From owner-h-costume@indra.com  Sun Jan 31 18:32:01 1999
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To: h-costume-digest@indra.com
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: 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...
>>By this theory, societies which exist a long time
>>undisruptedly have an innate tendency toward "civilization" ...

>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.

I did not mean to say that any long-term civilization must develop subdued
clothing. There is one example that did. 

Barbara Maren


--
Barbara Maren Winkler                         barbara@math.tu-berlin.de

  
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From owner-h-costume@indra.com  Mon Feb  1 00:23:31 1999
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-Poster: DenPoitou@aol.com

Sorry for the late posting.  Someone may have already suggested this.  

Have you thought about a long Houppelande?  I have seen some very LARGE
stature men in these garments.  All have been stately and handsome in
appearance.  The belt can be worn beneath the belly (as it would seem normal
for gentlemen of this size) and more often than not the brocades can be found
in discount bins or if your lucky old draperies.  

The skill level is more moderate and details can be easily worked around.
Cartridge pleating has been suggested on these but truthfully all the ones I
have seen made were not formally gathered.  

Again, my apologies if this has already been mentioned.  

Dennet
denpoitou@aol.com
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From owner-h-costume@indra.com  Mon Feb  1 01:07:31 1999
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-Poster: Appin1@aol.com

I have never heard of the term "rullion" and McClintock does not mention it.
The hide shoes in Scotland are referred to as "cuarans" or "pampooties." Where
do you get your reference to rullions? I do Scots and Irish impressions in
several living history groups and I would like the information.

Thanks.
Kathleen Norvell
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From owner-h-costume@indra.com  Mon Feb  1 01:16:05 1999
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-Poster: Appin1@aol.com

The Whole Costumer's Catalogue, edited by Karen L. Dick  is available from:

CBTB Press, P.O. Box 207, 2860 Main Street, Beallsville, PA 15313-0207. It is
$15.00. (No website or fax number given on my copy, which is several years
old)

It is cross-referenced by subject and geographical area. (From the
catalaogue:)The catalogue lists 1,100+ companies that carry costumes,
accessories, instruction books, make-up, pattern books, raw materials and
tools to make costumes. Plus other stuff. Very handy. 

Usual disclaimer. 

Kathleen Norvell

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From owner-h-costume@indra.com  Mon Feb  1 01:31:45 1999
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-Poster: Laurel Wilson <lwilson16@earthlink.net>

Anybody have any ideas about where the expression "dressed to the nines"
comes from?

Lauri

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From owner-h-costume@indra.com  Mon Feb  1 01:40:54 1999
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-Poster: Finafyr@aol.com

In the Book "Queen Elizabeth Wardrobe unlocked" Janet Arnold... there are
Glass Aiglets..I was wondering where one could find them as they look very
nice

Renee
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From owner-h-costume@indra.com  Mon Feb  1 02:00:01 1999
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-Poster: Appin1@aol.com

Good luck with your client. Usually I get the price I ask without anyone
whimpering about it. The one bit of trouble I had occurred when I did three
1805 outfits for an historical site in the area -- 2 men's and one (very
large) woman's. I had a friend draft a pattern for the lady since I could not
get a commercial pattern in her size. I scrimped on the price as much as I
could, even adapting 2 pairs of old wool Navy "crackerjack" pants for the
gentlemen (you could get them from a surplus store relatively cheaply). Since
it was an historical site (which never has much in the budget for such
things), I only charged $350 + the cost of material for ALL THREE outfits. 

The woman I was dealing with STILL had a cow over the cost and I practically
had to beat the check out of her. The clothes looked terrific and hundreds of
people saw the outfits during the Christmas program they were made for.

Some days it just doesn't pay to chew through the restraints...

Kathleen Norvell

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From owner-h-costume@indra.com  Mon Feb  1 02:27:14 1999
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-Poster: Appin1@aol.com

There are lots of panels and discussions on all aspects of costuming. All
types of costuming are represented -- sci fi, historical, fantsay, etc. There
are lots of vendors selling great stuff (I absolutely raided AlterYears at the
last one I attended). Many recognized experts in the costuming field are
present. And of course, there are competitions like historical and sci
fi/fantasy. There is a doll costuming competition and a "future fashion"
presentation. 

CostumeCon is a great place to network too. It alternates between East and
West coasts every other year. This will be my third CostumeCon and my second
as a judge.

Kathleen Norvell
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From owner-h-costume@indra.com  Mon Feb  1 02:49:05 1999
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From: "Glenda Robinson" <glendar@aus.compassnet.com.au>
To: <h-costume@indra.com>
Subject: Re: H-COST: denim/demon
Date: Mon, 1 Feb 1999 18:56:19 +1100
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-Poster: "Glenda Robinson" <glendar@aus.compassnet.com.au>

Carol wrote:
>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

Maybe someone should point our to this ill-informed person that Satan and
Santa actually consist of THE SAME LETTERS!!!

Glenda.

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From owner-h-costume@indra.com  Mon Feb  1 04:01:51 1999
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From: "Jennifer  Greene" <Jennifer_Greene@bc.sympatico.ca>
To: <h-costume-digest@indra.com>
Subject: H-COST: Re:   Glass Aglets
Date: Mon, 1 Feb 1999 00:35:26 -0800
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-Poster: "Jennifer  Greene" <Jennifer_Greene@bc.sympatico.ca>

Pardon me for my igorance, but what *are* glass aglets, and what are they
used for?  (the note that they are Elizabethan caught my eye!)

Jen
====================
No chocolate, no peace!
====================

Gawain wrote:

>>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.


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From owner-h-costume@indra.com  Mon Feb  1 07:02:35 1999
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From: "Christopher Ballis" <stilskin@netspace.net.au>
To: <h-costume@indra.com>
Subject: Re: H-COST: CostumeCon
Date: Mon, 1 Feb 1999 23:12:11 +1100
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-Poster: "Christopher Ballis" <stilskin@netspace.net.au>

> CostumeCon is a great place to network too. It alternates between East
and
> West coasts every other year. This will be my third CostumeCon and my
second
> as a judge.


Aww, what about Australia?


-C.
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From owner-h-costume@indra.com  Mon Feb  1 08:28:17 1999
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From: "Stapelton,  Gregory" <gregory.stapleton@funb.com>
To: "'h-costume@indra.com'" <h-costume@indra.com>
Subject: RE: H-COST: Re:   Glass Aglets
Date: Mon, 1 Feb 1999 08:34:48 -0500 
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-Poster: "Stapelton,  Gregory" <gregory.stapleton@funb.com>

Ok, here's how I define them.  Any correction appreciated: They are the
little doo-hickies that go on the end of ties that are lacing up a bodice or
holding on a sleeve, etc.  They make it easier to  do the lacing and dress
up the end of the tie.  I think the plastic ends on shoe laces are still
referred to as aglets.  In period, they were most commonly made from thin
sheets of metal, rolled into a cone shape, as I understand it.

Gawain Kilgore

> -----Original Message-----
> From:	Jennifer  Greene [SMTP:Jennifer_Greene@bc.sympatico.ca]
> Sent:	Monday, February 01, 1999 3:35 AM
> To:	h-costume-digest@indra.com
> Subject:	H-COST: Re:   Glass Aglets
> 
> 
> -Poster: "Jennifer  Greene" <Jennifer_Greene@bc.sympatico.ca>
> 
> Pardon me for my igorance, but what *are* glass aglets, and what are they
> used for?  (the note that they are Elizabethan caught my eye!)
> 
> Jen
> ====================
> No chocolate, no peace!
> ====================
> 
> Gawain wrote:
> 
> >>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.
> 
> 
>  _________________________________________________________________
>  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: RE: H-COST: Glass Aglets
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-Poster: "Stapelton,  Gregory" <gregory.stapleton@funb.com>

Cool!  I guessed as much.  I bought that for my wife a few years ago for
Christmas.  I'll go through it tonight and see if I can find it.

Thanks, much!
Gawain Kilgore / Gregory Stapleton

> -----Original Message-----
> From:	Finafyr@aol.com [SMTP:Finafyr@aol.com]
> Sent:	Monday, February 01, 1999 1:48 AM
> To:	h-costume@indra.com
> Subject:	Re: H-COST: Glass Aglets
> 
> 
> -Poster: Finafyr@aol.com
> 
> In the Book "Queen Elizabeth Wardrobe unlocked" Janet Arnold... there are
> Glass Aiglets..I was wondering where one could find them as they look very
> nice
> 
> Renee
>  _________________________________________________________________
>  To leave this mailing list, send mail to majordomo@indra.com
>  with the message UNSUBSCRIBE H-COSTUME
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-Poster: aleed <aleed@dnaco.net>


> 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....

I have a pic of those glass aglets from QEWU at
http://www.dnaco.net/~aleed/corsets/pics/aglet.gif 

Hmm...I wonder how hard those things would be for a glassblower to
make...or a beadmaker...

Drea



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From: "Stapelton,  Gregory" <gregory.stapleton@funb.com>
To: "'h-costume@indra.com'" <h-costume@indra.com>
Subject: RE: H-COST: Glass Aglets
Date: Mon, 1 Feb 1999 09:11:48 -0500 
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-Poster: "Stapelton,  Gregory" <gregory.stapleton@funb.com>

Believe it or not, it's pretty easy. :)  And once again, thank all of you
for the references!!!!  My friend will be ecstatic.

Gawain

> -----Original Message-----
> From:	aleed [SMTP:aleed@dnaco.net]
> Sent:	Monday, February 01, 1999 9:11 AM
> To:	h-costume@indra.com
> Subject:	Re: H-COST: Glass Aglets
> 
> 
> -Poster: aleed <aleed@dnaco.net>
> 
> 
> > 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....
> 
> I have a pic of those glass aglets from QEWU at
> http://www.dnaco.net/~aleed/corsets/pics/aglet.gif 
> 
> Hmm...I wonder how hard those things would be for a glassblower to
> make...or a beadmaker...
> 
> Drea
> 
> 
> 
>  _________________________________________________________________
>  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: Costuming Large Men
Date: Mon, 1 Feb 1999 09:17:50 -0500 
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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,
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 ease the underarms and make sure they are comfortable, not binding
or too tight.

YIS,
Gawain Kilgore

	-----Original Message-----
	From:	Abbott, Ruth [SMTP:r-abbott@oar-xch1.oar.uiuc.edu]
	Sent:	Thursday, January 28, 1999 4:35 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


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To: <f-costume@indra.com>, <h-costume@indra.com>
Subject: H-COST: OT: Sewing & Pattern mailing lists...
Date: Mon, 1 Feb 1999 08:37:49 -0600
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-Poster: "Sterling Ranne" <sranne@hydroseal.com>

Hi,

Sorry for the off topic, but I was wondering if anyone here had information
on other sewing related mailing lists.  I'm looking for a few hard to find
patterns (Kilt Jackets and such, which I had at first thought might be
found here.) and was wanting to post to lists and groups that might have
information on them.

If anyone here might have some information on Kilt Jackets that could lead
me in the right direction, or the types of lists or newsgroups to look in,
I would appreciate it.

To keep the OT traffic to a minimum please respond to: 
sranne@hydroseal.com

Thanx
Sterling
92.5% Pure

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From: Brenda and Larry Clough <clough@erols.com>
Subject: Re: H-COST: how to - cummerbund for "smallish" boy 
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-Poster: Brenda and Larry Clough <clough@erols.com>

At 08:18 PM 1/31/99 -0700, you wrote:
>
>-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.
>

I suggest stretch fabric, maybe a black polyester doubleknit or (if it's
supposed to have a sheen) a shiny black jersey.  You wouldn't need but a
quarter-yard maybe, for a kid that size.  Use a strip of black elastic at
the back to keep it snug, and fasten it with velcro.  A kid that age, you're
not talking archival in any way...

Brenda
Brenda W. Clough, author of HOW LIKE A GOD from Tor Books.
http://www.sff.net/people/Brenda

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To: h-costume@indra.com
From: Brenda and Larry Clough <clough@erols.com>
Subject: Re: H-COST: denim
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-Poster: Brenda and Larry Clough <clough@erols.com>

At 11:55 PM 1/31/99 -0800, you wrote:
>
>-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.


!!!!  That takes the cake, Carol, really it does.  And I thought that the
guy in DC who accused a bureaucrat of being a racist, because he said that a
certain budget was going to be niggardly this year, was the limit.

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  Mon Feb  1 10:30:27 1999
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Date: Mon, 01 Feb 1999 09:36:38 -0600
From: Kent & Kat <kdyer@nash.tds.net>
Organization: Oak, Ash, and Thorn
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Subject: H-COST: Costuming "Richard III"
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-Poster: Kent & Kat <kdyer@nash.tds.net>

I have a couple of problems/questions I'd like to see if
anyone could help with...
First, I need to make an appliance for Richard...I'm
thinking foam covered with fabric & strapped on...does
anyone have a better/easier idea?  Would it help the
'withered arm' bit look better if I build a shirt/tunic with
one sleeve longer than the other?
Second, my dad is complaining because our costume stock
doesn't contain anything 'rich' enough for the women.  I
know I can dress them up to some extent with the use of
jewelry and belts but headpieces are another option...what
kind should I be making and does anyone have any tips/tricks
for these?
Now I just have to go try to make my bedroom tv work so that
I can watch all three versions of the play I have again to
make sure I've got the right picture in my head.  We've
managed to get some stuff from stock & I'm not finished
going through it yet but I know I'll be building a few
pieces (already did one for Queen Margaret...black velvet
with loooong dangling parts to the ends of the sleeves).
TIA for any advice!!

Kat
kdyer@nash.tds.net
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From owner-h-costume@indra.com  Mon Feb  1 10:44:14 1999
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Cc: h-costume@indra.com
Subject: H-COST: Re: Glass Aglets
Message-ID: <19990201.073509.4783.2.cley@juno.com>
References: <AFFFCF221D65D111923800805FA7E86D0181D8B2@clt-exch-07.capmark.funb.com>
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-Poster: cynthia j ley <cley@juno.com>

Elizabethan literature refers to them as "tags." One madrigal brings them
up as a prized token that a gentleman might win from a lady.

(You learn the darnedest things studying music.) ;-)



					Arlys

On Mon, 1 Feb 1999 08:34:48 -0500  "Stapelton,  Gregory"
<gregory.stapleton@funb.com> writes:
>
>-Poster: "Stapelton,  Gregory" <gregory.stapleton@funb.com>
>
>Ok, here's how I define them.  Any correction appreciated: They are 
>the
>little doo-hickies that go on the end of ties that are lacing up a 
>bodice or
>holding on a sleeve, etc.  They make it easier to  do the lacing and 
>dress
>up the end of the tie.  I think the plastic ends on shoe laces are 
>still
>referred to as aglets.  In period, they were most commonly made from 
>thin
>sheets of metal, rolled into a cone shape, as I understand it.
>
>Gawain Kilgore
>
>> -----Original Message-----
>> From:	Jennifer  Greene [SMTP:Jennifer_Greene@bc.sympatico.ca]
>> Sent:	Monday, February 01, 1999 3:35 AM
>> To:	h-costume-digest@indra.com
>> Subject:	H-COST: Re:   Glass Aglets
>> 
>> 
>> -Poster: "Jennifer  Greene" <Jennifer_Greene@bc.sympatico.ca>
>> 
>> Pardon me for my igorance, but what *are* glass aglets, and what are 
>they
>> used for?  (the note that they are Elizabethan caught my eye!)
>> 
>> Jen
>> ====================
>> No chocolate, no peace!
>> ====================
>> 
>> Gawain wrote:
>> 
>> >>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.
>> 
>> 
>>  _________________________________________________________________
>>  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 Feb  1 10:50:37 1999
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Date: Mon, 1 Feb 1999 10:04:46 -0600 (CST)
From: "Sara J. Davitt" <ophelia@dias.net>
To: h-costume@indra.com
Subject: Re: H-COST: Unusual question (involving underwire bra attracting lightning! - read on)
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-Poster: "Sara J. Davitt" <ophelia@dias.net>

I had heard of this story before... I had found it in a book called 
"You Can't Be Too Careful-Cautionary Tales for the impetuous, the curious,
and the blithley oblivious"  By David Pryce-Jones  Workman Publishing,
ISBN 1-56305-156-7

"The metal in a woman's bra probably attracted the lightening that caused
her death as she walked through a park in a severe storm.  Mrs. Iris S.
was found lying dead under a tree in Queen's Park, Willesden.  Dr. Ian W.,
a pathologist, said a burnmark on the chest appeared to match the exactly
reinforced area of Mrs. S.'s bra.  (pg 59)

And the rest of the book is funny as well, with lots of obituaries
of deaths caused by bizzaree phenomena, fashion blunders, animal antics... 


Here's to Nature's Morbid Sense of Humor,
Sarahj

**2Y's**UR**2Y's**UB**IC**UR**2Y's**4Me**

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From owner-h-costume@indra.com  Mon Feb  1 10:54:35 1999
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-Poster: Appin1@aol.com

Is there going to be a CostumeCon Down Under? That would be great! Expensive,
but great.

Kathleen
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From owner-h-costume@indra.com  Mon Feb  1 11:01:15 1999
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From: "Stapelton,  Gregory" <gregory.stapleton@funb.com>
To: "'h-costume@indra.com'" <h-costume@indra.com>
Subject: RE: H-COST: Re: Glass Aglets
Date: Mon, 1 Feb 1999 11:07:11 -0500 
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-Poster: "Stapelton,  Gregory" <gregory.stapleton@funb.com>

Like I always say, a holistic approach to research is the best approach!
Thanks.

Gawain

> -----Original Message-----
> From:	cynthia j ley [SMTP:cley@juno.com]
> Sent:	Monday, February 01, 1999 10:51 AM
> To:	h-costume@indra.com
> Cc:	h-costume@indra.com
> Subject:	H-COST: Re: Glass Aglets
> 
> 
> -Poster: cynthia j ley <cley@juno.com>
> 
> Elizabethan literature refers to them as "tags." One madrigal brings them
> up as a prized token that a gentleman might win from a lady.
> 
> (You learn the darnedest things studying music.) ;-)
> 
> 
> 
> 					Arlys
> 
> 
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From owner-h-costume@indra.com  Mon Feb  1 11:26:36 1999
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To: h-costume@indra.com, vintage@indra.com
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Subject: H-COST: Princess Diana's scraps
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-Poster: SAQUEEN@aol.com

Dear All,

Thought you might enjoy this scrap of information from _The Washington Post_,
January 25, 1999:

"Pieces of material discarded during the making of Princess Diana's
weddingdress will be auctioned later this year in the United States. The six
snippets are from the Elizabeth Emmanuel ivory silk gown the late princess
wore at her 1981 wedding to Prince Charles. The cuttings were recently
appraised in the low six figures." 

Save those scraps if you plan to be famous
Sally Queen
http://www.sallyqueenassociates.com
Costume Calendar Series
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Date: Mon, 01 Feb 1999 16:24:33 +0000 (GMT)
From: Teddy <Teddy@mdx.ac.uk>
Subject: H-COST: CostumeCon
In-reply-to: <199902010349.UAA15469@indra.com>
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-Poster: Teddy <Teddy@mdx.ac.uk>

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".....?

> - -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
Teddy
(Trustworthy Evil-Bunny of Destiny, part-time Knave and Creature of
air and darkness, apparently!)
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From owner-h-costume@indra.com  Mon Feb  1 11:31:19 1999
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	 Mon, 1 Feb 1999 08:37:50 -0800
From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: Rullions
Date: Mon, 1 Feb 1999 11:40:42 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

I am puzzled about your request for references, as I
included several, including quotations.  Yarwood, in the
cited reference, indicates many, many words for the rawhide
shoes from country to country, and even within Scotland.
Sorry, that reference of mine is two miles away in the local
library, so I can't share the 10-15 words she used.  Rullion
is listed in her index, however. It is she who says that
pampootles is the Irish word for them, and that's how they
are indexed in Dunlevy's Dress in Ireland. Rullions are in
Dunbar's index only once, but the references to them in the
period accounts he quotes are pretty numerous.  The accounts
themselves indicate a variety of terminology, often saying
"rullions or -----" with the alternative word.  For
instance, in Orkney, they were made of sealskin and called
rifflings.  Here's my post again with all of the references
cited in complete detail:

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, i.e.. 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."

That's where my previous post ended.  I could add to that
Dunbar's citation from The History of Scots Affairs
(1637-1641) by James Gordon, in which he says, "To fence
their feet they put on Rullions (sic) or raw leather shoes."

Hope H. Dunlap

-----Original Message-----
From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
Behalf Of Appin1@aol.com
Sent: Monday, February 01, 1999 1:14 AM
To: h-costume@indra.com
Subject: Re: H-COST: Rullions



-Poster: Appin1@aol.com

I have never heard of the term "rullion" and McClintock does
not mention it.
The hide shoes in Scotland are referred to as "cuarans" or
"pampooties." Where
do you get your reference to rullions? I do Scots and Irish
impressions in
several living history groups and I would like the
information.

Thanks.
Kathleen Norvell

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From owner-h-costume@indra.com  Mon Feb  1 11:36:11 1999
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From: Christina Nevin <cnevin@caci.co.uk>
To: "'h-costume@indra.com'" <h-costume@indra.com>
Subject: H-COST: A Shock
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-Poster: Christina Nevin <cnevin@caci.co.uk>

*	Poster: "Sara J. Davitt" <ophelia@dias.net <mailto:ophelia@dias.net>
>

		 "The metal in a woman's bra probably attracted the
lightening that caused her death as she walked through a park in a severe
storm.  Mrs. Iris S.  was found lying dead under a tree in Queen's Park,
Willesden.  Dr. Ian W., a pathologist, said a burnmark on the chest appeared
to match the exactly reinforced area of Mrs. S.'s bra.  (pg 59)

EEP! Willesden's where I live! Still, on the premise that lightening never
strikes twice in the same place, I don't think I'll be whipping the
underwires out of my bras...<smile>.

Tina

++++++++++++++++++++++++++++++++++++++++++++++++++
Lady Lucrezia-Isabella di Freccia   |  mka Tina Nevin
Thamesreach Shire, The Isles, Drachenwald | London, UK
thorngrove@geocities.com <mailto://thorngrove@geocities.com>  |
http://www.geocities.com/~thorngrove <http://www.geocities.com/~thorngrove>


"There is no doubt that great leaders prefer hard drinkers to good 
versifiers" - Aretino, 1536 
++++++++++++++++++++++++++++++++++++++++++++++++++


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From owner-h-costume@indra.com  Mon Feb  1 12:11:24 1999
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Date: Mon, 01 Feb 1999 10:19:29 +0000
From: "S.B. McDaniel" <fretknot@earthlink.net>
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-Poster: "S.B. McDaniel" <fretknot@earthlink.net>

> -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.

I'd love to know, too.  I have seen the bodices of low-neckline
Victorian gowns referred to as a "corsage". My grandmother says that the
reason we call flowers pinned to a dress a corsage is because that's
where you put it. 

Our Austrian au-pair called brazierres "corsages". Anybody know where
this comes from?


Sandy
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From owner-h-costume@indra.com  Mon Feb  1 13:28:48 1999
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-Poster: MzScahlett@aol.com

They sound gorgeous!  Are they available anywhere?

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

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

In a message dated 1/31/1999 22:48:41 Pacific Standard Time, Finafyr@aol.com
writes:

<< 
 In the Book "Queen Elizabeth Wardrobe unlocked" Janet Arnold... there are
 Glass Aiglets..I was wondering where one could find them as they look very
 nice
 
 Renee
  ______ >>
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From owner-h-costume@indra.com  Mon Feb  1 13:37:43 1999
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From: ches <ches@io.com>
To: Multiple recipients of list H-COSTUME <h-costume@indra.com>
Subject: Re: H-COST: Glass Aglets-sources?
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-Poster: ches <ches@io.com>

There is a lady here in the Steppes, Dallas Texas, that works with glass.
I will see her tomorrow and take my book with me to show her the aglets.
If she can make them for a resonable price I will post that information to
anyone who emails me for it.

Ches

On Mon, 1 Feb 1999 MzScahlett@aol.com wrote:

> Date: Mon, 1 Feb 1999 13:34:15 EST
> From: MzScahlett@aol.com
> Reply-To: h-costume@indra.com
> To: h-costume@indra.com
> Subject: Re: H-COST: Glass Aglets-sources?
> 
> 
> -Poster: MzScahlett@aol.com
> 
> They sound gorgeous!  Are they available anywhere?
> 
> angil
> + + + + + + +
> Angela F. Lazear
> Costumes & Custom Clothing
> 
> "Great Spirits Have Always Encountered Violent Opposition From Mediocre Minds"
> A. Einstein
> 
> In a message dated 1/31/1999 22:48:41 Pacific Standard Time, Finafyr@aol.com
> writes:
> 
> << 
>  In the Book "Queen Elizabeth Wardrobe unlocked" Janet Arnold... there are
>  Glass Aiglets..I was wondering where one could find them as they look very
>  nice
>  
>  Renee
>   ______ >>
>  _________________________________________________________________
>  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>
Organization: Interstellar Trading Company
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-Poster: Heather Law <lynnx@mc.net>

Can anyone tell me what "tencel" rayon is?  It seems to be some kind of
New-and-Improved rayon, but I haven't seen it and probly wouldn't know
what to expect of it if I did.

Thanks,
Heather L
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Date: Mon, 1 Feb 1999 14:01:53 -0500 (EST)
From: Ioana Timariu <ioana@yucc.yorku.ca>
To: h-costume@indra.com
Subject: H-COST: Beaded Fringe
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-Poster: Ioana Timariu <ioana@yucc.yorku.ca>

Hello!

I'm trying to create a belly-dancing costume. I'm looking for a provider 
of beaded fringe. I'd love to manually make the fringe, but I have 
a deadline for the costume .. I have to dance in it in April!)... 
Most providers I found on the internet ask for 40 (3 inch width) to 60$ (4
inch width)  per yard. Is this a reasonable price? 

I live in Toronto, Ontario, but any reasonably-priced provider
from anywhere in the world would do. 

Thank you very much!
-ioana

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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: Glass Aglets
Date: Mon, 1 Feb 1999 14:11:01 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

Anyone who owns a toy chemistry set with a Bunsen burner
could whip those up, using glass rod or tube.  Remember high
school chemistry?  The only thing I was ever any good at
were the labs, and learning to shape glass tubing was the
first lesson we had.  I remember as a preteen putting glass
baby food jars in an old Franklin stove and watching it melt
readily in the white hot coals of a wood fire, so the very
determined can probably make glass aiglets even without the
Bunsen burner. Has anybody checked a bead catalog, though?
It beats firing up the hibachi on the apartment balcony in
this weather.

Hope H. Dunlap

-----Original Message-----
From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
Behalf Of Stapelton, Gregory
Sent: Sunday, January 31, 1999 10:15 PM
To: 'h-costume@indra.com'
Subject: H-COST: Glass Aglets



-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 owner-h-costume@indra.com  Mon Feb  1 14:06:06 1999
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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: Re: z'out/synthrapol and Help!
Date: Mon, 1 Feb 1999 13:26:46 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

Well, with regard to the linen, I have yet to find a stain,
other than rust, which Clorox won't take out.  Follow the
directions on the bottle and use in the washer in
conjunction with a detergent.  If the color is an all-over
yellow or brown, it's not from the box, but the original
sizing, and it whitens up licketly-split with the method
above. For tougher stains, you may have to run it through
twice. I always rinse with plain water until I can't smell
the Clorox anymore, just to keep the Clorox from continuing
to work and deteriorate the fabric. This usually takes 1-2
times throught the rinse and spin cycle.

Z'out is used to clean football players uniforms, among
other things.  It is a good product, especially on grass
stains.  If your chain supermarket doesn't have it, try one
of those best-quality, well-stocked, old-fashioned hardware
stores, family run.  They usually have a terrific array of
tried and true old-fashioned cleaning and polishing products
that really work.

By the way, rust will come out with a product called The
Rust Gun, 99 cents for 8 ounces, made by Fast Industries,
Inc. in Ft. Lauderdale, Florida at (303) 979-3278.  I got
mine in one of those aforementioned hardware stores.  It
takes hours, sometimes two days, to melt the stain away, but
it does work completely. The bottle doesn't say what the
active ingredient is, but it claims it doesn't cause fabric
detrioration.  I have used it on several garments, as my
washer seems to leave these rust stains on white cotton
things occasionally, and I haven't noticed any long-term
harm from the product.

I have had no experience with synthrapol, but it sounds
great.  Where do you get it?

Hope H. Dunlap

-----Original Message-----
From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
Behalf Of Jeannie Harwell
Sent: Monday, February 01, 1999 2:09 AM
To: h-costume-digest@indra.com
Subject: H-COST: Re: z'out/synthrapol and Help!



-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 14:10:20 1999
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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: H-COST: Scottish Jackets
Date: Mon, 1 Feb 1999 13:04:25 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

After replying to your request about the Sherrifmuir( sp?),
I've kept my eyes open for an actual pattern.  No luck,
exactly, but if you look at Mairead Dunlevy's book, Dress in
Ireland, you'll see photographs of soft wool jackets pulled
ot of some bog somewhere, which are not unlike the
Sherrifmuir on the Scottish tailors WebPages I referenced
you to.  The tailor's site obviously showed a stiff, very
formal, and impressive version of the jacket, but the
jackets in Dunlevy are the soft, folk-version of the same
thing, and eminently makable by the home sewer, and far more
comfortable for dancing and sport.  I've seen enough
pictures in Scots references to know that the same garb was
worn there.  So you might try Dunlevy's pictures, and
develop the same pattern.  It's simple, no expert tailoring
required. It came in a version with sleeves, and another
version which had a strip of fabric on the top of the arm
only, allowing the shirt to billow out below.  The strip was
sewn to the shoulder and cuffed or tied at the wrists or
allowed to hang down the back. The same jacket  with the arm
strips was also very frequently made in embossed colored
leather in Ireland, anyway.

Hope H. Dunlap

Hope H. Dunlap

-----Original Message-----
From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
Behalf Of Sterling Ranne
Sent: Monday, February 01, 1999 9:38 AM
To: f-costume@indra.com; h-costume@indra.com
Subject: H-COST: OT: Sewing & Pattern mailing lists...



-Poster: "Sterling Ranne" <sranne@hydroseal.com>

Hi,

Sorry for the off topic, but I was wondering if anyone here
had information
on other sewing related mailing lists.  I'm looking for a
few hard to find
patterns (Kilt Jackets and such, which I had at first
thought might be
found here.) and was wanting to post to lists and groups
that might have
information on them.

If anyone here might have some information on Kilt Jackets
that could lead
me in the right direction, or the types of lists or
newsgroups to look in,
I would appreciate it.

To keep the OT traffic to a minimum please respond to:
sranne@hydroseal.com

Thanx
Sterling
92.5% Pure


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From: Emma Elizabeth Lehman <00217146@bigred.unl.edu>
To: h-costume@indra.com
Subject: RE: H-COST: Re: z'out/synthrapol and Help!
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-Poster: Emma Elizabeth Lehman <00217146@bigred.unl.edu>


Speaking with difficulties getting stains out, a friend of mine has a
mildewed tent he would like to restore.  The difficulty lies in getting
all the mildew out of heavy (formerly white) canvas without weakening it.
Any ideas?  

Emma

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From owner-h-costume@indra.com  Mon Feb  1 14:20:11 1999
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-Poster: Schiap1@aol.com

Sarah J - thanks so much for the reference!  I really appreciate it.  Did you
know if a specific year was given for this incident, or at least a decade?
Thanks again for the info, it has helped so much.

Lyn FitzGerald
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-Poster: "Doris J. Nash" <djnash@iastate.edu>

At 01:47 PM 1/29/99 -0800, you 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
>
Sorry, Margo, I just read your message today, so I hope my experience helps.
I had Glamour Shots done last December.  It was great fun!  I picked out a
large straw hat I wanted to wear for one set of poses, and they said they
had a top and scarf to match, so I wore the entire outfit.  My other outfits
were more in the sequin and crushed velvet category, all modern.  I
realized, when I read your post, that photos in costume would be terrific.
I think I'll mention it to them the next time I'm in there.  Titanic-type
stuff is very hot right now, of course, but some Rennaissance or other
period costumes would be neat to have on hand, I would think.  Everything I
wore had Velcro up the back, to make it adjustable.  That would be a major
factor in the construction and design of things for such an establishment.

HTH,
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 owner-h-costume@indra.com  Mon Feb  1 14:31:34 1999
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From: Merouda the True <keltia@serv.net>
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-Poster: Merouda the True <keltia@serv.net>

> Can anyone tell me what "tencel" rayon is?  It seems to be some kind of
> New-and-Improved rayon, but I haven't seen it and probly wouldn't know
> what to expect of it if I did.

Well, I don't know if tencel is rayon or not, but I have seen and touched
tencel.  Lovely stuff really.  Come to think of it, I thought it was some
kind of synthetic.  However, this is not a bad thing.  Tencel is lovely
fabric, medium weight, *VERY* drapey, kind of a peachy, brushed feel to
it.  It comes in lovely colors, feels really really nice and it's a bit too
expensive for me.

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


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From owner-h-costume@indra.com  Mon Feb  1 14:33:32 1999
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-Poster: Ninni M Pettersson <vidumavi@swipnet.se>

At 06.53 +0100 99-02-01, Pierre & Sandy Pettinger wrote:
>Costume Con is a wonderful event that is very informative and great fun for
>any type of costumer. <snip>

	Drool, drool. Why, oh why, don't we have events like this here in
Sweden? Yes, I know, we are far to few interested in costuming to make it
work, but I would *so* love to go to an event like this. <deep sigh>

/Ninni Pettersson

PS Stitching beads on to gold trim is boring, boring, boring! But that is
all that is left on the 1545 doll outfit :-)



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From owner-h-costume@indra.com  Mon Feb  1 14:37:01 1999
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To: "'h-costume@indra.com'" <h-costume@indra.com>
Subject: RE: H-COST: Re: z'out/synthrapol and Help!
Date: Mon, 1 Feb 1999 14:42:47 -0500 
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-Poster: "Stapelton,  Gregory" <gregory.stapleton@funb.com>

F'breeze really does remove odors, per my experience.  I don't know if it
would kill the mildew or not though.  I'd recommend a scrub with a 10%
Clorox solution followed by drying and then spraying with F'Breeze....  You
could try a small section, first.

Gawain

> -----Original Message-----
	<snip>


> Speaking with difficulties getting stains out, a friend of mine has a
> mildewed tent he would like to restore.  The difficulty lies in getting
> all the mildew out of heavy (formerly white) canvas without weakening it.
> Any ideas?  
> 
> Emma
> 
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From owner-h-costume@indra.com  Mon Feb  1 14:40:48 1999
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-Poster: Heather Law <lynnx@mc.net>

Thanks for the pic, Aleed, you are a treasure with that site of yours! 
A couple of q's for everyone:  (1) Exactly how is the wire wrapped onto
the glass, or is it stuck into it while the glass is hot?  (2) Can
anyone point me to a source on various known ways and materials for
making these critters? (n'WAAAY can I afford Lizzies Wardrobe, lock'd or
unlock'd...) I am a garbmaking supplier and would *love* to be able to
provide these for garbsters at reasonable prices... BTW, I'll consider
purchasing them from anyone who figures out a fast cheap way to make
them (documentably period please).

Oh, yeah: Plastic shoelace ends are still called aglets.

Heather/Sister Ed
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From owner-h-costume@indra.com  Mon Feb  1 14:45:09 1999
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-Poster: Heather Law <lynnx@mc.net>

Have you tried the Folkwear pattern sellers?  Yes, I know, Lark Books is
supposedly being sold (and Folkwear along with) but a lot of folks have
their patterns in stock.  Also, peruse the backs of Threads, Sew News,
and other sewing magazines for historical pattern makers/sellers.  

Hope this helps a little,

Heather
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From owner-h-costume@indra.com  Mon Feb  1 15:18:52 1999
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-Poster: Luiseach@aol.com


In a message dated 02/01/99 11:09:23 AM, hhdunlap@email.msn.com wrote:

<<I have had no experience with synthrapol, but it sounds

great.  Where do you get it?>>

You can buy Synthrapol from places that sell supplies for silk painting, tie
dying, etc.  I get mine mail order from Dharma Trading in California.  They
are online at www.dharmatrading.com.
Synthrapol is great stuff, so is Milsoft, which is an industrial strength
fabric softener to use on stuff you've dyed or painted.

Usual commercial disclaimer, happy customer recommendation

Lucinda
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From owner-h-costume@indra.com  Mon Feb  1 15:48:05 1999
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From: "Sterling Ranne" <sranne@hydroseal.com>
To: "ML: International Costuming Guild" <ICG-L@lists.best.com>,
        <hhdunlap@email.msn.com>,
        "ML: Historical Costume" <h-costume@indra.com>
Subject: Re: H-COST: Scottish Jackets
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-Poster: "Sterling Ranne" <sranne@hydroseal.com>

> -Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>
> 
> After replying to your request about the Sherrifmuir( sp?),
> I've kept my eyes open for an actual pattern.  No luck,

Thank you for responding.  Somehow I had misplaced, but not deleted, your
original response.  (Most likely came one morning when I was busy and I
saved it till later, then forgot about it.)  I feel real bad about it too
cause its full of good information.

Thanx for the ideas re: Tartan Web (a page I have referred others to many
times, but did not consider as a likely place for patterns till your
mention of it) and for the jackets pages as well.  I'll take a good look at
them.  The back views especially will be helpful when modifying without the
aid of patterns.  I have found a Prince Charlie Jacket pattern.  If I can't
locate anything closer I will be ordering it and attempting to modify it. 
Hopefully, with the aid of some of the references you have given me I
(somewhat of a beginner) and my Aunt (very much so 'not' a beginner, but
unfortunately also not a costumer) will be able to make something passable.

Price is the main reason I would like to do my own jacket.  As you noted,
the Sheriffmuir is one of the more expensive styles.  I have several
sources for 'off the rack' and custom tailored.  All have the Sheriffmuir
priced out of my range for a 'costuming' event.

**A thought for those on the list more knowledgeable than I.**
I won two round-trip tickets from BA during their "Ride the Rocket" Costume
Contest last year and will be going to London the first week of May.  While
I know that London is not Scotland, is anyone in the group aware of
locations in London where Scottish type patterns/tartans etc. might be had?
I won't have a lot of time for digging through basements and what-not, but
do have a couple of half days for shopping.


Sterling
92.5% Pure
sranne@hydroseal.com
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From owner-h-costume@indra.com  Mon Feb  1 16:50:58 1999
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Subject: Re: H-COST: OT: Sewing & Pattern mailing lists...
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-Poster: Margo Anderson <margo@directcon.net>

At 08:37 AM 2/1/99 -0600, you wrote:
>
>-Poster: "Sterling Ranne" <sranne@hydroseal.com>
>
>Hi,
>
>Sorry for the off topic, but I was wondering if anyone here had information
>on other sewing related mailing lists.  

There are several costume lists on Onelist.  I subscribed to all of them for
about a week, but I found them redundant compared to this one.

The only other sewing list I'm familiar with is Sewbiz, which is an
excellent source for people in the sewing business.  I don't have current
subscription information, but a search engine could find it easily enough.

Margo

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From owner-h-costume@indra.com  Mon Feb  1 16:51:00 1999
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Date: Mon, 1 Feb 1999 16:57:55 -0500 (EST)
From: aleed <aleed@dnaco.net>
To: h-costume@indra.com
Subject: Re: H-COST: aglets
In-Reply-To: <36B629D6.7E88@mc.net>
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-Poster: aleed <aleed@dnaco.net>


It looks like the aglets in the photo have a metal cap on them with a loop
for the ribbon/cord/thread to go through that looks a lot like the metal
tops to crystal pendants you can find in jewelry catalogs.  If I could
find the spirally glass bits, I could put the pendant tops on myself.

Hmm... New Time-Consuming Project...

Drea
 > 
> Thanks for the pic, Aleed, you are a treasure with that site of yours! 
> A couple of q's for everyone:  (1) Exactly how is the wire wrapped onto
> the glass, or is it stuck into it while the glass is hot?  (2) Can
> anyone point me to a source on various known ways and materials for
> making these critters? (n'WAAAY can I afford Lizzies Wardrobe, lock'd or
> unlock'd...) I am a garbmaking supplier and would *love* to be able to
> provide these for garbsters at reasonable prices... BTW, I'll consider
> purchasing them from anyone who figures out a fast cheap way to make
> them (documentably period please).
> 
> Oh, yeah: Plastic shoelace ends are still called aglets.
> 
> Heather/Sister Ed
>  _________________________________________________________________
>  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 Feb  1 17:24:32 1999
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Date: Mon, 1 Feb 1999 17:17:53 EST
To: sca-arts@raven.cc.ukans.edu, atlantia@atlantia.sca.org,
        h-needlework@Ansteorra.org, h-costume@indra.com,
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-Poster: SNSpies@aol.com

A question:  given that all other parameters are the same, which type of silk
thread would be more correct for medieval textiles:  one with a matte finish
or one with a shiny finish?

Nancy (Ingvild)
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From owner-h-costume@indra.com  Mon Feb  1 17:36:58 1999
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To: h-costume@indra.com
From: Kimberly Gilbert <kimberly@bluemarble.net>
Subject: Re: H-COST: pricing question
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-Poster: Kimberly Gilbert <kimberly@bluemarble.net>

>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!

I agree.  And yes, I do stand firm.  If people aren't willing to pay (and like
I said, I charge VERY low prices), then they have the option of trying to find
the same thing in a store for less than I ask.

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 Feb  1 18:04:15 1999
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Date: Mon, 1 Feb 1999 15:08:54 -0800 (PST)
From: "Kristen M. Sieber" <lady_gawain@yahoo.com>
Subject: H-COST: Fabric width?
To: Historic Costume <h-costume@indra.com>
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-Poster: "Kristen M. Sieber" <lady_gawain@yahoo.com>

A book I am reading takes place in 13th century England.  It mentions
that one of the kings ruled that woven fabric had to be a standard
width, but it fails to mention that width.  Anyone know?
==

Morgaine of Glastonbury 
MKA Kristen Morgaine Sieber
Barony of Aquaterra
Kingdom of An Tir
lady_gawain@yahoo.com
_________________________________________________________
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 Feb  1 19:01:56 1999
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Date: Mon, 01 Feb 1999 19:03:45 -0800
From: lena meyer <premier@bright.net>
Organization: Premier Designs
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-Poster: lena meyer <premier@bright.net>



Ioana,
I would try Baer's Fabrics in Louisville Ky USA, they mail order many types of
fringe, and may stock beaded fringe. I believe they have a web site to
contact.

Lena

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From owner-h-costume@indra.com  Mon Feb  1 20:01:31 1999
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From: "Beth" <bchamber@suffolk.lib.ny.us>
To: <H-Costume@indra.com>
Subject: H-COST: Tencel
Date: Mon, 1 Feb 1999 20:08:57 -0500
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-Poster: "Beth" <bchamber@suffolk.lib.ny.us>

This is a multi-part message in MIME format.

------=_NextPart_000_0007_01BE4E1E.B31D9B80
Content-Type: text/plain;
	charset="iso-8859-1"
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Since my text books are too old to include tencel I looked up "tencel" =
on the Web. It is also chemically altered plant fibers. In this case, =
trees are used. If anyone isn't already sold on Tencel fabrics based on =
their appearance and drape check one web site I found WWW.tencel.com It =
is being produced from trees harvested in managed forests (planting =
either equals or exceeds harvesting rates), the solvents used are =
nontoxic and recycled. Tencel is also biodegradable.=20

I've been meaning to find out more about Tencel - I'm happy someone =
finally "made" me do it.

Beth

------=_NextPart_000_0007_01BE4E1E.B31D9B80
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<!DOCTYPE HTML PUBLIC "-//W3C//DTD W3 HTML//EN">
<HTML>
<HEAD>

<META content=3Dtext/html;charset=3Diso-8859-1 =
http-equiv=3DContent-Type>
<META content=3D'"MSHTML 4.72.3110.7"' name=3DGENERATOR>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT color=3D#000000 size=3D2>Since my text books are too old to =
include=20
tencel I looked up &quot;tencel&quot; on the Web. It is also chemically =
altered=20
plant fibers. In this case, trees are used. If anyone isn't already sold =
on=20
Tencel fabrics based on their appearance and drape check one web site I =
found <A=20
href=3D"http://www.tencel.com">WWW.tencel.com</A> It is being produced =
from trees=20
harvested in managed forests (planting either equals or exceeds =
harvesting=20
rates), the solvents used are nontoxic and recycled. Tencel is also=20
biodegradable. </FONT></DIV>
<DIV><FONT color=3D#000000 size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT color=3D#000000 size=3D2>I've been meaning to find out more =
about Tencel=20
- I'm happy someone finally &quot;made&quot; me do it.</FONT></DIV>
<DIV><FONT color=3D#000000 size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT color=3D#000000 size=3D2>Beth</FONT></DIV></BODY></HTML>

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From owner-h-costume@indra.com  Mon Feb  1 21:14:46 1999
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Subject: Re: H-COST: Re: z'out/synthrapol and Help!
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-Poster: Susan Fatemi <susanf@netwiz.net>

Jeannie Harwell wrote:
> 
> -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:
> 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?

I don't know what it is, not being chemically savvy, but it's magic.
I do know it's a surfactant and is esp. good on protein and food stains:
blood, chocolate, soy sauce, cat food, regurgitated cat food, 
excreted cat food and other bodily fluids. Also oily stains
and mystery stains. I get it at the drug store or supermarket with
the laundry stuff and other stain removers.
  I don't know if it was the Z'out or the synthrepol or a combination
of the two that worked. Who cares!
  For other stain and odor problems there's also something called
Nature's Miracle that really is. 

Maybe someone else can answer the quilt question. Personally I'd use
the synthrepol as it's supposed to hold the excess dye in suspension
till it can go down the drain!
 
> 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.

This is a really good reason to PREWASH fabric before you sew it!
 
If you can't get the stains out of the linen, maybe you could dye
it? I wouldn't waste that much good linen on a *table*!! :-)

Susan F.

-- 
Oh Noh! Kimonos!
susanf@netwiz.net
http://www.netwiz.net/~susanf
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Subject: RE: H-COST: Re:   Glass Aglets
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-Poster: "Carol J. Bell Cannon" <cjcannon@greymists.com>

At 08:34 AM 2/1/99, "Stapelton,  Gregory" <gregory.stapleton@funb.com>
wrote:  They are the
>little doo-hickies that go on the end of ties that are lacing up a bodice or
>holding on a sleeve, etc. ... <snip> ... In period, they were most
commonly made from thin
>sheets of metal, rolled into a cone shape, as I understand it. --Gawain
Kilgore
        And if you've ever looked at the ends of a metal-tipped 'bolo' tie,
then you know how an aiglet looks, essentially.  Some folk in reenactment
buy those from Tandy Leather and other such suppliers.  I'm not sure how
they attach them--my surmise is that there is a way of closing the open end
sufficiently to hold. Carol Cannon <cjcannon@greymists.com>
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From owner-h-costume@indra.com  Mon Feb  1 21:35:54 1999
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-Poster: Christine Krebs-Bonder <2maples@dnaco.net>

The few times I've used the metal aiglets, I've used a bit of glue on the end of
the cord then crimped the open end slightly if the aiglet didn't have any
piercings to run needle and thread through.

Christine Krebs-Bonder, Dayton, Ohio

"Carol J. Bell Cannon" wrote:

> -Poster: "Carol J. Bell Cannon" <cjcannon@greymists.com>
>
> At 08:34 AM 2/1/99, "Stapelton,  Gregory" <gregory.stapleton@funb.com>
> wrote:  They are the
> >little doo-hickies that go on the end of ties that are lacing up a bodice or
> >holding on a sleeve, etc. ... <snip> ... In period, they were most
> commonly made from thin
> >sheets of metal, rolled into a cone shape, as I understand it. --Gawain
> Kilgore
>         And if you've ever looked at the ends of a metal-tipped 'bolo' tie,
> then you know how an aiglet looks, essentially.  Some folk in reenactment
> buy those from Tandy Leather and other such suppliers.  I'm not sure how
> they attach them--my surmise is that there is a way of closing the open end
> sufficiently to hold. Carol Cannon <cjcannon@greymists.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  Mon Feb  1 23:05:06 1999
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From: Joan M Jurancich <joanj@quiknet.com>
Subject: H-COST: Mildewed tent, was RE: z'out/synthrapol and Help!
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-Poster: Joan M Jurancich <joanj@quiknet.com>

At 01:26 PM 02/01/1999 -0600, Emma Elizabeth Lehman wrote:
>
>Speaking with difficulties getting stains out, a friend of mine has a
>mildewed tent he would like to restore.  The difficulty lies in getting
>all the mildew out of heavy (formerly white) canvas without weakening it.
>Any ideas?  
>
>Emma

Unfortunately, the mildew may have weakened the canvas (depending upon how
long it's been stored that way). If weather permits, put the tent up, then
go at it with soapy water (you can add bleach to it if you want) and brooms
or brushes. Then rinse thoroughly and allow it to dry completely before
taking it down. It may not be pristine when you are done, but it should be
greatly improved.

Good luck,
Joan Jurancich
Sacramento, CA
joanj@quiknet.com

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Subject: Re: H-COST: Silk Threads
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-Poster: Joan M Jurancich <joanj@quiknet.com>

At 05:17 PM 02/01/1999 EST, SNSpies@aol.com wrote:
>
>-Poster: SNSpies@aol.com
>
>A question:  given that all other parameters are the same, which type of silk
>thread would be more correct for medieval textiles:  one with a matte finish
>or one with a shiny finish?
>
>Nancy (Ingvild)

Definitely shiny.

Joan Jurancich
Sacramento, CA
joanj@quiknet.com

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From owner-h-costume@indra.com  Mon Feb  1 23:36:00 1999
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-Poster: MissMela@aol.com

Try Kagans in Los Angeles California.  I believe they have a web site. Also
mentioned in the Whole Costumers Catalog
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From owner-h-costume@indra.com  Tue Feb  2 00:30:40 1999
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To: "'h-costume@indra.com'" <h-costume@indra.com>
Subject: RE: H-COST: Beaded Fringe
Date: Mon, 1 Feb 1999 21:33:56 -0800
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-Poster: Margo Glenn-Lewis <nomad@dcn.davis.ca.us>

I don't usually look at beaded fringe (my dance costuming tends to the 
folkloric).  My best recollection is  that those prices sound reasonable. 
 Outrageous, isn't it?  What's a poor cabaret dancer to do?  On the other 
hand, the price of a really nice coin belt is way up there too.  So us 
"ethnic" types aren't really all that much better off!

Good luck with your costume, and your dance.


Margo Glenn-Lewis			nomad@dcn.davis.ca.us
Opal Sun Softweare
"Don't forget your bucket."
Ice Machine in the Desert/Brave Combo


-----Original Message-----
From:	Ioana Timariu [SMTP:ioana@yucc.yorku.ca]
Sent:	Monday, February 01, 1999 11:02 AM
To:	h-costume@indra.com
Subject:	H-COST: Beaded Fringe


-Poster: Ioana Timariu <ioana@yucc.yorku.ca>

Hello!

I'm trying to create a belly-dancing costume. I'm looking for a provider
of beaded fringe. I'd love to manually make the fringe, but I have
a deadline for the costume .. I have to dance in it in April!)...
Most providers I found on the internet ask for 40 (3 inch width) to 60$ (4
inch width)  per yard. Is this a reasonable price?

I live in Toronto, Ontario, but any reasonably-priced provider
from anywhere in the world would do.

Thank you very much!
-ioana

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From owner-h-costume@indra.com  Tue Feb  2 00:45:26 1999
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Subject: RE: H-COST: Re:   Glass Aglets
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-Poster: Margo Anderson <margo@directcon.net>


>        And if you've ever looked at the ends of a metal-tipped 'bolo' tie,
>then you know how an aiglet looks, essentially.  Some folk in reenactment
>buy those from Tandy Leather and other such suppliers.  I'm not sure how
>they attach them--my surmise is that there is a way of closing the open end
>sufficiently to hold

The ones I've used have sort of "fingers" of metal around the open end,
which can be crimped around the ribbon or cord being used.  They also have
small holes which you can sew through for extra security.  I like to put a
small pearl or other bead over each hole, resulting in a row of them around
thetop of the aiglet  for a rossette like finish.  And, just to be on the
safe side, I also squirt some glue in the cone before inserting the ribbon.

Aglets were also used, almost always in pairs, as surface decoration, rather
than for a functional purpose.  This would seem to be the best way to use
the glass ones, rather than letting them swing around at the end of a ribbon
point.  If you look at the picture in Arnold, you'll notice that one of them
is broken.  It's easy to surmise why this is the only example.

Margo

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From owner-h-costume@indra.com  Tue Feb  2 00:51:23 1999
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-Poster: Margo Anderson <margo@directcon.net>

My only advice on this is, whatever you do, test it before you go camping.
Before I went off to the SCA's 20th year celebration, I decided to have my
canvas tent cleaned.  The first Texas thunderstorm revealed that the only
thing that had been keeping the rain out all those years was the dirt.  The
rained poured in, and I spent the rest of the week in my friend's tent.

Margo Anderson

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From owner-h-costume@indra.com  Tue Feb  2 01:28:13 1999
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From: Ella Lynoure Rajamaki <lynoure@tuug.org>
To: h-costume@indra.com
Subject: Re: H-COST: Re: Costume Con
In-Reply-To: <l03102802b2db5390116e@[130.244.171.12]>
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-Poster: Ella Lynoure Rajamaki <lynoure@tuug.org>



On Mon, 1 Feb 1999, Ninni M Pettersson wrote:

> 	Drool, drool. Why, oh why, don't we have events like this here in
> Sweden? Yes, I know, we are far to few interested in costuming to make it
> work, but I would *so* love to go to an event like this. <deep sigh>

Let's see what we can do about it, then? I live quite next door, in
Finland.

				Ella Lynoure Rajamaki



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Date: Tue, 02 Feb 1999 00:45:25 -0600
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From: Pierre & Sandy Pettinger <costumrs@binary.net>
Subject: H-COST: Re: Costume Con and rust stains 
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-Poster: Pierre & Sandy Pettinger <costumrs@binary.net>

Rust Stains:

>- -Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

>By the way, rust will come out with a product called The
>Rust Gun. The bottle doesn't say what the
>active ingredient is, but it claims it doesn't cause fabric
>detrioration. 

I don't know about Rust Gun, but oxalic acid neutralizes rust - reacts with
the iron oxide to give a colorless compound.  It's the active ingredient in
Zud cleanser.  I have used a solution of Zud to remove small rust spots in
fabric, with decent results.  No scrubbing, just sponging, and a good
rinse.  Note:  some red/yellow/brown dyes get their color from iron oxide -
these colors will fade with a rust remover.  Test first.

>
Costume Con:

>- -Poster: Ninni M Pettersson <vidumavi@swipnet.se>
>
>Why, oh why, don't we have events like this here in
>Sweden? Yes, I know, we are far to few interested in costuming to make it
>work, but I would *so* love to go to an event like this. <deep sigh>
>
There is a "Costume Con" in the UK - it's called Masque.  It was the first
weekend in October this year.  The president of the Costumer's Guild U.K.
is Mike Percival - e-mail: CGUK@ireadh.demon.co.uk
He is usually involved with this convention.  Perhaps this would be easier
to get to than one in the U.S.?

Sandy

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From owner-h-costume@indra.com  Tue Feb  2 01:56:36 1999
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-Poster: Heather Law <lynnx@mc.net>

At the Hallowe'en trade show last year, I saw some wonderful Victorians.
I asked about them and was told they were more than $400-and remember,
this was wholesale. I asked why and was told they were made for people
to have pictures taken in at amusement parks and the like. They had to
be made really sturdy to outlast the abuse.
Carol Mitchell
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From owner-h-costume@indra.com  Tue Feb  2 04:47:08 1999
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From: Christina Nevin <cnevin@caci.co.uk>
To: "'h-costume@indra.com'" <h-costume@indra.com>
Subject: H-COST: C.9th Dutch costume
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-Poster: Christina Nevin <cnevin@caci.co.uk>

Hello, 
Can anyone please help this gentleman with an URL or book? It's somewhat out
of my area of expertise! TIA

- Tina
----------
From:  Maarten Cornelis 
To:  thorngrove@geocities.com <mailto:thorngrove@geocities.com> 

Hello,

I am a Theater derector from Belgium and I am surching for Historic right
Clothing from the 9th century in The Netherlands (Carolingers).
Can you say me on site I can find this information or in wich book..
Warm greatings LUC

++++++++++++++++++++++++++++++++++++++++++++++++++
Lady Lucrezia-Isabella di Freccia   |  mka Tina Nevin
Thamesreach Shire, The Isles, Drachenwald | London, UK
thorngrove@geocities.com <mailto://thorngrove@geocities.com>  |
http://www.geocities.com/~thorngrove <http://www.geocities.com/~thorngrove>


"There is no doubt that great leaders prefer hard drinkers to good 
versifiers" - Aretino, 1536 
++++++++++++++++++++++++++++++++++++++++++++++++++

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From owner-h-costume@indra.com  Tue Feb  2 05:27:16 1999
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From: Teddy <Teddy@mdx.ac.uk>
Subject: Re: H-COST: CostumeCon - UK Version...
In-reply-to: <199902011908.MAA13117@indra.com>
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-Poster: Teddy <Teddy@mdx.ac.uk>

> 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

Hi Diana,

Yes there are Costume Conventions in the UK.  I should add this is 
*not* costume con, but is run on similar principles.  The Con is 
called "Masque: The <insert appropriate number> British Costume 
Convention" and has so far only been a Weekend event (Friday 
afternoon/evening to Sunday afternoon).

There are three Masquerades (competitions).  The Science 
Fiction/Fantasy, The Historical and the "Anything Goes" (the latter 
was formerly known as the "Galactic Fashion show" and is a 
"catch-all" competiton where anything that doesn't fit into the first 
two can be shown  There are some good "serious" costumes shown as 
well as the "joke" entries/presentations.  For example, someone might 
enter a "historical" costume that is designed for *stage/theatre* (as 
opposed to re-enactment etc) in the Anything Goes Masquerade.

Traditionally, it is the last masquerade of the event as that allows 
extra time for completion of costumes made in the "Chaos Costume 
Workshop" at the event, so they too can be shown.

There are also discussions, workshops , talks and demonstrations on 
all sorts of costume related subjects and there's usually a very good 
costume-photographer with a studio set up on site to photograph the 
Masquerade entries and any other costumes perople want pictures of.  
His wife may even be teading this... Cathy, are you lurking?

We're years behind our US counterparts in getting costume
conventions off the ground here, but we are gradually building up the 
numbers of people who attend.  This year will be our seventh.  I 
was on the committee to organize last year's in Eastbourn, on the 
south coast of England.  Masque Seven will be in the Birmingham area 
in September.

The event is usually a lot of fun (even if we do have to take some 
time out from the convention to hold the Costume Guild UK  AGM...<g>)

Teddy
(Trustworthy Evil-Bunny of Destiny, part-time Knave and Creature of
air and darkness, apparently!)
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From owner-h-costume@indra.com  Tue Feb  2 07:26:05 1999
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-Poster: sue-historian@writeme.com

Is our posture today so very different from that of the 18 and 19 centuries?  

I am sure that corsets and stiffenings make us upright, but do reeanctors today get the very "upright and shoulders back" look we see in portraits of the women 100 years ago and more ?

Sue


sue-historian@writeme.com

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From owner-h-costume@indra.com  Tue Feb  2 07:39:06 1999
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Subject: H-COST: Waterproofing Tents (was z'out, etc.)
Message-ID: <19980920.172252.5351.12.kayherb@juno.com>
References: <199902020553.VAA24662@zeus.directcon.net>
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-Poster: "Kathryn L. Herb" <kayherb@juno.com>

Margo,
(Remembering the midnight drip, drip, drip at a coooooold Maryland event
where my daughter and I ended up sleeping in the truck....)  Next time
try Thompson's water seal.  Apply it to the dry canvas.  Some who've done
it have used paintbrushes, but if you aren't really, really talented in
getting equal amounts everywhere, there will be variations in shade
(brush marks) as the canvas ages.  I've put mine in a huge garbage bag,
poured in the water seal, and squeezed the whole contraption to soak the
canvas.  Then put the tent up like you would normally, and leave it out
(not in full sun) for a day or two till it dries and the smell goes away.
 That seems to be the ticket.  And when you come home from a damp or wet
event, set the tent up till it's completely dry.  The treatment lasted
about four years, then I did it again after scrubbing the canvas.

Hope this helps!

Kay Herb
kayherb@juno.com

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From owner-h-costume@indra.com  Tue Feb  2 07:50:15 1999
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From: "Carol Blanchard" <blanchard@oak.ait.fredonia.edu>
To: h-costume@indra.com
Date: Tue, 2 Feb 1999 07:56:37 +0000
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Subject: H-COST: RE: bleaching linen
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-Poster: "Carol Blanchard" <blanchard@oak.ait.fredonia.edu>

It is my experience as a dyer that when you use Chlorine bleach to 
either clean or remove color from fabric, that even rinsing it well 
doesn't remove all the traces of the bleach.  Since Chlorine can 
continue working on the fabric long after you think its out, its a 
good idea to chemically stop its action before it weakens the fibres. 
You can do this by adding a small amount of hydrogen peroxide to the 
second rinse water.  In this way the bleach has been neutralized and 
its action stopped.
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From owner-h-costume@indra.com  Tue Feb  2 09:00:25 1999
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From: "Stapelton,  Gregory" <gregory.stapleton@funb.com>
To: "'h-costume@indra.com'" <h-costume@indra.com>
Subject: RE: H-COST: Waterproofing Tents (was z'out, etc.)
Date: Tue, 2 Feb 1999 09:06:12 -0500 
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-Poster: "Stapelton,  Gregory" <gregory.stapleton@funb.com>

an inexpensive garden sprayer is also a great way to apply thompson's to
your tent.  just be sure to overlap your sprays.  i also recommend getting a
can of k-cote seam sealer and doing the seams on the inside as added
protection.  can be found a most outdoors / sporting goods stores.

Gawain

> -----Original Message-----
> From:	Kathryn L. Herb [SMTP:kayherb@juno.com]
> Sent:	Tuesday, February 02, 1999 7:46 AM
> To:	h-costume@indra.com
> Subject:	H-COST: Waterproofing Tents (was z'out, etc.)
> 
> 
> -Poster: "Kathryn L. Herb" <kayherb@juno.com>
> 
> Margo,
> (Remembering the midnight drip, drip, drip at a coooooold Maryland event
> where my daughter and I ended up sleeping in the truck....)  Next time
> try Thompson's water seal.  Apply it to the dry canvas.  
	<snip>
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-Poster: SAQUEEN@aol.com

Sue,

Yes, posture is very different today. It is easier to see if you look at a
period garment, say 1770 dress on a 1950's store mannequin or even more
dramatic a 1970's store mannequin. In the 1970's mannequin, the shoulders
follow a line from the earlobe and the side seams are straight down from that
line dividing the body in half - a very athletic posture. 

First, that 1770's dress wouldn't fit because the roundness of the bosom was
flattened by the stay (corset).Beyond the flattened bust, the stay reinforced
the body with the shoulders back and dropped down dividing the body into 5ths
(not 1/2 like the 1970's mannequin). 3/5s of the body was front and 2/5s was
the back. To support this shape, the toes pointed to the side as in first
position ballet and the hips and spine were more swayed back (again putting
more of the body up front). 

The same 1770's dress on the mannequin would have the shoulder rotator cup
poking out about 3 -4 inches to the front affecting the hang of the total
garment.

But hey, we wouldn't have to worry about the hips as the skirt fullness and
the artificial padding (1770 pocket hoops -- the "shoulder pads" of the
period) would solve that problem.

19th century changed silhouettes and body stance several times. We continue to
change in the 20th century as comfort, sports, and the women's equality drive
what we wear. 

Personally, though, I prefer the body shaping of the 18th century to 3 hours a
day in a gym but that is another topic altogether!

Enjoy looking at period prints,
Sally
www.sallyqueenassociates.com
Costume Calendar Series



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From owner-h-costume@indra.com  Tue Feb  2 09:50:11 1999
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Date: Tue, 02 Feb 1999 08:57:03 -0600
From: Kent & Kat <kdyer@nash.tds.net>
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-Poster: Kent & Kat <kdyer@nash.tds.net>

I've used the metal bolo tips to finish off laces that go
through large eyelets/grommets.  However, when I was making
Kent's celtic nightmare doublet for Ren last year I wanted
something to tip the leather laces with that would fit
through small eyelets.  Whilst shopping for beads for
another project I found some metal spacer beads that look
like small coils.  These come in silver & gold.  I found
that they fit perfectly through the small eyelets, hold on
well with a drop of superglue and make the outfit look
fantastic!  So, another option...which reminds me...I need
to go get some more!

Kat
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From owner-h-costume@indra.com  Tue Feb  2 10:08:43 1999
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From: aleed <aleed@dnaco.net>
To: h-costume@indra.com
Subject: Re: H-COST: aglets
In-Reply-To: <36B7123F.E3D5A4DA@nash.tds.net>
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-Poster: aleed <aleed@dnaco.net>

There's this really great catalog, Fire Mountain Gems, where you can buy a
gross of nickel or brass-plated aglets for $6.00 .  They're not fancily
engraved like the bolo points you buy at craft stores--just plain.  They
also have those spacer beads in a variety of sizes and finishes.

Drea

On Tue, 2 Feb 1999, Kent & Kat wrote:

> 
> -Poster: Kent & Kat <kdyer@nash.tds.net>
> 
> I've used the metal bolo tips to finish off laces that go
> through large eyelets/grommets.  However, when I was making
> Kent's celtic nightmare doublet for Ren last year I wanted
> something to tip the leather laces with that would fit
> through small eyelets.  Whilst shopping for beads for
> another project I found some metal spacer beads that look
> like small coils.  These come in silver & gold.  I found
> that they fit perfectly through the small eyelets, hold on
> well with a drop of superglue and make the outfit look
> fantastic!  So, another option...which reminds me...I need
> to go get some more!
> 
> Kat
>  _________________________________________________________________
>  To leave this mailing list, send mail to majordomo@indra.com
>  with the message UNSUBSCRIBE H-COSTUME
> 

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Date: Tue, 2 Feb 1999 08:13:32 -0700 (MST)
From: Sylvia Rognstad <sylvia@netherworld.com>
To: h-costume@indra.com
Subject: Re: H-COST: aglets
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-Poster: Sylvia Rognstad <sylvia@netherworld.com>

> 
> -Poster: aleed <aleed@dnaco.net>
> 
> There's this really great catalog, Fire Mountain Gems, where you can buy a
> gross of nickel or brass-plated aglets for $6.00 .  They're not fancily
> engraved like the bolo points you buy at craft stores--just plain.  They
> also have those spacer beads in a variety of sizes and finishes.
> 
I've got their catalog and have been wanting to order some of these, but
they have a $50 minimum, they said, or did you find a way to get around
it?  So far I've only been able to find about $10 worth of stuff I need,
since their prices are so cheap.

Sylvia R

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From owner-h-costume@indra.com  Tue Feb  2 10:21:30 1999
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From: "Andrea Gideon" <andrea.gideon@erols.com>
To: "H-Costume" <h-costume@indra.com>
Subject: H-COST: garters
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-Poster: "Andrea Gideon" <andrea.gideon@erols.com>

Are card-woven garters period for Elizabethan England?

Andrea

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From owner-h-costume@indra.com  Tue Feb  2 10:26:59 1999
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To: h-costume@indra.com
Subject: Re: H-COST: aglets
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-Poster: aleed <aleed@dnaco.net>

I just save up and do one buy a year...and I've had no trouble coming up
with $50 of stuff to get.  :) Bolo points, emerald & ruby seed beads,
freshwater pearls, carnelian cabochons & settings,  filigree
enamel beads...

Hmm...You know, I haven't bought anything for them for a few months now...

Drea the soon-to-be-penniless again


> they have a $50 minimum, they said, or did you find a way to get around
> it?  So far I've only been able to find about $10 worth of stuff I need,
> since their prices are so cheap.
> 
> Sylvia R
> 
>  _________________________________________________________________
>  To leave this mailing list, send mail to majordomo@indra.com
>  with the message UNSUBSCRIBE H-COSTUME
> 

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-Poster: seamstrix@juno.com

I had a first hand and very graphic demonstration of this when I was
doing RevWar re-enactment in the '70's. I was still new to historic
costuming but I decided to use the riding habit pattern  in Janet
Arnold's Patterns of Fashion to make myself a new outfit. I enlarged the
pattern and adjusted certain proportions to suit my shape, I thought I
was doing a pretty good job. I got the thing made and tried it on (didn't
have anyone around to help me fit it before hand, another lesson there!)
and discovered to my chagrin that the shoulders of the habit were pulling
my rather wide late 20th century shoulders back very uncomfortably. I had
made them wide enough, I just hadn't realized at the time the amount of
difference in the basic sihouette. So there I had a nice wool habit which
I couldn't wear for more than about 30 minutes before it started cutting
into my shoulder as I forgot and fell back into a modern stance. So I had
a very good lesson on period stance and silhouette and all it cost me was
a wool riding habit......sigh, it was really nice looking to........


Karen
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From: "Wylie A. & Gail D. Smith" <wyliesmith@isomedia.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: aglets
Date: Tue, 2 Feb 1999 07:54:17 -0800
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-Poster: "Wylie A. & Gail D. Smith" <wyliesmith@isomedia.com>

Do they have an online catalog? Can you post their phone number so I can
order a paper one? Thanks,
~G

> -----Original Message-----
> From: owner-h-costume@indra.com [mailto:owner-h-costume@indra.com]On
> Behalf Of aleed
> Sent: Tuesday, February 02, 1999 7:17 AM
> To: h-costume@indra.com
> Subject: Re: H-COST: aglets
>
>
>
> -Poster: aleed <aleed@dnaco.net>
>
> There's this really great catalog, Fire Mountain Gems, where you can buy a
> gross of nickel or brass-plated aglets for $6.00 .  They're not fancily
> engraved like the bolo points you buy at craft stores--just plain.  They
> also have those spacer beads in a variety of sizes and finishes.
>
> Drea
>
> On Tue, 2 Feb 1999, Kent & Kat wrote:
>
> >
> > -Poster: Kent & Kat <kdyer@nash.tds.net>
> >
> > I've used the metal bolo tips to finish off laces that go
> > through large eyelets/grommets.  However, when I was making
> > Kent's celtic nightmare doublet for Ren last year I wanted
> > something to tip the leather laces with that would fit
> > through small eyelets.  Whilst shopping for beads for
> > another project I found some metal spacer beads that look
> > like small coils.  These come in silver & gold.  I found
> > that they fit perfectly through the small eyelets, hold on
> > well with a drop of superglue and make the outfit look
> > fantastic!  So, another option...which reminds me...I need
> > to go get some more!
> >
> > Kat
> >  _________________________________________________________________
> >  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: "Stapelton,  Gregory" <gregory.stapleton@funb.com>
To: "'h-costume@indra.com'" <h-costume@indra.com>
Subject: RE: H-COST: aglets
Date: Tue, 2 Feb 1999 11:10:41 -0500 
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-Poster: "Stapelton,  Gregory" <gregory.stapleton@funb.com>

Fire Mountain Gems from their web site. (just ordered one myself)
Gawain		
Request a FREE, 244 page, full color Catalog <form.htm>   <<...>>  Check out
a list of Products <products.htm> offered through our Catalog		

28195 Redwood Highway  Cave Junction, Oregon  97523-9304 U.S.A.	
In the USA or Canada:  Call Toll Free at (800) 423-2319,  
Fax us Toll Free at (800) 292-34-73 	

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Date: Tue, 02 Feb 1999 15:58:19 +0000 (GMT)
From: Teddy <Teddy@mdx.ac.uk>
Subject: Re:  H-COST: Decorative Aiglets (was: Glass Aglets)
In-reply-to: <199902021516.IAA21429@indra.com>
To: h-costume-digest@indra.com
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-Poster: Teddy <Teddy@mdx.ac.uk>


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

> Aglets were also used, almost always in pairs, as surface
> decoration, rather than for a functional purpose.  This would seem
> to be the best way to use the glass ones, rather than letting them
> swing around at the end of a ribbon point.  If you look at the
> picture in Arnold, you'll notice that one of them is broken.  It's
> easy to surmise why this is the only example.
> 
> Margo

In most of the paintings I've looked at, however, the decorative 
aiglets don't look like the points for the ends of laces, they look 
more like elongated decorative beads, in pairs.  I have been 
searching for beads that look that shpe to use for this purpose and 
have found very few that are elongated enough to get the right look.

There are quite a lot of oval (rather than round) beads out there but 
I haven't found any that are the more "round-ended-tube" shape shown 
in the paintings.

Has anyone found any like this?

With my luck, if there are any, they won't ba available in the 
uk....<g>

Thanks

Teddy
(Trustworthy Evil-Bunny of Destiny, part-time Knave and Creature of
air and darkness, apparently!)
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From owner-h-costume@indra.com  Tue Feb  2 11:29:43 1999
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Date: Tue, 2 Feb 1999 08:33:46 -0800 (PST)
From: Dora Barnes <dorabarnes@yahoo.com>
Subject: H-COST: Posture - 18, 19 Centuries and now
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-Poster: Dora Barnes <dorabarnes@yahoo.com>


RE Posture posts

I agree with Sally, the 18 C did see women with a very different
perceived posture - and the men too.  I think it was also a class
thing as well - the further up the scale the better posture you were
expected to have.  

18 and 19 century children had deportment as a school subject, so
being very upright became the norm, and anything less was
"unbecoming".  

Of course, if you wear tight stays with a long rigid busk your posture
becomes non negotiable, although you *CAN* slouch a bit, but not much.  

Dora





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From: "Andrea Gideon" <andrea.gideon@erols.com>
To: "H-Costume" <h-costume@indra.com>
Subject: H-COST: Elizabethan tall hat
Date: Tue, 2 Feb 1999 11:51:53 -0800
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-Poster: "Andrea Gideon" <andrea.gideon@erols.com>

Anyone made one of these recently?  I'm trying to make up a paper pattern
from Elizabethan Costuming from Winter and Savoy and am having problems.  It
just seems to look like a cowboy hat.  HELP!

Andrea

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To: H-Costume <h-costume@indra.com>
Subject: Re: H-COST: Elizabethan tall hat
In-Reply-To: <000101be4ee5$7c7e93a0$14c47ad1@andrea.gideon>
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-Poster: aleed <aleed@dnaco.net>



I've made a couple--one with a flat hat, and one with a round top made up
of a bunch of sections.  Are you looking for a good pattern, or trying to
figure out how to make it?

Drea



 On Tue, 2 Feb 1999, Andrea Gideon wrote:

> 
> -Poster: "Andrea Gideon" <andrea.gideon@erols.com>
> 
> Anyone made one of these recently?  I'm trying to make up a paper pattern
> from Elizabethan Costuming from Winter and Savoy and am having problems.  It
> just seems to look like a cowboy hat.  HELP!
> 
> Andrea
> 
>  _________________________________________________________________
>  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 Feb  2 11:51:28 1999
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To: H-Costume <h-costume@indra.com>
Subject: Re: H-COST: Elizabethan tall hat
In-Reply-To: <000101be4ee5$7c7e93a0$14c47ad1@andrea.gideon>
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-Poster: aleed <aleed@dnaco.net>



>> one with a flat hat

Um, that should be "flat top".


And it's not even noon yet...


Drea

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-Poster: Mary Denise Smith <costumemag@earthlink.net>

If you have access to Patterns of Fashion 15550-1650, use that. Better proportions, and real pics to
look at!

Good luck!

Mary Denise Smith

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-Poster: Mary Denise Smith <costumemag@earthlink.net>

> <Um, that should be "flat top". And it's not even noon yet...>

And I should have typed 1550! It's not only not noon yet, it is probably still Monday somewhere in
the world!

Mary Denise

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To: h-costume@indra.com
Cc: h-costume@indra.com
Date: Tue, 2 Feb 1999 11:02:10 -0600
Subject: Re: H-COST: Elizabethan tall hat
Message-ID: <19990202.110211.13374.26.seamstrix@juno.com>
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-Poster: seamstrix@juno.com

I have found that they tell you to slant the front of the hat crown back
too much, that's probably what's giving it the 'cowboyish' look. If you
refer to period portraits, the crowns of Elizabethan hats are almost
completely straight up and down. It looks a bit strange to our eyes, but
if you want the right look you need to make the crown pretty much
perpendicular to the brim. The brim should be relatively small in
relation to the crown, we are used to wider brimmed hats, but once again
the portraits show that the size of the brim relative to the crown was
very small, sometimes barely there, that could be another reason for the
'cowboy' look. I find that a brim width of 1-1 1/2 inches is all that you
need.


Karen 



On Tue, 2 Feb 1999 11:51:53 -0800 "Andrea Gideon"
<andrea.gideon@erols.com> writes:
>
>-Poster: "Andrea Gideon" <andrea.gideon@erols.com>
>
>Anyone made one of these recently?  I'm trying to make up a paper 
>pattern
>from Elizabethan Costuming from Winter and Savoy and am having 
>problems.  It
>just seems to look like a cowboy hat.  HELP!
>
>Andrea
>
> _________________________________________________________________
> 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 Feb  2 12:17:27 1999
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-Poster: SAQUEEN@aol.com

Dora,

The higher the social class the higher the physical expectations. We
reproduced 8 of Thomas Jefferson's garments for Monticello to use in their
Visitor's Center (they wanted to preserve the originals without the damage
from constant exhibition problems like light and weather). We tried to put the
reproduction 1820's coat on a modern mannequin for a 3 dimensional look at our
work. Couldn't find a modern one that worked due to the exaggerated posture.
The back measurement from armsyce to armsyce was 21" and Mr. Jefferson was 6+
feet tall.

It all came together when we saw a silhouette of him hanging in his study. He
was trained well in shoulders back and down creating this long, broad chest.
He never lost the posture as he was in his 70's wearing that coat.

For an excellent example of modern posture vs. period posture, look at January
1999 selection in the costume calendar
(www.sallyqueenassociates.com/January.html). That is a modern mannequin --
long arms, slender neck, modern head shape, squared up shoulders --- wearing
an 1820's dress. The real issue: period mannequins cost big $$$$ and many
museums do not have the resources to fund period shapes for each exhibit (or
any exhibit). So , we get a somewhat modern interpretation of a period. When
you win the lottery, give lots of $$$ for museum mannequins and costume
exhibitions!

Sally
www.sallyqueenassociates.com
Costume Calendar Series
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From owner-h-costume@indra.com  Tue Feb  2 12:18:31 1999
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From: aleed <aleed@dnaco.net>
To: H-Costume <h-costume@indra.com>
Subject: Re: H-COST: Elizabethan tall hat
In-Reply-To: <000101be4ee5$7c7e93a0$14c47ad1@andrea.gideon>
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-Poster: aleed <aleed@dnaco.net>

I've made one with a flat hat, and one with a rounded top; are you looking
for good patterns, or trying to figure out how to put it together, or
both?

Drea


> 
> -Poster: "Andrea Gideon" <andrea.gideon@erols.com>
> 
> Anyone made one of these recently?  I'm trying to make up a paper pattern
> from Elizabethan Costuming from Winter and Savoy and am having problems.  It
> just seems to look like a cowboy hat.  HELP!
> 
> Andrea
> 
>  _________________________________________________________________
>  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 Feb  2 12:45:38 1999
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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: Posture - 18, 19 Centuries and now
Date: Tue, 2 Feb 1999 12:55:18 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>




Upper-class children were put into "stays" from the age of
2-4 on.  On top of that, those whose posture wasn't turning
out right were "boarded," i.e. a shaped board bound onto
their backs for 3-4 hours per day or more. The deportment
classes were also necessary to help them develop the
appropriate gait, and graceful standing up  and sitting down
procedures to cope with the off-balance, externally imposed
postures which resulted.

Hope H. Dunlap

-----Original Message-----
From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
Behalf Of Dora Barnes
Sent: Tuesday, February 02, 1999 11:34 AM
To: h-costume@indra.com
Subject: H-COST: Posture - 18, 19 Centuries and now



-Poster: Dora Barnes <dorabarnes@yahoo.com>


RE Posture posts

I agree with Sally, the 18 C did see women with a very
different
perceived posture - and the men too.  I think it was also a
class
thing as well - the further up the scale the better posture
you were
expected to have.

18 and 19 century children had deportment as a school
subject, so
being very upright became the norm, and anything less was
"unbecoming".

Of course, if you wear tight stays with a long rigid busk
your posture
becomes non negotiable, although you *CAN* slouch a bit, but
not much.

Dora





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From owner-h-costume@indra.com  Tue Feb  2 13:15:35 1999
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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: how to - cummerbund for "smallish" boy 
Date: Tue, 2 Feb 1999 13:24:57 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

When I was small in the 1950's, cummerbunds on
pre-schooler's clothes were fashionable, and I still
remember the details.  Generally, but not always, the lower
edge of the cummerbund was permanently sewn onto the skirts,
pants, or shorts.  Then there were 4-6 self-fabric loops (a
very narrow tube turned inside out) attached to the top
inside of the cummerbund at  front, sides, and back which
slipped over buttons sewn onto the blouse or shirt in
strategic locations above the waist line.  These helped hold
the cummerbund up in place, but more importantly, kept it
from rotating around the waist in an unattractive way. The
sides of the cummerbund and the place where the cummerbund
opened were sometimes boned with short pieces of padded flat
boning to help it stay up too.  I had a number of outfits
along these lines and I remember needing instruction and
assistance to get into them, but they were not the least bit
uncomfortable.  There was no elastic in them at all, and
they were not tight around the waist---they just looked that
way.

Hope H. Dunlap

-----Original Message-----
From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
Behalf Of Sidne Kneeland
Sent: Sunday, January 31, 1999 10:19 PM
To: Historic Costume List
Subject: H-COST: how to - cummerbund for "smallish" boy



-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  Tue Feb  2 13:21:08 1999
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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: how to - cummerbund for "smallish" boy 
Date: Tue, 2 Feb 1999 13:30:20 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

Oh, and I should add that the shirt or blouse also buttoned
onto the pants or skirt at the waistline in 4-6 locations,
so that when the child squirms, the buttons holding up the
cummerbund (not in a reinforced area of the bodice) are not
subjected to undue stresses. It also has the effect of
holding the shirt tucked in.

Hope H. Dunlap

-----Original Message-----
From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
Behalf Of Sidne Kneeland
Sent: Sunday, January 31, 1999 10:19 PM
To: Historic Costume List
Subject: H-COST: how to - cummerbund for "smallish" boy



-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




____________________________________________________________
_____
 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 Feb  2 13:24:19 1999
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Date: Tue, 2 Feb 1999 13:31:03 -0500 (EST)
From: Parsla Liepa <parsla@engin.umich.edu>
To: h-costume@indra.com
Subject: H-COST: 100% PU?
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-Poster: Parsla Liepa <parsla@engin.umich.edu>


I've acquired a new umbrella, red crushed velvet.  It's a lovely thing,
and people always seem surprised that it works.  ("Why doesn't the water
leak through?")  There are two tags inside, one saying it is 100% rayon,
the other says "100% PU, Made in China".  Any idea what the PU means? 

Parsla

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From owner-h-costume@indra.com  Tue Feb  2 13:28:21 1999
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-Poster: kang@cyberramp.net

Parsla Liepa wrote:
> 
> -Poster: Parsla Liepa <parsla@engin.umich.edu>
> 
> I've acquired a new umbrella, red crushed velvet.  It's a lovely thing,
> and people always seem surprised that it works.  ("Why doesn't the water
> leak through?")  There are two tags inside, one saying it is 100% rayon,
> the other says "100% PU, Made in China".  Any idea what the PU means?
> 
> Parsla
> 
>  _________________________________________________________________
>  To leave this mailing list, send mail to majordomo@indra.com
>  with the message UNSUBSCRIBE H-COSTUME


 Maybe it's 100% PolyUrethane? (That's a type of synthetic cloth...)
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From owner-h-costume@indra.com  Tue Feb  2 14:35:59 1999
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From: "Andrea Gideon" <andrea.gideon@erols.com>
To: <h-costume@indra.com>
Subject: Re: H-COST: Elizabethan tall hat
Date: Tue, 2 Feb 1999 14:45:13 -0800
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-Poster: "Andrea Gideon" <andrea.gideon@erols.com>

. The brim should be relatively small in
>relation to the crown, we are used to wider brimmed hats, but once again
>the portraits show that the size of the brim relative to the crown was
>very small, sometimes barely there, that could be another reason for the
>'cowboy' look. I find that a brim width of 1-1 1/2 inches is all that you
>need.
>
>
>Karen
This could be my problem.  Ny instructions say to start with a brim of 4
inches, then fiddle with it until you like it.  I've been triming it by 1/2
inches, but now i'll cut a lot more off.
Andrea

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From owner-h-costume@indra.com  Tue Feb  2 14:39:41 1999
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From: "Andrea Gideon" <andrea.gideon@erols.com>
To: <h-costume@indra.com>
Subject: Re: H-COST: Elizabethan tall hat
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-Poster: "Andrea Gideon" <andrea.gideon@erols.com>


>
>I've made a couple--one with a flat hat, and one with a round top made up
>of a bunch of sections.  Are you looking for a good pattern, or trying to
>figure out how to make it?
>
>Drea
>
I have instructions, but a paper pattern would be nice.
Andrea

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From owner-h-costume@indra.com  Tue Feb  2 14:55:36 1999
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From: "Stapelton,  Gregory" <gregory.stapleton@funb.com>
To: "'h-costume@indra.com'" <h-costume@indra.com>
Subject: RE: H-COST: CostumeCon
Date: Tue, 2 Feb 1999 15:01:50 -0500 
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-Poster: "Stapelton,  Gregory" <gregory.stapleton@funb.com>

	Heck, mail the list, I want to know anything about this as well,
please.

	Gawain
	<snip>
> 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 15:11:40 1999
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From: Parsla Liepa <parsla@engin.umich.edu>
To: h-costume@indra.com
Subject: Re: H-COST: 100% PU?
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-Poster: Parsla Liepa <parsla@engin.umich.edu>


> > I've acquired a new umbrella, red crushed velvet.  It's a lovely thing,
> > and people always seem surprised that it works.  ("Why doesn't the water
> > leak through?")  There are two tags inside, one saying it is 100% rayon,
> > the other says "100% PU, Made in China".  Any idea what the PU means?

> 
>  Maybe it's 100% PolyUrethane? (That's a type of synthetic cloth...)

That was my first thought, too, but then why the tag proclaiming it as
rayon? Unless it's been waterproofed with polyurethane, but it certainly
doesn't feel like it.

Parsla

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From owner-h-costume@indra.com  Tue Feb  2 15:27:24 1999
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-Poster: "S.B. McDaniel" <fretknot@earthlink.net>

Just finished a cloak for a friend, and needed a quick closure.  He
didn't want ties, so I took an embroidered roundel I had stitched for
another project, backed it with buckram and felt, and sewed it to a
crafts store pinback. 

It looks VERY nice, but I'm now wondering if this was actually done in
medieval/Renn europe.  I am familiar with embroidered buttons, etc., but
haven't come across embroidered brooches.  Anybody?


Sandy
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From owner-h-costume@indra.com  Tue Feb  2 15:47:38 1999
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From: "Andrea Gideon" <andrea.gideon@erols.com>
To: <h-costume@indra.com>
Subject: Re: H-COST: Elizabethan tall hat
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-Poster: "Andrea Gideon" <andrea.gideon@erols.com>


How tall should the side be?  I've cut the brim down and it looks better,
but still not right.  At this moment the sides are about 5 inches, down from
the 6 inches that the instructions state.
Andrea
>-Poster: seamstrix@juno.com
>
>I have found that they tell you to slant the front of the hat crown back
>too much, that's probably what's giving it the 'cowboyish' look. If you
>refer to period portraits, the crowns of Elizabethan hats are almost
>completely straight up and down.

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From owner-h-costume@indra.com  Tue Feb  2 15:52:26 1999
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From: "David Stamper & Eve Harris" <evedave1@netcom.ca>
To: <h-costume@indra.com>
Subject: Re: H-COST: Favourite Costumes
Date: Tue, 2 Feb 1999 16:03:28 -0500
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-Poster: "David Stamper & Eve Harris" <evedave1@netcom.ca>

>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 am personally enamoured of women's Italian Renaissance dress, especially
the earlier periods when the shape was purer and less ornate/slashed. When I
first started researching, I decided that the silhouette of Italian Ren was
the best for my "Rubenesque" figure. No corsetting, flowing skirt, beautiful
colours. I also love the fact that I can get a pretty period look by buying
silk sarees for reasonable prices in Little India (east end, Toronto). One
saree can do a whole dress, bodice and all. I have two gorgeous dark red
wedding silk sarees that I am holding on to like a dowry for inspiration to
strike.

Can't seem to get excited about the men's Italian Ren though - unless it's
in funereal black, which makes it more Spanish and High Renaissance.

My husband looks amazing in Elizabethan. Actually, anything in a doublet and
slops looks fabulous on him. He's tall and slim, with great legs (if I could
only get him to wear hosen more often). We just made him a lovely cream and
maroon/dark blue striped brocade doublet and pluderhosen, lined with linen,
for 12th Night. I still have to sew on the garnets and pearls, though (can
you tell I love this man?!?).

We use the costumes in the SCA.

Eve Harris

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Date: Tue, 02 Feb 1999 12:27:50 -0800
From: Sidne Kneeland <skskaw@worldaccessnet.com>
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Subject: Re: H-COST: how to - cummerbund for "smallish" boy
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-Poster: Sidne Kneeland <skskaw@worldaccessnet.com>

Greetings,

Well, I think the loops to fasten to the pants or shirt are a good
idea.  But, I need a step backwards from there.  Is the cummerbund a
tube that is gathered and ordinarily hooks and eyes in the back or
what?  My husband does a suit but nothing more.

Thanks,

Sidne

Hope H. Dunlap wrote:

> -Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>
>
> When I was small in the 1950's, cummerbunds on
> pre-schooler's clothes were fashionable, and I still
> remember the details.  Generally, but not always, the lower
> edge of the cummerbund was permanently sewn onto the skirts,
> pants, or shorts.  Then there were 4-6 self-fabric loops (a
> very narrow tube turned inside out) attached to the top
> inside of the cummerbund at  front, sides, and back which
> slipped over buttons sewn onto the blouse or shirt in
> strategic locations above the waist line.  These helped hold
> the cummerbund up in place, but more importantly, kept it
> from rotating around the waist in an unattractive way. The
> sides of the cummerbund and the place where the cummerbund
> opened were sometimes boned with short pieces of padded flat
> boning to help it stay up too.  (snip....)

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Date: Tue, 2 Feb 1999 16:47:08 -0500
From: Melanie Wilson <MelanieWilson@compuserve.com>
Subject: H-COST: Clogs in England & History-PLEASE NOTE
To: LIST historic costume <h-costume-digest@indra.com>
Cc: LIST SCA arts <sca-arts@raven.cc.ukans.edu>
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-Poster: Melanie Wilson <MelanieWilson@compuserve.com>

Just a warning to anyone ordering these clogs from England (as in the
details I gave) I got a shipment today of an order I placed in Continental
sizes (common here in the UK) and they sent the wrong British sizes, so if
you send your American Shoe size it will most likely arrive incorect , I
suggest you convert to British sizes 1st. Teva sports sandles used to have
a chart on their web site, not checked but it might be worth a look.

Mel
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From owner-h-costume@indra.com  Tue Feb  2 16:55:14 1999
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To: h-costume@indra.com
Cc: h-costume@indra.com
Date: Tue, 2 Feb 1999 15:36:24 -0600
Subject: Re: H-COST: Favourite Costumes
Message-ID: <19990202.153931.13374.29.seamstrix@juno.com>
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-Poster: seamstrix@juno.com

Hehehe, favorite period of history? The answer is 'Yes'. I find myself
drawn particularly to Dark Ages Britain, Feudal Japan, late 13th and
early 14th century Northern Europe, Elizabethan England, and Colonial
America. So far the only one of these I don't have an outfit from is
Japan, and I've got one of those on the runway waiting to take off. My
main problem with doing Japan is that I look nothing like anyone
Japanese. I am the poster child for Northern Europe, and I just can't
stand the incongruity of my coloring and features with traditional
Japanese clothing. I'm going to get around it by doing the outfit as a
Japanese fox spirit with a long black wig, heavy kabuki makeup, and my
blue eyes will work because one of the indicators of the supernatural in
traditional Japanese stories is creatures with blue eyes! 


Karen


On Fri, 29 Jan 1999 14:58:19 +0100 Andrea Clef <a.clef@ndh.net> writes:
>
>-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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> with the message UNSUBSCRIBE H-COSTUME
>
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From owner-h-costume@indra.com  Tue Feb  2 16:59:02 1999
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Date: Tue, 2 Feb 1999 15:18:31 -0600
Subject: Re: H-COST: Elizabethan tall hat
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-Poster: seamstrix@juno.com

I checked the first tall hat that I made and the sides are about 5
inches, but I have made several since with higher crowns which I think
have better period lines. The trick is to make the crown the same height
all the way around instead of giving it that pronounced bump on the lower
edge of the front that Winter and Schultz tell you to do. I have reduced
that bump down to a very slight, shallow curve and I think that it looks
better that way. 


Karen


On Tue, 2 Feb 1999 15:56:40 -0800 "Andrea Gideon"
<andrea.gideon@erols.com> writes:
>
>-Poster: "Andrea Gideon" <andrea.gideon@erols.com>
>
>
>How tall should the side be?  I've cut the brim down and it looks 
>better,
>but still not right.  At this moment the sides are about 5 inches, 
>down from
>the 6 inches that the instructions state.
>Andrea
>>-Poster: seamstrix@juno.com
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Date: Tue, 2 Feb 1999 17:04:30 -0500
From: Melanie Wilson <MelanieWilson@compuserve.com>
Subject: H-COST: 100% PU?
To: "INTERNET:h-costume-digest@indra.com" <h-costume-digest@indra.com>
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-Poster: Melanie Wilson <MelanieWilson@compuserve.com>

> I've acquired a new umbrella, red crushed velvet.  It's a lovely thing,
> and people always seem surprised that it works.  ("Why doesn't the water
> leak through?")  There are two tags inside, one saying it is 100% rayon,
> the other says "100% PU, Made in China".  Any idea what the PU means?
> Maybe it's 100% PolyUrethane? (That's a type of synthetic cloth...)


Yes 100% Polyurethane, but not cloth, 100% Rayon (the fabric), knife coated
with 100% PU to make it waterproof is my guess. PU is a type of plastic
that can be made into cloth, but is more often used as a coating/backing
agent.

Mel
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From owner-h-costume@indra.com  Tue Feb  2 17:02:41 1999
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Subject: Re: H-COST: Reenactor's Fair in UK
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-Poster: Mary Denise Smith <costumemag@earthlink.net>

There is a Reenactors' Fair coming up March 12,13 & 14 at Blackbird Leys in Oxford England.
Inexpensive door charge (50P?). Many, many goodies inside. There are others, but I don't have all
the data with me.

Hope this helps,

Mary Denise Smith

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From: Emma Elizabeth Lehman <00217146@bigred.unl.edu>
To: h-costume@indra.com
Subject: Re: H-COST: 100% PU?
In-Reply-To: <199902021704_MC2-68FC-AEE9@compuserve.com>
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-Poster: Emma Elizabeth Lehman <00217146@bigred.unl.edu>


So what does "knife coated" mean?  I'm assuming some sort of very thin
application, am I right?

Emma

> -Poster: Melanie Wilson <MelanieWilson@compuserve.com>
> 
> Yes 100% Polyurethane, but not cloth, 100% Rayon (the fabric), knife coated
> with 100% PU to make it waterproof is my guess. PU is a type of plastic
> that can be made into cloth, but is more often used as a coating/backing
> agent.

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From: "Jessica Wilbur" <jessica@pop.net>
To: h-costume@indra.com, h-costume@indra.com
Date: Tue, 2 Feb 1999 18:00:15 -0500
Subject: Re: H-COST: Favourite Costumes
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-Poster: "Jessica Wilbur" <jessica@pop.net>


> 
> -Poster: seamstrix@juno.com
> 
> Hehehe, favorite period of history? The answer is 'Yes'. 

Good answer! Mine is the same. I am intrigued by Byzantine dress, Saxon, 14th c., 
Russian (all periods), Tudor, Italian Renn, etc. etc. ad nauseum! Oh, can't forget ancient 
civilizations such as Greece and Egypt. I will admit that my interest tapers off after the 
16th century, though my appreciation for later periods has been heightened by reading this 
list. I'm not really interested in Far Eastern clothing either, but I don't know very much 
about it and haven't had much exposure to it. 

Now, I haven't actually made costumes from all these time periods and cultures yet. But I 
have done a lot of research on most of them, and my main problem is that I can't do them 
all at once!   =)  I play in the SCA so fortunately I have a place to wear all (okay, most) of 
the costumes I love. I really like having a wide range of time and cultures to research and 
play with.

--Jessica
(SCA Muireann/SIG Smirenka)
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From: The Purple Elephant <csmart@physics.adelaide.edu.au>
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Subject: Re: H-COST: Re: Costume Con and rust stains 
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-Poster: The Purple Elephant <csmart@physics.adelaide.edu.au>

On Tue, 2 Feb 1999, Pierre & Sandy Pettinger wrote:

> 
> -Poster: Pierre & Sandy Pettinger <costumrs@binary.net>
> 
> Rust Stains:
> 
> >- -Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>
> 
> >By the way, rust will come out with a product called The
> >Rust Gun. The bottle doesn't say what the
> >active ingredient is, but it claims it doesn't cause fabric
> >detrioration. 
> 
> I don't know about Rust Gun, but oxalic acid neutralizes rust - reacts with
> the iron oxide to give a colorless compound.  It's the active ingredient in
> Zud cleanser.  I have used a solution of Zud to remove small rust spots in
> fabric, with decent results.  No scrubbing, just sponging, and a good
> rinse.  Note:  some red/yellow/brown dyes get their color from iron oxide -
> these colors will fade with a rust remover.  Test first.

Rhubarb has oxalic acid in it....also a plant that grows here called 
'soursob'. It's reasonably poisonous when ingested.....

------------------------------------------------------------------------------
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: Posture - 18, 19 Centuries and now
Message-ID: <19980920.182747.5351.4.kayherb@juno.com>
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-Poster: "Kathryn L. Herb" <kayherb@juno.com>


>-Poster: SAQUEEN@aol.com

>Personally, though, I prefer the body shaping of the 18th century to 3 
>hours a
>day in a gym but that is another topic altogether!


And stays are a lot more comfortable than those three hours!  <G>

Kay Herb
kayherb@juno.com

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-Poster: "Kathryn L. Herb" <kayherb@juno.com>



Thanks for the tip on k-cote.  I'd never heard of it.  Does it have an
obvious presence (I'm thinking along the lines of caulk) or is it a thin
liquid like the Thompson's?

Kay Herb
kayherb@juno.com

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From owner-h-costume@indra.com  Tue Feb  2 19:18:35 1999
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-Poster: "Kathryn L. Herb" <kayherb@juno.com>


On armholes cutting in:

Oh, yes.  I vividly remember being gifted with a gorgeous 18c repro
jacket (boned up the front, so does that make it a juste?).  The neckline
being necessarily wide and the shoulders therefore more of a strap width,
I thought it was fit improperly because, even with stays on, it had an
ugly  deep fold just below my collar bones.  Somewhere along the line I
commented on it to the giver, who simply said, "Stand up straight!" 
Guess what -- no folds, no cutting!  That's when I realized the
difference in basic carriage of the 18c versus the 20c.  And standing up
quite straight (and sitting, stooping down, etc.) just feels so much
better!!!!

And Sally, thanks for the insights into the proportions.  It cleared up
some questions I didn't even know I had!

Kay Herb
kayherb@juno.com

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From owner-h-costume@indra.com  Tue Feb  2 19:19:31 1999
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Subject: H-COST: Calashes - How to Line
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-Poster: "Kathryn L. Herb" <kayherb@juno.com>


Pardon me if this has been addressed before -- I just signed on to this
list.

I've made unlined calashes, and want to make a lined one.  My question
concerns how the lining was accomplished.  The repros I've seen appear to
have the lining and outer fabric laid wrong sides together, then the
channels stitched with the fabrics together and the reeds run through the
double thickness.  I've only seen one extant calash, but that was
unlined.

Should the cape be lined, too?  And is ruching around the front edge
(backed with the lining material) for real?

Thanks to anyone who can help out!

Kay Herb
kayherb@juno.com

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From owner-h-costume@indra.com  Tue Feb  2 19:48:32 1999
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-Poster: Margo Anderson <margo@directcon.net>

At 11:51 AM 2/2/99 -0800, you wrote:
>
>-Poster: "Andrea Gideon" <andrea.gideon@erols.com>
>
>Anyone made one of these recently?  I'm trying to make up a paper pattern
>from Elizabethan Costuming from Winter and Savoy and am having problems.  It
>just seems to look like a cowboy hat.  HELP!

I've made a number of them.  Sometimes the cowboy effect is due to the brim
being too wide.  I keep my brims no wider than 2 1/2".



Margo

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From owner-h-costume@indra.com  Tue Feb  2 20:57:54 1999
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Date: Tue, 02 Feb 1999 20:42:43 -0800
From: Heather Law <lynnx@mc.net>
Organization: Interstellar Trading Company
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-Poster: Heather Law <lynnx@mc.net>

Actually, Ioana, it might not be that hard to make the fringe... You can
order prestrung beads in bulk (they come in "hanks" and I think groups
of hanks, and the company below will sell them at almost distributor
prices in the bulk you'd need them) Then restring them onto strong but
thin *beading* thread (not sewing or fishline!)  Use fairly large holed
beads, and there is a *wonderful* beading needle out there, called The
Big Eye, that's literally *all eye*, (can you say "easy to thread"
kiddies?) and very thin.  

If you want to explore that, email me offline and I'll fool around to
see if I can't come up with a shortcut or two.  (If necessity is the
mother of invention, *laziness* is at least its nanny!<g>)

You can get tons of beads at good prices from Shipwreck Beads (this is
The Source in "beadland"!

http://www.shipwreck.com/

In fact, for the fringe itself, maybe you'll find someone on Beadnet,
not to mention all kinds of links, related resources, advice, how-to's
etc. ad infinitum...:

http://www.mcs.net/~simone/beadnet.html

Oh, hey... (that spot on the front of my forehead gets a little
flatter)  Try the bellydance/ Middle Eastern links pages -- they have
costume suppliers all over the place... 

http://www.bdancer.com/
http://www.webring.org/cgi-bin/webring?ring=bellydance;list
http://www.mindspring.com/~whill/
http://www.shira.net/links.htm
Heather Law/SCA Sister Ed
lynnx@mc.net

> - -Poster: Ioana Timariu <ioana@yucc.yorku.ca>
> Hello!
> 
> I'm trying to create a belly-dancing costume. I'm looking for a 
> provider
> of beaded fringe. I'd love to manually make the fringe, but I have
> a deadline for the costume .. I have to dance in it in April!)...
> Most providers I found on the internet ask for 40 (3 inch width) to 60$ 
> 4 inch width)  per yard. Is this a reasonable price?
> 
> I live in Toronto, Ontario, but any reasonably-priced provider
> from anywhere in the world would do.
> 
> Thank you very much!
> - -ioana
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From owner-h-costume@indra.com  Tue Feb  2 21:05:52 1999
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From: "Megan McHugh" <mchug@mindspring.com>
To: <sranne@hydroseal.com>, <h-costume@indra.com>
Subject: H-COST: a recent post to h-costume that I saved - just for you, it seems....
Date: Tue, 2 Feb 1999 21:08:39 -0500
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-Poster: "Megan McHugh" <mchug@mindspring.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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-Poster: "Carol J. Bell Cannon" <cjcannon@greymists.com>

At 07:46 AM 2/2/99 -0500, you wrote:  -Poster: "Kathryn L. Herb"
<kayherb@juno.com> Next time
try Thompson's water seal.         
      Just one question for Kay or anyone else who happens to know--Is
Thompson's WS flameable?
Thanx! Carol J. Bell Cannon <cjcannon@greymists.com>
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-Poster: "Carol J. Bell Cannon" <cjcannon@greymists.com>

On 990202, Drea  <aleed@dnaco.net> wrote:  There's this really great
catalog, Fire Mountain Gems, 
 ...
        Drea, would you please post the address or url for those of us who
may be interested.  Thank you! Carol J. Bell Cannon / Gra/inne ingen
Domnaill Ilda/naig
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From owner-h-costume@indra.com  Tue Feb  2 21:44:57 1999
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From: "Penny E. Ladnier" <penny.creative.outlets@erols.com>
To: <h-costume@indra.com>
Subject: Re: H-COST: Favourite Costumes
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-Poster: "Penny E. Ladnier" <penny.creative.outlets@erols.com>

Diana,

This was all covered in last year's directory for the list.  Maybe, this
summer I'll have time to put together another directory.  I'll have to see
things go.

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

>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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> with the message UNSUBSCRIBE H-COSTUME

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From owner-h-costume@indra.com  Tue Feb  2 22:34:33 1999
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Date: Tue, 02 Feb 1999 19:42:11 -0800
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From: "Carol J. Bell Cannon" <cjcannon@greymists.com>
Subject: Re: H-COST: Clogs in England & History-PLEASE NOTE
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-Poster: "Carol J. Bell Cannon" <cjcannon@greymists.com>

At 04:47 PM 2/2/99, Melanie Wilson <MelanieWilson@compuserve.com> wrote:
Just a warning to anyone ordering these clogs from England (as in the
details I gave) I got a shipment today of an order I placed in Continental
sizes (common here in the UK) and they sent the wrong British sizes, so if
you send your American Shoe size it will most likely arrive incorect , I
suggest you convert to British sizes 1st.  
      Thanks for the hint, Mel.  I would add, you can always have someone
trace around your foot, too.  It's cruder, but has worked for me in the
past.  Carol [cjc]
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From owner-h-costume@indra.com  Tue Feb  2 23:05:55 1999
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-Poster: SNSpies@aol.com

<< Hello, 
 Can anyone please help this gentleman with an URL or book? It's somewhat out
 of my area of expertise! TIA
 
I have some information on Merovingian costume if he'd like to email me
directly.

Nancy 
snspies@aol.com
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From owner-h-costume@indra.com  Wed Feb  3 00:20:40 1999
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-Poster: Heather Law <lynnx@mc.net>

I've just gotten my copy of Edward R Hamilton's Bargain Books, and this
book, subtitled Central Asian and Chinese Textiles, sounds fascinating.
It's 29.95. not bad for a hardback (No, I don't work for them) There are
frequently bargain costuming, sewing and needlework books available.
Carol Mitchell

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From owner-h-costume@indra.com  Wed Feb  3 01:09:30 1999
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Date: Wed, 3 Feb 1999 01:15:13 -0500
From: Melanie Wilson <MelanieWilson@compuserve.com>
Subject: H-COST: !00% PU
To: "INTERNET:h-costume-digest@indra.com" <h-costume-digest@indra.com>
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-Poster: Melanie Wilson <MelanieWilson@compuserve.com>

>So what does "knife coated" mean?  I'm assuming some sort of very thin
application, am I right?

Yes a thin layer applied hot the excess being scapped off with a knife.

Newer methods are by membrane of PU applied to the fabric, look on
waterproofs etc for examples Many use a PU membrane, unless of course you
get into the high end Gortex type application, which has pores in the
membrane to let persperation out but keep rain out, which works fine until
you add mud or dirt to the equation !

Mel
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-Poster: Tsrra@aol.com

I have to go on location, so I'm signing off for a while.  I'll miss you all.
Where I'm going there's no computers, no e-mail, and no fun.  They do say it's
a living.

Be back sometime,

TS Ohara
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-Poster: Dietmar <dietmar@pacbell.net>

Greetings all,

Gawain wrote:

> Fire Mountain Gems from their web site. (just ordered one myself)
>
> Request a FREE, 244 page, full color Catalog <form.htm>   <<...>>
> Check out a list of Products <products.htm> offered through our Catalog           
>
> 28195 Redwood Highway  Cave Junction, Oregon  97523-9304 U.S.A. 
> In the USA or Canada:  Call Toll Free at (800) 423-2319,
> Fax us Toll Free at (800) 292-34-73   

And Carol asked:

>> Drea, would you please post the address or url for those of us who
>> may be interested.  Thank you!

Out of curiosity, I did a quick search.  Just bookmarked for now and I'll go
back when I have time.  Try:

http://firemtn.com/

Regards,

Dietmar


"Victory or Defeat rests in God's hands;
 over Honor, we ourselves are Lord and Master."
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-Poster: Teddy <Teddy@mdx.ac.uk>

Hi Diana and others

> 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!

In addition to the twice yearly Blackbird Leys market that has 
already been mentioned, there is a newer event.  The Templers Faire 
at Cressing Temple near Stanstead in Essex on the 8th/9th May.  
Market, with some entertainment and living/interactive history stuff 
too.  A fun event where people attending in costume are welcome (and 
get in cheaper) and there is camping available.  I've not been 
myself, but people in one of the groups I play in had a traders stall 
at the first one (last year0 and said they preferred it to the 
 Blackbird Leys event.

I also have details of and English Heritage *Medieval* Faire at 
Battle Abbey near Hastings in ...erm... East Sussex I think 
(geography was never a strong point of mine!).  26th/27th June.  
Possibility of some camping space being available (according to the 
events list I'm looking at)

September 4th/5th.  Multi-period market with Medieval event at 
Groombridge Place near Tunbridge Wells in Kent.  Contact Dawn Wood on 
(0181) 977 9160 for details.

I don't have the date for the Autumn Blackbird Leys market yet.  If I 
do get details, I'll try and remember to send them to the list
Teddy
(Trustworthy Evil-Bunny of Destiny, part-time Knave and Creature of
air and darkness, apparently!)
 _________________________________________________________________
 To leave this mailing list, send mail to majordomo@indra.com
 with the message UNSUBSCRIBE H-COSTUME

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From: Teddy <Teddy@mdx.ac.uk>
Subject: Re: H-COST: Favourite Costumes
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-Poster: Teddy <Teddy@mdx.ac.uk>

I *love* this sort of thread.  Such a lovely insight into the other 
list-members and their interests! 

> 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?

Costumes for *me* Erm....  Several periods.  Starting with the one I 
have very little opportunity to wear, 18th Century, full skirted 
frock-coats with knee britches, long waist-coats and ruffly shirts.  
I've been given details of a UK based "Lace-Wars" group that this 
stuff is appropriate for, but haven't the time with all the earlier 
period stuff I do...  So my red and white brocade outfit gets worn to 
the occasional costume party/event or as everyday clothing 
(wonderfully warm for travelling to work in the winter)

For periods I am active in, it has to be 15th and some16th Century 
stuff. Long houpellandes (the more opportunities for, bigger and more 
elaboately dagged, sleeves the better, in *my* opinion).

I also love the stuff with fitted hose and *short* doublets.  I'm 
tall and slim and my best features are *definately* my legs and 
behind, so these allow me to show them off (so does skin-tight lycra 
worn for non-costume stuff and SF cons...<g>)

As for stuff I make for other people.  I seem to be going through a
cotehardies and Italian Ren phase.  I love the smooth line of a well
fitted, full skirted cotehardie on women. Italian Ren gowns are so
straight-forward that I can "play" with lots of lovely fabrics 
creating a wide variety of effects with them.

I like a some of the later Tudor and Elizabethan mens styles too, 
except for the peascod belly.  A pet peeve is the groups that insist 
on it being present if you're doing that period *even though* there's 
plenty of evidence that it wasn't a universally adopted by the 
fashionable and rich of the time.


Teddy
(Trustworthy Evil-Bunny of Destiny, part-time Knave and Creature of
air and darkness, apparently!)
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From: "Chandler, Sally" <S.A.Chandler@shu.ac.uk>
To: "'h-costume@indra.com'" <h-costume@indra.com>
Subject: RE: H-COST: UK Renactor's Markets (was Costume Con)
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-Poster: "Chandler, Sally" <S.A.Chandler@shu.ac.uk>

I don't want to get into any internal arguments as to which Fair is best as 
there's lots of politics involved - best to go to all of them, I expect - 
but it's important to note that not all deal with every time period. 
 Blackbird Leys purports to  cover all, Templars Fair is supposed to be up 
to Medieval and is smaller.  It's fair to say that the style of each is 
unique.  The English Civil War people are, apparently very well served for 
traders.

Have fun, anyway,

Sally Ann

-----Original Message-----
From:	Teddy [SMTP:Teddy@mdx.ac.uk]
Sent:	Wednesday, February 03, 1999 9:46 AM
To:	h-costume-digest@indra.com
Subject:	Re: H-COST: UK Renactor's Markets (was Costume Con)


-Poster: Teddy <Teddy@mdx.ac.uk>

Hi Diana and others

> 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!

In addition to the twice yearly Blackbird Leys market that has
already been mentioned, there is a newer event.  The Templers Faire
at Cressing Temple near Stanstead in Essex on the 8th/9th May.
Market, with some entertainment and living/interactive history stuff
too.  A fun event where people attending in costume are welcome (and
get in cheaper) and there is camping available.  I've not been
myself, but people in one of the groups I play in had a traders stall
at the first one (last year0 and said they preferred it to the
 Blackbird Leys event.

I also have details of and English Heritage *Medieval* Faire at
Battle Abbey near Hastings in ...erm... East Sussex I think
(geography was never a strong point of mine!).  26th/27th June.
Possibility of some camping space being available (according to the
events list I'm looking at)

September 4th/5th.  Multi-period market with Medieval event at
Groombridge Place near Tunbridge Wells in Kent.  Contact Dawn Wood on
(0181) 977 9160 for details.

I don't have the date for the Autumn Blackbird Leys market yet.  If I
do get details, I'll try and remember to send them to the list
Teddy
(Trustworthy Evil-Bunny of Destiny, part-time Knave and Creature of
air and darkness, apparently!)
 _________________________________________________________________
 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

From owner-h-costume@indra.com  Wed Feb  3 05:48:18 1999
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From: Christina Nevin <cnevin@caci.co.uk>
To: "'h-costume@indra.com'" <h-costume@indra.com>
Subject: H-COST: FW: Fair
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-Poster: Christina Nevin <cnevin@caci.co.uk>

Hi,

Here are the details for the Re-enactors Fair. Our Shire go en masse each
time and it's great (except on our wallets!), everything from Early Celtic
and Roman through to medieval, renaissance, civil war,  Napoleonic and
Victorian stuff.

Renactors Fair
March 13 & 14, 1999
10am? onward
Blackbird Leys Leisure Center, 
Pegasus Rd, 
Blackbird Leys, 
Cowley, Oxford

These happen about three times a year. Sometimes they have one up north too,
but I don't have that info on me at the moment, I usually pick up a leaflet
at the fair. If you can't make this one and  want me to send you those
details, drop me an email.

Cheers
Tina

++++++++++++++++++++++++++++++++++++++++++++++++++
Lady Lucrezia-Isabella di Freccia   |  mka Tina Nevin
Thamesreach Shire, The Isles, Drachenwald | London, UK
thorngrove@geocities.com <mailto://thorngrove@geocities.com>  |
http://www.geocities.com/~thorngrove <http://www.geocities.com/~thorngrove>


"There is no doubt that great leaders prefer hard drinkers to good 
versifiers" - Aretino, 1536 
++++++++++++++++++++++++++++++++++++++++++++++++++
 _________________________________________________________________
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From: Teddy <Teddy@mdx.ac.uk>
Subject: Re: H-COST: UK Renactor's Markets (was Costume Con)
In-reply-to: <199902031039.DAA01940@indra.com>
To: h-costume-digest@indra.com
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-Poster: Teddy <Teddy@mdx.ac.uk>



> I don't want to get into any internal arguments as to which Fair is
> best as there's lots of politics involved - best to go to all of
> them, I expect - but it's important to note that not all deal with
> every time period. 

>  Blackbird Leys purports to  cover all, Templars Fair is supposed
> to be up to Medieval and is smaller.  It's fair to say that the
> style of each is unique.  The English Civil War people are,
> apparently very well served for traders.

Good points!

I should have made the disclaimers that I have no affiliation to any 
of the markets I listed adn have only ever attended the Blackbird 
leys one myself.  I found it good, but noticed a definate 17th C 
(english Civil War period) bias to the type of traders there.

My friends who have traded at the Templars Faire didn't mention any 
specific period inclusions or exclusions but their interests are 
mostly 14th/15thC based, so they may not have been interested in 
anything outside of the Medaeval period or not thought about 
mentioning in the context of discussing their trading activities.  I 
was just reporting what they *had* said about it.

As in all these things - Is hsould be kept in mind that these were 
their *personal* opinions, not necessarily an objective review of the 
event.


Teddy
(Trustworthy Evil-Bunny of Destiny, part-time Knave and Creature of
air and darkness, apparently!)
 _________________________________________________________________
 To leave this mailing list, send mail to majordomo@indra.com
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From: "Chandler, Sally" <S.A.Chandler@shu.ac.uk>
To: "'h-costume@indra.com'" <h-costume@indra.com>
Subject: RE: H-COST: FW: Fair
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-Poster: "Chandler, Sally" <S.A.Chandler@shu.ac.uk>

The Fair is open on Friday 12th too.  The Saturday will be something akin 
to a rugby scrum so, if there's something you really want, don't rely on 
the traders having something left on Sunday!

Sally Ann

-----Original Message-----
From:	Christina Nevin [SMTP:cnevin@caci.co.uk]
Sent:	Wednesday, February 03, 1999 10:52 AM
To:	'h-costume@indra.com'
Subject:	H-COST: FW: Fair


-Poster: Christina Nevin <cnevin@caci.co.uk>

Hi,

Here are the details for the Re-enactors Fair. Our Shire go en masse each
time and it's great (except on our wallets!), everything from Early Celtic
and Roman through to medieval, renaissance, civil war,  Napoleonic and
Victorian stuff.

Renactors Fair
March 13 & 14, 1999
10am? onward
Blackbird Leys Leisure Center,
Pegasus Rd,
Blackbird Leys,
Cowley, Oxford

These happen about three times a year. Sometimes they have one up north 
too,
but I don't have that info on me at the moment, I usually pick up a 
leaflet
at the fair. If you can't make this one and  want me to send you those
details, drop me an email.

Cheers
Tina

++++++++++++++++++++++++++++++++++++++++++++++++++
Lady Lucrezia-Isabella di Freccia   |  mka Tina Nevin
Thamesreach Shire, The Isles, Drachenwald | London, UK
thorngrove@geocities.com <mailto://thorngrove@geocities.com>  |
http://www.geocities.com/~thorngrove 
<http://www.geocities.com/~thorngrove>


"There is no doubt that great leaders prefer hard drinkers to good
versifiers" - Aretino, 1536
++++++++++++++++++++++++++++++++++++++++++++++++++
 _________________________________________________________________
 To leave this mailing list, send mail to majordomo@indra.com
 with the message UNSUBSCRIBE H-COSTUME

 _________________________________________________________________
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From: "KATE M BUNTING" <K.M.Bunting@derby.ac.uk>
To: <h-costume@indra.com>
Subject: H-COST: Reenactment fair
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-Poster: "KATE M BUNTING" <K.M.Bunting@derby.ac.uk>

I wonder whether the event Diana is thinking of is "History in Action", organised by English Heritage at Kirby Hall in Northamptonshire? Groups representing every period from the Romans to WWII put on displays throughout the weekend and also set up Living History camps, and there is a reenactors' market where clothes, weapons and accessories can be bought. This year's event is 14-15th August.

PS: My favourite costumes are mid-17th century as I reenact the English Civil War period. My interest grew from joining the Sealed Knot many years ago, as it was the only re-enactment society I knew of at the time. Before that I loved the Regency (Napoleonic) period but I don't own any costumes of that era.

Kate Bunting
King's Lifeguard of Foote, Sealed Knot
(Library, University of Derby)

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-Poster: aleed <aleed@dnaco.net>


Sure!   It's http://www.firemountaingems.com/

Drea

On Tue, 2 Feb 1999, Carol J. Bell Cannon wrote:

> 
> -Poster: "Carol J. Bell Cannon" <cjcannon@greymists.com>
> 
> On 990202, Drea  <aleed@dnaco.net> wrote:  There's this really great
> catalog, Fire Mountain Gems, 
>  ...
>         Drea, would you please post the address or url for those of us who
> may be interested.  Thank you! Carol J. Bell Cannon / Gra/inne ingen
> Domnaill Ilda/naig
>  _________________________________________________________________
>  To leave this mailing list, send mail to majordomo@indra.com
>  with the message UNSUBSCRIBE H-COSTUME
> 

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-Poster: Gwnvr@aol.com

Disappointing.  How about that guy (???) wearing a corset under his ca. 1800
outfit?  Scarey!  And wear did they get that iron corset attributed to QE?
Definitely not something to wear in a thunderstorm...

Jen
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Date: Wed, 3 Feb 1999 06:18:18 -0800
Subject: H-COST: Posture - 18, 19 Centuries and now
Message-ID: <19990203.062336.-101045.0.AnnetteAllen@juno.com>
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-Poster: Annette M Allen <annetteallen@juno.com>

I lurk and lurk, but could not resist this one...

I am one of the many women on this list who finds corsets
*much* more comfortable than bras.  One of the reasons is
that as I age, my posture has gotten poorer and that causes 
my back to hurt.  (I must interject that I am genetically 
inclined to be what is called "swayback" as well as being
large in both the bust and shoulders.)

My grandmother, born in the late 1800s, taught me excellent
posture.  (Of course, she also wore what I believe this list 
would call a "modern" corset her whole life.)  At work, only 
one other lady and I have what I would term "traditionally" 
good posture.  Both of us get comments on it.  Both of us 
seldom touch the back of a chair with our back when sitting, 
and both of us have a job that requires sitting for ten hour 
shifts with few breaks.  An ergonomic consultant hired by 
our employer went as far as to specifically tell the two of us 
that we *would* develop back problems *in today's environment* 
because of how we sit.

That statement alone added to my personal conviction that posture
is different today but I also have had many other experiences that
indicate that.  Now, if I could *just* find a steel boned corset (plastic
is not strong enough for me) that would not be visible or noticeable
under a *fitted* military type uniform!

-Annette

AnnetteAllen@juno.com  For any attached files use:  aallen@pacbell.net
See my homepage at:  <A href="http://home.pacbell.net/aallen/index.html">
Reach or page me at ICQ:  <A href="http://wwp.mirabilis.com/14988389">
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14988389@pager.mirabilis.com

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-Poster: SAQUEEN@aol.com

Kay,

You know that funny wrinkle at the collarbone? Often you find a seam at that
juncture as many garments were made to fit and the fabric was draped. So to
keep the smooth line (beyond proper posture, standing up straight, etc.) and
still curve around the body, they would fit the big piece of fabric over the
front. Cut it and add a "strap" piece over the shoulder.

What makes it odd is to see the pattern pieces and to make the garment using
flat patterns. You have to understand draping to realize why. So, don't want
to stand up "straight" as the jacket. Alter it at that point with a seam.

Stays were also made in this manner with stay pieces (fronts, sides, backs,
straps) sent to the colonies unassembled to be made and adjusted here to the
person. Jamestown-Yorktown Foundation has an unassembled pair of stays. These
were the cheaper, middling sorts of stays for those who could not afford
custom.

Favorite costume? 18th century, what else!
Sally
www.sallyqueenassociates.com
Costume Calendar Series
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From: "Stapelton,  Gregory" <gregory.stapleton@funb.com>
To: "'h-costume@indra.com'" <h-costume@indra.com>
Subject: RE: H-COST: Waterproofing Tents (was z'out, etc.)
Date: Wed, 3 Feb 1999 09:51:48 -0500 
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-Poster: "Stapelton,  Gregory" <gregory.stapleton@funb.com>

When you put it on, it's comes out like honey, but it soaks into the seam,
sealing the stitching holes and is clear.  Seams like I remember it leaving
a glossy finish, but since you put it on the inside seams, you usually don't
notice it.
Gawain

> -----Original Message-----
	<snip>
> -Poster: "Kathryn L. Herb" <kayherb@juno.com>
> Thanks for the tip on k-cote.  I'd never heard of it.  Does it have an
> obvious presence (I'm thinking along the lines of caulk) or is it a thin
> liquid like the Thompson's?
> 
> Kay Herb
> kayherb@juno.com
> 
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-Poster: Gaelscot@aol.com



I know there used to be a few people on this list who did 16th century
shipboard reenactment. If you are still there, will you please email me off-
list? I have a couple of very specific research questions that will probably
be very easy for you to answer, but I have no idea where to even begin
looking. Thanks!!!!

Gail Finke
gaelscot@aol.com

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From owner-h-costume@indra.com  Wed Feb  3 10:02:31 1999
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Subject: Re: H-COST: Clogs in England & History-PLEASE NOTE
Message-ID: <19990203.064919.4991.1.cley@juno.com>
References: <E107tBx-0007n3-00@beaver.slip.net>
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-Poster: cynthia j ley <cley@juno.com>

Thank you for the clog catalog--it came yesterday, and is really neat!
:-)

Two questions:
What's the conversion 1) from English to American sizes?
	                       2) British pound to US dollar?



	Thanks again!


					Arlys

On Tue, 02 Feb 1999 19:42:11 -0800 "Carol J. Bell Cannon"
<cjcannon@greymists.com> writes:
>
>-Poster: "Carol J. Bell Cannon" <cjcannon@greymists.com>
>
>At 04:47 PM 2/2/99, Melanie Wilson <MelanieWilson@compuserve.com> 
>wrote:
>Just a warning to anyone ordering these clogs from England (as in the
>details I gave) I got a shipment today of an order I placed in 
>Continental
>sizes (common here in the UK) and they sent the wrong British sizes, 
>so if
>you send your American Shoe size it will most likely arrive incorect , 
>I
>suggest you convert to British sizes 1st.  
>      Thanks for the hint, Mel.  I would add, you can always have 
>someone
>trace around your foot, too.  It's cruder, but has worked for me in 
>the
>past.  Carol [cjc]
> _________________________________________________________________
> To leave this mailing list, send mail to majordomo@indra.com
> with the message UNSUBSCRIBE H-COSTUME
>

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-Poster: Elizabeth Lear <eliz>

<-Poster: Heather Law <lynnx@mc.net>
<I've just gotten my copy of Edward R Hamilton's Bargain Books, and this
<book, subtitled Central Asian and Chinese Textiles, sounds fascinating.

This is the exhibit catalog for a show at the Met last fall.  The book
is wonderful, and has lots of gorgeous photos of clothing and textile
fragments.  (The exhibit was fabulous, too)

						...eliz

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-Poster: Mary Denise Smith <costumemag@earthlink.net>

Sorry that I can't help with shoe sizes, but the Pound is running about $1.65 right now, give or
take a little.

It is my experience that the very best exchange rate for cross-currency purchases is using a credit
card. The banks do the exchange on the day the charge is processed, and the exchange rate is at bank
rate, not street rate.

Hope this helps,

Mary Denise Smith

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From owner-h-costume@indra.com  Wed Feb  3 10:54:27 1999
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-Poster: Kristin Page <kdp@tiac.net>

Responding to Maarten Cornelis on 9th century clothing query

My areas of primary interest are north and east of Netherlands so I don't
know of any books or sites that deal specifically with 9th century
Netherlands but a library search using keywords like ANCIENT TEXTILES,
COSTUME, NETHERLANDS might help, ditto using subjects like ARCHAEOLOGY,
MUSEUM, CONSERVATION.  Another place to start might be museums with
textiles in their collections.  A tourism agency would know of places in
the Netherlands that do reenactment as is done in the US at Plimoth
Plantation (Massachusetts) and Williamsburg (Virginia), and in UK at Yorvik
(York); all of these places have affiliated research groups who might be
helpful.  The only names that come to mind are Schlabow and Kooi -- I think
they publish in archaeological journals.

Contact me and let me know how you're doing, or if you think I can help.

Kristin Page

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From owner-h-costume@indra.com  Wed Feb  3 11:02:34 1999
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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: how to - cummerbund for "smallish" boy
Date: Wed, 3 Feb 1999 11:08:37 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

For a man or boy, a cummerbund is generally pleated about 3
times, then lined. The bones and the lining keep the pleats
from coming out.  The shape is often an "arc" on top (and
sometimes on the bottom) in the front, but can also be a
straight piece of fabric. The closure is often a two-part
hardware device especially made to fasten a wide cummerbund.
One side had a T-shaped thing on it that goes into the other
side at 90 degrees, then turns 90 degrees to clip into place
in a flat smooth closure.  The cummerbund is sewn to the
metal "loops" on each closure piece, alternatively fed
through the loop and turned back on itself and fastened with
Velcro where you can't see it, so that it is adjustable.
But snaps, buttons, hooks and eyes, and Velcro all work too.
For a child's outfit, there's a strong argument for
integrating the cummerbund into the blouse or bottoms and
closing it up with the rest of the garment.  It just helps
it stay in place better.  With a boy's costume, just make
sure you work out a method, so he can drop his pants with
some degree of ease or unsnap the crotch seam of his outfit
when he needs "to go."

Hope H. Dunlap

-----Original Message-----
From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
Behalf Of Sidne Kneeland
Sent: Tuesday, February 02, 1999 3:28 PM
To: h-costume@indra.com
Subject: Re: H-COST: how to - cummerbund for "smallish" boy



-Poster: Sidne Kneeland <skskaw@worldaccessnet.com>

Greetings,

Well, I think the loops to fasten to the pants or shirt are
a good
idea.  But, I need a step backwards from there.  Is the
cummerbund a
tube that is gathered and ordinarily hooks and eyes in the
back or
what?  My husband does a suit but nothing more.

Thanks,

Sidne

Hope H. Dunlap wrote:

> -Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>
>
> When I was small in the 1950's, cummerbunds on
> pre-schooler's clothes were fashionable, and I still
> remember the details.  Generally, but not always, the
lower
> edge of the cummerbund was permanently sewn onto the
skirts,
> pants, or shorts.  Then there were 4-6 self-fabric loops
(a
> very narrow tube turned inside out) attached to the top
> inside of the cummerbund at  front, sides, and back which
> slipped over buttons sewn onto the blouse or shirt in
> strategic locations above the waist line.  These helped
hold
> the cummerbund up in place, but more importantly, kept it
> from rotating around the waist in an unattractive way. The
> sides of the cummerbund and the place where the cummerbund
> opened were sometimes boned with short pieces of padded
flat
> boning to help it stay up too.  (snip....)


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From owner-h-costume@indra.com  Wed Feb  3 13:13:54 1999
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Date: Wed, 3 Feb 1999 13:16:15 -0500
From: Melanie Wilson <MelanieWilson@compuserve.com>
Subject: H-COST: Clog conversion
To: "INTERNET:h-costume-digest@indra.com" <h-costume-digest@indra.com>
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-Poster: Melanie Wilson <MelanieWilson@compuserve.com>

>Thank you for the clog catalog--it came yesterday, and is really neat!
:-)

>Two questions:
What's the conversion 1) from English to American sizes?

No direct one I can see, look at Teva sandals site they had a pretty
accurate one on there

>                              2) British pound to US dollar?

1 pound = approc 1.6 dollars

Mel
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From owner-h-costume@indra.com  Wed Feb  3 13:22:17 1999
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-Poster: Heather Law <lynnx@mc.net>

Penny,
Right, but there's New newbies since then! :-) <Vbg, I like new folks!>

Diana, 
Personally I think it's *very* on topic (web-maitressa, please correct
me if you disagree!)

Like someone else said:  Yes!  
I like all N. Euro. up to the 20s, and Near, Middle, and Far East, plus
S.E. Asia, Africa, India... In other words, *all* historical and ethnic
garb (not too keen for "national dress" self-consciously designed in the
19th-20th to be that way, unless it is *exactly* the same as the actual
historical garments worn in period.

I also sell fabric at SCA events and am always interested in hearing
about what people are into... I am eventually going to web my fabric,
trims, a few extra copies of various books that I have, and of course
the costuming-interest bookmarks I've accumulated.  The site will be
more than strictly Middle Ages/Ren, but I will be focused on supplying
that type of stuff as I haven't seen anyone on the net specialize in
*fabric* for those times (Anyone know of any?  If so, could you post or
email me offlist w/the url?  Like to see what's already out there)  

I want to include an ezine (Garb Age) of hints, tips, diagrams
(original, and *well* documented, please -- if you supply me with good
stuff for Garb Age, I'll make it worth your while in fabric or
discounts...)  Your old handouts from SCA lectures/demos, other classes
and presentations are fine, just please, watch the copyright thang...
:-)  Also, if you need help with diagrams, I am pretty good at that type
of thing, so maybe we can add them to text articles and up the reward a
little for your efforts...

Please get in touch with me if you're interested in contributing, I
can't web anything if I don't have anything to web!  (Still waiting for
financial matters to loosen up so I can put up my fabric. **sighhhh**)
 
> - -Poster: "Penny E. Ladnier" <penny.creative.outlets@erols.com>
> 
> Diana,
> This was all covered in last year's directory for the list.  Maybe, this
> summer I'll have time to put together another directory.  I'll have to see
> things go.
> 
> Later...Penny
> http://www.costumegallery.com
> 
> >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
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-Poster: Heather Law <lynnx@mc.net>

If you could tell me what period, area, and what the critter actually is
(cape? coat? hat? I'm clueless!)  I may be able to find some sources on
it btw my bookmark collection and other costumers I know out here (not
that anyone else on this list couldn't...but being a supplier, I'm
always looking for new info... and besides, my curiosity is **killing**
me!)
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From owner-h-costume@indra.com  Wed Feb  3 14:45:47 1999
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-Poster: SAQUEEN@aol.com

A calash is a head covering over the high hairstyles of the late 18th century.
Wish the Calendar 2000: Historic Fashions Turning the Centuries was printed
because the DAR Museum's selections in March include a calash. That is a
teaser, isn't it.

Linda Baumgarten shows one in her book, _18th Century Clothing in
Williamsburg_.

Sally
www.sallyqueenassociates.com
Costume Calendar Series
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-Poster: AliaClaire@aol.com

Hi all!

I'm rather new to this list, and still new to costuming, but I did want to
jump in here.

Most of the things I've made are American Civil War related, since I reenact
with a group from that time. My favorite dress is a white batiste dress, cut
with a very full, slightly elliptical skirt. The bodice is gathered, and the
moderately low, square neckline (out of a drawing in Peterson's that I'm in
love with!) is edged with black ribbon. The sleeves are full, with rows of
very narrow black ribbon for trim. At the chest I've embroidered small
butterflies, and I'd like to add some more embroidery work this coming year.

My favorite designs: a white silk Regency dress that I'm embroidering, from
around 1808: high waist, small, puff sleeves, and pink and green flowers
embroidered. Also, an 1890s ballgown in red taffeta with black beading, a
1530s English style dress, a late 1600s undress dress, a couple "new look
dresses", and a few modern evening gowns, including one based on 14th-century
gowns that I'm working on for a friend's prom dress.

Favorite time periods: I'm mostly familiar with Europe and American costume. I
love anything by Worth or Dior, English styles from around 1490-1570, middle
Regency (1800-1818 or so), American Civil War, 1870s bustle dresses, 1890
dresses, late 1940s dress....and so on.

-Alison Stacy
AliaClaire@aol.com
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From owner-h-costume@indra.com  Wed Feb  3 15:41:24 1999
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Date: Wed, 03 Feb 1999 15:46:19 -0500
From: Hope Greenberg <hope.greenberg@uvm.edu>
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-Poster: Hope Greenberg <hope.greenberg@uvm.edu>

Several years ago the Shelburne Museum
(http://www.shelburnemuseum.org/home.html) put on display several of
it's mid-19th century gowns. The curator mentioned that they could not
use modern mannekins at all and had to design their own. This they did
with wire and stuffing--filling out the gowns as much as possible. Oddly
enough, while everyone who studies the period knows that the 1840s-50s
are the decades of the amazing disappearing shoulders, they were still
surprised by these gowns. Not only were the shoulders designed to follow
the ideal of sloping shoulders, when stuffed they really were
sloping--there were no visible shoulder bumps to be seen at all. They
wondered if it was due to the corsetting.

The permanently narrowed back of the 18th century corset wearer explains
the proportions of gowns from that century, but does anyone know of
permanent body changes that would result from mid-19th century corsetry
that would explain sloping shoulders? 

(Apparently collarbones and shoulders are moveable--at least when a
series of x-rays was taken of the group of peoples (sorry, don't
remember the name) that try to achieve the long-necked look by wearing
more and more neck-rings, they discovered that the neck was not
stretching--instead the collarbone and bones of the shoulder were being
pushed down, sometimes right down over the rib cage.)

- Hope

-------------
hope.greenberg@uvm.edu, U of Vermont, http://www.uvm.edu/~hag
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From owner-h-costume@indra.com  Wed Feb  3 15:53:27 1999
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From: "Vickers, Jill" <jvickers@TELESENSORY.com>
To: "'h-costume'" <h-costume@indra.com>
Subject: H-COST: Fabric Question
Date: Wed, 3 Feb 1999 12:56:54 -0800 
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-Poster: "Vickers, Jill" <jvickers@TELESENSORY.com>


For most of you this must be an elementary question, but I haven't taken a
textiles class yet so please bear with me!

While perusing one of my books that has illustrations from Godey's, I
noticed that when the clothing is being described sometimes the term "cloth"
is used seemingly to indicate the type of fabric being used.  What fabric do
they mean?  The only one I can think of that may be appropriate is cotton,
but if that's it, why didn't they call it just that?

-Jill

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From owner-h-costume@indra.com  Wed Feb  3 16:18:27 1999
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-Poster: SNSpies@aol.com

<< shoe sizes >>

Birkenstocks come in European sizes.  Perhaps you can find your local outlet
and find out what size you wear.

Nancy
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From owner-h-costume@indra.com  Wed Feb  3 16:40:01 1999
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-Poster: Sidne Kneeland <skskaw@worldaccessnet.com>

Greetings list,

We will be traveling to London, England, and Scotland in April.  Are there any other suggestions,
must see's, of sites, places....?

Thanks,
Sidne

Mary Denise Smith wrote:

>
> There is a Reenactors' Fair coming up March 12,13 & 14 at Blackbird Leys in Oxford England.

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From owner-h-costume@indra.com  Wed Feb  3 17:23:14 1999
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-Poster: The Purple Elephant <csmart@physics.adelaide.edu.au>

On Wed, 3 Feb 1999, Teddy wrote:

> 
> -Poster: Teddy <Teddy@mdx.ac.uk>
> 
> I *love* this sort of thread.  Such a lovely insight into the other 
> list-members and their interests! 
> 
> > 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?
*grin* All of them.....
No there are a few periods I'm not very keen on (I think I'm the only
person in the world who doesn't like Regency for instance, though I quite
like very late 18th century)
 My particular favourites are pretty much all of the 15th century and 
early Tudor, 12th century, late 17th and 18th centuries, and the 'between
bustle' Victorian. Edwardian and later Tudor is growing on me, as is 
post Civil War 17th Century. Sadly I only have an excuse to do pre-1600...
------------------------------------------------------------------------------
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: Margo Anderson <margo@directcon.net>


>The permanently narrowed back of the 18th century corset wearer explains
>the proportions of gowns from that century, but does anyone know of
>permanent body changes that would result from mid-19th century corsetry
>that would explain sloping shoulders? 


Assuming that you would have to start with someone whose bones are young
enough to accept molding, I just called my five year old over and pulled his
shoulders back, as if he were wearing a garment with a back cut very narrow.
This action caused his shoulders to drop very noticably, about 2".  So, it
seems likely that corseting to a narrow back from a young age could  cause
the sloped shoulder.

Now, if I could just get him to believe that this *doesn't*  mean Mommy is
planning to make him a corset....


Margo Anderson

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From owner-h-costume@indra.com  Wed Feb  3 19:04:11 1999
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-Poster: Margo Anderson <margo@directcon.net>

Hi everyone.  If anyone can help this former list member, please drop her a
line.  She would also be grateful if someone would post her request to the
SCA garb list (I'm no longer subscribed).




I am looking for a fabric seller who has sold at the SCA's Pennsic war
in past years. They also sell at Rev War, Civil War and other
reenactments. The phone number I have for them has been disconnested and
I cannot track down a new number. If anyone can help me locate them, I'd
be grateful.

The last info I have for them is:

Mary Harkless,
Timeless Textiles	
321 N. Union Street	
Middletown, PA  17057	
717-361-2253

-OR-
Harkless,
Timeless Textiles	
1742 Hershey Road
Elizabethtown, PA  17022

I can be contacted directly at historic@pacbell.net.

Thanks!

Gwen

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Date: Wed, 03 Feb 1999 19:32:09 -0500
To: h-costume@indra.com
From: Sue Shatto <Sue@VictorianMillinery.com>
Subject: Re: H-COST:Pounds to dollars
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-Poster: Sue Shatto <Sue@VictorianMillinery.com>

I have a coversion chart for Men & Women
USA,UK,  Mexico,Europe/Paris Points, Japan.  If you tell me your size , I
can look it up for you.

At 04:14 PM 2/3/99 EST, you wrote:
>
>-Poster: SNSpies@aol.com
>
><< shoe sizes >>
>
>Birkenstocks come in European sizes.  Perhaps you can find your local outlet
>and find out what size you wear.
>
>Nancy
> _________________________________________________________________
> 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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To: h-costume@indra.com
Subject: Re: H-COST: Posture - 18, 19 Centuries and now
Message-ID: <19980920.202407.5351.2.kayherb@juno.com>
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-Poster: "Kathryn L. Herb" <kayherb@juno.com>


Sally,

Thanks for the advice!  Yep, there's a seam there, alright.  Now, darn
it, I'm gonna have to take it apart.  <G>  It does serve as a good
reminder about my wretched posture, but I think a little alteration will
make it serve a better purpose.  I'm in the process of putting lots more
boning in my stays, too.  I only lightly boned them, thinking of them as
working stays, but with my size and endowment, I really, really need the
extra damming up so's not to present the "sweater puffs leaking between
bars" look.  And you're so right about the draping -- I do tend to
forget.

Kay
kayherb@juno.com


On Wed, 3 Feb 1999 09:29:03 EST SAQUEEN@aol.com writes:
>
>-Poster: SAQUEEN@aol.com
>
>Kay,
>
>You know that funny wrinkle at the collarbone? Often you find a seam 
>at that
>juncture as many garments were made to fit and the fabric was draped. 
>So to
>keep the smooth line (beyond proper posture, standing up straight, 
>etc.) and
>still curve around the body, they would fit the big piece of fabric 
>over the
>front. Cut it and add a "strap" piece over the shoulder.
>
>What makes it odd is to see the pattern pieces and to make the garment 
>using
>flat patterns. You have to understand draping to realize why. So, 
>don't want
>to stand up "straight" as the jacket. Alter it at that point with a 
>seam.
>
>Stays were also made in this manner with stay pieces (fronts, sides, 
>backs,
>straps) sent to the colonies unassembled to be made and adjusted here 
>to the
>person. Jamestown-Yorktown Foundation has an unassembled pair of 
>stays. These
>were the cheaper, middling sorts of stays for those who could not 
>afford
>custom.
>
>Favorite costume? 18th century, what else!
>Sally
>www.sallyqueenassociates.com
>Costume Calendar Series
> _________________________________________________________________
> 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 Feb  3 19:32:36 1999
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To: h-costume@indra.com
Subject: Re: H-COST: what's a calash?
Message-ID: <19980920.202407.5351.3.kayherb@juno.com>
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	<36B8BDB1.41DC@mc.net>
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-Poster: "Kathryn L. Herb" <kayherb@juno.com>


On Wed, 03 Feb 1999 13:20:49 -0800 Heather Law <lynnx@mc.net> writes:
>
>-Poster: Heather Law <lynnx@mc.net>
>
>If you could tell me what period, area, and what the critter actually 
>is  [snip]

Be most happy to, Heather!  A calash is headgear, sized to accomodate
whatever height of hairstyle you're carrying at the time (calashes from
13" to 21" in height have been found).  The best analogy seems to be the
top of a conestoga wagon (rounded off by the supporting arcs of ribs). 
I've seen French, English and American colonial examples from mid- to
late 18c.  To the bottom of the "wagon top" attach a cape of about 4" to
6" in depth, ribbons to tie it at the throat, and a long narrow ribbon
attached at the top front (or two attached at the top sides) that are
held in the hand to keep tension on the front to keep the calash forward.
 Otherwise it tends to flop backward, owing to its accordion-like
construction.  Someone from north of me (Historic Deerfield, maybe? --
where's those e-mails when you really need them????!) has seen one that's
lightly stuffed -- conjecture here being that it was warmer for the
northern climes.

For pictures, I can refer you to Figure 222 in "Historic Dress in
America" by Elizabeth McClellan (page 227 in the copy I have here), and
pages 145-147 of Beth Gilgun's "Tidings from the 18th Century."  (Beth's
includes instructions for an unlined calash -- pretty simple
construction, but somewhat labor-intensive since I feel there's a lot
that really has to be done by hand.  And she was kind enough to let me
closet myself with the original at a Petticoat Bridge Rev War event a few
years ago.)  Drool, drool!

I don't know how much traffic they had with the common woman.  My feeling
is that they were used more by the more leisure classes since the point
was to protect the fancy hairstyles when going from home to an event. 
(Hey, Sally Queen -- how far off the mark am I?)

How's that, Heather?

Kay Herb
kayherb@juno.com
(Whose answer to the favorite period question is 18c, in case you can't
tell!)

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From owner-h-costume@indra.com  Wed Feb  3 19:48:25 1999
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Date: Wed, 3 Feb 1999 19:54:00 -0400
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From: Lola Lee <lola@his.com>
Subject: H-COST: Ottoman Garments (Women)
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-Poster: Lola Lee <lola@his.com>

If you're interested in garments worn in Turkey during the Ottoman Empire,
then check out this page.  I discovered this while browsing her web site.
Apparently a dealer found a trunk filled with antique caftans, and she was
able to obtain a couple.  Really beautiful handiwork.  Looks like real gold
thread was used.

http://www.my-health-n-wealth.com/garments1.html


Lola - mailto:lola@his.com
Christ is Born! | Get a Mac and a Palm!
http://www.his.com/~lola/ljl.html | ICQ: 14914550
***  Free the Afghani ladies! ***



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From owner-h-costume@indra.com  Wed Feb  3 20:17:10 1999
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Date: Wed, 03 Feb 1999 19:18:04 -0600
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-Poster: Kim Graham <kgraham@flash.net>



christianna del Oro wrote:

> -Poster: "christianna del Oro" <chritikat@hotmail.com>
>
>   Hello List
>
> Does anyone have Period Pattern #41 and maybe 40 or 42?
>

Are these the men's and ladies' Italain Renn patterns?  I have them, plus
the women's early (Henry VIII) Tudor pattern.  If we ascertain that we
aren't violating copyright laws, I'd be glad to copy the instructions for
you.  Just let me know where to send them.  My email address:
kgraham@flash.net

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From owner-h-costume@indra.com  Wed Feb  3 20:31:35 1999
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-Poster: SAQUEEN@aol.com

Kay,

Pretty close as to who wore a calash. Upper middling to upper. Definitely
milliners and others in the fashion trades who wanted their clientele to know
they were up on the latest fashions. Many survive in today's collections, so
there use may have been more prevalent than we know. 

About a month with the Norton and Sons letters on microfilm at Colonial
Williamsburg might give a good analysis of use in America. Any takers?

Sally
www.sallyqueenassociates.com
Costume Calendar Series
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From: "Gia Gavino-Gattshall" <ggavino@serv.net>
To: "Costume List" <h-costume@indra.com>
Subject: H-COST: another finished object
Date: Wed, 3 Feb 1999 17:50:22 -0800
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-Poster: "Gia Gavino-Gattshall" <ggavino@serv.net>

This is a multi-part message in MIME format.

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Greetings list!

I've been having lots of fun sewing...I just made a Italian Ren gown in =
the manner of the portrait done by Jacopo Pontormo, "Lady in a Red =
Dress" 1532/33".  I found this portrait in  "The art of the Portrait" by =
Norbert Schneider.  I didn't do it exactly like it, but used it as my =
primary source. =20

For those who don't know this portrait, it's full upper sleeve, with =
long lower sleeves (black), the upper sleeve is pleated onto the bodice =
and lower sleeve.  The gown has a high waist and a square neckline and =
there appears to be a black 'rope belt' at her waist seam.  The skirt =
seems to be pleated onto the bodice.  There also appears to be some 'red =
on red' embroidery at the neckline.

I used some velvet (well, about 10 yards) I had stashed for about 5 =
years.  It's black ground with a black/blue pile and various shades of =
green for the leaves and gold accent painted on.  This is my 'reasonable =
facsimilie' as the weaving techniques of the time would have done the =
pattern and colors (Polychrome velvets) woven in.  Finding it painted on =
was the best I could do.

For the interlining, I used horsehair interfacing and lining it I used a =
heavy black satin that had a lovely design woven in it (it was leftover =
from a evening gown I made for my teenage daughter).=20

I handsewed a gold trim and pearls along the neckline, at the elbow =
seams and wrists of the lower sleeves. Another portrait in the same =
book, a little earlier by Raphael "Donna Velata, c1513" has a gown =
heavily adorned with gold trim (plain though). =20

My gown is articulated, meaning each main piece (bodice, upper sleeves, =
lower sleeves, skirt) are "completed items" fully lined and finished =
(except the skirt; the seams are just all finished)  and all pieces =
assembled together by the hand stitching when I did the cartridge =
pleating.

I cartrige pleated the upper sleeves at the sleeve head, and at the =
elbow attaching them by hand to the armseye and the top of the lower =
sleeve. I decided to lace it up the back, although there's other sources =
for side and front closures.  I did metal eyelets, but I'm stitching =
buttonhole stitching over them.  I also cartridge pleated the skirt onto =
the bodice.

(OASN: Personally I can't think of how a person can machine stitch the =
cartridge pleating on and get the full effect..Has anyone tried?)

For the chemise, I gathered the neck and the wrists into a lovely =
embroidered trim and it's highnecked like in the portrait.  I did three =
rows of gathering stitches and left two of them to show.  The portrait =
seems to have a 'decorated smocking' effect to me...what do you all =
think?  Or is it another piece of embroidered trim that the collar =
attaches to?

I wore it to the Feast at Ursalmas (for those of you in the SCA), and =
had it on the mannequin behind the Aquaterra Costumer's Guild Consulting =
table.

I appreciate everyone else posting their 'finished objects' on this =
list!  It encourages me greatly to keep on working on my projects!

Thanks!=20

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<!DOCTYPE HTML PUBLIC "-//W3C//DTD W3 HTML//EN">
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http-equiv=3DContent-Type>
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<BODY bgColor=3D#ffffff>
<DIV><FONT color=3D#000000 size=3D2>Greetings list!</FONT></DIV>
<DIV><FONT color=3D#000000 size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT color=3D#000000 size=3D2>I've been having lots of fun =
sewing...I just=20
made a Italian Ren gown in the manner of the portrait done by Jacopo =
Pontormo,=20
&quot;Lady in a Red Dress&quot; 1532/33&quot;.&nbsp; I found this =
portrait=20
in&nbsp; &quot;The art of the Portrait&quot; by Norbert Schneider.&nbsp; =
I=20
didn't do it exactly like it, but used it as my primary source.&nbsp;=20
</FONT></DIV>
<DIV><FONT color=3D#000000 size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT size=3D2>For those who don't know this portrait, it's full =
upper=20
sleeve, with long lower sleeves (black), the upper sleeve is pleated =
onto the=20
bodice and lower sleeve.&nbsp; The gown has a high waist and a square =
neckline=20
and there appears to be a black 'rope belt' at her waist seam.&nbsp; The =
skirt=20
seems to be pleated onto the bodice.&nbsp; There also appears to be some =
'red on=20
red' embroidery at the neckline.</FONT></DIV>
<DIV><FONT color=3D#000000 size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT color=3D#000000 size=3D2>I used some velvet (well, about 10 =
yards) I had=20
stashed for about 5 years.&nbsp; It's black ground with a black/blue =
pile and=20
various shades of green for the leaves and gold accent painted on.&nbsp; =
This is=20
my 'reasonable facsimilie' as the weaving techniques of the time would =
have done=20
the pattern and colors (Polychrome velvets) woven in.&nbsp; Finding it =
painted=20
on was the best I could do.</FONT></DIV>
<DIV><FONT color=3D#000000 size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT size=3D2>For the interlining, I used horsehair interfacing =
and lining=20
it I used a heavy black satin that had a lovely design woven in it (it =
was=20
leftover from a evening gown I made for my teenage =
daughter).&nbsp;</FONT></DIV>
<DIV><FONT size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT color=3D#000000 size=3D2>I handsewed a gold trim and pearls =
along the=20
neckline, at the elbow seams and wrists of the lower sleeves. Another =
portrait=20
in the same book, a little earlier by Raphael &quot;Donna Velata, =
c1513&quot;=20
has a gown heavily adorned with gold trim (plain though).&nbsp; =
</FONT></DIV>
<DIV>&nbsp;</DIV>
<DIV><FONT size=3D2>My gown is articulated, meaning each main piece =
(bodice, upper=20
sleeves, lower sleeves, skirt) are &quot;completed items&quot; fully =
lined and=20
finished (except the skirt; the seams are just all finished)&nbsp; and =
all=20
pieces assembled together by the hand stitching when I did the cartridge =

pleating.</FONT></DIV>
<DIV><FONT size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT size=3D2>I cartrige pleated the upper sleeves at the sleeve =
head, and=20
at the elbow attaching them by hand to the armseye and the top of the =
lower=20
sleeve. I decided to lace it up the back, although there's other sources =
for=20
side and front closures.&nbsp; I did metal eyelets, but I'm stitching =
buttonhole=20
stitching over them.&nbsp; I also cartridge pleated the skirt onto the=20
bodice.</FONT></DIV>
<DIV>&nbsp;</DIV>
<DIV><FONT size=3D2>(OASN: Personally I can't think of how a person can =
machine=20
stitch the cartridge pleating on and get the full effect..Has anyone=20
tried?)</FONT></DIV>
<DIV><FONT size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT size=3D2>For the chemise, I gathered the neck and the wrists =
into a=20
lovely embroidered trim and it's highnecked like in the portrait.&nbsp; =
I did=20
three rows of gathering stitches and left two of them to show.&nbsp; The =

portrait seems to have a 'decorated smocking' effect to me...what do you =
all=20
think?&nbsp; Or is it another piece of embroidered trim that the collar =
attaches=20
to?</FONT></DIV>
<DIV><FONT size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT size=3D2>I wore it to the Feast at Ursalmas (for those of you =
in the=20
SCA), and had it on the mannequin behind the Aquaterra Costumer's Guild=20
Consulting table.</FONT></DIV>
<DIV><FONT size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT size=3D2>I appreciate everyone else posting their 'finished =
objects' on=20
this list!&nbsp; It encourages me greatly to keep on working on my=20
projects!</FONT></DIV>
<DIV><FONT size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT size=3D2>Thanks!&nbsp;</FONT></DIV></BODY></HTML>

------=_NextPart_000_0060_01BE4F9D.ABAF3A40--

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From owner-h-costume@indra.com  Wed Feb  3 20:49:38 1999
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From: Margo Glenn-Lewis <nomad@dcn.davis.ca.us>
To: "'h-costume@indra.com'" <h-costume@indra.com>
Subject: RE: H-COST: Favourite Costumes
Date: Wed, 3 Feb 1999 17:48:34 -0800
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-Poster: Margo Glenn-Lewis <nomad@dcn.davis.ca.us>

I like the looks of Italian Ren, but have never made any (but now that I think about it...)

I like costumes of the Asiatic steppes peoples - Mongols, Uighars, et al., and the desert peoples of the near east.

I like anything I can embroider on.

Margo Glenn-Lewis			nomad@dcn.davis.ca.us
Opal Sun Softweare
"Don't forget your bucket."
Ice Machine in the Desert/Brave Combo



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-Poster: "Carol J. Bell Cannon" <cjcannon@greymists.com>

At 05:48 PM 2/3/99 -0800, you wrote:
>
>-Poster: Margo Glenn-Lewis <nomad@dcn.davis.ca.us>
>
>I like the looks of Italian Ren, but have never made any (but now that I
think about it...)
           Maybe we can work on the It. Ren. together.  I've got some
lovely black-on-black wool, or some sky blue damask, though I was thinking
the damask might be nice for ME. 
>I like costumes of the Asiatic steppes peoples - Mongols, Uighars, et al.,
and the desert peoples of the near east.
            Besides, they're darned comfy. :-)
>I like anything I can embroider on.
              Gra/inne

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From owner-h-costume@indra.com  Wed Feb  3 21:39:48 1999
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-Poster: Lola Lee <lola@his.com>

I usually lurk in here most of the time.  But this thread just has to bring
me out . . . I'm very interested in European ethnic costume, and Indian and
Middle Eastern costumes as well.  As for historic costumes, well, 16th
century just grabs my attention.  I'm particularly interested in the
Spanish costume during the 16th and 17th century, simply because I don't
see much of these whenever I browse the SCA websites and go to the Maryland
Renaissance Fair just about a half hour drive from here.  I'm interested in
the 17th century, up to the English Civil War/end of the 40 Years War.
Fast forward to 19th century and my interst peaks up as I reach the 1860s
into the 1870s, a short fast forward over to the 1890s (I just can't stand
the severe cut of the 1880s dresses).  And the first 30 years of the 20th
century I wish were very much in style right now, because everything goes
into a a rapid decline for me.

Lately, I've just never been able to find anything to my taste at all at
the stores such as JC Penny, Hecht, etc.  I'm the type who will wear either
blue jeans or long dresses/skirts.  In fact, I'm planning to learn to sew
just so I can get into those feminine, long dresses.  I've bought a dress
aleady from Jeanie Chauncey, and she's currently making one of the
long-sleeved, Empire dresses for me - a really lovely plaid wool with a
nice drape that I got from G Street Fabrics.

Lola - mailto:lola@his.com
Gospodi Pomilui | Lord Have Mercy | Get a Mac and a Palm!
http://www.his.com/~lola/ljl.html | ICQ: 14914550
***  Free the Afghani ladies! ***



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From owner-h-costume@indra.com  Wed Feb  3 21:40:48 1999
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-Poster: AliaClaire@aol.com

Okay, I need help (we all knew that anyway, but...)

I found a BEAUTIFUL gray silk damask that I can almost afford tonight. It
would make a lovely Tudor dress, with a pink underskirt and sleeves trimmed
with pearls, and a black velvet French hood...

Now I need help finding patterns and instructions. I'd like to make it in a
fairly period correct method, undergarments and all, dating probably 1530s-
ish. I really don't know WHERE to start. Any hints?

-Alison (who has always wanted a Tudor dress....) Stacy
AliaClaire@aol.com
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From owner-h-costume@indra.com  Wed Feb  3 22:31:01 1999
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-Poster: Stephen & Astrida Schaeffer <schaeff@nh.ultranet.com>

Can anyone recommend books showing costume collections in England from
about 1790-1830? I'm doing research for my thesis and need to compare
American dresses to their English counterparts. As I can't afford a trip
abroad just now, I'm hoping to find useful photos in books... Does the
Museum of Costume in Bath have any publications out?

Thanks,
Astrida
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From owner-h-costume@indra.com  Wed Feb  3 22:40:54 1999
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From: aleed <aleed@dnaco.net>
To: h-costume@indra.com
Subject: Re: H-COST: Tudor Help
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-Poster: aleed <aleed@dnaco.net>

> 
> Now I need help finding patterns and instructions. I'd like to make it in a
> fairly period correct method, undergarments and all, dating probably 1530s-
> ish. I really don't know WHERE to start. Any hints?

Lets see...for pictures of period tudor portraits & modern reproductions
to get ideas from, I have a list of links to Tudor pictures at the
Elizabethan Costuming Page (  http://www.dnaco.net/~aleed/corsets/  )  .
Links to instructions on making
a Tudor Corset & spanish farthingale are on the same page.  A good book
for pattern layout and construction ideas is Jean Hunnisett's Period
Patterns for Stage and Screen (Book 1), that has a reproduction on Jane
Seymour's gown plus lots of incredibly helpful hints on how to put it
together.  (It's a stage costume book, tho, not historical costume, so
sometimes she sacrifices absolute authenticity for covenience. The
Elizabethan Costuming page also has a link to a site which sells
ready-made Tudor gown patterns, from two different companies if you want
to go that route.


Good luck!

Drea

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From owner-h-costume@indra.com  Wed Feb  3 23:44:34 1999
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From: Margo Glenn-Lewis <nomad@dcn.davis.ca.us>
To: "'h-costume@indra.com'" <h-costume@indra.com>
Subject: RE: H-COST: Favourite Costumes
Date: Wed, 3 Feb 1999 20:50:08 -0800
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-Poster: Margo Glenn-Lewis <nomad@dcn.davis.ca.us>

>Besides, they're darn comfy.

My secret is out!!!

We can talk costuming at lunch?

Morgan
Margo Glenn-Lewis			nomad@dcn.davis.ca.us
Opal Sun Softweare
"Don't forget your bucket."
Ice Machine in the Desert/Brave Combo


-----Original Message-----
From:	Carol J. Bell Cannon [SMTP:cjcannon@greymists.com]
Sent:	Wednesday, February 03, 1999 6:13 PM
To:	h-costume@indra.com
Subject:	RE: H-COST: Favourite Costumes


-Poster: "Carol J. Bell Cannon" <cjcannon@greymists.com>

At 05:48 PM 2/3/99 -0800, you wrote:
>
>-Poster: Margo Glenn-Lewis <nomad@dcn.davis.ca.us>
>
>I like the looks of Italian Ren, but have never made any (but now that I
think about it...)
           Maybe we can work on the It. Ren. together.  I've got some
lovely black-on-black wool, or some sky blue damask, though I was thinking
the damask might be nice for ME. 
>I like costumes of the Asiatic steppes peoples - Mongols, Uighars, et al.,
and the desert peoples of the near east.
            Besides, they're darned comfy. :-)
>I like anything I can embroider on.
              Gra/inne

 _________________________________________________________________
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 with the message UNSUBSCRIBE H-COSTUME

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From owner-h-costume@indra.com  Thu Feb  4 00:02:09 1999
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        Multiple recipients of list H-COSTUME <h-costume@indra.com>
Subject: H-COST: Re: Pattern needed and random thoughts on underwear
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-Poster: lisaleon@hawaii.edu

On Wed, 3 Feb 1999, Valerie Rose wrote:

> All,
>  I need a basic chemise pattern that won't cost me an arm and a leg and
> firstborn child. I need to be able to use it for long and shorter lengths,

Please excuse duplicates, I'm going to cross post this to h-costume.

	I'm not really looking for a pattern, but I'd like to hear
some thoughts on late 14C shifts/smocks to wear under cotehardies.
Although I have Dorothy Burnham's Cut My Cote, the patterns are too late.
How would a 14C shift have been cut?  Would it basically have been a
t-tunic-like affair with gores below the waist?  I don't imagine you would
scrunch a lot of fabric under the fitted part of a cotehardie above the
waist.  

	I'm reading the Cunningtons' History of Underclothes and it
mentions thin, filmy linen which wouldn't add much bulk even if scrunched.
I have a 15C picture of a lady and her lord in her chamber.  Her gown is
unlaced/unbuttoned down the front, showing her shift.  It's definitely
transparent since you can see her breasts and navel through it, (no panty
lines, though ;> ) but there's no "build-up" of fabric in front.
Scrunching is clearly shone on her sleeves.  The shift appears to be
narrowly cut with a square neckline so can I do the rectangle with gores
thing with a clear conscience?  The picture is about 75 years later than
the time I'm really looking for but it's better than a 16C smock.

	And speaking of panty lines, here's another question for the great
panty debate. If anyone has Ludmila Kybalova's Pictorial Encyclopedia of
Fashion, what do you think of figure 767?  The caption reads
	'Master with the Bandrolle'.  Bathing Women.  Woodcut.  Gothic
	women used in general to bathe naked.
Sorry, I can't find any other reference than that.  The part of the
woodcut that is shown shows two nude women and another person who is
wearing tie-at-the-hip bikini bottoms.  I can't decide whether that
person is a woman or a man.  I can't really tell by the hair or face and
the bare breasts could be those of a man or a not-very-busty woman.

	If it's a woman, this is the only picture I've seen that gives
evidence that medieval women wore panties.  Has anyone seen the full
woodcut?  If we knew what else is in it and the context in which it was
done it would help.  Brothel bathhouse scene?  Something allegorical?  It
kind of looks German to me.  The briefs are the same style that I've seen
in some Durer paintings.  I'm willing to scan the picture and post it
somewhere if anyone wants to take a look.

	Sorry for rambling on so.  I have several shifts that I've been
making do with, but I want to make something that will satisfy my growing
quest for authenticity.

lisa/annora	




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From owner-h-costume@indra.com  Thu Feb  4 00:06:57 1999
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>

Besides two costume competitions and maybe a doll competition and a costume
party, there is a future fashion show, there are MANY classes, there is
'critical mass' of costumers to schmooze with.  

>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



Kayta
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     * )   (((((
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-Poster: "Carol J. Bell Cannon" <cjcannon@greymists.com>

    My apologies.  I meant those last msgs. to Margo G-L. to go to her
privately, but slipped a cog & missent them to you all. Gra/inne / Carol
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-Poster: kat@grendal.rain.com


> 	I'm not really looking for a pattern, but I'd like to hear
> some thoughts on late 14C shifts/smocks to wear under cotehardies.

Kohler has a photo of an extant one. It looks like sort of a 
spaghetti straped slip. The shoulder straps are part of the garment 
from the looks of it, not added later. I made one and it worked 
great. No binding under the arms.

Kat 

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

Hope

You kindly wrote in response to my posting  about posture

…"Upper-class children were put into “stays” from the age of 2-4 on.  On top of that, those whose posture wasn’t turning out right were “boarded,” i.e. a shaped board bound onto their backs for 3-4 hours per day or more. "

Was this the backboard that was like a narrow bed that the poor child had to lie on, or was it actually "worn".

Also, how do you acquire the  splayed feet posture, it is very difficult today.(I have tried to walk with toes outwards!)  I notice all 18and 19C portraits show feet well turned out.

Sue


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From: "Chandler, Sally" <S.A.Chandler@shu.ac.uk>
To: "'h-costume@indra.com'" <h-costume@indra.com>
Subject: RE: H-COST: Reenactor's Fair in UK
Date: Thu, 4 Feb 1999 09:27:37 -0000
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-Poster: "Chandler, Sally" <S.A.Chandler@shu.ac.uk>

Do you want to see costume, history, activity?  What period.

For costume museums see the V & A in London, the National Gallery and the 
National Portrait Gallery,  the Museum of London, theTheatre Museum, the 
Costume Museum in Bath, Platt Hall in Manchester and many provincial 
museums and galleries.  There's something wherever you go.  If in Scotland 
go to the new Museum of Scotland, will you, and let us all know what it's 
like for us costumers?

We will be re-enacting medieval life at Warwick Castle at Easter and no 
doubt Kate in Derby will let us know what the Civil War people are up to 
then.

Mary Denise and others will no doubt have more to add.

Hope you enjoy your visit,

Sally Ann

-----Original Message-----
From:	Sidne Kneeland [SMTP:skskaw@worldaccessnet.com]
Sent:	Wednesday, February 03, 1999 8:33 PM
To:	h-costume@indra.com
Subject:	Re: H-COST: Reenactor's Fair in UK


-Poster: Sidne Kneeland <skskaw@worldaccessnet.com>

Greetings list,

We will be traveling to London, England, and Scotland in April.  Are there 
any other suggestions,
must see's, of sites, places....?

Thanks,
Sidne

Mary Denise Smith wrote:

>
> There is a Reenactors' Fair coming up March 12,13 & 14 at Blackbird Leys 
in Oxford England.

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From: Dora Barnes <dorabarnes@yahoo.com>
Subject: H-COST: Posture 18C and 1960s
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-Poster: Dora Barnes <dorabarnes@yahoo.com>


>From Dora

Just to add to the posture discussion - it was not only the 18C stays
that changed(improved?) posture.  If you look at 1950 and early 1960
movies (and old TV shows) you will see that we sat and walked
differently then. Try the old Doris Day movies.  You can often see
that women tended to perch on the front of chairs rather than sitting
right back.

And why did they sit like that ?  Anybody who remembers the struggle
to get into early 1960s firm control lingerie will know that it's a
lot easier to get up afterwards.

Dora






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Subject: H-COST: winter calash
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-Poster: pulliam@acadia.net (Deborah Pulliam)

<<Someone from north of me (Historic Deerfield, maybe? --
where's those e-mails when you really need them????!) has seen one that's
lightly stuffed -- conjecture here being that it was warmer for the
northern climes.>>

I have seen one here in Maine that's green silk, stuffed with wool fleece.
Looks to be quite warm. Probably dates to about 1800.



Deborah


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From: "Stapelton,  Gregory" <gregory.stapleton@funb.com>
To: "'h-costume@indra.com'" <h-costume@indra.com>,
        "'sca-arts@raven.cc.ukans.edu'" <sca-arts@raven.cc.ukans.edu>
Subject: H-COST: Researching in Toronto February 10-14 and looking for Scadians
Date: Thu, 4 Feb 1999 11:15:07 -0500 
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-Poster: "Stapelton,  Gregory" <gregory.stapleton@funb.com>

Greetings to one and all on these lists from Gawain Kilgore, mka as Gregory
Stapleton of Charlotte, NC.

I'll be in Toronto, ON, from the afternoon of February 10 until the
afternoon of February 14.  During the days, I'll be researching Medieval
Shoes and Leatherwork at the Bata and the ROM.  If any SCAdians, or people
of a like mind, are interested in getting together in the evenings for
dinner I'd love to make your acquaintance and share / compare how we play
down here with how you play up there and discuss A&S and anything else of
interest.  Also, if there are any local meetings going on those evenings,
I'd like to attend if you'll have me. :)

Yours in Service,

Gawain Kilgore
Gregory G. Stapleton
Gregory.Stapleton@capmark.funb.com
gregsta@perigee.net
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-Poster: cynthia j ley <cley@juno.com>

That would be lovely. I wear an 11 men's; 12 women's.  Do you know if
clogs come in wide? Have arthritis and my feet have spread a bit. Or
would I have to custom order?


thanks!


					Arlys



On Wed, 03 Feb 1999 19:32:09 -0500 Sue Shatto
<Sue@VictorianMillinery.com> writes:
>
>-Poster: Sue Shatto <Sue@VictorianMillinery.com>
>
>I have a coversion chart for Men & Women
>USA,UK,  Mexico,Europe/Paris Points, Japan.  If you tell me your size 
>, I
>can look it up for you.

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

> …
>
> Also, how do you acquire the  splayed feet posture, it is very difficult today.(I have tried to walk with toes outwards!)  I notice all 18and 19C portraits show feet well turned out.
>
>

I think people may be assuming that if a given posture, set of gestures, etc. was common during a given period it was effortless--you learned it in childhood and/or put on your stays and paid no further attention to it.
Although physical practice does make things easier it does not make them automatic--you still have to pay attention.  The toes are turned out in many forms of dance. After many years of doing historic dance I can say, it's one
of many things (including posture)  you still always have to pay attention to and check on.

Aside from that, turning out the toes in walking (or dance) is not hard as long as you stick to your natural degree of turnout.  Turnout should come from the hips.  Put your feet parallel against each other, then use your hips
to swivel the toes apart while keeping your heels together.  This is your body's natural degree of turnout.  Forcing a higher degreee of turnout from around the knees, or in general from below the hips, is physically bad for
you if you do it consistently.

Extreme turnout, where the toes are so far apart the feet are in a straight line, is done in modern ballet but requires physical alteration of the body in childhood.  This is one reason ballet dancers are supposed to start
lessons very young (12 is considered about the very latest you can start).  In the 18th century they used a device called "stocks" that children stood in, in high turnout for a couple hours at a time to alter their bodies.
Early 19th-century dance manuals disrecommend stocks on the grounds that they were cruel to children.

Don't attempt to emulate this.  Just walk with your natural degree of turnout.  After you practice a while it gets easier.

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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Subject: Re: H-COST: what's a calash?
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		<36B8BDB1.41DC@mc.net> <19980920.202407.5351.3.kayherb@juno.com>
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-Poster: Laurel Wilson <lwilson16@earthlink.net>



Kathryn L. Herb wrote:

> Be most happy to, Heather!  A calash is headgear, sized to accomodate
> whatever height of hairstyle you're carrying at the time (calashes from
> 13" to 21" in height have been found).  The best analogy seems to be the
> top of a conestoga wagon (rounded off by the supporting arcs of ribs).

An appropriate analogy, since the word is also used for a kind of light
carriage with a folding top. (OED, and Skeat's etymological dictionary)
Actually, I think the carriage came first, and the bonnet was named for it,
being analogous in terms of the ribbing you're describing.  It's from a
Slavic root word, and got into French as caleche.

Lauri

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-Poster: Fred Struthers <fsbks@mcn.org>

Astrida,

I have in stock the Museum of Costume at Bath Official Guide. 

It is well illustrated in color with lots of historical info. You can
call me or email. It is $18 + 2.75 postage.

fsbks@mcn.org
707 964-8662
-- 
Fred Struthers
http://www.mcn.org/e/fsbks
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From owner-h-costume@indra.com  Thu Feb  4 13:06:07 1999
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Date: Wed, 3 Feb 1999 10:13:37 -0800
Subject: H-COST: 17th cen. Buttons
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-Poster: Carmen J Beaudry <mor-plentyn@juno.com>

I'm looking for information on what type of buttons would have been used
on men's clothing c. 1635.  The suit I'm making is based on the french
style, but any info on buttons for this period would be appreciated.

Carmen/mermaid/Melusine
mor-plentyn@juno.com

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From: "David Stamper & Eve Harris" <evedave1@netcom.ca>
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Subject: H-COST: Gregory Stapleton's Visit to Toronto
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-Poster: "David Stamper & Eve Harris" <evedave1@netcom.ca>

Responded to privately.

Eve Harris

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From owner-h-costume@indra.com  Thu Feb  4 13:27:46 1999
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To: <h-costume-digest@indra.com>
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Subject: H-COST: Virtual Exhibits
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-Poster: "Lisa Scovel" <lisa@tmsonline.com>


Hello all,

Since reenacting doesn't pay the bills terribly well, I work as a producer
for a web development/multimedia company in Sacramento, Ca. during the day
(The Marketing Store - http://www.tmsonline.com). We are currently
interested in using some new technologies to create a public, fully
interactive virtual museum on the web -  the intention is to use this as a
philanthropic and portfolio piece only.  We've talked quite a bit about it
and due to personal interests, have decided that we would like to use
costume/vintage clothing as our initial subject.  The technologies we want
to use allow 360 degree views of an object, as well as the ability to click
on  a portion of an item for a close-up view.  Costume, of course, just begs
for this kind of treatment in a virtual museum!

My question to the list is this: We would really like to concentrate on
items in personal collections, as opposed to stuff that's already in
museums - or stuff that's hidden away in archives somewhere.  Our idea is
that many private collectors have wonderful stuff, that the public seldom
gets an opportunity to see - our museum allows collectors to share without
having to give anything up, other than a couple hours for photo shooting. We
would give owners full credit, of course, and would be happy to include
small advertisements/links, as well.  We have a team of exceptional
designers who will create a truly beautiful design container for the work,
and we hope that we can create something really innovative and special.

We would want to set up photo shoots in the Bay Area, California and/or
Sacramento within the next couple of months.  Garments of exceptional
quality, are of course, preferred - and the better documented the better.
Vintage items with accompanying vintage photographs - or costumes copied
from vintage photographs - would also be ideal!  We will provide back drops
and dress-forms, we just need the garments, themselves. For a
multi-dimensional aspect, a few shots of someone in the costume would also
be ideal, but not necessary if fragility is an issue.

I would appreciate the list's thoughts on our endeavor, both from the
perspective of 'borrowing' items for the shoot, and from the perspective of
a wish list for a virtual museum of this type. Also, suggestions for format,
i.e. organized by period, type of clothing, gender, etc., would also be
appreciated.

Thanks bunches,

Lisa

The Mining Co. - Historical Reenactment
http://reenactment.miningco.com

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Date: Thu, 04 Feb 1999 14:25:31 -0500
To: h-costume@indra.com
From: Sue Shatto <Sue@VictorianMillinery.com>
Subject: Re: H-COST:Pounds to dollars
In-Reply-To: <19990204.093951.7751.4.cley@juno.com>
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-Poster: Sue Shatto <Sue@VictorianMillinery.com>

It would be a 44 in France and 101/2 in the UK for a woman
It would be a 441/2 in France and 10 in France & most other European
countries for a man.




At 12:55 PM 2/4/99 EST, you wrote:
>
>-Poster: cynthia j ley <cley@juno.com>
>
>That would be lovely. I wear an 11 men's; 12 women's.  Do you know if
>clogs come in wide? Have arthritis and my feet have spread a bit. Or
>would I have to custom order?
>
>
>thanks!
>
>
>					Arlys
>
>
>
>On Wed, 03 Feb 1999 19:32:09 -0500 Sue Shatto
><Sue@VictorianMillinery.com> writes:
>>
>>-Poster: Sue Shatto <Sue@VictorianMillinery.com>
>>
>>I have a coversion chart for Men & Women
>>USA,UK,  Mexico,Europe/Paris Points, Japan.  If you tell me your size 
>>, I
>>can look it up for you.
>
>___________________________________________________________________
>You don't need to buy Internet access to use free Internet e-mail.
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Cordially,

Sue Shatto

Sue@VictorianMillinery.com
http://www.VictorianMillinery.com

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From owner-h-costume@indra.com  Thu Feb  4 15:00:16 1999
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To: h-costume@indra.com
From: Pompadour <marquise_de_pompadour@gmx.net>
Subject: Re: H-COST: CostumeCon - UK Version...
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-Poster: Pompadour <marquise_de_pompadour@gmx.net>

At 11:33 02.02.99 , you wrote:

>Yes there are Costume Conventions in the UK.  I should add this is 
>*not* costume con, but is run on similar principles.  The Con is 
>called "Masque: The <insert appropriate number> British Costume 
>Convention" and has so far only been a Weekend event (Friday 
>afternoon/evening to Sunday afternoon).

can you give us any hint as to where (if) the locations and dates are
published, preferably on the web? couldn't people from all over europe take
part?

ciao,
yo


Yours, etc, Yoshiwara, M.A. (Unseen University), AKA 
His Excellency, etc, the Minister of Silly Walks (Ms),
Mistress of the Costume Ring, Couturière to the 
Marquise de Pompadour
<http://www.costumegallery.com/pompadour>http://www.costumegallery.com/pompa
dour
<http://www.geocities.com/Vienna/4440>http://www.geocities.com/Vienna/4440
<http://www.geocities.com/Paris/4432>http://www.geocities.com/Paris/4432  
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From: Pompadour <marquise_de_pompadour@gmx.net>
Subject: Re: H-COST: Re: Evening Corsage
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-Poster: Pompadour <marquise_de_pompadour@gmx.net>

At 11:19 01.02.99 , you wrote:

>Our Austrian au-pair called brazierres "corsages". Anybody know where
>this comes from?

indeed, in a german environment "corsage" refers to a strapless,
figure-hugging, boned garment, either as underwear or as part of evening
dress.
it's derived from french "corps", just like "corset". i think i read it
somewhere that historically, the term corsage was also used for corsets.

ciao,
yo


Yours, etc, Yoshiwara, M.A. (Unseen University), AKA 
His Excellency, etc, the Minister of Silly Walks (Ms),
Mistress of the Costume Ring, Couturière to the 
Marquise de Pompadour
<http://www.costumegallery.com/pompadour>http://www.costumegallery.com/pompa
dour
<http://www.geocities.com/Vienna/4440>http://www.geocities.com/Vienna/4440
<http://www.geocities.com/Paris/4432>http://www.geocities.com/Paris/4432  
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From owner-h-costume@indra.com  Thu Feb  4 15:00:28 1999
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From: Pompadour <marquise_de_pompadour@gmx.net>
Subject: Re: H-COST: Re: Costume Con - in Europe?
In-Reply-To: <l03102802b2db5390116e@[130.244.171.12]>
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-Poster: Pompadour <marquise_de_pompadour@gmx.net>

At 14:12 01.02.99 , you wrote:
>
>-Poster: Ninni M Pettersson <vidumavi@swipnet.se>

> Drool, drool. Why, oh why, don't we have events like this here in
>Sweden? Yes, I know, we are far to few interested in costuming to make it
>work, but I would *so* love to go to an event like this. <deep sigh>

hej ninni,

i believe there are more costumers in europe than we know about. could you
live
with a costume con in, say, italy? or UK? then how about creating a euro
costume society? i've mised that for too long!

ciao,
yo


Yours, etc, Yoshiwara, M.A. (Unseen University), AKA 
His Excellency, etc, the Minister of Silly Walks (Ms),
Mistress of the Costume Ring, Couturière to the 
Marquise de Pompadour
<http://www.costumegallery.com/pompadour>http://www.costumegallery.com/pompa
dour
<http://www.geocities.com/Vienna/4440>http://www.geocities.com/Vienna/4440
<http://www.geocities.com/Paris/4432>http://www.geocities.com/Paris/4432  
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From owner-h-costume@indra.com  Thu Feb  4 15:03:37 1999
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-Poster: AliaClaire@aol.com

I have a few comments about this thread, which has been very interesting.

First, it is possible to slouch in an American Civil War corset. I've tried
it.

Second, about walking with turned out feet- don't turn your feet out from the
knees!!!!!!! It will just absolutely ruin them. Too many ballet teachers don't
teach this and little kids have their joints all torn up...anyway. Try turning
your whole leg out from the hip, just a little bit. After many years of dance
training, this is inbred, and it does help with the classic hips over heels
posture.

Third. I've always had a little trouble walking in long skirts. I'm only 5'1,
so most skirts are long to me! I've always tried kicking them, walking heel-
toe as is prevalent today, and it really looks pretty hideous. Today, however,
I tried walking with my shoulders back, as has been discussed on here. It made
walking almost toe-heel seem very natural, not affected, and would have made
walking in long gown very elegant!

The mysteries of the ages unlocked.

-Alison Stacy
AliaClaire@aol.com
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From owner-h-costume@indra.com  Thu Feb  4 15:16:07 1999
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From: Cynthia Virtue <cvirtue@ricochet.net>
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-Poster: Cynthia Virtue <cvirtue@ricochet.net>

In the same manner that the shoulders-back posture of earlier times made bone
changes, I have heard that modern bedpillows are part of the reason why modern
westerners seem to slouch, because they (if you sleep on your back) push the
tops of the shoulders and the neck forward.

Any knowledge of this one?
=-=-=-=-=
  "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  Thu Feb  4 15:20:49 1999
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From: "Frank&Tracy Thallas JR" <hardcorps@vcn.com>
Subject: H-COST: H-COST - Bronzino's "Lady with a Puppy"
Date: Thu, 04 Feb 99 14:27:20 PST
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-Poster: "Frank&Tracy Thallas JR" <hardcorps@vcn.com>


  Greetings!

    In Bronzino's "Portrait of a Lady with a Puppy", the lady in
question is wearing a very beautiful chemise/shirt/whatever
with what appears on close examination to be smocking/
proto-smocking on the collar area, with patterns of crosses,
etc, worked into the folds.  Does anyone have any idea how
this was done?  Anybody done it?  I have seven yards of
very dainty silk I've been hoarding for just such a project.....

All Health, and apologies to anyone who had to read the same

question on another list!

Liadain


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From owner-h-costume@indra.com  Thu Feb  4 15:22:05 1999
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From: Patrizia and Mark Nickel <costumes@wi.net>
Organization: History's Wardrobe
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-Poster: Patrizia and Mark Nickel <costumes@wi.net>

I'm hoping someone on the list can help me with this!  I've been
requested to make Henry VIII hat in the Holbein portraits. The one with
the plumes all around and jewels around the bottom.  To me it looks like
a flat, large beret, but  I've never been good at making hats from
pictures!
Can anyone explain this hats construction to me?   Anyone  know of a
pattern for it?  Is something similar in Janet Arnold's books?   Any
other books?  I've already looked  in Kohler.
Thanks in advance for all the help!
Patty    costumes@wi.net

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From owner-h-costume@indra.com  Thu Feb  4 15:22:22 1999
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From: Lynn Downward <ldownward@mail.cho.org>
Subject: H-COST: Neckties
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-Poster: Lynn Downward <ldownward@mail.cho.org>

This very educated group has talked about the beginnings of many pieces and
types of clothing over the year I've been on the h-costume list, most
recently the German useage of "corsage", but I don't remember this topic
being a FAQ.

My husband has asked me to ask you (his boss wants to know) about the
beginnings of the necktie.  Yes, we know it came from the cravat/jabot in
recent times.  We understand the transition from gathered top of the shirt
(by any name) to a ruffle, then to a separate ruff, then the hanging collar
in the 1600's.  What happened in the middle? Are these two separate chains
of dress, connected only because they surround the male neck?  I suggested
that it kept a napkin nearby to sloppy eaters, but he didn't buy it.

Anyone know the real answer?

LynnD
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From owner-h-costume@indra.com  Thu Feb  4 15:41:03 1999
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-Poster: Christina Conklin <textiles@earthlink.net>

Astrida--

I have three well-illustrated books:

Four Hundred Years of Fashion (ca 80 plates of womens dress prev to 1900
in the V & A collection) published 1984 by the V & A Museum

The Art of Dress, 1500-1914 (300 + pages) -- published by the National
Trust but bought as an overstock title in the US a couple years ago

Historical Fashion in Detail, The 17th and 18th Centuries, published by
the V & A (toward the end of your period, but FABULOUS close-up photos
of their colletion)

This book also refers to The Cut of Women's Clothes by Norah Waugh
(Faber and Faber, 1987) --I assume it's illustrated.

You can get V & A books by mail, and I bet also from Bath. If you do
ever get over to London, you can write and apply to study the V & A
collection that is NOT on display -- even without academic credentials.
I can send you details if you want.

Good luck!

Christy Conklin


Can anyone recommend books showing costume collections in England from
about 1790-1830? I'm doing research for my thesis and need to compare
American dresses to their English counterparts. As I can't afford a trip

abroad just now, I'm hoping to find useful photos in books... Does the
Museum of Costume in Bath have any publications out?

Thanks,
Astrida
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Date: Thu, 4 Feb 1999 16:04:59 -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>

>Do you know if
clogs come in wide? Have arthritis and my feet have spread a bit. 

My feet are quite wide & mine fit fine.

>Or
would I have to custom order?

Somebody suggested including a tracing of your foot, I think this is a
great idea

Mel
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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, 3 Feb 1999, Pompadour wrote:

> 
> -Poster: Pompadour <marquise_de_pompadour@gmx.net>
> 
> At 11:19 01.02.99 , you wrote:
> 
> >Our Austrian au-pair called brazierres "corsages". Anybody know where
> >this comes from?
> 
> indeed, in a german environment "corsage" refers to a strapless,
> figure-hugging, boned garment, either as underwear or as part of evening
> dress.
> it's derived from french "corps", just like "corset". i think i read it
> somewhere that historically, the term corsage was also used for corsets.
> 
I do remember reading somewhere that it was used by the French for a
light corset, or for the upper garment worn under a polonaise or
jacket in the late 18th century....

------------------------------------------------------------------------------
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  Thu Feb  4 18:00:22 1999
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-Poster: SAQUEEN@aol.com

Also, don't look down when walking up stairs! And other secrets of walking in
period dress. Women don't get to wear shorter skirts until 20th century.

Sally
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From owner-h-costume@indra.com  Thu Feb  4 18:28:30 1999
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-Poster: Kara Amelia Rodgers <rodgers@wpti.org>


Hello All, I'm new to the list, just joined on Tuesday, and I've been
fascinated by this discussion. I have two things to add.

First, people seem to be born with varying degrees of natural turn out. I
have very high natural turn out, and have walked like a ballet dancer all
my life, but degree of turn out can be affected by your environment. I got
teased as a kid for walking like a duck, and along with "stand up straight"
I got "point your feet forward" from my parents when I was a kid. Now, I
walk with less turn out than I did, though it is still noticable. So
whoever said the way other people around you stand affects your posture is
right.

Second, when I was in high school, I rowed. This made me stand up far
starighter than I had before or have since. I think part of it is that you
need to have a straight back while you are rowing in order not to hurt
yourself, but also my back muscles became much stronger as part of the
rowing process, making it easier to stand up straight. (by the way, I know
of some good lower back exercises to help this out, if anyone is
interested, you should email me at rodgers@wpti.org). Ever since this
thread started I've been paying much more attention to my posture, much to
the amusement of those around me.

So it just goes to show that your posture can be changed by your
environment, especially from childhood.

Cheers,

Kara


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From owner-h-costume@indra.com  Thu Feb  4 18:32:41 1999
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-Poster: Kara Amelia Rodgers <rodgers@wpti.org>


Hello,

I'm fairly new to costume making, though I've sewn for years. Everyone
seems to be talking about making garments from pictures. How do you go
about making patterns from pictures? Can anyone recommend a good book to
help me learn the skill? Also, where is a good place to look for ready made
historical patterns? Specifically, a friend has asked me to make a Medieval
cloak for him.

Suggestions for a newbie would be appreciated!

Thanks,

Kara

P.S. Favorite historical costume period is probably the 19th century,
though I'm open to just about anything beautiful!





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

On Thu, 4 Feb 1999, Kara Amelia Rodgers wrote:

> 
> First, people seem to be born with varying degrees of natural turn out. I
> have very high natural turn out, and have walked like a ballet dancer all
> my life, but degree of turn out can be affected by your environment. I got
> teased as a kid for walking like a duck, and along with "stand up straight"
> I got "point your feet forward" from my parents when I was a kid. Now, I
> walk with less turn out than I did, though it is still noticable. So
> whoever said the way other people around you stand affects your posture is
> right.
Me too. No trouble at all to turn my feet practically all the way out. But
I've never really noticed that I walk like that, and I don't think I do
unless I consciously make an effort....
> 
> Second, when I was in high school, I rowed. This made me stand up far
> starighter than I had before or have since. I think part of it is that you
> need to have a straight back while you are rowing in order not to hurt
> yourself, but also my back muscles became much stronger as part of the
> rowing process, making it easier to stand up straight. (by the way, I know
> of some good lower back exercises to help this out, if anyone is
> interested, you should email me at rodgers@wpti.org). Ever since this
> thread started I've been paying much more attention to my posture, much to
> the amusement of those around me.
I'd be interested in that....I have terrible posture, from years of sitting
at desks and computers improperly, and nowadays it is quite tiring
on my muscles to actually sit up straight for more than a few secs. I've
also heard that strong abdominal muscles help in 'good' posture.
> 
> So it just goes to show that your posture can be changed by your
> environment, especially from childhood.
Absolutely.

------------------------------------------------------------------------------
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: WICKHAM  Raymond <raymond.wickham@customs.gov.au>
To: h-costume@indra.com
Subject: RE: H-COST: Posture
Date: Fri, 5 Feb 1999 10:59:22 +1100
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-Poster: WICKHAM  Raymond <raymond.wickham@customs.gov.au>

I have just come across a book in a newly recieved catalogue from the UK
that may shed some light on this question

It is "Exercises for Ladies" by Donald Wlaker 
The description states 
Calculated tpo preserve and improve beauty and to prevent and correct
personal defects, inseperable from constrained or careless habits.
Founded on Physological principles. Pub Thomas Hurst 1837 ewith
engravings showing variu=ous exercises, right and wrong postures for
various activities and also showing Gearys exercise stays
Just don't ask the price

Ray  

> Also, how do you acquire the  splayed feet posture, it is very
difficult today.(I have tried to walk with toes outwards!)  I notice all
18and 19C portraits show feet well turned out.
	>
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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, 4 Feb 1999, Kara Amelia Rodgers wrote:

> 
> Hello,
> 
> I'm fairly new to costume making, though I've sewn for years. Everyone
> seems to be talking about making garments from pictures. How do you go
> about making patterns from pictures? Can anyone recommend a good book to
> help me learn the skill? Also, where is a good place to look for ready made
> historical patterns? Specifically, a friend has asked me to make a Medieval
> cloak for him.
Um, well mostly experience and observation I think. Certainly that's what's
helped me. Some pictures (if you're lucky) will show seams so you can get
an idea of how it's made. And once you have a reasonable idea of how
various patterns and fabrics behave and sit on the body, you can make
educated guesses as to the sort of pattern that would produce a certain
look.
I can't really comment on books or ready-made paterns, because I rarely use
them, but for generic sort of patterns 'Evolution of Fashion' by
Hill and Bucknell and the book by Holkeboer the title of which eludes me,
are a good place to start.
------------------------------------------------------------------------------
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: Thu, 04 Feb 1999 19:25:43 -0600
From: Sheridan Alder <alderweb@vaxxine.com>
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-Poster: Sheridan Alder <alderweb@vaxxine.com>


--------------AF674BFB9990CEEF48445144
Content-Type: text/plain; charset=us-ascii
Content-Transfer-Encoding: 7bit

It's been very interesting to read about everyone's favorite projects. I
didn't intend to participate (too busy!) but broke down.

My favorite costume is c. 1792 redingote. A local bicentennial event gave
me a feeble excuse to create it. I based it on a garment shown in a French-
language text on fashion during the French Revolution (sorry, can't find the
reference now) "Portrait de Pierre-Joseph Lecocq et sa famille" c. 1791 by
a Dominique Donere. I would have preferred a mauve silk as shown in the
painting, but I settled for a strong purple Thai silk. I based it on the robe
a
l'anglais pattern in "Revolution in Fashion" with sumptuous cartridge pleats,
a "zone", buttoned cuffs and a big collar. I felt like a lady in one of the
politer Rowlandson prints! Hope I didn't look like a creature from one of
his caricatures!

Armed with scissors and black felt, a plastic ice cream container for the
crown,
and cardboard brim, I made a quite reasonable reproduction of  one of the
silliest hat styles of all time - the 1790's tall style hat with the narrow,
tapering
crown which slants back slightly like the funnel of the Titanic, topped with
a few bows and ostrich feathers. Eight years later it's still rattling around
the house and hasn't disassembled to its various components yet!

I frightened myself so much by the Thai silk (but it was worth it - I wish I'd

remember to spend lots on a correct fabric I really love, rather than buy
bits of cheaper fabrics because they're "OK" and an "OK" price) that my
petticoat was rather twee - the purple and white indienne fabric would have
been more appropriate for an earlier period, but it was cheap.

Problem is, nobody re-enacts the 1790's! and I don't have the heart to cut
it down to something else.

I was started off on Regency by my husband (one day I may finish
embroidering that silk gauze evening gown before I'm too old to wear it)
but our current obsession is WWI. I have a repro Canadian nursing
sister uniform (Lisa, if you're still out there I could send you some
photo's FINALLY), a lady's day dress, and an original lingerie dress I
can wear on thin days. I'm tempted to do a black gown for a war widow
and I'm kicking myself for not purchasing an original last summer.

As well as Regency, I'm becoming interested in 18th c. and am dying to
do a sack-back gown. It's becoming an obsession. I'm still moping over
some perfect sari silk I found, sadly, not enough for a sacque! I've
purchased some really dreary blue-grey linen-wool check to do a c. 1850
workingman's dress to "go with" our house, and to accompany my husband
to the occasional Civil War event. At heart, the Victorian period (except for
leg of mutton sleeves later) leaves me cold - I'm a modern type and suit
plain,
sleek styles - no frou-frou.

Well, enough of me, what about you?

Sheridan Alder

--------------AF674BFB9990CEEF48445144
Content-Type: text/html; charset=us-ascii
Content-Transfer-Encoding: 7bit

<HTML>
<FONT FACE="Arial,Helvetica"><FONT SIZE=-1>It's been very interesting to
read about everyone's favorite projects. I</FONT></FONT>
<BR><FONT FACE="Arial,Helvetica"><FONT SIZE=-1>didn't intend to participate
(too busy!) but broke down.</FONT></FONT><FONT FACE="Arial,Helvetica"><FONT SIZE=-1></FONT></FONT>

<P><FONT FACE="Arial,Helvetica"><FONT SIZE=-1>My favorite costume is c.
1792 redingote. A local bicentennial event gave</FONT></FONT>
<BR><FONT FACE="Arial,Helvetica"><FONT SIZE=-1>me a feeble excuse to create
it. I based it on a garment shown in a French-</FONT></FONT>
<BR><FONT FACE="Arial,Helvetica"><FONT SIZE=-1>language text on fashion
during the French Revolution (sorry, can't find the</FONT></FONT>
<BR><FONT FACE="Arial,Helvetica"><FONT SIZE=-1>reference now) "Portrait
de Pierre-Joseph Lecocq et sa famille" c. 1791 by</FONT></FONT>
<BR><FONT FACE="Arial,Helvetica"><FONT SIZE=-1>a Dominique Donere. I would
have preferred a mauve silk as shown in the</FONT></FONT>
<BR><FONT FACE="Arial,Helvetica"><FONT SIZE=-1>painting, but I settled
for a strong purple Thai silk. I based it on the robe a</FONT></FONT>
<BR><FONT FACE="Arial,Helvetica"><FONT SIZE=-1>l'anglais pattern in "Revolution
in Fashion" with sumptuous cartridge pleats,</FONT></FONT>
<BR><FONT FACE="Arial,Helvetica"><FONT SIZE=-1>a "zone", buttoned cuffs
and a big collar. I felt like a lady in one of the</FONT></FONT>
<BR><FONT FACE="Arial,Helvetica"><FONT SIZE=-1>politer Rowlandson prints!
Hope I didn't look like a creature from one of</FONT></FONT>
<BR><FONT FACE="Arial,Helvetica"><FONT SIZE=-1>his caricatures!</FONT></FONT><FONT FACE="Arial,Helvetica"><FONT SIZE=-1></FONT></FONT>

<P><FONT FACE="Arial,Helvetica"><FONT SIZE=-1>Armed with scissors and black
felt, a plastic ice cream container for the crown,</FONT></FONT>
<BR><FONT FACE="Arial,Helvetica"><FONT SIZE=-1>and cardboard brim, I made
a quite reasonable reproduction of&nbsp; one of the</FONT></FONT>
<BR><FONT FACE="Arial,Helvetica"><FONT SIZE=-1>silliest hat styles of all
time - the 1790's tall style hat with the narrow, tapering</FONT></FONT>
<BR><FONT FACE="Arial,Helvetica"><FONT SIZE=-1>crown which slants back
slightly like the funnel of the Titanic, topped with</FONT></FONT>
<BR><FONT FACE="Arial,Helvetica"><FONT SIZE=-1>a few bows and ostrich feathers.
Eight years later it's still rattling around</FONT></FONT>
<BR><FONT FACE="Arial,Helvetica"><FONT SIZE=-1>the house and hasn't disassembled
to its various components yet!</FONT></FONT><FONT FACE="Arial,Helvetica"><FONT SIZE=-1></FONT></FONT>

<P><FONT FACE="Arial,Helvetica"><FONT SIZE=-1>I frightened myself so much
by the Thai silk (but it was worth it - I wish I'd</FONT></FONT>
<BR><FONT FACE="Arial,Helvetica"><FONT SIZE=-1>remember to spend lots on
a correct fabric I really love, rather than buy</FONT></FONT>
<BR><FONT FACE="Arial,Helvetica"><FONT SIZE=-1>bits of cheaper fabrics
because they're "OK" and an "OK" price) that my</FONT></FONT>
<BR><FONT FACE="Arial,Helvetica"><FONT SIZE=-1>petticoat was rather twee
- the purple and white indienne fabric would have</FONT></FONT>
<BR><FONT FACE="Arial,Helvetica"><FONT SIZE=-1>been more appropriate for
an earlier period, but it was cheap.</FONT></FONT><FONT FACE="Arial,Helvetica"><FONT SIZE=-1></FONT></FONT>

<P><FONT FACE="Arial,Helvetica"><FONT SIZE=-1>Problem is, nobody re-enacts
the 1790's! and I don't have the heart to cut</FONT></FONT>
<BR><FONT FACE="Arial,Helvetica"><FONT SIZE=-1>it down to something else.</FONT></FONT><FONT FACE="Arial,Helvetica"><FONT SIZE=-1></FONT></FONT>

<P><FONT FACE="Arial,Helvetica"><FONT SIZE=-1>I was started off on Regency
by my husband (one day I may finish</FONT></FONT>
<BR><FONT FACE="Arial,Helvetica"><FONT SIZE=-1>embroidering that silk gauze
evening gown before I'm too old to wear it)</FONT></FONT>
<BR><FONT FACE="Arial,Helvetica"><FONT SIZE=-1>but our current obsession
is WWI. I have a repro Canadian nursing</FONT></FONT>
<BR><FONT FACE="Arial,Helvetica"><FONT SIZE=-1>sister uniform (Lisa, if
you're still out there I could send you some</FONT></FONT>
<BR><FONT FACE="Arial,Helvetica"><FONT SIZE=-1>photo's FINALLY), a lady's
day dress, and an original lingerie dress I</FONT></FONT>
<BR><FONT FACE="Arial,Helvetica"><FONT SIZE=-1>can wear on thin days. I'm
tempted to do a black gown for a war widow</FONT></FONT>
<BR><FONT FACE="Arial,Helvetica"><FONT SIZE=-1>and I'm kicking myself for
not purchasing an original last summer.</FONT></FONT><FONT FACE="Arial,Helvetica"><FONT SIZE=-1></FONT></FONT>

<P><FONT FACE="Arial,Helvetica"><FONT SIZE=-1>As well as Regency, I'm becoming
interested in 18th c. and am dying to</FONT></FONT>
<BR><FONT FACE="Arial,Helvetica"><FONT SIZE=-1>do a sack-back gown. It's
becoming an obsession. I'm still moping over</FONT></FONT>
<BR><FONT FACE="Arial,Helvetica"><FONT SIZE=-1>some perfect sari silk I
found, sadly, not enough for a sacque! I've</FONT></FONT>
<BR><FONT FACE="Arial,Helvetica"><FONT SIZE=-1>purchased some really dreary
blue-grey linen-wool check to do a c. 1850</FONT></FONT>
<BR><FONT FACE="Arial,Helvetica"><FONT SIZE=-1>workingman's dress to "go
with" our house, and to accompany my husband</FONT></FONT>
<BR><FONT FACE="Arial,Helvetica"><FONT SIZE=-1>to the occasional Civil
War event. At heart, the Victorian period (except for</FONT></FONT>
<BR><FONT FACE="Arial,Helvetica"><FONT SIZE=-1>leg of mutton sleeves later)
leaves me cold - I'm a modern type and suit plain,</FONT></FONT>
<BR><FONT FACE="Arial,Helvetica"><FONT SIZE=-1>sleek styles - no frou-frou.</FONT></FONT><FONT FACE="Arial,Helvetica"><FONT SIZE=-1></FONT></FONT>

<P><FONT FACE="Arial,Helvetica"><FONT SIZE=-1>Well, enough of me, what
about you?</FONT></FONT><FONT FACE="Arial,Helvetica"><FONT SIZE=-1></FONT></FONT>

<P><FONT FACE="Arial,Helvetica"><FONT SIZE=-1>Sheridan Alder</FONT></FONT></HTML>

--------------AF674BFB9990CEEF48445144--

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From owner-h-costume@indra.com  Thu Feb  4 19:36:42 1999
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From: "Carstensen" <eccentri@m5.sprynet.com>
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-Poster: "Carstensen" <eccentri@m5.sprynet.com>

For an example of a calash in a movie, check out 1776.  There's a 
charming scene where Thomas Jefferson's wife is a bit bewildered 
about how to wear the new calash he bought for her.

It figures that although I've only seen that movie once over 20 years 
ago, the one scene I remember focusses on the costumes.  :)


TC Carstensen
<eccentri@sprynet.com>
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From: WICKHAM  Raymond <raymond.wickham@customs.gov.au>
To: h-costume@indra.com
Subject: H-COST: What to wear at fancy dress balls
Date: Fri, 5 Feb 1999 11:37:00 +1100
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-Poster: WICKHAM  Raymond <raymond.wickham@customs.gov.au>

	There seem to be some people on this list that are interested in
information about clothing of the 1890's
	Possibly in a professional capacity

	I have just received a catalogue from a book seller with a book
that may be of interest to on such as these

	It is 
	Fancy dress described or (What to wear at fancy dress balls) by
Ardern Holt Pub by Debenham and Freebody
	6th edit  dated at 1890 decribed as having several hundreds oif
suggestions described and illustrated in colour and monochrome including
a lady dressed as a hornet with a wasp waist 

	For info 

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

>
>
> It is "Exercises for Ladies" by Donald Wlaker
> The description states
> Calculated tpo preserve and improve beauty and to prevent and correct
> personal defects, inseperable from constrained or careless habits.
> Founded on Physological principles. Pub Thomas Hurst 1837 ewith
> engravings showing variu=ous exercises, right and wrong postures for
> various activities and also showing Gearys exercise stays
> Just don't ask the price

Instructions for posture and walking were taught by dance masters,
particularly intensively in the 18th century, and therefore are sometimes
printed in dance manuals.   (In the19th century posture was not identical to
that of the 18th century and varied over the decades.)   Physical deportment
was viewed as an acquired art, not the work of nature, and was a visible
indication of social class.

A modern book, _The Life and Works of John Weaver_, by Richard Ralph,
published by Dance Horizons, includes Weaver's 18th-century writings on
"Standing" and "Walking," as well as bows and courtesies.   It is a huge
book (1075 pages) and therefore probably expensive (I can't find a price on
the jacket) but is probably available in libraries.

The Library of Congress dance manual web site:

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

has many useful works you can read or download free, including the
following:

John Essex's 1728 _The Dancing-Master:  Or The Art of Dancing Explained_ (a
translation of a French manual by Rameau) includes sections on "Of the
Manner of disposing the Body," "Of the Manner of Walking well," and "Of the
Manner how Women ought to walk and appear gracefully," as well as
instructions on honors (a standard) and how men should remove and replace
their hats.

James Cassidy's _A Treatise on the Theory and Practice of Dancing_,
published in 1810, contains no actual dance choreographies or steps.
However, it does contain sections on "Choice of Music, Bodily Defects,
etc.," "Of the Deportment of the Body," and "On Aukwardness and Affectation,
as to the Deportment of the Body."

The _Assistant for A. Dodworth's Pupils_, by Allen Dodworth (both the 1873
and the 1878 editions are on-line) gives some insight into the manners and
deportment taught to boys (rather than adults) in addition to dancing.  If I
remember right, his admonitions include telling them not to slam the door
when they enter and leave the room.

There are many other good manuals on the site, from 16th century (those are
mostly well-known ones that have been reprinted) to about 1920.

Fran Grimble



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Subject: Re: H-COST: Posture
To: h-costume@indra.com
Date: Thu, 4 Feb 1999 19:13:58 -0600 (CST)
In-Reply-To: <Pine.SUN.3.90.990205103136.4918D-100000@pilot> from "The Purple Elephant" at Feb 5, 99 10:37:45 am
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-Poster: Marie Schulte <mschulte@post.its.mcw.edu>

... and for those of you with bad lower backs...
Whenever I have seen a physician or physical therapist for my back, they
*emphasize* the need for good abdominal muscles to help you keep your back
straight.  

...just don't ask if I actually do crunches or sit-ups....or remember all
the good exercises I'm supposed to do daily.  ;)

-marie
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-Poster: Margo Anderson <margo@directcon.net>


>…"Upper-class children were put into “stays” from the age of 2-4 on.  On
top of that, those whose posture wasn’t turning out right were “boarded,”
i.e. a shaped board bound onto their backs for 3-4 hours per day or more. "
>
>Was this the backboard that was like a narrow bed that the poor child had
to lie on, or was it actually "worn".

I've seen watercolors done by a child of this period that show girls wearing
them.  they seem to consist of a heart shaped piece of wood, strapped to the
back, with a cross bar at arm level, across which I believe the arms were
held but not strapped.  One of the pictures shows a weeping child who is
being punished for removing her backboard, which lies on the ground at her
feet, showing straps to secure it to the torso but none at the wrists.


>Also, how do you acquire the  splayed feet posture, it is very difficult today.



It is most commonly acquired these days by years of ballet classes.  Most
ballet dancers have a distinct "duck walk" offstage.

Margo Anderson

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-Poster: Joan M Jurancich <joanj@quiknet.com>

At 12:56 PM 02/03/1999 -0800, Vickers, Jill wrote:
>
>-Poster: "Vickers, Jill" <jvickers@TELESENSORY.com>
>
>
>For most of you this must be an elementary question, but I haven't taken a
>textiles class yet so please bear with me!
>
>While perusing one of my books that has illustrations from Godey's, I
>noticed that when the clothing is being described sometimes the term "cloth"
>is used seemingly to indicate the type of fabric being used.  What fabric do
>they mean?  The only one I can think of that may be appropriate is cotton,
>but if that's it, why didn't they call it just that?
>
>-Jill

Most of the time in the 19th century references, "cloth" means woolen cloth.
Cottons, linens and silks were typically specifically named.

And in fact that usage of "cloth" did continue into at least the 1950s in
some parts of the USA; I remember that one line Richard Nixon, when he ran
for Vice President, used about his wife was that she wore "a good Republican
cloth coat".

Joan Jurancich
Sacramento, CA
joanj@quiknet.com

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Subject: Re: H-COST: what's a calash?
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-Poster: "Kathryn L. Herb" <kayherb@juno.com>



1776 the musical?  I'm not familiar with another film by that name, but I
don't remember a calash in the musical.  Now, darn it, I'm going to have
to drag that tape out and stay up all night looking for it!  <g>

Kay
kayherb@juno.com



On Thu, 4 Feb 1999 19:34:08 -0500 "Carstensen" <eccentri@m5.sprynet.com>
writes:
>
>-Poster: "Carstensen" <eccentri@m5.sprynet.com>
>
>For an example of a calash in a movie, check out 1776.  There's a 
>charming scene where Thomas Jefferson's wife is a bit bewildered 
>about how to wear the new calash he bought for her.
>
>It figures that although I've only seen that movie once over 20 years 
>ago, the one scene I remember focusses on the costumes.  :)
>
>
>TC Carstensen
><eccentri@sprynet.com>
> _________________________________________________________________
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> with the message UNSUBSCRIBE H-COSTUME
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-Poster: "Kathryn L. Herb" <kayherb@juno.com>



Deborah,

Dark green silk?  (Seems to be a lot of what I've seen.)  How firmly
stuffed is it?  Do you know where I can write for information?  I'm
fascinated, and would probably venture to make one if I knew more about
it.  (Someday when they're looking through my estate they'll probably
find a trunk full of repro calashes -- wish I'd be there to see and hear
what they make of _that_!!! <EG>)

Kay
kayherb@juno.com



On Thu, 4 Feb 1999 08:30:43 -0500 pulliam@acadia.net (Deborah Pulliam)
writes:
>
>-Poster: pulliam@acadia.net (Deborah Pulliam)
>
><<Someone from north of me (Historic Deerfield, maybe? --
>where's those e-mails when you really need them????!) has seen one 
>that's
>lightly stuffed -- conjecture here being that it was warmer for the
>northern climes.>>
>
>I have seen one here in Maine that's green silk, stuffed with wool 
>fleece.
>Looks to be quite warm. Probably dates to about 1800.
>
>
>
>Deborah
>
>
> _________________________________________________________________
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> with the message UNSUBSCRIBE H-COSTUME
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From owner-h-costume@indra.com  Thu Feb  4 21:32:51 1999
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-Poster: Lavolta Press <lavolta@best.com>

> It is most commonly acquired these days by years of ballet classes.  Most
> ballet dancers have a distinct "duck walk" offstage.
>

That's because ballet and some other forms of dance are the only places people use
turnout these days.  However, you don't have to do ballet for years to learn to walk
with turnout, or to learn other aspects of period posture.  Just (a) learn exactly
what it is you want to do from period manuals or instructors who have researched
them (b) practice those movements/deportment at home at least twice a week (the more
the better) and (c) and pay attention to using those skills when out in costume.
There is no need to learn any actual ballet steps--unless, of course, you want to do
ballet.

Fran

----------------------------------------------
Visit our web sites!
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-Poster: margo king <mkings@earthlink.net>

Ray  - Where can I get the book you mentioned? What catalogue was it in?
You obviously get better (more intersting) catalogues than I do! Also
you can send thebook about body brce to me at: Margo King, 8900 Potomac
Station Lane, Potomac MD 20854  USA. Let me know how much money you need
for postage. Many thanks - Margo

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From owner-h-costume@indra.com  Thu Feb  4 22:06:36 1999
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-Poster: Appin1@aol.com

I recently saw an authentic calash ( NOT a repro). It was lined as you
described and the channels were stitched through the two layers of fabric,
then the reeds were inserted. It was lovely and in good condition. I don't
remember any ruching.

Kathleen Norvell
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-Poster: Appin1@aol.com

Diana -- I don't know where you live in the U.K., but I know there are
assemblies at Bath (at the Assembly Rooms, of course) where they do English
Country dancing in period clothing, like 18th and early 19th century. There is
a big English Civil War circuit there.I'm sure Kate Bunting could give you
information on ECW activities. In Scotland there is the White Cockade Society,
which participates in mid 18th century events associated with the Jacobite
rebellion.

Hope you find some interesting events over there.

Kathleen Norvell
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From owner-h-costume@indra.com  Thu Feb  4 23:40:43 1999
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-Poster: Heather Law <lynnx@mc.net>

I could be wrong, but I think Period Patterns may have a pattern for
one.
BTW, we will have either a workshop or lecture on historic hats and
headdresses at DucKon this June!
Carol Mitchell
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-Poster: Schiap1@aol.com


In a message dated 2/4/99 12:58:31 PM, you wrote:

<<schaeff@nh.ultranet.com>>

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From owner-h-costume@indra.com  Fri Feb  5 01:21:21 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>

 I've been looking at late 15th century (post 1485)/early 16th century 
clothing in England and France, with the aim of making myself one
of those square necked, wide-sleeved gowns. I have a couple of questions...
 Those dresses are rarely shown from the back, and when they are, they
seem to mostly have low, v-necked backs, often laced. I've only found
one piccy in a tapestry of what might be one with a high round neck. Also
if I recall correctly, in Hunnisett, in the section on the Jane Seymour
gown it says something like that it needs a v-back so it doesn't fall off
the shoulders. This seems counter-intuitive to me. Wouldn't a wide
square neck with a v-back fall of the shoulders more easily? 
Would v-backs have been universal? Or would something else have been used?

The hoods worn with these dresses seem to have many variations, but leaving
aside gable hoods, there are quite a few that look like the women are
wearing something that might evolve into the French hood underneath. 
Boucher says this is a 'headband' and other writers say it is an undercap,
but it looks nothing like a coif. Any ideas how it might be made?

------------------------------------------------------------------------------
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  Fri Feb  5 05:09:24 1999
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-Poster: "KATE M BUNTING" <K.M.Bunting@derby.ac.uk>

Sally Ann suggested I supply info. on English Civil War events in April; well, the Sealed Knot is not staging a major muster at Easter this year, but there is an event at Torrington in Devon then, if Sidne is going as far as the West Country. Also, on April 25th Cromwell's 400th birthday is being celebrated at Huntingdon with living history including music and dance (the group to which I belong is providing the music).

Kate Bunting
King's Lifeguard of Foote, Sealed Knot
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-Poster: Cynthia Virtue <cvirtue@ricochet.net>

WICKHAM Raymond wrote:
>         Fancy dress described or (What to wear at fancy dress balls)

I presume this is, then, the British term "Fancy Dress Ball" which we on the
other side of the Atlantic would call a Costume Ball?  And what would a ball
to which folks were supposed to wear formal modern clothing be called in
England?  The book sounds very interesting.

cv
proving that you can learn things from Black Adder
=-=-=-=-=
  "Such virtue hath my pen...."  -Shakespeare, Sonnet LXXXI
       "I knew this wasn't _my_ pen!"  --Cynthia Virtue
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-Poster: "KATE M BUNTING" <K.M.Bunting@derby.ac.uk>

Lynn Downward asked "What happened in the middle?"

I assume you mean between the "falling bands" of the early/mid 17th century and the cravat? Well, I know that some of William Dobson's portraits of Royalist officers show a lace-edged collar gathered into a bunch in front by a bow of ribbon, presumably for convenience when in action. I've also seen pictures from later in the century showing the cravat similarly tied with ribbon. Also, there's a story that Prince Rupert "invented" the cravat by tying a laced handkerchief round his neck when he couldn't find a clean collar. It's my guess that the cravat evolved because a flat piece of linen was easier to launder than a shaped collar.

Kate Bunting
King's Lifeguard of foote, Sealed Knot
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------ =_NextPart_000_01BE50D7.C8B8D660
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I teach smocking and I can offer some advice as well as books on the subject. Please feel free to contact me off list. 

Kat Hargus
owner, Making Time
www.makingtime.com


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From owner-h-costume@indra.com  Fri Feb  5 08:24:15 1999
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-Poster: Jennie Chancey <jchancey@rica.net>

Gosh, this is one area that is so hard to explain -- you just kind of
learn by doing.  At least, that's what I've done.  My mother got me
started out early on, since she can make patterns from pictures of
garments.  From there, it was just years of trial and error and lots of
practice.  I'm sure there are design courses available (G Street Fabrics
here on the East Coast offers them), but I've never yet taken one.

As for ready-made historical patterns, try Harper House at
http://www.longago.com. They have a catalogue chock-full of period
patterns for just about any era you can think of.

Hope this helps!
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  Fri Feb  5 09:06:24 1999
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From: pulliam@acadia.net (Deborah Pulliam)
Subject: H-COST: cloth coats
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-Poster: pulliam@acadia.net (Deborah Pulliam)

<<And in fact that usage of "cloth" did continue into at least the 1950s in
some parts of the USA; I remember that one line Richard Nixon, when he ran
for Vice President, used about his wife was that she wore "a good Republican
cloth coat".>>

I believe Nixon was actually making the point that Pat did not wear a fur coat.



Deborah


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From owner-h-costume@indra.com  Fri Feb  5 10:10:09 1999
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-Poster: Kristin Page <kdp@tiac.net>

My grandmother was born in the 1860's and died about a hundred years later;
she used the word "cloth" to describe evenly woven (or nearly so) unbrushed
woolen fabric in a tabby (plain weave).  Weight of the fabric didn't seem
to matter to her -- gauze to blanket-weight, it was all "cloth" when she
spoke of it.  When the weave changed she'd use another word ( twill, repp,
etc.)



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From owner-h-costume@indra.com  Fri Feb  5 10:36:48 1999
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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: H-COST: Rullions
Date: Fri, 5 Feb 1999 09:42:11 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

For more discussion of rullions, pampootles, the other words
for the rawhide shoes, see I. Marc Carlson's excellent
discussion, drawings, cutting diagrams, and bibliographic
references at
http://www.pbm.com/~lindahl/carlson/SHOES/SHOE57.HTM and
http://www.pbm.com/~lindahl/carlson/SLIST2.HTM.

"These were refered to as "Rifeling" in Saxon (aka
Riwelingas, Rewylynys, Rowlingas, Rulyions, Rullions,
Rivilin (in the Shetlands), Rivelins (in Scotland and the
Orkneys), Pampooties in the Aran Islands, Skin-Sko in
Iceland, amd Cuaran in Gaelic."

Hope H. Dunlap


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From owner-h-costume@indra.com  Fri Feb  5 12:13:31 1999
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From: "Jessica Wilbur" <jessica@pop.net>
To: h-costume@indra.com
Date: Fri, 5 Feb 1999 12:15:19 -0500
Subject: Re: H-COST: Henry VIII hat
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-Poster: "Jessica Wilbur" <jessica@pop.net>

Queta's Closet also makes a Tudor/Elizabethan flat cap pattern. Green Duck sells them.

http://www.greenduck.com

--Jessica

> 
> -Poster: Heather Law <lynnx@mc.net>
> 
> I could be wrong, but I think Period Patterns may have a pattern for
> one.
> BTW, we will have either a workshop or lecture on historic hats and
> headdresses at DucKon this June!
> Carol Mitchell
>  _________________________________________________________________
>  To leave this mailing list, send mail to majordomo@indra.com
>  with the message UNSUBSCRIBE H-COSTUME
> 


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From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: Re: H-COST: Elizabethan tall hat
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>

Try the patterns given in Janet Arnold's Patterns of Fashion.  Keep the
brim narrow and the sides sloping slightly inward and you should be fine.
The sides are the same height all the way around, and the top is flat.

>Anyone made one of these recently?  I'm trying to make up a paper pattern
>from Elizabethan Costuming from Winter and Savoy and am having problems.  It
>just seems to look like a cowboy hat.  HELP!
>


Kayta
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Subject: Re: H-COST: Elizabethan tall hat
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>


>How tall should the side be?  I've cut the brim down and it looks better,
>but still not right.  At this moment the sides are about 5 inches, down from
>the 6 inches that the instructions state.

No shorter than 4".  Proportion the height to the height of the eventual
wearer.


Kayta
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From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: Re: H-COST: Re: Costume Con and rust stains 
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>


>
>Rhubarb has oxalic acid in it....also a plant that grows here called 
>'soursob'. It's reasonably poisonous when ingested.....

There's a weed which grows in California called oxalis.  It has clover-like
leaves and acid yellow flowers.  Lots of oxalic acid there, and not
poisonous to eat (we used to chew on it as kids).  It may stain green.


Kayta
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From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: Re: H-COST: Favourite Costumes
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>


>> 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?

Favourite period(s) - 1890-1910

Most often re-enacted - 1500-1600 German, 1850's-1860's.


Kayta
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Date: Wed, 03 Feb 1999 23:01:57 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: H-COST: Sealed Knot Society
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>

Is there any chapter you know of as far away as California?  Not that the
English had much of a presence here at that time... ;)

>PS: My favourite costumes are mid-17th century as I reenact the English 
>Civil War period. My interest grew from joining the Sealed Knot many years 
>ago, as it was the only re-enactment society I knew of at the time. Before 
>that I loved the Regency (Napoleonic) period but I don't own any costumes of 
>that era.
>
>Kate Bunting
>King's Lifeguard of Foote, Sealed Knot
>(Library, University of Derby)
>


Kayta
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Date: Fri, 05 Feb 1999 09:13:22 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: Re: H-COST: Tudor Help
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>

Find an Alter Years catalog and look up the pattern ratings in there.  Some
historical patterns cost you more in refitting and debugging time than they
are worth.  I seem to recall a Tudor one with such a bad rating - rated by
experienced sewers who had used it.  Alternatively, find someone who has
made one of these dresses and use her/his pattern.  

In either case, make fit a muslin before cutting into your brocade (you
knew that).

>I found a BEAUTIFUL gray silk damask that I can almost afford tonight. It
>would make a lovely Tudor dress, with a pink underskirt and sleeves trimmed
>with pearls, and a black velvet French hood...
>
>Now I need help finding patterns and instructions. I'd like to make it in a
>fairly period correct method, undergarments and all, dating probably 1530s-
>ish. I really don't know WHERE to start. Any hints?
>
>-Alison (who has always wanted a Tudor dress....) Stacy



Kayta
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From owner-h-costume@indra.com  Fri Feb  5 12:22:01 1999
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Date: Fri, 05 Feb 1999 09:09:04 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: H-COST: European ethnic costumes
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>

>I usually lurk in here most of the time.  But this thread just has to bring
>me out . . . I'm very interested in European ethnic costume, and Indian and
>Middle Eastern costumes as well.  

Are there any good recent books out on European ethnic costumes?  I have
the one with the Victor Ambrus illustrations in it, I have some 1940's
books with coloured redrawings for pictures, I have the Handbuch der
Deutchen Tracht, and I have Tilke, but I'm looking for something with
modern colour photos.  I looked at one such book (and of course I forgot
the name of it) which had a few photos of actual garments, but these were
displayed flat without models to wear them.  I didn't buy it.  I'd rather
have one with photos of people in the garments.  Modern colour photos would
be nice, but older black and white ones would do too.  I'd prefer something
covering Scandinavia, Eastern Europe, and the Balkans, as I want to compare
laced bodices and embroidered shirts.  


Kayta
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From owner-h-costume@indra.com  Fri Feb  5 12:38:39 1999
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Subject: H-COST: winter calash
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-Poster: pulliam@acadia.net (Deborah Pulliam)

<<Dark green silk?  (Seems to be a lot of what I've seen.)  How firmly
stuffed is it?  Do you know where I can write for information? >>

Sorry, it's in a private collection. I'll try to remember to look at it
more closely when I go back to work on some other stuff.

I think I'd describe it as medium hunter green, with a black lining (all
silk). It has a small cape (maybe six inches deep.) It's firmly stuffed,
enough to keep its shape after all these years, although a bit of the
lining has rotted away. There is an inner lining, probably of linen,
presumably to keep the shape.

Deborah


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Date: Fri, 05 Feb 1999 09:16:32 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: H-COST: Medieval panties?
In-Reply-To: <Pine.GSO.4.05.9902031741490.8638-100000@uhunix1>
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>

Please post the pictures.  I think the one in underwear is a man.

>	And speaking of panty lines, here's another question for the great
>panty debate. If anyone has Ludmila Kybalova's Pictorial Encyclopedia of
>Fashion, what do you think of figure 767?  The caption reads
>	'Master with the Bandrolle'.  Bathing Women.  Woodcut.  Gothic
>	women used in general to bathe naked.
>Sorry, I can't find any other reference than that.  The part of the
>woodcut that is shown shows two nude women and another person who is
>wearing tie-at-the-hip bikini bottoms.  I can't decide whether that
>person is a woman or a man.  I can't really tell by the hair or face and
>the bare breasts could be those of a man or a not-very-busty woman.
>
>	If it's a woman, this is the only picture I've seen that gives
>evidence that medieval women wore panties.  Has anyone seen the full
>woodcut?  If we knew what else is in it and the context in which it was
>done it would help.  Brothel bathhouse scene?  Something allegorical?  It
>kind of looks German to me.  The briefs are the same style that I've seen
>in some Durer paintings.  I'm willing to scan the picture and post it
>somewhere if anyone wants to take a look.


Kayta
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From owner-h-costume@indra.com  Fri Feb  5 13:11:48 1999
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Date: Fri, 05 Feb 1999 21:44:04 +0100
From: Andrea Clef <a.clef@ndh.net>
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-Poster: Andrea Clef <a.clef@ndh.net>

Hello!

I can only affirm that you get an upright posture from classical ballet
training.
I have ballet training once a week since 16 years now and people see it.

Often I`m asked :"Do you dance ballet?" when they`ve seen me for some
minutes.

I seem to walk and sit quite upright, I don`t really notice that myself.

My feet are turned out only a little but my friend who wants to become a
ballet dancer
and has lessons every day walks very turned out.
The dancing definitely influences the posture.

Greetings,
Diana

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-Poster: Andrea Clef <a.clef@ndh.net>


--------------0E30EA4EDF3F809DCE49994B
Content-Type: text/plain; charset=us-ascii
Content-Transfer-Encoding: 7bit

Hi Yo!

So you`re also here-great!


> i believe there are more costumers in europe than we know about. could you
> live
> with a costume con in, say, italy? or UK? then how about creating a euro
> costume society? i've mised that for too long!
>
> ciao,
> yo
>
I don`t mind in which country the Costume Con takes place, fortunately
there is
something like that in the UK, you probably read this as well by now.
And for the European costume society- yes yes yes !!!


Greetings,
Diana


--------------0E30EA4EDF3F809DCE49994B
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<HTML>
Hi Yo!

<P>So you`re also here-great!
<BR>&nbsp;
<BLOCKQUOTE TYPE=CITE>
<PRE>i believe there are more costumers in europe than we know about. could you
live
with a costume con in, say, italy? or UK? then how about creating a euro
costume society? i've mised that for too long!

ciao,
yo</PRE>
</BLOCKQUOTE>
I don`t mind in which country the Costume Con takes place, fortunately
there is
<BR>something like that in the UK, you probably read this as well by now.
<BR>And for the European costume society- yes yes yes !!!
<BR>&nbsp;

<P>Greetings,
<BR>Diana
<BR>&nbsp;</HTML>

--------------0E30EA4EDF3F809DCE49994B--

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-Poster: ches <ches@io.com>

Amazon Dry Goods sells it in the US for 139.95 1-800-798-7979

On Fri, 5 Feb 1999, WICKHAM  Raymond wrote:

> Date: Fri, 5 Feb 1999 11:59:55 -0600
> From: WICKHAM  Raymond <raymond.wickham@customs.gov.au>
> Reply-To: sca-garb@coollist.com
> To: sca-garb@coollist.com
> Subject: Queen Elizabeths Wardrobe unlocked
> 
> Greetings and Salutations
> 	Over time gentles have expressed an interest in certain books
> that are central to certain costuming periods
> A book seller in the UK has just informed me that she can order with
> little trouble new copies of Queen Elizabeth's Wardrobe unlocked pub
> 1988 being the inventories of the wardrobe of robes prepared in July
> 1600 edited from Stowe Ms 557 in the British library, Ms LR 2/121 in the
> Public Record Office London, and Ms V b 72 in the Folger Shakespeare
> Library Washington DC edited with comment by Janet Arnold Photos and
> engravings for
> 
> 75	UK pounds will also quote mailing costs upfront 
> 
> Any one interested
> If any one wants individual details of some UK books suppliers who send
> catalogue I have a few of these
> 
> Damocles Truhart
>   
> 
> __________________________________________________________________
> Free mailing list by Cool List. http://www.coollist.com
> 
> 
> 
> ##Unsubscribe automatically at http://remove.coollist.com
> 

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From owner-h-costume@indra.com  Fri Feb  5 13:22:59 1999
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Date: Fri, 5 Feb 1999 13:24:54 -0500
To: h-costume-digest@indra.com
From: pulliam@acadia.net (Deborah Pulliam)
Subject: H-COST: fancy dress
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-Poster: pulliam@acadia.net (Deborah Pulliam)

<<I presume this is, then, the British term "Fancy Dress Ball" which we on the
other side of the Atlantic would call a Costume Ball?  And what would a ball
to which folks were supposed to wear formal modern clothing be called in
England?  The book sounds very interesting.>>


Fancy Dress was quite popular with the upper classes in 19c and early 20c
England, when there was a fad for finding 17 c clothing in your attic and
reworking it to wear. Some people simply had new clothing made in old
styles, which explains some of the strange clothing found in English
collections -- style may be 17c, but sewing techniques and shaping aren't.
The clothing was also used in portraiture and paintings. If you've read
DuMaurier's Rebecca, you probably remember the scene when the new Mrs.
DeWinter has a gown made to replicate that worn in a 17c portrait (for
those who haven't read it, I won't tell you the result!)

Clothing for a ball would be simply  dress, or formal wear (what is known
today as white tie, black tie being morning wear.) People assumed that
their peers knew what kind of clothing to wear for any occasion, so it
would have been rude to indicate "full dress", because everyone knew what
to wear in the evening. On the other hand, sometimes "don't dress" might be
indicated, in case of an emergency, or unusual circumstances.


Deborah


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From owner-h-costume@indra.com  Fri Feb  5 14:19:45 1999
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From: WICKHAM  Raymond <raymond.wickham@customs.gov.au>
To: h-costume@indra.com
Subject: H-COST: An Antique textile fair in Manchester
Date: Sat, 6 Feb 1999 06:21:21 +1100
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-Poster: WICKHAM  Raymond <raymond.wickham@customs.gov.au>

I have heard a rumour of an Antique textile faire in Manchester UK on
the 21st March
Can any one give me some details and if they are running a web site

Ray

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From owner-h-costume@indra.com  Fri Feb  5 14:40:58 1999
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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: naval reenactors?
Date: Fri, 5 Feb 1999 13:42:15 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

I did some research on this recently and found all the info
in books on the famous world explorers, the age of
exploration, etc. many of which are in the juvenile section
of libraries, some in adult sections.  They made many
drawings and took lots of notes, so when you get to the
info, its a gold mine.  Whaling and fisheries may yeild a
result also.

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, February 03, 1999 9:59 AM
To: h-costume-digest@indra.com
Subject: H-COST: naval reenactors?



-Poster: Gaelscot@aol.com



I know there used to be a few people on this list who did
16th century
shipboard reenactment. If you are still there, will you
please email me off-
list? I have a couple of very specific research questions
that will probably
be very easy for you to answer, but I have no idea where to
even begin
looking. Thanks!!!!

Gail Finke
gaelscot@aol.com


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From owner-h-costume@indra.com  Fri Feb  5 15:53:56 1999
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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: Posture 18C and 1960s
Date: Fri, 5 Feb 1999 15:31:28 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

We were harangued by our mothers and older female relatives
to sit like that.  We were told we were lucky because in the
50's it was acceptable to actually lean against the back of
a straight style chair, which, we were told repeatedly, our
grandmothers were never permitted to do.  Now I know they
wore stays, and no wonder they were able to sit like that
for so long.  In fact, they couldn't have leaned back if
they'd wanted to.  When I was a girl, it was explained that
moral fiber held our grandmothers up, and the corollary
message was that if you didn't sit up straight, you wouldn't
have any moral fiber when you grew up, and that would truly
be unacceptable, tarnish the family's reputation, and it
went on and on....

Hope H. Dunlap

-----Original Message-----
From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
Behalf Of Dora Barnes
Sent: Thursday, February 04, 1999 4:43 AM
To: h-costume@indra.com
Subject: H-COST: Posture 18C and 1960s



-Poster: Dora Barnes <dorabarnes@yahoo.com>


>From Dora

Just to add to the posture discussion - it was not only the
18C stays
that changed(improved?) posture.  If you look at 1950 and
early 1960
movies (and old TV shows) you will see that we sat and
walked
differently then. Try the old Doris Day movies.  You can
often see
that women tended to perch on the front of chairs rather
than sitting
right back.

And why did they sit like that ?  Anybody who remembers the
struggle
to get into early 1960s firm control lingerie will know that
it's a
lot easier to get up afterwards.

Dora






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From owner-h-costume@indra.com  Fri Feb  5 17:17:51 1999
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-Poster: Marionetta@aol.com


Hi all,
This is probably a stupid question but the discussion about cloth got me
thinking about another sort of ambiguous term that's tossed around in the
costume books - silk.  Many of my books specify that something is "silk
taffeta" or "silk satin" then the next photo will be of something that is just
"silk."  What is the default silk fabric?

Cheers,

Loren Dearborn
marionetta@aol.com
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From owner-h-costume@indra.com  Fri Feb  5 17:18:01 1999
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Date: Fri, 05 Feb 1999 17:18:06 -0600
From: Sheridan Alder <alderweb@vaxxine.com>
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Subject: H-COST: Quilted petticoat pattern c. 1700-1730
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-Poster: Sheridan Alder <alderweb@vaxxine.com>

I have a vague memory that someone asked for a source for early 18th
century
quilted petticoat patterns recently. Both a whole cloth quilt and a
petticoat of
c. 1700-1730 are illustrated  on pages 20-21 in the following:

"Philadelphia: Three Centuries of American Art. Philadelphia Museum of
Art, 1990.
0-87633-016-2

Found this in a remainder bin in Toronto, and includes a fair number of
garments,
as well as textiles, samplers and paintings which illustrate costume.

Anyone who wants to recreate this item has more skill and patience than
I am
ever likely to possess!

Sheridan Alder



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From owner-h-costume@indra.com  Fri Feb  5 17:37:48 1999
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Date: Fri, 05 Feb 1999 17:19:05 -0800
From: Heather Law <lynnx@mc.net>
Organization: Interstellar Trading Company
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-Poster: Heather Law <lynnx@mc.net>

Please, does anyone have h-cost #100 still on their machine?  It got
erased before I could see it, and I think there is some stuff in there
that I need... If you do, could you please email me *offlist* then
forward a copy my way?  (Please don't just fwd it, my poor ol'16 megs
would choke on 10 or 12 copies, I'll post as soon as (if) I get one.

Thanks in advance,
Heather
lynnx@mc.net
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From: "Frank&Tracy Thallas JR" <hardcorps@vcn.com>
Subject: Re: H-COST: H-COST - Bronzino's "Lady with a Puppy"
Date: Fri, 05 Feb 99 17:04:11 PST
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-Poster: "Frank&Tracy Thallas JR" <hardcorps@vcn.com>

  I'd love to - but my elderly machine doesn't cough up email addys, sigh....

  mine is hardcorps@vcn.com......

Liadain

----------
> I teach smocking and I can offer some advice as well as books on the subject.
> Please feel free to contact me off list.
>
> Kat Hargus
> owner, Making Time
> www.makingtime.com
>


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From owner-h-costume@indra.com  Fri Feb  5 18:08:16 1999
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From: "Vickers, Jill" <jvickers@TELESENSORY.com>
To: "'h-costume@indra.com'" <h-costume@indra.com>
Subject: RE: H-COST: Fabric Question
Date: Fri, 5 Feb 1999 15:09:59 -0800 
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-Poster: "Vickers, Jill" <jvickers@TELESENSORY.com>


That being said, the book I was reading (Stella Blum's "Fashions and
Costumes 
from Godey's Lady's Book" ) had no references to cotton clothing that I can
recall.  
Is that because cotton was more typically used in working class clothing or 
underpinnings rather than in upper-class/high fashion clothing, or is it a
more 
regional thing where cotton would figure more in American fashions than in 
European?

Also, my understanding is that Godey's toned down their European fashions
for
American consumption (please correct me if I'm mistaken).

-Jill

> -Poster: Joan M Jurancich <joanj@quiknet.com>
> 
> 
> Most of the time in the 19th century references, "cloth" means woolen
> cloth.
> Cottons, linens and silks were typically specifically named.
> 
> 
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-Poster: Sidne Kneeland <skskaw@worldaccessnet.com>

Greetings -- Thanks, that helps a lot!  :)

SK


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From owner-h-costume@indra.com  Fri Feb  5 18:44:37 1999
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From: pulliam@acadia.net (Deborah Pulliam)
Subject: H-COST: Antique textile fair in Manchester
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-Poster: pulliam@acadia.net (Deborah Pulliam)

<<I have heard a rumour of an Antique textile faire in Manchester UK on
the 21st March
Can any one give me some details and if they are running a web site>>

This is an annual event, but I do not know if they have a website. It's
usually well-advertised, and announced in the Costume Society newsletter.




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From owner-h-costume@indra.com  Fri Feb  5 18:45:23 1999
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-Poster: pulliam@acadia.net (Deborah Pulliam)

<<What is the default silk fabric?>>

There really isn't , any more than there is a default cotton or wool
fabric. Silk is the material, but you need to identify more than just that.

Satin is one particular weave structure, which can be made with silk, wool
or various synthetics. Ditto for velvets, taffetas, etc.

How it's identified usually depends on the book  (or author), and what
they're identifying. If it's  a plain tabby weave, they may not think it's
necessary to identify it so (or they may not know or care.)

Deborah


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From owner-h-costume@indra.com  Fri Feb  5 19:00:59 1999
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-Poster: Heather Law <lynnx@mc.net>

Got H-COST 100, thanks goes to Mary Mcguire.  And to anyone else who
looked to see if they had it.
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From: CDepner26@webtv.net (Harold Hensley)
Date: Fri, 5 Feb 1999 20:18:50 -0500 (EST)
To: h-costume@indra.com
Subject: H-COST: Elizabethan Gloves
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-Poster: CDepner26@webtv.net (Harold Hensley)

I'm looking for information on Elizabethan gloves.  I have tried to find
several books, however they are out of print, and virtually impossible
to find.  I need to know how they were cut and contructed.   

Melissa

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Subject: Re: H-COST: Calashes - How to Line
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-Poster: "Kathryn L. Herb" <kayherb@juno.com>



(kissing your feet!)  Thanks, Kathleen!  By any chance, do you remember
whether there was a bow attached to the back?  I've seen this, but it
seems to me that it was a later affectation.

Kay Herb
kayherb@juno.com



On Thu, 4 Feb 1999 22:02:33 EST Appin1@aol.com writes:
>
>-Poster: Appin1@aol.com
>
>I recently saw an authentic calash ( NOT a repro). It was lined as you
>described and the channels were stitched through the two layers of 
>fabric,
>then the reeds were inserted. It was lovely and in good condition. I 
>don't
>remember any ruching.
>
>Kathleen Norvell
> _________________________________________________________________
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-Poster: "Kathryn L. Herb" <kayherb@juno.com>


Deborah,

Do you recall whether it was reeded as well as stuffed?

Kay
kayherb@juno.com




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From owner-h-costume@indra.com  Sat Feb  6 00:27:29 1999
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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: H-COST: 9th Century Dutch Costume
Date: Fri, 5 Feb 1999 18:53:53 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

Well, here is a Dutch historical museum website with the
architecture of the 10 centuries.
http://www.limburgsmuseum.ab-c.nl/presentaties/index.html
There is a figure in this picture of the blow-up model of a
farm building of the year 1000, which suggests a general
costume sillouette for a farmer.  My guess is that his wife
would wear a woolen or linen peplos type garment over a
shirt or chemise, similar to the Anglo-Saxon woman's costume
of the 9th Century.  I forget if I saw it in Dunlevy's or
Tarrant's books.
http://www.limburgsmuseum.ab-c.nl/collectie/maquettes/bleric
k.htm Then again, with my luck, this means "before Christ."
Can Henk help us out?  Also, are you looking for upper,
middle, or lower class?

Hope H. Dunlap


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From owner-h-costume@indra.com  Sat Feb  6 00:32:44 1999
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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: H-COST: Medieval Cloak
Date: Fri, 5 Feb 1999 19:00:14 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

For the beginner, the medieval cloak is a nice starting
project.  You can make it of a square or rectangle pinned
about the shoulders,  a half-circle (with or without a small
half circle removed for the neck), or circular piece of
fabric with a small hole cut out for the head, slit up the
middle of the front and pinned or tied.  Here is WebPages
with simple layout for a half-circle cloak:
http://www.algonet.se/~bjornrud/clothes.html.

Hope H. Dunlap


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From owner-h-costume@indra.com  Sat Feb  6 00:41:16 1999
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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: Quilted petticoat pattern c. 1700-1730
Date: Sat, 6 Feb 1999 00:48:06 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

It was me, and thanks, Sheridan.   Those ladies 1700-1730
had too much time on their hands, or infinite amounts of
money to pay quilters.  No Websurfing to keep them amused,
that's for sure. But I'd better go find it and see what I 'm
up against. I'm hoping that someone among the volunteers who
keep the house going will take this on after I pounce it
out.  Or maybe I'll do 3 or 4 square feet and drape it
half-finished in the house like its inhabitant tossed  down
her work  to receive a visitor.  We'll find a way....
Thanks!

Hope H. Dunlap

-----Original Message-----
From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
Behalf Of Sheridan Alder
Sent: Friday, February 05, 1999 6:18 PM
To: h-costume@indra.com
Subject: H-COST: Quilted petticoat pattern c. 1700-1730



-Poster: Sheridan Alder <alderweb@vaxxine.com>

I have a vague memory that someone asked for a source for
early 18th
century
quilted petticoat patterns recently. Both a whole cloth
quilt and a
petticoat of
c. 1700-1730 are illustrated  on pages 20-21 in the
following:

"Philadelphia: Three Centuries of American Art. Philadelphia
Museum of
Art, 1990.
0-87633-016-2

Found this in a remainder bin in Toronto, and includes a
fair number of
garments,
as well as textiles, samplers and paintings which illustrate
costume.

Anyone who wants to recreate this item has more skill and
patience than
I am
ever likely to possess!

Sheridan Alder




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From owner-h-costume@indra.com  Sat Feb  6 15:19:49 1999
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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: H-COST: Elizabethan Gloves
Date: Sat, 6 Feb 1999 15:26:47 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

There's no one cookbook method for making Elizabethan
gloves, as the geographical region of their origin, social
class, purpose for wear, and gender of the wearer must be
specified, in order to narrow down the multitude of choices.
There is no substitute for looking at Elizabethan gloves in
portraits, and I trust you have access to such materials on
the Web or in books.  If you don't let the List know, and we
can direct you to those references.  Gloves were decorated
in a variety of ways, including embroidery. If you need
references to embroidery patterns of the period, also please
write back.

Regarding construction, start  with these two WebPages:
1000 ~GLOVES <http://www.io.com/ches/gloves.html>
HOW TO MAKE A PAIR OF GLOVES, ONE PAIR AT A TIME Book list,
According to ed. Leonid Tarassuk and Claude Blair: Under
"Gauntlets" Plate gauntlets replaced chain mail gauntlets
worn over leather gloves. "In fact the oldest ...
http://www.io.com/~ches/gloves.html
500 ~Stefan's Florilegium: Gloves, making gloves.
<http://www.pbm.com/lindahl/rialto/gloves-msg.html>
Edited by Mark S. Harris gloves-msg ...)gloves-msg - 6/29/98
Gloves. making gloves. NOTICE - This file is a collection of
various messages having a common theme that I have collected
from my reading of the various computer networks. Some
messages date back to 1989, some may be as recent ...
http://www.pbm.com/~lindahl/rialto/gloves-msg.html
Hope H. Dunlap


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From owner-h-costume@indra.com  Sat Feb  6 15:39:37 1999
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-Poster: Andrea Clef <a.clef@ndh.net>

Hello Lisa and others!

I think the idea of a virtual costume exhibit is excellent!
I own a CD-ROM that features some historical costumes out of an Italian
museum and
one can look at them from all angles and enlarge certain areas.
This is very interesting and helpful for stydying the look and one can
show many
different pieces online.

Unfortunately it would be quite a deal to send some of my pieces
(vintage) over to the
States to get them photographed and back again, so I can`t easily
provide help.
But I`m looking forward to seeing this idea realized.
In my opinion the online museum should give an overview of fashion
history, it
would be most interesting if one can see one or two typical items of a
period, that
would be more appealing to me than seeing many garments of one period.
What do you think?

Good luck with the work!
Diana

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From owner-h-costume@indra.com  Sat Feb  6 17:56:48 1999
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-Poster: AliaClaire@aol.com

In a message dated 2/6/99 3:23:30 PM EST, hhdunlap@email.msn.com writes:

>  If you need
>  references to embroidery patterns of the period, also please
>  write back.


Oh!!!!!

I'm not making any gloves, but I would be VERY interested in some embroidery
patterns. Everything I have right now is 18th or 19th century.

Thank you!

-Alison (who embroiders at speech tournaments, but that's about all anymore)
Stacy
AliaClaire@aol.com
Canton, Ohio
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From owner-h-costume@indra.com  Sat Feb  6 20:27:39 1999
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From: CDepner26@webtv.net (Harold Hensley)
Date: Sat, 6 Feb 1999 20:31:25 -0500 (EST)
To: h-costume@indra.com
Subject: Re: H-COST: Elizabethan Gloves
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-Poster: CDepner26@webtv.net (Harold Hensley)

I could use information on embroidery, as well as, any sources of
reference anyone can provide me with.

Thank you
Melissa

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From owner-h-costume@indra.com  Sat Feb  6 20:34:25 1999
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From: CDepner26@webtv.net (Harold Hensley)
Date: Sat, 6 Feb 1999 20:38:17 -0500 (EST)
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Subject: Re: H-COST: Elizabethan Gloves
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-Poster: CDepner26@webtv.net (Harold Hensley)

I failed to mention in my previous e-mails, that the gloves I would like
to make are  something similar to the ones presented to Queen Elizabeth
on her visit to Oxford in 1566.(pictured in Accessories of Dress p.361)

Melissa

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From owner-h-costume@indra.com  Sat Feb  6 20:49:41 1999
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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: Elizabethan Embroidery and Gloves
Date: Sat, 6 Feb 1999 20:30:01 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

One of our List members is currently offering a reprint of
Sibmacher's Modelbuch (pattern book) of 1597 which is a
major source of embroidery patterns for the period.  Dover
published a reprint of the 1604 Sibmacher's Modelbuch some
time back.  The books show embroidery patterns and motifs
for a number of different types of garments and furnishings,
and some of the patterns are similar to those on glove
gauntlets I've seen in Elizabethan portraits.  The List
member offering the 1597 version is Kathryn Newell, terms
below, per her recent post to me, and I'm buying a copy for
myself, having only seen a page or two here and there in
secondary references, which indicate this is THE reference
for the period.


There are 26 pages of charts (27 black and white patterns,
28 color
patterns) plus 6 pages of introductory text and annotated
bibliography for
a total of 32 pages, saddle stitched, with a color cover.

Cost: $10.00 plus $3.50 shipping & handling (Priority Mail).

VALENTINE's SPECIAL!   Pre order and shipping is free! Send
checks, made
payable to "Kathryn Newell", before February 14 to:

        Kathryn Newell
        100  Mt.Arlington  Blvd.
        Landing, NJ 07850

If you are going to CostumeCon you can pick up your copy
there and I  will
autograph your copy. Otherwise I will autograph and mail
them when I
return. (If you are SCA please indicate which name you'd
like me to
inscribe it to.)

After February 14, please include s& h and send your checks,
made payable
to "Mary Denise Smith" to my publisher/distributor, Mary
Denise Smith
(publisher and editor of "Costume and Dressmaker" magazine:

        Mary Denise Smith
        4500 19th Street, #298
        Boulder, CO 80304

Mary Denise is also my distributor. She will be making
arrangements with
merchants like  Hedgehog Handworks, Poison Pen Press, etc.
This is the end on Kathryn's message.

Blackwork Embroidery patterns are available on the Web at:
http://www.pacificnet.net/~pmarmor/bwarch.html

Crewel stitches, many of which were used in Elizabethan and
Jacobean hangings and costume, are available to learn at:
http:www.anu.edu.au/english/jems/sharon/stitchdictionarycont
ents.html

Don't forget to use http://www.Metacrawler.com for best
results for your further Websearches.

A beautiful, and exquisitely researched and illustrated
secondary reference for English embroidery is Thomasina
Beck's overview book,

Beck, Thomasina. The Embroiderer's Story, Needlework from
the Renaissance to the Present Day, 1995 Devon: UK: David &
Charles, Brunel House, Newton Abbott, Devon, ISBN 0 7153
0238 8

which includes many photographs of period  embroideries now
in museums.  It is a fantastic annotated reference to period
sourcebooks which influenced or disseminated period
embroidery patterns as well, which should be helpful to you
in your further research.  There is at least one
illustration of embroidered gloves in her book.
And also a few thumbnails of cutwork patterns from the 1597
Sibmacher's Modelbuch of the sort which were used on
Elizabethan ruffs, cuffs, etc.

I don't do embroidery very much, but I do love to look at it
and learn about it.  The most recent embroidery piece I did
took an hour, used  foam cut from the center of a
supermarket meat tray for the "fabric,"  various-colored
remnant yarns, and a huge darning needle---for a "card" for
my former kindergarten teacher's 88th birthday.  (I
graduated 43 years ago, by the way.)  It incorporated some
of the crewel stitches I saw on the Stitch Dictionary
WebPages.  I would like to think that veteran Georgian
embroiderer, paper flower crafter, and letter writer, Mrs.
Mary Granville Pendarves Delany, would have approved ....

Hope H. Dunlap









-----Original Message-----
From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
Behalf Of AliaClaire@aol.com
Sent: Saturday, February 06, 1999 6:00 PM
To: h-costume@indra.com
Subject: Re: H-COST: Elizabethan Gloves



-Poster: AliaClaire@aol.com

In a message dated 2/6/99 3:23:30 PM EST,
hhdunlap@email.msn.com writes:

>  If you need
>  references to embroidery patterns of the period, also
please
>  write back.


Oh!!!!!

I'm not making any gloves, but I would be VERY interested in
some embroidery
patterns. Everything I have right now is 18th or 19th
century.

Thank you!

-Alison (who embroiders at speech tournaments, but that's
about all anymore)
Stacy
AliaClaire@aol.com
Canton, Ohio

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From owner-h-costume@indra.com  Sat Feb  6 22:53:15 1999
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-Poster: Tigershado@aol.com

I just dug out one of my old catalogs. Apparently you can order less than $50,
but they charge you $5 if you do. We don't usually have a problem spending
$50. Hmm, think it's about time for another order. ;)

Barbara Corley
Tigershado@aol.com
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From owner-h-costume@indra.com  Sun Feb  7 00:33:26 1999
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Date: Sat, 06 Feb 1999 15:04:19 -0500
To: h-costume@indra.com
From: Danielle Nunn <dnunn@interlog.com>
Subject: Re: H-COST: Elizabethan tall hat
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-Poster: Danielle Nunn <dnunn@interlog.com>

Greetings,

>>The brim should be relatively small in relation to the crown...a brim
>>width of 1-1 1/2 inches is all that you need.

>This could be my problem.  Ny instructions say to start with a brim of 4
>inches, then fiddle with it until you like it.  I've been triming it by 1/2
>inches, but now i'll cut a lot more off.

Also, are you  making the "head hole" round or oval?  If you look at most
of them in Arnold they are all *perfectly* round.  I know this seems
strange because most of us don't have round heads but, it kind of stretches
to fit.  I did mine that way and really does work only next time I have to
remember to take into account the fact that the fabric will take up space
and therefore makes the inner diameter of brim smaller.  :)

>How tall should the side be?  I've cut the brim down and it looks better,
>but still not right.  At this moment the sides are about 5 inches, down from
>the 6 inches that the instructions state.
>Andrea

Mine is about 5 or 6 inches tall and I'm happy with that (I don't need to
be any taller!) but it's more or less personal preference.  I've seen some
portraits which have hats that appear to be over a foot tall.  Also I've
tapered the crown slightly in such a way that if there is no decoration on
the hat, there is nothing which is obviously "front" or "back".

Cheers,
Danielle

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From owner-h-costume@indra.com  Sun Feb  7 00:33:27 1999
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Date: Sat, 06 Feb 1999 20:31:50 -0500
To: h-costume@indra.com
From: Danielle Nunn <dnunn@interlog.com>
Subject: Re: H-COST: Favourite Costumes
In-Reply-To: <254487275A@mdx-bg-staff2.nw.mdx.ac.uk>
References: <199902022059.NAA27046@indra.com>
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-Poster: Danielle Nunn <dnunn@interlog.com>

Greetings,

>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?

My favorite is definitely 16th century (I'm SCA).  However, I've always had
a secret yearning to wear a watteau (sack/saque-back) gown and a polonaise
with huge panniers.  Anyone know a group in the Toronto area where I could
wear something like those?

Cheers,
Danielle

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From owner-h-costume@indra.com  Sun Feb  7 00:36:10 1999
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To: h-costume@indra.com
From: Danielle Nunn <dnunn@interlog.com>
Subject: RE: H-COST: Glass Aglets
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-Poster: Danielle Nunn <dnunn@interlog.com>

Greetings Gawain,

>Believe it or not, it's pretty easy. :)  And once again, thank all of you
>for the references!!!!  My friend will be ecstatic.

Does this mean that your friend has a source for them?!  Where can I get some?

Cheers,
Danielle


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From owner-h-costume@indra.com  Sun Feb  7 00:37:58 1999
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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: H-COST: Ribbons of Childhood
Date: Sun, 7 Feb 1999 00:24:15 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

Following up the discussion of a month ago or so, I came
across the sources of 17th century ribbons of childhood.
They are shown in Tortola and Eubank's *A Survey of Historic
Costume,* and include a painting in the Cleveland Museum of
Art by Mathieu de Nain entitled *Dance of the Boys and
Girls* on page 160, and an extant small child's dress in the
Smithsonian Institution dated "after 1690" on page 161.  The
ribbons are about 3-4" wide and sewn into the rear armscythe
seam, as there is no shoulder seam on these dresses.

In the case of the extant costume at the Smithsonian
Institution, the ribbons appear to start at the front cuff
of the child's 3/4 length sleeves, run up the sleeves as a
trim, then the edges are caught in the armsythe seam
starting at the top of the shoulder forming wings for about
3-4", then fall loose down the back to within 5" of the
floor.  They appear to be doubled fabric, so they can fall
with no wrong side visible, and they are trimmed trimmed
with 4-5 rows of very narrow  braid around the edges, at
least where they fall down the child's back.  The braid may
cover the entire surface where the ribbons lay on the sleeve
fronts, it's hard to tell precisely from these photographs.

Hope H. Dunlap



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From owner-h-costume@indra.com  Sun Feb  7 00:38:03 1999
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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: H-COST: Cloaks
Date: Sun, 7 Feb 1999 00:45:44 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

http://www.pbm.com/~lindahl/rialto/cloaks-msg.html Lots of
references, pattern sources, and sewing tips from SCA
members for medieval cloaks.

Hope H. Dunlap


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From owner-h-costume@indra.com  Sun Feb  7 01:03:23 1999
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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: H-COST: Eighteenth Century Velvet Nightcap
Date: Sun, 7 Feb 1999 01:10:04 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

Can anyone explain to me how to draft a pattern for the big
floppy velvet nightcap which English and American men wore
at home instead of their wigs in 18th Century Georgian
times? Not the snug embroidered linen cap, but the
alternative floppy velvet beret one you see on men dressed
in banyans (bathrobes) in portraits.  Were they lined in
silk?  I need to undersand how to put the three-dimensional
thing together from flat cloth. Some references call it a
nightcap or turban, sometimes tasselled.
 Thanks for help!


Hope H. Dunlap


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From: Jean Waddie <anne@montgomerie.demon.co.uk>
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-Poster: Jean Waddie <anne@montgomerie.demon.co.uk>

In message <99020403160607.07702@weba3.iname.net>, sue-
historian@writeme.com writes
>
>-Poster: sue-historian@writeme.com
>
>Hope
>
>You kindly wrote in response to my posting  about posture
>
>…"Upper-class children were put into “stays” from the age of 2-4 on.  On top of 
>that, those whose posture wasn’t turning out right were “boarded,” i.e. a shaped 
>board bound onto their backs for 3-4 hours per day or more. "
>
>Was this the backboard that was like a narrow bed that the poor child had to lie 
>on, or was it actually "worn".
>
>Also, how do you acquire the  splayed feet posture, it is very difficult 
>today.(I have tried to walk with toes outwards!)  I notice all 18and 19C 
>portraits show feet well turned out.
>
>Sue
Well, you go to ballet class from the age of 3!  If you are trying to do 
it for the first time as an adult, it probably is difficult.  Remember 
that it is not turned out from the ankle, but from the hip - your knees 
should point the same way as your toes.  Sit or lie down and let your 
feet fall outwards, and you'll get the feel of it.

Jean
-- 
Jean Waddie
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From owner-h-costume@indra.com  Sun Feb  7 08:15:47 1999
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-Poster: Heather Law <lynnx@mc.net>

Could some kind soul tell me the date of the show this year?
Thanks
Carol Mitchell
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From owner-h-costume@indra.com  Sun Feb  7 09:29:17 1999
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-Poster: pulliam@acadia.net (Deborah Pulliam)

<<Do you recall whether it was reeded as well as stuffed?>>

No, no reeds, just stuffing.



Deborah


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Date: Sat, 06 Feb 1999 11:43:22 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: Re: H-COST: Fabric Question
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>


>>While perusing one of my books that has illustrations from Godey's, I
>>noticed that when the clothing is being described sometimes the term "cloth"
>>is used seemingly to indicate the type of fabric being used.  What fabric do
>>they mean?  The only one I can think of that may be appropriate is cotton,
>>but if that's it, why didn't they call it just that?
>>
>>-Jill
>
>Most of the time in the 19th century references, "cloth" means woolen cloth.
>Cottons, linens and silks were typically specifically named.

So what do they mean when they say 'stuff'?  Not as in stuffing, as in
'stuffs'.


Kayta
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Date: Sat, 06 Feb 1999 11:36:42 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: Re: H-COST: What to wear at fancy dress balls
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>


>	There seem to be some people on this list that are interested in
>information about clothing of the 1890's
>	Possibly in a professional capacity
>
>	I have just received a catalogue from a book seller with a book
>that may be of interest to on such as these
>
>	It is 
>	Fancy dress described or (What to wear at fancy dress balls) by
>Ardern Holt Pub by Debenham and Freebody
>	6th edit  dated at 1890 decribed as having several hundreds oif
>suggestions described and illustrated in colour and monochrome including
>a lady dressed as a hornet with a wasp waist 

I think I have seen a copy of this book.  I remember the wasp.  It was so
pricey a number of years ago that I didn't buy it then.  Lucky you.


Kayta
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Date: Sat, 06 Feb 1999 10:10:32 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: Re: H-COST: patterns and pattern making
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>


>I'm fairly new to costume making, though I've sewn for years. Everyone
>seems to be talking about making garments from pictures. How do you go
>about making patterns from pictures? Can anyone recommend a good book to
>help me learn the skill? Also, where is a good place to look for ready made
>historical patterns? Specifically, a friend has asked me to make a Medieval
>cloak for him.
>
>Suggestions for a newbie would be appreciated!

I'm very visual, so my suggestions may not match anyone else's, but here goes:

When I look at a costume in a picture I analyze it in terms of the surfaces
of 3-D shapes.  Sometimes I make paper mockups to double check the shapes I
think I am seeing.  Then I drape a pattern (actually I tell my draping
partner how I want it draped), often starting from a tracing of a pattern I
know is roughly the same shape.  I use a tracing so the original doesn't
get messed up.  I wear correct period underpinnings during the draping
process so the fit will be period.  

I never use measurement-based pattern-making processes because I can't wrap
my right-dominated brain around them.  I am able to copy patterns like
those from the Janet Arnold books, but then I drape the result rather than
using any mathematical process to correct for my size and proportions.  The
general shapes and specific fitting standards vary so much from period to
period - and I do several - that this makes more sense to me.


Kayta
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Date: Sat, 06 Feb 1999 09:55:23 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: Re: H-COST: H-COST - Bronzino's "Lady with a Puppy"
In-Reply-To: <MAPI.Id.0016.00617264636f72703030303930303039@MAPI.to.RFC8
 22>
References: <v0401170eb2de919630be@[205.252.121.172]>
 <v0401170eb2de919630be@[205.252.121.172]>
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>


>    In Bronzino's "Portrait of a Lady with a Puppy", the lady in
>question is wearing a very beautiful chemise/shirt/whatever
>with what appears on close examination to be smocking/
>proto-smocking on the collar area, with patterns of crosses,
>etc, worked into the folds.  Does anyone have any idea how
>this was done?  Anybody done it?  I have seven yards of
>very dainty silk I've been hoarding for just such a project.....
>
>All Health, and apologies to anyone who had to read the same
>

Where can we see a picture of this?  Is it in some costume book?  Can you
post it somewhere we can get to?


Kayta
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From owner-h-costume@indra.com  Sun Feb  7 14:19:38 1999
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Date: Sun, 07 Feb 1999 11:20:55 -0800
From: Lady Eleanor <hekav@gte.net>
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Subject: Re: H-COST: H-COST - Bronzino's "Lady with a Puppy"
References: <v0401170eb2de919630be@[205.252.121.172]>
	 <v0401170eb2de919630be@[205.252.121.172]>
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-Poster: Lady Eleanor <hekav@gte.net>

Here's a link:

http://metalab.unc.edu/cjackson/bronzino/index.html

with a copy of the portrait in question.  Enjoy!

YIS,
Lady Eleanor of Leycestershyre

Carolyn Kayta Barrows wrote:
> 
> -Poster: Carolyn Kayta Barrows <kayta@slip.net>
> 
> >    In Bronzino's "Portrait of a Lady with a Puppy", the lady in
> >question is wearing a very beautiful chemise/shirt/whatever
> >with what appears on close examination to be smocking/
> >proto-smocking on the collar area, with patterns of crosses,
> >etc, worked into the folds.  Does anyone have any idea how
> >this was done?  Anybody done it?  I have seven yards of
> >very dainty silk I've been hoarding for just such a project.....
> >
> >All Health, and apologies to anyone who had to read the same
> >
> 
> Where can we see a picture of this?  Is it in some costume book?  Can you
> post it somewhere we can get to?
> 
> Kayta
>      ////.\\\
>     ////-@@\\\
>    ((((   7 (((
>      |   -- ))))
>      * )   (((((
>   /----\   /---\
> 
>  _________________________________________________________________
>  To leave this mailing list, send mail to majordomo@indra.com
>  with the message UNSUBSCRIBE H-COSTUME
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Date: Sun, 7 Feb 1999 20:04:48 +0000
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Subject: H-COST: Posture - backboards
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-Poster: "Sue W" <suew@excite.co.uk>

Re backboards and posture- 

I have found references to three distinct types - but I don’t know how long they were used each day, or the comparative merits.  The last two sound pretty wretched to me. There are examples in UK museums.

- the "bed" this was simply a board that had the child lying as if on a bed.

- the two handled.  This as the heart shaped board mentioned in one posting.  It had two handles and the wearer (victim ?) held it across their back by means of the handles each side.  The board had the advantage over a broomstick in that it forced the shoulder blades flat.

-the triangle - this was, I think the most difficult  (painful?). It was a triangular board strapped on to the shoulders.  The downward pointing  apex had a strap at waist level, the other two corners had straps for each shoulder.  Not only were the shoulders pulled back back the spine above the waist immobilised.  "Collars" as mentioned earlier were horrid devices attached to this type of backboard to stop the poor girl "poking her head" - most unladylike !

Overall these backboards must have been effective, they were used throughout the 18 & 19 centuries.  

Sue  W


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Subject: Re: H-COST: H-COST - Bronzino's "Lady with a Puppy"
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-Poster: Scott Hulett <mhull@earthlink.net>


--------------89F73C60B551279C98296E3F
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Carolyn,
    I've seen and made this sort of shirt. It is very simple to make though
not easy and looks beautiful when finished. There is a similar shirt on a
woman by Bronzino on pg 53 of Lives of the Courtesan by Lynne Lawner
"Protrait of Laura Battiferri". She wears this same sort of shirt though with
less embroidery. I will attempt to explain though if you would like, I will
diagram and fax or mail instructions to you.

Seven yards is plenty and your fabric weight sounds right. The shirt is
basically a cylinder that is gather/smocked into a neck band. I used a
beautiful white trim 'cause I don't have patience for embroidery, but
smocking would work great.

First,  you will need to decide on your measurements. Here are mine:
1.5" for ruffle
1.5" for neck band
5" for shoulder
13" for arm hole(remember, when you cut the arm hole, it will really be 26
inches)
34" for length.
Mark this on pattern paper going down the long side.  If you fabric is 45"
wide it will be less full, if it is 54" or 60" it will be really full 'cause
your going to add all these together and that is the length of your tube
which will be gathered/smocked into the neck.

Finish the top edge of your fabric,after you cut the length, with lace or a
rolled edge. I like bobbin lace, it looks very rennaisance.
Lay the fabric out with the selvedges together in the middle, and the edges
should be folds.
This will look like a long tube with lace at the top.
Now get your measurements out and  start marking on the outside edge/fold.
>From the top of the ruffle to the top of the neck band/smocking<mark>
>From the top of the neckband to the bottom of the neckband/smocking<mark>
>From the bottom of the neck band/smocking to the point of the shoulder<mark>
>From the point of the soulder to the bottom of the arm hole*<mark>
*1/2 of the arm hole, should be around 13 inches on average*
>From the bottom of the arm hole to the length you desire<mark>
(for smocking)(may by substituted with trim)
Mark the fabric where you are going to smock at your measurement for the neck
band.
If the selveges look good enough to be your opening, just leave them, or if
not, finish the selvedges, but only enough to make the shirt opening, say 9
inches including the ruffle, neckband and opening.
Smock it.
Cut the 13" arm slit.(cut it straight down the fold)
Cut a small triangular piece to sew into the top of the arm hole to make it
easier to gather into, 2x2x2".
Sew in triangular piece.(Bottom will be a straight side, two points sew into
the top corner of the sleeve)
Gather a rectanglar sleeve  into the arm hole (arm length by twice total arm
hole)
Gather wrists into band or smock or drawstring.
Sew the tube up the front from the bottom to the finished opening.
Have someone mark a nice hem for you.
Hem.
Croche on some ties or sew on some gross grain at the collar for ties.
Hope this helps. If I've missed a step, I'm sure one of you will catch and
refine it.
Cheers, jd

Carolyn Kayta Barrows wrote:

> -Poster: Carolyn Kayta Barrows <kayta@slip.net>
>
> >    In Bronzino's "Portrait of a Lady with a Puppy", the lady in
> >question is wearing a very beautiful chemise/shirt/whatever
> >with what appears on close examination to be smocking/
> >proto-smocking on the collar area, with patterns of crosses,
> >etc, worked into the folds.  Does anyone have any idea how
> >this was done?  Anybody done it?  I have seven yards of
> >very dainty silk I've been hoarding for just such a project.....
> >
> >All Health, and apologies to anyone who had to read the same
> >
>
> Where can we see a picture of this?  Is it in some costume book?  Can you
> post it somewhere we can get to?
>
> Kayta
>      ////.\\\
>     ////-@@\\\
>    ((((   7 (((
>      |   -- ))))
>      * )   (((((
>   /----\   /---\
>
>  _________________________________________________________________
>  To leave this mailing list, send mail to majordomo@indra.com
>  with the message UNSUBSCRIBE H-COSTUME

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<!doctype html public "-//w3c//dtd html 4.0 transitional//en">
<html>
Carolyn,
<br>&nbsp;&nbsp;&nbsp; I've seen and made this sort of shirt. It is very
simple to make though not easy and looks beautiful when finished. There
is a similar shirt on a woman by Bronzino on pg 53 of <u>Lives of the Courtesan</u>
by Lynne Lawner "Protrait of Laura Battiferri". She wears this same sort
of shirt though with less embroidery. I will attempt to explain though
if you would like, I will diagram and fax or mail instructions to you.
<p>Seven yards is plenty and your fabric weight sounds right. The shirt
is basically a cylinder that is gather/smocked into a neck band. I used
a beautiful white trim 'cause I don't have patience for embroidery, but
smocking would work great.&nbsp;
<p>First,&nbsp; you will need to decide on your measurements. Here are
mine:
<br>1.5" for ruffle
<br>1.5" for neck band
<br>5" for shoulder
<br>13" for arm hole(remember, when you cut the arm hole, it will really
be 26 inches)
<br>34" for length.
<br>Mark this on pattern paper going down the long side.&nbsp; If you fabric
is 45" wide it will be less full, if it is 54" or 60" it will be really
full 'cause your going to add all these together and that is the length
of your tube which will be gathered/smocked into the neck.
<p>Finish the top edge of your fabric,after you cut the length, with lace
or a rolled edge. I like bobbin lace, it looks very rennaisance.
<br>Lay the fabric out with the selvedges together in the middle, and the
edges should be folds.
<br>This will look like a long tube with lace at the top.
<br>Now get your measurements out and&nbsp; start marking on the outside
edge/fold.
<br>From the top of the ruffle to the top of the neck band/smocking&lt;mark>
<br>From the top of the neckband to the bottom of the neckband/smocking&lt;mark>
<br>From the bottom of the neck band/smocking to the point of the shoulder&lt;mark>
<br>From the point of the soulder to the bottom of the arm hole*&lt;mark>
<br>*1/2 of the arm hole, should be around 13 inches on average*
<br>From the bottom of the arm hole to the length you desire&lt;mark>
<br>(for smocking)(may by substituted with trim)
<br>Mark the fabric where you are going to smock at your measurement for
the neck band.
<br>If the selveges look good enough to be your opening, just leave them,
or if not, finish the selvedges, but only enough to make the shirt opening,
say 9 inches including the ruffle, neckband and opening.
<br>Smock it.
<br>Cut the 13" arm slit.(cut it straight down the fold)
<br>Cut a small triangular piece to sew into the top of the arm hole to
make it easier to gather into, 2x2x2".
<br>Sew in triangular piece.(Bottom will be a straight side, two points
sew into the top corner of the sleeve)
<br>Gather a rectanglar sleeve&nbsp; into the arm hole (arm length by twice
total arm hole)
<br>Gather wrists into band or smock or drawstring.
<br>Sew the tube up the front from the bottom to the finished opening.
<br>Have someone mark a nice hem for you.
<br>Hem.
<br>Croche on some ties or sew on some gross grain at the collar for ties.
<br>Hope this helps. If I've missed a step, I'm sure one of you will catch
and refine it.
<br>Cheers, jd
<p>Carolyn Kayta Barrows wrote:
<blockquote TYPE=CITE>-Poster: Carolyn Kayta Barrows &lt;kayta@slip.net>
<p>>&nbsp;&nbsp;&nbsp; In Bronzino's "Portrait of a Lady with a Puppy",
the lady in
<br>>question is wearing a very beautiful chemise/shirt/whatever
<br>>with what appears on close examination to be smocking/
<br>>proto-smocking on the collar area, with patterns of crosses,
<br>>etc, worked into the folds.&nbsp; Does anyone have any idea how
<br>>this was done?&nbsp; Anybody done it?&nbsp; I have seven yards of
<br>>very dainty silk I've been hoarding for just such a project.....
<br>>
<br>>All Health, and apologies to anyone who had to read the same
<br>>
<p>Where can we see a picture of this?&nbsp; Is it in some costume book?&nbsp;
Can you
<br>post it somewhere we can get to?
<p>Kayta
<br>&nbsp;&nbsp;&nbsp;&nbsp; ////.\\\
<br>&nbsp;&nbsp;&nbsp; ////-@@\\\
<br>&nbsp;&nbsp; ((((&nbsp;&nbsp; 7 (((
<br>&nbsp;&nbsp;&nbsp;&nbsp; |&nbsp;&nbsp; -- ))))
<br>&nbsp;&nbsp;&nbsp;&nbsp; * )&nbsp;&nbsp; (((((
<br>&nbsp; /----\&nbsp;&nbsp; /---\
<p>&nbsp;_________________________________________________________________
<br>&nbsp;To leave this mailing list, send mail to majordomo@indra.com
<br>&nbsp;with the message UNSUBSCRIBE H-COSTUME</blockquote>
</html>

--------------89F73C60B551279C98296E3F--

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From: "Frank&Tracy Thallas JR" <hardcorps@vcn.com>
Subject: Re: H-COST: H-COST - Bronzino's "Lady with a Puppy"
Date: Sun, 07 Feb 99 14:18:05 PST
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-Poster: "Frank&Tracy Thallas JR" <hardcorps@vcn.com>

  She (and her little dog Toto, too...<G>) are on the Net at
http://metalab.unc.edu/cfga/bronzino/p-bronzino7.htm
but at least on my monitor the pic isn't clear enough to show
the detail on the garment in question...sigh.  As soon as I can
make it back to the library, I'll post the particulars of the book
I found her in......

Liadain

----------
>
> -Poster: Carolyn Kayta Barrows <kayta@slip.net>
>
>
> >    In Bronzino's "Portrait of a Lady with a Puppy", the lady in
> >question is wearing a very beautiful chemise/shirt/whatever
> >with what appears on close examination to be smocking/
> >proto-smocking on the collar area, with patterns of crosses,
> >etc, worked into the folds.  Does anyone have any idea how
> >this was done?  Anybody done it?  I have seven yards of
> >very dainty silk I've been hoarding for just such a project.....
> >
> >All Health, and apologies to anyone who had to read the same
> >
>
> Where can we see a picture of this?  Is it in some costume book?  Can you
> post it somewhere we can get to?
>
>
> 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  Sun Feb  7 15:27:10 1999
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References: <v0401170eb2de919630be@[205.252.121.172]>
		 <v0401170eb2de919630be@[205.252.121.172]>
		 <v0401170eb2de919630be@[205.252.121.172]> <4.1.19990206095431.00c82650@pop.slip.net> <36BDE797.4C876F68@gte.net>
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-Poster: Scott Hulett <mhull@earthlink.net>

Abject appologies. Just looked at portrait. Mine will work if you replace the
ruffle directions with a flat shirt style collar. Other wise, I think it would
work.
Cheers, jd

Lady Eleanor wrote:

> -Poster: Lady Eleanor <hekav@gte.net>
>
> Here's a link:
>
> http://metalab.unc.edu/cjackson/bronzino/index.html
>
> with a copy of the portrait in question.  Enjoy!
>
> YIS,
> Lady Eleanor of Leycestershyre
>
> Carolyn Kayta Barrows wrote:
> >
> > -Poster: Carolyn Kayta Barrows <kayta@slip.net>
> >
> > >    In Bronzino's "Portrait of a Lady with a Puppy", the lady in
> > >question is wearing a very beautiful chemise/shirt/whatever
> > >with what appears on close examination to be smocking/
> > >proto-smocking on the collar area, with patterns of crosses,
> > >etc, worked into the folds.  Does anyone have any idea how
> > >this was done?  Anybody done it?  I have seven yards of
> > >very dainty silk I've been hoarding for just such a project.....
> > >
> > >All Health, and apologies to anyone who had to read the same
> > >
> >
> > Where can we see a picture of this?  Is it in some costume book?  Can you
> > post it somewhere we can get to?
> >
> > Kayta
> >      ////.\\\
> >     ////-@@\\\
> >    ((((   7 (((
> >      |   -- ))))
> >      * )   (((((
> >   /----\   /---\
> >
> >  _________________________________________________________________
> >  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: "Gia Gavino-Gattshall" <ggavino@serv.net>
To: <h-costume@indra.com>
Subject: Re: H-COST: H-COST - Bronzino's "Lady with a Puppy"
Date: Sun, 7 Feb 1999 12:32:21 -0800
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-Poster: "Gia Gavino-Gattshall" <ggavino@serv.net>

Hullo!

Thanks for posting the site URL!  It's a wonderful one and I've just
bookmarked it.

You can see the portrait I used for the primary source to make the velvet
dress I just told you all about at this site.

Happy stitches!

Gia/Giacinta
costuming nut


>
>-Poster: Lady Eleanor <hekav@gte.net>
>
>Here's a link:
>
>http://metalab.unc.edu/cjackson/bronzino/index.html
>
>with a copy of the portrait in question.  Enjoy!
>
>YIS,
>Lady Eleanor of Leycestershyre
>
>

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


>- the two handled.  This as the heart shaped board mentioned in one
posting.  It had two handles and the wearer (victim ?) held it across their
back by means of the handles each side.  The board had the advantage over a
broomstick in that it forced the shoulder blades flat.

I just found the book that I remembered seeing the pictures in.  It's called
"Making Victorians: The Drummond Children's World 1827-1832" by Susan
Lasdun, ISBN 0-575-03176-X.

It contains several depictions of backboards, mostly with their young owners
about to be punished for not using them.  Poor things!

And, I was mistaken about the straps.  As Sue's post says, this device
doesn't have them.

Margo Anderson

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Date: Sun, 07 Feb 1999 13:36:39 -0800
From: Lady Eleanor <hekav@gte.net>
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-Poster: Lady Eleanor <hekav@gte.net>

Greetings Lady Gia!

Most welcome.  (I assume that was directed toward me...  :-) ...if not,
please disregard).  

Aha!  So THAT'S the one!  Beautiful.  It is a gorgeous gown you did Gia!
I was fortunate enough to be at the event Lady Giacinta mentions.  I
loved that really pretty and unusual pearl and gold trim at the neck. 
Have never seen that before.  Wish I had noted this particular portrait
earlier.   

My purple velveteen Italian Ren...in a similar style, was inspired by
Bronizo's portrait of Lucrezia Panciatichi, 1540, oil on wood, Galleria
degli Uffizi, Florence, and probably could have benefitted from doing
the cartidge pleating at the top and bottom of the pouffed
sleeve...which I see is done in the "puppy  portrait".  

Just in case anyone's interested...here's a link to the other Bronzino
portrait...bottom of the page.

http://metalab.unc.edu/cjackson/bronzino/index.html

Ah well!  Live and learn...and learn...and learn!  ;-)  My next Ital.
Ren. will be better!  Of course after I finish my 1590's Elizabethan (I
should LIVE so long!), a 1650's Cavalier suit for a gentleman friend, an
11th c. German for another friend...a Norse Tunic, and various and
sundry other items.  *Sigh*  

Ahhhh to be independently wealthy, and have nothing better to do with
one's time than sew historical costumes! 

Cheers all!
Lady Eleanor 


Gia Gavino-Gattshall wrote:
> 
> -Poster: "Gia Gavino-Gattshall" <ggavino@serv.net>
> 
> Hullo!
> 
> Thanks for posting the site URL!  It's a wonderful one and I've just
> bookmarked it.
> 
> You can see the portrait I used for the primary source to make the velvet
> dress I just told you all about at this site.
> 
> Happy stitches!
> 
> Gia/Giacinta
> costuming nut
> 
> >
> >-Poster: Lady Eleanor <hekav@gte.net>
> >
> >Here's a link:
> >
> >http://metalab.unc.edu/cjackson/bronzino/index.html
> >
> >with a copy of the portrait in question.  Enjoy!
> >
> >YIS,
> >Lady Eleanor of Leycestershyre
> >
> >
> 
>  _________________________________________________________________
>  To leave this mailing list, send mail to majordomo@indra.com
>  with the message UNSUBSCRIBE H-COSTUME
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			 <v0401170eb2de919630be@[205.252.121.172]>
			 <v0401170eb2de919630be@[205.252.121.172]> <4.1.19990206095431.00c82650@pop.slip.net> <36BDE797.4C876F68@gte.net> <36BDF95A.15F18A14@earthlink.net>
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-Poster: Lady Eleanor <hekav@gte.net>

No need to apologize!  Thanks for the directions!!  I'm going to try
this technique.  Sounds good.

By the bye...anybody know of any "smocking" sites on the web?  I could
probably figure it out on my own...but would rather have some details to
start with.  :-)

In service,
Lady Eleanor

Scott Hulett wrote:
> 
> -Poster: Scott Hulett <mhull@earthlink.net>
> 
> Abject appologies. Just looked at portrait. Mine will work if you replace the
> ruffle directions with a flat shirt style collar. Other wise, I think it would
> work.
> Cheers, jd
> 
> Lady Eleanor wrote:
> 
> > -Poster: Lady Eleanor <hekav@gte.net>
> >
> > Here's a link:
> >
> > http://metalab.unc.edu/cjackson/bronzino/index.html
> >
> > with a copy of the portrait in question.  Enjoy!
> >
> > YIS,
> > Lady Eleanor of Leycestershyre
> >
> > Carolyn Kayta Barrows wrote:
> > >
> > > -Poster: Carolyn Kayta Barrows <kayta@slip.net>
> > >
> > > >    In Bronzino's "Portrait of a Lady with a Puppy", the lady in
> > > >question is wearing a very beautiful chemise/shirt/whatever
> > > >with what appears on close examination to be smocking/
> > > >proto-smocking on the collar area, with patterns of crosses,
> > > >etc, worked into the folds.  Does anyone have any idea how
> > > >this was done?  Anybody done it?  I have seven yards of
> > > >very dainty silk I've been hoarding for just such a project.....
> > > >
> > > >All Health, and apologies to anyone who had to read the same
> > > >
> > >
> > > Where can we see a picture of this?  Is it in some costume book?  Can you
> > > post it somewhere we can get to?
> > >
> > > Kayta
> > >      ////.\\\
> > >     ////-@@\\\
> > >    ((((   7 (((
> > >      |   -- ))))
> > >      * )   (((((
> > >   /----\   /---\
> > >
> > >  _________________________________________________________________
> > >  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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-Poster: The Purple Elephant <csmart@physics.adelaide.edu.au>

On Wed, 3 Feb 1999, Carolyn Kayta Barrows wrote:

> 
> -Poster: Carolyn Kayta Barrows <kayta@slip.net>
> 
> 
> >
> >Rhubarb has oxalic acid in it....also a plant that grows here called 
> >'soursob'. It's reasonably poisonous when ingested.....
> 
> There's a weed which grows in California called oxalis.  It has clover-like
> leaves and acid yellow flowers.  Lots of oxalic acid there, and not
> poisonous to eat (we used to chew on it as kids).  It may stain green.
> 
That sounds like what we call soursobs here. My info comes from my
high school chemistry teacher who said that oxalic acid crystallises in
the kidneys. I think you have to ingest a largish amount for it to do
you serious harm (for instance he said you'd have to eat 20kgs of rhubarb
*grin*), but of course, he could have been wrong.

------------------------------------------------------------------------------
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: Joan M Jurancich <joanj@quiknet.com>

At 11:43 AM 02/06/1999 -0800, Carolyn Kayta Barrows wrote:
>
>-Poster: Carolyn Kayta Barrows <kayta@slip.net>
>
>So what do they mean when they say 'stuff'?  Not as in stuffing, as in
>'stuffs'.
>
>
>Kayta

According to my ever-present copy of "Textiles in America 1650-1870" by
Florence Montgomery, pages 353-354:

STUFF

A general term for worsted cloths. In 1833 Perkins listed the following kinds:

Stuff--is twilled or plain, is made of common wool, and may be had of black
and very colour.
Merino--is nothing more than a superior stuff, in the ordinary qualities,
but in the higher walks they are splendid goods, in the production of which
the French bear the palm,-approximating as they do to the imitation of cashmere.
...
______________________________________

Other types of "stuffs" listed in this definition (with paragraphs
describing each of them) are Shalloons; Lastings, Prunella, and Florentine;
Tammies; Calimancoes; Moreens; Camblets; and Plaids.

Hope this helps,

Joan Jurancich
Sacramento, CA
joanj@quiknet.com

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From owner-h-costume@indra.com  Sun Feb  7 21:14:16 1999
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-Poster: PiranhaBB@aol.com

Checking out a Virtual Museum, I ran across this portrait....

http://www.hol.gr/cgfa/g/p-gheeraerts2-1.htm

What kind of lace is that on the table at her left hand?  Is it lace at all?

Best regards,
Lisa
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-Poster: Julie Adams <savaskan@sd.znet.com>

I finally finished, well sorta finished my husband's new Landknecht doublet
and sleeves.  We paid David Born, a friend who does awesome leatherwork
(and has 6 different kinds of leather sewing machines) to make his pouch,
shoes and breeches from my design.  The outfit is all in black, buff and
gold and my hubby will be wearing it out at the SCA Estrella war coming up
next week.

The breeches are black leather over a bright gold plain weave cotton. There
are decorative puffs and edgings in buff deerhide. They are very
elaborately slashed with the gold puffing coming through at the codpiece.
The slashing is asymetrical,  with large scooped cuts on one leg and rows
of Z twists and straight cuts on the other leg.  The shoes are black
cowmouthed shoes with buff slashing at the toes and decorating the top
edge.  The pouch is a black and buff pouch with 3 small outer bags.  The
work that David does is excellent and he followed my desigh exactly!  See
his work at: http://www.atar.com/schofield/ or email him at logan@atar.com.
He also does awesome reproduction 19th c gun leather and killer leather
masks. (I have no steak in his business, these are just unsolicited
complements on my part.)

The sleeves are a black felted wool over gold linen base. One has rows of
straight slashing with gold cord between each row. The other has diagonal
long cut rows with scallops within each row. The long cuts are tied
together with black cord with gold metal filagree tubes for aiglets. Both
sleeves have assymetrical puffed cuffs.  The sleeves tie in to a gold
colored elk skin doublet. There are long rows with "s" cuts between each
row. Behind the elk is black silk and behind that the doublet is lined with
gold linen.  He will wear some black and yellow hose I made from black and
white striped t-shirt cotton overdyed yellow/gold and a black pizza hat.

Anyone going? I'd love to get together with any other H-Costumers who will
be there... email me privately...

Julie Adams
aka Juliana Hirsch, OL SCA
savaskan@sd.znet.com


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-Poster: PiranhaBB@aol.com

More perusing the portraits....

Do you think there are tucks in the hems of these skirts to allow for growth?

<http://www.hol.gr/cgfa/c/p-acoello1.htm>


Lisa
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-Poster: Mary Denise Smith <costumemag@earthlink.net>

Subject:
                                   HNW - Order 1597 Sibmacher now!!
                Date:
                                Feb 6 1999
               From:
                                 Kathryn Newell <72123.411@compuserve.com>


Dear List:

I am delighted to announce that the 1597 Sibmacher will be published and
available at CostumeCon, February 12-16th in Cherry  Hill, NJ.

The book's title is:

NEEDLEWORK PATTERNS FROM RENAISSANCE GERMANY, designs charted by Kathryn
Newall* from Johan
Sibmacher's Schön Neues Modelbuch, 1597.

* known in the Society For Creative Anachronism as Baroness Kathryn
Goodwyn, OL

There are 26 pages of charts (27 black and white patterns, 28 color
patterns) plus 6 pages of introductory text and annotated bibliography for
a total of 32 pages, saddle stitched, with a color cover.

Cost: $10.00 plus $3.50 shipping & handling (Priority Mail).

VALENTINE's SPECIAL!   Pre order and shipping is free! Send checks, made
payable to "Kathryn Newell", before February 14 to:

        Kathryn Newell
        100  Mt.Arlington  Blvd.
        Landing, NJ 07850

If you are going to CostumeCon you can pick up your copy there and I  will
autograph your copy. Otherwise I will autograph and mail them when I
return. (If you are SCA please indicate which name you'd like me to
inscribe it to.)

After February 14, please include s& h and send your checks, made payable
to "Costume and Dressmaker  Magazine"  to my publisher/distributor, Mary
Denise Smith (publisher and editor of "Costume and Dressmaker" magazine):

From owner-h-costume@indra.com  Sun Feb  7 22:18:58 1999
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From: THOMAS PETRO <t.petro@mail1.strayer.edu>
To: h-costume@indra.com
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Subject: H-COST: World War Two British uniform patterns
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-Poster: THOMAS PETRO <t.petro@mail1.strayer.edu>

To whom it may concern,

  I am trying to find World War Two British Military uniform sewing patterns?
Any ideas?

Thanks,
Tom Petro

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From: "Charlene Noto" <cnoto@cetlink.net>
To: <h-costume@indra.com>
Subject: Re: H-COST: what kind of lace
Date: Sun, 7 Feb 1999 22:56:41 -0500
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-Poster: "Charlene Noto" <cnoto@cetlink.net>

It looks to me like knotting...not lace, however, I can't really tell from
the picture.
-Charlene
-----Original Message-----
From: PiranhaBB@aol.com <PiranhaBB@aol.com>
To: h-costume-digest@indra.com <h-costume-digest@indra.com>
Date: Sunday, February 07, 1999 9:21 PM
Subject: H-COST: what kind of lace


>
>-Poster: PiranhaBB@aol.com
>
>Checking out a Virtual Museum, I ran across this portrait....
>
>http://www.hol.gr/cgfa/g/p-gheeraerts2-1.htm
>
>What kind of lace is that on the table at her left hand?  Is it lace at
all?
>
>Best regards,
>Lisa
> _________________________________________________________________
> 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 Feb  7 23:16:34 1999
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From: "Genevieve de Courtanvaux" <gdc@airmail.net>
To: <h-costume@indra.com>
Subject: Re: H-COST: grow tucks
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-Poster: "Genevieve de Courtanvaux" <gdc@airmail.net>

I have sort of studied this tuck recently when I made my Spanish gown. Some
of the things I have found are: These tucks appear on grown women's gowns as
well, one source (20,000 years of Fashion) claims they are for hiding the
feet while sitting, and that the University of Texas calls the ubiquitous
Spanish Fold because they are sewn shut hence they do not know why they were
fashionable. So in other words to answer your question since they appear on
grown women's gowns as well as children it is not likely that they are
growth tucks.

Carol Ross
-----Original Message-----
From: PiranhaBB@aol.com <PiranhaBB@aol.com>
To: h-costume-digest@indra.com <h-costume-digest@indra.com>
Date: Sunday, February 07, 1999 9:04 PM
Subject: H-COST: grow tucks


>
>-Poster: PiranhaBB@aol.com
>
>More perusing the portraits....
>
>Do you think there are tucks in the hems of these skirts to allow for
growth?
>
><http://www.hol.gr/cgfa/c/p-acoello1.htm>
>
>
>Lisa
> _________________________________________________________________
> 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 Feb  7 23:34:26 1999
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Subject: Re: H-COST: World War Two British uniform patterns
Date: Sun, 7 Feb 99 20:37:56 -0800
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-Poster: Pelikan <haggis@sirius.com>

I don't know of any patterns available for Brit uniforms.  The only thing 
I can suggest is trying to draft one yourself.  Another option is to get 
a hold of a Greek battledress blouse and a pair of Belgian battledress 
trousers.  They're usually pretty cheap at surplus stores or some WWII 
reenactor vendors.  From these, you could take them apart and make a 
pattern to size up or down.  One note on the Belgian/European trousers is 
that the belt flaps button at the bottom, while the original Brits 
buttoned at the top.  

Of course, the Economy pattern used after 1940 did away with the belt 
loops and ankle straps entirely.  

If you do manage to put together a pattern, I know of quite a few people 
who would be interested in copies, as we're trying to come up with 
uniforms for some larger sized guys.  

If you intend to repro wool battledress, you may run into a problem with 
getting the right wool, at least in a somewhat reasonable price.  We're 
still looking for relatively cheap denim coverall material, ourselves.

I'd suggest checking with Harlan Glenn at "King and Country" (forget the 
URL, but a Yahoo search under King and Country should turn it up), or 
Jerry Lee at What Price Glory.

I'm interested in sharing info and ideas on British/Commonwealth uniforms 
with any other interested parties, too.

Steve Pelikan
6th Batt., Green Howards; Commemorative Historical Society
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From owner-h-costume@indra.com  Sun Feb  7 23:40:18 1999
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-Poster: kathleen@niagara.com


>Mine is about 5 or 6 inches tall and I'm happy with that (I don't need to
>be any taller!) but it's more or less personal preference.  I've seen some
>portraits which have hats that appear to be over a foot tall.  Also I've
>tapered the crown slightly in such a way that if there is no decoration on
>the hat, there is nothing which is obviously "front" or "back".
>
>Cheers,
>Danielle


Listen to this woman! I've seen Danielle's hat...it has the *perfect* look.
 

                                                ()
                                              _/)(\_
"Tehee!" quod she, and clapte the wyndow to    /~~\
                                              /____\

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-Poster: kathleen@niagara.com


>Now I need help finding patterns and instructions. I'd like to make it in a
>fairly period correct method, undergarments and all, dating probably 1530s-
>ish. I really don't know WHERE to start. Any hints?

I find it difficult to answer posts like this, since I'm far from expert,
but since there has been little response...

If you're starting from scratch, it might be easiest to grab a pattern, then
adapt what isn't right.

The Elizabethan Costuming Page *is* good for the farthingale, but stick with
the Juan de Alecega method.  The easy method puts far too much fabric around
your waist for the Tudor cone sillouette.  AlterYears sells pre-made
farthingales, but I haven't bought one.  Or you can make your own pattern,
which is what I've always done.  It's just mathematical. If you use a
pattern for your gown, then make at least the underskirt (kirtle) first so
you know how wide to make your bottom hoop.  After that it's just a matter
of ratios. (And a bit of trial and error...making sure there is overlap in
your hoops gives you some play)

If you start with the Period Patterns Tudor, here's what I would change:

The back skirt pieces need to be less tapered.  Portraiture shows a few
pleats at the back, and the Period Patterns skirt pieces don't allow that.
I also found the underskirt a bit tight around my hips, even though I made
the correct size.

The majority of English portraits show trained skirts.  I find trains
inconvenient, so I don't adjust for that. (Besides, there's evidence of
un-trained skirts)

The bodice, of course, needs to be fitted in muslin first.  You might want
to change it to front lacing and sew your overskirt directly onto the bottom
of the bodice, then make a stomacher. (I haven't done this yet, but it makes
sense...my teacher suggested it)  I think the shoulder pieces are too wide,
and I found the armscye too high.  (if you change it, don't forget to adjust
the upper sleeve)

The method of attaching the undersleeves (from Norris, btw) doesn't work at
all in my opinion...particularly if you want your smock to blouse out the
bottom, rather than use fakes.  I'm still working out that problem, but in
the interim I just pinned my undersleeves to my smock sleeves and that
worked great.  (I just may stick with that if I don't find better ideas in
my research)  Again, I found the undersleeve a bit too wide at the elbow...I
adjusted the angle for my second one (too much...next time will be perfect)

There's evidence for faked "puff" pieces pinned onto the *top* of the
undersleeve, rather than slashes....it might be easier to do that.  I've
always found the finishing of slashes to be highly aggrevating.

Remember that the turn back cuff is really just the oversleeve lining...try
and use whatever fancy fabric or fur all the way back to the elbow.  I
forgot that, and I'll never be happy with the results.

You can adjust the oversleeve, too, if you want.  I found the Period
Patterns oversleeve too long to expose the correct amount of undersleeve,
but too geometrically angled to shorten without seriously narrowing the
sleeve.  I made up little mock-ups to play with different styles.  Because i
was using beadwork in a reticulated pattern, I chose an earlier squared-off
style, but a bell-shaped would probebly drape prettier in the damask.

Corestry is a question...woodcuttings show a fair amount of bosom
curve...more than you could have if corsetted.  I would make it a personal
choice, because I don't think there is a definitive answer.  My last one was
worn without a corset, and I got a good shape and comfort level. (I used a
little boning here and there)
  
There is distressing little good information on the construction of French
hoods...you're early enough to use the earlier form described in the Queta's
Closet pattern.  (Where there is no paste, just a wired shaped turn back
showing the white lining)  One of the links from the Elizabethan Costuming
page shows the construction of a gable hood that looks really good.

I hope this has been at all useful.

Kathleen (Catriona)
 

                                                ()
                                              _/)(\_
"Tehee!" quod she, and clapte the wyndow to    /~~\
                                              /____\

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From: THOMAS PETRO <t.petro@mail1.strayer.edu>
To: Pelikan <h-costume@indra.com>
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Subject: RE: H-COST: World War Two British uniform patterns
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-Poster: THOMAS PETRO <t.petro@mail1.strayer.edu>

>===== Original Message From Pelikan <h-costume@indra.com> =====
>-Poster: Pelikan <haggis@sirius.com>
>
>I don't know of any patterns available for Brit uniforms.  The only thing
>I can suggest is trying to draft one yourself.  Another option is to get
>a hold of a Greek battledress blouse and a pair of Belgian battledress
>trousers.  They're usually pretty cheap at surplus stores or some WWII
>reenactor vendors.  From these, you could take them apart and make a
>pattern to size up or down.  One note on the Belgian/European trousers is
>that the belt flaps button at the bottom, while the original Brits
>buttoned at the top.
>
>Of course, the Economy pattern used after 1940 did away with the belt
>loops and ankle straps entirely.
>
>If you do manage to put together a pattern, I know of quite a few people
>who would be interested in copies, as we're trying to come up with
>uniforms for some larger sized guys.
>
>If you intend to repro wool battledress, you may run into a problem with
>getting the right wool, at least in a somewhat reasonable price.  We're
>still looking for relatively cheap denim coverall material, ourselves.
>
>I'd suggest checking with Harlan Glenn at "King and Country" (forget the
>URL, but a Yahoo search under King and Country should turn it up), or
>Jerry Lee at What Price Glory.
>
>I'm interested in sharing info and ideas on British/Commonwealth uniforms
>with any other interested parties, too.
>
>Steve Pelikan
>6th Batt., Green Howards; Commemorative Historical Society
> _________________________________________________________________
> To leave this mailing list, send mail to majordomo@indra.com
> with the message UNSUBSCRIBE H-COSTUME


Thanks for the info.  I kind of figured I would have to go the route of buying 
a Greek BD uniform and taking it apart.

Thanks again,
Tom Petro

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

PiranhaBB@aol.com wrote:

> More perusing the portraits....
>
> Do you think there are tucks in the hems of these skirts to allow for growth?
>
> <http://www.hol.gr/cgfa/c/p-acoello1.htm>

There was a discuss not too long ago on these Spanish hems.  I don't recall if a
conclusion was ever reached, but they're not likely to be growth tucks because
they're found on adults as well.

--Charlene

--
The discontent of the people is more dangerous to a monarch than all the might of
his enemies on the battlefield.  -- Isabella d'Este


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-Poster: Scott Hulett <mhull@earthlink.net>

Thomas,
    Okay, this will sound circuitous, but, here goes. My husband got a couple of
magazines in a game store (d&d not regular). It was called "Napolean" or
"Napoleanic" like that. I remember seeing an add for an english company that sold
military uniforms and such. Now, it seems to me that you could just order them or
you could order patterns. I could try and find out, if you like or if you have
enough to go on your could look. This was a nice publication, very glossy and
really well researched articles. Most of the adds covered a wide range of history
as I remember, not just Napoleanics.
Well, hope this helps. e-mail if you want more.
Cheers, jd.

THOMAS PETRO wrote:

> -Poster: THOMAS PETRO <t.petro@mail1.strayer.edu>
>
> >===== Original Message From Pelikan <h-costume@indra.com> =====
> >-Poster: Pelikan <haggis@sirius.com>
> >
> >I don't know of any patterns available for Brit uniforms.  The only thing
> >I can suggest is trying to draft one yourself.  Another option is to get
> >a hold of a Greek battledress blouse and a pair of Belgian battledress
> >trousers.  They're usually pretty cheap at surplus stores or some WWII
> >reenactor vendors.  From these, you could take them apart and make a
> >pattern to size up or down.  One note on the Belgian/European trousers is
> >that the belt flaps button at the bottom, while the original Brits
> >buttoned at the top.
> >
> >Of course, the Economy pattern used after 1940 did away with the belt
> >loops and ankle straps entirely.
> >
> >If you do manage to put together a pattern, I know of quite a few people
> >who would be interested in copies, as we're trying to come up with
> >uniforms for some larger sized guys.
> >
> >If you intend to repro wool battledress, you may run into a problem with
> >getting the right wool, at least in a somewhat reasonable price.  We're
> >still looking for relatively cheap denim coverall material, ourselves.
> >
> >I'd suggest checking with Harlan Glenn at "King and Country" (forget the
> >URL, but a Yahoo search under King and Country should turn it up), or
> >Jerry Lee at What Price Glory.
> >
> >I'm interested in sharing info and ideas on British/Commonwealth uniforms
> >with any other interested parties, too.
> >
> >Steve Pelikan
> >6th Batt., Green Howards; Commemorative Historical Society
> > _________________________________________________________________
> > To leave this mailing list, send mail to majordomo@indra.com
> > with the message UNSUBSCRIBE H-COSTUME
>
> Thanks for the info.  I kind of figured I would have to go the route of buying
> a Greek BD uniform and taking it apart.
>
> Thanks again,
> Tom Petro
>
>  _________________________________________________________________
>  To leave this mailing list, send mail to majordomo@indra.com
>  with the message UNSUBSCRIBE H-COSTUME

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-Poster: Joan M Jurancich <joanj@quiknet.com>

At 09:15 PM 02/07/1999 EST, PiranhaBB@aol.com wrote:
>
>-Poster: PiranhaBB@aol.com
>
>Checking out a Virtual Museum, I ran across this portrait....
>
>http://www.hol.gr/cgfa/g/p-gheeraerts2-1.htm
>
>What kind of lace is that on the table at her left hand?  Is it lace at all?
>
>Best regards,
>Lisa

Given the limitations of my monitor, I would guess that she is holding some
sort of jewel, possibly on a chain. It doesn't look like lace of any sort to me.

Joan Jurancich
Sacramento, CA
joanj@quiknet.com

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From owner-h-costume@indra.com  Mon Feb  8 01:11:43 1999
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Date: Mon, 8 Feb 1999 01:14:22 -0500 (EST)
From: Robin Netherton <robin@dgsys.com>
To: Historic Costume List <h-costume@indra.com>
Subject: H-COST: Need a citation (again)
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-Poster: Robin Netherton <robin@dgsys.com>


(Forgive me if this is a repeat, but I don't think it went through the
first couple of times I tried -- my subject line may have been
triggering a bounce.)


I'm finishing up the final copy of a book chapter -- on deadline of course
-- and I just realized I'm missing page numbers on three citations. Alas,
the nearest copies of the books (that I know of) are an hour and a
half's drive away, at the university library where I researched the paper.

So, if anyone on this list happens to have either of these books in your
possession, and you are willing to look up a quote and give me a page
number, I would be ETERNALLY grateful if you would email me privately.

The books are:

      	Dion Calthrop, English Costume, 1066-1820, London: A & C Black,
      	1906. (I may be able to use the 1946 reprint as well, but I don't
	know if the 1960's version is close enough to the original to have
	the quote I need.)

      	Herbert Norris, Costume and Fashion, Vol 2: Senlac to Bosworth,
      	1066-1485, London: J.M. Dent and Sons, Ltd., 1938. This is the
	medieval volume, not the Tudor one.

Many thanks in advance.

:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
Robin Netherton :::::::: Editor at Large :::::::: robin@dgsys.com
:::::::::::::::: Life is just a bowl of queries. ::::::::::::::::
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::





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Date: Mon, 08 Feb 1999 17:28:14 +1100
From: Tricia Ostwald <phpmo@cc.newcastle.edu.au>
Subject: Re: H-COST: Late 15th c clothing
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-Poster: Tricia Ostwald <phpmo@cc.newcastle.edu.au>

At 16:50 5/02/99 +1030, you wrote:

> I've been looking at late 15th century (post 1485)/early 16th century 
>clothing in England and France, with the aim of making myself one
>of those square necked, wide-sleeved gowns. I have a couple of questions...
> Those dresses are rarely shown from the back, and when they are, they
>seem to mostly have low, v-necked backs, often laced. I've only found
>one piccy in a tapestry of what might be one with a high round neck. 

I made myself several of those last year - based on the French Tapestries
from about 1500 called Lives of the Nobles or something like that. My book
is at home and its in French. 

Basically, (it looks to me) - if the undergown is laced/hooked up the
front, then the overgown has the V back and is laced (with a single lace)
across. When the overgown is hooked at the front (no visible fastenings)
then the undergown does up the back - and I made both high at the back -
I'll have to go back to the tapestry book to rethink through my reasoning
for that - other than it seemed sensible.

The back laced version stays up pretty well.  

>The hoods worn with these dresses seem to have many variations, but leaving
>aside gable hoods, there are quite a few that look like the women are
>wearing something that might evolve into the French hood underneath. 
>Boucher says this is a 'headband' and other writers say it is an undercap,
>but it looks nothing like a coif. Any ideas how it might be made?

The 1500s french style hoods - haven't yet evolved into the "French Hoods".
I've made 2 successful versions using a lined hood pinned to a coif. The
bit that looks like the cresent of the french hood is the lining of the
older style hood, that has been turned back. Have a look at the portrait of
Queen Claude (I think?) for a better view. 

I've made both these and the Anne Boleyn style (and later) french hoods -
also worn over a coif, and I think the transition is pretty straight
forward. Not sure what Boucher means by headband tho? The cresent portion?
Can't remember any of the proper terminology at present - time to go home :-)

Contact me directly if you want more information.

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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Subject: H-COST: World War Two British uniform patterns
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-Poster: Melanie Wilson <MelanieWilson@compuserve.com>

I'm pretty sure there is a source of patterns here, I saw it somewhere,
I'll try & find out, also the cloth is still avaliable in the UK if you
want to ship so over. What uniform specifically did you want to do ?

Mel
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From: Pompadour <marquise_de_pompadour@gmx.net>
Subject: Re: H-COST: grow tucks
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-Poster: Pompadour <marquise_de_pompadour@gmx.net>

At 04:14 08.02.99 , you wrote:
>
>-Poster: "Genevieve de Courtanvaux" <gdc@airmail.net>

>feet while sitting, and that the University of Texas calls the ubiquitous
>Spanish Fold because they are sewn shut hence they do not know why they were
>fashionable. So in other words to answer your question since they appear on

if even the people at the university can't figure it out, i won't presume to
know better... just a notion: 
my grandma sometimes made such tucks around the skirt to make the hem fall a
little more smoothly without having to make the hem too stiff. as the skirts
here had to fall extremely smoothly, without a single vertical fold, maybe the
tucks were made to support this?  

ciao,
yo 
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From: Teddy <Teddy@mdx.ac.uk>
Subject: Re: H-COST: CostumeCon - UK Version...
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-Poster: Teddy <Teddy@mdx.ac.uk>


> From: Pompadour <marquise_de_pompadour@gmx.net>

> >Yes there are Costume Conventions in the UK
> 
> can you give us any hint as to where (if) the locations and dates
> are published, preferably on the web? couldn't people from all over
> europe take part?

Anyone who wants to attend can buy a membership and attend.  We've 
had a few from the US attend Masque in the past, non from Mainland 
Europe that I'm aware of, but there's nothing stropping them from 
joining.

This year's one will be in September.  It's being held at the Dudley 
campus of one of the Birmingham Universities (either Birmingham or 
Wolverhamption, I can't emember which)

I joined this weekend but haven't got the details with me today. 
I'll try and remember to bring them to work with me tomorow and post
them.

Each year it is run by a different group (there isn't an overall 
organization/club/group that runs them, it's reliant on different 
people deciding to form a committee and put in a bid to run the 
following year's one).  This years group does not have web access (I 
think one of the members has access to email on her boyfriend's 
account but i've never received a reply from her as she never checks 
it and he never remembers to tell her there are messages for 
her....<g>

The place you are most likely to find details of any of the Masques 
 would be the web pages of the Costume Guild UK.  CGUK doesn't run 
Masque, but we hold our AGM there and there's usually a high 
proportion of GCUK members at Masque each year.

I can't give you the URL right now as I have it bookmarked, but
can't access my web-searching and bookmars without lgging out of
email, rebooting the computer and firing up a whole different system
that will actually run windows....  Do a search for the "CGUK
homepage" (that's how i usually find it if i'm not using the 
computer/account with the bookmarks on it) 

Hope this helps

Teddy
(Trustworthy Evil-Bunny of Destiny, part-time Knave and Creature of
air and darkness, apparently!)
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From owner-h-costume@indra.com  Mon Feb  8 07:48:28 1999
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From: "Christopher Ballis" <stilskin@netspace.net.au>
To: <ICG-L@LISTS.BEST.COM>, <F-COSTUME@indra.com>, <H-COSTUME@indra.com>
Subject: H-COST: Note of thanks
Date: Mon, 8 Feb 1999 23:56:08 +1100
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-Poster: "Christopher Ballis" <stilskin@netspace.net.au>

On behalf of David Scanlon who asked I put in a question about things to do
and see while he is in the Costume-Con 17 area, thanks to all those who
kindly responded, David is thrilled at the response.

If there are any further suggestions, feel free to contact him at

Lord__Necro@bigpond.com

(note, it is a double underscore).


-C.
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From: "Cornelia W" <w_cornelia@hotmail.com>
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Subject: H-COST: Posture -1950s
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-Poster: "Cornelia W" <w_cornelia@hotmail.com>

Dora's  comment about 1950's deportment reminded me of the early 1960 
when I was a teenager.  My younger brother told me that when I was 
wearing my ball gown I was 2 inches taller.  This was because I was well 
trussed up in a firm control girdle and long line bra. I probably was 
taller because those garments made you stand straight.

Cornelia


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-Poster: margo king <mkings@earthlink.net>

Sue W - Do you have a reference for these types of backboards, esp. in
19th century? Thanks, Margo King

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From owner-h-costume@indra.com  Mon Feb  8 08:40:56 1999
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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: Re: Pattern needed and random thoughts on underwear
Date: Mon, 8 Feb 1999 08:47:51 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

I just saw  paintings of the Prague bathhouse workers, and
their chemise straps were about an inch wide or thin like
spaghetti straps. The straps are variously shown as a
decorative tape or white self-material, presumably linen.
The dress is so simple and pretty.  You can see a few
different versions of it in Kybalova's Pictorial
Encyclopaedia of Fashion on pages 451, 452, and 453, which
show paintings from the original sources, the Jena Codex in
the Narodni Museum in Prague, and the Bible of Wendel IV, c.
1400 in the National Library in Vienna, Austria.

Hope H. Dunlap




-----Original Message-----
From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
Behalf Of kat@grendal.rain.com
Sent: Wednesday, February 03, 1999 4:42 PM
To: h-costume@indra.com
Subject: Re: H-COST: Re: Pattern needed and random thoughts
on underwear



-Poster: kat@grendal.rain.com


> 	I'm not really looking for a pattern, but I'd like to
hear
> some thoughts on late 14C shifts/smocks to wear under
cotehardies.

Kohler has a photo of an extant one. It looks like sort of a
spaghetti straped slip. The shoulder straps are part of the
garment
from the looks of it, not added later. I made one and it
worked
great. No binding under the arms.

Kat

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

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From: "Stapelton,  Gregory" <gregory.stapleton@funb.com>
To: "'h-costume@indra.com'" <h-costume@indra.com>
Subject: RE: H-COST: Glass Aglets
Date: Mon, 8 Feb 1999 09:23:54 -0500 
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-Poster: "Stapelton,  Gregory" <gregory.stapleton@funb.com>

Greetings, Danielle, :)


> -----Original Message-----
	<snip>
Yep.  We're making them ourselves.  Turns out, it's even easier than making
a bead.  It's just like making a small glass icicle.  

> Does this mean that your friend has a source for them?!  Where can I get
> some?
> 
Gawain
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From owner-h-costume@indra.com  Mon Feb  8 09:55:19 1999
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From: THOMAS PETRO <t.petro@mail1.strayer.edu>
To: h-costume@indra.com
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Subject: H-COST: World War 2 patterns
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-Poster: THOMAS PETRO <t.petro@mail1.strayer.edu>

Melanie,
  I am trying to make the 1937 or 1940 Battle Dress uniform and the Denison 
Smock that was used by the Paratrooper units during the War.

Thanks,
Tom

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From owner-h-costume@indra.com  Mon Feb  8 10:33:49 1999
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From: "Linda Yordy" <abuyordy@cobfac.idbsu.edu>
Organization: College of Business
To: h-costume@indra.com
Date: Mon, 8 Feb 1999 08:14:43 MST
Subject: Re: H-COST: what kind of lace
Priority: normal
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-Poster: "Linda Yordy" <abuyordy@cobfac.idbsu.edu>

> >Checking out a Virtual Museum, I ran across this portrait....
> >http://www.hol.gr/cgfa/g/p-gheeraerts2-1.htm
> >What kind of lace is that on the table at her left hand?  Is it lace at all?

> Given the limitations of my monitor, I would guess that she is holding some
> sort of jewel, possibly on a chain. It doesn't look like lace of any sort to me.

I agree. From my monitor, it looks like metal is involved. Perhaps a 
necklace or choker of some sort.


Linda Yordy
Phone: 208/426-4034
Boise State University
Center for Management Development
1910 University Drive
Boise, ID  83725-1660
********************************************************
Yordy's Law #3: When wearing white, apply your lunch 
directly to your shirt -- it will end up there anyway.
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From owner-h-costume@indra.com  Mon Feb  8 11:29:10 1999
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From: Christina Conklin <textiles@earthlink.net>
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-Poster: Christina Conklin <textiles@earthlink.net>

The details are as follows:

Antique Textile Fair
Armitage Centre
Moseley Rd
Fallowfield
Manchester

Open to the public 10-5, Sunday, March 21st. Write or phone  (0181)
523-2399 for info, as there is no web site listed in the ad (taken from
a British trade mag). Admission 5 pounds.

As it happens, I'm going to be in London at that time, and may make the
effort to get up north for this. Has anyone been? Is it worth the
effort?


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From owner-h-costume@indra.com  Mon Feb  8 11:45:00 1999
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Date: Mon, 08 Feb 1999 10:53:29 -0600
To: h-costume@indra.com
From: Carole Frick <cfrick@siue.edu>
Subject: H-COST: Bronzino "shirt"
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-Poster: Carole Frick <cfrick@siue.edu>

Dear All,
	I am new to the listserv, and am fascinated by the details of
costume-making you discuss.  Having never posted before, I thought I'd
contribute an historical clothing note on the Bronzino "shirt".  
	This is a very fancy (16th-c.) version of the Italian "camicia," which was
the washable undergarment worn by men, women and children alike underneath
their more constructed overgarments.  In the backgrounds of 15th-c.
paintings, you can often see wet undershirts hanging out to dry on wooden
rods attached to the sides of Florentine palazze below the windows.
(Masaccio, in his Brancacci Chapel frescoes)
	A "camicia," made by a female undergarment specialist known as a
"camiciaia," (oddly enough), was of linen, cotton, or occasionally a thin
silk.  The rich used fine linen "rensa" from Rheims.  It was rather long,
reaching to just about knee length, had amply-cut sleeves (which often were
poufed out of sleeve slashings), and formed the major part of a person's
personal linens, which the Italians called "biancheria".  The Renaissance
Italians also had special "camicie" for winter, called "camicie da verno,"
which presumably were made of a heavier fabric.  Cheers!
 

Carole Frick
Dept. of Historical Studies
Southern Illinois University
Edwardsville
	

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From owner-h-costume@indra.com  Mon Feb  8 12:03:27 1999
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From: "Sue W" <suew@excite.co.uk>
Message-Id: <199902080904071@suew.excite.co.uk>
Date: Mon, 8 Feb 1999 17:05:48 +0000
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Subject: H-COST: Backboards - references - long, for Margo
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-Poster: "Sue W" <suew@excite.co.uk>

Margo King wrote:
>> Sue W - Do you have a reference for these types of backboards, esp. in
19th century? Thanks, Margo King>>

Margo

I wish I could give you lots of nice and precise references for backboards,  I wish I wrote down more notes when I come across things.

Here in the UK there are examples of two handled backboards in the museums at Birmingham (Pinto collection) and the Cambridge Folk Museum.  The examples they have are helpfully labelled "19 Century",  and that is all.  You can see some pictures in Pinto's work "treen".  I seem to remember he says "mid 19 C"  which is hardly more helpful.(If it was made of wood he collected it !)

There is an example of the triangular variation in Peterborough museum, but it's ages since I have been there.  I seem to remember they have an indication that it was a regular domestic item, rather than a surgical device prescribed by a doctor.

Try Thackery's  "Vanity Fair" - there is a reference to a backboard as a normal girl's school device.   Also the US Dance Manual library on the web ( See Fran Grimble's post a week or so ago for the address) has a 1800 ish  reference to backboards, indicating that they were generally beneficial  and their use widespread - rather like vitamin pills today I suppose !.  The same book warns of the dangers of  using stocks to force children feet outwards.

There is an old costume book by Fairholt (mid 19century?).  In it there is a drawing of a mid 18C lady wearing a bouquet of flowers stuck down her busk.  A footnote says that girls' deportment has suffered since they stopped replacing the flowers  with a long darning needle to stop the (stupid, lazy and stooping) girl from poking her head forwards.  (My terrible sense of humour makes me think of a kebabs and a  barbeque)



It is easy to be critical of 18/19 C parents and teachers using these painful devices on children.   However it was right then, as now to the best for your children, so that they would succeed as adults.  In the 19C they got to work on the insides of children too - purging and a focus on timely bowel movements.  This could be painful for the poor child too.

What do we do to our children today that will be likewise regarded in 200 years time ?

Off topic a bit - we have to realise that it is only in the last 50 years or so that pain has become socially unacceptable.  18/19C schoolteachers used the cane as a teaching aid, which must have concentrated the mind.  I guess you learnt your 9 times table pretty quickly if you got a swish everytime you made a mistake.  

Let me know if this is not enought. I am sure there is more in my notes and at the back of my head, but that's all I can find at the moment.

Sue


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From owner-h-costume@indra.com  Mon Feb  8 12:57:24 1999
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From: Fred Struthers <fsbks@mcn.org>
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-Poster: Fred Struthers <fsbks@mcn.org>

I have a number of books like this. You should be on my mailing list -
but your name is famdiliar, and you may aready have received a catalog
from me.

At any rate, if you are interested send along you address, and I'll send
the next catalog of BOOKS ON CLOTH (late March).

Fred Struthers
-- 
Fred Struthers
http://www.mcn.org/e/fsbks
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From owner-h-costume@indra.com  Mon Feb  8 15:22:10 1999
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From: Robin Netherton <robin@dgsys.com>
To: Historic Costume List <h-costume@indra.com>
Subject: H-COST: I need a citation
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-Poster: Robin Netherton <robin@dgsys.com>



I'm finishing up the final copy of a book chapter -- on deadline of course
-- and I just realized I'm missing page numbers on three citations. Alas,
the nearest copies of the books (that I know of) are an hour and a
half's drive away, at the university library where I researched the paper.
I can't find copies in any of the local university libraries.

So, if anyone on this list happens to have either of these books in your
possession, and you are willing to look up a quote and give me a page
number, I would be ETERNALLY grateful if you would email me privately.

The books are:

      	Dion Calthrop, English Costume, 1066-1820, London: A & C Black,
      	1906. (I may be able to use the 1946 reprint as well, but I don't
	know if the 1960's version is close enough to the original to have
	the quote I need.)

      	Herbert Norris, Costume and Fashion, Vol 2: Senlac to Bosworth,
      	1066-1485, London: J.M. Dent and Sons, Ltd., 1938. This is the
	medieval volume, not the Tudor one.

Many thanks in advance.

:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
Robin Netherton :::::::: Editor at Large :::::::: robin@dgsys.com
:::::::::::::::: Life is just a bowl of queries. ::::::::::::::::
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::




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From owner-h-costume@indra.com  Mon Feb  8 15:23:22 1999
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From: Finafyr@aol.com
To: h-costume@indra.com
Subject: H-COST: Juan de Alcega's"Tailors Pattern book"
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-Poster: Finafyr@aol.com


Does anyone know where I can get a copy or photo Copy of Juan de Alcega's
Tailors pattern book...I have looked every where. I have seen some of the
patterns for the book and have seen those patterns worked up....I really
really would like a copy 

Yis
Fionnbharr (finafyr@aol.com)


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From owner-h-costume@indra.com  Mon Feb  8 15:25:20 1999
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From: Hope Greenberg <hag@moose.uvm.edu>
To: h-costume@indra.com
Subject: Re: H-COST: Fabric Question
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-Poster: Hope Greenberg <hag@moose.uvm.edu>


> -Poster: "Vickers, Jill" <jvickers@TELESENSORY.com>
> That being said, the book I was reading (Stella Blum's "Fashions and
> Costumes
> from Godey's Lady's Book" ) had no references to cotton clothing that I can
> recall.
...
> Also, my understanding is that Godey's toned down their European fashions
> for American consumption (please correct me if I'm mistaken).

Gowns made of cotton appear throughout Godey's but usually not by that
name. That is, the word cotton seems to be used more often for
crocheting cotton or yarn. Instead you'll see terms like cambric,
muslin, etc. Of course, quite often, especially in the coller months and
especially if the dress-of-the-month is for a more formal occasion, the
fabric will be silk or wool. But chemisettes are usually muslin. Godey
was always willing to show the latest Paris fashions, but Sarah Hale,
the editor, was just as eager to choose those that were a bit toned
down. Extremes in fashions did not go along with their usual policy of
advising "ladies."

(By the way, I think I have mentioned this but, without meaning to toot
horns, you're welcome to visit the latest experimental Godey's, now with
rudimentary searching, at this soon-to-be-changed address:
http://132.198.103.233:6336/dynaweb)

- Hope

------------
hope.greenberg@uvm.edu, U of Vermont, http://www.uvm.edu/~hag


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-Poster: Scott Hulett <mhull@earthlink.net>


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Okay,
    was at kinkos at 1:00 am last night doing work for another bbs and came
across this:
    "A knot made from narrow gold braid, possibly 'a true-love knot of passmane
lace of venice gold'. on a piece of dark green printed, or stamped
velvet, c.1600. Museo de Valencia de Don Juan, Madrid."
Elizabeths' Wardrobe unlocked, by Janet Arnold. Page 278, diag. 366.
What about that? Could this piece be a picture allegory for love? Aren't
Elizabethan portraits crammed with this stuff?
cheers, jd

PiranhaBB@aol.com wrote:

> -Poster: PiranhaBB@aol.com
>
> Checking out a Virtual Museum, I ran across this portrait....
>
> http://www.hol.gr/cgfa/g/p-gheeraerts2-1.htm
>
> What kind of lace is that on the table at her left hand?  Is it lace at all?
>
> Best regards,
> Lisa
>  _________________________________________________________________
>  To leave this mailing list, send mail to majordomo@indra.com
>  with the message UNSUBSCRIBE H-COSTUME

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<!doctype html public "-//w3c//dtd html 4.0 transitional//en">
<html>
Okay,
<br>&nbsp;&nbsp;&nbsp; was at kinkos at 1:00 am last night doing work for
another bbs and came across this:
<br>&nbsp;<i>&nbsp;&nbsp; "A knot made from narrow gold braid, possibly
'a true-love knot of passmane lace of venice gold'. on a piece of dark
green printed, or stamped</i>
<br><i>velvet, c.1600. Museo de Valencia de Don Juan, Madrid."</i>
<br><i><font size=-2>Elizabeths' Wardrobe unlocked, by Janet Arnold. Page
278, diag. 366.</font></i>
<br>What about that? Could this piece be a picture allegory for love? Aren't
Elizabethan portraits crammed with this stuff?
<br>cheers, jd
<p>PiranhaBB@aol.com wrote:
<blockquote TYPE=CITE>-Poster: PiranhaBB@aol.com
<p>Checking out a Virtual Museum, I ran across this portrait....
<p><a href="http://www.hol.gr/cgfa/g/p-gheeraerts2-1.htm">http://www.hol.gr/cgfa/g/p-gheeraerts2-1.htm</a>
<p>What kind of lace is that on the table at her left hand?&nbsp; Is it
lace at all?
<p>Best regards,
<br>Lisa
<br>&nbsp;_________________________________________________________________
<br>&nbsp;To leave this mailing list, send mail to majordomo@indra.com
<br>&nbsp;with the message UNSUBSCRIBE H-COSTUME</blockquote>
</html>

--------------DF0492C1783ACEE9A6858D41--

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From owner-h-costume@indra.com  Mon Feb  8 17:00:54 1999
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-Poster: Hulett <mhull@earthlink.net>

Okay, was at kinko's at 1:00 am doing work for another bbs and found this 
reference in JA Eliza Wardrobe Unlocked, page 278, diag. 355
	"A knot made from narrow gold braid, possibly 'a true-love knot of 
passmane lace of venice
	gold', on a pieced of dard green printed, or stamped velvet, c. 1600. 
Museo de VAlencia de Don
	Juan, Madrid."
Could this be a 'true-love' knot? I looks like some of the charms I saw in 
my travels in England, so maybe? Elizabethan portraits are crammed with 
allegorical items, what do you think?
Cheers, jd

-----Original Message-----
From:	Linda Yordy [SMTP:abuyordy@cobfac.idbsu.edu]
Sent:	Monday, February 08, 1999 7:15 AM
To:	h-costume@indra.com
Subject:	Re: H-COST: what kind of lace


-Poster: "Linda Yordy" <abuyordy@cobfac.idbsu.edu>

> >Checking out a Virtual Museum, I ran across this portrait....
> >http://www.hol.gr/cgfa/g/p-gheeraerts2-1.htm
> >What kind of lace is that on the table at her left hand?  Is it lace at 
all?

> Given the limitations of my monitor, I would guess that she is holding 
some
> sort of jewel, possibly on a chain. It doesn't look like lace of any sort 
to me.

I agree. From my monitor, it looks like metal is involved. Perhaps a
necklace or choker of some sort.


Linda Yordy
Phone: 208/426-4034
Boise State University
Center for Management Development
1910 University Drive
Boise, ID  83725-1660
********************************************************
Yordy's Law #3: When wearing white, apply your lunch
directly to your shirt -- it will end up there anyway.
 _________________________________________________________________
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 with the message UNSUBSCRIBE H-COSTUME

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From owner-h-costume@indra.com  Mon Feb  8 17:21:54 1999
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-Poster: Scott Hulett <mhull@earthlink.net>



I must concur with everything you said, and I add that there is a
terrific set of patterns in Period Costume for Stage and Screen, by
Jean Hunnisett. Pages 38-47 show excellent underpinnings(corset and
spanish farthingale)and 49-57 show a really good early Tudor dress
though sadly, no hat pattern. (great drawing though) Highly recommend,
good luck.  Cheers, jd.

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From owner-h-costume@indra.com  Mon Feb  8 17:53:06 1999
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-Poster: Mary Denise Smith <costumemag@earthlink.net>

I was there two years ago, when Margaret Bolger (sometimes of this list) ran it. Very good. Worth
the effort to get there. Good book stalls, interesting textiles, fine people. Don't go expecting
bargains. This is not a flea market.

Mary Denise Smith

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From owner-h-costume@indra.com  Mon Feb  8 17:55:57 1999
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-Poster: Cheryl Smith <larrcher@silverstar.com>


From: Kara Amelia Rodgers <rodgers@wpti.org>
Date: Thu, 4 Feb 1999 18:24:18 -0500 (EST)
Subject: H-COST: patterns and pattern making

- -Poster: Kara Amelia Rodgers <rodgers@wpti.org>

Hello,

I'm fairly new to costume making, though I've sewn for years. Everyone
seems to be talking about making garments from pictures. How do you go
about making patterns from pictures? Can anyone recommend a good book
to help me learn the skill? Also, where is a good place to look for
ready made historical patterns? Specifically, a friend has asked me to
make a Medieval cloak for him.

 +_+_+_+_+_+_+


Hi Kara,

There is a bunch of lists you can join at www.quiltropolis.com.  One is
on Pattern Making.  We have some great disussions.  Also, take a look at
the archives, because I know we've talked about alot of books, one by
Helen Armstrong,  'patternmaking for fashion design', but it's suppose
to be hard to find.  Hope to see you there.

Cheryl Smith
Pixie Wear



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-Poster: Hulett <mhull@earthlink.net>

Okay, was at kinko's at 1:00 am doing work for another bbs and found this 
reference in JA Eliza Wardrobe Unlocked, page 278, diag. 355
	"A knot made from narrow gold braid, possibly 'a true-love knot of 
passmane lace of venice
	gold', on a pieced of dard green printed, or stamped velvet, c. 1600. 
Museo de VAlencia de Don
	Juan, Madrid."
Could this be a 'true-love' knot? I looks like some of the charms I saw in 
my travels in England, so maybe? Elizabethan portraits are crammed with 
allegorical items, what do you think?
Cheers, jd

-----Original Message-----
From:	Linda Yordy [SMTP:abuyordy@cobfac.idbsu.edu]
Sent:	Monday, February 08, 1999 7:15 AM
To:	h-costume@indra.com
Subject:	Re: H-COST: what kind of lace


-Poster: "Linda Yordy" <abuyordy@cobfac.idbsu.edu>

> >Checking out a Virtual Museum, I ran across this portrait....
> >http://www.hol.gr/cgfa/g/p-gheeraerts2-1.htm
> >What kind of lace is that on the table at her left hand?  Is it lace at 
all?

> Given the limitations of my monitor, I would guess that she is holding 
some
> sort of jewel, possibly on a chain. It doesn't look like lace of any sort 
to me.

I agree. From my monitor, it looks like metal is involved. Perhaps a
necklace or choker of some sort.


Linda Yordy
Phone: 208/426-4034
Boise State University
Center for Management Development
1910 University Drive
Boise, ID  83725-1660
********************************************************
Yordy's Law #3: When wearing white, apply your lunch
directly to your shirt -- it will end up there anyway.
 _________________________________________________________________
 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 Feb  8 18:31:50 1999
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-Poster: The Purple Elephant <csmart@physics.adelaide.edu.au>

On Mon, 8 Feb 1999, Scott Hulett wrote:

> 
> -Poster: Scott Hulett <mhull@earthlink.net>
> 
> 
> 
> I must concur with everything you said, and I add that there is a
> terrific set of patterns in Period Costume for Stage and Screen, by
> Jean Hunnisett. Pages 38-47 show excellent underpinnings(corset and
> spanish farthingale)and 49-57 show a really good early Tudor dress
> though sadly, no hat pattern. (great drawing though) Highly recommend,
> good luck.  Cheers, jd.
> 
For a bit earlier (ie before the Spanish Farthingale was in use in England)
I found an interesting note in Cunnington....it was a quotation from a
period account dating about 1525, for dress materials to make a gown. It
included a roll of buckram and stuffing cloth for pleats.....
I assume the buckram was for the bodice, and the stuffing for the pleats
at the bakc of the skirt....
------------------------------------------------------------------------------
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  Mon Feb  8 18:41:19 1999
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Date: Mon, 08 Feb 1999 17:31:16 -0600
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Subject: Re: H-COST: Juan de Alcega's"Tailors Pattern book"
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-Poster: pnomail@bratshb.uwc.edu

Interlibrary loan is always an option if you simply want to see the book,
not posess it.

DJ

At 01:26 PM 2/8/1999 -0700, you wrote:
>
>-Poster: Finafyr@aol.com
>
>
>Does anyone know where I can get a copy or photo Copy of Juan de Alcega's
>Tailors pattern book...I have looked every where. I have seen some of the
>patterns for the book and have seen those patterns worked up....I really
>really would like a copy 
>
>Yis
>Fionnbharr (finafyr@aol.com)
>
>
> _________________________________________________________________
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>

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From owner-h-costume@indra.com  Mon Feb  8 18:41:32 1999
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Date: Mon, 08 Feb 1999 17:46:23 -0600
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Subject: Re: H-COST: Juan de Alcega's"Tailors Pattern book"
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-Poster: pnomail@bratshb.uwc.edu

Interlibrary loan is always an option if you simply want to read the book,
not posess it.

DJ

At 01:26 PM 2/8/1999 -0700, you wrote:
>
>-Poster: Finafyr@aol.com
>
>
>Does anyone know where I can get a copy or photo Copy of Juan de Alcega's
>Tailors pattern book...I have looked every where. I have seen some of the
>patterns for the book and have seen those patterns worked up....I really
>really would like a copy 
>
>Yis
>Fionnbharr (finafyr@aol.com)
>
>
> _________________________________________________________________
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From owner-h-costume@indra.com  Mon Feb  8 18:56:40 1999
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From: <lisaleon@hawaii.edu>
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To: h-costume@indra.com
Subject: Re: H-COST: Medieval panties?
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-Poster: <lisaleon@hawaii.edu>

> Please post the pictures.  I think the one in underwear is a man.

I tend to think so too.  The picture is at 
http://www.geocities.com/Athens/Delphi/3212/bikini.html

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From owner-h-costume@indra.com  Mon Feb  8 19:13:05 1999
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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: Glass Aglets
Date: Mon, 8 Feb 1999 19:09:57 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

Can you share your method with us?
Hope H. Dunlap

-----Original Message-----
From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
Behalf Of Stapelton, Gregory
Sent: Monday, February 08, 1999 9:24 AM
To: 'h-costume@indra.com'
Subject: RE: H-COST: Glass Aglets



-Poster: "Stapelton,  Gregory" <gregory.stapleton@funb.com>

Greetings, Danielle, :)


> -----Original Message-----
	<snip>
Yep.  We're making them ourselves.  Turns out, it's even
easier than making
a bead.  It's just like making a small glass icicle.

> Does this mean that your friend has a source for them?!
Where can I get
> some?
>
Gawain

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From owner-h-costume@indra.com  Mon Feb  8 22:18:39 1999
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Date: Mon, 8 Feb 1999 22:13:18 EST
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-Poster: Appin1@aol.com

Folkwear used to make a quilted petticoat pattern, which I have. I don't know
if they still make it though.

Kathleen Norvell
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From owner-h-costume@indra.com  Mon Feb  8 23:26:13 1999
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Date: Mon, 8 Feb 1999 23:29:42 -0500 (EST)
From: Robin Netherton <robin@dgsys.com>
To: h-costume@indra.com
Subject: H-COST: Thanks for citations
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-Poster: Robin Netherton <robin@dgsys.com>


Wow, this list is full of wonderful people. Thank you from the bottom of
my heart for the fast response to my need for citations.  My personal
library is open to you all. (I'm working desperately to complete two
papers for a deadline, so this may not be the last time I throw myself on
the mercy and the collective wisdom of the list.)

(And now I know *not* to put the word "help" at the start of a subject
line. I see that my errant first try at sending my query did finally make
it to the list, two days delayed by majordomo. Sorry for the repetition.)

To give something back: A librarian friend just sent me a citation on a
recent book that sounds luscious, but of which I had not heard till today: 

> Valerie Cumming, The visual history of costume accessories (London:
> Batsford, 1998).  [1500 to present].

Sounds like one more in the "visual history" series, and thus very
promising, particularly given the author.  Anyone know more? 

--Robin

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Subject: Re: H-COST: Medieval panties?
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-Poster: Pompadour <marquise_de_pompadour@gmx.net>

At 23:59 08.02.99 , you wrote:

>> Please post the pictures.  I think the one in underwear is a man.
>
>I tend to think so too.  The picture is at 
><http://www.geocities.com/Athens/Delphi/3212/bikini.html>http://www.geocit
ies.com/Athens/Delphi/3212/bikini.html



IMHO definitely a man. 
any i's say it's a bathhouse scene, which is, according to my history teacher,
the same as a brothel scene. one of the reasons why people believed that
bathing too often was unhealthy was, she said, that they frequently caught
sexual diseases from those bathhouses....

ciao,
yo



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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, 8 Feb 1999, Tricia Ostwald wrote:

> 
> I made myself several of those last year - based on the French Tapestries
> from about 1500 called Lives of the Nobles or something like that. My book
> is at home and its in French. 
Yes, I found a similar sounding book in the library here. The French
tapestries of this time are an excellent resource for this style of
dress.
> 
> Basically, (it looks to me) - if the undergown is laced/hooked up the
> front, then the overgown has the V back and is laced (with a single lace)
> across. When the overgown is hooked at the front (no visible fastenings)
> then the undergown does up the back - and I made both high at the back -
> I'll have to go back to the tapestry book to rethink through my reasoning
> for that - other than it seemed sensible.
> 
> The back laced version stays up pretty well.  
I was inclining to the front hooked/laced (invisibly) overgown myself,
since I get to put it on by myself *grin*
I've also seen some that have a v-neck at the front, and seem to wrap
over....not sure how they fasten, or whether they are just held on
by the belt like a dressing gown. I've not seen a good picture showing
what happens at the waist.
> 
> >The hoods worn with these dresses seem to have many variations, but leaving
> >aside gable hoods, there are quite a few that look like the women are
> >wearing something that might evolve into the French hood underneath. 
> >Boucher says this is a 'headband' and other writers say it is an undercap,
> >but it looks nothing like a coif. Any ideas how it might be made?
> 
> The 1500s french style hoods - haven't yet evolved into the "French Hoods".
> I've made 2 successful versions using a lined hood pinned to a coif. The
> bit that looks like the cresent of the french hood is the lining of the
> older style hood, that has been turned back. Have a look at the portrait of
> Queen Claude (I think?) for a better view. 
> 
Yeah, I've seen some that look like they are just turned back, but some
quite definitely seem to have something underneath.

> I've made both these and the Anne Boleyn style (and later) french hoods -
> also worn over a coif, and I think the transition is pretty straight
> forward. Not sure what Boucher means by headband tho? The cresent portion?

Yes, there's a portrait in the book that shows what she means. It doesn't
look like the girl in the piccy is wearing a coif, but does look like
the beginnings of a billiment on something sitting just under the hood.


------------------------------------------------------------------------------
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 Feb  9 02:04:03 1999
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Subject: Re: H-COST: World War 2 patterns
Date: Mon, 8 Feb 99 23:07:56 -0800
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-Poster: Pelikan <haggis@sirius.com>

>Melanie,
>  I am trying to make the 1937 or 1940 Battle Dress uniform and the Denison 
>Smock that was used by the Paratrooper units during the War.
>
>Thanks,
>Tom
If you're looking for a good Dennison smock repro, contact Harlan Glenn 
at King and Country.  His stuff is excellent.

Steve Pelikan
haggis@sirus.com
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Date: Sun, 07 Feb 1999 11:02:06 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: Re: H-COST: fancy dress
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>


>Fancy Dress was quite popular with the upper classes in 19c and early 20c
>England, when there was a fad for finding 17 c clothing in your attic and
>reworking it to wear. Some people simply had new clothing made in old
>styles, which explains some of the strange clothing found in English
>collections -- style may be 17c, but sewing techniques and shaping aren't.

One of the few originals I own is a hybrid dress like this, 'obsoleted' out
of the San Francisco Opera stock.  It was clearly made in about 1922, with
a dropped waist and a full skirt starting at the hips.  But the dress
itself is 'Georgian'.  It is pale blue silk like from a saree, with metalic
silver threads in a spot pattern and a hem pattern.  It has gathered
chiffon sleeve ruffles.  1900s-20's doing Georgian is my favourite period
for silly.


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

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From owner-h-costume@indra.com  Tue Feb  9 06:06:25 1999
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From: "Christopher Ballis" <stilskin@netspace.net.au>
To: <h-costume@indra.com>, <f-costume@indra.com>
Subject: H-COST: Going away
Date: Tue, 9 Feb 1999 22:13:47 +1100
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-Poster: "Christopher Ballis" <stilskin@netspace.net.au>

Dear all,


I am temporarily unsubscrining from my mailing lists seeing I am about to
enter final panic stage before traveling from Australia to Costume Con 17,


See yas next month,


-C.
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From owner-h-costume@indra.com  Tue Feb  9 09:07:32 1999
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-Poster: "David Scanlon" <Lord__Necro@bigpond.com>

Hello,

This is obviously my first letter. I am from Australia, I am 34, and have been costuming for four years.
I started of doing Gothic only. Lately though I have branched into many other types of costume.
The list of things I want to make though is the most important. I have been looking for a place for discussion on costume.
This looks like fun.

I am going to Philadelphia in less than 48 hours, butterflies have set up residence in my belly.
It's my first time out of Australia, is anyone going?
Not much time for a conversation but I thought I'd say hello before I go to USA.

Seeya.

David.
ÿ
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From owner-h-costume@indra.com  Tue Feb  9 15:07:10 1999
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From: "Susannah Eanes" <oh_susannah@hotmail.com>
To: h-costume@indra.com
Subject: Re: H-COST: 15" waists:  surviving garments?
Date: Tue, 09 Feb 1999 12:09:37 PST
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-Poster: "Susannah Eanes" <oh_susannah@hotmail.com>


>-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?


OK, I know I'm late with this post, but here's my 2c --

Not counting the year I was nursing my first child, until I was pregnant 
with my second child at age 30, I had a 23" waist, naturally without 
corseting.  I am small boned, five feet tall, and not unnaturally thin.   
After five children, my waist is about 25 1/2 to 26 inches, depending on 
the time of the month.  I do exercise regularly, (in addition to the 
energy needed for running after all those babies!) and I eat normally.  
I weigh about 107.  My hips are 36 - 37 inches.  I am nearing my 40th 
birthday.

The funny thing is, I can't seem to corset down to below 23", the bulk 
of the corset itself seems to preclude this, or maybe I just don't try 
hard enough.  I cannot think that most women, however  concerned they 
may have been with fashion, corseted to the extent that many moderns 
seem to believe.  You just can't move and breathe all day like that.

I am used to corseting, all periods from 1760 to 1860s, and there are 
differences between periods.  I actually find 1820s - 30s corseting to 
be more comfortable than modern undergarments.  It's just my body & the 
way it's built.  Again, like in discussions of this nature before, we 
cannot actually know what it was like for our forebears unless we are 
willing to go through exactly what they did, day after day and week 
after week.  I have worn period corseting all day, every day for a year 
and a half.   Because of this experience, I am inclined to think that 
many 18th & 19th c. women, because of being corseted, did have somewhat 
smaller waists than we find in modern women.  Most of us, with our 
sweatsuit-loving lifestyle, will not put up with being corseted in any 
way for more than a few hours.  Being corseted  does help keep you from 
overeating, by the way.  And have you ever tried to drink a Coke in an 
18th c. corset?  Big mistake.  Heartburn city.

Susannah



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From owner-h-costume@indra.com  Tue Feb  9 16:10:22 1999
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From: Margo Anderson <margo@directcon.net>
Subject: H-COST:  1850's questions
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-Poster: Margo Anderson <margo@directcon.net>

I am planning to make myself a new 1850's wardrobe.  I will be wearing it
for social events and reenacting, and, hopefully, advertising my work.  

I need a ball gown suitable for a cold climate (lake Tahoe) in early spring,
a day/work dress suitable for very hot weather, and a dressier street
costume, also for hot weather, which I would like to make me look like a
very sucessful  but not respectable business woman.  In fact, I'd like this
costume to convey that I run the best House in town.  

My most pressing problem is that I'm currently losing weight at the rate of
about 8-10 pounds a month, which means that I'll probably drop several sizes
during this time.  Any suggestions on the best way to make these costumes
easy to alter?  I"ve done theater work and plan to construct the corset and
bodices so that the side seams can be taken in easily.  Are there any other
good tricks?  

Since I'll be wearing these costumes in hot weather, in the 90's or 100's,
I'd prefer hoops to lots of petticoats.  I'm considering making a "cage"
crinoline such as Hunnisett shows.  Do these have any actual advantage over
hooped petticoats, or do they just look incredibly cool?  (as in panache,
not temperature)

Since I don't expect that I can continue to alter these clothes down
forever, I only plan to wear them for one year.  Therefore, I'd rather not
spend a fortune on fabric.  I have a plaid cotton for the day/work dress.
I'm trying to decide about that ball gown:  I know silk would be proper, but
at that price....was faille or moire used by more "mature" ladies? (I'm 41).
I'm also thinking of tulle or net, pobably black, over a color.  A la Worth,
you know?

I'm fairly stumped for the "madam" costume.  What would be a suitable fabric
for really hot weather, that would still get the character across?  I don't
mind being hot, I've worked RPFN in noble costume, but this time I'm not
pretending it's England.  What would an expensively dressed woman wear for
streetwear in California summer weather?



Margo Anderson


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From owner-h-costume@indra.com  Tue Feb  9 16:35:14 1999
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From: "Vickers, Jill" <jvickers@TELESENSORY.com>
To: "'h-costume@indra.com'" <h-costume@indra.com>
Subject: RE: H-COST: 15" waists:  surviving garments?
Date: Tue, 9 Feb 1999 13:39:19 -0800 
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-Poster: "Vickers, Jill" <jvickers@TELESENSORY.com>


> -Poster: "Susannah Eanes" <oh_susannah@hotmail.com>
> 
> The funny thing is, I can't seem to corset down to below 23", the bulk 
> of the corset itself seems to preclude this, or maybe I just don't try 
> hard enough.  I cannot think that most women, however  concerned they 
> may have been with fashion, corseted to the extent that many moderns 
> seem to believe.  You just can't move and breathe all day like that.
> 
> 
Interesting that this subject was brought up again today!

I tried on my c.1860 corset just this morning to see if it fit (I've
been losing weight, so I've been trying on *all* my old clothes!).
It was made for me almost 10 years ago when I was a bit smaller, 
and it was too big for me then (i.e. my waist was the same size, if 
not larger, in the corset).

Well, I got into it all right.  I got my waist down two inches, but 
everything above and below my waist was pushed out of the 
corset, producing a not-so-attractive silhouette, although I could 
still breathe OK.  I can't imagine that this particular corset will 
ever be right, so I'm going  to break it down and re-use the steels 
and busk (it's been worn maybe 3 times at most).

Anyhow, I figure that if you've been corseted from a young age 
consistently (i.e. daily, and all day) eventually you get used to 
it and can cinch it in more as time passes (take that 50 year old
woman from the late 1950's with the 13" waist-I can't recall her
name).  Besides that, from the photos I've seen of the mid-late 19th
century, it seemed the women who did corset could afford to do 
very little, so being able to move about was not as much an issue.

The most I do is wear a belt, and even that usually bugs me because
I'm very short waisted and I end up with most waistbands around
my lower ribs.  I will surely never be able to corset well, so I think that
being able to get 2" off my waist is *great*.  After all, for re-enactment, 
you can only work with what resources are currently available!

-Jill



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From owner-h-costume@indra.com  Tue Feb  9 16:58:20 1999
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From: "Knauf, Saragrace T(Z02001)" <SKNAUF@apsc.com>
To: "'h-costume@indra.com'" <h-costume@indra.com>
Subject: H-COST: Elizabeth's Wardrobe Unlocked by Janet Arnold availability??
Date: Tue, 9 Feb 1999 15:01:24 -0700 
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-Poster: "Knauf, Saragrace T(Z02001)" <SKNAUF@apsc.com>

Does anyone know where you can purchase this book and how much it costs?
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From owner-h-costume@indra.com  Tue Feb  9 17:02:46 1999
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From: aleed <aleed@dnaco.net>
To: "'h-costume@indra.com'" <h-costume@indra.com>
Subject: Re: H-COST: Elizabeth's Wardrobe Unlocked by Janet Arnold availability??
In-Reply-To: <7F402D0574C3D011ACF000A0C92B23D3017B06FC@nt13pv.apsc.com>
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-Poster: aleed <aleed@dnaco.net>


You can get it at the UK Amazon.com (http://www.amazon.co.uk) at around 90
pounds.



Drea


On Tue, 9 Feb 1999, Knauf, Saragrace T(Z02001) wrote:

> 
> -Poster: "Knauf, Saragrace T(Z02001)" <SKNAUF@apsc.com>
> 
> Does anyone know where you can purchase this book and how much it costs?
>  _________________________________________________________________
>  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>

I saw today it new at www.greenduck.com for $180 US.  Cynthia

Knauf, Saragrace T(Z02001) wrote:

> -Poster: "Knauf, Saragrace T(Z02001)" <SKNAUF@apsc.com>
>
> Does anyone know where you can purchase this book and how much it costs?
>  _________________________________________________________________
>  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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From owner-h-costume@indra.com  Tue Feb  9 18:10:53 1999
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From: "Colleen McDonald Hinrichs" <Colleen@Mackie.com>
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Subject: H-COST: Sources for Italian
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-Poster: "Colleen McDonald Hinrichs" <Colleen@Mackie.com>

Hello List,

I am looking for sources to use for documenting an Italian "cotehardie".   I am not sure if this is the appropriate name, but it conveys the style that I am looking for - narrow arms, fitted to the hips and full skirt.  I am hoping that someone here on the list may be able to help point me toward some books or paintings.

Some of the paintings that I have already looked at are "...Good Government: City Life" and the Legend of the True Cross series.  There seems to be one painting by Bartolo di Fredi that depicts the dress style that I am looking for (darn, wish I had my notebook with me at work), but I can't seem to find his stuff anywhere in color.  Any ideas where to look?

If there's a better/more appropriate name than cotehardie, please let me know.  (Henk, I am hoping that you have some info....)

Also, any paintings that shows these dresses from the back?  The ones that I have mentioned only have front views and I am trying to determine if the dress should lace up the back.  (None of the ones I've looked at show front lacing.)

Keeping my fingers crossed,

Colleen McDonald Hinrichs

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From owner-h-costume@indra.com  Tue Feb  9 18:48:43 1999
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From: "Franchesca Havas" <ches@io.com>
To: <h-costume@indra.com>
Subject: Re: H-COST: Elizabeth's Wardrobe Unlocked by Janet Arnold availability??
Date: Tue, 9 Feb 1999 18:08:10 -0600
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-Poster: "Franchesca Havas" <ches@io.com>

Amazon Dry Goods sells it in the US for 139.95 1-800-798-7979

Sincerely,
Ches
aka Chiara Francesca
Virtual Scribe for 20th year
http://www.ansteorra.org/20thyr/

-----Original Message-----
From: Knauf, Saragrace T(Z02001) <SKNAUF@apsc.com>
To: 'h-costume@indra.com' <h-costume@indra.com>
Date: Tuesday, February 09, 1999 3:56 PM
Subject: H-COST: Elizabeth's Wardrobe Unlocked by Janet Arnold
availability??


:
:-Poster: "Knauf, Saragrace T(Z02001)" <SKNAUF@apsc.com>
:
:Does anyone know where you can purchase this book and how much it costs?
: _________________________________________________________________
: To leave this mailing list, send mail to majordomo@indra.com
: with the message UNSUBSCRIBE H-COSTUME
:

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-Poster: AlbertCat@aol.com

In a message dated 2/9/99 4:16:50 PM Eastern Standard Time,
margo@directcon.net writes:

<< 
 I'm fairly stumped for the "madam" costume.  What would be a suitable fabric
 for really hot weather, that would still get the character across?  I don't
 mind being hot, I've worked RPFN in noble costume, but this time I'm not
 pretending it's England.  What would an expensively dressed woman wear for
 streetwear in California summer weather?
  >>

I'm always amazed at how light many period dresses are.....I mean the silks
are thin! Not always sheer but many times gauzy fabrics are used. I've seen
gauze wools with a window pane pattern woven in a twill. I don't suggest you
wear wool gauze but you might think about this:
Make a beautiful corset cover with wide decolletage, short sleeves and a
lovely petticoat to match of fine white cotton perhaps enriched with eyelet &
tucks. Now make a linen/cotton gauze gown to go over it. Surely you can fine a
lovely colorful print or woven pattern. Cut the dress differently from the
undergarments so they are striking on their own as they show thru the gauze
dress. Perhaps with a high neck & a la verge CF. wide ruffle bell sleeves &
some ruffles on the skirt and Tah Dah!!! a light breezy yet elegant & opulent
gown.

Just a suggestion.
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From owner-h-costume@indra.com  Tue Feb  9 21:30:50 1999
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-Poster: Kent & Kat <kdyer@nash.tds.net>

lisaleon@hawaii.edu wrote:
> 
> > Please post the pictures.  I think the one in underwear
> > is a man.
> 
> I tend to think so too.  The picture is at
> http://www.geocities.com/Athens/Delphi/3212/bikini.html

Another vote for it being male from me...it looks more like
acknowledged male figures in woodcuts I've seen of the same
period in the face than a female.

Kat
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From owner-h-costume@indra.com  Tue Feb  9 22:29:46 1999
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Date: Tue, 09 Feb 1999 22:30:31 -0500
From: "David S. Mallinak" <matchlck@erols.com>
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-Poster: "David S. Mallinak" <matchlck@erols.com>

Hope H. Dunlap wrote:

> Can anyone explain to me how to draft a pattern for the big
> floppy velvet nightcap which English and American men wore
> at home instead of their wigs in 18th Century Georgian
> times?  Some references call it a nightcap or turban, sometimes
> tasselled.

I believe that Smoke and Fire has packet of patterns for 18th century
headwear.
I could not find in my mess that is my house so I can't give you the
exact name.
I will continue to search and let you know.

==================================================================
 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 owner-h-costume@indra.com  Tue Feb  9 22:47:46 1999
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From: "Penny E. Ladnier" <penny.creative.outlets@erols.com>
To: "costume newsgroup" <h-costume@indra.com>
Subject: H-COST: Online Mardi Gras Ball 99
Date: Tue, 9 Feb 1999 22:51:29 -0500
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-Poster: "Penny E. Ladnier" <penny.creative.outlets@erols.com>

Friday, we are off for a week to Mardi Gras!  (A vacation we have promised
our kids for 20 years.)  This is my second favorite time of year.  Home for
the holidays... now, I can go back to talking in my southern French accent.

The Online Mardi Gras Ball 1999 will begin on The Costume Gallery this
Sunday!  You may find it at
http://www.costumegallery.com/Costume_Ball/MardiGras/99.html  Saturday, we
will be in Mobile, Alabama.  Mobile is the birthplace of Mardi Gras in the
U.S.  This year, Mobile is celebrating 300 years of the holiday.  Sunday, I
will be adding images of the Mobile's costumes to the website.  Later
Sunday, we will be going to a smaller parade on the Mississippi Gulf Coast.
These images MIGHT get up on the webpage on Monday.  (We are having a big
party with friends and family at the casinos.)  Monday night, we will be in
New Orleans for Harry Connick, Jr.'s parade.  This images might be up on the
website later that night.  It depends on what time we get back to Slidell.
Tuesday, Mardi Gras day, we will be back in New Orleans at sunrise and
leaving at sunset.  I hope to have some of these costume images up on the
website by Wednesday noon.  Then we come back home.

There are two Mardi Gras museums we hope to get to see.  One is in Mobile
and the other is in Biloxi, Mississippi (my home town).   Both promise lots
of costumes.

A fun thing about Mardi Gras in New Orleans is that the people on the
streets are in the most creative costumes.  I can't wait to get pictures of
them.

We will be video taping all the parades.  My main focus is on the costumes.
We bought a fancy piece of software that will freeze pictures from our video
tapes.  The images look great!  My family has been playing with it all
night.  I am very excited to use the software because we can freeze front,
side and back views of costumes.  Then you can send the pictures out on the
web. We also have all sorts of cameras to take pictures with.  We are moving
into another state of the art in internet imaging.

Now ya'll know where I got my love for costuming.  It was growing up with
Mardi Gras.
I will be signing off all the email lists, Wednesday night.  If you want to
contact me after that, please do so through mardi.gras@costumegallery.com

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

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Date: Tue, 09 Feb 1999 22:25:06 -0500
To: h-costume@indra.com
From: Danielle Nunn <dnunn@interlog.com>
Subject: RE: H-COST: Glass Aglets
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-Poster: Danielle Nunn <dnunn@interlog.com>

Greetings Gawain,

>Yep.  We're making them ourselves.  Turns out, it's even easier than making
>a bead.  It's just like making a small glass icicle.  

OOOOOOOOooooooo! OOOOOOOoooooo! OOOOOOOOOOOOooooooooooo!  Please bring some
with you to Toronto if you can!!!!!  I would love to see them/get my hands
on them!

Cheers,
Danielle

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From owner-h-costume@indra.com  Tue Feb  9 23:13:22 1999
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From: Danielle Nunn <dnunn@interlog.com>
Subject: Re: H-COST: grow tucks
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-Poster: Danielle Nunn <dnunn@interlog.com>

Greetings,

>There was a discuss not too long ago on these Spanish hems.  I don't
>recall if a conclusion was ever reached, but they're not likely to be
>growth tucks because they're found on adults as well.

I followed the discussion avidly and don't remember a conclusion ever being
reached.  If I remember correctly, even the EXPERTS couldn't figure it out.

Cheers,
Danielle

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From owner-h-costume@indra.com  Wed Feb 10 06:54:30 1999
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Date: Wed, 10 Feb 1999 06:57:24 -0500
From: Melanie Wilson <MelanieWilson@compuserve.com>
Subject: H-COST: World War 2 Uniforms
To: LIST historic costume <h-costume-digest@indra.com>
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-Poster: Melanie Wilson <MelanieWilson@compuserve.com>

Try this page for some links

http://home.inreach.com/arnhem/links.htm

Mel
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From owner-h-costume@indra.com  Wed Feb 10 07:29:53 1999
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Date: Wed, 10 Feb 1999 07:30:28 -0500
Subject: Re: H-COST:  1850's questions
Message-ID: <19990210.073519.19734.0.Alysea@juno.com>
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-Poster: Karen J Farris <alysea@juno.com>

Margo--I have actually seen and reproduced a day-dress from that period
which had no waist seam! It was done entirely princess seamed! Seems that
might be easy on alterations. It buttoned entirely down the front, with a
small "Peter Pan" style collar and bishop sleeves. Hope this helps.

karen Farris

On Tue, 9 Feb 1999 13:07:14 -0800 (PST) Margo Anderson
<margo@directcon.net> writes:
>
>-Poster: Margo Anderson <margo@directcon.net>
>
>I am planning to make myself a new 1850's wardrobe.  I will be wearing 
>it
>for social events and reenacting, and, hopefully, advertising my work. 
> 
>
>I need a ball gown suitable for a cold climate (lake Tahoe) in early 
>spring,
>a day/work dress suitable for very hot weather, and a dressier street
>costume, also for hot weather, which I would like to make me look like 
>a
>very sucessful  but not respectable business woman.  In fact, I'd like 
>this
>costume to convey that I run the best House in town.  
>
>My most pressing problem is that I'm currently losing weight at the 
>rate of
>about 8-10 pounds a month, which means that I'll probably drop several 
>sizes
>during this time.  Any suggestions on the best way to make these 
>costumes
>easy to alter?  I"ve done theater work and plan to construct the 
>corset and
>bodices so that the side seams can be taken in easily.  Are there any 
>other
>good tricks?  
>
>Since I'll be wearing these costumes in hot weather, in the 90's or 
>100's,
>I'd prefer hoops to lots of petticoats.  I'm considering making a 
>"cage"
>crinoline such as Hunnisett shows.  Do these have any actual advantage 
>over
>hooped petticoats, or do they just look incredibly cool?  (as in 
>panache,
>not temperature)
>
>Since I don't expect that I can continue to alter these clothes down
>forever, I only plan to wear them for one year.  Therefore, I'd rather 
>not
>spend a fortune on fabric.  I have a plaid cotton for the day/work 
>dress.
>I'm trying to decide about that ball gown:  I know silk would be 
>proper, but
>at that price....was faille or moire used by more "mature" ladies? 
>(I'm 41).
>I'm also thinking of tulle or net, pobably black, over a color.  A la 
>Worth,
>you know?
>
>I'm fairly stumped for the "madam" costume.  What would be a suitable 
>fabric
>for really hot weather, that would still get the character across?  I 
>don't
>mind being hot, I've worked RPFN in noble costume, but this time I'm 
>not
>pretending it's England.  What would an expensively dressed woman wear 
>for
>streetwear in California summer weather?
>
>
>
>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  Wed Feb 10 07:34:00 1999
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Date: Wed, 10 Feb 1999 04:33:33 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: Re: H-COST: Quilted petticoat pattern c. 1700-1730
In-Reply-To: <36BB7C2E.6E766F4D@vaxxine.com>
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>


>I have a vague memory that someone asked for a source for early 18th
>century
>quilted petticoat patterns recently. Both a whole cloth quilt and a
>petticoat of
>c. 1700-1730 are illustrated  on pages 20-21 in the following:
>
>"Philadelphia: Three Centuries of American Art. Philadelphia Museum of
>Art, 1990.
>0-87633-016-2

Several of these illustrated in Nancy Bradfield's 'Costume In Detail'.


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

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From owner-h-costume@indra.com  Wed Feb 10 07:46:11 1999
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Date: Wed, 10 Feb 1999 12:25:46 +0000 (GMT)
From: Teddy <Teddy@mdx.ac.uk>
Subject: H-COST: MASQUE 7 (British Costume Convention) Details
To: h-costume-digest@indra.com
Message-id: <A163E35D40@mdx-bg-staff2.nw.mdx.ac.uk>
Organization: Middlesex University
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-Poster: Teddy <Teddy@mdx.ac.uk>

Hello all who wanted details of this year's British Costume 
Convention.  The following is all copied from their PR (all 
payment amounts are listed in English pounds)

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - -  
Masque 7
will take place on
Friday 10th - Sunday 12th September 1999
at
Dudley Campus
University of Wolverhampton

Membership Rates;
Until 14th April 1999:	25 
Until 30th August 1999:	30
Thereafter:			35
Day membership:		15
Children
(5 - 12 years inclusive):	Half price

Cheques should be made payable to "Masque 7" and sent to:

Masque 7
Hamstead Hall Road
Handsworth Wood
Birmingham
B20 1JB
England.

Accomodation has been arranged in the University residences on 
campus.  All rooms are singles and contain (in addition to 
the bed, one supposes) wash-basin, wardrobe and table.

Payment for these is in advance and *must* be made no later than 
Thursday 12th August 1999.

Friday night B&B	19:50
(Friday night bed and Saturday morning breakfast)

Saturday/Sunday 36 hour residential rate	44:50
(Saturday &Sunday; morning and afternoon tea/coffee and biscuits, 
lunch;  Saturday two course dinner, bed for the night; Sunday 
breakfast)

Sunday night B&B	19:50
(Sunday night bed and Monday morning breakfast)

Day meal rate:	10:00 per day
(for anyone not staying on campus:  Morning and afternoon tea/coffee 
and biscuits and two course lunch)

Special diets may be catered for but details are needed before 30th 
may 1999.

Programme (edited highlights - I'm not typing the whole thing!!)

The usual 3 Masquerades (competitions) - the Science Fiction/Fantasy, 
the Historical and the Anything Goes.

Workshops and demonstrations (planned to date)

- Characterisation in Costume Presentations - Avril Lansdell and 
Penny Hill

- Body Painting - Paul Holroyd

- Make Up - DJ Bass

(Yet to be confirmed include; Drop spindle spinning, making buttons 
and fastenings, altering your figure through design, hatmaking)

- th Chaos Costume workshop will run throughout the weekend as usual, 
organized by Jaine Weddell, with face-painting/make-up support from 
DJ Bass on the Sunday morning (<<for Chaos Costumes to be shown in 
the Anything Goes Masquerade,, probably>>)

Ideas, suggestions and volunteers are welcome!  Please contact the 
organizers at the Masque 7 address by 30th May
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - 

I hope this helps.

As I have already mentioned, the organizers do not have web access 
or e-mail,  but I will be in touch with them by telephone and would 
be happy to pass on messages and enquiries from anyone on H-costume.


Teddy
(Trustworthy Evil-Bunny of Destiny, part-time Knave and Creature of
air and darkness, apparently!)
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-Poster: AlbertCat@aol.com

In a message dated 2/9/99 10:32:26 PM Eastern Standard Time,
matchlck@erols.com writes:

<< Can anyone explain to me how to draft a pattern for the big
 > floppy velvet nightcap which English and American men wore
 > at home instead of their wigs in 18th Century Georgian
 > times? >>

I had a friend who actually owned a real one [probably from late in the period
or perhaps the early 1800s] It consisted of 4 pieces shaped not unlike the hot
plate of your average steam iron:

                                 ^
                               *   *
                             *       *
                            *         *
                           *           *
                           *-----------*
                           *______ *
                         
The 4 pieces were sewn together & a tassel put at the top point. The bottom
was turned up about 2 1/2 inches.
It was indeed velvet [midnight blue] and each panel was embroidered with
delicate scrolling flowers & leaves in greens, yellows, pinks, & light blues.
The facing on the turn back was also embroidered. I'd say [from memory] it was
about 8" to 10" high after turning back the bottom. It was lined with a light
weight black silk.
I made one out of white linen for another friend and embroidered the 4 panels
in black floss [something representing each season of the year per panel]
which didn't take long at all...about 10 days. Unfortunately it was lost in
the mail and never seen again!!!!! For that reason I've not done
another....but now it's time to get over that. It was easy & striking.
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From: "Knauf, Saragrace T(Z02001)" <SKNAUF@apsc.com>
To: "'h-costume@indra.com'" <h-costume@indra.com>
Subject: H-COST: dressed 'au dernier cri' - what does this mean?
Date: Wed, 10 Feb 1999 06:40:04 -0700
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-Poster: "Knauf, Saragrace T(Z02001)" <SKNAUF@apsc.com>

I am reading a biography on Queen Anne (the daughter of James Stuart II
~1680) by David Green.  There is a reference made to a portrait (by an
unknown French artist) which describes her as being dressed 'au dernier cri'
. 
Does anyone know what that means?

When describing how she is dressed and coiffed it says 'High on her check
she sports, as she often did, a patch.'  The reproduction is not good, so I
can't see anything on her cheeks.  What might the 'patch' be?  A faked
'beauty mark'??
Saragrace Knauf
Ext. 82-5248
Pager:  2969
"I never give them hell, I just tell them the truth and they think its hell"
Harry Truman
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From owner-h-costume@indra.com  Wed Feb 10 08:50:06 1999
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Date: Wed, 10 Feb 1999 05:34:59 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: Re: H-COST: H-COST - Bronzino's "Lady with a Puppy"
In-Reply-To: <36BDF44C.F372656A@earthlink.net>
References: <v0401170eb2de919630be@[205.252.121.172]>
 <v0401170eb2de919630be@[205.252.121.172]>
 <v0401170eb2de919630be@[205.252.121.172]>
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>

Scott Hulett writes, in a message sent 12:15 PM 2/7/99 -0800: 
>
> Carolyn, 
>     I've seen and made this sort of shirt. It is very simple to make though
> not easy and looks beautiful when finished. 


So when I got to the web page I recognized the portrait.  I hadn't realized it
was a Bronzino.  

Anyway, I wrote this big post back to the people in question telling how I
would make the shirt.  When I read yours it was so good I threw mine away.


Kayta
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     * )   (((((
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From owner-h-costume@indra.com  Wed Feb 10 08:50:16 1999
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Date: Wed, 10 Feb 1999 05:26:36 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: Re: H-COST: Elizabethan Gloves
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>


>I'm looking for information on Elizabethan gloves.  I have tried to find
>several books, however they are out of print, and virtually impossible
>to find.  I need to know how they were cut and contructed.   

Inter-library loan can find these books.  Meanwhile, there are three photos
of Elizabethan gloves in Davenport (ills. 1476, 1477, 1478, p. 564).  Each
one is cut differently.  Davenport should be easy to find. 

>I failed to mention in my previous e-mails, that the gloves I would like
>to make are  something similar to the ones presented to Queen Elizabeth
>on her visit to Oxford in 1566.(pictured in Accessories of Dress p.361)

Oh, if you already have a picture, use any glove pattern which has the
correct thumb.  There are many ways to do the seam where the thumb attaches
to the hand.  Research the right one for your period.




Kayta
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From: "Susannah Eanes" <oh_susannah@hotmail.com>
To: h-costume@indra.com
Subject: Re: H-COST: 15" waists - surviving garments?
Date: Wed, 10 Feb 1999 05:56:39 PST
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-Poster: "Susannah Eanes" <oh_susannah@hotmail.com>



>-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
>
> 

Saundra Altman, owner of Past Patterns, cites many references in her 
documentation for her corset patterns to this effect.  Sorry, I thought 
or assumed we all knew this already.  The corset size is actually 2 - 3 
inches smaller than the measurement of the "finished" waist while 
wearing, because of the allowance for gap, or "spring" at the back where 
it is laced.

If a corset actually meets in the back, it cannot support you correctly, 
because it will stretch and give while being worn, and cause gaps at the 
front that can pinch or at the very least, feel uncomfortable.

So a corset with a 15" waist would more than likely produce a finished 
18" waist measurement while being worn.  The measurements I gave in my 
last post took this into account --that is, my 23" finished waist 
measurement was while wearing a corset with a 21" or so waist 
measurement.  Does everybody understand this?  (Whew!  I'm out of 
breath, or something like that...)

Susannah

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-Poster: Marionetta@aol.com


I haven't made the cage crinoline from Hunniset but I have made the net
petticoat which she uses as a substitute for all the full-skirted 19th C
styles leading up to the hoop.  I thought it was wonderfully easy and fast to
make and far lighter and less cumbersome than wearing a bunch of real
petticoats.  If you decide against the crinoline I'd recommend the net
petticoat.   You may want to line it with some actual fabric though, the net
can be scratchy.

Cheers,

Loren Dearborn
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From owner-h-costume@indra.com  Wed Feb 10 09:30:16 1999
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From: Hope Greenberg <hope.greenberg@uvm.edu>
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-Poster: Hope Greenberg <hope.greenberg@uvm.edu>

To be au courant!
au dernier cri - the last cry, thus the latest word in fashion

- Hope
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From owner-h-costume@indra.com  Wed Feb 10 09:35:41 1999
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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: Sources for Italian
Date: Wed, 10 Feb 1999 08:17:08 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

It would be helpful if you could specify the historical
range of dates and ideally the place in Italy that you wish
to represent.  An "Italian cathedra" is such a general term,
that it is impossible to suggest anything more than a
general answer.  There are a number of excellent books on
Italian historical costume, and the tradition of engraving
and painting is perhaps older and richer in Italy than
anywhere else, so there is a lot of original material
available in books of paintings in libraries and on the Web.
Can you give us a hint regarding your time period, so we can
hit this one with some accuracy?

Hope H. Dunlap

-----Original Message-----
From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
Behalf Of Colleen McDonald Hinrichs
Sent: Tuesday, February 09, 1999 6:12 PM
To: h-costume@indra.com
Subject: H-COST: Sources for Italian



-Poster: "Colleen McDonald Hinrichs" <Colleen@Mackie.com>

Hello List,

I am looking for sources to use for documenting an Italian
"cotehardie".   I am not sure if this is the appropriate
name, but it conveys the style that I am looking for -
narrow arms, fitted to the hips and full skirt.  I am hoping
that someone here on the list may be able to help point me
toward some books or paintings.

Some of the paintings that I have already looked at are
"...Good Government: City Life" and the Legend of the True
Cross series.  There seems to be one painting by Bartolo di
Fredi that depicts the dress style that I am looking for
(darn, wish I had my notebook with me at work), but I can't
seem to find his stuff anywhere in color.  Any ideas where
to look?

If there's a better/more appropriate name than cotehardie,
please let me know.  (Henk, I am hoping that you have some
info....)

Also, any paintings that shows these dresses from the back?
The ones that I have mentioned only have front views and I
am trying to determine if the dress should lace up the back.
(None of the ones I've looked at show front lacing.)

Keeping my fingers crossed,

Colleen McDonald Hinrichs


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From owner-h-costume@indra.com  Wed Feb 10 09:57:53 1999
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-Poster: AlbraKat@aol.com

Essentially it means "the very latest word". To be dressed "au dernier cri",
then , is to be dressed in the very latest style.

Cheers--
albra
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From: "Colleen McDonald Hinrichs" <Colleen@Mackie.com>
To: h-costume@indra.com
Subject: H-COST: Sources for Italian
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-Poster: "Colleen McDonald Hinrichs" <Colleen@Mackie.com>

For a time period - something between 1350 and 1450...  I realize this is not terribly specific; however, I don't have it nailed to a set time period.  It's more whatever strikes my fancy out of the information that I find on this general time period.

As for where, northern Italy, for sure - Florence, Siena, Milan perhaps. Again, same thing as before, I'm not going into this with a definitive time and place - it's more a case of "hmmm, there are all these different types and places and...this one here appeals to me most."

Hoping this helps some,

Colleen


>>> "Hope H. Dunlap" <hhdunlap@email.msn.com> 02/10/99 05:17AM >>>

-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

It would be helpful if you could specify the historical
range of dates and ideally the place in Italy that you wish
to represent.  An "Italian cathedra" is such a general term,
that it is impossible to suggest anything more than a
general answer.  There are a number of excellent books on
Italian historical costume, and the tradition of engraving
and painting is perhaps older and richer in Italy than
anywhere else, so there is a lot of original material
available in books of paintings in libraries and on the Web.
Can you give us a hint regarding your time period, so we can
hit this one with some accuracy?

Hope H. Dunlap

-----Original Message-----
From: owner-h-costume@indra.com 
[mailto:owner-h-costume@indra.com]On 
Behalf Of Colleen McDonald Hinrichs
Sent: Tuesday, February 09, 1999 6:12 PM
To: h-costume@indra.com 
Subject: H-COST: Sources for Italian



-Poster: "Colleen McDonald Hinrichs" <Colleen@Mackie.com>

Hello List,

I am looking for sources to use for documenting an Italian
"cotehardie".   I am not sure if this is the appropriate
name, but it conveys the style that I am looking for -
narrow arms, fitted to the hips and full skirt.  I am hoping
that someone here on the list may be able to help point me
toward some books or paintings.

Some of the paintings that I have already looked at are
"...Good Government: City Life" and the Legend of the True
Cross series.  There seems to be one painting by Bartolo di
Fredi that depicts the dress style that I am looking for
(darn, wish I had my notebook with me at work), but I can't
seem to find his stuff anywhere in color.  Any ideas where
to look?

If there's a better/more appropriate name than cotehardie,
please let me know.  (Henk, I am hoping that you have some
info....)

Also, any paintings that shows these dresses from the back?
The ones that I have mentioned only have front views and I
am trying to determine if the dress should lace up the back.
(None of the ones I've looked at show front lacing.)

Keeping my fingers crossed,

Colleen McDonald Hinrichs


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From owner-h-costume@indra.com  Wed Feb 10 10:03:31 1999
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-Poster: The Mulders <mulder@mail.brightok.net>

Hi
I'm new to the list but not to costumes.  I have been designing and studying
corsets for a while.  Interesting subject.  Something I've noticed no one
has mentioned about the wearing of corsets that would explain the sizing.
If the binding of ones feet in China from a child on would keep the foot
small and not growing, so would a corset binding the body from childhood.
The organs either shift position or never reach the placement of "normal"
bodies.  There are numerous ailments that can be contributed to corset
wearing.  Liver and spleen problems.  These women started in a corset and
hence the small size.  They were also just smaller people and the
measurements were not as standard as they are now.  I have enjoyed reading
the list and thanks to all.
Moninya Odend'Hal-Mulder


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From owner-h-costume@indra.com  Wed Feb 10 10:25:42 1999
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-Poster: pulliam@acadia.net (Deborah Pulliam)

<<'au dernier cri'>>

"The latest cry" -- the latest fashion, in other words.

<<What might the 'patch' be?  A faked 'beauty mark'??>>

Yes, black patches in various shapes (up to and including hearts) were used
on the face to simulate beauty marks, which of course, are moles.


Deborah


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From owner-h-costume@indra.com  Wed Feb 10 11:20:52 1999
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From: "Kyna Grannd" <kynagrannd@granndgarb.com>
To: <h-costume@indra.com>
Subject: Re: H-COST: Elizabeth's Wardrobe Unlocked by Janet Arnold availability??
Date: Wed, 10 Feb 1999 11:25:54 -0500
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-Poster: "Kyna Grannd" <kynagrannd@granndgarb.com>

A new printing was authorized prior to Janet Arnold's death...I believe it
is available now from the publisher. The contact I've been using for out of
print or hard to find books of this sort is:

Ann Morgan-Hughes
Black Cat Books
annmh@blackcatbooks.demon.co.uk

Her price is 75 pounds or approx $122.44 US. I've ordered several books from
her and had them delivered to the US. She is prompt...wraps the books well
and adds you to a mailing list for her catalog of books.

She doesn't have a web site but deals via Abe Books ... here is the link to
the page where you can order this book.

http://whipper.abebooks.com/abep/il.dll

Hope this helps anyone looking :)

Suz
aka Kyna Grannd

granndgarb.com
-----Original Message-----
From: Knauf, Saragrace T(Z02001) <SKNAUF@apsc.com>
To: 'h-costume@indra.com' <h-costume@indra.com>
Date: Tuesday, February 09, 1999 5:06 PM
Subject: H-COST: Elizabeth's Wardrobe Unlocked by Janet Arnold
availability??


>
>-Poster: "Knauf, Saragrace T(Z02001)" <SKNAUF@apsc.com>
>
>Does anyone know where you can purchase this book and how much it costs?
> _________________________________________________________________
> 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 Feb 10 11:33:35 1999
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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: H-COST: Eighteenth Century Velvet Nightcap
Date: Wed, 10 Feb 1999 11:39:40 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

Thanks for this very good explanation.  I'm saving it, as
the detail is great.  I've seen photos of these in linen and
the embroidery designs and cutting lines, together with this
explanation are enough to get it done.

There is another style of nightcap which is more of an
overgrown beret style or something, more shapeless, always
in velvet, never in linen, which is more frequently seen in
portraits, that would be a better, more documentable fit
with the character I am researching now.  The thing is never
embroidered.  Most of my sources for it are not on the Web,
but there is one shown on the man to the far left of the Wm
Hogarth's Harlot's Progress engraving shown here:

 http://metalab.unc.edu/cjackson/hogarth/p-hogarth8.htm

Can anybody explain how this style is made? This is what I
really need. Thanks!

Hope H. Dunlap

-----Original Message-----
From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
Behalf Of AlbertCat@aol.com
Sent: Wednesday, February 10, 1999 8:37 AM
To: h-costume@indra.com
Subject: Re: H-COST: Eighteenth Century Velvet Nightcap



-Poster: AlbertCat@aol.com

In a message dated 2/9/99 10:32:26 PM Eastern Standard Time,
matchlck@erols.com writes:

<< Can anyone explain to me how to draft a pattern for the
big
 > floppy velvet nightcap which English and American men
wore
 > at home instead of their wigs in 18th Century Georgian
 > times? >>

I had a friend who actually owned a real one [probably from
late in the period
or perhaps the early 1800s] It consisted of 4 pieces shaped
not unlike the hot
plate of your average steam iron:

                                 ^
                               *   *
                             *       *
                            *         *
                           *           *
                           *-----------*
                           *______ *

The 4 pieces were sewn together & a tassel put at the top
point. The bottom
was turned up about 2 1/2 inches.
It was indeed velvet [midnight blue] and each panel was
embroidered with
delicate scrolling flowers & leaves in greens, yellows,
pinks, & light blues.
The facing on the turn back was also embroidered. I'd say
[from memory] it was
about 8" to 10" high after turning back the bottom. It was
lined with a light
weight black silk.
I made one out of white linen for another friend and
embroidered the 4 panels
in black floss [something representing each season of the
year per panel]
which didn't take long at all...about 10 days. Unfortunately
it was lost in
the mail and never seen again!!!!! For that reason I've not
done
another....but now it's time to get over that. It was easy &
striking.

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From owner-h-costume@indra.com  Wed Feb 10 11:44:13 1999
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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: Quilted petticoat pattern c. 1700-1730
Date: Wed, 10 Feb 1999 11:50:19 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

I did get the 2 photos in the Philadelphia Museum of Art
book, many thanks!  Costume in Detail is one of my absolute
favorite books, recently stolen from the local library (hey!
I wanted to, but it wasn't me!) so I've lost it as a
reference.  Guess I'll have to schlep to the next closest
copy an hour away and take another look at it!  Thanks for
that suggestion!  The Philadelphia Museum of art quilted
petticoat is definitely a "not in this lifetime" kind of
project, but taken together the extant examples do confirm
"a look" to go after.  The top is always a much simpler type
of quilting, usually diamond quilting or double diamond
quilting, while the border at the bottom is more heavily
worked.  The Philadelphia Museum of Art example is why
fashion changed to the open-robe!

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, February 10, 1999 7:34 AM
To: h-costume@indra.com
Subject: Re: H-COST: Quilted petticoat pattern c. 1700-1730



-Poster: Carolyn Kayta Barrows <kayta@slip.net>


>I have a vague memory that someone asked for a source for
early 18th
>century
>quilted petticoat patterns recently. Both a whole cloth
quilt and a
>petticoat of
>c. 1700-1730 are illustrated  on pages 20-21 in the
following:
>
>"Philadelphia: Three Centuries of American Art.
Philadelphia Museum of
>Art, 1990.
>0-87633-016-2

Several of these illustrated in Nancy Bradfield's 'Costume
In Detail'.


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


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From owner-h-costume@indra.com  Wed Feb 10 11:59:20 1999
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Date: Wed, 10 Feb 1999 12:02:15 -0500 (EST)
From: "Betsy R. Delaney" <betsy@hawkeswood.com>
To: Fantasy Costume List <f-costume@indra.com>,
        Historic Costume List <h-costume@indra.com>,
        ICG List <icg-l@lists.best.com>
Subject: H-COST: Sorry for the short notice - two Costume-Con memberships available
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-Poster: "Betsy R. Delaney" <betsy@hawkeswood.com>

Hi!

If you're not interested in Costume-Con, please delete this message.
Sorry for the wasted bandwidth.

Everyone else:

My friend has two Costume-Con 17 (CCXVII) attending memberships available
at the $55 rate. (At-Door rate is now $75.) If you'd like to discuss
taking one or both of them, please let me know ASAP - we're heading to the
conference Thursday night. 

She wants cash for the memberships, which I can collect at the con.

If you're interested, give me a call at (301-617-2798) or email me
directly at betsy@hawkeswood.com (DON'T reply to this message!) 

Thanks!

-betsy

(Back on the lists again after a year-long hiatus!)
--

Betsy R. Delaney
Webmistress at large
Costume-Con(R) Archivist

***************************************************************************
                 betsy@hawkeswood.com or betsy@ability.net
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From owner-h-costume@indra.com  Wed Feb 10 12:25:35 1999
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-Poster: Heather Law <lynnx@mc.net>

Margo, what did Belle Watling wear(Gone With the Wind)? A few years
late, but it's something to get ideas from. And Atlanta has higher
humidity than California.
Carol Mitchell


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From owner-h-costume@indra.com  Wed Feb 10 12:55:17 1999
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-Poster: MzScahlett@aol.com

Does anyone know where I could purchase a base for an African Mask to be used
in a play?  I'd want to put it on a stick (so hopefully it wouldn't be too
heavy) and I need some sort of base material to work with.  I'm a seamstress,
milliner, and sometime (if I must) shoe maker, but masks are just not
something I want to branch into.  I'll paint it, but I'd rather not get into
the actual papier mache or whatever.

Am I dreaming or is there a source for plain masks somewhere?

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: Margo Anderson <margo@directcon.net>

At 10:33 AM 2/10/99 -0800, you wrote:
>
>-Poster: Heather Law <lynnx@mc.net>
>
>Margo, what did Belle Watling wear(Gone With the Wind)? A few years
>late, but it's something to get ideas from. 

Ooh, good idea, AND an excuse to see the movie again!    It also occurred to
me that Paint your Wagon might be good for inspiration. Can anyone recall if
the costumes were any good?  Any other movies with madams?  East of Eden and
Pretty Baby both come to mind, but they're too late.

Margo

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From owner-h-costume@indra.com  Wed Feb 10 13:50:32 1999
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-Poster: Hope Greenberg <hope.greenberg@uvm.edu>

Re: walking dress, re-sizing, and madames; just a few thoughts:

I just took a quick cruise through Godey's looking for ideas. For
something that you could fit and re-fit, how about a basque or caraco.
If made with an open sleeve and a front that is somewhat open you could
wear a chemisette under it. It would be a couple layers, yes, but they
could all be fairly lightweight. And since the skirt would be separate
you wouldn't have to worry about adjusting skirt and top simultaneously. 

Godey's usually mentions silk for ballgowns, very lightweight ones in
the summer. But there are some evening and dinner dresses that might
pass that are done in light, fine muslin or cambric. Here's one
description that mentions tulle:
"A novelty has been introduced, a dress of white thulle, with three
flounces, each covered by a fall of black lace. The flounces are headed
by a bouillon of thulle, with a pink satin ribbon drawn through it. The
corsage has a heart-shaped berthe of alternate thulle buillons and rows
of black lace." (GLB, July 1858, p. 96) Unfortunately there isn't an
illustration.

As for a madame: that's a tough one! Godey's obviously doesn't describe
such an outfit (!!) but does have some things to say about dressing in a
lady-like manner. Choose a color that complements your skin type, bright
scarlet is a vulgar choice, when wearing a mantle (which one should
always) wear it gracefully and don't pull it tight to show off your
figure, don't go to fashion extremes, don't wear too many flounces or
horizontal stripes if you are short, don't tight lace, and in speaking
of appearing at hotel dinners while summering at the resort, says:
"there is no excuse for any woman to appear with neck and arms
uncovered, in broad daylight. . ." (also from GLB, July 1858, p. 96)

Belle Watling, at least as seen in the movie, wore satin in bright
colors, usually a bit tight or over-decorated, with dyed hair, too much
make-up and jewelry, and feathers. And Scarlett's bare arms and neck,
red dress and feathers, at the birthday party, were also signifiers. But
there's where the real problem lies. We've grown accustomed, though
movies and images, of seeing the "scarlet woman" decked out to the nines
or even over-dressed to get the point across. Real madames, at least
some of them, probably attempted to look respectable and so followed
fashion dictates. But late 20th century people won't necessarily realize
that if you don't overdress. A puzzle.

- Hope

------------
hope.greenberg@uvm.edu, U of Vermont, http://www.uvm.edu/~hag
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From: "Henk 't Jong" <scapreel@tip.nl>
To: <h-costume@indra.com>
Subject: Re: H-COST: Medieval panties?
Date: Wed, 10 Feb 1999 19:48:24 +0100
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-Poster: "Henk 't Jong" <scapreel@tip.nl>

Henk & Pauline 't Jong
tScapreel
Medieval Advisors
Dordrecht, Netherlands


Hi,
> > Please post the pictures.  I think the one in underwear is a man.
> 
> I tend to think so too.  

So do I

Henk

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From owner-h-costume@indra.com  Wed Feb 10 13:55:12 1999
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From: "Henk 't Jong" <scapreel@tip.nl>
To: <h-costume@indra.com>
Subject: Re: H-COST: Fabric width?
Date: Wed, 10 Feb 1999 19:57:19 +0100
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-Poster: "Henk 't Jong" <scapreel@tip.nl>

Henk & Pauline 't Jong
tScapreel
Medieval Advisors
Dordrecht, Netherlands

Hi,
 
> A book I am reading takes place in 13th century England.  It mentions
> that one of the kings ruled that woven fabric had to be a standard
> width, but it fails to mention that width.  Anyone know?

These must have been either John, Henry III or Edward I. I don't know of
any such law, and, frankly, it sounds a bit stupid. Linen and wool had
different widths to start, and wool that was about to be made into
broadcloth was woven broader (hence the name) to accomodate the crimping it
underwent. Anybody else?

Henk
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From owner-h-costume@indra.com  Wed Feb 10 13:58:47 1999
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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: RE: H-COST:  1850's questions
Date: Wed, 10 Feb 1999 14:04:34 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

To solve the issue of the slimming figure (congratulations,
by the way)
you might think about applying the 18th century
mantua-making technique to a bustled polonaise overdress or
jacket.  In the first half of the 18th century anyway, the
mantua was made of six lenths of silk, with the only cuts
being under the arms.  The fabric about the bust was 1)
pinned into place and girdled with a decorative belt or sash
without sewing, or 2) stitched down to a linen lining on the
bodice only. This permitted the valuable silk to be reused
again and again as a woman moved through pregnancies, passed
it on to her relatives or servants, or left it to her
descendents.  The lower part of the dress is available to be
arranged "en tournu," meaning pulled up and back into a
polonaise, a bustle, draperies of any kind pinned or secured
anew each time it is put on, if you like.  To make the dress
seem more 19th century, you'd probably want to cut and sew
the shoulders in true 19th century fashion (rather than use
a continuous length of fabric up and over the shoulders from
bottom front to bottom back), but then use the 18th century
fitting device to solve the problem of your changing figure.
I like the 18th century method, because it's so forgiving to
the sewer who isn't a pattern maker.  Those cut-in princess
style panels and huge darts of the Nineteenth Century leave
no margin for error. The fabric pretty much needs to be
opaque or if light transparent, voile, lined before pleating
to the body with a light batiste. See Janet Arnold Pattern
of Fashions I for the mantua and sack layouts she labels
"wrapping gown" and "pet-en-l'air." The pet-en-l'air with a
longer skirt in back could be a great bustle-y something.
Oh, and the petticoat beneath should tie on on each side, or
in the back or use a drawstring for maximum flexibility in
sizing (no buttons, unless you like to move 'em frequently).
What a nice problem to have!

Hope H. Dunlap
Hope H. Dunlap


-----Original Message-----
From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
Behalf Of AlbertCat@aol.com
Sent: Tuesday, February 09, 1999 7:19 PM
To: h-costume@indra.com
Subject: Re: H-COST: 1850's questions



-Poster: AlbertCat@aol.com

In a message dated 2/9/99 4:16:50 PM Eastern Standard Time,
margo@directcon.net writes:

<<
 I'm fairly stumped for the "madam" costume.  What would be
a suitable fabric
 for really hot weather, that would still get the character
across?  I don't
 mind being hot, I've worked RPFN in noble costume, but this
time I'm not
 pretending it's England.  What would an expensively dressed
woman wear for
 streetwear in California summer weather?
  >>

I'm always amazed at how light many period dresses are.....I
mean the silks
are thin! Not always sheer but many times gauzy fabrics are
used. I've seen
gauze wools with a window pane pattern woven in a twill. I
don't suggest you
wear wool gauze but you might think about this:
Make a beautiful corset cover with wide decolletage, short
sleeves and a
lovely petticoat to match of fine white cotton perhaps
enriched with eyelet &
tucks. Now make a linen/cotton gauze gown to go over it.
Surely you can fine a
lovely colorful print or woven pattern. Cut the dress
differently from the
undergarments so they are striking on their own as they show
thru the gauze
dress. Perhaps with a high neck & a la verge CF. wide ruffle
bell sleeves &
some ruffles on the skirt and Tah Dah!!! a light breezy yet
elegant & opulent
gown.

Just a suggestion.

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From: KATHY HOOVER <khoover@wvnvm.wvnet.edu>
Subject: Re: H-COST: 1850s dress
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-Poster: KATHY HOOVER <khoover@wvnvm.wvnet.edu>

At 10:05 AM 2/10/99 -0800, you wrote:
>
>-Poster: Margo Anderson <margo@directcon.net>
>
>At 10:33 AM 2/10/99 -0800, you wrote:
>>
>>-Poster: Heather Law <lynnx@mc.net>

>> Any other movies with madams?  

McCabe and Mrs. Miller - but that is probably later than you wanted as well.

Kathy Hoover
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From owner-h-costume@indra.com  Wed Feb 10 14:23:54 1999
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	 Wed, 10 Feb 1999 11:26:52 -0800
From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: Fabric width?
Date: Wed, 10 Feb 1999 14:23:11 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

There were shifting standards for the "ell" as a unit of
measurement, and to make it worse, there was a different
"ell" in each country.  At one time the English ell was
about 2 yards, ie finger tip to fingertip. Then it was
shrunk to about 1.5 yards. The actual yard was established
during the time of Henry I in  12th Century England, as 36
inches or three feet. In 1406, a group of weavers protested
to the King to get the ell established at 5 quarters, ie 5
quarter yards, or 45." Hence the typical 45" fabric width
today. This doesn't answer your question exactly, but see
F.W. Maitland's *Domesday Book and Beyond* for more info
like this.  By the way, a "nail" is a sixteenth of a yard or
4.5 inches, though it has been many moons since a fabric
store would sell you that minimum   cut length, before my
time, but within this century.

Hope H. Dunlap


-----Original Message-----
From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
Behalf Of Henk 't Jong
Sent: Wednesday, February 10, 1999 1:57 PM
To: h-costume@indra.com
Subject: Re: H-COST: Fabric width?



-Poster: "Henk 't Jong" <scapreel@tip.nl>

Henk & Pauline 't Jong
tScapreel
Medieval Advisors
Dordrecht, Netherlands

Hi,

> A book I am reading takes place in 13th century England.
It mentions
> that one of the kings ruled that woven fabric had to be a
standard
> width, but it fails to mention that width.  Anyone know?

These must have been either John, Henry III or Edward I. I
don't know of
any such law, and, frankly, it sounds a bit stupid. Linen
and wool had
different widths to start, and wool that was about to be
made into
broadcloth was woven broader (hence the name) to accomodate
the crimping it
underwent. Anybody else?

Henk

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From owner-h-costume@indra.com  Wed Feb 10 14:35:39 1999
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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: FW: H-COST:  1850's questions
Date: Wed, 10 Feb 1999 14:41:40 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

I forgot to mention the actual mantua cutting diagram in
Arnold's Pattern of Fashion, which is out of sequence on
pages 70-71 of Patterns of Fashion I, which shows a 3rd
choice for ways to pleat and fit.


Hope H. Dunlap

-----Original Message-----
From: Hope H. Dunlap [mailto:hhdunlap@email.msn.com]
Sent: Wednesday, February 10, 1999 2:05 PM
To: 'h-costume@indra.com'
Subject: RE: H-COST: 1850's questions


To solve the issue of the slimming figure (congratulations,
by the way)
you might think about applying the 18th century
mantua-making technique to a bustled polonaise overdress or
jacket.  In the first half of the 18th century anyway, the
mantua was made of six lenths of silk, with the only cuts
being under the arms.  The fabric about the bust was 1)
pinned into place and girdled with a decorative belt or sash
without sewing, or 2) stitched down to a linen lining on the
bodice only. This permitted the valuable silk to be reused
again and again as a woman moved through pregnancies, passed
it on to her relatives or servants, or left it to her
descendents.  The lower part of the dress is available to be
arranged "en tournu," meaning pulled up and back into a
polonaise, a bustle, draperies of any kind pinned or secured
anew each time it is put on, if you like.  To make the dress
seem more 19th century, you'd probably want to cut and sew
the shoulders in true 19th century fashion (rather than use
a continuous length of fabric up and over the shoulders from
bottom front to bottom back), but then use the 18th century
fitting device to solve the problem of your changing figure.
I like the 18th century method, because it's so forgiving to
the sewer who isn't a pattern maker.  Those cut-in princess
style panels and huge darts of the Nineteenth Century leave
no margin for error. The fabric pretty much needs to be
opaque or if light transparent, voile, lined before pleating
to the body with a light batiste. See Janet Arnold Pattern
of Fashions I for the mantua and sack layouts she labels
"wrapping gown" and "pet-en-l'air." The pet-en-l'air with a
longer skirt in back could be a great bustle-y something.
Oh, and the petticoat beneath should tie on on each side, or
in the back or use a drawstring for maximum flexibility in
sizing (no buttons, unless you like to move 'em frequently).
What a nice problem to have!

Hope H. Dunlap
Hope H. Dunlap


-----Original Message-----
From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
Behalf Of AlbertCat@aol.com
Sent: Tuesday, February 09, 1999 7:19 PM
To: h-costume@indra.com
Subject: Re: H-COST: 1850's questions



-Poster: AlbertCat@aol.com

In a message dated 2/9/99 4:16:50 PM Eastern Standard Time,
margo@directcon.net writes:

<<
 I'm fairly stumped for the "madam" costume.  What would be
a suitable fabric
 for really hot weather, that would still get the character
across?  I don't
 mind being hot, I've worked RPFN in noble costume, but this
time I'm not
 pretending it's England.  What would an expensively dressed
woman wear for
 streetwear in California summer weather?
  >>

I'm always amazed at how light many period dresses are.....I
mean the silks
are thin! Not always sheer but many times gauzy fabrics are
used. I've seen
gauze wools with a window pane pattern woven in a twill. I
don't suggest you
wear wool gauze but you might think about this:
Make a beautiful corset cover with wide decolletage, short
sleeves and a
lovely petticoat to match of fine white cotton perhaps
enriched with eyelet &
tucks. Now make a linen/cotton gauze gown to go over it.
Surely you can fine a
lovely colorful print or woven pattern. Cut the dress
differently from the
undergarments so they are striking on their own as they show
thru the gauze
dress. Perhaps with a high neck & a la verge CF. wide ruffle
bell sleeves &
some ruffles on the skirt and Tah Dah!!! a light breezy yet
elegant & opulent
gown.

Just a suggestion.

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From owner-h-costume@indra.com  Wed Feb 10 14:46:07 1999
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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: Queen Anne
Date: Wed, 10 Feb 1999 14:50:51 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

Patches were sometimes cut from thin black silk fabric and
applied to the face with gum arabic.  I read of one cut to
look like a "carriage and six," meaning a carriage and six
horses! But generally they were simpler shapes.
Hope H. Dunlap

-----Original Message-----
From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
Behalf Of Deborah Pulliam
Sent: Wednesday, February 10, 1999 10:29 AM
To: h-costume-digest@indra.com
Subject: H-COST: Queen Anne



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

<<'au dernier cri'>>

"The latest cry" -- the latest fashion, in other words.

<<What might the 'patch' be?  A faked 'beauty mark'??>>

Yes, black patches in various shapes (up to and including
hearts) were used
on the face to simulate beauty marks, which of course, are
moles.


Deborah



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Date: Wed, 10 Feb 1999 12:12:28 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: Re: H-COST: grow tucks
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>


>> More perusing the portraits....
>>
>> Do you think there are tucks in the hems of these skirts to allow for
growth?
>>
>> <http://www.hol.gr/cgfa/c/p-acoello1.htm>
>
>There was a discuss not too long ago on these Spanish hems.  I don't recall 
>if a
>conclusion was ever reached, but they're not likely to be growth tucks because
>they're found on adults as well.

I am looking at a full length portrait with such a tuck, and it only
happens on the front of the skirt, tapering off to nothing at the sides.
Therefore it cannot be a growth tuck, or it would go all the way around.
There must be some other reason for it.


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

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Date: Wed, 10 Feb 1999 15:19:45 -0500 (EST)
From: Robin Netherton <robin@dgsys.com>
To: h-costume@indra.com
Subject: RE: H-COST: Fabric width?
In-Reply-To: <000601be552c$01d96920$3922ffd0@default>
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-Poster: Robin Netherton <robin@dgsys.com>


On Wed, 10 Feb 1999, Hope H. Dunlap wrote:

> There were shifting standards for the "ell" as a unit of measurement,
> and to make it worse, there was a different "ell" in each country.  At
> one time the English ell was about 2 yards, ie finger tip to fingertip.
> Then it was shrunk to about 1.5 yards. The actual yard was established
> during the time of Henry I in 12th Century England, as 36 inches or
> three feet. In 1406, a group of weavers protested to the King to get the
> ell established at 5 quarters, ie 5 quarter yards, or 45." Hence the
> typical 45" fabric width today. This doesn't answer your question
> exactly, but see F.W. Maitland's *Domesday Book and Beyond* for more
> info like this. 

Interesting stuff. Did all that come from Maitland? Or was any from
another source?

> By the way, a "nail" is a sixteenth of a yard or 4.5 inches, though it
> has been many moons since a fabric store would sell you that minimum cut
> length, before my time, but within this century. 

4.5 inches is one-eighth of a yard. Do you mean a nail is 2.25 inches?

Plenty of stores I've been to sell as little as an inch or two if you want
(and sometimes I do). And I know at least one store that sells 1/16 as its
minimum. But I don't think they'd know to call that a nail :-)

("I'd like a nail of this brocade, please...")

--Robin

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From: "Vickers, Jill" <jvickers@TELESENSORY.com>
To: "'h-costume@indra.com'" <h-costume@indra.com>
Subject: RE: H-COST: grow tucks
Date: Wed, 10 Feb 1999 12:23:37 -0800
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-Poster: "Vickers, Jill" <jvickers@TELESENSORY.com>


This tuck sounds like an allowance for pregnancy (assuming
that the portrait is of a female in her child-bearing years).

-Jill

> -Poster: Carolyn Kayta Barrows <kayta@slip.net>
> 
> I am looking at a full length portrait with such a tuck, and it only
> happens on the front of the skirt, tapering off to nothing at the sides.
> Therefore it cannot be a growth tuck, or it would go all the way around.
> There must be some other reason for it.
> 
> 
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From: rio@austin.rr.com (StrangeGirl)
To: h-costume@indra.com
Subject: Re: H-COST: grow tucks
Date: Wed, 10 Feb 1999 20:42:51 GMT
Organization: The Corner of my Desk
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-Poster: rio@austin.rr.com (StrangeGirl)




>-Poster: Carolyn Kayta Barrows <kayta@slip.net>

>>> <http://www.hol.gr/cgfa/c/p-acoello1.htm>

>I am looking at a full length portrait with such a tuck, and it only
>happens on the front of the skirt, tapering off to nothing at the
sides.
>Therefore it cannot be a growth tuck, or it would go all the way
around.
>There must be some other reason for it.

My theory is that they are taken in the front of the skirt to allow
for easy walking/dancing/movement. Perhaps the dressmaker made the
skirt one length all round (for hang/drape to behave a particular way?
Pattern issues?), then fitted it at the front above the hem in such a
way as not to disturb the applied ornament? Possibly due to different
skirt supports worn at the fittings than when the dress was delivered?

I have made this alteration in dresses/skirts when I have loaned them
out to persons who are differently shaped (at the hip) or wear a
differently shaped support petticoat/skirt support.

Just a thought....

Margery
-----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  Wed Feb 10 15:46:53 1999
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-Poster: AliaClaire@aol.com

In a message dated 2/10/99 12:29:50 PM EST, lynnx@mc.net writes:

<< Margo, what did Belle Watling wear(Gone With the Wind)? A few years
 late, but it's something to get ideas from. And Atlanta has higher
 humidity than California. >>


I believe satin- which does NOT breath well.

I'm a Civil War reenactor, so I have some info on the earlier period. For
coolness, I would go with a demi-lined sheer dress, made of either pure cotton
gauze, silk chiffon, a cotton-linen blend, or a wool challis. DON"T WEAR
ANYTHING SYNTHETIC!!!!!!!!!!! It will not breath, and you will die of heat. A
gathered or O-shaped bodice and full bishop sleeves are also very cool. A very
trademark 50s style is flounced skirts- usually, about three, and they look
gorgous with sheer fabric. And cage crinolines, with a single gauged cotton
petticoat both over and under it, is VERY much cooler then the wedding-style
hoops you usually see.

Any other questions, let me know.

-Alison Stacy
AliaClaire@aol.com
Canton, Ohio
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From owner-h-costume@indra.com  Wed Feb 10 16:06:11 1999
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Date: Wed, 10 Feb 1999 15:15:07 -0600
To: h-costume@indra.com
From: Carole Frick <cfrick@siue.edu>
Subject: H-COST: cotehardie
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-Poster: Carole Frick <cfrick@siue.edu>

Dear Colleen, 
	About the "cotehardies" you are looking at in the late medieval Sienese
Good Government frescoes....I would call these tight-sleeved, close-fitted
long-skirted garments on the young women "gamurre" (singular "gamurra").  A
"gamurra" was just a woman's basic dress, and up until about 1450 had
attached sleeves, but later the sleeves were usually detachable.  The term
"gamurra" is most often seen in 14th and 15th-c. Tuscan sources, but the
Venetians had the word "zimarra," and up in Milan, you see "camora; again,
the same word with regional differences.  
	In the 15th-c. usually a "gamurra" was unlined, and was worn over a
"camicia," (the washable linen underblouse).  In the art of earlier
centuries however, sometimes it looks as though the "gamurra" is being worn
alone, although I tend to doubt it.....as the "camicia" was the
late-medieval version of a woman's underwear, and in fact was ALL she wore
under her dress....panties being considered risque. (pants were ONLY for men)
	About the backlacing, I doubt it.  I DO know that these garments were made
of a wide range of fabric, from linen, to silk and the same stretchable
"perpignano" cloth (a wool jersey) that hose were fashioned from. Plus
that,  backlacing would have required assistance from another person, and
it just doesn't sound right for the historical time-period, place, and
range of social classes that wore this sort of garment.  Hope this helps.

Carole Collier Frick, Ph.D.
Department of Historical Studies
Southern Illinois University
Edwardsville, IL 62026-1454
(618) 650-3237  FAX (618) 650-3509
cfrick@siue.edu

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From owner-h-costume@indra.com  Wed Feb 10 16:20:47 1999
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Date: Wed, 10 Feb 1999 12:30:39 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: Re: H-COST: Posture -1950s
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>


>Dora's  comment about 1950's deportment reminded me of the early 1960 
>when I was a teenager.  My younger brother told me that when I was 
>wearing my ball gown I was 2 inches taller.  This was because I was well 
>trussed up in a firm control girdle and long line bra. I probably was 
>taller because those garments made you stand straight.
>
Or could it have been the shoes?


Kayta
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From owner-h-costume@indra.com  Wed Feb 10 16:21:04 1999
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Date: Wed, 10 Feb 1999 12:34:55 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: Re: H-COST: what kind of lace
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>


>> >What kind of lace is that on the table at her left hand?  Is it lace at
all?
>
>> Given the limitations of my monitor, I would guess that she is holding some
>> sort of jewel, possibly on a chain. It doesn't look like lace of any sort 
>to me.
>
>I agree. From my monitor, it looks like metal is involved. Perhaps a 
>necklace or choker of some sort.

My monitor makes it look like a scrap of macrame.  Josephine knots to be exact.


Kayta
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Date: Wed, 10 Feb 1999 12:42:52 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: Re: H-COST: Bronzino "shirt"
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>

This is a very fancy (16th-c.) version of the Italian "camicia," which was
>the washable undergarment worn by men, women and children alike underneath
>their more constructed overgarments.  In the backgrounds of 15th-c.
>paintings, you can often see wet undershirts hanging out to dry on wooden
>rods attached to the sides of Florentine palazze below the windows.

Please cite these paintings, especially if they are online or in a
reasonably well-known costume book.  I would like to see them, and I bet
other people would too.  And can one see seam lines in these pictures?


Kayta
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From owner-h-costume@indra.com  Wed Feb 10 16:22:40 1999
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Date: Wed, 10 Feb 1999 12:40:01 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: Re: H-COST: grow tucks
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>


>>feet while sitting, and that the University of Texas calls the ubiquitous
>>Spanish Fold because they are sewn shut hence they do not know why they were
>>fashionable. So in other words to answer your question since they appear on
>
>if even the people at the university can't figure it out, i won't presume to
>know better... just a notion: 
>my grandma sometimes made such tucks around the skirt to make the hem fall a
>little more smoothly without having to make the hem too stiff. as the skirts
>here had to fall extremely smoothly, without a single vertical fold, maybe the
>tucks were made to support this?  

This smooth hang can be achieved much more simply without the Spanish tuck
than with it.  Any fitting tucks are at the sides and in the back.


Kayta
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From owner-h-costume@indra.com  Wed Feb 10 16:22:59 1999
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Date: Wed, 10 Feb 1999 12:56:44 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: Re: H-COST: patterns and pattern making
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>


>I'm fairly new to costume making, though I've sewn for years. Everyone
>seems to be talking about making garments from pictures. How do you go
>about making patterns from pictures? Can anyone recommend a good book
>to help me learn the skill? 

There may not be any.  I do a slide show on the topic, but I bet I don't
even live in the same state as you do.  (That's the downside of these cool
lists.)  

My basic method is to analyze the picture in terms of geometric shapes,
then experiment with mockups till I get a reasonable pattern for the
outside of that shape.  Starting with patterns you already have and
modifying them till they are right is always a good trick.  Remember that
the hang and fit of other periods and countries is different than it is
here and now, and take this factor into account.  Use corsetry when
necessary to facilitate this.  

Learn enough about whatever period you're doing that you can understand all
the pieces you are seeing.  Get so you know what every line means in terms
of seams and edges and grain lines.  If you don't have this kind of feel
for a period you will leave things out which you don't understand or can't
interpret.  Lots of discussion goes on here on this list about the
interpretation of what the various ones of us are seeing in one particular
painting. 


Kayta
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From: Hulett <mhull@earthlink.net>
To: "'h-costume@indra.com'" <h-costume@indra.com>
Subject: RE: H-COST: H-COST - Bronzino's "Lady with a Puppy"
Date: Wed, 10 Feb 1999 13:39:40 -0800
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-Poster: Hulett <mhull@earthlink.net>

Thanks, kayta.
Good luck!
Cheers, jd.

-----Original Message-----
From:	Carolyn Kayta Barrows [SMTP:kayta@slip.net]
Sent:	Wednesday, February 10, 1999 5:35 AM
To:	h-costume@indra.com
Subject:	Re: H-COST: H-COST - Bronzino's "Lady with a Puppy"


-Poster: Carolyn Kayta Barrows <kayta@slip.net>

Scott Hulett writes, in a message sent 12:15 PM 2/7/99 -0800: 
>
> Carolyn, 
>     I've seen and made this sort of shirt. It is very simple to make though
> not easy and looks beautiful when finished. 


So when I got to the web page I recognized the portrait.  I hadn't realized it
was a Bronzino.  

Anyway, I wrote this big post back to the people in question telling how I
would make the shirt.  When I read yours it was so good I threw mine away.


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

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From owner-h-costume@indra.com  Wed Feb 10 17:35:33 1999
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From: rio@austin.rr.com (StrangeGirl)
To: h-costume@indra.com
Subject: Re: H-COST: patterns and pattern making
Date: Wed, 10 Feb 1999 22:46:18 GMT
Organization: The Corner of my Desk
Message-ID: <36c605fb.17718514@smtp-server.austin.rr.com>
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-Poster: rio@austin.rr.com (StrangeGirl)



>>I'm fairly new to costume making, though I've sewn for years.
Everyone
>>seems to be talking about making garments from pictures. How do you
go
>>about making patterns from pictures? Can anyone recommend a good
book
>>to help me learn the skill? 

Try the Hunnisett books (Costume For Stage and Screen <era>). They
include some good advice and illusrations on draping skirts, dresses,
etc. The illos are nice and clear, thanks to her two illustrators and
some nice photographs. There are three books in this series.

I would definitely recommend the draping instructions from these
books, as well as chapter 4 of the Costume Technicians Handbook (by
Ingham/Covey) on pattern development, particularly pages 130-135. The
above book is an invaluable reference for any costumer.

Invest in some muslin (a bolt will be enough for several sample
costumes, and will run you 50-100 dollars US), and play with draping
some costumes on your dress stand from illustrations and photographs,
trying to get the fabric to hang as shown, and also attempting to
duplicate seam locations. Good references for pattern schematics and
detailed drawings of costumes are the Patterns of Fashion books
(Arnold) and Costume in Detail (Bradfield), as well as the Cut of
Men's Clothes and the Cut of Women's Clothes (Waugh).

Practice is the only way to learn this! Good luck. 

Margery
-----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  Wed Feb 10 17:37:03 1999
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Date: Wed, 10 Feb 1999 14:16:31 -0800
To: h-costume@indra.com
From: "Carol J. Bell Cannon" <cjcannon@greymists.com>
Subject: Re: H-COST: Elizabeth's Wardrobe Unlocked by Janet Arnold
  availability??
In-Reply-To: <01a001be5512$0888ade0$cb860318@cc1010062-a.avnl1.nj.home.c
 om>
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-Poster: "Carol J. Bell Cannon" <cjcannon@greymists.com>

At 11:25 AM 2/10/99, "Kyna Grannd" <kynagrannd@granndgarb.com> wrote: Ann
Morgan-Hughes, Black Cat Books, annmh@blackcatbooks.demon.co.uk Her price
is 75 pounds or approx $122.44 US. I've ordered several books from her and
had them delivered to the US. She is prompt...wraps the books well and adds
you to a mailing list for her catalog of books. She doesn't have a web site
but deals via Abe Books ... here is the link to the page where you can
order this book.  http://whipper.abebooks.com/abep/il.dll
          One word before you dash off that check--shipping costs for books
can add a good deal to the price.  The used Irish-English Dictionary that I
ordered recently cost $18.00 in very good condition, but that became $44.00
shipped from Ireland.  Still worth it, as similar copies here were going
for $85.00.  However, something to be mindful of.  ABE is a good way to
find books, I must agree.  Thank you, too, on recommending Ms.
Morgan-Hughes.  It's always good to know of reputable and considerate
merchants.  Carol J. Bell Cannon
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From owner-h-costume@indra.com  Wed Feb 10 18:11:10 1999
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From: aleed <aleed@dnaco.net>
To: h-costume@indra.com
Subject: H-COST: Hispanic costume, 1480-1520
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-Poster: aleed <aleed@dnaco.net>

I'm in a fix--I ordered a great book a while back, "Hispanic Costume
1480-1520", which is dazzling in its breadth and detail and sources and
has quickly become one of my favorite out-of-print gems.

However, the company who did the search for me just sent me another copy.
They said I could send it back free of charge, but I figured I might as
well see if someone else out there wants it. (Oh, gee, who on this list
would /possibly/ be interested...)

The original cost was $33, a good deal for a 9x12 hardback copy with
around 200 pages and dozens of pictures of Spanish paintings, drawings &
statuary I've never seen anywhere else.

So, it's first come, first serve!

Drea


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From owner-h-costume@indra.com  Wed Feb 10 18:32:17 1999
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To: h-costume@indra.com
Subject: H-COST: Hispanic Costume Book:  Sold!
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-Poster: aleed <aleed@dnaco.net>

To Linda Yordy.  Wow, that was close!  Two people within a minute of
eachother.  Sorry, ches.  :(

Drea

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From: "Kyna Grannd" <kynagrannd@granndgarb.com>
To: <h-costume@indra.com>
Subject: Re: H-COST: Elizabeth's Wardrobe Unlocked by Janet Arnold availability??
Date: Wed, 10 Feb 1999 18:46:17 -0500
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-Poster: "Kyna Grannd" <kynagrannd@granndgarb.com>


-----Original Message-----
From: Carol J. Bell Cannon <cjcannon@greymists.com>
To: h-costume@indra.com <h-costume@indra.com>
Date: Wednesday, February 10, 1999 5:56 PM
Subject: Re: H-COST: Elizabeth's Wardrobe Unlocked by Janet Arnold
availability??


>
>-Poster: "Carol J. Bell Cannon" <cjcannon@greymists.com>
>
>          One word before you dash off that check--shipping costs for books
>can add a good deal to the price.  The used Irish-English Dictionary that I
>ordered recently cost $18.00 in very good condition, but that became $44.00
>shipped from Ireland.  Still worth it, as similar copies here were going
>for $85.00.  However, something to be mindful of.  ABE is a good way to
>find books, I must agree.  Thank you, too, on recommending Ms.
>Morgan-Hughes.  It's always good to know of reputable and considerate
>merchants.  Carol J. Bell Cannon


Good Point Carol....I thought I'd check my bill just for information
purposes...this *IS* a large book afterall...

Book was 75 pounds
Shipping was 8.61 pounds for a total of
83.61 pounds

My credit card bill came to $136.29 on Visa.  This was shipping from UK to
New Jersey USA.

I believe most book dealers will quote you the shipping prior to ordering if
you ask...or they should.

Suz
aka Kyna Grannd
granndgarb.com


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From owner-h-costume@indra.com  Wed Feb 10 18:41:37 1999
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From: "David Stamper & Eve Harris" <evedave1@netcom.ca>
To: <h-costume@indra.com>
Subject: Re: H-COST: cotehardie
Date: Wed, 10 Feb 1999 18:49:48 -0500
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-Poster: "David Stamper & Eve Harris" <evedave1@netcom.ca>

> In the 15th-c. usually a "gamurra" was unlined, and was worn over a
>"camicia," (the washable linen underblouse).  In the art of earlier


Under-"blouse"? I understood the camicia (=chemise) was a lot longer
than this word suggests to me. This IS a full length white linen or
silk nightie, isn't it, worn under the gamurra and in bed, right?

Just a little confused by the literal translation.

Thanks!

Eve Harris

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From owner-h-costume@indra.com  Wed Feb 10 19:58:34 1999
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Date: Wed, 10 Feb 1999 19:58:28 -0500
To: h-costume@indra.com
From: Cornelia Rutherford <rutheco@pop.erols.com>
Subject: H-COST: Pseudo-tartan
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-Poster: Cornelia Rutherford <rutheco@pop.erols.com>

<html>Hi list.&nbsp; I've been tasked with a kilt and matching sash for a
wedding in April.&nbsp; Yes, THIS April.&nbsp; The bridal party are all
students on VERY limited budgets so proper imported wool tartans are out
of their financial league. ($79/yd and up) Does anyone have a source of
nice plaid fabrics that would approach a Stewart Hunting Ancient
tartan?&nbsp; Internet suppliers or manufacturer contacts would be
great.&nbsp; Thanks in advance - Cornelia
<BR>

<font face="Desdemona" size=6><b><div align="center">
Cornie Rutherford<br>
</font></b><font size=1>NEW ADDRESS eff. 10/20/98:
</font><font color="#FF0000"> <b>rutheco@erols.com</font></b></html>

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From owner-h-costume@indra.com  Wed Feb 10 19:58:36 1999
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Date: Wed, 10 Feb 1999 19:57:13 -0600
From: Sheridan Alder <alderweb@vaxxine.com>
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-Poster: Sheridan Alder <alderweb@vaxxine.com>

Greetings all:

I might as well throw my hat in the ring. I hope to create
a costume for this period too, if I ever finish my other projects.
Perhaps while you are turning over ideas for Margo, you might share
a few with me.

While Margo is interested in a more exuberant persona,
I'm interested in putting together a late 1850's ensemble for a working
man's tradesman's wife - poor but honest, that's me!

I see  a middle-aged woman who, insofar as she cares what an observer
would make of her, would hope to appear as a decent respectable woman
of her class - a prudent, hard-working good wife. My husband will laugh if
he reads this - there was an Irish expression - "Street angel and house devil"
perhaps another version would be "Reenacting angel and modern devil".

I'm particularly interested in any sources for a pattern for a simple but
period cap and bonnet. I'm a bit taken aback by my first introduction into
Victorian caps - are they ALL so fussy and elaborate? I've got a grey
checked linsey-woolsey for a sensible dress. There's a pattern for a c.
1860's dress in a Canadian collection  I may use with some adaptations.
Sources for stout stockings and boots? Would thick, itchy black wool
stockings be correct, or am I just being masochistic?

So if anyone would like to contribute any interesting snippets on the dress
of working class women, I would really appreciate any suggestions.

Oh and I just want to make it clear that this choice of a rather stolid
persona is a personal whim - in reality I am an absolutely fabulous
stud-magnet for my age! (Perhaps I shouldn't have included "for my
age?)

Sheridan Alder



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-Poster: Sheridan Alder <alderweb@vaxxine.com>


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There's an article in the April issue of Early American Homes
"Shoes and Shoemaking" p. 54. It's a rather general history of
shoemaking, but there's a number of useful colour photographs -
great detail of a very pink Victorian button boot, two 18thc.
shoes, one c. 1760, a child's choes c. 1815-20, 1830-50
patten, and a 1800-24 child's shoe found in a wall (for luck?).
Several have been found in walls of old Canadian homes,
most recently in St. Jacobs, Ontario. I'm sure the British
members are familiar with this practice.

The article also mentions that the Society for the Preservation
of New England Antiquities has a display running at the SPNEA
Gallery at One Bowdoin Square, Boston (no charge!) until March
27th called "Walk Right In" with a selection of 40 shoes from
its collection of five hundred. This includes smaller photos of
a 1795-1805 slipper, a 1855-65 sliper with a scarlet rosette,
hey, something for Margo, and a 1935-45 wooden platform
sandle. A bit out of my way, but maybe someone else will be in
that area. I think SPNEA has a webpage.

Sheridan Alder

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<HTML>


<P>There's an article in the April issue of <B>Early American Homes</B>
<BR>"Shoes and Shoemaking" p. 54. It's a rather general history of
<BR>shoemaking, but there's a number of useful colour photographs -
<BR>great detail of a <I>very</I> pink Victorian button boot, two 18thc.
<BR>shoes, one c. 1760, a child's choes c. 1815-20, 1830-50
<BR>patten, and a 1800-24 child's shoe found in a wall (for luck?).
<BR>Several have been found in walls of old Canadian homes,
<BR>most recently in St. Jacobs, Ontario. I'm sure the British
<BR>members are familiar with this practice.

<P>The article also mentions that the Society for the Preservation
<BR>of New England Antiquities has a display running at the SPNEA
<BR>Gallery at One Bowdoin Square, Boston (no charge!) until March
<BR>27th called "Walk Right In" with a selection of 40 shoes from
<BR>its collection of five hundred. This includes smaller photos of
<BR>a 1795-1805 slipper, a 1855-65 sliper with a scarlet rosette,
<BR>hey, something for Margo, and a 1935-45 wooden platform
<BR>sandle. A bit out of my way, but maybe someone else will be in
<BR>that area. I think SPNEA has a webpage.

<P>Sheridan Alder</HTML>

--------------2933040E928C987EB0799697--

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-Poster: AlbertCat@aol.com

In a message dated 2/10/99 6:38:09 PM Eastern Standard Time, aleed@dnaco.net
writes:

<< To Linda Yordy >>

OFF WITH HER HEAD!!!!


No, seriously, I'm sorry I missed it but...Linda, are you listening?....you'd
better turn out some drop dead Conquistadors & their Donnas.
BTW, I just ordered from Amazon Jean Hunniset's 3rd volume. The review from a
customer [costumer customer?] was not flattering at all. In fact, they didn't
like it much but for the Italian Renn. sleeve patterns & bibliography. Is it
bad? I'll probably get it anyway just to have all the volumes but.....is it
awful????
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-Poster: AlbertCat@aol.com

In a message dated 2/10/99 8:04:46 PM Eastern Standard Time,
alderweb@vaxxine.com writes:

<<  I'm a bit taken aback by my first introduction into
 Victorian caps - are they ALL so fussy and elaborate?  >>

The basic pattern for caps remains pretty much the same whether it's
embroidered silk net or plain cotton. I've seen a real cap that was nothing
more than a Palladium window shape at back eased around the curve onto an
approx. 3" wide rectangle that goes over the head from ear to ear. To the
front edge of said rectangle was added a 1 1/4" box pleated ruffle. The
straight bottom of the back piece had a casing inside split CB with draw
strings that tied CB. 1/2" wide kinda short ties went under the chin. All this
was made from the same batiste cotton with a smallish woven window pane
pattern....all cut on the straight of grain.
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From owner-h-costume@indra.com  Wed Feb 10 21:42:27 1999
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-Poster: kat@grendal.rain.com


> > I am looking at a full length portrait with such a tuck, and it only
> > happens on the front of the skirt, tapering off to nothing at the sides.
> > Therefore it cannot be a growth tuck, or it would go all the way around.
> > There must be some other reason for it.

I was talking to a friend this morning who was telling me all about 
the discoveries she's been finding with not only Sanchez Coello and 
F. de Llano but a woman artist named Sofanisba Anguissola. These 
artists all do basically the same time period in Spain. She happened 
to mention that she had done some checking and found that every 
single one of the pictures with "tucks" she'd found all turned out to 
be women who were 16 years old or less at the time the painting was 
done, even though many of them looked like adults. She gave the 
example of Elizabeth (called Isabella in Spain) who was wife to 
Phillip the second. Her dress (which is one we often have referred to 
on the list) was done when she was 16. She was reported to have grown 
another 2" after that portrait was done. (I wish I had done that! 
No, I didn't grow past age 14 years.)

Although she is still doing research on this, she thinks that the 
tucks *could* very well be growth tucks. Also, since most of the 
dresses I've seen have been trained gowns, it would not work as well 
to have the tuck go all the way around. It is much better to have it 
shorter in front (where you would trip over the hem) and taper off to 
the sides rather than involving the train (even if the train is only 
as little as 4").

Kat 

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

> BTW, I just ordered from Amazon Jean Hunniset's 3rd volume. The review from a
> customer [costumer customer?] was not flattering at all. In fact, they didn't
> like it much but for the Italian Renn. sleeve patterns & bibliography. Is it
> bad? I'll probably get it anyway just to have all the volumes but.....is it
> awful????

I thought it was rather fun. I use it as an example of how redrawings 
often give misinformation. I got a kick out of the "scarf like cuff" 
on one of the Italian Renn dresses, which if you've ever looked at 
the original tomb sculpture, even in a photograph, you can tell is a 
flea fur complete with little head with beady eyes!

I've found her other books to be much less fanciful.


Kat 

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

>  What might the 'patch' be?  A faked 'beauty mark'??

Yup :)  Made of silk in a variety of fanciful shapes, the location of the
patch was a language as complex as the language of fans...

Kathleen (Catriona)
 

                                                ()
                                              _/)(\_
"Tehee!" quod she, and clapte the wyndow to    /~~\
                                              /____\

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From: Margo Anderson <margo@directcon.net>
Subject: Re: H-COST: Hispanic Costume Book:  Sold!
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-Poster: Margo Anderson <margo@directcon.net>


>BTW, I just ordered from Amazon Jean Hunniset's 3rd volume. The review from a
>customer [costumer customer?] was not flattering at all. In fact, they didn't
>like it much but for the Italian Renn. sleeve patterns & bibliography. Is it
>bad? I'll probably get it anyway just to have all the volumes but.....is it
>awful????

It's not awful, but it's nowhere near the level of her other two books.  I
don't think I learned anything new from it.  It might be useful for someone
who wants to learn how to drape simple patterns.  She relies a bit too
heavily for my taste on jerseys and knit fabrics for draped effects that, to
be in period, should be accomplished with soft wovens.

Margo Anderson 

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From owner-h-costume@indra.com  Wed Feb 10 23:35:12 1999
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To: h-costume@indra.com
From: Margo Anderson <margo@directcon.net>
Subject: Re: H-COST: 1850s poor but honest?
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-Poster: Margo Anderson <margo@directcon.net>

 
>Sheridan Alder wrote:

>While Margo is interested in a more exuberant persona,
>I'm interested in putting together a late 1850's ensemble for a working
>man's tradesman's wife - poor but honest, that's me!
(SNIP)
>Oh and I just want to make it clear that this choice of a rather stolid
>persona is a personal whim 



Well, perhaps I should make it clear that my choice of persona is ALSO a
departure from reality!  :-)   As in real life I'm a poor but honest
housewife and mother.  I just figure a madam persona will allow me the
maximum flashiness.  Since I'm trying to appeal to a reenactment community
that's still at the Jessica McClintock Prom dress over a hoopskirt stage of
costuming,  subtle historical detailing just isn't going to sell.

Margo Anderson

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From owner-h-costume@indra.com  Wed Feb 10 23:39:14 1999
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From: "Franchesca Havas" <ches@io.com>
To: <h-costume@indra.com>
Subject: H-COST: Fw: QE Wardrobe Unlocked                       Thank you for your Fax,I  
Date: Wed, 10 Feb 1999 22:59:53 -0600
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-Poster: "Franchesca Havas" <ches@io.com>

FYI, amazon dry goods now has a web page!

Sincerely,
Ches
aka Chiara Francesca
Virtual Scribe for 20th year
http://www.ansteorra.org/20thyr/

-----Original Message-----
From: Janet Burgess <amazondrygoods-@webtv.net>
To: ches@io.com <ches@io.com>
Date: Wednesday, February 10, 1999 9:27 PM
Subject: QE Wardrobe Unlocked Thank you for your Fax,I


We have the book in stock in good quantity at $139.95 + $13.50 insured UPS.
See us  at www.amazondrygoods.com  or call 800.798.7979   9 to 5 est.  Book
is still in our catalog.   Thank you, Janet B.

To order from Amazon Drygoods be sure to include ALL info in the same
email.  Name,  Credit Card number and date, address, phone, and items or
catalogs desired.  Thanks!


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From owner-h-costume@indra.com  Wed Feb 10 23:46:36 1999
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-Poster: M311@aol.com

In a message dated 2/10/99 10:43:32 PM Central Standard Time, ches@io.com
writes:

<< Poster: "Franchesca Havas" <ches@io.com>
 
 FYI, amazon dry goods now has a web page!
 
 Sincerely,
 Ches >>
Do share, what is it.
Kelly Albrecht
m311@aol.com
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From Cheryl@sessionware.com  Thu Feb 11 01:43:43 1999
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From: Cheryl Melnick <Cheryl@sessionware.com>
Subject: 18 year antiques collection for sale & Fan website update
Date: Wed, 10 Feb 1999 22:54:06 -0800
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Greetings! This is the monthly update for the International Fan Collector's
Guild website located at: http://www.hand-fan.org; a not for profit website
devoted to collecting hand fans from around the world.

I would like to welcome the new subscribers to this list; I wish I had time
to personally welcome each one of you. If you have written me a question
about a fan, be assured I have your email and am trying to make time to
answer you.

The website update this month is going to be late due to a heavy work
schedule of creating websites.  Since the Guild website takes about 8 hours
a week of maintenance, please be assured I am trying to find time to add the
new fans, update the site with new information and list new resources for
you.  Thank you to everyone who sent me updates!

The European dealer I had mentioned in last month's mailing has had his fan
web pages completed by me for the Guild site; unfortunately he has not sent
me the pricing and detailed information on each fan from his collection to
enable me to post the collection yet.  Margie would like to thank everyone
for their interest in her collection of fans and to tell you the collection
has sold.

IMPORTANT NEWS:
I have decided to sell my 18 year collection of fans, antiques and vintage
clothing.  I will be placing the items in the following location:

Fans and fan-related merchandise
International Fan Collector's Guild:
http://www.hand-fan.org

Vintage clothing (already listed beginning Feb 7)
Victorian Elegance
http://www.victorianelegance.com

Some fans, antiques and other interesting merchandise from around the world
Ebay
http://www.ebay.com
Look under seller: cheryl@sessionware.com.  If you are so inclined, I also
have filled out the "About Me" page if you want to find out what I do in my
spare time.

I will be selling a RARE French signed 1870's fan (museum quality) from my
collection and also a hand-painted Victorian framed fan among others.

I invite you to step inside my collection and take a look around; I will be
adding new items daily for the next two months on Ebay.  If you are looking
to add a particular item to your collection, please feel free to ask me if I
have it.  After 18 years of collecting, I'd be surprised if I don't have it!
<grin>.  Have fun and happy looking!

Sincerely
Cheryl Melnick
Volunteer Webmistress
International Fan Collector's Guild
http://www.hand-fan.org



From owner-h-costume@indra.com  Thu Feb 11 07:10:13 1999
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-Poster: kathleen@niagara.com


>So if anyone would like to contribute any interesting snippets on the dress
>of working class women, I would really appreciate any suggestions.

Sheridan, the library downtown has a few volumes on working class costume,
and I seem to recall Brock had a few as well.

Good luck.

Kathleen (Catriona)
 

                                                ()
                                              _/)(\_
"Tehee!" quod she, and clapte the wyndow to    /~~\
                                              /____\

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From owner-h-costume@indra.com  Thu Feb 11 09:31:36 1999
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From: "Kyna Grannd" <kynagrannd@granndgarb.com>
To: <h-costume@indra.com>
Subject: H-COST: Fw: QEUnlocked   (From Amazon Drygoods)                                                       
Date: Thu, 11 Feb 1999 09:37:15 -0500
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-Poster: "Kyna Grannd" <kynagrannd@granndgarb.com>

I just received this in the mail....here is Amazon's website address and
their info on QE Unlocked.

Suz
aka Kyna Grannd
granndgarb.com

-----Original Message-----
From: Janet Burgess <amazondrygoods-@webtv.net>
To: kynagrannd@granndgarb.com <kynagrannd@granndgarb.com>
Date: Wednesday, February 10, 1999 10:19 PM
Subject: QEUnlocked


We have this book in stock, plenty of copies at $139.95 + $13.50 insured
UPS.  Due to value and rarity it is not returnable.   We are at
www.amazondrygoods.com       or  at 800-798-7979     9 to  5  It would
be nice to have this on your   bulliten board, but I am not very good at
this stuff.   Thank you, Janet B

To order from Amazon Drygoods be sure to include ALL info in the same
email.  Name,  Credit Card number and date, address, phone, and items or
catalogs desired.  Thanks!


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From owner-h-costume@indra.com  Thu Feb 11 10:15:19 1999
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Date: Thu, 11 Feb 1999 09:18:38 -0600
From: Kent & Kat <kdyer@nash.tds.net>
Organization: Oak, Ash, and Thorn
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-Poster: Kent & Kat <kdyer@nash.tds.net>

Pity it's just a web ad for the catalogs!  I'd have loved it
if it were an online catalog!!  Which reminds me, I'd better
get my pattern catalog back from my dad...I'm in a corset
making mood!  Probably ought to wait until I'm done with
Richard III! <grin>

Kat
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From owner-h-costume@indra.com  Thu Feb 11 10:16:13 1999
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Subject: H-COST: 'chainmail' sweaters
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-Poster: Kent & Kat <kdyer@nash.tds.net>

Has anyone ever cut up old sweaters to make 'chainmail'
coifs?  I'm thinking I need to stitch the sweater material
to some sturdy cloth first (fortunately I'm not doing the
silver painting!).  Any suggestions?

Kat
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From owner-h-costume@indra.com  Thu Feb 11 10:21:26 1999
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From: Scott Hulett <mhull@earthlink.net>
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-Poster: Scott Hulett <mhull@earthlink.net>

Kent,
    One of the first households I was involved with had several suits of
'knit' chainmail. It was truly knit, no lining. As I remember, it was
sweater knit sprayed silver, inside and out, worn with a linen cap or
hood.
Cheers, jd

Kent & Kat wrote:

> -Poster: Kent & Kat <kdyer@nash.tds.net>
>
> Has anyone ever cut up old sweaters to make 'chainmail'
> coifs?  I'm thinking I need to stitch the sweater material
> to some sturdy cloth first (fortunately I'm not doing the
> silver painting!).  Any suggestions?
>
> Kat
>  _________________________________________________________________
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>  with the message UNSUBSCRIBE H-COSTUME

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-Poster: Scott Hulett <mhull@earthlink.net>

Was talking to a learned friend and he also thought it might be a love knot.
Hate to sound like a total rube, but, when and where is costume con?
Been a while, smiles, jd

Charlene Noto wrote:

> -Poster: "Charlene Noto" <cnoto@cetlink.net>
>
> It looks to me like knotting...not lace, however, I can't really tell from
> the picture.
> -Charlene
> -----Original Message-----
> From: PiranhaBB@aol.com <PiranhaBB@aol.com>
> To: h-costume-digest@indra.com <h-costume-digest@indra.com>
> Date: Sunday, February 07, 1999 9:21 PM
> Subject: H-COST: what kind of lace
>
> >
> >-Poster: PiranhaBB@aol.com
> >
> >Checking out a Virtual Museum, I ran across this portrait....
> >
> >http://www.hol.gr/cgfa/g/p-gheeraerts2-1.htm
> >
> >What kind of lace is that on the table at her left hand?  Is it lace at
> all?
> >
> >Best regards,
> >Lisa
> > _________________________________________________________________
> > To leave this mailing list, send mail to majordomo@indra.com
> > with the message UNSUBSCRIBE H-COSTUME
> >
>
>  _________________________________________________________________
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From: "Linda Yordy" <abuyordy@cobfac.idbsu.edu>
Organization: College of Business
To: h-costume@indra.com
Date: Thu, 11 Feb 1999 08:34:47 MST
Subject: Re: H-COST: Hispanic Costume Book:  Sold!
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-Poster: "Linda Yordy" <abuyordy@cobfac.idbsu.edu>

> OFF WITH HER HEAD!!!!

Oooo, now where did I put all that protective armour?
 
> No, seriously, I'm sorry I missed it but...Linda, are you listening?....you'd
> better turn out some drop dead Conquistadors & their Donnas.

Now, that sounds like fun! Haven't done any research in this area 
yet, so I'm looking forward to this book!



Linda Yordy
Phone: 208/426-4034
Boise State University
Center for Management Development
1910 University Drive
Boise, ID  83725-1660
********************************************************
Yordy's Law #3: When wearing white, apply your lunch 
directly to your shirt -- it will end up there anyway.
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From: amazondrygoods-@webtv.net (Janet Burgess)
To: h-costume@indra.com
Subject: H-COST: QE Unlocked                                                           
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-Poster: amazondrygoods-@webtv.net (Janet Burgess)


We have good quantity in stock at $139.95 + $13.50 insured UPS.  Due
to value and rarity not returnable.  It would be nice to get this on
your site, but I'm not very good a tech. stuff.

To order from Amazon Drygoods be sure to include ALL info in the same
email.  Name, Credit Card number and date, address, phone, and items
or catalogs desired.  Thanks!



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-Poster: AliaClaire@aol.com

In a message dated 2/10/99 8:30:15 PM EST, alderweb@vaxxine.com writes:

<< While Margo is interested in a more exuberant persona,
 I'm interested in putting together a late 1850's ensemble for a working
 man's tradesman's wife - poor but honest, that's me!
 
It's much easier, and actually a much more common impression, too :-)

 I see  a middle-aged woman who, insofar as she cares what an observer
 would make of her, would hope to appear as a decent respectable woman
 of her class - a prudent, hard-working good wife. My husband will laugh if
 he reads this - there was an Irish expression - "Street angel and house
devil"
 perhaps another version would be "Reenacting angel and modern devil".

Okay. My first thoughts for this are as follows: for a day dress, a plain
dove-grey or dark blue cotton, not fussy at all. The fitted bodice pattern and
CW-era skirt (NOT the flounced one, unless they come together...memory fails)
from Past Patterns would work well for this. You would want a linen or silk
collar about 1 1/2-2" wide collar for 1860s, 3-4" for 1850s. You'd want coat
sleeves (from Past Pattern's gathered bodice are EXCELLENT examples) or bishop
sleeves, which are basically just full sleeves gathered into cuffs and
armsythes. Any trim should be either self-fabric or contrasting (black velvet
ribbon is always good), in small amounts, and on the bodice and sleeves.
You'll need a hoop- the wedding ones work, but I recommend a cage crinoline
from Heritage Reproductions. Make sure the bodice is well fitted. For
fasteners, either buttons or hooks and eyes, and maybe decorative buttons. The
dress should be front-opening, with a left-side dogleg skirt closure.

For a nice touch, a black silk taffeta apron, gauged onto a waistband, would
be elegant.
 
 <<I'm particularly interested in any sources for a pattern for a simple but
 period cap and bonnet. I'm a bit taken aback by my first introduction into
 Victorian caps - are they ALL so fussy and elaborate? I've got a grey
 checked linsey-woolsey for a sensible dress. There's a pattern for a c.
 1860's dress in a Canadian collection  I may use with some adaptations.
 Sources for stout stockings and boots? Would thick, itchy black wool
 stockings be correct, or am I just being masochistic? >>

Linsey-woolsey probably wasn't all that common. All the dresses I've ever seen
have either been cotton or silk.

Yes, LOL, most of the bonnets are fussy. I am the proud owner of a bonnet
dubbed "the flowershop that fell on her head". For anyone above the age of 20,
a bonnet is MUCH more correct then hats, which were informal and worn by the
younger, trendier set. Christine Ballard makes exquisite bonnets, with as much
or as little trim as you'd like. I have a white batiste gathered bonnet
trimmed with pink silk flowers that I'm in love with...anyway. Kay Gnagey
makes gorgeous bonnets, with a European flair. Linda Grey makes woven straw
bonnets that are a little simpler- I've seen one with white cotton tulle pulls
framing the face and white and blue check ties that was simple and stunning.

Boots- either Robert Land or Wal-Mart <g>. Basically, any boot that's ankle
high, square toed, and no tread on the bottom works until you want something
custom made.

Stockings- white, grey and black were the most common. Many were cotton- in
fact, all the originals I've ever seen were- but there were silk and wool
ones. Many had clockwork on them.


Whew...I've rambled on. If you need anything further defined or any contacts,
just let me know!

-Alison (who has a design interview this afternoon and has clothes on the
brain!) Stacy
AliaClaire@aol.com
Canton, Ohio
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From owner-h-costume@indra.com  Thu Feb 11 11:17:27 1999
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Date: Thu, 11 Feb 1999 10:26:22 -0600
To: h-costume@indra.com
From: Carole Frick <cfrick@siue.edu>
Subject: H-COST: underblouse (camicia) source
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-Poster: Carole Frick <cfrick@siue.edu>

Dear All, 
	I was using the word "blouse" loosely.  Yes, a camicia was long, (but then
I own a blouse which comes halfway down to my knees).  As far as a source,
I put one in my post, that is:  Masaccio, Brancacci Chapel frescoes
(c.1425) in Santa Maria del Carmine in Florence (executed with
Masolino)...you can see these in a Renaissance Art book (but frankly, I
haven't looked for seams).  Hope this helps!

Carole Collier Frick, Ph.D.
Department of Historical Studies
Southern Illinois University
Edwardsville, IL 62026-1454
(618) 650-3237  FAX (618) 650-3509
cfrick@siue.edu

"When lions have historians, hunters will cease being heroes." -African
proverb

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From owner-h-costume@indra.com  Thu Feb 11 11:46:41 1999
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From: "Betsy R. Delaney" <betsy@hawkeswood.com>
To: h-costume@indra.com
Subject: Re: H-COST: what kind of lace
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-Poster: "Betsy R. Delaney" <betsy@hawkeswood.com>

On Thu, 11 Feb 1999, Scott Hulett wrote:

> 
> -Poster: Scott Hulett <mhull@earthlink.net>
> 
> Hate to sound like a total rube, but, when and where is costume con?
> Been a while, smiles, jd
 
Costume-Con is this weekend, at the Hilton Cherry Hill, New Jersey. The
conference runs from Friday afternoon to Monday morning.

A rough outline of the events is:

	Friday afternoon: probably panels, registration and maybe dealers
	Friday night: Sullivan & Gilbert Operetta & Vendetta (Social)
	Saturday day: Panels, Exhibits, dealers and so on
	Saturday (8pm): Science Fiction/Fantasy Masquerade
	Sunday day: more panels etc, plus Future Fashion Show (11am)
	Sunday (8pm): Historical Masquerade
	Monday: More panels etc, wrapping around noon or so, plus ICG's
		annual meeting

This is only my best guess. I'm not on the committee this year, and I
haven't seen a schedule of events with times for anything other than the
shows, which means everything above is subject to change or modification.

For more info, you could visit www.CostumeCon.org, and head for either the
What's New page or the Time-line.

(Oh, and the memberships I posted about are gone - sorry!)

-betsy

--

Betsy R. Delaney
Webmistress at large
Costume-Con(R) Archivist

***************************************************************************
                 betsy@hawkeswood.com or betsy@ability.net
           http://www.hawkeswood.com/, home of Hawkeswood Designs
         and http://www.CostumeCon.org/, home of Costume-ConNections
***************************************************************************




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From owner-h-costume@indra.com  Thu Feb 11 11:51:29 1999
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From: "Van Cleave & Fleming" <tweedlebop@earthlink.net>
To: <h-costume@indra.com>
Subject: H-COST: re:  1850s poor but honest?
Date: Thu, 11 Feb 1999 11:52:49 -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: Sheridan Alder <alderweb@vaxxine.com>
>
>So if anyone would like to contribute any interesting snippets on the =
dress
>of working class women, I would really appreciate any suggestions.

A great book to check out is Elizabeth Ewing, Everyday Dress 1650 - 1900 =
(New York and Philadelphia:  Chelsea House Publishers, 1984).  ISBN =
1-55546-750-4.

There are lots of pictures which might fit your persona, but check out =
especially figures 86 (drawing of women factory workers, 1850s), 90 (a =
Punch cartoon of the average Victorian family, 1845), 100 (photograph of =
a seamstress, 1850s), 106 (drawing of seamstresses, 1858), and 109 =
(photograph of a lady visiting a laborer's family, 1850s).

Kendra Van Cleave



------=_NextPart_000_0028_01BE55B5.0C7B47C0
Content-Type: text/html;
	charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable

<!DOCTYPE HTML PUBLIC "-//W3C//DTD W3 HTML//EN">
<HTML><HEAD>
<META content=3Dtext/html;charset=3Diso-8859-1 =
http-equiv=3DContent-Type>
<STYLE></STYLE>

<META content=3D'"MSHTML 5.00.0910.1309"' name=3DGENERATOR></HEAD>
<BODY bgColor=3D#ffffff>
<DIV>&gt;- -Poster: Sheridan Alder &lt;<A=20
href=3D"mailto:alderweb@vaxxine.com">alderweb@vaxxine.com</A>&gt;<BR>&gt;=
<BR>&gt;So=20
if anyone would like to contribute any interesting snippets on the=20
dress<BR>&gt;of working class women, I would really appreciate any=20
suggestions.</DIV>
<DIV>&nbsp;</DIV>
<DIV>A great book to check out is Elizabeth Ewing, Everyday Dress 1650 - =
1900=20
(New York and Philadelphia:&nbsp; Chelsea House Publishers, 1984).&nbsp; =
ISBN=20
1-55546-750-4.</DIV>
<DIV>&nbsp;</DIV>
<DIV>There are lots of pictures which might fit your persona, but check =
out=20
especially figures 86 (drawing of women factory workers, 1850s), 90 (a =
Punch=20
cartoon of the average Victorian family, 1845), 100 (photograph of a =
seamstress,=20
1850s), 106 (drawing of seamstresses, 1858), and 109 (photograph of a =
lady=20
visiting a laborer's family, 1850s).</DIV>
<DIV>&nbsp;</DIV>
<DIV>Kendra Van Cleave</DIV>
<DIV><BR>&nbsp;</DIV></BODY></HTML>

------=_NextPart_000_0028_01BE55B5.0C7B47C0--

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From owner-h-costume@indra.com  Thu Feb 11 12:17:36 1999
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From: Hulett <mhull@earthlink.net>
To: "'h-costume@indra.com'" <h-costume@indra.com>
Subject: RE: H-COST: what kind of lace
Date: Thu, 11 Feb 1999 09:26:38 -0800
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-Poster: Hulett <mhull@earthlink.net>

Oops, looks like I missed this one. Thanks for the info.
Have fun, jd.
mhull@earthlink.net

-----Original Message-----
From:	Betsy R. Delaney [SMTP:betsy@hawkeswood.com]
Sent:	Thursday, February 11, 1999 8:49 AM
To:	h-costume@indra.com
Subject:	Re: H-COST: what kind of lace


-Poster: "Betsy R. Delaney" <betsy@hawkeswood.com>

On Thu, 11 Feb 1999, Scott Hulett wrote:

> 
> -Poster: Scott Hulett <mhull@earthlink.net>
> 
> Hate to sound like a total rube, but, when and where is costume con?
> Been a while, smiles, jd
 
Costume-Con is this weekend, at the Hilton Cherry Hill, New Jersey. The
conference runs from Friday afternoon to Monday morning.

A rough outline of the events is:

	Friday afternoon: probably panels, registration and maybe dealers
	Friday night: Sullivan & Gilbert Operetta & Vendetta (Social)
	Saturday day: Panels, Exhibits, dealers and so on
	Saturday (8pm): Science Fiction/Fantasy Masquerade
	Sunday day: more panels etc, plus Future Fashion Show (11am)
	Sunday (8pm): Historical Masquerade
	Monday: More panels etc, wrapping around noon or so, plus ICG's
		annual meeting

This is only my best guess. I'm not on the committee this year, and I
haven't seen a schedule of events with times for anything other than the
shows, which means everything above is subject to change or modification.

For more info, you could visit www.CostumeCon.org, and head for either the
What's New page or the Time-line.

(Oh, and the memberships I posted about are gone - sorry!)

-betsy

--

Betsy R. Delaney
Webmistress at large
Costume-Con(R) Archivist

***************************************************************************
                 betsy@hawkeswood.com or betsy@ability.net
           http://www.hawkeswood.com/, home of Hawkeswood Designs
         and http://www.CostumeCon.org/, home of Costume-ConNections
***************************************************************************




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From owner-h-costume@indra.com  Thu Feb 11 12:25:55 1999
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From: "Wanda Pease" <wandapease@bigfoot.com>
To: <h-costume@indra.com>
Subject: Re: H-COST: Hispanic Costume Book:  Sold!
Date: Thu, 11 Feb 1999 09:24:34 -0800
Message-ID: <01be55e3$64b56820$a63c77cc@kiwiopen>
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-Poster: "Wanda Pease" <wandapease@bigfoot.com>

I received this book from Amazon.com last June brand new.  They still
have it listed for $29.00 although they say it is on back order, but
should ship in 4-6 weeks.  It really is a wonderful source.

Regina
-----Original Message-----
From: Linda Yordy <abuyordy@cobfac.idbsu.edu>
To: h-costume@indra.com <h-costume@indra.com>
Date: Thursday, February 11, 1999 7:35 AM
Subject: Re: H-COST: Hispanic Costume Book: Sold!


>
>-Poster: "Linda Yordy" <abuyordy@cobfac.idbsu.edu>
>
>> OFF WITH HER HEAD!!!!
>
>Oooo, now where did I put all that protective armour?
>
>> No, seriously, I'm sorry I missed it but...Linda, are you
listening?....you'd
>> better turn out some drop dead Conquistadors & their Donnas.
>
>Now, that sounds like fun! Haven't done any research in this area
>yet, so I'm looking forward to this book!
>
>
>
>Linda Yordy
>Phone: 208/426-4034
>Boise State University
>Center for Management Development
>1910 University Drive
>Boise, ID  83725-1660
>********************************************************
>Yordy's Law #3: When wearing white, apply your lunch
>directly to your shirt -- it will end up there anyway.
> _________________________________________________________________
> 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 Feb 11 12:33:00 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: Kilt seams
Date: Thu, 11 Feb 1999 11:42:05 -0600
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-Poster: "Abbott, Ruth" <r-abbott@oar-xch1.oar.uiuc.edu>

I have considered the idea of using some cotton flannel I have found at
a local store for a hot weather Great Kilt.  It looks good, but it is
45" wide instead of the usual (for wool) 60".  Taking two 30" pieces and
sewing them together would follow historic practice, but I was wondering
what kind of seam to use.  I wouldn't have selvage along both sides of
the pieces, so fraying must be considered, but the seam needs to be
unobtrusive and not too stiff or bulky.  Or, could the fabric just be
used at 45"?  The decreased bulk above the waist could be another
advantage in hot weather, or it might not fold correctly at all.

Alix
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From owner-h-costume@indra.com  Thu Feb 11 13:18:19 1999
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-Poster: Margo Anderson <margo@directcon.net>

At 11:42 AM 2/11/99 -0600, you wrote:
>
>-Poster: "Abbott, Ruth" <r-abbott@oar-xch1.oar.uiuc.edu>
>
>I have considered the idea of using some cotton flannel I have found at
>a local store for a hot weather Great Kilt. 

I've seen cotton flannel used for kilts, and, IMHO, it just doesn't work.
In addition to the problem of it not being wide enough, it doesn't hang
right.  Also, the tartan pattern is printed on, not woven, and the wrong
side will show when it's worn. 

Margo



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From owner-h-costume@indra.com  Thu Feb 11 14:12:16 1999
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From: "Sterling Ranne" <sranne@hydroseal.com>
To: <h-costume@indra.com>
Subject: Re: H-COST: Kilt seams
Date: Thu, 11 Feb 1999 13:17:17 -0600
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-Poster: "Sterling Ranne" <sranne@hydroseal.com>

The other poster is correct with respect to the drape of the kilt.  It just
won't look right.  I also assume that the pattern is the same front and
back.  Not an issue with the Wee Kilt, but is with the Great Kilt.  If it
is not the same front and back, try something else.

If you can live with what you have however, then the only point I can add
is that I wouldn't put the seam in the middle of two 30" pieces.  I'd
measure up from the bottom of the kilt and try to hide the seam under the
belt getting something like a 20" bottom and a 40" top (or whatever).  This
makes it a little bulkier but hides the seam.

Regardless how you do it the pattern is more important than the exact 60"
measure.  Make sure the pattern is continuous across the seam. 

Sterling
92.5% Pure
sranne@hydroseal.com


> -Poster: "Abbott, Ruth" <r-abbott@oar-xch1.oar.uiuc.edu>
> 
> I have considered the idea of using some cotton flannel I have found at
> a local store for a hot weather Great Kilt.  It looks good, but it is
> 45" wide instead of the usual (for wool) 60".  Taking two 30" pieces and
> sewing them together would follow historic practice, but I was wondering
> what kind of seam to use.  I wouldn't have selvage along both sides of
> the pieces, so fraying must be considered, but the seam needs to be
> unobtrusive and not too stiff or bulky.  Or, could the fabric just be
> used at 45"?  The decreased bulk above the waist could be another
> advantage in hot weather, or it might not fold correctly at all.

 _________________________________________________________________
 To leave this mailing list, send mail to majordomo@indra.com
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From owner-h-costume@indra.com  Thu Feb 11 14:19:02 1999
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Date: Tue, 9 Feb 1999 20:35:03 +0000
To: h-costume@indra.com
From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: H-COST: Where to buy near Aspen
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-Poster: Jean Waddie <anne@montgomerie.demon.co.uk>

My husband has just confirmed that he will be going to a conference at a
ski resort very near Aspen, Colorado, at the beginning of April.  We are
both keen costumers and SCAdians, and like to be as authentic as we can
afford.  I realise that it's a long shot, but if he was to take a day
off to go shopping, is there anywhere he could reach that would be a
good source of costume accessories/patterns/books/trim, feast gear or
any other nice stuff for medieval people?

If anyone lives in the area and has recommendations, please mail me
privately.

Thanks, 
-- 
Jean Waddie
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From owner-h-costume@indra.com  Thu Feb 11 16:13:57 1999
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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: Sources for Italian
Date: Thu, 11 Feb 1999 14:37:53 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

See Henk's cotehardie WebPages at:
http://pip1.pipcom.com/~tempus/cotehardie/cotehardie.html
and an big Overview of Italian painters 1200-1700, organized
by city-state at
http://gallery.euroweb.hu/tours/painter.html
and lots more Italian paintings including a wide array for
1300's and 1400's at
http://metalab.unc.edu/cgfa/addition.htm.

See also Jacqueline Herald's *Renaissance Dress in Italy
1450-1550,* from the History of Dress Series, edited by Dr.
Aileen Ribeiro.  New Jersey: Humanities Press Inc., Atlantic
Highlands, NJ 07716, and London: Bell and Hyman, 1981 ISBN 0
391 02362 4 in USA 0 7135 1294 6 in UK, LC 82-5170. By ILL
from Allegheny College, The Pelletier Library 393.00945
h412r. a glossary of Italian costume terms, and original
source material of all kinds. She deals a little with the
time period before the Renaissance, and the glossary will
still be quite helpful. Well worth getting by interlibary
loan, if you have to.
I think Ribiero also put out a book of her own called
something like Costume in Italian Paintings (approximate
title).  I haven't seen it, but I've heard its also great,
and I did see another of her books which I thought was
excellent.

Hope H. Dunlap

-----Original Message-----
From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
Behalf Of Colleen McDonald Hinrichs
Sent: Tuesday, February 09, 1999 6:12 PM
To: h-costume@indra.com
Subject: H-COST: Sources for Italian



-Poster: "Colleen McDonald Hinrichs" <Colleen@Mackie.com>

Hello List,

I am looking for sources to use for documenting an Italian
"cotehardie".   I am not sure if this is the appropriate
name, but it conveys the style that I am looking for -
narrow arms, fitted to the hips and full skirt.  I am hoping
that someone here on the list may be able to help point me
toward some books or paintings.

Some of the paintings that I have already looked at are
"...Good Government: City Life" and the Legend of the True
Cross series.  There seems to be one painting by Bartolo di
Fredi that depicts the dress style that I am looking for
(darn, wish I had my notebook with me at work), but I can't
seem to find his stuff anywhere in color.  Any ideas where
to look?

If there's a better/more appropriate name than cotehardie,
please let me know.  (Henk, I am hoping that you have some
info....)

Also, any paintings that shows these dresses from the back?
The ones that I have mentioned only have front views and I
am trying to determine if the dress should lace up the back.
(None of the ones I've looked at show front lacing.)

Keeping my fingers crossed,

Colleen McDonald Hinrichs


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From owner-h-costume@indra.com  Thu Feb 11 16:37:35 1999
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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: H-COST: Studio of Michael Pracher, Birth of the Virgin, Castle Gallery, Rychnov n.Kn. (Bohemia)
Date: Thu, 11 Feb 1999 16:09:46 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

I am very interested in the cutting lines of the green and
mauve dresses shown in this 14th C. ? painting in Kybalova's
Pictorial Encyclopaedia of Fashion, Plate III between p. 24
and 25.  The backs of the 2 gowns are  partially visible,
and I'd like an expalation of how the front of the dresses
are cut.  The green one appears to have an arm cut like the
doublet(pierpoint?) of Charles duBois, and the mauve one has
a seam up the back of the sleeve which curves over the
shoulder blade to almost center back, with a side seam the
full length of the gown.  It looks like the front of the
dress in cut in one with the two center back panels which
wrap over the shoulders and frame the neckline.  Is there a
waist seam in the front of this garment?  what so, is the
front of the sleeve look like and how does it join the bosom
area?  Any help would be most appreciated.

Hope H. Dunlap


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From owner-h-costume@indra.com  Thu Feb 11 16:52:27 1999
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From: Margo Anderson <margo@directcon.net>
Subject: Re: H-COST: Where to buy near Aspen
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-Poster: Margo Anderson <margo@directcon.net>


>
>My husband has just confirmed that he will be going to a conference at a
>ski resort very near Aspen, Colorado, at the beginning of April.  We are
>both keen costumers 

I had to re-read this post twice.  I thought you were asking how to costume
yourselves appropriately to fit in with the Aspen skiers!  Let's see, in the
late 20th century, Aspenites  were wearing Gortex parkas, with polarfleece
earwarmers, and....

Margo

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From owner-h-costume@indra.com  Thu Feb 11 17:06:57 1999
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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: H-COST: 15th-16th Century man's hat
Date: Thu, 11 Feb 1999 16:41:44 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

How do you form the man's hat shown in rust-color in the
upper left?  The big brioche-shaped velvet? one?
http://gallery.euroweb.hu/art/h/holbein/hans_e/sebastia.jpg
Some of the more shapely 18th century men's big floppy
nightcaps look like this, as well as little girls' hats in
the Edwardian era.

Hope H. Dunlap


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From owner-h-costume@indra.com  Thu Feb 11 17:45:49 1999
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From: "Johanna R. Forte" <forte@kutztown.edu>
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Subject: H-COST: the zipper
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-Poster: "Johanna R. Forte" <forte@kutztown.edu>

I am an eighth grade student at Kutztown Junior High School who is
participating in National History Day, a nation wide competion that
encourages students to become involved with the past.  The topic that I
have have chosen is HOW THE ZIPPER CHANGED FASHION HISTORY.  If there are
any fashion historians out there, my project greatly needs your help.  We
have all the history of the  zipper that we need, but are struggling to
find some significance of the zipper.  Yes it was time saving, but isn't
there something else?  Did the invention of the zipper lead to any new
fashion styles to be designed?  Did the zipper make clothing companies
save any money?  (Was sewing in the zipper cheaper than sewing in the
buttons?)  To discover more in depth answers to those questions and to
please the judges, I need primary sources.  Could you please help me to
discover some of these sources? 

Thank you for taking the time to read this letter.  If you have a
response, please e-mail me privately at MFfairy@hotmail.com.

Sincerely,
Melina Forte

Johanna R. Forte
Costume Designer
Kutztown University


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From owner-h-costume@indra.com  Thu Feb 11 19:46:06 1999
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From: "Carol J. Bell Cannon" <cjcannon@greymists.com>
Subject: Re: H-COST: 'chainmail' sweaters
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-Poster: "Carol J. Bell Cannon" <cjcannon@greymists.com>

          May I ask the intended use?  Carol
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From owner-h-costume@indra.com  Thu Feb 11 20:35:14 1999
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-Poster: Kent & Kat <kdyer@nash.tds.net>

"Carol J. Bell Cannon" wrote:
> 
>           May I ask the intended use?  Carol

Exactly what I said...to make chainmail looking coifs for a
high school production of Richard III.

Kat
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From owner-h-costume@indra.com  Thu Feb 11 22:58:22 1999
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Date: Thu, 11 Feb 1999 20:06:38 -0800
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Subject: Re: H-COST: H-COST - Bronzino's "Lady with a Puppy"
References: <v0401170eb2de919630be@[205.252.121.172]>
				 <v0401170eb2de919630be@[205.252.121.172]>
				 <v0401170eb2de919630be@[205.252.121.172]> <4.1.19990206095431.00c82650@pop.slip.net> <36BDE797.4C876F68@gte.net> <36BDF95A.15F18A14@earthlink.net> <36BE0821.F3791EEA@gte.net>
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-Poster: Scott Hulett <mhull@earthlink.net>

Lady Eleanor,
    Going back a little, are you still looking for smocking? I have a great
reference for some rennaisance smocking on a shirt from a german grave site. I would
be happy to snail mail it to you. Also, clotilde has a smocking machine;)
cheers, jd

Lady Eleanor wrote:

> -Poster: Lady Eleanor <hekav@gte.net>
>
> No need to apologize!  Thanks for the directions!!  I'm going to try
> this technique.  Sounds good.
>
> By the bye...anybody know of any "smocking" sites on the web?  I could
> probably figure it out on my own...but would rather have some details to
> start with.  :-)
>
> In service,
> Lady Eleanor
>
> Scott Hulett wrote:
> >
> > -Poster: Scott Hulett <mhull@earthlink.net>
> >
> > Abject appologies. Just looked at portrait. Mine will work if you replace the
> > ruffle directions with a flat shirt style collar. Other wise, I think it would
> > work.
> > Cheers, jd
> >
> > Lady Eleanor wrote:
> >
> > > -Poster: Lady Eleanor <hekav@gte.net>
> > >
> > > Here's a link:
> > >
> > > http://metalab.unc.edu/cjackson/bronzino/index.html
> > >
> > > with a copy of the portrait in question.  Enjoy!
> > >
> > > YIS,
> > > Lady Eleanor of Leycestershyre
> > >
> > > Carolyn Kayta Barrows wrote:
> > > >
> > > > -Poster: Carolyn Kayta Barrows <kayta@slip.net>
> > > >
> > > > >    In Bronzino's "Portrait of a Lady with a Puppy", the lady in
> > > > >question is wearing a very beautiful chemise/shirt/whatever
> > > > >with what appears on close examination to be smocking/
> > > > >proto-smocking on the collar area, with patterns of crosses,
> > > > >etc, worked into the folds.  Does anyone have any idea how
> > > > >this was done?  Anybody done it?  I have seven yards of
> > > > >very dainty silk I've been hoarding for just such a project.....
> > > > >
> > > > >All Health, and apologies to anyone who had to read the same
> > > > >
> > > >
> > > > Where can we see a picture of this?  Is it in some costume book?  Can you
> > > > post it somewhere we can get to?
> > > >
> > > > Kayta
> > > >      ////.\\\
> > > >     ////-@@\\\
> > > >    ((((   7 (((
> > > >      |   -- ))))
> > > >      * )   (((((
> > > >   /----\   /---\
> > > >
> > > >  _________________________________________________________________
> > > >  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
> >
> >  _________________________________________________________________
> >  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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-Poster: kathleen@niagara.com



>Linsey-woolsey probably wasn't all that common. All the dresses I've ever seen
>have either been cotton or silk.

Well, now that you have all that linsey-woolsey to get rid of...

<wiggles her eyebrows>
 

                                                ()
                                              _/)(\_
"Tehee!" quod she, and clapte the wyndow to    /~~\
                                              /____\

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From owner-h-costume@indra.com  Fri Feb 12 01:16:58 1999
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Date: Fri, 12 Feb 1999 14:56:13 +0000
To: h-costume@indra.com
From: Pompadour <marquise_de_pompadour@gmx.net>
Subject: H-COST: anyone need plastic boning, busk?
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-Poster: Pompadour <marquise_de_pompadour@gmx.net>

hi list,

as it looks like i'll move to what is the equivalent of a desert for a
historic
costumer, i plan to stock up on plastic whalebone and busk. there's a minimum
quantitiy of 200m for boning orders, i don't know how much for busk. as i
doubt
that i would need as much as that i'd like to place a collective order. the
postage overhead will be lower and payment easier for costumers living in
europe.  if you're interested, please contact me off-list (costume@gmx.net).

ciao,
yo


marquise_de_pompadour@gmx.net -  www.costumegallery.com/pompadour/

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From owner-h-costume@indra.com  Fri Feb 12 01:23:35 1999
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-Poster: Anah <anah@tymeportal.com>

I would be interested in getting in on ordering of the busk's I don't
use plastic whalebone though, I use steel stays.  Are they 6/7 nail
busks?  or are they 5 nail busks?  what lengths are you ordering?  Let
me know what to send and where...

have you received the patterns yet???? I sent them to the address you
gave me in Germany...

Pompadour wrote:
> 
> -Poster: Pompadour <marquise_de_pompadour@gmx.net>
> 
> hi list,
> 
> as it looks like i'll move to what is the equivalent of a desert for a
> historic
> costumer, i plan to stock up on plastic whalebone and busk. there's a minimum
> quantitiy of 200m for boning orders, i don't know how much for busk. as i
> doubt
> that i would need as much as that i'd like to place a collective order. the
> postage overhead will be lower and payment easier for costumers living in
> europe.  if you're interested, please contact me off-list (costume@gmx.net).
> 
> ciao,
> yo
> 
> marquise_de_pompadour@gmx.net -  www.costumegallery.com/pompadour/
> 
>  _________________________________________________________________
>  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 Feb 12 01:25:49 1999
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-Poster: Anah <anah@tymeportal.com>

oops...AGAIN!  argh...I hate having to swap the address out to send it
to the person i intend it to go to.

Pompadour wrote:
> 
> -Poster: Pompadour <marquise_de_pompadour@gmx.net>
> 
> hi list,
> 
> as it looks like i'll move to what is the equivalent of a desert for a
> historic
> costumer, i plan to stock up on plastic whalebone and busk. there's a minimum
> quantitiy of 200m for boning orders, i don't know how much for busk. as i
> doubt
> that i would need as much as that i'd like to place a collective order. the
> postage overhead will be lower and payment easier for costumers living in
> europe.  if you're interested, please contact me off-list (costume@gmx.net).
> 
> ciao,
> yo
> 
> marquise_de_pompadour@gmx.net -  www.costumegallery.com/pompadour/
> 
>  _________________________________________________________________
>  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
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From owner-h-costume@indra.com  Fri Feb 12 09:54:58 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: Re: Klt Seams
Date: Fri, 12 Feb 1999 09:01:35 -0600
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-Poster: "Abbott, Ruth" <r-abbott@oar-xch1.oar.uiuc.edu>


I've seen cotton flannel used for kilts, and, IMHO, it just doesn't
work.
In addition to the problem of it not being wide enough, it doesn't hang
right.  Also, the tartan pattern is printed on, not woven, and the wrong
side will show when it's worn. 

Margo


In this case, anyway, the pattern is woven in, or I wouldn't have
considered the idea.  Since everyone seems to be against the idea of
using cotton flannel, what alternatives are there when it's too hot to
wear yards of wool?

Alix
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From owner-h-costume@indra.com  Fri Feb 12 10:18:13 1999
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From: Orlaith <Orlaith@usa.net>
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-Poster: Orlaith <Orlaith@usa.net>

Actually I have made these.  A couple of years ago I made a whole chainmail
suit for an old friend's production of Camelot.  Of course I have moved once
and am planning on moving again in the near future so have no idea where my
instructions are.  I do remember that we used a satiny rope in place of yarn
(necessary so it will read from the stage).  Also I know he got the directons
from some sort of theater source because I remember there was a logo on the
instruction pages.  Emmitt had at least 4 people making mail and I think we
made about 10 full sets.

I would suggest checking with local college theater departments to see if they
can help you find the directions.  If I can get hold of Emmitt I will post
more information.

Beth/Orlaith





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

Has anyone ever cut up old sweaters to make 'chainmail'
coifs?  I'm thinking I need to stitch the sweater material
to some sturdy cloth first (fortunately I'm not doing the
silver painting!).  Any suggestions?

Kat

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From owner-h-costume@indra.com  Fri Feb 12 10:52:06 1999
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From: Laurel Wilson <lwilson16@earthlink.net>
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-Poster: Laurel Wilson <lwilson16@earthlink.net>

Carole Frick wrote:

I would call these tight-sleeved, close-fitted
long-skirted garments on the young women "gamurre" (singular "gamurra")

Carole, is the 'gamurra' related to the 'guarnaccia'?
Lauri

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From owner-h-costume@indra.com  Fri Feb 12 11:00:43 1999
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Date: Fri, 12 Feb 1999 07:58:33 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: RE: H-COST: 15" waists:  surviving garments?
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>

(take that 50 year old
>woman from the late 1950's with the 13" waist-I can't recall her
>name)

Please find the name.  I wanna see the photos of this one - if there are
any (and I suspect not).  Reminds me of the Charles Addams cartoon of the
two sales ladies rushing out of the back room of a corset shop screaming
that they had just pulled a customer in half!


Kayta
     ////.\\\
    ////-@@\\\
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     |   -- ))))
     * )   (((((
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Date: Fri, 12 Feb 1999 07:54:27 -0800
To: h-costume@indra.com
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Subject: Re: H-COST:  1850's questions
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>

If you want to look like a Madam, go tawdry.  Colours too loud, neckline
too low (excuse me - 'dressy'), decorations too large, etc..  Like New
Money.  Like advertising.  And don't worry about making yourself look
thinner for the occasion.


In fact, I'd like this
>costume to convey that I run the best House in town.  


Kayta
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From owner-h-costume@indra.com  Fri Feb 12 11:20:10 1999
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Date: Fri, 12 Feb 1999 11:20:44 -0500
From: Christine Krebs-Bonder <2maples@dnaco.net>
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Subject: Re: H-COST: 15" waists:  surviving garments?
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-Poster: Christine Krebs-Bonder <2maples@dnaco.net>

I remember seeing a photograph in a Guiness book of World records of a woman
with a ridiculously tiny waist back in the 70's. That might be the woman
referred to.

Christine in Dayton

Carolyn Kayta Barrows wrote:

> -Poster: Carolyn Kayta Barrows <kayta@slip.net>
>
> (take that 50 year old
> >woman from the late 1950's with the 13" waist-I can't recall her
> >name)
>
> Please find the name.  I wanna see the photos of this one - if there are
> any (and I suspect not).  Reminds me of the Charles Addams cartoon of the
> two sales ladies rushing out of the back room of a corset shop screaming
> that they had just pulled a customer in half!
>
> Kayta
>      ////.\\\
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>  _________________________________________________________________
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From: rio@austin.rr.com (StrangeGirl)
To: h-costume@indra.com
Subject: Re: H-COST: 15" waists:  surviving garments?
Date: Fri, 12 Feb 1999 16:25:23 GMT
Organization: The Corner of my Desk
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-Poster: rio@austin.rr.com (StrangeGirl)

On Fri, 12 Feb 1999 07:58:33 -0800, you wrote:

>
>-Poster: Carolyn Kayta Barrows <kayta@slip.net>
>
>(take that 50 year old
>>woman from the late 1950's with the 13" waist-I can't recall her
>>name)
>
>Please find the name.  I wanna see the photos of this one - if there
are
>any (and I suspect not).

There are. I do not recall her name, but she was in the Guiness book
of world records for precisely that reason: World's smallest adlut
waist or some thing like it. Every Guiness book I had as a child had
her picture in it, and I suspect that she still holds that record,
even if they choose not to print it.

Margery
-----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  Fri Feb 12 11:21:14 1999
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Date: Fri, 12 Feb 1999 08:16:54 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: H-COST: foot binding
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>


>If the binding of ones feet in China from a child on would keep the foot
>small and not growing, so would a corset binding the body from childhood.

Food binding does not keep the foot from growing.  It just folds the foot
in half and keeps it in the shape of a foot which has not grown.  If you
want to get gruesome, look at an x-ray of a bound foot.  All the bones are
there...


Kayta
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From owner-h-costume@indra.com  Fri Feb 12 11:21:16 1999
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Date: Fri, 12 Feb 1999 08:11:06 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: H-COST: patch
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>

Yes, the patch is a faked 'beauty mark'.

>When describing how she is dressed and coiffed it says 'High on her check
>she sports, as she often did, a patch.'  The reproduction is not good, so I
>can't see anything on her cheeks.  What might the 'patch' be?  A faked
>'beauty mark'?? 


Kayta
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From owner-h-costume@indra.com  Fri Feb 12 11:21:16 1999
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Date: Fri, 12 Feb 1999 08:10:15 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: Re: H-COST: 15" waists - surviving garments?
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>

I believe what you say about corsets and always did.  I understand that the
brag of a 15" corset turned into the brag of the 15" actual waist.  And
that the 'spring' was sometimes greater than it should have been to
perpetuate the brag.  I guess I was confused by your post.  Thank you for
taking the time to explain.

>Saundra Altman, owner of Past Patterns, cites many references in her 
>documentation for her corset patterns to this effect.  Sorry, I thought 
>or assumed we all knew this already.  The corset size is actually 2 - 3 
>inches smaller than the measurement of the "finished" waist while 
>wearing, because of the allowance for gap, or "spring" at the back where 
>it is laced.
>
>If a corset actually meets in the back, it cannot support you correctly, 
>because it will stretch and give while being worn, and cause gaps at the 
>front that can pinch or at the very least, feel uncomfortable.
>
>So a corset with a 15" waist would more than likely produce a finished 
>18" waist measurement while being worn.  The measurements I gave in my 
>last post took this into account --that is, my 23" finished waist 
>measurement was while wearing a corset with a 21" or so waist 
>measurement.  Does everybody understand this?  (Whew!  I'm out of 
>breath, or something like that...)
>
>Susannah
>
>______________________________________________________
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Kayta
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From owner-h-costume@indra.com  Fri Feb 12 11:21:18 1999
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Date: Fri, 12 Feb 1999 08:20:16 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: RE: H-COST: Quilted petticoat pattern c. 1700-1730
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>

The Philadelphia Museum of art quilted
>petticoat is definitely a "not in this lifetime" kind of
>project, but taken together the extant examples do confirm
>"a look" to go after.  

Do I get shot at if I suggest machine quilting?  You should be able to
quilt a whole petticoat in a couple of days that way, and it would really
be quilted.  Machine quilting books would explain process and proceedure.


Kayta
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From owner-h-costume@indra.com  Fri Feb 12 11:21:19 1999
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Date: Fri, 12 Feb 1999 08:13:18 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: Re: H-COST: Sources for Italian
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>


>As for where, northern Italy, for sure - Florence, Siena, Milan perhaps. 
>Again, same thing as before, I'm not going into this with a definitive time 
>and place - it's more a case of "hmmm, there are all these different types 
>and places and...this one here appeals to me most."

You do realize that costume changed from one Italian City-State to another?
 So there is no stylistic consistency from one to another.  OTOH, if you
just like Italian, why not several dresses, one each?


Kayta
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From: rio@austin.rr.com (StrangeGirl)
To: h-costume@indra.com
Subject: Re: H-COST: 15" waists:  surviving garments?
Date: Fri, 12 Feb 1999 17:03:10 GMT
Organization: The Corner of my Desk
Message-ID: <36c55dc7.2467681@smtp-server.austin.rr.com>
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-Poster: rio@austin.rr.com (StrangeGirl)


>>-Poster: Carolyn Kayta Barrows <kayta@slip.net>
>>
>>(take that 50 year old
>>>woman from the late 1950's with the 13" waist-I can't recall her
>>>name)

Found it. Had to do a web search on Body Modification, then search
those results for smallest waist, and pick very carefully.

>From 'Corset 101' off one of the corset-admirer sties on the web:

"The world's smallest waist belonged to Mrs. Ethel Granger (deceased).
At her ultimate her waist measured just 13". This took a lifetime of
work to achieve and she lived to the ripe old age of 77. However, her
figure was so modified, with her lower ribs collapsed, that few would
find it attractive. Her husband, Will, wrote a biography of Mrs.
Granger titled "An Exclusive Production". It is available from Insight
Books."

THere are lots of pictures of her. Go the library and look her up in
an old issue of Guiness book of world records, maybe from the 70's or
80's. There will be a pic of her ultra-tiny waist. It liiks like an
actual wasp's waist. 

Margery
-----rio@austin.rr.com---Goddess of Last Minute Miracles---
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hand..." - the Flash Girls
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From owner-h-costume@indra.com  Fri Feb 12 12:09:11 1999
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Date: Fri, 12 Feb 1999 12:01:19 -0500
Subject: H-COST: Re: poor but honest
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-Poster: Bette Anne Adams <kiri5@juno.com>


On Thu, 11 Feb 1999 08:19:02 -0700 (MST) owner-h-costume-digest@indra.com
writes:
>

>From: Sheridan Alder <alderweb@vaxxine.com>
>Date: Wed, 10 Feb 1999 19:57:13 -0600
>Subject: H-COST: 1850s poor but honest?
>
>- -Poster: Sheridan Alder <alderweb@vaxxine.com>

>I'm particularly interested in any sources for a pattern for a simple 
>but
>period cap and bonnet. I'm a bit taken aback by my first introduction 
>into
>Victorian caps - are they ALL so fussy and elaborate? I've got a grey
>checked linsey-woolsey for a sensible dress. There's a pattern for a 
>c.
>1860's dress in a Canadian collection  I may use with some 
>adaptations.
>Sources for stout stockings and boots? Would thick, itchy black wool
>stockings be correct, or am I just being masochistic?
>
>So if anyone would like to contribute any interesting snippets on the 
>dress
>of working class women, I would really appreciate any suggestions.


Hello,

Thought I would just throw in my two cents.  Sheridan, from the
information you gave I think you would have one of two choices.  You
could use your linsey woolsey as long as it is not too heavy, I would
however; style the dress in the mid to earlier part of the 50's.  This
would reenforce the image of limited funds, but by using a good quality
fabric you are giving the lie to the idea of extreme poverty.  I would
suggest when having your dress made or making it yourself  not using
gores or pleating, but gauging it into the waist and then stitching it
directly to the bodice.  Again this backdating of technique will stress
the fact that your dress is not that of a fashion plate and will achieve
the proper domed silhouette.  Avoid pagoda sleeves by all means a small
open sleeve would  work best, and be sure to wear undersleeves with it. 
As to your stockings, white cotton.  Ladies wore white cotton, domestics
and working class  wore woolen and colored (mostly blue) stockings, black
was not popular until later.  For head wear a bonnet is a must either of
fabric or straw.   Caps of the late '50's and into the 1860's were caul
shaped and could be quite plain or very dressy.  

I would like to suggest that you contact Maola On for your bonnet.  She
is currently teaching 19th century millinery  at G-st Fabrics.  I have
seen some of her work on display at the Smithsonian in Washington D.C.
and it is very good.  The display she worked on is late fifties and she
did an excellent job.    I understand from other discussion lists that
she does  work for individuals.  

Just a few ideas
Poverty stricken
Bette Anne Adams

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From owner-h-costume@indra.com  Fri Feb 12 12:16:18 1999
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Date: Fri, 12 Feb 1999 09:15:26 -0800
From: Lady Eleanor <hekav@gte.net>
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To: h-costume@indra.com
Subject: Re: H-COST: H-COST - Bronzino's "Lady with a Puppy"
References: <v0401170eb2de919630be@[205.252.121.172]>
					 <v0401170eb2de919630be@[205.252.121.172]>
					 <v0401170eb2de919630be@[205.252.121.172]> <4.1.19990206095431.00c82650@pop.slip.net> <36BDE797.4C876F68@gte.net> <36BDF95A.15F18A14@earthlink.net> <36BE0821.F3791EEA@gte.net> <36C3A8CD.AEB42B86@earthlink.net>
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-Poster: Lady Eleanor <hekav@gte.net>

Good m'Lord,

Yes, I am certainly interested.  If you could mail it to me,
that would be most kind, and greatly appreciated.  My
snail-mail is...

Gina L. Hill
7807 69th Street NE
Marysville, WA 98270-6572

Doesn't Clotilde have a web site?  Seems I remember seeing
it at one time.  I'll look to see if I can find that
machine!  ;-)

Thank you very much for you generous offer!

In service and gratitude,
Lady Eleanor of Leycestershyre
(mka:Gina L. Hill)



Scott Hulett wrote:
> 
> -Poster: Scott Hulett <mhull@earthlink.net>
> 
> Lady Eleanor,
>     Going back a little, are you still looking for smocking? I have a great
> reference for some rennaisance smocking on a shirt from a german grave site. I would
> be happy to snail mail it to you. Also, clotilde has a smocking machine;)
> cheers, jd
> 
> Lady Eleanor wrote:
> 
> > -Poster: Lady Eleanor <hekav@gte.net>
> >
> > No need to apologize!  Thanks for the directions!!  I'm going to try
> > this technique.  Sounds good.
> >
> > By the bye...anybody know of any "smocking" sites on the web?  I could
> > probably figure it out on my own...but would rather have some details to
> > start with.  :-)
> >
> > In service,
> > Lady Eleanor
> >
> > Scott Hulett wrote:
> > >
> > > -Poster: Scott Hulett <mhull@earthlink.net>
> > >
> > > Abject appologies. Just looked at portrait. Mine will work if you replace the
> > > ruffle directions with a flat shirt style collar. Other wise, I think it would
> > > work.
> > > Cheers, jd
> > >
> > > Lady Eleanor wrote:
> > >
> > > > -Poster: Lady Eleanor <hekav@gte.net>
> > > >
> > > > Here's a link:
> > > >
> > > > http://metalab.unc.edu/cjackson/bronzino/index.html
> > > >
> > > > with a copy of the portrait in question.  Enjoy!
> > > >
> > > > YIS,
> > > > Lady Eleanor of Leycestershyre
> > > >
> > > > Carolyn Kayta Barrows wrote:
> > > > >
> > > > > -Poster: Carolyn Kayta Barrows <kayta@slip.net>
> > > > >
> > > > > >    In Bronzino's "Portrait of a Lady with a Puppy", the lady in
> > > > > >question is wearing a very beautiful chemise/shirt/whatever
> > > > > >with what appears on close examination to be smocking/
> > > > > >proto-smocking on the collar area, with patterns of crosses,
> > > > > >etc, worked into the folds.  Does anyone have any idea how
> > > > > >this was done?  Anybody done it?  I have seven yards of
> > > > > >very dainty silk I've been hoarding for just such a project.....
> > > > > >
> > > > > >All Health, and apologies to anyone who had to read the same
> > > > > >
> > > > >
> > > > > Where can we see a picture of this?  Is it in some costume book?  Can you
> > > > > post it somewhere we can get to?
> > > > >
> > > > > Kayta
> > > > >      ////.\\\
> > > > >     ////-@@\\\
> > > > >    ((((   7 (((
> > > > >      |   -- ))))
> > > > >      * )   (((((
> > > > >   /----\   /---\
> > > > >
> > > > >  _________________________________________________________________
> > > > >  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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> >  _________________________________________________________________
> >  To leave this mailing list, send mail to majordomo@indra.com
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> 
>  _________________________________________________________________
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From owner-h-costume@indra.com  Fri Feb 12 12:16:48 1999
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Date: Fri, 12 Feb 1999 08:37:29 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: Re: H-COST: African Masks-help req
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>


>Does anyone know where I could purchase a base for an African Mask to be used
>in a play?  I'd want to put it on a stick (so hopefully it wouldn't be too
>heavy) and I need some sort of base material to work with.  I'm a seamstress,
>milliner, and sometime (if I must) shoe maker, but masks are just not
>something I want to branch into.  I'll paint it, but I'd rather not get into
>the actual papier mache or whatever.

The real ones are carved out of wood.  To fake this on stage try a plain
piece of poster board (or railroad board, the thin stuff sold as poster
board at Walgreen's).  Cut it out in the right shape, curve it to look
solid, glue a couple of pieces of the cutting scraps across the back to
hold the thing curved.  Start with white board and colour it with paint,
markers, or even crayon.  Copy a real African mask you find in a book, or
invent something which looks right.

Alternatively, I think there is a Dover book of cut-and-paste African masks
for kids to make.


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

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From owner-h-costume@indra.com  Fri Feb 12 12:20:01 1999
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Date: Fri, 12 Feb 1999 08:48:12 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: RE: H-COST: Fabric width?
In-Reply-To: <000601be552c$01d96920$3922ffd0@default>
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>

In 1406, a group of weavers protested
>to the King to get the ell established at 5 quarters, ie 5
>quarter yards, or 45." Hence the typical 45" fabric width
>today. 

36" x 5/4 = 48"


Kayta
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From: "Vickers, Jill" <jvickers@TELESENSORY.com>
To: "'h-costume@indra.com'" <h-costume@indra.com>
Subject: RE: H-COST: 15" waists:  surviving garments?
Date: Fri, 12 Feb 1999 09:22:33 -0800
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-Poster: "Vickers, Jill" <jvickers@TELESENSORY.com>


Yep, that's the lady!

>From what I read on her, she achieved this waist specifically for 
her husband, who became one of the first generally known 
fetishists of the time because of this.  Apparently more fetishists 
of this type started coming out of the woodwork after all the publicity
on Mrs. Granger.

Another note is that Mrs. Granger only removed her corset for bathing.

-Jill

> -Poster: rio@austin.rr.com (StrangeGirl)
> 
> 
> >>-Poster: Carolyn Kayta Barrows <kayta@slip.net>
> >>
> >>(take that 50 year old
> >>>woman from the late 1950's with the 13" waist-I can't recall her
> >>>name)
> 
> "The world's smallest waist belonged to Mrs. Ethel Granger (deceased).
> At her ultimate her waist measured just 13". This took a lifetime of
> work to achieve and she lived to the ripe old age of 77. However, her
> figure was so modified, with her lower ribs collapsed, that few would
> find it attractive. Her husband, Will, wrote a biography of Mrs.
> Granger titled "An Exclusive Production". It is available from Insight
> Books."
> 
> Margery
> 
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Date: Fri, 12 Feb 1999 09:05:38 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: Re: H-COST: 1850s poor but honest?
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>


>While Margo is interested in a more exuberant persona,
>I'm interested in putting together a late 1850's ensemble for a working
>man's tradesman's wife - poor but honest, that's me!
>
>I see  a middle-aged woman who, insofar as she cares what an observer
>would make of her, would hope to appear as a decent respectable woman
>of her class - a prudent, hard-working good wife. 

Nothing looks more respectable than a nice sedate plaid, IMHO.  Nothing
garrish or large.  Gingham would be nice, and you can get it in several
sizes of check to do fancy with a flounced skirt.


Kayta
     ////.\\\
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     * )   (((((
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Date: Fri, 12 Feb 1999 09:17:35 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: Re: H-COST: 15" waists:  surviving garments?
In-Reply-To: <36c4554f.299466@smtp-server.austin.rr.com>
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>


>>(take that 50 year old
>>>woman from the late 1950's with the 13" waist-I can't recall her
>>>name)
>>
>>Please find the name.  I wanna see the photos of this one - if there
>are
>>any (and I suspect not).
>
>There are. I do not recall her name, but she was in the Guiness book
>of world records for precisely that reason: World's smallest adlut
>waist or some thing like it. Every Guiness book I had as a child had
>her picture in it, and I suspect that she still holds that record,
>even if they choose not to print it.

Thank you.  I will look in used book stores for an old copy which would
have the picture.


Kayta
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Date: Fri, 12 Feb 1999 08:44:41 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: RE: H-COST: grow tucks
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>


>Although she is still doing research on this, she thinks that the 
>tucks *could* very well be growth tucks. Also, since most of the 
>dresses I've seen have been trained gowns, it would not work as well 
>to have the tuck go all the way around. It is much better to have it 
>shorter in front (where you would trip over the hem) and taper off to 
>the sides rather than involving the train (even if the train is only 
>as little as 4").

These dresses touch the ground all the way around, even at the sides where
the tuck stops.  If with growth the dress only gets longer in the front, it
will eventually clear the ground at the sides.  Wrong for growth tucks and
wrong for a floor-length skirt.


Kayta
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Date: Fri, 12 Feb 1999 08:51:56 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: RE: H-COST: grow tucks
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>


>This tuck sounds like an allowance for pregnancy (assuming
>that the portrait is of a female in her child-bearing years).
>
Having been pregnant, I could not have done it in that corset reguardless
of a skirt length change.  Doesn't sound like a pregnancy adjustment to me.


Kayta
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From owner-h-costume@indra.com  Fri Feb 12 12:22:28 1999
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From: "EPPERSON, SHERYL" <EPPERSOS@oge.com>
To: "'h-costume@indra.com'" <h-costume@indra.com>
Subject: RE: H-COST: Fabric width?
Date: Fri, 12 Feb 1999 11:25:37 -0600
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-Poster: "EPPERSON, SHERYL" <EPPERSOS@oge.com>

Check your math--
36 x 4/3 = 48
36 x 5/4 = 45

Sheryl Epperson.

> -----Original Message-----
> From:	Carolyn Kayta Barrows [SMTP:kayta@slip.net]
> Sent:	Friday, February 12, 1999 10:48 AM
> To:	h-costume@indra.com
> Subject:	RE: H-COST: Fabric width?
> 
> 
> -Poster: Carolyn Kayta Barrows <kayta@slip.net>
> 
> In 1406, a group of weavers protested
> >to the King to get the ell established at 5 quarters, ie 5
> >quarter yards, or 45." Hence the typical 45" fabric width
> >today. 
> 
> 36" x 5/4 = 48"
> 
> 
> Kayta
>      ////.\\\
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>  _________________________________________________________________
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Date: Fri, 12 Feb 1999 08:58:09 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: Re: H-COST: grow tucks
In-Reply-To: <36c4ee0a.11588281@smtp-server.austin.rr.com>
References: <4.1.19990210120843.00c4ac80@pop.slip.net>
 <accfe5fe.36be5312@aol.com>
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>


>My theory is that they are taken in the front of the skirt to allow
>for easy walking/dancing/movement. 

The hoops do that without needing the tuck.

Perhaps the dressmaker made the
>skirt one length all round (for hang/drape to behave a particular way?
>Pattern issues?),

One length all around would be to the tuck in front and without the trains
these dresses often have in back.

 then fitted it at the front above the hem in such a
>way as not to disturb the applied ornament? 

Not if the ornament was applied last.  I kinda don't think such an obvious
feature would be done just to allow some expensive ornament to fold under
and not show.

Possibly due to different
>skirt supports worn at the fittings than when the dress was delivered?

That's bad craftsmanship for such an upscale tailor.
>
>I have made this alteration in dresses/skirts when I have loaned them
>out to persons who are differently shaped (at the hip) or wear a
>differently shaped support petticoat/skirt support.
>
>Just a thought....




Kayta
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From owner-h-costume@indra.com  Fri Feb 12 12:52:55 1999
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From: "Vickers, Jill" <jvickers@TELESENSORY.com>
To: "'h-costume'" <h-costume@indra.com>
Subject: H-COST: Corset/Foundation Garment Quotes
Date: Fri, 12 Feb 1999 09:56:51 -0800
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-Poster: "Vickers, Jill" <jvickers@TELESENSORY.com>


Dear List,

I'm doing a research paper for my Fashion History course on corsetry
and other historical foundation garments (alas, I am a historic costume
buff in a class full of budding young fashion designers!).

I'm interested in collecting quotes on the subject matter for the paper, 
so if you have a favorite, please share!  You can mail it to me privately 
if you wish at: jvickers@telesensory.com

A couple I've found so far, and to give an idea of what I'm looking for:

Christian Dior -	"Without foundations there can be no fashion."
Philippe Perrot -	"On the soft wax of the human body, each society
		stamps its impress."

Many Thanks!
-Jill


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From owner-h-costume@indra.com  Fri Feb 12 13:00:53 1999
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From: Hulett <mhull@earthlink.net>
To: "'h-costume@indra.com'" <h-costume@indra.com>
Subject: RE: H-COST: H-COST - Bronzino's "Lady with a Puppy"
Date: Fri, 12 Feb 1999 10:05:41 -0800
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-Poster: Hulett <mhull@earthlink.net>


Think nothing of it Madam. I'm glad to be of service. Alas, my husband's 
name shows at the head of my messages, I am Joan Hulett, alias jd. I also 
have a great photo of another Bronzino lady in a similar shift with a close 
up, I'll throw that in. If you don't find the smocking machine, there is a 
store close to me which sells all manner of smocking supplies, I'll have a 
look in. It's done with iron on dots, if I remember rightly, and takes a 
bit of time. I also live about 10 blocks from AlterYears, so, I'll have a 
look in there for any other helpful hints. I'd love to see a photo when 
you're done! Any way you could post one on the newsgroup?
With warm regards, jd
-----Original Message-----
From:	Lady Eleanor [SMTP:hekav@gte.net]
Sent:	Friday, February 12, 1999 9:15 AM
To:	h-costume@indra.com
Subject:	Re: H-COST: H-COST - Bronzino's "Lady with a Puppy"


-Poster: Lady Eleanor <hekav@gte.net>

Good m'Lord,

Yes, I am certainly interested.  If you could mail it to me,
that would be most kind, and greatly appreciated.  My
snail-mail is...

Gina L. Hill
7807 69th Street NE
Marysville, WA 98270-6572

Doesn't Clotilde have a web site?  Seems I remember seeing
it at one time.  I'll look to see if I can find that
machine!  ;-)

Thank you very much for you generous offer!

In service and gratitude,
Lady Eleanor of Leycestershyre
(mka:Gina L. Hill)



Scott Hulett wrote:
>
> -Poster: Scott Hulett <mhull@earthlink.net>
>
> Lady Eleanor,
>     Going back a little, are you still looking for smocking? I have a 
great
> reference for some rennaisance smocking on a shirt from a german grave 
site. I would
> be happy to snail mail it to you. Also, clotilde has a smocking machine;)
> cheers, jd
>
> Lady Eleanor wrote:
>
> > -Poster: Lady Eleanor <hekav@gte.net>
> >
> > No need to apologize!  Thanks for the directions!!  I'm going to try
> > this technique.  Sounds good.
> >
> > By the bye...anybody know of any "smocking" sites on the web?  I could
> > probably figure it out on my own...but would rather have some details 
to
> > start with.  :-)
> >
> > In service,
> > Lady Eleanor
> >
> > Scott Hulett wrote:
> > >
> > > -Poster: Scott Hulett <mhull@earthlink.net>
> > >
> > > Abject appologies. Just looked at portrait. Mine will work if you 
replace the
> > > ruffle directions with a flat shirt style collar. Other wise, I think 
it would
> > > work.
> > > Cheers, jd
> > >
> > > Lady Eleanor wrote:
> > >
> > > > -Poster: Lady Eleanor <hekav@gte.net>
> > > >
> > > > Here's a link:
> > > >
> > > > http://metalab.unc.edu/cjackson/bronzino/index.html
> > > >
> > > > with a copy of the portrait in question.  Enjoy!
> > > >
> > > > YIS,
> > > > Lady Eleanor of Leycestershyre
> > > >
> > > > Carolyn Kayta Barrows wrote:
> > > > >
> > > > > -Poster: Carolyn Kayta Barrows <kayta@slip.net>
> > > > >
> > > > > >    In Bronzino's "Portrait of a Lady with a Puppy", the lady in
> > > > > >question is wearing a very beautiful chemise/shirt/whatever
> > > > > >with what appears on close examination to be smocking/
> > > > > >proto-smocking on the collar area, with patterns of crosses,
> > > > > >etc, worked into the folds.  Does anyone have any idea how
> > > > > >this was done?  Anybody done it?  I have seven yards of
> > > > > >very dainty silk I've been hoarding for just such a project.....
> > > > > >
> > > > > >All Health, and apologies to anyone who had to read the same
> > > > > >
> > > > >
> > > > > Where can we see a picture of this?  Is it in some costume book? 
 Can you
> > > > > post it somewhere we can get to?
> > > > >
> > > > > Kayta
> > > > >      ////.\\\
> > > > >     ////-@@\\\
> > > > >    ((((   7 (((
> > > > >      |   -- ))))
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> > > > >
> > > > > 
 _________________________________________________________________
> > > > >  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
> > >
> > >  _________________________________________________________________
> > >  To leave this mailing list, send mail to majordomo@indra.com
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> >  _________________________________________________________________
> >  To leave this mailing list, send mail to majordomo@indra.com
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>
>  _________________________________________________________________
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Subject: Re: H-COST: African Masks-help req
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-Poster: MzScahlett@aol.com

In a message dated 2/12/1999 09:20:36 Pacific Standard Time, kayta@slip.net
writes:

<<  To fake this on stage try a plain
 piece of poster board (or railroad board, the thin stuff sold as poster
 board at Walgreen's).  Cut it out in the right shape, curve it to look
 solid, glue a couple of pieces of the cutting scraps across the back to
 hold the thing curved.  Start with white board and colour it with paint,
 markers, or even crayon.  Copy a real African mask you find in a book, or
 invent something which looks right. >>

Yeah, I've got some great pics I've pulled off-line, but was kinda hoping for
something a little sturdier than paper. This is for a traveling troupe, and
they apparently take stuff on the road, around to schools, etc., and so I
wanted something that could get banged around and hold up okay. I guess that
they make pretty heavy papers, but I'd love to get some thin wood and curve
it.  Just don't have much time to put something together.
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From owner-h-costume@indra.com  Fri Feb 12 13:47:45 1999
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From: rio@austin.rr.com (StrangeGirl)
To: h-costume@indra.com
Subject: Re: H-COST: grow tucks
Date: Fri, 12 Feb 1999 18:57:29 GMT
Organization: The Corner of my Desk
Message-ID: <36cc7722.8959198@smtp-server.austin.rr.com>
References: <4.1.19990210120843.00c4ac80@pop.slip.net> <accfe5fe.36be5312@aol.com> <4.1.19990210120843.00c4ac80@pop.slip.net> <4.1.19990212085358.00c76e40@pop.slip.net>
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-Poster: rio@austin.rr.com (StrangeGirl)

It came to me, a couple of days after I posted my previous message,
that it could be to adjust the front length of the skirt after it had
stretched under its own weight.

*or* Perhaps there was a formal court presentation convention that
skirts had to be *made*, but not necessarily worn at, a certain
length, past comfortable walking length, even over hoops ? All of us
have seen skirts made too long even for practical wear over the hoops
they are worn with, getting stepped on by the wearer, despite the
apparent width  of the hoops.

The 'tuck' is *so* obvious in at least one of the paintings I have
seen it in, that perhaps it is only pinned up, and not sewn after all.
One painting shows the tuck clearly passing *through* the ornament
(meaning that the ornament is clearly not applied over it).  Pinning
up a skirt to show off fashionable shoes, perhaps? Pinning would also
be fairly safe for the wearer if the pins were only in the outer
skirt, over a petticoat and a farthingale. 

Margery
-----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  Fri Feb 12 13:47:45 1999
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Date: Fri, 12 Feb 1999 10:49:49 -0800
To: h-costume@indra.com
From: Karla Sexsmith <karla@silverspin.net>
Subject: H-COST: can someone identify a dress style for me please?
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-Poster: Karla Sexsmith <karla@silverspin.net>

Hi everyone,

I was looking at some images on the web today, and found some dresses that
I would like to attempt to copy, but I don't know what the name for them is.

Could someone please look at this picture:
http://humanities.uchicago.edu/images/heures/august.jpg
(it's August from Les Tres Riches Heures de Duc de Berry)

and tell me what the style of gowns shown here is called?  In particular,
the pink one on the far left...

I'm trying to find a style of gown that would be really fancy, but not
tudor/elizabethan, and not rennaisance, and that would still suit me (I'm
short (5'4"), large(~300lbs), and carry most of my weight in my stomach.

Thanks!
Karla

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From owner-h-costume@indra.com  Fri Feb 12 13:52:51 1999
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Date: Fri, 12 Feb 1999 12:54:59 -0600 (CST)
From: ches <ches@io.com>
To: h-costume@indra.com
Subject: Re: H-COST: can someone identify a dress style for me please?
In-Reply-To: <3.0.1.32.19990212104949.00c96de0@silverspin.net>
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-Poster: ches <ches@io.com>

Try Flemish. There are great examples of them in most illumination books.
There is one, (it at home), that has the coat of arms for an entire family
through a century and it shows each person wearing the latest style of
their period. Very nice!

These look Flemish/German.

On Fri, 12 Feb 1999, Karla Sexsmith wrote:

> Date: Fri, 12 Feb 1999 10:49:49 -0800
> From: Karla Sexsmith <karla@silverspin.net>
> Reply-To: h-costume@indra.com
> To: h-costume@indra.com
> Subject: H-COST: can someone identify a dress style for me please?
> 
> 
> -Poster: Karla Sexsmith <karla@silverspin.net>
> 
> Hi everyone,
> 
> I was looking at some images on the web today, and found some dresses that
> I would like to attempt to copy, but I don't know what the name for them is.
> 
> Could someone please look at this picture:
> http://humanities.uchicago.edu/images/heures/august.jpg
> (it's August from Les Tres Riches Heures de Duc de Berry)
> 
> and tell me what the style of gowns shown here is called?  In particular,
> the pink one on the far left...
> 
> I'm trying to find a style of gown that would be really fancy, but not
> tudor/elizabethan, and not rennaisance, and that would still suit me (I'm
> short (5'4"), large(~300lbs), and carry most of my weight in my stomach.
> 
> Thanks!
> Karla
> 
>  _________________________________________________________________
>  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 Feb 12 14:00:26 1999
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Subject: Re: H-COST:  1850's questions
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-Poster: Margo Anderson <margo@directcon.net>

At 07:54 AM 2/12/99 -0800, you wrote:
>
>-Poster: Carolyn Kayta Barrows <kayta@slip.net>
>
>If you want to look like a Madam, go tawdry.  Colours too loud, neckline
>too low (excuse me - 'dressy'), decorations too large, etc..  Like New
>Money.  Like advertising.  And don't worry about making yourself look
>thinner for the occasion.

That's about what I was thinking.  Possibly an emerald green and magenta
combination, or my favorite red and black?  

And no, I'm not trying to look thinner for an occasion (been there, done
that, gave Weight Watchers too much money) but for the rest of my life, and
to avoid going blind from the diabetes that runs on both sides of my family.
I'm calling it my "most basic costume" project.  I'm probably the only
person at the gym who uses creative visualization of different costumes to
get me through the weight routine!  The thigh machine is dedicated to Cyd
Charrise's green number from "Singing in the Rain",  the tricep machine is
so I'll look good in sleeveless 1930's...you get the idea. 

Margo Anderson

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From owner-h-costume@indra.com  Fri Feb 12 14:00:35 1999
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Date: Fri, 12 Feb 1999 13:01:49 -0600
From: Kent & Kat <kdyer@nash.tds.net>
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-Poster: Kent & Kat <kdyer@nash.tds.net>

The pink dress and the blue dress to the left of the picture
look like houppelandes to me.

Kat
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From owner-h-costume@indra.com  Fri Feb 12 14:08:53 1999
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-Poster: Margo Anderson <margo@directcon.net>

I've always wondered if the standard 45" width had to do with that being
aproximatly the width needed to wrap a sari.  Just a guess.

Margo

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From owner-h-costume@indra.com  Fri Feb 12 14:09:44 1999
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Date: 12 Feb 99 12:05:08 MST
From: Orlaith <Orlaith@usa.net>
To: <h-costume@indra.com>
Subject:  Re: H-COST: 'chainmail' sweaters
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-Poster: Orlaith <Orlaith@usa.net>

This is a multi-part message in MIME format.

------NetAddressPart-00--=_LTFi4592Sww9a32059
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I just talked to my director friend.  He said that you can get the pattern
from Tobins Lake Studios.  They are a theater supply company.  He found an old
catalog from them that had the following information.  Tobins Lake Studios 
2650 Seven Mile Road  South Lyon Michigan 48178.  Phone number 313-449-4444.  

He also had some of the cord around and gave me the info on that.  You can
order it from Tobins or buy it from Hechingers.  It is fishing net cord made
of 100% nylon.  #36 weight in 1 pound cones.  he said it is marked "seine
twine".  

As I recall the finished mail looked pretty good from the house although the
pants seemed to suffer the most from inexperienced knitters.

I don't know if you want to use this option, but I think it would look better
than cutting up old sweaters since the knitting on sweaters would be to small
to be seen from the stage.

Hope this helps.

Orlaith/Beth

____________________________________________________________________
Get free e-mail and a permanent address at http://www.netaddress.com/?N=1

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Received: from 209.122.3.3 by www.netaddress.com via web-mailer(3.1) on Fri Feb 12 15:21:45 GMT 1999
Date: 12 Feb 99 08:21:45 MST
From: Orlaith <Orlaith@usa.net>
To:  <h-costume@indra.com>
Subject: 
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Actually I have made these.  A couple of years ago I made a whole chainmail
suit for an old friend's production of Camelot.  Of course I have moved once
and am planning on moving again in the near future so have no idea where my
instructions are.  I do remember that we used a satiny rope in place of yarn
(necessary so it will read from the stage).  Also I know he got the directons
from some sort of theater source because I remember there was a logo on the
instruction pages.  Emmitt had at least 4 people making mail and I think we
made about 10 full sets.

I would suggest checking with local college theater departments to see if they
can help you find the directions.  If I can get hold of Emmitt I will post
more information.

Beth/Orlaith





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

Has anyone ever cut up old sweaters to make 'chainmail'
coifs?  I'm thinking I need to stitch the sweater material
to some sturdy cloth first (fortunately I'm not doing the
silver painting!).  Any suggestions?

Kat

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From owner-h-costume@indra.com  Fri Feb 12 15:05:09 1999
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From: THOMAS PETRO <t.petro@mail1.strayer.edu>
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-Poster: THOMAS PETRO <t.petro@mail1.strayer.edu>

Hello,
  Can you tell me if you have any information on where I can get sewing 
patterns for World War Two British Army uniforms?  I would appreciate any 
information.

Thank you,
Tom Petro

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From owner-h-costume@indra.com  Fri Feb 12 15:15:05 1999
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From: Hulett <mhull@earthlink.net>
To: "'h-costume@indra.com'" <h-costume@indra.com>
Subject: RE: H-COST: can someone identify a dress style for me please?
Date: Fri, 12 Feb 1999 12:23:49 -0800
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-Poster: Hulett <mhull@earthlink.net>

Yup, it's a houpeland. And based on your description, that style would suit you very well. 
I have a good pattern for this sort of houpe if you need it. (well, instructions really)
Cheers, jd
p.s. don't you love the colour? I do.

-----Original Message-----
From:	Karla Sexsmith [SMTP:karla@silverspin.net]
Sent:	Friday, February 12, 1999 10:50 AM
To:	h-costume@indra.com
Subject:	H-COST: can someone identify a dress style for me please?


-Poster: Karla Sexsmith <karla@silverspin.net>

Hi everyone,

I was looking at some images on the web today, and found some dresses that
I would like to attempt to copy, but I don't know what the name for them is.

Could someone please look at this picture:
http://humanities.uchicago.edu/images/heures/august.jpg
(it's August from Les Tres Riches Heures de Duc de Berry)

and tell me what the style of gowns shown here is called?  In particular,
the pink one on the far left...

I'm trying to find a style of gown that would be really fancy, but not
tudor/elizabethan, and not rennaisance, and that would still suit me (I'm
short (5'4"), large(~300lbs), and carry most of my weight in my stomach.

Thanks!
Karla

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From owner-h-costume@indra.com  Fri Feb 12 15:20:36 1999
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Date: Fri, 12 Feb 1999 15:19:40 -0500
To: h-costume@indra.com
From: KATHY HOOVER <khoover@wvnvm.wvnet.edu>
Subject: Re: H-COST: 15" waists:  surviving garments?
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-Poster: KATHY HOOVER <khoover@wvnvm.wvnet.edu>

At 05:03 PM 2/12/99 GMT, you wrote:
>
>"The world's smallest waist belonged to Mrs. Ethel Granger (deceased).
>At her ultimate her waist measured just 13". 

I found a picture online of Mrs. Granger.  Go to:

http://www.staylace.com/granger.jpg

Kathy Hoover



This took a lifetime of
>work to achieve and she lived to the ripe old age of 77. However, her
>figure was so modified, with her lower ribs collapsed, that few would
>find it attractive. Her husband, Will, wrote a biography of Mrs.
>Granger titled "An Exclusive Production". It is available from Insight
>Books."
>
>THere are lots of pictures of her. Go the library and look her up in
>an old issue of Guiness book of world records, maybe from the 70's or
>80's. There will be a pic of her ultra-tiny waist. It liiks like an
>actual wasp's waist. 
>
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From: Kara Amelia Rodgers <rodgers@wpti.org>
Subject: H-COST: Bordino's smocked shirt
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-Poster: Kara Amelia Rodgers <rodgers@wpti.org>


What do you mean by a smocking machine? Do you mean a machine that makes
the pleats that you embroider over (what my mom always called a "pleater")
or something that does the embroidery for you? If it's the latter, it's new
to me, and it sounds pretty cool.

I have far more experience wearing smocked clothes than with making them,
but my mother owned a smocking shop when I was a little girl. I know of 2
ways to do smocking: either using iron on dots to do a pattern, or using a
pleater to create the pleats on cut pieces of cloth and embroider over
those. My mother used to pleat cloth for people to smock for a small fee.
If you can find someone with a smocking shop in your area, you may be able
to get them to pleat your cloth for you. Of course, all my information is
about 15 years out of date and something new may have hit the market in the
mean time.

It sounds like you've picked a beautiful shirt to make, best of luck,

Kara


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From owner-h-costume@indra.com  Fri Feb 12 15:36:07 1999
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-Poster: Kara Amelia Rodgers <rodgers@wpti.org>


I just wanted to say thank you for all of the advice and suggestions you
have given me for getting started in costuming. It's been very helpful and
I appreciate it.  I think I now have what I need to get started.

Happy sewing,

Kara


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From owner-h-costume@indra.com  Fri Feb 12 15:37:37 1999
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From: "Sara J. Davitt" <ophelia@dias.net>
To: MzScahlett@aol.com
cc: Historic Costumers! <h-costume@indra.com>
Subject: Re: H-COST: African Masks-help req
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-Poster: "Sara J. Davitt" <ophelia@dias.net>



how about going to a thrift shop. and finding a bunch of those tacky old
monkeypod wood salad bowls.... then cut eyeholes, and build up fron
there... you could even find those 'decorative spoon and forks' whith
thecarves handles, cut them off, and glue them onto the bain bowl/mask for
a carved element.

if the bowl is too round-looking take a saw, and cut it into thirds... and
then cut down the side thirds into wood bits for the 'carved elements'

DOn't forget drilling holes around edges onto which to loop Raffia
()larkshead knot)  for hair/beards..

Good luck!
Sarahj

**2Y's**UR**2Y's**UB**IC**UR**2Y's**4Me**

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-Poster: AlbertCat@aol.com

In a message dated 2/12/99 2:06:41 PM Eastern Standard Time,
margo@directcon.net writes:

<< or my favorite red and black?  
  >>

Don't do that cliche....please! It's much more interesting to do it without
doing it....like coral & black, or red & dark brown, or coral & midnight
blue....you get the idea.

Actually I'll never forget a design I saw for "Ah Wilderness" [I know it's
turn of the century....bear with me] where the character of the local girl
who...er...puts out...was in a lovely, Indian muslin & white work shirtwaist
and a brown challis trumpet skirt. How did this make her look loose & fast?
The combo of sheer, underthing-showing top & hip clinging, tailored swingy
skirt. Very sexy. Later I saw another production with this character in red
with black lace. It didn't work. She looked like a saloon girl.
Anyway, the point was: this was [yet another] lesson in getting the point
across without using a cliche. That's always refreshing.

End of lecture

I just remembered..."The French Lt.'s Woman" has some tatty London whores. Old
ballgowns, way too much bad makeup & being drunk got the point across.
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Date: Fri, 12 Feb 1999 13:05:46 -0800
To: h-costume@indra.com
From: Lynn Downward <ldownward@mail.cho.org>
Subject: Re: H-COST: Smocking, was Bordino's smocked shirt
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-Poster: Lynn Downward <ldownward@mail.cho.org>

>-Poster: Kara Amelia Rodgers <rodgers@wpti.org>
  Kara wrote:
>
>What do you mean by a smocking machine? Do you mean a machine that makes
>the pleats that you embroider over (what my mom always called a "pleater")
>or something that does the embroidery for you? If it's the latter, it's new
>to me, and it sounds pretty cool.
>
>I have far more experience wearing smocked clothes than with making them,
>but my mother owned a smocking shop when I was a little girl. I know of 2
>ways to do smocking: either using iron on dots to do a pattern, or using a
>pleater to create the pleats on cut pieces of cloth and embroider over
>those. My mother used to pleat cloth for people to smock for a small fee.
>If you can find someone with a smocking shop in your area, you may be able
>to get them to pleat your cloth for you. Of course, all my information is
>about 15 years out of date and something new may have hit the market in the
>mean time.


A smocking machine does actually make the pleats and then you do the
smocking.  I had an opportunity to buy one a few years ago and let it slip
through my fingers. Sigh.

In the SF Bay area, as recently as last year, Lacis would pleat cloth, just
as your mother did, for a fee.  Can't remember the fee, just that they
would do it.  I seem to remember that they also sell the machines.

Never worked there. Spent lots of money and drool there.

LynnD
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To: h-costume@indra.com
Subject: H-COST: Elizabethan make-up
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-Poster: aleed <aleed@dnaco.net>


I want to thank all of the members of the list who gave me suggestions on
sources for information on 16th century make-up.  I got a lot of
information and at least two great books out of it.  I put  up a short
article on the subject at http://www.dnaco.net/~aleed/corsets/makeup.html,
if anyone is interested.

Thanks again,

Drea


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From owner-h-costume@indra.com  Fri Feb 12 16:42:39 1999
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From: ches <ches@io.com>
To: Multiple recipients of list H-COSTUME <h-costume@indra.com>
cc: Wetlands Mailing list <wetlands-l@thewetlands.org>,
        Robin Moon <Robin.Moon@tasb.org>,
        Mark Willis <ivar@horus.anth.utep.edu>,
        SCA Ansteorra List <ansteorra@Ansteorra.ORG>, RRFCoList@onelist.com
Subject: H-COST: more on gloves
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-Poster: ches <ches@io.com>

Please forward this to any other lists you all are on that are interested 
in making gloves.

I spent most of yesterday finding as many glove related
URL's that were not medical or industrial related from several search
engines, (not all list the same url's) and added them to my page. 

I am picky so the sexual content ones also got weeded. Sorry if that
offends anyone. Make your own.

There are a few that will custom make them for you, know that all the
links are commercial in one form or another. I do not get any kick backs
from them they are just any fyi. I am waiting on one more for permission.
She seems a bit uptight so unless I get it I am not going to list her
page there or here.

Ches

http://www.io.com/~ches/gloves.html

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From owner-h-costume@indra.com  Fri Feb 12 17:08:56 1999
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From: Hulett <mhull@earthlink.net>
To: "'h-costume@indra.com'" <h-costume@indra.com>
Subject: RE: H-COST: can someone identify a dress style for me please?
Date: Fri, 12 Feb 1999 14:17:00 -0800
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-Poster: Hulett <mhull@earthlink.net>

These are Burgundian, from the Tres Riches Heures manuscripts. They are 
shown on  page 302 in Davenports the Book of Costume. For a great flemish 
houpe, look on page 305 at Jean van Eycks Arnolfini marraige portrait. It's 
even better in color. Or go here, 
http://www.oir.ucf.edu/wm/paint/auth/eyck/arnolfini , click on the image 
and see a great scan.
Houpes, in my view, aren't that different from country to country, just the 
details change. The sleeves, head wear and belts, or decoration may vary, 
but the basic shape is the same. It is not difficult to cut or make a 
houpe, you must have tons of fabric though to make it look right.  Mine has 
7 yards of 60" wool in it, lined with linen and trimmed with fur. I was 
lucky, I found the wool at the swap meet for 3 bucks a yard. The linen too. 
So I was able to try it without feeling I couldn't afford a mistake.
Cheers, jd

-----Original Message-----
From:	ches [SMTP:ches@io.com]
Sent:	Friday, February 12, 1999 10:55 AM
To:	h-costume@indra.com
Subject:	Re: H-COST: can someone identify a dress style for me please?


-Poster: ches <ches@io.com>

Try Flemish. There are great examples of them in most illumination books.
There is one, (it at home), that has the coat of arms for an entire family
through a century and it shows each person wearing the latest style of
their period. Very nice!

These look Flemish/German.

On Fri, 12 Feb 1999, Karla Sexsmith wrote:

> Date: Fri, 12 Feb 1999 10:49:49 -0800
> From: Karla Sexsmith <karla@silverspin.net>
> Reply-To: h-costume@indra.com
> To: h-costume@indra.com
> Subject: H-COST: can someone identify a dress style for me please?
>
>
> -Poster: Karla Sexsmith <karla@silverspin.net>
>
> Hi everyone,
>
> I was looking at some images on the web today, and found some dresses 
that
> I would like to attempt to copy, but I don't know what the name for them 
is.
>
> Could someone please look at this picture:
> http://humanities.uchicago.edu/images/heures/august.jpg
> (it's August from Les Tres Riches Heures de Duc de Berry)
>
> and tell me what the style of gowns shown here is called?  In particular,
> the pink one on the far left...
>
> I'm trying to find a style of gown that would be really fancy, but not
> tudor/elizabethan, and not rennaisance, and that would still suit me (I'm
> short (5'4"), large(~300lbs), and carry most of my weight in my stomach.
>
> Thanks!
> Karla
>
>  _________________________________________________________________
>  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 Feb 12 17:22:46 1999
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-Poster: MzScahlett@aol.com

the glove pattern is wonderful. However, the "thumb" picture won't come up.
Can you double check your loading site?

thanks,

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 Feb 12 17:23:56 1999
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Date: Fri, 12 Feb 1999 16:28:10 -0600 (CST)
From: Emma Elizabeth Lehman <00217146@bigred.unl.edu>
To: h-costume@indra.com
Subject: Re: H-COST:  1850's questions
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-Poster: Emma Elizabeth Lehman <00217146@bigred.unl.edu>



Well, since you're playing a "loose woman"....why not green?  *innocent
smile*

Emma

> 
> << or my favorite red and black?  
>   >>
> 
> Don't do that cliche....please! It's much more interesting to do it without
> doing it....like coral & black, or red & dark brown, or coral & midnight
> blue....you get the idea.

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From owner-h-costume@indra.com  Fri Feb 12 17:56:54 1999
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From: <hhdunlap@msn.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: Quilted petticoat pattern c. 1700-1730
Date: Fri, 12 Feb 1999 18:03:46 -0500
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-Poster: <hhdunlap@msn.com>

No you won't get shot, I did consider it.  Sturbridge
Village and Old Fort William use visible machine stitching.
Machine quilting is an art all its own, and I don't do it
(yet, anyway).  I have a tiny group of players, and an
extremely mixed audience---on the one hand every third
grader in town is schlepped through the house, but in the
summer, the place is staffed and visited by Philosophy Ph.D.
profs and students from all over the world.  I think the
former group needs to come face to face with the old
technology, and the latter group would just love the heck
out of it.  Now it is unlikely that I will accomplish any
hand or machine quilting in my lifetime, but the producer in
me says there is a hobbyist out there in town somewhere just
waiting for this good public cause. Wish me luck!

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, February 12, 1999 11:20 AM
To: h-costume@indra.com
Subject: RE: H-COST: Quilted petticoat pattern c. 1700-1730



-Poster: Carolyn Kayta Barrows <kayta@slip.net>

The Philadelphia Museum of art quilted
>petticoat is definitely a "not in this lifetime" kind of
>project, but taken together the extant examples do confirm
>"a look" to go after.

Do I get shot at if I suggest machine quilting?  You should
be able to
quilt a whole petticoat in a couple of days that way, and it
would really
be quilted.  Machine quilting books would explain process
and proceedure.


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


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From owner-h-costume@indra.com  Fri Feb 12 18:17:40 1999
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Date: Fri, 12 Feb 1999 15:19:35 -0800 (PST)
From: "Kristen M. Sieber" <lady_gawain@yahoo.com>
Subject: Re: H-COST: can someone identify a dress style for me please?
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-Poster: "Kristen M. Sieber" <lady_gawain@yahoo.com>


Karla Sexsmith <karla@silverspin.net> wrote:
>
> 
> -Poster: Karla Sexsmith <karla@silverspin.net>
> 
> Hi everyone,
> 
> I was looking at some images on the web today, and found some
dresses that
> I would like to attempt to copy, but I don't know what the name for
them is.
> 

Did you want the country or the style?  IMHO I would have to say that
that is a houpelande.

==

Morgaine of Glastonbury 
MKA Kristen Morgaine Sieber
Barony of Aquaterra
Kingdom of An Tir
lady_gawain@yahoo.com
_________________________________________________________
DO YOU YAHOO!?
Get your free @yahoo.com address at http://mail.yahoo.com

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From owner-h-costume@indra.com  Fri Feb 12 18:38:02 1999
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Date: Fri, 12 Feb 1999 18:48:59 -0500
To: h-costume-digest@indra.com
From: Lynn Carpenter <alwen@i2k.com>
Subject: H-COST: Chinese foot-binding
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-Poster: Lynn Carpenter <alwen@i2k.com>

Carolyn Kayta Barrows <kayta@slip.net> wrote:

>>If the binding of ones feet in China from a child on would keep the foot
>>small and not growing, so would a corset binding the body from childhood.
>
>Food binding does not keep the foot from growing.  It just folds the foot
>in half and keeps it in the shape of a foot which has not grown.  If you
>want to get gruesome, look at an x-ray of a bound foot.  All the bones are
>there..

A pretty gruesome description of what happened to the bound foot:

"First person accounts of the procedure testify that it was extremely
painful. The girl's feet were bound tightly with a 15-foot bandage,
which forced the four small toes inward and under the sole. The
large toe was left free. Then the heel and toe were drawn forcefully,
breaking the arch. A foot that had been bound exceptionally well, a "golden
lotus," would usually measure only 3 inches."

(From  http://www.kowloontraders.com/jan98.html)

And somewhere I read (on a museum card by some "golden lotus" shoes) that
sometimes foot tissue was lost to gangrene from all this breaking and
binding.  Urgh.

Lynn

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From owner-h-costume@indra.com  Fri Feb 12 18:39:50 1999
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From: Hulett <mhull@earthlink.net>
To: "'h-costume@indra.com'" <h-costume@indra.com>
Subject: RE: H-COST: Bordino's smocked shirt
Date: Fri, 12 Feb 1999 15:31:20 -0800
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-Poster: Hulett <mhull@earthlink.net>

yes, that is what I meant. Clotilde always has a great section on smocking. 
And the beauty of it is, you could let the machine do the pleating and 
spend your time working out a nice embroidery pattern from a painting. 
There are so many to choose from.
cheers, jd

-----Original Message-----
From:	Kara Amelia Rodgers [SMTP:rodgers@wpti.org]
Sent:	Friday, February 12, 1999 12:32 PM
To:	h-costume@indra.com
Subject:	H-COST: Bordino's smocked shirt


-Poster: Kara Amelia Rodgers <rodgers@wpti.org>


What do you mean by a smocking machine? Do you mean a machine that makes
the pleats that you embroider over (what my mom always called a "pleater")
or something that does the embroidery for you? If it's the latter, it's new
to me, and it sounds pretty cool.

I have far more experience wearing smocked clothes than with making them,
but my mother owned a smocking shop when I was a little girl. I know of 2
ways to do smocking: either using iron on dots to do a pattern, or using a
pleater to create the pleats on cut pieces of cloth and embroider over
those. My mother used to pleat cloth for people to smock for a small fee.
If you can find someone with a smocking shop in your area, you may be able
to get them to pleat your cloth for you. Of course, all my information is
about 15 years out of date and something new may have hit the market in the
mean time.

It sounds like you've picked a beautiful shirt to make, best of luck,

Kara


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From owner-h-costume@indra.com  Fri Feb 12 21:11:25 1999
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Date: Fri, 12 Feb 1999 19:22:40 -0700
From: Karalee Larsen Pugmire <Francesca.da.Bari@usa.net>
Subject: H-COST: Colobium?
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-Poster: Karalee Larsen Pugmire <Francesca.da.Bari@usa.net>

Dear H-Costumers,

I ran across this image:
http://ps.theatre.tulane.edu/Period.Styles/Costumes/text/Early.Christian/CD25.ht
ml

I'm interested in 11th to 14th century *southern* Italian garb. My research
into the history says that it is very different from northern Italian and
the rest of Europe being far more tolerant of various cultures influence by
Byzantine, European (through the Italo-normans), and Arabic peoples all at
once. Even the researchers say that it is difficult to find much about it
since all the books on Medieval Sicily and the boot are in Latin, Greek,
and Arabic and there isn't a researcher out there right now that knows all
three tolerably to be competent.

So now to my question. The caption for the slide mentions a colobium. What
the hell is a colobium? I can find nothing about it in Greek costumes or
Roman costumes. Can someone please help me? I'm also interested in any more
places I could look for southern Italian garb.

With humble thanks,


Francesca da Bari
Cote du Ciel (Logan, Utah)
Francesca.da.Bari


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From owner-h-costume@indra.com  Fri Feb 12 21:28:06 1999
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Date: Fri, 12 Feb 1999 18:36:44 -0800
From: Gena Crowston <Gena_Crowston@bc.sympatico.ca>
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-Poster: Gena Crowston <Gena_Crowston@bc.sympatico.ca>

> - -Poster: Appin1@aol.com
> 
> Folkwear used to make a quilted petticoat pattern, which I have. I don't know
> if they still make it though.
> 
> Kathleen Norvell

You know, I may *just* have this pattern sitting in my pattern cabinet
at home (and, of course, I'm not there now).  I will check when I get
home and get back to you in about a week or so (I don't have access to a
computer at home - have to use mom's).  If memory serves, it *is* a
Folkwear pattern.  My mom got it for me from my aunt when she closed
down her costume shop and thought it would be useful for me and my
costuming pursuits.

Let you know soon,

Katrynka Chornovoloskaya
(mka - Glenda Hohmann)
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From owner-h-costume@indra.com  Fri Feb 12 21:47:46 1999
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From: "Carol J. Bell Cannon" <cjcannon@greymists.com>
Subject: H-COST: Re: chain mail
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-Poster: "Carol J. Bell Cannon" <cjcannon@greymists.com>

          I don't have a copy of the Costume Technician's Handbook
handy--but didn't it, or the piece it companions have instructions, too?
Carol
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From owner-h-costume@indra.com  Fri Feb 12 21:47:57 1999
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Subject: Re: H-COST: African Masks-help req
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-Poster: "Carol J. Bell Cannon" <cjcannon@greymists.com>

      How about thick styrofoam, sculpted and then painted?  Make a few,
just in case. :-) Carol
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From owner-h-costume@indra.com  Fri Feb 12 21:48:36 1999
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From: Hulett <mhull@earthlink.net>
To: "'h-costume@indra.com'" <h-costume@indra.com>
Subject: RE: H-COST: Colobium?
Date: Fri, 12 Feb 1999 18:57:56 -0800
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-Poster: Hulett <mhull@earthlink.net>

Well, did a metacrawler search for colobium and got this site:
http://www.sla.purdue.edu/medieval-studies/Corpus/C044.htm Towards the end 
of the page a description of christ on the cross in a colobium "a sleeves 
gown or robe". It is from a last judgement from and Irish manuscript in the 
8th century.
cheers, jd

-----Original Message-----
From:	Karalee Larsen Pugmire [SMTP:Francesca.da.Bari@usa.net]
Sent:	Friday, February 12, 1999 6:23 PM
To:	"Costume.list":;;@usa.net@indra.com@server.indra.com
Subject:	H-COST: Colobium?


-Poster: Karalee Larsen Pugmire <Francesca.da.Bari@usa.net>

Dear H-Costumers,

I ran across this image:
http://ps.theatre.tulane.edu/Period.Styles/Costumes/text/Early.Christian  
/CD25.ht
ml

I'm interested in 11th to 14th century *southern* Italian garb. My research
into the history says that it is very different from northern Italian and
the rest of Europe being far more tolerant of various cultures influence by
Byzantine, European (through the Italo-normans), and Arabic peoples all at
once. Even the researchers say that it is difficult to find much about it
since all the books on Medieval Sicily and the boot are in Latin, Greek,
and Arabic and there isn't a researcher out there right now that knows all
three tolerably to be competent.

So now to my question. The caption for the slide mentions a colobium. What
the hell is a colobium? I can find nothing about it in Greek costumes or
Roman costumes. Can someone please help me? I'm also interested in any more
places I could look for southern Italian garb.

With humble thanks,


Francesca da Bari
Cote du Ciel (Logan, Utah)
Francesca.da.Bari


 _________________________________________________________________
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 with the message UNSUBSCRIBE H-COSTUME

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From owner-h-costume@indra.com  Fri Feb 12 21:51:28 1999
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Date: Fri, 12 Feb 1999 22:03:00 -0500
From: THOMAS PETRO <t.petro@mail1.strayer.edu>
To: h-costume@indra.com
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Subject: H-COST: World War Two patterns???
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-Poster: THOMAS PETRO <t.petro@mail1.strayer.edu>

Thanks to all who have tried to help me!  I really appreciate all the help.  
Unfortunately I am still looking for these elusive uniform patterns.  I just 
can't believe I can find uniform patterns for every other era except World War 
Two.  It' just unbelieveable!!!

Thanks again,
Tom Petro

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From owner-h-costume@indra.com  Fri Feb 12 22:23:26 1999
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From: THOMAS PETRO <t.petro@mail1.strayer.edu>
To: h-costume@indra.com
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Subject: H-COST: The 15th Scottish Division
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-Poster: THOMAS PETRO <t.petro@mail1.strayer.edu>

Scott,
  Thanks, but I've been there.  Actually, I'm trying to get into the 15th 
Scottish Div.  That's what I wanted the uniform for.  I'm also thinking about 
joining the 1st Independent Polish Airborne, and needed the Denison Smock for 
that unit along with the British Battle Dress uniform.  So, actually I need a 
few uniforms, that's why I wanted sewing patterns, so I don't go broke!  
Thanks again.

Tom Petro

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From owner-h-costume@indra.com  Fri Feb 12 22:28:24 1999
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From: Ron Carnegie <rcarnegie@widomaker.com>
Subject: Re: H-COST: The 15th Scottish Division
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-Poster: Ron Carnegie <rcarnegie@widomaker.com>

At 10:34 PM 2/12/99 -0500, you wrote:
>
>-Poster: THOMAS PETRO <t.petro@mail1.strayer.edu>
>
>Scott,
>  Thanks, but I've been there.  Actually, I'm trying to get into the 15th 
>Scottish Div.  That's what I wanted the uniform for.  I'm also thinking about 
>joining the 1st Independent Polish Airborne, and needed the Denison Smock for 
>that unit along with the British Battle Dress uniform.  So, actually I need a 
>few uniforms, that's why I wanted sewing patterns, so I don't go broke!  
>Thanks again.
>
>Tom Petro
>
> _________________________________________________________________
>
Whoa!!!

        That's my group!  (The 15th Scottish I mean).  Are you particularly
large?  Uniforms are only really expensive if you are large (and size 18s
are hard to find).

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  Fri Feb 12 22:37:15 1999
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Date: Fri, 12 Feb 1999 22:48:48 -0500
From: THOMAS PETRO <t.petro@mail1.strayer.edu>
To: h-costume@indra.com
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Subject: H-COST: The 15th Scottish
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-Poster: THOMAS PETRO <t.petro@mail1.strayer.edu>

Hey Ron,
  I've been in contact with Sean Foster for the past several weeks!  I gave 
Sean my measurements and he said I would probably need size 18, and in some 
cases a size 15.  That's why I'm trying to find sewing patterns, and Glenn 
Harlan(?) had told me that he had to basically make his own patterns.  So, I'm 
up the proverbial creek without a darn paddle.  However, like I told Sean, 
someone on this list said that they can make patterns from pictures, but I was 
thinking about finding a ragged out smaller uniform, pattern 1937, 1940, or 
1949-1950 for them to look at.
  By the way, I'm in Northern Virginia, what about you?

Thanks,
Tom Petro

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From owner-h-costume@indra.com  Fri Feb 12 23:03:52 1999
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Date: Fri, 12 Feb 1999 23:05:41 -0500
To: h-costume@indra.com
From: Ron Carnegie <rcarnegie@widomaker.com>
Subject: Re: H-COST: The 15th Scottish
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-Poster: Ron Carnegie <rcarnegie@widomaker.com>

At 10:48 PM 2/12/99 -0500, you wrote:
>
>-Poster: THOMAS PETRO <t.petro@mail1.strayer.edu>
>
>Hey Ron,
>  I've been in contact with Sean Foster for the past several weeks!  I gave 
>Sean my measurements and he said I would probably need size 18, and in some 
>cases a size 15.  That's why I'm trying to find sewing patterns, and Glenn 
>Harlan(?) had told me that he had to basically make his own patterns.  So, I'm 
>up the proverbial creek without a darn paddle.  However, like I told Sean, 
>someone on this list said that they can make patterns from pictures, but I was 
>thinking about finding a ragged out smaller uniform, pattern 1937, 1940, or 
>1949-1950 for them to look at.
>  By the way, I'm in Northern Virginia, what about you?
>
>Thanks,
>Tom Petro
>
> _________________________________________________________________
> To leave this mailing list, send mail to majordomo@indra.com
> with the message UNSUBSCRIBE H-COSTUME
>
        Size 18 can be tough, 15 is a good deal easier.  There is another
option.  As was mentioned there are some greek uniforms that may work.  If
you order from Jerry Lee he has some early greek uniforms.  These are
perfect 39s with the exception only of a missing button hole on the first
aid dressing pocket on the trousers, and an exposed buttonhole on the map
pocket.  The colour is also wrong, (too green) but these earlier greeks are
a perfect match for canadian  BD in colour.

        Another way is to recreate the earlier uniform from 49 pattern
blouses.  This is what has long been done for the trousers, but I have
instructions for making either a 37 or 40 pattern from 3 49s.  Much easier,
and cheaper.

        As far as patterns go, I am sure that must be a way to get them.
Osprey's book "British Battledress 1937-61"  shows cutting out and making up
diagrams for '37 pattern.  They attribute these to something called Uniforms
of the Services.  If the original source for these cannot be found, I am
sure that a competent tailor could resize them for you.  Even easier if an
original is used in combination.

        Not so easy may be the wool.  Someone on the list mentioned that the
fabric is available.  I have often heard this in rumour, and yet when it is
attempted no one ever seems to be able to procure it.  I think Jerry Lee
mentioned something about a source, but for some tremendous amount of it.

        I live in Williamsburg.

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  Fri Feb 12 23:16:26 1999
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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: African Masks-help req
Date: Fri, 12 Feb 1999 23:23:46 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

There's a hubcap sitting on the side of the road nearby.
Looks like just the thing, but maybe not big enough?
Perhaps you have a similar pothole in your area and thus
also rich source of durable mask shapes....Other durable
alternatives include oval or round plastic party platters
from the thrift store, or even new. I have one from the
local supermarket which is 20" x 16" and set me back $3 when
new.  Tape or sew on a few plastic or cardboard features,
the tops and bottoms cut from plastic soda liter jugs for
eyes and cheeks and start painting.  I myself am partial to
any scrap plastic.  Depending on it's thickness, it cuts
cuts easily with scissors, hot knives,  all-purpose clippers
from Home Depot, or one of those  hand-held electric saws
where the blade goes up-and-down.  Besides the resources
listed above, trash can lids, old plastic waste baskets (cut
vertially in half and shape to an oval outline).  You can
use and electric drill, hot nail held in a pair of pliers,
or hole punch to make holes in the plastic pieces and sew
them together with yarn, colored raffia, strips cut and
twisted from plastic newspaper wrappers, or sturdy twine.
It beats waiting for the glue to dry, and it's much more
durable. Spray paint works great on most scrap plastic, but
melts some foams.  There is such an array of beuatiful
colors in scrap plastic, that I never paint any of my
"work," but my son likes to use spray paint, so I've seen
the results--ok 95% of the time.

Hope H. Dunlap

-----Original Message-----
From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
Behalf Of Carol J. Bell Cannon
Sent: Friday, February 12, 1999 9:35 PM
To: h-costume@indra.com
Subject: Re: H-COST: African Masks-help req



-Poster: "Carol J. Bell Cannon" <cjcannon@greymists.com>

      How about thick styrofoam, sculpted and then painted?
Make a few,
just in case. :-) Carol

____________________________________________________________
_____
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From owner-h-costume@indra.com  Fri Feb 12 23:26:19 1999
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From: Hulett <mhull@earthlink.net>
To: "'h-costume@indra.com'" <h-costume@indra.com>
Subject: RE: H-COST: The 15th Scottish
Date: Fri, 12 Feb 1999 20:34:34 -0800
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-Poster: Hulett <mhull@earthlink.net>

I'm in Pasadena California, spitting distance from Alteryears. I noticed 
the uniform page on the 15th talked about using regular post war patterns 
then with changes to match photos of uniforms. Also, have you contacted to 
British Museum? One of the museums in either London or Greenwich should 
have patterns from this era. It is in my recollection that there is a 
special company that traditionally makes british uniforms, on Saville Row, 
I think. Well, I'll follow up on my magazine lead and I also have a few 
friends in the UK. Seriously though, given the problems we're having, I 
would try the British Museum. I've known some SCA types who've been able to 
see armour and embroidery so why not uniforms and patterns?
Will return on friday week.
Cheers, jd

-----Original Message-----
From:	THOMAS PETRO [SMTP:t.petro@mail1.strayer.edu]
Sent:	Friday, February 12, 1999 7:49 PM
To:	h-costume@indra.com
Subject:	H-COST: The 15th Scottish


-Poster: THOMAS PETRO <t.petro@mail1.strayer.edu>

Hey Ron,
  I've been in contact with Sean Foster for the past several weeks!  I gave 
Sean my measurements and he said I would probably need size 18, and in some 
cases a size 15.  That's why I'm trying to find sewing patterns, and Glenn
Harlan(?) had told me that he had to basically make his own patterns.  So, 
I'm
up the proverbial creek without a darn paddle.  However, like I told Sean,
someone on this list said that they can make patterns from pictures, but I 
was
thinking about finding a ragged out smaller uniform, pattern 1937, 1940, or 
1949-1950 for them to look at.
  By the way, I'm in Northern Virginia, what about you?

Thanks,
Tom Petro

 _________________________________________________________________
 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 Feb 13 02:34:38 1999
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Subject: Re: H-COST: The 15th Scottish
Date: Fri, 12 Feb 99 23:38:38 -0800
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-Poster: Pelikan <haggis@sirius.com>

Another option you may want to pursue for the cloth is to try and make 
the denim coveralls.  They follow the 37/40 patterns, with the exception 
of there not being a backpocket on the trousers.  These were to be worn 
over the serge battledress for drill, work details, and combat in cold 
weather.  In warmer climes, they were substituted for the wool 
battledress.  

If you can get a pattern for the uniform, you might find it cheaper to 
get the denim fabric, as opposed to serge.  The right shade/weight will 
take careful consideration to match the originals, but should be easier 
than wool.  The denims came in brown, green, and grey.  

This won't work for a walking-out uniform, of course, but it will work 
well in the field, and you can save your nice wool uniform for dress 
parade, walking outs, hitting the pub, etc.

Steve Pelikan
6th Battalion, Green Howards, 50th Div., CHS
(and formerly of the Queen's Own Cameron Highlanders, 51st Div., CHS)
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From owner-h-costume@indra.com  Sat Feb 13 03:00:53 1999
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From: WICKHAM  Raymond <raymond.wickham@customs.gov.au>
To: h-costume@indra.com
Subject: H-COST: embroidery patterns
Date: Sat, 13 Feb 1999 19:00:09 +1100
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-Poster: WICKHAM  Raymond <raymond.wickham@customs.gov.au>

May I suggest Green duck patterns they have a range that is worth
exploring
Incorporating Moongate embroidery books

Ray

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From owner-h-costume@indra.com  Sat Feb 13 07:23:27 1999
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-Poster: SAQUEEN@aol.com

In a message dated 99-02-12 18:02:27 EST, you write:

<< No you won't get shot, I did consider it.  Sturbridge
 Village and Old Fort William use visible machine stitching. >>

Colonial Williamsburg also uses machine stitching. Several extant quilted
petticoats in their collection are quilted with a backstitch that looks
exactly like machine stitching. 

If you really want a quilted petticoat and don't want to do it yourself, you
could check with your local quilt guild for a machine or hand quilter.

Sally
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From owner-h-costume@indra.com  Sat Feb 13 09:06:21 1999
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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: Quilted petticoat pattern c. 1700-1730
Date: Sat, 13 Feb 1999 09:08:02 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>


Thanks, Sally, for the documentation on backstitch at
Colonial Williamsburg.  This does expand the possibilities
.... I've been to Williamsburg twice, but where is the
clothing and emboidery museum which holds these items?  I'd
like to visit them.  The guild suggestion is a good one too,
and much appreciated.  There are people out there who are
looking for a cause....and it would create the best product,
and be more fun than going it alone!
Hope H. Dunlap

-----Original Message-----
From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
Behalf Of SAQUEEN@aol.com
Sent: Saturday, February 13, 1999 7:26 AM
To: h-costume@indra.com
Subject: Re: H-COST: Quilted petticoat pattern c. 1700-1730



-Poster: SAQUEEN@aol.com

In a message dated 99-02-12 18:02:27 EST, you write:

<< No you won't get shot, I did consider it.  Sturbridge
 Village and Old Fort William use visible machine stitching.
>>

Colonial Williamsburg also uses machine stitching. Several
extant quilted
petticoats in their collection are quilted with a backstitch
that looks
exactly like machine stitching.

If you really want a quilted petticoat and don't want to do
it yourself, you
could check with your local quilt guild for a machine or
hand quilter.

Sally

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From owner-h-costume@indra.com  Sat Feb 13 09:27:15 1999
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-Poster: kang@cyberramp.net

Sorry for the off-topic posting, but I'm unable to find the information
on subbing to the vintage clothing mailing list.  I know that there's a
certain amount of crossover membership-wise between the vintage list and
this one.  If someone would please email me off-list with this
information, I'll be *extremely* grateful!

TIA!
Frost
kang@cyberramp.net
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From owner-h-costume@indra.com  Sat Feb 13 10:09:52 1999
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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: H-COST: Shinrone Gown and Pregnancy theories
Date: Sat, 13 Feb 1999 09:56:27 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

Take a look at the ink drawing (not the painting, but the
earlier study sketch) of the family of Sir Thomas Moore by
Hans Holbein the Younger. There are three young women in the
picture wearing a wealthier woman's version of the Shinrone
gown, and all three appear to me to be pregnant.  the sketch
dates from the first quarter of the 16th century, which was
I believe, within the range of dates for the Shinrone gown.
The women are named in the sketch and their ages given.
Elizabeth on th efar left, age 21, annd the second and third
women in from the right are also in the gown and appear to
be in the same condition.  It's opposite page 159 in
Kybalova, and somewhere I've seen it recently in a two-page
spead, in which it is clearer and more of the artists notes
arounfd the edge are shown.  One woman's skirt is clearly
shown and it is not an open robe, but a clsoed skirt like
the Shinrone.  Feeling a bit guilty that I questioned this
theory recently.....
Hope H. Dunlap


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From owner-h-costume@indra.com  Sat Feb 13 10:09:53 1999
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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: H-COST: Elizabethan Gloves
Date: Sat, 13 Feb 1999 10:17:03 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

In  *English Women in Life and Letters,* by M. Phillips and
W. S. Tomkinson, Oxford University Press, Humphrey Milford,
1926, there's a full page photograph of the gloves presented
to Queen Elezabeth when she visited Oxford Sept 6, 1566, now
in the Ashmolean Museum at Oxford. My copy comes from the
public library in Bryn Mawr, PA. The gloves are white kid,
embroidered with gold, with long narrow tapered fingers.
Very lovely in their slender, tapered proportions.  There's
a border of embroidery around the base of the thumb and all
over the 5-6" gauntlet.  the gauntlet edge at the top of the
glove is fringed, fringe about 1-3/4 inches long.  There are
three edge-picoted and embroidered tabs which probably
connect the open edges of the gauntlet at the back edge of
the hand opposite the thumb.  And a little bit of embroidery
between the gauntlet and the thumb.  There is a seam running
from the intersection of the first two fingers staight down
to the thumb piece.  I can send a zerox copy if this is what
you need. And I'm sure the Ashmolean museum would send you a
color photo for maybe $25, if you asked. This photo shows
only the palm side, not the back of the hand. This book is a
treasure trove of period writings and engravings.  A super
resource fore those interested in 1450-1850 England with the
emphasis on 17th and 18th Centuries.

Hope H. Dunlap


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From owner-h-costume@indra.com  Sat Feb 13 10:41:53 1999
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Date: Sat, 13 Feb 1999 10:49:34 -0400
From: Laurel Wilson <lwilson16@earthlink.net>
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-Poster: Laurel Wilson <lwilson16@earthlink.net>

I looked at the image you suggested (by the way, you have to either add
'ml' to the 'ht' at the end of the URL, or take off the last part, go to
Early Christian, and select image CD25.html).  My guess is that these
are deliberately archaicized clothes:  that is, they were trying to
present Early Christian clothing as they understood it in later
centuries.  This is bolstered by the description of a colobium which I
got from the OED:
"A sleeveless or half-sleeved tunic or robe, such as was worn by the
clergy of the early church, by the monks, and by kings at the ceremony
of coronation.  In later ecclesiastical use replaced by the Dalmatic."
Early Christian in this context probably means no later than the sixth
century.

Lauri



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From owner-h-costume@indra.com  Sat Feb 13 12:03:16 1999
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Date: Fri, 12 Feb 1999 13:32:40
To: h-costume@indra.com
From: Kristin Page <kdp@tiac.net>
Subject: Re: H-COST: Quilted petticoat pattern c. 1700-1730
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-Poster: Kristin Page <kdp@tiac.net>

Folkwear #206 is (or was) a quilted "prairie skirt" that could be used as a
petticoat.  Last time I looked it was a closeout item but it may still be
available.

Kristin

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>

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From owner-h-costume@indra.com  Sat Feb 13 12:21:17 1999
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Date: Fri, 12 Feb 1999 23:25:40 -0600
From: Sheridan Alder <alderweb@vaxxine.com>
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-Poster: Sheridan Alder <alderweb@vaxxine.com>

Greetings everyone:

Thanks so much for all your suggestions and sources. I'm
ready to move on to the pattern selection stage - "Gee, do I
like this bodice or that one...?" - interminably! Your suggestions
have helped me focus before I start cutting and hacking fabric
and spending all my spare time looking for thick itchy black wool
stockings.(I'm a bit disappointed about the stockings, I'd had my
heart set on them!)

I think I will go a bit old-fashioned and conservative - it gives me
an excuse to go for the pointed bodice, which I'm fond of! I'm still
using my prized linsey-woolsey though! - it looks and feels much
like a hard, tightly woven but fine wool, and hopefully the linen will
relieve the insulating properties of the wool if I ever wear it in the
summer. There are several wool day dresses from this period in Canadian
museums.

I still can't believe it - I'm making a dress to "go with" my house! I suppose
people have used flimsier excuses to create costumes.

Who doesn't really believe in astrology but is one Libran who
agonizes over choising patterns.

Sheridan


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From owner-h-costume@indra.com  Sat Feb 13 12:53:51 1999
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From: "Henk 't Jong" <scapreel@tip.nl>
To: <h-costume@indra.com>
Subject: Re: H-COST: Sources for Italian
Date: Fri, 12 Feb 1999 20:08:06 +0100
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-Poster: "Henk 't Jong" <scapreel@tip.nl>

Henk & Pauline 't Jong
tScapreel
Medieval Advisors
Dordrecht, Netherlands

Hi,

Hope wrote:
> See Henk's cotehardie WebPages at:
> http://pip1.pipcom.com/~tempus/cotehardie/cotehardie.html

I have to inform you (and the webpage-owner will back me up on this) that
above page is not mine, but Ragnar Torfason's.

Henk
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From: Margo Anderson <margo@directcon.net>
Subject: Re: H-COST:  1850's questions
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-Poster: Margo Anderson <margo@directcon.net>


>
>-Poster: AlbertCat@aol.com
>
>In a message dated 2/12/99 2:06:41 PM Eastern Standard Time,
>margo@directcon.net writes:
>
><< or my favorite red and black?  
>  >>
>
>Don't do that cliche....please

Oh, you're absolutely right.  I didn't even think of it off the top of my
head.  It's just that red and black is sort of my "default setting".  If you
told me to wear shorts and a t-shirt to your picnic, it's very likely that
I'd show up in black shorts and a red t-shirt.

Margo

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From owner-h-costume@indra.com  Sat Feb 13 13:18:10 1999
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From: Margo Anderson <margo@directcon.net>
Subject: H-COST: beaded lace for 1850's?
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-Poster: Margo Anderson <margo@directcon.net>

Okay, here's another question for the flashy madam costume project:  Would
beaded lace work? 

 I have a LARGE quantity of venise lace, both appliques and bands,  that I
hand beaded with pearls, crystals and silver rocailles for my wedding dress.
the (first) marriage having ended, the dress no longer has  sentimental
value for me,  so I've removed the lace and I'm looking for another project
to use it on.  Unfortunately, the silver rocailles have tarnished and now
look like gray specks, so I'm thinking of dying the lace grey.  I don't
think a darker color would work becuase plastic pearls usually will only
take a pastel shade.   Also, the thought of an incredibly flashy and gaudy
GREY dress intrigues me!

I've seen bead embroidery on a few Worth wedding dresses of the period.
Does anyone know, offhand, if it might have been used by someone less than
repectable for day wear?

Margo

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From owner-h-costume@indra.com  Sat Feb 13 13:18:21 1999
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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: Sources for Italian
Date: Sat, 13 Feb 1999 13:05:38 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>





My mistake!  Deepest apologies to Ragnar Torfason!  I wonder
if its dyslexia or early Altzheimer's on my part.  They are
great WebPages, in any event!

Hope H. Dunlap

-----Original Message-----
From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
Behalf Of Henk 't Jong
Sent: Friday, February 12, 1999 2:08 PM
To: h-costume@indra.com
Subject: Re: H-COST: Sources for Italian



-Poster: "Henk 't Jong" <scapreel@tip.nl>

Henk & Pauline 't Jong
tScapreel
Medieval Advisors
Dordrecht, Netherlands

Hi,

Hope wrote:
> See Henk's cotehardie WebPages at:
> http://pip1.pipcom.com/~tempus/cotehardie/cotehardie.html

I have to inform you (and the webpage-owner will back me up
on this) that
above page is not mine, but Ragnar Torfason's.

Henk

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From owner-h-costume@indra.com  Sat Feb 13 13:18:32 1999
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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: Quilted petticoat pattern c. 1700-1730
Date: Sat, 13 Feb 1999 13:19:46 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

I'm looking for something which would have been wholecloth
quilted on silk or silk satin, circa 1730, Anglo-Irish, ie
quilted in England, Ireland, or elsewhere in Europe.  Its
usually (if I can say that from the few items I've seen)
diamond quilted above and with a foot-wide (plus) horizontal
border of quilted flowers, feathers, leaves, seashells, or
scrollwork at the base, almost matellesse in appearance.
The construction is not an issue, I don't think--its
generally 3 45" widths or 6 22" widths of silk wide,
gathered or pleated and tied, or a drawstring at the waist,
and no special shaping.

What I really need  to develop is the quilting pattern part.
Since I am dealing with a specific individual, not a generic
class of people, I am hesitant to use a generic pattern that
has already seen some use in the costuming world, and
"prairie" sounds like the wrong place and time and the wrong
social class for this persona.  Could someone who has it
send me a zerox copy of the picture on the outside of the
package, if they still think it might be appropriate?  That
would be all I would need to add to my collection of sources
before attempting to draft a one-of-a-kind design in the
spirit of this Anglo-Irish woman in 1730.  Her father was a
judge in Dublin, Speaker of the Irish House of Lords, and
she married a well-known philosopher and Anglican clergyman,
later an Anglican Bishop just outside of Cork. Thanks!

Hope H. Dunlap




-----Original Message-----
From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
Behalf Of Kristin Page
Sent: Friday, February 12, 1999 8:33 AM
To: h-costume@indra.com
Subject: Re: H-COST: Quilted petticoat pattern c. 1700-1730



-Poster: Kristin Page <kdp@tiac.net>

Folkwear #206 is (or was) a quilted "prairie skirt" that
could be used as a
petticoat.  Last time I looked it was a closeout item but it
may still be
available.

Kristin

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From owner-h-costume@indra.com  Sat Feb 13 13:27:39 1999
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Date: Sat, 13 Feb 1999 13:27:46 -0500
From: Melanie Wilson <MelanieWilson@compuserve.com>
Subject: H-COST: World War II uniforms
To: "INTERNET:h-costume-digest@indra.com" <h-costume-digest@indra.com>
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-Poster: Melanie Wilson <MelanieWilson@compuserve.com>

Most people seem to use 1949 pattern uniforms which can be bought for about
7 pounds & add the buttons etc if required. 

I KNOW I've seen a pattern somewhere as I was surprised to see it.

If I remember where I WILL let you know !

Mel
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From owner-h-costume@indra.com  Sat Feb 13 13:39:58 1999
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From: "Henk 't Jong" <scapreel@tip.nl>
To: <h-costume@indra.com>
Subject: Re: H-COST: Colobium?
Date: Sat, 13 Feb 1999 19:20:43 +0100
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-Poster: "Henk 't Jong" <scapreel@tip.nl>

Henk & Pauline 't Jong
tScapreel
Medieval Advisors
Dordrecht, Netherlands

Hi,

You wrote:
> So now to my question. The caption for the slide mentions a colobium.
What
> the hell is a colobium? I can find nothing about it in Greek costumes or
> Roman costumes. Can someone please help me? I'm also interested in any
more
> places I could look for southern Italian garb.

My encyclopedia says: colobium (from Greek 'kolobos'=shortened, small),
dress item from Greek descent, worn by the Romans from 4th c bC to some 
c's aD by men and women. It has a cilinder form, is sleeveless and is made
from an oblong sheet of cloth, folded over the shoulders and sewn close at
the sides (and a hole for the head, I suppose, or you could only play
blindman's bluff in it). It was worn with or without girdle and could reach
the ankles but also be shorter. In early Christian art, Christ was often
portrayed in a colodium.

Hope this helps,

Henk
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From owner-h-costume@indra.com  Sat Feb 13 15:50:09 1999
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-Poster: SAQUEEN@aol.com

Hope,

Colonial Williamburg's costume and textile collection is displayed at the
DeWitt Wallace Decorative Arts Gallery one block outside the Historic Area.
The collection is massive and stored in several different facilities including
the new Bruton Heights Educational Complex about 1 mile away. The Costume
Design Center, where the interpreters' reproduction clothing is produced is in
the Bruton Heights complex. Wonderful area including the Library, which is
open to the public for research. All other areas require appointments for
research, study, or touring.

We began the research on quilted petticoats in 1990 and studied the ones
available in the CW collection. Several were a lightweight silk, similar to
china silk today. Others were callimanco, a glazed wool, that looks similar to
today's polished cotton. We machine quilted both fabrics with excellent
results. Patterns varied greatly, with some obviously mass produced in yardage
by professionals and sewn later to fit. Others appeared to be individually
quilted as a petticoat. One set is a matching quilted petticoat and fitted
jacket (last quarter 18th century).

You can call 1-800-History for additional information. The usual disclaimer, I
don't work for Colonial Williamsburg anymore -- just protecting my retirement!

Sally
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From owner-h-costume@indra.com  Sat Feb 13 17:18:09 1999
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From: Charlene Charette <charlene@flash.net>
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-Poster: Charlene Charette <charlene@flash.net>

In the book "Dress in Mediaeval France" by Joan Evans she frequently
uses the word "stuff."  In many instances it seems to be a generic word
for an identified fiber or fabric:  transparent stuff, heavy stuff,
broadcaded stuff, etc.  In at least two instances it seems to refer to a
specific fabric:  "The way they wrinkle [stockings] suggests taht they
are tailored from stuff, as the stockings of Carmelite nuns are to this
day....", "Many of these figures show the characteristic crumpled
decoration of the stuff, a kind of ornament that still sruvives in the
albs and surplices of the Roman hierarchy and the shirts of some of the
Greek islanders."

So, what is "stuff"?

--Charlene

--
The discontent of the people is more dangerous to a monarch than all the
might of his enemies on the battlefield.  -- Isabella d'Este




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

In "Dress in Mediaeval France" by Joan Evans she states:  A bliaut which
survives in the Imperial Treasury of Vienna is dated by an inscription
woven into its border, which states in Latin and in Arabic that it was
woven at Palermo in 1181.

Does this garment still exist, assuming it ever did?  Are there
published pictures of it?

--Charlene

--
The discontent of the people is more dangerous to a monarch than all the
might of his enemies on the battlefield.  -- Isabella d'Este




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From owner-h-costume@indra.com  Sat Feb 13 17:18:12 1999
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-Poster: Charlene Charette <charlene@flash.net>

A short while ago someone here was asking for any period precent for
changing clothes before feast (as done in the SCA).  It was pointed out
the one of the main reasons SCAers do this is because we don't have
servants to do the work and therefore don't wear our good clothes when
we need to set up pavilions, etc.

Here are two references I stumbled across in Joan Evans' "Dress in
Mediaeval France."  As this is a secondary source you would need to
verify such claims against the primary sources.

"Even so, the corset [mantel] remained an outdoor garment:  Guillaume de
Machuat tells us that it was still the custom to change it for an open
surcoat before dining.  [Footnote:  Remède de Fortune]

"Even at feasts dancing was difficult in festal dress; in the romance of
Mélusine, written in 1387, after the wedding the ladies retire to take
off their 'grandes robes' and put on short dresses."

--Charlene

--
The discontent of the people is more dangerous to a monarch than all the
might of his enemies on the battlefield.  -- Isabella d'Este



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From owner-h-costume@indra.com  Sat Feb 13 19:34:30 1999
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-Poster: pulliam@acadia.net (Deborah Pulliam)

<<Also, have you contacted to
British Museum? One of the museums in either London or Greenwich should
have patterns from this era.>>

The Imperial War Museum on the south side would be a much better
possibility. Greenwich has only a few uniforms, all of them naval.


Many regiments have their own museums, with uniform collections.


Deborah


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From owner-h-costume@indra.com  Sat Feb 13 20:45:53 1999
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Subject: Re: H-COST: Quilted petticoat pattern c. 1700-1730
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-Poster: "Kathryn L. Herb" <kayherb@juno.com>


Sally, I'd give my eyeteeth to accept your previous invitation for a
month at the CW files!  And this quilted petticoat thread holds a
personal attraction for me, since I gave a good friend a Christmas
present of an IOU for a quilted petticoat as soon as she designs it. 
That was about six years ago.  She's still working on the design.  I've
forwarded these messages to her in hopes that she'll be further inspired
before I go blind from age.  <G>

Can you advise me about the batting?  My feeling is that I should use a
thin wool or cotton batting, if I can find it here in the depths of "if
it ain't polyester we don't have it."  (I'm still looking for a local
fabric shop that can get past thinking of linen as linen-look.)

Thanks for all the input from everyone!

Kay Herb
kayherb@juno.com

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-Poster: "Kathryn L. Herb" <kayherb@juno.com>



A bit later reference than the period you're researching, but the 1771
Encyclopaedia Brittanica defines "stuff" as:


"STUFF, in commerce, a general name for all kinds of fabricks of gold,
silver, silk, wool, hair, cotton, or thread, manufactured on the loom, of
which a number are velvets, brocades, mohairs, sattins, taffeties,
cloths, serges, &c."


I was a little surprised myself at this definition, since I've been
accustomed to an impression of "stuff" as being mostly woven wools. 
Guess I shoulda read this before!!  I don't know if regionality plays a
part in the definition.  The EB was published in Scotland.

Kay Herb
kayherb@juno.com

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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: Quilted petticoat pattern c. 1700-1730
Date: Sat, 13 Feb 1999 21:52:33 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

Thanks for the information, Sally, I'm planning to be down
there again this Spring again.  Will take a look at all.
It's a little difficult to manage a 9-year old boy's
fixation on the gun repair shop with his mother's interest
in "girl stuff," sh we haven't done this yet.  I paid dearly
for my 1 hour in the Rockefeller Folk Art Museum 3 4 years
ago!

Do you think quilted petticoats were worn summer and winter?
They do seem to replace the hoops for many women, especially
at home and in the morning.  What were the layers compsed
of? Was it 3? Silk, wool, silk? Silk, wool, linen? or just
silk, wool?  Any swansdown between silk layers? Wool or
cotton batt?

Thanks for you good help on this.  We want to use the
clothes to teach, and even if we end up faking something we
cannot re[produce exactly, we need to be able to explain
what the original thing was.

Thanks!
Hope H. Dunlap

-----Original Message-----
From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
Behalf Of SAQUEEN@aol.com
Sent: Saturday, February 13, 1999 3:52 PM
To: h-costume@indra.com
Subject: Re: H-COST: Quilted petticoat pattern c. 1700-1730



-Poster: SAQUEEN@aol.com

Hope,

Colonial Williamburg's costume and textile collection is
displayed at the
DeWitt Wallace Decorative Arts Gallery one block outside the
Historic Area.
The collection is massive and stored in several different
facilities including
the new Bruton Heights Educational Complex about 1 mile
away. The Costume
Design Center, where the interpreters' reproduction clothing
is produced is in
the Bruton Heights complex. Wonderful area including the
Library, which is
open to the public for research. All other areas require
appointments for
research, study, or touring.

We began the research on quilted petticoats in 1990 and
studied the ones
available in the CW collection. Several were a lightweight
silk, similar to
china silk today. Others were callimanco, a glazed wool,
that looks similar to
today's polished cotton. We machine quilted both fabrics
with excellent
results. Patterns varied greatly, with some obviously mass
produced in yardage
by professionals and sewn later to fit. Others appeared to
be individually
quilted as a petticoat. One set is a matching quilted
petticoat and fitted
jacket (last quarter 18th century).

You can call 1-800-History for additional information. The
usual disclaimer, I
don't work for Colonial Williamsburg anymore -- just
protecting my retirement!

Sally

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From owner-h-costume@indra.com  Sat Feb 13 22:51:45 1999
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-Poster: SNSpies@aol.com

Hello.

<< In "Dress in Mediaeval France" by Joan Evans she states:  A bliaut which
 survives in the Imperial Treasury of Vienna is dated by an inscription
 woven into its border, which states in Latin and in Arabic that it was
 woven at Palermo in 1181.
 << Does this garment still exist, assuming it ever did?  Are there
 published pictures of it?
 
I would suggest that you write directly to the Kunsthistorisches Museum in
Vienna.  The head curator is a sweetheart, and I'm sure that she or someone
else would answer you questions.  The address is as follows.

Kunsthistorisches Museum
Burgring 5
A-1010 Wien
Austria

Good luck!
Ingvild (Nancy)
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From owner-h-costume@indra.com  Sat Feb 13 22:54:59 1999
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-Poster: SNSpies@aol.com

<< So, what is "stuff"? >>

"Stuff" is any fabric or material, as far as I am aware.

Nancy (Ingvild)
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-Poster: Finafyr@aol.com

 The pink dress look like  a houpelande to me.

Fionnbharr
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From owner-h-costume@indra.com  Sun Feb 14 07:33:35 1999
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From: "Ella Lynoure Rajamaki" <lynoure@tuug.org>
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-Poster: "Ella Lynoure Rajamaki" <lynoure@tuug.org>


Was there usually a gap in pre-19th century corsets when 
they were laced properly? I have thought there weren't, as 
the corsets were probably almost always custom made then, 
but some people have claimed the lacing gap is essential for 
the comfortable wear and has been around since very early 
corsets.

			TIA,


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


>
>Can you advise me about the batting?  My feeling is that I should use a
>thin wool or cotton batting, if I can find it here in the depths of "if
>it ain't polyester we don't have it."  (I'm still looking for a local
>fabric shop that can get past thinking of linen as linen-look.)

Walmart carries a lovely thin cotton batting.

Kathleen (Catriona)
 

                                                ()
                                              _/)(\_
"Tehee!" quod she, and clapte the wyndow to    /~~\
                                              /____\

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-Poster: kathleen@niagara.com


>>Does anyone know where I could purchase a base for an African Mask to be used
>>in a play?  

>The real ones are carved out of wood.  

One of our local funky-import shops has real wooden elongated African masks
for decorating your house. My boyfriend picked one up on sale for $10.  It
might be worth calling around.

Kathleen (Catriona)
 

                                                ()
                                              _/)(\_
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                                              /____\

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From owner-h-costume@indra.com  Sun Feb 14 11:39:27 1999
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-Poster: "Kathryn L. Herb" <kayherb@juno.com>



Walmart?  We gots Walmart!!  Thanks!!

Kay



On Sun, 14 Feb 1999 08:34:48 -0500 (EST) kathleen@niagara.com writes:
>
>-Poster: kathleen@niagara.com
>
>
>>
>>Can you advise me about the batting?  My feeling is that I should use 
>a
>>thin wool or cotton batting, if I can find it here in the depths of 
>"if
>>it ain't polyester we don't have it."  (I'm still looking for a local
>>fabric shop that can get past thinking of linen as linen-look.)
>
>Walmart carries a lovely thin cotton batting.
>
>Kathleen (Catriona)
> 
>
>                                                ()
>                                              _/)(\_
>"Tehee!" quod she, and clapte the wyndow to    /~~\
>                                              /____\
>
> _________________________________________________________________
> 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 Feb 14 16:43:13 1999
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-Poster: The Mulders <mulder@mail.brightok.net>


--------------0429B2CD356903A1CC3090C9
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Hi,
I'm about to embark on a new course.  I've been asked to costume for a
movie.  Please if anyone has done this and can tell me what to expect, email
me at mulder@brightok.net!  I have until the end of March to get ready and
informed.  I have a background in theater and living history events.  I will
have no problem making or designing.  I'm worried about the money.  Who pays
for the materials and notions and how many sewers are needed and who goes to
Hollywood to rent costumes from the warehouses and how is that done?  I
don't even know what to ask for in salary!!!  I want to know before they
come to me with a contract.
Thanks, Ninya

--------------0429B2CD356903A1CC3090C9
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<HTML>


<P>Hi,
<BR>I'm about to embark on a new course.&nbsp; I've been asked to costume
for a movie.&nbsp; Please if anyone has done this and can tell me what
to expect, email me at <I>mulder@brightok.net</I>!&nbsp; I have until the
end of March to get ready and informed.&nbsp; I have a background in theater
and living history events.&nbsp; I will have no problem making or designing.&nbsp;
I'm worried about the money.&nbsp; Who pays for the materials and notions
and how many sewers are needed and who goes to Hollywood to rent costumes
from the warehouses and how is that done?&nbsp; I don't even know what
to ask for in salary!!!&nbsp; I want to know before they come to me with
a contract.
<BR>Thanks, Ninya</HTML>

--------------0429B2CD356903A1CC3090C9--

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From owner-h-costume@indra.com  Sun Feb 14 19:01:19 1999
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From: pulliam@acadia.net (Deborah Pulliam)
Subject: H-COST: "stuff"
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-Poster: pulliam@acadia.net (Deborah Pulliam)

<<"Stuff" is any fabric or material, as far as I am aware.>>

Once again, a reminder that vocabulary changes greatly over time.

In the 18c, "stuff" referred mostly to worsted fabrics.  In a later period,
it came to mean any fabric, in slang usage.

Check the OED for the meaning specific to the period for which you have a
reference.


Deborah


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From owner-h-costume@indra.com  Sun Feb 14 19:01:19 1999
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From: pulliam@acadia.net (Deborah Pulliam)
Subject: H-COST: cotton batting
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-Poster: pulliam@acadia.net (Deborah Pulliam)

<<Can you advise me about the batting?  My feeling is that I should use a
thin wool or cotton batting, if I can find it here in the depths of "if
it ain't polyester we don't have it.">>

Textile Reproductions, in West Chesterfield MA, used to carry (may still)
some really nice thin cotton batting that would be suitable.



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From owner-h-costume@indra.com  Sun Feb 14 20:33:14 1999
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From: "Jill and Ralph Mason" <blkhrse@pacifier.com>
To: <h-costume@indra.com>
Subject: H-COST: Italian corsets
Date: Sun, 14 Feb 1999 17:22:12 -0800
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-Poster: "Jill and Ralph Mason" <blkhrse@pacifier.com>

Many people have told me that renaissance Italian women's clothing was worn
with a corset underneath.  I haven't been able to find documentation or
examples of Italian corsetry.  I did find one web page that contained a
pattern for a corset but the author stressed that she did not use corsets.

So whatta think?  To corset or not to corset that is the question.
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Subject: H-COST: 16th C stomachers
References: <281FFB60FE3@mdx-bg-staff2.nw.mdx.ac.uk>
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-Poster: "Cynthia Bucheger" <dragonlair@wireweb.net>

I need some help.  I am trying to document a stomacher that I have made
for an Elizabethan gown.  When I go to the sources I have(Kohler,
Norris, Davenport) I find very little about the stomachers.  They are
mentioned in such a casual way, if mentioned at all, as if to say, 'oh
those common things, you know all about them, we don't have to tell you
anything else.'  

What sources should I be looking into?  Also, any ideas on how to
document the types of embroidery that may have been used on the
stomachers?

Any help is greatly appreciated.
Cyn
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From owner-h-costume@indra.com  Sun Feb 14 22:30:40 1999
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Subject: H-COST: movie [Molly Maguires]
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-Poster: koz@value.net

Has anybody seen this movie?

I have a friend doing a paper on this movie and one of the questions 
is about the authenticity of their costuming....[it's supposed to be 
about late 19th century, Irish miner's in PA starting a psudo-union]

Any help would be appreciated..

Michael

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From owner-h-costume@indra.com  Sun Feb 14 23:28:51 1999
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From: "Wanda Pease" <wandapease@bigfoot.com>
To: <h-costume@indra.com>
Subject: Re: H-COST: Italian corsets
Date: Sun, 14 Feb 1999 20:25:00 -0800
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-Poster: "Wanda Pease" <wandapease@bigfoot.com>

I think you can't get those smooth lines shown in the portraits
without some type of corseting.  Of course if you are thinking of the
Bronzino's as Italian Ren, we have the example in Janet Arnold of
Eleonora of Toledo's "pair of bodies.  It probably depends on exactly
which type of Italian Ren you're talking about, from when, and from
which city-state.

Regina  (Hi Jill and Ralph!)
-----Original Message-----
From: Jill and Ralph Mason <blkhrse@pacifier.com>
To: h-costume@indra.com <h-costume@indra.com>
Date: Sunday, February 14, 1999 5:35 PM
Subject: H-COST: Italian corsets


>
>-Poster: "Jill and Ralph Mason" <blkhrse@pacifier.com>
>
>Many people have told me that renaissance Italian women's clothing
was worn
>with a corset underneath.  I haven't been able to find documentation
or
>examples of Italian corsetry.  I did find one web page that contained
a
>pattern for a corset but the author stressed that she did not use
corsets.
>
>So whatta think?  To corset or not to corset that is the question.
> _________________________________________________________________
> To leave this mailing list, send mail to majordomo@indra.com
> with the message UNSUBSCRIBE H-COSTUME
>
>

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From: WICKHAM  Raymond <raymond.wickham@customs.gov.au>
To: h-costume@indra.com
Subject: RE: H-COST: World War II uniforms
Date: Mon, 15 Feb 1999 15:18:29 +1100
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-Poster: WICKHAM  Raymond <raymond.wickham@customs.gov.au>

Probably it just me 
BUT 
Why not approach the War museum in London??
If their costumer can't help you they probably have the best first hand
ideas of supply

Ray
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From owner-h-costume@indra.com  Sun Feb 14 23:46:36 1999
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From: "Frank&Tracy Thallas JR" <hardcorps@vcn.com>
Subject: Re: H-COST: 16th C stomachers
Date: Sun, 14 Feb 99 22:50:46 PST
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-Poster: "Frank&Tracy Thallas JR" <hardcorps@vcn.com>

  Beating Digby's drum again, he shows several surviving stomachers
in his "Elizabethan Embroidery".....

Good Luck!
  Liadain

> -Poster: "Cynthia Bucheger" <dragonlair@wireweb.net>
>
> I need some help.  I am trying to document a stomacher that I have made
> for an Elizabethan gown.  When I go to the sources I have(Kohler,
> Norris, Davenport) I find very little about the stomachers.  They are
> mentioned in such a casual way, if mentioned at all, as if to say, 'oh
> those common things, you know all about them, we don't have to tell you
> anything else.'
>
> What sources should I be looking into?  Also, any ideas on how to
> document the types of embroidery that may have been used on the
> stomachers?
>
> Any help is greatly appreciated.
> Cyn
>  _________________________________________________________________
>  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 Feb 14 23:59:14 1999
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From: Christina <magdlena@texas.net>
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Subject: Re: H-COST: Quilted petticoat pattern c. 1700-1730
References: <4bda1ee.36c5e5ec@aol.com> <19980921.232528.7263.4.kayherb@juno.com>
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-Poster: Christina <magdlena@texas.net>




> Can you advise me about the batting?  My feeling is that I should use a
> thin wool or cotton batting, if I can find it here in the depths of "if
> it ain't polyester we don't have it."  (I'm still looking for a local
> fabric shop that can get past thinking of linen as linen-look.)

    Use unbleached cotton batting!!!!  Mail-order it or whatever you have to
do...  You are talking heirloom quality work, and that means using materials
that will survive.  Seriously, I spent a very short while working with a
museum doing preservation work on a quilt collection, and several years
preserving my great-grandmother's.  It kills me to see people who quilt with
materials that won't last 50 years.  I know this is a quilted petticoat to
wear, but if you do it right her great grandchildren may still have it.  ;>
    On a historical note, the 3 quilts I have had my hot little hands on
from the 1700's have had cotton batting.  Not a scientific sample, but
that's what I've seen.

-Magdalena

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From owner-h-costume@indra.com  Mon Feb 15 00:03:58 1999
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Message-ID: <36C7AC3F.58ED@bc.sympatico.ca>
Date: Sun, 14 Feb 1999 21:10:23 -0800
From: Gena Crowston <Gena_Crowston@bc.sympatico.ca>
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Subject: H-COST: Quilted petticoat pattern c. 1700-1730
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-Poster: Gena Crowston <Gena_Crowston@bc.sympatico.ca>

Okay, I'm going to try this again, because it seems that it didn't get
through the first time....

Katrynka/Glenda
=====

Gena Crowston wrote:
> 
> > - -Poster: Appin1@aol.com
> >
> > Folkwear used to make a quilted petticoat pattern, which I have. I don't know
> > if they still make it though.
> >
> > Kathleen Norvell
> 
> You know, I may *just* have this pattern sitting in my pattern cabinet
> at home (and, of course, I'm not there now).  I will check when I get
> home and get back to you in about a week or so (I don't have access to a
> computer at home - have to use mom's).  If memory serves, it *is* a
> Folkwear pattern.  My mom got it for me from my aunt when she closed
> down her costume shop and thought it would be useful for me and my
> costuming pursuits.
> 
> Let you know soon,
> 
> Katrynka Chornovoloskaya
> (mka - Glenda Hohmann)
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From owner-h-costume@indra.com  Mon Feb 15 05:31:12 1999
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From: Christina Nevin <cnevin@caci.co.uk>
To: "'h-costume@indra.com'" <h-costume@indra.com>
Subject: H-COST: Query
Date: Mon, 15 Feb 1999 10:29:07 -0000
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-Poster: Christina Nevin <cnevin@caci.co.uk>

Saluti,

I'm quite keen on organising a corset making day for my Shire, and doing a
bulk buy of the plastic whalebone with Yoshiwara (who has kindly offered to
organise it). But I have a couple of queries:

1. None of us are expert sewers, but we want to be as accurate as possible
with our C.16th corsets. What is the best pattern for us to use (I have the
Alter Years catalogue, but will consider other stuff)?

2. I'd like some opinions from people who specialise in C.16th corsets - is
the plastic whalebone heavy enough?

Any other things I should be aware of/wary of? You can post me off-list if
this topic has done the rounds too much. MTIA,

Cordialmente,
Lucretzia

++++++++++++++++++++++++++++++++++++++++++++++++++
Lady Lucrezia-Isabella di Freccia   |  mka Tina Nevin
Thamesreach Shire, The Isles, Drachenwald | London, UK
thorngrove@geocities.com <mailto://thorngrove@geocities.com>  |
http://www.geocities.com/~thorngrove <http://www.geocities.com/~thorngrove>

"There is no doubt that great leaders prefer hard drinkers to good
versifiers" - Aretino, 1536 
++++++++++++++++++++++++++++++++++++++++++++++++++
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-Poster: lena meyer <premier@bright.net>



I'm not familar with this process, but would be interested in finding
out how its done in the movie business, can you share this info with the
list?

Lena

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From owner-h-costume@indra.com  Mon Feb 15 09:55:18 1999
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-Poster: Gaelscot@aol.com



Susannah:

Thanks for that post. I am always interested to hear what you have to say. And
while conjecture is all most of us can manage on most subjects, real
experience is always an eye-opener. Who would have guessed the part about
heartburn and Coke?

I've always wondered about 1820s-30s corsets. They look pretty comfortable to
me -- so comfortable that I've thought about trying the style, although I have
nowhere to wear it. It sounds as if we have similar body types, though I am
not quite as small as you! I wonder what garments people with other body types
find comfortable, that we do not?

That reminds me, somewhat tangentially, of the film "Dangerous Liasons." When
Uma Thurmond came on screen, it was painfully clear that 18th-century clothing
wasn't designed for today's supermodels. It's too bad that so much of today's
fashions, especially couture, are designed for practically non-human bodies.

Gail Finke

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From owner-h-costume@indra.com  Mon Feb 15 10:32:19 1999
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From: The Mulders <mulder@mail.brightok.net>
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References: <199902141334.IAA24353@mail.niagara.com> <19980922.015249.5351.2.kayherb@juno.com> <36C744DE.86A0BD55@mail.brightok.net> <36C829F5.19610BA4@bright.net>
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-Poster: The Mulders <mulder@mail.brightok.net>

Lena, I have tried to email you and it comes back undeliverable.  Please
email me directly as I would like to know if you are near me.
Thanks,
Ninya

lena meyer wrote:

> -Poster: lena meyer <premier@bright.net>
>
> I'm not familar with this process, but would be interested in finding
> out how its done in the movie business, can you share this info with the
> list?
>
> Lena
>
>  _________________________________________________________________
>  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 Feb 15 11:05:47 1999
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From: "Gaylin Walli" <gwalli@infoengine.com>
Subject: H-COST: making japanese pants
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-Poster: "Gaylin Walli" <gwalli@infoengine.com>

Greetings,

I am in the process of finishing up a pattern from J. Marshall's
"Make Your Own Japanese Clothes" and I was wondering if anyone
could help me out with a few questions.

(1) The "mompe" described in the book appear to me to be
virtually identical to the pants illustrated in several
Japanese manuscripts. However.....the pants illustrated
are for men, not women as described in Marshall's book.
Am I missing something critical here that differentiates
the two or are they truly the same? Is there a name for any
men's pants, medieval or otherwise, that I can use instead
of the "mompe" word described by Marshall?

(2) The pattern in Marshall's book suggests either a gather
at the waist and at the leg ends or a pleating. The illustrations
I have from manuscripts show pleating, but are shown only from
the front. Is it reasonable to assume that there would be pleating
in the back of the pants as well? It's hard for my undereducated
eye to imagine the pants without pleating on the back and the
front. (Note: The front and back don't meet at the waist. The
side seams stop about 6-8" below the waist on the pattern I made,
with the pants being fastened by ties.)

(3) How might I best reinforce the knees without being too
obvious about it if I were to make a pair on these pants for
use in SCA combat? After polling many a fighter, the most
prevalent complaint after "the crotch is too small" that I
hear concerns the knees "blowing out" after a short period of
wear (presumably because of rubbing from metal or plastic armor
parts and repeated falling on the knees). I wish to reinforce the
knees without making it too obvious.

Any help appreciated. Hints and tips always welcomed, assuming
you can gear them to a junior intermediate sewer with a basic
plain vanilla Sears sewing machine. :)

Gaylin, gaylin@infoengine.com
Jasmine, jasmine@infoengine.com

PS: Book information....

Marshall, J. (1988). Make your own Japanese clothes: Patterns and
ideas for modern wear. Publ: Kodansha America Inc. ISBN: 087011865X
Approx cost as of 1998: ~$20.00 (US)

Very easy to follow patterns, especially for a novice drafter like
me. All ideas were extrememly easy to adapt to any person, regardless
of their shape or size (useful for the Reubenesque figure of mine or
the 6'5" frame of my husband). Short, in terms of pages. I would have
liked to have seen more items of clothing. I wish more pattern books
on varying time periods worked this way. Perhaps they do and I've
just not found them. Something easier to leave open on the sewing
table would have been nice; the perfect-bound spine is now well and
truly cracked on my copy from weighting it down to keep it open.
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From owner-h-costume@indra.com  Mon Feb 15 12:13:57 1999
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Subject: H-COST:  Teaching costume workshops?
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-Poster: Margo Anderson <margo@directcon.net>

I'm considering writing up proposals to teach workshops in "making your Ren
Faire costume" and/or  "Making your Wagon Train Costume" (for an 1850's
event held locally) through our Parks and Rec department.  I've talked to
the staffs at local fabric stores,  most of whom think there is enough
interest to justify the projects.

Has anyone done this kind of workshop?  If so, I'd appreciate any input you
have. Thanks!


Margo Anderson

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From owner-h-costume@indra.com  Mon Feb 15 12:22:45 1999
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From: The Mulders <mulder@mail.brightok.net>
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-Poster: The Mulders <mulder@mail.brightok.net>

I have taught many different aspects of historical clothing workshops.  My best
advice is KISS, keep it so simple!  Show a lot of samples, have lots of hand
outs and expect to get behind.  The best workshops I have found are half talk
and half hands on.  Good luck!
Ninya

Margo Anderson wrote:

> -Poster: Margo Anderson <margo@directcon.net>
>
> I'm considering writing up proposals to teach workshops in "making your Ren
> Faire costume" and/or  "Making your Wagon Train Costume" (for an 1850's
> event held locally) through our Parks and Rec department.  I've talked to
> the staffs at local fabric stores,  most of whom think there is enough
> interest to justify the projects.
>
> Has anyone done this kind of workshop?  If so, I'd appreciate any input you
> have. Thanks!
>
> 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  Mon Feb 15 13:33:57 1999
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From: "Henk 't Jong" <scapreel@tip.nl>
To: <h-costume@indra.com>
Subject: Re: H-COST: what is "stuff"?
Date: Mon, 15 Feb 1999 19:13:49 +0100
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-Poster: "Henk 't Jong" <scapreel@tip.nl>

Henk & Pauline 't Jong
tScapreel
Medieval Advisors
Dordrecht, Netherlands

Hi,

The EB says:
> "STUFF, in commerce, a general name for all kinds of fabricks of gold,
> silver, silk, wool, hair, cotton, or thread, manufactured on the loom, of
> which a number are velvets, brocades, mohairs, sattins, taffeties,
> cloths, serges, &c."
> 
> I was a little surprised myself at this definition, since I've been
> accustomed to an impression of "stuff" as being mostly woven wools. 
> Guess I shoulda read this before!!  I don't know if regionality plays a
> part in the definition.  The EB was published in Scotland.

Funny thing; 'stof' (which is pronounced almost the same as 'stuff') is the
Dutch word for 'cloth' of all kinds too. Scottish has a lot of Dutch-like
words (like 'kirk' = 'kerk' in Dutch = church, etc). The Scots and the
Friesians (western and northern Dutch) have been trade- and fishing
partners since the 7th c, so that's probably why.

It also means 'dust', but that has nothing to do with any of this.

Henk
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From owner-h-costume@indra.com  Mon Feb 15 13:34:00 1999
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From: "Henk 't Jong" <scapreel@tip.nl>
To: <h-costume@indra.com>
Subject: Re: H-COST: surviving bliaut?
Date: Mon, 15 Feb 1999 19:22:56 +0100
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-Poster: "Henk 't Jong" <scapreel@tip.nl>

Henk & Pauline 't Jong
tScapreel
Medieval Advisors
Dordrecht, Netherlands


Hi,

Nancy wrote:  
> I would suggest that you write directly to the Kunsthistorisches Museum
in
> Vienna.  The head curator is a sweetheart, and I'm sure that she or
someone
> else would answer you questions.  The address is as follows.
> 
> Kunsthistorisches Museum
> Burgring 5
> A-1010 Wien
> Austria
> 
> Good luck!
> Ingvild (Nancy)

Will you keep us posted? It's a very curious statement; lettering in a
bliaut. It looks suspiciously like the Kufic inscription in the border of
the silk crowning mantle of Roger II of Sicily (dated 1133), which is kept
in.... The Kunsthistorisches Museum in Wien.

Has somebody made a mistake?

Henk


(who is not impressed with Joan Evans' work; alright for her time, but in
most parts overtaken by recent research)

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

SNSpies@aol.com wrote:

> << So, what is "stuff"? >>
>
> "Stuff" is any fabric or material, as far as I am aware.
>
> Nancy (Ingvild)

That was my first thought, but she seems to use the word with various
meanings.

--Charlene

--
The discontent of the people is more dangerous to a monarch than all the
might of his enemies on the battlefield.  -- Isabella d'Este


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From owner-h-costume@indra.com  Mon Feb 15 13:34:36 1999
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-Poster: Charlene Charette <charlene@flash.net>

Deborah Pulliam wrote:

> <<"Stuff" is any fabric or material, as far as I am aware.>>
>
> Once again, a reminder that vocabulary changes greatly over time.
>
> In the 18c, "stuff" referred mostly to worsted fabrics.  In a later period,
> it came to mean any fabric, in slang usage.
>
> Check the OED for the meaning specific to the period for which you have a
> reference.

The book was published in 1952 so I'm not sure which meaning she would be using
although I suspect the 1952 usage.  My "when I win the lottery" want is the OED
on CD.  Last time I checked it was about $300.

Thanks,
--Charlene

--
The discontent of the people is more dangerous to a monarch than all the might
of his enemies on the battlefield.  -- Isabella d'Este


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From owner-h-costume@indra.com  Mon Feb 15 15:07:10 1999
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Date: Mon, 15 Feb 1999 20:08:14 +0000
To: h-costume@indra.com
From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: H-COST: The 15th Scottish
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-Poster: Jean Waddie <anne@montgomerie.demon.co.uk>

In message <01BE56C7.38053AA0.mhull@earthlink.net>, Hulett
<mhull@earthlink.net> writes
>
>-Poster: Hulett <mhull@earthlink.net>
>
>I'm in Pasadena California, spitting distance from Alteryears. I noticed 
>the uniform page on the 15th talked about using regular post war patterns 
>then with changes to match photos of uniforms. Also, have you contacted to 
>British Museum? One of the museums in either London or Greenwich should 
>have patterns from this era. It is in my recollection that there is a 
>special company that traditionally makes british uniforms, on Saville Row, 
>I think. Well, I'll follow up on my magazine lead and I also have a few 
>friends in the UK. Seriously though, given the problems we're having, I 
>would try the British Museum. 

You probably want the Imperial War Museum, rather than the Brit Mus.

>I've known some SCA types who've been able to 
>see armour and embroidery so why not uniforms and patterns?
>Will return on friday week.
>Cheers, jd
>
-- 
Jean Waddie
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Date: Mon, 15 Feb 1999 20:13:26 +0000
To: h-costume@indra.com
From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: H-COST: 15th-16th Century man's hat
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-Poster: Jean Waddie <anne@montgomerie.demon.co.uk>

In message <000201be5607$5c79d280$841fffd0@default>, "Hope H. Dunlap"
<hhdunlap@email.msn.com> writes
>
>-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>
>
>How do you form the man's hat shown in rust-color in the
>upper left?  The big brioche-shaped velvet? one?
>http://gallery.euroweb.hu/art/h/holbein/hans_e/sebastia.jpg
>Some of the more shapely 18th century men's big floppy
>nightcaps look like this, as well as little girls' hats in
>the Edwardian era.
>
>Hope H. Dunlap
>
I believe it's just an exceptionally large bag gathered into a band.  To
make it stand up you can make a cushion that goes inside it - and then
you can also have a floppy hat and a comfy seat!
-- 
Jean Waddie
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From owner-h-costume@indra.com  Mon Feb 15 15:39:03 1999
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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: making japanese pants
Date: Mon, 15 Feb 1999 13:13:32 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

It is my understanding that in recent times, like the last
couple hundred years, mompe were field worker pants, if
anything primarily a women's garment, but could be worn by
laborers of both sexes.  The Japanese figure is very
slender.  Any well-endowed Westerner with hips and a
backside is going to have to change the pattern to fit
properly. This means pleats in the back, a high round shape
at the back waistline seam cut, and a big diamond shaped
gusset in the crotch to get the wearing ease you need.

Also, I feel that Marshall cuts his too short and too narrow
at the knee to get the necessary wearing ease for a Western
woman.  He is making them guys, and for fashion, I think,
not active use.  They are basically "plus-fours," and these
are *almost* as long as regular pants until you cinch them
up to the calf to wear.  The other take on Marshall is that
he's gien us the traditional cut for mompe, as pictures of
field workers often showed the knee cinch straps untied for
use, and I think it was more than just carelessness.  I
think they were untied for kneeling and squatting in the
fields.

A manly alternative is to cut the significantly knee wider
than Marshall shows, eliminate the cinch strap at the knee,
and hem the pants at the top of the calf. Go ahead and leave
the slit opening for the knee if you like the look as it
will give estra room for movement.  Regarding the knees, and
thighs, and even the seat, reinforce them with layers of
additonal fabric and quilt them into place. I've seen
fighting kimono with heavily reinforced and quilted
necklines shoulders, and this provided cushioning for the
body as well as protection from sword blows.  It is also
elegant and lovely!

Hope H. Dunlap

-----Original Message-----
From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
Behalf Of Gaylin Walli
Sent: Monday, February 15, 1999 11:02 AM
To: h-costume@indra.com
Subject: H-COST: making japanese pants



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

Greetings,

I am in the process of finishing up a pattern from J.
Marshall's
"Make Your Own Japanese Clothes" and I was wondering if
anyone
could help me out with a few questions.

(1) The "mompe" described in the book appear to me to be
virtually identical to the pants illustrated in several
Japanese manuscripts. However.....the pants illustrated
are for men, not women as described in Marshall's book.
Am I missing something critical here that differentiates
the two or are they truly the same? Is there a name for any
men's pants, medieval or otherwise, that I can use instead
of the "mompe" word described by Marshall?

(2) The pattern in Marshall's book suggests either a gather
at the waist and at the leg ends or a pleating. The
illustrations
I have from manuscripts show pleating, but are shown only
from
the front. Is it reasonable to assume that there would be
pleating
in the back of the pants as well? It's hard for my
undereducated
eye to imagine the pants without pleating on the back and
the
front. (Note: The front and back don't meet at the waist.
The
side seams stop about 6-8" below the waist on the pattern I
made,
with the pants being fastened by ties.)

(3) How might I best reinforce the knees without being too
obvious about it if I were to make a pair on these pants for
use in SCA combat? After polling many a fighter, the most
prevalent complaint after "the crotch is too small" that I
hear concerns the knees "blowing out" after a short period
of
wear (presumably because of rubbing from metal or plastic
armor
parts and repeated falling on the knees). I wish to
reinforce the
knees without making it too obvious.

Any help appreciated. Hints and tips always welcomed,
assuming
you can gear them to a junior intermediate sewer with a
basic
plain vanilla Sears sewing machine. :)

Gaylin, gaylin@infoengine.com
Jasmine, jasmine@infoengine.com

PS: Book information....

Marshall, J. (1988). Make your own Japanese clothes:
Patterns and
ideas for modern wear. Publ: Kodansha America Inc. ISBN:
087011865X
Approx cost as of 1998: ~$20.00 (US)

Very easy to follow patterns, especially for a novice
drafter like
me. All ideas were extrememly easy to adapt to any person,
regardless
of their shape or size (useful for the Reubenesque figure of
mine or
the 6'5" frame of my husband). Short, in terms of pages. I
would have
liked to have seen more items of clothing. I wish more
pattern books
on varying time periods worked this way. Perhaps they do and
I've
just not found them. Something easier to leave open on the
sewing
table would have been nice; the perfect-bound spine is now
well and
truly cracked on my copy from weighting it down to keep it
open.

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From owner-h-costume@indra.com  Mon Feb 15 15:59:09 1999
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Subject: H-COST: quick odd question
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-Poster: "Frank&Tracy Thallas JR" <hardcorps@vcn.com>

   Greetings!

   This is slightly off topic - forgive me! - but a question that came up last night
while perusing "Patterns of Fashion" with a young newcomer -
   We get quite a bit of information from burial clothing - Eleanora of Toledo's
gown, etc.  Since these garments are now in museums, etc, were the remains
reclothed somehow before reinterment? (assuming they were reinterred...)
  Inquiring young minds (and now an old one!) want to know......

All Health!
  Liadain


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From owner-h-costume@indra.com  Mon Feb 15 16:06:54 1999
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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: 15th-16th Century man's hat
Date: Mon, 15 Feb 1999 15:57:37 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

Thanks, Jean.  Are you kidding about the seat, or was this
actually done? It is an appealing concept!

Hope H. Dunlap

-----Original Message-----
From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
Behalf Of Jean Waddie
Sent: Monday, February 15, 1999 3:13 PM
To: h-costume@indra.com
Subject: Re: H-COST: 15th-16th Century man's hat



-Poster: Jean Waddie <anne@montgomerie.demon.co.uk>

In message <000201be5607$5c79d280$841fffd0@default>, "Hope
H. Dunlap"
<hhdunlap@email.msn.com> writes
>
>-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>
>
>How do you form the man's hat shown in rust-color in the
>upper left?  The big brioche-shaped velvet? one?
>http://gallery.euroweb.hu/art/h/holbein/hans_e/sebastia.jpg
>Some of the more shapely 18th century men's big floppy
>nightcaps look like this, as well as little girls' hats in
>the Edwardian era.
>
>Hope H. Dunlap
>
I believe it's just an exceptionally large bag gathered into
a band.  To
make it stand up you can make a cushion that goes inside
it - and then
you can also have a floppy hat and a comfy seat!
--
Jean Waddie

____________________________________________________________
_____
 To leave this mailing list, send mail to
majordomo@indra.com
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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: what is "stuff"?
Date: Mon, 15 Feb 1999 16:12:56 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

One of those words that means different things depending on
the place and decade.  Jane Austin prized her "stuff" dress,
which was wool.  She admitted it was countrified and
unfashionable, as opposed to muslin or silk, but she said it
was "a great comfort to me."  Sometimes stuff means cheap
wool, partially using partly recycled materials but that is
also called "coarse stuff."  I doubt that it is what Jane
Austen wore, but rather a nice soft, warm wool.

Hope H. Dunlap

-----Original Message-----
From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
Behalf Of Charlene Charette
Sent: Monday, February 15, 1999 1:37 PM
To: h-costume@indra.com
Subject: Re: H-COST: what is "stuff"?



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

SNSpies@aol.com wrote:

> << So, what is "stuff"? >>
>
> "Stuff" is any fabric or material, as far as I am aware.
>
> Nancy (Ingvild)

That was my first thought, but she seems to use the word
with various
meanings.

--Charlene

--
The discontent of the people is more dangerous to a monarch
than all the
might of his enemies on the battlefield.  -- Isabella d'Este



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From owner-h-costume@indra.com  Mon Feb 15 16:19:01 1999
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-Poster: Marionetta@aol.com


Yes, the Costume Technicians Handbook has instructions on making chain mail as
well as a variety of other theatrical armor.  My favorite armor in that book
is the felt saturated in white glue.  I've yet to do it myself but from what
I've heard the effect is very realistic.

Cheers,

Loren Dearborn
marionetta@aol.com
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From owner-h-costume@indra.com  Mon Feb 15 17:04:51 1999
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-Poster: SAQUEEN@aol.com

Dear Kay and all,

Batting should be selected for modern reproduction petticoat based on use,
type and amount of quilting(hand or machine), and type of outer and lining
fabric. 

Use: lots of use means lots of washing or dry cleaning, use a polyester/cotton
blend or silk batting. Quilt magazines will have addresses for shops if you do
not have one in your area.  

Little quilting or by machine: use polyester/cotton blend, wool, or silk
batting. Cotton batting will ball up and create huge lumps if not quilted
heavily (about every1/2"). 

Outer fabric and lining: use a batting that is compatible with the fabric.
Less bearding -- those tiny white pills seeping to the outside. That is from
the polyester.

Colonial Williamsburg quilted petticoats were washed or drycleaned between
wearings by different people, so they got more washing than your personal
petticoat might get in 10 years. We used polyester/cotton blend or silk for
the ones that were worn a lot. The one exact repro petticoat that we made for
exhibition with an extant garment, we used wool batting. Most of the battings
in the petticoats we examined were wool or silk. 

Hope this helps,
Sally
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From owner-h-costume@indra.com  Mon Feb 15 18:24:36 1999
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Date: Mon, 15 Feb 1999 18:24:24 -0500
To: h-costume@indra.com
From: KATHY HOOVER <khoover@wvnvm.wvnet.edu>
Subject: H-COST: h-costume:  corset definition
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-Poster: KATHY HOOVER <khoover@wvnvm.wvnet.edu>

Hi -

I was hoping someone could help me.  I'm trying to find the definition of 

"cache-corset."  I have been doing some research on corsets and found
this term listed in Ewing, Elizabeth, either in  <underline>Dress and
Undress: a History of Women's Underwear</underline> or in
<underline>Underwear: A History</underline>, which are virtually the same
book.  But I jotted this term down in my notes without any other
explanation (maybe she didn't give one), and now I've sent the books back
to interlibrary loan.  


To help jog anyone's memory, it was in the chapter that covered the
period 1890-1908.


I would be most grateful for any and all ideas anyone has.


Thanks in advance,

Kathy Hoover
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From owner-h-costume@indra.com  Mon Feb 15 18:53:46 1999
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From: Margo Anderson <margo@directcon.net>
Subject: Re: H-COST: h-costume:  corset definition
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-Poster: Margo Anderson <margo@directcon.net>

At 06:24 PM 2/15/99 -0500, you wrote:
> -Poster: KATHY HOOVER 
>Hi -
>I was hoping someone could help me.  I'm trying to find the definition of 
>"cache-corset." 

Isn't "cache" French for "hide"?  That's as in "conceal", not as in
"leather".  Could it be a corset cover?

Margo

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From owner-h-costume@indra.com  Mon Feb 15 18:55:34 1999
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-Poster: Margo Anderson <margo@directcon.net>

 I have been doing some research on corsets and found this term listed in
Ewing, Elizabeth, either in  Dress and Undress: a History of Women's
Underwear or in Underwear: A History, which are virtually the same book.
But I jotted this term down in my notes without any other explanation (maybe
she didn't give one), and now I've sent the books back to interlibrary loan.  
>
By the way, if anyone has this book, I'm  also in need of some information
from it, which has to do with finding an old friend of my father's.  Please,
if anyone has it and would be willing to look something up, please email me
at margo@directcon.net.

Margo

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From owner-h-costume@indra.com  Mon Feb 15 19:12:02 1999
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From: pulliam@acadia.net (Deborah Pulliam)
Subject: H-COST: stuff
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-Poster: pulliam@acadia.net (Deborah Pulliam)

<<Sometimes stuff means cheap wool, partially using partly recycled
materials but that is also called "coarse stuff."  >>

Often referred to as shoddy as well (recycled wool material.)



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From owner-h-costume@indra.com  Mon Feb 15 19:12:22 1999
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-Poster: "Kathryn L. Herb" <kayherb@juno.com>



Geez, how could I have forgotten about them???  Lotsa good contacts --
thanks all!

Kay
kayherb@juno.com


On Sun, 14 Feb 1999 19:03:02 -0500 pulliam@acadia.net (Deborah Pulliam)
writes:
>
>-Poster: pulliam@acadia.net (Deborah Pulliam)
>
><<Can you advise me about the batting?  My feeling is that I should 
>use a
>thin wool or cotton batting, if I can find it here in the depths of 
>"if
>it ain't polyester we don't have it.">>
>
>Textile Reproductions, in West Chesterfield MA, used to carry (may 
>still)
>some really nice thin cotton batting that would be suitable.
>
>
>
> _________________________________________________________________
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From owner-h-costume@indra.com  Mon Feb 15 19:36:58 1999
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Subject: H-COST: Re: Scottish words (OT)
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-Poster: kathleen@niagara.com


Henk wrote:

>Scottish has a lot of Dutch-like
>words (like 'kirk' = 'kerk' in Dutch = church, etc). The Scots and the
>Friesians (western and northern Dutch) have been trade- and fishing
>partners since the 7th c, so that's probably why.

Also, English is a Germanic language as is Dutch.  Scottish tends to be an
earlier form of English, and therefore closer to its Germanic roots.  Proof
of that is in the velar fricatives.

Okay, a little off-topic :)

Kathleen (Catriona)
 

                                                ()
                                              _/)(\_
"Tehee!" quod she, and clapte the wyndow to    /~~\
                                              /____\

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Date: Sun, 14 Feb 1999 20:56:08 -0500
To: h-costume@indra.com
From: Danielle Nunn <dnunn@interlog.com>
Subject: Re: H-COST: patch
In-Reply-To: <4.1.19990212080435.00b2c880@pop.slip.net>
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-Poster: Danielle Nunn <dnunn@interlog.com>

Greetings,

>When describing how she is dressed and coiffed it says 'High on her >check
she sports, as she often did, a patch.'  The reproduction is not >good, so
I can't see anything on her cheeks.  What might the 'patch' be?  >A faked
'beauty mark'?? 

Yes they were faked 'beauty marks.'  But, I seem to remember reading
somewhere (can't remember where - it was a LONG time ago) that the patches
were also used to cover the pits created by the white lead cosmetics.  I
seem to remember seeing a picture of a woman with at least half a dozen of
them scattered all over her face.

Anyone else ever remember hearing this?

Cheers,
Danielle

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From owner-h-costume@indra.com  Mon Feb 15 20:15:51 1999
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	 Mon, 15 Feb 1999 17:19:33 -0800
From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: Quilted petticoat pattern c. 1700-1730
Date: Mon, 15 Feb 1999 19:51:40 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

Sally,
This helps immensely, thanks.  I had forgotten silk as a
possibility for batting, too.  Period references to
"swansdown" abound in England.  Do you think they really
meant down from swans?  In particular I've seen it
associated with under-waistcoats.
Hope H. Dunlap

-----Original Message-----
From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
Behalf Of SAQUEEN@aol.com
Sent: Monday, February 15, 1999 5:03 PM
To: h-costume@indra.com
Subject: Re: H-COST: Quilted petticoat pattern c. 1700-1730



-Poster: SAQUEEN@aol.com

Dear Kay and all,

Batting should be selected for modern reproduction petticoat
based on use,
type and amount of quilting(hand or machine), and type of
outer and lining
fabric.

Use: lots of use means lots of washing or dry cleaning, use
a polyester/cotton
blend or silk batting. Quilt magazines will have addresses
for shops if you do
not have one in your area.

Little quilting or by machine: use polyester/cotton blend,
wool, or silk
batting. Cotton batting will ball up and create huge lumps
if not quilted
heavily (about every1/2").

Outer fabric and lining: use a batting that is compatible
with the fabric.
Less bearding -- those tiny white pills seeping to the
outside. That is from
the polyester.

Colonial Williamsburg quilted petticoats were washed or
drycleaned between
wearings by different people, so they got more washing than
your personal
petticoat might get in 10 years. We used polyester/cotton
blend or silk for
the ones that were worn a lot. The one exact repro petticoat
that we made for
exhibition with an extant garment, we used wool batting.
Most of the battings
in the petticoats we examined were wool or silk.

Hope this helps,
Sally

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From owner-h-costume@indra.com  Mon Feb 15 20:16:08 1999
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	 Mon, 15 Feb 1999 17:19:40 -0800
From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: H-COST: Elizabethan Corset Workshop
Date: Mon, 15 Feb 1999 20:12:31 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

Before spending money on a commercial pattern, you might
consider these alternative corset pattern and directions
sources:

http://www.dnaco.net/~aleed/corsets/ has an Elizabethan
corset pattern generator and a lot of useful info on
constructing a pair of bodies.

http://www.vincents.demon.co.uk/stays/stays.htm has
directions for making  17th Century  stays.

Julie Zetterberg's Costume WebPages at
http://www.members.aol.com/nebula5/costume.html has a host
of additional WebLinks for corset-making for different
Centuries.

The best book I've seen for this is Norah Waugh's *Corsets
and Crinolines,* which includes very entertaining period
writings and engravings, but also patterns from all periods,
custom measurement directions, and a careful step by step
method for drafting the stays and then sewing them.  About
$25, in print, widely available, and also in libraries.
http://www.Amazon.com undoubtedly has it and their shipment
time is awesomely short (2 days in many cases).

Hope H. Dunlap


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From owner-h-costume@indra.com  Mon Feb 15 20:35:19 1999
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	 Mon, 15 Feb 1999 17:38:48 -0800
From: <hhdunlap@msn.com>
To: <h-costume@indra.com>
Subject: H-COST: Patch
Date: Mon, 15 Feb 1999 20:43:11 -0500
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-Poster: <hhdunlap@msn.com>

I can't comment on the white lead pits, but John Bulwer's
*Anthropometamorphosis* of 1653  contains an illustration of
an English lady with several patches on her face.  I
exaggerated when I said in an earlier post that it was "a
coach and six."  It was only "a coach and four." Along with
a couple of quarter-moons, a star, a heart, and a polka-dot.
I found it reproduced in Phillips and Tomkinson's *English
Women in Life and Letters,* Oxford University Press, 1926.

Hope H. Dunlap

-----Original Message-----
From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
Behalf Of Danielle Nunn
Sent: Sunday, February 14, 1999 8:56 PM
To: h-costume@indra.com
Subject: Re: H-COST: patch



-Poster: Danielle Nunn <dnunn@interlog.com>

Greetings,

>When describing how she is dressed and coiffed it says
'High on her >check
she sports, as she often did, a patch.'  The reproduction is
not >good, so
I can't see anything on her cheeks.  What might the 'patch'
be?  >A faked
'beauty mark'??

Yes they were faked 'beauty marks.'  But, I seem to remember
reading
somewhere (can't remember where - it was a LONG time ago)
that the patches
were also used to cover the pits created by the white lead
cosmetics.  I
seem to remember seeing a picture of a woman with at least
half a dozen of
them scattered all over her face.

Anyone else ever remember hearing this?

Cheers,
Danielle


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From owner-h-costume@indra.com  Mon Feb 15 20:45:34 1999
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From: lisaleon@hawaii.edu
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Subject: Re: H-COST: h-costume:  corset definition
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-Poster: lisaleon@hawaii.edu

> "cache-corset."  I have been doing some research on corsets and found
> this term listed in Ewing, Elizabeth, either in  <underline>Dress and
> Undress: a History of Women's Underwear</underline> or in

>From Dress and Undress:

When, in 1902, Mrs. Eric Pritchard's The Cult of Chiffon, dedicated to her
friend Lady Warwick, a famous Edwardian beauty, was published, it too made
much of the importance and beauty of underwear.

	---and in a subsequent paragraph---

	High prices are, however, not now necessary, becaue 'all our best
shops nowadays can provide pretty dainty lingerie at moderate prices,
although we can, without doubt, easily spend a small fortune on delightful
trifles of this description'.  She does not question the accepted panoply
of many undergarments, but only their character; thus 'the cache-corset,
like the chemise, may be a thing of beauty'.  

	This is absolutely not my period so I cannot interpret, but that's
pretty much all it says about it.

lisa

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From owner-h-costume@indra.com  Mon Feb 15 21:25:17 1999
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Date: Mon, 15 Feb 1999 20:54:51 -0500
To: h-costume@indra.com
From: Danielle Nunn <dnunn@interlog.com>
Subject: Re: H-COST: Query
In-Reply-To: <A5DE0FD7E11FD2118A950060B03C59938FEB5D@caci_ntas1>
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-Poster: Danielle Nunn <dnunn@interlog.com>

Greetings,

>I'm quite keen on organising a corset making day for my Shire, and doing a
>bulk buy of the plastic whalebone with Yoshiwara (who has kindly offered to
>organise it). But I have a couple of queries:
>
>1. None of us are expert sewers, but we want to be as accurate as possible
>with our C.16th corsets. What is the best pattern for us to use (I have the
>Alter Years catalogue, but will consider other stuff)?
>
>2. I'd like some opinions from people who specialise in C.16th corsets - is
>the plastic whalebone heavy enough?
>
>Any other things I should be aware of/wary of? You can post me off-list if
>this topic has done the rounds too much. MTIA,

Go for it.  I would love to hear about the results.  I would recommend
basing your corsets on the one in Arnold's Pattern's of Fashion.  You get
to see a photo of an extant corset (pair of bodies).  You need to fit the
pattern to each person for maximum comfort and fit.  Unfortuneately, I've
never encountered the plastic whalebone so I can't give an opinion.  I
useually use the spring steel bones.  Good luck, and if you have any more
questions please feel free to contact me.

Cheers,
Danielle

P.S.  My apologies for my lack of spelling ability tonight.

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From owner-h-costume@indra.com  Mon Feb 15 21:25:24 1999
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Date: Mon, 15 Feb 1999 21:24:57 -0500
To: h-costume@indra.com
From: Danielle Nunn <dnunn@interlog.com>
Subject: Re: H-COST: silk batting
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-Poster: Danielle Nunn <dnunn@interlog.com>

Greetings,

>Use: lots of use means lots of washing or dry cleaning, use a
polyester/cotton
>blend or silk batting.

Does anyone know of a source for silk batting?  It sounds so decadent...

Cheers,
Danielle

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From owner-h-costume@indra.com  Mon Feb 15 22:24:48 1999
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-Poster: SAQUEEN@aol.com

Hope,

Swansdown, according to Montgomery, "was a waistcoat material described by
Perkins in 1833 as 'originally made of wool and a small quantity of silk, but
latterly with a large quantity of cotton instead of silk'. Swansdowns and
toilinets were fancy woolen textiles, or cotton and wool, developed in the
early 19th century." 

Montgomery also has a second listing for swanskin, "a fine woolen cloth of
plain weave related to flannel and bay....In the late eighteenth century, the
name swanskin or swansdown, was also given to fleecy cotton cloth. Sometimes
called ironing cloth, it was also used for printers' blankets, for heavy
underclothing, and gaiters, and jackets." The fibers pulled to the surface,
forming a nap somewhat resembled swansdown feathers.  

My understanding from Montgomery's description and other primary sources, that
it was similar to cotton flannel of today.

What did we do before Montgomery's book?

Sally
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From owner-h-costume@indra.com  Mon Feb 15 22:43:18 1999
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To: h-costume@indra.com (h-costume)
Subject: H-COST: Swedish FO- described
Date: Tue, 16 Feb 99 03:53:07 GMT
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-Poster: trekona@erols.com

Hi,
    Shortly before Costume Con, I had announced that I had finally finished my 
year-long project of that 1650s Swedish Colonist outfit. I didn't want to 
describe it before I went into competition, but since someone had asked for a 
description afterwards, I can write about it now. I imagine that Betsey Delaney 
will be putting all the pictures from the show up on the web page, and there 
was some really great stuff!
    I'll describe the outfit in the order I showed the judges - dressing order; 
oh yes - and *everything* is entirely hand sewn (except the shoes). First is 
the underdress, or sark. It is white hankie linen, your basic two-gore dress 
with a narrow square collar and full long sleeves with 4 small tucks at the 
shoulders and gathered into a cuff. The shoulders were reinforced with 
rectangles, and the sark came about to my knees. On the front of the collar I 
wore a little silver pin that was heart-shapped with a bunch of diamond 
spangley bits hanging from it.
    Then I put on my socks (while I can still reach my feet). They are heavy 
red wool, knee-high and gartered with linen bands, cut stockings. Sort of like 
Colonial stockings I think.
    Then there are the skirts. 4 of them. The inner most is red wool which is 
simply gathered to a waistband and tied with linen ties. The wool really isn't 
scratchy because that sark is between the skirt and me, and the sark goes to my 
knees. The next skirt is red linen, gathered in knife pleats into a waist band 
that closed with a small hook and eye. Then a yellow linen skirt that was 
cartridge pleated and closed with two hooks and eyes (its a lot heavier). BTW, 
it *really* helps to interface the pleating when you cartridge pleat on linen!
    The top skirt is an olive green wool skirt that is also cartridge pleated 
and closed with linen ties. also BTW, Swedish skirts closed in front of the 
left hip, not on the side like English skirts.
    Then there is the apron, tied on the left-hand side, and the skirt-sack 
which is a lovely colorful applique design on a black background which is tied 
around the waist and worn on the right.
    Now I can finally put on the bodice: green wool shell over 1/2" steel 
boning (encased in light fustian). The bodice does have shoulder straps, it 
closes with about 16 hooks and eyes down the CF, and flares out in a skirt that 
has 4 sets of little gores (CB, 2 side back, 2 side front and 2 front).
    I wore a little white linen cap that has 4 fan-like folds in the back and 
trim that matches the apron string around the top.
    And a blue wool jacket, lined with heavy fustian. The jacket had 4 gores, a 
double-vent back which included a false gore (the gores, like the entire jacket 
is outlined in contrasting ribbon; there is a matching triangle of ribbon on 
the CB tail as if it also had a gore), and turned back red cuffs.
    After I had all of my clothes on, I stuffed my poor feet into my wooden 
shoes which hadn't quite gotten carved out enough for comfort. Oh, the shoes 
had hay in the toes.
    It's quite a lot of clothing! But I did finally get it all done. I started 
work on the actual sewing in late April or May, and pretty much worked 
constantly. I'm pretty happy with it, though.
    -Judy Mitchell

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From owner-h-costume@indra.com  Mon Feb 15 22:46:55 1999
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Date: Mon, 15 Feb 1999 22:46:13 EST
To: h-costume@indra.com
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Subject: Re: H-COST: Quilted petticoat pattern c. 1700-1730
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-Poster: SAQUEEN@aol.com

In a message dated 99-02-13 22:07:29 EST, you write:

<< Do you think quilted petticoats were worn summer and winter?

Fithian writes in his journal in 1772 that he went to see Miss Lucy and she
had on a sky blue quilted coat (petticoat). Date was June 6.

 They do seem to replace the hoops for many women, especially
 at home and in the morning.  
I have seen quilted petticoats that were worn over hoops also. There were
probably a lot of these petticoats around worn both over hoops and not over
hoops.

What were the layers compsed
 of? Was it 3? Silk, wool, silk? Silk, wool, linen? or just
 silk, wool?  Any swansdown between silk layers? Wool or
 cotton batt? >>
Most had 3 layers, decorative top fabric, batting, and lining usually linen or
glazed wool like a shalloon  which was a cheap twilled worsted.

The most fascinating part was how they dealt with the extra fabric around the
waist area to maintain the flat front. Some stopped the batting about 3 - 5
inches down by sewing on a separate fabric piece that was pleated into the
waist tapes.

In our research, we found quilted petticoats at all levels of society with the
exception of field slaves in America. Runaway ads in the Virginia Gazette and
Maryland Gazette describe quilted petticoats. Would love to do a research into
import items coming into Virginia -- maybe in the future!

Sally

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From owner-h-costume@indra.com  Mon Feb 15 23:38:00 1999
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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: Quilted petticoat pattern c. 1700-1730
Date: Mon, 15 Feb 1999 23:36:44 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

Thanks Sally for this wealth of information.  Checking on
the quilted petticoat in the Philadelphia Museum of Art that
one of our members referred us to earlier,  light blue silk,
lined with blue moreen and wool wadding, quilted with silk
thread in a running stitch.  Waist 24", center back length
35 1/2 ."  Quilting all the way up to the waist, no visible
break to a different material.

They say it dates from 1700-1730, but given the extent of
the decorative quilting (not just diamond pattern) all the
way to crotch height and the oval shape of the panniers, I
doubt its that early.  Looks like 1735+ when hoops were wide
and oval and women wore the open robe.  But who knows how
they dated it. I suppose it is hubraic to challenge it.
Waiting for lightening to strike me down for questioning
authority.

Hope H. Dunlap

-----Original Message-----
From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
Behalf Of SAQUEEN@aol.com
Sent: Monday, February 15, 1999 10:46 PM
To: h-costume@indra.com
Subject: Re: H-COST: Quilted petticoat pattern c. 1700-1730



-Poster: SAQUEEN@aol.com

In a message dated 99-02-13 22:07:29 EST, you write:

<< Do you think quilted petticoats were worn summer and
winter?

Fithian writes in his journal in 1772 that he went to see
Miss Lucy and she
had on a sky blue quilted coat (petticoat). Date was June 6.

 They do seem to replace the hoops for many women,
especially
 at home and in the morning.
I have seen quilted petticoats that were worn over hoops
also. There were
probably a lot of these petticoats around worn both over
hoops and not over
hoops.

What were the layers compsed
 of? Was it 3? Silk, wool, silk? Silk, wool, linen? or just
 silk, wool?  Any swansdown between silk layers? Wool or
 cotton batt? >>
Most had 3 layers, decorative top fabric, batting, and
lining usually linen or
glazed wool like a shalloon  which was a cheap twilled
worsted.

The most fascinating part was how they dealt with the extra
fabric around the
waist area to maintain the flat front. Some stopped the
batting about 3 - 5
inches down by sewing on a separate fabric piece that was
pleated into the
waist tapes.

In our research, we found quilted petticoats at all levels
of society with the
exception of field slaves in America. Runaway ads in the
Virginia Gazette and
Maryland Gazette describe quilted petticoats. Would love to
do a research into
import items coming into Virginia -- maybe in the future!

Sally


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From owner-h-costume@indra.com  Mon Feb 15 23:44:04 1999
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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: silk batting
Date: Mon, 15 Feb 1999 23:21:28 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

There is a home-based business which advertises in the back
of Threads from time to time which imports it from China.
It is everything you imagine!  In Colonial America, women in
Connecticut, Pennsylvania, and Georgia (at least) cultivated
silk worms.  In 1730, the $export of silk was 1/7 $ export
of cotton. It had to be sent to England to be woven.  I
imagine, but don't know, that a lot of this silk found its
way into homemade coverlets and undervests and petticoats
and was never sent abroad.  But it was a cash crop, so who
knows.  Does anyone know more?
Hope H. Dunlap

-----Original Message-----
From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
Behalf Of Danielle Nunn
Sent: Monday, February 15, 1999 9:25 PM
To: h-costume@indra.com
Subject: Re: H-COST: silk batting



-Poster: Danielle Nunn <dnunn@interlog.com>

Greetings,

>Use: lots of use means lots of washing or dry cleaning, use
a
polyester/cotton
>blend or silk batting.

Does anyone know of a source for silk batting?  It sounds so
decadent...

Cheers,
Danielle


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From owner-h-costume@indra.com  Tue Feb 16 00:01:09 1999
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From: Deb Baddorf <baddorf@inil.com>
Subject: Re: H-COST: 15" waists:  surviving garments?
Date: Mon, 15 Feb 1999 23:02:39 -0600
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-Poster: Deb Baddorf <baddorf@inil.com>

>-Poster: KATHY HOOVER <khoover@wvnvm.wvnet.edu>
>
>At 05:03 PM 2/12/99 GMT, you wrote:
>>
>>"The world's smallest waist belonged to Mrs. Ethel Granger (deceased).
>>At her ultimate her waist measured just 13".
>
>I found a picture online of Mrs. Granger.  Go to:
>
>http://www.staylace.com/granger.jpg
>
>Kathy Hoover
>



http://ourworld.compuserve.com/homepages/Bernhard_Foltz/CORGRA1.JPG

has another shot of Mrs Granger


Deb


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From owner-h-costume@indra.com  Tue Feb 16 05:18:47 1999
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From: Christina Nevin <cnevin@caci.co.uk>
To: "'h-costume@indra.com'" <h-costume@indra.com>
Subject: H-COST: FW: Thank you very much
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-Poster: Christina Nevin <cnevin@caci.co.uk>

A thank you from Maarten for the info received on C9th Dutch clothing...
- Lucretzia
----------
From:  Maarten Cornelis 
Sent:  Monday, February 15, 1999 9:50 PM
Subject:  Thank you very much

Hello,
Thank you for engaging to answer my question.  I hopethat ,the dresmakers
for the theaterplay will make magnificant costumes with the information I
've recieved.
thanks.
Luc
directing theater.
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From owner-h-costume@indra.com  Tue Feb 16 06:17:07 1999
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Date: Tue, 16 Feb 1999 10:49:05 +0000 (GMT)
From: Teddy <Teddy@mdx.ac.uk>
Subject: Re: H-COST: patch
In-reply-to: <199902160328.UAA25675@indra.com>
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-Poster: Teddy <Teddy@mdx.ac.uk>

Hi Danielle

> Yes they were faked 'beauty marks.'  But, I seem to remember reading
> somewhere (can't remember where - it was a LONG time ago) that the
> patches were also used to cover the pits created by the white lead
> cosmetics.  I seem to remember seeing a picture of a woman with at
> least half a dozen of them scattered all over her face.
> 
> Anyone else ever remember hearing this?

I can't quote sources, I'm afraid but I was told this in the 
historical make-up module of the course in make-up for 
television, stage and screen that I did about ten years ago

Teddy
(Trustworthy Evil-Bunny of Destiny, part-time Knave and Creature of
air and darkness, apparently!)
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From: "David Stamper & Eve Harris" <evedave1@netcom.ca>
To: <h-costume@indra.com>
Subject: Re: H-COST: 15" waists:  surviving garments?
Date: Tue, 16 Feb 1999 07:01:59 -0500
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-Poster: "David Stamper & Eve Harris" <evedave1@netcom.ca>

>>>"The world's smallest waist belonged to Mrs. Ethel Granger
(deceased).
>>>At her ultimate her waist measured just 13".
>>I found a picture online of Mrs. Granger.  Go to:
>>http://www.staylace.com/granger.jpg
>
>http://ourworld.compuserve.com/homepages/Bernhard_Foltz/CORGRA1.JPG
>has another shot of Mrs Granger


Yarg. The first looks rather lumpy - a bad bra day perhaps? The second
one makes me wonder how her food got down. And what's with those
pearls studding her nose? Was she in a freak show?

Eve Harris
whose waist is definitely NOT 13"

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Date: Tue, 16 Feb 1999 10:34:57 +0000 (GMT)
From: Teddy <Teddy@mdx.ac.uk>
Subject: H-COST: "Stuff"
In-reply-to: <199902142144.OAA01792@indra.com>
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-Poster: Teddy <Teddy@mdx.ac.uk>


> "STUFF, in commerce, a general name for all kinds of fabricks of
> gold, silver, silk, wool, hair, cotton, or thread, manufactured on
> the loom, of which a number are velvets, brocades, mohairs, sattins,
> taffeties, cloths, serges, &c."
> 
> 
> I was a little surprised myself at this definition, since I've been
> accustomed to an impression of "stuff" as being mostly woven wools.
> Guess I shoulda read this before!!  I don't know if regionality
> plays a part in the definition.  The EB was published in Scotland.

It never occured to me before but my favourite fabric shop is called 
"Stuff"

It's one of those places where you can get great fabrics really 
cheaply but they don't have a *regular* range of items, your choice 
is restricted to whatever they have at the time you visit.  Cheap 
wools are *fairly* certain though weights, colours and fibre-contents 
vary from visit to visit. 

I love the place.  It's a pity I moved to the other side of the city 
(London) so have to make a real effort to get there and browse.


Teddy
(Trustworthy Evil-Bunny of Destiny, part-time Knave and Creature of
air and darkness, apparently!)
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From owner-h-costume@indra.com  Tue Feb 16 09:37:54 1999
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From: "Betsy R. Delaney" <betsy@hawkeswood.com>
To: trekona@erols.com
cc: h-costume <h-costume@indra.com>
Subject: Re: H-COST: Swedish FO- described
In-Reply-To: <M.021599.225307.25@erols.com>
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-Poster: "Betsy R. Delaney" <betsy@hawkeswood.com>

Oh, dear heaven...

Judy, do you mind if I take this description, or something very like this,
and put it up with your entry photos when I have them back from Ken
Warren?

Pictures are pretty, but don't convey everything if you can't step up and
ask the costumer.

-betsy

On Tue, 16 Feb 1999 trekona@erols.com wrote:

> 
> -Poster: trekona@erols.com
> 
> Hi,
>     Shortly before Costume Con, I had announced that I had finally finished my 
> year-long project of that 1650s Swedish Colonist outfit. I didn't want to 
> describe it before I went into competition, but since someone had asked for a 
> description afterwards, I can write about it now. I imagine that Betsey Delaney 
> will be putting all the pictures from the show up on the web page, and there 
> was some really great stuff!
>     I'll describe the outfit in the order I showed the judges - dressing order; 
> oh yes - and *everything* is entirely hand sewn (except the shoes). First is 
> the underdress, or sark. It is white hankie linen, your basic two-gore dress 
> with a narrow square collar and full long sleeves with 4 small tucks at the 
> shoulders and gathered into a cuff. The shoulders were reinforced with 
> rectangles, and the sark came about to my knees. On the front of the collar I 
> wore a little silver pin that was heart-shapped with a bunch of diamond 
> spangley bits hanging from it.
>     Then I put on my socks (while I can still reach my feet). They are heavy 
> red wool, knee-high and gartered with linen bands, cut stockings. Sort of like 
> Colonial stockings I think.
>     Then there are the skirts. 4 of them. The inner most is red wool which is 
> simply gathered to a waistband and tied with linen ties. The wool really isn't 
> scratchy because that sark is between the skirt and me, and the sark goes to my 
> knees. The next skirt is red linen, gathered in knife pleats into a waist band 
> that closed with a small hook and eye. Then a yellow linen skirt that was 
> cartridge pleated and closed with two hooks and eyes (its a lot heavier). BTW, 
> it *really* helps to interface the pleating when you cartridge pleat on linen!
>     The top skirt is an olive green wool skirt that is also cartridge pleated 
> and closed with linen ties. also BTW, Swedish skirts closed in front of the 
> left hip, not on the side like English skirts.
>     Then there is the apron, tied on the left-hand side, and the skirt-sack 
> which is a lovely colorful applique design on a black background which is tied 
> around the waist and worn on the right.
>     Now I can finally put on the bodice: green wool shell over 1/2" steel 
> boning (encased in light fustian). The bodice does have shoulder straps, it 
> closes with about 16 hooks and eyes down the CF, and flares out in a skirt that 
> has 4 sets of little gores (CB, 2 side back, 2 side front and 2 front).
>     I wore a little white linen cap that has 4 fan-like folds in the back and 
> trim that matches the apron string around the top.
>     And a blue wool jacket, lined with heavy fustian. The jacket had 4 gores, a 
> double-vent back which included a false gore (the gores, like the entire jacket 
> is outlined in contrasting ribbon; there is a matching triangle of ribbon on 
> the CB tail as if it also had a gore), and turned back red cuffs.
>     After I had all of my clothes on, I stuffed my poor feet into my wooden 
> shoes which hadn't quite gotten carved out enough for comfort. Oh, the shoes 
> had hay in the toes.
>     It's quite a lot of clothing! But I did finally get it all done. I started 
> work on the actual sewing in late April or May, and pretty much worked 
> constantly. I'm pretty happy with it, though.
>     -Judy Mitchell
> 
>  _________________________________________________________________
>  To leave this mailing list, send mail to majordomo@indra.com
>  with the message UNSUBSCRIBE H-COSTUME
> 
> 

--

Betsy R. Delaney
Webmistress at large
Costume-Con(R) Archivist

***************************************************************************
                 betsy@hawkeswood.com or betsy@ability.net
           http://www.hawkeswood.com/, home of Hawkeswood Designs
         and http://www.CostumeCon.org/, home of Costume-ConNections
***************************************************************************




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-Poster: "Ella Lynoure Rajamaki" <lynoure@tuug.org>

On 15 Feb 99, at 20:54, Danielle Nunn wrote:

> Go for it.  I would love to hear about the results.  I would recommend
> basing your corsets on the one in Arnold's Pattern's of Fashion.  You get
> to see a photo of an extant corset (pair of bodies).  You need to fit the
> pattern to each person for maximum comfort and fit.  Unfortuneately, I've
> never encountered the plastic whalebone so I can't give an opinion.  I
> useually use the spring steel bones.  Good luck, and if you have any more
> questions please feel free to contact me.

I have used 6mm*2.5mm artificial whalebone in Elizabethan 
corsets and it has been plenty heavy enough for that, IMO.
I have also liked the way the 10mm*1m artificial whalebone 
has behaved in bodices and Victorian corsets.


--
-------(c) 1999--------------*        lynoure@tuug.org      *
Ella Lynoure Rajamaki--------* http://www.tuug.org/~lynoure *
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From owner-h-costume@indra.com  Tue Feb 16 11:26:33 1999
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Date: Tue, 16 Feb 1999 09:22:07 -0700 (MST)
From: Sylvia Rognstad <sylvia@netherworld.com>
To: h-costume@indra.com
Subject: H-COST: 1930s corsets
In-Reply-To: <199902141334.IAA24353@mail.niagara.com>
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-Poster: Sylvia Rognstad <sylvia@netherworld.com>

A woman on another email list recently found a pink corset dated 1932.
All I recall of the description is that it laces up the front and has
buckles.  Since corsets were not widely used by that decade, who might
this kind of one been intended for?  Anyone know?
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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Date: Tue, 16 Feb 1999 08:33:46 -0800 (PST)
From: Ariyana Kylstram <ariyana@cats.UCSC.EDU>
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To: h-costume-digest@indra.com
Subject: H-COST: plastic whalebones
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-Poster: Ariyana Kylstram <ariyana@cats.UCSC.EDU>


I would NOT recommend plastic whalebones.  At 5'4", a 36B bust, ~135 lbs, 
(read:  fairly small but muscular) they don't provide me adequate support or
shaping for 16th C.  I use strictly steel, either spring steel or flat 
steel, and I use approximately 12 bones per English 16th C corset.  

For a good looking (haven't ordered it yet, thinking about it) place to 
mail order proper boning, check out

http://www.farthingales.on.ca/

or use Drea's list of merchants at

http://www.dnaco.net/~aleed/corsets/mailorder.html

.ari
The Lady Ariyana of House Kylstram 
ariyana@cats.ucsc.edu
http://www.kithrup.com/~ariyana/


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Date: Tue, 16 Feb 1999 16:54:16 +0000
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Subject: Re: H-COST: 15" waists:  surviving garments?
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-Poster: Elizabeth Higgins <Lissa@duchess.globalnet.co.uk>

At 07:01 16/02/99 -0500, you wrote:
>>http://ourworld.compuserve.com/homepages/Bernhard_Foltz/CORGRA1.JPG
>>has another shot of Mrs Granger
>
>Yarg. The first looks rather lumpy - a bad bra day perhaps? The second
>one makes me wonder how her food got down. And what's with those
>pearls studding her nose? Was she in a freak show?

According to an autobiography her hubby was into body modification
in a big way and she had all sorts of piercings. Modern girls weren't
the first! <g>

Lissa

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Subject: H-COST: plastic whalebones
Date: Tue, 16 Feb 99 12:02:32 -0500
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-Poster: <aquazoo@patriot.net>

Ariyana Kylstram wrote,

>I would NOT recommend plastic whalebones.  At 5'4", a 36B bust, ~135 lbs, 
>(read:  fairly small but muscular) they don't provide me adequate support or
>shaping for 16th C.  I use strictly steel, either spring steel or flat 
>steel, and I use approximately 12 bones per English 16th C corset.  

     There are several different types of plastic boning. First there is 
featherboning, which is available in little packets in the notions 
department. It's really bad for the type of corsetry that most of us do. 
It crumples under pressure and stays crumpled.

     Then there is Rigilene. This is several nylon strips woven into a 
synthetic tape. It is light, but it does not crumple. I find it useful 
for the horizontal bones in eighteenth century stays. With some 
perseverence and dexterity (and a candle flame) it can be cut into 
narrower widths.

     The plastic boning some people are talking about is fairly new, and 
I believe comes from Germany. It is very thick, about 1/8". It is very 
stiff and looks like it could stop bullets. It seems to be stiffer than 
the steel bones, and might be better suited for hoops & farthingales 
rather than corsers. I hear it is also difficult to cut.

     -Carol Kocian
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From owner-h-costume@indra.com  Tue Feb 16 12:44:15 1999
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Date: Tue, 16 Feb 1999 11:51:45 -0600
From: The Mulders <mulder@mail.brightok.net>
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-Poster: The Mulders <mulder@mail.brightok.net>

I have used both in the victorian time period.  I prefer plastic for its
cost and ease of care.  I make about 35 corsets a year for living
history events and educational programs.  In a perfect world everyone
would the stay the same and I could make a corset for individuals,
however with weight changes and people rewrites, it changes yearly.
They have to share corsets.  The steel was more uncomfortable to those
who had never worn a corset and the plastic had a better molding
ability. Has anyone used a tube top under a corset?  Great idea!  Works
with under bust and over styles.  Really makes it more comfortable.
I'll tell anyone how to make one if they are interested.  I make mine in
spandex and in small, medium, large and queen.  Nude color.  Cuts down
on friction and is so great for keeping the corset cleaner.  I make
corsets in sizes 6 - 22 and short, regular and long waisted.  I love
riglene but use both bonings.
Thanks,
Ninya



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From: "Henk 't Jong" <scapreel@tip.nl>
To: <h-costume@indra.com>
Subject: Re: H-COST: Re: Scottish words (OT)
Date: Tue, 16 Feb 1999 19:03:10 +0100
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-Poster: "Henk 't Jong" <scapreel@tip.nl>

Henk & Pauline 't Jong
tScapreel
Medieval Advisors
Dordrecht, Netherlands

> Proof of that is in the velar fricatives.

The velar fricatives? The velar fricatives? What are the velar fricatives?
Can you eat them? Do they hurt? Is it safe to be in one room with them?

Henk

(worried)
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From owner-h-costume@indra.com  Tue Feb 16 13:55:15 1999
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Date: Tue, 16 Feb 1999 10:30:06 -0800
From: Lady Eleanor <hekav@gte.net>
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-Poster: Lady Eleanor <hekav@gte.net>

Greetings Betsy and Judy,

WOW!  I wanna see!  I wanna see!!

I'm sure we'd ALL like to be able to view this wonderful
sounding gown!
Could you please post URL?

Thanks,
Lady Eleanor

Betsy R. Delaney wrote:
> 
> -Poster: "Betsy R. Delaney" <betsy@hawkeswood.com>
> 
> Oh, dear heaven...
> 
> Judy, do you mind if I take this description, or something very like this,
> and put it up with your entry photos when I have them back from Ken
> Warren?
> 
> Pictures are pretty, but don't convey everything if you can't step up and
> ask the costumer.
> 
> -betsy
> 
> On Tue, 16 Feb 1999 trekona@erols.com wrote:
> 
> >
> > -Poster: trekona@erols.com
> >
> > Hi,
> >     Shortly before Costume Con, I had announced that I had finally finished my
> > year-long project of that 1650s Swedish Colonist outfit. I didn't want to
> > describe it before I went into competition, but since someone had asked for a
> > description afterwards, I can write about it now. I imagine that Betsey Delaney
> > will be putting all the pictures from the show up on the web page, and there
> > was some really great stuff!
> >     I'll describe the outfit in the order I showed the judges - dressing order;
> > oh yes - and *everything* is entirely hand sewn (except the shoes). First is
> > the underdress, or sark. It is white hankie linen, your basic two-gore dress
> > with a narrow square collar and full long sleeves with 4 small tucks at the
> > shoulders and gathered into a cuff. The shoulders were reinforced with
> > rectangles, and the sark came about to my knees. On the front of the collar I
> > wore a little silver pin that was heart-shapped with a bunch of diamond
> > spangley bits hanging from it.
> >     Then I put on my socks (while I can still reach my feet). They are heavy
> > red wool, knee-high and gartered with linen bands, cut stockings. Sort of like
> > Colonial stockings I think.
> >     Then there are the skirts. 4 of them. The inner most is red wool which is
> > simply gathered to a waistband and tied with linen ties. The wool really isn't
> > scratchy because that sark is between the skirt and me, and the sark goes to my
> > knees. The next skirt is red linen, gathered in knife pleats into a waist band
> > that closed with a small hook and eye. Then a yellow linen skirt that was
> > cartridge pleated and closed with two hooks and eyes (its a lot heavier). BTW,
> > it *really* helps to interface the pleating when you cartridge pleat on linen!
> >     The top skirt is an olive green wool skirt that is also cartridge pleated
> > and closed with linen ties. also BTW, Swedish skirts closed in front of the
> > left hip, not on the side like English skirts.
> >     Then there is the apron, tied on the left-hand side, and the skirt-sack
> > which is a lovely colorful applique design on a black background which is tied
> > around the waist and worn on the right.
> >     Now I can finally put on the bodice: green wool shell over 1/2" steel
> > boning (encased in light fustian). The bodice does have shoulder straps, it
> > closes with about 16 hooks and eyes down the CF, and flares out in a skirt that
> > has 4 sets of little gores (CB, 2 side back, 2 side front and 2 front).
> >     I wore a little white linen cap that has 4 fan-like folds in the back and
> > trim that matches the apron string around the top.
> >     And a blue wool jacket, lined with heavy fustian. The jacket had 4 gores, a
> > double-vent back which included a false gore (the gores, like the entire jacket
> > is outlined in contrasting ribbon; there is a matching triangle of ribbon on
> > the CB tail as if it also had a gore), and turned back red cuffs.
> >     After I had all of my clothes on, I stuffed my poor feet into my wooden
> > shoes which hadn't quite gotten carved out enough for comfort. Oh, the shoes
> > had hay in the toes.
> >     It's quite a lot of clothing! But I did finally get it all done. I started
> > work on the actual sewing in late April or May, and pretty much worked
> > constantly. I'm pretty happy with it, though.
> >     -Judy Mitchell
> >
> >  _________________________________________________________________
> >  To leave this mailing list, send mail to majordomo@indra.com
> >  with the message UNSUBSCRIBE H-COSTUME
> >
> >
> 
> --
> 
> Betsy R. Delaney
> Webmistress at large
> Costume-Con(R) Archivist
> 
> ***************************************************************************
>                  betsy@hawkeswood.com or betsy@ability.net
>            http://www.hawkeswood.com/, home of Hawkeswood Designs
>          and http://www.CostumeCon.org/, home of Costume-ConNections
> ***************************************************************************
> 
>  _________________________________________________________________
>  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 Feb 16 14:31:10 1999
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-Poster: AlbertCat@aol.com

In a message dated 2/16/99 11:32:35 AM Eastern Standard Time,
sylvia@netherworld.com writes:

<< 
 A woman on another email list recently found a pink corset dated 1932.
 All I recall of the description is that it laces up the front and has
 buckles.  Since corsets were not widely used by that decade, who might
 this kind of one been intended for?  Anyone know?
  >>

I'm sure many older women in the '30s did not abandon their corsets....maybe
during the day they did but to "dress up" they might feel wrong without one.
[did your grandmother burn her bra in the '70s?] Remember, it had only been
about 2 decades since corsets were considered "necessary". I've also seen some
heavily boned girdle-like contraptions from the '30s.
 _________________________________________________________________
 To leave this mailing list, send mail to majordomo@indra.com
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From owner-h-costume@indra.com  Tue Feb 16 15:01:43 1999
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To: h-costume@indra.com
Subject: Re: H-COST: 1930s corsets
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-Poster: ches <ches@io.com>

Another possibility is a courtisan imported from abroad. (no pun intended)

If you watch, or better yet read, "Gigi" you will see many anachronisms in
the home of the aunt that is teaching the young Gigi to be a mistress.
This is an example of how things are still used decades after thier
supposed demise in fasion.

Sincerely,
F. Havas
ches@io.com

On Tue, 16 Feb 1999 AlbertCat@aol.com wrote:

> Date: Tue, 16 Feb 1999 14:24:11 EST
> From: AlbertCat@aol.com
> Reply-To: h-costume@indra.com
> To: h-costume@indra.com
> Subject: Re: H-COST: 1930s corsets
> 
> 
> -Poster: AlbertCat@aol.com
> 
> In a message dated 2/16/99 11:32:35 AM Eastern Standard Time,
> sylvia@netherworld.com writes:
> 
> << 
>  A woman on another email list recently found a pink corset dated 1932.
>  All I recall of the description is that it laces up the front and has
>  buckles.  Since corsets were not widely used by that decade, who might
>  this kind of one been intended for?  Anyone know?
>   >>
> 
> I'm sure many older women in the '30s did not abandon their corsets....maybe
> during the day they did but to "dress up" they might feel wrong without one.
> [did your grandmother burn her bra in the '70s?] Remember, it had only been
> about 2 decades since corsets were considered "necessary". I've also seen some
> heavily boned girdle-like contraptions from the '30s.
>  _________________________________________________________________
>  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 Feb 16 16:23:14 1999
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From: "Ella Lynoure Rajamaki" <lynoure@tuug.org>
Organization: Lyninine Federation
To: Ariyana Kylstram <ariyana@cats.UCSC.EDU>
Date: Tue, 16 Feb 1999 22:57:33 +2
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-Poster: "Ella Lynoure Rajamaki" <lynoure@tuug.org>

On 16 Feb 99, at 8:33, Ariyana Kylstram wrote:

> I would NOT recommend plastic whalebones.  At 5'4", a 36B bust, ~135 lbs, 
> (read:  fairly small but muscular) they don't provide me adequate support or
> shaping for 16th C.  I use strictly steel, either spring steel or flat 
> steel, and I use approximately 12 bones per English 16th C corset.  

You have tried artificial whalebone and not some of the other 
countless types of plastic boning? I have noticed many people 
seem to think "Plastic is plastic" though different types of 
plastic are very different from each other (just like different 
types of metal). If it really was artificial whalebone (and not 
eg. ridilene), what size did you use? 


--
-------(c) 1999--------------*        lynoure@tuug.org      *
Ella Lynoure Rajamaki--------* http://www.tuug.org/~lynoure *
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From: "Ella Lynoure Rajamaki" <lynoure@tuug.org>
Organization: Lyninine Federation
To: <aquazoo@patriot.net>, h-costume@indra.com
Date: Tue, 16 Feb 1999 23:07:35 +2
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-Poster: "Ella Lynoure Rajamaki" <lynoure@tuug.org>

On 16 Feb 99, at 12:02, aquazoo@patriot.net wrote:

>      The plastic boning some people are talking about is fairly new, and 
> I believe comes from Germany. It is very thick, about 1/8". It is very 
> stiff and looks like it could stop bullets. It seems to be stiffer than 
> the steel bones, and might be better suited for hoops & farthingales 
> rather than corsers. I hear it is also difficult to cut.

Actually, there are many width-thickness combinations of it. I 
have only used 10mm x 1mm and 6mm x 2.5mm myself (the 
former I liked in my Victorian corsets and various bodices, the 
latter in Elizabethan ones), but there are also many other 
sizes. (I would have tried more of them, but as the company 
has 200m minimum, I couldn't afford to.)

Yes, the thickest type is difficult to cut. I had to use cutters to 
cut the thickest type, but sturdy scissors (no, not facric 
scissors!) worked with the 1mm thick one.


--
-------(c) 1999--------------*        lynoure@tuug.org      *
Ella Lynoure Rajamaki--------* http://www.tuug.org/~lynoure *
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From: "Susannah Eanes" <oh_susannah@hotmail.com>
To: h-costume@indra.com
Subject: Re: H-COST: Steel or plastic?
Date: Tue, 16 Feb 1999 13:35:11 PST
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-Poster: "Susannah Eanes" <oh_susannah@hotmail.com>



>-Poster: The Mulders <mulder@mail.brightok.net>
>
>I have used both in the victorian time period.  I prefer plastic for 
its
>cost and ease of care.  I make about 35 corsets a year for living
>history events and educational programs.  In a perfect world everyone
>would the stay the same and I could make a corset for individuals,
>however with weight changes and people rewrites, it changes yearly.
>They have to share corsets.  The steel was more uncomfortable to those
>who had never worn a corset and the plastic had a better molding
>ability. Has anyone used a tube top under a corset?  Great idea!  Works
>with under bust and over styles.  Really makes it more comfortable.
>I'll tell anyone how to make one if they are interested.  I make mine 
in
>spandex and in small, medium, large and queen.  Nude color.  Cuts down
>on friction and is so great for keeping the corset cleaner.  I make
>corsets in sizes 6 - 22 and short, regular and long waisted.  I love
>riglene but use both bonings.
>Thanks,
>Ninya

Egads!  I can't imagine anything MORE uncomfortable than a wearing  a 
sticky nylon spandex tube *under* my 18th or 19th c. breathable cotton 
or linen corset, of course worn over a very lightweight, breathable 
cotton chemise or shift.  Do you do this in the summer months?  How do 
you make it?

I use wood and steel for boning my corsets, and I make 18 -  20 corsets 
per year, every size from an 8-year old little girl to ladies of rather 
large proportions!   We cut wood boning from two types of cane --the 
type you buy for $7.00 or so per 30 to 50 foot package for weaving 
baskets.  The 5/8 to 3/4 -inch width with one rounded, one flat side is 
great for larger persons, it is flexible enough to bend yet is very 
strong.  The flat boning comes in the same widths, is not as strong but 
we wax it heavily on both sides for more strength.  We alternate wood 
bones with steel ones placed at every seam.

Try it!  We find it very comfortable.  The last time I tried to use 
plastic boning it curled outward and stayed there the first time I bent 
over.  Nothing kept me from bending over improperly, either, it just 
bent and looked awful.  The wooden ones flex to a point and then keep me 
from moving improperly to any further degree.  I have learned to 
(properly) bend from the hips and "plie" like a ballerina to pick up 
heavy objects while wearing a corset.  The support to my lower back is a 
godsend.

When the bones do break, which most often happens on the sides of the 
corset at the lower tips, it is very easy to remove and replace them 
with fresh bones.  The cost is miniscule.  We do round each end of the 
wooden bone like a popsicle stick (or regular steel ones are), and 
waxing also helps them slide in easier.

Hope this helps.

Susannah



>
>
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From: "Jessica Wilbur" <jessica@pop.net>
To: h-costume@indra.com
Date: Tue, 16 Feb 1999 17:19:29 -0500
Subject: Re: H-COST: patch
Priority: normal
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-Poster: "Jessica Wilbur" <jessica@pop.net>



> 
> -Poster: Danielle Nunn <dnunn@interlog.com>
> 
> Greetings,
> 
> >When describing how she is dressed and coiffed it says 'High on her >check
> she sports, as she often did, a patch.'  The reproduction is not >good, so
> I can't see anything on her cheeks.  What might the 'patch' be?  >A faked
> 'beauty mark'?? 
> 
> Yes they were faked 'beauty marks.'  But, I seem to remember reading
> somewhere (can't remember where - it was a LONG time ago) that the patches
> were also used to cover the pits created by the white lead cosmetics.  I
> seem to remember seeing a picture of a woman with at least half a dozen of
> them scattered all over her face.
> 
> Anyone else ever remember hearing this?
> 
> Cheers,
> Danielle

I think I remember hearing that the patches were used to cover up pock marks in the skin 
left by small pox.  I don't know whether this is true or not, though it makes sense to me.

--Jessica
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-Poster: AlbertCat@aol.com

In a message dated 2/16/99 4:29:50 PM Eastern Standard Time, lynoure@tuug.org
writes:

<< 
 Actually, there are many width-thickness combinations of it. I 
 have only used 10mm x 1mm and 6mm x 2.5mm myself (the 
 former I liked in my Victorian corsets and various bodices, the 
 latter in Elizabethan ones), but there are also many other 
 sizes. (I would have tried more of them, but as the company 
 has 200m minimum, I couldn't afford to.)
 
 Yes, the thickest type is difficult to cut. I had to use cutters to 
 cut the thickest type, but sturdy scissors (no, not facric 
 scissors!) worked with the 1mm thick one.
  >>

I want some! Is there any source for this wonderful sounding stuff on my side
of the globe?
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From owner-h-costume@indra.com  Tue Feb 16 17:29:16 1999
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From: Emma Elizabeth Lehman <00217146@bigred.unl.edu>
To: h-costume@indra.com
Subject: H-COST: patch
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-Poster: Emma Elizabeth Lehman <00217146@bigred.unl.edu>


One of the things I've never understood/been able to picture about patches
is how they physically worked.  I had originally heard (Read:
potential costuming myth) that they were made of black velvet.  The little
work I've done with velvet had me imagining little bits of black fluff
fraying off all over their pale complexions....and that just didn't seem
right!  What were patches made of? How did they hold togeather when cut
out?  How big were they?  (thinking of the carriage and four...) How did
they stay on?

--Emma (who has very little knowledge of this time period, save for one
costume dress fondly known as "Pinky")

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From: "Susannah Eanes" <oh_susannah@hotmail.com>
To: h-costume@indra.com
Subject: Re: H-COST: 1930s corsets
Date: Tue, 16 Feb 1999 14:32:01 PST
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-Poster: "Susannah Eanes" <oh_susannah@hotmail.com>




>-Poster: AlbertCat@aol.com
>
>In a message dated 2/16/99 11:32:35 AM Eastern Standard Time,
>sylvia@netherworld.com writes:
>
><< 
> A woman on another email list recently found a pink corset dated 1932.
> All I recall of the description is that it laces up the front and has
> buckles.  Since corsets were not widely used by that decade, who might
> this kind of one been intended for?  Anyone know?
>  >>
>
>I'm sure many older women in the '30s did not abandon their 
corsets....maybe
>during the day they did but to "dress up" they might feel wrong without 
one.
>[did your grandmother burn her bra in the '70s?] Remember, it had only 
been
>about 2 decades since corsets were considered "necessary". I've also 
seen some
>heavily boned girdle-like contraptions from the '30s.
> 


My lovable and amply built grandmother, aged 89, still wears something 
she calls a "corselet," which resembles somewhat the turn-of-the-century 
Edwardian corset, and does not quite support the bust.  (She has a 
rather large bustline, but is quite used to the droop.  Sorry for the 
graphic picture that probably brought to mind).   Made of heavy cotton 
poplin-type fabric, and plentifully boned, it completely shrounds her 
from just under the bust to her upper thigh, and has both shoelace-type 
lacing in the back and three adjustable buckled stays that fasten on 
either side of her waist to hip area.  Once laced to fit, she can put it 
on & fasten it using either of two vertical rows of small hooks & eyes 
mounted on heavy tape.   She prefers her corselet to either the modern 
bra or stretchable girdle, and orders one per year from the same company 
in New York that provided her mother a similar undergarment.  Her 
daughters have never been able to persuade her otherwise, much to their 
embarrassment when they go shopping and try on clothes.  I secretly 
think she's right, however; elastic and underwires are the bane of my 
existence.

Susannah

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From owner-h-costume@indra.com  Tue Feb 16 17:39:13 1999
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Date: Tue, 16 Feb 1999 17:39:11 -0500
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From: KATHY HOOVER <khoover@wvnvm.wvnet.edu>
Subject: Re: H-COST: 1930s corsets
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-Poster: KATHY HOOVER <khoover@wvnvm.wvnet.edu>

At 09:22 AM 2/16/99 -0700, you wrote:
>
>-Poster: Sylvia Rognstad <sylvia@netherworld.com>
>
>A woman on another email list recently found a pink corset dated 1932.
>All I recall of the description is that it laces up the front and has
>buckles.  Since corsets were not widely used by that decade, who might
>this kind of one been intended for?  Anyone know?
>Sylvia R

Sylvia, et al,

My Grandmother, born in 1896, wore what we would think of as maybe a World
War I era corset until she died in 1968.  It did not have the bust section,
it started at about the midriff and went down to an inch or so below the
hip sockets.  I remember laces for tightening, hooks and eyes instead of
buckles, heavy cotton in a shrimpy-pink color, with garters at the bottom.
I can't say for certain if there was any boning, but it seems there was
something vertical, probably quilt-stitching.  She called it a girdle, not
a corset, but it was not stretchy in any way like we'd think of a girdle.
I should ask my Mom sometime what she remembers about it.  Thirty years is
a long time for me to try to remember all the details.  But I do remember
looking at it in my childhood and thinking ugh.  She always wore a hairnet,
too.  

Kathy Hoover
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From: "Susannah Eanes" <oh_susannah@hotmail.com>
To: h-costume@indra.com
Subject: Re: H-COST: 1930s corsets
Date: Tue, 16 Feb 1999 15:06:42 PST
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-Poster: "Susannah Eanes" <oh_susannah@hotmail.com>


>Sylvia, et al,
>
>My Grandmother, born in 1896, wore what we would think of as maybe a 
World
>War I era corset until she died in 1968.  It did not have the bust 
section,
>it started at about the midriff and went down to an inch or so below 
the
>hip sockets.  I remember laces for tightening, hooks and eyes instead 
of
>buckles, heavy cotton in a shrimpy-pink color, with garters at the 
bottom.
>I can't say for certain if there was any boning, but it seems there was
>something vertical, probably quilt-stitching.  She called it a girdle, 
not
>a corset, but it was not stretchy in any way like we'd think of a 
girdle.
>I should ask my Mom sometime what she remembers about it.  Thirty years 
is
>a long time for me to try to remember all the details.  But I do 
remember
>looking at it in my childhood and thinking ugh.  She always wore a 
hairnet,
>too.  
>
>Kathy Hoover
> 

Yes, this sounds very much like the garment my grandmother still wears 
to this day (see my recent post.)

Susannah

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From owner-h-costume@indra.com  Tue Feb 16 18:14:26 1999
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-Poster: Lois <books@woodenporch.com>

I believe that women wore corsets into the 1940's. I remmember my
grandmother and great aunt wearing them. They were pink striped
and laced up the front and had stays. They did not cinch the waist
in but gave a straight silhouette. They were both in their 50's at
this time, so maybe corsets were only worn by older women.

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


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From owner-h-costume@indra.com  Tue Feb 16 18:26:27 1999
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Date: Tue, 16 Feb 1999 18:26:31 -0500
To: H-Costume@indra.com
From: KATHY HOOVER <khoover@wvnvm.wvnet.edu>
Subject: H-COST: H-Cost: another question from Ewing
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-Poster: KATHY HOOVER <khoover@wvnvm.wvnet.edu>

Hi -

Thanks to Margo and Lisaleon for the help on the cache-corset question
yesterday.  

Riding the crest of good luck, I thought I'd ask another one.

Ewing also mentions that just at the close of World War I (1918) the
British tried to introduce a "National Standard Dress" for women.  This
garment which had no hooks, eyes, or metal buckles, was to be all things to
all people and was intended to be worn for outdoor wear, house wear, rest,
tea, dinner, evening, and even a night gown.  Needless to say it was never
accepted.

My question:  has anyone ever seen an extant garment or a picture.  I'd
love to have a further description.

Thanks as always,
Kathy Hoover
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From owner-h-costume@indra.com  Tue Feb 16 18:29:56 1999
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 <Pine.SOL.3.95.990216092031.28612A-100000@isis.netherworld.com>
References: <199902141334.IAA24353@mail.niagara.com>
Date: Tue, 16 Feb 1999 15:38:18 -0800
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From: Lynn Downward <ldownward@mail.cho.org>
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-Poster: Lynn Downward <ldownward@mail.cho.org>

>-Poster: Sylvia Rognstad <sylvia@netherworld.com>
>
>A woman on another email list recently found a pink corset dated 1932.
>All I recall of the description is that it laces up the front and has
>buckles.  Since corsets were not widely used by that decade, who might
>this kind of one been intended for?  Anyone know?
>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
>


Only about fifteen years ago, I found five or six in a Goodwill in Oakland,
CA.  They were heavily boned and laced in a weird way, laced on the outside
in a second layer of fabric on the back, hooking up the front.  By ehavily
boned, I mean that the main bones front and center didn't bend between the
breasts and high hips.  I found out that they were corsets for women who
had bad backs, and I shamelessly pillaged the bendable stays and laces for
corsets I was making.

LynnD
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From owner-h-costume@indra.com  Tue Feb 16 18:49:08 1999
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Date: Tue, 16 Feb 1999 18:52:48 -0500 (EST)
From: "Betsy R. Delaney" <betsy@hawkeswood.com>
To: h-costume@indra.com
Subject: Re: H-COST: Swedish FO- described
In-Reply-To: <36C9B92E.C8B1BA1D@gte.net>
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-Poster: "Betsy R. Delaney" <betsy@hawkeswood.com>

When I've got the photos back from the Official Photographer, and have
them scanned in and html-ized, they will be available at
www.Costume-Con.org. I'm presently working on updating the info I have,
and I should be posting the con details, committee members, masquerade
participants and awards in the next couple of days. You'll be able to find
these documents by going to:

	http://www.Costume-Con.org/whatsnew.html

For details about the next CC (18), see:

	http://www.Costume-Con.org/timeline.html

Thanks!

-betsy

On Tue, 16 Feb 1999, Lady Eleanor wrote:

> 
> -Poster: Lady Eleanor <hekav@gte.net>
> 
> Greetings Betsy and Judy,
> 
> WOW!  I wanna see!  I wanna see!!
> 
> I'm sure we'd ALL like to be able to view this wonderful
> sounding gown!
> Could you please post URL?
> 
> Thanks,
> Lady Eleanor
> 
> Betsy R. Delaney wrote:
> > 
> > -Poster: "Betsy R. Delaney" <betsy@hawkeswood.com>
> > 
> > Oh, dear heaven...
> > 
> > Judy, do you mind if I take this description, or something very like this,
> > and put it up with your entry photos when I have them back from Ken
> > Warren?
> > 
> > Pictures are pretty, but don't convey everything if you can't step up and
> > ask the costumer.
> > 

--

Betsy R. Delaney
Webmistress at large
Costume-Con(R) Archivist

***************************************************************************
                 betsy@hawkeswood.com or betsy@ability.net
           http://www.hawkeswood.com/, home of Hawkeswood Designs
         and http://www.Costume-Con.org/, home of Costume-ConNections
***************************************************************************




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From owner-h-costume@indra.com  Tue Feb 16 18:59:27 1999
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-Poster: AlbraKat@aol.com

With all this discussion of the "plastic whalebones " going on , I'm not clear
on whether people were lumping in the electrical tie-wraps, as well. Some of
us have used with very great success electrical cable /tie wraps as an
alternative to the  plastic stuff in the fabric stores --or to the metal.
Electrical cable--or tie wraps come in varying sizes and widths.I like the 5/8
inche wide black ones.They seem to support most people the best.I am a 38
D---and my best friend is a DD, and they hold up very well, indeed.These  can
be purchased in home improvement centers and 
electrical supply shops. I hit upon them quite by accident at work some years
ago. I work in the telephony industry --and noticed these  items being thrown
away in the trash  at the finish of a new  telephone cabling project . A light
bulb went off in my head---and I've been using them ever since. Plus the price
was right---free!!! 
cheers !
albra
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From owner-h-costume@indra.com  Tue Feb 16 20:05:33 1999
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Date: Tue, 16 Feb 1999 20:20:11 -0500
To: h-costume@indra.com
From: Sue Shatto <Sue@VictorianMillinery.com>
Subject: H-COST: Kool Aid
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-Poster: Sue Shatto <Sue@VictorianMillinery.com>

List,
	I remember some people on the list talking about using Kool Aid as a cold
water dye.  What proportion of water did you use for each packet?  Thank you!


Cordially,

Sue Shatto

Sue@VictorianMillinery.com
http://www.VictorianMillinery.com

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From owner-h-costume@indra.com  Tue Feb 16 20:47:46 1999
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-Poster: MzScahlett@aol.com

Mary, I need to reach you to order one of your lovely snoods for  a theatrical
venture, and my 1997 catalogue only has a fax number.  I need to know how
quickly it can be shipped. Please e-mail me current info, or just e-mail me
off list so we can discuss this.

angela lazear
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-Poster: "Megan McHugh" <mchug@mindspring.com>

What company in NY makes this?  Do you have an address?

-----Original Message-----
From: Susannah Eanes <oh_susannah@hotmail.com>
To: h-costume@indra.com <h-costume@indra.com>
Date: Tuesday, February 16, 1999 5:37 PM
Subject: Re: H-COST: 1930s corsets


>
>-Poster: "Susannah Eanes" <oh_susannah@hotmail.com>
>
>
>
>
>>-Poster: AlbertCat@aol.com
>>
>>In a message dated 2/16/99 11:32:35 AM Eastern Standard Time,
>>sylvia@netherworld.com writes:
>>
>><< 
>> A woman on another email list recently found a pink corset dated 1932.
>> All I recall of the description is that it laces up the front and has
>> buckles.  Since corsets were not widely used by that decade, who might
>> this kind of one been intended for?  Anyone know?
>>  >>
>>
>>I'm sure many older women in the '30s did not abandon their 
>corsets....maybe
>>during the day they did but to "dress up" they might feel wrong without 
>one.
>>[did your grandmother burn her bra in the '70s?] Remember, it had only 
>been
>>about 2 decades since corsets were considered "necessary". I've also 
>seen some
>>heavily boned girdle-like contraptions from the '30s.
>> 
>
>
>My lovable and amply built grandmother, aged 89, still wears something 
>she calls a "corselet," which resembles somewhat the turn-of-the-century 
>Edwardian corset, and does not quite support the bust.  (She has a 
>rather large bustline, but is quite used to the droop.  Sorry for the 
>graphic picture that probably brought to mind).   Made of heavy cotton 
>poplin-type fabric, and plentifully boned, it completely shrounds her 
>from just under the bust to her upper thigh, and has both shoelace-type 
>lacing in the back and three adjustable buckled stays that fasten on 
>either side of her waist to hip area.  Once laced to fit, she can put it 
>on & fasten it using either of two vertical rows of small hooks & eyes 
>mounted on heavy tape.   She prefers her corselet to either the modern 
>bra or stretchable girdle, and orders one per year from the same company 
>in New York that provided her mother a similar undergarment.  Her 
>daughters have never been able to persuade her otherwise, much to their 
>embarrassment when they go shopping and try on clothes.  I secretly 
>think she's right, however; elastic and underwires are the bane of my 
>existence.
>
>Susannah
>
>______________________________________________________
>Get Your Private, Free Email at http://www.hotmail.com
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-Poster: "BlackCat =^..^=" <BlackCat@BlueNeptune.Com>

Oooh.  I didn't know you had a catalog.  Can I have one? :)

MzScahlett@aol.com wrote:

> Mary, I need to reach you to order one of your lovely snoods for  a theatrical
> venture, and my 1997 catalogue only has a fax number.  I need to know how
> quickly it can be shipped. Please e-mail me current info, or just e-mail me
> off list so we can discuss this.

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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: patch
Date: Tue, 16 Feb 1999 21:53:45 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

They were made of black silk, stuck on with gum arabic.
Period accounts frequently mention their use to cover
pimples.  They were used to cover any skin flaw, or simply
to add allure.  The picture of the woman with a "coach and
four" on her forehead I mentioned earlier was very dilicate
and elaborate, like a complex paperschnitten silhouette.  It
went from her right hairline 3/4 of the way across her
forehead, stopping at the middle of the left eyebrow.  I'm
not making this up!  I would compare this one to the
temporary tattoos people sport at hockey games myself, but
they were worn by "ladies of quality" and town women of many
social classes and occupations.

Hope H. Dunlap

-----Original Message-----
From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
Behalf Of Emma Elizabeth Lehman
Sent: Tuesday, February 16, 1999 5:34 PM
To: h-costume@indra.com
Subject: H-COST: patch



-Poster: Emma Elizabeth Lehman <00217146@bigred.unl.edu>


One of the things I've never understood/been able to picture
about patches
is how they physically worked.  I had originally heard
(Read:
potential costuming myth) that they were made of black
velvet.  The little
work I've done with velvet had me imagining little bits of
black fluff
fraying off all over their pale complexions....and that just
didn't seem
right!  What were patches made of? How did they hold
togeather when cut
out?  How big were they?  (thinking of the carriage and
four...) How did
they stay on?

--Emma (who has very little knowledge of this time period,
save for one
costume dress fondly known as "Pinky")


____________________________________________________________
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-Poster: kathleen@niagara.com


>The velar fricatives? The velar fricatives? What are the velar fricatives?
>Can you eat them? Do they hurt? Is it safe to be in one room with them?

<g> Och, if ye can say it's a braw, bricht, moon-licht nicht then yer aw'
richt, ye ken!

(It didn't hurt much, but I'm not sure if it was safe to be in the room with
me at the time..)

Kathleen
 

                                                ()
                                              _/)(\_
"Tehee!" quod she, and clapte the wyndow to    /~~\
                                              /____\

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-Poster: EofAshley@aol.com

Did ye have ta mop doon after that one, lass?

Karla %:-)
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From: Melanie Wilson <MelanieWilson@compuserve.com>
Subject: H-COST: Steel or plastic?
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-Poster: Melanie Wilson <MelanieWilson@compuserve.com>

Have you tried the spiral steel boneing ?, I use those for my 18th C
corsets and they are extreemly comfortable

Mel
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Date: Tue, 16 Feb 1999 23:10:46 -0800
From: Lady Eleanor of Leycestershyre <hekav@gte.net>
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-Poster: Lady Eleanor of Leycestershyre <hekav@gte.net>

Greetings Susannah!

I've been meaning to try this myself.  I'll try this wider
type after I finish my current project.  I am working on new
late 16th c. Elizabethan corset, and I'm making it from
heavy Belgian linen, hand-stitched with genuine linen
(20/2...which is a little thick, but best I could find),
lined in linen, and covered with silk, and hand-made lacing
holes.  I'm using ossiers (reeds) as is shown in Arnold,
Patterns of Fashion.  The book has photos of an existing
period corset where each channel is filled with between 20
and 24 individual reeds. 

I did a mock of this type, and find it a great deal more
supportive and comfortable than my double spring steel boned
number....and it is perfectly period!  :-)

Just my two groats worth...

In service,
Eleanor, Lady Leycestershyre

Susannah Eanes wrote:

snipped

 We cut wood boning from two types of cane --the
> type you buy for $7.00 or so per 30 to 50 foot package for weaving
> baskets.  The 5/8 to 3/4 -inch width with one rounded, one flat side is
> great for larger persons, it is flexible enough to bend yet is very
> strong. 
> 
> Susannah
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-Poster: Lady Eleanor of Leycestershyre <hekav@gte.net>

No I haven't...I'd like to get/stay away from steel if
possible, as I don't want rust ruining my needlework...and,
I just haven't figured out a really trick way of making them
removeable.  Not a problem with my spanish farthingale...but
the corset is a different matter.  :-)
I've seen the spiral steel, in catalogs, and often
wondered.  I trying to get to a more "authentic" place with
my costuming.  :-)  Therefore, the ossiers.  Have yet to lay
hands on any whalebone...plastic, or otherwise.  :->

-Eleanor
(This was directed towards me, yes?  Or was it?  If
not...sorry.  :-)

Melanie Wilson wrote:
> 
> -Poster: Melanie Wilson <MelanieWilson@compuserve.com>
> 
> Have you tried the spiral steel boneing ?, I use those for my 18th C
> corsets and they are extreemly comfortable
> 
> Mel
>  _________________________________________________________________
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Subject: Re: H-COST: surviving bliaut?
References: <199902151837.TAA29272@worldonline.nl>
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-Poster: Charlene Charette <charlene@flash.net>

Henk 't Jong wrote:

> Will you keep us posted? It's a very curious statement; lettering in a
> bliaut. It looks suspiciously like the Kufic inscription in the border of
> the silk crowning mantle of Roger II of Sicily (dated 1133), which is kept
> in.... The Kunsthistorisches Museum in Wien.
>
> Has somebody made a mistake?

That was my first thought -- is it really a bliaut?  I wasn't aware that there
were any existing.  When I was still on Compuserve I "met" a lady living in
Vienna.  I had a few questions about Roger's mantle and she kindly stopped by
and had a look for me.  She even sent me a postcard of his gloves.

> (who is not impressed with Joan Evans' work; alright for her time, but in
> most parts overtaken by recent research)

The older books are good to pick up at the library when they have lots of
photos.  I usually just skim the text and this caught my eye.  She also had a
footnoted reference to a period source describing the removal of the mantle
when in the presence of a noble.  I had heard this before, but with no
documentation.  Now I have a reference that I can look up.

--Charlene

--
The discontent of the people is more dangerous to a monarch than all the might
of his enemies on the battlefield.  -- Isabella d'Este




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From owner-h-costume@indra.com  Wed Feb 17 05:12:14 1999
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From: Pompadour <marquise_de_pompadour@gmx.net>
Subject: H-COST: 1880s skirt drapery
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-Poster: Pompadour <marquise_de_pompadour@gmx.net>

hi list,

i'm planning to make a late 1880s bustle dress, so i'd like to buy the
fabric when i'm in singapore next month (the silk is just so cheap there!).

now i don't know a thing about a skirt drapery was made. being far from
home i don't have any of the books at hand to look it up, and i doubt they
would tell me all i need to know if i had. 

i have only a sketch of the drapery pattern. according to it,  it's about a
metre wide and 3.5 metres long and completely asymmetric. am i looking at
half of the pattern, or is the drapery really supposed to be asymmetric -
and 7 (seven!) metres long?

as for the draping tecxhnique: i honly have a numberof little x'es and dots
to mark the folds. does anybody on this list know enough about draperies to
interpret it and maybe even imagine what the finished drapery would look
like? the illustration of the finished  garment is missing as well.

ciao,
yo



marquise_de_pompadour@gmx.net -  www.costumegallery.com/pompadour/

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From owner-h-costume@indra.com  Wed Feb 17 07:22:46 1999
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From: sue-historian@writeme.com
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Subject: H-COST: The *necessity* of 1930s corsets
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-Poster: sue-historian@writeme.com

In a recent posting 
AlbertCat@aol.com  wrote
>I’m sure many older women in the ‘30s did not abandon their >corsets....maybe during the day they did but to “dress up” they might feel >wrong without one.  [did your grandmother burn her bra in the ‘70s?] >Remember, it had only been about 2 decades since corsets were >considered “necessary”. 

I agree, if you look at mail order catalogues for the 1920s and 30s there are corsets pictured which are well boned, laced and busked.  There was no desire for the small waist,  the aim was an ironing board flat stomach and to be generally well held in.   In the 20s it was only the very fashionable (or unfashionable) women who went without corsets.

Besides the shape there was, as another post mentioned, the "support" aspect.  There was a widely held opinion that female stomach muscles were so weak that if left uncorseted terrible things might happen to your insides.  Also there was the "respectable" aspect - loose women etc.

Even 1930 garter belts were boned and fastened with hooks and eyes.

Sue


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Date: Wed, 17 Feb 1999 11:55:50 +0000 (GMT)
From: Teddy <Teddy@mdx.ac.uk>
Subject: H-COST: plastic whalebones
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-Poster: Teddy <Teddy@mdx.ac.uk>

> - -Poster: <aquazoo@patriot.net
>
> The plastic boning some people are talking about is fairly new, and
> I believe comes from Germany. It is very thick, about 1/8". It is
> very stiff and looks like it could stop bullets. It seems to be
> stiffer than the steel bones, and might be better suited for hoops
> & farthingales rather than corsers. I hear it is also difficult to
> cut. 

I have a couple of rolls of this, but haven't actually *used* any 
yet (I must get that 18th C corset finished!).  The thicker stuff 
seems about the same flexibility as the flat steels I've used, the 
thinner stuff is slightly more flexible.

I found it very easy to cut.  The thinner needs only scissors and the 
thicker, I scored heavily with a Stanley Knife then it snapped neatly 
along the sore-line.  The corners can be rounded by cutting or 
sanding.

Hope this helps
Teddy
(Trustworthy Evil-Bunny of Destiny, part-time Knave and Creature of
air and darkness, apparently!)
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From owner-h-costume@indra.com  Wed Feb 17 08:15:41 1999
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From: "Mariea M. Goodinson-Dillenkofer" <stassja@bellatlantic.net>
Subject: H-COST: plastic boning
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-Poster: "Mariea M. Goodinson-Dillenkofer" <stassja@bellatlantic.net>

I prefer plastic boning to steel. The stuff I get is actually stiffer than
the steel but not brittle. Easier to care for the garments - no fear of
rust creeping through any type of coating on steel. I bought some steel
boning to experiment with but it's still in the bag from when I bought it.
I keep telling myself I'll use it sometime but I haven't been willing to
give up the ease of using the plastic boning yet.  ;)

I'm about 5'5, 140lbs and a 36C and have no problems with support with the
plastic boning. I put it in the front, about every inch and occasionally
put some in the back for a smooth silhouette. I don't make my corsets with
a busk in front but I would imagine that would tame even the stubbornest
curves. <grin>

Actually, the plastic stuff I use comes in a roll from a company called
Endsdown Enterprises. I had to buy a 100yd minimum but it's way better than
anything I've found in stores and, as I said, stiffer than the steel but
with plenty of spring. It was around 40 cents a yard at the time (2 years
ago), if memory serves me. The plastic is fused to the fabric covering so
you don't have slipping & sliding either.

In the Renaissance, we might've used whalebone (actually baleen) or reeds
and I've found the plastic makes a nice approximation to those.  :)

Just my 2 cents,

Rie


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From owner-h-costume@indra.com  Wed Feb 17 08:24:39 1999
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From: "Chandler, Sally" <S.A.Chandler@shu.ac.uk>
To: "'h-costume@indra.com'" <h-costume@indra.com>
Subject: RE: H-COST: plastic whalebones
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-Poster: "Chandler, Sally" <S.A.Chandler@shu.ac.uk>

I agree with Teddy.  I have made a couple of corsets from the German stuff 
and it seems ideal - I'm told it is as close to the properties of real 
whalebone as anything can be, provided you use the same thickness as the 
originals were.  It doesn't bow out over my rather round tummy and holds me 
upright after a full day selling cloth at the Re-enactors Faire.  I don't 
have any problems cutting it and the ends can be sanded to stop sharp edges 
digging in.

Sally Ann

-----Original Message-----
From:	Teddy [SMTP:Teddy@mdx.ac.uk]
Sent:	Wednesday, February 17, 1999 11:56 AM
To:	h-costume-digest@indra.com
Subject:	H-COST: plastic whalebones


-Poster: Teddy <Teddy@mdx.ac.uk>

> - -Poster: <aquazoo@patriot.net
>
> The plastic boning some people are talking about is fairly new, and
> I believe comes from Germany. It is very thick, about 1/8". It is
> very stiff and looks like it could stop bullets. It seems to be
> stiffer than the steel bones, and might be better suited for hoops
> & farthingales rather than corsers. I hear it is also difficult to
> cut.

I have a couple of rolls of this, but haven't actually *used* any
yet (I must get that 18th C corset finished!).  The thicker stuff
seems about the same flexibility as the flat steels I've used, the
thinner stuff is slightly more flexible.

I found it very easy to cut.  The thinner needs only scissors and the
thicker, I scored heavily with a Stanley Knife then it snapped neatly
along the sore-line.  The corners can be rounded by cutting or
sanding.

Hope this helps
Teddy
(Trustworthy Evil-Bunny of Destiny, part-time Knave and Creature of
air and darkness, apparently!)
 _________________________________________________________________
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From owner-h-costume@indra.com  Wed Feb 17 08:34:17 1999
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From: pulliam@acadia.net (Deborah Pulliam)
Subject: H-COST: corsets
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-Poster: pulliam@acadia.net (Deborah Pulliam)

<<A woman on another email list recently found a pink corset dated 1932.
All I recall of the description is that it laces up the front and has
buckles.  Since corsets were not widely used by that decade, who might
this kind of one been intended for?  Anyone know?>>


Go rent Radio Days (Woody Allen movie from the 1980s) -- takes place just
as WWII is breaking out. There's a great scene of the central character's
grandmother being squeezed into her corset.

They were still being worn.




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From owner-h-costume@indra.com  Wed Feb 17 09:35:11 1999
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From: CDepner26@webtv.net (Harold Hensley)
Date: Wed, 17 Feb 1999 09:39:20 -0500 (EST)
To: h-costume@indra.com
Subject: H-COST: Ossiers
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-Poster: CDepner26@webtv.net (Harold Hensley)

I am also interested in making an Elizabethan corset and would like to
know if anyone could give me the name of suppliers of ossiers.  I would
also like to know how you would launder the corset once the ossiers are
inserted.

Melissa

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From owner-h-costume@indra.com  Wed Feb 17 10:33:31 1999
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From: Anne Foote <anne_foote@yahoo.com>
Subject: H-COST: Re: 1930 corsets
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-Poster: Anne Foote <anne_foote@yahoo.com>

A recent post on 1930 corsets mentioned the necessity of corsets.  I
remember an aunt, in the sixties telling my mother that at the age of
15 I should wear a proper corset rather than a roll on.  I think she
saw roll ons as inadequate support for the young figure.  My aunt was
well corseted, but not wasp waisted.  I seem to remember that even as
a well built middle aged woman with middle age spread she had no tummy
protrusion - she was ironing board flat !

Some of those 1930s corsets had an additional underbelt - boned and
hook and eyes, which went across the tum - I''ve seen the pictures. 
Why ?  The corsets looked quite strong enough to me !

Anne





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From: "Ella Lynoure Rajamaki" <lynoure@tuug.org>
Organization: Lyninine Federation
To: h-costume@indra.com
Date: Wed, 17 Feb 1999 17:56:26 +2
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Subject: Re: H-COST: plastic whalebones
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-Poster: "Ella Lynoure Rajamaki" <lynoure@tuug.org>

On 16 Feb 99, at 16:43, AlbertCat@aol.com wrote:


> I want some! Is there any source for this wonderful sounding stuff on my side
> of the globe?

Farthingale Fabrics in Canada sells two sizes of it: 10mm x 
1mm and 7mm x 1mm. Their homepage can be found at 
http://www.fathingale.on.ca

 

--
-------(c) 1999--------------*        lynoure@tuug.org      *
Ella Lynoure Rajamaki--------* http://www.tuug.org/~lynoure *
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From: "Stayce V. Mehard" <svm9k@server1.mail.virginia.edu>
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-Poster: "Stayce V. Mehard" <svm9k@server1.mail.virginia.edu>


There is an excellant resource for persons interested in 
factual data regarding Cinese Footbinding of women.  The 
book, "Splendid Slippers" should provide answers to any and 
all questions on the practice.  It is currently in print.



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From owner-h-costume@indra.com  Wed Feb 17 11:38:38 1999
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-Poster: "Hope A. Greenberg" <hag@zoo.uvm.edu>



In Arnold's Pattern's of Fashion 1560-1620, p. 46, she shows a corset that
uses bents (reeds) as the stiffener. Has anyone made a similar corset,
perhaps using broomstraw? 

-----------------
hope.greenberg@uvm.edu, U of Vermont, http://www.uvm.edu/~hag



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Subject: Re: H-COST: plastic whalebones - a word of clarification
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-Poster: Yoshiwara <costume@gmx.net>



i never thought my innocent ordering would break loose an avalanche about a
topic i thought was well worn. anyway, i think i should throw my own 2 yen=
 in.

the plastic boning the original poster asked about is probably the stuff
aquazoo@patriot.net described:

>=A0=A0=A0=A0 The plastic boning some people are talking about is fairly=
 new, and=20
>I believe comes from Germany. It is very thick, about 1/8". It is very=20
>stiff and looks like it could stop bullets. It seems to be stiffer than=20
>the steel bones, and might be better suited for hoops & farthingales=20
>rather than corsers. I hear it is also difficult to cut.

it has nothing at all to do with rigilene. as lyn has already pointed
out, it comes in various sizes, from 1 mm x 4 mm via 1x5, 1x6, 1x10,
1.5x12 and=
 so
on. the latter is so stiff you can use it as a walking-stick. well, not
really,
but you get the drift. ;)

the 1x10 variety worked fine for me in 17th and 18th century corsets. i put=
 in
a bone every 1-4 cm, depending on how stiff i want it. maybe i should also
mention that i am not on the skinny side. :)=A0=20

i've also used steel spirals once, but i found them flimsy by comparison.=
 they
bend more easily, but for the straight lines of pre-victorian corsets, i=
 like
the rigidity of the plastic better.
rigilene has the advantage of bending sideways, so i think it would be good
for
the horizontal boning in 18th century corsets. i have yet to try it, though.=
=20

and lastly, about cutting the plastic boning: at least you *can* cut it to=
 the
length you need.=20
how do people do that with steel? i use a paper or carpet cutter to deeply
scratch the surface on one side, then bend until it breaks exactly along the
scratch. then i often cut the ends round with that kind of tongs you use for
cutting wire, what are they called?


ciao,
yo






Yours, etc, Yoshiwara, M.A. (Unseen University), AKA=20
His Excellency, etc, the Minister of Silly Walks (Ms),
Mistress of the Costume Ring, Couturi=E8re to the=20
Marquise de Pompadour
<http://www.costumegallery.com/pompadour>http://www.costumegallery.com/pompa
dour
<http://www.geocities.com/Vienna/4440>http://www.geocities.com/Vienna/4440
<http://www.geocities.com/Paris/4432>http://www.geocities.com/Paris/4432 =20


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From: "Susannah Eanes" <oh_susannah@hotmail.com>
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Subject: Re: H-COST: 1930s corsets
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-Poster: "Susannah Eanes" <oh_susannah@hotmail.com>


>-Poster: "Megan McHugh" <mchug@mindspring.com>
>
>What company in NY makes this?  Do you have an address?
>
>>-Poster: "Susannah Eanes" <oh_susannah@hotmail.com>

>>>sylvia@netherworld.com writes:
>>>
>>><< 
>>> A woman on another email list recently found a pink corset dated 
1932.

>>
>>My lovable and amply built grandmother, aged 89, still wears something 
>>she calls a "corselet,"
   She prefers her corselet to either the modern 
>>bra or stretchable girdle, and orders one per year from the same 
company 
>>in New York that provided her mother a similar undergarment.  

>>Susannah
>>

Grandmother used to order from Sears, then from the old "Pueblo" 
company, then from "some corset company in New York."  The old "Pueblo" 
comapny quit carrying them, but forwarded her request on to this new 
company.  She is looking the name of the company  up and I will post to 
the list as soon as she finds it, probably this afternoon.  


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From owner-h-costume@indra.com  Wed Feb 17 12:02:06 1999
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From: Merouda the True <keltia@serv.net>
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-Poster: Merouda the True <keltia@serv.net>

> Besides the shape there was, as another post mentioned, the "support" aspect.  There was a widely held opinion that female stomach muscles were so weak that if left uncorseted terrible things might happen to your insides.  Also there was the "respectable" aspect - loose women etc.

Not just a females.  My father's entire family were forced by their father to wear corsets based on this opinion, boys and girls alike.  My uncle finally said NO!

Cynthia

--
Cynthia Long
Merouda of Beaumaris
Barony of Madrone
Kingdom of An Tir


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From owner-h-costume@indra.com  Wed Feb 17 12:04:39 1999
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-Poster: AlbertCat@aol.com

I know all this is OT..... but also very amusing. The only Scottish dialect I
can ever recall is from "The Simpsons".... when Willy auditions for Homer's
singing group with that famous Petula Clark hit "Doon Toon"!
 Besides, who doesn't know that there is nothing sexier that a Scottish
accent?
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-Poster: AlbertCat@aol.com

In a message dated 2/17/99 5:17:06 AM Eastern Standard Time,
marquise_de_pompadour@gmx.net writes:

<< as for the draping tecxhnique: i honly have a numberof little x'es and dots
 to mark the folds. does anybody on this list know enough about draperies to
 interpret it and maybe even imagine what the finished drapery would look
 like? the illustration of the finished  garment is missing as well.
  >>


The key word here is "drapery". The pattern is just a general outline. To get
it "right" you simply have to drape it on a dummy. Buy more than enough fabric
& then you will have room to play. And, yes, many 1880s bustles are
asymetrical.
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From: Melanie Wilson <MelanieWilson@compuserve.com>
Subject: H-COST: Steel spiral boning
To: "INTERNET:h-costume-digest@indra.com" <h-costume-digest@indra.com>
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-Poster: Melanie Wilson <MelanieWilson@compuserve.com>

I thought the need was for later garb, not your period ! Eleanor , Oh well,
they don't rust by the way

Mel
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From: Sally Norton <ritz@home.com>
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-Poster: Sally Norton <ritz@home.com>


The Great Pattern Review has been updated. Many of you have
contributed reviews and photos. We are extremely appreciative
of your participation. The GPR is an ongoing project of 
the Greater Bay Area Costumer's Guild.

Visit the GBACG website and click on Great Pattern Review:
http://www.toreadors.com/costume

We now have reviews of 170 different patterns. More will
continue to be added. We've also added many photographs.

All of us that work on the pattern review hope you find it
useful. We invite you to contribute your reviews. With the
cost of patterns continuing to rise, we can all help each
other by sharing our knowledge.

Thank you all for your interest in the pattern review.


Sally Norton
GBACG Events Coordinator




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From owner-h-costume@indra.com  Wed Feb 17 13:00:13 1999
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Date: Wed, 17 Feb 1999 12:59:51 -0500 (EST)
From: aleed <aleed@dnaco.net>
To: h-costume@indra.com
Subject: Re: H-COST: Ossiers
In-Reply-To: <16538-36CAD498-200@mailtod-282.iap.bryant.webtv.net>
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-Poster: aleed <aleed@dnaco.net>



You can find osiers, or lengths of willow, at many basketry supply stores.
Ask for willow caning.

Actually, from what I've heard, using bunches of smaller reeds (rather
like broom straw) bound together and inserted into channels of the corset
is the most documentable type of stiffening, plus it's firm yet flexible
enough so that it provides comfortable, breathable support yet won't snap
and break like stiffer caning can.  As I haven't tried it myself, perhaps
other people on the list can provide first-hand information on both types 
of corset boning.

 I have a couple of sources for osiers listed on the web at
http://www.dnaco.net/~aleed/corsets/farthingale/materials.html

Good luck,

Drea

> 
> -Poster: CDepner26@webtv.net (Harold Hensley)
> 
> I am also interested in making an Elizabethan corset and would like to
> know if anyone could give me the name of suppliers of ossiers.  I would
> also like to know how you would launder the corset once the ossiers are
> inserted.
> 
> Melissa
> 
>  _________________________________________________________________
>  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 Feb 17 13:27:09 1999
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Date: Wed, 17 Feb 1999 13:10:08 -0800
From: Heather Law <lynnx@mc.net>
Organization: Interstellar Trading Company
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Subject: H-COST: Polish costume
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-Poster: Heather Law <lynnx@mc.net>

There is a posting on the alt.history.costuming newsgroup asking for a
picture of the traditional Polish wedding dress and headdress. Can
anyone suggest a good place to find one?
Carol Mitchell
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From owner-h-costume@indra.com  Wed Feb 17 13:42:07 1999
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-Poster: Margo Anderson <margo@directcon.net>


>I want some! Is there any source for this wonderful sounding stuff on my side
>of the globe?
>

Me too!  If the only way to get it is to buy a LOT, maybe we could all get
together and split an order?

Margo

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From owner-h-costume@indra.com  Wed Feb 17 13:47:06 1999
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-Poster: Margo Anderson <margo@directcon.net>

>  What were patches made of?

I Stage Makeup, richard Corson says they were made of black taffeta or
Spanish leather, usually red, or sometimes of gummed paper.

Margo Anderson

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From owner-h-costume@indra.com  Wed Feb 17 14:00:30 1999
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From: "Henk 't Jong" <scapreel@tip.nl>
To: <h-costume@indra.com>
Subject: Re: H-COST: Re: Scottish words (OT)
Date: Wed, 17 Feb 1999 19:44:16 +0100
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-Poster: "Henk 't Jong" <scapreel@tip.nl>

Henk & Pauline 't Jong
tScapreel
Medieval Advisors
Dordrecht, Netherlands

Hi,
 
> >The velar fricatives? The velar fricatives? What are the velar
fricatives?
> >Can you eat them? Do they hurt? Is it safe to be in one room with them?
> 
> <g> Och, if ye can say it's a braw, bricht, moon-licht nicht then yer aw'
> richt, ye ken!

I could say this!!!! And it sounded pretty authentic too!!! So we Dutch and
Scots must sound about the same to you...
> 
> (It didn't hurt much, but I'm not sure if it was safe to be in the room
with
> me at the time..)
> 
I can imagine the room getting a wee bit more damp...:-)


Henk
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From owner-h-costume@indra.com  Wed Feb 17 14:00:49 1999
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From: "Henk 't Jong" <scapreel@tip.nl>
To: <h-costume@indra.com>
Subject: Re: H-COST: Re: Scottish words (OT)
Date: Wed, 17 Feb 1999 20:01:03 +0100
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-Poster: "Henk 't Jong" <scapreel@tip.nl>

Henk & Pauline 't Jong
tScapreel
Medieval Advisors
Dordrecht, Netherlands

Hi,
 
> I know all this is OT..... but also very amusing. The only Scottish
dialect I
> can ever recall is from "The Simpsons".... when Willy auditions for
Homer's
> singing group with that famous Petula Clark hit "Doon Toon"!
>  Besides, who doesn't know that there is nothing sexier that a Scottish
> accent?

How about Sean Connery? For a really excruciatingly scottish dialect listen
to people from Glasgow. And for a really phony one: Mel Gibson in
Braveheart. I laughed my head of during that film anyway...

Henk
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From: rio@austin.rr.com (StrangeGirl)
To: h-costume@indra.com
Subject: Re: H-COST: plastic whalebones
Date: Wed, 17 Feb 1999 19:20:28 GMT
Organization: The Corner of my Desk
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-Poster: rio@austin.rr.com (StrangeGirl)


the url for the bones page at farthingales is this:
http://www.farthingales.on.ca/bones.htm

It's illustrated now.

I'm probably going to order some:)

Margery
-----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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-Poster: "Henk 't Jong" <scapreel@tip.nl>

Henk & Pauline 't Jong
tScapreel
Medieval Advisors
Dordrecht, Netherlands



Hi:

I'm not impressed with Joan Evans' work; alright for her time, but in
> > most parts overtaken by recent research)
> 
> The older books are good to pick up at the library when they have lots of
> photos.  I usually just skim the text and this caught my eye.  She also
had a
> footnoted reference to a period source describing the removal of the
mantle
> when in the presence of a noble.  I had heard this before, but with no
> documentation.  Now I have a reference that I can look up.

You can't go far wrong with a period quote and footnote, but here also
caution is neccessary. If a writer quotes out of context, leaves certain,
maybe crucial, bits out, or if the quote is a quote from another quote,
which might be suspect, you can be put on the wrong foot easily. This is
not to say that you can't trust anybody or any quote, but it helps to get
to know primary sources (which can be translated wrong, too!!!!) or
trustworthy historians. I don't trust the late Dr. Evans that much, because
she sometimes argues cases on too little evidence and does not trust her
eyes too much. This is a very common defect with art-histerians. I know she
wasn't a real art-histerian but a medievist with strong art influences, but
she sounds like one. 

Can you tell I distrust art-histerians?

Henk








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From: "Susannah Eanes" <oh_susannah@hotmail.com>
To: h-costume@indra.com
Subject: H-COST: Grandma's Corset Company
Date: Wed, 17 Feb 1999 11:34:45 PST
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-Poster: "Susannah Eanes" <oh_susannah@hotmail.com>



>-Poster: "Megan McHugh" <mchug@mindspring.com>
>
>What company in NY makes this?  Do you have an address?
>
>>-Poster: "Susannah Eanes" <oh_susannah@hotmail.com>

>>>sylvia@netherworld.com writes:
>>>
>>><< 
>>> A woman on another email list recently found a pink corset dated 
1932.

>>
>>My lovable and amply built grandmother, aged 89, still wears something 
>>she calls a "corselet,"
   She prefers her corselet to either the modern 
>>bra or stretchable girdle, and orders one per year from the same 
company 
>>in New York that provided her mother a similar undergarment.  

>>Susannah
>>

Grandmother used to order from Sears, then from the old "Pueblo" 
company, then from "some corset company in New York."  The old "Pueblo" 
comapny quit carrying them, but forwarded her request on to this new 
company.  She is looking the name of the company  up and I will post to 
the list as soon as she finds it, probably this afternoon.  

The name of the corset company is:

Cortland Corset Co., Inc.
PO B 546
Cortland, NY  13045
(607) 756-7566

She read this to me from a flyer that is 2 years old, so verify the area 
code before you use it.  The model she uses is the "All-In-One" 
corselet, which you use with the old garter-type stockings.

Hope this helps!


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-Poster: MzScahlett@aol.com

In a message dated 2/17/99 05:39:15 Pacific Standard Time, pulliam@acadia.net
writes:

<< Since corsets were not widely used by that decade, who might
 this kind of one been intended for?  Anyone know?>>
  >>
Corsets were actually worn well into the 30s.  I've got tons of pics of them
in catalogues. They were not as tight and kinda turning into a full length-
brassiere, but they were time period appropriate.

angil
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From owner-h-costume@indra.com  Wed Feb 17 16:53:30 1999
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Date: Wed, 17 Feb 1999 13:49:34 -0800
From: Lady Eleanor of Leycestershyre <hekav@gte.net>
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-Poster: Lady Eleanor of Leycestershyre <hekav@gte.net>

Greetings,

I buy my ossiers at Craft Mart.  I should think that any
large craft store, or one that sells supply to basket
weavers would carry them.  :-)
Sorry I can't be more specific.

As to washing...even for a basket weaver to use the reeds,
which come fairly tightly coiled, it is necessary to soak
them in water to make them pliable.  I did the same with
mine and then hung the hank to dry mor uniformly
straight...although they still retain a slight curve, which
I anticipate will disappear with wear.  At any rate...I plan
on washing my corset by hand, then hang to dry.  The water
will not hurt the reeds...the linen and silk are pre-washed
for just this purpose.

Hope this helps.

In service,
Lady Eleanor



Harold Hensley wrote:
> 
> -Poster: CDepner26@webtv.net (Harold Hensley)
> 
> I am also interested in making an Elizabethan corset and would like to
> know if anyone could give me the name of suppliers of ossiers.  I would
> also like to know how you would launder the corset once the ossiers are
> inserted.
> 
> Melissa
> 
>  _________________________________________________________________
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-Poster: Lady Eleanor of Leycestershyre <hekav@gte.net>

I'm making the very one in Arnold, now.  Broomstraw? 
Hmmm...interesting thought...the only thing that comes to
mind is that broomstraw is rather more brittle than reeds,
and not as long.  Just my take.  ;-)

Eleanor
Hope A. Greenberg wrote:
> 
> -Poster: "Hope A. Greenberg" <hag@zoo.uvm.edu>
> 
> In Arnold's Pattern's of Fashion 1560-1620, p. 46, she shows a corset that
> uses bents (reeds) as the stiffener. Has anyone made a similar corset,
> perhaps using broomstraw?
> 
> -----------------
> hope.greenberg@uvm.edu, U of Vermont, http://www.uvm.edu/~hag
> 
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From owner-h-costume@indra.com  Wed Feb 17 18:36:37 1999
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To: h-costume@indra.com
From: debbie strub <tsuruko@silverlink.net>
Subject: Re: H-COST: Chinese foot-binding
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-Poster: debbie strub <tsuruko@silverlink.net>

Greetings,

   Do you have an author, ISBN, etc. on "Splendid Slippers"?  It sounds
interesting.
   Another good book on this subject is "Chinese Footbinding" by Howard S.
Levy.  It was out of print for a while but I think it may have recently
been re-issued.

Deb



At 09:42 AM 2/17/99 -0700, you wrote:
>
>-Poster: "Stayce V. Mehard" <svm9k@server1.mail.virginia.edu>
>
>
>There is an excellant resource for persons interested in 
>factual data regarding Cinese Footbinding of women.  The 
>book, "Splendid Slippers" should provide answers to any and 
>all questions on the practice.  It is currently in print.
>
>
>
> _________________________________________________________________
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Subject: H-COST: stiffening/stays
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-Poster: pulliam@acadia.net (Deborah Pulliam)

<< using bunches of smaller reeds (rather
like broom straw) bound together and inserted into channels of the corset>>

This is the way Queen E's is done (the one from the effigy in Westminster
Abbey). It has been confirmed that it was a used/worn set of stays; i.e.
from QE's wardrobe, not simply made for the effigy.


Deborah


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From owner-h-costume@indra.com  Wed Feb 17 19:01:39 1999
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-Poster: CDepner26@webtv.net (Harold Hensley)

Are the smaller reeds also available though basketry suppliers?

Melissa

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-Poster: "Kathryn L. Herb" <kayherb@juno.com>



Try laying it in the bottom of the tub when you shower.  Walk on it as
you shower and rinse.  It's much easier on it than trying to put it
through the washer (horrors!).  I'd imagine that it's better to take it
out once you've washed your hair as the shampoo is kinder to the fabric
than a hard soap would be.  Works for me!  After all -- how often do you
need to launder one?

Kay Herb
kayherb@juno.com



On Wed, 17 Feb 1999 09:39:20 -0500 (EST) CDepner26@webtv.net (Harold
Hensley) writes:
>
>-Poster: CDepner26@webtv.net (Harold Hensley)
>
>I am also interested in making an Elizabethan corset and would like to
>know if anyone could give me the name of suppliers of ossiers.  I 
>would
>also like to know how you would launder the corset once the ossiers 
>are
>inserted.
>
>Melissa
>
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From owner-h-costume@indra.com  Wed Feb 17 22:40:11 1999
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-Poster: EofAshley@aol.com

Have you tried plexigrass for busks? If you use 1/8" thick, it has just the
right amount of flex to recreate thin wood or whalebone busking, is very
inexpensive, can be cut for you by most shops into whatever shape you want,
and is machine washable!

Karla
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From owner-h-costume@indra.com  Wed Feb 17 23:23:24 1999
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-Poster: Julie Adams <savaskan@sd.znet.com>

I haven't entered any competition in years and years, but with some
encouragement from friends, we entered our team effort men's Landknecht
costume in the Estrella war Field wear contest and we actually won!

My hubby got lots of complements and was really really happy with it. But
with all that, we never took any pictures! We'll have to dress him up and
just take some to put up on our website.

Julie Adams


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From owner-h-costume@indra.com  Thu Feb 18 02:34:13 1999
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Date: Thu, 18 Feb 1999 02:39:30 -0500
From: Bill and/or Glenna Jo Christen <gwjchris@rust.net>
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-Poster: Bill and/or Glenna Jo Christen <gwjchris@rust.net>

<< While Margo is interested in a more exuberant persona,
 I'm interested in putting together a late 1850's ensemble for a working

 man's tradesman's wife - poor but honest, that's me!

If you are looking to do an 1850's working class impression I would
recommend using the fan-front dress pattern from Past Patterns. It is a
fairly typical style of the early 1850's and one that occasionally still
appeared on very unfashionable elderly women as late as the early
1860's. That indicates to me that a very middle class at best middle
aged woman would very likely still be wearing such a style dress at
least into the middle 1850's. A fairly wide collar (2"-3") of fine linen
or cotton is all that would be required to finish it off. The choice of
material would indicate it's purpose and your social class. There are
some pretty cotton prints available that are similar to some of the
wilder patterns as well as some of the more delicate 'viney' patterns
that were popular in the 1850's. Unfortunately, most of the fabrics
available in the 19th c. are not being made today. :-(
Basically, look for a longer waistline, and narrower sleeves than is
typical of the 1860's unless you are going for a late 1850's look, then
open sleeves (i.e. pagodas) if you are well off, otherwise, stick to the
narrower sleeves of the early part of the decade. Flounced skirts are
also an upper class style due to the extravegant use of fabric required.
(Ditto pagoda sleeves.)
I would also recommend wearing a few well starched petticoats,
especially a corded one as the cage crinoline that defines the very late
1850's-early 1860's wasn't patented until 1858. There were earlier
versions, but none too successful. A working class woman most likely
wouldn't have owned one.

Glenna Jo Christen
--
gwjchris@rust.net
Visit our web site, "The Curiosity Shop"
http://www.rust.net/~gwjchris/


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From owner-h-costume@indra.com  Thu Feb 18 03:35:52 1999
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Date: Thu, 18 Feb 1999 00:36:42 -0800
From: Lady Eleanor of Leycestershyre <hekav@gte.net>
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-Poster: Lady Eleanor of Leycestershyre <hekav@gte.net>

Thanks for the link.  Fun site!  Please do let us know when
you've had a chance to post the photos.  :-)

-Eleanor

Betsy R. Delaney wrote:
> 
> -Poster: "Betsy R. Delaney" <betsy@hawkeswood.com>
> 
> When I've got the photos back from the Official Photographer, and have
> them scanned in and html-ized, they will be available at
> www.Costume-Con.org. I'm presently working on updating the info I have,
> and I should be posting the con details, committee members, masquerade
> participants and awards in the next couple of days. You'll be able to find
> these documents by going to:
> 
>         http://www.Costume-Con.org/whatsnew.html
> 
> For details about the next CC (18), see:
> 
>         http://www.Costume-Con.org/timeline.html
> 
> Thanks!
> 
> -betsy
> 
> On Tue, 16 Feb 1999, Lady Eleanor wrote:
> 
> >
> > -Poster: Lady Eleanor <hekav@gte.net>
> >
> > Greetings Betsy and Judy,
> >
> > WOW!  I wanna see!  I wanna see!!
> >
> > I'm sure we'd ALL like to be able to view this wonderful
> > sounding gown!
> > Could you please post URL?
> >
> > Thanks,
> > Lady Eleanor
> >
> > Betsy R. Delaney wrote:
> > >
> > > -Poster: "Betsy R. Delaney" <betsy@hawkeswood.com>
> > >
> > > Oh, dear heaven...
> > >
> > > Judy, do you mind if I take this description, or something very like this,
> > > and put it up with your entry photos when I have them back from Ken
> > > Warren?
> > >
> > > Pictures are pretty, but don't convey everything if you can't step up and
> > > ask the costumer.
> > >
> 
> --
> 
> Betsy R. Delaney
> Webmistress at large
> Costume-Con(R) Archivist
> 
> ***************************************************************************
>                  betsy@hawkeswood.com or betsy@ability.net
>            http://www.hawkeswood.com/, home of Hawkeswood Designs
>          and http://www.Costume-Con.org/, home of Costume-ConNections
> ***************************************************************************
> 
>  _________________________________________________________________
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From owner-h-costume@indra.com  Thu Feb 18 03:48:38 1999
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-Poster: Lady Eleanor of Leycestershyre <hekav@gte.net>

Oops.  :-)  Don't rust?  Hmmmm....I'm gonna do a test. 
Still going to do the one with reeds, but am now quite
curious about the metal boning.

Off to the washbasin..... ;->

-Eleanor



Melanie Wilson wrote:
> 
> -Poster: Melanie Wilson <MelanieWilson@compuserve.com>
> 
> I thought the need was for later garb, not your period ! Eleanor , Oh well,
> they don't rust by the way
> 
> Mel
>  _________________________________________________________________
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-Poster: Lady Eleanor of Leycestershyre <hekav@gte.net>

Yes...the smaller reeds are what I was referring to.  Still,
a little thicker than what I think of as
broomstraws...however...not to quibble.  :-)

Unfortunately, when I was in London in the 70's, didn't get
to see QE's
effigy.  :-<   It was Christmas time and the day I went the
exhibit was closed, so never did get to see it!  I'm still
bummed...*sniff*  ;-)

Ah well...one day, perhaps.

-Eleanor



Deborah Pulliam wrote:
> 
> -Poster: pulliam@acadia.net (Deborah Pulliam)
> 
> << using bunches of smaller reeds (rather
> like broom straw) bound together and inserted into channels of the corset>>
> 
> This is the way Queen E's is done (the one from the effigy in Westminster
> Abbey). It has been confirmed that it was a used/worn set of stays; i.e.
> from QE's wardrobe, not simply made for the effigy.
> 
> Deborah
> 
>  _________________________________________________________________
>  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 Feb 18 04:42:09 1999
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Date: Thu, 18 Feb 1999 15:11:18 +0000
To: h-costume@indra.com
From: Pompadour <marquise_de_pompadour@gmx.net>
Subject: H-COST: plastic boning: would anybody else like to co-order with us?
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-Poster: Pompadour <marquise_de_pompadour@gmx.net>

hi list,

i'd posted this before, sorry, but as the "plastic boning" discussion has
brought forth a few people who said they'd like some of the plastic boning
in question (the "german" kind), i'd like to invite those who for some
reason didn't read my first posting.

there are already enough people interested in 1x10 mm plastic boning @
about DM1/m and straight steel busks to beat the minimum order quantity.
everything else depends on whether we find enough interested people. 1x6 or
1x5 mm boning could work out, too. the supplier also carries steel spring
and flat steel boning - see http://www.wissner.de

as the supplier is located in germany, those living farther away from it
will face higher shipping cost, of course - which is why i hurry to order
some before moving to japan. *lol*

please contact costume@gmx.net off-list if you're interested.

ciao,
yo





marquise_de_pompadour@gmx.net -  www.costumegallery.com/pompadour/

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Subject: H-COST: 1850's caps
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-Poster: Bill and/or Glenna Jo Christen <gwjchris@rust.net>

<<  I'm a bit taken aback by my first introduction into
 Victorian caps - are they ALL so fussy and elaborate?  >>

Not necessarily, it depended on the taste of the wearer as well as the
function. Women in the 1850's and before wore caps for sleeping, for
morning wear before she or her hair  is fully dressed for the day, for
wearing during the day at home and for formal evening occasions such as
dinner parties. Ball wear required yet a different style. The more
public and formal the occasion, the more likely the cap would be fussy
and elaborate.

Libby Smith of Tennessee has been researching caps of the mid 19th for
some years and has produced a variety of cap patterns. Please contact me
off the list if you would like her e-mail address.
As her largest potential market for these patterns would be Civil War
reenactors she was very disappointed to discover in her research that
there is no real evidence that most women were still wearing caps for
day wear. The still wore breakfast or morning caps and dinner caps, but
caps for the main part of the day had dropped out of fashion by the
1860's.

Of course, since you are looking to do an 1850's impression, caps of all
kinds were standard head wear *indoors*. As a married woman, you would
be wearing a bonnet out of doors. Single young ladies in *informal*
settings often wore hats, but even they wore bonnets for church, paying
calls, etc.

Glenna Jo Christen
gwjchris@rust.net
Visit our web site, "The Curiosity Shop"
http://www.rust.net/~gwjchris/


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From owner-h-costume@indra.com  Thu Feb 18 09:22:56 1999
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From: "Leta Hendricks" <hendricks.3@osu.edu>
To: <h-costume@indra.com>
Cc: "libehs" <libehs@lists.acs.ohio-state.edu>,
        "liblots" <liblots@lists.acs.ohio-state.edu>
Subject: Re: H-COST: the zipper
Date: Thu, 18 Feb 1999 09:28:48 -0500
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-Poster: "Leta Hendricks" <hendricks.3@osu.edu>

A super cool resourcefor your topic
HOW THE ZIPPER CHANGED FASHION HISTORY
is:

 AUTHOR       Friedel, Robert.
 TITLE        Zipper : an exploration in novelty / Robert Friedel.
 EDITION      1st ed.
 PUBLISH INFO New York : W.W. Norton, c1994.
 DESCRIPTION  xiv, 288 p. : ill. ; 22 cm.
 NOTES        Includes index.
 SUBJECTS     Inventions -- History -- 20th century.
              Inventions -- History -- 19th century.
              Zippers -- History.
 OCLC #       28507009.


The inventor of the zipper/fastener,  Whitcomb Judson (1846-1909) 
is from my hometown -- Galesburg, Illinois!!!!!!
*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*
Leta Hendricks
Assistant Professor
Head EHS Systems and 
Human Ecology Bibliographer/ Librarian
The Education, Human Ecology,
Psychology, and Social Work Library
The Ohio State University
110 Sullivant Hall
1813 North High Street
Columbus, Ohio  43210
614.292.2075
614.292.8012 fax
hendricks.3@osu.edu
http://www.hec.ohio-state.edu/hendrick/
http://www.lib.ohio-state.edu/OSU_profile/ehsweb/
-----Original Message-----
From: Johanna R. Forte <forte@kutztown.edu>
To: h-costume@indra.com <h-costume@indra.com>
Date: Thursday, February 11, 1999 5:50 PM
Subject: H-COST: the zipper


>
>-Poster: "Johanna R. Forte" <forte@kutztown.edu>
>
>I am an eighth grade student at Kutztown Junior High School who is
>participating in National History Day, a nation wide competion that
>encourages students to become involved with the past.  The topic that I
>have have chosen is HOW THE ZIPPER CHANGED FASHION HISTORY.  If there are
>any fashion historians out there, my project greatly needs your help.  We
>have all the history of the  zipper that we need, but are struggling to
>find some significance of the zipper.  Yes it was time saving, but isn't
>there something else?  Did the invention of the zipper lead to any new
>fashion styles to be designed?  Did the zipper make clothing companies
>save any money?  (Was sewing in the zipper cheaper than sewing in the
>buttons?)  To discover more in depth answers to those questions and to
>please the judges, I need primary sources.  Could you please help me to
>discover some of these sources? 
>
>Thank you for taking the time to read this letter.  If you have a
>response, please e-mail me privately at MFfairy@hotmail.com.
>
>Sincerely,
>Melina Forte
>
>Johanna R. Forte
>Costume Designer
>Kutztown University
>
>
> _________________________________________________________________
> 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 Feb 18 11:58:02 1999
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-Poster: Margo Anderson <margo@directcon.net>


>
>Have you tried plexigrass for busks? 

I once found a lot of 1" wide strips of 1/4" plexi in a dumpster.  I duct
taped them together and used them for hoops.  They were great, lightweight,
flexible, and strong.

Margo

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From owner-h-costume@indra.com  Thu Feb 18 12:16:28 1999
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From: Margo Anderson <margo@directcon.net>
Subject: Re: H-COST: 1850's caps
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-Poster: Margo Anderson <margo@directcon.net>

A>Of course, since you are looking to do an 1850's impression, caps of all
>kinds were standard head wear *indoors*. As a married woman, you would
>be wearing a bonnet out of doors. Single young ladies in *informal*
>settings often wore hats, but even they wore bonnets for church, paying
>calls, etc.
>
Would the bonnet be worn over the cap, or instead of it?  Some of the
Godey's illustrations I've seen say things like "velvet bonnet with innner
cap of blonde lace".  Is this a separate cap, or is it part of the bonnet?

As to single young ladies wearing hats,  I agree that they seems to have
been worn for informal or resort wear.  Can I assume that a young lady
wouldn't wear one for shopping in a small town?  (Trying to discourage the
Scarlett O'Hara wanabees, you know).  


Margo Anderson

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From owner-h-costume@indra.com  Thu Feb 18 14:06:02 1999
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Date: Thu, 18 Feb 1999 10:26:03 -0800
To: h-costume@indra.com
From: debbie strub <tsuruko@silverlink.net>
Subject: Re: H-COST: Beaded Fringe
In-Reply-To: <Pine.LNX.3.96.990201135447.993A-100000@yucc.yorku.ca>
References: <7ad478f.36b5f3a7@aol.com>
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-Poster: debbie strub <tsuruko@silverlink.net>

Greetings,

   Jehlor Fantasy Fabrics carries what you are looking for, but I don't
know how much they charge for it these days.  They are on the Internet at
www.adnetmk.com/jehlor.  Snail mail address is 730 Andover Park West,
Seattle, WA 98188.  Phone (206)575-8250.

Deb


At 02:01 PM 2/1/99 -0500, you wrote:
>
>-Poster: Ioana Timariu <ioana@yucc.yorku.ca>
>
>Hello!
>
>I'm trying to create a belly-dancing costume. I'm looking for a provider 
>of beaded fringe. I'd love to manually make the fringe, but I have 
>a deadline for the costume .. I have to dance in it in April!)... 
>Most providers I found on the internet ask for 40 (3 inch width) to 60$ (4
>inch width)  per yard. Is this a reasonable price? 
>
>I live in Toronto, Ontario, but any reasonably-priced provider
>from anywhere in the world would do. 
>
>Thank you very much!
>-ioana
>
> _________________________________________________________________
> 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 Feb 18 14:59:46 1999
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Date: Thu, 18 Feb 1999 15:05:52 -0500 (EST)
From: Ioana Timariu <ioana@yucc.yorku.ca>
To: h-costume@indra.com
Subject: Re: H-COST: Beaded Fringe
In-Reply-To: <3.0.1.32.19990218102603.00ee2f84@silverlink.net>
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-Poster: Ioana Timariu <ioana@yucc.yorku.ca>


Thank you! And thanks to all the other people that have replied to me but
I didn't get the chance to reply in private! Your sources were great! 

-ioana
(who just found a new hobby)

On Thu, 18 Feb 1999, debbie strub wrote:

> 
> -Poster: debbie strub <tsuruko@silverlink.net>
> 
> Greetings,
> 
>    Jehlor Fantasy Fabrics carries what you are looking for, but I don't
> know how much they charge for it these days.  They are on the Internet at
> www.adnetmk.com/jehlor.  Snail mail address is 730 Andover Park West,
> Seattle, WA 98188.  Phone (206)575-8250.
> 
> Deb
> 
> 
> At 02:01 PM 2/1/99 -0500, you wrote:
> >
> >-Poster: Ioana Timariu <ioana@yucc.yorku.ca>
> >
> >Hello!
> >
> >I'm trying to create a belly-dancing costume. I'm looking for a provider 
> >of beaded fringe. I'd love to manually make the fringe, but I have 
> >a deadline for the costume .. I have to dance in it in April!)... 
> >Most providers I found on the internet ask for 40 (3 inch width) to 60$ (4
> >inch width)  per yard. Is this a reasonable price? 
> >
> >I live in Toronto, Ontario, but any reasonably-priced provider
> >from anywhere in the world would do. 
> >
> >Thank you very much!
> >-ioana
> >
> > _________________________________________________________________
> > 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  Thu Feb 18 16:39:41 1999
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Date: Thu, 18 Feb 1999 21:27:51 +0000
To: h-costume@indra.com
From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: H-COST: 15th-16th Century man's hat
In-Reply-To: <001901be5928$57a13860$eb17ffd0@default>
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-Poster: Jean Waddie <anne@montgomerie.demon.co.uk>

In message <001901be5928$57a13860$eb17ffd0@default>, "Hope H. Dunlap"
<hhdunlap@email.msn.com> writes
>
>-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>
>
>Thanks, Jean.  Are you kidding about the seat, or was this
>actually done? It is an appealing concept!
>
I'm not sure if it's really period, but a friend of mine does have a
similar hat, with cushion.  I'll try to remember next time I see him to
ask for his sources!

>Hope H. Dunlap
>
>-----Original Message-----
>From: owner-h-costume@indra.com
>[mailto:owner-h-costume@indra.com]On
>Behalf Of Jean Waddie
>Sent: Monday, February 15, 1999 3:13 PM
>To: h-costume@indra.com
>Subject: Re: H-COST: 15th-16th Century man's hat
>
>
>
>-Poster: Jean Waddie <anne@montgomerie.demon.co.uk>
>
>In message <000201be5607$5c79d280$841fffd0@default>, "Hope
>H. Dunlap"
><hhdunlap@email.msn.com> writes
>>
>>-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>
>>
>>How do you form the man's hat shown in rust-color in the
>>upper left?  The big brioche-shaped velvet? one?
>>http://gallery.euroweb.hu/art/h/holbein/hans_e/sebastia.jpg
>>Some of the more shapely 18th century men's big floppy
>>nightcaps look like this, as well as little girls' hats in
>>the Edwardian era.
>>
>>Hope H. Dunlap
>>
>I believe it's just an exceptionally large bag gathered into
>a band.  To
>make it stand up you can make a cushion that goes inside
>it - and then
>you can also have a floppy hat and a comfy seat!
>--
>Jean Waddie
>
>____________________________________________________________
>_____
> 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

-- 
Jean Waddie
 _________________________________________________________________
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From owner-h-costume@indra.com  Thu Feb 18 16:53:54 1999
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From: Susan Courney <bd927@scn.org>
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To: h-costume@indra.com
Subject: H-COST: 18th cent. fabrics
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-Poster: Susan Courney <bd927@scn.org>

Hi,

I've been collecting the bits to make some 18th cent. outfits.  A quilting
friend sent me a link to a page that included this --

"These wonderful fabrics from the Netherlands offer rich color tones in
authentic Dutch patterns reproduced from original antique fabrics, quilts
and costumes found in the museums of the Netherlands."

Its:
http://quiltedjourney.com/dutch.htm

The question is, they don't have dates.  Would some of these work for 18th 
c.?  They look close to me, but I really don't know much about that
period.

Susan Courney
(I have jpryans corset and jacket pattern and period impressions jacket
and polonaise pattern should be showing up any day now.  I really want to
start with a robe a l'anglaise, but couldn't find a pattern that looks
like the one in my mind.)_

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From owner-h-costume@indra.com  Thu Feb 18 17:23:57 1999
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From: "Lisa Scovel" <lisa@tmsonline.com>
To: <h-costume@indra.com>
Subject: H-COST: Virtual Museum Update
Date: Thu, 18 Feb 1999 14:27:05 -0800
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-Poster: "Lisa Scovel" <lisa@tmsonline.com>

Thanks very much to all who replied to my previous message. :)

My powers-that-be have decided that trying to do a costume museum at this
point may be too much of a task given our budget and timeline, so we are
scaling back and doing shoes for now.  The idea is that we will probably do
costume later when we have the time and money to do it properly.  In the
meantime, my current charter is below - do any of you happen to have any
extra special shoes from this century that you'd like to see showcased?

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

I am a Producer for The Marketing Store (http://www.tmsonline.com), a
marketing communications/web design firm in Sacramento, California.  We have
recently begun to expand our services into the realm of multimedia and are
looking to create an educational website that allows us to showcase our
talents in various emerging technologies.  Due to the fact that we have
several people at the Marketing Store whose personal interests lie in the
realm of fashion history, we have decided to take on the task of building a
virtual museum dedicated to shoes.  This would be a non-commercial, public
site to be used as a portfolio piece for our firm.

The site will be titled 'The Century in Shoes' and will include a
sociological examination of the century via the shoes people have worn.  The
technologies we wish to use will include animations and 360 degree views of
the various shoes we will be exhibiting.  We intend to showcase several
pairs of
shoes from each decade this century, a combination of men's, women's, and
children's.  A range of shoes, from working class to haute couture, will be
exhibited.  The shoe exhibit for each era will be wrapped with various
supplemental facts about each decade.  We have  a few other goodies up our
sleeve that I won't reveal now, but suffice it to say that we hope our
museum will be a spectacular example of interactivity, education, and even a
bit of fun.

At this point, we are seeking partners who will be willing to lend shoes
and/or expertise to our venture.  All contributions will be fully credited,
of course, with links to contributors' websites, as needed.  In the case of
shoes, we will need access to the shoes in order to shoot them in a
particular way to accommodate the 360' panoramas.  We will set up photo
shoots in Northern California, otherwise we can cover the costs of shipping
and insurance if you are out of the area, but willing to help by lending
shoes. We would also appreciate histories (especially personal histories)
and documentation of the shoes.  Shoes in near to pristine condition are
preferred, but we may showcase well-worn shoes that have an interesting
history associated with them.

Our timeline is a bit tight, so your prompt responsiveness is appreciated.
We're very excited about this project and hope you can help.

Thanks,

Lisa Scovel
The Marketing Store

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From owner-h-costume@indra.com  Thu Feb 18 17:31:46 1999
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From: "Penny E. Ladnier" <penny.creative.outlets@erols.com>
To: "costume newsgroup" <h-costume@indra.com>
Subject: H-COST: Mardi Gras
Date: Thu, 18 Feb 1999 17:34:38 -0500
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-Poster: "Penny E. Ladnier" <penny.creative.outlets@erols.com>

We are back from our week at Mardi Gras.  We attended 3 parades in Mobile,
Alabama, 1 in Gulfport, Mississippi, 1 in Pass Christian,  Mississippi, and
2 in New Orleans.  We can now wear a different pair of beads every day for
two or three years.

I do not have the pictures up on my website yet.  They will be there soon.

We video taped a lot of parades and got many close-ups of the costumes.  We
have six rolls of film to develop tonight.  A local PBS station ran a five
hour program on the history of Mardi Gras and ended with the toasting of the
kings of parades at the end of the night.  Of course, I video taped it all.
What was fun about this Mardi Gras Ball was to see the current day ball
gowns, too.  It was a parade of fashion.  If you are interested in
purchasing the PBS video tapes, I have the information.

We also went into two Mardi Gras museums and photographed their exhibits.
The museums are in Biloxi and Mobile.  I learned a lot about how the
costumes are dressed on the kings and queens.  We video taped one of my
sons, putting on the huge fan like collar.  Forgive me for not remembering
the proper name for the collar, but they are very similar to Elizabethan
wired collars, except larger.  It is very surprising how to get make these
collars stable... huge hooks are placed under the armpits.  To make the
collar stationary on the back, a large U-shaped wire is at the back of the
neck.

Mobile's museum has a vast collection of the Queens' ball gowns.  The
majority of them are displayed in one gallery.  All of their robes' trains
are visible.  The earliest Queens' ball gown is from the 1920s.  It is a
beaded flapper dress.  BTW, after a long conversation with Mobile's curator,
he would love to have interns or volunteers.  They will soon be moving out
the majority of the City of Mobile collection.  Then the museum will be
dedicated to only Mardi Gras costumes.  No research has been done on the
costumes.  He said the collection has hundreds of costume renderings for
their famous local costume designer.  Nothing has been published on the
collection.  He is also looking to contract a textile conservator.  So if
you know any one in that field, let me know.

I found out (after the fact), that Gulf Coast Carnival Association gives out
some invitations to the general public to attend their ball.  All that is
requested is to wear formal attire.

Also, on Saturday, there was a huge reenactment of the founding of the Gulf
Coast region in Biloxi.  It was their 300th anniversary.  Too much was going
on for me at one time.  But I would have loved to have seen this.

I came home with a wonderful assortment of feathered, and paper mache'
masks.  That was my treasure!

I'll catch you later...Penny
http://www.costumegallery.com


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From owner-h-costume@indra.com  Thu Feb 18 17:33:29 1999
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From: The Purple Elephant <csmart@physics.adelaide.edu.au>
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To: costume list <H-costume@indra.com>
Subject: H-COST: Silk satin
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-Poster: The Purple Elephant <csmart@physics.adelaide.edu.au>

Yesterday I found, in the remnant box, a piece of silk satin for $5.
Naturally, I leapt on it and carried it off. It is truely worthy of
much saliva. Not very heavy, and really soft....
 Anyway, to my eyes it is screaming out 17th century, and I am itching to
use it for a replica of the blue silk 1650-60 jacket (with heavily boned
lining) in the British Museum (as described by Waugh and Hunnisett),
simply because I think it's pretty.
 Unfortunately, I have nowhere to wear such an object, so before I do,
is there any pre-1600 application for this piece (it is only a metre
square enough for a bodice)? I haven't seen any gowns that have bodices
of a different kind of fabric to the skirt, and I should hate to 'waste'
it on lining or cover it with trim when it is so nice in and of itself. 

And if I did make a 17th century jacket (of that particular time) what
sort of skirt should I wear with it? Would it be okay to wear a skirt
of different fabric?

------------------------------------------------------------------------------
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  Thu Feb 18 19:56:05 1999
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From: "Megan McHugh" <mchug@mindspring.com>
To: <h-costume@indra.com>
Subject: Re: H-COST: Polish costume
Date: Thu, 18 Feb 1999 19:58:37 -0500
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-Poster: "Megan McHugh" <mchug@mindspring.com>

No, but I would also be interested.
-----Original Message-----
From: Heather Law <lynnx@mc.net>
To: h-costume-digest@indra.com <h-costume-digest@indra.com>
Date: Wednesday, February 17, 1999 1:30 PM
Subject: H-COST: Polish costume


>
>-Poster: Heather Law <lynnx@mc.net>
>
>There is a posting on the alt.history.costuming newsgroup asking for a
>picture of the traditional Polish wedding dress and headdress. Can
>anyone suggest a good place to find one?
>Carol Mitchell
> _________________________________________________________________
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> with the message UNSUBSCRIBE H-COSTUME

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From owner-h-costume@indra.com  Thu Feb 18 19:57:09 1999
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Date: Thu, 18 Feb 1999 19:59:05 -0500
From: Stephen & Astrida Schaeffer <schaeff@nh.ultranet.com>
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-Poster: Stephen & Astrida Schaeffer <schaeff@nh.ultranet.com>

I'm afraid the person looking for traditional Polish wedding dress needs
to decide which region of Poland they're interested in, first. There is
no one national dress; each region, and there are many, has its own
style.

I know Basia Dziewanowska was working on a book on Polish costume and
dance (a dance group I was once part of contributed photos to the
effort) but I don't know if the book ever got published. She describes
herself as a professional ethnic, teaching about Polish folk culture,
traditions, dance, and costume. I don't know if she has a web presence
anywhere.

It might be worth checking out www.polonia.com, the web site of the
largest Polish bookstore in the USA. 

Also, try going to www.askjeeves.com, a site which lets you type in your
question (i.e., where can I find Polish folk costume?) and searches the
web FOR you. It's a nifty site. Asking it about folk dance groups mught
also be useful; several of them have web pages, I believe, and might be
able to offer advice.

Good luck!

Astrida
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From: "Beth" <bchamber@suffolk.lib.ny.us>
To: "H-Costume" <H-Costume@indra.com>
Subject: H-COST: Literary characters - OT
Date: Thu, 18 Feb 1999 20:29:25 -0500
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-Poster: "Beth" <bchamber@suffolk.lib.ny.us>

This is a multi-part message in MIME format.

------=_NextPart_000_0006_01BE5B7D.6064A200
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Does any one know of a literary character who was a seamstress? =
Especially one who whose character was defined (some what) by their =
sewing. Kind of like sewing's equivalent to Charles Dickens' Madame =
Defarge.

Beth

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<!DOCTYPE HTML PUBLIC "-//W3C//DTD W3 HTML//EN">
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<HEAD>

<META content=3Dtext/html;charset=3Diso-8859-1 =
http-equiv=3DContent-Type>
<META content=3D'"MSHTML 4.72.3110.7"' name=3DGENERATOR>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT color=3D#000000 size=3D2>Does any one know of a literary =
character who=20
was a seamstress? Especially one who whose character was defined (some =
what) by=20
their sewing. Kind of like sewing's equivalent to Charles Dickens' =
Madame=20
Defarge.</FONT></DIV>
<DIV><FONT color=3D#000000 size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT color=3D#000000 size=3D2>Beth</FONT></DIV></BODY></HTML>

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From: "Cathy Harding" <charding@nwlink.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: Literary characters - OT
Date: Thu, 18 Feb 1999 17:37:01 -0800
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-Poster: "Cathy Harding" <charding@nwlink.com>

This is a multi-part message in MIME format.

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There is the Beatrix Potter tale of the Tailor of Gloucester and the mice
who do embroidery and a lack of silk twist.
    -----Original Message-----
    From: owner-h-costume@indra.com [mailto:owner-h-costume@indra.com]On
Behalf Of Beth
    Sent: Thursday, February 18, 1999 5:29 PM
    To: H-Costume
    Subject: H-COST: Literary characters - OT


    Does any one know of a literary character who was a seamstress?
Especially one who whose character was defined (some what) by their sewing.
Kind of like sewing's equivalent to Charles Dickens' Madame Defarge.

    Beth

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<DIV><SPAN class=3D150433501-19021999><FONT color=3D#0000ff face=3DArial =
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is the Beatrix Potter tale of the Tailor of Gloucester and the mice who =
do=20
embroidery and a lack of silk twist.</FONT></SPAN></DIV>
<BLOCKQUOTE=20
style=3D"BORDER-LEFT: #0000ff solid 2px; MARGIN-LEFT: 5px; PADDING-LEFT: =
5px">
    <DIV class=3DOutlookMessageHeader><FONT face=3D"Times New Roman"=20
    size=3D2>-----Original Message-----<BR><B>From:</B> =
owner-h-costume@indra.com=20
    [mailto:owner-h-costume@indra.com]<B>On Behalf Of</B> =
Beth<BR><B>Sent:</B>=20
    Thursday, February 18, 1999 5:29 PM<BR><B>To:</B>=20
    H-Costume<BR><B>Subject:</B> H-COST: Literary characters -=20
    OT<BR><BR></FONT></DIV>
    <DIV><FONT color=3D#000000 size=3D2>Does any one know of a literary =
character=20
    who was a seamstress? Especially one who whose character was defined =
(some=20
    what) by their sewing. Kind of like sewing's equivalent to Charles =
Dickens'=20
    Madame Defarge.</FONT></DIV>
    <DIV><FONT color=3D#000000 size=3D2></FONT>&nbsp;</DIV>
    <DIV><FONT color=3D#000000 =
size=3D2>Beth</FONT></DIV></BLOCKQUOTE></BODY></HTML>

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From owner-h-costume@indra.com  Thu Feb 18 21:38:33 1999
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-Poster: Kim Graham <kgraham@flash.net>



Jill and Ralph Mason wrote:

> -Poster: "Jill and Ralph Mason" <blkhrse@pacifier.com>
> <snip>
> So whatta think?  To corset or not to corset that is the question.
>

I wear Italian with a renaissance/Elizabethan tabbed corset.  Being short,
"cushy", short-waisted and big-bosomed, the corset helps the bodice fit me
better (someday I'll build the perfect bodice...), and helps with the line of
the gown.  I've never seen a corset labelled specifically  "Italian" either.

>



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From owner-h-costume@indra.com  Thu Feb 18 21:42:06 1999
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-Poster: Kim Graham <kgraham@flash.net>



Gaelscot@aol.com wrote:

> -Poster: Gaelscot@aol.com
> <BIG snip>
> it was painfully clear that 18th-century clothing
> wasn't designed for today's supermodels. It's too bad that so much of today's
> fashions, especially couture, are designed for practically non-human bodies.
>
>

WOW! Does this mean that my pudgy self has a period body??  If so, Huzzah!

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From owner-h-costume@indra.com  Thu Feb 18 21:46:44 1999
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Date: Thu, 18 Feb 1999 21:51:54 -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>

Okay, here's another question for the flashy madam costume project:
Would
beaded lace work? ...

I've seen bead embroidery on a few Worth wedding dresses of the period.
Does anyone know, offhand, if it might have been used by someone less
than
respectable for day wear?

If you were doing a late 1860's or later madam beaded lace would be
great, but not for an earlier version. It wasn't even close to being in
fashion yet, not even for the flashy dressers of the demimonde... FYI,
Worth didn't come into his own until the later '60's and after.

Glenna Jo (Still digging out her week long back log) Christen
--
gwjchris@rust.net
Visit our web site, "The Curiosity Shop"
http://www.rust.net/~gwjchris/


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From owner-h-costume@indra.com  Thu Feb 18 21:51:13 1999
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From: "Johanna R. Forte" <forte@kutztown.edu>
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Subject: Re: H-COST: the zipper
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-Poster: "Johanna R. Forte" <forte@kutztown.edu>

Leta:
Thank you so much for the book info.  I'm very excited to go in search of
it.  It sounds like just what our group needs to complete our project.
Thank you again,>
Melina Forte

Johanna R. Forte
Costume Designer
Kutztown University


On Thu, 18 Feb 1999, Leta Hendricks wrote:

> 
> -Poster: "Leta Hendricks" <hendricks.3@osu.edu>
> 
> A super cool resourcefor your topic
> HOW THE ZIPPER CHANGED FASHION HISTORY
> is:
> 
>  AUTHOR       Friedel, Robert.
>  TITLE        Zipper : an exploration in novelty / Robert Friedel.
>  EDITION      1st ed.
>  PUBLISH INFO New York : W.W. Norton, c1994.
>  DESCRIPTION  xiv, 288 p. : ill. ; 22 cm.
>  NOTES        Includes index.
>  SUBJECTS     Inventions -- History -- 20th century.
>               Inventions -- History -- 19th century.
>               Zippers -- History.
>  OCLC #       28507009.
> 
> 
> The inventor of the zipper/fastener,  Whitcomb Judson (1846-1909) 
> is from my hometown -- Galesburg, Illinois!!!!!!
> *^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*
> Leta Hendricks
> Assistant Professor
> Head EHS Systems and 
> Human Ecology Bibliographer/ Librarian
> The Education, Human Ecology,
> Psychology, and Social Work Library
> The Ohio State University
> 110 Sullivant Hall
> 1813 North High Street
> Columbus, Ohio  43210
> 614.292.2075
> 614.292.8012 fax
> hendricks.3@osu.edu
> http://www.hec.ohio-state.edu/hendrick/
> http://www.lib.ohio-state.edu/OSU_profile/ehsweb/
> -----Original Message-----
> From: Johanna R. Forte <forte@kutztown.edu>
> To: h-costume@indra.com <h-costume@indra.com>
> Date: Thursday, February 11, 1999 5:50 PM
> Subject: H-COST: the zipper
> 
> 
> >
> >-Poster: "Johanna R. Forte" <forte@kutztown.edu>
> >
> >I am an eighth grade student at Kutztown Junior High School who is
> >participating in National History Day, a nation wide competion that
> >encourages students to become involved with the past.  The topic that I
> >have have chosen is HOW THE ZIPPER CHANGED FASHION HISTORY.  If there are
> >any fashion historians out there, my project greatly needs your help.  We
> >have all the history of the  zipper that we need, but are struggling to
> >find some significance of the zipper.  Yes it was time saving, but isn't
> >there something else?  Did the invention of the zipper lead to any new
> >fashion styles to be designed?  Did the zipper make clothing companies
> >save any money?  (Was sewing in the zipper cheaper than sewing in the
> >buttons?)  To discover more in depth answers to those questions and to
> >please the judges, I need primary sources.  Could you please help me to
> >discover some of these sources? 
> >
> >Thank you for taking the time to read this letter.  If you have a
> >response, please e-mail me privately at MFfairy@hotmail.com.
> >
> >Sincerely,
> >Melina Forte
> >
> >Johanna R. Forte
> >Costume Designer
> >Kutztown University
> >
> >
> > _________________________________________________________________
> > 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  Thu Feb 18 21:53:47 1999
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-Poster: Kim Graham <kgraham@flash.net>



Danielle Nunn wrote:

> -Poster: Danielle Nunn <dnunn@interlog.com>
>
> .  Unfortuneately, I've
> never encountered the plastic whalebone so I can't give an opinion.  I
> useually use the spring steel bones.  Good luck, and if you have any more
> questions please feel free to contact me.

How do these steel bones feel to you?  I have flat steel, and I'm curious as to
whether the spring steel make it easier to bend (I have to pick up and put down
records alot).

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From owner-h-costume@indra.com  Thu Feb 18 21:59:32 1999
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-Poster: Kim Graham <kgraham@flash.net>



Lady Eleanor of Leycestershyre wrote:


> <snip>.  I'm using ossiers (reeds) as is shown in Arnold,
> Patterns of Fashion.

What did you use for the reeds?

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From owner-h-costume@indra.com  Thu Feb 18 22:06:21 1999
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-Poster: Lavolta Press <lavolta@best.com>

You might be interested in this site:

http://www.patchworks-usa.com/

They have some very nice 18th-century style prints.  I have bought a fair
amount of fabric from them.  Their service is excellent.  They don't always
make it clear whether they are selling small pieces of fabric (for quilting)
or large amounts by the yard (for clothing repros).  But, in fact, if the
fabric is available at all they will set aside or special order as much as you
want.

Fran Grimble
----------------------------------------------
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-Poster: Kim Graham <kgraham@flash.net>



Kathryn L. Herb wrote:

> -Poster: "Kathryn L. Herb" <kayherb@juno.com>
>
> Try laying it in the bottom of the tub when you shower.  Walk on it as
> you shower and rinse.  It's much easier on it than trying to put it
> through the washer (horrors!).  I'd imagine that it's better to take it
> out once you've washed your hair as the shampoo is kinder to the fabric
> than a hard soap would be.  Works for me!  After all -- how often do you
> need to launder one?

Pretty often, when you wear it in East Texas in the Fall!  I hand wash mine
in the sink with a very mild dish soap, then roll it in a towel for a bit.
I dry it on my old drying rack (which used to dry sweaters in the Frozen
North...)

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From owner-h-costume@indra.com  Thu Feb 18 22:27:06 1999
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-Poster: Lavolta Press <lavolta@best.com>

Then there's this site:

http://www.HickoryHillQuilts.com/dar.htm

I've ordered from Hickory Hill once or twice and have no complaints, though I
don't like their 19th-century selection as much as Patchworks'.

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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-Poster: AlbertCat@aol.com

In a message dated 2/18/99 5:38:43 PM Eastern Standard Time,
csmart@physics.adelaide.edu.au writes:

<< Unfortunately, I have nowhere to wear such an object, so before I do,
 is there any pre-1600 application for this piece (it is only a metre
 square enough for a bodice)?  >>

What color is it?

Anyway....don't you hate it when you want 20 yards of something & there's only
one!

I know it's not as spectacular [maybe] as a bodice but, if you have no use for
an early 1600s bodice and mostly wear 1500's stuff, why not make a pair of
wonderful, tie in [or however you want to attach them....jewels & loops?]
sleeves. Something you could make several bodices or dresses that they would
work with. Something in which you've cleverly used the fabric....poofed and/or
paned at the top....pinked and slashed....embroidered, beaded & seed
pearled.....quilted something like the man's white satin doublet in "Fashion
in Detail. This might be a better way to display the precious stuff rather
than a bodice you have no place to wear.

Tho'....those jacket bodices are smart, are they not?
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From owner-h-costume@indra.com  Thu Feb 18 22:47:05 1999
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-Poster: AlbertCat@aol.com

Little Dorrit is a seamstress.
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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, 18 Feb 1999 AlbertCat@aol.com wrote:

> 
> << Unfortunately, I have nowhere to wear such an object, so before I do,
>  is there any pre-1600 application for this piece (it is only a metre
>  square enough for a bodice)?  >>
> 
> What color is it?
A sort of pale ice-blue, which I'm not particularly enamoured of. I thought
I might throw it in with some stuff I have been planning to dye dark green,
and see how it turned out.
> 
> Anyway....don't you hate it when you want 20 yards of something & there's only
> one!
Yes! Well, they do have some more of the same fabric in different colours
(again, none very nice) also on sale......argh! Temptation.....
Still, A$9.95 is pretty good for silk satin don't you think?
> 
> I know it's not as spectacular [maybe] as a bodice but, if you have no use for
> an early 1600s bodice and mostly wear 1500's stuff, why not make a pair of
> wonderful, tie in [or however you want to attach them....jewels & loops?]
> sleeves. Something you could make several bodices or dresses that they would
> work with. Something in which you've cleverly used the fabric....poofed and/or
> paned at the top....pinked and slashed....embroidered, beaded & seed
> pearled.....quilted something like the man's white satin doublet in "Fashion
> in Detail. This might be a better way to display the precious stuff rather
> than a bodice you have no place to wear.
Hmmm....I've always liked those It. Ren. with the big poofy upper
sleeves....
> 
> Tho'....those jacket bodices are smart, are they not?
Very much so....
------------------------------------------------------------------------------
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  Thu Feb 18 23:06:50 1999
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Date: Thu, 18 Feb 1999 22:11:18 -0600
From: Kent & Kat <kdyer@nash.tds.net>
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-Poster: Kent & Kat <kdyer@nash.tds.net>

I'm thinking sleeves too...sleeves are fun, sleeves are
good, sleeves can be embellished to a fare-thee-well.  I
remember seeing an Italian Ren made for an infant with the
most incredible pearl-laden sleeves that were detachable. 
It got me started on sleeves...or at least making sure that
adding new sleeves to an outfit was an option from the top! 
Sure, you could make a bodice or a corset from it but what's
going to be used more and seen more?

Kat
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From owner-h-costume@indra.com  Thu Feb 18 23:11:03 1999
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-Poster: Lavolta Press <lavolta@best.com>

I think in _Nicholas Nickleby_ Nicholas's sister Kate is forced to work
in a dressmaking establishment by her miserly uncle.

----------------------------------------------
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From owner-h-costume@indra.com  Thu Feb 18 23:33:14 1999
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Date: Thu, 18 Feb 1999 23:38:24 -0500
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-Poster: Bill and/or Glenna Jo Christen <gwjchris@rust.net>

- -Poster: Karen J Farris <alysea@juno.com>

Margo--I have actually seen and reproduced a day-dress from that period
which had no waist seam! It was done entirely princess seamed! Seems
that
might be easy on alterations. It buttoned entirely down the front, with
a
small "Peter Pan" style collar and bishop sleeves. Hope this helps.

This style was occasionally worn in the later 1860's, but not in the
1850's. It didn't appear to have been extremely popular even then. It
took some skilled cutting and fitting for the glove tight fit from the
waist up and immediately flare out full enough for hoops. Coat sleeves
were the most common sleeve style shown with this style.

Glenna Jo "At last an era I know something about!" Christen
gwjchris@rust.net
Visit our web site, "The Curiosity Shop"
http://www.rust.net/~gwjchris/


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From owner-h-costume@indra.com  Fri Feb 19 00:16:03 1999
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-Poster: Charlene Charette <charlene@flash.net>

Henk 't Jong wrote:

> You can't go far wrong with a period quote and footnote, but here also
> caution is neccessary. If a writer quotes out of context, leaves certain,
> maybe crucial, bits out, or if the quote is a quote from another quote,
> which might be suspect, you can be put on the wrong foot easily. This is
> not to say that you can't trust anybody or any quote, but it helps to get
> to know primary sources (which can be translated wrong, too!!!!) or
> trustworthy historians. I don't trust the late Dr. Evans that much, because

Precisely.  Which is why I've been dying to find references to the period
sources of several assertions I've read (unfootnoted) many times.  Now I can go
look up the primary source and read what it says.

--Charlene

--
The discontent of the people is more dangerous to a monarch than all the might
of his enemies on the battlefield.  -- Isabella d'Este




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From owner-h-costume@indra.com  Fri Feb 19 03:46:15 1999
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-Poster: MaggiRos@aol.com

In a message dated 2/17/99 11:39:01 PM Pacific Standard Time,
gwjchris@rust.net writes:

>  It is a
>  fairly typical style of the early 1850's and one that occasionally still
>  appeared on very unfashionable elderly women as late as the early
>  1860's. That indicates to me that a very middle class at best middle
>  aged woman would very likely still be wearing such a style dress at
>  least into the middle 1850's. A fairly wide collar (2"-3") of fine linen
>  or cotton is all that would be required to finish it off. The choice of
>  material would indicate it's purpose and your social class. There are
>  some pretty cotton prints available that are similar to some of the
>  wilder patterns as well as some of the more delicate 'viney' patterns
>  that were popular in the 1850's. Unfortunately, most of the fabrics
>  available in the 19th c. are not being made today. :-(
>  Basically, look for a longer waistline, and narrower sleeves than is
>  typical of the 1860's unless you are going for a late 1850's look, then
>  open sleeves (i.e. pagodas) if you are well off, otherwise, stick to the
>  narrower sleeves of the early part of the decade. Flounced skirts are
>  also an upper class style due to the extravegant use of fabric required.
>  (Ditto pagoda sleeves.)

And so unlikely to be part of working class dress at any time.  Extravagent
means extra expense.

This isn't my "period" but .... It's an old saw that the dress of the un-
fashionable classes is the out of date fashion of their betters.  And we know
that's not the case.  Last year or two we started collecting favorite costume
myths. (Something for the infamous FAQ?)  This is one of them

A working woman might pleat up a fan front, but surely would'nt wear a bodice
cut off the shoulder that inhibits raising her arms, or pencil-tight sleeves,
or floor-length skirts that require a genteel hand to lift while chasing after
the baby or bringing in the wash or carrying a double armful of linens
upstairs.  Or extra flounces that require both more fabric and more TIME to
install.

Folly bells and henins didn't pass down to the peasants after the Burgundian
court tired of them. Early 16th century peasant dress is nothing like
antidated Tudor/Valois/Medici fashion.  And crinolines, I am quite sure, did
not become popular with the working class after upper class Victorian/Ante
Bellum women had moved on to whatever came next (not my period,  as I say.)  

If you're looking for working class women's everyday dress, in any age, don't
research the fashions of 20 years earlier.  Depending on the period, try Sears
catalogs (or equivalent), or the corners of family photos in fine houses (look
at servants), pictures of factory women, or the corner details of manuscripts
and maps and travelogs.  For any period, someone on this list can point you in
a the right direction.  

For perspective and great photos/engravings/photogravure (?) from Leslies
Illustrated Newspaper, read Jack Finney's illustrated novel "Time and
Again"--no, wait, that's 1880s. Not what was asked for. Never mind, still
worth reading for ANY new-ish costumer or re-enactor... well anyway... 

It isn't as hard as you may think to research the clothing or ordinary people.
But don't, please don't, give in to the cliche!

MaggiRos
~all my men wear a sword, or they wear nothing at all 
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From owner-h-costume@indra.com  Fri Feb 19 03:54:56 1999
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-Poster: MaggiRos@aol.com

In a message dated 2/18/99 5:29:40 PM Pacific Standard Time,
bchamber@suffolk.lib.ny.us writes:

> Does any one know of a literary character who was a seamstress? Especially 
> one who whose character was defined (some what) by their sewing. Kind of
like 
> sewing's equivalent to Charles Dickens' Madame Defarge.
>  
Nicholas Nickolby's sister works for a mantua maker (dress maker), doesn't
she?

M.-R.
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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>

What about Mimi in "La Boheme"? An opera, of course, but with a literary source. I seem to remember mention of her either making artificial flowers or embroidering them; anyway, the reference books describe her as a seamstress.

Kate Bunting
Library, University of Derby
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From owner-h-costume@indra.com  Fri Feb 19 08:51:25 1999
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-Poster: trekona@erols.com

Fantine in Les Mis took on sewing after she was fired from the bead factory.

And there Mottel the Tailor in Fiddler on the Roof (ok, he's a guy), which was 
a book before it became a musical.
    -Judy Mitchell

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From owner-h-costume@indra.com  Fri Feb 19 09:38:12 1999
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-Poster: Viv Watkins <ht40@dial.pipex.com>

In Mrs Elizabeth Gaskell's novel "Ruth", the heroine is a seamstress.  It 
was published in 1853.

Viv.

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From owner-h-costume@indra.com  Fri Feb 19 10:00:10 1999
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-Poster: SNSpies@aol.com

<< Does any one know of a literary character who was a seamstress? >>

Morazzoni, Marta.  "The Invention of Truth."  Hopewell, NJ:  The Ecco Press,
1995.

This is a wonderfully evocative novel which weaves together the hypothetical
story of the creation of the so-called Bayeux Tapestry (actually an
embroidery) with the story of a modern poet's visit to Amiens.

Nancy
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From owner-h-costume@indra.com  Fri Feb 19 10:02:56 1999
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-Poster: Lady Eleanor of Leycestershyre <hekav@gte.net>

Kim Graham wrote:
> 

> What did you use for the reeds?

Ummm...reeds.  :-)  The ones for basket weaving...I think
the co. name is Jarvick...don't know if there's a web site. 
If I remember correctly I used the 3mm size (?).  At any
rate, the small ones, about 1/8" thick.
I cut them to length by simply taking the straightened
bundle and slicing them across (about 20 of them per
channel) with a very sharp cleaver.  

-Lady Eleanor
> 
>  _________________________________________________________________
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-Poster: SNSpies@aol.com

<< Does any one know of a literary character who was a seamstress?  >>

Is there anything in the Grimm and Anderson fairy tales?  A tailor, perhaps?
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From owner-h-costume@indra.com  Fri Feb 19 10:46:11 1999
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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: H-COST: Literary Characters, OT
Date: Fri, 19 Feb 1999 10:51:32 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

In *Five Little Peppers and How They Grew,* by Margaret
Sidney, Boston: Lothrop Publishing Company, 1881 (my copy,
but republished numerous times) the oldest girl and her
widowed mother sew at home for a living (just after the
Civil War).  The girl goes blind from working so diligently,
and spends one very dark chapter with her eyes bandaged, not
knowing whether she'll ever recover her eyesight.

There's an excellent teen book with a young female mantua-
maker as the heroine, set during the Revolutionary War.  I
can't remember the name of it. I read it in high school, but
it was a superb book, a very significant cut above average
teen fiction. The heroine goes to work in a mantua maker's
shop where they drink neither tea nor coffee, in order not
to take sides with either their Tory nor their Patriot
clientele.  She proves her worth by sewing successfully for
a petite, elegant, and exacting old lady, who was never
previously satisfied with any seamstress this side of the
Atlantic.  The mantua maker crosses paths with a big,
burley, coarse (and handsome) wagon driver (was he the
elegant old lady's son?), who knits socks to pass the time
as he drives long distances on the dangerous roads.  He, it
turns out, is a Scarlet Pimpernel kind of guy, who is a
great deal more than the coarse waggoner he pretends to be,
a conveyer of vital messages in support of the cause for
Independence. The talented young seamstress slowly comes to
understand the issues between the Colonists and England,
learns to trust the wagoner, becomes secretly supportive of
his cause, and after a successful highly dramatic episode,
looses her heart to him. Perhaps someone else can remember
the title.

Hope H. Dunlap

-----Original Message-----
From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
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Sent: Friday, February 19, 1999 3:59 AM
To: h-costume@indra.com
Subject: Re: H-COST: Literary characters - OT



-Poster: MaggiRos@aol.com

In a message dated 2/18/99 5:29:40 PM Pacific Standard Time,
bchamber@suffolk.lib.ny.us writes:

> Does any one know of a literary character who was a
seamstress? Especially
> one who whose character was defined (some what) by their
sewing. Kind of
like
> sewing's equivalent to Charles Dickens' Madame Defarge.
>
Nicholas Nickolby's sister works for a mantua maker (dress
maker), doesn't
she?

M.-R.

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From owner-h-costume@indra.com  Fri Feb 19 11:06:42 1999
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-Poster: Margo Anderson <margo@directcon.net>

At 10:51 AM 2/19/99 -0500, you wrote:
>
>-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>
>
>In *Five Little Peppers and How They Grew,* by Margaret
>Sidney, Boston: Lothrop Publishing Company, 1881 (my copy,
>but republished numerous times) the oldest girl and her
>widowed mother sew at home for a living (just after the
>Civil War).  The girl goes blind from working so diligently,
>and spends one very dark chapter with her eyes bandaged, not
>knowing whether she'll ever recover her eyesight.


As I recall, Polly doesn't actually go blind, she has the measles and her
eyes are affected, and she is ordered to keep her eyes bandaged so that she
doesn't go blind.  A snooty old lady comes to visit her and upbraids her for
not at least knitting, if she can't help her mother by sewing.  

Margo

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From owner-h-costume@indra.com  Fri Feb 19 11:14:25 1999
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-Poster: Laurel Wilson <lwilson16@earthlink.net>

There's one Dickens character who hasn't been mentioned:  Jenny Wren, in
"Bleak House" (I think), who is a seamstress.
Lauri

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From owner-h-costume@indra.com  Fri Feb 19 11:20:38 1999
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-Poster: NScqweb@aol.com

Hi all,

lwilson16@earthlink.net writes:

> Jenny Wren, in
>  "Bleak House" (I think), who is a seamstress.

Jenny Wren is a character in "Our Mutual Friend" -- she is a "doll's
dressmaker" and a very interesting view of what sewing as a cottage industry
in Victorian London would have been like.

Nancy Shour
in Napa, Calif.
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From owner-h-costume@indra.com  Fri Feb 19 11:33:48 1999
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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: H-COST: Literary References for Stitchers, OT
Date: Fri, 19 Feb 1999 11:41:47 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

Ooops, I forgot the first novel in the English language, or
so I was taught in college: *Pamela,* by Samuel Richardson
(?) in 1741.  Pamela starts the book as a lady's maid whose
primary duties are stitching for her mistress and making her
master's shirts.  There are a whole lot of wardrobe and
clothing references across classes in this delightful novel.
Hope H. Dunlap


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From owner-h-costume@indra.com  Fri Feb 19 12:22:08 1999
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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: Silk satin
Date: Fri, 19 Feb 1999 12:28:03 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

You might consider using your silk-satin to trim a garment
on the wings, poofs peeking through slashes, binding wool or
cotton velvet edges, closure ball buttons, appliqued
scrolling decoration, vandyke trim,  etc.

Hope H. Dunlap

-----Original Message-----
From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
Behalf Of The Purple Elephant
Sent: Friday, February 19, 1999 12:17 AM
To: h-costume@indra.com
Cc: h-costume@indra.com
Subject: Re: H-COST: Silk satin



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

On Thu, 18 Feb 1999 AlbertCat@aol.com wrote:

>
> << Unfortunately, I have nowhere to wear such an object,
so before I do,
>  is there any pre-1600 application for this piece (it is
only a metre
>  square enough for a bodice)?  >>
>
> What color is it?
A sort of pale ice-blue, which I'm not particularly
enamoured of. I thought
I might throw it in with some stuff I have been planning to
dye dark green,
and see how it turned out.
>
> Anyway....don't you hate it when you want 20 yards of
something & there's only
> one!
Yes! Well, they do have some more of the same fabric in
different colours
(again, none very nice) also on sale......argh!
Temptation.....
Still, A$9.95 is pretty good for silk satin don't you think?
>
> I know it's not as spectacular [maybe] as a bodice but, if
you have no use for
> an early 1600s bodice and mostly wear 1500's stuff, why
not make a pair of
> wonderful, tie in [or however you want to attach
them....jewels & loops?]
> sleeves. Something you could make several bodices or
dresses that they would
> work with. Something in which you've cleverly used the
fabric....poofed and/or
> paned at the top....pinked and slashed....embroidered,
beaded & seed
> pearled.....quilted something like the man's white satin
doublet in "Fashion
> in Detail. This might be a better way to display the
precious stuff rather
> than a bodice you have no place to wear.
Hmmm....I've always liked those It. Ren. with the big poofy
upper
sleeves....
>
> Tho'....those jacket bodices are smart, are they not?
Very much so....
------------------------------------------------------------
------------------
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  Fri Feb 19 12:28:18 1999
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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: the zipper
Date: Fri, 19 Feb 1999 12:17:23 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

Dear Melina,
Good luck on your zipper project.  The zipper had an impact
on fashion, but its important to remember that the impact is
not solely the result of its technological advance.  People
who develop new products have to push them into the
marketplace, and sometimes the product doesn't meet a real
need so much as the company's marketing department is
awfully aggressive and successful.  I think the zipper is an
example of something that did  address some sorts of needs
well, but was overapplied and mis-applied in many cases.

Compared to interminable numbers of buttons and hooks and
eyes on shoes and clothes, it was definitely an advance.  My
father still recalls the morning misery of buttoning himself
into his high-button shoes as a young child during the
twenties, armed with a button hook, and having one or more
of the lot pop off nearly every day.  Zippers solved this,
but so did shoelaces, elastic, and Velcro.  Zippers also
replaced buttons on men's pants flys, but for the life of
me, I don't personally think this was a major step forward
in civilization, as they were insignificantly more
convenient to close, but broke or snagged the surrounding
fabric far more often.

In the 1950's hardly any of my clothes used zippers.
Dresses buttoned up the back or front. Pants had elastic,
snaps, and buttons. My mother's clothes from the thirties
and forties used a lot of side seam openings, using buttons,
snaps, or hooks and eyes to close them. The closures were
not particularly cumbersome to get in and out of, and unlike
zippers didn't make  the fabric twist or wobble out of
place, add unsightly weight to the seam, catch in the
surrounding fabric as it went up and down, or draw blood
from the victim inside the garment whose skin would
regularly get caught in the sharp metal teeth of the zipper.

By the 1960's a nylon zipper became the standard closure on
dresses, and it became inconceivable to use anything else.
I think it was good marketing, and not necessarily an
improvement in the quality of life. That was an era of woven
fabric clothes, by the way. And for 10 years or so, the
nylon zippers melted under the heat of a hot iron.  A zipper
has no place on today's knit clothing. Today zippers are
great for back packs and nylon sports outer wear like
ski-jackets

In my own sewing, I've come to almost eliminate zippers
today for all the reasons mentioned above.  They cost money
which you don't need to spend, are especially terrible for
closing knits, look unsightly, and add weight and wobble
just where it ruins the lines of clothing made of light
fabrics. Spaghetti tie tapes made of self fabric and buttons
are much preferable, I think. I cringe every time I see an
expensive tailored jacket with a zipper in it---to me it
implies cheap, and doesn't belong in an expensive garment.
I also think that period lacings ought to be reintroduced as
a viable way of closing a garment.  They can truly be
hidden, add little weight, and when visible, add a
delightful poetry to a garment

End of tirade,
Hope H. Dunlap

-----Original Message-----
From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
Behalf Of Johanna R. Forte
Sent: Thursday, February 18, 1999 4:26 PM
To: h-costume@indra.com
Subject: Re: H-COST: the zipper



-Poster: "Johanna R. Forte" <forte@kutztown.edu>

Leta:
Thank you so much for the book info.  I'm very excited to go
in search of
it.  It sounds like just what our group needs to complete
our project.
Thank you again,>
Melina Forte

Johanna R. Forte
Costume Designer
Kutztown University


On Thu, 18 Feb 1999, Leta Hendricks wrote:

>
> -Poster: "Leta Hendricks" <hendricks.3@osu.edu>
>
> A super cool resourcefor your topic
> HOW THE ZIPPER CHANGED FASHION HISTORY
> is:
>
>  AUTHOR       Friedel, Robert.
>  TITLE        Zipper : an exploration in novelty / Robert
Friedel.
>  EDITION      1st ed.
>  PUBLISH INFO New York : W.W. Norton, c1994.
>  DESCRIPTION  xiv, 288 p. : ill. ; 22 cm.
>  NOTES        Includes index.
>  SUBJECTS     Inventions -- History -- 20th century.
>               Inventions -- History -- 19th century.
>               Zippers -- History.
>  OCLC #       28507009.
>
>
> The inventor of the zipper/fastener,  Whitcomb Judson
(1846-1909)
> is from my hometown -- Galesburg, Illinois!!!!!!
> *^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*
> Leta Hendricks
> Assistant Professor
> Head EHS Systems and
> Human Ecology Bibliographer/ Librarian
> The Education, Human Ecology,
> Psychology, and Social Work Library
> The Ohio State University
> 110 Sullivant Hall
> 1813 North High Street
> Columbus, Ohio  43210
> 614.292.2075
> 614.292.8012 fax
> hendricks.3@osu.edu
> http://www.hec.ohio-state.edu/hendrick/
> http://www.lib.ohio-state.edu/OSU_profile/ehsweb/
> -----Original Message-----
> From: Johanna R. Forte <forte@kutztown.edu>
> To: h-costume@indra.com <h-costume@indra.com>
> Date: Thursday, February 11, 1999 5:50 PM
> Subject: H-COST: the zipper
>
>
> >
> >-Poster: "Johanna R. Forte" <forte@kutztown.edu>
> >
> >I am an eighth grade student at Kutztown Junior High
School who is
> >participating in National History Day, a nation wide
competion that
> >encourages students to become involved with the past.
The topic that I
> >have have chosen is HOW THE ZIPPER CHANGED FASHION
HISTORY.  If there are
> >any fashion historians out there, my project greatly
needs your help.  We
> >have all the history of the  zipper that we need, but are
struggling to
> >find some significance of the zipper.  Yes it was time
saving, but isn't
> >there something else?  Did the invention of the zipper
lead to any new
> >fashion styles to be designed?  Did the zipper make
clothing companies
> >save any money?  (Was sewing in the zipper cheaper than
sewing in the
> >buttons?)  To discover more in depth answers to those
questions and to
> >please the judges, I need primary sources.  Could you
please help me to
> >discover some of these sources?
> >
> >Thank you for taking the time to read this letter.  If
you have a
> >response, please e-mail me privately at
MFfairy@hotmail.com.
> >
> >Sincerely,
> >Melina Forte
> >
> >Johanna R. Forte
> >Costume Designer
> >Kutztown University
> >
> >
> >
____________________________________________________________
_____
> > 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
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>  with the message UNSUBSCRIBE H-COSTUME
>


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From owner-h-costume@indra.com  Fri Feb 19 12:31:30 1999
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Date: Fri, 19 Feb 1999 12:35:34 -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>

- -Poster: MaggiRos@aol.com
 >... And crinolines, I am quite sure, did not become popular with the
working class after > upper class Victorian/Ante Bellum women had moved
on to whatever came next (not > my period,  as I say.)

Actually, this period may be an aberration or perhaps it a matter of the
democratization of America. One of the major complaints of the wealthier
classes, (Charles Worth included) was that even maids and factory girls
were wearing hoops. Pottery works had a system of fines in place for
breakage from hoops. Others installed changing rooms where women left
their hoops before going in among the greenware they were painting.
There are numerous engravings and a few rare photos of women in hoops
working in factories. The fact that the upper classes were having
trouble keeping ahead of the 'lower orders' was a factor in the more
rapid changes in fashions. Women of this period and beyond followed the
same basic forms of the wealthier women, only using far less trims, less
costly materials and generally avoided the more extreme styles. I have
seen one original dress from the early 1850's that had the narrow bias
cut sleeves and dropped waist. It was clearly home made by a
non-professional. It was of fairly coarse fabric, most likely linsey
woolsey (I didn't put it under a microscope) It had seen hard use,
showing wear marks similar to those on reproduction clothing used by
workers on living history farms. The skirt had even been turned once to
make it last longer. Definitely a poor person's trick.
On the other hand, there are accounts from people like Sofia Bost, an
immigrant to the wilds of Minnesota in the 1850's who wrote home to
Europe complaining about how the poor farmer women would come into town
when a preacher came around wearing silk dresses and hoops even though
they were barely scratching a living... Her rather straight laced
religious views may have colored her distaste for such show in church,
but the silks were there. They may have been of poor quality silk or the
dresses may have been restyled a time or too, but at least some poor
frontier women had silk dresses. The same with poor factory girls. They
were reported to have scrimped and saved for Sunday finery. Of course, a
respectable married woman would most likely have other priorities. She's
follow fashion, but in a modest way. If she's doing her daily chores,
she's not wearing hoops, but her skirts will be well down around her
ankles to be sure. I know I've done plenty of bending and lifting work
in those closes, corsets and all.
Some women attempted to get women to wear shorter skirts with loose
fitting 'Turkish' trousers starting in the earliest of the 1850's. The
attempt failed utterly. One woman who attempted to wear this 'American
Reform Dress' in NYC had garbage thrown on her for her troubles. Since
when did practicality dictate fashion.? ;->

Glenna Jo "How she does go on!" Christen
gwjchris@rust.net
Visit our web site, "The Curiosity Shop"
http://www.rust.net/~gwjchris/


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From owner-h-costume@indra.com  Fri Feb 19 12:58:42 1999
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-Poster: Schmitt100@aol.com

I just remembered - Calico Captive by Zilpha Keatly Snyder???? Anyhow, the
main character and her sister are captured by Indians and held hostage by the
French, and become the most fasionable seamstresses in town.

**********************
Rebecca Schmitt
So many books, so little time

Good ideas are not adopted automatically. They must be driven into practice
with courageous patience. - Admiral Hyman Rickover

schmitt100@aol.com
**********************
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 To leave this mailing list, send mail to majordomo@indra.com
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From owner-h-costume@indra.com  Fri Feb 19 14:06:57 1999
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Date: Fri, 19 Feb 1999 13:10:31 -0600
From: "I. Marc Carlson" <LIB_IMC@centum.utulsa.edu>
To: sca-arts@raven.cc.ukans.edu, H-COSTUME@indra.com
Message-Id: <990219131031.c0e56@centum.utulsa.edu>
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-Poster: "I. Marc Carlson" <LIB_IMC@centum.utulsa.edu>

Pardon me if I am a bit vulger here, but I've had a question come up recently
that has given me great pause, and so I am in my "information gathering" mode.

A number of times in the past few weeks the question of money (as in "how
much should I charge for this") has reared it's ugly head.  First, let me lay
the groundwork for my question.  1. I make shoes, as well as other things.  
2.  Traditionally, I do not take commissions, nor, as a rule, do I charge for,
my work (except for knives, where my agreement with my wife, I charge a penny).
This may be because I was taught that if you are doing something as a hobby
it's inappropriate to charge for it, except perhaps for materials (It's also
inappropriate to discuss money issues publically, so you can see how far THAT
stops me :) ).  3.  If you ARE going to charge for your work, the customer
should expect a certain minimal level of work for that fee.  4.  I'm a 
reasonably good researcher, I'm not bad as a leather-worker, but I harbor
no illusions there either.  5.  When I first designed my shoe page, I did so
based on the premise that I'm just too cheap to pay what shoemakers were 
charging, and shoes don't NEED to be that expensive.

Now, I was informed that I was undervaluing my work this way, and this was
a Bad Thing.  Fair enough.  So, if I *did* charge for my work, what would
be a fair price?  As a minimum, if I used cheap leather and charged minimum
wage, that *minimum* would be about $130-150 a pair for shoes.  Now, I know 
professional shoemakers who charge upwards of $800-1000 for a pair of modern 
boots (and they think I'm absolutely nuts for not charging, or charging so 
little).

So, my questions are 1. Is is bad to undervalue the cost of your labor so 
badly?  2.  How much is a fair price?  3.  Since I'm still making the 
information for how to make shoes cheaply, would taking (a lot of) money make
me a hypocrite?

Marc/Diarmaid
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From owner-h-costume@indra.com  Fri Feb 19 14:16:07 1999
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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: OT Literary Characters
Date: Fri, 19 Feb 1999 14:22:07 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

That one sounds like fun!  Here's another book about a
captive who sews: A True History of the Captivity and
Restoration of Mrs. Mary Rowlandson, written in 1677 and
republished 15 times before the end of the eighteenth
century.  She spent more than five weeks among the Indians
in Massachusetts as a captive, wounded when taken, as was
her young daughter who died.  The Indian men often brought
to Mary a piece of trade fabric or a pair of captured socks,
and had her sew up the fabric into a shirt, or unravel the
socks and knit them up again to fit.  Fortunately she had
the habit of always carrying her needles on her person, so
she was lucky to have them with her when she was captured.
I think her ability to do useful needlework must have been
instrumental in her survival.  The book is short, highly
readable, and can be easily found at http://www.Amazon.com
in a Penguin Classics book called Colonial American Travel
Adventures, $13.95 price.

In *The Five Little Peppers,* 11-year-old Polly did have
measles, but it was her  diligence at trying to keep up with
her sewing duties in spite of not feeling well that brought
on the blindness.  She went blind and collapsed.  Then the
doctor came and figured out that she must have early stages
of the measles.

"Polly thought back; and then she remembered that she *had*
felt very badly; that was when she was baking over the old
stove the day before her back had ached dreadfully; and
that, somehow, when she sat down to sew, it didn't stop;
only her eyes had bothered her so; she didn't mind her back
so much.
"I thought so," said the doctor when Polly answered.  "And
those eyes of yours have been used too much; what has she
been doing Ma'am?" He turned around sharply on Mrs. Pepper
as he asked this.
"Sewing," said Mrs. Pepper, "and everything: Polly does
everything, sir."

Chapter IV. Hard Days for Polly. Reread so many times, I can
*almost* write this without the dear old book in front of
me!

Hope H. Dunlap

-----Original Message-----
From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
Behalf Of Schmitt100@aol.com
Sent: Friday, February 19, 1999 1:01 PM
To: h-costume-digest@indra.com
Subject: H-COST: OT Literary Characters



-Poster: Schmitt100@aol.com

I just remembered - Calico Captive by Zilpha Keatly
Snyder???? Anyhow, the
main character and her sister are captured by Indians and
held hostage by the
French, and become the most fasionable seamstresses in town.

**********************
Rebecca Schmitt
So many books, so little time

Good ideas are not adopted automatically. They must be
driven into practice
with courageous patience. - Admiral Hyman Rickover

schmitt100@aol.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 Feb 19 14:45:28 1999
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From: Cindy Myers <emmy@monogames.com>
Subject: H-COST: Newton's _Fashion ... Black Prince_
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-Poster: Cindy Myers <emmy@monogames.com>

I'm reading Stella Mary Newton's _Fashion in the Age of the Black Prince_
yet again (years later), and I'm still at a loss over something that is
refered to repeatedly.

In her chapter III on the Great Wardrobe, she states that the expense
records for 1337 thru 1338 show the king was wearing both long suits in the
old style, and short ones in the new style.  By 1342, these short suits are
described in the accounts as 'frounced' and buttoned in front. Speaking of
the author of the _Grandes Chroniques_, she says,

"But it is to him that we owe the clarification of the strange word
	'frounciata', to be found in many entries in the English and French
great wardrobe and argenterie accounts of the same date, for he clearly
showed the he was using 'froncee' in today's sense, meaning stuff gathered
together."

She also mentions tunics with frounced skirts, which I can't imagine.  From
the pictures I've seen, it looks like all one piece from shoulders to hem.
Certainly there's nothing I would call a skirt, let alone one that was
gathered. Ooops, I take that back. Looking through the book I found one
picture of a lutanist wearing a plaid tunic with a short little skirt
clearly gathered on at about hip level.

The accounts also list linen underwear "'robarum' for the king made
frounced and lined in the new fashion" followed by some made in the old
style (frouncing and lining not mentioned).  Lined underwear?!

Also listed is black Irish 'sarge' for making hose.  What's sarge?  If
anyone has actually made hose of this period, will you share what fabric
you used, and did you like how it turned out?

She mentions chroniclers of the time complaining that with the tighter
fashion people couldn't undress by themselves, and had to go through
awkward contortions looking like they were being skinned, etc.  So why all
this talk about being buttoned up the front?

Does anyone have any more information or opinions on this?

Thanks for all the interesting discussions,

Cindy
emmy@monogames.com


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Subject: Re: H-COST: Arts/Crafts/Money
Date: Fri, 19 Feb 99 14:54:10 -0500
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-Poster: <aquazoo@patriot.net>

Marc wrote,
>2.  Traditionally, I do not take commissions, nor, as a rule, do I charge 
>for, my work (except for knives, where my agreement with my wife, I charge a 
>penny).

     I remember a similar practice in the Anne of Green Gables books. A 
gift of a penknife was "sold" for a penny so the knife would not cut 
their love.

>So, my questions are 1. Is is bad to undervalue the cost of your labor so 
>badly?

     If you are making things for friends, or just having them buy the 
materials, you are giving them a gift. You mentioned that you don't take 
commissions, which also sounds like you aren't working for people you 
don't know.

     The "bad" part comes in when you are underselling someone who is 
working for all or part of their income. There are several reasons 
someone could be doing this:

     -Selling cheaply as you improve your skills, and intend to raise 
your prices as the quality improves.
     -As mentioned above, a gift or donation.
     -An idea that your work is not worth much, based on inexpensive 
everyday clothing available due to imports/big business. ($100 for shoes? 
They look like my $7 bedroom slippers!) This is also a lack of accounting 
for reasearch, hand work, etc.
     -Underselling in order to put the competition out of business.

     There are some motivations that are bad, and some that are not.

     People also share work with others within their organization. You 
might make a pair of shoes for someone for the price of the leather, but 
you also have the pleasure of seeing the person wear them at events. How 
would you feel about making a pair for me if I wanted to fill them with 
sand and use them as a decorative doorstop?

>3.  Since I'm still making the information for how to make shoes
>cheaply, would taking (a lot of) money make me a hypocrite?

     I'm reminded of the Monty Python sketch, "How to do it". "How to 
play the flute" was described as "You blow in here and move your fingers 
around on these buttons." No matter how detailed your instructions, it 
takes time to read and understand them, and then time to practice the 
fitting  and cutting and stitching to get a decent pair of shoes. I've 
watched people do this, (beginner shoemakers, not your instructions!) and 
it isn't pretty. Whether someone wants to make shoes cheaply or pay for 
them, you are providing a service for both of them.

     -Carol Kocian
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From owner-h-costume@indra.com  Fri Feb 19 15:35:22 1999
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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: Arts/Crafts/Money
Date: Fri, 19 Feb 1999 15:40:56 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

Sounds like a tortured moment here.  The price for handmade
shoes and knives is what the market will bear, *IF* you
choose to let the market set the price.  The market is the
active buying and selling of all the customers and vendors.
At any given time, prices for same shoes will be in a broad
range, like dots scattered on a statistical sampling chart.
The market tends towards an average price, just as a
statistical sampling tends towards a mean. The more informed
the buyers and sellers are of each other's terms, the
tighter the pricing variation will be.

But markets do not have to determine all actions in life,
thank G*D. You can CHOOSE to give your work away if you want
to, as a gift of the heart.  For example, ministers and
priests provide counseling for free or for a nominal charge.
It probably irritates the $150/hour psychiatrists, but
"tough cookies!" Doctors have a sliding scale in their fees,
top dollar for those who were well off, down to zero for the
destitute.  A businessperson who has no other work one week
may offer a great deal  to make a sale, just because he or
she needs the money to pay the rent and feed the kids that
week. A contractor may give his expertise to a community in
order to thank them for a school system that's gone above
and beyond the call of duty for his troubled child.  None of
these people are being immoral, in my opinion, for offering
their services for free or next to nothing.  And if they
charge money for it, there's nothing wrong with that either.

I doubt that your modest production is going to
substantially upset any market and throw any heads of
household out of work. Love your WebPages, and despair of
the time markets might come to determine the "cost" of every
good thing in life!

Hope H. Dunlap







-----Original Message-----
From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
Behalf Of I. Marc Carlson
Sent: Friday, February 19, 1999 2:11 PM
To: sca-arts@raven.cc.ukans.edu; H-COSTUME@indra.com
Subject: H-COST: Arts/Crafts/Money



-Poster: "I. Marc Carlson" <LIB_IMC@centum.utulsa.edu>

Pardon me if I am a bit vulger here, but I've had a question
come up recently
that has given me great pause, and so I am in my
"information gathering" mode.

A number of times in the past few weeks the question of
money (as in "how
much should I charge for this") has reared it's ugly head.
First, let me lay
the groundwork for my question.  1. I make shoes, as well as
other things.
2.  Traditionally, I do not take commissions, nor, as a
rule, do I charge for,
my work (except for knives, where my agreement with my wife,
I charge a penny).
This may be because I was taught that if you are doing
something as a hobby
it's inappropriate to charge for it, except perhaps for
materials (It's also
inappropriate to discuss money issues publically, so you can
see how far THAT
stops me :) ).  3.  If you ARE going to charge for your
work, the customer
should expect a certain minimal level of work for that fee.
4.  I'm a
reasonably good researcher, I'm not bad as a leather-worker,
but I harbor
no illusions there either.  5.  When I first designed my
shoe page, I did so
based on the premise that I'm just too cheap to pay what
shoemakers were
charging, and shoes don't NEED to be that expensive.

Now, I was informed that I was undervaluing my work this
way, and this was
a Bad Thing.  Fair enough.  So, if I *did* charge for my
work, what would
be a fair price?  As a minimum, if I used cheap leather and
charged minimum
wage, that *minimum* would be about $130-150 a pair for
shoes.  Now, I know
professional shoemakers who charge upwards of $800-1000 for
a pair of modern
boots (and they think I'm absolutely nuts for not charging,
or charging so
little).

So, my questions are 1. Is is bad to undervalue the cost of
your labor so
badly?  2.  How much is a fair price?  3.  Since I'm still
making the
information for how to make shoes cheaply, would taking (a
lot of) money make
me a hypocrite?

Marc/Diarmaid

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From owner-h-costume@indra.com  Fri Feb 19 18:52:12 1999
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-Poster: Margo Anderson <margo@directcon.net>

I'm trying to find out when ankle length drawers (pantalettes?) were worn.
I've seen them in an 1830's painting, but that was with a riding habit.
While I've read that they were worn during the hoopskirt period because the
legs were easily revealed by tilting hoops, I've seen a number of existing
drawers, and they all seem to be about knee length.  I suppose this may be
because if the longer ones went out of style, they were easily shortened.
When I worked at the Dickens Christmas Fair (okay, not exactly a bastion of
authenticity), we were all supposed to wear them.  So when were these things
worn?  And does anyone know where my copy of Cunnington is?

Margo

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From owner-h-costume@indra.com  Fri Feb 19 18:52:41 1999
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-Poster: Margo Anderson <margo@directcon.net>


>So, my questions are 1. Is is bad to undervalue the cost of your labor so 
>badly?

No, it's not bad.  It's your personal choice.  One thing you might want to
consider, though, is that if you charge substantially lower than the going
rate, you lower the curve for everyone else who's trying to make money in a
field.  As someone who's been trying to make a living with costuming for
years, without succeeding,  I know that every hobbyist who works for little
or nothing makes it a little tougher for me to get my $15 an hour.  I'll
leave the economic philosophy to those who enjoy that sort of thing, and
reiterate that it's an entirely personal choice, but if you feel a need to
justify charging to yourself, think of it as price supports!

  2.  How much is a fair price?  

Again, that's a personal decision.  there are a number of "how to make money
with your arts and crafts/sewing" books out there that have various systems
for determining pricing, some good, some...well,  my favorite piece of
advice was, "determine how much money you want to make this year, then
determine how many hours you want to work.  Divide the amount of money by
the hours to get your hourly rate."  Meaning, I suppose, that if you want to
make $50,000 and you only want to work 10 hours, your hourly rate is $5000.
Sure, I want shoes made by that guy!

   3.  Since I'm still making the 
>information for how to make shoes cheaply, would taking (a lot of) money make
>me a hypocrite?

Of course not!  I could get cheap diamond earrings if I studied geology,
found where the diamonds were, dug a mine, and learned diamond cutting.  Or
I could save a lot of time and effort and spend the money to buy them.
People who want to buy your work are willing to do so because they want to
save time and effort, or because they value your craftsmanship.

If you want to give it away, fine.  If you want to make money, that's fine
too.  it's up to you.

Margo Anderson

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From owner-h-costume@indra.com  Fri Feb 19 18:53:07 1999
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Date: Fri, 19 Feb 1999 17:05:18 -0600 (CST)
From: ches <ches@io.com>
To: h-costume@indra.com
Subject: H-COST: movie costumes
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-Poster: ches <ches@io.com>

Having finally seen both Shakespeare in Love and Elizabeth, and after
rereading everyone's comments about how horrified most of you were at the
inaccuracies in costuming I have few questions.

First off, I would never recommend a movie as a source of documentation. I
would however recommend that a movie be seen for inspiration to find the
BOOKS that mayhave inspired the cut of the costumes in it.

Having said that, my first question is: How good is your historical eye?
By that I mean if these movies were in black and white and all we watched
was the CUT of the garments in the movies, how many and what periods and
regions of them could you identify?

Fess up. You told the whole list how bad it was because they mixed periods
BUT you did not say that the cuts were badly done.

Sounds like a scavanger hunt but it could be fun and very helpful if you
were trying to show someone a particular cut and had no real good picture
BUT you knew of a movie that if viewed in black and white had one garment
that conveyed the idea very well.

Sincerely,
F. Havas
ches@io.com


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From owner-h-costume@indra.com  Fri Feb 19 19:26:49 1999
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From: Lavolta Press <lavolta@best.com>
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-Poster: Lavolta Press <lavolta@best.com>

> No, it's not bad.  It's your personal choice.  One thing you might want to
> consider, though, is that if you charge substantially lower than the going
> rate, you lower the curve for everyone else who's trying to make money in a
> field.  As someone who's been trying to make a living with costuming for
> years, without succeeding,  I know that every hobbyist who works for little
> or nothing makes it a little tougher for me to get my $15 an hour.  I'll
> leave the economic philosophy to those who enjoy that sort of thing, and
> reiterate that it's an entirely personal choice, but if you feel a need to
> justify charging to yourself, think of it as price supports!
>
>

I agree with Margo here.

One solution I have seen recommended for amateur journalists who write for
publications that pay, but don't feel they need the money, is:

Charge the going rate and donate all or part of the payment to a worthy charity.
That way, you're not undercutting other peoples' incomes, but you're not keeping
money you don't feel entitled to.  Instead, you're doing good all around.

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  Fri Feb 19 19:51:28 1999
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-Poster: Sheridan Alder <alderweb@vaxxine.com>

I've got another idea for Margo's "madam" dress that's less of a
cliche than red but is fairly "hot" and lurid - how about orange and
white!

I picked up a crumbling copy of "She Walks in Splendor: Great
Costmes 1550-1950" which is a exhibition booklet from the
Museum of Fine Arts, Boston, 1963. It includes a c. 1855-1860
ball dress which is white and orange, (no, not peach) bright orange.
It's a rather extraordinary edifice - the test says it's meant to suggest
an open overgown worn over a petticoat. The "petticoat" illusion
of the front of the gown is achieved with 13 tiers of ruffled white
tulle, (didn't they worry about bad luck?) each tier trimmed at the bottom
with orange satin. The silk brocade(?) has quiet orange flowers with a wide

repeat, about eight inches apart. The "overgown" is slightly bunched up
(hinting at the bustle..maybe they've got the date wrong?) by three wide
orange ribbons sweeping from side edge to side edge, culminating at
the sides with rosettes of the ribbon in graduating size. The bottom
rosette
about knee level is the size of the  models head. There's an orange sash,
and various other orange bits of edging. You could make a frothy white
muslin day dress, and add bright tangerine ribbon trimmings!

Intellectually I know that the Victorians went berserk with the
aniline dyes, but I always think "magenta", etc. Maybe it's just
the aesthetic shock of not having seen so much orange since my
mother redecorated her family room in the late seventies from
orange and brown to rose. From having overdosed on bright orange
as a child in the sixties, and the earthier "burnt-orange-'n-brown-'n-
macrame" look of the seventies, I'm just not a big orange fan, I'm afraid.
It's interesting how orange has never succeeded in making a
comeback, despite a couple of attempts. The baby-boomers
never want to see it again?

It does flatter on some people though. Problem is, I bet
if someone did use orange and white for a 1850's gown,
someone would be sure to inform them that the colours
weren't "period".

Sheridan Alder



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From owner-h-costume@indra.com  Fri Feb 19 20:17:57 1999
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-Poster: AlbertCat@aol.com

Just thought I'd mention that "Time" has a article on Sandy Powell....who I am
always praising here. Doesn't mention "Interview w/ the Vampire" [what I
worked on] for some reason but there is a photo of the Fortuny gowns in "Wings
of the Dove" [so you can see how Rose SHOULD"VE looked in the mediocre
"Titanic".]

Ahhhhh....it's nice to have your belief that you have exquisit taste
confirmed, isn't it?
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From owner-h-costume@indra.com  Fri Feb 19 20:19:03 1999
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From: "Penny E. Ladnier" <penny.creative.outlets@erols.com>
To: "costume newsgroup" <h-costume@indra.com>
Subject: H-COST: Call for Papers
Date: Fri, 19 Feb 1999 20:23:06 -0500
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-Poster: "Penny E. Ladnier" <penny.creative.outlets@erols.com>

Just wanted to let everyone know about Costume Society of America's Call for
Papers for Regions III & IV.  Theme: BLOOMERS TO BICYCLE SHORTS
The Relationship Between Sport and Costumes.  Deadline is March 15th.
For more details, http://www.costumesocietyamerica.com/regio3&4.htm

Later...Penny







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From: "Penny E. Ladnier" <penny.creative.outlets@erols.com>
To: <AlbertCat@aol.com>
Cc: "costume newsgroup" <h-costume@indra.com>
Subject: H-COST: Three Tier Gowns
Date: Fri, 19 Feb 1999 20:34:55 -0500
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-Poster: "Penny E. Ladnier" <penny.creative.outlets@erols.com>

Hi Albert Cat and list,

I thought of you all this past weekend while in the City of Mobile Museum...
remember our conversation a few months back about three tiered gowns...
The museum had an original ball gown from 1860s, that was off the shoulders
(low boat neck) with a three-tiered ruffled skirt.  The original colors of
the gown was off white with turquoise embroidered flowers on the ruffles.
Now I can say I have seen two of these tiered ruffled gowns in museums.  The
other was a wedding gown in the Valentine Museum.  It was all white.

Still have not seen those all pastel ruffled gowns portrayed in magazines.

Later...Penny

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From owner-h-costume@indra.com  Fri Feb 19 20:47:37 1999
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From: "Megan McHugh" <mchug@mindspring.com>
To: <h-costume@indra.com>
Subject: Re: H-COST: Arts/Crafts/Money
Date: Fri, 19 Feb 1999 20:50:58 -0500
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-Poster: "Megan McHugh" <mchug@mindspring.com>

I personally don't have a problem paying for quality work.  But you are
right, I do expect quality work if I am paying through the nose.  Paying for
only the supplies needed, to me, would allow more leeway in the finished
product, but I would still hope for no major flaws.  On the other hand, I've
never purchased anything without paying the artisan something for their
valuable time.  In fact, I 've been eagerly waiting for the boots I ordered
last fall from one of the somewhat expensive shoemakers, that I had been
dreaming about for 3 or 4 years before I finally ordered them.  On the other
hand, I am also interested in making myself some shoes, as purchasing more
boots at those prices is not going to be a frequent occurrence, if you know
what I mean.  So, pray tell, what is the link for your page?  What kind of
shoes/ boots do you make?  I may want to order from you in the future if I
decide not to take on the project myself.

-----Original Message-----
From: I. Marc Carlson <LIB_IMC@centum.utulsa.edu>
To: sca-arts@raven.cc.ukans.edu <sca-arts@raven.cc.ukans.edu>;
H-COSTUME@indra.com <H-COSTUME@indra.com>
Date: Friday, February 19, 1999 2:18 PM
Subject: H-COST: Arts/Crafts/Money


>
>-Poster: "I. Marc Carlson" <LIB_IMC@centum.utulsa.edu>
>
>Pardon me if I am a bit vulger here, but I've had a question come up
recently
>that has given me great pause, and so I am in my "information gathering"
mode.
>
>A number of times in the past few weeks the question of money (as in "how
>much should I charge for this") has reared it's ugly head.  First, let me
lay
>the groundwork for my question.  1. I make shoes, as well as other things.
>2.  Traditionally, I do not take commissions, nor, as a rule, do I charge
for,
>my work (except for knives, where my agreement with my wife, I charge a
penny).
>This may be because I was taught that if you are doing something as a hobby
>it's inappropriate to charge for it, except perhaps for materials (It's
also
>inappropriate to discuss money issues publically, so you can see how far
THAT
>stops me :) ).  3.  If you ARE going to charge for your work, the customer
>should expect a certain minimal level of work for that fee.  4.  I'm a
>reasonably good researcher, I'm not bad as a leather-worker, but I harbor
>no illusions there either.  5.  When I first designed my shoe page, I did
so
>based on the premise that I'm just too cheap to pay what shoemakers were
>charging, and shoes don't NEED to be that expensive.
>
>Now, I was informed that I was undervaluing my work this way, and this was
>a Bad Thing.  Fair enough.  So, if I *did* charge for my work, what would
>be a fair price?  As a minimum, if I used cheap leather and charged minimum
>wage, that *minimum* would be about $130-150 a pair for shoes.  Now, I know
>professional shoemakers who charge upwards of $800-1000 for a pair of
modern
>boots (and they think I'm absolutely nuts for not charging, or charging so
>little).
>
>So, my questions are 1. Is is bad to undervalue the cost of your labor so
>badly?  2.  How much is a fair price?  3.  Since I'm still making the
>information for how to make shoes cheaply, would taking (a lot of) money
make
>me a hypocrite?
>
>Marc/Diarmaid
> _________________________________________________________________
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> with the message UNSUBSCRIBE H-COSTUME

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From owner-h-costume@indra.com  Fri Feb 19 21:02:01 1999
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Date: Fri, 19 Feb 1999 21:06:57 -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>

> Would the bonnet be worn over the cap, or instead of it?

Caps were worn indoors only. A woman would remove her cap (if she were
wearing one. Not likely by the 1860's.) before she put on her bonnet to
go outside

> Godey's illustrations I've seen say things like "velvet bonnet with
innner
> cap of blonde lace".  Is this a separate cap, or is it part of the
bonnet?

It was part of the bonnet. The term is probably a remnant from earlier
decades when women often wore their bonnets over their caps. Those who
focus on the Regency era can confirm if this was being done in that era.
A few more old fashioned widows occasionally wore a widow's cap under
their bonnet, but even this practice appears to have become rather out
dated by the 1860's if not before.

> As to single young ladies wearing hats,  I agree that they seems to
have
> been worn for informal or resort wear.  Can I assume that a young lady

> wouldn't wear one for shopping in a small town?  (Trying to discourage
the
> Scarlett O'Hara wanabees, you know).

> Margo Anderson

Bless your heart! We have more than our share of women with "Scarlett
Fever" in CW reenacting.
As for young ladies wearing hats into town, probably not. They should
leave those for garden parties, the seaside, etc.  The street scene
photographs and other sources such as newspaper engravings I've seen
often show women wearing a wide variety of bonnets from the fashionable
styles to deep brimmed Shaker bonnets and slat bonnets. Some of the
women in Shakers and slats were wearing hoops too which blows another
costuming myth out of the water that women only wore slat bonnet if they
were doing outdoor work or at least dressed for such work. Based on what
I've seen in my research, my new comment is, "Slat bonnets, Not just for
working anymore!" ;->
As with so many elements of fashion. The material used often indicates
who wore something and for what purpose. A sturdy checked cotton slat
bonnet would be perfect for out in the fields or garden, but a fine
bastiste or sprigged muslin slat bonnet would look lovely for a walk
into town with a simple hooped dress...

Glenna Jo Christen
gwjchris@rust.net
Visit our web site, "The Curiosity Shop"
http://www.rust.net/~gwjchris/


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From owner-h-costume@indra.com  Fri Feb 19 21:34:21 1999
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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: 19th century drawers
Date: Fri, 19 Feb 1999 21:37:02 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

Sometime between 1810 and 1820, pantelettes became
established.  Girls wore them before their mothers adopted
them.
Hope H. Dunlap

-----Original Message-----
From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
Behalf Of Margo Anderson
Sent: Friday, February 19, 1999 6:35 PM
To: h-costume@indra.com
Subject: H-COST: 19th century drawers



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

I'm trying to find out when ankle length drawers
(pantalettes?) were worn.
I've seen them in an 1830's painting, but that was with a
riding habit.
While I've read that they were worn during the hoopskirt
period because the
legs were easily revealed by tilting hoops, I've seen a
number of existing
drawers, and they all seem to be about knee length.  I
suppose this may be
because if the longer ones went out of style, they were
easily shortened.
When I worked at the Dickens Christmas Fair (okay, not
exactly a bastion of
authenticity), we were all supposed to wear them.  So when
were these things
worn?  And does anyone know where my copy of Cunnington is?

Margo


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

At 07:51 PM 2/19/99 -0600, you wrote:
>
>-Poster: Sheridan Alder <alderweb@vaxxine.com>
>
>I've got another idea for Margo's "madam" dress that's less of a
>cliche than red but is fairly "hot" and lurid - how about orange and
>white!
 Sheridan, the dress itself sounds scrumptious, but orange is one color I
can't imagine wearing.  Probably for the same reasons of 60's and 70's
fallout.  I don't think I'll ever get over the sleeveless orange and yellow
plaid wool dress, with dropped waist and box pleated skirt AND matching
jockey cap, that my mother inflicted on my pudgy ten year old body in 1967.

Margo

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

At 09:37 PM 2/19/99 -0500, you wrote:
>
>-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>
>
>Sometime between 1810 and 1820, pantelettes became
>established.  Girls wore them before their mothers adopted
>them.
>
Sorry, I should have made myself clearer.  What I want to know is, when did
they stop wearing them ankle length?  Specifically, should ladies still wear
them by the1850's?

Margo

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From owner-h-costume@indra.com  Sat Feb 20 07:43:58 1999
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From: "Rebecca Abbott" <r.abbott@home.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: Literary Characters, OT
Date: Sat, 20 Feb 1999 07:48:44 -0500
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-Poster: "Rebecca Abbott" <r.abbott@home.com>

Is this perhaps _Celia Garth_ by Gwen Bristow?  It's set in Charleston and
sounds just like this, but it wasn't a teen book, it was a popular novel

Rebecca,
Voracious Reader



>
> There's an excellent teen book with a young female mantua-
> maker as the heroine, set during the Revolutionary War.  I
> can't remember the name of it. I read it in high school, but
> it was a superb book, a very significant cut above average
> teen fiction.

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From owner-h-costume@indra.com  Sat Feb 20 10:58:20 1999
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-Poster: Heather Law <lynnx@mc.net>

Marc, there are a couple of things that nobody has mentioned. If you
start charging the going rate you will be running a business. Are you
prepared for the paperwork, and for people demanding that you get it
done by their deadline and to their specifications?
Do you want to either step up production, to the possible detriment of
the rest of your activities, or to turn down someone you'd like to help
and whom you know can't afford to go elsewhere, because you've already
committed to a higher-paying customer?
For those of you who are griping about being undercut, there are a lot
of us out there at the poverty level, who are not and will not be
customers of yours. If someone can bearly squeeze out fifty dollars for
a piece of garb, and you're charging three hundred, why object if
someone else is willing to do it for them? Why not find someone who has
three hundred and sell to them on the basis of the extra time, research,
and detail they will get? In the real world there are items at all
prices. Should people have to go barefoot if they can't afford $250
boots?
Carol Mitchell

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From owner-h-costume@indra.com  Sat Feb 20 10:58:34 1999
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-Poster: Heather Law <lynnx@mc.net>

These were worn by little girls as early as the 1830s and as late as the
1860s, but I doubt they were ever universal among adult women, who were
wearing stockings and petticoats and wouldn't be showing the pantalettes
in any case if their dresses were the proper length.
Carol Mitchell


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From owner-h-costume@indra.com  Sat Feb 20 13:30:29 1999
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Subject: H-COST: Opinions on this book, please
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-Poster: Margo Anderson <margo@directcon.net>

I'm interested in hearing list's member's opinions on  this book:  Sewing
and collecting Vintage Fashions, by E. Macintosh.

thanks!

Margo

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From owner-h-costume@indra.com  Sat Feb 20 13:45:27 1999
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-Poster: MzScahlett@aol.com

Hi Lisa, here's a copy of an earlier post on just that subject. Includes
beaded and non-beaded fringe.  I'm posting a cc: to the list to update the
info since the last time I posted. NOTE: Stardust Galleries is closed UFN.

Okay, here goes. I've pulled all my trim catalogues out and this is what I've
found.  Note that the items mentioned below the sources are what is shown in
the catalogues, but many of these manufacturers will do specialty orders, and
have much larger inventories than shown in their catalogues.  

Ginsco Trims
242 West 38th Street
New York, NY  10018
212-719-4871
1-800-929-2529

3" Chainette ("standard fringe") 2.99/yd 
several varieties of lovely hand knotted fringes 11.99/yd -black or
black/gold
5" rayon fringe (tassel design) black/white/ivory  5.99/yd
there are assorted smaller fringes (1-2" in length with tassels, designs,
beads)

Sidney Coe Co.
State Hwy 36 East
Airport Plaza
Hazlet, NJ  07730
732-739-1168
hand-knotted & beaded fringes ($?)

Kahaner 
484 Sunrise Highway
Rockville Center
New York NY  11570
516-766-6363
fax: 516 766-7238
beautiful beaded fringes in the catalogue.

Glitz!
801 Bayou Pines Drive
Lake Charles, Louisiana 70601
1-800-344-5480
1-318-478-3304
Order Fax: 318-494-0862
e-mail: glitz@iamerica.net

this is THE source for sequins.  Their catalogue shows a huge, flashy
selection of beaded fringes (as well as a line of belly dancing fringe sets).
 Their minimum order is $150.00, but their sequin appliques are spectacular
and well worth the wholesale prices if bought in bulk.

Baum's Inc.
106 S. 11th Street
Philadelphia, PA 19107
1-800-832-6246

You must have a business license/school affiliation to shop here.  This is a
dancewear catalogue, but they carry a huge line of really cheap chainette.
 They have every color imaginable, from 2" to 32" in length.  Their prices
are unbeatable, for example, their  6"in chainette is 2.89/yd, in my local
discount fabric store is is almost $12.  Just threw this in for those of you
who might have a need for standard fringe.

Elegance (out of Texas, must buy in wholesale quantities, but great deals if
you do)
EXPO International
5631 Braxton Drive
Houston, TX  77036
1-800-542-4367
1-800-772-7545
 *Note that they practice a system of "follow up" on customers, which amounts
to bi monthly telephone soliciting.  It's still worth the deals.  Call for
their catalogues which are small and divided by category.

Anyway, most of these sources are from the Whole Costumer's Catalogue, which
any of you who costume should obtain.  It is MY bible.

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: Lavolta Press <lavolta@best.com>



Margo Anderson wrote:

> -Poster: Margo Anderson <margo@directcon.net>
>
> I'm interested in hearing list's member's opinions on  this book:  Sewing
> and collecting Vintage Fashions, by E. Macintosh.
>
> thanks!
>
> Margo
>
>

Well, my opinion is hardly objective, since my book _After a Fashion_ is a
competitive book.  When I wrote it I went through all the existing similar
books on reproducing historic costumes and collecting vintage clothing.   I
analyzed their strengths and weaknesses and did my best to reproduce or
improve on the strengths and avoid the weaknesses.

Anyway, my impression was _Sewing and Collecting Vintage Fashions_  was
submitted as an outline and partial draft, but never really finished.  The
outline was good, but the text doesn't go into much depth about anything.  I
think it was meant as a beginner's book, but even so it doesn't give enough
information/detail.

I think it went out of print last year.

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  Sat Feb 20 14:03:43 1999
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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>

Sorry, I should have made myself clearer.  What I want to know is, when
did
they stop wearing them ankle length?  Specifically, should ladies still
wear
them by the 1850's?

Margo

Women did not wear ankle length drawers (the more typical term used at
the time for pantalets) anytime that I'm at all aware of in the mid or
late century. Women typically wore split crochet drawers that reached
approximately mid calf in the 1850's through the '60's. Some time after
that (I don't do detailed research much after the '60's) they got
shorter, about knee length.
If women rarely wore drawers, then why are there so many period
illustrations showing women wearing them, why are there so many
surviving examples of drawers from this period and why do they show up
in trousseau and laundry lists? I for one would never think of wearing
mid century period dress without them. I certainly don't flash the world
with them (unless doing underwear demonstrations :-)) but brisk winds
and occasionally accidents do happen...

A brief comment about orange in the 19th c. I have a list of 'suitable'
colors for women of different coloring to wear. After listing various
colors for blondes and brunette's etc. the writer commented, "Orange
suits nobody". Looking ghastly in any warm color, especially orange,
(the '70's were hell for me!) I have to agree with that statement. :-)
The orange dress sounds really wild that's for sure! I know intense
salmon pink was sure popular, but bright orange? Yikes! Keep it away
from me. :-)

Glenna Jo Christen
gwjchris@rust.net
Visit our web site, "The Curiosity Shop"
http://www.rust.net/~gwjchris/


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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Cc: <rowenabe@lori.state.ri.us>
Subject: RE: H-COST: Literary Characters, OT
Date: Sat, 20 Feb 1999 15:53:40 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>


This may well have been it.  And I kind of bit my tongue
after calling it a teen book, as It was good enough to
appeal to anybody.  But like Gone with the Wind, Exodus,
Hawaii, and Little Women, I just happened to get it from my
high school library and read it at that stage of my life.

Thanks for posting it, and I'll confirm! It's the kind of
highly intelligent book which portrays the complexity of
character, set in a certain life and times, which should
still be in every library.  Particularly good at conveying
all that to young people, any people.  I believe she noticed
his stockings, which he knit himself on his long wagon
rides, as the first clue that he was not just a crude
waggoner.  They were worked in a variety of complex,
intricate patterns which no mere crude dude would have
produced! The book uses needlework as a clue to character
and mood in a variety of ways!

Hope H. Dunlap



-----Original Message-----
From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
Behalf Of Rebecca Abbott
Sent: Saturday, February 20, 1999 7:49 AM
To: h-costume@indra.com
Subject: RE: H-COST: Literary Characters, OT



-Poster: "Rebecca Abbott" <r.abbott@home.com>

Is this perhaps _Celia Garth_ by Gwen Bristow?  It's set in
Charleston and
sounds just like this, but it wasn't a teen book, it was a
popular novel

Rebecca,
Voracious Reader



>
> There's an excellent teen book with a young female mantua-
> maker as the heroine, set during the Revolutionary War.  I
> can't remember the name of it. I read it in high school,
but
> it was a superb book, a very significant cut above average
> teen fiction.


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From owner-h-costume@indra.com  Sat Feb 20 15:46:58 1999
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-Poster: SNSpies@aol.com

How about any of the "Little House on the Prairie" books?
Nancy
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From owner-h-costume@indra.com  Sat Feb 20 16:50:38 1999
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Subject: H-COST: Give Me Your Favorite Sewing, Costume, and Pattern URLs
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-Poster: MEIER@SSRL.SLAC.STANFORD.EDU

Folks --

I lucked out and have a chance to help promote sewing and costuming on the web,
so I'm looking for aid from all you expert sewers and costumers.

I'm working for a net directory called Looksmart as a reviewer of web sites. We
are assigned particular areas in which to search for websites that aren't
already in the (humongous) database. Then we log them, do extremely brief
writeups, and put them into their selected categories.

So...there was a special deal where editors got to request a favorite category
to work within for the next week, and I kinda won the prize. I asked to be able
to do historical recreation and costuming sites.  They gave me half of what I
was looking for: they told me that I was assigned to beef up the sewing section
in the areas of Guides and Advice, and Patterns.  They know I'm going to mix
historical/vintage and current sewing URLs; in fact, that's what they want.
The catch, such as it is, is that I can only enter 25 new URLs into each
category.

What I'd like to do is ask y'all to tell me which are your FAVORITE AND MOST
HELPFUL SITES FOR SEWING, EITHER HISTORICAL OR CONTEMPORARY, AND YOUR FAVORITE
HISTORICAL PATTERN SITES. DIRECTORIES OF LINKS ARE FINE, even better in some
respects, since I have such a small number to work with.  What helps you most,
and what would be most helpful to sewers and costumers in general?

I'm going to be working on this project SUNDAY AND MONDAY, SO SEND ME THESE
URLS DIRECTLY AT:

vschnatm@looksmart.net


I can't promise anything will get in, and I may already know the site, and the
site may already be in the database.  But your information will definitely help
make this section of this major web directory high-quality. 

Note to the cynical: this doesn't save me as much work as you might think,
since I still have to go to the site, roam over it and make the decision, and
then write it up. The work this _will_ help me with is the agonizing over which
is the Very Best To Include, which believe it or not I do care about. I know
there are areas of costuming and certainly sewing where I'm no expert. And
you'd be surprised at how many really good sites don't make the search engines.

Looksmart just made a deal with Microsoft to be the main source of categoried
web searching on the MSN site, so these URLs will have high visibility.

The assignment probably ends Monday, so I'd need to know by MONDAY FEB. 22ND AT 
6 PM AT THE LATEST.

Thanks in advance for your suggestions!  Remember, send them to

VSCHNATM@LOOKSMART.NET


Looking forward to being of assistance,

Vanessa Schnatmeier

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From owner-h-costume@indra.com  Sat Feb 20 21:09:02 1999
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-Poster: AliaClaire@aol.com

This is going to be a VERY vague answer, but...

I remember (or seem to) a discussion of the CW-Reenactors list a year or two
back about orange being a popular colour. Not as much so as magenta, but I
have heard it mentioned for brunettes. And when they did something with
artificial colours, it was BRIGHT!

Here's some things from the CHARLESTON MERCURY, May 1st, 1861, p4, c 2.

	"The 'Garibaldi' has just made it's debut in Paris. It is an exquisit tint-
something just outside of tawny orange, verging on a pink salmon- oftimes seen
on the carnation lip of a sea-shell. Dark-eyed, brilliant burnettes may
congradulate themselves- this colour, or all others, being most becoming to
their style. They have been made to look hideous long enough by those two
trying colours, Solferino and Magenta; therefor, burnettes may now promise
themselves the felicity of not only looking divine, but being 'a la mode'.

I have a Peterson's article somewhere complaining about how ugly the style for
orange and magenta was....unfortunetly, my English teacher has that book at
this point in time. I'll post in references and anything else I can find when
I can...

Personally, I think a bright orange dress (about the colour of a can of
Sunkist Orange Soda...) made of batiste or lawn, either with lots and lots of
fussy, tiny flounces (all trimmed with white ribbon!) or made _en tableau_
with a white center, would look GREAT for the impression you're going
for...loud, but still semi-fashionable and respectable. Huge pagodas (smaller
the closer you get to 1860s) trimmed with white lace, white, full, puffy
undersleeves, and a 3-inch or so batiste or lace collar would make the outfit!

-Alison Stacy
AliaClaire@aol.com
Canton, Ohio
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From owner-h-costume@indra.com  Sat Feb 20 22:30:30 1999
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-Poster: Heather Law <lynnx@mc.net>

Which issue of Time is that, please?
Carol Mitchell

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

After the way "Sense and Sensibility" and "Titanic" influenced fashion in
the last few years,   what do you supposed the popularity of "Shakespeare in
Love" and "Elizabeth" will lead to?  Can we hope for brocades, lace ruffs,
and ropes of pearls to be fashionable next year? 

I hope so!

Margo

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From owner-h-costume@indra.com  Sun Feb 21 01:01:21 1999
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Subject: H-COST: Fabric Of History Seminar?
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-Poster: Margo Anderson <margo@directcon.net>

Is anyone on the list going to the"Fabric of History" symposium in Columbia,
CA, next month?

Margo Anderson

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-Poster: Carolyn Kayta Barrows <kayta@slip.net>

You mean arithmetic.  As we say in the Art department, oops.

>Check your math--
>36 x 4/3 = 48
>36 x 5/4 = 45


Kayta
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From owner-h-costume@indra.com  Sun Feb 21 05:46:39 1999
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Date: Sun, 21 Feb 1999 01:28:04 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: Re: H-COST: grow tucks
In-Reply-To: <36cc7722.8959198@smtp-server.austin.rr.com>
References: <4.1.19990212085358.00c76e40@pop.slip.net>
 <4.1.19990210120843.00c4ac80@pop.slip.net>
 <accfe5fe.36be5312@aol.com>
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>

The problem is that the tuck is only in the front, tapering off to nothing
at the sides.  Stretch would be similar all around the skirt and would need
a tuck all the way around to compensate.  

Tuck was certainly done after the skirt was finished.  The trim folds
there, the brocade pattern in the cloth shows a discontinuity there, and
the aiglets from the part underneath sometimes hang down beyond the fold.
If the skirt always stayed folded in use, pins could be used.  If the skirt
didn't always stay folded in use, no sense in pinning it.

>It came to me, a couple of days after I posted my previous message,
>that it could be to adjust the front length of the skirt after it had
>stretched under its own weight.
>
>*or* Perhaps there was a formal court presentation convention that
>skirts had to be *made*, but not necessarily worn at, a certain
>length, past comfortable walking length, even over hoops ? All of us
>have seen skirts made too long even for practical wear over the hoops
>they are worn with, getting stepped on by the wearer, despite the
>apparent width  of the hoops.
>
>The 'tuck' is *so* obvious in at least one of the paintings I have
>seen it in, that perhaps it is only pinned up, and not sewn after all.
>One painting shows the tuck clearly passing *through* the ornament
>(meaning that the ornament is clearly not applied over it).  Pinning
>up a skirt to show off fashionable shoes, perhaps? Pinning would also
>be fairly safe for the wearer if the pins were only in the outer
>skirt, over a petticoat and a farthingale. 


Kayta
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Date: Sun, 21 Feb 1999 01:34:51 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: Re: H-COST:  1850's questions
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>


>>If you want to look like a Madam, go tawdry.  Colours too loud, neckline
>>too low (excuse me - 'dressy'), decorations too large, etc..  Like New
>>Money.  Like advertising.  And don't worry about making yourself look
>>thinner for the occasion.
>
>That's about what I was thinking.  Possibly an emerald green and magenta
>combination, or my favorite red and black?  

Red and black is what your ladies wear on the job.  Magenta and emerald
green for you because you've got taste (yeah, right).  (BTW, have you seen
my magenta, lime green, and blue, woven-plaid with teal-floral-overprinting
dress?)  An aniline-dye nightmare for the newly rich.


Kayta
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Date: Sun, 21 Feb 1999 01:19:27 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: Re: H-COST: African Masks-help req
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>


><<  To fake this on stage try a plain
> piece of poster board (or railroad board, the thin stuff sold as poster
> board at Walgreen's).  Cut it out in the right shape, curve it to look
> solid, glue a couple of pieces of the cutting scraps across the back to
> hold the thing curved.  Start with white board and colour it with paint,
> markers, or even crayon.  Copy a real African mask you find in a book, or
> invent something which looks right. >>
>
>Yeah, I've got some great pics I've pulled off-line, but was kinda hoping for
>something a little sturdier than paper. This is for a traveling troupe, and
>they apparently take stuff on the road, around to schools, etc., and so I
>wanted something that could get banged around and hold up okay. I guess that
>they make pretty heavy papers, but I'd love to get some thin wood and curve
>it.  Just don't have much time to put something together.

Do two layers glued together with chicken wire in between.  Use a lot of
glue, and tape the edges together.  Done right, paper mache is as strong as
particle board.


Kayta
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Date: Sun, 21 Feb 1999 02:48:41 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: RE: H-COST: Quilted petticoat pattern c. 1700-1730
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>

There are 8 quilted petticoats from roughly this period in Nancy
Bradfield's 'Costume in Detail'.  All are drawn well enough that you can
get a useable sample of the pattern.  The first one shown is duplicated in
Janet Arnold's 'Patterns of Fashion' if you'd like a measured pattern for it.

>I'm looking for something which would have been wholecloth
>quilted on silk or silk satin, circa 1730, Anglo-Irish, ie
>quilted in England, Ireland, or elsewhere in Europe.  Its
>usually (if I can say that from the few items I've seen)
>diamond quilted above and with a foot-wide (plus) horizontal
>border of quilted flowers, feathers, leaves, seashells, or
>scrollwork at the base, almost matellesse in appearance.
>The construction is not an issue, I don't think--its
>generally 3 45" widths or 6 22" widths of silk wide,
>gathered or pleated and tied, or a drawstring at the waist,
>and no special shaping.


Kayta
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From owner-h-costume@indra.com  Sun Feb 21 05:46:47 1999
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Date: Sun, 21 Feb 1999 02:38:44 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: H-COST: Elizabethan Gloves, making your own
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>

I foolishly spent part of my vacation in some out-of-town bookstores, and
turned up a copy of Gwen Emlyn-Jones's 1974 book 'Make Your Own Gloves'
(ISBN 0-684-14105-1).  In the book are several sizes of patterns, detailed
cutting and sewing techniques, several photos of several different
historical gloves, "everything"!  

As I was reading the below description, I was looking at the gloves shown
in fig.3, p.10, and the older pair in the picture might as well have been
the ones described.  This pair is from the Museum of Leathercraft, wherever
that is, and is labeled as being mens' gloves.

BTW, what shape is the actual thumb seam?  Oval like an armhole seam?  Or
does the thumb have any of those little tabs in it like modern gloves have,
interrupting the oval seam between the thumb and first finger?  If
tab-shaped things, where are they and what shape?

>In  *English Women in Life and Letters,* by M. Phillips and
>W. S. Tomkinson, Oxford University Press, Humphrey Milford,
>1926, there's a full page photograph of the gloves presented
>to Queen Elezabeth when she visited Oxford Sept 6, 1566, now
>in the Ashmolean Museum at Oxford. My copy comes from the
>public library in Bryn Mawr, PA. The gloves are white kid,
>embroidered with gold, with long narrow tapered fingers.
>Very lovely in their slender, tapered proportions.  There's
>a border of embroidery around the base of the thumb and all
>over the 5-6" gauntlet.  the gauntlet edge at the top of the
>glove is fringed, fringe about 1-3/4 inches long.  There are
>three edge-picoted and embroidered tabs which probably
>connect the open edges of the gauntlet at the back edge of
>the hand opposite the thumb.  And a little bit of embroidery
>between the gauntlet and the thumb.  There is a seam running
>from the intersection of the first two fingers staight down
>to the thumb piece.  


Kayta
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Date: Sun, 21 Feb 1999 02:05:38 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: RE: H-COST: Quilted petticoat pattern c. 1700-1730
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>

I actually did a hand quilted petticoat as part of a joke costume.  I
figured the joke would be funnier if the stitches were by hand - I did the
1780 in Janet Arnold all in cammoflage cloth.  The petticoat said 'Don't
Tread On Me' over a coiled snake, all in quilting.  At three stitches to
the inch it took me about 4 (8-hour) days to do the quilting.  Fortunately
I was a housewife then and had the time to devote to the project.

>No you won't get shot, I did consider it.  Sturbridge
>Village and Old Fort William use visible machine stitching.
>Machine quilting is an art all its own, and I don't do it
>(yet, anyway).  I have a tiny group of players, and an
>extremely mixed audience---on the one hand every third
>grader in town is schlepped through the house, but in the
>summer, the place is staffed and visited by Philosophy Ph.D.
>profs and students from all over the world.  I think the
>former group needs to come face to face with the old
>technology, and the latter group would just love the heck
>out of it.  Now it is unlikely that I will accomplish any
>hand or machine quilting in my lifetime, but the producer in
>me says there is a hobbyist out there in town somewhere just
>waiting for this good public cause. Wish me luck!


Kayta
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Subject: H-COST: Re: h-costume-digest V4 #156
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-Poster: Bette Anne Adams <kiri5@juno.com>

>
>------------------------------
>
>From: Margo Anderson <margo@directcon.net>
>Date: Fri, 19 Feb 1999 15:34:50 -0800 (PST)
>Subject: H-COST: 19th century drawers
>
>- -Poster: Margo Anderson <margo@directcon.net>
>
>I'm trying to find out when ankle length drawers (pantalettes?) were 
>worn.
>I've seen them in an 1830's painting, but that was with a riding 
>habit.
>While I've read that they were worn during the hoopskirt period 
>because the
>legs were easily revealed by tilting hoops, I've seen a number of 
>existing
>drawers, and they all seem to be about knee length.  I suppose this 
>may be
>because if the longer ones went out of style, they were easily 
>shortened.
>When I worked at the Dickens Christmas Fair (okay, not exactly a 
>bastion of
>authenticity), we were all supposed to wear them.  So when were these 
>things
>worn?  And does anyone know where my copy of Cunnington is?
>
>Margo


Margo,


Pantallets were a very short lived fad of the 1830's.  They went out
almost as fast as they came in.  They were different from drawers in that
they were totally decorative.  Children continued to wear their
undergarments exposed as their dresses became shorter, but adult women
shortened their drawers to just below the knee as the length of the skirt
dropped from just at or above ankle length to the floor.  So, for
Dickens, drawers would be appropriate, pantallets would not.   By the
1860's drawers were worn to the mid calf and at first were rather plain
with maybe a tuck or two, sometimes some insertion or Swiss (machine
made) embroidery at the edges.   They were split crotched, and usually on
a waistband.  Some were on a yoked waistband to decrease bulk around the
hip.   White was the invariable color, although colored knickers could be
worn over them for warmth out of doors.   By mid-decade even the
children's drawers were hidden from sight.

Per your question about beading.   Beading during the 1850's and early
1860's was used, but sparingly.  It was usually seen as part of a
passamenterie on outerwear.   Beading was usually of jet, black glass or 
natural.  Towards mid-decade beading became more usual at first in
accessories and evening garments and then formal day wear.  This
coincided with the increased use of tulle puffings and draped ruffles in
evening wear.  Crystal and jet beads were nestled in the ruched lines of
the puffings which were anchored to book muslin backings to keep their
shape.  Beads were also used to embellish the front edges of bonnets and
hats and to edge and embroider veils.  Prior to this, spangles were the
most general mode of applying glitter to a garment.  Worth's spangled
tulle ballgowns were pretty much a fixture by the very early 1860's.   
Spangles were also used on more substantial fabrics as part of
embroideries.     

Hope I have been of some help.  Perhaps Fran Grimble could jump in here,
I know she has written several books on Victorian Costuming.
Bette Anne Adams

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Date: Sun, 21 Feb 1999 08:51:19 -0700 (MST)
From: Sylvia Rognstad <sylvia@netherworld.com>
To: h-costume@indra.com
Subject: Re: H-COST: Elizabethan, anyone?
In-Reply-To: <199902210454.UAA22035@zeus.directcon.net>
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-Poster: Sylvia Rognstad <sylvia@netherworld.com>

> 
> -Poster: Margo Anderson <margo@directcon.net>
> 
> After the way "Sense and Sensibility" and "Titanic" influenced fashion in
> the last few years,   what do you supposed the popularity of "Shakespeare in
> Love" and "Elizabeth" will lead to?  Can we hope for brocades, lace ruffs,
> and ropes of pearls to be fashionable next year? 

Well, yesterday on "All My Children" (my one vice) a woman got married in
a bright red Elizabethan type gown and she had a white neck ruff.  She
looked great.
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: "Gregory Stapleton" <gregsta@perigee.net>
To: <h-costume@indra.com>
Subject: RE: H-COST: Elizabethan Gloves, making your own
Date: Sun, 21 Feb 1999 11:16:08 -0500
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-Poster: "Gregory Stapleton" <gregsta@perigee.net>

>This pair is from the Museum of Leathercraft, wherever that is, and is
labeled as being mens' gloves.
>
The Museum of Leathercraft, if it is still in existence, is / was located in
Northampton, England.  Founded by John Waterer.

Gawain Kilgore / Gregory Stapleton

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-Poster: AlbertCat@aol.com


In a message dated 2/20/99 11:35:32 PM, you wrote:

<<Which issue of Time is that, please?>>

The latest one....I got in the mail anyway. The cover asks: "Was the Clinton
Scandal Good for America?".....or something like that. Sorry, I can't remember
the date printed on the cover.
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-Poster: AlbertCat@aol.com


In a message dated 2/20/99 11:35:32 PM, you wrote:

<<Which issue of Time is that, please?
Carol Mitchell>>

I FOUND IT!

And it's a statement, not a question.... "How the Scandal was Good for
America"

Feb. 22 1999 issue.
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-Poster: AliaClaire@aol.com

In a message dated 2/19/99 8:35:16 PM EST, penny.creative.outlets@erols.com
writes:

<< Still have not seen those all pastel ruffled gowns portrayed in magazines.
>>

I have seen several of them...they were most popular in the mid to late 1850s,
which drives me nuts...I love them, and they're too old for my reenacting
character.

Anyway. I haven't seen all that many original dresses, but some of what I have
seen include a cream with green and red plaid, three flounces, Kent State
Museum, a BEAUTIFUL bronze and blue plaid, three flounces, at Kent State, with
pinked edges.

Also, from what I have noted in a fashion magazines of the period: flounces
appearing in day dresses went out in about 1859-1860, but they continue to
appear on evening gowns until 1863. I understand this- the delicate, sheer
fabrics common on evening gowns are stunning when layers of flounces give the
colour more depth.

Glenna, any other comments?

-Alison Stacy
AliaClaire@aol.com
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-Poster: sustre@pixelations.com

I've been thinking about the "madame" clothing question and have these
thoughts, for what they might be worth...

I believe the type of clothing worn by such a woman would be very dependent
on the community. I can think of 2 main areas of importance: the size of
the community, and the relative newness of it. This mainly has to do with
how much community members can be expected to know about each other.

In a small, well-established community, all members can be expected to
actually know each other, at least by sight- even if they don't Officially
Know someone. A person of "disreputable" prominence would be notorious
enough to be widely recognized. I think that, unless her tastes ran
differently, the owner of the "best house in town" would be inclined to
dress very respectably- her sheer *presence* on the street would be enough
"advertising", as it would be followed by murmurs, and the contrast between
the respecatble look and the racy profession would pique the interest of
the wealthier, "respectable" potential clients.

In a new and/or large community, she'd likely need more explicit cues, not
being able to count on recognition for the effect. Still, I think the owner
of the *best* house would tend toward subtlety rather than flash- looking
more respectable would be likely to increase the prices clients would be
willing to pay.

In a very new place with no social order, like a mining camp, flash would
be required, I think.

Now, the owner of the *second-best* house would likely be flashier- she's
competing with the best, after all, and more obvious would likely improve
visibility (as in modern advertising campaigns).

I'm by no means an expert in any of this- it's based on reading fiction
from a variety of periods (not modern-written) and a lot of thought about
community and social structures.

-Amanda


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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: Quilted petticoat pattern c. 1700-1730
Date: Sun, 21 Feb 1999 14:44:22 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

I love Nancy Bradfield's book, but hadn't been able to
access it since this project started.  Glad to hear it
contains so many quilted petticoats.  She starts with 1730,
which is my date, so I will have to be somewhat judicious
about selecting a pattern.  Fortunately I think many of the
quilting patterns span a wide time frame.  Coincidentally, I
just broke down and ordered the paperback version of
*Costume in Detail* from Amazon.com last night.  With a
hefty discount, it still $28, but well worth it now as my
library copy of it walked off the shelf about 6 months ago,
never to return.  Yes, I have Arnold, so we've got the
pattern down pat here!  Heeding the complaint of one of our
list members and earning a living, her *The Edwardian
Modiste* was in the same order!  (Focusing on any one thing
is not one of my strong points!)

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, February 21, 1999 5:49 AM
To: h-costume@indra.com
Subject: RE: H-COST: Quilted petticoat pattern c. 1700-1730



-Poster: Carolyn Kayta Barrows <kayta@slip.net>

There are 8 quilted petticoats from roughly this period in
Nancy
Bradfield's 'Costume in Detail'.  All are drawn well enough
that you can
get a useable sample of the pattern.  The first one shown is
duplicated in
Janet Arnold's 'Patterns of Fashion' if you'd like a
measured pattern for it.

>I'm looking for something which would have been wholecloth
>quilted on silk or silk satin, circa 1730, Anglo-Irish, ie
>quilted in England, Ireland, or elsewhere in Europe.  Its
>usually (if I can say that from the few items I've seen)
>diamond quilted above and with a foot-wide (plus)
horizontal
>border of quilted flowers, feathers, leaves, seashells, or
>scrollwork at the base, almost matellesse in appearance.
>The construction is not an issue, I don't think--its
>generally 3 45" widths or 6 22" widths of silk wide,
>gathered or pleated and tied, or a drawstring at the waist,
>and no special shaping.


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


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To: <h-costume@indra.com>
Subject: RE: H-COST: Elizabethan Gloves, making your own
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

The black and white photograph I had showed only one view of
the gloves, and the photo itself was not of the best
clarity.  Sorry, I cannot answer any of these questions on
the basis of that photograph.
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, February 21, 1999 5:39 AM
To: h-costume@indra.com
Subject: H-COST: Elizabethan Gloves, making your own



-Poster: Carolyn Kayta Barrows <kayta@slip.net>

I foolishly spent part of my vacation in some out-of-town
bookstores, and
turned up a copy of Gwen Emlyn-Jones's 1974 book 'Make Your
Own Gloves'
(ISBN 0-684-14105-1).  In the book are several sizes of
patterns, detailed
cutting and sewing techniques, several photos of several
different
historical gloves, "everything"!

As I was reading the below description, I was looking at the
gloves shown
in fig.3, p.10, and the older pair in the picture might as
well have been
the ones described.  This pair is from the Museum of
Leathercraft, wherever
that is, and is labeled as being mens' gloves.

BTW, what shape is the actual thumb seam?  Oval like an
armhole seam?  Or
does the thumb have any of those little tabs in it like
modern gloves have,
interrupting the oval seam between the thumb and first
finger?  If
tab-shaped things, where are they and what shape?

>In  *English Women in Life and Letters,* by M. Phillips and
>W. S. Tomkinson, Oxford University Press, Humphrey Milford,
>1926, there's a full page photograph of the gloves
presented
>to Queen Elezabeth when she visited Oxford Sept 6, 1566,
now
>in the Ashmolean Museum at Oxford. My copy comes from the
>public library in Bryn Mawr, PA. The gloves are white kid,
>embroidered with gold, with long narrow tapered fingers.
>Very lovely in their slender, tapered proportions.  There's
>a border of embroidery around the base of the thumb and all
>over the 5-6" gauntlet.  the gauntlet edge at the top of
the
>glove is fringed, fringe about 1-3/4 inches long.  There
are
>three edge-picoted and embroidered tabs which probably
>connect the open edges of the gauntlet at the back edge of
>the hand opposite the thumb.  And a little bit of
embroidery
>between the gauntlet and the thumb.  There is a seam
running
>from the intersection of the first two fingers staight down
>to the thumb piece.


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


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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: Elizabethan, anyone?
Date: Sun, 21 Feb 1999 15:00:34 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

In Paris,fashion originates in the streets.  Be bold and
follow suit!  Stays and corsets have crept into the pattern
catalogs as bodices.  A friend showed up at a party last
summer in a sleeveless flowered cotton brocade print vest
with huge pearls sewn onto it.  Bugs are big this year, and
should find their way into fashion, just as Queen Elizabeth
I used to wear them on her dresses and in her hair!

-----Original Message-----
From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
Behalf Of Margo Anderson
Sent: Saturday, February 20, 1999 11:54 PM
To: h-costume@indra.com
Subject: H-COST: Elizabethan, anyone?



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

After the way "Sense and Sensibility" and "Titanic"
influenced fashion in
the last few years,   what do you supposed the popularity of
"Shakespeare in
Love" and "Elizabeth" will lead to?  Can we hope for
brocades, lace ruffs,
and ropes of pearls to be fashionable next year?

I hope so!

Margo


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

At 03:22 PM 2/21/99 -0400, you wrote:
>
>-Poster: sustre@pixelations.com
>
>I've been thinking about the "madame" clothing question and have these
>thoughts, for what they might be worth...
>
>I believe the type of clothing worn by such a woman would be very dependent
>on the community. I can think of 2 main areas of importance: the size of
>the community, and the relative newness of it. This mainly has to do with
>how much community members can be expected to know about each other.
>
Thanks!  These are very interesting, well thought out comments.  I'll be
wearing this costume in Placerville, California,  which during the 1850's
was a flourishing Gold rush town of around 20,000.  While I agree that the
character would in actuality have dressed with restraint,  theatricality
does rear its head.  If I make her too subtle, no one will know who, or
what, she is!

Margo Anderson

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From owner-h-costume@indra.com  Sun Feb 21 16:46:29 1999
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From: "Gia Gavino-Gattshall" <ggavino@serv.net>
To: <h-costume@indra.com>
Subject: H-COST: Figuring out elizabethan
Date: Sun, 21 Feb 1999 13:54:24 -0800
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-Poster: "Gia Gavino-Gattshall" <ggavino@serv.net>

Greetings, list!  I sent this earlier but didn't see it get posted...I hope
this makes it this time, cuz I'd really like the input from the list
members.

I'm going to be taking the plunge soon and start working on elizabethans for
myself.  I've done a couple of elizabethans for my littlest, to 'practice'
cartridge pleating and sewing techniques stuff.

What's happening now, is I'm trying to get my documentation together
(*before* I even cut out my muslins!) for the cut and assembly of the
elizabethan and I'm *really* getting confused about some of the stuff I've
dug up!

I've been starting with reviewing Janet Arnold's "Pattern's of Fashion,...
c1560-1620" and Juan de Alcega's "Tailor's Pattern Book 1589".

I'm confused by the use of the term Janet uses: "gown".  To me the term
'gown' infers that the skirt and bodice are joined, which I guess is a
modern interpretation.  All I've 'heard' of, and instructed to do, is for
the bodice and skirts to be separate, not joined at the waist seam at all.
I looked at Drea's *wonderful* web page; there's alot of information there!
But (unless I was looking in the wrong place) I didn't see the answer to my
specific questions there.

A friend told me that the use of the term 'gown' by Janet was to convey the
'outfit in entirety' (pair of bodies, overskirt, petticoat), and not the
modern interpretation of joined at the waist seam.

To further confuse me, Janet does give great details for doublets,
foreparts, petticoats (skirts), 'pair of bodies', farthingales, corsets and
all the pictures of construction, tabs, and boning.  In her schematics, she
seems to include all the little details of the 'outer shell' of the extant
garments, but I don't seem to see any waistbands for the skirts.  Is it
because it's presumed that the reader would know?  Or is it because the
specific references are *not* 'english' elizabethan?  Or does that even
matter?

I'll list only a *few* specifics from each of the books, where the confusion
starts:

Page 40 caption for picture 286  "Back of Eleanora of Toledo's satin bodice
from the gown in which she was buried (pages 102-4),  Beneath it are
fragments of her red velvet bodice or 'pair of bodies' which fastened at the
front with hooks and eyes.  Palazzo Pitti, Florence"

Page 42, picture & caption 297 "Velvet gown on pages 105-6 worn by Grafin
Katharina zur Lippe when she was buried, aged six, in 1600,  Lippisches
Landesmuseumm, Detmold."

Page 47, picture & caption 334 "  Rich russet velvet gown worn by
Pfalzgrafin Dorothea Sabina von Neuberg, with a petticoat of soft green silk
(pages 113-14), 1598. Bayerisches Nationalmuseum, Munich."

Page 48 Pictures & captions from 340 & 341

340:  "Cut and uncut patterned velvet gown on pages 115 - 16 worn by
Pfalzgrafin Dorothea Maria von Sulzbach.  The deep shoulder wings are
trimmed with wilk braid.  The cut is similare to gowns in the Spanish
tailor's books (fig 36)..."

341:  It's actually the picture in this case that is causing confusion.  The
caption is about the silk braid, but when I look at the picture, it looks
like the skirt and bodice are sewn together at the seam.  Does anyone have a
better picture?

In Juan's book, in the "Main Notes", # 33 :  " Manteo, a semi-circular
intermediate skirt, also called a Faldlin.  It had a waist-band and was
sometimes reversible, oopen in front or worn inside out (de vuelta).  It wa
worn over the basic undergarment, the shift, and under the outer skirt
(vasquina), kirtle, or saya, petticoat or skirt with bodice. (Bernis, 1962,
pp. 96, 107)

On page 47, f.63, the caption for the pattern lay out is: "Skirt and bodice
of cloth with puffed sleeves."

Same page, f.63a & 64, the captions read, " Skirt [with bodice] of cloth for
a woman."

I noticed in the layouts he doesn't show the layouts for the small stuff
like the tabs, armsceyes wings and he doesn't specify them either, generally
saying trims are cut out of the cabbage.  Again, does he presume then that
the user of his patterns would know that the skirt would go on a waistband?

These books seems to support my thoughts that the bodice and the skirt are
*sometimes* joined, but don't want to jump to conclusions.  So I thought I'd
put my questions before the collective knowledge of this list.

I'll keep looking for other sources and review the inventory in QEWU and see
what I find there, too.

Thank you!
Gia/Giacinta
costuming nut, researchaholic


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From owner-h-costume@indra.com  Sun Feb 21 17:38:43 1999
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Subject: Re: H-COST: Re:1850's questions
Date: Sun, 21 Feb 99 14:42:48 -0800
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-Poster: Pelikan <haggis@sirius.com>

>I'll be
>wearing this costume in Placerville, California,  which during the 1850's
>was a flourishing Gold rush town of around 20,000.  While I agree that the
>character would in actuality have dressed with restraint,  theatricality
>does rear its head.  If I make her too subtle, no one will know who, or
>what, she is!
Margo,
Based on experience reenacting Gold Rush with the G.R.H.A., the only way 
to stand out is to be as subtle and as authentic as possible. Of course, 
we are portraying ordinary, repectable married ladies- specialty 
impressions are not encouraged by the G.R.H.A.. The women who live in the 
towns we have reenacted in have invariable turned out wearing a 
barmaid/postitute costume that is a cross between _Gunsmoke_ and _The 
Rocky Horror Picture Show_.:) Do not strike a match anywhere near these 
polyester prostitutes-instant meltdown! I suppose the reason these women 
wear this costume is because it is what they "think" women of that era 
wore- based on the impression given by hundreds of movie and television 
westerns. Seeing us dressed correctly for the era is quite a revelation 
for these for these women.
Nadine Pelikan
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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: 18th cent. fabrics
Date: Sun, 21 Feb 1999 19:11:30 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

I absolutely love these Dutch fabrics you showed us at
http://quiltedjourney.com/dutch.htm.  I have a basic
question about all of them regarding the dye hues.  I wonder
if some of them have been recolored to be more appealing to
modern tastes.  I am a little skeptical of the one with a
pale sea-green background, and also the ones with brilliant
lavender accents.  I don't know enough about this subject to
condemn the prints for historical reenactment purposes, and
hope someone out there can advise.  I e-mailed the
manufacturer, but haven't heard any response yet. The prints
are beautiful, and outshine most of what I've seen in the
DAR collection, the equivalent this side of the ocean.

The block printed examples are in the spirit of Indian
imports going all the way back to before 1700, so in terms
of pattern, they can be justified, in my opinion, for the
whole century.  Roller printing came along about 1725, and
became much more widespread later.  Copperplate printing
dates from about 1762, again with most of it being later.  I
could be off a bit on these dates.  I can't tell if any of
them are roller printed, but the roller printed patterns
tend to be stripey, continuous lines of flower garlands,
etc.  Copperplate printing is distinguished by intense fine
exactness of lines and pin-point dots, which was only
possible using etched metal printing blocks.  There are
background dots in some pieces, which looks like a block or
roller print mimicking a copperplate print, but that still
dates it to the latter third of the 18th century.

If anyone can shed some more light on this, I would be
highly interested, as I would love to use these if they can
be justified.  Along the same lines, does anyone know of
French, Italian, or German sources of historic printed
fabrics?

Hope H. Dunlap

 Message-----
From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
Behalf Of Susan Courney
Sent: Thursday, February 18, 1999 4:56 PM
To: h-costume@indra.com
Subject: H-COST: 18th cent. fabrics



-Poster: Susan Courney <bd927@scn.org>

Hi,

I've been collecting the bits to make some 18th cent.
outfits.  A quilting
friend sent me a link to a page that included this --

"These wonderful fabrics from the Netherlands offer rich
color tones in
authentic Dutch patterns reproduced from original antique
fabrics, quilts
and costumes found in the museums of the Netherlands."

Its:
http://quiltedjourney.com/dutch.htm

The question is, they don't have dates.  Would some of these
work for 18th
c.?  They look close to me, but I really don't know much
about that
period.

Susan Courney
(I have jpryans corset and jacket pattern and period
impressions jacket
and polonaise pattern should be showing up any day now.  I
really want to
start with a robe a l'anglaise, but couldn't find a pattern
that looks
like the one in my mind.)_


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Subject: Re: H-COST: Re:1850's questions
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-Poster: Margo Anderson <margo@directcon.net>

At 02:42 PM 2/21/99 -0800, you wrote:

>Based on experience reenacting Gold Rush with the G.R.H.A., 

I'm not familiar with this organization.  Information, please?

As to informing by accuracy, yes, it's a good idea.  However, salemanship
demands that I be a bit more flashy, if only to intrigue the polyester
barmaids.  I'm new to this era of reenacting, but I have many years of
working Ren Faires behind me.  I've always found that it's much easier to
get a farbly costumed person interested in accuracy if I'm wearing a jewel
encrusted noblewoman's gown, rather than a wool bodice and skirts in muted
colors with a modest neckline.  

Margo Anderson

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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: H-COST: 18th Century Dutch Fabrics
Date: Sun, 21 Feb 1999 19:24:07 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

Oooops, just as I was sending my last post on this subject,
I found the reponse from QuiltedJourney.com to our
questions, include here for the List.  The prints are mostly
very ancient, 17th Century Indian, but they have been
recolored to appeal taste, some more than others I suspect,
so I wouldn't discount them at all.  They are gorgeous.  And
if your character is artsy, just tell the crowd you've
handpainted the accents to get the unusual colors.  Here is
Quilted Journey's response, along with my original
questions.

Dear Hope,
Here is the information I have available:
Our Dutch fabrics are reproductions of prints on display in
the Netherlands
Open Air Museum in Arnhem.  The fabric designer has reduced
the size of the
designs and fantasized with color (which explains the lilac
dye) to make
these reproduction prints doubly attractive to quilters.
The collection of
chintzes, designed and printed in Holland, are based on
antique documents
from the Netherlands and the low countries.  Many of the
original designs
were brought back during the 17th century by merchants
trading for the Dutch
East India Trading Company on India's Coromandel coast.  The
designs were
widely copied in the Netherlands and France in the 18th
century.  Original
designs were used for interior decorating as well as in
Dutch national
costumes.   Some prints are taken from the collections of
'Overtooms
Welvaren' the famous 18th century Amsterdam cotton printer
and others from
'Non plus Ultra' from Rotterdam.  I hope this is helpful.
Jan Loomer
Quilted Journey
-----Original Message-----
From: Hope H. Dunlap <hhdunlap@email.msn.com>
To: sales@quiltedjourney.com <sales@quiltedjourney.com>
Date: Thursday, February 18, 1999 7:33 PM
Subject: 18th Century Costume


>I am working on a living history site which needs block
>printed chintzes and patterned fabrics cotton, cotton/linen
>, and linen.  Your Dutch fabrics are sensational.  I need
>some authenticity confirmation for their use in 1725-1730.
>Do you think these can be documented back to patterns in
use
>in Holland that early?  Were they traded to Dublin?  Dublin
>did tremendous trade with Holland at the time, but would
>have been forbidden to import an all-cotton product.  I'm
>not going to get to crazy about authentic fiber content as
>long as it's one of the above.  But what about the pattern?
>The lilac dye is a little suspect.  Any information?  What
>Museum in Holland do the fabrics come from?
>
>Hope H. Dunlap
>
>




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From: WICKHAM  Raymond <raymond.wickham@customs.gov.au>
To: h-costume@indra.com
Subject: RE: H-COST: Elizabethan, anyone?
Date: Mon, 22 Feb 1999 11:48:22 +1100
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-Poster: WICKHAM  Raymond <raymond.wickham@customs.gov.au>

Hi folks
	The Madi Gras in Sydney is on this week end
	I'll see if any one the participants are inspired by the Movies 
	
	Ray

> In Paris,fashion originates in the streets.  Be bold and
> follow suit!  Stays and corsets have crept into the pattern
> catalogs as bodices.  A friend showed up at a party last
> summer in a sleeveless flowered cotton brocade print vest
> with huge pearls sewn onto it.  Bugs are big this year, and
> should find their way into fashion, just as Queen Elizabeth
> I used to wear them on her dresses and in her hair!
> 
> After the way "Sense and Sensibility" and "Titanic"
> influenced fashion in
> the last few years,   what do you supposed the popularity of
> "Shakespeare in
> Love" and "Elizabeth" will lead to?  Can we hope for
> brocades, lace ruffs,
> and ropes of pearls to be fashionable next year?
> 
> I hope so!
> 
> Margo
> 
> 
> ____________________________________________________________
> _____
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> 
>  _________________________________________________________________
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>  with the message UNSUBSCRIBE H-COSTUME
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From: Margo Anderson <margo@directcon.net>
Subject: H-COST:  Leine sleeves, yet again.
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-Poster: Margo Anderson <margo@directcon.net>

I'm looking for citations to refute the idea that 16th century Irish leines
had those huge sleeves that are popular in ren Faire circles.  You know
theones:  they are usually pleated, gathered, or have a drawstring sewn into
them.  Striking as they are, I'm under the impression that they are a
costume myth, mainly based on  misinterpreting a drawing or painting of a
wide, open sleeve pushed up on the wearer's arm to form folds of fabric.

i know we've discussed this several times over the years, but I've been
searching the archives for two hours without sucess.  Part of the problem is
my tendancy to get distracted by fascinating posts on completely unrelated
subjects.  It's also frustrating that the search engine, when you tell it to
look for "leine", also comes up with every single mention of words
containing that word, such as "chateleine" or "Madeleine".  (I know it's not
your fault, Eric, and thanks for providing the archives.)

Help!

Margo Anderson

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From: "Kyna Grannd" <kynagrannd@granndgarb.com>
To: <h-costume@indra.com>
Subject: Re: H-COST:  Leine sleeves, yet again.
Date: Sun, 21 Feb 1999 22:20:42 -0500
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-Poster: "Kyna Grannd" <kynagrannd@granndgarb.com>

I'd suggest you go to
http://reconstructinghistory.com/fenians/IrishClothes.htm I'm pretty sure
that Kass may monitor this mailing list and so might interject. Thought I'd
say that I was at a talk she gave last week where my favorite thing she said
was that she wanted to cry when it was lunch time and ask someone to feed
her so she didn't have to wash off the 300+ year old dust from her hands.

Anyway, she has been to Ireland and the bowels of some museums there
recently. Her new notes on the Shinrone gown and Leines are there.
Basically, the bag sleeves are very much correct. HOWEVER, what is incorrect
is the concept of pleats or drawstrings on the upper arm. To describe the
sleeve in words, it would be shoulder to wrist length on the top of the arm
and bagged at the underside. She has drawings at the URL mentioned above.

Also, she was very helpful and would probably answer any questions sent via
email in case she doesn't read this mailing list.

Suz
Kyna Grannd
granndgarb.com


>
>-Poster: Margo Anderson <margo@directcon.net>
>
>I'm looking for citations to refute the idea that 16th century Irish leines
>had those huge sleeves that are popular in ren Faire circles.  You know
>theones:  they are usually pleated, gathered, or have a drawstring sewn
into
>them.  Striking as they are, I'm under the impression that they are a
>costume myth, mainly based on  misinterpreting a drawing or painting of a
>wide, open sleeve pushed up on the wearer's arm to form folds of fabric.
>
>i know we've discussed this several times over the years, but I've been
>searching the archives for two hours without sucess.  Part of the problem
is
>my tendancy to get distracted by fascinating posts on completely unrelated
>subjects.  It's also frustrating that the search engine, when you tell it
to
>look for "leine", also comes up with every single mention of words
>containing that word, such as "chateleine" or "Madeleine".  (I know it's
not
>your fault, Eric, and thanks for providing the archives.)
>
>Help!
>
>Margo Anderson
>
> _________________________________________________________________
> To leave this mailing list, send mail to majordomo@indra.com
> with the message UNSUBSCRIBE H-COSTUME
>

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Date: Mon, 22 Feb 1999 12:47:02 +0000
To: h-costume@indra.com
From: Pompadour <marquise_de_pompadour@gmx.net>
Subject: H-COST: 1880s skirt drapery
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-Poster: Pompadour <marquise_de_pompadour@gmx.net>

hi list,

i sent this earlier but didn't get my more pressing questions answered, so i'm
trying again...

i have only a sketch of the drapery pattern. according to it,  it's about a
metre wide and 3.5 metres long and completely asymmetric. am i looking at half
of the pattern, or is the drapery really supposed to be asymmetric - and 7
(seven!) metres long?

as for the draping technique: i honly have a numberof little x'es and dots to
mark the folds. does anybody on this list know enough about draperies to
interpret it and maybe even imagine what the finished drapery would look like?
the illustration of the finished  garment is missing as well.
(there was a reply that the pattern was only a guideline - well, ok, but i
don't even know how to use the guideline. because i don't know where it
leads.)


thanks in advance....
yo



marquise_de_pompadour@gmx.net -  www.costumegallery.com/pompadour/

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Subject: RE: H-COST: 18th cent. fabrics
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-Poster: <aquazoo@patriot.net>

     Hope H. Dunlap wrote,
>I absolutely love these Dutch fabrics you showed us at
>http://quiltedjourney.com/dutch.htm.  I have a basic
>question about all of them regarding the dye hues.  I wonder
>if some of them have been recolored to be more appealing to
>modern tastes.

     The fact that the same pattern is offered in different colorways 
tells me that they are not all copied exactly from originals. The pale 
green doesn't look familiar to me, either!

>I am a little skeptical of the one with a
>pale sea-green background, and also the ones with brilliant
>lavender accents.  I don't know enough about this subject to
>condemn the prints for historical reenactment purposes, and
>hope someone out there can advise.

     They all look a bit dense to me, but I look for 1770s & 1780s 
patterns. The denser patterns are more charateristic of the late 80s and 
into the 90s. The dark backgrounds (browns and blacks) were also more 
fashionable at the end of the century.

     The early century brocades are usually a larger scale overall, I 
wonder if the prints were similarly large scale?

>I e-mailed the manufacturer, but haven't heard any response yet.

     Please let us know what you hear!

>The prints are beautiful, and outshine most of what I've seen
>in the DAR collection, the equivalent this side of the ocean.

     The DAR collection was made to reproduce the way the fabric looks 
now, with a yellowed "ecru" background and the yellows (turmeric?) faded 
from the greenery. Williamsburg recently reproduced a fabric from an 
original banyan. I think they sell it through their home decorating 
stores.

     -Carol Kocian

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Date: Sun, 21 Feb 1999 22:39:42 -0600
From: "I. Marc Carlson" <LIB_IMC@centum.utulsa.edu>
To: sca-arts@raven.cc.ukans.edu
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-Poster: "I. Marc Carlson" <LIB_IMC@centum.utulsa.edu>

I want to thank everyone who's responded.  You have given me a great deal 
to think about.  I think that I will definately want to consider how I 
charge people for "bespoke" work.  I will continue to offer my knowledge 
for free, to those who want to learn to make their own, and offer my 
products freely as gifts when I choose to, but seriously reconsider the
whole idea of charging and just how much I will charge for commissions.
I have no intention of becoming a "merchant", since my preference is for 
strict research, but even so, when the situation arises, a fair price is
the only way to guarantee my efforts are respected (I've had at least one
case where I made boots (the price of which would have been about $200, at
least) that were made for someone else who promptly trashed them and assumed
I'd cheerfully repair them for free).

Definately food for thought.

Marc/Diarmaid

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From owner-h-costume@indra.com  Mon Feb 22 01:16:24 1999
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From: "Jill & Ralph" <blkhrse@pacifier.com>
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Subject: H-COST: corset generator
Date: Sun, 21 Feb 1999 22:07:44 -0800
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-Poster: "Jill & Ralph" <blkhrse@pacifier.com>



Today I made a corset from the pattern generated for me at

http://www.dnaco.net/~aleed/corsets

I wanted a corset "now" so I used the pattern without any other fitting. 
It worked great!  

Just thought ya'll would want to know if you haven't tried it yet.
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From owner-h-costume@indra.com  Mon Feb 22 09:05:13 1999
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-Poster: SAQUEEN@aol.com

In a message dated 99-02-18 23:39:39 EST, you write:

<< Margo--I have actually seen and reproduced a day-dress from that period
 which had no waist seam! It was done entirely princess seamed! Seems
 that
 might be easy on alterations. It buttoned entirely down the front, with
 a
 small "Peter Pan" style collar and bishop sleeves.  >>

A day dress like you described is the April feature from Ohio State University
costume collection in the 1999 calendar, Historic Fashions of Women &
Children. The month also includes a wonderful child's dress modeled after the
adult and the child wearing the dress in 1868.

Details on the calendars at http://www.sallyqueenassociates.com and we have
added articles about the featured collections. January and February are up
now.

Enjoy,
Sally
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From owner-h-costume@indra.com  Mon Feb 22 09:52:19 1999
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From: Karren Schaeffer <karrenlaw@earthlink.net>
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Subject: Re: H-COST:  Late 1800's Levis
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-Poster: Karren Schaeffer <karrenlaw@earthlink.net>

We have developed an interest in Single Action Shooting and need to
dress the part and my fella won't wear anything but jeans.  I know
Levi's made jeans then, they were higher at the waist than now and had
attachments for braces.  Has anyone made these?  Is there a commercial
pattern available.  Or am I just being too historic here?  Any help
would be appreciated, the next costumed event is in April.

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From owner-h-costume@indra.com  Mon Feb 22 11:05:37 1999
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Subject: H-COST: Old Levis
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-Poster: Marie Schulte <mschulte@post.its.mcw.edu>

I thought I heard a piece on NPR *several* years ago about Levi-Strauss
buying back old (1800s-ish) Levi jeans for their records.  And maybe they
mentioned a Levi museum?  I don't recall it clearly, but it may be worth
contacting someone at Levi-Strauss or checking to see if their San
Francisco hdqtrs has a corporate museum (like through a visitors bureau).

Good luck!

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From owner-h-costume@indra.com  Mon Feb 22 11:17:32 1999
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From: Betsy Perry <betsyp@roguewave.com>
To: "'h-costume@indra.com'" <h-costume@indra.com>
Subject: H-COST: RE: Clothing madames
Date: Mon, 22 Feb 1999 08:22:57 -0800
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-Poster: Betsy Perry <betsyp@roguewave.com>

There are several useful photographs in "Fille de Joie" from Dorset
Press, no author given, copyright 1967, ISBN 1-56619-388-5.  P.358 shows
"Blonde Marie, who worked San Francisco ... and went back to France in
1885 wealthy", "Crazy Horse Lil", and "Pearl Starr, Arksansas madam and
daughter of famous madam, Belle Starr." p. 357 has a wonderful
full-length photograph of Mattie Silks.

I'm afraid reenactors would be disappointed; all four of the ladies are
quite respectably dressed, and several are rather stout.   Madames often
prided themselves on not dressing or behaving like their employees.

Not surprisingly, this book is full of nudity and erotic drawings.  I
assume anybody who wants to reenact a madame can probably cope, but you
may get some odd looks from the ILL librarian!

---
Elizabeth Hanes Perry
Rogue Wave Software 

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From owner-h-costume@indra.com  Mon Feb 22 11:59:31 1999
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Date: Mon, 22 Feb 1999 09:03:57 -0800
From: Kathleen Di Vito <kdivito@csulb.edu>
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-Poster: Kathleen Di Vito <kdivito@csulb.edu>


--------------C48F06B237243081F46C0A36
Content-Type: text/plain; charset=us-ascii
Content-Transfer-Encoding: 7bit

Beth,

Hester Prynne from  the "The Scarlet Letter" was famous or infamous
depending upon your view for the costumes she sewed for her daughter
Pearl as well as fine garment she made for others.  I believe her
speciality was lacemaking.

Kathleen

Beth wrote:

>  Does any one know of a literary character who was a seamstress?
> Especially one who whose character was defined (some what) by their
> sewing. Kind of like sewing's equivalent to Charles Dickens' Madame
> Defarge. Beth

--------------C48F06B237243081F46C0A36
Content-Type: text/html; charset=us-ascii
Content-Transfer-Encoding: 7bit

<!doctype html public "-//w3c//dtd html 4.0 transitional//en">
<html>
<body bgcolor="#FFFFFF">
Beth,
<p>Hester Prynne from&nbsp; the "The Scarlet Letter" was famous or infamous
depending upon your view for the costumes she sewed for her daughter Pearl
as well as fine garment she made for others.&nbsp; I believe her speciality
was lacemaking.
<p>Kathleen
<p>Beth wrote:
<blockquote TYPE=CITE>&nbsp;<font color="#000000"><font size=-1>Does any
one know of a literary character who was a seamstress? Especially one who
whose character was defined (some what) by their sewing. Kind of like sewing's
equivalent to Charles Dickens' Madame Defarge.</font></font>&nbsp;<font color="#000000"><font size=-1>Beth</font></font></blockquote>

</body>
</html>

--------------C48F06B237243081F46C0A36--

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From owner-h-costume@indra.com  Mon Feb 22 12:04:21 1999
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-Poster: Margo Anderson <margo@directcon.net>

At 08:22 AM 2/22/99 -0800, you wrote:
>
>-Poster: Betsy Perry <betsyp@roguewave.com>
>
>There are several useful photographs in "Fille de Joie" from Dorset
>Press,  

Great!  I'll try to get it.

>I'm afraid reenactors would be disappointed; all four of the ladies are
>quite respectably dressed, and several are rather stout.

So am I (stout, not respectably dressed!)

>Not surprisingly, this book is full of nudity and erotic drawings.  I
>assume anybody who wants to reenact a madame can probably cope, but you
>may get some odd looks from the ILL librarian!
>
Luckily, our ILL librarian has known me since I was six and has no illusions
about me!   She's also an SCA member, so she understands about costume
research.  

Thanks for the info, 

Margo

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From owner-h-costume@indra.com  Mon Feb 22 12:06:52 1999
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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: RE: H-COST:  Leine sleeves, yet again.
Date: Mon, 22 Feb 1999 12:14:00 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

The use of drawstrings is something I can't comment on, but
period writings and illustrations definitely support lots of
fabric, pleats and more pleats.  Huge, droopy sleeves to the
hip, knee, or ankle show up a lot, but jackets cover up the
sleeve  in many old illustrations, leaving us to guess
precisely what was underneath. The Lucas de Heere
watercolors, circa 1570, show  bag-style leine sleeves down
to the ankle or knee, or just to the hip, depending on which
painting you're looking at.  The people certainly didn't
wear the huge sleeve for everything, nor did all people
appear to wear it, but there they are. Period writings
mention the volume of fabric, the pleats, and sleeves almost
to the ground, again and again.  ILL if you have to Henry
Foster McClintock's *Old Irish and Highland Dress* printed
1943, 1949 and copyrighted 1950 Dundalgan Press, Dublin or
closeby, Ireland. Try also the Palkenham's fairly recent
book about Dublin (Pakenham, Thomas and Valerie.  *Dublin, A
Traveler's Companion,* Great Britian: Constable and Company,
and New York: Athenaeum, Macmillan Publishing Company, 1988.
ISBN 0-689-70741-X) which is widely available in the travel
sections of libraries, and may even still be in print, for a
great collection of woodblock prints and period writings
from about 1000-1930. I the biggest difference I can see
with the leines illustrated on  SCA type WebPages and the
period illustrations is that the real leines are pictured as
a wrap-around style with a shawl (bathrobe-style) collar.
It doesn't appear to be a shirt which goes over the head, or
if it does, it is worn in a way which disguises that.  Also,
the de Heere watercolors show a bag style sleeve, not a
sleeve like an over-long shirtsleeve which might be gathered
up.  One arm and hand opening in the upper part of a boy's
bag sleeve is even embroidered with red floss to highlight
the opening. Mairead Dunlevy's *Dress in Ireland* doesn't
address your particular questions in any depth, but there
are some woodblock illustrations in there which will help
you.  Do ILL it too if you have an interest in things Irish,
as it is a marvelous book.  She tries to cover a lot of
ground previously not published, and acknowledges
McClintock's previous and massive contribution.

Hope H. Dunlap

-----Original Message-----
From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
Behalf Of Margo Anderson
Sent: Sunday, February 21, 1999 9:24 PM
To: h-costume@indra.com
Subject: H-COST: Leine sleeves, yet again.



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

I'm looking for citations to refute the idea that 16th
century Irish leines
had those huge sleeves that are popular in ren Faire
circles.  You know
theones:  they are usually pleated, gathered, or have a
drawstring sewn into
them.  Striking as they are, I'm under the impression that
they are a
costume myth, mainly based on  misinterpreting a drawing or
painting of a
wide, open sleeve pushed up on the wearer's arm to form
folds of fabric.

i know we've discussed this several times over the years,
but I've been
searching the archives for two hours without sucess.  Part
of the problem is
my tendancy to get distracted by fascinating posts on
completely unrelated
subjects.  It's also frustrating that the search engine,
when you tell it to
look for "leine", also comes up with every single mention of
words
containing that word, such as "chateleine" or "Madeleine".
(I know it's not
your fault, Eric, and thanks for providing the archives.)

Help!

Margo Anderson


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Date: Mon, 22 Feb 1999 17:01:32 +0000 (GMT)
From: Teddy <Teddy@mdx.ac.uk>
Subject: Re: H-COST: Newton's _Fashion ... Black Prince_
In-reply-to: <199902200031.RAA06850@indra.com>
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-Poster: Teddy <Teddy@mdx.ac.uk>


> - -Poster: Cindy Myers <emmy@monogames.com>
>
> She mentions chroniclers of the time complaining that with the
> tighter fashion people couldn't undress by themselves, and had to go
> through awkward contortions looking like they were being skinned,
> etc.  So why all this talk about being buttoned up the front?
> 
> Does anyone have any more information or opinions on this?

Hi Cindy

I have one very tight fitting cotehardie that buttons all the way up 
the front and I often appreciate help getting in and out of it.  The 
sleeves are also very tight fitting and button from hand to elbow. 
 Between the close fit on the upper arms and around the shoulders, 
(even with it fully unbuttoned) I still have to do some... 
interesting... contortions in order to get my shoulders out of it.

I should add that it's wonderfully comfortable when I'm wearing it 
but when I took it off after the first wearing I had bruises on the 
inside of my elbows from the tightness of the sleeves.

I solved this by trying it on a lad with thicker (more muscular)
arms than mine and giving him a pint of beer.  His efforts to get
the drink to his mout stretched the sleeves *just* enough to prevent
them bruising me again...<g> 

Teddy
(Trustworthy Evil-Bunny of Destiny, part-time Knave and Creature of
air and darkness, apparently!)
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From owner-h-costume@indra.com  Mon Feb 22 12:10:36 1999
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From: "Susannah Eanes" <oh_susannah@hotmail.com>
To: h-costume@indra.com
Subject: H-COST: 18th c. topstitching (Military)
Date: Mon, 22 Feb 1999 09:13:33 PST
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-Poster: "Susannah Eanes" <oh_susannah@hotmail.com>

On 18th c. British Regimentals c. 1760 - 1780:

Was the preferred color for topstitching all edges:  Madder Red, to 
match the coat, or off-white (linen?) to match the lining?

Basically, would the topstitching thread have matched the wool outer 
shell, or the lining?  On civilian originals, we see both cases, but 
would like to know (if there was any such thing) what the military 
standard was.

Has anyone here seen original British regimentals of this period and 
would like to comment?  If so, where, and can we see them, or is there a 
picture somewhere on the Internet where we can go & look?

Thanks!

Susannah





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Subject: RE: H-COST:  Leine sleeves, yet again.
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-Poster: Margo Anderson <margo@directcon.net>

At 12:14 PM 2/22/99 -0500, you wrote:
>
>-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>
>
>The use of drawstrings is something I can't comment on, but
>period writings and illustrations definitely support lots of
>fabric, pleats and more pleats. 

Yes, but where?  The pictures I've seen don't support the modern version
with pleats along the top of the arm.  Several of these pictures show the
top of the arm quite clearly, and all I see there are folds of fabric,
exactly what would result if you took a wide, wrist length sleeve and pushed
it  up toward your elbow.   I wonder if the pleats might be in the armscye?
If you took a large rectangle and pleated it into the armscye, then sewed it
up to get the bag effect, leaving a wrist opening, you could get that "angel
wing" shape.  It's possible the pleats were in the body of the liene, too,
maybe at the shoulders, to make the body of the garment fuller.  

Argh!  I want a time machine!

Margo

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From owner-h-costume@indra.com  Mon Feb 22 13:28:19 1999
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From: rio@austin.rr.com (StrangeGirl)
To: h-costume@indra.com
Subject: Re: H-COST:  Leine sleeves, yet again.
Date: Mon, 22 Feb 1999 18:37:43 GMT
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-Poster: rio@austin.rr.com (StrangeGirl)

On Mon, 22 Feb 1999 12:14:00 -0500, you wrote:

>
>-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>
>
>The use of drawstrings is something I can't comment on, 

AFAIK the use of drawstrings developed out of the Renfaire community.
As I recall being told, people at first came up with it as a way to
roughly imitate the pleats (which from my mother's research on the
subject were supposed to be carefully laid in place and occasionally
secured/decorated/highlighted with a piece of braid, a strip of
embriodery or trim of some kind but most often left plain) without
having to do the hard work of stitching them individually in place.
Kind of a quick n' easy, trim built-in machine method. Later, the
convenience and utility of the drawstring was discovered - the sleeves
can be pulled up further (besides being pulled back and tucked into
the belt) for washing dishes and other messy tasks, or for cooling off
a bit in the heat that is usual at faires in the US. They could also
be let down a bit for warmth in event of a cold day.

So, it is pretty clear to me, from what I've been told, and seen, that
drawstrings are a faire/SCA development. My mother does not recall
having found any references to drawstrings in her research some 20
years ago, when she designed and made late medieval-rennaisance Irish
costumes for the group Sheila na Gig  to perform and lecture in at the
DeYoung Museum, during the Treasures of Irish Art exhibit in 1977(8?)

Mom even remembers some of the early evloution of Irish and Scots
costumes at the Northern/Southern California RenFaires, having 'been
there' as it were since the second one - so she is really my primary
source for that information. Apparently early on there was some
argument about whether the Irish even wore the leine (and whether it
could be worn by Irish persons at Faire) and she had to take her
documentation to the offices and argue it out. This would have been in
about 1978 or 9.

Margery
-----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  Mon Feb 22 13:28:49 1999
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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: RE: H-COST:  Leine sleeves, yet again.
Date: Mon, 22 Feb 1999 13:36:49 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

The pleats show up at the waist when the garment is belted
or girdled  with a "criss."  They also are where the sleeve
attaches to the "armsythe"---not really a curved armsythe as
we know it, but the selvedge edge opening where the sleeve
attaches to the body.  The pleats also show up at the wrist,
or if its a bag sleeve, at the bottom of the bag where the
fabric is gathered together. The
www.ReconstructingHistory.com webpages replicate a lot of
the period artwork, although the drawings are much clearer
in books.  If you can just put yourself in front of the
period drawings, a lot of these mysteries (but not all!)
will evaporate.  The pleating was strategically important in
soldiers' clothing, as all those layers of pleated linen
acted like a crude layered linen armoring jacket---and
deflected sword blows.  The Scots anyway (also Celts, with
similar dress) would tar over those pleats with pitch before
a battle to reinforce them, sometimes sticking skins on the
top for more battle protection.
Hope H. Dunlap


-----Original Message-----
From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
Behalf Of Margo Anderson
Sent: Monday, February 22, 1999 12:51 PM
To: h-costume@indra.com
Subject: RE: H-COST: Leine sleeves, yet again.



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

At 12:14 PM 2/22/99 -0500, you wrote:
>
>-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>
>
>The use of drawstrings is something I can't comment on, but
>period writings and illustrations definitely support lots
of
>fabric, pleats and more pleats.

Yes, but where?  The pictures I've seen don't support the
modern version
with pleats along the top of the arm.  Several of these
pictures show the
top of the arm quite clearly, and all I see there are folds
of fabric,
exactly what would result if you took a wide, wrist length
sleeve and pushed
it  up toward your elbow.   I wonder if the pleats might be
in the armscye?
If you took a large rectangle and pleated it into the
armscye, then sewed it
up to get the bag effect, leaving a wrist opening, you could
get that "angel
wing" shape.  It's possible the pleats were in the body of
the liene, too,
maybe at the shoulders, to make the body of the garment
fuller.

Argh!  I want a time machine!

Margo


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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: RE: H-COST:  Leine sleeves, yet again.
Date: Mon, 22 Feb 1999 13:53:52 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

One 19th Century author who was also puzzling over those
pleats surmised that the original Irish leine and heavy over
robe were similar to Roman garb.  He suggested the leine
might have originally been a single piece (perhaps pieced, I
don't know) of fabric stretching from wrist to wrist (at a
minimum, it could be more!) and from front hem to back hem
with a head hole in the middle.  (That's a rectangle a
minimum of two yards wide (it could be wider) and about 3-4
yards the other way(from your toes up over your shoulders to
your heels). The whole thing gets girdled in at the waist,
creating an enormous amount of pleats, but there are no
pleats actually sewn in at the shoulders.  Now if you sliced
from the neckhole down the front, you'd be approaching a
kimono cut, and then there becomes a way to get that cowled
wrap-over front closure and neckline.  The slice wouldn't
have to go all the way down, maybe just to the waist or so.
When you look at all the period illustrations, it becomes
clear that there are several versions of the leine, but I do
find his theory very plausible both from a historical and a
geometrical point of view.

Hope H. Dunlap

-----Original Message-----
From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
Behalf Of StrangeGirl
Sent: Monday, February 22, 1999 1:38 PM
To: h-costume@indra.com
Subject: Re: H-COST: Leine sleeves, yet again.



-Poster: rio@austin.rr.com (StrangeGirl)

On Mon, 22 Feb 1999 12:14:00 -0500, you wrote:

>
>-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>
>
>The use of drawstrings is something I can't comment on,

AFAIK the use of drawstrings developed out of the Renfaire
community.
As I recall being told, people at first came up with it as a
way to
roughly imitate the pleats (which from my mother's research
on the
subject were supposed to be carefully laid in place and
occasionally
secured/decorated/highlighted with a piece of braid, a strip
of
embriodery or trim of some kind but most often left plain)
without
having to do the hard work of stitching them individually in
place.
Kind of a quick n' easy, trim built-in machine method.
Later, the
convenience and utility of the drawstring was discovered -
the sleeves
can be pulled up further (besides being pulled back and
tucked into
the belt) for washing dishes and other messy tasks, or for
cooling off
a bit in the heat that is usual at faires in the US. They
could also
be let down a bit for warmth in event of a cold day.

So, it is pretty clear to me, from what I've been told, and
seen, that
drawstrings are a faire/SCA development. My mother does not
recall
having found any references to drawstrings in her research
some 20
years ago, when she designed and made late
medieval-rennaisance Irish
costumes for the group Sheila na Gig  to perform and lecture
in at the
DeYoung Museum, during the Treasures of Irish Art exhibit in
1977(8?)

Mom even remembers some of the early evloution of Irish and
Scots
costumes at the Northern/Southern California RenFaires,
having 'been
there' as it were since the second one - so she is really my
primary
source for that information. Apparently early on there was
some
argument about whether the Irish even wore the leine (and
whether it
could be worn by Irish persons at Faire) and she had to take
her
documentation to the offices and argue it out. This would
have been in
about 1978 or 9.

Margery
-----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*}-

____________________________________________________________
_____
 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 Feb 22 14:01:14 1999
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Date: Mon, 22 Feb 1999 14:04:31 -0500 (EST)
From: Mara Riley <lindo@Radix.Net>
To: H-costume <h-costume@indra.com>
Subject: Re: H-COST: Re: 1850 working class
In-Reply-To: <36CDA0E6.6017DB88@rust.net>
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-Poster: Mara Riley <lindo@Radix.Net>

> -Poster: Bill and/or Glenna Jo Christen <gwjchris@rust.net>
(snip)
> On the other hand, there are accounts from people like Sofia Bost, an
> immigrant to the wilds of Minnesota in the 1850's who wrote home to
> Europe complaining about how the poor farmer women would come into town
> when a preacher came around wearing silk dresses and hoops even though
> they were barely scratching a living... Her rather straight laced
> religious views may have colored her distaste for such show in church,
> but the silks were there. They may have been of poor quality silk or the
> dresses may have been restyled a time or too, but at least some poor
> frontier women had silk dresses. The same with poor factory girls. They
> were reported to have scrimped and saved for Sunday finery. Of course, a
> respectable married woman would most likely have other priorities. She's
> follow fashion, but in a modest way. If she's doing her daily chores,
> she's not wearing hoops, but her skirts will be well down around her
> ankles to be sure. I know I've done plenty of bending and lifting work
> in those closes, corsets and all.

Reminds me of some of the administrative assistants I've met who wore
diamond tennis bracelets to work...  or a gold Cartier-style bracelet.
(Worse yet are the gold anklets under their stockings...)  They also tend
to dress like something out of Cosmo -- the latest thing, no matter how
tacky.

The women in the middle-to-top of the office hierarchy generally wear much
cheaper (but nice) jewelry, and probably get at least some of their
clothes from good-quality consignment shops.  Or at least keep them a long
time, rather than being the latest word on fashion.  I suspect they have
really nice jewellry, but don't wear it all the time at the office.

Mara

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From owner-h-costume@indra.com  Mon Feb 22 14:08:43 1999
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	 Mon, 22 Feb 1999 11:12:04 -0800
From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: RE: H-COST:  Leine sleeves, yet again.
Date: Mon, 22 Feb 1999 14:16:08 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

Henry Foster McClintock deals with the origins of the leine
in tremendous detail in Old Irish and Highland Dress, 1950,
and seems to support the concept of its Roman origins.  I
haven't read the whole thing, having just got it on ILL
myself, but he goes through an enormous amount of art and
literature seeking exactly the answers to your questions.
Hope H. Dunlap

-----Original Message-----
From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
Behalf Of Hope H. Dunlap
Sent: Monday, February 22, 1999 1:54 PM
To: h-costume@indra.com
Subject: RE: H-COST: Leine sleeves, yet again.



-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

One 19th Century author who was also puzzling over those
pleats surmised that the original Irish leine and heavy over
robe were similar to Roman garb.  He suggested the leine
might have originally been a single piece (perhaps pieced, I
don't know) of fabric stretching from wrist to wrist (at a
minimum, it could be more!) and from front hem to back hem
with a head hole in the middle.  (That's a rectangle a
minimum of two yards wide (it could be wider) and about 3-4
yards the other way(from your toes up over your shoulders to
your heels). The whole thing gets girdled in at the waist,
creating an enormous amount of pleats, but there are no
pleats actually sewn in at the shoulders.  Now if you sliced
from the neckhole down the front, you'd be approaching a
kimono cut, and then there becomes a way to get that cowled
wrap-over front closure and neckline.  The slice wouldn't
have to go all the way down, maybe just to the waist or so.
When you look at all the period illustrations, it becomes
clear that there are several versions of the leine, but I do
find his theory very plausible both from a historical and a
geometrical point of view.

Hope H. Dunlap

-----Original Message-----
From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
Behalf Of StrangeGirl
Sent: Monday, February 22, 1999 1:38 PM
To: h-costume@indra.com
Subject: Re: H-COST: Leine sleeves, yet again.



-Poster: rio@austin.rr.com (StrangeGirl)

On Mon, 22 Feb 1999 12:14:00 -0500, you wrote:

>
>-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>
>
>The use of drawstrings is something I can't comment on,

AFAIK the use of drawstrings developed out of the Renfaire
community.
As I recall being told, people at first came up with it as a
way to
roughly imitate the pleats (which from my mother's research
on the
subject were supposed to be carefully laid in place and
occasionally
secured/decorated/highlighted with a piece of braid, a strip
of
embriodery or trim of some kind but most often left plain)
without
having to do the hard work of stitching them individually in
place.
Kind of a quick n' easy, trim built-in machine method.
Later, the
convenience and utility of the drawstring was discovered -
the sleeves
can be pulled up further (besides being pulled back and
tucked into
the belt) for washing dishes and other messy tasks, or for
cooling off
a bit in the heat that is usual at faires in the US. They
could also
be let down a bit for warmth in event of a cold day.

So, it is pretty clear to me, from what I've been told, and
seen, that
drawstrings are a faire/SCA development. My mother does not
recall
having found any references to drawstrings in her research
some 20
years ago, when she designed and made late
medieval-rennaisance Irish
costumes for the group Sheila na Gig  to perform and lecture
in at the
DeYoung Museum, during the Treasures of Irish Art exhibit in
1977(8?)

Mom even remembers some of the early evloution of Irish and
Scots
costumes at the Northern/Southern California RenFaires,
having 'been
there' as it were since the second one - so she is really my
primary
source for that information. Apparently early on there was
some
argument about whether the Irish even wore the leine (and
whether it
could be worn by Irish persons at Faire) and she had to take
her
documentation to the offices and argue it out. This would
have been in
about 1978 or 9.

Margery
-----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*}-

____________________________________________________________
_____
 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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 with the message UNSUBSCRIBE H-COSTUME

From owner-h-costume@indra.com  Mon Feb 22 14:14:28 1999
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Date: Mon, 22 Feb 1999 11:23:29 -0800
From: Lawrence Kincaid <lkincaid@wenet.net>
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Subject: Re: H-COST:  Late 1800's Levis
References: <4.1.19990221012956.00be3b40@pop.slip.net> <36D17136.D8929EC9@earthlink.net>
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-Poster: Lawrence Kincaid <lkincaid@wenet.net>

The western store near fishermans warf in San Francisco, CA has the a
remake of the original canvas trousers with a waistband split in the back
about 4 in high in back that tapers down to 2 in in front with rivets, a
cinche strap in the back below the waistband, with buttons for suspenders
and rather period looking nice suspenders to go with these also for sale.
The leg is straight and more stove pipe than real tight. The proprietor
says that these pants are based on the Genoa sailor pants and that the
first Levi's are based on this design. This store has all kinds of nifty
things for western re enactors.   I guess you could look it up in the
phone book. I have their flyer buried in some stack here about. I
discovered the store during the Dickens Fair of 95 and the later gold rush
days event phyllis had.    sincerly Larry Kincaid

Karren Schaeffer wrote:

> -Poster: Karren Schaeffer <karrenlaw@earthlink.net>
>
> We have developed an interest in Single Action Shooting and need to
> dress the part and my fella won't wear anything but jeans.  I know
> Levi's made jeans then, they were higher at the waist than now and had
> attachments for braces.  Has anyone made these?  Is there a commercial
> pattern available.  Or am I just being too historic here?  Any help
> would be appreciated, the next costumed event is in April.
>
>  _________________________________________________________________
>  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 Feb 22 14:52:37 1999
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Date: Mon, 22 Feb 1999 11:55:59 -0800
To: h-costume@indra.com, h-needlework <h-needlework@ansterorra.org>
From: Lynn Downward <ldownward@mail.cho.org>
Subject: H-COST: Vintage Fashion Show, Northern California
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-Poster: Lynn Downward <ldownward@mail.cho.org>

Just a quick heads-up:  There is another Vintage Fashion Show on March
13-14 being held at the Concourse Exhibition Center at 8th and Brannan, San
Francisco.  The Info I have doesn't give times, but I remember (I think)
Saturday hours are 10-6 and Sunday are 12-5,  not written in stone, not
guaranteed, just my faulty memory.

I've been a couple of times and had great fun.

Not completely OT - vintage trims, patterns (teens-80's), clothes, buttons,
accessories, books.

LynnD
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From owner-h-costume@indra.com  Mon Feb 22 15:31:16 1999
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From: "KATE M BUNTING" <K.M.Bunting@derby.ac.uk>
To: <h-costume@indra.com>
Subject: H-COST: Armsythe
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-Poster: "KATE M BUNTING" <K.M.Bunting@derby.ac.uk>

I've been puzzled for some time by the word "armsythe/armscye" which list members knowledgeable about sewing often use with several variant spellings. I've just looked it up and can't find it in the dictionary, even the OED. Is it an American word? Does it just mean "armhole"? Anyone care to elucidate?

Kate Bunting
Library, University of Derby
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From owner-h-costume@indra.com  Mon Feb 22 15:38:34 1999
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-Poster: Finafyr@aol.com

It means "Armhole." You are correct
Finafyr
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From owner-h-costume@indra.com  Mon Feb 22 16:12:31 1999
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-Poster: Merouda of Bornover <keltia@serv.net>

> I've been puzzled for some time by the word "armsythe/armscye" which list members knowledgeable about sewing often use with several variant spellings. I've just looked it up and can't find it in the dictionary, even the OED. Is it an American word? Does it just mean "armhole"? Anyone care to elucidate?

>From what I understand, yes, it means armhole.  Or if you break it down, it means arm's eye.  See?  :)
Cynthia

--
Cynthia Long
Merouda of Bornover
Barony of Madrone
Kingdom of An Tir


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From owner-h-costume@indra.com  Mon Feb 22 16:12:39 1999
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-Poster: Lavolta Press <lavolta@best.com>

> Just a quick heads-up:  There is another Vintage Fashion Show on March
> 13-14 being held at the Concourse Exhibition Center at 8th and Brannan, San
> Francisco.  The Info I have doesn't give times, but I remember (I think)
> Saturday hours are 10-6 and Sunday are 12-5,  not written in stone, not
> guaranteed, just my faulty memory.
>
> I've been a couple of times and had great fun.
>
> Not completely OT - vintage trims, patterns (teens-80's), clothes, buttons,
> accessories, books.
>
> LynnD
>

All correct except Sunday is 11-5.  Admission is $6 (but it is pretty easy to
get coupons for $1 off on admission if that matters to you.  Check the _San
Francisco Chronicle_ ads in the "pink section" the week before).

I've attended every Bay Area show since they started holding them. They always
have about a hundred dealers. There is an amazing variety of clothing and
accessories, ranging from early to mid 19th century (though comparatively few
pieces in this date range) through 1960s.  Although the emphasis is on clothes
and accessories, they do have, as Lynn said, great vintage buttons, lace,
collars and cuffs, fashion magazines, patterns, and fabrics.  At the last two
shows they had a dealer who specialized in very nice, reasonably priced,
vintage jacquard ribbons and millinery flowers, and a pricey dealer in handmade
lace trims.  Many vintage clothing dealers have some trims stowed in baskets or
piled on tables. I haven't seen any specialty textile dealers at the past
couple shows, but some clothing dealers sell a few fabrics, and  some household
linens suitable for garments.  At a recent show I bought some very nice
Japanese silk brocade (probably 1950s but suitable for late 19th century
costuming) at one booth.

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  Mon Feb 22 16:15:15 1999
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From: "Jessica Wilbur" <jessica@pop.net>
To: h-costume@indra.com
Date: Mon, 22 Feb 1999 15:16:07 -0500
Subject: H-COST: ISO Regency costumes
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-Poster: "Jessica Wilbur" <jessica@pop.net>

Greetings to the list!

My housemates and I have been invited to a Regency-themed wedding, on April 2. 
However, we are all SCA and well, haven't a thing to wear! Guests are being encouraged, 
but not required, to attend in appropriate clothing. We'd like to be able to do this, but I 
know we won't have time to make anything beforehand (we're moving this weekend and 
have a full slate of events for March) Does anyone know of anywhere in the DC metro area 
where we could rent or maybe even buy something like this (though money's a tad tight for 
the above-mentioned reasons)? Or any suggestions for other options? One of my 
housemates is 6'6" and large. I'm a bit worried about finding something that will fit him! Any 
advice would be appreciated!

Thanks!
--Jessica
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From owner-h-costume@indra.com  Mon Feb 22 16:16:19 1999
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From: "I. Marc Carlson" <LIB_IMC@centum.utulsa.edu>
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-Poster: "I. Marc Carlson" <LIB_IMC@centum.utulsa.edu>

Something that just came up, that may or may not be obvious to everyone making
or wearing medieval shoes (and to be honest, I'd never thought to mention 
before) -- the edge closing seams on the uppers are called "flesh-edge"
seams for a reason.  They are on the flesh side, which makes them on the
INSIDE of the shoe when it worn.  In most sorts of medieval shoes, you
won't see the thread in any of the seams unless you take the shoes off and
look inside.

Marc/Diarmaid
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From owner-h-costume@indra.com  Mon Feb 22 17:57:49 1999
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-Poster: Marionetta@aol.com


Another book to try to find is "Soiled Doves", I've got it packed away in my
boxes of books so can't give an author or much more detail than the title.
It's all about the madams and working girls of the west.  I seem to recall
that, like the other book mentioned, the madams in the photos were pretty
conservatively dressed.  

Cheers,

Loren Dearborn
marionetta@aol.com
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From owner-h-costume@indra.com  Mon Feb 22 18:46:33 1999
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Date: Mon, 22 Feb 1999 15:34:02 -0600
From: "I. Marc Carlson" <LIB_IMC@centum.utulsa.edu>
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-Poster: "I. Marc Carlson" <LIB_IMC@centum.utulsa.edu>

I'm sorry, I didn't answer this over the weekend.

<"Megan McHugh" <mchug@mindspring.com>>
>...So, pray tell, what is the link for your page?  What kind of
>shoes/ boots do you make?  I may want to order from you in the future if I
>decide not to take on the project myself.

I make medieval style shoes.  The link for the page is at 
"www.pbm.com/~lindahl/carlson".  It's undergoing the latest revision process
(scheduled to be completed in September if the Gods smile, and my web-site
host ever uploads the updates he gets from me).

Marc
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-Poster: AnnBWass@aol.com

Poster:  Ann Wass <annbwass@aol.com>

Yes, Levi Strauss does have a museum at their corporate headquarters in San
Francisco.
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From owner-h-costume@indra.com  Mon Feb 22 20:54:31 1999
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Date: Mon, 22 Feb 1999 17:42:46 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: Re: H-COST: 16th C stomachers
In-Reply-To: <MAPI.Id.0016.00617264636f72703030303930303039@MAPI.to.RFC8
 22>
References: <36C78A4C.6FB7@wireweb.net>
 <281FFB60FE3@mdx-bg-staff2.nw.mdx.ac.uk>
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>


>  Beating Digby's drum again, he shows several surviving stomachers
>in his "Elizabethan Embroidery".....

After reading your post I rushed to my copy to see these stomachers.  I
couldn't find them.  Which illos are you calling stomachers?


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

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From owner-h-costume@indra.com  Mon Feb 22 21:15:50 1999
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From: "Cathy Harding" <charding@nwlink.com>
To: <sca-garb@coollist.com>, <h-costume@indra.com>
Subject: H-COST: Late Ren garb for someone with a Moorish Persona
Date: Mon, 22 Feb 1999 18:19:05 -0800
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-Poster: "Cathy Harding" <charding@nwlink.com>

Greetings all,
I apologize for those who get two postings as I am cross posting to
H-Costume and The Garb list.

A friend just wrote to me asking about Garb for a Moor in late Renaissance.
They desire to dress as a Moor at the Southern (CA I assume) Ren Faire.
This is definitely not my area (I'm a cook, not a costumer).  If anyone has
any ideas, pictures, web sites that we could look at, please let me know,
either privately or on the list.

Maeve
barony of Madrone
Kingdom of An Tir

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-Poster: EofAshley@aol.com

Taking the armsceye question one step further, the "armsceye to armsceye"
measurement goes across the chest or back, from one armhole seam to the other.
This measurement in front is above the bustline, where the body flattens out,
if you are a woman.

Karla
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Subject: Re: H-COST: Armsythe
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-Poster: "Kathryn L. Herb" <kayherb@juno.com>




I've always understood it to be the same as "armseye," too, but that the
armseye was the point at the very top of the sleeve cap where, on modern
patterns, it matches to the mark at the top of the shoulder of the
garment body.  Is this definition a modern one, or has it always been so?

Kay Herb
kayherb@juno.com


  
On Mon, 22 Feb 1999 20:34:23 +0000 "KATE M BUNTING"
<K.M.Bunting@derby.ac.uk> writes:
>
>-Poster: "KATE M BUNTING" <K.M.Bunting@derby.ac.uk>
>
>I've been puzzled for some time by the word "armsythe/armscye" which 
>list =
>members knowledgeable about sewing often use with several variant =
>spellings. I've just looked it up and can't find it in the dictionary, 
>=
>even the OED. Is it an American word? Does it just mean "armhole"? 
>Anyone =
>care to elucidate?
>
>Kate Bunting
>Library, University of Derby
> _________________________________________________________________
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> with the message UNSUBSCRIBE H-COSTUME
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Date: Mon, 22 Feb 1999 23:38:23 -0500
To: h-costume@indra.com
From: Sue Shatto <Sue@VictorianMillinery.com>
Subject: Re: H-COST: ISO Regency costumes
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-Poster: Sue Shatto <Sue@VictorianMillinery.com>

Jessica,
	i have several regency gowns about size 10 or12.  My friend has one that
is probably a 16 or 18.  Her husband has a nice outfit.  He is rather
rotund, but not nearly so tall.  I'm sure we could rent them to you.  I am
in Frederick, MD Phone number is 301-694-8950.





Cordially,

Sue Shatto

Sue@VictorianMillinery.com
http://www.VictorianMillinery.com

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From owner-h-costume@indra.com  Tue Feb 23 01:06:54 1999
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Date: Mon, 22 Feb 1999 18:46:36 +0000
From: Dietmar <dietmar@pacbell.net>
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-Poster: Dietmar <dietmar@pacbell.net>

Greetings all,

I wasn't going to answer this since I had been away for a week, but since it's
still getting kicked around...

The original poster wrote:

> Yeah, I've got some great pics I've pulled off-line, but was kinda hoping
> for something a little sturdier than paper. This is for a traveling troupe,
> and they apparently take stuff on the road, around to schools, etc., and
> so I wanted something that could get banged around and hold up okay. I
> guess that they make pretty heavy papers, but I'd love to get some thin
> wood and curve it.  Just don't have much time to put something together.

Could you do it out of balsa wood?  Balsa would be extremely light weight,
carves easily and, after sealing, would easily accept any paints you wanted to
use.  I think it would be the best alternative to the actual woods that they
used.  Try your local hobby supply store (even hardware stores) to see what
they can get for you.  You can glue smaller pieces together to reach the size
you need.

Kayta wrote:

>> Do two layers glued together with chicken wire in between.  Use a lot
>> of glue, and tape the edges together.  Done right, paper mache is as
>> strong as particle board.

If you want to do papier mache, I suggest that you find an art supply store
that sells it.  You can buy bricks of paper pulp that only require water. 
Build a wire mesh armature to form the mask over.  After the papier mache
dries, the mask will be very light, but nearly as strong as plaster, without
the worry of cracking.  It also accepts paint well, and can be carved or
sanded if necessary.

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,

Nancy <SNSpies@aol.com> wrote:

> Is there anything in the Grimm and Anderson fairy tales?  A tailor, perhaps?

Well, I don't know about HCA, but in my "Complete Fairy Tales of the Brothers
Grimm" (all 242 of them) I see:

The Brave Little Tailor (commonly known as "Seven with One Blow")
The Tailor in Heaven
The Clever Little Tailor
The Giant and the Tailor

There are others that involve spinning and weaving, as well as inanimate tools
such as "Spindle, Shuttle and Needle".

> How about any of the "Little House on the Prairie" books?

I've never read the books, but I do remember in the TV show that Mary left
school to do some piecework sewing to help the family through tough times.

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,

Kate Bunting asked:

> I've been puzzled for some time by the word "armsythe/armscye" which
> list members knowledgeable about sewing often use with several variant
> spellings.  I've just looked it up and can't find it in the dictionary,
> even the OED.  Is it an American word? Does it just mean "armhole"?
> Anyone care to elucidate?

My 1966 Edition of "Webster's Third New International Dictionary of the
English Language Unabridged" has ARMSCYE; also Armseye: Armhole. 
Unfortunately, it doesn't give dates or etymology.

Regards,

Dietmar


"Victory or Defeat rests in God's hands;
 over Honor, we ourselves are Lord and Master."


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To: h-costume@indra.com, "I.MarcCarlson" <LIB_IMC@centum.utulsa.edu>
CC: sca-arts@raven.cc.ukans.edu
Subject: H-COST: Re: Arts/Crafts/Money
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-Poster: Dietmar <dietmar@pacbell.net>

Greetings good gentles all,

At first I considered answering this privately.  I consider Marc a friend,
though we've never met, and honestly we've only exchanged E-mail a half dozen
times or so, but I respect his work and his ethics.  Since he is attempting to
gather opinions, I thought it better to share mine with a wider audience in
hopes of spurring discussion.

Marc wrote:

> When I first designed my shoe page, I did so based on the premise that
> I'm just too cheap to pay what shoemakers were charging, and shoes don't
> NEED to be that expensive.

I've got a huge, long list of things that I'm too cheap to pay for, so I can
sympathize.  I often say to myself that I'd rather make it than pay that much,
even when it's only a few dollars.  But then, the satisfaction of having made
something outweighs the money saved.

> Now, I was informed that I was undervaluing my work this way, and this
> was a Bad Thing.  Fair enough.  So, if I *did* charge for my work, what
> would be a fair price?  As a minimum, if I used cheap leather and charged
> minimum wage, that *minimum* would be about $130-150 a pair for shoes.
> Now, I know professional shoemakers who charge upwards of $800-1000 for
> a pair of modern boots (and they think I'm absolutely nuts for not
> charging, or charging so little).

It really depends on what YOUR purposes are.  If you intend your work to be
special gifts that you are only making for a limited number of friends, then
your price could be minimal (and should be, IMHO) or no charge at all.  If
this is supposed to be a hobby, then you should at least cover your costs.  If
it's to be a business, you had better charge a fair price for your time.

> So, my questions are 1. Is is bad to undervalue the cost of your labor
> so badly?  2.  How much is a fair price?  3.  Since I'm still making the
> information for how to make shoes cheaply, would taking (a lot of) money
> make me a hypocrite?

1)  No, it's a personal decision.  However, you don't necessarily want to be
taken advantage of either.

2)  Really depends on your purposes.  Cost at least.  There's a merchant
selling shoes that are not custom fit for $50 - $65.  I've seen someone
selling turnshoes for $70 (but I can't see how they're making a profit), and
there are outfits that make custom shoes and boots for anywhere from $250 -
$400 and more.

3)  Not at all.  You are providing information that shows how shoes can be
made cheaply.  Of course, if they choose to have someone with expertise make
them, they should expect to pay more.  They have the choice of paying for your
time or spending their own.  I don't see any hypocrisy at all.

Warmest regards,

Dietmar


"Victory or Defeat rests in God's hands;
 over Honor, we ourselves are Lord and Master."


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-Poster: Katrina Worley <kworley@ns.net>

>- -Poster: "KATE M BUNTING" <K.M.Bunting@derby.ac.uk>
>
>I've been puzzled for some time by the word "armsythe/armscye" which list =
>members knowledgeable about sewing often use with several variant =
>spellings. I've just looked it up and can't find it in the dictionary, =
>even the OED. Is it an American word? Does it just mean "armhole"? Anyone =
>care to elucidate?

It does mean armhole, but the etymology is "arm-sythe" or the cut in the
garment for the arm (sythe referring to the cutting implement- modern
spelling "scythe").  According to my etymological dictionary, the "c" in
"scythe" is due to a faulty spelling.  It should be spelled "sythe" or
"sithe"....   so apparently the spelling for clothing term is older than
the modern spelling of the farming implement.  The farming implement was
spelled without the "c" as late as the early 17th century, which would
indicate that the clothing term  dates to at least then (they wouldn't have
adopted a new term with an archaic spelling).   I knew those classes in
linguistics would come in handy sooner or later....

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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From owner-h-costume@indra.com  Tue Feb 23 02:41:24 1999
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Subject: H-COST: OT:  Are you near the Kuntshistorichesmuseum, Vienna?
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-Poster: Charlene Charette <charlene@flash.net>

I have a friend who is having difficulty obtaining a photograph of an
item in the Kuntshistorichesmuseum in Vienna.  He spent about US$40 to
order a photo from the museum and they apparently misunderstood the
request because they sent a photo of the wrong item.  If anyone on this
list (or anyone you know) is near this museum and would be willing to
work with us to get his photo, we'd be very grateful.  Of course, all
expenses will be reimbursed.

--Charlene

--
The discontent of the people is more dangerous to a monarch than all the
might of his enemies on the battlefield.  -- Isabella d'Este


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From owner-h-costume@indra.com  Tue Feb 23 08:43:38 1999
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From: pulliam@acadia.net (Deborah Pulliam)
Subject: H-COST: H COST: seamstresses
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-Poster: pulliam@acadia.net (Deborah Pulliam)

<<I've never read the books, but I do remember in the TV show that Mary left
school to do some piecework sewing to help the family through tough times.>>

Aside from the title, and names of characters, the TV show had little
resemblance to the books.

In the books, it was Laura, not Mary, who worked in town by doing piecework
sewing. As I recall, she worked one summer, mostly making buttonholes at a
dry goods store. The owner was considered to be quite enterprising in
having his mother make up shirts to sell to men with no wife at home to
make them. In the book, Laura hated it but stuck it out for the summer. In
real life, apparently, it was so unpleasant she left after a few weeks --
the family she was working for was constantly fighting, and using vulgar
language.

Deborah


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From owner-h-costume@indra.com  Tue Feb 23 10:03:10 1999
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From: "Susan Carroll-Clark" <sclark@chass.utoronto.ca>
To: <h-costume-digest@indra.com>
Subject: H-COST: King Alfonso's Book of Chess
Date: Tue, 23 Feb 1999 09:56:51 -0500
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-Poster: "Susan Carroll-Clark" <sclark@chass.utoronto.ca>

Greetings!

A friend of mine interested in Spanish and Moorish clothing is curious to
know whether _King Alfonso's Book of Chess_ has ever been printed, and if
so, where and by whom.

Susan Carroll-Clark

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From owner-h-costume@indra.com  Tue Feb 23 10:34:22 1999
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From: "Linda Yordy" <abuyordy@cobfac.idbsu.edu>
Organization: College of Business
To: h-costume@indra.com
Date: Tue, 23 Feb 1999 08:24:34 MST
Subject: H-COST: Digby's "Elizabethan Embroidery"
Priority: normal
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-Poster: "Linda Yordy" <abuyordy@cobfac.idbsu.edu>

> >  Beating Digby's drum again, he shows several surviving stomachers
> >in his "Elizabethan Embroidery".....

I may have missed this in an earlier post, but can you give us more 
info on this book (author's first name, publisher, or ISBN)? If it's 
worthwhile, I'd like to track it down.

Thanks,

Linda Yordy
Phone: 208/426-4034
Boise State University
Center for Management Development
1910 University Drive
Boise, ID  83725-1660
********************************************************
Yordy's Law #3: When wearing white, apply your lunch 
directly to your shirt -- it will end up there anyway.
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From owner-h-costume@indra.com  Tue Feb 23 10:56:56 1999
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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: Re: h-costume-digest V4 #163
Date: Tue, 23 Feb 1999 10:24:02 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

Of all the variants of this word, I prefer to use
"armscythe," because it refers to cutting the armhole out of
the edge of the fabric, AND, armscythes are also curved like
scythes.  I think the double meaning is very expressive. But
not being a perfect speller, it sometimes ends up
"armsythe."

Hope H. Dunlap

-----Original Message-----
From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
Behalf Of Katrina Worley
Sent: Tuesday, February 23, 1999 2:17 AM
To: h-costume-digest@indra.com
Subject: H-COST: Re: h-costume-digest V4 #163



-Poster: Katrina Worley <kworley@ns.net>

>- -Poster: "KATE M BUNTING <K.M.Bunting@derby.ac.uk>
>
>I've been puzzled for some time by the word
"armsythe/armscye" which list =
>members knowledgeable about sewing often use with several
variant =
>spellings. I've just looked it up and can't find it in the
dictionary, =
>even the OED. Is it an American word? Does it just mean
"armhole"? Anyone =
>care to elucidate?

It does mean armhole, but the etymology is "arm-sythe" or
the cut in the
garment for the arm (sythe referring to the cutting
implement- modern
spelling "scythe").  According to my etymological
dictionary, the "c" in
"scythe" is due to a faulty spelling.  It should be spelled
"sythe" or
"sithe"....   so apparently the spelling for clothing term
is older than
the modern spelling of the farming implement.  The farming
implement was
spelled without the "c" as late as the early 17th century,
which would
indicate that the clothing term  dates to at least then
(they wouldn't have
adopted a new term with an archaic spelling).   I knew those
classes in
linguistics would come in handy sooner or later....

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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From owner-h-costume@indra.com  Tue Feb 23 11:10:05 1999
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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: Arts/Crafts/Money
Date: Tue, 23 Feb 1999 10:58:05 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

I am very sympathetic to the problem about people taking
your work and trashing it, feeling that because it was
"free," it doesn't matter.  It is a strong argument for
charging  something.  Even a little charge scares away those
who don't absolutely love your work.  Self-protection.

Hope H. Dunlap

-----Original Message-----
From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
Behalf Of I. Marc Carlson
Sent: Monday, February 22, 1999 4:34 PM
To: H-COSTUME@indra.com
Subject: H-COST: Arts/Crafts/Money



-Poster: "I. Marc Carlson" <LIB_IMC@centum.utulsa.edu>

I'm sorry, I didn't answer this over the weekend.

<"Megan McHugh" <mchug@mindspring.com>>
>...So, pray tell, what is the link for your page?  What
kind of
>shoes/ boots do you make?  I may want to order from you in
the future if I
>decide not to take on the project myself.

I make medieval style shoes.  The link for the page is at
"www.pbm.com/~lindahl/carlson".  It's undergoing the latest
revision process
(scheduled to be completed in September if the Gods smile,
and my web-site
host ever uploads the updates he gets from me).

Marc

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From owner-h-costume@indra.com  Tue Feb 23 12:52:49 1999
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Date: Tue, 23 Feb 1999 10:27:56 -0700 (MST)
From: Sylvia Rognstad <sylvia@netherworld.com>
To: h-costume@indra.com
Subject: H-COST: Grad schools
In-Reply-To: <l03130300b2f803ccf820@[207.159.15.157]>
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-Poster: Sylvia Rognstad <sylvia@netherworld.com>

A friend of mine who teaches at LA Trade Tech has a student who wants to
go to grad school in costuming. Anyone out there have any ideas about what
he/she thinks is a really good one?  I went to Cal Arts, myself and btw,
this student was told it does not offer costuming anymore, a fact I had
not heard.
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  Tue Feb 23 12:53:28 1999
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From: Parsla Liepa <parsla@engin.umich.edu>
To: h-costume@indra.com
Subject: Re: H-COST: Grad schools
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-Poster: Parsla Liepa <parsla@engin.umich.edu>

I know several people who have gone to Eastern Michigan University.  They
seem to have a pretty good program. 

But your person probably wants to stay in-state.

Parsla


On Tue, 23 Feb 1999, Sylvia Rognstad wrote:

> 
> -Poster: Sylvia Rognstad <sylvia@netherworld.com>
> 
> A friend of mine who teaches at LA Trade Tech has a student who wants to
> go to grad school in costuming. Anyone out there have any ideas about what
> he/she thinks is a really good one?  I went to Cal Arts, myself and btw,
> this student was told it does not offer costuming anymore, a fact I had
> not heard.
> 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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Subject: Re: H-COST: Grad schools
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-Poster: Walter Robin Findlay <findlay@griffon.mwsc.edu>

I advise my students who are very good to go to Yale ... if they want to go
professional ..
Failing that go to florida state... If they want to go into education  I
advise them th go to the university of Georgia



>-Poster: Parsla Liepa <parsla@engin.umich.edu>
>
>I know several people who have gone to Eastern Michigan University.  They
>seem to have a pretty good program.
>
>But your person probably wants to stay in-state.
>
>Parsla
>
>
>On Tue, 23 Feb 1999, Sylvia Rognstad wrote:
>
>>
>> -Poster: Sylvia Rognstad <sylvia@netherworld.com>
>>
>> A friend of mine who teaches at LA Trade Tech has a student who wants to
>> go to grad school in costuming. Anyone out there have any ideas about what
>> he/she thinks is a really good one?  I went to Cal Arts, myself and btw,
>> this student was told it does not offer costuming anymore, a fact I had
>> not heard.
>> 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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>>  with the message UNSUBSCRIBE H-COSTUME
>>
>
> _________________________________________________________________
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THANK YOU
W. ROBIN FINDLAY

"Is that all there is?".................Miss Peggy Lee


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From owner-h-costume@indra.com  Tue Feb 23 14:04:41 1999
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Date: Tue, 23 Feb 1999 09:54:56 -0800
To: h-costume@indra.com
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Subject: Re: H-COST: movie costumes
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>


>Having finally seen both Shakespeare in Love and Elizabeth, 

Surely everybody knows that both are up for lots of Oscars including Best
Costumes?  Almost makes me want to watch the Oscar show.


Kayta
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>

I have seen the painting they got that ruffled white dress with the short
sleeves from.  Unfortunately it's period (shudder).


Kayta
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Date: Mon, 22 Feb 1999 19:49:34 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: Re: H-COST: 15" waists:  surviving garments?
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>


>http://ourworld.compuserve.com/homepages/Bernhard_Foltz/CORGRA1.JPG
>
>has another shot of Mrs Granger

...looking like she'd break in half!  Scary stuff.


Kayta
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Date: Tue, 23 Feb 1999 08:03:08 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: Re: H-COST: more corset stuff
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>


>> -Poster: Gaelscot@aol.com
>> <BIG snip>
>> it was painfully clear that 18th-century clothing
>> wasn't designed for today's supermodels. It's too bad that so much of
today's
>> fashions, especially couture, are designed for practically non-human bodies.
>>
>>
>
>WOW! Does this mean that my pudgy self has a period body??  If so, Huzzah!

Get a book on the paintings of Rubens, and look at his nudes.  Many of us
are that period.


Kayta
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From owner-h-costume@indra.com  Tue Feb 23 14:06:20 1999
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Date: Mon, 22 Feb 1999 20:09:31 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: Re: H-COST: Steel or plastic?
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>

I rarely use these, but they are INVALUABLE where the bone has to bend two
ways.  I have a few of them in my Edwardian straight-front, where steel or
plastic ones would have poked thru years ago.  They are more flexible than
solid steel, and are otherwise unusable (at my weight) because they bend
too well to support me.  Just like most plastic ones do.

>Have you tried the spiral steel boneing ?, I use those for my 18th C
>corsets and they are extreemly comfortable


Kayta
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From owner-h-costume@indra.com  Tue Feb 23 14:06:47 1999
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Date: Tue, 23 Feb 1999 10:05:56 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: Re: H-COST: Re:1850's questions - oranges, smoranges
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>

Maybe it's just
>the aesthetic shock of not having seen so much orange since my
>mother redecorated her family room in the late seventies from
>orange and brown to rose. From having overdosed on bright orange
>as a child in the sixties, and the earthier "burnt-orange-'n-brown-'n-
>macrame" look of the seventies, I'm just not a big orange fan, I'm afraid.
>It's interesting how orange has never succeeded in making a
>comeback, despite a couple of attempts. The baby-boomers
>never want to see it again?
>
This baby boomer has been there and done that.  I still like orange,
especially red-orange, for how it sets off other colours.  I otherwise
avoid it because I am a Summer and look awful in too much of it.


Kayta
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Date: Mon, 22 Feb 1999 19:52:18 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: Re: H-COST: 1930s corsets
In-Reply-To: <Pine.SOL.3.95.990216092031.28612A-100000@isis.netherworld.
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>


>A woman on another email list recently found a pink corset dated 1932.
>All I recall of the description is that it laces up the front and has
>buckles.  Since corsets were not widely used by that decade, who might
>this kind of one been intended for?  Anyone know?

Somebody's mother.  My grandmother, born in 1880, wore a corset thru this
period, and I remember her in it in the 70's.  


Kayta
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Date: Tue, 23 Feb 1999 09:52:15 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: Re: H-COST: Newton's _Fashion ... Black Prince_
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>


>Also listed is black Irish 'sarge' for making hose.  What's sarge?  If
>anyone has actually made hose of this period, will you share what fabric
>you used, and did you like how it turned out?

They may mean serge, but I don't know.  

I made a pair out of wool challis (long time ago).  I had always wanted to
make a pair, and an acquaintance of mine said he really wanted a pair to go
with a coronation outfit (I didn't make them just because he was going to
be King, but because he had nice legs).  They bagged at the knees a little,
but he loved them.


Kayta
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From owner-h-costume@indra.com  Tue Feb 23 14:07:30 1999
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From: "Franchesca Havas" <ches@io.com>
To: <h-costume@indra.com>
Subject: H-COST: Fw: ANST - would love to find a teacher
Date: Tue, 23 Feb 1999 13:18:53 -0600
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-Poster: "Franchesca Havas" <ches@io.com>

I remember several of you took this type of discussion off line a while ago.
Can any of you please help her off line as well? She is Arabella de
Montacute <ladyarabella@hotmail.com>.

Sincerely,
Ches
aka Chiara Francesca
Virtual Scribe for 20th year
http://www.ansteorra.org/20thyr/

-----Original Message-----
From: Arabella de Montacute <ladyarabella@hotmail.com>
To: ansteorra@Ansteorra.ORG <ansteorra@Ansteorra.ORG>
Date: Tuesday, February 23, 1999 12:20 PM
Subject: ANST - would love to find a teacher


:Greetings,
:     I'm personally looking for someone who knows the mechanics of
:ladies hairstyles.  These questions keep coming into my head.
:"What did they do with their hair to wear that hat?"
:"What is that wrapped around that braid and How do I do that, so I can
:look just like the painting because my dress does and I feel not
:completed"
:"How can I add hair extenstions to achieve that look?"
:"How did they wrap hair around their ear, it looks like an ear muff?"
:"How did Elizabeth I get her hair to stand up in what looks like rounded
:devils horns?"
:
:See what I mean.  I know how to braid and do a teriffic job.  Ladies
:seek me out at events.... "Arabella will you do my hair?" Especially
:when it's hot outside. I want to carry it further.  I can do the
:research and find examples... just look at portraits.  I want to know
:how to achieve that look, so I can do it on other people's heads.
:
:HELP!!!  Please answer me privately, as I am not on the Ansteorran List
:at this time.  Copy back to the list if you have information which
:everyone could use.  I thank you all for your patience and time.
:
:Sincerely and in faithful service to Barony and Kingdom,
:Lady Arabella de Montacute, Chronicler
:Secretary to the Steward of
:Ansteorra's Twentieth Year Celebration AS XXXIV (July 1999)
:Barony of Elfsea,
:Kingdom of Ansteorra
:email - ladyarabella@hotmail.com
:
:
:
:
:______________________________________________________
:Get Your Private, Free Email at http://www.hotmail.com
:===========================================================================
=
:Go to http://lists.ansteorra.org/lists.html to perform mailing list tasks.
:

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From owner-h-costume@indra.com  Tue Feb 23 14:08:01 1999
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Date: Tue, 23 Feb 1999 09:43:51 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: Re: H-COST: Arts/Crafts/Money
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>

1. Is is bad to undervalue the cost of your labor so 
>badly?  

It is bad to undervalue your labour only to the extent it undermines your
sense of self worth.  If you are comfortable with what you're charging, you
probably are not undervaluing your work - at least on a personal level.  I
used to sew for people for money.  I stopped because I couldn't get enough
money for my time to make me want to sew for other people.  If the money
you get per hour makes you happy, it's the right hourly wage for you.

2.  How much is a fair price?  

If you get enough money to keep you happy but don't get as much as
professional shoemakers charge, certain economic conditions apply, as those
other posts on this subject discuss.

A solution I have seen in pottery, jewelry, and other such crafts, is a
barter system which supposes that one craftsman's time is worth pretty much
what another craftsman's time is worth.  So these folks trade work with
each other based on how many hours their pieces take to make, and they pay
each other in cash for the supplies needed to make them.  A professional
potter I knew showed me two gold and diamond rings he'd had made by a
jeweler he knew.  He told me how many of his best pieces the jeweler had
taken in trade for the work, and how many for the cost of the gold and
diamonds based on the selling prices of the pots.  His only complaint was
that the shelves in his shop were pretty empty when the jeweler was
finished.  He had no regrets about the trade itself.  I have cleaned
peoples' houses in trade for things I couldn't make, preferring scrubbing
bathrooms to sewing for other people.

3.  Since I'm still making the 
>information for how to make shoes cheaply, would taking (a lot of) money make
>me a hypocrite?

I teach and make patterns and do fittings for free, but tell people if they
want me to actually sew I charge a lot.  (If pressed, I get around to
refusing to sew for them.)  Teaching is fun for me, it's my charity.  I see
sewing as work which should be charged for.  

I guess I don't sew for other people because I really don't like sewing.
It's a means to an end.  I only do it to have costumes for myself.  However
well I do it, sewing is not the fun part - peacocking afterwards is the fun
part.



Kayta
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From owner-h-costume@indra.com  Tue Feb 23 14:09:39 1999
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Date: Tue, 23 Feb 1999 10:00:46 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: Re: H-COST: 19th century drawers
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>


>I'm trying to find out when ankle length drawers (pantalettes?) were worn.
>I've seen them in an 1830's painting, but that was with a riding habit.
>While I've read that they were worn during the hoopskirt period because the
>legs were easily revealed by tilting hoops, I've seen a number of existing
>drawers, and they all seem to be about knee length.  I suppose this may be
>because if the longer ones went out of style, they were easily shortened.
>When I worked at the Dickens Christmas Fair (okay, not exactly a bastion of
>authenticity), we were all supposed to wear them.  So when were these things
>worn?  And does anyone know where my copy of Cunnington is?

We never had to wear the ankle-length ones when I worked Dickens'.  We were
cautioned to wear the knee-length ones, just in case.  

I have seen 1850's cartoons of hoop skirts blowing up, and there is lots of
leg showing but no long pantalets.  The ankle-length ones are earlier.  I
have seen them as early as Regency, but no later than the 1840's.  I think
they go out with many layers of petticoats, just when hoops come in.


Kayta
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From owner-h-costume@indra.com  Tue Feb 23 14:09:42 1999
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Date: Tue, 23 Feb 1999 08:45:28 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: H-COST: out of date clothes - worn by whom?
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>


>This isn't my "period" but .... It's an old saw that the dress of the un-
>fashionable classes is the out of date fashion of their betters.  And we know
>that's not the case.  Last year or two we started collecting favorite costume
>myths. (Something for the infamous FAQ?)  This is one of them.

I sort of disagree with you.  If by 'out of date' you mean 20 years out of
date, I agree.  But if you mean a few years I heartily disagree.  Used
clothing dealers are period all the way back to the late 1400's, probably
earlier.  And used clothing is anything a few years out of date, or
formerly fashionable but no longer so.  Poorer people often buy from these
dealers, therefore I think there is more truth in the old saw than you seem to.

I cautiously use modern thrift stores as an example.  Even allowing for the
greater quantity of modern garments, and the fact that this gives us more
garments per person these days, I can still find garments from the eighties
in any thrift store I go into today.  (No such guarantee for seventies
garments.)  And I still see women buying these to wear.  Heck - I even wear
some of them.  

It seems perfectly reasonable that older people or poorer people will be
wearing garments up to ten years out of fashion.  Not perhaps hoops ten
years after they are out of style, but yes hoops in the few years during
which they are going out of style.  And yes the same dresses but hoopless,
and perhaps remodeled, after that.  My mother still wears garments she was
wearing ten years ago.    

Then there are those few styles which were classics and had a longer
lifespan among the fashionable.  The high necked long sleeved shirtwaist
blouses of the (post leg-o-mutton sleeve) 1890's-1910-ish period come to
mind.  Some of these could have been worn for many years by almost anyone.

Lastly are the house dresses which may pay some lip service to fashion, but
are pretty timeless.  My collection of photographs goes back to the 1850's,
and there is a close-sleeved straight-skirted high-necked dress which I see
anywhere from the 1860's to the 19-teens, with very little change to help
me date the photo.  I have to date these on hair or on somebody else in the
photo.  My mother still makes new ones of the same kind of pullover top and
elastic waist pants she has worn for at least ten years, maybe as much as
15.  (She is 75.)  

I think you are too hasty in completely dismissing this old saw.


Kayta
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From owner-h-costume@indra.com  Tue Feb 23 14:49:43 1999
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Date: Tue, 23 Feb 1999 11:49:51 -0800
From: Lady Eleanor of Leycestershyre <hekav@gte.net>
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-Poster: Lady Eleanor of Leycestershyre <hekav@gte.net>

My money is on "Shakespeare in Love"!  Saw them both...loved
"S.I.L"...and sadly did not love "E", which was a huge
disappointment.
After waiting nearly 25 years for another depiction of
Elizabeth's life to hit the screen, and hopefully match, or
even rival "Elizabeth R"...I found it rather insultingly,
and dismally done.  Although, Cate Blanchett was quite
good.  The entire fault, in my eyes must be laid squarely at
the feet of the director.  I'd much rather he had chosen an
entirely different subject matter...but alas, no.  

Guess I was expecting a more historically correct
rendering...*sigh*...eventhough I had read the "disclaimers"
on the "E" web page.  :-(  I found much to love in "S.I.L",
and much to criticize in "E".  

>From an historic costumer's perspective, "S.I.L." was better
done in every way, but there were still glaringly obvious
liberties taken with some design elements, which on balance
did not hurt my enjoyment of the film.  And, overall I'd
rate it very highly.  Anachronisms aside, I do think "S.I.L"
will carry the day, in more than one category.

Kayta, it should be a good show...I'll be watching!  ;-)

-Lady Eleanor 

Carolyn Kayta Barrows wrote:
> 
> -Poster: Carolyn Kayta Barrows <kayta@slip.net>
> 
> >Having finally seen both Shakespeare in Love and Elizabeth,
> 
> Surely everybody knows that both are up for lots of Oscars including Best
> Costumes?  Almost makes me want to watch the Oscar show.
> 
> Kayta
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>  _________________________________________________________________
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From owner-h-costume@indra.com  Tue Feb 23 14:59:16 1999
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Date: Mon, 22 Feb 1999 20:11:01 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: Re: H-COST: plastic whalebones
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>

I live in the Silicon Valley, and we get these in seriously large sizes.  I
went to a surplus electronics place and got a bundle of 50 of them (at
about 30" long) for $10.  If that's what you mean by plastic bones, go for
it.  They're great.  I cut them with wire cutters.

>With all this discussion of the "plastic whalebones " going on , I'm not clear
>on whether people were lumping in the electrical tie-wraps, as well. Some of
>us have used with very great success electrical cable /tie wraps as an
>alternative to the  plastic stuff in the fabric stores --or to the metal.
>Electrical cable--or tie wraps come in varying sizes and widths.I like the 5/8
>inche wide black ones.They seem to support most people the best.I am a 38
>D---and my best friend is a DD, and they hold up very well, indeed.These  can
>be purchased in home improvement centers and 
>electrical supply shops. I hit upon them quite by accident at work some years
>ago. I work in the telephony industry --and noticed these  items being thrown
>away in the trash  at the finish of a new  telephone cabling project . A light
>bulb went off in my head---and I've been using them ever since. Plus the price
>was right---free!!! 
>cheers !
>albra
> _________________________________________________________________
> To leave this mailing list, send mail to majordomo@indra.com
> with the message UNSUBSCRIBE H-COSTUME


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

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From owner-h-costume@indra.com  Tue Feb 23 15:18:06 1999
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Date: Tue, 23 Feb 1999 14:22:36 -0600
From: Linda Thompson <lthompsn@sound.net>
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Subject: H-COST: More on Neck ruffs 
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-Poster: Linda Thompson <lthompsn@sound.net>

I am woefully behind in reading the list, I am finally up to late
January....
Felt like sharing.
Doing costumes for our local nobility here for the Rennaisance Fair of
Kansas City, we need sturdy and very washable ruffs.  Some of our fair
days get to be 100+ with 90% humidity.  A damp, dirty, wilted ruff is a
sad and sorry thing.
One way to get a full, fairly accurate looking lace ruff is to make it
from ruffled lace to begin with.  We have made ruffs with lace up to 2
inches in width using this method. (Without having a supportasse or
frame) 
The ruffled lace is cartridge pleated to the band of your choice,
setting the pleats at 1/4" intervals.  I use a 1" wide band of twill
tape to pleat to, but it can be whatever you choose. 
Simply make marks 1/4" apart all along one side.  Then on the opposite
edge do the same but set the first mark to start 1/8" in from the 
original placement so the marks are offset. (Can be put even closer
together if you want)
Something like this:

'   '   '   '   '   '   '   '  Top edge

  '   '   '   '   '   '   '   ' Bottom edge.

then you simply sew the lace on folding at each mark and sewing down
twice at each fold. (Two needles required, one for each side).

Use a high quality polyester blend ruffled lace, and it holds up to many
frequent washings.  I do not throw them in the dryer, but they do go
through the washer just fine... I air dry them on a towel so if they
need any shaping or starching it can be done then.

Also, we make many different styles of ruffs... 
cartridge pleated theatrical styles using just horsehair for the ruff,
edged
with pearls or lace.  Horsehair comes in a variety of widths.
(can get a ruff up to 5 inches deep this way, and
from 2 feet away it looks amazingly like a fine lawn)
Or fine silk batiste/organza reinforced with horsehair.
Or a variety of fabrics or laces, box pleated in layers.

We have found that following only a singular way of making a ruff is
unsatisfactory.  Mainly because when we have an actor wishing to
duplicate a specific look or style from a portrait one way does not fit
all circumstances.  And formost, it needs to look good for a 7 weekend 
run of varying weather circumstances. 

These techniques have been culled from publications from Janet Arnold, 
Jean Hunnisett, our local "Rep", the SCA and our own yankee ingenuity. 
(p.s. have never tried the circular method described in "Elizabethan
Costuming".)

Hope this helps

Linda
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From: "Karen Stefanik" <kmste@hotmail.com>
To: h-costume@indra.com
Subject: Re: H-COST: Fw: ANST - would love to find a teacher
Date: Tue, 23 Feb 1999 13:30:47 PST
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-Poster: "Karen Stefanik" <kmste@hotmail.com>

For anyone answering this lady's request--I would love to be cc'd as 
well--it sounds fascinating!!

Thanks.

Karen

>-Poster: "Franchesca Havas" <ches@io.com>
>
>I remember several of you took this type of discussion off line a while 
ago.
>Can any of you please help her off line as well? She is Arabella de
>Montacute <ladyarabella@hotmail.com>.
>
>Sincerely,
>Ches
>aka Chiara Francesca
>Virtual Scribe for 20th year
>http://www.ansteorra.org/20thyr/
>
>-----Original Message-----
>From: Arabella de Montacute <ladyarabella@hotmail.com>
>To: ansteorra@Ansteorra.ORG <ansteorra@Ansteorra.ORG>
>Date: Tuesday, February 23, 1999 12:20 PM
>Subject: ANST - would love to find a teacher
>
>
>:Greetings,
>:     I'm personally looking for someone who knows the mechanics of
>:ladies hairstyles.  These questions keep coming into my head.
>:"What did they do with their hair to wear that hat?"
>:"What is that wrapped around that braid and How do I do that, so I can
>:look just like the painting because my dress does and I feel not
>:completed"
>:"How can I add hair extenstions to achieve that look?"
>:"How did they wrap hair around their ear, it looks like an ear muff?"
>:"How did Elizabeth I get her hair to stand up in what looks like 
rounded
>:devils horns?"
>:
>:See what I mean.  I know how to braid and do a teriffic job.  Ladies
>:seek me out at events.... "Arabella will you do my hair?" Especially
>:when it's hot outside. I want to carry it further.  I can do the
>:research and find examples... just look at portraits.  I want to know
>:how to achieve that look, so I can do it on other people's heads.
>:
>:HELP!!!  Please answer me privately, as I am not on the Ansteorran 
List
>:at this time.  Copy back to the list if you have information which
>:everyone could use.  I thank you all for your patience and time.
>:
>:Sincerely and in faithful service to Barony and Kingdom,
>:Lady Arabella de Montacute, Chronicler
>:Secretary to the Steward of
>:Ansteorra's Twentieth Year Celebration AS XXXIV (July 1999)
>:Barony of Elfsea,
>:Kingdom of Ansteorra
>:email - ladyarabella@hotmail.com
>:
>:
>:
>:
>:______________________________________________________
>:Get Your Private, Free Email at http://www.hotmail.com
>:===========================================================================
>=
>:Go to http://lists.ansteorra.org/lists.html to perform mailing list 
tasks.
>:
>
> _________________________________________________________________
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> with the message UNSUBSCRIBE H-COSTUME
>


______________________________________________________
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From owner-h-costume@indra.com  Tue Feb 23 16:36:00 1999
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From: "Frank&Tracy Thallas JR" <hardcorps@vcn.com>
Subject: Re: H-COST: Digby's "Elizabethan Embroidery"
Date: Tue, 23 Feb 99 15:38:54 PST
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-Poster: "Frank&Tracy Thallas JR" <hardcorps@vcn.com>

   Almost missed this - it's pre-ISBN, I'm afraid, but you should be able to get
it ILL:
  George Wingfield Digby, "Elizabethan Embroidery", pub. 1961(?).
In the text he discusses embroidery for furnishings and then embroidery for
dress, then the last 3rd of the book is black and white plates of chalice veils,
pillow "beres", handkerchiefs, coifs, hoods, sleeves, stomachers, etc, etc,
etc, on most of which you can pretty much see and count the stitches....
   Lots and lots of blackworked items, a beautiful whiteworked coif, etc,
most from the V&A.

 Liadain

> -Poster: "Linda Yordy" <abuyordy@cobfac.idbsu.edu>
>
> > >  Beating Digby's drum again, he shows several surviving stomachers
> > >in his "Elizabethan Embroidery".....
>
> I may have missed this in an earlier post, but can you give us more
> info on this book (author's first name, publisher, or ISBN)? If it's 
> worthwhile, I'd like to track it down.
>
> Thanks,
>
> Linda Yordy
> Phone: 208/426-4034
> Boise State University
> Center for Management Development
> 1910 University Drive
> Boise, ID  83725-1660
> ********************************************************
> Yordy's Law #3: When wearing white, apply your lunch
> directly to your shirt -- it will end up there anyway.
>  _________________________________________________________________
>  To leave this mailing list, send mail to majordomo@indra.com
>  with the message UNSUBSCRIBE H-COSTUME
>


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From: "EPPERSON, SHERYL" <EPPERSOS@oge.com>
To: "'h-costume@indra.com'" <h-costume@indra.com>
Subject: RE: H-COST: Fw: ANST - would love to find a teacher
Date: Tue, 23 Feb 1999 15:37:42 -0600
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-Poster: "EPPERSON, SHERYL" <EPPERSOS@oge.com>

I wouldn't mind information on how to do hair styles either.
Annabelle Fitzsimmons
aka Sheryl Epperson	
EPPERSOS@oge.com

> -----Original Message-----
> From:	Karen Stefanik [SMTP:kmste@hotmail.com]
> Sent:	Tuesday, February 23, 1999 3:31 PM
> To:	h-costume@indra.com
> Subject:	Re: H-COST: Fw: ANST - would love to find a teacher
> 
> 
> -Poster: "Karen Stefanik" <kmste@hotmail.com>
> 
> For anyone answering this lady's request--I would love to be cc'd as 
> well--it sounds fascinating!!
> 
> Thanks.
> 
> Karen
> 
> >-Poster: "Franchesca Havas" <ches@io.com>
> >
> >I remember several of you took this type of discussion off line a
> while 
> ago.
> >Can any of you please help her off line as well? She is Arabella de
> >Montacute <ladyarabella@hotmail.com>.
> >
> >Sincerely,
> >Ches
> >aka Chiara Francesca
> >Virtual Scribe for 20th year
> >http://www.ansteorra.org/20thyr/
> >
> >-----Original Message-----
> >From: Arabella de Montacute <ladyarabella@hotmail.com>
> >To: ansteorra@Ansteorra.ORG <ansteorra@Ansteorra.ORG>
> >Date: Tuesday, February 23, 1999 12:20 PM
> >Subject: ANST - would love to find a teacher
> >
> >
> >:Greetings,
> >:     I'm personally looking for someone who knows the mechanics of
> >:ladies hairstyles.  These questions keep coming into my head.
	<snip>
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-Poster: Margo Anderson <margo@directcon.net>


>In the books, it was Laura, not Mary, who worked in town by doing piecework
>sewing. As I recall, she worked one summer, mostly making buttonholes at a
>dry goods store

Laura Ingalls Wilder (the author, not her character) helped support her
family with sewing when she wasn't teaching school.  After her marriage, she
helped raise the money needed to move and buy their farm by sewing.  She was
very proud of having once made sixty shirt buttonholes in one hour.  My mind
boggles at the idea of doing a handworked buttonhole in one minute, (or at
all, but that's me) but her daughter says she did do it.  

Margo Anderson

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

At 10:08 AM 2/23/99 -0800, you wrote:
>
>-Poster: Carolyn Kayta Barrows <kayta@slip.net>
>
>I have seen the painting they got that ruffled white dress with the short
>sleeves from.  Unfortunately it's period (shudder).

Do you mean the white one with red trimmings she wears in the first scene?
That's amazing.  It looks SO 1938 to me.

I watched it again the other night, and realized that's also where I got the
idea pantalettes were still being worn.

I must say, though, if you look beyond the leading ladies, most of what's
worn by actresses in smaller parts and extras is very good.  Isn't that
always the way?

Margo

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Subject: Re: H-COST: Fw: ANST - would love to find a teacher
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-Poster: Margo Anderson <margo@directcon.net>

At 01:18 PM 2/23/99 -0600, you wrote:
>
>-Poster: "Franchesca Havas" <ches@io.com>
>
>I remember several of you took this type of discussion off line a while ago.
>Can any of you please help her off line as well?

(The person in question is asking for tips for period hairstyles)  Could we
PLEASE discuss this on the list as well?  I'm interested in just about any
historical hairstyling tips, although I'm currently engrossed in the 1850's.

Margo

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From owner-h-costume@indra.com  Tue Feb 23 17:07:16 1999
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Date: Tue, 23 Feb 1999 17:11:37 -0500 (EST)
From: aleed <aleed@dnaco.net>
To: ladyarabella@hotmail.com
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Subject: H-COST: Elizabethan hairstyles
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-Poster: aleed <aleed@dnaco.net>

My lady,

Someone forwarded your request to the Historical costuming mailing list.
I can't answer for earlier centuries, but I know about Elizabethan
hairstyles.

The simplest style, worn by servants and often covered with a coif or
veil, was two braids wrapped around the head (see a picture of this at
http://www.dnaco.net/~aleed/corsets/lowerclass/images/CM36.jpg).  For the
lower classes in general, the hair was drawn back severly from the face
and either braided at the back of the head or twisted into a bun.

One neat style seen in Flanders had the hair drawn back and wrapped with a
ribbon, and then wrapped in a coil at the back of the head where it could
be covered with a kerchief.
(http://www.dnaco.net/~aleed/corsets/lowerclass/images/aertsen3.jpg)

In Elizabeth's time, false hair was all the rage for those who could
afford it.  Those poofy side bits were created by curling the hair with
hot irons to make it stand out more, and then supplementing the natural
hair with rats underneath to give it more mass.  I've heard  of several
ways to do this style:

1.  Do a half french braid or french twist down either side of the head,
securing the hair into a bun at the back.  (short hair can be covered with
a caul).  Take either false hair or a modern rat or even bits of stocking
and carefully stuff them inside the french twists to make them stand out
more.  This creates a modest pouf at either side of the head.

2. Another woman suggested making a roll of netting or an old nylon
stocking, securing it around your head with a ribbon/string going
underneath the back of the head to keep it on, and then start pinning your
front hair over the roll, tucking it into the back and securing it with
bobby pins.  Pull the hair in the middle of the forehead more tightly over
the roll to create that center dip--but you don't have too.  Very bouffant
hair was in.

3. Part your hair, take the front section of each, and roll it up around a
bit of net/hair rat/whatever.  Secure these rolls to either side of your
head.

4. Get a fake hair braid and secure it around the crown of your haid.
Cover it with your front hair and pin into place.

Mousse helps a lot, as does curling or frizzing beforehand.  If you have
one of those kink-type frizzers popular in the eighties, those are great.
Curling irons are actually period.

When doing french hoods, those "side poufs" can be accomplished with rats
as well (for thin hair) or by careful arranging and pinning if you have
thick hair.  Some hair gel at the center part creates that stiffened hair
look.
(http://www.dnaco.net/~aleed/corsets/headwear/pics/young-qe-hood-sm.gif)

My favorite gel I've found for keeping hair in place is Vavoom sculpting
gel--hardens almost instantly, and really holds.


If you have any other questions, let me know.

Yours,

Drea di' Pellegrini

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From: "Linda Lassman" <lassman@Ms.UManitoba.CA>
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Subject: H-COST: Catalogue of English Domestic Embroidery of the 16th and 17th Centuries
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-Poster: "Linda Lassman" <lassman@Ms.UManitoba.CA>


> 
> -Poster: "Frank&Tracy Thallas JR" <hardcorps@vcn.com>
> 
>    Almost missed this - it's pre-ISBN, I'm afraid, but you should be able
>    to get it ILL:
>   George Wingfield Digby, "Elizabethan Embroidery", pub. 1961(?).

After reading this post and doing a quick catalogue search, I immediately 
took a break to run up to the stacks to get it (ah, the joys of working in a 
university library!).  When I got there, I found it and also:

"Catalogue of English Domestic Embroidery of the 16th and 17th Centuries" 
by John Nevinson.  It's a V&A Dept. of Textiles publication from 1938, 
reprinted in 1950.  There are 108 pages of text and 72 b/w plates.

They do have 1 stomacher in the book (plate 58) and the text reads as 
follows:

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

STOMACHER:  EARLY 17TH CENTURY
Silk and metal thread on linen; satin and darning stitches, with couched 
work.  Colours--pale blue, pale green, cream, bright yellow, orange, pink, 
pale carmine.

Lozenge diaper of small straight leafy sprays in green, enclosing small 
sprigs, rose and cherry, honeysuckle and raspberry, in alternate lines.  The 
short tabs about the waist are formed of fragments with the same pattern, 
edged with green silk buttonholing and spangles.

W. 17 1/4 in., H. 13 3/4 in.

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

Looking at the photo, there is a plain, unembroidered edging on the sides 
that looks to be approx. 1 1/2" wide.  The shape is basically a rectangle, 
with notches trimmed out on the upper corners for the armholes (approx. 1 
1/2" wide and 3" deep?).  There are unembroidered bands on each side of 
the stomacher that look to be 1 1/2" wide; there are no buttonholes or 
eyelets or hooks/eyes or anything else to indicate how it was attached to the 
bodice.  The top edge is very slightly concave (less than 1/2" at centre?).  
The bottom edge is dipped approx 1" at centre.  There are 8 tacets ("short 
tabs" above) sewn onto the bottom edge; the 2nd tacet from each end is 
completely on the outside (eg, overlaps the edges of both the 1st and 3rd); 
the 4th one from each end meet at the centre front.  Interestingly, it appears 
that the 4th tacet on the right side (left side looking at it) overlaps the 3rd 
tacet, and the 2nd tacet on that side either has the bottom inside corner cut 
off or has it tucked under the 3rd tacet.  The tacets are wider at the bottom 
than at the top.

Hope this information is of some help to people!

- Linda Lassman
  Winnipeg, Manitoba

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-Poster: Marionetta@aol.com

In a message dated 2/23/99 4:59:23 PM Eastern Standard Time,
margo@directcon.net writes:

<< I must say, though, if you look beyond the leading ladies, most of what's
 worn by actresses in smaller parts and extras is very good.  Isn't that
 always the way? >>

Yes!  Even if the main character's costumes are good their hair/make up is
often very modern.  I get a kick out of watching many of the historic movies
done in the 60s - so many of the leading ladies have big poofy hair, tons of
eye shadow and long false eyelashes.  In GWTW  I seem to recall that both
Melanie and India (of 12 oaks) had some nice civ war outfits/hairstyles.

Cheers,

Loren Dearborn
marionetta@aol.com
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-Poster: "Frank&Tracy Thallas JR" <hardcorps@vcn.com>



> >  Beating Digby's drum again, he shows several surviving stomachers
> >in his "Elizabethan Embroidery".....
>
> After reading your post I rushed to my copy to see these stomachers.  I
> couldn't find them.  Which illos are you calling stomachers?

  Alas and alack, the Library Police descended upon me and took my ILL
copy back (and said harsh words...<G>) so I can't give numbers....  I only
remember that he has several items so designated, some paired with matching
sleeves.

Liadain,
   in the ILL dungeon...<G>
>
> Kayta
>      ////.\\\
>     ////-@@\\\
>    ((((   7 (((
>      |   -- ))))
>      * )   (((((
>   /----\   /---\
>
>  _________________________________________________________________
>  To leave this mailing list, send mail to majordomo@indra.com
>  with the message UNSUBSCRIBE H-COSTUME
>


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From: Bill and/or Glenna Jo Christen <gwjchris@rust.net>
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-Poster: Bill and/or Glenna Jo Christen <gwjchris@rust.net>

- -Poster: Carolyn Kayta Barrows <kayta@slip.net>

I have seen the painting they got that ruffled white dress with the
short
sleeves from.  Unfortunately it's period (shudder).

I sure hope it was on a rich young girl. The major complaint isn't so
much with the BBQ dress itself (although it is rather 'unique') so much
as the fact that women who could have daughters and even granddaughters
who are 16 years old are wearing their version of it.
With short sleeves and low neck during the day and a sash and bow at the
back, it is a teenagers party dress, not something an adult woman would
wear. After all, Scarlett was only 16 years old at the start of the
book....
Vivien Leigh still looked like mutton dressed as a lamb even if she was
a lovely mutton. ;->
BTW, where is the painting and who was the artist?

Glenna Jo Christen
gwjchris@rust.net
Visit our web site, "The Curiosity Shop"
http://www.rust.net/~gwjchris/




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From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: Re: H-COST: Late Ren garb for someone with a Moorish Persona
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>


>A friend just wrote to me asking about Garb for a Moor in late Renaissance.
>They desire to dress as a Moor at the Southern (CA I assume) Ren Faire.
>This is definitely not my area (I'm a cook, not a costumer).  If anyone has
>any ideas, pictures, web sites that we could look at, please let me know,
>either privately or on the list.

Vecellio's costume book, reprinted by Dover, has some.


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

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-Poster: kat@grendal.rain.com


> A friend of mine interested in Spanish and Moorish clothing is curious to
> know whether _King Alfonso's Book of Chess_ has ever been printed, and if
> so, where and by whom.

I've never seen it printed in its entirety (although that doesn't 
rule out that it is out there in some library.) However, I've seen 
many plates from it printed in music books about that time period 
(especially one, which a friend had but I didnt' write down the info 
on it, which was specifically about Cantigas. I still find it 
humerous that she told me she didn't have any really good sources on 
Spanish/Moorish clothing from that era when she was standing in front 
of me holding the book. She was *very* happy when I pointed out what 
she held in her hands!)


Kat 

Kat(June Russell)
kat@grendal.rain.com
Heu! Tintinnuntius meus Sonat!
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From owner-h-costume@indra.com  Wed Feb 24 00:14:52 1999
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-Poster: Marionetta@aol.com


Hi all,

Thought some of you might be interested to know some pattern info I gleaned
recently.  

On the Folkwear front the bad news is that it seems that Folkwear will be
discontinuing some of their patterns after all, at least that's what one of
their flyers I picked up at costume con said.  The child's Australian coat,
the quilted prairie skirt, the 30s sophisticated lady, 50s at the hop, 20s day
dress, town & country dress, Victorian boudoir, English country kitchen,
vintage nursery, Japanese interior, 20s middies, sporty 40s, Algerian suit,
Russian Cossack, cloister dress and the Gallenga gown are the ones on the list
of discontinueds. On the plus side these patterns are all on sale at about
30-50% off if you order thru Folkwear at 1-800-284-3388.

In other good news the flyer also mentioned several new patterns to be
released in spring, including a lot of 20s and teens stuff - a flapper dress,
tea dress promenade dress and several coats.

I also looked through the pattern books at G Street the other day and noticed
that Simplicity had a bunch of historically inspired prom dresses (in the
special occasion section) the design line was something like "bewitching."
All were very fantastical -  one regency inspired, the others more
elizabethan/ren faire.  Might make good princesses/vampire etc. dresses.
Simplicity also had a pattern in the Halloween section I hadn't seen before
for swing dance dresses.  But alas, I saw no new vintage patterns in the Vogue
spring catalogue.

Cheers,

Loren Dearborn
marionetta@aol.com
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-Poster: John Culme <John.Culme@btinternet.com>

Having been a lurker to this list for some time,
I'm not at all sure if my question is appropriate.
Nevertheless, here goes. My interest in matters
theatrical (Victorian and Edwardian), leads me to
ask if anyone might know of recent publications
covering the manufacture and use of spangles,
bullion fringes and other metal costume adornments
in the theatre, particularly during the period
1850 to 1885.

Thanks.

John Culme
http://members.tripod.com/FootlightNotes/index.html

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-Poster: ferrex@batnet.com

"Hester Prynne from the "The Scarlet Letter" was famous or infamous
depending upon your view for the costumes she sewed for her daughter
Pearl as well as fine garment she made for others.  I believe her
speciality was lacemaking."

As I remember the book, her specialty was embroidery.  She embroidered the
"A" she was forced to wear for her adultery - and did so very elaborately,
out of defiance.

On the subject, since someone else mentioned "Les Mis", I'll also mention
the musical "Carousel", the two female leads of which are weavers.



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-Poster: "Carol J. Bell Cannon" <cjcannon@greymists.com>

Date: Wed, 24 Feb 1999  From: Aryk Nusbacher To: "Carol J. Bell
Cannon"<cjcannon@greymists.com>
Carol J. Bell Cannon wrote:  I know you reenact a bit later period, but may
know the answer to the 'sarge' question...Carol
      Aryk, who's done a lot of reenactment in several serious groups, and
is in the thick of his PhD Dissertation work at Oxford responds: ... <snip>
Sarge = serge, though.
      So, the lady who surmised it might be was correct.  cjc 
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-Poster: "Carol Blanchard" <blanchard@oak.ait.fredonia.edu>

I send my really good students to NYU, they have a wonderful costume 
design program.  But it is in design, they will get some construction 
techniques.  If the student wants to get more technical knowledge 
along with design, then I send them to Ohio University, University of 
Texas, Cincinnati Conservatory, or Washington State U.  Each of those 
offer costume design MFA's with more technology classes thrown in.

Carol Blanchard
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-Poster: Melanie Wilson <MelanieWilson@compuserve.com>

Walkley Clogs now has a website & email address:

http://www.scoot.co.uk/walkley_clogs/

walkclogs@aol.com

Mel
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From owner-h-costume@indra.com  Wed Feb 24 08:10:59 1999
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From: "Penny E. Ladnier" <penny.creative.outlets@erols.com>
To: "costume newsgroup" <h-costume@indra.com>
Subject: H-COST: Lost GWTW Footage
Date: Wed, 24 Feb 1999 08:16:23 -0500
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-Poster: "Penny E. Ladnier" <penny.creative.outlets@erols.com>

Did anyone see parts of the GWTW behind-the-scenes footage that was shown on
the Today Show this morning?  It is footage of the Barbecue Scene that was
found three years ago.  The owners said that the footage is available for
historians to view and that they hope to have it available on video tape one
day.

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

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From owner-h-costume@indra.com  Wed Feb 24 08:27:14 1999
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From: "Penny E. Ladnier" <penny.creative.outlets@erols.com>
To: <h-costume@indra.com>
Subject: Re: H-COST: Grad schools
Date: Wed, 24 Feb 1999 08:32:34 -0500
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-Poster: "Penny E. Ladnier" <penny.creative.outlets@erols.com>

I have a Webpage on our Online Library that lists various universities that
offer graduate degrees in the fashion and costume related fields.  The URL
is http://www.costumegallery.com/schools.htm  I have not recently checked
out all the links to see if they are working.  Universities seem to change
their URL's frequently.

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

>A friend of mine who teaches at LA Trade Tech has a student who wants to
>go to grad school in costuming. Anyone out there have any ideas about what
>he/she thinks is a really good one?  I went to Cal Arts, myself and btw,
>this student was told it does not offer costuming anymore, a fact I had
>not heard.
>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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From owner-h-costume@indra.com  Wed Feb 24 10:03:12 1999
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-Poster: SNSpies@aol.com

Speaking of grad schools and research ...

I am trying to locate a source of grant money for continuing my research into
brocaded tabletwoven bands.  As in independent scholar with no affiliation to
an institution, I am discovering that most of the grant programs are geared to
affiliated persons and/or graduate students.  Is this a hopeless quest I am
on, or are there places to which I might apply?  Thanks for any help.

Nancy
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From owner-h-costume@indra.com  Wed Feb 24 10:05:23 1999
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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: Theatrical spangles and fringes
Date: Wed, 24 Feb 1999 10:11:58 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

Nancy Bradfield in Costume in Detail deals with regular
people's (English) clothing, not theatrical clothing, but
she indicates that steel beads were very popular ornament
for decorating normal dress and accessories during a long
time span in the mid 1800's. She includes some drawings from
extant garments and accessories which show them.
Hope H. Dunlap

-----Original Message-----
From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
Behalf Of John Culme
Sent: Wednesday, February 24, 1999 7:21 AM
To: h-costume@indra.com
Subject: H-COST: Theatrical spangles and fringes



-Poster: John Culme <John.Culme@btinternet.com>

Having been a lurker to this list for some time,
I'm not at all sure if my question is appropriate.
Nevertheless, here goes. My interest in matters
theatrical (Victorian and Edwardian), leads me to
ask if anyone might know of recent publications
covering the manufacture and use of spangles,
bullion fringes and other metal costume adornments
in the theatre, particularly during the period
1850 to 1885.

Thanks.

John Culme
http://members.tripod.com/FootlightNotes/index.html


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From owner-h-costume@indra.com  Wed Feb 24 12:44:35 1999
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Date: Wed, 24 Feb 1999 09:39:23 -0800
From: Fred Struthers <fsbks@mcn.org>
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	and
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-Poster: Fred Struthers <fsbks@mcn.org>

Respectfully submitted to the members of h-costume from Fred Struthers:

The Department of Costumes and Textiles at the Los Angeles County Museum
of Art announces the First Triennial R. L. Shep Symposium on Textiles
and
Dress, 

> "Dress as Transformation: Creating Experience in Theater and Masquerade" 
> Saturday and Sunday, April 17-18, 1999 
> Bing Auditorium, Los Angeles County Museum of Art 
> 
> Saturday, 8;30 am-6:30 pm 
> 
> Western Theatrical Experience 
> 
> Alicia Annas, UC San Diego: effect of period costume on an actor's
> movements and the role of historical dress in creating the theatrical
> experience (Western theater). 
> 
> Charles Spencer, London: the transformation of "orientalism" in costume in
> European theater and opera, particularly the Ballets Russes. 
> 
> Rebecca Cunningham, Brooklyn College: a new concept of the role of costume
> as invented by the artists of the Russian avant-garde an the Bauhaus. 
> 
> Asian Theatrical Experience 
> 
> Alexandra Bonds, University of Oregon: the transformation of actors in
> Beijing Opera through costume, culture and tradition. 
> 
> Leonard Pronko, Pomona College: quick change in Kabuki theater. 
> 
> Radha Carmen, Kerala Dance Theater: the history and symbolism of India's
> Kathkali costumes and make-up. 
> 
> Special Lecture 
> 
> Kathleen Whitaker, Southwest Museum: "The American Southwest Textile
> Experience," and tour of " Common Threads: Navajo and Pueblo Textiles"
> from the Southwest Museum at the Los Angeles County Museum of Art. 
> 
> Sunday, 9 am to noon: 
> 
> The Masquerade Experience 
> 
> Carolyn Dean, UC Santa Cruz: the transformation of identity through
> costume and performance in colonial Peru. 
> 
> Henry Drewal, University of Wisconsin: fabric as masquerade to honor the
> ancestors among the Yoruba of Nigeria. 
> 
> Michael Hackett, UCLA: transformation through dress before an audience
> (European masquerade). 
> 
> The R.L. Shep Triennial Symposia are supported by the R.L. Shep Symposium
> Endowment for Costumes and Textiles 
> 
> Special added attraction: "Van Gogh's Van Goghs" will be on view at LACMA
> during the conference (separate ticketing required).  This exhibition has
> only been in two venues and then will return to the Van Gogh museum in
> Amsterdam. 
> 
> Symposium tickets: US $45 for the two days 
> van Gogh tickets: US $20 
> 
> For a registration form (payment by check, money order or credit card) or
> additional information (suggested hotels, transportation, etc), please
> contact Danielle Sierra, Department of Costumes and Textiles, LACMA, 5905
> Wilshire Blvd., L.A., CA 90036, USA.  Fax: (323) 857-6218; email:
> jdsierra@lacma.org; tel: (323) 857-6081. 

-- 
Fred Struthers
http://www.mcn.org/e/fsbks
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From owner-h-costume@indra.com  Wed Feb 24 12:44:38 1999
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Date: Wed, 24 Feb 1999 09:52:16 -0800
To: h-costume@indra.com
From: Lynn Downward <ldownward@mail.cho.org>
Subject: Re: H-COST: Fw: ANST - would love to find a teacher
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-Poster: Lynn Downward <ldownward@mail.cho.org>

Yes, Please!!  I'm sure it would help many of us.
LynnD


>-Poster: "Karen Stefanik" <kmste@hotmail.com>
>
>For anyone answering this lady's request--I would love to be cc'd as
>well--it sounds fascinating!!
>
>Thanks.
>
>Karen
>
>>-Poster: "Franchesca Havas" <ches@io.com>
>>
>>I remember several of you took this type of discussion off line a while
>ago.
>>Can any of you please help her off line as well? She is Arabella de
>>Montacute <ladyarabella@hotmail.com>.
>>
>>Sincerely,
>>Ches
>>aka Chiara Francesca
>>Virtual Scribe for 20th year
>>http://www.ansteorra.org/20thyr/
>>
>>-----Original Message-----
>>From: Arabella de Montacute <ladyarabella@hotmail.com>
>>To: ansteorra@Ansteorra.ORG <ansteorra@Ansteorra.ORG>
>>Date: Tuesday, February 23, 1999 12:20 PM
>>Subject: ANST - would love to find a teacher
>>
>>
>>:Greetings,
>>:     I'm personally looking for someone who knows the mechanics of
>>:ladies hairstyles.  These questions keep coming into my head.
>>:"What did they do with their hair to wear that hat?"
>>:"What is that wrapped around that braid and How do I do that, so I can
>>:look just like the painting because my dress does and I feel not
>>:completed"
>>:"How can I add hair extenstions to achieve that look?"
>>:"How did they wrap hair around their ear, it looks like an ear muff?"
>>:"How did Elizabeth I get her hair to stand up in what looks like
>rounded
>>:devils horns?"
>>:
>>:See what I mean.  I know how to braid and do a teriffic job.  Ladies
>>:seek me out at events.... "Arabella will you do my hair?" Especially
>>:when it's hot outside. I want to carry it further.  I can do the
>>:research and find examples... just look at portraits.  I want to know
>>:how to achieve that look, so I can do it on other people's heads.
>>:
>>:HELP!!!  Please answer me privately, as I am not on the Ansteorran
>List
>>:at this time.  Copy back to the list if you have information which
>>:everyone could use.  I thank you all for your patience and time.
>>:
>>:Sincerely and in faithful service to Barony and Kingdom,
>>:Lady Arabella de Montacute, Chronicler
>>:Secretary to the Steward of
>>:Ansteorra's Twentieth Year Celebration AS XXXIV (July 1999)
>>:Barony of Elfsea,
>>:Kingdom of Ansteorra
>>:email - ladyarabella@hotmail.com
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From owner-h-costume@indra.com  Wed Feb 24 12:48:19 1999
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Date: Fri, 19 Feb 1999 15:22:29 +0100
From: Andrea Clef <a.clef@ndh.net>
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-Poster: Andrea Clef <a.clef@ndh.net>

Yes, please continue the thread about hairstyles on the list!

I`ve got long hair and often don`t know what to do with it when
attending medieval
events!
It´s always the same boring braid or I leave them virgin-like loose.
But some more years and I will  look too old for that role ;-) !

In many periods there`s still the possibility to hide everything under a
veil
but that`s also always the same!

Thanks ( in the name of everybody interested) for the nice instructions
already posted!

Greetings,
Diana

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From owner-h-costume@indra.com  Wed Feb 24 12:50:24 1999
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Date: Wed, 24 Feb 1999 11:54:07 -0600
From: "I. Marc Carlson" <LIB_IMC@centum.utulsa.edu>
To: H-COSTUME@indra.com
Message-Id: <990224115407.13b87d@centum.utulsa.edu>
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-Poster: "I. Marc Carlson" <LIB_IMC@centum.utulsa.edu>

 Several months ago, there were several lengthy messages posted to this
  list, forwarded from a cordwainer at Williamsburg on Lasts and Mass 
  production in the Middle Ages.  Does anyone actually still have copies of
  this exchange?  Mine have vnished.
  anished.  Please let me know.
  
  marc
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From owner-h-costume@indra.com  Wed Feb 24 14:11:08 1999
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To: <h-costume@indra.com>
Subject: RE: H-COST: Lasting issues reappearing...
Date: Wed, 24 Feb 1999 14:08:07 -0500
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-Poster: "Gregory Stapleton" <gregsta@perigee.net>

Hey, Marc,
If you get a hold of these, I'd appreciate them as well.  Speaking of lasts,
by the way, there is some discussion of them as archaeological finds, both
right and left footed from early period, in

_The Bryggen Papers: Main Series-Vol. 4:  Footwear from the Gullskoen Area
of Bryggen_ by Arne J. Larsen, Scandinavian University Press, 1992.  ISBN
82-00-21533-4.  I was just reading about them this morning.  It's worth
getting just for the bibliographies.

Sorry that I didn't get to examine the ones that the ROM possesses.  I was
working with the wrong department to get access to them. Each department at
the ROM is kind of insular.  Hopefully next trip, I'll be able to take a
look at them for you.

 >  Several months ago, there were several lengthy messages posted to this
>   list, forwarded from a cordwainer at Williamsburg on Lasts and Mass
>   production in the Middle Ages.  Does anyone actually still have
> copies of
>   this exchange?  Mine have vanished.
>   anished.  Please let me know.
>
>   marc
>  _________________________________________________________________
>  To leave this mailing list, send mail to majordomo@indra.com
>  with the message UNSUBSCRIBE H-COSTUME
>

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Date: Wed, 24 Feb 1999 11:18:28 -0800 (PST)
From: "Kristen M. Sieber" <lady_gawain@yahoo.com>
Subject: Re: H-COST: Lost GWTW Footage
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-Poster: "Kristen M. Sieber" <lady_gawain@yahoo.com>

> Did anyone see parts of the GWTW behind-the-scenes footage that was
shown on
> the Today Show this morning?  It is footage of the Barbecue Scene
that was
> found three years ago.  The owners said that the footage is
available for
> historians to view and that they hope to have it available on video
tape one
> day.

Yes!  I saw it on "Good Morning America" and my local news.  Wish
there was more of my idol, Vivien Leigh.

Kristen M. Sieber
lady_gawain@yahoo.com
_________________________________________________________
DO YOU YAHOO!?
Get your free @yahoo.com address at http://mail.yahoo.com

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-Poster: Appin1@aol.com

I think I saved these articles. I'll check and if I have them, I'll repost
them. In any case, the cordwainer's name is Al Saguto. He is the cordwainer at
Colonail Williamsburg. 

Kathleen Norvell
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From: Betsy Perry <betsyp@roguewave.com>
To: "'h-costume@indra.com'" <h-costume@indra.com>
Subject: RE: H-COST: folkwear and other commercial patterns
Date: Wed, 24 Feb 1999 13:22:29 -0800
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-Poster: Betsy Perry <betsyp@roguewave.com>

I have searched twice, and I can't find either the Gallenga gown or the
Cloister dress at Lark Books's website,
http://www.larkbooks.com/home.nav/fw/index.html

Does anybody know where I can see images of these two patterns?

Thanks,

Betsy Perry

---
Elizabeth Hanes Perry
Rogue Wave Software 

> -----Original Message-----
> From: Marionetta@aol.com [mailto:Marionetta@aol.com]
> Sent: Tuesday, February 23, 1999 11:35 PM
> To: h-costume@indra.com
> Subject: H-COST: folkwear and other commercial patterns
> 
> 
> 
> -Poster: Marionetta@aol.com
> 
> 
> Hi all,
> 
> Thought some of you might be interested to know some pattern 
> info I gleaned
> recently.  
> 
> On the Folkwear front the bad news is that it seems that 
> Folkwear will be
> discontinuing some of their patterns after all, at least 
> that's what one of
> their flyers I picked up at costume con said.  The child's 
> Australian coat,
> the quilted prairie skirt, the 30s sophisticated lady, 50s at 
> the hop, 20s day
> dress, town & country dress, Victorian boudoir, English 
> country kitchen,
> vintage nursery, Japanese interior, 20s middies, sporty 40s, 
> Algerian suit,
> Russian Cossack, cloister dress and the Gallenga gown are the 
> ones on the list
> of discontinueds. On the plus side these patterns are all on 
> sale at about
> 30-50% off if you order thru Folkwear at 1-800-284-3388.
> 
> In other good news the flyer also mentioned several new patterns to be
> released in spring, including a lot of 20s and teens stuff - 
> a flapper dress,
> tea dress promenade dress and several coats.
> 
> I also looked through the pattern books at G Street the other 
> day and noticed
> that Simplicity had a bunch of historically inspired prom 
> dresses (in the
> special occasion section) the design line was something like 
> "bewitching."
> All were very fantastical -  one regency inspired, the others more
> elizabethan/ren faire.  Might make good princesses/vampire 
> etc. dresses.
> Simplicity also had a pattern in the Halloween section I 
> hadn't seen before
> for swing dance dresses.  But alas, I saw no new vintage 
> patterns in the Vogue
> spring catalogue.
> 
> Cheers,
> 
> Loren Dearborn
> marionetta@aol.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  Wed Feb 24 18:04:56 1999
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-Poster: Susan Fatemi <susanf@netwiz.net>

I'm looking for a source for those small Chinese metal
ball buttons. I don't know how to decribe them,
except they're metallic (brass usually), have either
a shank or a hole for cord to go thru', about 3/8" diameter.

Any help appreciated.

Susan Fatemi


-- 
Oh Noh! Kimonos!
susanf@netwiz.net
http://www.netwiz.net/~susanf
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From owner-h-costume@indra.com  Wed Feb 24 18:31:57 1999
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-Poster: Lynn Downward <ldownward@mail.cho.org>

>-Poster: Susan Fatemi <susanf@netwiz.net>
>
>I'm looking for a source for those small Chinese metal
>ball buttons. I don't know how to decribe them,
>except they're metallic (brass usually), have either
>a shank or a hole for cord to go thru', about 3/8" diameter.
>
>Any help appreciated.
>
>Susan Fatemi
>
>
>--
>Oh Noh! Kimonos!
>susanf@netwiz.net


Susan,

I've seen those everywhere, if I'm thinking of the same thing you mean.
Even La Mode Buttons makes them, and they sell to all the JoAnn's,
Hancock's, just about everywhere.  They come on a card and are available in
3, perhaps 4, sizes in both silver and gold.

I'm thinking that you are describing buttons that are molded in one piece
of metal with a shank, not the type that someone actually knotted of
metallic yarn, strands, whatever, right?  The other type is difficult to
find, although I did find some last spring at Poppy Fabrics in Berkeley,
CA.  I bought all they had and tried to order more.  The company no longer
makes that particular button in gold.  Perhaps there out there in silver.
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Date: Sun, 21 Feb 1999 20:15:04 -0500
To: h-costume@indra.com
From: Danielle Nunn <dnunn@interlog.com>
Subject: Re: H-COST: movie costumes
In-Reply-To: <Pine.BSF.4.05.9902191655350.10813-100000@dillinger-2.io.co
 m>
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-Poster: Danielle Nunn <dnunn@interlog.com>

Greetings,

>Having said that, my first question is: How good is your historical eye?
>By that I mean if these movies were in black and white and all we watched
>was the CUT of the garments in the movies, how many and what periods and
>regions of them could you identify?

Well, my specialty is Elizabethan so that is what I'd be best at
identifying.  Given that, the black and white films I've seen which were
"Elizabethan" (Bette Davis as Elizabeth - do I have the right one?) the
costuming was also terrible.  Mind you consider the time they were made and
all that.

Actually, one of the things I noticed about "Elizabeth" was the the CUT of
most of the garments were wrong.  For example, a doublet gown with a
standing collar and an open front skirt which was back laced?!  We're
talking pure fiction!

There are a few other centuries (mostly English admittedly) which I could
muddle my way through.

I'm done rambling now...
Danielle

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Date: Wed, 24 Feb 1999 20:28:01 -0500
To: h-costume@indra.com
From: Danielle Nunn <dnunn@interlog.com>
Subject: Re: H-COST: Figuring out elizabethan (long)
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-Poster: Danielle Nunn <dnunn@interlog.com>

Greetings,

>I'm going to be taking the plunge soon and start working on elizabethans for
>myself.  

Congratulations and have fun!

>I've been starting with reviewing Janet Arnold's "Pattern's of Fashion,...
>c1560-1620" and Juan de Alcega's "Tailor's Pattern Book 1589".

Excellent sources.

>I'm confused by the use of the term Janet uses: "gown".  To me the term
>'gown' infers that the skirt and bodice are joined, which I guess is a
>modern interpretation.  

>From my research I've found that a lot/most of them were one piece.  For
example, most of the ones in Arnold are one piece.  Also, in my research I
have seen no evidence of waistbands as we know them now used on women's
garments in the 16th century (the earliest I document is 1615 approx.) I
would be further inclined to believe in the majority being an attached
bodice and skirt.  Given the fact that the waistline on bodices was cut to
the "natural waist" there would be a gap between bodice and skirt.

>A friend told me that the use of the term 'gown' by Janet was to convey the
>'outfit in entirety' (pair of bodies, overskirt, petticoat), and not the
>modern interpretation of joined at the waist seam.

I never seen evidence for this interpretation.  In fact certain entries (I
don't have handy right now) in "Lost From Her Majesty's Back" leed me to
believe it is a single garment/layer.

>To further confuse me, Janet does give great details for doublets,
>foreparts, petticoats (skirts), 'pair of bodies', farthingales, corsets and
>all the pictures of construction, tabs, and boning.  In her schematics, she
>seems to include all the little details of the 'outer shell' of the extant
>garments, but I don't seem to see any waistbands for the skirts.  Is it
>because it's presumed that the reader would know?  Or is it because the
>specific references are *not* 'english' elizabethan?  Or does that even
>matter?

It is because modern waistbands do not appear to be used in 16th century
England on women's garments.  My understanding of the "waistband" used for
a women's skirt/kirtle/petticoat is more of a bias type strip running along
the top, anchoring the pleats.

>I'll list only a *few* specifics from each of the books, where the confusion
>starts:
>
>Page 40 caption for picture 286  "Back of Eleanora of Toledo's satin bodice
>from the gown in which she was buried (pages 102-4),  Beneath it are
>fragments of her red velvet bodice or 'pair of bodies' which fastened at the
>front with hooks and eyes.  Palazzo Pitti, Florence"
>
>Page 42, picture & caption 297 "Velvet gown on pages 105-6 worn by Grafin
>Katharina zur Lippe when she was buried, aged six, in 1600,  Lippisches
>Landesmuseumm, Detmold."
>
>Page 47, picture & caption 334 "  Rich russet velvet gown worn by
>Pfalzgrafin Dorothea Sabina von Neuberg, with a petticoat of soft green silk
>(pages 113-14), 1598. Bayerisches Nationalmuseum, Munich."
>
>Page 48 Pictures & captions from 340 & 341
>
>340:  "Cut and uncut patterned velvet gown on pages 115 - 16 worn by
>Pfalzgrafin Dorothea Maria von Sulzbach.  The deep shoulder wings are
>trimmed with wilk braid.  The cut is similare to gowns in the Spanish
>tailor's books (fig 36)..."

This to me is very straight forward.  She is referring to the gown as a
"dress" in its entireity (sp?) - a combination of skirt and bodice with or
without sleeves.

>341:  It's actually the picture in this case that is causing confusion.  The
>caption is about the silk braid, but when I look at the picture, it looks
>like the skirt and bodice are sewn together at the seam.  Does anyone have a
>better picture?

They ARE sewn together.

>In Juan's book, in the "Main Notes", # 33 :  " Manteo, a semi-circular
>intermediate skirt, also called a Faldlin.  It had a waist-band and was
>sometimes reversible, oopen in front or worn inside out (de vuelta).  It wa
>worn over the basic undergarment, the shift, and under the outer skirt
>(vasquina), kirtle, or saya, petticoat or skirt with bodice. (Bernis, 1962,
>pp. 96, 107)
>
>On page 47, f.63, the caption for the pattern lay out is: "Skirt and bodice
>of cloth with puffed sleeves."
>
>Same page, f.63a & 64, the captions read, " Skirt [with bodice] of cloth for
>a woman."
>
>I noticed in the layouts he doesn't show the layouts for the small stuff
>like the tabs, armsceyes wings and he doesn't specify them either, generally
>saying trims are cut out of the cabbage.  Again, does he presume then that
>the user of his patterns would know that the skirt would go on a waistband?
>
>These books seems to support my thoughts that the bodice and the skirt are
>*sometimes* joined, but don't want to jump to conclusions.  So I thought I'd
>put my questions before the collective knowledge of this list.

I've come to the understanding from my research that the skirt and bodice
for the outer layers were usually joined.  Jerkins are an exception.  They
were a discrete article of clothing.  It seems to me that it was the
petticoat or kirtle layer where things were sometimes separate.  Things
like safeguards being an exception - a skirt by itself on the outside.

>I'll keep looking for other sources and review the inventory in QEWU and see
>what I find there, too.

Good luck and have fun digging.  I hope this helped.  If you have any
questions, please feel free to e-mail me privately.

Cheers,
Danielle
dnunn@interlog.com

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-Poster: SNSpies@aol.com

<< I have searched twice, and I can't find either the Gallenga gown or the
 Cloister dress at Lark Books's website,
 http://www.larkbooks.com/home.nav/fw/index.html
 
<< Does anybody know where I can see images of these two patterns? >>

Lark Books's website does not have all the patterns displayed.  I called and
ordered the complete catalogue today for $3.  
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Date: Wed, 24 Feb 1999 22:57:28 -0600
From: "I. Marc Carlson" <LIB_IMC@centum.utulsa.edu>
To: H-COSTUME@indra.com
Message-Id: <990224225728.11fb0b@centum.utulsa.edu>
Subject: RE: H-COST: Lasting issues reappearing...
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-Poster: "I. Marc Carlson" <LIB_IMC@centum.utulsa.edu>

<Gregory Stapleton" <gregsta@perigee.net>>
>Hey, Marc,
>If you get a hold of these, I'd appreciate them as well...

I will forward them to you privately (they are rather long).

>Speaking of lasts,
>by the way, there is some discussion of them as archaeological finds, both
>right and left footed from early period, in _The Bryggen Papers...

Yes, unfortunately there isn't any information about their dates.

>Sorry that I didn't get to examine the ones that the ROM possesses.  I was
>working with the wrong department to get access to them. Each department at
>the ROM is kind of insular.  Hopefully next trip, I'll be able to take a
>look at them for you.

Thank you, anyway.  I just know they have them, but no information about them.

-------------------
<Appin1@aol.com>
>I think I saved these articles. I'll check and if I have them, I'll repost
>them. In any case, the cordwainer's name is Al Saguto. He is the cordwainer at
>Colonail Williamsburg. 

Thank you ma'am.  I found them in the archives, but I appreciate it.  I'm 
in communcation with Al Saguto, but because of the length, I didn't want to
ask him to re-write them :)

Marc
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From owner-h-costume@indra.com  Thu Feb 25 00:12:38 1999
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Subject: H-COST: Looking for Pouch Sources
Date: Thu, 25 Feb 1999 00:16:41 -0500
x-mailer: Claris Emailer 2.0v3, January 22, 1998
From: Irene leNoir <irene@ici.net>
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-Poster: Irene leNoir <irene@ici.net>

Hello Everyone,

While my local library really isn't up to any serious research, they do 
give me acces to inter-library loan.  The only hitch with ILL is that you 
have to know what you are looking for.  I'm hoping that some of you may 
be able to point me in the right direction.

I'm looking for photographs of 14th to 15th century paintings or 
illuminatins (preferably French) that show women wearing pouches.

I've looked through my book, photocopy, and slide collections, and I've 
only been able to find 3 examples:

1995 Medieval Woman Calendar - November
  Attending a Birth (detail
  Birth of Mary - Weingartner Altar
  Hans Holbein the Elder
  German 1493
  Augsburg Cathedral
- The woman on the left wears a small pale pink pouch suspended from her 
belt (next to a chatelaine that holds several keys).  The pouch appears 
to be decorated with points of fabric, but I can't really tell because 
the image is so small

1998 Medieval Woman Calendar - August
  Peasants Hunting Rabbits With Ferrets (detail)
  Tapestry, Franco-Burgundian, c. 1450-75
  Glasgow Museums: The Burrell Collection
- The woman on the top right wears a pouch over her underdress but under 
her overdress.  It is beige and is decorated with tan or golden toned 
beads.  It has separate hanging and gathering strings.

French Painting: From Fouquet to Poussin
  page 48
  Les Heures d'Etienne Chevalier, c 1450
  the Visitation
  Musee Conde, Chantilly, France
- The woman on the right wears a rose pink pouch over her underdress but 
under her overdress.  I can't see much about the construction of the 
pouch other than that a seam appears to be decorated with either beads or 
a cord.
      

If you know of any other examples, please send me the publication 
information for the book that contains them.  Please also include a page 
or plate number and/or description so that I know where to look

Thanks in advance.

Jessica Clark
SCA: Irène leNoir
irene@ici.net
http://home.ici.net/~beowulf/jessica

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From owner-h-costume@indra.com  Thu Feb 25 00:12:40 1999
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Subject: H-COST: Black Veils
Date: Thu, 25 Feb 1999 00:16:43 -0500
x-mailer: Claris Emailer 2.0v3, January 22, 1998
From: Irene leNoir <irene@ici.net>
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-Poster: Irene leNoir <irene@ici.net>

Hello Everyone,

Does anyone have any sources (preferably 14th-15th Century and/or French) 
for women wearing black veils who were not nuns? 

I had found two examples, and was planning on making a black veil for an 
outfit that I am making, when I realized that they were both nuns.

Jessica Clark
SCA: Irène leNoir
irene@ici.net
http://home.ici.net/~beowulf/jessica

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From owner-h-costume@indra.com  Thu Feb 25 09:25:43 1999
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Date: Wed, 24 Feb 1999 10:34:31
To: h-costume@indra.com
From: Kristin Page <kdp@tiac.net>
Subject: RE: H-COST: folkwear and other commercial patterns
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-Poster: Kristin Page <kdp@tiac.net>

I don't have pictures that I can send but you might try looking at gift
books on fashion and costume.

# 505, Cloister Dress seems to have a jewel neckline. 3/4 length dolman
sleeves and curved drop waist that dips front and back -- skirt may be a
gathered tube or a gathered cone. 

#507, Gallenga gown seems to have scoop neckline, tapered tube sleeves, no
defined waist but snug at the hip -- looks like a narrow tube with a train.

Both were one the closeout sale list of my last catalogue (they're poor
sketches) but they may still be in stock.  Call Lark Books and ask.


I'm looking for the folkwear pattern for a Tibetan dress -- that  one is
out of print with no plans for republishing.  Does any one have it? I can
pay for photocopying and postage.

Thanks,

Kristin



 
>> sale at about
>> 30-50% off if you order thru Folkwear at 1-800-284-3388.


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From owner-h-costume@indra.com  Thu Feb 25 10:36:27 1999
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-Poster: Margo Anderson <margo@directcon.net>

At 10:34 AM 2/24/99, you wrote:
>
>-Poster: Kristin Page <kdp@tiac.net>
>
>I don't have pictures that I can send but you might try looking at gift
>books on fashion and costume.
>
># 505, Cloister Dress seems to have a jewel neckline. 3/4 length dolman
>sleeves and curved drop waist that dips front and back -- skirt may be a
>gathered tube or a gathered cone. 

I believe the Cloister dress is actually a very flared T-shaped dress, with
no waistline seam. The belt is simply a yards long peice of roleau, wapped
as you like.    It needs to be made in silk or wool jersey to get that
wonderful fall of pleats.

Margo

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From owner-h-costume@indra.com  Thu Feb 25 14:03:20 1999
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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: Figuring out elizabethan (long)
Date: Wed, 24 Feb 1999 21:31:57 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

    >My understanding of the "waistband" used for
a women's skirt/kirtle/petticoat is more of a bias type
strip running along
the top, anchoring the pleats.
More than likely this was not a bias cut strip of self
fabric, but a tape, woven on a little tape loom. Stronger,
no stretch, and less wasteful of material.  Sometimes folded
over the top of the gathers and sometimes just used flat.
Hope H. Dunlap

-----Original Message-----
From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
Behalf Of Danielle Nunn
Sent: Wednesday, February 24, 1999 8:28 PM
To: h-costume@indra.com
Subject: Re: H-COST: Figuring out elizabethan (long)



-Poster: Danielle Nunn <dnunn@interlog.com>

Greetings,

>I'm going to be taking the plunge soon and start working on
elizabethans for
>myself.

Congratulations and have fun!

>I've been starting with reviewing Janet Arnold's "Pattern's
of Fashion,...
>c1560-1620" and Juan de Alcega's "Tailor's Pattern Book
1589".

Excellent sources.

>I'm confused by the use of the term Janet uses: "gown".  To
me the term
>'gown' infers that the skirt and bodice are joined, which I
guess is a
>modern interpretation.

>From my research I've found that a lot/most of them were one
piece.  For
example, most of the ones in Arnold are one piece.  Also, in
my research I
have seen no evidence of waistbands as we know them now used
on women's
garments in the 16th century (the earliest I document is
1615 approx.) I
would be further inclined to believe in the majority being
an attached
bodice and skirt.  Given the fact that the waistline on
bodices was cut to
the "natural waist" there would be a gap between bodice and
skirt.

>A friend told me that the use of the term 'gown' by Janet
was to convey the
>'outfit in entirety' (pair of bodies, overskirt,
petticoat), and not the
>modern interpretation of joined at the waist seam.

I never seen evidence for this interpretation.  In fact
certain entries (I
don't have handy right now) in "Lost From Her Majesty's
Back" leed me to
believe it is a single garment/layer.

>To further confuse me, Janet does give great details for
doublets,
>foreparts, petticoats (skirts), 'pair of bodies',
farthingales, corsets and
>all the pictures of construction, tabs, and boning.  In her
schematics, she
>seems to include all the little details of the 'outer
shell' of the extant
>garments, but I don't seem to see any waistbands for the
skirts.  Is it
>because it's presumed that the reader would know?  Or is it
because the
>specific references are *not* 'english' elizabethan?  Or
does that even
>matter?

It is because modern waistbands do not appear to be used in
16th century
England on women's garments.  My understanding of the
"waistband" used for
a women's skirt/kirtle/petticoat is more of a bias type
strip running along
the top, anchoring the pleats.

>I'll list only a *few* specifics from each of the books,
where the confusion
>starts:
>
>Page 40 caption for picture 286  "Back of Eleanora of
Toledo's satin bodice
>from the gown in which she was buried (pages 102-4),
Beneath it are
>fragments of her red velvet bodice or 'pair of bodies'
which fastened at the
>front with hooks and eyes.  Palazzo Pitti, Florence"
>
>Page 42, picture & caption 297 "Velvet gown on pages 105-6
worn by Grafin
>Katharina zur Lippe when she was buried, aged six, in 1600,
Lippisches
>Landesmuseumm, Detmold."
>
>Page 47, picture & caption 334 "  Rich russet velvet gown
worn by
>Pfalzgrafin Dorothea Sabina von Neuberg, with a petticoat
of soft green silk
>(pages 113-14), 1598. Bayerisches Nationalmuseum, Munich."
>
>Page 48 Pictures & captions from 340 & 341
>
>340:  "Cut and uncut patterned velvet gown on pages 115 -
16 worn by
>Pfalzgrafin Dorothea Maria von Sulzbach.  The deep shoulder
wings are
>trimmed with wilk braid.  The cut is similare to gowns in
the Spanish
>tailor's books (fig 36)..."

This to me is very straight forward.  She is referring to
the gown as a
"dress" in its entireity (sp?) - a combination of skirt and
bodice with or
without sleeves.

>341:  It's actually the picture in this case that is
causing confusion.  The
>caption is about the silk braid, but when I look at the
picture, it looks
>like the skirt and bodice are sewn together at the seam.
Does anyone have a
>better picture?

They ARE sewn together.

>In Juan's book, in the "Main Notes", # 33 :  " Manteo, a
semi-circular
>intermediate skirt, also called a Faldlin.  It had a
waist-band and was
>sometimes reversible, oopen in front or worn inside out (de
vuelta).  It wa
>worn over the basic undergarment, the shift, and under the
outer skirt
>(vasquina), kirtle, or saya, petticoat or skirt with
bodice. (Bernis, 1962,
>pp. 96, 107)
>
>On page 47, f.63, the caption for the pattern lay out is:
"Skirt and bodice
>of cloth with puffed sleeves."
>
>Same page, f.63a & 64, the captions read, " Skirt [with
bodice] of cloth for
>a woman."
>
>I noticed in the layouts he doesn't show the layouts for
the small stuff
>like the tabs, armsceyes wings and he doesn't specify them
either, generally
>saying trims are cut out of the cabbage.  Again, does he
presume then that
>the user of his patterns would know that the skirt would go
on a waistband?
>
>These books seems to support my thoughts that the bodice
and the skirt are
>*sometimes* joined, but don't want to jump to conclusions.
So I thought I'd
>put my questions before the collective knowledge of this
list.

I've come to the understanding from my research that the
skirt and bodice
for the outer layers were usually joined.  Jerkins are an
exception.  They
were a discrete article of clothing.  It seems to me that it
was the
petticoat or kirtle layer where things were sometimes
separate.  Things
like safeguards being an exception - a skirt by itself on
the outside.

>I'll keep looking for other sources and review the
inventory in QEWU and see
>what I find there, too.

Good luck and have fun digging.  I hope this helped.  If you
have any
questions, please feel free to e-mail me privately.

Cheers,
Danielle
dnunn@interlog.com


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Date: Thu, 25 Feb 1999 14:18:54 -0500 (EST)
From: aleed <aleed@dnaco.net>
To: h-costume@indra.com
Subject: RE: H-COST: Figuring out elizabethan (long)
In-Reply-To: <000001be60f0$6b17ec20$da22ffd0@default>
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-Poster: aleed <aleed@dnaco.net>


Does anyone know of period descriptions/images/material items showing
waistbands of any kind?  I've been looking, but can't find them.
Drea



On Wed, 24 Feb 1999, Hope H. Dunlap wrote:

> 
> -Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>
> 
>     >My understanding of the "waistband" used for
> a women's skirt/kirtle/petticoat is more of a bias type
> strip running along
> the top, anchoring the pleats.
> More than likely this was not a bias cut strip of self
> fabric, but a tape, woven on a little tape loom. Stronger,
> no stretch, and less wasteful of material.  Sometimes folded
> over the top of the gathers and sometimes just used flat.
> Hope H. Dunlap
> 
> -----Original Message-----
> From: owner-h-costume@indra.com
> [mailto:owner-h-costume@indra.com]On
> Behalf Of Danielle Nunn
> Sent: Wednesday, February 24, 1999 8:28 PM
> To: h-costume@indra.com
> Subject: Re: H-COST: Figuring out elizabethan (long)
> 
> 
> 
> -Poster: Danielle Nunn <dnunn@interlog.com>
> 
> Greetings,
> 
> >I'm going to be taking the plunge soon and start working on
> elizabethans for
> >myself.
> 
> Congratulations and have fun!
> 
> >I've been starting with reviewing Janet Arnold's "Pattern's
> of Fashion,...
> >c1560-1620" and Juan de Alcega's "Tailor's Pattern Book
> 1589".
> 
> Excellent sources.
> 
> >I'm confused by the use of the term Janet uses: "gown".  To
> me the term
> >'gown' infers that the skirt and bodice are joined, which I
> guess is a
> >modern interpretation.
> 
> >From my research I've found that a lot/most of them were one
> piece.  For
> example, most of the ones in Arnold are one piece.  Also, in
> my research I
> have seen no evidence of waistbands as we know them now used
> on women's
> garments in the 16th century (the earliest I document is
> 1615 approx.) I
> would be further inclined to believe in the majority being
> an attached
> bodice and skirt.  Given the fact that the waistline on
> bodices was cut to
> the "natural waist" there would be a gap between bodice and
> skirt.
> 
> >A friend told me that the use of the term 'gown' by Janet
> was to convey the
> >'outfit in entirety' (pair of bodies, overskirt,
> petticoat), and not the
> >modern interpretation of joined at the waist seam.
> 
> I never seen evidence for this interpretation.  In fact
> certain entries (I
> don't have handy right now) in "Lost From Her Majesty's
> Back" leed me to
> believe it is a single garment/layer.
> 
> >To further confuse me, Janet does give great details for
> doublets,
> >foreparts, petticoats (skirts), 'pair of bodies',
> farthingales, corsets and
> >all the pictures of construction, tabs, and boning.  In her
> schematics, she
> >seems to include all the little details of the 'outer
> shell' of the extant
> >garments, but I don't seem to see any waistbands for the
> skirts.  Is it
> >because it's presumed that the reader would know?  Or is it
> because the
> >specific references are *not* 'english' elizabethan?  Or
> does that even
> >matter?
> 
> It is because modern waistbands do not appear to be used in
> 16th century
> England on women's garments.  My understanding of the
> "waistband" used for
> a women's skirt/kirtle/petticoat is more of a bias type
> strip running along
> the top, anchoring the pleats.
> 
> >I'll list only a *few* specifics from each of the books,
> where the confusion
> >starts:
> >
> >Page 40 caption for picture 286  "Back of Eleanora of
> Toledo's satin bodice
> >from the gown in which she was buried (pages 102-4),
> Beneath it are
> >fragments of her red velvet bodice or 'pair of bodies'
> which fastened at the
> >front with hooks and eyes.  Palazzo Pitti, Florence"
> >
> >Page 42, picture & caption 297 "Velvet gown on pages 105-6
> worn by Grafin
> >Katharina zur Lippe when she was buried, aged six, in 1600,
> Lippisches
> >Landesmuseumm, Detmold."
> >
> >Page 47, picture & caption 334 "  Rich russet velvet gown
> worn by
> >Pfalzgrafin Dorothea Sabina von Neuberg, with a petticoat
> of soft green silk
> >(pages 113-14), 1598. Bayerisches Nationalmuseum, Munich."
> >
> >Page 48 Pictures & captions from 340 & 341
> >
> >340:  "Cut and uncut patterned velvet gown on pages 115 -
> 16 worn by
> >Pfalzgrafin Dorothea Maria von Sulzbach.  The deep shoulder
> wings are
> >trimmed with wilk braid.  The cut is similare to gowns in
> the Spanish
> >tailor's books (fig 36)..."
> 
> This to me is very straight forward.  She is referring to
> the gown as a
> "dress" in its entireity (sp?) - a combination of skirt and
> bodice with or
> without sleeves.
> 
> >341:  It's actually the picture in this case that is
> causing confusion.  The
> >caption is about the silk braid, but when I look at the
> picture, it looks
> >like the skirt and bodice are sewn together at the seam.
> Does anyone have a
> >better picture?
> 
> They ARE sewn together.
> 
> >In Juan's book, in the "Main Notes", # 33 :  " Manteo, a
> semi-circular
> >intermediate skirt, also called a Faldlin.  It had a
> waist-band and was
> >sometimes reversible, oopen in front or worn inside out (de
> vuelta).  It wa
> >worn over the basic undergarment, the shift, and under the
> outer skirt
> >(vasquina), kirtle, or saya, petticoat or skirt with
> bodice. (Bernis, 1962,
> >pp. 96, 107)
> >
> >On page 47, f.63, the caption for the pattern lay out is:
> "Skirt and bodice
> >of cloth with puffed sleeves."
> >
> >Same page, f.63a & 64, the captions read, " Skirt [with
> bodice] of cloth for
> >a woman."
> >
> >I noticed in the layouts he doesn't show the layouts for
> the small stuff
> >like the tabs, armsceyes wings and he doesn't specify them
> either, generally
> >saying trims are cut out of the cabbage.  Again, does he
> presume then that
> >the user of his patterns would know that the skirt would go
> on a waistband?
> >
> >These books seems to support my thoughts that the bodice
> and the skirt are
> >*sometimes* joined, but don't want to jump to conclusions.
> So I thought I'd
> >put my questions before the collective knowledge of this
> list.
> 
> I've come to the understanding from my research that the
> skirt and bodice
> for the outer layers were usually joined.  Jerkins are an
> exception.  They
> were a discrete article of clothing.  It seems to me that it
> was the
> petticoat or kirtle layer where things were sometimes
> separate.  Things
> like safeguards being an exception - a skirt by itself on
> the outside.
> 
> >I'll keep looking for other sources and review the
> inventory in QEWU and see
> >what I find there, too.
> 
> Good luck and have fun digging.  I hope this helped.  If you
> have any
> questions, please feel free to e-mail me privately.
> 
> Cheers,
> Danielle
> dnunn@interlog.com
> 
> 
> ____________________________________________________________
> _____
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> majordomo@indra.com
>  with the message UNSUBSCRIBE H-COSTUME
> 
> 
>  _________________________________________________________________
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>  with the message UNSUBSCRIBE H-COSTUME
> 

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From: "TC Carstensen" <eccentri@sprynet.com>
To: "h-costume" <h-costume@indra.com>
Subject: H-COST: Fabric Club
Date: Thu, 25 Feb 1999 19:01:27 -0500
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-Poster: "TC Carstensen" <eccentri@sprynet.com>

This is a multi-part message in MIME format.

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Has anyone had any experience ordering from www.fabricclub.com?   I am =
having problems with them regarding an order that should have been here =
half a week ago.  Ordinarily, I would figure the problem is with the =
post office, but  "help" I've gotten from their customer service has =
been so questionable that I'm not convinced that they shipped it when =
they said they did.  It's not a good sign when you have to e-mail a =
company twice over 2 days (they responded to the first one saying that =
they'd have to check on it) and follow it up with a phone call before =
they'll tell you the status of your order.  OTOH, if most people have =
had good experiences with them, I'll give them the benefit of the doubt.

What really aggravates me is that this material was for a 1930's-style =
bias cut evening gown that I have have been dying to make for years.  I =
found out on short notice that I have to work at a high profile =
fundraiser this weekend, which is probably the only opportunity I'd have =
to wear something like that aside from New Year's Eve 1999.   I was so =
excited to finally have an excuse to make that dress!  Now there's no =
way I'll be able to finish it in time even if the material does show up =
tomorrow.  Thank heavens I have some gorgeous blue silk in my fabric =
stash for Plan B - a mid-1920's evening gown which I will be making off =
of a vintage pattern.



TC Carstensen, the frustrated

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<META content=3D'"MSHTML 5.00.0910.1309"' name=3DGENERATOR></HEAD>
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<DIV><FONT size=3D2>Has anyone had any experience ordering from <A=20
href=3D"http://www.fabricclub.com">www.fabricclub.com</A>?&nbsp;&nbsp; I =
am having=20
problems with them regarding an order that should have been here half a =
week=20
ago.&nbsp; Ordinarily, I would figure the problem is with the post =
office,=20
but&nbsp; &quot;help&quot; I've gotten from their customer service has =
been so=20
questionable that I'm not convinced that they shipped it when they said =
they=20
did.&nbsp; It's not a good sign when you have to e-mail a company twice =
over 2=20
days (they responded to the first one saying that they'd have to check =
on it)=20
and follow it up with a phone call before they'll tell you the status of =
your=20
order.&nbsp; OTOH, if most people have had good experiences with them, =
I'll give=20
them the benefit of the doubt.</FONT></DIV>
<DIV>&nbsp;</DIV>
<DIV>What really aggravates me is that this material was for a =
1930's-style bias=20
cut evening gown that I have have been dying to make for years.&nbsp; I =
found=20
out on short notice that I have to work at a high profile fundraiser =
this=20
weekend, which is probably the only opportunity I'd have to wear =
something like=20
that aside from New Year's Eve 1999.&nbsp;&nbsp; I was so excited to =
finally=20
have an excuse to make that dress!&nbsp; Now there's no way I'll be able =
to=20
finish it in time even if the material does show up tomorrow.&nbsp; =
Thank=20
heavens I have some gorgeous blue silk in my fabric stash for Plan B - a =

mid-1920's evening gown which I will be making off of a vintage =
pattern.</DIV>
<DIV>&nbsp;</DIV>
<DIV>&nbsp;</DIV>
<DIV>&nbsp;</DIV>
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Subject: H-COST: drawstrings in the leine
Date: Thu, 25 Feb 99 16:12:02 -0800
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-Poster: Gail DeCamp <gdecamp@best.com>



I talked to the RPFN Scots costume expert (Clovis Carleton) in about
1992 or so; she said that they'd originally done the pleated bagpipe
sleeves.... until someone washed a leine after a hard weekend and was 
hanging it out to dry when a really large and vicious-looking bug (I
believe it was a potato bug) crawled out of one of the sleeve pleats. 

Yes, this is after the garment had already been through the washer. 

This induced the entire scots guild to begin making leines that gathered
on a string, and could be stretched out completely when washed. 

Cheers!

Gail

(Disclaimer: This is the way I remember it; anyone who remembers
it more accurately is welcome to correct me!)

>AFAIK the use of drawstrings developed out of the Renfaire community.
>As I recall being told, people at first came up with it as a way to
>roughly imitate the pleats (which from my mother's research on the
>subject were supposed to be carefully laid in place and occasionally
>secured/decorated/highlighted with a piece of braid, a strip of
>embriodery or trim of some kind but most often left plain) without
>having to do the hard work of stitching them individually in place.
>Kind of a quick n' easy, trim built-in machine method. Later, the
>convenience and utility of the drawstring was discovered - the sleeves
>can be pulled up further (besides being pulled back and tucked into
>the belt) for washing dishes and other messy tasks, or for cooling off
>a bit in the heat that is usual at faires in the US. They could also
>be let down a bit for warmth in event of a cold day.



Dogs come when you call them. Cats have answering machines.  

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-Poster: Merouda of Bornover <keltia@serv.net>


--------------32C9B34E0DE309BAF482ED97
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> Has anyone had any experience ordering from www.fabricclub.com?
>
>From what I can tell, the folks from the list who have ordered from
fabricclub have been quite happy with their orders.


>  I found out on short notice that I have to work at a high profile
> fundraiser this weekend,
>

I have discovered after crushing disappoint to *never* depend on mail
order if I have a deadline.  I think, by law, they have 6-8 weeks to
deliver something.  We should never expect something in a very short
time, even though most vendors *do* mail things right away.


> Thank
> heavens I have some gorgeous blue silk in my fabric stash for Plan B - a mid-1920's evening gown
> which I will be making off of a vintage pattern.
>

That's what fabric stashes are all about.  *g*

Cynthia
--
Cynthia Long
Merouda of Bornover
Barony of Madrone
Kingdom of An Tir


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<BLOCKQUOTE TYPE=CITE>
<PRE>Has anyone had any experience ordering from www.fabricclub.com?</PRE>
</BLOCKQUOTE>
>From what I can tell, the folks from the list who have ordered from fabricclub
have been quite happy with their orders.
<BR>&nbsp;
<BLOCKQUOTE TYPE=CITE>
<PRE>&nbsp;I found out on short notice that I have to work at a high profile
fundraiser this weekend,</PRE>
</BLOCKQUOTE>
&nbsp;
<BR>I have discovered after crushing disappoint to *never* depend on mail
order if I have a deadline.&nbsp; I think, by law, they have 6-8 weeks
to deliver something.&nbsp; We should never expect something in a very
short time, even though most vendors *do* mail things right away.
<BR>&nbsp;
<BLOCKQUOTE TYPE=CITE>
<PRE>Thank
heavens I have some gorgeous blue silk in my fabric stash for Plan B - a mid-1920's evening gown
which I will be making off of a vintage pattern.</PRE>
</BLOCKQUOTE>
&nbsp;
<BR>That's what fabric stashes are all about.&nbsp; *g*

<P>Cynthia
<BR>--
<BR>Cynthia Long
<BR>Merouda of Bornover
<BR>Barony of Madrone
<BR>Kingdom of An Tir
<BR>&nbsp;
</BODY>
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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: Figuring out Elizabethan (long)
Date: Thu, 25 Feb 1999 19:28:06 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

It's my understanding that the modern style self-fabric
waistband dates from about 1630 or 1640, a generation after
Elizabeth I.  In the Elizabethan period, re: tapes, I think
we are talking about an anchoring device for pleats, a way
of dealing with the top of a petticoat or an apron, no?
Hope H. Dunlap

-----Original Message-----
From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
Behalf Of aleed
Sent: Thursday, February 25, 1999 2:19 PM
To: h-costume@indra.com
Subject: RE: H-COST: Figuring out elizabethan (long)



-Poster: aleed <aleed@dnaco.net>


Does anyone know of period descriptions/images/material
items showing
waistbands of any kind?  I've been looking, but can't find
them.
Drea



On Wed, 24 Feb 1999, Hope H. Dunlap wrote:

>
> -Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>
>
>     >My understanding of the "waistband" used for
> a women's skirt/kirtle/petticoat is more of a bias type
> strip running along
> the top, anchoring the pleats.
> More than likely this was not a bias cut strip of self
> fabric, but a tape, woven on a little tape loom. Stronger,
> no stretch, and less wasteful of material.  Sometimes
folded
> over the top of the gathers and sometimes just used flat.
> Hope H. Dunlap
>
> -----Original Message-----
> From: owner-h-costume@indra.com
> [mailto:owner-h-costume@indra.com]On
> Behalf Of Danielle Nunn
> Sent: Wednesday, February 24, 1999 8:28 PM
> To: h-costume@indra.com
> Subject: Re: H-COST: Figuring out elizabethan (long)
>
>
>
> -Poster: Danielle Nunn <dnunn@interlog.com>
>
> Greetings,
>
> >I'm going to be taking the plunge soon and start working
on
> elizabethans for
> >myself.
>
> Congratulations and have fun!
>
> >I've been starting with reviewing Janet Arnold's
"Pattern's
> of Fashion,...
> >c1560-1620" and Juan de Alcega's "Tailor's Pattern Book
> 1589".
>
> Excellent sources.
>
> >I'm confused by the use of the term Janet uses: "gown".
To
> me the term
> >'gown' infers that the skirt and bodice are joined, which
I
> guess is a
> >modern interpretation.
>
> >From my research I've found that a lot/most of them were
one
> piece.  For
> example, most of the ones in Arnold are one piece.  Also,
in
> my research I
> have seen no evidence of waistbands as we know them now
used
> on women's
> garments in the 16th century (the earliest I document is
> 1615 approx.) I
> would be further inclined to believe in the majority being
> an attached
> bodice and skirt.  Given the fact that the waistline on
> bodices was cut to
> the "natural waist" there would be a gap between bodice
and
> skirt.
>
> >A friend told me that the use of the term 'gown' by Janet
> was to convey the
> >'outfit in entirety' (pair of bodies, overskirt,
> petticoat), and not the
> >modern interpretation of joined at the waist seam.
>
> I never seen evidence for this interpretation.  In fact
> certain entries (I
> don't have handy right now) in "Lost From Her Majesty's
> Back" leed me to
> believe it is a single garment/layer.
>
> >To further confuse me, Janet does give great details for
> doublets,
> >foreparts, petticoats (skirts), 'pair of bodies',
> farthingales, corsets and
> >all the pictures of construction, tabs, and boning.  In
her
> schematics, she
> >seems to include all the little details of the 'outer
> shell' of the extant
> >garments, but I don't seem to see any waistbands for the
> skirts.  Is it
> >because it's presumed that the reader would know?  Or is
it
> because the
> >specific references are *not* 'english' elizabethan?  Or
> does that even
> >matter?
>
> It is because modern waistbands do not appear to be used
in
> 16th century
> England on women's garments.  My understanding of the
> "waistband" used for
> a women's skirt/kirtle/petticoat is more of a bias type
> strip running along
> the top, anchoring the pleats.
>
> >I'll list only a *few* specifics from each of the books,
> where the confusion
> >starts:
> >
> >Page 40 caption for picture 286  "Back of Eleanora of
> Toledo's satin bodice
> >from the gown in which she was buried (pages 102-4),
> Beneath it are
> >fragments of her red velvet bodice or 'pair of bodies'
> which fastened at the
> >front with hooks and eyes.  Palazzo Pitti, Florence"
> >
> >Page 42, picture & caption 297 "Velvet gown on pages
105-6
> worn by Grafin
> >Katharina zur Lippe when she was buried, aged six, in
1600,
> Lippisches
> >Landesmuseumm, Detmold."
> >
> >Page 47, picture & caption 334 "  Rich russet velvet gown
> worn by
> >Pfalzgrafin Dorothea Sabina von Neuberg, with a petticoat
> of soft green silk
> >(pages 113-14), 1598. Bayerisches Nationalmuseum,
Munich."
> >
> >Page 48 Pictures & captions from 340 & 341
> >
> >340:  "Cut and uncut patterned velvet gown on pages 115 -
> 16 worn by
> >Pfalzgrafin Dorothea Maria von Sulzbach.  The deep
shoulder
> wings are
> >trimmed with wilk braid.  The cut is similare to gowns in
> the Spanish
> >tailor's books (fig 36)..."
>
> This to me is very straight forward.  She is referring to
> the gown as a
> "dress" in its entireity (sp?) - a combination of skirt
and
> bodice with or
> without sleeves.
>
> >341:  It's actually the picture in this case that is
> causing confusion.  The
> >caption is about the silk braid, but when I look at the
> picture, it looks
> >like the skirt and bodice are sewn together at the seam.
> Does anyone have a
> >better picture?
>
> They ARE sewn together.
>
> >In Juan's book, in the "Main Notes", # 33 :  " Manteo, a
> semi-circular
> >intermediate skirt, also called a Faldlin.  It had a
> waist-band and was
> >sometimes reversible, oopen in front or worn inside out
(de
> vuelta).  It wa
> >worn over the basic undergarment, the shift, and under
the
> outer skirt
> >(vasquina), kirtle, or saya, petticoat or skirt with
> bodice. (Bernis, 1962,
> >pp. 96, 107)
> >
> >On page 47, f.63, the caption for the pattern lay out is:
> "Skirt and bodice
> >of cloth with puffed sleeves."
> >
> >Same page, f.63a & 64, the captions read, " Skirt [with
> bodice] of cloth for
> >a woman."
> >
> >I noticed in the layouts he doesn't show the layouts for
> the small stuff
> >like the tabs, armsceyes wings and he doesn't specify
them
> either, generally
> >saying trims are cut out of the cabbage.  Again, does he
> presume then that
> >the user of his patterns would know that the skirt would
go
> on a waistband?
> >
> >These books seems to support my thoughts that the bodice
> and the skirt are
> >*sometimes* joined, but don't want to jump to
conclusions.
> So I thought I'd
> >put my questions before the collective knowledge of this
> list.
>
> I've come to the understanding from my research that the
> skirt and bodice
> for the outer layers were usually joined.  Jerkins are an
> exception.  They
> were a discrete article of clothing.  It seems to me that
it
> was the
> petticoat or kirtle layer where things were sometimes
> separate.  Things
> like safeguards being an exception - a skirt by itself on
> the outside.
>
> >I'll keep looking for other sources and review the
> inventory in QEWU and see
> >what I find there, too.
>
> Good luck and have fun digging.  I hope this helped.  If
you
> have any
> questions, please feel free to e-mail me privately.
>
> Cheers,
> Danielle
> dnunn@interlog.com
>
>
>
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>
>
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From owner-h-costume@indra.com  Thu Feb 25 21:05:53 1999
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From: "TC Carstensen" <eccentri@sprynet.com>
To: <h-costume@indra.com>
Subject: Re: H-COST: Fabric Club
Date: Thu, 25 Feb 1999 21:05:01 -0500
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-Poster: "TC Carstensen" <eccentri@sprynet.com>

This is a multi-part message in MIME format.

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From: Merouda of Bornover  wrote:
>I have discovered after crushing disappoint to *never* depend on mail =
order if I have a >deadline. =20

Yeah, I knew I was taking a risk.  Fabric Club's excellent prices were =
too much of a temptation, though.  I would not have been able to make =
the dress at all if I bought the cloth locally.  I had to buy some extra =
velvet tonight for plan B, and even at 25 percent off, I still paid =
twice what it cost per yard for the velvet I bought from Fabric Club.

>I think, by law, they have 6-8 weeks to deliver something.  We should =
never expect >something in a very short time, even though most vendors =
*do* mail things right away =20

I think there's some corollary to Murphy's Law about the amount of time =
it takes for material to arrive is inversely proportional to how soon =
you will be able to or need to do anything with it.  :/

Oh, well.  Assuming my order hasn't been completely lost by the post =
office, this does give me a really big head start for getting the dress =
done in time for New Year's Eve.


TC Carstensen

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<META content=3Dtext/html;charset=3DWindows-1252 =
http-equiv=3DContent-Type>
<STYLE></STYLE>

<META content=3D'"MSHTML 5.00.0910.1309"' name=3DGENERATOR></HEAD>
<BODY bgColor=3D#ffffff>
<DIV><B>From:</B> <A href=3D"mailto:keltia@serv.net" =
title=3Dkeltia@serv.net>Merouda=20
of Bornover</A>&nbsp; wrote:<BR>&gt;I have discovered after crushing =
disappoint=20
to *never* depend on mail order if I have a &gt;deadline.&nbsp; </DIV>
<DIV>&nbsp;</DIV>
<DIV><FONT size=3D2>Yeah, I knew I was taking a risk.&nbsp; Fabric =
Club's=20
excellent prices were too much of a temptation, though.&nbsp; I would =
not have=20
been able to make the dress at all if I bought the cloth locally.&nbsp; =
I had to=20
buy some extra velvet tonight for plan B, and even at 25 percent off, I =
still=20
paid twice what it cost per yard for the velvet I bought from Fabric=20
Club.</FONT></DIV>
<DIV>&nbsp;</DIV>
<DIV>&gt;I think, by law, they have 6-8 weeks to deliver =
something.&nbsp; We=20
should never expect &gt;something in a very short time, even though most =
vendors=20
*do* mail things right away&nbsp; </DIV>
<DIV>&nbsp;</DIV>
<DIV>I think there's some corollary to Murphy's Law about the amount of =
time it=20
takes for material to arrive is inversely proportional to how soon you =
will be=20
able to or need to do anything with it.&nbsp; :/</DIV>
<DIV>&nbsp;</DIV>
<DIV>Oh, well.&nbsp; Assuming my order hasn't been completely lost by =
the post=20
office, this does give me a really big head start for getting the dress =
done in=20
time for New Year's Eve.</DIV>
<DIV>&nbsp;</DIV>
<DIV>&nbsp;</DIV>
<DIV>TC Carstensen</DIV></BODY></HTML>

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-Poster: Betsy Delaney <betsy@hawkeswood.com>

Hi all!

Since people have asked about CC17, I thought I would send an update to
the lists, to let you know that the competition participant/award lists,
dealer list, program list, and concom list are all available now on the
website.

Find out just exactly what's new by visiting:

	http://www.Costume-Con.org/whatsnew.html

You'll also find the official vote count for Costume-Con 20. In case you
haven't figured it out by now, we're going to Australia in 2002!

Please let me know if you find any errors or mis-attributions in the
site.

Thanks!

Your humble Webmistress,

-betsy

--
Betsy R. Delaney
Webmistress at large
************************************************************************
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Date: Thu, 25 Feb 1999 20:38:29 -0500
To: h-costume@indra.com
From: Danielle Nunn <dnunn@interlog.com>
Subject: RE: H-COST: Figuring out elizabethan 
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-Poster: Danielle Nunn <dnunn@interlog.com>

Greetings,

>>My understanding of the "waistband" used for
>>a women's skirt/kirtle/petticoat is more of a bias type
>>strip running along
>>the top, anchoring the pleats.

>More than likely this was not a bias cut strip of self
>fabric, but a tape, woven on a little tape loom. Stronger,
>no stretch, and less wasteful of material.  Sometimes folded
>over the top of the gathers and sometimes just used flat.
>Hope H. Dunlap

Actually, there is mention in Alcega of cutting the waistband out of the
"cabbage" or scraps.  However, I kind of had "bias" in my head because I've
been using bias tape recently. :)  It doesn't actually specify in which
direction the band would be cut.

Cheers,
Danielle

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Date: Thu, 25 Feb 1999 21:49:55 -0500
To: h-costume@indra.com
From: Danielle Nunn <dnunn@interlog.com>
Subject: H-COST: Re: hats
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-Poster: Danielle Nunn <dnunn@interlog.com>

Greetings Gregory,

How are you?  Are you still willing to do the hat box and hat swap?  I
haven't heard back from you so I would just like to know.

Cheers,
Danielle

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Date: Thu, 25 Feb 1999 21:35:52 -0500
To: h-costume@indra.com
From: Danielle Nunn <dnunn@interlog.com>
Subject: RE: H-COST: Neck Ruffs - sources (long)
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-Poster: Danielle Nunn <dnunn@interlog.com>

Greetings,

>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
   

Since it had been demanded that I show examples of different ruff styles
and my first reply to this didn't seem to make it to the list (did anyone
see it?).  I have re-compiled a short list of pictures.

Ashelford, Jane:  A Visual History of Costume, The Sixteenth Century,
London 1983

page#	fig.	descripition
	
63	55	Unknown Lady, 1557 by H. Eworth.  This is obviously a large ruffle.
It appears (under magnification) to be edged in bobbin lace, a tight
button-hole type stitch, or a cord.  The wrist "ruffs" match.

66	58	Unknown Lady, 1560 by H. Eworth.  This is two layers of "figure 8"
type ruff which are embroidered.  The wrist ruffs match.  It is interesting
to note the tapering of the "figure 8s."

70	62	Sir Thomas Throckmorton, c. 1562, Unknown artist.  His ruff is a
single layer of "figure 8s" with matching wrist ruffs.  It appears (under
magnification) to be edged in bobbin lace.  The edge of the band is visible
on the left hand side but, the form of attachment isn't visible even under
magnification.

71	63	Henry Stuart, Lord Darnley and Charles Stuart, Earl of Lennox, 1563.
by H. Eworth.  Their ruffs are single layers of "figure 8s" with matching
wrist ruffs.  It is interesting to note how dark Charles Stuart's ruffs
are.  They are either coloured or HEAVILY ornamented.  The interesting
thing about Henry's is the cords hanging.  They suggest that the ruff was
tied.

colour 106	Lettice Knollys, Countess of Leicseter, c.1585, attr. George
Gower.  She is wearing a large "accordian pleated" (not a technical term, I
just thought it fit) ruff which is butted against the band and is probably,
"cartridge" pleated to the top edge of the band.  Her wrist ruffs are
turned back lawn or gauze which appears to be embroidered.

74	68	Edward Windsor, 3rd Baron Windsor, c. 1568, A. Mor (attr.) He is
wearing an embroidered falling band.

103	109	Unknown girl, 1587, J. Bettes.  She is also wearing a large pleated
ruff which is butted against the band and is probably, "cartridge" pleated
to the top edge of the band.  Note the large gap between the collar of her
smock and the ruff band.

116	123	Unknown girl, 1590, I. Oliver.  This little girl is wearing a
lovely box pleated ruff which has a narrow lace edge.  Her wrist ruffs are
turned back fabric edged in lace.


Arnold, Janet:  Patterns of Fashion, The Cut and Construction of Clothes
for Men and Women c.1560-1620, London 1985

page#	fig.	descripition

29	200	Richard Sackville, 3rd Earl of Dorset, c.1613, attr. William Larkin.
 He is wearing a large flat falling band worn over a supportasse.  (The
supportasse isn't evident but, I have seen pictures of an extant one which
was almost identical.)

47	332	Bianca Capelle, c. 1570, Bronzino.  She is wearing a "figure 8" type
ruff where the top edge of the band is clearly visible.  It is equally
clear that the ruff was gathered slightly before being pleated.

50	354	Kneeling effigy of Magdalen, wife of Edward Lord Bruce of Kinloss,
1610.  It is extremely evident from the 3/4 back view that the deeply
pleated ruff was not gathered into the top of the band but attached most
likely in a cartridge pleat fashion.


These were a bunch of different examples from only two books, do I need to
go on?  I hope this helps.

Cheers,
Danielle


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Date: Thu, 25 Feb 1999 20:41:03 -0500
To: h-costume@indra.com
From: Danielle Nunn <dnunn@interlog.com>
Subject: RE: H-COST: Figuring out elizabethan (long)
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-Poster: Danielle Nunn <dnunn@interlog.com>

Greetings,

>Does anyone know of period descriptions/images/material items showing
>waistbands of any kind?  I've been looking, but can't find them.
>Drea

Not before 1615 for women's clothing.  The closest there is, is the skirt
in "Patterns of Fashion" on page 49, figure 351.  The waistband appears to
have been added later according to Arnold.

Cheers,
Danielle

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-Poster: kat@grendal.rain.com


> >Does anyone know of period descriptions/images/material items showing
> >waistbands of any kind?  I've been looking, but can't find them.
> Not before 1615 for women's clothing.  The closest there is, is the skirt
> in "Patterns of Fashion" on page 49, figure 351.  The waistband appears to
> have been added later according to Arnold.

In Alcega's Tailors Pattern Book 1589 facsimile they discuss how to 
cut a waistband for a woman's skirt. 

 
Kat 

Kat(June Russell)
kat@grendal.rain.com
Heu! Tintinnuntius meus Sonat!
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From: "Kyna Grannd" <kynagrannd@granndgarb.com>
To: <h-costume@indra.com>
Subject: Re: H-COST: Fabric Club
Date: Thu, 25 Feb 1999 23:05:43 -0500
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-Poster: "Kyna Grannd" <kynagrannd@granndgarb.com>

This is a multi-part message in MIME format.

------=_NextPart_000_0268_01BE6113.5F0FDAA0
Content-Type: text/plain;
	charset="Windows-1252"
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I've discovered that calling in orders and having them run and check =
stock works better sometimes for something important. I'm not sure if =
it's that they are afraid to lose the sale or what...but if they run out =
and need to reorder...or don't have anymore in stock but are waiting for =
a shipment "any day"...they don't notify you :\

I've started requesting in the comments area when I order online...that =
they please notify me if something is on back order and not hold the =
rest of the shipment...that I'll pay any difference in shipping by =
sending items separate. This seems to have worked better too. I now get =
a call if they only have such and such yardage left rather than what I =
want...do I want it or want to wait for the reorder.=20

Meanwhile, things they have had in stock, I've received right =
away...within 4 days of calling them about it. But the prices are good =
:)

~Kyna
   =20
    From: Merouda of Bornover  wrote:
   =20
   =20
    >I think, by law, they have 6-8 weeks to deliver something.  We =
should never expect >something in a very short time, even though most =
vendors *do* mail things right away =20
   =20
    I think there's some corollary to Murphy's Law about the amount of =
time it takes for material to arrive is inversely proportional to how =
soon you will be able to or need to do anything with it.  :/
   =20
    Oh, well.  Assuming my order hasn't been completely lost by the post =
office, this does give me a really big head start for getting the dress =
done in time for New Year's Eve.
   =20
   =20
    TC Carstensen


------=_NextPart_000_0268_01BE6113.5F0FDAA0
Content-Type: text/html;
	charset="Windows-1252"
Content-Transfer-Encoding: quoted-printable

<!DOCTYPE HTML PUBLIC "-//W3C//DTD W3 HTML//EN">
<HTML>
<HEAD>

<META content=3Dtext/html;charset=3Diso-8859-1 =
http-equiv=3DContent-Type><!DOCTYPE HTML PUBLIC "-//W3C//DTD W3 =
HTML//EN">
<STYLE></STYLE>

<META content=3D'"MSHTML 4.72.3612.1700"' name=3DGENERATOR>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT color=3D#000000 size=3D2>I've discovered that calling in =
orders and=20
having them run and check stock works better sometimes for something =
important.=20
I'm not sure if it's that they are afraid to lose the sale or what...but =
if they=20
run out and need to reorder...or don't have anymore in stock but are =
waiting for=20
a shipment &quot;any day&quot;...they don't notify you :\</FONT></DIV>
<DIV><FONT color=3D#000000 size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT size=3D2>I've started requesting in the comments area when I =
order=20
online...that they please notify me if something is on back order and =
not hold=20
the rest of the shipment...that I'll pay any difference in shipping by =
sending=20
items separate. This seems to have worked better too. I now get a call =
if they=20
only have such and such yardage left rather than what I want...do I want =
it or=20
want to wait for the reorder. </FONT></DIV>
<DIV><FONT size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT size=3D2>Meanwhile, things they have had in stock, I've =
received right=20
away...within 4 days of calling them about it. But the prices are good=20
:)</FONT></DIV>
<DIV><FONT size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT size=3D2>~Kyna</FONT></DIV>
<BLOCKQUOTE=20
style=3D"BORDER-LEFT: #000000 solid 2px; MARGIN-LEFT: 5px; PADDING-LEFT: =
5px">
    <DIV><FONT face=3DArial size=3D2>&nbsp;</DIV></FONT>
    <DIV><B>From:</B> <A href=3D"mailto:keltia@serv.net"=20
    title=3Dkeltia@serv.net>Merouda of Bornover</A>&nbsp; =
wrote:<BR></DIV>
    <DIV>&nbsp;</DIV>
    <DIV>&gt;I think, by law, they have 6-8 weeks to deliver =
something.&nbsp; We=20
    should never expect &gt;something in a very short time, even though =
most=20
    vendors *do* mail things right away&nbsp; </DIV>
    <DIV>&nbsp;</DIV>
    <DIV>I think there's some corollary to Murphy's Law about the amount =
of time=20
    it takes for material to arrive is inversely proportional to how =
soon you=20
    will be able to or need to do anything with it.&nbsp; :/</DIV>
    <DIV>&nbsp;</DIV>
    <DIV>Oh, well.&nbsp; Assuming my order hasn't been completely lost =
by the=20
    post office, this does give me a really big head start for getting =
the dress=20
    done in time for New Year's Eve.</DIV>
    <DIV>&nbsp;</DIV>
    <DIV>&nbsp;</DIV>
    <DIV>TC Carstensen</DIV>
    <DIV>&nbsp;</DIV></BLOCKQUOTE></BODY></HTML>

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From: "Gia Gavino-Gattshall" <ggavino@serv.net>
To: <h-costume@indra.com>
Subject: Re: H-COST: Figuring out elizabethan waistbands
Date: Thu, 25 Feb 1999 20:27:09 -0800
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-Poster: "Gia Gavino-Gattshall" <ggavino@serv.net>

To add to this, in Juan's tailoring book only the layout diagrams f55 (skirt
of cloth for woman), f55a (skirt for a woman) and f56 (A narrow skirt of
cloth) seem to have specific references to "waistband" (faxa) to be cut out
of a remnant.

The spanish word is 'manteo' which is being translated into skirt.

Then there's the Main Notes #33, which I included in my original post:
"Manteo: A semi circular intermediate skirt, also called a faldellin. It had
a waistband and was sometimes reversible, open in front or worn inside out
(de vuelta). It was worn over the basic undergarment, the shift, and under
the outer skirt (vasquina), kirtle, or 'saya', petticoat or skirt with
bodice..."

This book is written (or so it says on the cover) 1589.  So I get the idea
that maybe waistbands were used at least at this point in time.

Would it make a difference that the layout book is "Spanish"?  I think there
are a few mentions in QEWU about QE wanting to find a french tailor, and a
few mentions of things cut in the 'spanish', 'french' etc. manner.

Gia/Giacinta
a confused costumer learning *alot*!!!



>
>-Poster: Danielle Nunn <dnunn@interlog.com>
>
>Greetings,
>
>>Does anyone know of period descriptions/images/material items showing
>>waistbands of any kind?  I've been looking, but can't find them.
>>Drea
>
>Not before 1615 for women's clothing.  The closest there is, is the skirt
>in "Patterns of Fashion" on page 49, figure 351.  The waistband appears to
>have been added later according to Arnold.
>
>Cheers,
>Danielle
>
> _________________________________________________________________
> To leave this mailing list, send mail to majordomo@indra.com
> with the message UNSUBSCRIBE H-COSTUME
>

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-Poster: MaggiRos@aol.com

In a message dated 2/22/99 9:59:14 AM Pacific Standard Time,
margo@directcon.net writes:

> 
>  >-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>
>  >
>  >The use of drawstrings is something I can't comment on, but
>  >period writings and illustrations definitely support lots of
>  >fabric, pleats and more pleats. 
>  
>  Yes, but where?  The pictures I've seen don't support the modern version
>  with pleats along the top of the arm.  Several of these pictures show the
>  top of the arm quite clearly, and all I see there are folds of fabric,
>  exactly what would result if you took a wide, wrist length sleeve and
pushed
>  it  up toward your elbow.   

Yes, exactly. There are comments about pleats, but the pleats over the sleeve
are an invention of the Renaissance Pleasure Faires in California. I watched
it happen, and even helped it along by publishing an article in the SCA's
Tournaments Illuminated.  Once or twice a year now I have to both apologize
and try to talk people out of using that article as primary documentation.
<g>

Too, we always have to face the problem of translation in costume research.
Which garment was pleated? "Manifoldly pleated" isn't it? Well, if there's a
lot of fabric in the body of the leine, it's going to "pleat" under the belt.
So will a brat or even (she said carefully) something the might be mistaken
for a great kilt.   

There's no evidence for pleating on top of the arm. It's most useful to
actually cut the sleeve to finish shorter than shoulder to wrist.  The
drawstring trick was a specific invention of Clan MacColin's washer women
"working the well" at Southern Faire back in the late 70s-early 80s. And they
told two friends. And they told two friends....  

MaggiRos
or
Mairghread-Ros FitzGarret of Desmond, etc etc
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From owner-h-costume@indra.com  Fri Feb 26 06:04:59 1999
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-Poster: AnnBWass@aol.com

Actually, the mail order rule requires that goods be delivered within 30 days,
or you must be notified of the delay.  BUT this only applies if YOU order by
mail, not by phone, e-mail, etc.
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From owner-h-costume@indra.com  Fri Feb 26 08:37:46 1999
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-Poster: trekona@erols.com

Hi folks-
    I need some help documenting 'raw' silk. I know that it is properly called 
silk noile, and I know that it is a fairly modern fabric. Now I need to 
convince someone else who believes that it is the original 'old' silk! Thanks 
in advance.
    -Judy Mitchell

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From owner-h-costume@indra.com  Fri Feb 26 09:24:51 1999
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Date: Fri, 26 Feb 1999 09:46:56 +0000
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-Poster: margo king <mkings@earthlink.net>

Dear List - My son has a Bar Mitzvah to go to and the party is a 50's
theme. My brain is dead - I can come up with the 'Grease' look - jeans,
t-shirt but....my son is not fond of jeans..any suggestions, ideas? 
Many thanks!  Margo King

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From owner-h-costume@indra.com  Fri Feb 26 10:55:27 1999
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From: "Gregory Stapleton" <gregsta@perigee.net>
To: <h-costume@indra.com>
Subject: RE: H-COST: Re: 50's HELP!
Date: Fri, 26 Feb 1999 10:52:40 -0500
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-Poster: "Gregory Stapleton" <gregsta@perigee.net>

How about a sharp "sharkskin" suit with an appropriate hat, alla Frank
Sinatra and the Rat Pack?  Kind of a gangster look....

Gawain / Gregory

> -----Original Message-----
> From: owner-h-costume@indra.com [mailto:owner-h-costume@indra.com]On
> Behalf Of margo king
> Sent: Friday, February 26, 1999 4:47 AM
> To: h-costume@indra.com
> Subject: H-COST: Re: 50's HELP!
>
>
>
> -Poster: margo king <mkings@earthlink.net>
>
> Dear List - My son has a Bar Mitzvah to go to and the party is a 50's
> theme. My brain is dead - I can come up with the 'Grease' look - jeans,
> t-shirt but....my son is not fond of jeans..any suggestions, ideas?
> Many thanks!  Margo King
>
>  _________________________________________________________________
>  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 Feb 26 12:04:18 1999
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Subject: H-COST: Russian costume
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-Poster: "David W. Rickman" <drickman@state.de.us>


Hello, 

I am looking for someone[s] who knows Russian folk costume. Best of all would 
be someone who speaks and/or reads Russian, because I am trying to find out 
the meaning of certain terms for articles of clothing. This is in connection 
with the Fort Ross Apparel Project. Thanks.

David


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From owner-h-costume@indra.com  Fri Feb 26 12:10:04 1999
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From: Elizabeth Lear <eliz@indra.com>
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-Poster: Elizabeth Lear <eliz>

<I am looking for someone[s] who knows Russian folk costume. Best of all would 
<be someone who speaks and/or reads Russian, because I am trying to find out 
<the meaning of certain terms for articles of clothing. This is in connection 
<with the Fort Ross Apparel Project. Thanks.

I suggest you contact the SIG mailing list at

	sig@room17.com

The SIG is the Slavic Interest Group of the SCA, and the members are
all researchers/recreators of pre-17th C life in the Slavic countries
and their neighbors.  Several of the members also speak and read
Russian.

Depending on the articles, you may also find them defined in some of
the references I've put on my web site:

	http://www.indra.com/~eliz/sca.html

					...eliz
					(SCA: Yelizaveta Medvedeva)
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From owner-h-costume@indra.com  Fri Feb 26 12:41:52 1999
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Date: Fri, 26 Feb 1999 09:16:57 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: Re: H-COST: "Scarlett Fever"
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>


>>I have seen the painting they got that ruffled white dress with the short
>>sleeves from.  Unfortunately it's period (shudder).
>
>Do you mean the white one with red trimmings she wears in the first scene?
>That's amazing.  It looks SO 1938 to me.

It looks that way to me too.  If I hadn't seen this painting I wouldn't
have believed it either.  Of course it's the only example I have ever seen,
and of course that's the one they picked.  I don't remember the trim, as
this isn't my favourite film.  


Kayta
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From owner-h-costume@indra.com  Fri Feb 26 12:42:16 1999
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Date: Fri, 26 Feb 1999 09:22:18 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: Re: H-COST: 16th C stomachers
In-Reply-To: <MAPI.Id.0016.00617264636f72703030303930303039@MAPI.to.RFC8
 22>
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>


>> >  Beating Digby's drum again, he shows several surviving stomachers
>> >in his "Elizabethan Embroidery".....
>>
>> After reading your post I rushed to my copy to see these stomachers.  I
>> couldn't find them.  Which illos are you calling stomachers?
>
>  Alas and alack, the Library Police descended upon me and took my ILL
>copy back (and said harsh words...<G>) so I can't give numbers....  I only
>remember that he has several items so designated, some paired with matching
>sleeves.

I read somebody else's post about this, and looked in the back of the illo
section where all the cushions were.  Ills 36 and 37 include the
stomachers.  They weren't where I first looked for them up in front of the
section with the sweet bags.


Kayta
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From owner-h-costume@indra.com  Fri Feb 26 12:43:15 1999
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Date: Fri, 26 Feb 1999 09:42:03 -0800
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Subject: Re: Subject: H-COST: "Scarlett Fever"
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>


>I have seen the painting they got that ruffled white dress with the
>short
>sleeves from.  Unfortunately it's period (shudder).
>
>I sure hope it was on a rich young girl. The major complaint isn't so
>much with the BBQ dress itself (although it is rather 'unique') so much
>as the fact that women who could have daughters and even granddaughters
>who are 16 years old are wearing their version of it.
>With short sleeves and low neck during the day and a sash and bow at the
>back, it is a teenagers party dress, not something an adult woman would
>wear. After all, Scarlett was only 16 years old at the start of the
>book....
>Vivien Leigh still looked like mutton dressed as a lamb even if she was
>a lovely mutton. ;->
>BTW, where is the painting and who was the artist?

I saw it in Max von Boehn's 'Die Mode, Menschen und Moden im
19.Jahrhundert', the 1843-1878 volume (no ISBN).  I lost my 1919 copy to
someone who borrowed it, and was VERY fortunate in finding a 1963 printing
of it.  I believe it came out in English as well, but that's not the one I
have.  For an older costume book (originally from 1909, I think) it is
invaluable, as it is stuffed with pictures.  Unfortunately my German is not
up to reading the text.

The painting, on page 57, is by Alfred Stevens, and the title of it is 'The
Novel', no date given.  The young lady in the picture looks like maybe a
teenager.  The overall impression is very 1930's - horizontally tucked
bodice with Peter Pan collar and front buttons, pronounced shoulders, hair
in a snood.  


Kayta
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From owner-h-costume@indra.com  Fri Feb 26 12:50:15 1999
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From: "Wylie & Gail" <wyliesmith@isomedia.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: "Scarlett Fever"
Date: Fri, 26 Feb 1999 09:51:36 -0800
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-Poster: "Wylie & Gail" <wyliesmith@isomedia.com>

I feel so stupid, but can someone tell me what movie or picture is being
discussed here? GWTW??
~G

-----Original Message-----
From: owner-h-costume@indra.com [mailto:owner-h-costume@indra.com]On
Behalf Of Carolyn Kayta Barrows
Sent: Friday, 26 February, 1999 09:17
To: h-costume@indra.com
Subject: Re: H-COST: "Scarlett Fever"



-Poster: Carolyn Kayta Barrows <kayta@slip.net>


>>I have seen the painting they got that ruffled white dress with the short
>>sleeves from.  Unfortunately it's period (shudder).
>
>Do you mean the white one with red trimmings she wears in the first scene?
>That's amazing.  It looks SO 1938 to me.

It looks that way to me too.  If I hadn't seen this painting I wouldn't
have believed it either.  Of course it's the only example I have ever seen,
and of course that's the one they picked.  I don't remember the trim, as
this isn't my favourite film.


Kayta
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From owner-h-costume@indra.com  Fri Feb 26 13:05:10 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: A Leine, the correct way
Date: Fri, 26 Feb 1999 12:14:43 -0600
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-Poster: "Abbott, Ruth" <r-abbott@oar-xch1.oar.uiuc.edu>

Ok, I am firmly convinced that the "SCA usual" way to make a leine is
just plain incorrect.  Will someone (MaggiRos, perhap?) please tell us
all the right way to make a leine?  I have mulled this over for a while
and re-examined the evidence I have, and I still come up with the idea
that (at it's most voluminous) a leine had pleats along the shoulders
and down the arm.  Sewn in pleats, I'm thinking, but still pleats.  So,
how would you (anyone that has more complete ideas on this) go about
making one?

Alix
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From owner-h-costume@indra.com  Fri Feb 26 14:22:38 1999
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Date: Fri, 26 Feb 1999 10:49:12 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: Re: H-COST: Theatrical spangles and fringes
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>


>Having been a lurker to this list for some time,
>I'm not at all sure if my question is appropriate.
>Nevertheless, here goes. My interest in matters
>theatrical (Victorian and Edwardian), leads me to
>ask if anyone might know of recent publications
>covering the manufacture and use of spangles,
>bullion fringes and other metal costume adornments
>in the theatre, particularly during the period
>1850 to 1885.

When you find out please let me know.  I want to make an 1880's 'fancy
dress' Medieval which looks like it came from the stock of a theatre, and
have been holding off for years for want of examples.  I have a few
pictures fuzzily showing the use of this gold stuff, but no clear examples.
 I sometimes see antique theatre garments for sale in vintage shops, but
they're mostly from later.


Kayta
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From owner-h-costume@indra.com  Fri Feb 26 14:23:15 1999
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Date: Fri, 26 Feb 1999 11:00:52 -0800
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@slip.net>
Subject: Re: H-COST: Re: 50's HELP!
In-Reply-To: <36D66D89.DC971315@earthlink.net>
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-Poster: Carolyn Kayta Barrows <kayta@slip.net>


>Dear List - My son has a Bar Mitzvah to go to and the party is a 50's
>theme. My brain is dead - I can come up with the 'Grease' look - jeans,
>t-shirt but....my son is not fond of jeans..any suggestions, ideas? 
>Many thanks!  Margo King

Chinos, and a Pat Boone clean cut look?


Kayta
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From owner-h-costume@indra.com  Fri Feb 26 14:23:36 1999
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-Poster: Margo Anderson <margo@directcon.net>

Thanks, everyone.  I have copied this thread, along with older threads from
the archives, to send tothe  person who asked me for information, who is in
charge of a large group of Irish actors at a major event (how's that for
coy) and is considering doing away with leines pleated along the top of the
arm.  If this happens, and other people copy them, and other people copy
THEM, people all over the world might be wearing the correct style in
another 25 years.  About which time new research will be done or old
evidence discovered that will prove that something else about them is all
wrong, and we'll start all over again!

Margo Anderson

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From owner-h-costume@indra.com  Fri Feb 26 14:26:52 1999
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Date: Fri, 26 Feb 1999 13:30:44 -0600 (CST)
From: Emma Elizabeth Lehman <00217146@bigred.unl.edu>
To: h-costume@indra.com
Subject: Re: H-COST: Re: 50's HELP! (fwd)
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-Poster: Emma Elizabeth Lehman <00217146@bigred.unl.edu>


The 50's not being my period, I went to the best authority I know for
help.
Emma

---------- Forwarded message ----------
Date: Fri, 26 Feb 1999 14:13:39 -0500
From: Patricia Voichahoske Lehman <pvl@umich.edu>
To: Emma Elizabeth Lehman <00217146@bigred.unl.edu>, mkings@earthlink.net
Subject: Re: H-COST: Re: 50's HELP! (fwd)

Hi.  I'm Emma's mother.  I'll tell you what guys really wore in the 50's,
which may not be exactly what the other kids at the Bar Mitzvah will
recognize as 50's (most modern kids think the cheerleaders actually wore
Spandex like in Grease.)

The two major non-greaser modes:

(either one would either have a crew-cut or flat-top, or the hair parted,
greased up, and combed to the side and back from a side part.) 

1. The guy who'd go steady with a cheerleader:

- White button-down Oxford cloth shirt.  Tucked in. Top button unbuttoned.
No tie.

- Trousers of gray twill or khaki.  A little loose, but not too big, and
NOT pleated front (that's what uncles wore.)  Definitely with a belt --
leather, black or brown.

- Socks could be argyle or plain, in brown, navy, black. Must wear socks.  

- Shoes would be either ordinary oxford ties or (more stylish) brown penny
loafers.  Boys did not wear pennies. Girls did.  And upper crust boys NEVER
wore tennis shoes in high school unless actually in the gym.  

- He could add a v-neck sleeveless sweater vest in argyle or plain, or a
letter-sweater style cardigan (long sleeves, buttons up to the v-front,
ribbed at wrist and waist.)  It wouldn't have been a cable or other
interesting knit, just simple wool. If you have a letter on the sweater,
even cooler.

2.  The lovable goofball kind of guy.   

- Hawaiian or other ugly print short-sleeved shirt over a white t-shirt
(either regular or tank top), with the top button unbuttoned and (optional)
a pack of cigarettes in the pocket (not rolled in the sleeve).   NOT tucked
in.

- Same pants as above: twill or khaki, plain front, still with a belt.
Five-pocket dark blue Levi jeans would do as well, but your son doesn't
like them, so don't even mention them.

- White gym-type socks, not to the ankle but a bit longer, and not rolled
down.

- Converse high-tops in black or white only. No colors permitted.

- Now here's what would make it a really 50's outfit:   over the baggy,
untucked cotton shirt is a waist-length Eisenhower-style jacket, so the
bottom of the shirt sticks out around the bottom like a little skirt .
Gross!  But as much a part of the look as the underwear showing at the top
of hip-hop baggy pants now.  Even better if it's a black silk jacket your
big brother sent you from Korea, with a dragon embroidered on the back.
But it must end at  the waist.

Neither of the guys I describe would  ever, ever wear a hat of any kind.
No way.  Never.  Un-boy, ungood. 

Hope he has a great time.

If in doubt, just watch Leave it to Beaver.

Tish

 At 11:04 AM 2/26/99 -0600, you wrote:
>
>This is your period, not mine....can you help?
>
>---------- Forwarded message ----------
>Date: Fri, 26 Feb 1999 09:46:56 +0000
>From: margo king <mkings@earthlink.net>
>Reply-To: h-costume@indra.com
>To: h-costume@indra.com
>Subject: H-COST: Re: 50's HELP!
>
>
>-Poster: margo king <mkings@earthlink.net>
>
>Dear List - My son has a Bar Mitzvah to go to and the party is a 50's
>theme. My brain is dead - I can come up with the 'Grease' look - jeans,
>t-shirt but....my son is not fond of jeans..any suggestions, ideas? 
>Many thanks!  Margo King

----------------------------------------------------------------------------
Patricia Voichahoske Lehman 	aka Tish Lehman 
UIS Systems Security 	QA Mgr., M-Pathways        
The University of Michigan	2014 Ad Serv Bldg 1432 

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From owner-h-costume@indra.com  Fri Feb 26 15:29:30 1999
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From: Betsy Perry <betsyp@roguewave.com>
To: "'h-costume@indra.com'" <h-costume@indra.com>
Subject: RE: H-COST: Theatrical spangles and fringes
Date: Fri, 26 Feb 1999 12:35:07 -0800
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-Poster: Betsy Perry <betsyp@roguewave.com>

Have you considered reading actors' biographies?  I have a picture
biography of Sarah Bernhardt that has many photographs of her in
costume.  Joanna Richardson, _Sarah Bernhardt and her World_, SBN:
399-11887-X, c. 1977, Putnam.  


> When you find out please let me know.  I want to make an 1880's 'fancy
> dress' Medieval which looks like it came from the stock of a 
> theatre, and
> have been holding off for years for want of examples.  I have a few
> pictures fuzzily showing the use of this gold stuff, but no 
> clear examples.
>  I sometimes see antique theatre garments for sale in vintage 
> shops, but
> they're mostly from later.
> 
>
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-Poster: Dietmar <dietmar@pacbell.net>

Greetings all,

Gail asked:

> I feel so stupid, but can someone tell me what movie or picture
> is being discussed here? GWTW??

I'm assuming from the subject line that it's "Gone with the Wind".

Regards,

Dietmar


"Victory or Defeat rests in God's hands;
 over Honor, we ourselves are Lord and Master."
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Subject: H-COST: H-COST - loose gowns+kirtles
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-Poster: "Frank&Tracy Thallas JR" <hardcorps@vcn.com>

  Greetings!

  I have what I hope is a quick question - would loose gown/kirtle combos
(like those seen in "Patterns of Fashion") be suitable for wear outside the
lady's house, or were these strictly indoor garments?  They look very comfortable
for us full figured girls......

All Health!
 Liadain


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From: "Wylie & Gail" <wyliesmith@isomedia.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: "Scarlett Fever"
Date: Fri, 26 Feb 1999 13:31:31 -0800
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-Poster: "Wylie & Gail" <wyliesmith@isomedia.com>

Dietmar, I don't assume anything! <g> It's far too dangerous.
~G

-----Original Message-----
From: owner-h-costume@indra.com [mailto:owner-h-costume@indra.com]On
Behalf Of Dietmar
Sent: Friday, 26 February, 1999 05:19
To: h-costume@indra.com; Wylie&Gail
Subject: Re: H-COST: "Scarlett Fever"



-Poster: Dietmar <dietmar@pacbell.net>

Greetings all,

Gail asked:

> I feel so stupid, but can someone tell me what movie or picture
> is being discussed here? GWTW??

I'm assuming from the subject line that it's "Gone with the Wind".

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  Fri Feb 26 16:43:31 1999
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-Poster: Dietmar <dietmar@pacbell.net>

Greetings,

Kayta wrote:

> When you find out please let me know.  I want to make an 1880's 'fancy
> dress' Medieval which looks like it came from the stock of a theatre,
> and have been holding off for years for want of examples.  I have a few
> pictures fuzzily showing the use of this gold stuff, but no clear examples.

Look for a copy of "the Victor Book of the Opera".  It's copyrighted 1929, but
also 1949, 1953, and 1968.  It has plenty of pictures of operas from that
period.  I can scan some pictures if you need.

You might also try looking for a biography of Richard Wagner with lots of
pictures.  Most of his operas debuted in this country around the 1880's and
deal with medieval themes or are based on epic poems of medieval minnesa"nger.

Dietmar


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 over Honor, we ourselves are Lord and Master."
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-Poster: "Susannah Eanes" <oh_susannah@hotmail.com>

>-Poster: AliaClaire@aol.com
>
>In a message dated 2/19/99 8:35:16 PM EST, 
penny.creative.outlets@erols.com
>writes:
>
><< Still have not seen those all pastel ruffled gowns portrayed in 
magazines.
>>>
>
>I have seen several of them...they were most popular in the mid to late 
1850s,
>which drives me nuts...I love them, and they're too old for my 
reenacting
>character.
>

We have seen an original letter in which a rural-dwelling mother of 
moderate means (the family formerly had money, but lost it through bad 
fortune) describes ordering a "gown with flounces of brown silk" for her 
fourteen year old daughter in 1852.  I always wondered if it meant a 
flounced skirt, in tiers, as we are speaking of here.  Or could it have 
meant ruffles at the neck, shoulder, or sleeve area?  Any thoughts?

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From owner-h-costume@indra.com  Fri Feb 26 16:46:50 1999
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-Poster: Dietmar <dietmar@pacbell.net>

Greetings,

Margo King wrote:

> Dear List - My son has a Bar Mitzvah to go to and the party is a 50's
> theme. My brain is dead - I can come up with the 'Grease' look - jeans,
> t-shirt but....my son is not fond of jeans..any suggestions, ideas? 

Why don't you go with the two-tone bowling shirt look.  Chinos would work
well, and you could always look for pictures of Buddy Holly, Ritchie Valens, 
Jerry Lee Lewis, etc. for ideas.

Regards,

Dietmar


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 over Honor, we ourselves are Lord and Master."
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Date: Fri, 26 Feb 1999 14:23:59 -0800 (PST)
From: Margretta de Vries <smstrss@yahoo.com>
Subject: H-COST: Re: H-COST - loose gowns+kirtles
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-Poster: Margretta de Vries <smstrss@yahoo.com>



> Greetings!
> 
> I have what I hope is a quick question - would loose 
> gown/kirtle combos (like those seen in "Patterns of 
> Fashion") be suitable for wear outside the lady's 
> house, or were these strictly indoor garments?  They 
> look very comfortable for us full figured girls......

Somehow, I can't imagine that a person would wear something with so
much decoration such as that dress in "Patterns of Fashion" could
possibly be only for home wear...  Surely women wore stuff like that
exactly because not everyone had the "perfect" figure?

I'm hoping to copy that gown sometime, too!

Margretta
==

Margretta de Vries

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Subject: Re: H-COST: Re: H-COST - loose gowns+kirtles
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-Poster: "Frank&Tracy Thallas JR" <hardcorps@vcn.com>


> Somehow, I can't imagine that a person would wear something with so
> much decoration such as that dress in "Patterns of Fashion" could
> possibly be only for home wear...  Surely women wore stuff like that
> exactly because not everyone had the "perfect" figure?

  This is kind of my thought as well, but I also wondered if maybe these portraits
were the period version of "boudoir photography"....<G>

> I'm hoping to copy that gown sometime, too!

  It's definitely on my list.....sigh......


Liadain

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To: "'h-costume@indra.com'" <h-costume@indra.com>
Subject: RE: H-COST: H-COST - loose gowns+kirtles
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-Poster: Hulett <mhull@earthlink.net>

Loose Gowns,
	"The term 'night-gown' was probably first given to a loose, comfortable 
gown worn in the bedchamber early in the sixteenth century.  AT this time 
it was frequently made of woolen or worsted fabrics, sometimes with a hood. 
After Henry VIII came to the throne, night-gowns were made in richer 
fabrics--satin, velvet, and taffeta timmed with gold and silver lace-- and 
lined with shag, plush, and fur.  While doubtless still used in the 
bedchamber, night-gowns were later worn during the day as well, probably as 
a kind of loose coat for extra warmth.  Count Egmont wore a red damask 
night robe at his execution in 1568, while Lady Anne Clifford recorded in 
her diary on 28 December 1617 "I went to church in my rich night gown." The 
Queen may have favoured night-gowns for informal wear during the day among 
her women; quite a number, entered as 'loose gowns' are listed in the Stowe 
and Folger inventories." Page 139, Elizabeth's Wardrobe Unlocked. Janet 
Arnold.
cheers, jd
-----Original Message-----
From:	Frank&Tracy Thallas JR [SMTP:hardcorps@vcn.com]
Sent:	Friday, February 26, 1999 3:32 PM
To:	h-costume@indra.com
Subject:	H-COST: H-COST - loose gowns+kirtles


-Poster: "Frank&Tracy Thallas JR" <hardcorps@vcn.com>

  Greetings!

  I have what I hope is a quick question - would loose gown/kirtle combos
(like those seen in "Patterns of Fashion") be suitable for wear outside the
lady's house, or were these strictly indoor garments?  They look very 
comfortable
for us full figured girls......

All Health!
 Liadain


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From owner-h-costume@indra.com  Fri Feb 26 20:56:34 1999
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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: A Leine, the correct way
Date: Fri, 26 Feb 1999 21:02:44 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

See H. F. McClintock's Old Irish Dress, circa 1950,
Dundalgan Press, Ireland.  You may have to ILL it, but an
awful lot of the book coversthe development of the changing
lines of the leine. The leine evolved, and it was different
things at different times, starting out perhaps as like a
Greek peplos and chiton a  Roman sagum and tunica.  For the
tunica style leine, use a 6-wide width of fabric, double
your shoulder height, with a head hole in the middle and
belted at the waist, nothing more. It bunches up the fabric
on the upper arms, but the pleats occur under the criss
(belt) at the waist.  Then came the wrap front, shawl-collar
version, shorter, about year 1100, the tunica brevis,
sometimes with a hood, and then around the year 1500, the
bag-sleeve. These dates are approximations taken from
surviving artwork.  There are no cutting diagrams in
McClintock, but the period writings, engravings, statues,
and watercolors are there, along with written descriptions
of the cutting methods.  I've summarized him very glibly and
simplistically, here. Do find the book---there's far too
much there to repeat in a forum like this.  The tunica style
has pleats horizontally across the arms and shoulders as
seen in surviving sculpture, while the pleats run vertically
on the bag style sleeves, only gathered at the bottom and at
the armscythe.  Many of the drawings show no gathering at
all over the shoulder and down the arm, and they appear to
be less voluminous versions of the tunica.  By the way,
Irish monks when writing in Latin, translate "leine" as
"tunica."  When there were pleats going horizontally across
the arm and shoulder, were they sewn down?  Maybe, but in
many cases clearly not. Period writings McClintock quotes
about embroidery on leines are enchanting, but there is less
visual evidence to show us pictures to go with those words.

Hope H. Dunlap

-----Original Message-----
From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
Behalf Of Abbott, Ruth
Sent: Friday, February 26, 1999 1:15 PM
To: 'h-costume@indra.com'
Subject: H-COST: A Leine, the correct way



-Poster: "Abbott, Ruth" <r-abbott@oar-xch1.oar.uiuc.edu>

Ok, I am firmly convinced that the "SCA usual" way to make a
leine is
just plain incorrect.  Will someone (MaggiRos, perhap?)
please tell us
all the right way to make a leine?  I have mulled this over
for a while
and re-examined the evidence I have, and I still come up
with the idea
that (at it's most voluminous) a leine had pleats along the
shoulders
and down the arm.  Sewn in pleats, I'm thinking, but still
pleats.  So,
how would you (anyone that has more complete ideas on this)
go about
making one?

Alix

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From owner-h-costume@indra.com  Fri Feb 26 21:40:45 1999
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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: Figuring out elizabethan 
Date: Fri, 26 Feb 1999 21:30:52 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

I am interested in tapes and narrow wares, so they catch my
eye as I cruise past the references.  I haven't yet read the
Crowfoot series, but I'd bet money they are in there.
Germans in early Pensylvania used tapes as I described,
shown photoraphed several times in Gehret's Rural
Pennsylvania Clothing.  Her book starts with 1750, but the
garments look an awful lot like those Breugel's peasants
wore in the Elizabethan period.

Hope H. Dunlap

 Pennsylvania Clothing.

-----Original Message-----
From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
Behalf Of Danielle Nunn
Sent: Thursday, February 25, 1999 8:38 PM
To: h-costume@indra.com
Subject: RE: H-COST: Figuring out elizabethan



-Poster: Danielle Nunn <dnunn@interlog.com>

Greetings,

>>My understanding of the "waistband" used for
>>a women's skirt/kirtle/petticoat is more of a bias type
>>strip running along
>>the top, anchoring the pleats.

>More than likely this was not a bias cut strip of self
>fabric, but a tape, woven on a little tape loom. Stronger,
>no stretch, and less wasteful of material.  Sometimes
folded
>over the top of the gathers and sometimes just used flat.
>Hope H. Dunlap

Actually, there is mention in Alcega of cutting the
waistband out of the
"cabbage" or scraps.  However, I kind of had "bias" in my
head because I've
been using bias tape recently. :)  It doesn't actually
specify in which
direction the band would be cut.

Cheers,
Danielle


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From owner-h-costume@indra.com  Fri Feb 26 23:37:05 1999
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Date: Fri, 26 Feb 1999 23:48:29 -0500
To: h-costume@indra.com
From: Danielle Nunn <dnunn@interlog.com>
Subject: Re: H-COST: Figuring out elizabethan waistbands
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-Poster: Danielle Nunn <dnunn@interlog.com>

Greetings,

>Then there's the Main Notes #33, which I included in my original post:
>"Manteo: A semi circular intermediate skirt, also called a faldellin. It had
>a waistband and was sometimes reversible, open in front or worn inside out
>(de vuelta). It was worn over the basic undergarment, the shift, and under
>the outer skirt (vasquina), kirtle, or 'saya', petticoat or skirt with
>bodice..."

The "Manteo" sounds basically to be a petticoat which was one of the ways a
"skirt" was worn by itself occasionally.  However, from an English
perspective there are also references in wardrobe accounts of "petticoat
bodies".  

>This book is written (or so it says on the cover) 1589.  So I get the idea
>that maybe waistbands were used at least at this point in time.

I can accept the fact that some type of waistband was worn at this point
(Alcega says so).  But, it is extremely frustrating that there are no
extant women's garments (that I've heard of) from this period which employ
waistbands.  There don't appear to be any contemporary depictions or
written accounts of them being used in women's clothing of the time.
Especially, in England.  Am I missing something or is it just not out there?  

However, I'm not convinced that the waistband Alcega mentions, resembles in
any way our modern style of waistband.  Also, note that waistbands only
appear to be mentioned with skirts where there is no bodice included in the
pattern.

>Would it make a difference that the layout book is "Spanish"?  I think there
>are a few mentions in QEWU about QE wanting to find a french tailor, and a
>few mentions of things cut in the 'spanish', 'french' etc. manner.

It's hard to say.  At this point there was an awful lot of fashion
swapping.  I've read the references and what Arnold had to say about it.
Basically, she doesn't appear to be sure what exactly defined some of these
different styles.  Mind you, most of the references I've seen to "Spanish"
either refer to the Spanish round sleeve, the doublet gown with the round
sleeves, or a Ropa or loose gown.  Which reminds me, has anyone ever
noticed a picture of an ENGLISH lady wearing those large triangular Spanish
sleeves?  It occurs to me that, that is one fashion that didn't really make
it North.

Just my thoughts...

Cheers,
Danielle

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From owner-h-costume@indra.com  Sat Feb 27 02:45:40 1999
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-Poster: MaggiRos@aol.com

In a message dated 2/26/99 9:07:57 AM Pacific Standard Time,
drickman@state.de.us writes:

> 
>  
>  I am looking for someone[s] who knows Russian folk costume. Best of all 
> would 
>  be someone who speaks and/or reads Russian, because I am trying to find out
>  the meaning of certain terms for articles of clothing. This is in
connection 
> 
>  with the Fort Ross Apparel Project. Thanks.

The woman who sits next to me at work IS natively russian. If you send me the
copy, I'll see what I can do.

For most efficient service, address it to me at secaram@mainsaver.com

MaggiRos
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From owner-h-costume@indra.com  Sat Feb 27 02:50:30 1999
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-Poster: MaggiRos@aol.com

In a message dated 2/26/99 10:09:52 AM Pacific Standard Time, r-abbott@oar-
xch1.oar.uiuc.edu writes:

> 
>  Ok, I am firmly convinced that the "SCA usual" way to make a leine is
>  just plain incorrect.  Will someone (MaggiRos, perhap?) please tell us
>  all the right way to make a leine?  I have mulled this over for a while
>  and re-examined the evidence I have, and I still come up with the idea
>  that (at it's most voluminous) a leine had pleats along the shoulders
>  and down the arm.  Sewn in pleats, I'm thinking, but still pleats.  So,
>  how would you (anyone that has more complete ideas on this) go about
>  making one?

Well now I'm intrigued.  I was under the impression that SCA usual *was* with
a top-pleated sleeve, which I am here to testify is not documentable before
1979.

Feel free to email me off-list to thrash it out :)   For a faster response,
use my "working" screen name: NOVL Thorn@aol.com.   Let's talk!

MaggiRos
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From owner-h-costume@indra.com  Sat Feb 27 02:54:07 1999
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-Poster: MaggiRos@aol.com

In a message dated 2/26/99 11:27:52 AM Pacific Standard Time,
margo@directcon.net writes:

>  and is considering doing away with leines pleated along the top of the
>  arm.  If this happens, and other people copy them, and other people copy
>  THEM, people all over the world might be wearing the correct style in
>  another 25 years.

What a thought!  It always seems like only the errors get perpetuted!  We live
in hope!

MaggiRos
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-Poster: MaggiRos@aol.com

In a message dated 2/26/99 11:33:07 AM Pacific Standard Time,
00217146@bigred.unl.edu writes:

> 
>  If in doubt, just watch Leave it to Beaver.
>  
Hi Mom!  I was just about to ask for a film or tv reference, and there it was.
Oh yeah, I lived through the 50s, but well, I was born in 1950. I'm not sure
my recollectons for those first 10 years or so count as primary documentation.
What a cool breakdown of alternatives.

Last year some time (or the year before) on this list, someone's sister wanted
a 60s wedding, and asked for input.  The variety of recollections--from hippy
to Mods and Rockers to 60s? What 60s?-- was a lesson to us all in testamonial
evidence!

MaggiRos
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-Poster: MaggiRos@aol.com

In a message dated 2/26/99 1:30:10 PM Pacific Standard Time, hardcorps@vcn.com
writes:

> 
>    I have what I hope is a quick question - would loose gown/kirtle combos
>  (like those seen in "Patterns of Fashion") be suitable for wear outside the
>  lady's house, or were these strictly indoor garments?  They look very 
> comfortable
>  for us full figured girls......


Not knowing for sure which gowns you mean, I venture to say: Even those gowns
are worn with a corset. When worn over a bra (which I've seen done) the bra
always shows.  Full figures, in the right corset, are both comfortable and
correct. Make sure the corset is made for you, though. You personally. And
made by someone who does corsets.

Don't cut corners. If you want to look like an Elizabethan lady, wore what an
Elizabethan lady wore.  Nothing else produces the effect. 

Right, Margo?

MaggiRos
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In a message dated 2/26/99 3:06:36 PM Pacific Standard Time, hardcorps@vcn.com
writes:

> 
>    This is kind of my thought as well, but I also wondered if maybe these 
> portraits
>  were the period version of "boudoir photography"....<G>
>  

Ther period version of boudoir photography include underwear. See the portrait
of Elizabeth (Vernon) Countess to the 3rd Earl  of Southampton, in her
undress.

A close or English gown is a perfectly ordinary gown for its time, in or out
of Court. As someone just suggested, the degree of jewelling and ornament does
not imply "at home" dress. Check out the portrait books: anything by Roy
Strong, for a start.

MaggiRos
~suppressing remarks about daughters in law
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-Poster: "Frank&Tracy Thallas JR" <hardcorps@vcn.com>


> >    I have what I hope is a quick question - would loose gown/kirtle combos
> >  (like those seen in "Patterns of Fashion") be suitable for wear outside the
> >  lady's house, or were these strictly indoor garments?  They look very
> > comfortable
> >  for us full figured girls......
>
>
> Not knowing for sure which gowns you mean, I venture to say: Even those gowns
> are worn with a corset. When worn over a bra (which I've seen done) the bra
> always shows.  Full figures, in the right corset, are both comfortable and
> correct. Make sure the corset is made for you, though. You personally. And
> made by someone who does corsets.
>
> Don't cut corners. If you want to look like an Elizabethan lady, wore what an
> Elizabethan lady wore.  Nothing else produces the effect.

  But of course...<G>  Actually, I like my "pair of bodies" MUCH better than a bra.
I was referring in particular to the (I've misplaced the book, darn it) loose gown
with the short poofy sleeves worn over the yellow silk kirtle - the lines of this outfit
are simple and elegant, I think....

  Liadain


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-Poster: MaggiRos@aol.com

In a message dated 2/26/99 6:02:37 PM Pacific Standard Time,
hhdunlap@email.msn.com writes:

> When there were pleats going horizontally across
>  the arm and shoulder, were they sewn down?  Maybe, but in
>  many cases clearly not.

Trust me.  If they weren't sewn down, the fabric would slip down the gathering
threads and puddle at the wrist.  Bad idea. Been there.

I ain't buyin' it.

M.-R.
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-Poster: MaggiRos@aol.com

In a message dated 2/26/99 8:42:16 PM Pacific Standard Time,
dnunn@interlog.com writes:

> Which reminds me, has anyone ever
>  noticed a picture of an ENGLISH lady wearing those large triangular Spanish
>  sleeves? 

Ignoring the whole rest of a very sensible letter...

Yes. Lettice Knollys, Countess of Leicester, in that very flashy golden gown
with double sleeves? Those are Spanish round sleeves, I am quite sure.  

The English really had no style of their own (unless you count the close gown,
never mind the gable headdress) so from at least the 1560s onward, any English
lady can be identified as dressed in Italian, French, or Spanish style.
There's plenty of evidence for ladies (including the queen) requesting
patterns and mockups (fashion dolls) of the current fashions from the stylish
corners of Europe.

Just my small change

MaggiRos
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From owner-h-costume@indra.com  Sat Feb 27 10:44:57 1999
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-Poster: kat@grendal.rain.com


> I can accept the fact that some type of waistband was worn at this point
> (Alcega says so).  But, it is extremely frustrating that there are no
> extant women's garments (that I've heard of) from this period which employ
> waistbands.  There don't appear to be any contemporary depictions or
> written accounts of them being used in women's clothing of the time.
> Especially, in England.  Am I missing something or is it just not out there?  

I think that one of the frustrations is that there isn't much in the 
way of extant women's garments from the time period, period. And if 
they did, they (as in the case of the one in Janet Arnold) they may 
not be the original, even if it was there in the first place. 

If a waistband were to be on a garment from the time period, you 
might not see it anyway. It would be hidden by picadills or by a gown 
over the waistband of the "petticoat". The lower edge of the bodice 
might cover it, even if it didn't have tabs or picadill (being laced 
on or hooked on.)

A friend of mine wears all her dresses bodice and skirt. You'd never 
know it to look at her because her bodices are securely hooked to the 
skirt in such a way that the waistband is just not seen.
 
> However, I'm not convinced that the waistband Alcega mentions, resembles in
> any way our modern style of waistband.  Also, note that waistbands only
> appear to be mentioned with skirts where there is no bodice included in the
> pattern.

Yes, but in the same skirts, he doesn't always mention the waistband. 
Alcega assumes that you know a lot. He doesn't always put critical 
information in with each version of the same thing. (As an example, 
on the Mourning gown, it has to have a false back to work. However, 
he only mentions it in one of the descriptions (but *not* the first 
one) (and doesn't give any pattern for it.) He doesn't always even 
put descriptions for other things that he assumes you know will be 
cut out of the cabbage (such as picadills, the collar, etc.)
 
Kat 

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

They seem to have been perfectly acceptable as outdorr wear, many women
were painted wearing them and there are many listed in Queen Elizabeth's
Wardrobe. I made one for a large sized lady at Bristol RenFaire last
summer and it worked out very well for her, it was comfortable and was
very flattering as it accentuated her height not her width. Just remember
that you need to wear all the regular undergarments, just leave off the
bumroll.

Karen





On Fri, 26 Feb 99 15:32:11 PST "Frank&Tracy Thallas JR"
<hardcorps@vcn.com> writes:
>
>-Poster: "Frank&Tracy Thallas JR" <hardcorps@vcn.com>
>
>  Greetings!
>
>  I have what I hope is a quick question - would loose gown/kirtle 
>combos
>(like those seen in "Patterns of Fashion") be suitable for wear 
>outside =
>the
>lady's house, or were these strictly indoor garments?  They look very 
>com=
>fortable
>for us full figured girls......
>
>All Health!
> Liadain
>
>
> _________________________________________________________________
> To leave this mailing list, send mail to majordomo@indra.com
> with the message UNSUBSCRIBE H-COSTUME
>
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From: Laurel Wilson <lwilson16@earthlink.net>
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-Poster: Laurel Wilson <lwilson16@earthlink.net>

Dear List,
Does anybody out there know if Stella Mary Newton's "Fashion in the Age
of the Black Prince" is available for purchase?  I've tried some of the
standard bookfinder searches and gotten nowhere.
Thanks,
Lauri

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From owner-h-costume@indra.com  Sat Feb 27 13:03:05 1999
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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: A Leine, multiplicity of ways
Date: Sat, 27 Feb 1999 13:10:39 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

Have you  read McClintock closely and studied the
illustrations?  There is not just ONE correct way to sew an
Irish leine.  McClintock describes many variations of the
Irish Leine, 8 of which I'll describe here (numbered). I
would agree that some of the sculptures show horizontal
pleats that must have been anchored in some way to way to
stay in the position they were in, but many of the pictures
show other arrangements of pleats, gathers, no pleats, and
here goes:

(1) tunica style garments where the fabric width was just
wide enough (and no more) to span the shoulders and arms to
the wrists, so that it couldn't puddle (like the "English
print of Irish men," dating *perhaps* from the time of Henry
VIII in the Ashmolean Museum, opposite page 30).

(2)The Pre-Norman engaged sculptures from the Shrine of St.
Moedoc, opposite page 11 in McClintock show an arrangement
of pleats which might have been sewn in on both the upper
and lower layers of clothing, more like the regular,
continuously stitched welts on the Shinrone Gown than
pleats.

(3) The poor Irish people shown in Durer's drawing of 1521
have on leines made out of absolutely minimal amount of
materials, with no pleats or gathers whatsoever.

(4) There's another German drawing 1529-1532 of an Irish
woman showing her leine pleated and sewn into a neckband of
self material.

(5) In the 1545 de Here watercolor of "The Irish People in
the Time of King Henry VIII," there are no stitched in welts
or pleats in the men's and boy's leines, which have flowing
bag sleeves to the ankles.  The arms stick out though hole
in the upper front part of the sleeves, and the bottom 2 or
3 feet of the sleeves are vestigial, good only for pockets.
There's some evidence that this might have been unique to
the Limerick area.

(6) Derrick's poem of 1581 mentions the leine of the Karne
(soldier) as short, not reaching past the knee, "with pleats
on pleats thei pleated are as thick as pleats may lie.
Whose sleves hang trailing doune almost unto the Shoe:"  He
also mentions that they are strange.  Does that mean they
are unique to soldiers, and that people in other walks of
life wear something else?  Maybe, because

(7) illustrations in the same book (Derrick's 1581), which
accompany that poem show a farmer and his wife being burned
out of their home, and their sleeves are not as voluminous
nor as anywhere near as long as those of the soldiers.

(8) Another writing ot the same time, but referring to an
earlier time mentions a multiplicity of "gathers and
wrinkles." No mention of pleats.

There is so much variation to the theme of the Irish leine,
depending on period, location, class, economic means,
activity, and sex of the wearer even in a single century,
that try to establish ONE correct way to sew a leine misses
the whole point. You can certainly devise a leine which is
arguably appropriate for a single persona, but not for an
entire nation over a millennium.

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, February 27, 1999 3:20 AM
To: h-costume@indra.com
Subject: Re: H-COST: A Leine, the correct way



-Poster: MaggiRos@aol.com

In a message dated 2/26/99 6:02:37 PM Pacific Standard Time,
hhdunlap@email.msn.com writes:

> When there were pleats going horizontally across
>  the arm and shoulder, were they sewn down?  Maybe, but in
>  many cases clearly not.

Trust me.  If they weren't sewn down, the fabric would slip
down the gathering
threads and puddle at the wrist.  Bad idea. Been there.

I ain't buyin' it.

M.-R.

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From owner-h-costume@indra.com  Sat Feb 27 13:40:57 1999
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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: H-COST: Three 50's Ideas for a Boy
Date: Sat, 27 Feb 1999 13:49:05 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

Another nifty 50's look which appeals to boys today is the
"Beatnik" look.  Tight black cotton or wool long sleeved
turtleneck, tight black chinos, sandals, squarish,
black-framed sunglasses, greased, slicked back hair.
Accessorize it with an unfiltered Galois, Camel, or Luck
Strike cigarette hanging off his lip and a copy of Jack
Kerouac's book, "On the Road" in his hip pocket.

See Frank Sinatra in the movie "High Society"  the lean,
elegant, bad-boy, heart throb for another great period look.
Black tight suit, white shirt with narrow collar, extremely
narrow black tie, greased slicked back dark hair, black
Italian leather shoes, and the unfiltered cigarette, of
course.

*West Side Story,* Leonard Bernstein's great American Opera,
is a great source of very tough urban teen gang 1950's
costume which may appeal.  Similar to the above, but with
the cigarette pack rolled up in the sleeve of his white,
black, or gray tee-shirt.  Both sleeves are rolled up
tightly to the armscythe, but the cigarette pack goes in the
roll on one shoulder.  Accessorize with a switchblade (get
the kind from the joke shops where the plastic blade
disappears into the handle when someone is stabbed) and add
a beat-up galvanized garbage can lid he can use as a shield.

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, February 27, 1999 3:03 AM
To: h-costume@indra.com
Subject: Re: H-COST: Re: 50's HELP! (fwd)



-Poster: MaggiRos@aol.com

In a message dated 2/26/99 11:33:07 AM Pacific Standard
Time,
00217146@bigred.unl.edu writes:

>
>  If in doubt, just watch Leave it to Beaver.
>
Hi Mom!  I was just about to ask for a film or tv reference,
and there it was.
Oh yeah, I lived through the 50s, but well, I was born in
1950. I'm not sure
my recollectons for those first 10 years or so count as
primary documentation.
What a cool breakdown of alternatives.

Last year some time (or the year before) on this list,
someone's sister wanted
a 60s wedding, and asked for input.  The variety of
recollections--from hippy
to Mods and Rockers to 60s? What 60s?-- was a lesson to us
all in testamonial
evidence!

MaggiRos

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From: "Andrea Gideon" <andrea.gideon@erols.com>
To: <h-costume@indra.com>
Subject: Re: H-COST: Re: H-COST - loose gowns+kirtles
Date: Sat, 27 Feb 1999 14:10:33 -0800
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-Poster: "Andrea Gideon" <andrea.gideon@erols.com>


----- Original Message -----
From: Frank&Tracy Thallas JR <hardcorps@vcn.com>
To: <h-costume@indra.com>
Sent: Friday, February 26, 1999 5:08 PM
Subject: Re: H-COST: Re: H-COST - loose gowns+kirtles



-Poster: "Frank&Tracy Thallas JR" <hardcorps@vcn.com>


> Somehow, I can't imagine that a person would wear something with so
> much decoration such as that dress in "Patterns of Fashion" could
> possibly be only for home wear...  Surely women wore stuff like that
> exactly because not everyone had the "perfect" figure?

I've made this gown for maternity wear, very comfortable.  Perhaps this was
the main function of this style.
Andrea


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From owner-h-costume@indra.com  Sat Feb 27 14:47:42 1999
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Subject: H-COST: Re: H-COST - loose gowns+kirtles
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-Poster: "Frank&Tracy Thallas JR" <hardcorps@vcn.com>


     Many thanks to all who responded!

   I had thought that such outfits would be acceptable, but wanted to be sure before
embarking on the Great Fabric Hunt - and now to hunt up more pictures to choose
the exact style!
   BTW, does anyone know of a book/Web resource with a large reproduction of
"Queen Elizabeth and the Three Goddesses"?

    Liadain

> They seem to have been perfectly acceptable as outdorr wear, many women
> were painted wearing them and there are many listed in Queen Elizabeth's
> Wardrobe. I made one for a large sized lady at Bristol RenFaire last
> summer and it worked out very well for her, it was comfortable and was
> very flattering as it accentuated her height not her width. Just remember
> that you need to wear all the regular undergarments, just leave off the
> bumroll.
>
> Karen
>
>
>
>
>
> On Fri, 26 Feb 99 15:32:11 PST "Frank&Tracy Thallas JR"
> <hardcorps@vcn.com> writes:
> >
> >-Poster: "Frank&Tracy Thallas JR" <hardcorps@vcn.com>
> >
> >  Greetings!
> >
> >  I have what I hope is a quick question - would loose gown/kirtle
> >combos
> >(like those seen in "Patterns of Fashion") be suitable for wear
> >outside =
> >the
> >lady's house, or were these strictly indoor garments?  They look very 
> >com=
> >fortable
> >for us full figured girls......
> >
> >All Health!
> > Liadain
> >
> >
> > _________________________________________________________________
> > 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: Julie Adams <savaskan@sd.znet.com>
Subject: Re: H-COST: H-COST - loose gowns+kirtles
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-Poster: Julie Adams <savaskan@sd.znet.com>

>-Poster: MaggiRos@aol.com
>
>In a message dated 2/26/99 1:30:10 PM Pacific Standard Time, hardcorps@vcn.com
>writes:
>
>>
>>    I have what I hope is a quick question - would loose gown/kirtle combos
>>  (like those seen in "Patterns of Fashion") be suitable for wear outside the
>>  lady's house, or were these strictly indoor garments?  They look very
>> comfortable
>>  for us full figured girls......
>
>
>Not knowing for sure which gowns you mean, I venture to say: Even those gowns
>are worn with a corset. When worn over a bra (which I've seen done) the bra
>always shows.  Full figures, in the right corset, are both comfortable and
>correct. Make sure the corset is made for you, though. You personally. And
>made by someone who does corsets.

Before I was pregnant I would have said the same, but now I am of different
mind. For a number of women, any pressure against your stomach and breasts
is terribly uncomfortable, even painful. I even find corsets and even bras
really uncomfortable while nursing too.  After viewing loads and loads of
German art, I don't believe that corsetry was a 100% common thing.  IMHO,
most middle class and lower people were held up by their bodice if
anything, so the concept of even a well to do pregnant or nursing woman
going without is not scandalous.   Not that it could not be worn with a
corset, IMHO, it would more likely have been a personal preference issue.
Some of the German matrons I would say are not wearing corsets because they
have the wrong lines (having a rather dropped breast sillouette).

There are two type of loose gowns evident from pictures. The one I see most
recreated is seen in many court paintings of matrons and in Pattersn of
fashion. I've also heard people call it a "tudor surcoat".  There is
another style which can be seen in ashelford in drawings and several
effigies, and can be found in other scenic paintings of the period which is
more like a very full bathrobe with wide lapels. It wraps over in the front
and is usually worn with a sash. It seems more common to middle class women
and lower nobility.  More than a house dress, it is often shown being worn
out of doors.

Neither gown seems to be worn with hoops as I've seen at renn. faires.

I've made a few and I LOVE them. They are extremely comfortable.  They are
much easier to chase kids in that a tight gown, not counting that I can
throw one over *anything* and no one knows the better.  At the SCA Estrella
war I was out in the evening with long johns, sweat pants and shirt, a
linen kirtle, and my loose gown and was quite comfy.  (I was also wearing 3
pr socks and a full head cap with hat on top.)  I will probably be wearing
them more often at events because now that I am over 40 and a mother of
two, it seems to me that in period I would have been wearing more
"matronly" fashions anyway.  I guess I don't care if I look like a ship
about to take sail anymore.

Julie Adams


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From owner-h-costume@indra.com  Sat Feb 27 21:16:32 1999
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-Poster: kathleen@niagara.com


I was wondering if you can help me...

I've convinced a friend of mine to come to his first event (a war in August)
and also convinced him that a great kilt would be the most practical garb
for him.  (Plus it will look sensational...he's a big guy)  He'll take care
of getting the tartan, and I'll provide the shirts, etc.

First...how wide will the fabric have to be for someone about 6'5" to 6'6"?

Second...can anyone let me know the best places to find good deals on
suitable fabric in his area?  He lives in VA near Washington.  I don't
particularly care about the sect, as long as it isn't something truly
obvious like Royal Stewart.  Blues and heathery tones would look great with
his colouring, but again...not that picky.

Third...any ideas on footwear?  He loves to go barefoot, but if it rains...

Fourth...accessories.  I figure a plaid pin, a belt, dagger, a version of a
sporran for practical reasons, maybe a bonnet if he'll wear one...anything else?


I really appreciate this, thanks!

Kathleen (Catriona)
 

                                                ()
                                              _/)(\_
"Tehee!" quod she, and clapte the wyndow to    /~~\
                                              /____\

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From owner-h-costume@indra.com  Sat Feb 27 21:16:38 1999
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From: agottfre@telusplanet.net (Angela Gottfred)
Subject: H-COST: European fashion, 1890-1938 (exhibit)
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-Poster: agottfre@telusplanet.net (Angela Gottfred)

The information below is summarized from articles in _Elm Street_ magazine 
and the _Toronto Globe & Mail_; I haven't been to the exhibit (don't live 
near Vancouver, and it's not my interest area), so there's no information I 
can add, but I thought that list members might be interested. There is a 
chance that this exhibit may tour; Berlin, Vienna, Toronto, & New York are 
mentioned as potential destinations.

Jewish designers and manufacturers were influential in the pre-WWII European 
fashion world. Knize, of Vienna, is one of the best-known labels; they made 
suits for Marlene Dietrich. With the rise of Nazism, the Jewish clothing 
industry was targeted; clothing began to be labelled as being made by 
members of the Association of German Aryan Clothing Manufacturers. A new 
exhibit shows 40 costumes dating to 1890-1938 from the collection of Claus 
Jahnke, the show's curator. Due to a lack of previous research in this area, 
Jahnke found dating the clothing a challenge; he says that a detailed 
knowledge of the history and development of zippers was very useful.

"Broken Threads--From Aryanization to Cultural Loss : The Destruction of the 
Jewish Fashion Industry in Germany and Austria" is on display at the 
Vancouver Holocaust Education Centre until May 15. There is an "accompanying 
publication" (don't know if it's a catalog or not) available. 

Your humble & obedient servant,
Angela Gottfred


agottfre@telusplanet.net

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From owner-h-costume@indra.com  Sat Feb 27 21:59:29 1999
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Date: Sat, 27 Feb 1999 21:02:43 -0600
Subject: Re: H-COST: Tartan in VA
From: "Susan Krakower" <highland@soltec.net>
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-Poster: "Susan Krakower" <highland@soltec.net>

I would suggest that you check G-Street Fabrics for tartan, they usually
have a very nice wool selection. And this time of year  you will probably
find a number of them on sale. I would suggest that you get a tartan that is
56 to 60 inches wide, then depending on the build of the man, get 3 to 4
yards, which I would think to be quite sufficient for most men. Remember
fabric can always be cut away, but not so easily added on. Good Luck!!
Susan
----------
>From: kathleen@niagara.com
>To: h-costume@indra.com
>Subject: H-COST: Tartan in VA
>Date: Sat, Feb 27, 1999, 8:20 PM
>

>
>-Poster: kathleen@niagara.com
>
>
>I was wondering if you can help me...
>
>I've convinced a friend of mine to come to his first event (a war in
August)
>and also convinced him that a great kilt would be the most practical garb
>for him.  (Plus it will look sensational...he's a big guy)  He'll take care
>of getting the tartan, and I'll provide the shirts, etc.
>
>First...how wide will the fabric have to be for someone about 6'5" to 6'6"?
>
>Second...can anyone let me know the best places to find good deals on
>suitable fabric in his area?  He lives in VA near Washington.  I don't
>particularly care about the sect, as long as it isn't something truly
>obvious like Royal Stewart.  Blues and heathery tones would look great with
>his colouring, but again...not that picky.
>
>Third...any ideas on footwear?  He loves to go barefoot, but if it rains...
>
>Fourth...accessories.  I figure a plaid pin, a belt, dagger, a version of a
>sporran for practical reasons, maybe a bonnet if he'll wear one...anything
else?
>
>
>I really appreciate this, thanks!
>
>Kathleen (Catriona)
> 
>
>                                                ()
>                                              _/)(\_
>"Tehee!" quod she, and clapte the wyndow to    /~~\
>                                              /____\
>
> _________________________________________________________________
> 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 Feb 28 03:34:33 1999
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-Poster: MaggiRos@aol.com

In a message dated 2/27/99 10:07:46 AM Pacific Standard Time,
hhdunlap@email.msn.com writes:

> arne
>  (soldier) as short, not reaching past the knee, "with pleats
>  on pleats thei pleated are as thick as pleats may lie.
>  Whose sleves hang trailing doune almost unto the Shoe:"  He
>  also mentions that they are strange.  Does that mean they
>  are unique to soldiers, and that people in other walks of
>  life wear something else?  Maybe, because
>  
>  (7) illustrations in the same book (Derrick's 1581), which
>  accompany that poem show a farmer and his wife being burned
>  out of their home, and their sleeves are not as voluminous
>  nor as anywhere near as long as those of the soldiers.
>  

Someone must point out that Derrick never went to Ireland himself, so we have
to be careful.

MaggiRos
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From owner-h-costume@indra.com  Sun Feb 28 09:14:42 1999
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From: "Andrea Gideon" <andrea.gideon@erols.com>
To: "H-Costume" <h-costume@indra.com>, "nursing list" <nmsl@kjsl.com>
Subject: H-COST: OT:dressform
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-Poster: "Andrea Gideon" <andrea.gideon@erols.com>

Does anyone know where I can buy a "Uniquely You" dressform?  They don't
seem to be availible in fabric stores.
Andrea

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From owner-h-costume@indra.com  Sun Feb 28 09:19:24 1999
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From: "Andrea Gideon" <andrea.gideon@erols.com>
To: <h-costume@indra.com>
Subject: Re: H-COST: H-COST - loose gowns+kirtles
Date: Sun, 28 Feb 1999 09:27:40 -0800
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-Poster: "Andrea Gideon" <andrea.gideon@erols.com>

 I even find corsets and even bras
>really uncomfortable while nursing too.

Just out of curiousity, what did you wear while nursing?  I'm due with my
first in May and I'm tired of wearing my kirtle and loose gown to every
event.

Andrea

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From owner-h-costume@indra.com  Sun Feb 28 11:17:30 1999
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From: Michel McCabe <micki@connext.net>
Subject: Re: H-COST: Tartan in VA
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-Poster: Michel McCabe <micki@connext.net>

>Second...can anyone let me know the best places to find good deals on
>suitable fabric in his area?  He lives in VA near Washington.  I don't

G-Street - they are in DC & also Rockville MD (Rockville is not far from 
the Beltway


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From owner-h-costume@indra.com  Sun Feb 28 11:33:08 1999
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-Poster: margo king <mkings@earthlink.net>

Many thanks for your wonderful suggestions. I am off to search through
the closets! margo king

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From owner-h-costume@indra.com  Sun Feb 28 11:40:38 1999
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-Poster: margo king <mkings@earthlink.net>

In my never-ending search to find Victorian clothing (affordable *G*) I
was looking at the Reflections of the Past website. They have a dress
circa 1857-1862 that is 3 tiered. From the description it looks like
each tier was a separate skirt (news to me). You might want totake a
look: www.victoriana.com/antiques/index.html                    Margo
King

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-Poster: Joan M Jurancich <joanj@quiknet.com>

At 09:22 AM 02/28/1999 -0800, Andrea Gideon wrote:
>
>-Poster: "Andrea Gideon" <andrea.gideon@erols.com>
>
>Does anyone know where I can buy a "Uniquely You" dressform?  They don't
>seem to be availible in fabric stores.
>Andrea

There are usually ads for "Uniquely You" in Threads and Sew News magazines.
Joan Jurancich
Sacramento, CA
joanj@quiknet.com

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

At 09:29 AM 2/27/99 -0600, you wrote:
>
>-Poster: seamstrix@juno.com
>
>They seem to have been perfectly acceptable as outdorr wear, many women
>were painted wearing them and there are many listed in Queen Elizabeth's
>Wardrobe. I made one for a large sized lady at Bristol RenFaire last
>summer and it worked out very well for her, it was comfortable and was
>very flattering as it accentuated her height not her width. Just remember
>that you need to wear all the regular undergarments,

But keep the hoops fairly small, otherwise you'll resemble the remark of a
friend of mine:  "You mean that dress that looks like you're wearing a
teepee with your head sticking out the top?"

I've never been able to bring myself to wear one since...

Margo

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-Poster: ArcadiaCB@aol.com

Hi Andrea,
  Amazing what we packrats save.  I bought my "uniquely you" form in 1991,
just so the bosom would move correctly when you put stays or a corset on it to
do reproduction clothes. I got mine from a small couture fabric shop, not a
chain store. If you live near the DC area, I think I have seen them at G
Street. But I saved the info that came with it.  Presuming they are still in
the same place, the letterhead info at that time was
      Uniquely You
       112-C Edwardia Drive
       Greensboro North Carolina 27409
        (919) 854-0000
         1-800-334-0524
Since you order them by a general height and body build size, it would have to
be ordered, then shipped to the the store anyway, so probably just as easy to
order direct if possible.  The letter that came with the form even says that
if parts are missing or you need a replacement part, to order direct.
Hope this helps.
Charlene
       
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From owner-h-costume@indra.com  Sun Feb 28 12:54:57 1999
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-Poster: Michel McCabe <micki@connext.net>

I am seriously considering the purchase of a Fabulous Fit dress form

Does anyone have any opinions?


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From owner-h-costume@indra.com  Sun Feb 28 13:32:10 1999
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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: Re: 50's Help
Date: Sun, 28 Feb 1999 13:38:17 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

Did you see the fabulous PBS special on singer Roy Orbison
last night?  "Cool" beyond belief then and eternally.  He
hit the big time in about 1960, when he was 31 years old I
think, but his sunglasses were "a look"  which was common a
little earlier and spanned a number  of years. Each thick
black framed lens was a regular, symmetrical trapezoid,
sides of the same length and angle, smaller on the bottom
than on top.

Hope H. Dunlap

-----Original Message-----
From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
Behalf Of margo king
Sent: Sunday, February 28, 1999 6:57 AM
To: h-costume@indra.com
Subject: H-COST: Re: 50's Help



-Poster: margo king <mkings@earthlink.net>

Many thanks for your wonderful suggestions. I am off to
search through
the closets! margo king


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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: A Leine, multiplicity of ways
Date: Sun, 28 Feb 1999 13:28:15 -0500
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

That's right.  The publishing industry was not centered in
Ireland, so sketches and observations were brought back and
engraved or woodcut by others skilled in those media for
publication.  Publishers were located in Dieppe, the Low
Countries, Germany, and later, London.  All the observations
and sketches brought back by Explorers during the Age of
Exploration (Derrick's period, 1500's) which were published
were subjected to this process.  Most of the explorers were
charged by their funding authorities to bring back logs and
sketches of everything they found.   The published materials
survived far more frequently than the original working logs
and sketches.  There wasn't the same economic reason for
Ireland to get this degree of scrutiny, unfortunately, and
what survives are accounts and images from travelers who
recognized the economic value of publishing what they saw,
but there was no Charter Company behind them demanding an
intense illustration and reporting effort.

Art historians use the botanicals of the Middle Ages to show
the process of drawing and engraving from life versus
drawing and engraving successive generations of prints from
previous drawings.  The further removed the artist is from
life, the more stylized and lifeless the artwork becomes,
and the more inaccuracies occur.  It's sort of like the
children's game of "gossip" where all the players are
arranged in a row and a message is whispered down the line.
At the end of the game, the final version of the message is
compared with the original message.  "Hilarity at the
disparity" is the most common result, although sometimes
(which is quite dull) the message comes through loud and
clear.  The general rule is that the more times something is
replicated from the most recent secondary source, without
reference back to the original source (life) the more
inaccurate it is.

In the Age of Exploration, there was little gain to the
publishers from imposing one's their own cultural
preconceptions on the incoming visual information.  What
sold was information about the outlandish, not the everyday.
That's why things like the American crocodile ended up
embroidered on one of Queen Elizabeth's gowns--it was so
very strange, that it was mesmerizing.  There was a whole
publishing industry founded on showing the outlandish to the
paying public.

During the Age of Exploration (Derrick's period), there was
a very high degree of accuracy in general regarding the
images that returned from foreign places of flowers,
animals, and aboriginals.   In the case of the exploration
of North America , there is enough information  from various
sources to suggest that there was a pretty high degree of
accuracy in the published images.  Interpretations of
intangibles such as culture, religion, and life styles were
bungled, but what they could see, they got right an awful
lot of the time.

I admit  that our hypotheses hang on a slender thread where
there are not corroborating artifacts and other information.
But it does behoove us to get out there and see all of the
original sources before generating an opinion.

Hope H. Dunlap


-----Original Message-----
From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
Behalf Of MaggiRos@aol.com
Sent: Sunday, February 28, 1999 3:37 AM
To: h-costume@indra.com
Subject: Re: H-COST: A Leine, multiplicity of ways



-Poster: MaggiRos@aol.com

In a message dated 2/27/99 10:07:46 AM Pacific Standard
Time,
hhdunlap@email.msn.com writes:

> arne
>  (soldier) as short, not reaching past the knee, "with
pleats
>  on pleats thei pleated are as thick as pleats may lie.
>  Whose sleves hang trailing doune almost unto the Shoe:"
He
>  also mentions that they are strange.  Does that mean they
>  are unique to soldiers, and that people in other walks of
>  life wear something else?  Maybe, because
>
>  (7) illustrations in the same book (Derrick's 1581),
which
>  accompany that poem show a farmer and his wife being
burned
>  out of their home, and their sleeves are not as
voluminous
>  nor as anywhere near as long as those of the soldiers.
>

Someone must point out that Derrick never went to Ireland
himself, so we have
to be careful.

MaggiRos

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From owner-h-costume@indra.com  Sun Feb 28 13:32:51 1999
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-Poster: Margo Anderson <margo@directcon.net>

Well, I went to Sutter's Fort yesterday, and bought David Rickman's
excellent costume manual.  This should be a great help to me in planning my
"Wagon Train Costuming" classes.  (although he's looking at the 1840's and
I'm doing 50's.)

Of course, I have questions.  He states that the usual dress for emigrant
women was the plain round dress, a dress with a fitted bodice, front
opening, and round, not pointed, waistline, and says:

        "A corset or "stays" were never practical for the hard labor of
these women's lives, nor do they seem to have worn them for best dress
either.  The typical round dress of this era was never as tightly fitting in
the bodice   as the corseted figure demanded, nor were they 'boned'
.......Given the fact that most of these women as we have shown, did not own
more than two or three dresses, and often used their work dress for best,
corsets would have been a needless extravagance."

While style and a fashionable sillouhette may not have been important to
these women, I can't help but think that at least some of them must have
worn something to provide support for their breasts.  Not only were they
working in these dresses, but on the emigrant trail,  most of them were
either walking or riding horses all day.  As Rickman states, the bodices
don't seem to have been tight enough to bind the breasts.  He does mention
waistcoats, sleeveless garments worn for warmth.  I wonder if there might
have been something similar, tight enough to support and or bind the breasts
much as a modern sports bra works.  Does anyone have any information on
this?  I don't want to have modern bra lines showing under my work dress,
but even less do I want to bounce and sag along Main Street while trying to
look respectable!

Margo Anderson

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-Poster: "Kathryn L. Herb" <kayherb@juno.com>



I see them advertised in the backs of magazines like "Threads."  


And to expand on your inquiry, does anyone know where I can get foot
forms with the lower leg attached?  I'm doing custom woolen hose (woven
fabric) by mail (not necessarily an oxymoron) and I'd really like to have
something more convenient than my own limbs to form them around.  Too
many marks from hits around the ankles from errant pins, and black
stockings just won't make it for summer! <g>


Thanks!
Kay
kayherb@juno.com

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Subject: H-COST: Waterproofing Tents w/Thompson's
Message-ID: <19980924.022444.5351.9.kayherb@juno.com>
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-Poster: "Kathryn L. Herb" <kayherb@juno.com>



Carol,


Sorry to be so long in replying to this question!  It got lost in my
inbox and I came across it whilst clearing out old messages.


I checked with our local hardware store, who checked with Thompson's to
be sure, and the answer is "no, it's not flammable once it's dry."  Of
course, it's petroleum distillates, so it's highly flammable while it's
still wet.  If you decide to use it, make sure you have plenty of time to
leave the tent set up outside to dry (of course!).  It has to dry
thoroughly, and air out to get the oily odor gone.


Our hardware store also told me that Scotchguard has a waterproofing
fabric spray that's made for outside furniture, tents, etc.  No one
offered any opinions of its longevity compared to Thompson's.


Kay
kayherb@juno.com


On Tue, 02 Feb 1999 18:30:24 -0800 "Carol J. Bell Cannon"
<cjcannon@greymists.com> writes:
>
>-Poster: "Carol J. Bell Cannon" <cjcannon@greymists.com>
>
>At 07:46 AM 2/2/99 -0500, you wrote:  -Poster: "Kathryn L. Herb"
><kayherb@juno.com> Next time
>try Thompson's water seal.         
>      Just one question for Kay or anyone else who happens to know--Is
>Thompson's WS flameable?
>Thanx! Carol J. Bell Cannon <cjcannon@greymists.com>
> _________________________________________________________________
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> with the message UNSUBSCRIBE H-COSTUME
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-Poster: Gerekr@aol.com

On 2/23/99 8:55 PM you wrote:

>> A friend of mine interested in Spanish and Moorish clothing is curious to
>> know whether _King Alfonso's Book of Chess_ has ever been printed, and if
>> so, where and by whom.

well, i know where to find copies of a number of the illustrations from 
the Book of Chess, and other Alphonso books (I checked OCLC once... he 
was the Danielle Steele of his age... there are dozens of titles! -- 
well, more like the Thos. Jefferson) ... off the top of my head, from the 
home library...  

IN _Chivalry_, by Michael Foss (1975), which may be available at the 
public library... 

pp 84/85 has a set of ten COLOR ill.s of musicians, including a moorish 
lutenist, esp., from the Cantigas de Sta Maria (which may also be by 
Alfonso?), 

and the 12th pic is from the Cantigas de Alfonso el Sabio (more 
musicians... The Sta Maria musicians may be men and women mixed... can't 
tell from figures, but there are definitely two hair lengths, and this 
was a pretty unisex period for costume...  

p. 70, Sta Maria, B&W male and female jongleur (definitely female 
headgear on the right figure)

p. 100, from the Book of Chess - a fairly poor B&W copy of an 
illustration of two moorish ladies playing chess, with a female lutenist 
on the side....  the left-hand chess player is quite interesting as she 
is wearing a VERY sheer caftan-like robe, string tie at the neck, and 
good luck trying to figure out what she's wearing (or not) under it.  you 
can see a small embroidered panel on one shoulder, similar to the ones on 
the male lutenist's shirt on p 84... She also has a nice ear-ring and 
patterned coif (?).  and possibly henna-ed fingers?  The right hand lady 
has a very nice sheer head-rail, but the rest of her outfit (and the 
lutenist) is "decently" 8-) opaque.

IN Games of the world, which may be in the reference section at your 
public library, it is at mine - pictures of a number of games besides 
chess, from Alphonso books  - 
p. 8, full page, full color - King and six nobles playing 7-sided 
backgammon; 
p. 39, Alquerque, 4 males, all wearing phrygian caps; two non-players 
with bows; 
p. 59 & 60, nine-mens-morris, 6 males in 2 ill.s, including two 
non-players carrying spears; 
p. 62, 63, chess - a full-page of a sheik and westerner playing in a 
tent; on the 2d page, 5 small ill.s that include, among others, the king 
and queen, a black player, a male wearing a sheer over-robe (and sword!), 
a western blond female with an incredible low neckline, and a moorish 
female with pant-legs showing; 
p. 134, 135 - dice, include lords of the court, and a sequence that 
includes fighting, knives and people who've gambled away their clothes 
(=> male underwear!) -- all male here; 
p. 143 appears to be another dice, is described as a scene in a "low life 
tavern" -- woo! there's a standing kissing couple beside the 
dice-players... and she appears to be picking his belt purse while 
distracting him??!?

Hope this helps, good luck.  If anyone does know of an easily available 
version with the illustrations, DO let us all know... I think when I did 
the OCLC search before, I puzzled out that there may be a German study of 
the vocabulary in the chess book (in German of course) -- which includes 
a complete copy of the chess book (one assumes with ill.s, cause it said 
it was illustrated; don't know why I didn't follow it up then...

Chimene
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-Poster: Joan M Jurancich <joanj@quiknet.com>

At 10:29 AM 02/28/1999 -0800, Margo Anderson wrote:
>
>-Poster: Margo Anderson <margo@directcon.net>
>
>Well, I went to Sutter's Fort yesterday, and bought David Rickman's
>excellent costume manual.  This should be a great help to me in planning my
>"Wagon Train Costuming" classes.  (although he's looking at the 1840's and
>I'm doing 50's.)
>
>Of course, I have questions.  He states that the usual dress for emigrant
>women was the plain round dress, a dress with a fitted bodice, front
>opening, and round, not pointed, waistline, and says:
>
>        "A corset or "stays" were never practical for the hard labor of
>these women's lives, nor do they seem to have worn them for best dress
>either.  The typical round dress of this era was never as tightly fitting in
>the bodice   as the corseted figure demanded, nor were they 'boned'
>.......Given the fact that most of these women as we have shown, did not own
>more than two or three dresses, and often used their work dress for best,
>corsets would have been a needless extravagance."
>
>While style and a fashionable sillouhette may not have been important to
>these women, I can't help but think that at least some of them must have
>worn something to provide support for their breasts.  Not only were they
>working in these dresses, but on the emigrant trail,  most of them were
>either walking or riding horses all day.  As Rickman states, the bodices
>don't seem to have been tight enough to bind the breasts.  He does mention
>waistcoats, sleeveless garments worn for warmth.  I wonder if there might
>have been something similar, tight enough to support and or bind the breasts
>much as a modern sports bra works.  Does anyone have any information on
>this?  I don't want to have modern bra lines showing under my work dress,
>but even less do I want to bounce and sag along Main Street while trying to
>look respectable!
>
>Margo Anderson

Dear Margo,

This is Joan Jurancich, a member of the Costume Committee for Sutter's Fort.
I thought (actually, couldn't resist <g>) I could address your question
since we (the CC) deal with this problem.

IMO, while Rickman did put together a generally useful and good costume
guide for outer garments, he doesn't really understand much about women's
stays and corsets (this is understandable). Some support garments would be
needed by many, though not all, women for comfort as well as decency (as
defined in the USA at the time). Comfortable stays which give support to the
bust and leave one able to do one's necessary work are what I would
recommend. I wear them whenever I am at the Fort in costume. The clothing
does not look right without the proper undergarments; the closest modern
undergarment to stays that I am aware of is the long-line bra, which is
simply a corset under another name. 

By the 1850s, California was a fully American place, with American
"standards" of dress and decency. A properly fitted corset, though not tight
lacing (which was preached against by doctors for years; it was usually a
problem only with young, unmarried women trying to find husbands), would
likely be a part of any decent woman's wardrobe.

Hope this helps,

Joan Jurancich
Sacramento, CA
joanj@quiknet.com

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To: h-costume@indra.com
Date: Sun, 28 Feb 1999 12:58:32 -0800
Subject: H-COST: Dry Cleaners in SF area?
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-Poster: wench359@juno.com


Can anyone recommend a good dry cleaner in the SF area who's willing to
touch vintage garments?  Ideally someplace in the East Bay.

After cleaning out closets after the roof sprung a new leak, I discovered
that the 1870's man's suit I had stored there has a few mildew spots on
it.  

I also just obtained a man's tailcoat of an unknown but old vintage that
really needs to be presssed if not cleaned.

Any and all assistance greatly appreciated.  Thanks!

- Cat
----------------------------------------------
Mistress of Pewter
Wench #359, Int'l Wenches Guild
Executive Babysitter Starquest '97- '98

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-Poster: Joan M Jurancich <joanj@quiknet.com>

At 10:29 AM 02/28/1999 -0800, Margo Anderson wrote:
>
>-Poster: Margo Anderson <margo@directcon.net>
>
>Well, I went to Sutter's Fort yesterday, and bought David Rickman's
>excellent costume manual.  This should be a great help to me in planning my
>"Wagon Train Costuming" classes.  (although he's looking at the 1840's and
>I'm doing 50's.)
>
>Of course, I have questions.  He states that the usual dress for emigrant
>women was the plain round dress, a dress with a fitted bodice, front
>opening, and round, not pointed, waistline, and says:
>
>        "A corset or "stays" were never practical for the hard labor of
>these women's lives, nor do they seem to have worn them for best dress
>either.  The typical round dress of this era was never as tightly fitting in
>the bodice   as the corseted figure demanded, nor were they 'boned'
>.......Given the fact that most of these women as we have shown, did not own
>more than two or three dresses, and often used their work dress for best,
>corsets would have been a needless extravagance."
>
>While style and a fashionable sillouhette may not have been important to
>these women, I can't help but think that at least some of them must have
>worn something to provide support for their breasts.  Not only were they
>working in these dresses, but on the emigrant trail,  most of them were
>either walking or riding horses all day.  As Rickman states, the bodices
>don't seem to have been tight enough to bind the breasts.  He does mention
>waistcoats, sleeveless garments worn for warmth.  I wonder if there might
>have been something similar, tight enough to support and or bind the breasts
>much as a modern sports bra works.  Does anyone have any information on
>this?  I don't want to have modern bra lines showing under my work dress,
>but even less do I want to bounce and sag along Main Street while trying to
>look respectable!
>
>Margo Anderson

Dear Margo,

This is Joan Jurancich, a member of the Costume Committee for Sutter's Fort.
I thought (actually, couldn't resist <g>) I could address your question
since we (the CC) deal with this problem.

IMO, while Rickman did put together a generally useful and good costume
guide for outer garments, he doesn't really understand much about women's
stays and corsets (this is understandable). Some support garments would be
needed by many, though not all, women for comfort as well as decency (as
defined in the USA at the time). Comfortable stays which give support to the
bust and leave one able to do one's necessary work are what I would
recommend. I wear them whenever I am at the Fort in costume. The clothing
does not look right without the proper undergarments; the closest modern
undergarment to stays that I am aware of is the long-line bra, which is
simply a corset under another name. 

By the 1850s, California was a fully American place, with American
"standards" of dress and decency. A properly fitted corset, though not tight
lacing (which was preached against by doctors for years; it was usually a
problem only with young, unmarried women trying to find husbands), would
likely be a part of any decent woman's wardrobe.

Hope this helps,

Joan Jurancich
Sacramento, CA
joanj@quiknet.com

 _________________________________________________________________
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-Poster: MissMela@aol.com

In a message dated 2/28/99 10:38:02 AM Pacific Standard Time,
margo@directcon.net writes:

<< 
 From:	margo@directcon.net (Margo Anderson) >>
Margo, I have been pondering this question for a while now, concerning
"waistcoats' and/or vests.  I have come to a conclusion, at least for now,
that a sleeveless garment, similar to our modern day undershirt was worn from
1840 through 1910 under or instead of a corset for warmth and for it's binding
of the breasts in such away as to hold.  There are multiple references to this
garment as in style, now out of style but still worn for warmth, etc.,
depending upon whom you are using as a reference.  While I am a strong
supporter of wearing "the proper underpinnings" for each time period, I think
there are times and instances when this is the proper underpinning and I thank
heaven that I am small chested! Mela
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From owner-h-costume@indra.com  Sun Feb 28 16:18:45 1999
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-Poster: MissMela@aol.com

Guess I should have read the rest of my mail before I replied to Margo !  I
realize that what I wrote could be construed as saying don't wear a corset.  I
did not mean it that way.  I simply was starting that I have been researching
lately on the underwaiste/vest item of clothing and have found more references
to it than previously and truly believed they were worn under corsets for
warmth and also without corsets in SOME cases (better be small chested and
dirt poor) but not as the norm.  Joan, good answers! Mela
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From owner-h-costume@indra.com  Sun Feb 28 16:25:34 1999
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Date: Sun, 28 Feb 1999 13:26:12 -0800
From: Lavolta Press <lavolta@best.com>
Organization: Lavolta Press
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-Poster: Lavolta Press <lavolta@best.com>

> Can anyone recommend a good dry cleaner in the SF area who's willing to
> touch vintage garments?  Ideally someplace in the East Bay.
>
> After cleaning out closets after the roof sprung a new leak, I discovered
> that the 1870's man's suit I had stored there has a few mildew spots on
> it.
>
> I also just obtained a man's tailcoat of an unknown but old vintage that
> really needs to be presssed if not cleaned.
>
> Any and all assistance greatly appreciated.  Thanks!
>
> - Cat

I have tried more than one cleaner for vintage clothes in the Bay Area.  The
only one I would recommend is Peninou French Laundry & Cleaners at 3707
Sacramento in SF, 415/751-9200.  I have never tried their laundry, but their
hand dry cleaning is generally good.  They have cleaned 1870s dresses for me;
since men's suits are usually sturdier I am sure they could clean an 1870s
one.  As with any cleaner, be sure to talk to them about the process used
before handing over the garments.  They have a process called "restoration"
that is not what you might think; it is just a stronger cleaning method.

Hope this helps,

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  Sun Feb 28 16:54:59 1999
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From: pulliam@acadia.net (Deborah Pulliam)
Subject: H-COST: corsets/19c
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-Poster: pulliam@acadia.net (Deborah Pulliam)

<<By the 1850s, California was a fully American place, with American
"standards" of dress and decency. A properly fitted corset, though not tight
lacing (which was preached against by doctors for years; it was usually a
problem only with young, unmarried women trying to find husbands), would
likely be a part of any decent woman's wardrobe.>>

They certainly were still being worn, even on the frontier, 20 years later:
in the upper mid west, Laura Ingalls Wilder subtly makes it clear that her
mother always wore a corset, and that she did as well, by the time she was
about 15. There are references in Little House in the Big Woods, as well as
the later books, when Laura is trying to learn to be a young lady (and
complaining about having to wear corsets.


Deborah


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From owner-h-costume@indra.com  Sun Feb 28 17:34:08 1999
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-Poster: ArcadiaCB@aol.com

Do you have any places that sell old store fixtures, buy up the display
fixtures and forms when a store is going out of business? There's one near me
that almost always has such forms.  Or try looking in the Yellow pages under
"Display" for a company that sells new fixtures and display forms. You might
even ask  a local store where they buy their forms from.
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From owner-h-costume@indra.com  Sun Feb 28 17:39:31 1999
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Subject: Re: H-COST: 1840's round dresses
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-Poster: Margo Anderson <margo@directcon.net>

 MissMela wrote:

 I have been pondering this question for a while now, concerning
>"waistcoats' and/or vests.  I have come to a conclusion, at least for now,
>that a sleeveless garment, similar to our modern day undershirt was worn from
>1840 through 1910 under or instead of a corset for warmth and for it's binding
>of the breasts in such away as to hold.

So this may have been the period equivalent of a sports bra, i.e. more
comfortable to wear when active, but not giving as attractive or fashionable
a look?  It certainly makes sense.

I agree with Joan that Rickman is probably innacurate on this point, due to
an understandable lack of personal experience.  Well, if I were asked to
write about athletic supporters, I might just miss some  detail, too!

Margo

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From owner-h-costume@indra.com  Sun Feb 28 17:44:09 1999
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From: "Wanda Pease" <wandapease@bigfoot.com>
To: <h-costume@indra.com>
Subject: Re: H-COST: H-COST - loose gowns+kirtles
Date: Sun, 28 Feb 1999 14:40:24 -0800
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-Poster: "Wanda Pease" <wandapease@bigfoot.com>

Actually, my first (and so far only) attempt made me look a lot like
the Friendship 7 space capsule!
(Ok, so I'm showing my age... or... NO!  I must have seen it at the
Smithsonian Air and Space Museum.. Yeah!  That's it!)

Regina
-----Original Message-----
From: Margo Anderson <margo@directcon.net>
To: h-costume@indra.com <h-costume@indra.com>
Date: Sunday, February 28, 1999 9:31 AM
Subject: Re: H-COST: H-COST - loose gowns+kirtles


>
>-Poster: Margo Anderson <margo@directcon.net>
>
>At 09:29 AM 2/27/99 -0600, you wrote:
>>
>>-Poster: seamstrix@juno.com
>>
>>They seem to have been perfectly acceptable as outdorr wear, many
women
>>were painted wearing them and there are many listed in Queen
Elizabeth's
>>Wardrobe. I made one for a large sized lady at Bristol RenFaire last
>>summer and it worked out very well for her, it was comfortable and
was
>>very flattering as it accentuated her height not her width. Just
remember
>>that you need to wear all the regular undergarments,
>
>But keep the hoops fairly small, otherwise you'll resemble the remark
of a
>friend of mine:  "You mean that dress that looks like you're wearing
a
>teepee with your head sticking out the top?"
>
>I've never been able to bring myself to wear one since...
>
>Margo
>
> _________________________________________________________________
> 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 Feb 28 20:11:31 1999
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-Poster: LuAnnMason@aol.com

In a message dated 2/28/99 3:58:02 PM EST, joanj@quiknet.com writes:

<< IMO, while Rickman did put together a generally useful and good costume
 guide for outer garments, he doesn't really understand much about women's
 stays and corsets (this is understandable). Some support garments would be
 needed by many, though not all, women for comfort as well as decency (as
 defined in the USA at the time). Comfortable stays which give support to the
 bust and leave one able to do one's necessary work are what I would
 recommend. I wear them whenever I am at the Fort in costume.  >>

Thank you Joan!  Although I was not the OP on this topic, I also purchased the
Sutter's Fort costume guide last spring.  While I felt the overall guide was
excellent (or whatever the word above "excellent" might be!  :-) ), the
passage on "no corsets" really struck a wrong chord with me.  

LuAnn
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From owner-h-costume@indra.com  Sun Feb 28 22:06:24 1999
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Date: Sun, 28 Feb 1999 22:19:07 -0500
To: h-costume@indra.com
From: Danielle Nunn <dnunn@interlog.com>
Subject: H-COST: OT - What to see/do in Myrtle Beach
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-Poster: Danielle Nunn <dnunn@interlog.com>

Greetings all,

Can anyone recommend places to go, things to see, and fabric stores, etc...
in Myrtle Beach?  I'm going there in two weeks and have the days to myself.
 Please email me privately.  Thanks.

Cheers,
Danielle
dnunn@interlog.com

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-Poster: "Kathryn L. Herb" <kayherb@juno.com>


Well, another boot to the head for me!  Thanks!  We don't have stores
that sell old fixtures, but checking with local shoe stores, etc. never
even occurred to me!

Kay
kayherb@juno.com



On Sun, 28 Feb 1999 17:38:14 EST ArcadiaCB@aol.com writes:
>
>-Poster: ArcadiaCB@aol.com
>
>Do you have any places that sell old store fixtures, buy up the 
>display
>fixtures and forms when a store is going out of business? There's one 
>near me
>that almost always has such forms.  Or try looking in the Yellow pages 
>under
>"Display" for a company that sells new fixtures and display forms. You 
>might
>even ask  a local store where they buy their forms from.
> _________________________________________________________________
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> with the message UNSUBSCRIBE H-COSTUME
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From owner-h-costume@indra.com  Sun Feb 28 22:36:19 1999
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Subject: Re: H-COST: OT:dressform
Date: Mon, 01 Mar 99 03:46:44 GMT
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-Poster: trekona@erols.com



> -Poster: "Andrea Gideon" <andrea.gideon@erols.com>
> 
> Does anyone know where I can buy a "Uniquely You" dressform?  They don't
> seem to be availible in fabric stores.
> Andrea

    My mother ordered me a tailor's ham last Christmas from Atlanta Thread & 
Cutlery (yes, I got a Christmas ham!!) who very nicely supplied me with two 
copies of their mail order catalog. 
    They sell Uniquely You forms for $135.99, Twin Fit forms for $135-145 (hey, 
it goes up to *my* size which none of the others do!), My Double forms for 
$135, and the Athena form for $113. Oh, they also carry a Mr Ardis male form 
for the usual $135 and a Uniquely you pants form. I don't really know if these 
are good prices, they look it to me (or else I'm getting a very warped idea of 
money these days), but when I see the prices of many of their other supplies 
(like T-pins and fiber fill), I'm amazed at the low cost.
    If anyone is interested in their catalog, call 1-800-847-1001.

    -Judy Mitchell
My mother said the woman on the phone was very nice and they had a good ol' 
chat, so they don't seem to terribly rushed or harried. They even hand wrote my 
mother's name in the return address spot, so that I wouldn't open it before 
Christmas. Now *that's* service!

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From owner-h-costume@indra.com  Sun Feb 28 22:38:08 1999
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Date: Mon, 01 Mar 99 03:48:12 GMT
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-Poster: trekona@erols.com

Drat: that should have read Atlanta Thread & Supply Comany
                                             ^^^^^^
 not 'Cutlery.' I think I'd best go to bed. <sigh>
    -Judy Mitchell

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From owner-h-costume@indra.com  Sun Feb 28 22:42:42 1999
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Date: Sun, 28 Feb 1999 22:30:15 -0500
To: h-costume@indra.com
From: Danielle Nunn <dnunn@interlog.com>
Subject: Re: H-COST: Figuring out elizabethan waistbands
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-Poster: Danielle Nunn <dnunn@interlog.com>

Greetings,

>> Which reminds me, has anyone ever
>>  noticed a picture of an ENGLISH lady wearing those large triangular
Spanish
>>  sleeves? 
>
>Ignoring the whole rest of a very sensible letter...

Thank you. <blush>

>Yes. Lettice Knollys, Countess of Leicester, in that very flashy golden gown
>with double sleeves? Those are Spanish round sleeves, I am quite sure.  

Actually, I'm not talking about Spanish round sleeves, I've seen plenty of
them it's the big triangular ones like you see on the portrait of "The
Infanta Isabella Clara Eugenia" by F. Del Llano, 1584.  It's on pg. 218 of
Boucher's "20,000 years of Fashion".  She's wearing a stunning, white
doublet gown with a gold brocaded pattern and has her hand on the head of
her dwarf who is holding two monkeys.

Anyone seen these on an English woman?

Cheers,
Danielle


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From owner-h-costume@indra.com  Sun Feb 28 22:47:53 1999
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-Poster: kat@grendal.rain.com


> Actually, I'm not talking about Spanish round sleeves, I've seen plenty of
> them it's the big triangular ones like you see on the portrait of "The
> Infanta Isabella Clara Eugenia" by F. Del Llano, 1584.  It's on pg. 218 of
> Boucher's "20,000 years of Fashion".  She's wearing a stunning, white
> doublet gown with a gold brocaded pattern and has her hand on the head of
> her dwarf who is holding two monkeys.
> 
> Anyone seen these on an English woman?

Ah, those wonderful Saya sleeves. Alcega has a pattern for them 
(although it's easy to put them in the armhole wrong, I've seen.) 
Unfortunately, I'm still looking for an example on someone English. 
Sigh. I like them too.


Kat 

Kat(June Russell)
kat@grendal.rain.com
Heu! Tintinnuntius meus Sonat!
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From owner-h-costume@indra.com  Mon Mar  1 00:13:22 1999
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-Poster: Appin1@aol.com

For those following the story of Judy's Swedish outfit, I was one of the
judges for historical costuming at CostumeCon and had the pleasure of seeing
this FO up close and from the skin out, as well as reading the documentation
Judy produced for it. Outstanding.

As she stated, everything was sewn by hand. All parts of the garments were
extensively researched from original Swedish sources with a lot of interface
between Judy and several experts in Sweden.

As could be expected, Judy won awards in documentation and construction in her
class (journeyman -- the classes are novice, journeyman and master), as well
as judges' choice. Two years ago, at CostumeCon she also won several awards in
her class (novice) for a wonderful (and wonderfully researched) Viking outfit.
I was also a judge for that competition.

Competition at these costumers conventions is very tough. Participants
sometimes are professionals, working in theater or reenactment. Judging is
comprehensive. We read documentation carefully and examine garments
thoroughly. We ask lots of questions. We look at the presentation and fit of
the clothes.

Bravo Judy! Keep up the good work.

Kathleen Norvell
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From owner-h-costume@indra.com  Mon Mar  1 00:20:35 1999
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-Poster: ArcadiaCB@aol.com

I can't say about the other dress forms, but the prices quoted for the
"Uniquely You" form sounds good. I paid $125 for mine in 1991 so it hasn't
inflated that much since then.
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From owner-h-costume@indra.com  Mon Mar  1 00:21:25 1999
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-Poster: Appin1@aol.com

I've made & used velvet patches, just cut from regular velvet. They can fray a
bit, but you can use Fray-Chek on them (or coat with clear nail polish on the
back).

I stuck it on my cheek with a little Elmer's glue (it washes off with warm
water). You can also use spirit gum or two-sided tape.

I also have commercially-made patches with some sort of stickum on the back.
They are in shapes like stars and crescent moons.

Kathleen Norvell
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From owner-h-costume@indra.com  Mon Mar  1 00:22:31 1999
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From: "karrissa david" <arizona63@hotmail.com>
To: h-costume@indra.com
Subject: Re: H-COST: Fabric Club
Date: Mon, 01 Mar 1999 00:26:51 EST
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-Poster: "karrissa david" <arizona63@hotmail.com>

>I have discovered after crushing disappoint to *never* depend on mail
>order if I have a deadline.  I think, by law, they have 6-8 weeks to
>deliver something.  

Actually, the law states that a distributor has 2 weeks to mail a 
purchase out.  If it is to be mailed later than two weeks, then the 
sender must notify the purchaser of when the item will be sent out.

Just my two cents.
Karrissa


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-Poster: "Jill & Ralph" <blkhrse@pacifier.com>



You Know When You've Costuming Too Long...

When the subject is "Tartan in VA" and you think "Oh! a new exhibit at the
Victoria and Albert"

Jill
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From owner-h-costume@indra.com  Mon Mar  1 02:05:14 1999
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Date: Mon, 1 Mar 1999 02:07:59 -0500
From: Melanie Wilson <MelanieWilson@compuserve.com>
Subject: H-COST: H-C: King Alfonso's Book of Chess
To: "INTERNET:h-costume-digest@indra.com" <h-costume-digest@indra.com>
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-Poster: Melanie Wilson <MelanieWilson@compuserve.com>

The correct title is "Libro de los Juegos de Ajedrez, Dados y Tablas" 

 there is a facsimile of the book of chess, published in Spain, it is on
the 2nd hand market and reputedly going for a minimum of 1000 English
pounds, but the only copies I've traced are more like 2500 English pounds

From owner-h-costume@indra.com  Mon Mar  1 07:56:58 1999
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From: Robin Netherton <robin@dgsys.com>
To: h-costume@indra.com
Subject: Re: H-COST: H-C: King Alfonso's Book of Chess
In-Reply-To: <199903010208_MC2-6C39-BCDB@compuserve.com>
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-Poster: Robin Netherton <robin@dgsys.com>


On Mon, 1 Mar 1999, Melanie Wilson wrote:

>  there is a facsimile of the book of chess, published in Spain, it is on
> the 2nd hand market and reputedly going for a minimum of 1000 English
> pounds, but the only copies I've traced are more like 2500 English pounds

Someone else mentioned the Cantigas. A couple of weeks ago I saw a large
facsimile of this in a university library. B/W plates, but there are 212
of them, showing many people.

"Las Cantigas: estudio arqueologico de sus miniaturas" by Jose Guerrero
Lovillo (Madrid 1949).

Not to be confused with many other titles under "Cantigas" that are modern
books about the music in this manuscript. 

--Robin

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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: First World War
Date: Mon, 1 Mar 1999 14:10:59 -0000
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-Poster: "Chandler, Sally" <S.A.Chandler@shu.ac.uk>

Can anyone direct me to pictures of women's utility clothing or factory workers clothing from the First World War on the Web?

Thanks,

Sally Ann
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From owner-h-costume@indra.com  Mon Mar  1 09:42:52 1999
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To: h-costume@indra.com
Subject: Re: H-COST: Figuring out elizabethan waistbands
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-Poster: aleed <aleed@dnaco.net>


I know that Queen Elizabeth had "spanish grete sleeves" listed in her
wardrobe accounts, but I, too have never seen them on a portrait of an
Englishwoman.

> 
> Actually, I'm not talking about Spanish round sleeves, I've seen plenty of
> them it's the big triangular ones like you see on the portrait of "The
> Infanta Isabella Clara Eugenia" by F. Del Llano, 1584.  It's on pg. 218 of
> Boucher's "20,000 years of Fashion".  She's wearing a stunning, white
> doublet gown with a gold brocaded pattern and has her hand on the head of
> her dwarf who is holding two monkeys.
> 
> Anyone seen these on an English woman?

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From: Marie Schulte <mschulte@post.its.mcw.edu>
Message-Id: <199903011455.IAA08086@post.its.mcw.edu>
Subject: Re: H-COST: foot forms
To: h-costume@indra.com
Date: Mon, 1 Mar 1999 08:55:55 -0600 (CST)
In-Reply-To: <19980924.022444.5351.8.kayherb@juno.com> from "Kathryn L. Herb" at Feb 28, 99 03:38:09 pm
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-Poster: Marie Schulte <mschulte@post.its.mcw.edu>

> -Poster: "Kathryn L. Herb" <kayherb@juno.com>
> 
> And to expand on your inquiry, does anyone know where I can get foot
> forms with the lower leg attached?  I'm doing custom woolen hose (woven


Kay-

A friend of mine who makes shoes makes individual lasts of a person's feet
by doing a version of the duct tape/t-shirt pattern.  He uses a sock.
After taping it up and cutting it off the person, he tapes it back into a
'foot-lower leg form' and fills it with the aerosol foam insulation.
Maybe that will work for you.


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From owner-h-costume@indra.com  Mon Mar  1 09:59:56 1999
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From: Hulett <mhull@earthlink.net>
To: "'h-costume@indra.com'" <h-costume@indra.com>
Subject: RE: H-COST: foot forms
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-Poster: Hulett <mhull@earthlink.net>

That is exactly what I did on my whole dress form. It worked great. (I did 
fill the body cavity with regular foam though, just the legs and arms were 
hard foam)
cheers, jd

-----Original Message-----
From:	Marie Schulte [SMTP:mschulte@post.its.mcw.edu]
Sent:	Monday, March 01, 1999 6:56 AM
To:	h-costume@indra.com
Subject:	Re: H-COST: foot forms


-Poster: Marie Schulte <mschulte@post.its.mcw.edu>

> -Poster: "Kathryn L. Herb" <kayherb@juno.com>
>
> And to expand on your inquiry, does anyone know where I can get foot
> forms with the lower leg attached?  I'm doing custom woolen hose (woven


Kay-

A friend of mine who makes shoes makes individual lasts of a person's feet
by doing a version of the duct tape/t-shirt pattern.  He uses a sock.
After taping it up and cutting it off the person, he tapes it back into a
'foot-lower leg form' and fills it with the aerosol foam insulation.
Maybe that will work for you.


 _________________________________________________________________
 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 Mar  1 10:28:40 1999
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          Mon, 1 Mar 1999 9:32:58 -0600
Date: Mon, 1 Mar 1999 9:32:58 -0600
From: "I. Marc Carlson" <LIB_IMC@centum.utulsa.edu>
To: H-COSTUME@indra.com
Message-Id: <990301093258.17624e@centum.utulsa.edu>
Subject: H-COST: Thread Sizing
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-Poster: "I. Marc Carlson" <LIB_IMC@centum.utulsa.edu>

I'm had a question for a shoemaking forum I'm on, and after getting a 
response that doesn't quite answer my question, I thought I'd drop it here 
also and hope that someone can help.  I will be adding (with permission)
the other response I received.  Please note that unless I am told explicitly
not to, I will be cross-posting the more informative responses to the the
Crispian Colloquy at (www.bootmaker.com/hcc.htm):

 - By Marc Carlson on Sunday, February 28, 1999 - 09:39 pm:
 - I have what may seem like a stupid question, but how do different 
 - shoemakers define their threads. I mean I have heard terms like "#10", 
 - "10 ounce" and "35/2" used to describe various threads. Any
 - thoughts? 
 - Marc 
 - lib_imc@centum.utulsa.edu 

 - By DR OBUV on Monday, March 1, 1999 - 07:15 am:
 - MARC--You have indeed touched on a tricky area here, and I hope somebody 
 - might jump in who knows more than what little I can offer. Hand-sewing 
 - thread, plied-up to size for a job, is made from a single strand of "hand 
 - thread". This base thread size, say #10, in 5,7,9, etc. plys, would give
 - you, for example, a 5x #10, etc. Formerly single strand "hand thread" was 
 - available in more sizes, like #12, etc. Today all I can find is #10, and 
 - this varies in size. We are also forced to use hand-weaver's wet-spun 
 - flax/hemp single-ply yarn, like Webs brand, which comes in it's own 
 - peculiar number sizes, like 20/1,18/1, whatever that means. "Linen" 
 - machine twist runs to another size range ,which stipulates both number 
 - of strands [i.e.,3], and total size [i.e.,18], such as 3/18, 3/25 and 
 - 3/35 being the most common "linen threads" sold today. Most nylon threads 
 - are sold in old "silk sizes" which can run either by letters [A-G], or 
 - numbers. To make matters worse, multi-stranded "linen" sole-stitcher 
 - thread is sold by number of strands, not size, such as 5 "cord", 7 "cord", 
 - etc. These sizes relate to needle and awl sizes in the machines. The 
 - confusion begins when one tries to relate one number-size system to threads 
 - not made in that number-size system. I just got a 225 grm. spool of 3/18 
 - "linen" machine twist that has a finished size almost the same as a #5 cord
 - stitcher thread. Some of the early 20th c. texbook give charts that relate 
 - "silk" sizes to the others, but today the product is so inconsistent, it 
 - might be more confusing than helpful. 

Personally, I am trying to find some order in this chaos - and my test is to
figure out what the "linen thread" that Tandy sells is called, and what that's
supposed to mean :)

Marc
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From owner-h-costume@indra.com  Mon Mar  1 10:31:35 1999
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Subject: H-COST: Proud of Merouda
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-Poster: kat@grendal.rain.com

I don't know if Merouda will let everyone else know, but we can be 
quite proud of her. She won the Twelfth Night An Tir Costumer's Guild 
costume competition for her experience level! 

She was up against a large number of people with some stiff 
competition. Her garment was very well made and well documented (as 
well as looking very nice on her!) We (the judges for the contest) 
were quite impressed with her.


Kat 

Kat(June Russell)
kat@grendal.rain.com
Heu! Tintinnuntius meus Sonat!
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Date: Mon, 01 Mar 1999 07:43:11 -0800
From: Lady Eleanor <hekav@gte.net>
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Subject: H-COST: Re:Foams...reg. vs hard??  Hunh?
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-Poster: Lady Eleanor <hekav@gte.net>

"Regular foam"..."hard foam"???  Could you supply any brand
names here?

Thanks,
Lady Eleanor

Hulett wrote:
> 
> -Poster: Hulett <mhull@earthlink.net>
> 
> That is exactly what I did on my whole dress form. It worked great. (I did
> fill the body cavity with regular foam though, just the legs and arms were
> hard foam)
> cheers, jd
> 
> -----Original Message-----
> From:   Marie Schulte [SMTP:mschulte@post.its.mcw.edu]
> Sent:   Monday, March 01, 1999 6:56 AM
> To:     h-costume@indra.com
> Subject:        Re: H-COST: foot forms
> 
> -Poster: Marie Schulte <mschulte@post.its.mcw.edu>
> 
> > -Poster: "Kathryn L. Herb" <kayherb@juno.com>
> >
> > And to expand on your inquiry, does anyone know where I can get foot
> > forms with the lower leg attached?  I'm doing custom woolen hose (woven
> 
> Kay-
> 
> A friend of mine who makes shoes makes individual lasts of a person's feet
> by doing a version of the duct tape/t-shirt pattern.  He uses a sock.
> After taping it up and cutting it off the person, he tapes it back into a
> 'foot-lower leg form' and fills it with the aerosol foam insulation.
> Maybe that will work for you.
> 
>  _________________________________________________________________
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>  with the message UNSUBSCRIBE H-COSTUME
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>  _________________________________________________________________
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From owner-h-costume@indra.com  Mon Mar  1 11:48:04 1999
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Cc: h-costume@indra.com
Subject: Re: H-COST: Proud of Merouda
Message-ID: <19990301.083201.4783.1.cley@juno.com>
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-Poster: cynthia j ley <cley@juno.com>

I heartily second that! The entry was beautiful, not a detail missed, and
her documentation was thorough and well presented.

Merouda, any chance you could post your cotehardie on a web site for all
to see?

Congratulations! :-)


					Arlys

On Mon, 1 Mar 1999 07:35:50 +0000 kat@grendal.rain.com writes:
>
>-Poster: kat@grendal.rain.com
>
>I don't know if Merouda will let everyone else know, but we can be 
>quite proud of her. She won the Twelfth Night An Tir Costumer's Guild 
>costume competition for her experience level! 
>
>She was up against a large number of people with some stiff 
>competition. Her garment was very well made and well documented (as 
>well as looking very nice on her!) We (the judges for the contest) 
>were quite impressed with her.
>
>
>Kat 
>
>Kat(June Russell)
>kat@grendal.rain.com
>Heu! Tintinnuntius meus Sonat!
> _________________________________________________________________
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From owner-h-costume@indra.com  Mon Mar  1 11:57:56 1999
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From: "Vickers, Jill" <jvickers@TELESENSORY.com>
To: "'h-costume'" <h-costume@indra.com>
Subject: H-COST: Where To Purchase Corset Book?
Date: Mon, 1 Mar 1999 09:01:43 -0800 
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-Poster: "Vickers, Jill" <jvickers@TELESENSORY.com>


I have just been informed by Amazon.com that they cannot get a copy 
of The Little Corset Book by Bonnie Holt Ambrose for me.

Does anyone know where else I can try to get a copy?  On-line or mail 
order sources are best.

While on the subject...can anyone provide me with a review of this
book?  It looks like it may be helpful, I have not been able to get much
information on it.

Thanks,
-Jill
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From owner-h-costume@indra.com  Mon Mar  1 12:07:36 1999
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-Poster: Gaelscot@aol.com



My husband bought me my Uniquely You dress form three years ago at Joanne
Fabrics. It was on sale for$99. The store doesn't always have dress forms
displayed, but you can always order them. So you might check your local store
even if they don't have a display. I really like the form, although it is not
at all my shape. The company doesn't seem to have changed the shape of the
thing since the 1950s, so the breasts are cone shaped and it has no stomach or
rear end to speak of (as if it's wearing a girdle!). I spoke to the company
several times by phone, not sure if I had the right size -- I was still
nursing and I knew that my body shape would change. The people I spoke to were
all extremely helpful, and told me that when I was pretty sure my shape was
stable, I should call back and they would give me detailed instructions on how
to pad it (my behind will NEVER be that flat).

I've never called, because I'm still losing some weight and I haven't needed
to make any really form-fitting garments. But I'll tell you, it's great to
have a dress form! It's exactly my height and approximately my shape, and it
has made a huge difference in my sewing. Mostly because I can be so much more
confident about whether what I'm doing will fit. So I recommend the company
and the product.

Gail Finke



 
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From owner-h-costume@indra.com  Mon Mar  1 12:24:45 1999
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-Poster: KaosWarior@vcnet.com

>-Poster: "Vickers, Jill" <jvickers@TELESENSORY.com>
>
>
>I have just been informed by Amazon.com that they cannot get a copy
>of The Little Corset Book by Bonnie Holt Ambrose for me.
>
>Does anyone know where else I can try to get a copy?  On-line or mail
>order sources are best.
>
>While on the subject...can anyone provide me with a review of this
>book?  It looks like it may be helpful, I have not been able to get much
>information on it.
>
>Thanks,
>-Jill
>
>
>

Try Borders.com you may have some luck with them   ;-)


C-YA!     Scott


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In-Reply-To: <19990228.125837.-67051.0.Wench359@juno.com>
Date: Mon, 1 Mar 1999 09:41:07 -0800
To: h-costume@indra.com
From: Lynn Downward <ldownward@mail.cho.org>
Subject: Re: H-COST: Dry Cleaners in SF area?
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-Poster: Lynn Downward <ldownward@mail.cho.org>

>-Poster: wench359@juno.com
>
>
>Can anyone recommend a good dry cleaner in the SF area who's willing to
>touch vintage garments?  Ideally someplace in the East Bay.
>
>After cleaning out closets after the roof sprung a new leak, I discovered
>that the 1870's man's suit I had stored there has a few mildew spots on
>it.
>
>I also just obtained a man's tailcoat of an unknown but old vintage that
>really needs to be presssed if not cleaned.
>
>Any and all assistance greatly appreciated.  Thanks!
>
>- Cat


Hi, I've used Euwell's, on the corner of Alcatraz and Martin Luther King in
Oakland.  They were recommended to me by Katie Kliot from Lacis.  I've used
them for years and been very happy the whole time.  You might call Lacis to
see if they have any other suggestions.

LynnD
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