpenter <alwen@i2k.com> wrote:

>>And I can't make any post about netting without mentioning
this beautiful
and >>inspirational site, which also has instructions for
circular netting:
>>http://www.the-spa.com/bartholomew/netting/


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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: Shinrone Gown, Lacing, Nakedness, and Green
Date: Fri, 29 Jan 1999 01:30:28 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

Qick response, I'm off to sleep....the references to married
and unmarried Irish women wearing their hair loose and
uncombed are numerous in the sources I mentioned.  It
probably refers to the "wild Irish," as De Heere's paintings
of the Middle class and written accounts speak of a cloth
head wrap of sorts, and the upper class are painted more
English, but maybe not so covered even.  It's really
critical to keep the class distinctions in mind.

I hadn't come across the bohemian tourist quote before, but
from the looks of it, the gals have their underlinen on.
That was common under the cape, and a step up on the
economic scale from the wild Irish, who hunted and fished,
didn't grow or weave as near as I can make out. The wild
Irish and the destitute were the naked ones, and if they had
their druthers, they probably wouldn't be. . . .

Regarding the train, it was probably a court gown.  I read
about one wedding gown train that required six pages to
carry it.  They were worn for a few minutes in the Irish
Court in Dublin prior to its demise in about 1800, and then
shed as quickly as possible for dancing and dinner. There
are period accounts complaining of the expense of
embroidering them and all that fabric, when they were so
impractical and worn for so brief a time.

Hope H. Dunlap


-----Original Message-----
From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
Behalf Of MaggiRos@aol.com
Sent: Friday, January 29, 1999 12:15 AM
To: h-costume@indra.com
Subject: Re: H-COST: Shinrone Gown, Lacing, Nakedness, and
Green



-Poster: MaggiRos@aol.com

In a message dated 1/26/99 6:32:00 PM Pacific Standard Time,
hhdunlap@email.msn.com writes:

>
>  Luke Gernon's "Discourses," on the state of Dublin in
1620,
>  "The women of Ireland are comely creatures, tall,
slender,
>  and upright. Of complexion, very fayre and cleare-skinned
>  (but freckled) with tresses of bright yellow hayre, which
>  they chain up in curious knots and devises.  They are not
>  straight-laced or plated in their youth, but suffered to
>  grow at liberty so that you shall hardly see one crooked
or
>  deformed . . . "

Great quotes, and thank you for this one in particular.
Back when this was my
speciality, I was not as conscientious a researcher, and I
have lots of notes
without proper citations (or any, in some cases.)  This one
tells me that
perhaps Irish girls dressed their hair rather elaborately,
but perhaps weren't
into the compulsive hat/veil/head cloth restriction we're
used to elsewhere at
the same time.  Unhappily, it's the only source I've found
to suggest it.
<sigh>

How about the one from 1780 (?) wherein the author cites his
aged granny who
told him that when she was young, her grandmother's gown had
a train so long
she had to have a page to bear it up.  I can't for the life
of me find that
one. Does it sound at all familiar?

Of the shinrone gown, I quite agree, that if it could be
handled, it would
lace up in a perfectly ordinary way, and the keyhole opening
doesn't need to
mean anything except incorrect display. In my experience,
any fitted, front
laced gown, when just sitting on the mannikin, looks like it
will NEVER close
up, but it does.   The few Irish pictures we have do look
like that dress,
laced closed.  Incidentally, There's a painting by Piero
della Francesco
called "Madonna del Parto" that shows a similar gown closed
at the neckline,
but open or loose from below the bust to maybe 10 inches
below the waist.
After that, the center front seam is closed again.  Sort of
like the Shinrone.

Of nakedness, well, there is that story of a Bohemian
tourist visiting "The
O'Kane" being welcomed in by the daughters of the house who
he calls "all
naked". But the rest of the paragraph sure makes it sound as
if they are naked
but for their shift. Maybe it's a translation problem?

Ah well, enough rambling.  As I say, it's no longer really
my speciality, just
a continuing interest.

MaggiRos
Mairghread-Ros FitzGarret of Desmond, and so on.
~all my men wear a sword, or they wear nothing at all


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From owner-h-costume@indra.com  Fri Jan 29 04:39:06 1999
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-Poster: "Connie Carroll" <Connie.Bunny@worldnet.att.net>

Where do you get the Whole Costumer's Catalogue??

Kassandra NickKraken

> -Poster: Appin1@aol.com
> 
> Tell him to get a Whole Costumer's Catalogue, then hie himself to
> New York City, a short drive away, and run through the NYC entries.
> He'll never make it to LA.
> 
> I will be at CostumeCon (one of the judges for the historical
> masquerade). Tell him to drop by and say hello.
> 
> Kathleen Norvell
JUST CALL ME MISTRESS BUNNY
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From: "KATE M BUNTING" <K.M.Bunting@derby.ac.uk>
To: <h-costume@indra.com>
Subject: H-COST: Jean (was Lasting cloth)
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-Poster: "KATE M BUNTING" <K.M.Bunting@derby.ac.uk>

According to the OED, "jene" (various spellings) is a very old English name for Genoa, and the fabric was originally called "jene fustian". The references to it go back to the 16th century. The use of "jeans" for garments of it is 19th cent.
Out of curiosity, I also looked up "naked", and the OED confirmed my suspicion that it can occasionally mean "in one's underwear". A quotation from the 1760s refers to "many naked people, some in shirts or shifts and some without either" oe words to that effect.

Kate Bunting
Library, University of Derby

From owner-h-costume@indra.com  Fri Jan 29 06:00:18 1999
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From: Barbara Maren Winkler <barbara@math.tu-berlin.de>
Subject: Re: H-COST: Menswear - yet another theory
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-Poster: Barbara Maren Winkler <barbara@math.tu-berlin.de>

>- -Poster: Sheridan Alder <alderweb@vaxxine.com>

[longish, trying to parapharase]:
The theory is that higher-class people started to choose more subtle
clothing (in the early 1800s) to distinguish themselves from adorned
"upstarts".

>What better way to signal your real class... than to affect exquisitely
and subtly tailored
>garments that only those "in the know"- ... could recognize?.

Backed up by the contemporary phenomenon that business dress tends to be
less colourful, less adorned, more conservative, but exquisitely tailored
(if affordable).

>A modern example - ...  Professional women dressed more
>conservatively in quiet understated suits and dresses. ....
>
>So people are still signaling status like crazy- the cues are just more
subtle -


The social theory of civilization founded by Norbert Elias (1939: The
Process of Civilization) argues that civilization is a process in which
personal physical urges are getting more and more controlled, first by
society through sanctions, later by the individual self through
sublimation. By this theory, societies which exist a long time
undisruptedly have an innate tendency toward "civilization" by the drive of
individuals to move upward in society, for which self-control proves
ultimately most successful.

Elias finds many little proofs of this "increasing control of drives and
urges" in the change of customs towards ever greater "civility".

I just find that the trend towards more "somber" men's dress makes sense in
the light of this theory. Assuming that the wish to dress colourfully and
adorn oneself is a "drive" (even though a secondary one). (It's fun, isn't
it.) So, dressing sparsely is a kind of self-control. Where is there more
need for self-control in order to be successful than in the business world? 

When did the business world take over major social power, and when did men
in large numbers move out into the business world? With the industrial
revolution = 18th-19th century. Why did women's fashion stay ornate and
colourful? For a long time, they were not regularly going into business
like men, they weren't even supposed to. Note that it was also often
assumed that women had less self-control.

And who is wearing suits nowadays?



The theory has been criticized because it seems to put a euphoric emphasis
on modernity ("everything's getting better and better") which some people
reject. It would be nice not to have to get into _this_ argument here....


Barbara Maren


--
Barbara Maren Winkler                         barbara@math.tu-berlin.de

  
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From owner-h-costume@indra.com  Fri Jan 29 07:13:53 1999
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From: "Christopher Ballis" <stilskin@netspace.net.au>
To: <h-costume@indra.com>
Subject: Re: H-COST: Re: 'dress'- What is it?
Date: Fri, 29 Jan 1999 23:21:24 +1100
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-Poster: "Christopher Ballis" <stilskin@netspace.net.au>

The word dress can also be applied to a more delecate subject in men's
trousers - a good
tailor will ask whether you dress to the left or the right, that is, does
the penis usually sit to one side or the other, and will cut the trousers
accordingly (this is a very brief (ahem) description but should give the
idea.


-C.
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From owner-h-costume@indra.com  Fri Jan 29 09:01:37 1999
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Date: Fri, 29 Jan 1999 06:09:19 -0800
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From: "Carol J. Bell Cannon" <cjcannon@greymists.com>
Subject: H-COST: [H-Costume] Lockram -- What was it's use?
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-Poster: "Carol J. Bell Cannon" <cjcannon@greymists.com>

My friend, deep in his thesis, has a question I do not know the answer for,
so I refer it to you all:  Here's one for you:  what was lockram used for?
It was a linen cloth, and it was imported to Lyme Regis in the mid-17th
century in large quantities.  Lyme was a spinning and weaving town, 
and its two main imports were raw wool and lockram ... I'm thinking that
lockram was a lining fabric, and that they're producing some finished
garments (which don't show up in port records because, unlike wool and
lockram, they're not subject to customs). Aryk
   If you have the answer, please write to me privately, with the sources
for your info., if there are any, and I will be very pleased to send them
to Aryk.  I know he w/b most grateful.
Thank you for your time, the bandwidth & your aid. Carol J. Bell Cannon

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From owner-h-costume@indra.com  Fri Jan 29 09:06:40 1999
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Date: Fri, 29 Jan 1999 07:18:17 -0700
From: Mary Denise Smith <costumemag@earthlink.net>
Organization: Costume & Dressmaker Press
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-Poster: Mary Denise Smith <costumemag@earthlink.net>

Hello List,

A clarification on rayon is needed. There are two basic types of rayon, acetate and viscose.

Acetate is the nasty shiny stuff that is often quite cheap and commonly used as linings. It is not
dyefast, underarm sweat stains it and it will go to shreds in the washer. True, it is reprocessed
cellulose, but it is SO processed that it is only barely cellulose anymore.

Viscose is also reprocessed cellulose, but it retains the hand and other qualities of cotton. Soft,
drapey, wrinkles but the wrinkles fall out in humid weather (makes for good wearing in climates east
of the Colorado/Kansas border), takes dyes dramatically. It absorbs water easily (hence the easy
shedding of wrinkles). Depending on the quality of the spinning/weaving, it can pill and look
shabby. Good quality viscose rayon is an absolute delight. Poor quality is a pain in the butt.

Hope this helps,

Mary Denise Smith

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From owner-h-costume@indra.com  Fri Jan 29 09:11:45 1999
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Date: Fri, 29 Jan 1999 08:18:56 -0600
From: Kent & Kat <kdyer@nash.tds.net>
Organization: Oak, Ash, and Thorn
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-Poster: Kent & Kat <kdyer@nash.tds.net>

I 'inherited' a tunic from a friend that was made for a
large man and both fit and looked good on him.  It was in
two pieces (probably due to fabric constraints).  The top
had elbow length sleeves and it had a v-neck, both trimmed
in a very wide, very bold trim.  It laced on both sides to
the waist (handy for someone who changes size frequently). 
The skirt was very, very full...if you have the Holkeboer
book it was similar to that of the Romanesque tunic on page
54...iow from the waist the tunic goes straight out for just
over half of the overall length of the tunic and then begins
a semicircle down to the bottom of the circle.  On this
particular tunic the side seam was left open as the
gentleman in question always wore a shirt or braes under it
and spending most of his time in the kitchen he needed
something with side ventilation.  I've seen other large men
wearing this style of tunic and it seems to me that it both
looks good and is more comfortable than some of the other
styles.  And if you lace it at the sides it is much more
adjustable.

Kat
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-Poster: SAQUEEN@aol.com

Gotta love the costume myths! Although this truth is just as interesting to
me. It teaches world textile flow and geography at the same time.

Jeans were a fustian (a broad range of cheap textiles) from Genoa, Italy. Many
18th century textile names indicated the towns of origin, i.e. jeans from
Genoa, holmes from Ulm, Germany. It was a naming system that worked for them. 

The one I love is 'holland' which was high quality, bleached linen. So much
fine linen was sent to the bleaching fields in Holland that 'holland' became
the commonly used  term like calling Kleenex (the brand name) for tissues (the
generic name).

Sally
www.sallyqueenassociates.com
Costume Calendar Series 
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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: H-COST: Jean cloth
Date: Fri, 29 Jan 1999 09:59:26 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

This word "jean cloth" goes back to the 18th century at
least, and was usually white. In Norah Waugh's Corsets and
Crinolines, there are numerous references to it being one
standard material for stays, less expensive than silk, nicer
than coarse linen.  I wouldn't be surprised, but I don't
know, if it was the same fabric used to make sailors' slops,
which were sold ready-made in port towns. (The sailors
typically didn't have womenfolk available to sew for them
when their need for a new pair of slops arose.) The Peabody
Maritime Museum in Peabody(?), Massachusetts has documented
the history of sailors wear and may be able to provide some
more clues.

Levi made and sold tents of "jean cloth" during the
California Gold Rush, and recognized the potential market
for durable, ready-made miners clothing. (Again, the problem
being that the bachelor adventurers didn't have womenfolk on
hand to sew for them.)   Levi used the white tent fabric to
make the first jeans, but the men complained that they
showed the dirt and looked messy.  He decided to dye them
blue, and they sold like hotcakes---ever since.

Hope H. Dunlap

-----Original Message-----
From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
Behalf Of MaggiRos@aol.com
Sent: Friday, January 29, 1999 12:52 AM
To: h-costume@indra.com
Subject: Re: H-COST: Lasting cloth



-Poster: MaggiRos@aol.com

But the French name "Jean" is pronounced "zhawn" and likely
to be
mispronounced "john"  and Genoa is pronounced JEN-oh-a or
sometimes jen-OH-a.
Neither one works out to "jean", unless the only source for
the word was in
writing. And somehow i don't think that's how all those
miners and cowboys
came to call them jeans.

On the other hand, I can't offer a better answer. <sigh>

MaggiRos

In a message dated 1/28/99 8:01:19 PM Pacific Standard Time,
seamstrix@juno.com writes:

>
>  It was my understanding that 'jeans' were called such
because another
>  name for 'serge de Nimes' was 'de Genoa' which got
shortened and
>  bastardized to 'jean'. That makes more sense than the
sailors named Jean
>  story, but I still don't know if it's true.
>
>
>  Karen
>
>
>  On Thu, 28 Jan 1999 10:59:54 -0800 (PST) Margo Anderson
>  <margo@directcon.net> writes:
>  >
>  >-Poster: Margo Anderson <margo@directcon.net>
>  >
>  > Jean cloth was commonly used by the Confederate army,
as well as by
>  >the
>  >Union army
>  >>and civilians for work clothes.
>  >>
>  >Now, is "jean cloth" denim, or is there some other
reason they're
>  >called
>  >"jeans"?  I've heard the rumor that they got the name by
being worn by
>  >French sailors, many of whom were named Jean, but it
sounds like a
>  >costume
>  >myth to me.  Anyone?
>  >
>  >Margo
>  >

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From owner-h-costume@indra.com  Fri Jan 29 10:51:33 1999
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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: best sources for fabulous historic cloth?
Date: Fri, 29 Jan 1999 11:00:28 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

I am a new at serious historical costuming too, and this is
the hardest thing to deal with.  The old fabrics are not
made anymore, period, and even those vendors who position
themselves with historic credentials are either too eager to
make a sale or not sufficiently versed in the subject to
know the facts.  A case in point, being my interchange with
a well-respected reproductions fabric company in
Massachusetts, which ---don't get me wrong----has many fine
fabrics appropriate for many historic costumers needs, but .
. . .  I asked for linen  or cotton prints appropriate to
1730 upperclass use for deshabille or morning gown, and was
assured emphatically that they had it.  After spending $10
on their sample packet, the fabric they thought would work
turned out to be an indigo copper plate print.  It would
have been appropriate for the late 1700's, but in no way
appropraite to 1730 as copperplate printing on fabric didn't
exist then.

There is at least one custom weaver of patterned silk
materials in England who will recreate historic fabrics to
perfection, but their work is extraordinarily expensive and
their clients are museums and the extraordinarily wealthy.

It is much easier to create lower class garb than upper
class garb, although finding decent linen is horribly
difficult.  Modern linen is rarely as nice are the old
stuff.  Plain colored velvet and upholstery silk  works for
many things, and watered silk is still available, but to get
the weight you want you may have to substitute a cotton and
rayon blend.

For the cost-conscious, which is all of us, it is important
to look at photos and actual historic fabrics in museums to
get a sense of what the real fabrics looked like.  For
periods prior to 1780, go to the upholstery fabric dealers
and select materials which look similar in pattern and
color.  Don't overlook saris and hand-woven Thai silk
sources on the Web. Use http://www.metacrawler.com to find
them. Embroidery or hand-painted designs on fabric is
another avenue, as these were bonafide techniques during
some historic periods.

Nineteenth century reenactment fabrics are easier to get.
Don't overlook quilt fabric stores and quilt fabric catalogs
for reproductions of period prints on cotton.

I can't overemphasize the necessity for doing your own
original research, as fabrics varied so much from time and
place that each has a unique look.

Hope H. Dunlap

-----Original Message-----
From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
Behalf Of Christina Conklin
Sent: Thursday, January 28, 1999 9:23 PM
To: h-costume@indra.com
Subject: H-COST: best sources for fabulous historic cloth?



-Poster: Christina Conklin <textiles@earthlink.net>

The whole 'cloth of gold' thread got me thinking. . . .

What are people's favorite places to get REALLY GOOD
historic fabrics?
Internet, direct mail, overseas, local shops, whatever. . .
. I'm
interested in all of the above! Are there any sources for
authentic
reproduction fabrics out there or do people use fabrics that
are
close-enough, but lacking provenance? I'm new to this list,
so please
pardon my ignorance if this is a Historic Costume 101
question!

Thanks,
Christy


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-Poster: "Mariea M. Goodinson-Dillenkofer" <stassja@bellatlantic.net>


In a message dated 1/28/99 1:30:41 PM Pacific Standard Time, r-abbott@oar-
xch1.oar.uiuc.edu writes: 
>  What I was mostly hoping for was those little tricks to deal with
>  fitting and such.  Margo mentioned a few things about "disguising"
>  girth, but are there any techniques that would assure a good fit?  

	Well my husband is a "big guy" (though he's lost about 47 pounds since
Thanksgiving on a wonderful diet - from 277 to 230!) and this was always a
dilemma.

	When wearing tunics or shirts, on way to disguise a bit of girth is the
way the belt is worn. Do everything you can to discourage the "below the
belly" belt. This is when they wear their belts cinched below the globe of
their bellies and, if anything, that accentuates that feature. I always
tried to make his tunics or belts a bit longer - close to knee length.
Once, for a medieval wedding, I made him an earlier period ankle length
tunic and he looked splendid! Again, worn with a waist high belt (not below
the belly). Not something to be active in but certainly fine as court garb
or schmoozing garb).

	Another thing which suited him nicely was later period wear (my personal
favorite) and he looked smashing in a doublet and venetians.

	Now that he's lost a good amount of the belly, we can go back and explore
his favorite period (the 1490's) and see what we can find there. :)

	Rie


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From owner-h-costume@indra.com  Fri Jan 29 11:34:37 1999
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From: Merouda the True <keltia@serv.net>
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-Poster: Merouda the True <keltia@serv.net>

Wish I could remember my source on this.  But I am of the understanding that naked
meant not dressed decently such as in your underwear.  Nude means bare naked.
Which makes me think, if you consider the term "bare naked" that naked didn't mean
bare.  So it needed the adjective of bare.

> Of nakedness, well, there is that story of a Bohemian tourist visiting "The
> O'Kane" being welcomed in by the daughters of the house who he calls "all
> naked". But the rest of the paragraph sure makes it sound as if they are naked
> but for their shift. Maybe it's a translation problem?

--
Cynthia Long
Merouda the True of Beaumaris
Barony of Madrone
Kingdom of An Tir


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-Poster: Margo Anderson <margo@directcon.net>


>As for getting them to wear the waistband around their waist and not their
>hips, if you ever discover a method you'll probably make a fortune selling
>it.  :)
I

I'm considering a staplegun.

Margo

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Subject: Re: H-COST: Re: 'dress'- What is it?
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-Poster: Margo Anderson <margo@directcon.net>


>
>The word dress can also be applied to a more delecate subject in men's
>trousers - a good
>tailor will ask whether you dress to the left or the right, that is, does
>the penis usually sit to one side or the other, and will cut the trousers
>accordingly 

I've always wondered, what IS the alteration made for this purpose?  Do you
cut the trouser leg front fuller on that side, or what?

BTW, when I was working at a bridal store which also rented men's formal
wear, our supplier gave us special tape measures.  They had a cardboard
piece, about 5" long, running along the beginning of the tape, so that you
could sort of poke up into a man's crotch, to get an inseam measurement
without your hand geting anywhere near...anything.  Good heavens.

Margo

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From owner-h-costume@indra.com  Fri Jan 29 12:23:57 1999
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-Poster: cynthia j ley <cley@juno.com>

You might also consider the Renaissance English and Italian men's cotes.
These are very flattering on larger gentlemen, emphasizing the square,
masculine set of the shoulders and being a very graceful garment
otherwise.


					Arlys


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From: "Glenda Hohmann" <glendahohmann@hotmail.com>
To: h-costume-digest@indra.com
Subject: H-COST: Re: prom dress
Date: Fri, 29 Jan 1999 09:35:35 PST
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-Poster: "Glenda Hohmann" <glendahohmann@hotmail.com>

You're in luck!  All you have to do is go in to your local fabric/ 
pattern store and look in the Vogue pattern books for "Vintage Vogue" 
patterns.  They are re-issued a whole bunch of patterns from the 40's, 
50's and 60's, and even rewrote the instructions to make them easier to 
make (the instructions were a real bear back then) and redesigned them 
to fit "today's silhouette", although personally, I wish they would have 
left them as they were to fit us curvier-type people.

They started with evening gowns (some of the type that you described) 
with the Winter catalog, and then are going to suits and the like in the 
Spring one, and then (I think) 'sportswear', which for them is more 
casual stuff.

As for fabrics, for the style you described, you will pretty much need 
netting, tulle or organdy for the krinoline, but for the dress itself, 
why don't you try satin, crepe satin, organza, chiffon, or a brocade or 
jacquard.  One of the ones that they are featuring is floor-length and 
strapless (as you described) and is made from a black and white brocade 
- absolutely gorgeous :>

Hope that helps,

Katrynka Chornovoloskaya
(Glenda Hohmann)


>- -Poster: "Mariea M. Goodinson-Dillenkofer" <stassja@bellatlantic.net>
>
>Hi all!
>
>	I just wondered if anyone knows of any good patterns available for a
>1950's type dress, the kind usually referred to as a "prom dress" -
>strapless fitted bodice with a very full skirt gathered at the waist 
and
>usually with a wide sash that makes a bow in back. I know this sounds
>simple to put together from scratch but I wondered if there's a pattern 
out
>there to make the work simpler (also, I'm not sure what fabrics would 
get
>used other than taffeta, net and organdy for this type of party dress).
>
>	Thanks for any leads!
>
>	Rita


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From owner-h-costume@indra.com  Fri Jan 29 12:32:39 1999
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From: "Griggs, Margaret (SHEP)" <Margaret.Griggs@shepards.com>
To: "'h-costume@indra.com'" <h-costume@indra.com>
Subject: RE: H-COST: Garb for large men, additional
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-Poster: "Griggs, Margaret (SHEP)" <Margaret.Griggs@shepards.com>


>>As for getting them to wear the waistband around their waist and not their
>>hips, if you ever discover a method you'll probably make a fortune selling
>>it.  :)
>I
>
>I'm considering a staplegun.
>
>Margo

I don't think I'd mind the holes in the men as much as the holes in the new
clothes.  :)

Maggie
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From owner-h-costume@indra.com  Fri Jan 29 12:32:59 1999
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-Poster: Margo Anderson <margo@directcon.net>

I have an ivory colored antique silk shawl, with allover embroidery in the
same color.  It's similar to the Chinese made "Spanish" shawls.  Lacis used
to have an identical piece, and they dated it 1880's.

The problem is,  my shawl is stained with what looks like ball point pen ink
and some brown marks which may be from being stored in an acid environment
(cardboard).  Rather than try to  clean it, I'd really like to dye it black.
I don't wear ivory much and I've always wanted a black one.

So, would it be downright sacriligous for me to dye this piece, and if not,
can anyone recommend what kind of dye and how to go about it?  

Margo

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-Poster: Laurel Wilson <lwilson16@earthlink.net>




> seamstrix@juno.com writes:
>
> >
> >  It was my understanding that 'jeans' were called such because another
> >  name for 'serge de Nimes' was 'de Genoa' which got shortened and
> >  bastardized to 'jean'. That makes more sense than the sailors named Jean
> >  story, but I still don't know if it's true.
> >
> >
> >  Karen
> >
>

Both my dictionaries (Webster's Second, and the OED) agree that it's from Genoa,
but the OED specifies that it's from Genoa *fustian*.  Their first citation,
which refers to 'Jene fustyan', is from 1567.Lauri


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-Poster: tobeypam@washpost.com

Exactly Fran! Right to the point! I'm saving your posting for the future!

Why can't people think of seamstresses/dressmakers as "couturiers?" That's
exactly what our talented sewers on this list are! Whether modern or
historic dress. Customers would NEVER think of whining about price to
Christain Lacroix or Yves St. Laurent. And they are getting the same
personalized, made-to-measure service!
Now back to lurking again,
Pam :-)
tobeypam@washpost.com


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From owner-h-costume@indra.com  Fri Jan 29 13:52:16 1999
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Date: Thu, 28 Jan 1999 15:19:14
To: h-costume@indra.com
From: Kristin Page <kdp@tiac.net>
Subject: Re: H-COST: Question on Rayon
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-Poster: Kristin Page <kdp@tiac.net>

Use pure linen if you can get it, or consider light-weight wool.  
Rayon's breathability depends primarily on the weave. Unless it's dry
cleaned rayon never quite stops shrinking -- lycra doesn't breathe.
The advantage that's obtained by mixing rayon with linen is that rayon dyes
well into bright colors that are impossible when dying linen by itself.
Kristin Page
At 07:26 PM 1/28/99 EST, you wrote:
>
>-Poster: CONNECT@aol.com
>
>Good People,
>
>I'm planning on making some fighting pants for the SCA. I found a
>rayon/linen/lycra blend at my local Jo-Anns. I want linen because it soaks up
>sweat with ease. However, I have no idea how rayon treats sweat. Does it work
>like linen in that regard? 
>
>I've been told that rayon is treated cellulose, and therefore technically a
>"natural" fiber. But I've never paid much attention to how it deals with
>moisture. Please help!
>
>Yours,
>Pattie Rayl
> _________________________________________________________________
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Date: Fri, 29 Jan 1999 12:17:38 -0600
Subject: Re: H-COST: Menswear - yet another theory
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-Poster: seamstrix@juno.com


>The social theory of civilization founded by Norbert Elias (1939: The
>Process of Civilization) argues that civilization is a process in 
>which personal physical urges are getting more and more controlled,
first by
>society through sanctions, later by the individual self through
>sublimation. By this theory, societies which exist a long time
>undisruptedly have an innate tendency toward "civilization" by the 
>drive of individuals to move upward in society, for which self-control
proves
>ultimately most successful.

As a sometime cultural anthropologist, I would have to take exception to
that. It may be true of Western Europe, but it certainly isn't true of
cultures outside that area. Many cultures in Africa, for instance, have
existed for hundreds/thousands of years and many of them show a tendency
towards a high degree of personal adornment. I know that when the theory
was developed, Western Europe was considered the ultimate in
civilization, but I hope that we are a bit more enlightened than that and
can see the depth and complexity of non-European cultures as being equal
or exceeding our own. A quick look thru history will confirm that
long-term civilization (Ancient Egyptian anyone?) and subdued clothing
are not neccessarily the same thing.


Karen
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-Poster: Susan Fatemi <susanf@netwiz.net>

Margo --

The sacrilege part is up to you, but as they also came in black
originally,
I don't see a problem. (unless the silk is weak)

I've just done my first acid dyeing on silk, so I'm not exactly an
expert. I got fed up with the way Procion behaves on silk and I 
needed an *exact* color red. So I bought red and black acid dyes
from Dharma Trading (they are Jacquard brand, tho')

To get true black on silk, you have to use an acid dye (the acid
referred to is vinegar -- not scary) and simmer on top of the stove.
You need an enamel pan of some kind (I used an old refrigerator drawer)
large enough so the piece can "move around freely"

I haven't tried the black yet, but it's practically guaranteed
to come out (so say more experienced dyers)

Susan

Margo Anderson wrote:
> 
> I have an ivory colored antique silk shawl, with allover embroidery in the
> same color.  It's similar to the Chinese made "Spanish" shawls.  Lacis used
 ....
> So, would it be downright sacriligous for me to dye this piece, and if not,
> can anyone recommend what kind of dye and how to go about it?
> 


-- 
Oh Noh! Kimonos!
susanf@netwiz.net
http://www.netwiz.net/~susanf
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From owner-h-costume@indra.com  Fri Jan 29 15:06:33 1999
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-Poster: Margo Anderson <margo@directcon.net>

A
>I haven't tried the black yet, but it's practically guaranteed
>to come out (so say more experienced dyers)
>
Umm..do you mean "come out" as in bleed and run all over the place, or as in
"come out right"?

Margo

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From owner-h-costume@indra.com  Fri Jan 29 15:15:42 1999
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From: Sylvia Rognstad <sylvia@netherworld.com>
To: h-costume@indra.com
Subject: Re: H-COST:  Dye question
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-Poster: Sylvia Rognstad <sylvia@netherworld.com>

> 
> -Poster: Susan Fatemi <susanf@netwiz.net>
> 
> I haven't tried the black yet, but it's practically guaranteed
> to come out (so say more experienced dyers)

I've dyed a few pieces of china silk and silk chiffon with Pro Chem's acid
dyes in black.  They work great.  You just have to use a lot of dye.
Sylvia R

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From owner-h-costume@indra.com  Fri Jan 29 16:08:34 1999
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-Poster: Susan Fatemi <susanf@netwiz.net>

Margo Anderson wrote:
> 
> -Poster: Margo Anderson <margo@directcon.net>
> 
> >I haven't tried the black yet, but it's practically guaranteed
> >to come out (so say more experienced dyers)
> >
> Umm..do you mean "come out" as in bleed and run all over the place, or as in
> "come out right"?
> 
> Margo
> 

Sorry, poor choice of words when discussing dyes. How about
"turn out well"??  I was very pleased with the red. I ran
it through the washing machine afterwards with some synthrepol,
and hopefully any excess dye was removed at the time.
  The acid dyes are meant to be *permanent*. But consult
with someone at Pro-chem or Dharma or Jacquard for more info.
  That's why I dyed this fabric myself. Commercial red silks
tend to run no matter how many times you wash them (and that
myth of salt setting dyes DOES NOT WORK) Even if I plan to
dry clean the garment made from this silk, it's nice to know
it could be washed if necessary!

Susan
-- 
Oh Noh! Kimonos!
susanf@netwiz.net
http://www.netwiz.net/~susanf
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From owner-h-costume@indra.com  Fri Jan 29 16:35:47 1999
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Date: Fri, 29 Jan 1999 13:31:12 -0700
To: "penny.creative.outlets@erols.com" <penny.creative.outlets@erols.com>,
        "costume newsgroup" <h-costume@indra.com>
From: "John O'Halloran - ICG Webmaster" <icg@costume.org>
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-Poster: "John O'Halloran - ICG Webmaster" <icg@costume.org>


> "Penny E. Ladnier" <penny.creative.outlets@erols.com> 
> writes back in November of 1998:

> Back in June a person on this list named John created 
> this website
> http://inwap.fremont.ca.us/pictures/byjohn/misc/TitanicTour-June1998/
> about the Titanic on Tour.  Can you please contact me or if you 
> know his email address contact me.  Please contact me off-list.

That would be me.  John O'Halloran posting from the International
Costumer's Guild Webmaster account.

Many things have happened in the past few months, so I fell waaaaaaay
behind on my mailing lists, including moving house and internet domains.

The above link is now outdated and no longer exists, the new one is:

http://www.tyedye.org/pictures/byjohn/misc/TitanicTour-June1998

Apologies, but I have not done the final descriptions/naming that
is promised on the web page.


Personal eMail is:  eoin@tyedye.org
     ICG eMail is:  webmaster@costume.org

   JohnO



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From owner-h-costume@indra.com  Fri Jan 29 16:35:52 1999
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Subject: Re: H-COST: Garb for large men, additional
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-Poster: Sidne Kneeland <skskaw@worldaccessnet.com>

Greetings,

I understand the part about _how do you make it_ as I have one of those
types myself (the large of girth, that is).

Check out this URL and see if that helps.  Any feedback or ideas
appreciated.

    http://www.angelfire.com/ks/merlyns/corpulent1.html

SK

Abbott, Ruth wrote:

> -Poster: "Abbott, Ruth" <r-abbott@oar-xch1.oar.uiuc.edu>
>

..(snip)...

> What I was mostly hoping for was those little tricks to deal with
> fitting and such.  Margo mentioned a few things about "disguising"
> girth, but are there any techniques that would assure a good fit?  For
> example, I have considered whether adding gores to a T-tunic would make
> sense, to allow for more room.  It seems to me that the gores would have
> to start quite high to be of help, since it's not a matter of wanting to
> flair out at the hips as with a woman.  Then they would just look silly
> (I imagine) and likely draw the eye right to his middle.  ...

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From owner-h-costume@indra.com  Fri Jan 29 16:53:57 1999
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From: Margo Anderson <margo@directcon.net>
Subject: H-COST:  Costumes for Glamour photography
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-Poster: Margo Anderson <margo@directcon.net>

Yesterday I posted to the list that I was about to resign myself to the
prospect that there is no market for my costuming in my location.  Well,
wouldn't you know,  today I talked to a local photography studio that does a
lot of "glamour" photography, and is interested in having some things made.
I'll be going to talk to them about it tomorrow.

If anyone on the list has done this kind of work, or even been to this sort
of a photo session,  I'd love to hear from them, hopefully before tomorrow.
I'm most interested in how these garments are constructed and what
provisions there are for different sizes, but any info would be welcome.  

Margo Anderson

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From owner-h-costume@indra.com  Fri Jan 29 17:04:38 1999
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Date: Fri, 29 Jan 1999 14:58:04 -0700 (MST)
From: Sylvia Rognstad <sylvia@netherworld.com>
To: h-costume@indra.com
Subject: Re: H-COST:  Dye question
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-Poster: Sylvia Rognstad <sylvia@netherworld.com>

On Fri, 29 Jan 1999, Susan Fatemi wrote:

> 
> Sorry, poor choice of words when discussing dyes. How about
> "turn out well"??  I was very pleased with the red. I ran
> it through the washing machine afterwards with some synthrepol,
> and hopefully any excess dye was removed at the time.
>   The acid dyes are meant to be *permanent*. But consult
> with someone at Pro-chem or Dharma or Jacquard for more info.
>   That's why I dyed this fabric myself. Commercial red silks
> tend to run no matter how many times you wash them (and that
> myth of salt setting dyes DOES NOT WORK) Even if I plan to
> dry clean the garment made from this silk, it's nice to know
> it could be washed if necessary!
> 
When I use acid dyes, they are extremely washfast, which is one big reason
I like them so much better than procion mx, not to mention that I get much
brighter colors too.  

Sylvia R

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-Poster: Kimberly Gilbert <kimberly@bluemarble.net>

I'm actually in a somewhat different boat right now - I sew for myself, 
my mother and will for my boyfriend if I can figure out men's garb.  My 
mother actually pays me to sew.  I'd do it for free for her (we are
talking about the woman who gave birth to me after all - I kinda owe HER 
a little bit!), but she always insists on paying.  Same with when I make
jewelry.  

On the other hand, I've had people admire my jewelry and express interest
in buying some, but when I quote a price (which is usually rediculously
low), almost invariably people say it's too high a price!

Kimberly R. Gilbert                  kimberly@bluemarble.net
"This is terrible news!  Do you actually intend to kill your
enemies?  Can't you just speak sternly to them?

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Date: Fri, 29 Jan 1999 18:23:09 -0500 (EST)
From: Parsla Liepa <parsla@engin.umich.edu>
To: h-costume@indra.com
Subject: Re: H-COST: Garb for large men, additional
In-Reply-To: <36B21A93.3181DEEF@worldaccessnet.com>
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-Poster: Parsla Liepa <parsla@engin.umich.edu>


Your question is if gores that start up-high would look silly? Well, I've
got a set of tunics made so that the gores (2 sets: front and back) start
up near the bust line.  I don't think it looks silly at all.  However, I'm
not the type of person that you're talking about dressing here.  Rather
than a large man, I'm a slightly plump young woman.

Parsla

> > What I was mostly hoping for was those little tricks to deal with
> > fitting and such.  Margo mentioned a few things about "disguising"
> > girth, but are there any techniques that would assure a good fit?  For
> > example, I have considered whether adding gores to a T-tunic would make
> > sense, to allow for more room.  It seems to me that the gores would have
> > to start quite high to be of help, since it's not a matter of wanting to
> > flair out at the hips as with a woman.  Then they would just look silly
> > (I imagine) and likely draw the eye right to his middle.  ...



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From owner-h-costume@indra.com  Fri Jan 29 19:22:48 1999
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From: "Penny E. Ladnier" <penny.creative.outlets@erols.com>
To: "costume newsgroup" <h-costume@indra.com>
Subject: H-COST: IFGS and SCA
Date: Fri, 29 Jan 1999 19:30:12 -0500
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-Poster: "Penny E. Ladnier" <penny.creative.outlets@erols.com>

What is the difference between IFGS (International Fantasy Gaming Society)
and SCA?  Someone wrote me from their website and invited me to look at
their Web site.  From my understanding, they do a type of role playing in
costume (sometimes historically based).  Am I reading this right?  Please
check out the website, at http://www.ifgs.org/Society/welcome.htm and let me
know what you think.

Later...Penny
http://www.costumegallery.com




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From owner-h-costume@indra.com  Fri Jan 29 19:54:29 1999
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From: "Penny E. Ladnier" <penny.creative.outlets@erols.com>
To: "Costume DC" <costumedc@onelist.com>
Subject: H-COST: Of Interest
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-Poster: "Penny E. Ladnier" <penny.creative.outlets@erols.com>

The following might be of interest for networking purposes, commenting to
the big guys on content, etc.  Anyways, it does have people in high places
on the panels.  I think I might try to make this one, just to be a fly on
the wall.  Later...Penny

******The State of the Art in the Historical Documentary*******

For those of you tangentially interested in television/dvd production or in
producing historical content, Women in Film and Video presents "The State of
the Art in the Historical Documentary."  The seminar will be February 6,
from
10:00 to 4:15, at the Navy Memorial auditorium, 701 Pennsylvania Ave.
Washington, DC (Yellow/Green lines, Archives/Navy Memorial metro).

DC's own, four-time Oscar-winner Charles Guggenheim, will join major
producers, programmers and distributors to discuss style and content;
research, editing and cinematography techniques; and funding and tv
programming issues.

Call the WIFV office for registration/information at 333-1557.  The advance
cost by Feb. 3 for non-WIFV members is $40.

9:30 to 10:00   Registration

10:00  PANEL I: Evolution of the historical documentary:
Issues of form, content and popular appeal

Moderator: Patricia Aufderheide, Professor
                                         American University

Panelists:
Charles Maday, VP Historical Programming
The History Channel

David S. Thompson
Director of Cultural Programming
WETA

Nina Gilden Seavey
Director, Center for History in the Media
George Washington University

William Gilcher
Director, Media Projects - North America,
Goethe-Institute, Washington

11:30 - 11:45 BREAK

11:45 - 12:45 Keynote Speech: Charles Guggenheim

12:45-1:15     LUNCH

1:15 - 2:30    PANEL II:   Research and Visual Challenges

Moderator: Geoffrey Pingree, Assistant Professor
                                          Catholic University

Panelists:
Grace Guggenheim
VP, Guggenheim Productions

Allen Moore, Director of Photography
Allen Moore Films

Barbara Newman, Producer,
Barbara Newman Productions

Sam Green, Editor
The Edit Room

2:30-2:45               BREAK

2:45 - 4:15 Panel III: Funding and Programming

Moderator: Diana Ingraham, President
Old Hat Marketing & Productions

Panelists:
David Royle, Executive Producer
Explorer, National Geographic

Ron Devillier, President
Devillier, Donegan Enterprises

Steve Cheskin,
Vice-President, Programming
The Learning Channel

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From owner-h-costume@indra.com  Fri Jan 29 19:56:00 1999
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Date: Fri, 29 Jan 1999 20:03:00 -0500
From: Christine Krebs-Bonder <2maples@dnaco.net>
Organization: Two Maples
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-Poster: Christine Krebs-Bonder <2maples@dnaco.net>

The IFGS is more geared towards roleplay that has a "script". This isn't
necessarily a line for line script like a play, but there is a scenario and the
players usually have goals to accomplish totell a story. SCA isn't roleplay in
the same manner, it's not a game like D&D, Shivalry & Sorcery, Ars Magica or the
live action roleplay games like Vampire that can fall under the aegis of the
IFGS.

Christine Krebs Bonder
Lady Edlyn of Meadowburne

"Penny E. Ladnier" wrote:

> -Poster: "Penny E. Ladnier" <penny.creative.outlets@erols.com>
>
> What is the difference between IFGS (International Fantasy Gaming Society)
> and SCA?  Someone wrote me from their website and invited me to look at
> their Web site.  From my understanding, they do a type of role playing in
> costume (sometimes historically based).  Am I reading this right?  Please
> check out the website, at http://www.ifgs.org/Society/welcome.htm and let me
> know what you think.
>
> Later...Penny
> http://www.costumegallery.com
>
>  _________________________________________________________________
>  To leave this mailing list, send mail to majordomo@indra.com
>  with the message UNSUBSCRIBE H-COSTUME

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From owner-h-costume@indra.com  Fri Jan 29 20:25:01 1999
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From: Jon Enge <jenge@cars.com>
To: "'h-costume-digest@indra.com'" <h-costume-digest@indra.com>
Subject: H-COST: RE:Dye question
Date: Fri, 29 Jan 1999 17:31:55 -0800
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-Poster: Jon Enge <jenge@cars.com>


Ok... on this note, I have a piece of white cotton brocade that I want to
dye burgundy. What is the best dye I can use for this. All I know is RIT and
I hear it fades really quickly in the intense sun of faire. Also, is there
any way to get it dyed professionally? All input is appreciated. If you can
send responses to my personal email address... jenge@cars.com
Thank you...
Jon...
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From owner-h-costume@indra.com  Fri Jan 29 20:37:01 1999
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From: WICKHAM  Raymond <raymond.wickham@customs.gov.au>
To: h-costume@indra.com
Subject: RE: H-COST: Clogs in England & History
Date: Sat, 30 Jan 1999 12:44:00 +1100
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-Poster: WICKHAM  Raymond <raymond.wickham@customs.gov.au>

	You asked
	I have to wear orthotic insoles, and I have a dream of
	getting someone to carve me wooden soles in the same shape for
clogs, so
I can wear reasonably authentic footwear without aching legs.
Might I suggest this gentle
Jack Green:   Historical Accessories including tinder-box kits, Oak Gall
Ink and quills, Wooden soled Pattens, Longbows yew,oak,and willow. War
arrows made to museum standards
Things of interest from 0 AD to 1700.
Mail Order: The Old Chapel Wookey Hole Wells Somerset. BA5 1BP
Ph 01749  670 096

Ray
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From owner-h-costume@indra.com  Fri Jan 29 21:08:08 1999
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-Poster: EofAshley@aol.com

I mentioned earlier that I used organdy for ruffs. Never had a problem with
holding its shape, as long as one tacks the S-shapes together at the outside.
Edge finishing helps.

Karla
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-Poster: "Franchesca Havas" <ches@io.com>

This is very off subject but I will answer and hope that all other questions
and answers concerning this will go off the list.

The IFGS is a fantasy role playing society that incorporates ad&d scenarios.
By ad&d I mean they have monsters, quests for magical devices that they can
use on each other, they have fairy personas, wizard personas, weapons
constructed of foam and kite spar, and a great potential for beautiful
fantasy costuming ideas! They are by far the most advanced LARP out there in
the sphere of corporate organization.

The SCA is not an LARP, it is a reenactment group like the Trayne Bandes,
Black Powder, Western Shootist, and many others that all insist on some sort
of standard of historical accuracy on paper. There are other differences
that each will insist on bringing up but this is not the list for it.

Sincerely,
Ches
aka Chiara Francesca
Virtual Scribe for 20th year
http://www.ansteorra.org/20thyr/

-----Original Message-----
From: Penny E. Ladnier <penny.creative.outlets@erols.com>
To: costume newsgroup <h-costume@indra.com>
Date: Friday, January 29, 1999 6:04 PM
Subject: H-COST: IFGS and SCA


:
:-Poster: "Penny E. Ladnier" <penny.creative.outlets@erols.com>
:
:What is the difference between IFGS (International Fantasy Gaming Society)
:and SCA?  Someone wrote me from their website and invited me to look at
:their Web site.  From my understanding, they do a type of role playing in
:costume (sometimes historically based).  Am I reading this right?  Please
:check out the website, at http://www.ifgs.org/Society/welcome.htm and let
me
:know what you think.
:
:Later...Penny
:http://www.costumegallery.com
:
:
:
:
: _________________________________________________________________
: To leave this mailing list, send mail to majordomo@indra.com
: with the message UNSUBSCRIBE H-COSTUME
:

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From owner-h-costume@indra.com  Fri Jan 29 21:46:13 1999
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-Poster: Susan Fatemi <susanf@netwiz.net>

Jon Enge wrote:
> 
> -Poster: Jon Enge <jenge@cars.com>
> 
> Ok... on this note, I have a piece of white cotton brocade that I want to
> dye burgundy. What is the best dye I can use for this. All I know is RIT and
> I hear it fades really quickly in the intense sun of faire. Also, is there
> any way to get it dyed professionally? All input is appreciated. If you can
> send responses to my personal email address... jenge@cars.com
> Thank you...
> Jon...

The Procion MX I mentioned is fiber reactive (I think that means
it bonds to the fiber at the molecular level) It is great on
cotton and all cellulosic fibers. It works on silk, but is subject
to a color shift. Everything is redder than it's supposed to be
and you never know what color you're going to get. It's much
more reliable on cotton. (my next project is to try dyeing
silk with procion and vinegar and see what happens)

go to www.dharmatrading.com and get their free catalog. even
if you never order from them, the catalog is very informative
and includes color cards.

There's a whole dyer's list for anyone who really gets interested!

Susan F.
-- 
Oh Noh! Kimonos!
susanf@netwiz.net
http://www.netwiz.net/~susanf
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From owner-h-costume@indra.com  Fri Jan 29 21:46:37 1999
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-Poster: "Cynthia Bucheger" <dragonlair@wireweb.net>

My daughter chose a glamour photo session for her senior pictures -
didn't have to worry about make-up, hair, what to wear, etc.- They used
a lot of wraps, scarves, and standard graduation gowns in the local
school colors.  The only items they had that were -fitted were a set of
leather jackets.
Cynthia

Margo Anderson wrote:
> 
> -Poster: Margo Anderson <margo@directcon.net>
> 
> Yesterday I posted to the list that I was about to resign myself to the
> prospect that there is no market for my costuming in my location.  Well,
> wouldn't you know,  today I talked to a local photography studio that does a
> lot of "glamour" photography, and is interested in having some things made.
> I'll be going to talk to them about it tomorrow.
> 
> If anyone on the list has done this kind of work, or even been to this sort
> of a photo session,  I'd love to hear from them, hopefully before tomorrow.
> I'm most interested in how these garments are constructed and what
> provisions there are for different sizes, but any info would be welcome.
> 
> Margo Anderson
> 
>  _________________________________________________________________
>  To leave this mailing list, send mail to majordomo@indra.com
>  with the message UNSUBSCRIBE H-COSTUME
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From owner-h-costume@indra.com  Fri Jan 29 22:51:33 1999
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Date: Fri, 29 Jan 1999 19:59:21 -0800
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From: "Carol J. Bell Cannon" <cjcannon@greymists.com>
Subject: Fwd: Re: Fwd: H-COST: Garb for large men
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-Poster: "Carol J. Bell Cannon" <cjcannon@greymists.com>

Alix--  A friend responded to your dilemma thusly: 
>It sounds like a t-tunic is the right garb item for the gentleman.
>If the back is a little wider than the front, that shouldn't cause
>problems.
>
>I would not do gores.  They will not look right.  Using 60" wide
>fabric, say a heavy cotton sheeting, is a start toward the right
>look.
>
>Carole

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From: rio@austin.rr.com (StrangeGirl)
To: h-costume@indra.com
Subject: Re: H-COST: Garb thoughts for large men
Date: Sat, 30 Jan 1999 04:25:40 GMT
Organization: The Corner of my Desk
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-Poster: rio@austin.rr.com (StrangeGirl)

( I sent this a few days ago, but it seems to never have been posted
to the list, and I have discovered and fixed an error in my mail
settings that caused this )

>I am looking for all tips and ideas for garbing a large man in
medieval
>attire.  (By large, I mean that his waist is larger than his chest,
and
>under that he's fairly well muscled all over.)  I've read many
>suggestions for adapting to women's shapes, but I'm wondering how to
>make my dear husband both comfortable and attractive.  

If you are willing to go that late, 1500's German costume is quite
attractive on the larger gentleman. If he wants to cover his legs,
pluderhose are very effective, and will still show off the butt
nicely. (Silly to mention, but this might be a concern...)

The shorter (knee or thigh, whichever area/period he is most fond of)
man's Houppelande would also be quite attractive, belted or unbelted,
dependig on his comfort requirement. This is especially nice when the
man has good legs to show off. I have fond memories of this costume
looking quite regal on family friends of this description all the way
back to my childhood (SCA in Berkeley CA).

Irish costume, done right, would be wonderful for warmer weather. The
short ' jacket' would help disguise the difference between the waist
and chest. This type of costume, made about 20 years ago by my mother,
still looks quite nice on my stepfather, who now *also* fits the
general description. It adjusts pretty well to an expanding or
contracting figure.

Just a few suggestions (I left out Tudor, as Drea had made that
suggestion already), hope this gives you some choices:)

StrangeGirl - usenet
Rio - real life
Margery - SCA
-----rio@austin.rr.com---Goddess of Last Minute Miracles---
"We went out with both lips blazing, and a pen in either 
hand..." - the Flash Girls
-{*to reply take spambegone from my reply-to address*}-
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Date: Fri, 29 Jan 1999 21:24:47 -0700
From: Mary Denise Smith <costumemag@earthlink.net>
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-Poster: Mary Denise Smith <costumemag@earthlink.net>

Hello List,

Here is another comment from Cricket Bauer:

Jeans, or jean cloth is, by the time of the Civil War, a linen or cotton
warp and a wool weft in a twill weave.   The use of jean cloth has been
explored extensively by Les Jensen, Charlie Childs and others in military
publications, and I encourage anyone to look them up at a good library- a
good publication to try is Military Historian and Collector (pub. by
Company of Military Historians).    While I won't try to expound on the
"truth" about the origin of "blue jeans," (I think it has been explored
in the Costume Society's publication, "Dress")  I seem to remember that
somewhere along the line, jean cloth became cotton weft/cotton warp,
which was used for utilitarian purposes such as sacks and tenting, when
ole Levi usurped it for his pants, which are now called jeans.  As far as
I know that isn't a myth, but I have a strong feeling that the French
sailor thing is a tall tale- I've actually never heard that one before.
But I KNOW that someone has done some solid research into Levi Strauss,
and it shouldn't be too hard to find- I just don't have that kind of time
right now...

Hope this helps,

Mary Denise Smith

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-Poster: Luiseach@aol.com

As was previously posted, salt setting on dyes doesn't always work.  However,
the commercial dye fixatives generally do.  I buy mine from Dharma Trading and
I have been quite pleased with the results, even on red silk.

Usual disclaimer, no connection, just a happy customer

Lucinda
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From owner-h-costume@indra.com  Fri Jan 29 23:49:05 1999
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From: Joan M Jurancich <joanj@quiknet.com>
Subject: Re: H-COST: Lasting cloth
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-Poster: Joan M Jurancich <joanj@quiknet.com>

>At 10:49 PM 01/26/1999 +0000, Jean Waddie wrote:
>-Poster: Jean Waddie <anne@montgomerie.demon.co.uk>
>
>Dear list
>
>Can anyone help my reference-librarian sister with this enquiry, which
>is completely out of my range?  Please reply to me and I will collate
>replies to pass on - I'm not sure what her work would think of a sudden
>flood of mail from the US!  Thanks in advance,
>
>Jean
>
> We have had an enquiry to find out about "lasting cloth"
>which was apparently used for military uniforms, gunpowder magazines and even
>boots during the 19th century. It's for a member of staff and there is "no
>hurry", but we have run out of sources. Do you know of any good books on
>textiles/costume(or any web sites) which might tell us how it was made or
>anything else? All suggestions gratefully received.

In "Textiles in America 1650-1870" by Florence Montgomery, the entry for
"Lasting" says 'see Everlasting'. The definition fits the uses you are
describing: from page 235---

EVERLASTING
(lasting)

A stout, closely woven worsted stuff, dyed black and other colors, and much
used for ladies' shoes. It was described aboaut 1800 as "a stout fabric only
eighteen inches wide, with double warps, (sometimes of three threads,) and
single weft, made with a five heald twill. There were different sorts of
lastings as prunelles wrought with three healds. Also serge de Berry, a
variety heavier, and woven with seven healds" (James, p. 362 [from the
bibliography: 'History of the Worsted Manufacture in England... London,
Bradford, 1857. Reprint ed., Frank Cass, 1968])

This entry continues on page 236, with pictures of a sample card of swatches
from an 18th century folding pattern card.

Hope this information helps your friend out.

Joan Jurancich
Sacramento, CA
joanj@quiknet.com

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From owner-h-costume@indra.com  Sat Jan 30 00:51:03 1999
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From: "Penny E. Ladnier" <penny.creative.outlets@erols.com>
To: <h-costume@indra.com>
Subject: Re: H-COST: More On Jean Cloth
Date: Sat, 30 Jan 1999 00:58:50 -0500
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-Poster: "Penny E. Ladnier" <penny.creative.outlets@erols.com>

While I won't try to expound on the
>"truth" about the origin of "blue jeans," (I think it has been explored
>in the Costume Society's publication, "Dress).

There is an article in Volume I, 1975, of the Costume Society of America's
journal "Dress".  It is titled "Levi's" and authored by Elaine Ratner.
Unfortunately, this volume is out-of-print but may be obtained through
inter-library loan.

If you are interested in the journal "Dress" a listing of all the volumes
and articles begin at http://www.costumesocietyamerica.com/dress5.html .

Later...Penny
CSA Webmaster

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-Poster: MaggiRos@aol.com

In a message dated 1/29/99 6:57:46 AM Pacific Standard Time,
hhdunlap@email.msn.com writes:

>  Levi used the white tent fabric to
>  make the first jeans, but the men complained that they
>  showed the dirt and looked messy. 

This would be at the point when the men noticed that women were dribbling into
the Roaring Camp, and suddenly worried about what the girls would think.  

LOL, men have been going to war in plain white tents for a thousand years
(hyperbole). They've always shown the dirt and would have been as messy as a
bachelor's dorm room, except for the busy brooms of their campfollowers. Oh, i
have no doubt that the complaint, as logged, is true.  I'm just as sure that
most of the men would never have known the difference without someone saying:
Oh honey, you're not going to WEAR that, are you?

:-)

MaggiRos


 He decided to dye them
>  blue, and they sold like hotcakes---ever since.
>  
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-Poster: MaggiRos@aol.com

In a message dated 1/29/99 9:15:24 AM Pacific Standard Time,
margo@directcon.net writes:

> 
>  -Poster: Margo Anderson <margo@directcon.net>
>  
>  
>  >As for getting them to wear the waistband around their waist and not their
>  >hips, if you ever discover a method you'll probably make a fortune selling
>  >it.  :)
>  I
>  
>  I'm considering a staplegun.
>  
>  Margo
>  

Hot glue.

No no, really, if you cut the waist at their real waist, they won't have a
choice. If they care about their appearance, and it feels good (which it will)
they'll go with it. I had to learn long long ago never to let a man tell me
wear his waist is. He has no idea.  But they do wear their swords at their
waists.  Obviously, the waist seam has to be in the same place, or they'll
look like they're wearing a drop waisted dress.  

You show HIM where his waist is.  Take an authoritative stance. And, of
course, be right.  If you make it, he'll wear it, and preen in every mirror he
passes.  

MaggiRos
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From owner-h-costume@indra.com  Sat Jan 30 06:00:19 1999
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-Poster: MaggiRos@aol.com

In a message dated 1/29/99 10:06:09 AM Pacific Standard Time,
margo@directcon.net writes:

> 
>  So, would it be downright sacriligous for me to dye this piece,
Certainly!

and if not,
>  can anyone recommend what kind of dye and how to go about it? 

Start by dying it some other dark color, then go to black.   LOL, yes, I know
what I said. But what are you going to do with it otherwise.  Diving head
first into this, I still say it was meant to be worn.  On the other hand, it
may not have been meant to be dyed with analine dyes at this late date, and it
may not survive. So you can let it dye in the vat or die in the trunk. Or
perhaps sell it to someone who can restore and display it. Life is full of
choices.

MaggiRos  
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From owner-h-costume@indra.com  Sat Jan 30 06:59:42 1999
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From: Wanda <bridgeta@slip.net>
Subject: Re: H-COST: pricing question
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-Poster: Wanda <bridgeta@slip.net>

I don't think the price you quoted was at all unreasonable. Break it down
to her, the cost of fabric plus labor could very easily be closer to four
hundred.  Unfortunately we are unacustomed to .. well custom in this
soceity and with  marshalls offering dresses at a fraction of what we would
pay.. say macys.. well people tend to forget that quality does cost. 

Good luck! At 08:22 PM 1/27/99 -0800, you wrote:
>
>-Poster: Margo Anderson <margo@directcon.net>
>
>I have a question about pricing a costume.  A friend of my parents wants me
>to make her a 1920's dress, suitable for a dinner party, that she could also
>wear to other, non costume formal events.  We found a design for a very
>pretty chiffon dress with long sleeves and draped panels on the skirt.  To
>make this dress, in silk chiffon, I quoted her a price of $300.   Although
>she was very nice about it, she was flabbergasted at the price, and said
>she's never spent this much on any piece of clothing.
>
>Now, I've been out of the loop for quite some time as far as formal clothing
>goes, but does this price really seem that high?  Isn't this about what a
>dressy dress of decent quality, bought off the rack, costs these days?  Or
>am I just too expensive?  
>
>Margo Anderson
>
> _________________________________________________________________
> To leave this mailing list, send mail to majordomo@indra.com
> with the message UNSUBSCRIBE H-COSTUME
> 

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From owner-h-costume@indra.com  Sat Jan 30 09:04:35 1999
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From: "Carstensen" <eccentri@m5.sprynet.com>
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Subject: Re: H-COST: RE:Dye question
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-Poster: "Carstensen" <eccentri@m5.sprynet.com>

On 29 Jan 99, at 18:52, Susan Fatemi wrote:
> The Procion MX I mentioned is fiber reactive (I think that means
> it bonds to the fiber at the molecular level) It is great on
> cotton and all cellulosic fibers. It works on silk, but is subject
> to a color shift. Everything is redder than it's supposed to be
> and you never know what color you're going to get. 

Hey, I think you may have just answered a question that I've been 
meaning to ask the Dharma folks!  :)  I've been wanting to dye 
some silk bright red but can't afford a steamer to use with the dyes 
that are specially made for silk.  I didn't want to use Procion, 
either, unless I had some idea of how the color would shift.  Things 
turning out redder sounds like a shift in the right direction.  If 
anyone has gotten a nice bright red with yellow undertones on silk 
using Procion, please let me know which shade you used to get it.

> go to www.dharmatrading.com and get their free catalog. even
> if you never order from them, the catalog is very informative
> and includes color cards.

I can't recommend Dharma enough.  Their prices on undyed silk 
are excellent - comparable to, if not lower than, what cotton calicos 
sell for locally.  Thanks to them, my historical costuming 
underpinings are far more luxurious than they would have been 
otherwise.


TC Carstensen

<eccentri@sprynet.com>
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From owner-h-costume@indra.com  Sat Jan 30 09:42:45 1999
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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: Jean cloth
Date: Sat, 30 Jan 1999 09:53:39 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

I am familiar with the male animal, and cannot dispute your
interpretation.  Also LOL! Dress, prulished by the Costume
Society of America has two articles on this subject, one in
1975, and the other more recently, available by ILL or at
http://www.costumesocietyamerica.com

Hope H. Dunlap

-----Original Message-----
From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
Behalf Of MaggiRos@aol.com
Sent: Saturday, January 30, 1999 5:56 AM
To: h-costume@indra.com
Subject: Re: H-COST: Jean cloth



-Poster: MaggiRos@aol.com

In a message dated 1/29/99 6:57:46 AM Pacific Standard Time,
hhdunlap@email.msn.com writes:

>  Levi used the white tent fabric to
>  make the first jeans, but the men complained that they
>  showed the dirt and looked messy.

This would be at the point when the men noticed that women
were dribbling into
the Roaring Camp, and suddenly worried about what the girls
would think.

LOL, men have been going to war in plain white tents for a
thousand years
(hyperbole). They've always shown the dirt and would have
been as messy as a
bachelor's dorm room, except for the busy brooms of their
campfollowers. Oh, i
have no doubt that the complaint, as logged, is true.  I'm
just as sure that
most of the men would never have known the difference
without someone saying:
Oh honey, you're not going to WEAR that, are you?

:-)

MaggiRos


 He decided to dye them
>  blue, and they sold like hotcakes---ever since.
>

____________________________________________________________
_____
 To leave this mailing list, send mail to
majordomo@indra.com
 with the message UNSUBSCRIBE H-COSTUME


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From owner-h-costume@indra.com  Sat Jan 30 09:46:46 1999
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-Poster: Tigershado@aol.com

All this talk about different brands of dye has made me think of some more
questions to ask. 

Thinking Elizabethan or earlier costume, what brands/specific colors have you
used that you could recommend and on what type of fabric? I have a Dharma
catalog around here somewhere and as I remember several of the dyes they sell
can be used on more than one type of fiber. I think most of their color charts
were from using on cotton, except for the silk dyes. TIA

Barbara Corley
Tigershado@aol.com
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From: "Susan Carroll-Clark" <sclark@chass.utoronto.ca>
To: <h-costume-digest@indra.com>
Subject: H-COST: Re:   h-costume-digest V4 #97
Date: Sat, 30 Jan 1999 10:07:29 -0500
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-Poster: "Susan Carroll-Clark" <sclark@chass.utoronto.ca>

Greetings!

>The SCA is not an LARP, it is a reenactment group like the Trayne Bandes,
>Black Powder, Western Shootist, and many others that all insist on some
sort
>of standard of historical accuracy on paper.

I'm only going to quibble with the word "reenactment."  The SCA *isn't*
reenactment (e.g. we do not reenact specific historical events or battles in
general).  I think the term "historical recreation" better describes what
the SCA does.  The focus is on real history (e.g. no non-human fantasy
characters), but standards of authenticy vary from person to person,
depending on their interests.  The SCA's wide time frame (1000 years) makes
strict reenactment more or less impossible on the whole-group level,
although there are groups within the SCA with a tighter focus.

Also, as pointed out, there is generally no "script" within the SCA, which
is the real thing which differentiates it from a role-playing game (I've met
up with small groups of people who do *historical* role playing--not fantasy
at all, scenarios based on history, but same basic idea. The folks I've met
do WWII espionage scenarios, BTW).

Susan Carroll-Clark

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Subject: Re: H-COST:  Another Dye question
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-Poster: Margo Anderson <margo@directcon.net>

m
>
>All this talk about different brands of dye has made me think of some more
>questions to ask. 
>
>Thinking Elizabethan or earlier costume, what brands/specific colors have you
>used that you could recommend and on what type of fabric

I like Procian dye quite a lot.  The only thing I would caution people on is
that, by the time you buy the dye, the soda ash, Syntropol, and salt, you're
spending about $20.  Sometimes worth it, sometimes not, it depends on the
project, of course.  

I like it on cotton duck or soft canvas, which I feel is a reasonable visual
approximation  for Ren Faires in 105 degree weather, and on raw silk.  

Only one of my Procion dyed costumes has faded quite badly, and it belongs
to my ex husband, who has been known to leave things out on the clothesline
for months  (that's not the reason I divorced him...well, not the only
reason).  I don't think this is a reasonable test.   It does stand up to
frequent washings; My boys have T-shirts dyed with Procion that are 3 years
old and tattered, but thecolors are still vibrant.

Margo Anderson

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Date: Sat, 30 Jan 1999 10:46:23 -0700 (MST)
From: Sylvia Rognstad <sylvia@netherworld.com>
To: h-costume@indra.com
Subject: Re: H-COST: RE:Dye question
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-Poster: Sylvia Rognstad <sylvia@netherworld.com>

> -Poster: "Carstensen" <eccentri@m5.sprynet.com>
> 
> Hey, I think you may have just answered a question that I've been 
> meaning to ask the Dharma folks!  :)  I've been wanting to dye 
> some silk bright red but can't afford a steamer to use with the dyes 
> that are specially made for silk.  I didn't want to use Procion, 
> either, unless I had some idea of how the color would shift.  Things 
> turning out redder sounds like a shift in the right direction.  If 
> anyone has gotten a nice bright red with yellow undertones on silk 
> using Procion, please let me know which shade you used to get it.


There are at least 2 kinds of procion dyes (may be more, I cant remember).
Procion mx works bet on cellulose filbers and doesnt require steaming.
Procion H works well on silk but does require steaming.  I haent tried the
psocion H yet.  I just use washfast acid dyes on silk.  I've gotten a very
good red with them.  I also dont have a steamer.  I just bought a cheap
big enamel pot from the local hardware store.

 > I can't recommend Dharma
enough. Their prices on undyed silk 
> are excellent - comparable to, if not lower than, what cotton calicos 
> sell for locally.  Thanks to them, my historical costuming 
> underpinings are far more luxurious than they would have been 
> otherwise.
> 
Exotic silks has even better prices than Dharma.

Sylvia R

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-Poster: MzScahlett@aol.com

In a message dated 1/29/99 13:53:05 Pacific Standard Time, margo@directcon.net
writes:

<< 
 If anyone on the list has done this kind of work, or even been to this sort
 of a photo session,  I'd love to hear from them, hopefully before tomorrow.
 I'm most interested in how these garments are constructed and what
 provisions there are for different sizes, but any info would be welcome.  
 
 Margo Anderson >>

I have two teenaged daughters, and here in my Bay Area suburb, those types of
photo places are very "hot."  Their things are constructed as flashy as
possible, to appeal to the market of nubile young pre-teens playing dress up
(but who want to think that they are actually models or movie stars)
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-Poster: MzScahlett@aol.com

I have two teenaged daughters, and here in my Bay Area suburb, those types of
photo places are very "hot."  Their things are constructed as flashy as
possible, to appeal to the market of nubile young pre-teens playing dress up
(but who want to think that they are actually models or movie stars).  The
clothes often velcro in the back, for quick changes in the open over clothes,
sometimes they are even only part of an outfit, say for a head shot.

This business should be fun to delve into if you don't want to do a lot of
detail work.   It's fast, flashy (lots of lame-accent on the e) In some
studios they have little "changing" rooms for more elaborate full length
dresses.  Should be the sort of thing that would actually allow a
seamstress/costumer to make a decent profit, since the stuff has to hold up,
but will never really be "worn" in the traditional sense.

Good luck,

angil
++++++++
Angela F. Lazear
Costumes & Custom Clothing

"Yes, all my laurels you have riven away 
and all my roses; yet in spite of you, 
there is one crown I bear away with me, 
and tonight, when I enter before God, 
my salute shall sweep all the stars away
from the blue threshold!  One thing without stain, 
unspotted from the world, in spite of doom,
mine own!  

and that is.... my white plume!"

 ~~ Edmond Rostand's Cyrano de Bergerac
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-Poster: MzScahlett@aol.com

In a message dated 1/29/99 14:06:43 Pacific Standard Time,
kimberly@bluemarble.net writes:

<< On the other hand, I've had people admire my jewelry and express interest
 in buying some, but when I quote a price (which is usually rediculously
 low), almost invariably people say it's too high a price! >>

If it were me, I'd stand firm. I think the initial response on the part of
many is to "negotiate" by belittling the starting price in some manner to
catch the vendor off guard.  I don't even blink anymore.  I tell them what
it'd be worth for me to do it, let them gasp, then if they decide they want to
splurge great, if not, that's okay too.  It's the luxury a "day job" provides!

angil
++++++++
Angela F. Lazear
Costumes & Custom Clothing

"Yes, all my laurels you have riven away 
and all my roses; yet in spite of you, 
there is one crown I bear away with me, 
and tonight, when I enter before God, 
my salute shall sweep all the stars away
from the blue threshold!  One thing without stain, 
unspotted from the world, in spite of doom,
mine own!  

and that is.... my white plume!"

 ~~ Edmond Rostand's Cyrano de Bergerac
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From owner-h-costume@indra.com  Sat Jan 30 13:19:16 1999
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From: Margo Anderson <margo@directcon.net>
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-Poster: Margo Anderson <margo@directcon.net>

Just  a progress report on this situation:  I thought it over, and decided
that I had failed to communicate properly with my client.  What I thought I
heard was that she wanted an elegant evening gown that she could wear to a
1920's event.  So, I went out and found the best fabrics, and wrote her an
estimate using fine couture technique, at a price that far exceeded what she
had expected.    

What she thought she told me was that she wanted a 1920's  costume that she
could possibly wear to mundane functions.  Not an unreasonable request, just
a failure to communicate. 

 Having decided that this client is worth pleasing (she's not only a family
friend, but she's a publicist who works with the Chamber of Commerce and is
in a position to give me many referrals)  I'm in the process of re-writing
the resume using poly chiffon, and techniques such as serging seams rather
than French seams, machine stitched bindings, etc.  I've managed to bring
the price down to $150, or half the original estimate. It won't be a
fabulous gown, but it will be an adequate costume.  Tomorrow I'll take her
the new estimate and see if she likes the new price better! 

This whole experience is a reminder to me that communication is a very
important part of any custom business.  You can make the most exquisite
piece in the world, and if it isn't what your client wanted or needed,  it's
a failure.  

Margo Anderson

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From: rio@austin.rr.com (StrangeGirl)
To: h-costume@indra.com
Subject: H-COST: H-COST 1880's evening corsage being auctioned on ebay
Date: Sat, 30 Jan 1999 19:24:27 GMT
Organization: The Corner of my Desk
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-Poster: rio@austin.rr.com (StrangeGirl)

At least that's what I *think* it is. It looks an awful lot like the
ones painted by Tissot...
http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&item=60474739

However, it might be a music hal, circus, or vaudeville costume, or an
early film costume piece.

Any opinions?

I've never actually seen one, outside of Tissot's paintings.

StrangeGirl / Margery / Rio
-----rio@austin.rr.com---Goddess of Last Minute Miracles---
"We went out with both lips blazing, and a pen in either 
hand..." - the Flash Girls
-{*to reply take spambegone from my reply-to address*}-
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From owner-h-costume@indra.com  Sat Jan 30 14:44:58 1999
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Date: Sat, 30 Jan 1999 19:50:23 +0000
To: h-costume@indra.com
From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: H-COST: Lasting cloth - thanks
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-Poster: Jean Waddie <anne@montgomerie.demon.co.uk>

Thank you all for your replies on lasting cloth.  I have passed them on,
and I'm sure they will be much appreciated.

Jean



Dear list

Can anyone help my reference-librarian sister with this enquiry, which
is completely out of my range?  Please reply to me and I will collate
replies to pass on - I'm not sure what her work would think of a sudden
flood of mail from the US!  Thanks in advance,

Jean

 We have had an enquiry to find out about "lasting cloth"
which was apparently used for military uniforms, gunpowder magazines and even
boots during the 19th century. It's for a member of staff and there is "no
hurry", but we have run out of sources. Do you know of any good books on
textiles/costume(or any web sites) which might tell us how it was made or
anything else? All suggestions gratefully received.


-- 
Jean Waddie
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From owner-h-costume@indra.com  Sat Jan 30 16:10:17 1999
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Date: Sat, 30 Jan 1999 22:18:34 +0100
To: H-COSTUME <h-costume@indra.com>
From: Ninni M Pettersson <vidumavi@swipnet.se>
Subject: H-COST: Washing Chinese Silk Brocade
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-Poster: Ninni M Pettersson <vidumavi@swipnet.se>

Greetings!

	I have a problem:

	Several years ago when I was in China, I bought some brocade fabric
that I then vaguely thought was synthetic, primarily because it was so
cheap (150 SKR for 5 meter wich would be approx. 18 dollar for 5 1/2 yard -
it's very narrow though: c. 78 cm / 30 inches). However by doing the burn
test on it, I've discovered since then that it's real silk! It's wonderful
stuff: a very heavy, lustrous dark red satin with a brocade pattern of
bamboo leaves in black and grey.

	Here comes the problem: I've never dealt with this kind of fabric
before and I've dithered for years over what to use it for, but I'm now
tentatively thinking on making an empire dress* out of it for a big event
this spring. But what about washability? Prewash in lukewarm water before
cutting? Or dry-cleaning after use only? But perhaps even that would shrink
it? (I seem to remember someone writing something about this once on the
list.) Anyone that has experience dealing with Chinese silk brocade that
can give me some hints on how to handle this fabric?

* For those of you who have Kybalova I'm thinking on using the dress on
plate no. 808 as a starting point. It has an underdress, for which I think
I'll use silver grey silk dupioni - I know *that* is easy to wash, so the
brocade overdress will not need that much washing, but even so...

Thanks in advance,
Ninni Pettersson


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From owner-h-costume@indra.com  Sat Jan 30 16:30:24 1999
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Date: Sat, 30 Jan 1999 14:38:36 +0000
From: "S.B. McDaniel" <fretknot@earthlink.net>
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-Poster: "S.B. McDaniel" <fretknot@earthlink.net>

Mary Denise Smith wrote:
> Viscose is also reprocessed cellulose, but it retains the hand and other qualities of cotton.


Living in Phoenix, where summer temps can reach 120 degrees, I can
attest the the comfort of viscose rayon. My most comfortable summer
garments are made of this fabric.

Sandy
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From owner-h-costume@indra.com  Sat Jan 30 16:41:36 1999
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-Poster: "S.B. McDaniel" <fretknot@earthlink.net>

Thanks to everyone for input on the nature of 'dress'. I LOVE this
list!  

I had assumed from the context that "dress" was a fabric treatment of
some sort. I have since had the opportunity to ask an elderly English
friend (who sews) if she'd heard of it.  She told me that the sizings
used on cheap fabrics (such as Ulrica's calico) were particularly nasty,
though she doesn't know what they were made of.  She said that such
fabrics were often sized and then starched on top of it- often to the
point of breaking needles.  She also said that her mother would wash
such fabrics beforehand (sometimes twice), but that it wasn't commonly
done because of the labor and expense of laundry in the 20s and 30s.
Automatic washing machines were rare in in England in the 30s.

Sandy
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From owner-h-costume@indra.com  Sat Jan 30 16:46:42 1999
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From: WICKHAM  Raymond <raymond.wickham@customs.gov.au>
To: h-costume@indra.com
Subject: RE: H-COST: The Body Brace
Date: Sun, 31 Jan 1999 08:51:33 +1100
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-Poster: WICKHAM  Raymond <raymond.wickham@customs.gov.au>

I have been a little busy SORRY
As I am in Aus
It would be better to snail mail you
Ray

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From owner-h-costume@indra.com  Sat Jan 30 17:33:25 1999
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From: "christianna del Oro" <chritikat@hotmail.com>
To: h-costume@indra.com
Subject: Re: H-COST: Pattern instructions
Date: Sat, 30 Jan 1999 14:39:00 PST
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-Poster: "christianna del Oro" <chritikat@hotmail.com>



  Hello List 
 
Does anyone have Period Pattern #41 and maybe 40 or 42?
 I need a copy of the instructions for them.  I moved twice since 
i used them and lost part of them.  I really need them, these patterns 
are hard enough without the directions.   I don't think this violates a 
copyright since i purchased them already. I don't want to get that 
discussion going again.  The patterns i need are Italian Rennasiance.
I will pay for shipping 

                             Thanks 
                            Christianna  


______________________________________________________
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From owner-h-costume@indra.com  Sat Jan 30 17:43:32 1999
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Subject: Re: H-COST:  Another Dye question, also FO
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-Poster: Brenda and Larry Clough <clough@erols.com>

At 09:24 AM 1/30/99 -0800, you wrote:
>
>I like Procian dye quite a lot.  The only thing I would caution people on is
>that, by the time you buy the dye, the soda ash, Syntropol, and salt, you're
>spending about $20.  Sometimes worth it, sometimes not, it depends on the
>project, of course.  
>

I had a happy and successful experience dyeing rayon with Procion, but I
still have nearly all of a jar of Synthrapol left over.  It turns out you
really don't need all that much Synthrapol to process ten hanks of rayon
yarn.  If anyone would like to have the jar, send me your snail address.

Also, some FOs!  I've made a dozen lacey Cavalier collars and almost two
pairs of suede gauntlets.  Somebody else is making the jerkins, thank God,
but by virtue of my enormous stash of lace edgings I get to do collars.  I
have drawn the line at two pairs of gauntlets, because glovemaking is the
very devil.

Brenda
Brenda W. Clough, author of HOW LIKE A GOD from Tor Books.
http://www.sff.net/people/Brenda

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From owner-h-costume@indra.com  Sat Jan 30 20:54:51 1999
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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: H-COST: Dress, Breaking Needles
Date: Sat, 30 Jan 1999 21:04:05 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

An old Pennsylvania German folktale states, "If a needle
breaks while sewing, the person for whom the dress is being
made will be married before it is worn out."  I wonder if in
the novel referenced, the breaking of the needle might have
portended this.

Hope H. Dunlap


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Date: Fri, 29 Jan 1999 14:36:02 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: Re: H-COST: Clogs in England & History
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>


>> I'm sending some addresses of US list members for the catalogue anyone else
>> who'd like adding, speak now or forever hold your peace !
>>
>
>Me, too! Me, too! she cried, tripping over 3 pair of modern clogs as she
>ran...  I LOVE my clogs.  Thanks for adding me!

Me three.


Kayta
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From owner-h-costume@indra.com  Sat Jan 30 21:32:32 1999
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Subject: Re: H-COST: Neck Ruffs
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>

Remember some of the funky perspectives which were happening
>in some of the paintings.  

Please elabourate?


Kayta
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From owner-h-costume@indra.com  Sat Jan 30 21:32:33 1999
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Date: Fri, 29 Jan 1999 14:37:14 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: Re: H-COST: History of menswear
In-Reply-To: <Pine.SOL.3.95.990127192606.997E-100000@isis.netherworld.co
 m>
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>

 
>> It wasn't till the late 1950's that men really started wearing colours
>> again (except for Hawaiian shirts and the occasional cool neckties).
>The
>> Zoot suits in the 1940's were the first really radical change in cut in
>> many decades.  The English designers like Mary Quant in the early 60's put
>> colour and pattern back on men, along with differently cut suits.  Then all
>> sartorial-**** broke loose, leading to the Hippies and the Unisex clothing
>> experiments of the late 60's-early 70's.
>
>Yea, but that didn't last long.

What didn't last long?  Zoot suits?  Hippies?  Men in interesting clothes?


Kayta
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From owner-h-costume@indra.com  Sat Jan 30 22:19:55 1999
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Date: Sat, 30 Jan 1999 20:18:42 -0700 (MST)
From: Sylvia Rognstad <sylvia@netherworld.com>
To: h-costume@indra.com
Subject: Re: H-COST: History of menswear
In-Reply-To: <4.1.19990129143639.00c20840@pop.slip.net>
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-Poster: Sylvia Rognstad <sylvia@netherworld.com>

> 
> -Poster: Carolyn Kayta Barrows <kayta@slip.net>
> >> Zoot suits in the 1940's were the first really radical change in cut in
> >> many decades.  The English designers like Mary Quant in the early 60's put
> >> colour and pattern back on men, along with differently cut suits.  Then all
> >> sartorial-**** broke loose, leading to the Hippies and the Unisex clothing
> >> experiments of the late 60's-early 70's.
> >
> >Yea, but that didn't last long.
> 
> What didn't last long?  Zoot suits?  Hippies?  Men in interesting clothes?
All of the above, but I was referring to interesting clothes for men.

Sylvia

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From owner-h-costume@indra.com  Sat Jan 30 22:48:17 1999
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Date: Sat, 30 Jan 1999 19:55:14 -0800
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-Poster: Susan Fatemi <susanf@netwiz.net>

Brenda and Larry Clough wrote:
> 
> I had a happy and successful experience dyeing rayon with Procion, but I
> still have nearly all of a jar of Synthrapol left over.  It turns out you
> really don't need all that much Synthrapol to process ten hanks of rayon
> yarn.  If anyone would like to have the jar, send me your snail address.
> 

I wouldn't be so quick to get rid of synthrepol! At the very
least you can use it to wash delicate fabrics. If you might
ever dye anything again, fabric should be pre-washed in it
to prepare for dyeing. And if anything ever "runs", sometimes
a re-washing in sythrepol will save the garment/fabric, etc.

This just happened to me -- I washed some printed rayon fabric
I had no reason to suspect would run. Some small black and dark
green areas "smeared" on to the background color. A judicious
application of Z'out and synthrepol got it out and saved yards
of irreplaceable fabric.

Susan F.

-- 
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susanf@netwiz.net
http://www.netwiz.net/~susanf
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From owner-h-costume@indra.com  Sat Jan 30 22:59:12 1999
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-Poster: Susan Fatemi <susanf@netwiz.net>

Ninni M Pettersson wrote:
> 
...
> this spring. But what about washability? Prewash in lukewarm water before
> cutting? Or dry-cleaning after use only? But perhaps even that would shrink
> it? (I seem to remember someone writing something about this once on the
> list.) Anyone that has experience dealing with Chinese silk brocade that
> can give me some hints on how to handle this fabric?

Hi Ninni --

I'm not setting myself up as an expert, it's just that I've made
so many mistakes, someone else might as well learn from them!
  I would say dry-clean only. But you could cut a square,
soak it in warm soapy water and see what happens. Even if it
doesn't shrink, the surface and the "hand" could be altered
drastically!
  If you decide it is non-washable, have it *pre-shrunk*
at your dry-cleaners before you cut into it.

good luck,

Susan F.
  

-- 
Oh Noh! Kimonos!
susanf@netwiz.net
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-Poster: Susan Fatemi <susanf@netwiz.net>

Carstensen wrote:

> Hey, I think you may have just answered a question that I've been
> meaning to ask the Dharma folks!  :)  I've been wanting to dye
> some silk bright red but can't afford a steamer to use with the dyes
> that are specially made for silk.  I didn't want to use Procion,
> either, unless I had some idea of how the color would shift.  Things
> turning out redder sounds like a shift in the right direction.  If
> anyone has gotten a nice bright red with yellow undertones on silk
> using Procion, please let me know which shade you used to get it.
> 

The problem is that the shift is unpredictable. You might
get a pinky red, when you want a warm red and vice versa.
If you're willing to experiment, you might get what you want,
but I couldn't waste this particular fabric on experimenting.

  So I called Dharma and discussed it with the resident dyer.
Jacquard's "Fire Red" is a good basic red, I would not call
it warm. She said if I wanted a warmer red, to use a little
bit of "yellow gold". (I didn't try it this time around)
  I also bought acid black, as it is a wonderful way to
cover mistakes! (haven't tried it either, yet.)

And you only need to steam those dyes or paints that you
apply directly to the fabric. You don't need to steam if
you are immersion dyeing.

Dharma's catalogue has a recipe for using Procion w/ vinegar,
and simmering on the stove. I plan to experiment with that
and will carefully keep samples in my dye "diary".

Susan F.
-- 
Oh Noh! Kimonos!
susanf@netwiz.net
http://www.netwiz.net/~susanf
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From owner-h-costume@indra.com  Sat Jan 30 23:24:23 1999
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-Poster: Schiap1@aol.com

Hvae you tried Vogue patterns' website?  http://www.voguepatterns.com  I
haven't ordered from them but they are a good source for old patterns.

HTH

Lyn FitzGerald
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From owner-h-costume@indra.com  Sat Jan 30 23:41:20 1999
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Subject: H-COST: Unusual question (involving underwire bra attracting lightning! - read on)
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-Poster: Schiap1@aol.com

I am working on a paper and I was wondering if anyone else knows of an
incident that I remember reading in the papers years ago.  I was in high
school, and it was just a small snippet, a human interest with humour-type
news item in the New York Daily News in the early 80s.  It involved a woman in
London who was walking through a park (maybe Hyde Park, but I can't remember)
when she was struck by lightning.  I don't think she was killed, but it was
determined that it was the wire in her underwire bra that attracted the
lightning.  Does anyone, especially those of you in London, remember such a
story?  I know it was a long time ago and it wasn't a major news event when it
did happen, but if anyone can fill in the blanks for me I would really
appreciate it!  I just need to know at least the year if not the exact date
(between 1982-1984, no later than that), whether it was Hyde Park, and if she
did in fact survive (I don't want to say that she did if she was killed, but I
really don't think she was killed).  Anyway, this is a strange and probably
impossible request, but if this story stuck in anyone else's mind as it did
mine (for some strange reason!) I would appreciate it if you could help me!

Thanks in advance,

Lyn FitzGerald
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From owner-h-costume@indra.com  Sun Jan 31 00:02:39 1999
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Subject: Re: H-COST: Unusual question (involving underwire bra attractin
Date: Sun, 31 Jan 99 00:09:21 -0500
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-Poster: <aquazoo@patriot.net>

Lyn wrote,

>It involved a woman in London who was walking through a park (maybe Hyde
>Park, but I can't remember) when she was struck by lightning.  I don't
>think she was killed, but it was determined that it was the wire in her
>underwire bra that attracted the lightning.

     I don't know about that one, but a woman was struck by lightening at 
a stadium (outdoor) concert in the Washington, DC area this past summer. 
It was covered extensively by the Washington Post, including in the 
health section. (You can probably find the stories online.) She survived, 
and had burns on her chest due to her underwire bra. It was thought that 
the lightening may have been attracted by the cell phone she was using, 
though.

     -Carol
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-Poster: "S.B. McDaniel" <fretknot@earthlink.net>

> -Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>
> 
> An old Pennsylvania German folktale states, "If a needle
> breaks while sewing, the person for whom the dress is being
> made will be married before it is worn out."  I wonder if in
> the novel referenced, the breaking of the needle might have
> portended this.

Ulrica is a 14 year old convent boarding student in 1938- so... it's
possible she could be married before the nightdress wears out.  A
marriage for her does not figure in the plot, though.  Any other Gladys
Mitchell fans who've read her entire works-- Does Ulrica figure in
another novel as a bride?


Sandy
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Date: Sat, 30 Jan 1999 19:11:44 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: Re: H-COST: cloth-of-gold: fakin' it
In-Reply-To: <Pine.SUN.3.95.990128075652.7945A-100000@svpal.svpal.org>
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>

I hate to advise chopping it up for applique, but that's where it would go
the farthest.

>   I have been reading all the descriptions of cloth-of-gold until
>my mouth waters and I want to DO something.  A while ago I found
>a supply of pre-Lurex metal thread.  Some of it has that lovely,
>rich patina that can only come from age and real metal.  Now
>I want to weave with the stuff.  If I did, what would I use
>it for?  Any suggestions?  Selling it is probably not an option.
>It would cost like the real thing, once all my time was factored



Kayta
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Date: Sat, 30 Jan 1999 19:23:41 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: Re: H-COST: menswear
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>

Ever since the Hippies, men have been having more and more fun with
clothes.  They get to wear colourful shirts, they get to wear egregious
neckties, and they get to wear other things men haven't worn for centuries,
like earrings and purse-like caryalls.  The styles went mainstream as soon
as the subculture folks got tired of them.

>it wasnt that these styles didnt last long (im even told that in la the
>retro-swing kid scene has brought the zoot back) but that they werent the
>"norm" - typically these colorful styles are worn only by fashion
>subcultures, not by the general populace. the more outrageous mens styles
>mentioned generally dont reach mainstream acceptance until they are
>seriously toned down.
>allison
>
>- -Poster: Sylvia Rognstad <sylvia@netherworld.com>
>
>On Tue, 26 Jan 1999, Carolyn Kayta Barrows wrote:
>
>>
>> It wasn't till the late 1950's that men really started wearing colours
>> again (except for Hawaiian shirts and the occasional cool neckties).
>The
>> Zoot suits in the 1940's were the first really radical change in cut in
>> many decades.  The English designers like Mary Quant in the early 60's put
>> colour and pattern back on men, along with differently cut suits.  Then
>all
>> sartorial-**** broke loose, leading to the Hippies and the Unisex clothing
>> experiments of the late 60's-early 70's.
>
>Yea, but that didn't last long.
>Sylvia
>
> _________________________________________________________________
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> _________________________________________________________________
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From owner-h-costume@indra.com  Sun Jan 31 03:15:49 1999
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Date: Sat, 30 Jan 1999 23:38:52 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: Re: H-COST: [H-Costume] Lockram -- What was it's use?
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>


>My friend, deep in his thesis, has a question I do not know the answer for,
>so I refer it to you all:  Here's one for you:  what was lockram used for?
>It was a linen cloth, and it was imported to Lyme Regis in the mid-17th
>century in large quantities.  Lyme was a spinning and weaving town, 
>and its two main imports were raw wool and lockram ... I'm thinking that
>lockram was a lining fabric, and that they're producing some finished
>garments (which don't show up in port records because, unlike wool and
>lockram, they're not subject to customs). Aryk
>   If you have the answer, please write to me privately, with the sources
>for your info., if there are any, and I will be very pleased to send them
>to Aryk.  I know he w/b most grateful.
>Thank you for your time, the bandwidth & your aid. Carol J. Bell Cannon

>From my Century Cyclopedia (1906):

  "a kind of unbleached linen, so called from the place where it was made,
Locrenan, in Brittany"

  and 

"n. 1. A kind of linen, usually of a coarse and cheap sort. 
 
  'Lokeram for shetes and smockes and shirtes.'
    Sir T.Elyot, 'The Govenour', Apendix A.

  'Edge me the sleeves with Coventry blue, and let the linings be of
ten-penny lockram.'
    Greene, 'James IV'

  'Why should I bend to her?--Is it because her kirtle is of silk, and mine
of blue lockram?'
    Scott, 'Abbot', ii" 


Kayta
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Date: Sat, 30 Jan 1999 23:50:18 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: H-COST: jean, denim
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>

Century Cyclopedia (1906):

"jean (jan*),n. [See jane]"

"2.  A twilled cotton cloth, used both for underwear and for outer
clothing: commonly, of garments, in the plural.  Also written jane.

  'You most coarse frieze capacities, ye jane judgements.'
    Fletcher (and another), 'Two Noble Kinsmen', iii. 5.

  'Clean was his linen, and his jacket blue:
  Of finest jean his trousers, tight and trim.'
    Crabbe, 'The Parish Register'

  'He was a tall, lank countryman, clad in a suit of country jeans.'
    Tourglee, 'A Fool's Eramd', p. 26.

Satin jean, a thick cotton cloth, a variety of jean, with a glossy surface:
 used for shoes and for similar purposes."

"jane (jan*), n.  [Also written jean; <ME. jane ... < Jean, OF. Genes,
Jannes, etc., mod. F. Genes, It. Genova, Genoa, E. now Genoa, <L. Genua,
ML. also Janua, a city in Italy."

*the a has a straight line over it

Webster's Second International, unabridged (1950):

"denim (denim**), n.  [F. serge de Nimes** serge of Nimes. France]  a A
coarse cotton drilling used for overalls, carpeting, etc.  b A finer
variety used for cushions, etc."

**diactitical marks/italics omitted


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Subject: RE: H-COST: Garb for large men, additional
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>


>>As for getting them to wear the waistband around their waist and not their
>>hips, if you ever discover a method you'll probably make a fortune selling
>>it.  :)
>I
>
>I'm considering a staplegun.

You call yourself a costumer?  Hot glue!


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Subject: Re: H-COST: Menswear - yet another theory
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>

A quick look thru history will confirm that
>long-term civilization (Ancient Egyptian anyone?) and subdued clothing
>are not neccessarily the same thing.

Yeah - try China, speaking of a long term civilization with seriously
adorned men.



Kayta
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From owner-h-costume@indra.com  Sun Jan 31 03:16:55 1999
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Date: Sun, 31 Jan 1999 00:07:44 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: Re: H-COST: Garb thoughts for large men
In-Reply-To: <36bc8928.304576810@smtp-server.austin.rr.com>
References: <6BAA9E7DB36AD2118FA60060943F1CAF1466C8@oar-xch1.oar.uiuc.edu>
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>


>If you are willing to go that late, 1500's German costume is quite
>attractive on the larger gentleman. If he wants to cover his legs,
>pluderhose are very effective, and will still show off the butt
>nicely. (Silly to mention, but this might be a concern...)

Earlier in the 1500's the Germans were wearing a robe which looks like an
ankle-length Henry VIII "overcoat" or a judge's robe (in fact the judge's
robe of today derives from this garment).  Scholars and clerics and older
men wore them closed, and younger men wore them open.  Skinny guys look
upholstered in them but larger men look like Henry VIII.


Kayta
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From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: Re: H-COST: More On Jean Cloth
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>


>But I KNOW that someone has done some solid research into Levi Strauss,
>and it shouldn't be too hard to find- I just don't have that kind of time
>right now...

The way I heard it Mr. Levi Strauss was able to get his cloth from the
sails of the ships abandoned in the San Francisco bay when the crews
deserted for the gold fields.  Second-hand sail cloth was really cheap
right then, as was floating warehouse space.


Kayta
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-Poster: Luiseach@aol.com


In a message dated 01/30/99 09:55:19 AM, Sylvia R <sylvia@netherworld.com>
wrote:

<<Exotic silks has even better prices than Dharma.>>

800 Number or URL please.

Lucinda

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From owner-h-costume@indra.com  Sun Jan 31 10:41:25 1999
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Date: Sun, 31 Jan 1999 10:59:32 -0500
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From: Sue Shatto <Sue@VictorianMillinery.com>
Subject: H-COST: Wish List
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-Poster: Sue Shatto <Sue@VictorianMillinery.com>

Brenda
	I have teens dress in both taupe and lavender (I called it lilac).  They
are c001 and c002 in the clothes closet on my website. The address is on my
signature.



Cordially,

Sue Shatto

Sue@VictorianMillinery.com
http://www.VictorianMillinery.com

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-Poster: Brenda and Larry Clough <clough@erols.com>

At 07:55 PM 1/30/99 -0800, you wrote:
>
>-Poster: Susan Fatemi <susanf@netwiz.net>
>
>Brenda and Larry Clough wrote:
>> 
>> I had a happy and successful experience dyeing rayon with Procion, but I
>> still have nearly all of a jar of Synthrapol left over.  It turns out you
>> really don't need all that much Synthrapol to process ten hanks of rayon
>> yarn.  If anyone would like to have the jar, send me your snail address.
>> 
>
>I wouldn't be so quick to get rid of synthrepol! At the very
>least you can use it to wash delicate fabrics. If you might
>ever dye anything again, fabric should be pre-washed in it
>to prepare for dyeing. And if anything ever "runs", sometimes
>a re-washing in sythrepol will save the garment/fabric, etc.
>
>This just happened to me -- I washed some printed rayon fabric
>I had no reason to suspect would run. Some small black and dark
>green areas "smeared" on to the background color. A judicious
>application of Z'out and synthrepol got it out and saved yards
>of irreplaceable fabric.
>
>Susan F.

I worry how long this stuff will -last- in the jar, however.  I have some
stuff for washing woolen sweaters in, that has set up like jello, I've kept
it so long!

Brenda
Brenda W. Clough, author of HOW LIKE A GOD from Tor Books.
http://www.sff.net/people/Brenda

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From owner-h-costume@indra.com  Sun Jan 31 12:39:49 1999
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From: "Mariea M. Goodinson-Dillenkofer" <stassja@bellatlantic.net>
Subject: H-COST: 1950's costuming - success!
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-Poster: "Mariea M. Goodinson-Dillenkofer" <stassja@bellatlantic.net>

Hi all !

	After checking out the websites for Vogue Patterns and all the rest, I
went to JoAnn Fabrics (thanks for the info on the sale, Lynn D.!!!) and
spent a looong time looking through. The Vogue Patterns were indeed 70%
off! However, I found a Simplicity Style bridal pattern that better suited
my needs (includes a bolero which I wanted to make to go with the dress).
The Vogue pattern takes less fabric in the skirt but I liked the variety in
the Style pattern and, besides, it's easy enough to take OUT of a pattern.
I'm pretty pleased.  :)  

	Also picked up a pattern for cloaks and another for a long princess seam
dress (easy cotehardie type) and, well, just went nuts buying patterns for
business and daywear (McCalls patterns 99 cents & Simplicity half
price!!!). Mostly going for the 1930's, 40's and 50's look personally
(suits me better than the new straight styles) plus I have a lovely 1950's
pattern for a suit that I'll hopefully have soon which I just won in an
auction on eBay (yes, I leave no stone unturned - my middle name should be
"Relentless"). I should add, all of the 50's prom dress patterns I saw on
eBay were too small for me and, while I can make a pattern smaller, I have
a tough time enlarging.

	Can everyone see I'm smiling as I write this! If there's a word that can
cheer me up in a heartbeat, it's "sale" - 4 lovely little letters to live
by.  ;)

	Thanks to all of you for your support! Now I've just got to get my sewing
room set up and go go go!!!

	Rie



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From owner-h-costume@indra.com  Sun Jan 31 12:53:51 1999
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From: rio@austin.rr.com (StrangeGirl)
To: h-costume@indra.com
Subject: Re: H-COST: H-COST 1880's evening corsage? <clarification>
Date: Sun, 31 Jan 1999 18:10:02 GMT
Organization: The Corner of my Desk
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-Poster: rio@austin.rr.com (StrangeGirl)


Okay, I'm asking this becuase I'm curious, *NOT* because I'm selling
it or interested in buying it. Someone elase told me about it.

Does anyone have ANY idea if this is a correct identification for this
item?

I really *am* genuinely curious.

StrangeGirl
Margery
Rio
-----rio@austin.rr.com---Goddess of Last Minute Miracles---
"We went out with both lips blazing, and a pen in either 
hand..." - the Flash Girls
-{*to reply take spambegone from my reply-to address*}-
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From owner-h-costume@indra.com  Sun Jan 31 13:46:30 1999
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Date: Fri, 29 Jan 1999 04:23:54 +0100
From: Andrea Clef <a.clef@ndh.net>
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-Poster: Andrea Clef <a.clef@ndh.net>

Hello out there!

Can anybody tell me what happens at a costume con?
I`m only familiar with science fiction cons where also a special costume
competition
takes place.

What else does take place during a costume con?

Diana

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-Poster: Gaelscot@aol.com



Margo, you're too expensive -- for that client, obviously. It doesn't matter
how much clothing goes for in a store -- if she doesn't buy that kind of
clothing, then she doesn't buy it.

I was in a wedding this year, and my bridesmaid dress (in an upscale wedding
shop in Cincinnati, Ohio) cost about $200. It was not silk. I bought it to be
in the wedding. I would never pay anything near $200 for any other garment. I
am sure that a silk chiffon dress as you described would be worth $300, but I
need to spend my money on other things. About the most I would consider -- and
then only if it was for something incredibly special -- would be $100. I would
probably check resale shops and super sales to see if I could get something
that was worth more.

So the point is -- maybe this lady just isn't accustomed to buying the kind of
dresses that cost $300. It isn't any reflection on you at all. And frankly, if
I sewed for a living I'd want to sew for the people who ARE accustomed to
spending lots of money!

Gail Finke

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From owner-h-costume@indra.com  Sun Jan 31 14:34:34 1999
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Date: Sun, 31 Jan 1999 14:41:37 -0500
From: Christine Krebs-Bonder <2maples@dnaco.net>
Organization: Two Maples
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-Poster: Christine Krebs-Bonder <2maples@dnaco.net>

If you email me your address I can snail mail the instructions to you. I
agree you need the instructions to put these outfits together.

Christine Krebs-Bonder
Dayton, OH

christianna del Oro wrote:

> -Poster: "christianna del Oro" <chritikat@hotmail.com>
>
>   Hello List
>
> Does anyone have Period Pattern #41 and maybe 40 or 42?
>  I need a copy of the instructions for them.  I moved twice since
> i used them and lost part of them.  I really need them, these patterns
> are hard enough without the directions.   I don't think this violates a
> copyright since i purchased them already. I don't want to get that
> discussion going again.  The patterns i need are Italian Rennasiance.
> I will pay for shipping
>
>                              Thanks
>                             Christianna
>
> ______________________________________________________
> Get Your Private, Free Email at http://www.hotmail.com
>  _________________________________________________________________
>  To leave this mailing list, send mail to majordomo@indra.com
>  with the message UNSUBSCRIBE H-COSTUME

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-Poster: Anah <anah@tymeportal.com>

hey!  did yu get it yet? I got word that it was at customs.

Andrea Clef wrote:
> 
> -Poster: Andrea Clef <a.clef@ndh.net>
> 
> Hello out there!
> 
> Can anybody tell me what happens at a costume con?
> I`m only familiar with science fiction cons where also a special costume
> competition
> takes place.
> 
> What else does take place during a costume con?
> 
> Diana
> 
>  _________________________________________________________________
>  To leave this mailing list, send mail to majordomo@indra.com
>  with the message UNSUBSCRIBE H-COSTUME
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-Poster: Anah <anah@tymeportal.com>

ARG!  sorry everyone!  that was supposed to go private
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-Poster: "Carol Blanchard" <blanchard@oak.ait.fredonia.edu>

 

> 
> I worry how long this stuff will -last- in the jar, however.  I have some
> stuff for washing woolen sweaters in, that has set up like jello, I've kept
> it so long!
> 
> Brenda
> Brenda W. Clough, author of HOW LIKE A GOD from Tor Books.
> http://www.sff.net/people/Brenda

Don't worry about how long it lasts.  I keep it in the costume shop 
for students to use in both classes and production work.  I've had 
one gallon on the shelf for at least five years before I found it 
last Sept.  It's still good and we're using it now.

Carol
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To: h-costume@indra.com
Subject: Re:  Re: H-COST: RE:Dye question
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-Poster: Sylvia Rognstad <sylvia@netherworld.com>

> 
> -Poster: Luiseach@aol.com
> 
> <<Exotic silks has even better prices than Dharma.>>
> 
> 800 Number or URL please.
> 
800-845-7455.

Sylvia R

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From owner-h-costume@indra.com  Sun Jan 31 17:02:18 1999
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Subject: H-COST: Silk
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-Poster: "Megan McHugh" <mchug@mindspring.com>

Just got back from Joann Fabric with the steal of the day.  I found a bolt
of 7 1/2 yards of 100% silk suiting, coarse weave, in a cranberry color.
Did I mention it was a bargain fabric at 50% off, turned out to be
$2.44/yd???!!!!!  Now
for the questions......  it says professional cleaning only - can this be
hand washed?  Will it fade/shrink badly?  What about ideas for what to make
out of it.  I do mostly SCA-type costuming.



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From owner-h-costume@indra.com  Sun Jan 31 22:06:43 1999
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From: Renata McAdams <renatamc@bellsouth.net>
To: h-costume@indra.com
Subject: Re: H-COST: Doll maker's list?
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-Poster: Renata McAdams <renatamc@bellsouth.net>






Hi Ninni,

If you are interested in cloth dollmaking, there is a great fiber artists' list
called Clothtalk that I belong to.  You can subscribe by e-mailing:

Listserv@home.ease.LSoft.com

Do not key in anything in the subject line and in the body of the e-mail type:

subscribe clothtalk

Renata McAdams
renatamc@bellsouth.net
Raleigh, NC

Ninni M Pettersson wrote:

> -Poster: Ninni M Pettersson <vidumavi@swipnet.se>
>
> Greetings!
>
>         A little while ago someone wrote about a special doll maker's list.
> I thought I had kept that message, but now that I need it, I of course find
> that I haven't :-) So please, whoever you are, will you send that info to
> me?
>
> Thanks in advance,
> Ninni Pettersson
>
>  _________________________________________________________________
>  To leave this mailing list, send mail to majordomo@indra.com
>  with the message UNSUBSCRIBE H-COSTUME





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From: "Stapelton,  Gregory" <gregory.stapleton@funb.com>
To: "'h-costume@indra.com'" <h-costume@indra.com>
Subject:  H-COST: Glass Aglets
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-Poster: "Stapelton,  Gregory" <gregory.stapleton@funb.com>


Greetings, Everyone, from Gawain Kilgore,

If eveyrone would be so kind as to indulge me, I would like to pose the
following question:

Can anyone point me to documentation of glass aglets in use in period.  I
have a friend who is desperately searching for this information and can't
find it.  She swears up and down that she found a passing mention of them in
a book / article by Janet Arnold a few years ago, but has been unable to
find the reference again.  Any help will be greatly appreciated.  My
"Thanks" in advance.

Yours In Service,
Gawain Kilgore


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From: "Stapelton,  Gregory" <gregory.stapleton@funb.com>
To: "'h-costume@indra.com'" <h-costume@indra.com>
Subject: RE: H-COST: Garb for large men, additional
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-Poster: "Stapelton,  Gregory" <gregory.stapleton@funb.com>

Being one of these large men and sitting or rather standing through fittings
by my wonderful, lovely Lady Wife and then wearing the garb, perhaps I can
shed a small twinkle of light.  My wife takes patterns of the largest size
she can then fits them on me as they seem to best fit then she adds
additional paper to these patterns to fill it out to the correct size.  It
works great for her because she's a pattern person.  She always manages to
get a good fit.  That's how she learned.

It drives me nuts.  I'm a sloper person and I think you get the best fit by
making a sloper of the garment, getting a good fit and then cutting the real
fabric.  I get excellent results, usually as good as my wife's.  How I do it
is I make the sloper larger than I know I'll need and then I put it on and
have my wife pin, cut, ease and take it up on me.

I find that the single best easy garb for men of my size, which looks very
good, is the cotehardie.  It's only draw back is a lot of buttons down the
front and the under sleeves.  It looks very sharp.  The only thing I
recommend watching out for, since it's a closely fitted garment is to make
sure to each the underarms and make sure they are comfortable, not binding
or too tight.

YIS,
Gawain Kilgore
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From owner-h-costume@indra.com  Sun Jan 31 22:13:39 1999
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From: Sidne Kneeland <skskaw@worldaccessnet.com>
To: Historic Costume List <h-costume@indra.com>
Subject: H-COST: how to - cummerbund for "smallish" boy 
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-Poster: Sidne Kneeland <skskaw@worldaccessnet.com>


Greetings list,

I need to make a cummerbund for a very active 4-1/2 yo boy, black
fabric.  Yes, I have the poor child in a dance class, tap.  They are
having a program later this spring.  Yes, he is VERY active, stress on
the VERY part.

Just so we stay on historic topic, does anybody know about the origins
of the cummerbund?  Time frame and location of origin?  dictionary says
Hindi.  ?

Thanks,
Sidne



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From owner-h-costume@indra.com  Sun Jan 31 22:17:37 1999
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From: Andrea Clef <a.clef@ndh.net>
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Subject: H-COST: CostumeCon
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-Poster: Andrea Clef <a.clef@ndh.net>


Hello out there!

What does take place exactly at a costume con?  Over here such an
event doesn`t exist, I know only science fiction cons which include a
costume competition.

Is there anything except the competition during a costume con?

Diana



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From owner-h-costume@indra.com  Sun Jan 31 22:43:01 1999
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From: Margo Anderson <margo@directcon.net>
Subject: Re: H-COST: Glass Aglets
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-Poster: Margo Anderson <margo@directcon.net>

At 08:15 PM 1/31/99 -0700, you wrote:
>
>-Poster: "Stapelton,  Gregory" <gregory.stapleton@funb.com>
>
>
>Greetings, Everyone, from Gawain Kilgore,
>
>If eveyrone would be so kind as to indulge me, I would like to pose the
>following question:
>
>Can anyone point me to documentation of glass aglets in use in period.  I
>have a friend who is desperately searching for this information and can't
>find it.  She swears up and down that she found a passing mention of them in
>a book / article by Janet Arnold a few years ago, but has been unable to
>find the reference again. 

The glass aglets are in Queen Elizabeth's Wardrobe Unlock'd, page 327 (fig
426).  They look remarkably similar to some Christmas tree icicles I've
seeen.. Hmmm....

Margo

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From owner-h-costume@indra.com  Sun Jan 31 23:39:23 1999
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From: "Beth" <bchamber@suffolk.lib.ny.us>
To: <h-costume@indra.com>
Subject: Re: H-COST: Question on Rayon - clarifications
Date: Sun, 31 Jan 1999 23:39:32 -0500
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-Poster: "Beth" <bchamber@suffolk.lib.ny.us>

Rayon and acetate are actually two different fibers - both being produced by
chemically altering plant fibers. There are several methods of producing
rayon - the viscose method is currently the most common. Acetate is produced
with somewhat similar methods but different chemicals. Rayon is wet spun and
acetate is dry spun. When you see yard goods or clothing marked viscose
rayon they are incorrectly labeled, according to the  Textile Fiber Products
Identification Act  they are two distinctly separate fibers.

Both are weaker when wet. This would be a concern if sweat is really an
issue. Rayon also tends to "grow" , usually in length, in damp climates. The
pants may get longer and longer as the day goes by. Rayon is slightly more
absorbent than cotton, while acetate is slightly less absorbent.

Anyone who is a real glutton for punishment and/or misses their chemistry
class days look at "Textile fabrics and their selection" by Isabel Wingate.

Beth


-----Original Message-----
From: Mary Denise Smith <costumemag@earthlink.net>
To: h-costume@indra.com <h-costume@indra.com>
Date: Friday, January 29, 1999 9:09 AM
Subject: Re: H-COST: Question on Rayon


>
>-Poster: Mary Denise Smith <costumemag@earthlink.net>
>
>Hello List,
>
>A clarification on rayon is needed. There are two basic types of rayon,
acetate and viscose.
>
>Acetate is the nasty shiny stuff that is often quite cheap and commonly
used as linings. It is not
>dyefast, underarm sweat stains it and it will go to shreds in the washer.
True, it is reprocessed
>cellulose, but it is SO processed that it is only barely cellulose anymore.
>
>Viscose is also reprocessed cellulose, but it retains the hand and other
qualities of cotton. Soft,
>drapey, wrinkles but the wrinkles fall out in humid weather (makes for good
wearing in climates east
>of the Colorado/Kansas border), takes dyes dramatically. It absorbs water
easily (hence the easy
>shedding of wrinkles). Depending on the quality of the spinning/weaving, it
can pill and look
>shabby. Good quality viscose rayon is an absolute delight. Poor quality is
a pain in the butt.
>
>Hope this helps,
>
>Mary Denise Smith
>
> _________________________________________________________________
> To leave this mailing list, send mail to majordomo@indra.com
> with the message UNSUBSCRIBE H-COSTUME
>

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From owner-h-costume@indra.com  Sun Jan 31 23:57:49 1999
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Date: Sun, 31 Jan 1999 23:42:37 -0800
From: Heather Law <lynnx@mc.net>
Organization: Interstellar Trading Company
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-Poster: Heather Law <lynnx@mc.net>

Hi, Diana
A costumeCon has two masquerade competitions, one historical and one
science fiction fantasy. The scifi/fantasy masquerade is a lot like
WorldCon's, but for the historical one, a lot of documentation is
required and is part of the contest. The more recent CostumeCons have
also included a Future Fashion folio which is done before the
convention.Costumers send in designs and people, sometimes including the
designer, choose a costume to make up and bring to the convention. 
There are also dozens of workshops and panels, plus an evening social
for the first evening and a hospitality suite for most of the
convention. Try to imagine WorldCon with everyone interested in costume
and almost everyone wearing costume a great deal of the time. Like
WorldCon, BTW, it travels. Next year it will be in New England, last
year it was in St. Louis, and there is currently an Australian bid.
I recommend checking http://www.libertynet.org/dvcg/ccxvii.html
for information on this years' CostumeCon.
Carol Mitchell President Chicagoland Costumer's Guild (chapter of the
International Costumer's Guild www.costume.org)
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From owner-h-costume@indra.com  Mon Feb  1 00:10:09 1999
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-Poster: Heather Law <lynnx@mc.net>

I jsut heard today about a really ridiculous happening. It seems that
someone who was in charge of some teenagers informed them that because
there was only one letter difference between denim and demon-that's
right, she didn't know how to spell either-that there had to be a
connection between the two words. I told the person who'd overheard the
story that denim derived from "de Nimes", but of course he isn't about
to inform her-especially because she'd probably then accuse him of
demonology.
Carol Mitchell
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From owner-h-costume@indra.com  Mon Feb  1 00:17:15 1999
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Date: Sun, 31 Jan 1999 21:25:31 -0800
To: h-costume@indra.com
From: "Carol J. Bell Cannon" <cjcannon@greymists.com>
Subject: Re: H-COST: denim
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-Poster: "Carol J. Bell Cannon" <cjcannon@greymists.com>

At 11:55 PM 1/31/99 -0800, you wrote: -Poster: Heather Law <lynnx@mc.net>
It seems that
>someone who was in charge of some teenagers informed them that because
>there was only one letter difference between denim and demon-
           Well, if you've ever tried to sew welted seams or through
several layers of good weight denim w/o an industrial machine and needles,
perhaps you'll understand her viewpoint. :-)
that's
>right, she didn't know how to spell either-that there had to be a
>connection between the two words. I told the person who'd overheard the
>story that denim derived from "de Nimes", but of course he isn't about
>to inform her-especially because she'd probably then accuse him of
>demonology.
>Carol Mitchell
            That is a sad thing, and all too likely true, at that.
However, it might be possible to educate the lady who was suffering under
that misapprehension if your friend had an atlas/map to point to Nimes with
and explained that 'de' simply means 'of' in French--if he cared to, that
is.  Easier still, if he knows any of the teens to explain it to that teen
and let him/her set the others straight.  Carol J. Bell Cannon
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From owner-h-costume@indra.com  Mon Feb  1 00:47:10 1999
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Date: Sun, 31 Jan 1999 23:53:33 -0600
To: h-costume-digest@indra.com
From: Pierre & Sandy Pettinger <costumrs@binary.net>
Subject: H-COST: Re: Costume Con
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-Poster: Pierre & Sandy Pettinger <costumrs@binary.net>

>From: Andrea Clef <a.clef@ndh.net>
>Date: Sun, 31 Jan 1999 20:24:29 -0700 (MST)
>Subject: H-COST: CostumeCon
>
>- -Poster: Andrea Clef <a.clef@ndh.net>
>
>What does take place exactly at a costume con? >
>Is there anything except the competition during a costume con?
>
>Diana
>
Costume Con is a wonderful event that is very informative and great fun for
any type of costumer.  There are two competitions:  a fantasy/science
fiction one, and a historical one.  Documentation is required for the
Historical masquerade, but that doesn't mean that it is deadly serious.
One can make a dynamite, dead-on historical entry that is also fun.   There
is also a Future Fashion Design competition that takes place in the months
prior to the con, with the winners published in a Folio.  Members may then
choose a design to make and wear in a Fashion Show.  Recently, another
aspect has been included in the Fashion Show:  a Single Pattern contest.
One or two patterns are chosen, then the entrants make them up in any
interpretation they want - the only caveat being that it be recognizable as
that pattern.

The rest of the four days are taken up with panels (seminars) and hands-on
workshops on all aspects of costume construction and presentation.  They
cover both fantasy and historical techniques, and many general ones as well
(Safety issues with materials, presentation and movement, fitting, etc.)
There is usually a themed social event on Friday night, this year's is
Gilbert and Sullivan.

This year's is Feb. 12-15 in Philadelphia (actually Cherry Hill, NJ), next
year's is Memorial Day weekend in Hartford, CT, and 2001 will be Memorial
Day weekend in Calgary, Alberta, Canada.

We'd love to see you there!

Pierre and Sandy Pettinger, who have attended all but 3 of the 17 Costume
Cons so far.

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From owner-h-costume@indra.com  Mon Feb  1 02:02:16 1999
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From: "Jeannie Harwell" <jrharwell@hotmail.com>
To: h-costume-digest@indra.com
Subject: H-COST: Re: z'out/synthrapol and Help!
Date: Sun, 31 Jan 1999 23:09:19 PST
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-Poster: "Jeannie Harwell" <jrharwell@hotmail.com>


Hi!  I'm delurking and have two questions I could really use help with:

1) on a previous posting:
>This just happened to me -- I washed some printed rayon fabric
>I had no reason to suspect would run. Some small black and dark
>green areas "smeared" on to the background color. A judicious
>application of Z'out and synthrepol got it out and saved yards
>of irreplaceable fabric.

My first question is, what is Z'out and how is it different from 
Synthrapol and where would one acquire it?  Would this help on below?

Or perhaps someone might have another suggestion?  --the problem is I 
*had* to wash a quilt my grandmother gave me (first one she ever made 
and each block her family and neighbors embroidered their names and the 
date (1942), so is very very sentimental)---anyhow, the backing was pink 
and it bled when washed (cold water, too) and now all the white blocks 
on the front are pink too :(  I've been hoping there might be someway to 
reverse or lift out the bled dye, but am reluctant to experiment (and 
maybe make it worse) unless I feel I have a shot at fixing it.  It 
hasn't been washed again since it bled.


2) Ok, question two: A family friend gave me what she said is some fine 
Irish linen that is 90 inches wide and quite long, that she ordered from 
Neiman's in the 60's and was going to use for a formal table cloth and 
never did (and it's unfinished cloth, raw edges). It's very delicate, 
about the weight of batiste or light cotton.

The problem is that she stored it in the orignal box she received it in 
and now the edges that were folded and touching the box are yellowed 
from what I presume is the acid in the box.  Is there some way to 
restore it and get the yellowing out?  Any suggestions?

And as long as we're on the subject <g> suggestions on what to do with 
the cloth?  Thought about finishing the table cloth and possibly 
bobbin-lace insets at the corners or along the edge??  Hate to cut it 
up...but hate worse for it to lie in a box.

BTW, I have thoroughly enjoyed reading this list and have found it very 
inspirational :)  Very nice group of people :)

Thanks for your help and suggestions in advance!
Jeannie
Grainne Finneadan



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From owner-h-costume@indra.com  Mon Feb  1 12:16:35 1999
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Date: Fri, 29 Jan 1999 06:58:54 +0100
From: Andrea Clef <a.clef@ndh.net>
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-Poster: Andrea Clef <a.clef@ndh.net>


--------------6F14AB7EBF4E11E195C2DA5A
Content-Type: text/plain; charset=us-ascii
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> Hi,
>
> You've had the answers to the "What is CostumeCon?" question, now I
> have to ask, what/where do you mean by "over here".....?
>
Thank you very much for your detailed answers.
The event sounds wonderful and as you already gave me the dates of years
to come,
I might be able to plan for a stay in the States (or Australia!).

By "over here" I mean Germany and as far as I`m informed the rest of
Europe as well.
But maybe there are Costume Cons in the UK?
They seem to have everything I miss in this country ;-)...  (a costume
society, a Victorian
society etc. ...)

Greetings,
Diana

--------------6F14AB7EBF4E11E195C2DA5A
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<HTML>

<BLOCKQUOTE TYPE=CITE>
<PRE>Hi,

You've had the answers to the "What is CostumeCon?" question, now I&nbsp;
have to ask, what/where do you mean by "over here".....?</PRE>
</BLOCKQUOTE>


<P>Thank you very much for your detailed answers.
<BR>The event sounds wonderful and as you already gave me the dates of
years to come,
<BR>I might be able to plan for a stay in the States (or Australia!).

<P>By "over here" I mean Germany and as far as I`m informed the rest of
Europe as well.
<BR>But maybe there are Costume Cons in the UK?
<BR>They seem to have everything I miss in this country ;-)...&nbsp; (a
costume society, a Victorian
<BR>society etc. ...)

<P>Greetings,
<BR>Diana</HTML>

--------------6F14AB7EBF4E11E195C2DA5A--

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From owner-h-costume@indra.com  Tue Feb  2 00:45:03 1999
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Date: Sun, 31 Jan 1999 00:24:55 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: Re: H-COST: Washing Chinese Silk Brocade
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>


>> this spring. But what about washability? Prewash in lukewarm water before
>> cutting? Or dry-cleaning after use only? But perhaps even that would shrink
>> it? (I seem to remember someone writing something about this once on the
>> list.) Anyone that has experience dealing with Chinese silk brocade that
>> can give me some hints on how to handle this fabric?
>
>Hi Ninni --
>
>I'm not setting myself up as an expert, it's just that I've made
>so many mistakes, someone else might as well learn from them!
>  I would say dry-clean only. But you could cut a square,
>soak it in warm soapy water and see what happens. Even if it
>doesn't shrink, the surface and the "hand" could be altered
>drastically!
>  If you decide it is non-washable, have it *pre-shrunk*
>at your dry-cleaners before you cut into it.

I heard a VietNamese woman say that since there were no dry cleaners in
VietNam (she said that) she washed all her silk stuff in cheap baby shampoo.


Kayta
     ////.\\\
    ////-@@\\\
   ((((   7 (((
     |   -- ))))
     * )   (((((
  /----\   /---\

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From owner-h-costume@indra.com  Tue Feb  2 14:08:19 1999
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-Poster: Andrea Clef <a.clef@ndh.net>

I knew there must be something like a Costume Convention in the UK!
I love this country and it`s far too long ago that I visited there, so
maybe I could combine the next visit and a costume con!
Thanks for the info, I`ll keep looking for everything on that topic.

I also heard that there is something like a reenactment fair taking
place each year in the
UK.
There one can get nearly everything dealing with reenactment (also
costumes) from all kind of periods.
If anybody has got info about that, please mail me privately, thanks!

Many greetings,
Diana

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From owner-h-costume@indra.com  Tue Feb  2 15:24:47 1999
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-Poster: Andrea Clef <a.clef@ndh.net>

Hello everybody!

This is just a question out of personal interest:

What are your favourite costumes or periods in historical dress?
If you have a favourite period, do you have a special need for the
costumes, e.g.
some certain period reenactment?

I would also be glad if those of you who have an own costume business,
could tell me
in which costumes or periods they specialize and if such a thing exists,
give me the adress of  their homepages?
Please, mail that privately to me as I believe this is off topic for the
list.

Thanks,
Diana

a.clef@ndh.net

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From owner-h-costume@indra.com  Wed Feb  3 12:31:01 1999
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-Poster: Andrea Clef <a.clef@ndh.net>

Hello!

Thank you for the many answers to my questions, fortunately you also
seem to enjoy getting to know each other better.

The fair I had heard about was probably Blackbird Leys as it was written
that it takes
place twice a year.
I would be glad to get the date of the autumn fair if someone`s already
got that.
But I`ve also already heard about Kirby Hall and I would love to visit
there as well.

As you told me everything about your favourite costumes, I think I
should do the same.
Of course, I like medieval dress as I´m also active in reenactment
there.
My favourite period there is the 12th century with those long, wide
sleeves.
But I`m also attracted to the dress of later times, like 16th century
Tudor dress,
mid-17th century baroque dress, 18th century`s sack gowns and clothing
from
about 1850-1890.
Oh, I forgot the Regency dresses and Edwardian gowns, for these things
one
fortunately doesn`t need a special event to wear them.
It`s possible to walk along the street without being strangely looked
at.

I`m still looking for reenactment groups of the later periods than
medieval over here,
so that I could also wear those beautiful costumes more often.
A friend of mine here in Germany wants to start a reenactment group
dealing with the
mid 18th century and I want to help her building it up.

Greetings,
Diana

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From owner-h-costume@indra.com  Fri Feb 19 07:51:16 1999
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Date: Sun, 31 Jan 1999 15:29:03 +0000
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-Poster: margo king <mkings@earthlink.net>

Ray - please snail mail to   Margo King
                                        8900 Potomac Station Lane
                                        Potomac , MD 20854
                                        U.S.A.
Let me know what I owe you for postage, etc.  Many thanks!


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