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Subject: Re: H-COST: LONG - historical publisher Rant
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-Poster: kat@grendal.rain.com


> At the London Book Trade Fair last weekend I had the great misfortune to
> meet and have a discussion with Jean Hunnisett's publisher, Bill from Player
> Press.
> -	He had been going to publish a book early this year of "corrections
> to Janet Arnold's books", but that Jean had decided she didn't want to now
> Janet was dead (though what Jean had to do with it he wasn't clear on), but
> once Jean died he probably would print it (now that's the kind of publisher
> you need - one who can't wait till you die!).

If he does, he may be stepping on copywrite toes anyway as this book 
is already in print (well, it was in the past.) It's called "The 
Annotated Arnold" and was written by Bob Trump. Most of the 
corrections are minor (like putting one set of hooks and eyes on a 
waistband instead of 2, 2 stripes where only one was in the original, 
measurements off by 1/4", etc.). When Janet was asked about some of 
the errors, she admitted that her graduate students had done the 
redrawings for her (but since they have different ways of looking at 
crediting of students than the US, I guess that's fair.)

That doesn't take away from her work as a whole. Nor does it make her 
a "sloppy historian."

Probably what happened is that he has heard some of the normal 
grouching that people in a close knit community do when they think 
it will go no further. I'm sure you know the kind of things like that 
(as they sometimes even appear on this list at times) such as "I wish 
she had made a better color choice there. It's not a very period 
color." Or "She missed that source on nitpickydetail#1 when she 
wrote that." Or "Hey, I can do better than that. Look at that 
pickydetail#2 on that collar!"

It does sound like he was stepping over the bounds of respect, 
doesn't it.

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: H-COST: Greenburg & Hammer WAS Re: Amazon Drygoods
Date: Thu, 1 Apr 1999 09:51:34 -0500
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-Poster: "Kyna Grannd" <kynagrannd@granndgarb.com>

Ummm....do you have an address or phone number????  Please????

:D

~Kyna

>Dear List,
>
>Not to take anything away from Amazon Drygoods, but I recently ordered
>some corset supplies (a busk, boning, etc) from Greenberg & Hammer and
>they had what appeared to be wholesale prices on lots of cool things.
>The busk I ordered was at least $10 cheaper than any other price I could
>find!!
>
>They are not on the Web and their catalog costs $1 (last I checked) but
>if you are willing to send away for the catalog, I think it is well
>worth your time!  They also give bulk discounts if you have a need to
>order large quantities of things.
>
>And last time I ordered from them, they were very polite, helpful and
>mailed my things in a very timely manner.  Just wanted to share another
>resource!
>
>
>Diana :~>


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From owner-h-costume@indra.com  Thu Apr  1 09:46:54 1999
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To: fire.fly@hotbot.com
Cc: h-costume@indra.com
Subject: H-COST: Up&coming books
Date: Thu, 1 Apr 1999 15:47:46 +0100 
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-Poster: cnevin@caci.co.uk

The 1920s book I spoke about is apparently getting more photos, but won't be
printed until the current edition has all sold. I'm pretty sure this is it
below;

Women's Wear of the 1920's 
by Ruth Countryman
</exec/obidos/Author=Countryman%2C%20Ruth/002-3224637-8701628> , Elizabeth
Weiss Hopper
</exec/obidos/Author=Hopper%2C%20Elizabeth%20Weiss/002-3224637-8701628>  
Our Price: $57.00
Hardcover (August 1998) 
Players Press; ISBN: 0887346545 

Does anyone on the list have a copy? What did you think?

They have also done a 1930s book in the same series (which was there, but I
didn't actually view it), which if it is as good as the '20s one looks to
be, is another 'must buy'. I'm not sure when this will be coming out,
possibly later this year.

Regards,
Tina Nevin

	----------
	From:   Firefly [SMTP:fire.fly@hotbot.com]
	Sent:  Thursday, April 01, 1999 3:27 PM
	To:  Christina Nevin
	Subject:  (No Subject)

	Apart from the petty talk, I wonder if Bill has any news about
upcoming books?  I haven't posted this to the listserve, but your answer may
be interesting to everyone, so you may want to post it there as well.
	Still, he sounds like an irritating fellow!
	---
	Visit my homepage:
	http://pages.hotbot.com/travel/fire.fly
	HotBot - Search smarter.
	http://www.hotbot.com
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From owner-h-costume@indra.com  Thu Apr  1 10:38:27 1999
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From: "Susan Carroll-Clark" <nicolaa@earthlink.net>
To: <h-costume@indra.com>
Subject: Re: H-COST: LONG - historical publisher Rant
Date: Thu, 1 Apr 1999 10:53:12 -0500
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-Poster: "Susan Carroll-Clark" <nicolaa@earthlink.net>

Greetings!

This is interesting.  A friend of mine e-mailed me a few months ago after I
mentioned Ms. Arnold's death in passing on an SCA newsgroup and mentioned
that she'd heard similar accusations (that museums didn't like her and that
there were errors in her drawings.)  I, likewise, just said "Huh?"  because
I'd never heard a peep from the historic costuming community that she was
anything other than extremely well-regarded.

I'm just a thesis defense away from a doctorate in history, and I can safely
say that Ms. Arnold's research is most definitely *not* sloppy.

Susan Carroll-Clark

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From owner-h-costume@indra.com  Thu Apr  1 10:59:26 1999
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-Poster: DRGurley@aol.com

Where, please, can I find Greenberg & Hammer?
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From owner-h-costume@indra.com  Thu Apr  1 11:10:20 1999
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From: Merouda the True of Bornover <keltia@serv.net>
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References: <d20deb0e.370286d2@aol.com> <37031560.CD47AC02@inreach.com>
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-Poster: Merouda the True of Bornover <keltia@serv.net>

So what is their contact info?  They sound great.  Cynthia

> I recently ordered
> some corset supplies (a busk, boning, etc) from Greenberg & Hammer and
> they had what appeared to be wholesale prices on lots of cool things.

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


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From: "Franchesca Havas" <ches@io.com>
To: <h-costume@indra.com>
Subject: Re: H-COST: Greenburg & Hammer 
Date: Thu, 1 Apr 1999 10:23:35 -0600
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-Poster: "Franchesca Havas" <ches@io.com>

>From http://www.dnaco.net/~aleed/corsets/mailorder.html

Greenberg and Hammer
24 W. 57th St.
NY, New York
212-246-2835.
72437,674@compuserve.com
steel and plastic boning. Their boning is the cheapest I've found anywhere.

Sincerely,
F. Havas

-----Original Message-----
From: Merouda the True of Bornover <keltia@serv.net>
To: h-costume@indra.com <h-costume@indra.com>
Date: Thursday, April 01, 1999 10:17 AM
Subject: H-COST: Greenburg & Hammer


:
:-Poster: Merouda the True of Bornover <keltia@serv.net>
:
:So what is their contact info?  They sound great.  Cynthia
:
:> I recently ordered
:> some corset supplies (a busk, boning, etc) from Greenberg & Hammer and
:> they had what appeared to be wholesale prices on lots of cool things.
:
:--
:Cynthia Long
:Merouda the True of Bornover
:Barony of Madrone
:Kingdom of An Tir
:
:
: _________________________________________________________________
: To leave this mailing list, send mail to majordomo@indra.com
: with the message UNSUBSCRIBE H-COSTUME
:

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Subject: Re: H-COST: Febreze
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-Poster: KaosWarior@vcnet.com

I know that this may be redundant...

But, I'm wondering if the afflicted animals in question,
were directly sprayed with said product, where upon they
licked their fur, there by ingesting the toxin?

just something I was wondering about
(when all else fails-read the directions)

Thanks for your time,
    Scott


>-Poster: Julie Adams <savaskan@sd.znet.com>
>
>Joanne Howl, DVM forwarded me this as she just received it in the mail:
>
>>Date:       March 26, 1999
>>To:          Whom It May Concern
>>Subject:   Febrezeô Fabric Refresher
>>
<CLIP!>
>>Sincerely,
>>
>>Steven R. Hansen, DVM, MS
>>Diplomate American Board of Veterinary Toxicology
>>Senior Vice President


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

As far as I know it's not accurate that there have been any deaths or
injuries.  It is however only meant for fabric.  C~

> But, I'm wondering if the afflicted animals in question,
> were directly sprayed with said product, where upon they
> licked their fur, there by ingesting the toxin?
>
> just something I was wondering about
> (when all else fails-read the directions)
>
> Thanks for your time,
>     Scott
>
> >-Poster: Julie Adams <savaskan@sd.znet.com>
> >
> >Joanne Howl, DVM forwarded me this as she just received it in the mail:
> >
> >>Date:       March 26, 1999
> >>To:          Whom It May Concern
> >>Subject:   Febrezeô Fabric Refresher
> >>
> <CLIP!>
> >>Sincerely,
> >>
> >>Steven R. Hansen, DVM, MS
> >>Diplomate American Board of Veterinary Toxicology
> >>Senior Vice President
>
>  _________________________________________________________________
>  To leave this mailing list, send mail to majordomo@indra.com
>  with the message UNSUBSCRIBE H-COSTUME

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


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-Poster: SAQUEEN@aol.com

Dear Tina,

I spoke with Ruth Countryman on Tuesday evening about another topic. She did
say in passing that she and Liz are working the the 1930s copy. Both Liz and
Ruth are detailed people, very saavy, very aware of how people use this type
of book. 

Sally 


Costume Calendar Series, Calendar 2000 available June 1, 1999
http://www.sallyqueenassociates.com
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From owner-h-costume@indra.com  Thu Apr  1 13:26:55 1999
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-Poster: Lavolta Press <lavolta@best.com>

> But no - he proceeded to spend the next ten minutes
> libelling Janet Arnold by saying;
> -       her research was sloppy and inaccurate
> -       her measurements were off
> -       the Museums she did business with had disliked her because she used
> photos she didn't have permission to (in a JA book?!) and she stole things
> from them
> -       Hunnisett's books were more historically accurate
> -       He had been going to publish a book early this year of "corrections
> to Janet Arnold's books", but that Jean had decided she didn't want to now
> Janet was dead (though what Jean had to do with it he wasn't clear on), but
> once Jean died he probably would print it (now that's the kind of publisher
> you need - one who can't wait till you die!).
>

If what you say is true, his behavior is highly unprofessional. Aside from that,
there's more I could say, but I'll be brief to avoid breaking my own rules.

I worked in commercial publishing, for a number of book and magazine authors,
for years before starting a small press, and hope I am familiar with the ethics
of the business.  All publishers and authors of the same type of material are,
in a sense, in competition.  However, that does not mean they have bad
relationships with each other.  Often they have excellent relationships.  It is
only mature to realize that there are other publishers in the market--and also
that there are a lot of readers, many of whom will buy books by numerous authors
and publishers.  If you think another publisher or author has better books
and/or marketing than you do, you take steps to improve your own work, rather
than slamming theirs.    If you are an author who sometimes publishes reviews of
other authors' books, you are responsible for assessing and reporting the
strengths and weaknesses of those books as honestly as possible--not just
slamming them because they're by competitors or praising them because they're by
friends.   Editors may do a certain amount of complaining to their coworkers to
let off steam at the end of the day, about authors who are difficult to work
with and suchlike.  Just like any other office in any other business.  However,
such comments are not made in public.  They get around and hurt business.  Do
you want to work with a publisher, who, for example, is hoping their other
authors will die?  Understandably not.

Anyway, I don't know anyone at Players Press.  I have always thought they
publish excellent books.   All I can say is, I hope you're mistaken (though if
they ever ask me to lunch I may not accept).

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  Thu Apr  1 13:39:44 1999
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From: "Brandy Dickson" <query@mindless.com>
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Subject: Re: H-COST: Amazon Drygoods
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-Poster: "Brandy Dickson" <query@mindless.com>

So, do they have a phone # or an address I can snail mail to?

Greenberg & Hammer 

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From owner-h-costume@indra.com  Thu Apr  1 14:27:14 1999
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-Poster: Diana H <dch@inreach.com>



> -Poster: "Franchesca Havas" <ches@io.com>
>
> Greenberg and Hammer
> 24 W. 57th St.
> NY, New York
> 212-246-2835.
> 72437,674@compuserve.com
> steel and plastic boning. Their boning is the cheapest I've found
> anywhere.
>

They also have a fax & toll-free number--
fax--212-765-8475
toll-free--800-955-5135

Diana :~>

--

* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
"There are too many mediocre things in life to deal with.....Love
shouldn't be one
 of them."
--Ione Skye in "Dream for an Insomniac"


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From owner-h-costume@indra.com  Thu Apr  1 15:12:26 1999
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-Poster: "David W. Rickman" <drickman@state.de.us>

Hello,

I was deeply disturbed by the statements made about Janet Arnold by the 
publisher quoted below. My wife and I had the great honor to know Janet, to 
have her stay with us a few years ago when she visited the states and to 
correspond and visit with her in England. I can say without hesitation that 
she was a great scholar, but more importantly, simply one of finest human 
beings we have ever known. There is no way that I can convey the deep 
humanity, grace, humor and, in her last years, courage which Janet brought to 
her life and with which she touched the lives of those who knew her. She was a 
person who should never have had an enemy in the world, and yet it seems that 
she did. Personally, I feel rather soiled to have heard these things. The 
honor and love in which she was held by both the theatrical and the scholarly 
world is well demonstrated by the special awards she received, and the exhibit 
in her honor. I hardly think it is likely that Janet ever did a dishonest or 
unethical thing in any museum - since all major museums throughout Europe and 
America hold her today in great honor and always made their collections 
available to her. As both a scholar and a human being, Janet has already risen 
far above such a pitiful attempt at slander.

David Rickman
drickman@state.de.us

_______________________________________________


- -Poster: cnevin@caci.co.uk

At the London Book Trade Fair last weekend I had the great misfortune to
meet and have a discussion with Jean Hunnisett's publisher, Bill from Player
Press. They have put out a 1920s book of fashions and patterns with original
photos and photos of the reproductions which is excellent, and which I still
intend buying. From there I went on to discuss medieval pattern books with
him. When I said Janet Arnold's death was a great pity, he said "Well, not
really..."  I foolishly thought he meant it was possibly a relief to end the
pain of the cancer. But no - he proceeded to spend the next ten minutes
libelling Janet Arnold by saying;
- -	her research was sloppy and inaccurate
- -	her measurements were off
- -	the Museums she did business with had disliked her because she used
photos she didn't have permission to (in a JA book?!) and she stole things
from them
- -	Hunnisett's books were more historically accurate 
- -	He had been going to publish a book early this year of "corrections
to Janet Arnold's books", but that Jean had decided she didn't want to now
Janet was dead (though what Jean had to do with it he wasn't clear on), but
once Jean died he probably would print it (now that's the kind of publisher
you need - one who can't wait till you die!).
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From owner-h-costume@indra.com  Thu Apr  1 15:12:44 1999
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Date: Thu, 1 Apr 1999 15:02:02 -0500 (EST)
From: Robin Netherton <robin@dgsys.com>
To: h-costume@indra.com
Subject: Re: H-COST: LONG - historical publisher Rant
In-Reply-To: <004001be7c57$c1285f00$6c1cbfa8@dsc>
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-Poster: Robin Netherton <robin@dgsys.com>


On Thu, 1 Apr 1999, Susan Carroll-Clark wrote:

> This is interesting.  A friend of mine e-mailed me a few months ago after I
> mentioned Ms. Arnold's death in passing on an SCA newsgroup and mentioned
> that she'd heard similar accusations (that museums didn't like her and that
> there were errors in her drawings.)  I, likewise, just said "Huh?"  because
> I'd never heard a peep from the historic costuming community that she was
> anything other than extremely well-regarded.

I'm sure some of these reports from museums, etc. reflect a matter of
personality clashes. Being a great researcher and brilliant theorist is
not inconsistent with having a strong personality. I did not know Ms.
Arnold personally -- we corresponded once or twice, and I heard her
lecture -- so I cannot guess how she dealt with others one-on-one, in
other settings. Perhaps others on this list worked more closely with her. 

I do have one anecdote to share. I have a friend who is a
librarian/archivist for a small private institution in England. Janet
Arnold saw one of the portraits in this collection and decided it was a
hitherto unidentified portrait of Queen Elizabeth. The portrait had always
been identified as a particular noblewoman associated with the founding of
the institution, and my friend had fairly strong documentation for that.
(I saw his materials; a copy of her will, which listed jewelry consistent
with what was shown in the portrait; a second and undisputed portrait of
her that showed a definite facial resemblance to the disputed one; and
inventories of the portrait in question from the early 1600s, naming the
sitter -- presumably the writer of the inventories would have known E.R.
by sight and wouldn't have confused her with the sitter. Taken by itself,
the portrait does look a bit like the standard images of E.R., but didn't
every woman of that time want to look like E.R.?)

Anyway, my friend, who is very mild-mannered and bookish, wrote me to ask
if I'd ever heard of the Arnold person, and did I know why she was
insisting on writing him weekly to repeat her arguments? I replied that
Arnold's reputation was as a stellar costume researcher, and that as far
as I was concerned it was richly deserved, but I did not know personally
how she dealt with people who disagreed with her findings or theories. I
still don't know how it came out, or who was right. But I do know that my
friend is not the argumentative sort by nature. He does know his work very
well, and he is quite open to new and interesting scholarly
interpretations if he sees merit in them. He did not see merit in 
this, and I know he considered seriously what she said. Sometimes good
scholars simply disagree. 

Given that my friend has no reason to be familiar with Arnold's costume
work, I can imagine what his impression he has of her as a scholar based
on this one episode. I think it says a lot of him that he contacted me to
get a second opinion from someone who does know costume. Perhaps there are
others who were in a similar position who did not take that step, and who
formed their opinions on the basis of encounters like this. 

--Robin

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-Poster: Lynn Downward <ldownward@mail.cho.org>

>-Poster: Diana H <dch@inreach.com>
>
>> -Poster: "Franchesca Havas" <ches@io.com>
>>
>> Greenberg and Hammer
>> 24 W. 57th St.
>> NY, New York
>> 212-246-2835.
>> 72437,674@compuserve.com
>> steel and plastic boning. Their boning is the cheapest I've found
>> anywhere.
>>
>
>They also have a fax & toll-free number--
>fax--212-765-8475
>toll-free--800-955-5135
>
>Diana :~>
>
>--
I just called the 800 # to ask how much the catalog is.  It's free so I
requested one.  They took my name and address, but they are currently out
of the catalog.  She guessed that I'd get one in about a month.

LynnD
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From owner-h-costume@indra.com  Thu Apr  1 15:37:41 1999
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-Poster: Kevin and Carol <KBBrink@postoffice.worldnet.att.net>

Hello list.

I am searching for information/documentation on a garment called a
pellison.  My costume books do nothing more than mention it in passing
as the forerunner of the 18th century Pellise.  Is there anyone out
there who can suggest where I might find more information?

Thank you in advance for your help.

Carol Brink
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From owner-h-costume@indra.com  Thu Apr  1 16:01:49 1999
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Date: Thu, 01 Apr 1999 13:09:23 -0800
From: Merouda the True of Bornover <keltia@serv.net>
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-Poster: Merouda the True of Bornover <keltia@serv.net>

Thank you so much for your words.  Although I never met Janet Arnold, I too hold
her in great esteem and am grateful for her careful work.  It is heartening to
know that her heart matched her talent.  Huge.

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


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From owner-h-costume@indra.com  Thu Apr  1 16:04:58 1999
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-Poster: Merouda the True of Bornover <keltia@serv.net>

There are a quick one or two mentions of the fur lined pelison in _Fashion
in the Age of the Black Prince_ by Mary Stella Newton.  It was listed in
somewardrobe accountings.  I warn you, it's not much.  However, she is
highly respected and I wouldn't feel as though I hadn't tried if she was
the only documentation I found on it.  :)
Cynthia

> I am searching for information/documentation on a garment called a
> pellison.  My costume books do nothing more than mention it in passing
> as the forerunner of the 18th century Pellise.  Is there anyone out
> there who can suggest where I might find more information?
>
> Thank you in advance for your help.
>
> Carol Brink
>  _________________________________________________________________
>  To leave this mailing list, send mail to majordomo@indra.com
>  with the message UNSUBSCRIBE H-COSTUME

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


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From owner-h-costume@indra.com  Thu Apr  1 16:13:02 1999
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From: Broneske <unicorn@softcom.net>
To: "'h-costume'" <h-costume@indra.com>
Subject: H-COST: New Simplicity "Titanic" pattern
Date: Thu, 1 Apr 1999 13:16:07 -0800
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-Poster: Broneske <unicorn@softcom.net>

Hi all,

I was out at the fabric store today, browsing through the pattern books when I came across Simplicity pattern #8640 -- almost exact replica of the Titanic blue "Flying Dress".  It says "Retro Simplicity" on the front.  Of course, I picked it up to add to the pile of projects that I have in mind but haven't completed.

Joan Broneske
(Yes, I still have to finish my "jump dress" and update my web page on it)
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From owner-h-costume@indra.com  Thu Apr  1 16:36:30 1999
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To: <h-costume@indra.com>
Subject: Re: H-COST: New Simplicity "Titanic" pattern
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-Poster: "Sarah Toney" <toneys@rentgrow.com>


I have used this pattern (very recently ,of course).  It's a nice pattern...
just beware... it runs a bit small... ;-)

Sarah


I was out at the fabric store today, browsing through the pattern books when
I came across Simplicity pattern #8640 -- almost exact replica of the
Titanic blue "Flying Dress".  It says "Retro Simplicity" on the front.  Of
course, I picked it up to add to the pile of projects that I have in mind
but haven't completed.

Joan Broneske
(Yes, I still have to finish my "jump dress" and update my web page on it)
_________________________________________________________________
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 Apr  1 17:33:52 1999
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-Poster: Christina <magdlena@texas.net>



> There are a quick one or two mentions of the fur lined pelison in _Fashion
> in the Age of the Black Prince_ by Mary Stella Newton.

I thought that it was spelled pelicon (with the funky french c)?  I know I've
seen mention of it somewhere else, but I may have to go digging.

-Christina

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From owner-h-costume@indra.com  Thu Apr  1 17:40:02 1999
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From: Merouda the True of Bornover <keltia@serv.net>
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-Poster: Merouda the True of Bornover <keltia@serv.net>

Just remember that medieval spelling was not like it is today.  Different people
spelled the same word quite differently, from what I understand, it just wasn't
that important to them.  Can you spell phonics?   *G*   It seems that that is
what they used.  Pelison, pelicon, pellison.  Same thing.  And you'll probably
find period sources for all three different spellings.  And not only that but
sometimes the same thing had 3-6 different words all meaning the same garment,
such as kirtle, cotehardie, supertunic, supertunice, etc....  it gets confusing
but I assure you, it's all accurate and all period.  Cynthia

> >> There are a quick one or two mentions of the fur lined pelison in _Fashion

> >I thought that it was spelled pelicon

Cynthia Long
Merouda the True of Bornover
Barony of Madrone
Kingdom of An Tir


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-Poster: lilinah@grin.net

Christina <magdlena@texas.net> wrote:
>
>I thought that it was spelled pelicon (with the funky french c)?  I know I've
>seen mention of it somewhere else, but I may have to go digging.

Just in case inquiring minds want to know, that funky thingy below the "c"
is called a cedilla.

It means the "c" has a soft "s" sound when followed by an "a", an "o", or a
"u"; without the cedilla, the "c" would have a hard "k" sound when followed
by an "a", an "o", or a "u" - in French.

A "c" before an "e" or an "i" always has a soft "s" sound in French.

Lilinah
La plume de ma tante est...
wherever she wants it :-)


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From owner-h-costume@indra.com  Thu Apr  1 18:22:54 1999
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-Poster: Margo Anderson <margo@directcon.net>


>Probably what happened is that he has heard some of the normal 
>grouching that people in a close knit community do when they think 
>it will go no further. I'm sure you know the kind of things like that 
>(as they sometimes even appear on this list at times) such as "I wish 
>she had made a better color choice there. It's not a very period 
>color." Or "She missed that source on nitpickydetail#1 when she 
>wrote that." Or "Hey, I can do better than that. Look at that 
>pickydetail#2 on that collar!"


I've long said that costuming is the bitchiest of the arts, although  my
opinion on that has changed considerably in the years I've been on this
list, where we usually manage to behave like ladies and gentlemen.  How sad
to hear that nastiness about another costume person can extend to slandering
the dead.  

Margo Anderson

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From owner-h-costume@indra.com  Thu Apr  1 18:58:11 1999
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Date: Thu, 1 Apr 1999 18:02:00 -0600
From: KATHARINE WHISLER <KWHISLER@kentlaw.edu>
To: h-costume@indra.com
X-EXP32-SerialNo: 00102459
Subject: H-COST: Juan de Alcega
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-Poster: KATHARINE WHISLER <KWHISLER@kentlaw.edu>

I apologize if this is a repeat posting-- I think the first time I tried 
to send it it didn't work.

Marsha McLean mentioned "Libro de Geometria, Pratica y Traca" by Juan de 
Alcega (Tailor's Pattern Book, 1589) as being a useful book and suggested 
that people look for it in facsimile at a large library or through 
interlibrary loan.

I recently found out some great news about this book-- the publisher of 
the 1979 translation & facsimile, Ruth Bean in the U.K., finally reissued 
it this February!  I understand that the first shipment will reach U.S. 
shores sometime early this month.  It is $40 (U.S.), or L25 (U.K.), in 
paperback.

To order directly from the U.S. distributor, contact:
Quite Specific Media Group, Ltd.
Attn: Ralph Pine
260 Fifth Avenue, New York, NY 10001
email: rpine@quitespecificmedia.com

To order directly from the U.K. distributor, contact:
Ruth Bean Publishers
Attn: Nigel Bean
Victoria Farmhouse
Carlton
Bedford MK43 7LP
England
email: rubean@kbnet.co.uk

I hope this helps!  (Note, Quite Specific Media Group is the same outfit 
that publishes "Patterns of Fashion.)  Mr. Bean told me by e-mail that 
his company is planning a new book to be called the "Medieval Tailor's 
Assistant."  It will be interesting to see if it is any better than 
Hunnisett's book.

--Katharine Whisler


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From owner-h-costume@indra.com  Thu Apr  1 19:15:07 1999
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Date: Thu, 01 Apr 1999 16:22:18 -0800
Subject: Re: H-COST: LONG - historical publisher Rant
From: "R.L. Shep" <rlshep@jps.net>
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-Poster: "R.L. Shep" <rlshep@jps.net>

I think all this talk about Janet Arnold is really disgusting and frankly it
is just sour grapes.  Some people have to make themselves bigger by putting
other people down.
Janet Arnold has been a leading light in our industry for many years now. 
Her death is a great tragedy for all of us whether we realize it or not.
~!~ R.L.Shep
http://www.mcn.org/e/fsbks

----------
>From: Margo Anderson <margo@directcon.net>
>To: h-costume@indra.com
>Subject: Re: H-COST: LONG - historical publisher Rant
>Date: Thu, Apr 1, 1999, 3:19 PM
>

>
>-Poster: Margo Anderson <margo@directcon.net>
>
>
>>Probably what happened is that he has heard some of the normal 
>>grouching that people in a close knit community do when they think 
>>it will go no further. I'm sure you know the kind of things like that 
>>(as they sometimes even appear on this list at times) such as "I wish 
>>she had made a better color choice there. It's not a very period 
>>color." Or "She missed that source on nitpickydetail#1 when she 
>>wrote that." Or "Hey, I can do better than that. Look at that 
>>pickydetail#2 on that collar!"
>
>
>I've long said that costuming is the bitchiest of the arts, although  my
>opinion on that has changed considerably in the years I've been on this
>list, where we usually manage to behave like ladies and gentlemen.  How sad
>to hear that nastiness about another costume person can extend to
slandering
>the dead.  
>
>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  Thu Apr  1 20:34:29 1999
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From: "Genevieve de Courtanvaux" <gdc@airmail.net>
To: <h-costume@indra.com>
Subject: Re: H-COST: LONG - historical publisher Rant
Date: Thu, 1 Apr 1999 19:27:29 -0600
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-Poster: "Genevieve de Courtanvaux" <gdc@airmail.net>

Ok, I can't take it anymore.......(yes, I truly believe that Janet Arnold
was a costuming goddess) but you are all taking third party information as
fact.  Please, bear in mind that you were not present at said conversation
and therefor do not truly know its context. No on....I repeat....no one can
truly know the whole story. So it is my suggestion that we move on from this
topic to a new one that is not blaming someone for something with which they
can not defend themselves.
Carol Ross
-----Original Message-----
From: R.L. Shep <rlshep@jps.net>
To: h-costume@indra.com <h-costume@indra.com>
Date: Thursday, April 01, 1999 6:26 PM
Subject: Re: H-COST: LONG - historical publisher Rant


>
>-Poster: "R.L. Shep" <rlshep@jps.net>
>
>I think all this talk about Janet Arnold is really disgusting and frankly
it
>is just sour grapes.  Some people have to make themselves bigger by putting
>other people down.
>Janet Arnold has been a leading light in our industry for many years now.
>Her death is a great tragedy for all of us whether we realize it or not.
>~!~ R.L.Shep
>http://www.mcn.org/e/fsbks
>
>----------
>>From: Margo Anderson <margo@directcon.net>
>>To: h-costume@indra.com
>>Subject: Re: H-COST: LONG - historical publisher Rant
>>Date: Thu, Apr 1, 1999, 3:19 PM
>>
>
>>
>>-Poster: Margo Anderson <margo@directcon.net>
>>
>>
>>>Probably what happened is that he has heard some of the normal
>>>grouching that people in a close knit community do when they think
>>>it will go no further. I'm sure you know the kind of things like that
>>>(as they sometimes even appear on this list at times) such as "I wish
>>>she had made a better color choice there. It's not a very period
>>>color." Or "She missed that source on nitpickydetail#1 when she
>>>wrote that." Or "Hey, I can do better than that. Look at that
>>>pickydetail#2 on that collar!"
>>
>>
>>I've long said that costuming is the bitchiest of the arts, although  my
>>opinion on that has changed considerably in the years I've been on this
>>list, where we usually manage to behave like ladies and gentlemen.  How
sad
>>to hear that nastiness about another costume person can extend to
>slandering
>>the dead.
>>
>>Margo Anderson
>>
>> _________________________________________________________________
>> 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 Apr  1 22:59:31 1999
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From: "Christopher Ballis" <stilskin@netspace.net.au>
To: <ICG-L@best.com>, <h-costume@indra.com>
Subject: H-COST: Regency event (Australia)
Date: Fri, 2 Apr 1999 13:56:16 +1000
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-Poster: "Christopher Ballis" <stilskin@netspace.net.au>

On Saturday, June 5, 1999
the Australian Costumers' Guild is hosting

A Regency Ball

The evening's entertainment will include a four course meal, a group of
fine musicians, dances including the quadrille and all the latest
fashionable dances from London (including simple instructions), a dance
caller, and a whist and games room for those disinclined to dance.

An attempt at Regency costume (1811-1820, give or take a few years) is
compulsory; for advice, contact Miss Purcell on +3 9504 3042.

Northcote Assembly Rooms
(Northcote Town Hall)
High Street,
Northcote, Vic.

7:00pm-midnight

BYO alcohol, please indicate if you require a special meal

Cost:  22 guineas (A$55 per person
(tables of eight, A$400)

Please make cheques/money orders payable to
The Australian Costumers' Guild

Bookings close Friday, 28 May.

For more information, contact

The Australian Costumers' Guild,
PO Box 322,
Bentleigh, 3204
Australia

Tel.  +3 9504 3042

E-mail  stilskin@netspace.net.au
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From owner-h-costume@indra.com  Thu Apr  1 23:00:49 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: 4th Annual Costumers Ball (Australia)
Date: Fri, 2 Apr 1999 14:03:28 +1000
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-Poster: "Christopher Ballis" <stilskin@netspace.net.au>

The Australian Costumers' Guild is pleased to announce its

Fourth Annual Costumers' Ball,
Saturday, 28 August, 1999
Melbourne Convention & Exhibition Centre

Highlights of the ball include:
A costume parade/masquerade
(the parade will be run early so that entrants do not miss out
on the rest of the evening's events);
Full silver service meal;
Displays of important costumes and fashion;
Dancing;
Fun;
Etc.

Cost is A$55 for International Costumers' Guild members, $65 for others
(no door sales, bookings close Monday, 23 August).

Doors open 6:30pm; costume parade/masquerade 7:30 (greenroom open from
4:00pm).

Parade entry free to all attending - you must be a guild member to enter;
numbers are limited so get in early; entry is by pre-registration only; for
rules and regs, contact the parade director, Christopher Ballis on...

Tel: +3 9457 4061
E-mail:  stilskin@netspace.net.au
Snailmail: PO Box 322, Bentleigh, 3204, Australia

For more information on the ball, if you wish to volunteer, or any other
stuff, contact the Australian Costumers' Guild on...
the addresses or telephone number above!

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From owner-h-costume@indra.com  Thu Apr  1 23:14:13 1999
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Date: Thu, 1 Apr 1999 23:18:58 EST
Subject:  H-COST: Alternative to grommets/eyelets
To: h-costume@indra.com
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-Poster: Tigershado@aol.com

I seem to remember a message not to long ago about an alternative to 
grommets/eyelets for lacing. Something about the lacing going through pieces 
attached to the clothing rather through holes. My memories a little fuzzy on 
this one. I came across: http://members.aol.com/DrgnflyDsn/Accessories.html 
and thought I'd get an opinion or two on their eyes & clasps.

Barbara Corley
Tigershado@aol.com
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From owner-h-costume@indra.com  Thu Apr  1 23:30:02 1999
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Date: Thu, 01 Apr 1999 23:49:15 -0500
To: h-costume@indra.com
From: Sue Shatto <Sue@VictorianMillinery.com>
Subject: H-COST: hats
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-Poster: Sue Shatto <Sue@VictorianMillinery.com>

List!
	I am carrying a line of miniature hat and bonnets.  each one has been
reproduced from fashion plates of the period.  They come with the hat, a
hat stand, a hat box(that has the fashion plate picture on it) a catalog
with the history, a document of authenticity and numbered certificate of
the limited addition.  They are really magnificent!  They are now also
making shoes, but I don't have pictures of those yet. They are designed and
made in Ireland.  Check them out at my web site under Millinery in Miniature.


Cordially,

Sue Shatto

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

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From owner-h-costume@indra.com  Fri Apr  2 03:12:21 1999
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Date: Fri, 02 Apr 1999 00:16:11 -0800
From: Diana H <dch@inreach.com>
Organization: Well, I wouldn't call it organized......
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-Poster: Diana H <dch@inreach.com>

Tigershado@aol.com wrote:

> -Poster: Tigershado@aol.com
>
> I seem to remember a message not to long ago about an alternative to
> grommets/eyelets for lacing. Something about the lacing going through
> pieces
> attached to the clothing rather through holes. My memories a little
> fuzzy on
> this one. I came across:
> http://members.aol.com/DrgnflyDsn/Accessories.html
> and thought I'd get an opinion or two on their eyes & clasps.

The findings on the left are perfect for doing circa 1470-1500 Italian!
The price isn't all that bad, either.  I think I paid just a little less
for the ones I bought two years ago.  So if you want to do this period
in Italians, they would be great to hold the lace for the bodice.

Diana :~>

--

* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
"There are too many mediocre things in life to deal with.....Love
shouldn't be one
 of them."
--Ione Skye in "Dream for an Insomniac"


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From owner-h-costume@indra.com  Fri Apr  2 07:46:39 1999
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From: "Henk 't Jong" <scapreel@tip.nl>
To: <h-costume@indra.com>
Subject: Re: H-COST: Ghita?
Date: Fri, 2 Apr 1999 14:48:59 +0200
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-Poster: "Henk 't Jong" <scapreel@tip.nl>

Henk & Pauline 't Jong
tScapreel
Medieval Advisors
Dordrecht, Netherlands

Hi you all,

Cynthia wrote:
> In _Fashion in the Age of the Black Prince_ M.S. Newton mentions
> "ghita's" as a garment worn by women.  I can't find a description of a
> ghita, or haven't yet.   It seems to be something like the
> supertunica, worn as the outer gown over an undertunic.
> Any ideas?

In my opinion this is a sleeveless garment of the 1340's mainly worn by
royalty or nobility for ceremonial occasions (tournaments, weddings,
crownings and other state-occasions). It is
heavily embroidered, even powdered with little enameled plates, pearls and
gold thread. It is (or they are) lined with fur. It could be that the name
has something to do with it's function or the way it was embroidered. You
can see similar ones in the Luttrell Psalter worn by the wife and daughter
of sir Geoffrey, embroidered with their coats of arms. I personally think
that there is not much difference with the also mentioned corset(te),
although these seem to have had fastenings of buttons or points and were
worn by men and women (a kind of cyclas?) in different lenghts and not so
heavily embroidered or not at all.

Hope this helps,

Henk
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From owner-h-costume@indra.com  Fri Apr  2 09:59:06 1999
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From: "Van Cleave & Fleming" <tweedlebop@earthlink.net>
To: <h-costume@indra.com>
Subject: H-COST: follow up to AlterYears complaint
Date: Fri, 2 Apr 1999 10:01:09 -0500
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-Poster: "Van Cleave & Fleming" <tweedlebop@earthlink.net>

I wanted to let you all know that I called AlterYears on Tuesday to follow
up on my three unanswered emails.  The person I spoke with was very polite.
The problem with my order was the number of backorders/time it took to ship
(the person I spoke with said that not all pattern publishers were in stock
and ready to ship at all times, which provides evidence that perhaps they
are not trying to keep all patterns in stock), that there was one item
marked on my invoice as being shipped that I had never received, and that
there was still a backordered item (5 months after placing the order).

I received the missing pattern yesterday by priority mail with a note that I
would be receiving a refund check for the still backordered item (I had
asked to cancel it).  So I'm quite satisfied with how this has all resolved
itself (although still unsatisfied with the time it took to ship and their
ignoring of my three emails).

When I spoke with the salesperson I let her know that there had recently
been some complaints about their shipping time on h-costume and recommended
that they put a BIG note in their pattern catalog which states that they do
not stock all items and there may be long delays in shipping.  There is a
note right now which says something to the effect that items may be
backordered and take longer than 30 days to ship.

So my problem is resolved, although I have to say that I will stick to
ordering from Amazon Drygoods or direct from the publisher if at all
possible from now on.

Kendra Van Cleave


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From owner-h-costume@indra.com  Fri Apr  2 10:02:26 1999
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From: "Linda Yordy" <abuyordy@cobfac.boisestate.edu>
Organization: College of Business
To: h-costume@indra.com
Date: Fri, 2 Apr 1999 08:07:10 MST
Subject: Re: H-COST: Alternative to grommets/eyelets
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-Poster: "Linda Yordy" <abuyordy@cobfac.boisestate.edu>

>  . . . an alternative to 
> grommets/eyelets for lacing. Something about the lacing going through pieces 
> attached to the clothing rather through holes . . .
>came across: 
>http://members.aol.com/DrgnflyDsn/Accessories.html 

Great web page find. Have you done business with them? Are they 
good to work with?

I remember seeing something very similar to these in Italian Ren, 
late 15th century. Can't remember the exact picture, but can look it 
up at home (I'm at work). In Leonardo da Vinci's Portrait of Ginevra 
Benci (1474-1476), you see little metal circlets used for the lacing. 
You can find that portrait on the Web Gallery of Art. The search 
engine for that site is:
http://www.kfki.hu/~arthp/search.html

(I'd give you an exact address for the portrait, but Netscape brings 
up a separate window for the enlarged picture [an image viewer?] 
and I can't find an address)


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  Fri Apr  2 10:36:36 1999
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Date: Fri, 2 Apr 1999 10:54:51 EST
Subject: H-COST: Janet Arnold (was  Ain't worth shootin')
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-Poster: JPMcTeer@aol.com

I have always been impressed with Janet Arnold's published work and would 
like 
her legacy to be continued in the community of costume scholars.  The 
original postings after her death suggested a medical research fund, but I 
was 
sure that the Costume Society of Britain or America would want to honor her.  

Has anyone set up a scholarship fund or other award in her name to which we 
can 
contribute?  

Does anyone have further information about the exhibit in Janet Arnold's 
honor?  
I believe it is at the V&A?  Is there a catalog that we can order from the 
USA?

Joan in Minneapolis

from Digest 254
<<- -Poster: "David W. Rickman" <drickman@state.de.us>

Hello,

I was deeply disturbed by the statements made about Janet Arnold by the 
publisher quoted below. My wife and I had the great honor to know Janet, to 
have her stay with us a few years ago when she visited the states and to 
correspond and visit with her in England. I can say without hesitation that 
she was a great scholar, but more importantly, simply one of finest human 
beings we have ever known. There is no way that I can convey the deep 
humanity, grace, humor and, in her last years, courage which Janet brought to 
her life and with which she touched the lives of those who knew her. She was 
a 
person who should never have had an enemy in the world, and yet it seems that 
she did. Personally, I feel rather soiled to have heard these things. The 
honor and love in which she was held by both the theatrical and the scholarly 
world is well demonstrated by the special awards she received, and the 
exhibit 
in her honor. I hardly think it is likely that Janet ever did a dishonest or 
unethical thing in any museum - since all major museums throughout Europe and 
America hold her today in great honor and always made their collections 
available to her. As both a scholar and a human being, Janet has already 
risen 
far above such a pitiful attempt at slander.

David Rickman
drickman@state.de.us>>


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From owner-h-costume@indra.com  Fri Apr  2 11:36:44 1999
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Date: Fri, 02 Apr 1999 08:42:02 -0800
From: Merouda the True of Bornover <keltia@serv.net>
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-Poster: Merouda the True of Bornover <keltia@serv.net>

> In my opinion this is a sleeveless garment of the 1340's mainly worn by
> royalty or nobility for ceremonial occasions (tournaments, weddings,
> crownings and other state-occasions). It is
> heavily embroidered, even powdered with little enameled plates, pearls and
> gold thread. It is (or they are) lined with fur.

Yes, that is it.  Excellent.  Thanks.  Trying to figure out how to make all
those little plates.
Cynthia


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


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

At 10:54 AM 4/2/99 EST, you wrote:
>
>-Poster: JPMcTeer@aol.com
>
>I have always been impressed with Janet Arnold's published work and would 
>like 
>her legacy to be continued in the community of costume scholars. 

This reminds me of something I've been pondering for some time.  Would it be
possible to set up some kind of memorial funding to support costuming on the
Net?  I'm not sure what, perhaps giving small grants to sponsor Web pages or
research to be published on the Web?  I'm sure some members of this list
would like to memorialize Miss Arnold this way.  

In addition, while I hope H-Costume goes on forever, I know the individual
members won't.  There will come a time when, like any community, we lose
members to death.  This would also give us a way to make contributions in
our member's memory.

While I have WAY too much going on right now, I would be willing to look
into possibilities down the line.  Also, my mother is an attorney
specializing in wills and trusts, so I could probably get any legal workings
taken care of inexpensively.  

Is anyone interested in this idea?  Any suggestions?

Margo Anderson

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From owner-h-costume@indra.com  Fri Apr  2 13:47:59 1999
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Subject: H-COST: Fabric question
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-Poster: Margo Anderson <margo@directcon.net>

I got my tax return yesterday, and OF COURSE I bought fabric.  I bought 8
yards of cotton calico, printed with a 1 1/2"  Paisley motif in greys and
taupes. 

I'm thinking of making this into an 1850's wrapper dress, suitable for work.
Is the paisley appropriate, or would it have been used for a more formal
dress?  I could use it to make a simple street dress, if it's not
appropriate for work wear.  

I really want my wrapper dress to be very accurate and appropriate for an
immigrant woman.  One of my personal costuming foibles is that no matter how
simple I start out, the costume always ends up being on the upper end of the
scale as to dressiness and ornamentation.  I'm already stretching it a bit
by planning to use cotton instead of wool, for budgetary reasons, and I'd
rather not make any more concessions.  

So, should I use it for the wrapper, or for something else?

Margo Anderson 

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From owner-h-costume@indra.com  Fri Apr  2 16:03:02 1999
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From: "Vickers, Jill" <jvickers@TELESENSORY.com>
To: "'h-costume@indra.com'" <h-costume@indra.com>
Subject: H-COST: Costuming Guilds
Date: Fri, 2 Apr 1999 13:10:20 -0800 
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-Poster: "Vickers, Jill" <jvickers@TELESENSORY.com>

This message is in MIME format. Since your mail reader does not understand
this format, some or all of this message may not be legible.

------ =_NextPart_001_01BE7D4D.37540420
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I'm looking for a costuming guild for my mom, who lives in Cameron Park
(between Sacramento and Placerville).  I went on the ICG web site, but
didn't see anything for her area.

Can anyone tell me if there is a guild local to my mom, or should she just
join the GBACG?

Thanks,
-Jill


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<P><FONT SIZE=3D2 FACE=3D"Arial">I'm looking for a costuming guild for =
my mom, who lives in Cameron Park (between Sacramento and =
Placerville).&nbsp; I went on the ICG web site, but didn't see anything =
for her area.</FONT></P>

<P><FONT SIZE=3D2 FACE=3D"Arial">Can anyone tell me if there is a guild =
local to my mom, or should she just join the GBACG?</FONT>
</P>

<P><FONT SIZE=3D2 FACE=3D"Arial">Thanks,</FONT>
<BR><FONT SIZE=3D2 FACE=3D"Arial">-Jill</FONT>
</P>

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From owner-h-costume@indra.com  Fri Apr  2 16:58:15 1999
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Date: Fri, 2 Apr 1999 14:06:18 -0800 (PST)
From: "Kristen M. Sieber" <lady_gawain@yahoo.com>
Subject: H-COST: Hat ID
To: Historic Costume <h-costume@indra.com>
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-Poster: "Kristen M. Sieber" <lady_gawain@yahoo.com>

I am trying to identify a man's hat from the late 18th century.  This
is a time period I know nothing about, so I will try to describe it. 
It is similar to a top hat but the crown narrows at the top and the
brim is a little wider.  I have seen this hat on depictions of
lepruchans!  (I have been watching too much "Scarlet Pimpernel" and
"Horatio Hornblower.)

Kristen M. Sieber



 
_________________________________________________________
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 Apr  2 20:46:17 1999
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-Poster: Margo Anderson <margo@directcon.net>

At 01:10 PM 4/2/99 -0800, you wrote:
>
>I'm looking for a costuming guild for my mom, who lives in Cameron Park
>(between Sacramento and Placerville).  I went on the ICG web site, but
>didn't see anything for her area.
>
>Can anyone tell me if there is a guild local to my mom, or should she just
>join the GBACG?
>

Hi Jill, I spoke to your mom a few weeks ago.  As I told her, there isn't a
guild currently but I am hoping to start one very soon. 

Margo Anderson

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From owner-h-costume@indra.com  Fri Apr  2 22:59:38 1999
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-Poster: MorellEtc2@aol.com

The style of hat you are trying to identify is generally refered to as a 
sugar loaf hat or having a sugar loaf crown.  If memory serves it first 
appeared in fashionable circles in England in the last quarter of the 18th 
century and survived in one form or another into the later part of the 19th 
century.  There are several portraits of regular army officers wearing them 
for undress during the War of 1812.  

Mike Morell
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From owner-h-costume@indra.com  Fri Apr  2 23:08:04 1999
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From: "Penny E. Ladnier" <penny.creative.outlets@erols.com>
Subject: Re: H-COST: Up&coming books
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-Poster: "Penny E. Ladnier" <penny.creative.outlets@erols.com>

Liz was my costume history and design professor in college.  I saw both her
books in the making.  The work they placed into creating their books is
unbelievable.  They did a wonderful job of creating scaled/graphed patterns
with renderings of each garment.  They went to many museums making patterns
from original garments.  

Later...Penny      

>The 1920s book I spoke about is apparently getting more photos, but won't be
>printed until the current edition has all sold. I'm pretty sure this is it
>below;
>
>Women's Wear of the 1920's 
>by Ruth Countryman
></exec/obidos/Author=Countryman%2C%20Ruth/002-3224637-8701628> , Elizabeth
>Weiss Hopper
></exec/obidos/Author=Hopper%2C%20Elizabeth%20Weiss/002-3224637-8701628>  
>Our Price: $57.00

Penny E. Dunlap Ladnier
The Costume Gallery Website
http://www.costumegallery.com 











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From owner-h-costume@indra.com  Sat Apr  3 01:31:29 1999
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Date: Fri, 02 Apr 1999 22:32:13 -0800
From: Diana H <dch@inreach.com>
Organization: Well, I wouldn't call it organized......
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-Poster: Diana H <dch@inreach.com>

Margo Anderson wrote:

> -Poster: Margo Anderson <margo@directcon.net>
>
> At 01:10 PM 4/2/99 -0800, you wrote:
> >
> >I'm looking for a costuming guild for my mom, who lives in Cameron
> Park
> >(between Sacramento and Placerville).  I went on the ICG web site,
> but
> >didn't see anything for her area.
>  there isn't a
> guild currently but I am hoping to start one very soon.
>
> Margo Anderson

Dear Margo,

I live in a suburb of Sacramento and would love to be involved in a
costuming guild also!  Would you mind including me in your list when you
get things started?

Mucho thanks!

Diana :~>

--

* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
"There are too many mediocre things in life to deal with.....Love
shouldn't be one
 of them."
--Ione Skye in "Dream for an Insomniac"


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From owner-h-costume@indra.com  Sat Apr  3 01:57:33 1999
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Date: Fri, 02 Apr 1999 23:06:02 -0800
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From: "Carol J. Bell Cannon" <cjcannon@greymists.com>
Subject: Re: H-COST: Costuming Guilds -- Sacramento & vicinity
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-Poster: "Carol J. Bell Cannon" <cjcannon@greymists.com>

          I haven't heard of any particular costuming guilds.  Perhaps it
is time for those in the area who frequent this list to change that. :-)
Carol 
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Message-Id: <199904030933.CAA25906@indra.com>
From: Balaram@ix.netcom.com
To: f-costume@indra.com, h-costume@indra.com
Subject: H-COST: Re: film/costume/Rob Roy
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-Poster: Balaram@ix.netcom.com


   Dear Friends: Am a little behind on my E's--Whoever was looking to
buy something great for an event, may want to check-out
Reelclothes.com, a business in Southern Calif. that resells wardrobe
from Hollywood productions.  Anything you buy worn by a major star
will be pricey-however, background character items may be picked up
quite reasonably.  I was able to find 2 kilts from Rob Roy for $50
each, one of them worn by Rob's brother played by Brian McCardie, also
the very cool leather jacket worn by Eric Stoltz in the final scenes
before his demise.  They also are selling some wardrobe from What
Dreams May Come, inc the Tracker entire outfit...  ok, I know, it's
more fun to make your own costumes, this is cheating...but it is a
very fun site to explore.  No, no business connection with me, just
thought I'd pass a great resource along.  I delt with Lennard and the
service was good also.  As for Simbad movies--anyone on the list old
enough to remember The 7th Voyage of Simbad ? My first fantasy movie
as a kid--must have imprinted deeply.  All the Best, Bill Z.



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From owner-h-costume@indra.com  Sat Apr  3 04:34:26 1999
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From: "Fern Whitaker" <fern@intecnet.net>
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-Poster: "Fern Whitaker" <fern@intecnet.net>

Sorry for the cross-post, but does anyone have any idea where I could =
get a frame or hat like the one Audrey Hepburn wears in the Ascot scene =
of MFL? It's the BIG white one with the black accents. I can make one =
myself out of buckram and so on, but if I could find something close, =
I'd rather go that route, since I'm running in 9 different directions as =
it is, trying to move the shop.=20

Kat Hargus
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From owner-h-costume@indra.com  Sat Apr  3 04:38:31 1999
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From: "Franchesca Havas" <ches@home.net>
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-Poster: "Franchesca Havas" <ches@home.net>

http://www.kfki.hu/~arthp/art/l/leonardo/painting/portrait/ginevra.jpg

Sincerely,
F. Havas
Dallas, Texas
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From owner-h-costume@indra.com  Sat Apr  3 04:45:25 1999
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From: KATHARINE WHISLER <KWHISLER@kentlaw.edu>
To: h-costume-digest@indra.com
Subject: H-COST: Juan de Alcega
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-Poster: KATHARINE WHISLER <KWHISLER@kentlaw.edu>


Marsha McLean mentioned "Libro de Geometria, Pratica y Traca" by Juan de
Alcega (Tailor's Pattern Book, 1589) as being a useful book and suggested
that people look for it in facsimile at a large library or through
interlibrary loan.  The book is a 16th century Spanish guide for tailors
showing efficient fabric cutting layouts for various fabric widths.  It
doesn't explain how to make the clothes, but it does show the shapes of
the pattern pieces.

I recently found out some great news about this book-- the publisher of
the 1979 translation & facsimile, Ruth Bean in the U.K., finally reissued
it this February!  I understand that the first shipment will reach U.S.
shores sometime early this month.  It is $40 (U.S.), or L25 (U.K.), in
paperback.

To order directly from the U.S. distributor, contact:
Quite Specific Media Group, Ltd.
Attn: Ralph Pine
260 Fifth Avenue, New York, NY 10001
email: rpine@quitespecificmedia.com

To order directly from the U.K. publisher, contact:
Ruth Bean Publishers
Attn: Nigel Bean
Victoria Farmhouse
Carlton
Bedford MK43 7LP
England
email: rubean@kbnet.co.uk

If you prefer to wait for your local bookstore to order it, the ISBN is: 
0903585316

I hope this helps!  (Note, Quite Specific Media Group is the same outfit
that publishes Arnold's "Patterns of Fashion" series.)  Mr. Bean told me 
by e-mail that his company is planning a new book to be called the 
"Medieval Tailor's Assistant."  It will be interesting to see if it is any 
better than Hunnisett's book.

--Katharine Whisler




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From owner-h-costume@indra.com  Sat Apr  3 05:21:43 1999
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From: Jessica Kiley <jkiley@up.edu>
To: h-costume@indra.com
Subject: H-COST: Seeking Folkwear Pattern 508
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-Poster: Jessica Kiley <jkiley@up.edu>


Hello.  I am seeking a copy of Folkwear pattern 508, 1915 traveling suit,
to purchase.  If anyone has a copy of this pattern that they would be
willing to sell, please e-mail me with your price and other information.
Thanks.

Jessica Kiley
jkiley@up.edu



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From owner-h-costume@indra.com  Sat Apr  3 05:23:36 1999
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From: MzScahlett@aol.com
To: h-costume@indra.com, sca-east@indra.com
Subject: H-COST: Re: Elizabethn Collar Search
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-Poster: MzScahlett@aol.com


I've been referred to the SCA, where I am told there are merchants who
specialize in constructing both collars and the pieces that make them up.

Rather than subscribe to an SCA list for a single request, perhaps one of you
who is already involved in the SCA would be kind enough to forward my request
on to the list.

To reiterate:  I'm looking for a source for the pieces to make up, or the
made-up collars themselves.  They are the large pieces of jewelry worn by men
over their clothing, of varying stations during the late 16th Century and into
the 17th.  I do not need a particular "garter" - just a nice piece of faux
men's jewelry.

angil
e:mail  "MzScahlett@aol.com"

Angela F. Lazear
Costumes & Custom Clothing

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


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From owner-h-costume@indra.com  Sat Apr  3 10:25:40 1999
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From: "John Page" <kdp@tiac.net>
To: <h-costume@indra.com>
Subject: Re: H-COST: Juan de Alcega
Date: Sat, 3 Apr 1999 10:43:35 -0500
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-Poster: "John Page" <kdp@tiac.net>

Alcega should be available from:

Quite Specific Media Group, Ltd.
Attn: Ralph Pine
260 Fifth Avenue, New York, NY 10001
email: rpine@quitespecificmedia.com
 
starting in the next week or two.  They don't have the book in stock yet.
----------

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From owner-h-costume@indra.com  Sat Apr  3 12:21:52 1999
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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: Alternative to grommets/eyelets
Date: Sat, 3 Apr 1999 09:59:19 -0500
Message-ID: <000001be7df8$472ac7e0$cf0bfdd0@default>
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

These are tiny brass lacing rings sewn on the surface edges
of the front closure of the garment.  They can also be sewn
on the inside and the edges laced lightly closed for a
hidden closure.  I believe grommets showed up in clothing
starting in the 19th century.

Hope H. Dunlap

-----Original Message-----
From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
Behalf Of Franchesca Havas
Sent: Saturday, April 03, 1999 4:39 AM
To: h-costume@indra.com
Subject: Re: H-COST: Alternative to grommets/eyelets



-Poster: "Franchesca Havas" <ches@home.net>

http://www.kfki.hu/~arthp/art/l/leonardo/painting/portrait/g
inevra.jpg

Sincerely,
F. Havas
Dallas, Texas

____________________________________________________________
_____
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majordomo@indra.com
 with the message UNSUBSCRIBE H-COSTUME


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Date: Sat, 3 Apr 1999 12:35:31 EST
Subject: Re: H-COST: Juan de Alcega
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-Poster: CONNECT@aol.com


In a message dated 4/3/99 10:31:43 AM, kdp@tiac.net writes:

<< Alcega should be available from:

Quite Specific Media Group, Ltd.
Attn: Ralph Pine
260 Fifth Avenue, New York, NY 10001
email: rpine@quitespecificmedia.com
 
starting in the next week or two.  They don't have the book in stock yet. >>

Could someone be so kind as to post the ISBN number for me. Thank you very 
much.

Yours,
Pattie Rayl
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From owner-h-costume@indra.com  Sat Apr  3 12:38:25 1999
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From: "Franchesca Havas" <ches@io.com>
To: <h-costume@indra.com>, "sca-garb" <sca-garb@list.uvm.edu>,
        "Scriptoris" <scriptoris@ansteorra.org>, <scribes@castle.org>
Subject: H-COST: Fw: [atyc] ATYC A&S  (please forward to other lists)
Date: Sat, 3 Apr 1999 11:37:58 -0600
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-Poster: "Franchesca Havas" <ches@io.com>



Sincerely,
F. Havas
Dallas, Texas

-----Original Message-----
From: Fopdejour1@aol.com <Fopdejour1@aol.com>
To: atyc <atyc@wheelers.net>
Date: Friday, April 02, 1999 3:42 PM
Subject: [atyc] ATYC A&S (please forward to other lists)


:PLEASE FORWARD TO OTHER LISTS!!!!!!!
:
:Announcing the Ansteorran 20th Year Celebration Arts and Sciences
:Competitions!
:
:There are to be two separate competitions at Ansteorra's Twentieth Year
:Celebration, Twentieth Year Artisan, and Twentieth Year Laurel. Included in
:the Twentieth Year Artisan competition are several sub-competitions
sponsored
:by different individuals.
:
:1. The 20th year Artisan......single Item entry (w/ documentation of
:course!!!)
:
:sub-competitions:
:
: •A. A subtlety competition....documentation not required but
:recommended.
:
: •B. A glass arts competition will be sponsored by Mistress Teleri
:ferch Pawl.
: Entries may fall into one of three categories:
: •Hot/warm glass (including flameworked, blown, and fused
:glass, as well as true glass enamels),
: •cold glass (such as stained, etched, and engraved glass),
: •and glass research papers. Original works using
:well-documented period styles and technologies will be most
:favored.
: Contact Mistress Teleri at esmitman@ghg.net for more information.
:
: •C. There will be a competition for the best Greek, Roman, or
:Byzantine entry   sponsored by Mistress Xene.
:
:2. 20th Year Laurels' Tourney. The Laurels will be the ones competing, and
:the populace will get the chance to judge the Laurels.
:
:The suggested requirements to enter:
:
: •along with the entered item,
: •they can display an early (pre- Laurel) piece.
:
:
:
:The sub-competitions are a part of the 20th Year Artisan competition.
:Artisans wishing to participate in any of the sub-competitions need to
:specify that they are wishing to do so at sign in.
:
:Set up for the 20th year artisan and the 20th year Laurel competition will
:begin at 8 am Friday. They all will run simultaneously on Friday until
5ish.
:
:There will be a light luncheon provided by the Barony of Bordermarch for
:those Laurels who will donate their time to judge the A&S competition.
:
:If there are any groups wishing to donate a prize, or an individual wishing
:to sponsor a competition see the information below for a contact.
:
:For more information please contact:
:Ld. Charles Pierre de Bourbon
:Charles Burke 409-721-5133
:fopdejour1@aol.com
:Deputy Kingdom MoAS ~ ATYC
:
:(please visit the 20th year website at  http://www.ansteorra.org/20thyr/)
:
:REMEMBER TO PRE-REGISTER FOR ATYC!!!!!!!!!!
:
:Twenty years of blood, sweat, tears, fun, family, and friends.  Here's to
Twenty more!
:

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From owner-h-costume@indra.com  Sat Apr  3 13:07:30 1999
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Date: Sat, 3 Apr 1999 19:13:20 +0100
To: h-costume@indra.com
From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: H-COST: Pellison question
In-Reply-To: <3703CD99.FA34376E@postoffice.worldnet.att.net>
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-Poster: Jean Waddie <anne@montgomerie.demon.co.uk>

In message <3703CD99.FA34376E@postoffice.worldnet.att.net>, Kevin and
Carol <KBBrink@postoffice.worldnet.att.net> writes
>
>-Poster: Kevin and Carol <KBBrink@postoffice.worldnet.att.net>
>
>Hello list.
>
>I am searching for information/documentation on a garment called a
>pellison.  My costume books do nothing more than mention it in passing
>as the forerunner of the 18th century Pellise.  Is there anyone out
>there who can suggest where I might find more information?
>
>Thank you in advance for your help.
>
>Carol Brink

Francois Boucher describes a pelicon as an "undergarment, without
sleeves, made of animal skin sewn between two pieces of cloth".  He
later says that this, and various other undergarments, evolve into the
15th century pourpoint (if it's not your period, a pourpoint is like a
tight waistcoat, worn over the shirt and under the doublet, which hose
tie onto).  The last mention of the pelicon is 14th century, and the
first mention of the pelisse is 1781, so I'm a bit surprised if it was a
direct development!  I think a pelisse is usually fur lined? so maybe
that's the link?

Jean
-- 
Jean Waddie
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From owner-h-costume@indra.com  Sat Apr  3 15:39:49 1999
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Date: Sat, 03 Apr 1999 15:46:31 -0500
Subject: H-COST: Re: velvet
To: indra.com@snet.net
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-Poster: snowfire@mail.snet.net

Greetings everyone!
I just subscribed to the list, and I have a few garb questions.  I wonder if 
someone could help?

1.  As an Anglo - Norman 12th Century persona (i.e. high Saxon) how could I 
possibly get away with wearing velvet?  I love velvet and would dearly love 
to justify wearing it and still be true to my persona.  Do I have to move 
forward a little in period to do this legitimately, or should I encorporate 
some Norman somewhere in my background in order to justify my wearing it?   

2.  I understand wool and linen are the "stock in trade" garb fabrics for  
Saxons.  This seems it would be a bit hot for summer (and Pennsic)?  How 
does one adapt to cope with the heat?  Linen and linen?  Only wearing one 
layer? (walking around in just one's chemise seems a bit wrong somehow...?)

I want to stay with the Saxon persona if I can, but I guess I could go to a 
second cooler dressed persona if I have to...

Is pink an acceptable colour for a 12th Century Saxon lady?  I saw some 
beautiful pink linen at the fabric store this week, and as I'm very pale, 
pink suits me well.  Just wondering...

Elysant 
P.S. I'm so excited to finally get onto this list! :-)  I've been trying to 
find you for months now! :-)  
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From owner-h-costume@indra.com  Sat Apr  3 16:20:18 1999
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Date: Sat, 3 Apr 1999 16:24:40 EST
Subject: Re: H-COST: Alternative to grommets/eyelets
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-Poster: Merlyncc@aol.com

In a message dated 4/1/99 10:21:56 PM Central Standard Time, 
Tigershado@aol.com writes:

>  I seem to remember a message not to long ago about an alternative to 
>  grommets/eyelets for lacing. Something about the lacing going through 
pieces 
> 
>  attached to the clothing rather through holes. 

Norsk Engros USA, Inc. has a great variety of Norwegian pewter lacing eyelets 
and clasps.  Their US/Canadian toll free number is 1-800-553-0014 and their 
fax is 1-800-667-7501.  I don't have their mailing address handy, but I can 
provide it if needed.    

One great thing about their offerings is that even the clasp styles can be 
ordered as all eyelets, so there are about 20 styles to choose from, in 
sevaral sizes.  They also have cloak-sized pewter clasps and pewter buttons.

Since I have a costume business, I purchase them wholesale in bags of 25 
pairs, but they may well sell to individuals in that quantity, or maybe even 
smaller quantities.  It's certainly worth checking them out!

Priscilla Schmitz
www.faire.net/merlyncc
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From owner-h-costume@indra.com  Sat Apr  3 16:29:51 1999
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-Poster: "Lisa R." <martyr@gti.net>

>   I was able to find 2 kilts from Rob Roy for $50
>

Bill---
Do you mean $500? That's what they're priced at on the web site.

---Deb Rand

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From owner-h-costume@indra.com  Sat Apr  3 16:52:05 1999
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From: "Susan Carroll-Clark" <nicolaa@earthlink.net>
To: <h-costume@indra.com>
Subject: Re: H-COST: Re: velvet
Date: Sat, 3 Apr 1999 17:06:53 -0500
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-Poster: "Susan Carroll-Clark" <nicolaa@earthlink.net>

Greetings!
>2.  I understand wool and linen are the "stock in trade" garb fabrics for
>Saxons.  This seems it would be a bit hot for summer (and Pennsic)?  How
>does one adapt to cope with the heat?  Linen and linen?  Only wearing one
>layer? (walking around in just one's chemise seems a bit wrong somehow...?)


Don't believe the propaganda--wool is a lot cooler than quite a few other
fabrics for summer wear, because it breathes.  I've worn wool at Pennsic.  I
think the trick is not to cut the garments too tightly, and to look for the
lighter-weight woolens, rather than the coat-type fabrics.  But you could
probably do just linen if you didn't want to push it :-)

>Is pink an acceptable colour for a 12th Century Saxon lady?  I saw some
>beautiful pink linen at the fabric store this week, and as I'm very pale,
>pink suits me well.  Just wondering...


Pink itself is fine.  Pink linen--depends on the colour of pink, because
linen can be difficult to dye a dark colour (that is, a dark colour which
isn't fugitive)  using period techniques.  You'd probably be OK with pale
pink.  Now, if you're talking wool--a friend of mine has been spinning some
lichen dyed wool that is exactly the colour I'd describe as "shocking pink."

Susan Carroll-Clark

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From owner-h-costume@indra.com  Sat Apr  3 22:34:45 1999
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Subject: Re: H-COST: Re: velvet
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-Poster: snowfire@mail.snet.net

Thank you m'lady for your kind response to my questions.

I think I'll take a woollen over-dress with me then, and a cloak. 

But I think I'll probably fo linen/linen or gauze.  Gauze was not something 
I'd considered!
  
>Pink itself is fine.  Pink linen--depends on the colour of pink, because
>linen can be difficult to dye a dark colour (that is, a dark colour which
>isn't fugitive)  using period techniques.  You'd probably be OK with pale
>pink.  

This was a pale-ish pink.  The colour caught my attention.  They also had sky 
blue and lemon.  Both of those colours looked a bit too chalky though. I 
thought they'd be too modern!  But the pink was nice.  Good!  That's going to 
be my next project then!  Can't wait!

BTW how should one wash linen?  Does it shrink?  Even if pre-washed?

Full of questions today!

Elysant

Now, if you're talking wool--a friend of mine has been spinning some
>lichen dyed wool that is exactly the colour I'd describe as "shocking pink."
>
>Susan Carroll-Clark
>
> _________________________________________________________________
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> with the message UNSUBSCRIBE H-COSTUME
>
>
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From owner-h-costume@indra.com  Sat Apr  3 22:36:06 1999
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Date: Sat, 3 Apr 1999 21:56:22 -0600 (CST)
From: "Sara J. Davitt" <ophelia@dias.net>
To: Historic Costumers! <h-costume@indra.com>
Subject: H-COST: I got some fabric... 
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-Poster: "Sara J. Davitt" <ophelia@dias.net>


OK.. so here's the deal... 
I am a painter/printmaker, and I had a briliant idea.  i was going to
creat this room, onto which was printed my images, so that they would
surround you, and be transperant etc.  oh my vision was lovely.

So I ran myself down to Chicago, and bought many many (25) yards of 
the most beautiful (and with an incredibly sexy hand to it) orange chiffon
Sari Material. It has a simple shiney Orange border on the salvage. I also
bought some scraps.  I went back and began printing on the scraps. I would
lay them on the table, and i was SO excited, and i began experienting with
it.  They were so pretty.  So I wake up the next morning, and actually
consider them in installation (up against a window) AND all my hard
printed work, all but disapeared!... 

so, In short, this is Not going to work, and I have 25 yards of the
sexiest chiffon I have ever felt on in hands, and nothing to use it for
that requires such yardage. (though I will probably make a nice little
sundress) --though it would make a perfect top layer for a Double
layer Duvet...

The big question is... does anyone need this sort of fabric? (or would
anyone want to add it to their fabric stash?)
I paid about 110$ for the whole lot of it, and I'd even chip in the
postage (unless you want me to cut it down)


Thanks for listening, and I hope one of you could use some of it!
Sarahj

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

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From: "Andrea Gideon" <andrea.gideon@erols.com>
To: <h-costume@indra.com>
Subject: Re: H-COST: Re: velvet
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-Poster: "Andrea Gideon" <andrea.gideon@erols.com>


>BTW how should one wash linen?  Does it shrink?  Even if pre-washed?
>
>Full of questions today!
>
>Elysant
What I always do is wash in hot and dry on the hottest setting before
cutting, then wash the finished garment in cold and dry on delicate.  I
usually have no shrinkage this way.
Andrea


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

I have the opportunity to get my paws on the following books, any
opinions?

Peasant Costume Europe. by K. Mann
A Pictorial History Of Costume (Pepin)

--Chris

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

I have the opportunity to get my paws on the following books, any
opinions?

Peasant Costume Europe. by K. Mann
A Pictorial History Of Costume (Pepin)

--Chris

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From owner-h-costume@indra.com  Sun Apr  4 13:45:36 1999
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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: I got some fabric... 
Date: Sun, 4 Apr 1999 12:50:03 -0400
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

Before you throw away your wonderful initial concept so
hastily, it seems like there must be a technical reason that
the printing disappeared, and also a technical solution.
Sounds like just the wrong technique/paint/ink/whatever.
There is nothing inherently impossible about printing on
chiffon.

Printing a light color on a dark one frequently requires two
passes.  So if you were printing a light color onto the
orange, it's not a failure, you're just half-way there.  And
sometimes a little colored or gilt dust sprinkled in te wet
paint can give the printed work the sheen and body it needs
to stand up and stand out.

Do some tests on scraps before printing the whole yardage
again.  Work at the test pieces until you get it right, and
then apply your methodology to the whole yardage.  Hang in
there!

Technical assistance is available from books, friends, and
commercial sources such as the help lines at Dharma Trading
Co., toll-free telephone  (800) 452-5227 and
www.darmatrading.com and address Box 150916 San Rafael, CA
94915.

Hope H. Dunlap

-----Original Message-----
From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
Behalf Of Sara J. Davitt
Sent: Saturday, April 03, 1999 10:56 PM
To: Historic Costumers!
Subject: H-COST: I got some fabric...



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


OK.. so here's the deal...
I am a painter/printmaker, and I had a briliant idea.  i was
going to
creat this room, onto which was printed my images, so that
they would
surround you, and be transperant etc.  oh my vision was
lovely.

So I ran myself down to Chicago, and bought many many (25)
yards of
the most beautiful (and with an incredibly sexy hand to it)
orange chiffon
Sari Material. It has a simple shiney Orange border on the
salvage. I also
bought some scraps.  I went back and began printing on the
scraps. I would
lay them on the table, and i was SO excited, and i began
experienting with
it.  They were so pretty.  So I wake up the next morning,
and actually
consider them in installation (up against a window) AND all
my hard
printed work, all but disapeared!...

so, In short, this is Not going to work, and I have 25 yards
of the
sexiest chiffon I have ever felt on in hands, and nothing to
use it for
that requires such yardage. (though I will probably make a
nice little
sundress) --though it would make a perfect top layer for a
Double
layer Duvet...

The big question is... does anyone need this sort of fabric?
(or would
anyone want to add it to their fabric stash?)
I paid about 110$ for the whole lot of it, and I'd even chip
in the
postage (unless you want me to cut it down)


Thanks for listening, and I hope one of you could use some
of it!
Sarahj

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


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From: "Henk 't Jong" <scapreel@tip.nl>
To: <h-costume@indra.com>
Subject: Re: H-COST: Ghita?
Date: Sun, 4 Apr 1999 19:55:22 +0200
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-Poster: "Henk 't Jong" <scapreel@tip.nl>

Henk & Pauline 't Jong
tScapreel
Medieval Advisors
Dordrecht, Netherlands

Hi list,

Cynthia wrote:
> Yes, that is it.  Excellent.  Thanks.  Trying to figure out how to make
all
> those little plates.

They were little brass, tin, silver or even gold squares, circles or
lozenges, pounced out in carved out moulds. Stella Newton has a picture of
one on page 43 for bezants, which were round plates.

Henk

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From: "Henk 't Jong" <scapreel@tip.nl>
To: <h-costume@indra.com>
Subject: Re: H-COST: Re: velvet
Date: Sun, 4 Apr 1999 19:49:22 +0200
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-Poster: "Henk 't Jong" <scapreel@tip.nl>

Henk & Pauline 't Jong
tScapreel
Medieval Advisors
Dordrecht, Netherlands

Hi all,

Elysant wrote: 
> 1.  As an Anglo - Norman 12th Century persona (i.e. high Saxon) how could
I 
> possibly get away with wearing velvet?  

No, you won't. There just was no velvet yet, this only arrived since the
middle of the 13th c and than only for the super rich.

> 2.  I understand wool and linen are the "stock in trade" garb fabrics for
 
> Saxons.  This seems it would be a bit hot for summer (and Pennsic)?  How 
> does one adapt to cope with the heat?  Linen and linen?  Only wearing one

> layer? (walking around in just one's chemise seems a bit wrong
somehow...?)

There were hot summers in Saxon England as well; they had to make do with
what they had, without giving offence. Light wool and linen was the
solution. I have worn medium wool over linen in a 30 degrees C moist
atmosphere and was less hot than scantily clad tourists.
> 
> Is pink an acceptable colour for a 12th Century Saxon lady?  

Yes.

Henk
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From owner-h-costume@indra.com  Sun Apr  4 14:01:18 1999
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From: "Henk 't Jong" <scapreel@tip.nl>
To: <h-costume@indra.com>
Subject: Re: H-COST: Pellison question
Date: Sun, 4 Apr 1999 19:43:17 +0200
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-Poster: "Henk 't Jong" <scapreel@tip.nl>

Henk & Pauline 't Jong
tScapreel
Medieval Advisors
Dordrecht, Netherlands

Hi,
> 
Carol and Cybthia wrote:
> There are a quick one or two mentions of the fur lined pelison in
_Fashion
> in the Age of the Black Prince_ by Mary Stella Newton.  It was listed in
> somewardrobe accountings.  I warn you, it's not much.  However, she is
> highly respected and I wouldn't feel as though I hadn't tried if she was
> the only documentation I found on it.  :)
> Cynthia
> 
Stella Newton interprets pelissons as short silk/sendal capes worn with fur
on the outside. This sounds a bit like the fur hoods worn by canons during
their services in the cold churches of which she gives a picture on page
59, which there is called an 'aumuce', also known as 'almuce'. In fact, a
'pelisse' is a pelt or fur, a 'pelisson' is a large fur. These names were
used for furlined garments as well, so the pelisson should be a large
fur-lined mantle, cloak or coat. There is in fact a very large and costly
fur-lined oval cloak with a wide hood and a train, which is worn by queens,
high noblewomen and high prelates like cardinals, and which is called
'pelicon' (with the cedile under the c). It was buttoned at the neck, had
slits for the arms and was completely closed and very expensively furred
with light coloured furs. All costumebooks I own say it's 14th c, but I
found it only on early 14th c miniatures and other pictures. These books
don't mention the pelicon being worn by high clerics. It appears especially
in the Life of Saint Louis in the National Library in Paris, dated ca 1313.
This large furlined cloak seems to be typically french, because I can't
remember ever having seen it in sources from other countries.

> > I am searching for information/documentation on a garment called a
> > pellison.  My costume books do nothing more than mention it in passing
> > as the forerunner of the 18th century Pellise.  Is there anyone out
> > there who can suggest where I might find more information?
> >
> > Thank you in advance for your help.
> >
> > Carol Brink

I don't know about it being a forerunner of an 18th c garment, since it
disappears from view ca 1350 (although I have always thought that one of
the protraits of cardinal Rolin by Jan van Eyk (ca 1435) shows a similar
cloak), but large fur-lined have always been worn: houppelandes, tabards,
bellcloaks, etc.

I guess there is really no more information to give, except that Bucknell
and Hamilton-Hill, The evolution of fashion, London, 1967, have a pattern
of the pelicon. It takes a lot of cloth and a lot of fur, I warn you.

Hope this helps,

Henk
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From: lynnx <@mc.net@indra.com>
To: h-costume-digest@indra.com
Subject: H-COST: Publisher rant (warning: long)
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-Poster: lynnx <@mc.net>


***Zot!!***  Your quotes from "Bill" are almost *word-for-word* the same
as what a guy told me on the phone when I called out there!

He was nice enough to me, but I gotta agree he was awfully hard on
Arnold!  I assumed he wasn't expecting that what he told me was going to
appear on one of the busiest costume lists Out There, but since he (if
it *was* the same guy) doesn't seem to mind who hears it, here's my two
bits worth...

Whoever I talked to said (Background info):

Arnold and Hunnisett knew each other and were friends for quite a while,
Arnold even sent 1 or 2 of her early books to Hunnisett for "proofing"
/corrections.  Later Arnold got p.o.'d at Hunnisett for publishing a
book that covered part of what one of Arnold's did.  However, when
Hunnisett heard Arnold was ill, she took pains to help Arnold, and they
were back on good terms when she died.  

How this relates to the "update" thing:  The "Arnold-corrections" work
PP has on the shelf is by *Hunnisett*, and she didn't want to offend
Arnold's fans by publishing it and maybe have them take it as "dissing"
Arnold's work.  (Sounds considerate enough to me.  He said Hunnisett is
a very nice person.)

Some other stuff he said, which gave me a rather confused impression of
*him*:  Like you, Tina, I said I felt bad that Arnold had died, and he
said flat-out, "I don't - she was a nuisance!"  Then went on to tell me
pretty much the same boo boos he told you, but added some stuff that I
would think would make *him* a little more sympathetic:

First: She (he said) had to sneak a camera into the V&A's "back room"
because *her publisher* wouldn't shell out the $$ to use the museum's
photos (apparently a pricey proposition) for research.  So she took
"bad" photos and derived mismeasurements from them.  This pissed off the
V&A, so they wouldn't let her back there any more.  (Doesn't this merit
a bit of sympathy for Arnold, who *IF* it's true, was jammed between a
rock and a hard place?)  

BTW, I have all 3 of Arnold's Englishwomen's Dress books, and the
Tudor-era one has the most spectacular photos I have *ever* seen - is
this guy trying to claim those are "bad" or "used without permission"? 
***CYA NOTE: None of this reflect *my* opinion of Arnold's publisher,
since I haven't met them. END CYA NOTE***

He also seemed critical of the fact that Arnold *didn't* "update" the
measurements she took of the garments for the "typical" modern build;
she kept the proportions etc. pretty close to the actual garments.  His
claim was that readers of her books wouldn't all understand this and
would complain because the garments made using her info didn't fit. 
(Like this is supposed to be a problem to Player's?  How??) 

***THE RUMOR MILL CRANKS UP***
Disclaimer:  It was 11PM here when I talked to the guy at Player's, so
*apply salt liberally to this section!*
Re upcoming books, I *think* (Dontquotemeonthis) Hunnisett may be
planning on one or 2 more books, I also got the impression that
reenactors have expressed annoyance with Hunnisett's patterns because
she comes from a *theatrical* point of view, and (if I got this right)
she will be considering the reenactor/ historical research crowd more in
the next thing she comes out with.
***THE RUMOR MILL SHUTS DOWN***

One conclusion I can draw from all this:  Whoever is talking this line
about Arnold etc. should be put back in the back room editing or
whatever, and let *someone else* do PR for Player's, or they're gonna
get some very bad press!

And Now, Back To Our Regularly Scheduled Topic,
Heather
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-Poster: Lavolta Press <lavolta@best.com>

>
>
> He also seemed critical of the fact that Arnold *didn't* "update" the
> measurements she took of the garments for the "typical" modern build;
> she kept the proportions etc. pretty close to the actual garments.  His
> claim was that readers of her books wouldn't all understand this and
> would complain because the garments made using her info didn't fit.
> (Like this is supposed to be a problem to Player's?  How??)

If you publish patterns in one size (which in many cases is the only
practical way to publish them), whether they are in one modern size or one
original size, either way most people will have to alter them.  IMO he
should just have said, "I know some publishers do it differently, but our
policy is to publish all women's patterns in  modern size 10" (or whatever
they use).

What is Players Press publishing anyway, that has everybody calling them?

Fran


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From owner-h-costume@indra.com  Sun Apr  4 16:46:14 1999
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Date: Sun, 4 Apr 1999 17:12:09 EDT
Subject: Re:  H-COST: Pellison question
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-Poster: Gerekr@aol.com

>I am searching for information/documentation on a garment called a
>pellison.  My costume books do nothing more than mention it in passing
>as the forerunner of the 18th century Pellise.  

Norris is what's closest to the computer, 8-).  P. 97-98 of v.2 

     "The only women's garment to be noticed in this reign is an 
over-robe called the PELICE or PELICON (with circunflex on C) ..."

from period Richard I: a fur lined over-garment ("supertunic"), 
just-below-knee length and roomy elbow-length sleeves, not usually belted 
(but when there are belts, worn at the hip). He gives "pelice" as Norman 
French for fur, therefore the name is based on the fur-lined-ness.

I like Norris, but others may want to use this as a starting place for 
more rigorous documentation...

Chimene

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From owner-h-costume@indra.com  Sun Apr  4 17:24:08 1999
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Subject: H-COST: Published pattern drafts
Date: Sun, 4 Apr 99 17:29:29 -0400
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-Poster: <aquazoo@patriot.net>

> He also seemed critical of the fact that Arnold *didn't* "update" the
> measurements she took of the garments for the "typical" modern build;
> she kept the proportions etc. pretty close to the actual garments.  His
> claim was that readers of her books wouldn't all understand this and
> would complain because the garments made using her info didn't fit.
> (Like this is supposed to be a problem to Player's?  How??)

     I like the patterns drafted straight off the originals. As the cut 
is adjusted for size, the patternmaker is adding a bit of her or his own 
interpretation to the cut.

     While we frequently discuss matters of how tightly corsets fit, I 
think we agree that it takes the body away from the "typical" modern 
build. In many cases, the bustline is raised significantly from the 
typical!

     When using Janet Arnold's drafts, I know that I will need to adjust 
the size. If I bought a pattern in my size, I would also realize that 
additional fitting is necessary. Other costume makers might think that no 
further adjustment was necessary in a sized pattern.

     I don't think Janet Arnold intended her books to make it easy on 
costume makers. She seems to be sharing her research in a more exact 
form. Some have mentioned errors, but the information is presented as 
close to the original as Janet Arnold could get it at the time.

     We've found her books very valuable in making costumes. Others who 
could find them useful are those comparing sizes of extant garments, 
waist to hip or waist to bust ratios, etc. The fabric of that particular 
garment is described, which is not done as often with sized patterns.

     Janet Arnold takes us into collections that we may otherwise not 
reach.

     There is a new book out with pattern drafts of items in the Chester 
County Historical Society collection, and another coming out soon of 
clothing in the DeWitt Wallace (Williamsburg) collection. We're buying 
these books!

     -Carol Kocian
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From owner-h-costume@indra.com  Sun Apr  4 18:36:32 1999
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-Poster: Julie Adams <savaskan@sd.znet.com>

re: wearing wool in the heat. On several occasions I've found wool gauze or
just fine or sheer wool. I suggest you keep an eye out, perhaps you'll come
by some eventually.

Julie Adams


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From owner-h-costume@indra.com  Sun Apr  4 19:08:25 1999
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-Poster: Lavolta Press <lavolta@best.com>

>      There is a new book out with pattern drafts of items in the Chester
> County Historical Society collection,

What is the title and author?


> and another coming out soon of
> clothing in the DeWitt Wallace (Williamsburg) collection. We're buying
> these books!
>
>      -

This is Linda Baumgarten's book?  Or??

Thanks for any info,

Fran


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From owner-h-costume@indra.com  Sun Apr  4 19:22:16 1999
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Date: Sun, 4 Apr 1999 19:40:41 EDT
Subject: H-COST: New 18th clothing book
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-Poster: ArcadiaCB@aol.com

The new book on 18th century clothing is "Fitting and Proper: 18th Century 
Clothing from the Collection of the Chester County Historical Society" by 
Sharon Ann Burnston ISBN 1-880655-08-X, Spurlock Publishing Co. Inc.   Forty 
measured and gridded garments (mostly women's and mens, but a few children's 
and accessory pieces), with photos of the originals as well.   Another must 
for everyone's bookshelf.
Charlene Bullard
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From owner-h-costume@indra.com  Sun Apr  4 19:40:36 1999
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-Poster: Lavolta Press <lavolta@best.com>

> The new book on 18th century clothing is "Fitting and Proper: 18th Century
> Clothing from the Collection of the Chester County Historical Society" by
> Sharon Ann Burnston ISBN 1-880655-08-X, Spurlock Publishing Co. Inc.   Forty
> measured and gridded garments (mostly women's and mens, but a few children's
> and accessory pieces), with photos of the originals as well.   Another must
> for everyone's bookshelf.
> Charlene Bullard
>  _________________________________________________________________
>

Thanks . . . Amazon.com has just parted me from some more hard-earned $$.

Fran


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-Poster: <aquazoo@patriot.net>

I wrote,
>>      There is a new book out with pattern drafts of items in the Chester
>> County Historical Society collection,

And Fran asked,
>What is the title and author?

     _Fitting and Proper_, by Sharon Ann Burnston. "18th Century Clothing 
from the Collection of the Chester County Historical Society". ISBN 
1-880655-08-X  Price - $55. The publisher is Scurlock of Texarkana, TX. I 
believe this is the same publisher that did _Tidings from the Eighteenth 
Century_ by Beth Gilgun, which is in its second edition. 

>> and another coming out soon of
>> clothing in the DeWitt Wallace (Williamsburg) collection. We're buying
>> these books!
>
>This is Linda Baumgarten's book?  Or??

     Yes, and it's supposed to be available in December.

     -Carol Kocian
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-Poster: Kevin and Carol <KBBrink@postoffice.worldnet.att.net>

-Poster: "Henk 't Jong" writes: 

> In fact, a 'pelisse' is a pelt or fur, a 'pelisson' is a large fur.   > These names were used for furlined garments as well, so the pelisson  > should be a large fur-lined mantle, cloak or coat. There is in fact a > very large and costly fur-lined oval cloak with a wide hood and a 
> train, which is worn by queens, high noblewomen and high prelates like > cardinals, and which is called 'pelicon' (with the cedile under the   > c). It was buttoned at the neck, had slits for the arms and was 
> completely closed and very expensively furred with light coloured 
> furs. 

So what would you call the garment worn by the Duchess of Burgundy in
the 15th century painting:  Hunting with Falcons at the Court of Phillip
the Good?  

This painting is in Boucher and all the court are in white.  It appears
that her 'cloak' is cut like a tabard with maybe a yoke?

Carol
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From: Broneske <unicorn@softcom.net>
To: "'h-costume@indra.com'" <h-costume@indra.com>
Subject: RE: H-COST: Costuming Guilds
Date: Sun, 4 Apr 1999 23:06:24 -0700
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-Poster: Broneske <unicorn@softcom.net>


------ =_NextPart_000_01BE7EEF.C83124E0
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I'm in Roseville, count me in too!

Joan B.

----------
From: 	Diana H[SMTP:dch@inreach.com]
Sent: 	Friday, April 02, 1999 11:32 PM
To: 	H-Costume
Subject: 	Re: H-COST: Costuming Guilds


-Poster: Diana H <dch@inreach.com>

Margo Anderson wrote:

> -Poster: Margo Anderson <margo@directcon.net>
>
> At 01:10 PM 4/2/99 -0800, you wrote:
> >
> >I'm looking for a costuming guild for my mom, who lives in Cameron
> Park
> >(between Sacramento and Placerville).  I went on the ICG web site,
> but
> >didn't see anything for her area.
>  there isn't a
> guild currently but I am hoping to start one very soon.
>
> Margo Anderson

Dear Margo,

I live in a suburb of Sacramento and would love to be involved in a
costuming guild also!  Would you mind including me in your list when you
get things started?

Mucho thanks!

Diana :~>

--

* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
"There are too many mediocre things in life to deal with.....Love
shouldn't be one
 of them."
--Ione Skye in "Dream for an Insomniac"


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From owner-h-costume@indra.com  Mon Apr  5 10:13:50 1999
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Subject: Re: H-COST: Alternative to grommets/eyelets
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-Poster: Merlyncc@aol.com

Update on source for lacing eyelets:

I checked with Norsk Engros (which I should have done before posting!) about 
quantity orders.  They only sell wholesale, which means you can order only if 
you have a business and a resale tax permit from your state.  Sorry!

If anyone who doesn't have a resale number needs at least 25 pairs, let me 
know and I can order them for you.

Priscilla Schmitz
www.faire.net/merlyncc
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From owner-h-costume@indra.com  Mon Apr  5 11:21:24 1999
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From: "Steven Heeter" <SHeeter@svbank.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: Re: Elizabethn Collar Search
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-Poster: "Steven Heeter" <SHeeter@svbank.com>

Milady,
     If I am not mistaken you are looking for a piece that is similar in
construction to a plaque belt.  That is to say a piece constructed of
plaqards of metal joined by rings (of a sort).  Usually the individual
plaques would have relief designs worked into them.  Am I correct?  If so,
please tell me what motif you seek and perhaps we can help one another.  I
am an armorer and jeweler and am currently working on a belt peice.

Stephan deCaerleon
aka Steve Heeter



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From owner-h-costume@indra.com  Mon Apr  5 17:09:32 1999
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From: "Jessica Wilbur" <jessica@pop.net>
To: h-costume@indra.com
Date: Mon, 5 Apr 1999 16:19:01 -0400
Subject: Re: H-COST:Janet Arnold question
Priority: normal
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-Poster: "Jessica Wilbur" <jessica@pop.net>



> 
> -Poster: lynnx <@mc.net>
<snip>
> 
> BTW, I have all 3 of Arnold's Englishwomen's Dress books, and the
> Tudor-era one has the most spectacular photos I have *ever* seen - 
<more snip>

Which book is this? I did not know she had done any work on Tudor clothing. Please 
enlighten me!

Thanks!
--Jessica
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From: "Franchesca Havas" <ches@io.com>
To: <ansteorra@Ansteorra.ORG>, "sca-garb" <sca-garb@list.uvm.edu>,
        <h-costume@indra.com>
Subject: H-COST: armor patterns
Date: Mon, 5 Apr 1999 12:49:11 -0500
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-Poster: "Franchesca Havas" <ches@io.com>

I am in search of leather armor patterns that are online. If you know of any
please send them my way! :)

Sincerely,
F. Havas
Dallas, Texas


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From: "David S. Mallinak" <matchlck@erols.com>
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Subject: H-COST: Re: Tartan in VA
References: <199902280220.VAA21575@mail.niagara.com>
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-Poster: "David S. Mallinak" <matchlck@erols.com>



kathleen@niagara.com wrote:

> First...how wide will the fabric have to be for someone about 6'5" to 6'6"?

As wide as can get.  but what ever will cover him from his head to his knee, I have
found to work well.

> 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.

The best time to get wool tartan fabric is late winter and early spring.  At this
time the fabric stores are getting rid of the winter fabric (wool) to make room for
spring/summer fabric

> Third...any ideas on footwear?  He loves to go barefoot, but if it rains...

For 16th/17th century Highland Scots a American Indian mocassin with the part that
is loose either cut off or tied up over the ankle is a resonable looking Highland
shoe.  A pampotte, a Scottish 18th footwear can be make by taking a piece of leather
3 to 4 inches larger than the foot, put holes around the edge and then lace up to
fit.

> 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?

A man would not use a kilt pin, he would use a strong straight pin to hold up the
material. A dirk (dagger), a sporran ( a simple pouch with a flap over the opening),
and bonnet are OK


I have replyed to you directly as my PC is recently recovered from a disk crash.

Your most obediant servant

David S Mallinak
matchlck@erol.com
Adjunt MacLean's Company (serving in Scotland for King Charles in 1645)


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From owner-h-costume@indra.com  Tue Apr  6 00:15:58 1999
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From: "Catherine de Calais" <ladyhauke@hotmail.com>
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Subject: Re: H-COST:Janet Arnold question
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-Poster: "Catherine de Calais" <ladyhauke@hotmail.com>

I think the book she is referring to is   

"Patterns of Fashion" c1560-1620  Tudor/Elizabethan era.

Catherine

>From: "Jessica Wilbur" <jessica@pop.net>
>Reply-To: h-costume@indra.com
>To: h-costume@indra.com
>Subject: Re: H-COST:Janet Arnold question
>Date: Mon, 5 Apr 1999 16:19:01 -0400
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>-Poster: "Jessica Wilbur" <jessica@pop.net>
>
>
>
>> 
>> -Poster: lynnx <@mc.net>
><snip>
>> 
>> BTW, I have all 3 of Arnold's Englishwomen's Dress books, and the
>> Tudor-era one has the most spectacular photos I have *ever* seen - 
><more snip>
>
>Which book is this? I did not know she had done any work on Tudor 
clothing. Please 
>enlighten me!
>
>Thanks!
>--Jessica
> _________________________________________________________________
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From owner-h-costume@indra.com  Tue Apr  6 00:56:21 1999
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-Poster: The Purple Elephant <csmart@physics.adelaide.edu.au>

On Thu, 1 Apr 1999, Franchesca Havas wrote:

> 
> -Poster: "Franchesca Havas" <ches@io.com>
> 
> >From http://www.dnaco.net/~aleed/corsets/mailorder.html
> 
> Greenberg and Hammer
> 24 W. 57th St.
> NY, New York
> 212-246-2835.
> 72437,674@compuserve.com
> steel and plastic boning. Their boning is the cheapest I've found anywhere.
> 
Do they do international mail order?
------------------------------------------------------------------------------
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 Apr  6 06:53:31 1999
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-Poster: kathleen@niagara.com



Due to extraordinary circumstances, I will be unsubscribing for a while.

Have fun and I will see you when my life calms down.

Kathleen/Catriona
 

                                                ()
                                              _/)(\_
"Tehee!" quod she, and clapte the wyndow to    /~~\
                                              /____\

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From owner-h-costume@indra.com  Tue Apr  6 09:49:47 1999
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From: "Sarah Toney" <toneys@rentgrow.com>
To: <h-costume@indra.com>
Subject: H-COST: Happiness and hats
Date: Tue, 6 Apr 1999 09:52:27 -0400
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-Poster: "Sarah Toney" <toneys@rentgrow.com>

2 things... first, I ordered a 1920's pattern from Lark Books last week, and
it was waiting for me when I got home yesterday... and this was normal
shipping!  I am very pleased! Just had to say that after all the
"difficulties" we have been bringing up with other places.

Secondly, and for anyone who doesn't care, sorry, but there is a beautiful
"Swashbucklers" hat for sale on e-bay if anyone is interested.  It's a nice
addition to a pirate costume, though most likely not accurate for any real
historical sense.  It's still fun... It's at
http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&item=87607172.

Sarah


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From owner-h-costume@indra.com  Tue Apr  6 10:26:21 1999
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From: KATHARINE WHISLER <KWHISLER@kentlaw.edu>
To: h-costume@indra.com
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Subject: H-COST: Alcega ISBN
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-Poster: KATHARINE WHISLER <KWHISLER@kentlaw.edu>

Here's the info on the Alcega book from U.K. "Books In Print":

Tailor's Pattern Book, 1589: Libro de Geometria, Pratica y Traca
DATE ENTERED: 990315
STATUS IN FILE: Changed
Alcega Juan de
Pain J.(Tr.); Bainton C.(Tr.); Nevinson J.L. (Ed.)
R Bean
Feb 1999
28cm.254. 137ill. n.e.
BINDING: Paperback
PRICE: L25.00
ISBN: 0903585316
PRINT STATUS: In Print
COUNTRY OF PUBLICATION: England
In English & Spanish. Tr.fr.Spanish J.Pain & C.Bainton. Ed.J.L.Nevinson
SUBJECT HEADINGS: Customs, Costumes, Folklore Costume

That should be enough information!

--K


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From owner-h-costume@indra.com  Tue Apr  6 10:58:30 1999
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-Poster: "Hope A. Greenberg" <hag@zoo.uvm.edu>


For any of you who have or have seen the Alcega book, can you tell us what
kinds or garments are represented. From previous posts and from Arnold's
books there seem to be at least three men's loose gowns and  a lady's
farthingale. What else is there? Mostly men's or some other women's?
And what dates does it cover?

Many thanks!

- Hope

-----------------
Hope.Greenberg@uvm.edu, U of Vermont

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From owner-h-costume@indra.com  Tue Apr  6 11:32:13 1999
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Subject: H-COST: OT cross-stitch software request
Date: Tue, 6 Apr 1999 16:38:53 +0100 
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-Poster: cnevin@caci.co.uk

Hi, sorry for this slightly OT question. One of my workmate's wives is
looking for a cross stitch software program and I said I would help by
asking around. She has seen the CrossStitch Pro software and likes the top
end program but it's too expensive at GBP 400. Does anyone have any
alternatives? 
She mostly wants it for graphing out cross-stitch and maybe some lace. Her
'wants' were
-	mirror and maybe rotational functions
-	easily usable graph plotting
-	easy access to a full colour chart, pref. either Anchor or DMC
-	having already built motifs is optional
If anyone is on an embroidery list they could also ask, I would really
appreciate it. Please email me off list. Thanks a lot.
Regards,
Tina
thorngrove@geocities.com 
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Subject: H-COST: Medieval Tailor's Assistant
Date: Tue, 6 Apr 1999 16:39:57 +0100 
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-Poster: cnevin@caci.co.uk

>>I hope this helps!  (Note, Quite Specific Media Group is the same outfit
that publishes Arnold's "Patterns of Fashion" series.)  Mr. Bean told me by
e-mail that his company is planning a new book to be called the "Medieval
Tailor's Assistant."  It will be interesting to see if it is any better than
Hunnisett's book.
>>Katharine Whisler


I saw the planned section on men's jerkins for the "Medieval Tailor's
Assistant", as well as meeting Ruth and Nigel Bean - both lovely people, and
one of the NICE things that happened to me that weekend <smile>. It's pretty
much going to be aimed at the re-enactors/recreationist market, serious
research with patterns (usable even by the sewing-impaired such as myself).
I was very impressed, and can't wait till it comes out. I think it'll an
invaluable aid for a great many of us.

Regards,
Tina 
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From owner-h-costume@indra.com  Tue Apr  6 11:49:33 1999
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From: "Jessica Wilbur" <jessica@pop.net>
To: h-costume@indra.com
Date: Tue, 6 Apr 1999 11:50:16 -0400
Subject: Re: H-COST:Janet Arnold question
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-Poster: "Jessica Wilbur" <jessica@pop.net>

Oh, Ok... I have that one, I just don't think of it as Tudor, since it doesn't cover anything
before the reign of Elizabeth I. YMMV.

--Jessica

> 
> -Poster: "Catherine de Calais" <ladyhauke@hotmail.com>
> 
> I think the book she is referring to is   
> 
> "Patterns of Fashion" c1560-1620  Tudor/Elizabethan era.
> 
> Catherine
> 
> >From: "Jessica Wilbur" <jessica@pop.net>
> >Reply-To: h-costume@indra.com
> >To: h-costume@indra.com
> >Subject: Re: H-COST:Janet Arnold question
> >Date: Mon, 5 Apr 1999 16:19:01 -0400
> >From owner-h-costume@indra.com Mon Apr 05 14:23:06 1999
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> >-Poster: "Jessica Wilbur" <jessica@pop.net>
> >
> >
> >
> >> 
> >> -Poster: lynnx <@mc.net>
> ><snip>
> >> 
> >> BTW, I have all 3 of Arnold's Englishwomen's Dress books, and the
> >> Tudor-era one has the most spectacular photos I have *ever* seen - 
> ><more snip>
> >
> >Which book is this? I did not know she had done any work on Tudor 
> clothing. Please 
> >enlighten me!
> >
> >Thanks!
> >--Jessica
> > _________________________________________________________________
> > 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 Apr  6 13:12:26 1999
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Date: Tue, 06 Apr 1999 11:05:10 -0500
From: Kat & Kent <kdyer@home.com>
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-Poster: Kat & Kent <kdyer@home.com>

Okay, I didn't pay any attention the first several rounds and I think
the agreement is that Greenburg & Hammer is the cheapest source for
boning (the lady I talked to said they're out of the catalog for about
two months) but is it also the best source for busks?

Kat
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From owner-h-costume@indra.com  Tue Apr  6 13:15:20 1999
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From: "Susannah Eanes" <oh_susannah@hotmail.com>
To: h-costume@indra.com
Subject: Re: H-COST: Busk suppliers - US
Date: Tue, 06 Apr 1999 10:13:29 PDT
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-Poster: "Susannah Eanes" <oh_susannah@hotmail.com>


Kat,
So far, G&H is my best bet.  Saundra Altman may have a few in various 
sizes left; she stopped carrying them awhile back but last fall I got 
some smaller ones from her -the front clasp kind you use in ACW & later 
corsets.  Otherwise, Greenberg & Hammer is the one I usually use.  I 
have a catalog; if you want I'd be happy to look up the numbers for you 
so you can order some.

Susannah


>From: Kat & Kent <kdyer@home.com>
>Reply-To: h-costume@indra.com
>To: "h-costume-digest@indra.com" <h-costume-digest@indra.com>
>Subject: H-COST: Busk suppliers - US
>Date: Tue, 06 Apr 1999 11:05:10 -0500
>
>
>-Poster: Kat & Kent <kdyer@home.com>
>
>Okay, I didn't pay any attention the first several rounds and I think
>the agreement is that Greenburg & Hammer is the cheapest source for
>boning (the lady I talked to said they're out of the catalog for about
>two months) but is it also the best source for busks?
>
>Kat
> _________________________________________________________________
> 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 Apr  6 13:22:06 1999
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From: "Henk 't Jong" <scapreel@tip.nl>
To: <h-costume@indra.com>
Subject: Re: H-COST: Pelisson again
Date: Tue, 6 Apr 1999 19:25:43 +0200
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-Poster: "Henk 't Jong" <scapreel@tip.nl>

Henk & Pauline 't Jong
tScapreel
Medieval Advisors
Dordrecht, Netherlands

Hi all,

Carol wrote: 
> So what would you call the garment worn by the Duchess of Burgundy in
> the 15th century painting:  Hunting with Falcons at the Court of Phillip
> the Good?  
> 
> This painting is in Boucher and all the court are in white.  It appears
> that her 'cloak' is cut like a tabard with maybe a yoke?
> 
I suppose you mean the painting in the Musee de Versailles called "La
Chasse du Duc de Bourgogne" which is a 16th c copy of a painting dated ca
1420-30. I don't know which lady is the duchess, because that's not at all
clear by either dress or other characteristics. Maybe you mean the lady
with the long red necklace reaching to her knees, with the furry cloaklike
thing? This could be called a large furred cloak or a pelisson, but it does
not look like a 14th c one. It is hazardous to use this painting as a
source for burgundian dress, as the 16yh c painter did not exactly
understand what he was depicting in the manner of dress. This is very
obvious from the headdresses and hats which are poorly understood, as ar
some of the garments. Maybe the cloak used to look different on the
original painting; I don't know. But a pellison in the conservative meaning
it isn't...

Henk



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From owner-h-costume@indra.com  Tue Apr  6 13:22:43 1999
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From: "Susannah Eanes" <oh_susannah@hotmail.com>
To: h-costume@indra.com
Subject: Re: H-COST: Re: corded petticoat
Date: Tue, 06 Apr 1999 10:29:47 PDT
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-Poster: "Susannah Eanes" <oh_susannah@hotmail.com>


>-Poster: ArcadiaCB@aol.com
>
>Hi Margo,
>  Re your questions on a corded petticoat (one of the things I've 
always meant
>to make and never have time), I'll describe the original I have in my
>collection. It's made of 3 panels (2) of 35" and one of 16" (after 
seaming) of
>a fairly heavy white cotton.  The cording is poking out in some places 
and is
>a 1/4" diameter white cording. From wist to hem is 38".

>From these measurements it appears that this petticoat may be earlier 
than the 1850s.  It is fairly narrow, less than 90" around.  May be  
1830s or even mid-to-late 1820s.

 The cording starts
>app. 18" from the waist, with the first 4 cords being 2" apart, then 
they
>gradually go down to app 1 1/2 apart. Ther are  11 cord rows in all, 
just the
>fabric pulled together and stitched in back to make the rows, plus a 
double
>cord for the hem.

Fairly typical of 1st quarter of the 19th c. construction for 
drawstrings or cords in petticoats, corsets, and shortgowns.  The double 
corded hem is also very typical of that period.

 The hem seems to an extra 1 1/2: which is turned under and
>stitched in place just under the last cord row. The waistband is 1" 
wide, just
>a 2"+ piece folded over and the petticoat skirt is gauged/cartridge 
pleated
>into the waistband.

Again, fairly typical of the earlier period.

  The placket opening is 11" long, done on the join of two
>panels. The interersting thing to me is that on the waistband are (5) 
3/4"
>buttonholes--one at each end of the waistband, one at the opposite end 
(center
>front?) and one on each side between these three.  Possibly this was a
>petticoat for a young girl or teen and was fastened to some type of
>corset/waist?  (any helpful comments out there??)

Often, a "petticoat body" consisted of two parts --the petticoat skirt, 
and an attached, or detachable, bodice, which held the petticoat at the 
right place in order to give the correct fashion silhouette, very 
important in the 1830s and earlier when the waistline was higher than 
the actual waist, and therefore had to be contrived into place.  I 
haven't actually seen one that buttoned on, but it was a common way to 
attach upper and lower parts of little boys' outfits in the later part 
of the 18th century and early 19th, (slops/trousers to undervest) so 
maybe this wasn't unusual.  Just a thought.


 There is a replaced part of
>a panel plus a repair by the placket.  

Is the stitching very fine, or not?  Just curious, not necessarily 
helpful in dating.

I will check my references tonight as to the color brown in the 1850s 
for corded petticoats.  Also, I have a "recipe for a corded petticoat" 
from a class of Saundra Altman's.  You might try e-mailing her for a 
copy, or asking her if she minds us sharing ours with the list.

Just couldn't resist sticking my oar in again...

Susannah

"We are only the trustees for those who come after us."
  --William Morris

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From: "Susannah Eanes" <oh_susannah@hotmail.com>
To: h-costume@indra.com
Subject: Re: H-COST:corded petticoat
Date: Tue, 06 Apr 1999 10:33:18 PDT
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-Poster: "Susannah Eanes" <oh_susannah@hotmail.com>


>
>
>-Poster: Margo Anderson <margo@directcon.net>
>
>I would like to make an 1850's corded petticoat.  Would it be 
appropriate to
>make it in a solid color other than white, preferably dark?  I have 200
>yards of brown cording, I hate brown so it's unlikely I'll use it for 
trim,
>and it would show through white.  Also, how is the petticoat attached 
to the
>waist band?  Flat pleats, gathers, or cartridge pleats?

I believe in the 1850s cartridge pleats were still the preferred method 
of attaching skirts to waistbands.

Susannah



>
>Margo
>
> _________________________________________________________________
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From: "Susannah Eanes" <oh_susannah@hotmail.com>
To: h-costume@indra.com
Subject: Re: H-COST: 19th century men's undershirts
Date: Tue, 06 Apr 1999 10:38:41 PDT
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-Poster: "Susannah Eanes" <oh_susannah@hotmail.com>

In the mid 19th c. and earlier, men often wore shirts of wool under 
their outer clothes.  Wool was considered from much earlier times to be 
the healthiest thing to wear "next the skin" [sic].  Ref. the 
Workwoman's Guide (c. 1839), for a start.  It was credited with keeping 
unhealthy draughts and sudden changes in temperature away from the body, 
among other less likely things, such as keeping ladies' & children's 
minds on their work, and away from bodily concerns.  These shirts were 
made of flannel, or a knitted fabric called "stockinette," in the 1820s.  
You might also look at Cunnington's "The History of Underwear," for some 
more refs.

Hmmm...

Susannah


>From: Margo Anderson <margo@directcon.net>
>Reply-To: h-costume@indra.com
>To: h-costume@indra.com
>Subject: H-COST:  19th century men's undershirts
>Date: Wed, 31 Mar 1999 13:43:42 -0800 (PST)
>
>
>-Poster: Margo Anderson <margo@directcon.net>
>
>I'm researching men's working wear of the 1850's and I have questions 
about
>undershirts.  Since I've found a number of references to wool shirts,  
I
>assume something must have been worn under them for cleanliness and 
comfort.
>Was this simply an ordinary shirt in linen or cotton, or was there a
>specific undershirt style?  I have found mention of undershirts knitted 
of
>merino wool, which I understand is soft enough to wear next to the 
skin.
>Were these the norm, or was there something else?
>
>Margo
>(Who STILL hasn't found her copy of the History of Underclothes)
>
> _________________________________________________________________
> 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 Apr  6 13:47:59 1999
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-Poster: Margo Anderson <margo@directcon.net>


>I will check my references tonight as to the color brown in the 1850s 
>for corded petticoats. 

Actually, I'd prefer almost any other color that the brown cording won't
show through:  I hate brown so much that it would depress me to have on a
brown petticoat.  I charge extra to sew brown clothes, too! 

 Also, I have a "recipe for a corded petticoat" 
>from a class of Saundra Altman's.  You might try e-mailing her for a 
>copy, or asking her if she minds us sharing ours with the list.

Hmm...someone  posted a "recipe for a corded petticoat" in response to my
query at the civilian reenactor's Discussion Forum at
http://www.cwreenactors.com/forums/civilian/civilian.html  Is this the same
article?  If so, we should let the poster know that it should at least be
credited to Sandra.  


Margo Anderson
In Sunny California...with six inches of fresh snow.

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From owner-h-costume@indra.com  Tue Apr  6 14:25:00 1999
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Subject: H-COST: late-period French women's clothing sources?
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-Poster: Karla Sexsmith <karla@silverspin.net>

Greetings everyone,

I am looking for places to start with regards to researching late-period
(ie. 1400-1500's) French women's clothing (for SCA purposes).  Does anyone
know of any books or websites that would be a good place to start?

Thanks,
Karla

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From owner-h-costume@indra.com  Tue Apr  6 14:26:17 1999
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-Poster: SNSpies@aol.com

I like and use Pattern Maker.  The standard version that I have cost ca. $60 
while the professional version is $120.  You can visit their web page at 
www.hobbyware.com and email them at support@hobbyware.com.  Good program!

Nancy/Ingvild
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From owner-h-costume@indra.com  Tue Apr  6 14:42:49 1999
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-Poster: Ariyana Kylstram <ariyana@cats.UCSC.EDU>

Aiee!

I deleted the contact info for the Juan de Alcega book.  Could someone 
please repost it for me?

Thanks!
.ari
The Lady Ariyana of House Kylstram 
ariyana@cats.ucsc.edu
http://www.kithrup.com/~ariyana/


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From owner-h-costume@indra.com  Tue Apr  6 16:29:15 1999
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-Poster: heather <lynnx@mc.net>

> What is Players Press publishing anyway, that has everybody calling 
> them?


Jean Hunnisett!!  And lots of other theatrical and costuming stuff. 
This discussion got started when someone on the list ran into one of
their people at a show, who started dissing Janet Arnold's work. 
Needless to say she (the list-er) was unimpressed.  

I had earlier called them to answer a query of Where are they? on the
list, and gotten the same diatribe on Arnold.  (So, of course, I *had*
to stick my oar in.)

Hope this doesn't make things *too* much more confusing!
Heather
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From owner-h-costume@indra.com  Tue Apr  6 17:10:18 1999
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From: "Susannah Eanes" <oh_susannah@hotmail.com>
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-Poster: "Susannah Eanes" <oh_susannah@hotmail.com>

Speaking of the Sound of Music in my last post, does anyone know or have 
an opinion of the late 1930s costuming in that movie?  Is it bad or good 
for Austria?  It is nothing like people were wearing in America during 
that time.  I know the movie played havoc with the real story of the 
Family von Trapp, but I fell in love with the playclothes & dresses made 
out of Fraulein Maria's draperies and the lovely brown (OK, I won't use 
brown) princess-seamed jumper worn by Julie Andrews.  Just for a 
novelty, I might make something like them, as I have a great green & 
white print that looks like the drapery.  It would be nice to know if it 
were something like might have been worn in Austria in the late 30s, not 
just a Hollywood idea of the 1960s.

Susannah

"We are only the trustees for those who come after us."
  --William Morris

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From owner-h-costume@indra.com  Tue Apr  6 17:18:22 1999
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-Poster: "Sarah Toney" <toneys@rentgrow.com>

On this topic, if you live in the area at all, the Von Trapp Family owns an
Inn in Midstate Vermont that is interesting to visit.  I believe they do
have some old "family possessions" which may include clothing.  Either way,
a great place to visit.

Sarah



>Speaking of the Sound of Music in my last post, does anyone know or have
>an opinion of the late 1930s costuming in that movie?  Is it bad or good
>for Austria?  It is nothing like people were wearing in America during
>that time.  I know the movie played havoc with the real story of the
>Family von Trapp, but I fell in love with the playclothes & dresses made
>out of Fraulein Maria's draperies and the lovely brown (OK, I won't use
>brown) princess-seamed jumper worn by Julie Andrews.  Just for a
>novelty, I might make something like them, as I have a great green &
>white print that looks like the drapery.  It would be nice to know if it
>were something like might have been worn in Austria in the late 30s, not
>just a Hollywood idea of the 1960s.
>
>Susannah
>
>"We are only the trustees for those who come after us."
>  --William Morris
>
>Get Your Private, Free Email at http://www.hotmail.com
> _________________________________________________________________
> To leave this mailing list, send mail to majordomo@indra.com
> with the message UNSUBSCRIBE H-COSTUME
>

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From owner-h-costume@indra.com  Tue Apr  6 17:23:27 1999
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-Poster: heather <lynnx@mc.net>

> Which book is this? I did not know she had done any work on Tudor 
> clothing. Please enlighten me!

(realizing I may have my neck in the guillotine for not making
***sure*** Tudor is the right word for "1560 to 1620"...:-) 
It's:
Patterns of Fashion, The cut and construction on clothes for men and
women c. 1560-1620.  Janet Arnold 1985.  ISBN 0 333 38284 6  The
publisher of my copy is "M Papermac/DRAMA BOOK New York" but I'd do a
search on ACSES or Bookfinder, someone else might be doing it now.

Heather
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From owner-h-costume@indra.com  Tue Apr  6 17:50:36 1999
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From: "Susannah Eanes" <oh_susannah@hotmail.com>
To: h-costume@indra.com
Subject: Re: H-COST: Re: corded petticoat
Date: Tue, 06 Apr 1999 14:08:26 PDT
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-Poster: "Susannah Eanes" <oh_susannah@hotmail.com>

>-Poster: Margo Anderson <margo@directcon.net>
>
>
>>I will check my references tonight as to the color brown in the 1850s 
>>for corded petticoats. 
>
>Actually, I'd prefer almost any other color that the brown cording 
won't
>show through:  I hate brown so much that it would depress me to have on 
a
>brown petticoat.  I charge extra to sew brown clothes, too! 
>

;-D
Will check as to suitability of which colors might be best.  I know I 
will find it in some book or other with good refs...  btw, I love brown, 
but it doesn't love me.  As a matter of fact, my fiance calls my 
much-loved brown suit my "the poor didn't want this" suit, after a 
similar one worn by Julie Andrews in the Sound of Music.  He frowns and 
says, "please don't wear that! It just isn't your color."  And he's 
right.
sigh...

> Also, I have a "recipe for a corded petticoat" 
>>from a class of Saundra Altman's.  You might try e-mailing her for a 
>>copy, or asking her if she minds us sharing ours with the list.
>
>Hmm...someone  posted a "recipe for a corded petticoat" in response to 
my
>query at the civilian reenactor's Discussion Forum at
>http://www.cwreenactors.com/forums/civilian/civilian.html  Is this the 
same
>article?  If so, we should let the poster know that it should at least 
be
>credited to Sandra.  
>

Yep!  Good thinking.

>
>Margo Anderson
>In Sunny California...with six inches of fresh snow.

Yikes!  And I thought I was to be pitied after a beautiful weekend in 
South Carolina, upon returning to the cold and windy mountains...

Susannah

"We are only the trustees for those who come after us."
  --William Morris

Get Your Private, Free Email at http://www.hotmail.com
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From owner-h-costume@indra.com  Tue Apr  6 18:58:17 1999
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From: "Van Cleave & Fleming" <tweedlebop@earthlink.net>
To: <h-costume@indra.com>
Subject: H-COST: OT: hat for sale
Date: Tue, 6 Apr 1999 18:25:24 -0400
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-Poster: "Van Cleave & Fleming" <tweedlebop@earthlink.net>

Is anyone interested in purchasing a large-brimmed black felt hat from me?
It's the Hatcrafter's "Cartwheel" style which I bought from Amazon Drygoods
(you can see it pictured in their General catalog, or online at
http://hatcrafters.com/page9.htm ), hoping it would look early
1900's/1910's, but it's very 1940's/1950's instead.

It's brand new, never been worn, one size.  I bought it for $53 from Amazon
Drygoods, I'll sell it for $30 plus shipping.

If you're interested, please email me directly.

Kendra Van Cleave
tweedlebop@earthlink.net


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From owner-h-costume@indra.com  Tue Apr  6 19:03:19 1999
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From: Merouda the True of Bornover <keltia@serv.net>
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-Poster: Merouda the True of Bornover <keltia@serv.net>

I'll stick me head on the block with ya.  I believe many consider
"Elizabethan" to be Tudor.  She *is* a Tudor.  FWIW,  Cynthia

> (realizing I may have my neck in the guillotine for not making
> ***sure*** Tudor is the right word for "1560 to 1620"...:-)
> It's:
> Patterns of Fashion, The cut and construction on clothes for men and
> women c. 1560-1620.  Janet Arnold 1985.  ISBN 0 333 38284 6  The
> publisher of my copy is "M Papermac/DRAMA BOOK New York" but I'd do a
> search on ACSES or Bookfinder, someone else might be doing it now.
>
> Heather
>  _________________________________________________________________
>  To leave this mailing list, send mail to majordomo@indra.com
>  with the message UNSUBSCRIBE H-COSTUME

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


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From: "Jessica Wilbur" <jessica@pop.net>
To: h-costume@indra.com
Date: Tue, 6 Apr 1999 18:49:34 -0400
Subject: Re: H-COST: Arnold's Tudor(?) book
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-Poster: "Jessica Wilbur" <jessica@pop.net>



> 
> -Poster: Merouda the True of Bornover <keltia@serv.net>
> 
> I'll stick me head on the block with ya.  I believe many consider
> "Elizabethan" to be Tudor.  She *is* a Tudor.  FWIW,  Cynthia

Very true! I was just explaing to Heather privately that I tend to make a distinction in my 
own mind between "Tudor" and "Elizabethan". I much prefer earlier Tudor styles to later 
Elizabethan ones. Eliz. looks fussy to me, whereas Tudor has much more graceful lines. 
Just a quirk of mine, I guess.  =)

--Jessica
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From owner-h-costume@indra.com  Tue Apr  6 19:05:15 1999
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Date: Tue, 06 Apr 1999 18:51:30 -0400
From: Betsy Delaney <betsy@hawkeswood.com>
Organization: Hawkeswood Productions
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To: ICG List <icg-l@lists.best.com>, CostumeDC List <costumedc@onelist.com>,
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Subject: H-COST: ANNOUNCEMENT: Tackycon Rides Again!
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-Poster: Betsy Delaney <betsy@hawkeswood.com>

Warning: This announcement is being crossposted. Please don't be cross
with me. Forward at will, but not to the same lists! Thanks!

Now scheduled: Tackycon 1999 

	(http://www.hawkeswood.com/tackycon/index.html) 

"What the heck is a Tackycon?"

Glad you asked.

Tackycon is a relaxacon for costumers. It is generally scheduled for
whenever the World Science Fiction Convention is held off continent.
There is no pressure, no "official" schedule of events, usually a silly
masquerade, shopping trips and lots of hanging out and socializing.
Don't miss your chance to socialize and be silly with the silliest of
us!

Activities in the Works:

              Friday Night Barbeque & Roast
              The Great Langley Park Maryland Shopping Spree & Masacree
              The Silly Hat Contest 
              The "Name that Mannequin" Competition
              Wading Pools-a-go-go

And probably more, though we haven't thought of it yet. 

                         Win Fabulous Prizes!
         Watch Really Old Videotaped Costume-Con Masquerades!
              See Full Grown Adults Play in Wading Pools!

The details so far are as follows:

Dates:         	Friday, July 16 - Sunday, July 18, 1999

Location:      	Hawkeswood (Our House) in Lovely, Scenic West Laurel, MD

Hotel:         	I need to know which venue people would prefer to
use, 	       	       	and how many rooms will be taken, so I know how
many to 
		reserve. This information needs to be back to me as soon 		as
possible. The two hotels being considered are:

                The Comfort Suites: Route 1, South of Cherry Lane

              	Advantage: Near 10 trillion restaurants (Well, 				okay,
30 or 40...)

		Room Rate (unofficial): $85 plus tax

                Suites hold up to six per room including sleeper 		
couch.


                Best Western Maryland Inn Route 198 and I-95

                Advantage: Five minutes from Hawkeswood, right 				off
I-95. In-house restaurant, cafe and bar.

                Room Rate (unofficial): $82 (10 rooms reserved)
                                        $79 (20 rooms reserved),
                                        $75 (30 rooms reserved)

                King or Double Double, Smoking or Non-Smoking, 
		Indoor or outdoor entrance, some rooms overlook 			pool.

		I'll need to set the room block with the chosen hotel. 
		I'd really LOVE a headcount/roomcount, if possible.

     Cost:      $20 per adult attendee
                $10 per child under 12
                Under 6 free
		(Fee to be used for supplies and stuff; possibly
		for room rental if we take a meeting room at the
		hotel of choice.)

Disclaimers and other stuff:

This event is being run (more or less) in conjunction with the
Hawkeswood Sewing Circle, regularly scheduled for the third Saturday
every month. 

For more information about the Sewing Circles, please send me email:
(mailto:betsy@hawkeswood.com)

The house comes cat-enabled. He's a nice cat, but he does live here.
Medicate accordingly.

We don't have kids (yet), but lots of our friends do and the house is
sort-of child proof. Plan accordingly.

The main events may be held either at Hawkeswood or at the hotel,
depending on the deal I can cut with them. Watch this web page for
further details as they become firmer.

Please feel free to distribute this information to whomever you think
might be interested. And remember, this is supposed to be fun, dammit!


How to Register:

	Send your Tackycon 1999 registration fee (US Funds only) with 
	the following details to the address below:

                          Tackycon 1999
                          P.O. Box 1044
                      Laurel, MD 20725-1044
                          301-369-3563
                  mailto:tackycon@hawkeswood.com

	Your First & Last Name:

	Additional People you are registering:
              
	Address:
              
	City, ST ZIP/PC:
              
	Phone Number:

	Email Address:

	Accommodations required (# of nights):           
	(# of People):

	Arrival Date:                        
	Departure Date:

	(Note: This is for statistical purposes only! You will be 
	responsible for making and confirming your own reservations, 
	once a hotel room block has been established! Casa Hawkeswood 		has
floor crashspace, but not for lots of people. The house
        isn't that big!)

        Dietary Restrictions/Accessability Issues:

              
        Anything you might like to do while you're here:

              
        Anything else you think I should know:

              
        Print this form and mail with your payment to the address
above. 	Please don't send cash in the mail!

        This event is a Hawkeswood Production
	http://www.hawkeswood.com/tackycon/index.html


Cheers!

-betsy
--
Betsy R. Delaney
Webmistress at large
************************************************************************
             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
  (If you still have betsy@access.digex.net, change my address *NOW*!)
************************************************************************
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From owner-h-costume@indra.com  Tue Apr  6 19:36:51 1999
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Date: Tue, 6 Apr 1999 19:41:04 EDT
Subject: Re: H-COST: The Sound of Music
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-Poster: AlbertCat@aol.com

In a message dated 4/6/99 5:28:18 PM Eastern Daylight Time, 
oh_susannah@hotmail.com writes:

<< does anyone know or have 
 an opinion of the late 1930s costuming in that movie?  >>

It is a Dorothy Jenkins 1960s fantasy. Only the nuns are dressed correctly. 
My advice is to ignore the film's costuming all together. Actually I just 
ignore the whole thing.
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From owner-h-costume@indra.com  Tue Apr  6 19:47:41 1999
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From: The Purple Elephant <csmart@physics.adelaide.edu.au>
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To: h-costume@indra.com
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Subject: Re: H-COST: late-period French women's clothing sources?
In-Reply-To: <3.0.1.32.19990406112734.01464db0@silverspin.net>
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-Poster: The Purple Elephant <csmart@physics.adelaide.edu.au>

On Tue, 6 Apr 1999, Karla Sexsmith wrote:

> 
> -Poster: Karla Sexsmith <karla@silverspin.net>
> 
> Greetings everyone,
> 
> I am looking for places to start with regards to researching late-period
> (ie. 1400-1500's) French women's clothing (for SCA purposes).  Does anyone
> know of any books or websites that would be a good place to start?
> 
That's a very broad time period during which costume changed quite a bit.
How accurate are you looking to be? Do you want a quick overview of the
whole period or a tighter focus on a specific part? When you say 'late-
-period' do you really mean Tudor/Elizabethan eras?

------------------------------------------------------------------------------
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: Marsha McLean <msmclean@interlog.com>
Subject: H-COST: Alcega
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-Poster: Marsha McLean <msmclean@interlog.com>

- -Poster: "Hope A. Greenberg" <hag@zoo.uvm.edu> WROTE:

For any of you who have or have seen the Alcega book, can you tell us what
kinds or garments are represented. From previous posts and from Arnold's
books there seem to be at least three men's loose gowns and  a lady's
farthingale. What else is there? Mostly men's or some other women's?
And what dates does it cover?

It has patterns for many styles of men'sand women's dress: round gowns,
loose gowns, kirtles, petticoats, mourning gowns, many many things, mens:
doublets, jerkins, cloaks, capes, loose gowns, hose of various types,
venetians, etc.   It was written in 1589 for the fashions of that year.  It
is especially useful for the variety of styles, there are several examples
of everything.  His cutting diagrams (taking the difference in fabric width
into account) are very educational: I waste far less fabric now.

Marsha
Marsha McLean

"Be yourself - it's who you do best" 



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Date: Tue, 06 Apr 1999 17:10:47 -0700
To: h-costume@indra.com
From: Karla Sexsmith <karla@silverspin.net>
Subject: Re: H-COST: late-period French women's clothing sources?
In-Reply-To: <Pine.SUN.3.90.990407102947.2430B-100000@muon>
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-Poster: Karla Sexsmith <karla@silverspin.net>

>That's a very broad time period during which costume changed quite a bit.
>How accurate are you looking to be? Do you want a quick overview of the
>whole period or a tighter focus on a specific part? When you say 'late-
>-period' do you really mean Tudor/Elizabethan eras?

I haven't really pinned my persona down to a specific time yet, so I was
hoping to get a bit of an overview of that era...  (and yes I know I'm sort
of doing things backwards, but I'm not looking to limit myself to only garb
from that era, I just want at least one outfit to match my persona)...  the
name I've chosen can be documented to as early as 1462, so I'm looking for
something between there and about 1600.  I think what I'm looking for would
be more like during the Renaissance period, but France instead of Italy.

Does that help? :)

Karla

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From: The Purple Elephant <csmart@physics.adelaide.edu.au>
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Subject: Re: H-COST: late-period French women's clothing sources?
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-Poster: The Purple Elephant <csmart@physics.adelaide.edu.au>

On Tue, 6 Apr 1999, Karla Sexsmith wrote:

> I haven't really pinned my persona down to a specific time yet, so I was
> hoping to get a bit of an overview of that era...  (and yes I know I'm sort
> of doing things backwards, but I'm not looking to limit myself to only garb
> from that era, I just want at least one outfit to match my persona)...  the
> name I've chosen can be documented to as early as 1462, so I'm looking for
> something between there and about 1600.  I think what I'm looking for would
> be more like during the Renaissance period, but France instead of Italy.
> 
> Does that help? :)
Well it eliminates 50 years which is a start *grin*
For pre-1500 I'd suggest "Mediaeval Costume in England and France" by
Mary Houston. Unfortunately most of the stuff I can think of off the
top of my head is English, and this is the period when French and
English costume begin to differ. However, if you don't mind risking the
differences you could try "A Handbook of English Mediaeval Costume" and
"A Handbook of English Costume in the 16th Century", both by some
combination of Cunningtons.
You can also look at books on memorial brasses (good for late 15th early
16th century England) or some of the late Books of Hours.
------------------------------------------------------------------------------
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 Apr  6 21:46:00 1999
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From: Robin Netherton <robin@dgsys.com>
To: h-costume@indra.com
Subject: Re: H-COST: late-period French women's clothing sources?
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-Poster: Robin Netherton <robin@dgsys.com>


On Wed, 7 Apr 1999, The Purple Elephant wrote:

> For pre-1500 I'd suggest "Mediaeval Costume in England and France" by
> Mary Houston. Unfortunately most of the stuff I can think of off the top
> of my head is English, and this is the period when French and English
> costume begin to differ. However, if you don't mind risking the
> differences you could try "A Handbook of English Mediaeval Costume" and
> "A Handbook of English Costume in the 16th Century", both by some
> combination of Cunningtons.  You can also look at books on memorial
> brasses (good for late 15th early 16th century England) or some of the
> late Books of Hours. 

Let me take this ball and run with it. Yes, this is the period in which
national differences became apparent. But so did art styles, which
actually is a help when you're researching.  Generally, for late 1500s and
1600s, each of the Western European cultures shone in a different medium.
Brasses are almost exclusively English. Flanders produced superb portraits
and other paintings. French costume is easiest to track through manuscript
art and tapestries, and then paintings in the 1500s. Yes, you can find
English manuscripts and paintings, and Flemish brasses and tapestries --
but if you want a general overview, go to where the bulk of the sources
are.

I'd head for a good library, preferably an older university library. Look
in the catalog, under subject, for books on manuscript painting -- e.g.
Harthan's _Books of Hours_ -- and anything on tapestries, and anything
that says French art of the Middle Ages or the Renaissance or "Gothic" or
whose title specifies one of your target centuries.  Write down all the
shelf numbers you find under these topics -- they'll come in clusters, as
some books will be grouped with international, some with French art, and
some by medium. Then head for the *oversize* shelves, and browse these
numbers.  Pull all the books with good color photos, and give preference
to books that focus on France. After you've leafed through the ones that
are exclusively French, your "eye" will be attuned to the styles in your
range.

In fact, before you start, get hold of Davenport's _History of Costume,_
which organizes art by century *and country*, unlike most costume books.
The pictures are small and black-and-white, but many of the ones you find
here you will see later, reproduced in the art books. You can use
Davenport as your overall guide to fashion changes in this period, and the
art books for a better view. It's best to avoid books that rely on
re-drawings of art. 

I would also suggest avoiding books that focus on English costume until
you feel *very* familiar with the French styles and can spot the
differences. In the 1400s, the differences are often in headdress; in the
1500s, as clothing gets more structured, the English silhouette in general
heads for a boxier, more angular look, while the French retains some
curves.

And, when you're looking at artwork, be suspicious by nature of anything
worn by a saint, a goddess, or a historic queen. Often you'll find
incredible and interesting costumes on these people, but if you never see
the like on a *real* person, then it probably is at least partly the
artist's imagination. Best sources are donor portraits (within religious
paintings) and stand-alone portraits; illustrations of stories are often
fine if the person being illustrated is a regular noblewoman, not a saint,
goddess, queen, or supernatural figure. For non-noble dress, look at
labors of the months, genre paintings, crowd scenes, etc.

--Robin, in the midst of feverishly preparing a presentation on dress of
the 1400s, and thus surrounded with slides of English brasses, Flemish
portraits, and French manuscripts


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From owner-h-costume@indra.com  Tue Apr  6 22:00:03 1999
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Subject: Re: H-COST: late-period French women's clothing sources?
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-Poster: Joan M Jurancich <joanj@quiknet.com>

At 11:13 AM 04/07/1999 +0930, The Purple Elephant wrote:
>
>-Poster: The Purple Elephant <csmart@physics.adelaide.edu.au>
>
>On Tue, 6 Apr 1999, Karla Sexsmith wrote:
>
>> I haven't really pinned my persona down to a specific time yet, so I was
>> hoping to get a bit of an overview of that era...  [snip] the
>> name I've chosen can be documented to as early as 1462, so I'm looking for
>> something between there and about 1600.  I think what I'm looking for would
>> be more like during the Renaissance period, but France instead of Italy.
>> Does that help? :)
>Well it eliminates 50 years which is a start *grin*
>For pre-1500 I'd suggest "Mediaeval Costume in England and France" by
>Mary Houston. Unfortunately most of the stuff I can think of off the
>top of my head is English, and this is the period when French and
>English costume begin to differ. However, if you don't mind risking the
>differences you could try "A Handbook of English Mediaeval Costume" and
>"A Handbook of English Costume in the 16th Century", both by some
>combination of Cunningtons.
>You can also look at books on memorial brasses (good for late 15th early
>16th century England) or some of the late Books of Hours.
>------------------------------------------------------------------------------
>Claire F. Clarke   

I do know of one book for French costume information, it's even *in* French
<g>. 

The book is "Le Costume Civil en France du XIIIe au XIXe Siecle" by Camille
Piton, printed in Paris in 1926. I first saw this book in the UCDavis
Shields Library; when I did find one to purchase (several years ago), it
cost me $100. The book has many examples of original (not re-drawn)
pictures, bas-reliefs, and sculptures (almost all the illustrations are in
black and white, but the descriptions usually describe the colors if the
originals were colored). The pictures are not only of noble or royal
personages, but include many illustrations of peasants and merchants as
well. It is well worth the trouble to try to get this book via ILL if your
local university library does not have a copy.

Bonne chance,
Joan Jurancich
Sacramento, CA
joanj@quiknet.com

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From owner-h-costume@indra.com  Tue Apr  6 22:38:17 1999
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Subject: Re: H-COST: The Sound of Music
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-Poster: AnnBWass@aol.com

I have to agree.  I know people in theater costuming who worship the movie, 
and I could never figure out why.  I think it's just dreadful.
Ann Wass
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From owner-h-costume@indra.com  Tue Apr  6 22:40:34 1999
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-Poster: "Penny E. Ladnier" <penny.creative.outlets@erols.com>

We have another fun thing to do on The Costume Gallery, a live chat room
that is devoted to Historic and Vintage Costumes.  You can find it at
http://www.costumegallery.com/chat/chat.html  We hope in the future to have
scheduled featured guests in the chat room. I am open for suggestions as to
who you would like to have as a featured guest.  So please send suggestions
and why they should be featured. If you know how I may contact this person,
please include this information. 

Depending on the success of the chat room, I might add more chat rooms in
the many diverse areas of the costume and fashion industries.

Later...Penny
  
Penny E. Dunlap Ladnier
The Costume Gallery Website
http://www.costumegallery.com 











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From owner-h-costume@indra.com  Wed Apr  7 00:43:42 1999
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Date: Tue, 06 Apr 1999 23:33:33 -0500
To: h-costume-digest@indra.com
From: Pierre & Sandy Pettinger <costumrs@radiks.net>
Subject: H-COST: Re: Forming a costume guild
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-Poster: Pierre & Sandy Pettinger <costumrs@radiks.net>

FYI for those who were mentioning starting a costume guild:  If you wish to
form a chapter of the International Costumer's Guild, info may be found at:

www.costume.org/about/HowTo.html

This is the "How to Start a Chapter" page.  The basic site is www.costume.org.

Sandy

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From owner-h-costume@indra.com  Wed Apr  7 01:11:57 1999
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-Poster: The Purple Elephant <csmart@physics.adelaide.edu.au>

On Tue, 6 Apr 1999, Robin Netherton wrote:

> actually is a help when you're researching.  Generally, for late 1500s and
> 1600s, each of the Western European cultures shone in a different medium.
> Brasses are almost exclusively English. Flanders produced superb portraits
> and other paintings. French costume is easiest to track through manuscript
> art and tapestries, and then paintings in the 1500s. Yes, you can find
Of course! *smacks head* How could I forget tapestries?! I've just pored
over an entire book of them looking at c1500 clothing....*grin*
------------------------------------------------------------------------------
Claire F. Clarke       "What is this world if, full of care, 
Physicist, writer,     We have no time to stand and stare?"
and non environmentally                     Robert Louis Stevenson
friendly substance.
------------------------------------------------------------------------------

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From owner-h-costume@indra.com  Wed Apr  7 03:05:14 1999
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Date: Wed, 07 Apr 1999 17:05:57 +1000
To: h-costume-digest@indra.com
From: Bronwyn Clarke <bclarke@metz.une.edu.au>
Subject: H-COST: Museums in Vienna?
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-Poster: Bronwyn Clarke <bclarke@metz.une.edu.au>

I have a whole afternoon and evening in Vienna, Austria in August in
between plane flights. Does anyone know of any costume or textile museums
in Vienna that I could visit? 

Thanks for any info,

Bronwyn


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From owner-h-costume@indra.com  Wed Apr  7 05:38:08 1999
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From: Dietmar <dietmar@pacbell.net>
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-Poster: Dietmar <dietmar@pacbell.net>

Greetings all,

Bronwyn wrote:

> I have a whole afternoon and evening in Vienna, Austria in August in
> between plane flights. Does anyone know of any costume or textile
> museums in Vienna that I could visit? 

Well, it's not exactly a costume or textile museum, but one of THE BEST art
museums in the world is the Kunsthistorisches (art history) Museum in downtown
Vienna.  Many, many famous paintings are housed there: Bellini, Raphael,
Titian, Tintoretto, Velazquez, Bosch, Durer, Cranach, Holbein, Breugel,
Rubens, Van Dyck, Vermeer, Rembrandt, Gainsborough, etc.

They have a collection of sculpture and decorative arts which features a
number of tapestries (and the Cellini salt cellar). There are also collections
of Greek and Roman Antiquities, Coins, Arms and Armor, and my personal
favorite: the insignia, jewels, and vestments of the Holy Roman Emperor; i.e.,
the coronation robe, gloves, shoes, crown, orb, scepter, sword, etc.

A full day isn't enough to see all of the good stuff that they have.

Enjoy your trip,

Dietmar


"Victory or Defeat rests in God's hands;
 over Honor, we ourselves are Lord and Master."
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From owner-h-costume@indra.com  Wed Apr  7 08:16:00 1999
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From: "David W. Rickman" <drickman@state.de.us>
Subject: H-COST: Men's wool shirts
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-Poster: "David W. Rickman" <drickman@state.de.us>

Hello,

Regarding Margo's question about men's wool workshirts of the 1850's, there 
are countless photographs of working men, especially Gold Rush miners, wearing 
wool overshirts from this period.. Perhaps that is what Margo is looking for. 
These shirts had been around for some time, with many descriptions of sailors, 
express drivers, mountain men, soldiers, etc. wearing them in the 1830's and 
1840's. They were an early "readymade" garment - mass produced in several 
sizes. Almost always they were either of red or blue wool, and pretty 
substantial. There are indications that some men did wear them next to the 
skin, while others undoubtedly wore "vests" (sleeveless undershirts, often, as 
Susannah points out, of wool, though linen and cotton were also used). But 
many of the photos and paintings of the day show a woolen shirt worn over a 
white cotton or linen shirt, the white shirt serving as an "undershirt." My 
impression is that often these woolen shirts served in place of a coat and 
waistcoat when working men, especially those far from home, lacked these. Thus 
you often see men in white shirts with cravats, with a woolen shirt worn over 
this. The woolen shirt's collar is unbuttoned to reveal about as much as a 
waistcoat would have shown of the white shirt front and the cravat.

Unfortunately, no woolen work shirt seems to have survived in this country - 
well, at least no one seems to have found one yet. But a friend of mine, Jim 
Miller, has produced a small monograph on the subject of the woolen work 
shirts seen in Gold Rush photographs, and has even produced a pattern. It is 
speculative, but I've seen the shirts he has made from it and they look 
extraordinarily _right_ for the period. If Margo, or anyone else, would like 
me to send them the source for Jim's publications, I would be happy to do so. 
Just e-mail me directly.

David Rickman
drickman@state.de.us

>
>-Poster: Margo Anderson <margo@directcon.net>
>
>I'm researching men's working wear of the 1850's and I have questions 
about
>undershirts.  Since I've found a number of references to wool shirts,  
I
>assume something must have been worn under them for cleanliness and 
comfort.
>Was this simply an ordinary shirt in linen or cotton, or was there a
>specific undershirt style?  I have found mention of undershirts knitted 
of
>merino wool, which I understand is soft enough to wear next to the 
skin.
>Were these the norm, or was there something else?
>
>Margo
>(Who STILL hasn't found her copy of the History of Underclothes)
>
> _________________________________________________________________
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From owner-h-costume@indra.com  Wed Apr  7 08:59:09 1999
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From: "Susannah Eanes" <oh_susannah@hotmail.com>
To: h-costume@indra.com
Subject: Re: H-COST: The Sound of Music
Date: Wed, 07 Apr 1999 06:04:56 PDT
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-Poster: "Susannah Eanes" <oh_susannah@hotmail.com>

>
>-Poster: AnnBWass@aol.com
>
>I have to agree.  I know people in theater costuming who worship the 
movie, 
>and I could never figure out why.  I think it's just dreadful.
>Ann Wass

OK, Ok.  I think it's because it was the first movie I ever saw, and 
I was about 4 years old.  I thought Julie Andrews had descended 
straight from heaven, I had never heard such a voice.  I still cry 
when she comes singing back over the fields to return to her beloved 
children.  Sniff, sniff...  I think the word that was used in the 
'70s to describe it was "schmaltzy."  Thanks for your patience while 
I dip into the nostalgia bucket!

Susannah



"We are only the trustees for those who come after us." 
  --William Morris 


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From owner-h-costume@indra.com  Wed Apr  7 09:18:26 1999
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Date: Wed, 07 Apr 1999 08:23:11 -0500
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From: "J,K,S&A Baird" <baird@rrnet.com>
Subject: H-COST: Sound of Music & Elizabeth
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-Poster: "J,K,S&A Baird" <baird@rrnet.com>

Nostalgia time--
I remember standing in a loong line to get in to Sound of Music--I've never
seen so many nuns in one place as were in that line!

Saw Elizabeth last night--what a strange movie. But visually
impressive--images keep fleeting before my eyes. The costume budget must
have been amazing.

Kim in ND, where spring has sprung, but that doesn't mean we won't get a
blizzard yet.
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From owner-h-costume@indra.com  Wed Apr  7 09:22:56 1999
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From: "Susannah Eanes" <oh_susannah@hotmail.com>
To: h-costume@indra.com
Subject: H-COST: Corded Petticoat Refs.
Date: Wed, 07 Apr 1999 06:27:47 PDT
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-Poster: "Susannah Eanes" <oh_susannah@hotmail.com>

Hi Margo & all:
Didn't get to search as much as I needed to last night re:  corded 
petticoat colors, 1840s & 1850s refs, etc. in order to make a 
definitive answer; but I did find the following (all paraphrased):

Corsets & Crinolines:
1850s -An English young lady comments to a friends how her laundress 
must think her "fast" for owning "two corded petticoats."  This is in 
the same breath while describing the caged crinolines of another 
acquaintance.

History of Underclothes:
By the 1850s, petticoats were available in brilliant colors, 
especially scarlet.  Petticoats are mentioned in the late 50s being 
described as "parti-coloured," which I assume must describe some sort 
of multi-colored fabric.
All 1840s & 1850s underpetticoats were stated to be white, except for 
the outermost one, which might be embroidered elaborately, or even 
brightly coloured, or possess a coloured hem decoration or frill that 
showed when the skirts were lifted.

Calico Chronicle (Betty Mills, Texas Tech Press):
"By the 1850s, most women owned at least one red flannel petticoat."

I found no references to corded petticoats being anything other than 
white.  I found no references in this period to taffeta petticoats.  
I found refs to drill, starched cotton, linen, wool, and "longcloth," 
which is also wool.

I did not get a chance to look again in The Workwoman's Guide; it's 
an earlier book, anyway (1839, 1840).  Might mention petticoat 
colors, but I can't remember anything other than white from my 
previous reading.

Overall observations from my reading last night:
By the 1850s, corded petticoats by and large were falling by the 
wayside in favor of the crinoline, and the fact that wearing more did 
not increase the size of the bell at the hem of one's skirt; they 
would crush one another instead of holding out the skirts because of 
their weight.  I could find no advertisements for corded petticoats 
in the 1850s, but plenty of ads for cages & crinolines.  Also, I 
could NOT find anything which led me to believe red flannel, or any 
other colored fabric, might be used for a corded petticoat.  As 
stated above, all corded petticoats in which color was mentioned, 
were white.  This from culling all my early-mid diaries & journals 
(about 15), store advertisements, and a quick scan of my library.

Hope this helps.

Susannah

"We are only the trustees for those who come after us." 
  --William Morris 


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Subject: Re: H-COST: Museums in Vienna?
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-Poster: SNSpies@aol.com

Bronwyn asked-

<< I have a whole afternoon and evening in Vienna, Austria in August in
 between plane flights. Does anyone know of any costume or textile museums
 in Vienna that I could visit? 
 
Oh deary me, yes!  Go to the Kunsthistorisches Museum at Burgring 5.  They 
have all the coronation regalia of the old Holy Roman Emperors such as Roger 
II's 11th century Sicilian mantle which is stunning.  

Nancy
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Subject: H-COST: Museums in Vienna
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-Poster: Gail DeCamp <gdecamp@best.com>


Depends what you want. For art, art, art and more art, go to the
Kunsthistorisches. For spectacular examples of Imperial regalia--
clothing, embroidery, jewels, etc. etc, see the crown jewels collection.


>I have a whole afternoon and evening in Vienna, Austria in August in
>between plane flights. Does anyone know of any costume or textile museums
>in Vienna that I could visit? 
>
>Thanks for any info,
>
>Bronwyn



"A journey of a thousand miles should not begin with a wet butt." -T. 
Kolar

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Date: Wed, 7 Apr 1999 19:43:40 +0100
To: h-costume@indra.com
From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: H-COST: Arnold's Tudor(?) book
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-Poster: Jean Waddie <anne@montgomerie.demon.co.uk>

In message <370A80BD.E7993B7D@serv.net>, Merouda the True of Bornover
<keltia@serv.net> writes
>
>-Poster: Merouda the True of Bornover <keltia@serv.net>
>
>I'll stick me head on the block with ya.  I believe many consider
>"Elizabethan" to be Tudor.  She *is* a Tudor.  FWIW,  Cynthia

Trouble is, there's so much Elizabethan and so little
Henry/Henry/Edward/Mary, us early Tudor types get our hopes up and then
get disappointed again!  Now, who can I confuse by calling very late
15th century "Tudor"? ;)

Jean
>
>> (realizing I may have my neck in the guillotine for not making
>> ***sure*** Tudor is the right word for "1560 to 1620"...:-)
>> It's:
>> Patterns of Fashion, The cut and construction on clothes for men and
>> women c. 1560-1620.  Janet Arnold 1985.  ISBN 0 333 38284 6  The
>> publisher of my copy is "M Papermac/DRAMA BOOK New York" but I'd do a
>> search on ACSES or Bookfinder, someone else might be doing it now.
>>
>> Heather
>>  _________________________________________________________________
>>  To leave this mailing list, send mail to majordomo@indra.com
>>  with the message UNSUBSCRIBE H-COSTUME
>
>--
>Cynthia Long
>Merouda the True of Bornover
>Barony of Madrone
>Kingdom of An Tir
>
>
> _________________________________________________________________
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> with the message UNSUBSCRIBE H-COSTUME

-- 
Jean Waddie
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From owner-h-costume@indra.com  Wed Apr  7 14:44:46 1999
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Date: Wed, 07 Apr 1999 11:51:02 -0700
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From: Lynn Meyer <lmeyer@netbox.com>
Subject: Re: H-COST: clothing sources?
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-Poster: Lynn Meyer <lmeyer@netbox.com>

>From: Robin Netherton <robin@dgsys.com>
>
>Let me take this ball and run with it. Yes, this is the period in which
>national differences became apparent. But so did art styles, which
>actually is a help when you're researching.  Generally, for late 1500s and
>1600s, each of the Western European cultures shone in a different medium.
>Brasses are almost exclusively English. Flanders produced superb portraits
>and other paintings. French costume is easiest to track through manuscript
>art and tapestries, and then paintings in the 1500s. Yes, you can find
>English manuscripts and paintings, and Flemish brasses and tapestries --
>but if you want a general overview, go to where the bulk of the sources
>are.

One of those really great ideas that seems so obvious once it's 
pointed out!  Cool.  Do you happen to know what areas of art 
would be good for Spain (at any century)?

>And, when you're looking at artwork, be suspicious by nature of anything
>worn by a saint, a goddess, or a historic queen. Often you'll find
>incredible and interesting costumes on these people, but if you never see
>the like on a *real* person, then it probably is at least partly the
>artist's imagination. Best sources are donor portraits (within religious
>paintings) and stand-alone portraits; illustrations of stories are often
>fine if the person being illustrated is a regular noblewoman, not a saint,
>goddess, queen, or supernatural figure. For non-noble dress, look at
>labors of the months, genre paintings, crowd scenes, etc.

I've heard this before and I'm curious about more detail.  I haven't
noticed anything really outrageous on a queen (or even a saint) in
the Spanish paintings etc. I've seen so far, but they've mostly been
in well-researched books devoted to costume, so presumably the 
authors weeded out these things.

I can understand that they'd make up who-knows-what for saints 
(at least Biblical saints, or any other centuries-past figures)
and goddesses and such.  I'm mostly curious about what they'd 
imagine for queens, and why, and maybe if it was particularly
common (or uncommon) for any particular country or time.

Inquisitively,
Halima

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From owner-h-costume@indra.com  Wed Apr  7 14:53:39 1999
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From: "Susannah Eanes" <oh_susannah@hotmail.com>
To: h-costume@indra.com
Subject: Re: H-COST: Corset Survey: Before/After?
Date: Wed, 07 Apr 1999 11:58:02 PDT
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-Poster: "Susannah Eanes" <oh_susannah@hotmail.com>

Hi all,
I have compiled the 8 responses I have received so far.  It is 
heavily weighted towards the 1500s and mid 1800s.  For a more 
representative view, it would be nice to have more 18th and early 
20th c. responses.  Age & size-wise, the responses vary nicely.  I'll 
give it another week, and then forward the tabulations to the list.  
As I mentioned to each of the respondents, in case this wasn't clear 
in the original post (see below), I will only include numbers, no 
names or e-mails to protect identities.

Susannah


>From: "Susannah Eanes" <oh_susannah@hotmail.com>
>Reply-To: h-costume@indra.com
>To: h-costume@indra.com
>Subject: H-COST: Corset Survey:  Before/After?
>Date: Thu, 25 Mar 1999 11:11:04 PST
>
>
>-Poster: "Susannah Eanes" <oh_susannah@hotmail.com>
>
>
>Kind readers of the list,
>
>A conversation off-list got me curious about something, so I thought 
I 
>would try to compile a private survey based on modern women who are 
used 
>to corseting on a pretty regular basis --say at the very minimum, at 
>least three or more times a month for at least four to five or more 
>hours at a time.
>
>If you are interested in participating, please e-mail me privately 
with 
>the following information:
>
>Your age range --teens, 20s, 30s, 40s, 50s, 60s, 70s and older
>Your time period --1500s, 1600s, 1700s, 1800s, 1900s
>Your modern-day size range --Junior/Petite, Medium/Reg. Misses incl. 
>Tall, or Queen  
>Your build --small, medium, or large-boned 
>Your overall muscle tone --soft, medium, or firmly toned
>Your before corseting waist measurement standing erect with good 
posture 
>but muscles relaxed (not holding that tummy in!) measured on bare 
skin
>Your after corseting waist measurement standing, laced comfortably 
for 
>normal activities (not to get into that ball gown!) measured over 
the 
>corset
>
>I will compile the numbers I get and post the results.  The premise 
is, 
>that smaller, more firmly toned people cannot corset down and 
compress 
>the flesh as much as larger people with softer flesh, so they end up 
>with less of a difference between their before and after corset 
>measurements than larger people, who can usually have greater 
>differences before and after corset measurement.
>I forgot where I read this and wanted to try and see if it holds up 
in 
>practice.
>
>Thanks for your willingness to participate!
>
>Susannah Eanes
>The Tailor's Measure
>
>"We are only the trustees for those who come after us."  --William 
>Morris
>Get Your Private, Free Email at http://www.hotmail.com
> _________________________________________________________________
> To leave this mailing list, send mail to majordomo@indra.com
> with the message UNSUBSCRIBE H-COSTUME
>


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From: "Jessica Wilbur" <jessica@pop.net>
To: h-costume@indra.com
Date: Wed, 7 Apr 1999 15:02:19 -0400
Subject: Re: H-COST: Arnold's Tudor(?) book
Priority: normal
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-Poster: "Jessica Wilbur" <jessica@pop.net>


> 
> -Poster: Jean Waddie <anne@montgomerie.demon.co.uk>
> 
> In message <370A80BD.E7993B7D@serv.net>, Merouda the True of Bornover
> <keltia@serv.net> writes
> >
> >-Poster: Merouda the True of Bornover <keltia@serv.net>
> >
> >I'll stick me head on the block with ya.  I believe many consider
> >"Elizabethan" to be Tudor.  She *is* a Tudor.  FWIW,  Cynthia
> 
> Trouble is, there's so much Elizabethan and so little
> Henry/Henry/Edward/Mary, us early Tudor types get our hopes up and then
> get disappointed again!  Now, who can I confuse by calling very late
> 15th century "Tudor"? ;)
> 
> Jean

I'm with you, Jean! My pipe-dream project is to do a study of early Tudor fashion, starting 
with Elizabeth of York and working my way through up to Bloody Mary, making a gown for 
each distinctive style, in order to fully understand the evolution thereof. Not that I'll ever 
have the time to do this, but I can dream!  =)

--Jessica
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-Poster: "Susan Carroll-Clark" <nicolaa@earthlink.net>

Greetings!

>I can understand that they'd make up who-knows-what for saints
>(at least Biblical saints, or any other centuries-past figures)
>and goddesses and such.  I'm mostly curious about what they'd
>imagine for queens, and why, and maybe if it was particularly
>common (or uncommon) for any particular country or time.


I'll chime in here, having been to several of Robin's lectures.  The classic
example of this is the sideless surcote.  If you took paintings at face
value, you'd think sidelesses were being worn well into the 16th century.
The fact is that they disappear in the scenes of regular people (that is,
non-royalty) early in the fifteenth (if not before), being restricted after
that to royal saints and queens.  Some believe that the sideless continued
on as a ceremonial garment.  However, if you look particularly at the late
examples, there are depictions of fabric doing things fabric couldn't
possibly do and strange cuts and the like that lead one to believe that the
artist could never have possibly *seen* a real sideless and was just working
on the convention that a sideless was shorthand for "royal female saint" or
"queen."

If your queen or saint is wearing clothing whose cut you can confirm in
contemporary depictions of regular people (even other nobles), you're
probably OK.

Susan

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

Just to show that even a primary source can be corrupt:  My mother in law
grew up in a similarly affluent military family during WWII, although in
Germany, not Austria.   She says that this movie is an exact picture of what
her childhood was like!

Of course, when you do a little more research,  you realize that my mother
in law is, while sweet, a total whacko,  who has managed to convince herself
that growing up in Nazi Germany was just like a Rogers and Hammerstein musical.

Isn't research fun?

Margo

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From owner-h-costume@indra.com  Wed Apr  7 15:59:25 1999
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From: "Susannah Eanes" <oh_susannah@hotmail.com>
To: h-costume@indra.com
Subject: H-COST: Heidi Marsh's 1850 Gown (was Wrapper variations)
Date: Wed, 07 Apr 1999 13:01:29 PDT
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-Poster: "Susannah Eanes" <oh_susannah@hotmail.com>

Some of my thoughts on the following --no flames here!

>-Poster: LuAnnMason@aol.com
>
>I'm going to risk some flames, but here goes anyway....  I was very 
intrigued
>by the patterns available from the Wisconsin State Historical 
Society, because
>I know that the reproduction items from the Wisconsin Veteran's 
Museum are
>first rate.  But.... (you knew it was coming, right???  ;-) )"
>
>In a message dated 3/30/99 11:27:27 AM EST, hhdunlap@email.msn.com 
writes:
>
><< They have a
> pretty Period Impressions day dress of 1845 which is very
> simple.
>
>In my OWN experience, Period Impressions patterns give you JUST 
that--a
>general "Impression" of the period.  If that's what you are 
interested in,
>that's just fine, BUT for people who want more than just a general 
look, to
>whom the construction details make or break an outfit, Period 
Impressions is
>NOT the way to go.  They basically use and redesign modern patterns, 
using
>modern cutting and tailoring techniques.  Unfortunately, 
patternmaking has
>altered drastically in nearly 150 years, and you WILL NOT achieve a 
true
>period drape or look using these patterns.  It's a physical 
impossibility.
>Their armscyes are too large, their seams are in the wrong places, 
and their
>patterns are NOT placed on the grain consistent with originals.  
>

I will wholeheartedly agree with your description of Period 
Impressions patterns.  They will not give you an accurate silhouette, 
even if you know how to make adjustments to patterns.  They are 
frustrating to work with, and look --well --frumpy.  Even the men's 
stuff.  I tried, between six and eight years ago, several.

>>> Heidi's Patterns LD-1-WD shows an 1859 work dress which is
> basically an updated bed gown over a petticoat.   >>
>
>I haven't tried this specific one, but once again, modern cutting 
techniques
>were used on almost every pattern of Heidi's that I have purchased 
over the
>past 20 years.  You will NOT get a true period fit or look using 
these
>patterns.
>

Welll.... I can't say I agree wholeheartedly here.  I haven't used 
the above-referenced pattern, so I can't speak to that.  I have only 
used ONE Heidi Marsh pattern, the Constance Dress.  It is a copy of 
an original work gown from California c. 1850 or so, and it is the 
best and most representative of this type of work gown available that 
I have found.  I have measured and photographed at least five extant 
gowns from different parts of the US that are almost identical to the 
Constance Dress.  Is it possible that she got one right?  I have made 
this gown in every size, from 6 to 46, that it is available in.  It 
is one of the most popular gowns I make.  The gown looks nice whether 
you are UltraQueensize or miniscule.  It is a front-button gathered 
bodice with a waist inset piece onto which a cartridge-pleated skirt 
is set.  I have made it in calicoes, homespun cottons, solid 
wool/linen, & lightweight wool.  The shoulderline drops correctly, 
the waist inset is flattering and, above all, the dress is 
Comfortable to Wear!  I call it my "sweatsuit," and I wear it with 
two lightweight petticoats & sensible stays.  It is the one thing I 
come home & crawl into when I've had a bad day.  I love it.  Now, 
I'll stop & let someone else speak...


>Finally, if anyone on this list feels like I'm being overly critical 
and/or
>picky, and is still interested in using Period Impressions or Heidi 
Marsh
>patterns, please e-mail me privately.   I have a whole stash, and 
I'll let
>them go CHEAP.  I won't use them, and won't pass them on to folks in 
my area
>because they aren't historically accurate.  They're gathering dust 
and taking
>up room, and I don't want them.  I think I have 4 or 5 ladies 
patterns, and
>another 8 or 10 men's patterns.
>
>LuAnn in Washington State  
>

LuAnn, I wasn't being critical.  I have heard that Heidi's other 
patterns are difficult to use and often the pieces do not fit.  I 
just had to take up for my favorite gown!  If you want to e-mail me 
privately, please do.

Susannah

"We are only the trustees for those who come after us." 
  --William Morris 


_______________________________________________________________
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From owner-h-costume@indra.com  Wed Apr  7 16:17:17 1999
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Date: Wed, 7 Apr 1999 20:50:51 +0100
To: h-costume@indra.com
From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: H-COST: Arnold's Tudor(?) book
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-Poster: Jean Waddie <anne@montgomerie.demon.co.uk>

In message <QQgjyi21118.199904071901@smtp1-alterdial.uu.net>, Jessica
Wilbur <jessica@pop.net> writes
>
>-Poster: "Jessica Wilbur" <jessica@pop.net>
>
>
>> 
>> -Poster: Jean Waddie <anne@montgomerie.demon.co.uk>
>> 
>> In message <370A80BD.E7993B7D@serv.net>, Merouda the True of Bornover
>> <keltia@serv.net> writes
>> >
>> >-Poster: Merouda the True of Bornover <keltia@serv.net>
>> >
>> >I'll stick me head on the block with ya.  I believe many consider
>> >"Elizabethan" to be Tudor.  She *is* a Tudor.  FWIW,  Cynthia
>> 
>> Trouble is, there's so much Elizabethan and so little
>> Henry/Henry/Edward/Mary, us early Tudor types get our hopes up and then
>> get disappointed again!  Now, who can I confuse by calling very late
>> 15th century "Tudor"? ;)
>> 
>> Jean
>
>I'm with you, Jean! My pipe-dream project is to do a study of early Tudor 
>fashion, starting 
>with Elizabeth of York and working my way through up to Bloody Mary, making a 
>gown for 
>each distinctive style, in order to fully understand the evolution thereof. Not 
>that I'll ever 
>have the time to do this, but I can dream!  =)
>
>--Jessica

Yo! I'll do the hats! (when I give up my job, my husband, eating,
cleaning, etc :-))
-- 
Jean Waddie
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From owner-h-costume@indra.com  Wed Apr  7 16:36:07 1999
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-Poster: heather <lynnx@mc.net>

> Of course! *smacks head* How could I forget tapestries?! I've just > pored over an entire book of them looking at c1500 clothing....*grin*

What book is this??  Sounds fascinating.
Heather
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From owner-h-costume@indra.com  Wed Apr  7 16:43:45 1999
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-Poster: Margo Anderson <margo@directcon.net>

What is the earlest date for those bib-fronted western shirts sometime's
called "fireman's shirts"?

Margo


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Subject: Re: H-COST: Heidi Marsh's 1850 Gown (was Wrapper variations)
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-Poster: LuAnnMason@aol.com

In a message dated 4/7/99 3:05:45 PM EST, oh_susannah@hotmail.com writes:

<< I have measured and photographed at least five extant 
 gowns from different parts of the US that are almost identical to the 
 Constance Dress.  Is it possible that she got one right?  I have made 
 this gown in every size, from 6 to 46, that it is available in.  It 
 is one of the most popular gowns I make.   >>

Ahhh--I have not tried THIS particular Heidi Marsh pattern.  She does a men's 
shirt that goes together like a dream, and other stuff that I wouldn't use to 
kindle the fire.  I'll have to give the Constance dress a try!  :-)

Thanks for the clarification--guess I swung my tarred brush a bit too wide on 
that one!  ;-)

LuAnn Mason
Vancouver, WA
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Date: Wed, 7 Apr 1999 18:12:09 -0400
From: Hilary Doda <vaqqa@ibm.net>
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-Poster: Hilary Doda <vaqqa@ibm.net>


>I can understand that they'd make up who-knows-what for saints
>(at least Biblical saints, or any other centuries-past figures)
>and goddesses and such.  I'm mostly curious about what they'd
>imagine for queens, and why, and maybe if it was particularly
>common (or uncommon) for any particular country or time.

Well, if you take a look at the "Rainbow Portrait" of Queen Elizabeth,
there are a number of very strange things. <waves to Dan....> Her neckline
is very 17th century, but even beyond that, the ~whatever-it-is~ that
she's wearing on her head is definitely not your usual Elizabethan hat.

Hilary Doda/Joane Steward


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

"Good drama is like Soylent Green - it's made of people."
                          - Steph Brochu
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Subject: Re: H-COST: tapestry book?
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-Poster: The Purple Elephant <csmart@physics.adelaide.edu.au>

On Wed, 7 Apr 1999, heather wrote:

> 
> -Poster: heather <lynnx@mc.net>
> 
> > Of course! *smacks head* How could I forget tapestries?! I've just > pored over an entire book of them looking at c1500 clothing....*grin*
> 
> What book is this??  Sounds fascinating.
Argh! It was a French book, can't recall the title (took it back to the
library the other day. Hang on I'll check the catalogue quickly...

Aha! "Chefs-D'Oeuvre de la Tapisserie du XIVe au XVIe Siecle"
No more info is listed in the catalog, but I think it was a museum 
publication. It does have a few tapestries from earlier and later but most
of them date c1500. Most of the piccies are black and white, but they have
quite a few colour plates and lots of close-ups that cause you to
dribble on the page and say 'How the hell did they make these things so
detailed?'
------------------------------------------------------------------------------
Claire F. Clarke       "What is this world if, full of care, 
Physicist, writer,     We have no time to stand and stare?"
and non environmentally                     Robert Louis Stevenson
friendly substance.
------------------------------------------------------------------------------

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From owner-h-costume@indra.com  Wed Apr  7 20:35:46 1999
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-Poster: Diana H <dch@inreach.com>

Dear Sandy,

Thanks for the info on how to start a chapter of the International
Costumer's Guild!  I was looking at the web page and found out that to
start a chapter all you need a little dedication, an organizer, and six
people to sign the petition to form the group.

I was wondering if people in the Greater Sacramento area were interested
in this?  This includes Davis, of course (I know there are a few of you
on the list who live out there.....)  Not that I am volunteering myself
to organize everything, but I will certainly help out because it would
be nice to get together with other costumers and chat about this and
that.  So if you are interested, please respond to my e-mail and I will
try to compose a list of us and maybe get things off the ground.

Thanks for the bandwidth!

Diana from Roseville, CA

--

* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
"There are too many mediocre things in life to deal with.....Love
shouldn't be one
 of them."
--Ione Skye in "Dream for an Insomniac"


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From owner-h-costume@indra.com  Wed Apr  7 21:21:51 1999
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-Poster: Susan Fatemi <susanf@netwiz.net>

SNSpies@aol.com wrote:
> 
> -Poster: SNSpies@aol.com
> 
> Bronwyn asked-
> 
> << I have a whole afternoon and evening in Vienna, Austria in August in
>  between plane flights. Does anyone know of any costume or textile museums
>  in Vienna that I could visit?
> 
> Oh deary me, yes!  Go to the Kunsthistorisches Museum at Burgring 5.  They
> have all the coronation regalia of the old Holy Roman Emperors such as Roger
> II's 11th century Sicilian mantle which is stunning.
> 

Nitpicking, or possibly an interesting sidebar. If Roger's mantle is
the one I'm thinking of, it is a Mamluk piece, probably made in
Egypt or Syria. It's red and gold and has lions, a palm tree, and
some other animal. 

Susan F.

Might there be some kind of museum in Vienna that would
showcase the work of the Wienner Werkstatte?? Active
from about the turn of the century up to WWII, I believe.

-- 
Oh Noh! Kimonos!
susanf@netwiz.net
http://www.netwiz.net/~susanf
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From owner-h-costume@indra.com  Thu Apr  8 03:24:42 1999
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Date: Thu, 08 Apr 1999 00:32:37 +0000
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-Poster: Dietmar <dietmar@pacbell.net>

Greetings all,

> Nitpicking, or possibly an interesting sidebar. If Roger's mantle
> is the one I'm thinking of, it is a Mamluk piece, probably made
> in Egypt or Syria. It's red and gold and has lions, a palm tree,
> and some other animal. 

That's the one.  It's a semicircle with a tree of life up the center and a
lion on top of a camel reflected on either side.  The ground is red silk
embroidered with gold thread and crusted with gold filigree, precious stones 
and pearls.  The Cufic inscription in Arabic around the hem states that the
robe was made in 1133/4 by Arab artists for Roger II of Sicily.

> Might there be some kind of museum in Vienna that would showcase
> the work of the Wienner Werkstatte?? Active from about the turn of
> the century up to WWII, I believe.

I might be confusing them with the Blaue Reiter, but they were undoubtedly
shut down by the Nazis in the early 30's.  I don't know of a museum in Vienna,
but you'd undoubtedly find a lot of their work in the Neue Pinakothek in Munich.

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  Thu Apr  8 08:45:04 1999
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Subject: H-COST: Corded Petticoat Instructions
In-Reply-To: <Pine.A41.3.96.990406110259.175508D-100000@elk.uvm.edu>
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-Poster: aleed <aleed@dnaco.net>

I wanted to thank the person who posted the URL for the bbs
that had the message on  making a corded petticoat, and also to let y'all
know that I've put the instructions up on a
webpage of their own at http://www.dnaco.net/~aleed/corsets/cordpett.html

From owner-h-costume@indra.com  Thu Apr  8 09:43:24 1999
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Subject: Re: H-COST: Museums in Vienna
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-Poster: Merlyncc@aol.com

In a message dated 4/7/99 1:28:31 PM Central Daylight Time, gdecamp@best.com 
writes:

> For art, art, art and more art, go to the
>  Kunsthistorisches. For spectacular examples of Imperial regalia--
>  clothing, embroidery, jewels, etc. etc, see the crown jewels collection.
>  
I'd like to add my two cents worth  - do not miss the crown jewels 
collection!  And allow several hours - they ran me out five minutes after 
closing time, and I'd go again.  It is much more than jewels.  You'll drool 
over the christening gowns encrusted in pearls and see silk/gold embroidery 
on liturgical garments so fine it may change your mind about a historical 
basis for using gold lame (though probably not!)  It's in a building to the 
side at the Imperial Palace (Hofburg.)  

If you're interested in men's clothing, I'm told the Military Museum is great 
for 18th-19th century. Our group split, and I chose the Kunsthistorisches.  
Take a sketchbook to the K, and be sure to wander the side galleries as well.

Wish I could go back!

Priscilla Schmitz
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From owner-h-costume@indra.com  Thu Apr  8 11:32:49 1999
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Date: Thu, 08 Apr 1999 11:39:31 -0500
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-Poster: Hope Greenberg <hope.greenberg@uvm.edu>

Marsha McLean wrote:
Re: the Alcega book
> It has patterns for many styles of men'sand women's dress: round gowns,
> loose gowns, kirtles, petticoats, mourning gowns, many many things, mens:
etc.

Thanks! (Or maybe I should say "Oh No!!!") You just moved it from my
"should buy" to my "must buy" list. 

- Hope
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From owner-h-costume@indra.com  Thu Apr  8 11:36:29 1999
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Subject: Re: H-COST: Museums in Vienna?
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-Poster: SNSpies@aol.com

Hello, Susan.

<< Nitpicking, or possibly an interesting sidebar. If Roger's mantle is
 the one I'm thinking of, it is a Mamluk piece, probably made in
 Egypt or Syria. It's red and gold and has lions, a palm tree, and
 some other animal. 
 
Yes, that is the mantle.  All the references I have on it, including those 
from the Kunsthistorisches Museum, indicate that the mantle was made in the 
workshops in Palermo which Roger started after his conquest of Sicily.  The 
workmanship is definitely Islamic (and stunningly beautiful it is, too).  
Roger pulled many many weavers and other artisans to Palermo from the eastern 
Mediterranean.  What is very interesting, to me at least, is that brocaded 
tabletwoven band around the bottom.  Sicily was apparently the place were 
this northern European technique went east, one of the very few textile 
techniques to not go from east to west.
 
 <<Might there be some kind of museum in Vienna that would
 showcase the work of the Wienner Werkstatte?? Active
 from about the turn of the century up to WWII, I believe. >>

I just looked through "The Cambridge Guide to the Museums of Europe".  Lots 
of great museums in Vienna, but I didn't see any reference to the Wienner 
Werkstatte specifically.  May I suggest that you find the Austrian Embassy 
on-line and make inquiries through them?  Good luck!

Nancy
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Date: Thu, 08 Apr 1999 11:52:30 -0400
Subject: Re: H-COST: Alcega
To: h-costume@indra.com
In-Reply-To: <370CDBB9.47F7@uvm.edu>
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-Poster: snowfire@mail.snet.net

 
>Marsha McLean wrote:
>Re: the Alcega book
>> It has patterns for many styles of men'sand women's dress: round gowns,
>> loose gowns, kirtles, petticoats, mourning gowns, many many things, mens:
>etc.
 
M'lady, could you please post the details on this book?  And also, I wonder, 
what is the time-span the patterns are drawn from?

Elysant de Holtham
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From owner-h-costume@indra.com  Thu Apr  8 13:43:01 1999
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From: "Susannah Eanes" <oh_susannah@hotmail.com>
To: h-costume@indra.com
Subject: H-COST: Re: H COST: seamstresses & buttonholes
Date: Thu, 08 Apr 1999 10:45:55 PDT
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-Poster: "Susannah Eanes" <oh_susannah@hotmail.com>

>
>-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
>

Late reading old mail... this was so interesting!
I have to brag on my better half a bit.  With about a year's worth of 
practice, he has learned to do wonderful handworked buttonholes that 
mimic exactly those on 18th c. tailored mens' frock coats.  He uses 
various weights of pearl cotton, silk twist, or linen thread, 
whatever is called for by the garment.  He can do 20 tightly 
embroidered buttonholes, approx. 1 1/2" to 2" long, in about two 
hours.  Yes!

Susannah


_______________________________________________________________
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From: "Franchesca Havas" <ches@io.com>
To: <h-costume@indra.com>
Subject: Re: H-COST: Alcega
Date: Thu, 8 Apr 1999 12:56:25 -0500
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-Poster: "Franchesca Havas" <ches@io.com>

-----Original Message-----
From: Ralph Pine <rpine@quitespecificmedia.com>
To: Franchesca Havas
Date: Monday, April 05, 1999 9:37 AM
Subject: Re: book inquiry


:You can order the book, "Libro de Geometria, Pratica y Traca" by Juan de
Alcega (Tailor's Pattern Book, 1589)  via phone, fax, email, mail, or the
order form on :our web site.  It is $40.00 and should be in our warehouse
within the week.
ISBN but it is 0-89676-234-3.
:
:Thanks for your interest.
:
:Ralph Pine
:Quite Specific Media Group Ltd., 260 Fifth Ave., New York, NY 10001. (212)
:725-5377 v. (212) 725-8506 f. www.quitespecificmedia.com.  Imprints: Drama
:Publishers, Costume & Fashion Press, By Design Press, Jade Rabbit,
:EntertainmentPro
:_______________________________________________________________________
:rpine@quitespecificmedia.com
:_______________________________________________________________________
:

Sincerely,
F. Havas
Dallas, Texas

-----Original Message-----
From: snowfire@mail.snet.net <snowfire@mail.snet.net>
To: h-costume@indra.com <h-costume@indra.com>
Date: Thursday, April 08, 1999 10:54 AM
Subject: Re: H-COST: Alcega


:
:-Poster: snowfire@mail.snet.net
:
:
:>Marsha McLean wrote:
:>Re: the Alcega book
:>> It has patterns for many styles of men'sand women's dress: round gowns,
:>> loose gowns, kirtles, petticoats, mourning gowns, many many things,
mens:
:>etc.
:
:M'lady, could you please post the details on this book?  And also, I
wonder,
:what is the time-span the patterns are drawn from?
:
:Elysant de Holtham
: _________________________________________________________________
: 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 Apr  8 14:05:47 1999
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Subject: Re: H-COST: Re: H COST: seamstresses & buttonholes
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-Poster: Margo Anderson <margo@directcon.net>

A
>I have to brag on my better half a bit.  With about a year's worth of 
>practice, he has learned to do wonderful handworked buttonholes that 
>mimic exactly those on 18th c. tailored mens' frock coats.  He uses 
>various weights of pearl cotton, silk twist, or linen thread, 
>whatever is called for by the garment.  He can do 20 tightly 
>embroidered buttonholes, approx. 1 1/2" to 2" long, in about two 
>hours.  

Wow!  He's a keeper, all right!

Margo

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From owner-h-costume@indra.com  Thu Apr  8 14:38:33 1999
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Date: Thu, 08 Apr 1999 14:38:35 -0400
To: h-costume@indra.com
From: Donna Kenton <kenton@neaccess.net>
Subject: H-COST: NYC Museums
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-Poster: Donna Kenton <kenton@neaccess.net>

If memory serves, this was recently discussed, and I don't want to bog down
the list with it again.

However, it looks like I'm going to have a full week in NYC to look at
costuming and needlework.  Oh, I'm a happy camper!

If someone can kindly tell me how I can find the old posts on NYC museums
and their costuming/needlework, I'd be most appreciative.  Or, if you have
a particular museum you'd recommend, please send the info to me.  The more
research I get done before I go, the more I can get accomplished in that week.

Thanks!

Donna Kenton
donna@dabbler.com


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

At 03:18 PM 4/8/99 -0700, you wrote:
>
>-Poster: "Brandy Dickson" <query@mindless.com>
>
>I am looking for the farthingales webpage that sells corset and boning
>supplies. 

Farthingales is at:  www.farthingales.on.ca/

If you're in the US, this URL is for a currency converter that will help you
figure out the prices:  http://www.xe.net/currency/

Have fun!

Margo

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From owner-h-costume@indra.com  Thu Apr  8 18:55:39 1999
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-Poster: "J,K,S&A Baird" <baird@rrnet.com>

http://www.farthingales.on.ca
phone 519-275-2374

At 03:18 PM 4/8/99 -0700, you wrote:
>
>-Poster: "Brandy Dickson" <query@mindless.com>
>
>I am looking for the farthingales webpage that sells corset and boning
>supplies.  I recall that the list had put it up a while ago, but I can't
>find it in my old postings... I was wondering if anyone had the url, 'cause
>my attempts have failed...
>
>Thanks,
>Brandy Dickson
>
>P.S. If you want to e-mail me privately, that's fine.
>
> _________________________________________________________________
> To leave this mailing list, send mail to majordomo@indra.com
> with the message UNSUBSCRIBE H-COSTUME
> 
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-Poster: Marsha McLean <msmclean@interlog.com>


>- -Poster: Hope Greenberg <hope.greenberg@uvm.edu>
>
>Marsha McLean wrote:
>Re: the Alcega book
>> It has patterns for many styles of men'sand women's dress: round gowns,
>> loose gowns, kirtles, petticoats, mourning gowns, many many things, mens:
>etc.
>
>Thanks! (Or maybe I should say "Oh No!!!") You just moved it from my
>"should buy" to my "must buy" list. 
>
>- - Hope
> _______________________________
So I should hope! <forgive me,i couldn't resist>_
Marsha McLean

"Be yourself - it's who you do best" 



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From owner-h-costume@indra.com  Thu Apr  8 21:06:50 1999
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Date: Thu, 8 Apr 1999 21:11:04 EDT
Subject: H-COST: Speaking of art books...
To: h-costume@indra.com
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-Poster: Tigershado@aol.com

I just saw a book on Hans Holbein over on eBay. It's listed as a 1999 advance 
review copy with 268 illustrations. Sounded interesting, but I'm between jobs 
so I don't dare bid on it. In case anyone's interested here's the URL.

http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&item=86061321

Barbara Corley
tigershado@aol.com
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From owner-h-costume@indra.com  Thu Apr  8 22:13:57 1999
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From: Susan Fatemi <susanf@netwiz.net>
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Subject: Re: H-COST: Museums in Vienna?
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-Poster: Susan Fatemi <susanf@netwiz.net>

SNSpies@aol.com wrote:
> 
> I just looked through "The Cambridge Guide to the Museums of Europe".  Lots
> of great museums in Vienna, but I didn't see any reference to the Wienner
> Werkstatte specifically.  May I suggest that you find the Austrian Embassy
> on-line and make inquiries through them?  Good luck!
> 
> Nancy

Thanks, Nancy, but unfortunately I'm not the one going to Vienna!
Just offering a suggestion. The Werkstatte (which means workshop,
I think) was the Viennese equivalent of the Arts & Crafts movement
and wanted to bring the beauty of good design to every aspect
of daily life.
  They designed furniture and upholstery fabric, tea kettles
and china. But most importantly they designed *clothing* and
*shoes*. Gustav Klimt even designed a dress or two. There
have been several books about the workshop, but not enough
pictures of clothes.

Susan F.
-- 
Oh Noh! Kimonos!
susanf@netwiz.net
http://www.netwiz.net/~susanf
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From owner-h-costume@indra.com  Fri Apr  9 01:07:53 1999
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From: "Wanda Pease" <wandapease@bigfoot.com>
To: <h-costume@indra.com>
Subject: Re: H-COST: Alcega info and reply to Snowfire
Date: Thu, 8 Apr 1999 22:11:36 -0700
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-Poster: "Wanda Pease" <wandapease@bigfoot.com>

Tailor's Pattern Book, 1589 Translated and reproduced from the Spanish
original (first published in this year, so _everything_ in the
facsimile is "period" by definition.  The publication date gives you a
hint at to what "period" the patterns are from), Juan de Alcega.
Facsimile (means exact duplicate, in this case photographic), with
translation by Jean Pain & Cecilia Bainton, Introduction and notes by
J.L. Nevinson; Ruth Bean, Carlton, Bedford
Originally published as _Libero de Geometria practica y traca, etc. in
the city of Madrid (Spain).The facsimile of the original volume is
contained in the first 90 pages or so.  The last 66 pages consist of
the patterns reproduced exactly (4 to a page) with English
translations of Senor Alcega's notes, and conversion tables.

It is a pattern book:
"Dealing with all that concerns the profession of Tailor, in order to
know how much woolen cloth, silk or other material will be needed to
make many kinds of clothes both for men and for women; and many other
secret and curious facts concerning this Art.  Compiled by Juan de
Alcega of the Province of Guipuzcoa and of the house of Alcega.
Dedicated to the most illustrious Senor Tejada, Bachelor of Arts, of
the Supreme Council of our lord the King.  Seen, examined and
licensed.  Printed in Madrid at the house of Guillermo Drouy Printer
of books in the year 1589" (original foreword)

(What a Tailor in Spain, practicing his craft in the year 1589,
would/should know.)

"The republication of this work after nearly 400 years, though
absorbing, has been neither swift nor easy.  The initial plan to
produce a straight facsimile reprint was soon expanded by the addition
of a translation aimed primarily at the costume maker but, because of
the obscurity of many of the old Spanish terms and Alcega's sometimes
sketchy instructions, several difficult textual problems arose.  The
solutions required much original research and sustained detective
work, both here (i.e. England) and abroad, before a text making
practical sense could be produced and backed by authoritative notes."
<snip>
This edition could not have been produced without the help of the
Victoria and Albert Museum, London, who permitted the reproduction of
their extremely rare copy of the book. "
(Ruth Bean's Foreword to the Facsimile)

I count 79 original patterns in all (all of which are reproduced in
the second, translated section of this edition of the book.  They
range from mens and women's doublets of silk and wool, to cloaks
(plain, Herreruelo, Bohemian, Balandran, christening and Clerical in
silk, cloth, and felt), jerkins, Christian and Moorish cassocks,
Bishop's Mantle and amice, cloth and "Florentine cloth rash), Chapter
mantle for Knight Commanders of the Order of St. John,
soutanes,Turkish and Spanish morning gowns of silk and cloth, Spanish
and Roman gowns of silk and cloth, Learned mens gowns, Saddle
trappings for jousting, Burnous  for the game of canes, skirts (narrow
and large) Kirtles for children, women, fat women, with low cut
bodice, two kirtles of cloth rash cut together, Skirt and bodice with
puffed sleeves, Laced mourning coats for women, Silk farthingale for a
woman, baize gown for a girl, Gowns of silk and cloth for a woman,
Mantles of silk, kersey, and cloth for women and girls, War Banner of
taffeta.  Each pattern comes with a short explanatory paragraph by the
author, translated in the second section.
   These are not Simplicity directions.  The patterns worked
wonderfully for me once I figured out what in the world was going on.
Some pieces are not marked as to what they are.  Several do not look
anything like what we expect, with back collar pieces cut in one with
the back piece, curved shoulder seams, lack of a back armscye on full
backed pieces.  Sleeves are not set in the modern manner, the seams
come off the inside of the arm rather than at the arm pit.  Skill
working with modern patterns may actually be a liability.

The patterns do seem to be to scale.

The book does not include things a Tailor would not make, i.e.
corsets, hose, and surprisingly slops, netherhose, whatever.

Recommendation:  even if Elizabethan (or Philippians in this case)
isn't your "thang", get this book!  Senor Alcega was a master at
getting the most out of every piece of fabric that came his way, and
the cutting diagrams will give you a feel for the way earlier costumes
were cut.  Also, this book is unlikely to be available for long.  It
appears to be a private printing, for a small audience (I know, we may
not be mighty in numbers, but our hearts are pure!).  Before this came
up I was ready to Xerox a copy for a friend because it was
unobtainable even though book searchers.  I suspect this will be the
case again in a year!

Regina Romsey, OL, OP, and old used Viscountess


:You can order the book, "Libro de Geometria, Pratica y Traca" by Juan
de
Alcega (Tailor's Pattern Book, 1589)  via phone, fax, email, mail, or
the
order form on :our web site.  It is $40.00 and should be in our
warehouse
within the week.
ISBN but it is 0-89676-234-3.
:
:Thanks for your interest.
:
:Ralph Pine
:Quite Specific Media Group Ltd., 260 Fifth Ave., New York, NY 10001.
(212)
:725-5377 v. (212) 725-8506 f. www.quitespecificmedia.com.  Imprints:
Drama
:Publishers, Costume & Fashion Press, By Design Press, Jade Rabbit,
:EntertainmentPro


-----Original Message-----
From: snowfire@mail.snet.net <snowfire@mail.snet.net>
To: h-costume@indra.com <h-costume@indra.com>
Date: Thursday, April 08, 1999 8:52 AM
Subject: Re: H-COST: Alcega


>
>-Poster: snowfire@mail.snet.net
>
>
>>Marsha McLean wrote:
>>Re: the Alcega book
>>> It has patterns for many styles of men'sand women's dress: round
gowns,
>>> loose gowns, kirtles, petticoats, mourning gowns, many many
things, mens:
>>etc.
>
>M'lady, could you please post the details on this book?  And also, I
wonder,
>what is the time-span the patterns are drawn from?
>
>Elysant de Holtham
> _________________________________________________________________
> 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 Apr  9 01:31:18 1999
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Subject: H-COST: Vienna
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-Poster: griffinhold@usa.net

Hello;

For the person with time in Vienna, you should know that the HRE garments as
well as the Golden Fleece vestments are in the Treasury, not the
Kunsthistoriches.  Same area, just different building and separate entrance
price.

Also, there was a display of late 1800's and 1900's clothing at the Museum of
the City of Vienna as of Christmas time when I was there.

Hope this helps and have a wonderful time!

Lyn Gillespie

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-Poster: Mary Denise Smith <costumemag@costumemag.com>

Hello List,

Please note that English/European purchasers can get the Alcega book on amazon.co.uk

Search under "Alcega".

Hope this helps,

Mary Denise Smith

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From owner-h-costume@indra.com  Fri Apr  9 09:31:58 1999
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From: "Sarah Toney" <toneys@rentgrow.com>
To: <h-costume@indra.com>
Subject: H-COST: Question...
Date: Fri, 9 Apr 1999 09:41:03 -0400
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-Poster: "Sarah Toney" <toneys@rentgrow.com>

Is there any way to "cheat" on button holes?  My machine is an old
upholstery machine, so I have to do button holes by zig zagging and hoping
it hits right.  Is there a guide sold or a cheat or anything?  The piece I
am doing now is an order for someone and is made out of silk essence, so I
really don't want to screw up the button holes since pulling stitches out of
silk essence destroys the fabric.

Thanks!
Sarah


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From owner-h-costume@indra.com  Fri Apr  9 09:53:46 1999
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From: "Andrea Gideon" <andrea.gideon@erols.com>
To: <h-costume@indra.com>
Subject: Re: H-COST: Question...
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-Poster: "Andrea Gideon" <andrea.gideon@erols.com>



>
>-Poster: "Sarah Toney" <toneys@rentgrow.com>
>
>Is there any way to "cheat" on button holes?  My machine is an old
>upholstery machine, so I have to do button holes by zig zagging and hoping
>it hits right.  Is there a guide sold or a cheat or anything?

There is a great guide sold, usually in the notions section of your fabric
store.  It's kind of like tape that has markings for the standard button
sizes in different colors.  It easily comes off most of the fabrics I have
tried.
Andrea

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From owner-h-costume@indra.com  Fri Apr  9 11:12:33 1999
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From: "Susannah Eanes" <oh_susannah@hotmail.com>
To: h-costume@indra.com
Subject: Re: H-COST: Fireman's shirt?
Date: Fri, 09 Apr 1999 08:19:43 PDT
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-Poster: "Susannah Eanes" <oh_susannah@hotmail.com>

I have seen these double-buttoned bib front shirts in photographs of 
Confederate soldiers during the war; can't recall right now what year 
but I will look again tonight.  I believe they were initially issued 
for military use.  Will check carefully on that though.

Susannah

"We are only the trustees for those who come after us." 
  --William Morris 


>From: Margo Anderson <margo@directcon.net>
>Reply-To: h-costume@indra.com
>To: h-costume@indra.com
>Subject: H-COST: Fireman's shirt?
>Date: Wed, 7 Apr 1999 13:48:27 -0800 (PST)
>
>
>-Poster: Margo Anderson <margo@directcon.net>
>
>What is the earlest date for those bib-fronted western shirts 
sometime's
>called "fireman's shirts"?
>
>Margo
>


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From: "Susannah Eanes" <oh_susannah@hotmail.com>
To: marquise_de_pompadour@gmx.net
Cc: h-costume@indra.com
Subject: Re: H-COST: 1880s skirt drapery
Date: Fri, 09 Apr 1999 11:39:26 PDT
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-Poster: "Susannah Eanes" <oh_susannah@hotmail.com>

Did you get an answer for this?  Because I did not see your prior 
post, I am not certain of the source for your pattern.  If it is a 
late 1880s Harpers Bazar or similar magazine, I have quite a few of 
these originals, including the original engraved illustrations and 
the cursory directions.  I have even made a bodice, a child's dress, 
and a man's vest from the patterns.  I also have a wonderful misses' 
hunting/shooting outfit that I would love to attempt, but haven't had 
the time just yet.

>From your post below, I would think that the drapery is at half-
scale.  All of my copies are also at half scale.  8 - 10 yards is 
about average for skirt drapery in the 1880s, so 7 meters is not out 
of the question.  The x's usually marked the places to fold the dots 
to.  Assymetrically draped fashions abound in the 1880s.  E-mail me 
back if you think I can help.

Susannah  

"We are only the trustees for those who come after us." 
  --William Morris 



>From: Pompadour <marquise_de_pompadour@gmx.net>
>Reply-To: h-costume@indra.com
>To: h-costume@indra.com
>Subject: H-COST: 1880s skirt drapery
>Date: Mon, 22 Feb 1999 12:47:02 +0000
>
>
>-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/
>
> _________________________________________________________________
> 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 Apr  9 14:57:37 1999
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From: "Sterling Ranne" <sranne@hydroseal.com>
To: <h-costume@indra.com>
Subject: H-COST: Fabric Search Engine...
Date: Fri, 9 Apr 1999 14:03:24 -0500
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-Poster: "Sterling Ranne" <sranne@hydroseal.com>

Once upon a time someone posted a link to a fabric search engine.  I
thought I had saved the link but can't find it now.  Tried a couple of
things in Yahoo and still can't find it.  Could someone please send me the
link?

Thanx
Sterling
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From owner-h-costume@indra.com  Fri Apr  9 15:18:19 1999
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-Poster: heather <lynnx@mc.net>

('Scuse crossposting, please)

I have a shiny-ish silk Japanese haori (jacket) that got water spots on
it when I steam ironed it and the iron "spit up" - I almost had it to
someone when they noticed the spotting and pointed it out to me (I
hadn't realized it, but was obvious if you look at it from the right
direction.)  Any suggestions?

Thanks, 
Heather
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From owner-h-costume@indra.com  Fri Apr  9 15:36:42 1999
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Date: Fri, 9 Apr 1999 15:34:38 -0400
From: Hilary Doda <vaqqa@ibm.net>
To: h-costume@indra.com
Subject: H-COST: Silk floss
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-Poster: Hilary Doda <vaqqa@ibm.net>

Hi! A quick supply question. I am desperately searching for black silk
embroidery floss, for a blackwork project. Does anyone have information on
a company who manufactures/sells/mail-orders any? I'm having a hard time
finding anything suitable in Montreal.

Joane Steward.

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

"Good drama is like Soylent Green - it's made of people."
                          - Steph Brochu
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From owner-h-costume@indra.com  Fri Apr  9 15:48:08 1999
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From: "Frank&Tracy Thallas JR" <hardcorps@vcn.com>
Subject: Re: H-COST: Silk floss
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-Poster: "Frank&Tracy Thallas JR" <hardcorps@vcn.com>


  Just off-hand, I got some Madeira silk floss from Nancy's Notions;
don't have the address handy, alas, but a quick web-search for the
name will get you there, and you can order on-line as well as request
a catalog.  I think it was .99 cents US per 4yard, 4-strand package.

  Liadain

> Hi! A quick supply question. I am desperately searching for black silk
> embroidery floss, for a blackwork project. Does anyone have information on
> a company who manufactures/sells/mail-orders any? I'm having a hard time
> finding anything suitable in Montreal.
>
> Joane Steward.
>
> **********************************************
>
> "Good drama is like Soylent Green - it's made of people."
>                           - Steph Brochu
>  _________________________________________________________________
>  To leave this mailing list, send mail to majordomo@indra.com
>  with the message UNSUBSCRIBE H-COSTUME
>


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Subject: Re: H-COST: Water-spotted silk s.o.s!
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-Poster: Margo Anderson <margo@directcon.net>


>
>I have a shiny-ish silk Japanese haori (jacket) that got water spots on
>it when I steam ironed it and the iron "spit up" - I almost had it to
>someone when they noticed the spotting and pointed it out to me (I
>hadn't realized it, but was obvious if you look at it from the right
>direction.)  Any suggestions?
>
If the copnstruction is such that you can wash it, that would be your best
bet. It might change the appearance of the garment slightly in terms of
color and sheen, but it's better than spots.

Margo

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From owner-h-costume@indra.com  Fri Apr  9 16:00:32 1999
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From: "Sarah Toney" <toneys@rentgrow.com>
To: <h-costume@indra.com>
Subject: Re: H-COST: Silk floss
Date: Fri, 9 Apr 1999 16:08:47 -0400
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-Poster: "Sarah Toney" <toneys@rentgrow.com>

If I recall, DMC sells silk floss in several colors.  I'm not sure where
they are, but craft stores sometimes have it, and I'm sure a quick search of
the internet will turn them up.

Sarah


>Hi! A quick supply question. I am desperately searching for black silk
>embroidery floss, for a blackwork project. Does anyone have information on
>a company who manufactures/sells/mail-orders any? I'm having a hard time
>finding anything suitable in Montreal.
>
>Joane Steward.
>
>**********************************************
>
>"Good drama is like Soylent Green - it's made of people."
>                          - Steph Brochu
> _________________________________________________________________
> To leave this mailing list, send mail to majordomo@indra.com
> with the message UNSUBSCRIBE H-COSTUME
>

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<< Hi! A quick supply question. I am desperately searching for black silk
 embroidery floss, for a blackwork project. Does anyone have information on
 a company who manufactures/sells/mail-orders any? >>

Try some of these mail-order companies.  Good luck.  Nancy

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SUGGESTED LIST OF SUPPLIERS

1.  Aurora Silk, 5806 North Vancouver Avenue, Portland, OR  97217  (503) 286=
-4149 -  silk threads
2.  Beggar=92s Lace, P.O. Box 481223, Denver, CO 80248  (303) 722-5557  lace=
lady@rmii.com - silk, linen, cotton threads
3.  Bob Patterson, P.O. Box 424, Orinda, CA  94563  (925) 943-5243 - silk, l=
inen, and cotton threads
4.  Books in Transit, 2830 Case Way, Turlock, CA 95382  (209) 632-6984 - out=
-of-print  books
5.  Carolina Homespun, 190 Eastridge Rd., Ridgeway, VA 24148  (800) 450-7786=
  homespun@kimbanet.com - tablets,=20
=09shuttles, belt tablet-weaving holder, looms, warping pegs, books
6.  Daisy Chain, P.O. Box 1258, Parkersburg, WV 26102  (304) 428-9500 - silk=
, metallic, real gold and silver threads
7.  Earth Guild, 33 Haywood Street, Asheville, NC 28801  (800) 327-8448  inf=
orm@earthguild.com or =09catalog.earthguild.com - square cardboard tablets, =
belt shuttles, books, linen, cotton, and wool threads
8.  Fiber Hut, 2316 Crestwood Rd., SE, Calgary, Alberta T2C 0C6 Canada  (403=
) 279-2658 - square cardboard tablets,=20
=09books, silk, linen, cotton, and wool threads
9.  Fibrecrafts, Style Cottage, Lower Eashing, Godalming, Surrey GU7 2QD Eng=
land (48) 342-1853) - square cardboard=20
=09tablets, warping pegs with clamps, shuttles, books
10.  Halcyon Yarns, 12 School Street, Bath, ME 04530  (800) 341-0282 - squar=
e cardboard tablets, warping pegs, books,=20
=09silk, linen, cotton, wool, and metallic threads
11.  Handweavers Studio and Gallery, 29 Haroldstone Road, London E17 7AN Eng=
land  (81) 521-2281 handweaversstudio@msn.com - square and =09hexagonal card=
board tablets, warping pegs with clamps, shuttles, silk, linen, cotton, wool=
, and metallic threads
12.  Hedgehog Handworks, P.O. Box 45384, Westchester, CA  90045 (888) 670-60=
40 - silk, linen, cotton, metallic threads
13.  Linda Hendrickson, 140 SE 39th Avenue, Portland, OR 97214  (503) 239-50=
16  lindahendrickson@cnnw.net -=20
=09square cardboard tablets, shuttles, kits, books, video
14. Heritage Looms, Route 6, Box 731-E, Alvin, TX 77511  (409) 925-4161 - ta=
bletop looms, square cardboard tablets
15. Frank Herring & Sons, 27 High West Street, Dorchester, Dorset DT1 1UP En=
gland  (30) 524-4449 - square=20
=09plastic tablets, warping pegs with clamps, shuttles
16. Howell=92s Weaving Emporium, 4832 Salmon Drive, Paradise, CA 95969  (503=
) 877-4539 - tabletop looms, shuttles
17. Klotz Country Crafts, 908 E. Eloika Rd., Deer Park, WA  99006  (888) 447=
-7675 - card weaver=92s surf-board loom
18 LACIS, 3163 Adeline Street, Berkeley, CA 94703  (510) 843-7178  staff@lac=
is.com - silk, linen, cotton, and metallic=20
=09threads, including G=FCtermann silks and color card
19 Lou=EBt, P.O. Box 267, Ogdensburg, NY 13669  (613) 925-4502 - square wood=
en tablets
20. Laura Morgan, 1633 Stoney Creek Drive, Charlottesville, VA 22902  (804) =
984-0537 - handmade wooden tablets
21. Needle Arts, Inc., 2211 Monroe, Dearborn, MI 48124  (313) 278-6266 - sil=
k, linen, cotton, metallic, real gold threads
22. Nordic Needle, 1314 Gateway Drive, Fargo, ND 58103  (800) 433-4321 needl=
e@corpcomm.com - silk, cotton, and=20
=09metallic threads
23. Bob Patterson, P.O. Box 424, Orinda, CA  94563  (925) 943-5243 Bob@threa=
dshop.com, www.threadshop.com - silk, linen, cotton threads
24. Robin and Russ Handweavers, 533 North Adams Street, McMinnville, OR 9712=
8  (800) 932-8391 =09robin&russ@onlinemac.com - square and hexagonal cardboa=
rd tablets. shuttles, books, videos
25.  The Silk Tree, 20297 Stanton Ave., Maple Ridge, BC V2X 9A5 Canada  (604=
)465-9816  aurum@axionet.com -=20
=09silk threads
26. Otfried Staudigel, H=F6ppnerstrasse 108, D - 47809 Krefeld, Germany - fl=
oor-standing looms
27. Textile Reproductions, Box 48, West Chesterfield, MA 01084  (413) 296-44=
37  - silk, linen, cotton, and wool  threads=20
=09(early vegetable dyes used)
28. Things Japanese, 9805 NE 116th Street, Suite 7160, Kirkland, WA 98034  (=
206) 821-2287 - silk and metallic threads
29. Treenway Crafts, 725 Caledonia Avenue, Victoria, BC V8T 1E4 Canada  (604=
) 383-1661 treenway@coastnet.com -=20
=09silk threads
30. Unicorn Books and Crafts, 1338 Ross Street, Petaluma, CA 94954  (800) 28=
9-9276 - square cardboard tablets, belt=20
=09shuttles, belt tablet weaving holder, books, videos
31. The Weaving Works, 4717 Brooklyn Ave., NE, Seattle, WA 98105  (206) 524-=
1221 - square cardboard tablets, =09shuttles, warping pegs, belt tablet weav=
ing holder, books, videos
32. WEBS, P.O. Box 147, Northampton, MA 01061-0147  (413) 584-2225  webs@yar=
n.com - silk threads
33. Yarn Barn, P.O. Box 334, Lawrence, KS 66044  (800) 468-0035 - square car=
dboard tablets, shuttles, warping pegs, books



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From owner-h-costume@indra.com  Fri Apr  9 16:03:19 1999
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From: "Deborah von Seggern" <dvons@nwlink.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: Silk floss
Date: Fri, 9 Apr 1999 13:09:29 -0700
Message-ID: <000501be82c4$dfecedc0$15b814d1@deb.sea.wamu.com>
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-Poster: "Deborah von Seggern" <dvons@nwlink.com>

You might also try Things Japanese.  They specialize in silk threads and
silk dye.  Here is the contact info:  (425) 821-2287

Deb in Redmond, WA (soon to be Mountlake Terrace)

> -----Original Message-----
> > Hi! A quick supply question. I am desperately searching for black silk
> > embroidery floss, for a blackwork project. Does anyone have
> information on
> > a company who manufactures/sells/mail-orders any? I'm having a hard time
> > finding anything suitable in Montreal.
> >
> > Joane Steward.


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From owner-h-costume@indra.com  Fri Apr  9 18:22:51 1999
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From: "Gia Gavino-Gattshall" <ggavino@serv.net>
To: <h-costume@indra.com>
Subject: Re: H-COST: Silk floss
Date: Fri, 9 Apr 1999 15:28:13 -0700
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-Poster: "Gia Gavino-Gattshall" <ggavino@serv.net>

Threadneedlestreet.

They have a web page and you can order long distance a couple of different
ways.

The URL is:

http://www.threadneedlestreet.com

I've not ordered from them, but I hear that their stock of merchandise is
yummy enough to require a drooling bib.

Gia/Giacinta

-----Original Message-----
From: Hilary Doda <vaqqa@ibm.net>
To: h-costume@indra.com <h-costume@indra.com>
Date: Friday, April 09, 1999 12:48 PM
Subject: H-COST: Silk floss


>
>-Poster: Hilary Doda <vaqqa@ibm.net>
>
>Hi! A quick supply question. I am desperately searching for black silk
>embroidery floss, for a blackwork project. Does anyone have information on
>a company who manufactures/sells/mail-orders any? I'm having a hard time
>finding anything suitable in Montreal.
>
>Joane Steward.
>
>**********************************************
>
>"Good drama is like Soylent Green - it's made of people."
>                          - Steph Brochu
> _________________________________________________________________
> 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 Apr  9 18:34:54 1999
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Subject: H-COST: H-cost:  Early Levi's
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-Poster: Margo Anderson <margo@directcon.net>

I've been researching early Levi's, and I've found a lot of information on
the Web.  One of the most interesting sites is Hamilton Dry Goods at:
http://www.hamiltondrygoods.com/old73s.html  They actually own a pair of
1870's Levi's, which they have taken a pattern from.  they make replicas, to
which they will make the necessary alterations (no rivets and no back
pockets) to make them suitable for 1850's wear.   I'll be ordering a pair
for my husband soon, and I'll let you all know what I think of them.   

One question I haven't been able to answer, though, is this:  Levi Strauss
made his original pants out of brown tent canvas.  According to my research,
during this period "brown" could mean unbleached, as in natural colored
cotton such as  unbleached muslin or some of the "green" cotton colors
available today.  So, were Levi's brown as in the color brown, or were they
brown as in "natural cotton color"?   



Margo

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From owner-h-costume@indra.com  Fri Apr  9 18:42:02 1999
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-Poster: Merouda the True of Bornover <keltia@serv.net>

Oh yes indeed.  I am fortunate to be able to actually shop there in person.
They are as good as they appear, the owner is a gem.  Satisfied costumer,
Cynthia

> Threadneedlestreet.
> http://www.threadneedlestreet.com
>
> I've not ordered from them, but I hear that their stock of merchandise is
> yummy enough to require a drooling bib.

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


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From owner-h-costume@indra.com  Fri Apr  9 19:05:34 1999
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Subject: Re: H-COST: Water-spotted silk s.o.s!
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-Poster: Lynn Meyer <lmeyer@netbox.com>

I had that identical problem with a silk noil/wool mix jacket.
I didn't want to wash it, due to some trim on it, but I wetted
the non-trim part thoroughly in lukewarm water and let it drip-dry.  

Almost all of the spots (and there were a *lot* of them) went away.
I suspect that repeating it would get rid of the one or two that
were left.

Good luck!
Lynn (Halima)

>From: heather <lynnx@mc.net>
>
>I have a shiny-ish silk Japanese haori (jacket) that got water spots on
>it when I steam ironed it and the iron "spit up" - I almost had it to
>someone when they noticed the spotting and pointed it out to me (I
>hadn't realized it, but was obvious if you look at it from the right
>direction.)  Any suggestions?
>
>Thanks, 
>Heather
>

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From owner-h-costume@indra.com  Fri Apr  9 19:14:17 1999
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From: "StitchWitch" <stitchwitch@excite.com>
To: h-costume@indra.com
Subject: Re: H-COST: H-cost:  Early Levi's
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-Poster: "StitchWitch" <stitchwitch@excite.com>

*snip*

> One question I haven't been able to answer, though, is this:  Levi
Strauss
> made his original pants out of brown tent canvas.  According to my
research,
> during this period "brown" could mean unbleached, as in natural colored
> cotton such as  unbleached muslin or some of the "green" cotton colors
> available today.  So, were Levi's brown as in the color brown, or were
they
> brown as in "natural cotton color"?   

If I recall the tale correctly, Mr. Strauss made his first pair of this kind
of trouser our of some sailing canvas. I would assume this would be natural,
not dyed (though possibly faded). I'll see if I can locate my source for
this over the weekend, but don't hold your breath! ;)

Kate
----
StitchWitch

All things are possible until they are proved impossible - and even the
impossible may only be so, as of now. - Pearl S. Buck




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From: "StitchWitch" <stitchwitch@excite.com>
To: h-costume@indra.com
Subject: Re: H-COST: H-cost:  Early Levi's
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-Poster: "StitchWitch" <stitchwitch@excite.com>

*snip*

> One question I haven't been able to answer, though, is this:  Levi
Strauss
> made his original pants out of brown tent canvas.  According to my
research,
> during this period "brown" could mean unbleached, as in natural colored
> cotton such as  unbleached muslin or some of the "green" cotton colors
> available today.  So, were Levi's brown as in the color brown, or were
they
> brown as in "natural cotton color"?   

If I recall the tale correctly, Mr. Strauss made his first pair of this kind
of trouser out of some sailing canvas. I would assume this would be natural,
not dyed (though possibly faded). I'll see if I can locate my source for
this over the weekend, but don't hold your breath! ;)

Kate
----
StitchWitch

All things are possible until they are proved impossible - and even the
impossible may only be so, as of now. - Pearl S. Buck




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From owner-h-costume@indra.com  Fri Apr  9 19:47:54 1999
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Date: Fri, 09 Apr 1999 16:42:36 -0700
Subject: Re: H-COST: H-cost:  Early Levi's
From: "R.L. Shep" <rlshep@jps.net>
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-Poster: "R.L. Shep" <rlshep@jps.net>

Levi Straus & Co. maintain a library in their San Francisco office and have
a very good librarian - whose name escapes me at the moment.  She used to
work for a costumer in Southern California.   I am sure that she could
answer your questions.
~!~ R.L.Shep
http://www.mcn.org/e/fsbks

----------
>From: "StitchWitch" <stitchwitch@excite.com>
>To: h-costume@indra.com
>Subject: Re: H-COST: H-cost:  Early Levi's
>Date: Fri, Apr 9, 1999, 4:17 PM
>

>
>-Poster: "StitchWitch" <stitchwitch@excite.com>
>
>*snip*
>
>> One question I haven't been able to answer, though, is this:  Levi
>Strauss
>> made his original pants out of brown tent canvas.  According to my
>research,
>> during this period "brown" could mean unbleached, as in natural colored
>> cotton such as  unbleached muslin or some of the "green" cotton colors
>> available today.  So, were Levi's brown as in the color brown, or were
>they
>> brown as in "natural cotton color"?   
>
>If I recall the tale correctly, Mr. Strauss made his first pair of this
kind
>of trouser out of some sailing canvas. I would assume this would be
natural,
>not dyed (though possibly faded). I'll see if I can locate my source for
>this over the weekend, but don't hold your breath! ;)
>
>Kate
>----
>StitchWitch
>
>All things are possible until they are proved impossible - and even the
>impossible may only be so, as of now. - Pearl S. Buck
>
>
>
>
>_______________________________________________________
>Get your free, private email at http://mail.excite.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 Apr  9 21:04:15 1999
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To: h-costume@indra.com
Cc: h-costume@indra.com
Subject: Re: H-COST: Silk floss
Message-ID: <19990409.164805.4791.1.cley@juno.com>
References: <199904091938.TAA71698@out1.ibm.net>
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-Poster: cynthia j ley <cley@juno.com>

Are you looking for flat or twisted? the reason i ask is because you can
get a very nice, although very different, result with both!

Twisted seems readily available in needlepoint shops around here
(Portland, OR). Flat silk is locally available from Pastiche, e-mail
pantinc@aol.com, ask for Foggy Bell or Aisha. It runs $6 a spool. It's
the Japanese flat silk and is wonderful to work with.

Let me know if you would like some hints with the stuff. It's a little
touchy at first, but once you get the hang of it, you won't look back!


					Arlys 
					Cley@juno.com

On Fri, 9 Apr 1999 15:34:38 -0400 Hilary Doda <vaqqa@ibm.net> writes:
>
>-Poster: Hilary Doda <vaqqa@ibm.net>
>
>Hi! A quick supply question. I am desperately searching for black silk
>embroidery floss, for a blackwork project. Does anyone have information
on
>a company who manufactures/sells/mail-orders any? I'm having a hard time
>finding anything suitable in Montreal.
>
>Joane Steward.

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From owner-h-costume@indra.com  Sat Apr 10 04:24:24 1999
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From: "David W. Rickman" <drickman@state.de.us>
Subject: H-COST: Fireman's shirts
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-Poster: "David W. Rickman" <drickman@state.de.us>

Hello,

Regarding Margo's question about "fireman's shirts," when working on the 
Sutter's Fort Costume Manual, I was not able to find any pictures of men 
wearing wool shirts with plastrons (bibs) prior to the late 1840's. After 
that, they become pretty common through the late 19th century. Naturally, they 
were not specifically shirts for firemen, but were worn by working men of all 
kinds.  What made them firemen's shirts is that by the 1850's we find fire 
companies in America, which were usually volunteers, wearing these shirts as a 
sort of uniform, often with the engine or company number appliqued onto the 
plastron. This was not the only kind of ornamentation these shirts saw. There 
are photographs from the Gold Rush of wool shirts that have been embroidered 
with flowers, vines, etc., and others that have little crossed picks and 
figures of miners embroidered all over them. These novelty shirts must have 
been produced either by the miners themselves or were perhaps manufactured for 
the market. The later "cavalry" shirt popular at the time of the Indian Wars 
on the Great Plains (late 1860's through 1880's) was, of course, just a blue, 
plastron-front wool shirt, often trimmed with the branch color.

David
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From owner-h-costume@indra.com  Sat Apr 10 23:02:54 1999
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Date: Thu, 08 Apr 1999 04:18:14 +0200
From: Andrea Clef <a.clef@ndh.net>
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-Poster: Andrea Clef <a.clef@ndh.net>

Hello everybody!

Somehow I keep talking about other mailing lists here but I thought this
might also be
of interest to some of you:
Maybe there are some people out here, who appreciate the time and style
of the late Baroque in the 18th century...
So I thought that I should tell you that I have just opened up another
mailing list
at onelist called "lumieres" dealing with every aspect of life in the
18th century,
the age of enlightment.

I founded this list together with a friend here in Germany, hoping that
we will meet
other people there who are interested in the topic and maybe also in
founding
an active group in Europe that organizes meetings in costume, period
events,
visits to museums etc.

If you`re interested, I`d be glad to meet you on this list, if you`d
like to know how
to subscribe, just e-mail me privately.
Everybody from all around the world is welcome!

Many greetings,
Diana


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From owner-h-costume@indra.com  Sat Apr 10 23:04:10 1999
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To: h-costume@indra.com
From: Cornelia Rutherford <rutheco@erols.com>
Subject: Re: H-COST: Water-spotted silk s.o.s!
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-Poster: Cornelia Rutherford <rutheco@erols.com>

Heather - I had this problem with a silk satin wedding dress a couple
years ago and, after a stiff shot of scotch, I washed it.&nbsp; Someone
on the list has once commented that ironing while still quite damp helps
restore the sheen.&nbsp; I tried it and they're right.&nbsp; It wasn't AS
shiny or AS smooth as originally made but the result was still lovely and
beat the heck out of water spots on a cathedral train.<br>
Good Luck - Cornelia
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From owner-h-costume@indra.com  Sun Apr 11 00:28:04 1999
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-Poster: Margo Anderson <margo@directcon.net>

. There 
>are photographs from the Gold Rush of wool shirts that have been embroidered 
>with flowers, vines, etc., and others that have little crossed picks and 
>figures of miners embroidered all over them. These novelty shirts must have 
>been produced either by the miners themselves or were perhaps manufactured for 
>the market

Oh, please tell me where I can find these photographs!  I feel an embroidery
project coming on...

Margo

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From owner-h-costume@indra.com  Sun Apr 11 00:40:17 1999
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From: Joan M Jurancich <joanj@quiknet.com>
Subject: Re: H-COST: Heidi Marsh's 1850 Gown (was Wrapper variations)
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-Poster: Joan M Jurancich <joanj@quiknet.com>

Susannah,

Where can one purchase Heidi Marsh patterns? I'd like to get a copy of the
Constance Dress pattern you recommended below.

Thanks,

Joan Jurancich
Sutter's Fort, Sacramento CA
joanj@quiknet.com

At 01:01 PM 04/07/1999 PDT, Susannah Eanes wrote:
>
>-Poster: "Susannah Eanes" <oh_susannah@hotmail.com>
[snip]I have only 
>used ONE Heidi Marsh pattern, the Constance Dress.  It is a copy of 
>an original work gown from California c. 1850 or so, and it is the 
>best and most representative of this type of work gown available that 
>I have found.  I have measured and photographed at least five extant 
>gowns from different parts of the US that are almost identical to the 
>Constance Dress.  Is it possible that she got one right?  I have made 
>this gown in every size, from 6 to 46, that it is available in.  It 
>is one of the most popular gowns I make.  The gown looks nice whether 
>you are UltraQueensize or miniscule.  It is a front-button gathered 
>bodice with a waist inset piece onto which a cartridge-pleated skirt 
>is set.  I have made it in calicoes, homespun cottons, solid 
>wool/linen, & lightweight wool.  The shoulderline drops correctly, 
>the waist inset is flattering and, above all, the dress is 
>Comfortable to Wear!  I call it my "sweatsuit," and I wear it with 
>two lightweight petticoats & sensible stays.  It is the one thing I 
>come home & crawl into when I've had a bad day.  I love it. [snip]

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From owner-h-costume@indra.com  Sun Apr 11 01:16:25 1999
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Subject: Re: H-COST: Heidi Marsh's 1850 Gown (was Wrapper variations)
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-Poster: M311@aol.com

In a message dated 4/10/99 9:20:13 PM Central Daylight Time, 
joanj@quiknet.com writes:

<< Where can one purchase Heidi Marsh patterns? >>
I just did a websearch and came up with the following site.
http://www.sft.org/jamescntry/heidi1.html
Kelly Albrecht
m311@aol.com
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From: "Lloyd Mitchell" <rlksm@cobweb.net>
To: <h-costume@indra.com>
Subject: H-COST: article
Date: Sun, 11 Apr 1999 08:15:13 -0400
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-Poster: "Lloyd Mitchell" <rlksm@cobweb.net>

This is a multi-part message in MIME format.

------=_NextPart_000_01BE83F3.6C8994C0
Content-Type: text/plain; charset=ISO-8859-1
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If you folks haven't checked out the "Out of the East" report in the New
York Times, on a current display in the Museum of the Fashion Institute of
Technology in Manhattan, you might want to. It has to do with the influence
of Chinese clothing on modern western fashion. Kathleen, who just costumed
"The Good Woman of Szechuan", was greatly impressed. The site address is: 

http://www.nytimes.com/library/style/030899china-index.html.

Enjoy -

Lloyd Mitchell (for Kathleen)
------=_NextPart_000_01BE83F3.6C8994C0
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<html><head></head><BODY bgcolor=3D"#FFFFFF"><p><font size=3D2 =
color=3D"#000000" face=3D"Arial">If you folks haven't checked out the =
&quot;Out of the East&quot; report in the New York Times, on a current =
display in the Museum of the Fashion Institute of Technology in =
Manhattan, you might want to. It has to do with the influence of Chinese =
clothing on modern western fashion. Kathleen, who just costumed =
&quot;The Good Woman of Szechuan&quot;, was greatly impressed. The site =
address is: =
<br><br>http://www.nytimes.com/library/style/030899china-index.html.<br><=
br>Enjoy -<br><br>Lloyd Mitchell (for Kathleen)</p>
</font></body></html>
------=_NextPart_000_01BE83F3.6C8994C0--

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From owner-h-costume@indra.com  Sun Apr 11 17:15:33 1999
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Subject: H-COST: silk stockings
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-Poster: AnnBWass@aol.com

Can anyone on the list recommend a source for silk or silk blend stockings 
for women?  I tried the Wintersilks Company, but they, understandably were 
sold out of the stockings (I guess they are truly a winter product.)
Thanks.
Ann Wass
annbwass@aol.com
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From owner-h-costume@indra.com  Sun Apr 11 19:29:02 1999
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Subject: H-COST: foul weather gear
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-Poster: AnnBWass@aol.com

As I was slogging through the rain today in contemporary dress, I was 
wondering what proper foul weather gear during the Regency would have been?  
I'm mainly interested in women.  Any ideas?
Ann Wass
annbwass@aol.com
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From owner-h-costume@indra.com  Sun Apr 11 19:55:28 1999
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Date: Sun, 11 Apr 1999 18:54:18 -0500
From: PenDragon <cellar@apci.net>
Organization: Olde Frame Cellar
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Subject: H-COST: Linsey-Woolsey
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-Poster: PenDragon <cellar@apci.net>

My friend and I spin and weave.  We heard there may be a market for
handwoven linsey-woolsey fabric made from handspun wool.

We also handweave scarves made from handspun dog hair and wool blend.

Do you believe there is a market large enough for these items at
colonial reenactments to make it worthwhile setting up a merchant's
booth?

Thanks for your opinion.

Gary
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From owner-h-costume@indra.com  Sun Apr 11 19:57:40 1999
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From: "Franchesca Havas" <ches@io.com>
To: <h-costume@indra.com>
Subject: H-COST: ruffs
Date: Sun, 11 Apr 1999 19:03:20 -0500
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-Poster: "Franchesca Havas" <ches@io.com>

How many of you make ruffs and how long does it take you to make one? How
long have you been making them?

I understand that you all may have more questions yourself and that is a
good thing. I want to hear about all the experiences you all have had with
ruffs.

Sincerely,
F. Havas
Dallas, Texas

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From owner-h-costume@indra.com  Mon Apr 12 01:06:36 1999
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-Poster: heather <lynnx@mc.net>

Anne, I have been trying to find silk stockings for over ten years.
Garnet Hill no longer carries them, and a websearch turned up about ten
thousand porn sites and nobody currently selling silk stockings. If
Wintersilks carries them in the Winter that's a major step forward. The
only other place I have ever found them is in Chinatown, and that was
years ago.
Carol Mitchell

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From owner-h-costume@indra.com  Mon Apr 12 10:03:00 1999
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Date: Mon, 12 Apr 1999 10:20:01 -0600
To: h-costume-digest@indra.com
From: carol huff <cahuff@mindspring.com>
Subject: H-COST: Re: Foul weather gear and oil cloth
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-Poster: carol huff <cahuff@mindspring.com>

Hi
I'm looking for a source of oilcloth or waxed cloth. Is it still being
made? And if not, any suggestions for DIY??
Thanks
Carol
Creative Clutter
is preferable to
 Idle Neatness


cahuff@mindspring.com

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From owner-h-costume@indra.com  Mon Apr 12 10:17:47 1999
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From: "Susannah Eanes" <oh_susannah@hotmail.com>
To: h-costume@indra.com
Subject: Re: H-COST: Heidi Marsh's 1850 Gown (was Wrapper variations)
Date: Mon, 12 Apr 1999 07:21:02 PDT
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-Poster: "Susannah Eanes" <oh_susannah@hotmail.com>

I bought all of mine from Amazon Dry Goods out of Davenport, Iowa.


>From: Joan M Jurancich <joanj@quiknet.com>
>Reply-To: h-costume@indra.com
>To: h-costume@indra.com
>Subject: Re: H-COST: Heidi Marsh's 1850 Gown (was Wrapper variations)
>Date: Sat, 10 Apr 1999 22:48:08 -0600 (MDT)
>
>
>-Poster: Joan M Jurancich <joanj@quiknet.com>
>
>Susannah,
>
>Where can one purchase Heidi Marsh patterns? I'd like to get a copy 
of the
>Constance Dress pattern you recommended below.
>
>Thanks,
>
>Joan Jurancich
>Sutter's Fort, Sacramento CA
>joanj@quiknet.com
>
>At 01:01 PM 04/07/1999 PDT, Susannah Eanes wrote:
>>
>>-Poster: "Susannah Eanes" <oh_susannah@hotmail.com>
>[snip]I have only 
>>used ONE Heidi Marsh pattern, the Constance Dress.  It is a copy of 
>>an original work gown from California c. 1850 or so, and it is the 
>>best and most representative of this type of work gown available 
that 
>>I have found.  I have measured and photographed at least five 
extant 
>>gowns from different parts of the US that are almost identical to 
the 
>>Constance Dress.  Is it possible that she got one right?  I have 
made 
>>this gown in every size, from 6 to 46, that it is available in.  It 
>>is one of the most popular gowns I make.  The gown looks nice 
whether 
>>you are UltraQueensize or miniscule.  It is a front-button gathered 
>>bodice with a waist inset piece onto which a cartridge-pleated 
skirt 
>>is set.  I have made it in calicoes, homespun cottons, solid 
>>wool/linen, & lightweight wool.  The shoulderline drops correctly, 
>>the waist inset is flattering and, above all, the dress is 
>>Comfortable to Wear!  I call it my "sweatsuit," and I wear it with 
>>two lightweight petticoats & sensible stays.  It is the one thing I 
>>come home & crawl into when I've had a bad day.  I love it. [snip]
>
> _________________________________________________________________
> 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 Apr 12 10:17:53 1999
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From: "Susannah Eanes" <oh_susannah@hotmail.com>
To: h-costume@indra.com
Subject: Re: H-COST: silk stockings
Date: Mon, 12 Apr 1999 07:25:06 PDT
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-Poster: "Susannah Eanes" <oh_susannah@hotmail.com>

I have access to the inventory of an old store that contains, among 
other wonderful things, original late 18th - early 19th c. silk 
stockings & corsets in their original boxes.  I don't know how they 
have stood up to the decades of being stored away in an 
unheated/uncooled store attic warehouse, but they sure look & feel 
pretty good to me.  The owner is currently assessing these items for 
sale either in lots or as one whole.  If anyone is interested in 
finding out more, please e-mail me privately.


>From: AnnBWass@aol.com
>Reply-To: h-costume@indra.com
>To: h-costume@indra.com
>Subject: H-COST: silk stockings
>Date: Sun, 11 Apr 1999 17:20:00 EDT
>
>
>-Poster: AnnBWass@aol.com
>
>Can anyone on the list recommend a source for silk or silk blend 
stockings 
>for women?  I tried the Wintersilks Company, but they, 
understandably were 
>sold out of the stockings (I guess they are truly a winter product.)
>Thanks.
>Ann Wass
>annbwass@aol.com
> _________________________________________________________________
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From owner-h-costume@indra.com  Mon Apr 12 10:39:07 1999
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From: "Susannah Eanes" <oh_susannah@hotmail.com>
To: h-costume@indra.com
Subject: Re: H-COST: foul weather gear
Date: Mon, 12 Apr 1999 07:46:04 PDT
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-Poster: "Susannah Eanes" <oh_susannah@hotmail.com>



>-Poster: AnnBWass@aol.com
>
>As I was slogging through the rain today in contemporary dress, I 
was 
>wondering what proper foul weather gear during the Regency would 
have been?  
>I'm mainly interested in women.  Any ideas?
>Ann Wass
>annbwass@aol.com

I find a nice wool cape with hood works wonders in most situations.  
It keeps you dry, and warm besides.  The one I made is from 
referencing photographs of two originals c. 1805 - 1820 in private 
collections, references & descriptions from period sources, and 
ultimately altering Kathleen Kannik's cloak pattern, adding the hood 
& changing the line slightly.  One of the period cloaks was of brown 
& blue printed cotton, and the other was wool.

If the weather is too warm for wool, for a lady impression, I might 
consider a solid color cotton chintz or glazed cotton, and line it 
with lightweight silk.  It sheds water to a degree, and would be 
appropriate in this period.  True glazed cotton is available from 
Kathleen Smith's Textile Reproductions at about $12.00 a yard.  I 
wouldn't use upholstery weight chintz, but a lighter dress weight, 
and make sure it doesn't have polyester in it to give it the glaze.  
It's harder to find, but I have found some at some specialty fabric 
stores.  You might also look for a firmly woven lightweight wool, 
such as Exotic Silks sells for suiting.  They have a really nice wool 
& silk herringbone twill that is nice & crisp & might do nicely, as 
it mimics period bombazine.  It sells for about $12.00 a yard also.
Just an idea, maybe others have better ones...

Susannah

"We are only the trustees for those who come after us." 
  --William Morris 


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From owner-h-costume@indra.com  Mon Apr 12 11:08:57 1999
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From: "John Page" <kdp@tiac.net>
To: <h-costume@indra.com>
Subject: H-COST: aid, please
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-Poster: "John Page" <kdp@tiac.net>

Good morning all,

I come begging aid altering my old early Tudor gown -- I've not worn
it in years and now discover I need two more inches around.  Does any
one know what a period alteration would look like?  Alternatively,
would it be accurate if I split the gown up the front and added a
kirtle underneath?  Any ideas and information are most welcome.

Thanks, everyone, for you time,
Kristin Page


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From owner-h-costume@indra.com  Mon Apr 12 11:14:03 1999
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From: "Penny Ladnier" <s0peladn@pop.erols.com>
To: <h-costume@indra.com>
Subject: H-COST: Mystery Family Photos
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-Poster: "Penny Ladnier" <s0peladn@pop.erols.com>


This could be fun...  This person wrote me and asked for help in dating some
family photos by looking at their costumes.  Maybe we all could help and
take stab at it.  Please reply back Chris, Martinez.Hain@worldnet.att.net
the author of the seeker of this information.

Later...Penny

>I have a few "mystery photos" that have been in our family, and no one
>knows who they are, except that they are family. I thought that if we
>could 'date' the photos that might narrow down the possibilities.
>
>Could you help me date 3 photos based on the costumes the people are
>wearing?
>
>The 3 photos are linked here:
>http://home.att.net/~martinez.hain/MYSTERY_photos/mysteryrelatives1.jpg
>http://home.att.net/~martinez.hain/MYSTERY_photos/mysteryrelatives2.jpg
>http://home.att.net/~martinez.hain/MYSTERY_photos/MysteryCouple.jpg
>
>I'd appreciate even just a guess, give or take 10 years. Or if
>you could refer me to someone who would know.
>
>Thank you
Chris Hain
Martinez.Hain@worldnet.att.net

>P.S.  For the record, my UNEDUCATED guess would be
>mysteryrelatives1.jpg ----------maybe taken around 1900?
>mysteryrelatives2.jpg ----------maybe taken around 1890?
>MysteryCouple.jpg--------------maybe taken around 1880?




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From owner-h-costume@indra.com  Mon Apr 12 11:14:35 1999
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From: Kara Rodgers <kara.rodgers@yale.edu>
To: h-costume@indra.com
Subject: H-COST: Buttons
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-Poster: Kara Rodgers <kara.rodgers@yale.edu>



As far as the Civil War goes, I know that the Union uniforms used brass
buttons. They were manufactured in Waterbury, CT. Looking into what
factories were producing might be a good way to prove that many buttons
were made of things other than shell.

Good luck,

Kara



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From owner-h-costume@indra.com  Mon Apr 12 12:20:22 1999
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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: Mystery Family Photos
Date: Mon, 12 Apr 1999 12:29:03 -0400
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

No expert here, but my guess is:

1.jpg 1896-8
2..jpeg 1904
couple.jpeg 1840-60

I wish I had the time to research this one.  What a fun
puzzle!  Don't you just love those shirtwaist sleeves in the
1.jpeg??

Hope H. Dunlap

-----Original Message-----
From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
Behalf Of Penny Ladnier
Sent: Monday, April 12, 1999 11:20 AM
To: h-costume@indra.com
Subject: H-COST: Mystery Family Photos



-Poster: "Penny Ladnier" <s0peladn@pop.erols.com>


This could be fun...  This person wrote me and asked for
help in dating some
family photos by looking at their costumes.  Maybe we all
could help and
take stab at it.  Please reply back Chris,
Martinez.Hain@worldnet.att.net
the author of the seeker of this information.

Later...Penny

>I have a few "mystery photos" that have been in our family,
and no one
>knows who they are, except that they are family. I thought
that if we
>could 'date' the photos that might narrow down the
possibilities.
>
>Could you help me date 3 photos based on the costumes the
people are
>wearing?
>
>The 3 photos are linked here:
>http://home.att.net/~martinez.hain/MYSTERY_photos/mysteryre
latives1.jpg
>http://home.att.net/~martinez.hain/MYSTERY_photos/mysteryre
latives2.jpg
>http://home.att.net/~martinez.hain/MYSTERY_photos/MysteryCo
uple.jpg
>
>I'd appreciate even just a guess, give or take 10 years. Or
if
>you could refer me to someone who would know.
>
>Thank you
Chris Hain
Martinez.Hain@worldnet.att.net

>P.S.  For the record, my UNEDUCATED guess would be
>mysteryrelatives1.jpg ----------maybe taken around 1900?
>mysteryrelatives2.jpg ----------maybe taken around 1890?
>MysteryCouple.jpg--------------maybe taken around 1880?





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From owner-h-costume@indra.com  Mon Apr 12 12:43:02 1999
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Date: Mon, 12 Apr 1999 18:49:31 +0200
To: h-costume@indra.com
From: "costume@gmx.net" <costume@gmx.net>
Subject: H-COST: that book on late 16th c spanish tailoring
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-Poster: "costume@gmx.net" <costume@gmx.net>

oh woe! i've lost the bibliographic details of that infamous book which has
been discussed here... alcega, was it? something like it. could some kindly
soul please send them to me off-list? thanks an advance!

roxane
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From owner-h-costume@indra.com  Mon Apr 12 12:49:14 1999
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Date: Mon, 12 Apr 1999 18:37:12 +0100
To: h-costume@indra.com
From: Ninni Pettersson <vidumavi@swipnet.se>
Subject: Re: H-COST: Finally FO!
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-Poster: Ninni Pettersson <vidumavi@swipnet.se>

Greetings!
About a month ago, I wrote:

>	I was going to delay describing the finished result of my 1545
>Tudor Doll Project until I had at least one photo on the web
<snip>
>	I hope to have at least one (not very good) photograph up on the
>web in, at most, three weeks time.

	As usual for me, three weeks actually became almost five until I
could fulfill my promise and get a photo up on the web. But now it's there,
and you can all take a look at
<http://home9.swipnet.se/~w-93136/doll1.html> and tell me what you think of
her.

/Ninni Pettersson


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From owner-h-costume@indra.com  Mon Apr 12 12:53:18 1999
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Date: Mon, 12 Apr 1999 12:05:58 -0500 (CDT)
From: Emma Elizabeth Lehman <00217146@bigred.unl.edu>
To: h-costume@indra.com
Subject: Re: H-COST: Finally FO!
In-Reply-To: <l03102800b337dee865e1@[130.244.180.160]>
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-Poster: Emma Elizabeth Lehman <00217146@bigred.unl.edu>

Lovely! Beautifully done!
Emma

On Mon, 12 Apr 1999, Ninni Pettersson wrote:

> 
> -Poster: Ninni Pettersson <vidumavi@swipnet.se>
> 
> Greetings!
> About a month ago, I wrote:
> 
> >	I was going to delay describing the finished result of my 1545
> >Tudor Doll Project until I had at least one photo on the web
> <snip>
> >	I hope to have at least one (not very good) photograph up on the
> >web in, at most, three weeks time.
> 
> 	As usual for me, three weeks actually became almost five until I
> could fulfill my promise and get a photo up on the web. But now it's there,
> and you can all take a look at
> <http://home9.swipnet.se/~w-93136/doll1.html> and tell me what you think of
> her.
> 
> /Ninni Pettersson

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Subject: Re: H-COST: Finally FO!
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-Poster: Kat & Kent <kdyer@home.com>

Wow!  I hope my daughter doesn't see this...she's sure to want me to
make her one!!  Which reminds me, I'd better see if *her* Tudor still
fits for Ren Faire!!

Kat
suddenly *four* projects behind instead of three!! <grin>
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From owner-h-costume@indra.com  Mon Apr 12 14:01:00 1999
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Date: Mon, 12 Apr 1999 13:03:59 -0500
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From: "J,K,S&A Baird" <baird@rrnet.com>
Subject: H-COST: mystery photos
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-Poster: "J,K,S&A Baird" <baird@rrnet.com>

Great photos.
I almost agree with Hope:

1. 1895-1900

2. 1901, or even earlier

3. 1860 or later--because these are old people, and not rich, their
clothing might easily be 10 years out of date

Kim
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From owner-h-costume@indra.com  Mon Apr 12 15:38:45 1999
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Date: Mon, 12 Apr 1999 12:41:09 -0700
From: Diana H <dch@inreach.com>
Organization: Well, I wouldn't call it organized......
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Subject: Re: H-COST: aid, please
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-Poster: Diana H <dch@inreach.com>

John Page wrote:

> -Poster: "John Page" <kdp@tiac.net>
>
> Good morning all,
>
> I come begging aid altering my old early Tudor gown -- I've not worn
> it in years and now discover I need two more inches around.  Does any
> one know what a period alteration would look like?  Alternatively,
> would it be accurate if I split the gown up the front and added a
> kirtle underneath?  Any ideas and information are most welcome.
>
> Thanks, everyone, for you time,
> Kristin Page

I do not envy you this endeavor!  I had a similar experience with a
dress where I had made the bodice and between starting it and finishing
it, I had gained a few pounds back.  I was using the Phoenix bodice
pattern where the bodice was all one piece so there were no seam lines
to fudge with.  I ended up putting two strips of extra fabric in the
back where the lacing goes and it worked okay for lacing, but it really
threw the sleeve fitting off!!  They flopped all over the place instead
of sitting on my shoulders like they should.

I know that the Jane Seymour portrait shows a flap in the front that is
actually pinned in place with brass or gold straight pins indicating
that there is a front opening.  However, if you did this it may throw
your sleeves off as it did mine.  Hmmm....maybe add side seams and put
the extra fabric there?

As I said, good luck in this.  I really can't think of a good way to do
it.  If you find one, please let someone else know because I am sure you
are not alone in your problem.

Diana :~>

--

* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
"There are too many mediocre things in life to deal with.....Love
shouldn't be one
 of them."
--Ione Skye in "Dream for an Insomniac"


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From owner-h-costume@indra.com  Mon Apr 12 16:48:18 1999
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Subject: Re: H-COST: Mystery Family Photos
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-Poster: AnnBWass@aol.com

I would guess that 2.jpg is very early 1890s.
I agree that 1.jpg is probably turn of the 20th century.
Couple--probably 1860s.  While there is some possibility that it could be 
much later, because they are older and not well-to-do, I think it more likely 
that they would have been wearing their very best clothes for the 
photographer, and there seems to be quite a bit of evidence that most people 
made an effort to keep up with fashion.
Ann Wass
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From: "Linda Lassman" <lassman@Ms.UManitoba.CA>
Organization: University of Manitoba
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Date: Mon, 12 Apr 1999 16:17:34 CST
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Subject: Re: H-COST: Silk floss
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-Poster: "Linda Lassman" <lassman@Ms.UManitoba.CA>

Date sent:      	Fri, 9 Apr 1999 15:34:38 -0400
From:           	Hilary Doda <vaqqa@ibm.net>
To:             	h-costume@indra.com
Subject:        	H-COST: Silk floss
Send reply to:  	h-costume@indra.com

> 
> -Poster: Hilary Doda <vaqqa@ibm.net>
> 
> Hi! A quick supply question. I am desperately searching for black silk
> embroidery floss, for a blackwork project. Does anyone have information on
> a company who manufactures/sells/mail-orders any? I'm having a hard time
> finding anything suitable in Montreal.
> 
> Joane Steward.
> 
> **********************************************
> 
> "Good drama is like Soylent Green - it's made of people."
>                           - Steph Brochu
>  _________________________________________________________________
>  To leave this mailing list, send mail to majordomo@indra.com
>  with the message UNSUBSCRIBE H-COSTUME

"Mrs. Twitchett's Eye" in Winnipeg carries silk floss and I believe she has 
black in stock.  She has a web page at http://www.mrstwitchett.mb.ca/ and 
she does mail order.  And, being in Canada, there's no duty to Montreal!

- Linda Lassman
  Winnipeg, MB
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From owner-h-costume@indra.com  Mon Apr 12 18:52:19 1999
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Subject: H-COST: Re: h-costume-digest V4 #268
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-Poster: Marsha McLean <msmclean@interlog.com>

-Poster: "Franchesca Havas" <ches@io.com> Wrote:
>
>How many of you make ruffs and how long does it take you to make one? How
>long have you been making them?

I have been making ruffs, with ever evolving methods, for roughly 10 years.
At first I used the method in Schultz and Savoy,  but I have evolved that
over the years.  Currently I use a pegboard to hold even pleats in place and
hand tack the band to the ruff along the top edge only.  This leaves the
ruff itself free to hang over the collar for the most authentic look.  I
have been studying ruffs in portraiture and woodcuts for many years, as well
as wearing them under divers conditions.  The time involved varies depending
on the style, fullness, embellishment.  To handsew a medium-full, plain ruff
takes 2-ish hours.  I can do it faster if i'm in the right mood.  I'm
currently working on a spectacular one.
I use period starches with a technique developed fron a ruff article by
poor, lambasted Janeet Arnold and a modern iron before the ruff is sewn.
After it is assembled I use a curling iron to set it.
Marsha
>
Marsha McLean

"Be yourself - it's who you do best" 



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From owner-h-costume@indra.com  Mon Apr 12 19:13:30 1999
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From: "Susannah Eanes" <oh_susannah@hotmail.com>
To: h-costume@indra.com
Subject: H-COST: photo guesses
Date: Mon, 12 Apr 1999 16:20:08 PDT
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-Poster: "Susannah Eanes" <oh_susannah@hotmail.com>

Hi list,
Here was my guess, that I sent to Chris.  What do you think?
Susannah

>Dear Chris,
>
>From my studies of this period, I would guess that the clothing 
>itself dates as follows:
>
>1.  1895 - the height popularity of the huge leg-of-mutton sleeve, 
     wide-brimmed boaters, bouffant hairstyles
>2.  1888 - small boaters, very narrow shoulders, slightly gathered 
     & high sleeve caps on blouses pre-date the leg-of-mutton sleeve  
     explosion in 1893.  Also shawl collars on men as well as women,
     which were not as popular after the turn of the century.  
     Fashionable shoulders were wider after the turn of the century,
     too.
>3.  1862-1867 - new-looking dress (shiny fabric, not worn-looking), 
     but older style.  Garibaldi tape trim on sleeve, waist still set
     higher than waistline, indicating a preference for the early 
     1860s placement.
>
>Now, bearing in mind that people may be wearing things a few years 
>out of date, especially as they get older or if economic factors 
>come into play (eg, hard times), the actual photos may not be this 
>old.  I have seen photos which were definitely dated 1920, for 
>example, in rural North Carolina communities, in which the men and 
>women and children all wore clothing and haristyles which looked to
>be from the late 1880s - early 1890s, and very conservatively cut, 
>at that.  These may or may not have been an unusual time lag.
>But this clothing is recognizable enough as pretty standard attire 
>for these years, which offered relatively fast & well documented 
change when compared to the earlier part of the century.
>
>Feel free to return e-mail me if you have further questions.
>
>Susannah Eanes
>The Tailor's Measure
>
>"We are only the trustees for those who come after us." 
>  --William Morris>


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From owner-h-costume@indra.com  Mon Apr 12 20:19:59 1999
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From: "Amanda Reeves" <alr@io.com>
To: <h-costume@indra.com>
Subject: Re: H-COST: Mystery Family Photos
Date: Mon, 12 Apr 1999 19:26:46 -0500
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-Poster: "Amanda Reeves" <alr@io.com>

Now my curiosity is up. Since ya'll pin-pointed the dates, can you
"explain" the clothing. The one of the old couple..........that dress
COULDN'T be comfortable!

Thanks,
Amanda
Texas

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

> 1.jpg 1896-8
> 2..jpeg 1904
> couple.jpeg 1840-60

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From owner-h-costume@indra.com  Tue Apr 13 00:13:18 1999
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-Poster: Janice Dallas <janicedals@mediaone.net>

For the first photo, given the size and sag of the sleeves, I would say
late 1890's as the "sagging" look was popular then.  The clothing looks
too constructed and stiff to be past 1900, unless they were behind the
times.  The second photo is 1880's by the narrow shoulders, high sleeve
caps and general "reinforced" clothing stiff look.  I think the third
photo is from 1869 or 70 because there isn't a definite hoop look and
that was the time of the collapse of the  full hoop and just before the
very draped bustle look.

Janice Dallas
JaniceDals@mediaone.net
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From owner-h-costume@indra.com  Tue Apr 13 01:07:40 1999
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Date: Tue, 13 Apr 1999 01:16:54 -0400
Subject: Re: H-COST: Mystery Family Photos
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-Poster: snowfire@mail.snet.net

Hello the list!

I have a couple of questions on 18th century costumes - in particular 
dresses.  I'm talking about the dresses that had heavy skirts, and low 
necklines, fashionable about the mid-18th century, prior to the empire 
style.  The kind of dresses which were worn with the powdered wigs, and 
the era of Marie Antoinette and Madame Pompadour.  (I love this period! 
even though it's post SCAdian)!

My questions are this.  How were these dresses constructed?  of what 
were they constructed usually, was it farthingales they had under them, 
and were the dresses made in one piece or two?

I worked for a semester some years ago in the costume shop as part of a 
drama class in college and we made the costumes for "She Stoops to 
Conquer".  They made the top separate to the skirt, and the two pieces 
hooked together to complete the outfit.  I asked why, and the answer was 
that the skirts were too heavy to support the bodices, and therefore had 
to be separate.  I'd always thought they were one piece before this.

I have the book "Eighteenth Century French Fashion Plates" Edited by 
Stella Blum.  The dresses look as if they are in one piece there!

Anyone?

Elysant
 
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From owner-h-costume@indra.com  Tue Apr 13 09:59:46 1999
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-Poster: AlbertCat@aol.com

In a message dated 4/13/99 1:18:02 AM Eastern Daylight Time, 
snowfire@mail.snet.net writes:

<<  How were these dresses constructed?  of what 
 were they constructed usually, was it farthingales they had under them, 
 and were the dresses made in one piece or two? >>

The "open robe" was the dress of choice. This means it was put on like a 
robe...and closed in front. Due to the conical shape of the corset, the waist 
would meet or nearly meet & the bust would have a wider space between the 
front edges thus creating that characteristic "V" in front which was filled 
in with a stomacher. Stomachers could be decorated quite elaborately. In the 
1770s, you see bodices cut so they close all the way down the center front 
with no stomacher. All the skirts were attached as the backs of the bodices 
were usually cut in one with the skirt...IOW with no waist seam. [at the 
beginning of the century, the fronts were cut in one as well] 

<<   I asked why, and the answer was 
that the skirts were too heavy to support the bodices, and therefore had 
to be separate.  I'd always thought they were one piece before this.  >>

You were right. The "heavy" bit is a theatrical problem as very often 
upholstery fabrics are now used. The real gowns were made of lighter stuff. 
Indeed, the only reason I can find to hook & eye a skirt to the bodice of 
just about any period, is if the skirt opens in back & the bodice opens in 
front....even if the fabrics are heavy.  The "open robe" is open all the way 
down the center front...to the hem, and a decorated, often matching petticoat 
was worn under the robe to show at the open front. This would have been a 
separate skirt but there's no need to attach it to the robe.

Go rent "Dangerous Liaisons" and watch the opening credits closely. You will 
see all of this as they dress Glenn Close. You will also see the "panniers" 
[not farthingale] which hold the skirts out.



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From owner-h-costume@indra.com  Tue Apr 13 16:42:16 1999
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From: "Susannah Eanes" <oh_susannah@hotmail.com>
To: h-costume@indra.com
Subject: H-COST: quilted waistcoats
Date: Tue, 13 Apr 1999 13:48:00 PDT
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-Poster: "Susannah Eanes" <oh_susannah@hotmail.com>

Who knows anything about gentlemen's quilted whitework waistcoats,
c. 1720s - 1780s?  In what context were they worn?  Were they for 
dress or undress?  Why do they all seem to have interior buttons that 
do not show on the outside?  Reference www.museumofcostume.co.uk for 
good pics of examples (See items II.32.4, II.32.8, & II.32.34).  
There is also an extant just like this at SC Dept. of Archives & 
History.

Any info would be helpful.

Thanks!

Susannah

"We are only the trustees for those who come after us." 
  --William Morris 


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From owner-h-costume@indra.com  Tue Apr 13 18:50:49 1999
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From: "Susannah Eanes" <oh_susannah@hotmail.com>
To: h-costume@indra.com
Subject: H-COST: Need Fabric!
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-Poster: "Susannah Eanes" <oh_susannah@hotmail.com>


Dear List,

I am in *desperate* need of 2 1/2 yards of 54" Charcoal Grey wool.  I 
need it *yesterday*.  If anyone has some & could sell it to me, or 
knows of a supplier who DEFINITELY has some in stock, please e-me 
right away --I have checked everyone I know & all over the net and 
everyone seems to be out!  Help!

Thanks in advance,

Susannah

"We are only the trustees for those who come after us." 
  --William Morris 


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From owner-h-costume@indra.com  Tue Apr 13 19:23:00 1999
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-Poster: Sue Shatto <Sue@VictorianMillinery.com>

Susannah,
	I have a large amount of very expensive charcoal grey wool.  I was going
to make a full length cape with it.  Let me know privately if you want me
to go measure, etc.


Cordially,

Sue Shatto

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

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From owner-h-costume@indra.com  Wed Apr 14 03:11:59 1999
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-Poster: "Lanae A. Parris" <lanaeparris@juno.com>

I am interested in patterns and boning. As I don''t have web access, I
would appreciate it if you would e-mail me when you post your items for
sale at: lanaeparris@juno.com.

Thanks,

Lanae Parris

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From owner-h-costume@indra.com  Wed Apr 14 09:01:35 1999
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Date: Wed, 14 Apr 1999 09:02:53 -0400
From: Melanie Wilson <MelanieWilson@compuserve.com>
Subject: H-COST: New UK Re-enactors Magazine
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-Poster: Melanie Wilson <MelanieWilson@compuserve.com>

Revival is a new 32 page glossy magazine , which will be issued quarterly
in the UK. I have a Agency for this mag & can do a yearly subscription for
12 pounds (four issues) including postage in the UK or US, if anyone is
interested, let me know.

Mel
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From: "Susannah Eanes" <oh_susannah@hotmail.com>
To: h-costume@indra.com
Subject: H-COST: Old Mercantile Stock
Date: Wed, 14 Apr 1999 06:26:27 PDT
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-Poster: "Susannah Eanes" <oh_susannah@hotmail.com>

Dear List,

The interest in this stuff has flooded my mailbox, as you can 
probably imagine.  Here is the poop:

Firstly, I cannot believe I typed "18th" instead of "19th" century, 
but I did, and that is an obvious mistake.  The stock dates c. 1890s 
- 1940s.  It includes several hundred pairs of unworn women's and 
children's shoes, incl. some very ornately beaded 20s pumps & early 
19th c. ladies boots, in mint condition, still in the boxes.  Wipe 
the drool off your chin, and keep reading.  Late 19th c. corsets, 
including some with nursing openings, are also there, in original 
boxes, unworn of course.  There are men's work clothing, mens & boys 
underwear, infants' and toddlers' dresses, millinery ribbon, lovely 
wood cabinets full of unsold silk thread, gloves, scarves, silk 
stockings, and other juicy stuff too numerous to mention.  We have 
had interested buyers call from several very large international 
auction houses, as well as many private collectors and owners of 
vintage clothing stores.

The stock has yet to undergo an inventory, we are still working out 
the details as to how that is to be done.  Consequently, I do not 
have prices on any particular items.  The owner is leaning toward 
selling it in (very) large lots, or the entire inventory to a broker 
or auction house.  He wants to be sure he is not left with the 
"dregs," so to speak.  During the inventory the most interesting & 
representative items will be photographed to be included in a packet 
describing in detail the inventory, incl. total numbers of items, 
that will be mailed to interested bidders.

If you are seriously interested, please send me your snail address.  
I will see that a packet is sent to you.  There is a strong 
possibility that I may bid on some of the items, and so if you are 
only interested in one or two items, you may e-mail me & let me know 
if you haven't already (I have a list of the people who have already 
e-mailed me & what they are interested in.)  If I win one of the 
bids, I will, of course, share!

Thanks for your interest,

Susannah





"We are only the trustees for those who come after us." 
  --William Morris 


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-Poster: Hilary Doda <vaqqa@ibm.net>

I'd like to thank everybody for your help.... armed with the company
information and some caffeine, I managed to talk a local shop into
ordering some for me. :) Now I know why I love this list....

Hilary Doda/Joane Steward


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

"Good drama is like Soylent Green - it's made of people."
                          - Steph Brochu
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From owner-h-costume@indra.com  Wed Apr 14 23:22:07 1999
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Date: Wed, 14 Apr 1999 23:30:40 -0400
To: h-costume@indra.com
From: Sue Shatto <Sue@VictorianMillinery.com>
Subject: Re: H-COST: Old Mercantile Stock
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-Poster: Sue Shatto <Sue@VictorianMillinery.com>

Suzannah,
	My intersets are shoes, corsets,millinery ribbon. Keep me in mind.



Cordially,

Sue Shatto

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

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From owner-h-costume@indra.com  Wed Apr 14 23:42:30 1999
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Date: Wed, 14 Apr 1999 22:51:01 -0400
Subject: Re: H-COST: 18th century dresses
To: h-costume@indra.com
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-Poster: snowfire@mail.snet.net

Thank you!

Elysant

On Tue, 13 Apr 1999, AlbertCat@aol.com wrote:
>
>-Poster: AlbertCat@aol.com
>
>In a message dated 4/13/99 1:18:02 AM Eastern Daylight Time, 
>snowfire@mail.snet.net writes:
>
><<  How were these dresses constructed?  of what 
> were they constructed usually, was it farthingales they had under them, 
> and were the dresses made in one piece or two? >>
>
>The "open robe" was the dress of choice. This means it was put on like a 
>robe...and closed in front. Due to the conical shape of the corset, the waist 
>would meet or nearly meet & the bust would have a wider space between the 
>front edges thus creating that characteristic "V" in front which was filled 
>in with a stomacher. Stomachers could be decorated quite elaborately. In the 
>1770s, you see bodices cut so they close all the way down the center front 
>with no stomacher. All the skirts were attached as the backs of the bodices 
>were usually cut in one with the skirt...IOW with no waist seam. [at the 
>beginning of the century, the fronts were cut in one as well] 
>
><<   I asked why, and the answer was 
>that the skirts were too heavy to support the bodices, and therefore had 
>to be separate.  I'd always thought they were one piece before this.  >>
>
>You were right. The "heavy" bit is a theatrical problem as very often 
>upholstery fabrics are now used. The real gowns were made of lighter stuff. 
>Indeed, the only reason I can find to hook & eye a skirt to the bodice of 
>just about any period, is if the skirt opens in back & the bodice opens in 
>front....even if the fabrics are heavy.  The "open robe" is open all the way 
>down the center front...to the hem, and a decorated, often matching petticoat 
>was worn under the robe to show at the open front. This would have been a 
>separate skirt but there's no need to attach it to the robe.
>
>Go rent "Dangerous Liaisons" and watch the opening credits closely. You will 
>see all of this as they dress Glenn Close. You will also see the "panniers" 
>[not farthingale] which hold the skirts out.
>
>
>
> _________________________________________________________________
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> with the message UNSUBSCRIBE H-COSTUME
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>
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From owner-h-costume@indra.com  Thu Apr 15 00:54:34 1999
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Date: Thu, 15 Apr 1999 00:48:20 -0400
From: Betsy Delaney <betsy@hawkeswood.com>
Organization: Hawkeswood Productions
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Subject: [Fwd: H-COST: Alter Years] Handle with asbestos mailreader...
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-Poster: Betsy Delaney <betsy@hawkeswood.com>

This is a multi-part message in MIME format.
--------------DA0FDDAC21C975C1FDE972C8
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Hi, all!

I have to apologize in advance for the following post, to anyone who is
unhappy with me for having done so. 

I know the owner of AlterYears quite well, and was very surprised to see
all the complaints posted on this list recently. I haven't ordered
anything from them recently, so I can't say whether or not service has
been bad, but I wanted Janet to be aware of what was being said about
her company.

I was especially concerned as I recommend using their services quite
often to my friends.

Janet asked me to forward her response, and this I am doing. Flames to
me, not the list, please!!! 

Thanks,

-betsy

--
Betsy R. Delaney
Webmistress at large
************************************************************************
             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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Date: Wed, 14 Apr 1999 21:44:18 -0700
From: Janet Wilson Anderson <janetanderson@earthlink.net>
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Betsy:

Thanks so much for forwarding the AlterYears gripes to me. I am not on
H-Costume at present,(I can barely keep up with my other mail)and so
don't see these.  If at all possible could you post the following to it
from me?   (and to any other forums that you see gripes on). Many thanks
if you can!!!

JanetWA
-----------------

To Those who have been kind enough to let us know they've had problems
with AlterYears...

MANY THANKS!!! Your feedback is invaluable to me.

I am the owner, and can only apologize profusely for the problems some
of you have had with us as of late. We have been going through some
difficult times due to the death of my husband - who not only was
co-founder, but also our VP of Operations. We are a relatively small
company and he left a VERY big hole. Some of our problems can be traced
to trying to figure out the systems he built for us and expand them to
deal with some increased volume. Things have gotten lost in transition,
and there's still some sorting out going on.

On the plus side, we have hired an additional staff member, who is
getting the orders pulled more rapidly and we are getting caught up with
our backlog. We are also trying to contact folks with old backorders as
we can, in and around the regular store and mailorder business.

As for the inventory stock-down, this is a rumor. It may have sprung
from the fact that we don't order during the last two weeks of the year,
right before we take inventory the first week of January. After we take
inventory, we start stocking back up.  

That is, if our suppliers cooperate!  One of our suppliers (for some of
our most popular patterns, naturally) moved, didn't tell us and left no
forwarding address. For three months we tried to track her down. Thanks
to an email contact, we finally did so and are SLOWWLY getting patterns
from her again, and filling backorders as the patterns trickle in.
Another of our suppliers had heart surgery. Another sold her business,
and the new owners are nearly impossible to deal with! A fourth lost her
printing company, when it went out of business.  These are the kind of
things that make for backorders!

Most of the companies we get our patterns from are one-man (or woman)
operations, and are not the supplier's main line of work. Producing
patterns and shipping to us are not always their highest priority. We do
try very hard to keep a decent stock position on best sellers, suppliers
permitting. But there are those times when 10 of you order the same
pattern in the same week - one which no one has wanted in the past nine
months....!

As for the failure to answer questions and return phone calls, I'm glad
to hear about it and will rattle some cages. We have been better in the
past about this sort of thing, and I intend us to return to that level
of service once more. 

Again, I appreciate hearing from our customers. We want to be your first
choice for historical and speciality patterns, supplies and accessories.
We will be trying to earn your trust again over the upcoming months. 
And if you don't get satisfaction with a problem after a couple of trys,
write me directly- Janet Wilson Anderson at AlterYears - and I'll see if
I can find out what's going on and get back to you.

Thank you for your support and patience.

Janet Wilson Anderson, owner
AlterYears


--------------DA0FDDAC21C975C1FDE972C8--

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From owner-h-costume@indra.com  Thu Apr 15 01:08:15 1999
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From: "Penny Ladnier" <s0peladn@pop.erols.com>
To: "fantasy" <f-costume@indra.com>
Subject: H-COST: More Articles Added
Date: Thu, 15 Apr 1999 01:17:41 -0400
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-Poster: "Penny Ladnier" <s0peladn@pop.erols.com>

I have added some more articles to my Vintage Ladies' Home Journal Website,
http://www.costumegallery.com/LHJ/Magazine.htm (this is the index to all the
issues.)  This time the articles are from June 1895 issue.

The articles on the site from the 1895 issue are:

***Mourning and Its Usage (this covers about every member of the family,
etiquette, fashions, fabrics, and stationary. BTW, the article states that
mourning jewelry is not fashionable at this date.)

***Designs in Crochet and Tatting (these are complete instructions on how to
make the designs.  If you know someone on this type of email list, please
past the URL on to them.)

***Just Among Ourselves (a letter to the editor, deals with what if an
Egyptian woman had to wear an 1895 corset...  ever heard of corset liver???
It is discussed in this letter.)

***Hints from the Dressmaker (this was a re-occuring advice column.  These
are different responses than the 1893 article.)

Good news for my Vintage Ladies' Home Journal Online Site ... a museum and a
private collector have offered their collections to place on the website.
So this site will be growing over time.

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




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From owner-h-costume@indra.com  Thu Apr 15 06:37:55 1999
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From: "TC Carstensen" <eccentri@sprynet.com>
To: <h-costume@indra.com>
Subject: Re: [Fwd: H-COST: Alter Years] Handle with asbestos mailreader...
Date: Thu, 15 Apr 1999 06:45:03 -0400
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-Poster: "TC Carstensen" <eccentri@sprynet.com>

  Betsy Delaney <betsy@hawkeswood.com> wrote:
>I have to apologize in advance for the following post, to anyone who is
>unhappy with me for having done so.

What's to apologize for?  I appreciated hearing Janet Wilson's explanation
about the problems.  After having gone through some long streaks of major
bad luck myself, I don't find it hard to believe that a lot of things beyond
her control all happened around the same time (bad luck seems to attract
more bad luck sometimes).  And it does sound like she is doing her darnedest
to correct the problems that are within her control.

Heck, I may send in an order now just as a show of support.  It's hard not
to take advantage of an excuse to buy patterns!  ;)


TC Carstensen

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From owner-h-costume@indra.com  Thu Apr 15 10:28:47 1999
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Date: Thu, 15 Apr 1999 10:22:02 -0400
From: Betsy Delaney <betsy@hawkeswood.com>
Organization: Hawkeswood Productions
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Subject: H-COST: TACKYCON 1999 Clarification (Please delete if not interested!)
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-Poster: Betsy Delaney <betsy@hawkeswood.com>

Sorry for the probable multiple posts and additional potential waste of
bandwidth (if you're not interested, just delete this message...)!

I guess I wasn't clear when I wrote the first message. All the Tackycon
1999 registration info is available on a web page attached to my web
site, located at:

	http://www.hawkeswood.com/tackycon/

If you don't have access to the web, and you'd like more info, please
send me email (mailto:tackycon@hawkeswood.com), and I'll fill you in.

A couple of people already have asked about the "registration fee." Yes,
I'm serious (if only because this way I can afford to a. Rent a room at
the hotel for one night, b. Have a barbecue at my house, and/or c.
Provide munchies to a bunch of wet, hungry costumers for the weekend!

The rates are: 	$20 per person 
		$10 per child under 12
		Under 6 is Free

There's a registration form on the web page, which has all the info I
need to accept your money.

Again, if you don't have web access (I know some of you don't), please
feel free to email me and I'll fill you in.

We now return you to your regularly scheduled discussion of whatever you
were discussing before this message.....

Thanks!

-betsy
--
Betsy R. Delaney
Webmistress at large
************************************************************************
             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
  (If you still have betsy@access.digex.net, change my address *NOW*!)
************************************************************************
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From: "David W. Rickman" <drickman@state.de.us>
Subject: H-COST: Gold Rush items
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-Poster: "David W. Rickman" <drickman@state.de.us>

Hello,

Regarding Margo's questions about early Levis, Mr. Shep has given her 
good advice about contacting the librarian at Levi Strauss. However, about the 

use of brown tent cloth for the originals, if that is what the originals were 
made from, then the fabric referred to was simply unbleached cotton duck, the 
kind of stuff you can buy for oil painting canvases. The Dick Blick catalogue 
I have has 11 oz. "wagon-cover" grade canvas, unprimed, for $5.95 a yard 
(36-inch wide) up to $14.99 a yard (84-inch wide). If that is not heavy enough 

for you, they even have 14 oz. canvas, which is pretty sturdy stuff. 

I would recommend that Margo be careful about trying to adapt 1870's levis to 
1850's wear. Check the cut. By the 1870's, trousers were lower in the waist, 
tighter in the rear and leg than in the 1840's - '50's. Unless these 1870's 
levis retained a "retro" cut, you might be better off copying a pair of Gold 
Rush era trousers and making them up in canvas. I have studied a pair of 
brown-
dyed, fly-front linen trousers in the Old Sturbridge Village collection that I 
think probably 
resemble work trousers of the period. I show these in my Sutter's Fort Costume 

Manual. If you talk with Jim Miller about his Gold Rush miner wool overshirt, 
you might ask his advice for copying men's trousers for this period. The blue 
wool pair
I saw him in at Columbia were very good indeed.

Margo also asked about embroidered wool shirts for the Gold Rush.  These 
appear in 
any number of books on early photography. However, the source I have at hand 
is John 
Adams Graf "In Rags for Riches: A Daguerrian Survey of Forty-Niner's Clothing" 
Dress 
(The Annual Journal of the Costume Society of America) vol. 22, 1995, p. 64, 
figs. 13 and 
14. Both of these pictures show the wool work shirt modified to look like a 
dress
coat or jacket. One has a velvet collar with checked cloth lining to the 
lapels. Both have the 
overshirt's lapels spread out and pressed down so they look like a coat. I 
emphasize this
because it is important to remember that embroidered shirts were for dress 
wear only. I 
have never seen them in a work context. I also mentioned the shirts covered 
with little
figures of men, crossed picks and shovels, etc. On closer examination the 
other
day, I realized that these were not embroidered but were resist-dyed. The 
white figures
were blocked out with resist on the fabric, which was then dyed. When the 
resist is 
removed, you have white figures on probably red or blue fabric. What makes it 
clear 
that these are patterned cloth rather than embroidery is that the figures 
often appear upside-
down on parts of the shirt (i.e. they will be rightside up on the bodice and 
upside down on 
the sleeve). This also indicates that they were mass-produced "ready-made" 
garments, 
intended for a certain market. One of the photos shows a wool shirt with 
figures of anchors
on it. My guess is that shirts of this particular pattern were originally 
meant for sailors, but ended
up in the Gold Rush because the market there was so desperate for clothes that 
they would have
absorbed anything. To see these resist-dyed shirts, look at Drew Heath Johnson 
and Marcia
Eymann _Silver & Gold: Cased Images of the California Gold Rush_ (University 
of Iowa Press 
and the Oakland Museum, 1998), pp. 3, 88.

David Rickman
drickman@state.de.us
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From owner-h-costume@indra.com  Thu Apr 15 10:50:44 1999
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From: Betsy Delaney <betsy@hawkeswood.com>
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-Poster: Betsy Delaney <betsy@hawkeswood.com>

Hi, all!

About my apology:

I'm on other lists (big surprise) and on one of them there was quite a
fuss made when someone took complaints published to the list to the
owner of the company. I was avoiding a possible flame war on this list.
Glad to know I'm dealing with reasonable people!

That said, I've ordered patterns in the past from AlterYears, and while
I looked at the Amazon Drygoods catalogue, and they do carry a slightly
different stock of other items, Janet's prices appear to be slightly
better than AD's.

And the AlterYears catalogue has been real handy for giving newbies who
come to my sewing circles a chance to see what's available in patterns.

Now, at last, a question...

Have you made a bustle dress? Which pattern did you use, and would you
recommend it again? (Pattern source could be either purchased tissue or
book. I've got lots of reference material, but no clear idea of what to
choose.)

I bought a bustle from AY back at Costume-Con 12, and I have an itch to
use it for some fantasy fabric I bought on spec a couple of years ago.

(Looking for the right silhouette, even if the wrong fabric... I'm like
that a lot.)

Gonna try one of those Corsets & Crinolines corsets with the project, if
I can get my dressform right. (Remember that discussion about Duct Tape
Doubles? Mine's not right after all. Think I'm gonna make a cover out of
it, and fit it properly, and stuff *it* with the stuffing instead of the
original. Maybe that way it will work right!)

Thanks!

-betsy

--
Betsy R. Delaney
Webmistress at large
************************************************************************
             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
  (If you still have betsy@access.digex.net, change my address *NOW*!)
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From owner-h-costume@indra.com  Thu Apr 15 10:57:29 1999
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-Poster: Betsy Delaney <betsy@hawkeswood.com>

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Forwarded as requested! (Thanks, Ann!)

-betsy
--
Betsy R. Delaney
Webmistress at large
************************************************************************
             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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Please forward this, or summarize it, if you wish.
Thanks you for giving us AlterYears' response.  I just wanted you to know 
that I expressed my distress directly with them, not just to the list, or I 
tried to.  They may never have received my communication, because I found 
that the e-mail address listed on their website was no longer current.  I 
understand that dealing with the small pattern companies can be very 
frustrating.  As I said to them, the most frustrating thing was the total 
lack of communication.  I never did hear from my last fax asking to cancel my 
order, I guess because, by then, my merchandise was finally on its way--but, 
as it took two weeks for me to get it, a quick, "We have sent your 
merchandise" would have been nice.
For those of us interested in this field, there just are not that many 
choices to order from.  I hope that AlterYears can continue to be one of the 
names we can trust.  (Nobody on the list has mentioned Harper House, but I 
gave up on them two years ago when I found their service, or lack of it, to 
be totally incomprehensible.)
Anyway, please relay the message that I, for one, will not give up just yet.
Ann Wass



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From owner-h-costume@indra.com  Thu Apr 15 13:16:49 1999
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From: Margo Anderson <margo@directcon.net>
Subject: Re: H-COST: Gold Rush items
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-Poster: Margo Anderson <margo@directcon.net>

David,   thank you very much for all the great information.  I can see that
this is a subject I'll be studying for a LONG time.

 I'm finding Gold Rush costume to be fascinating and infuriating.  Every
diary I read contradicts the one I read before it!  For example, one diarist
describes going to a dance and says that the ladies attending wore calico
dresses, men's boots and a ribbon if they were lucky.  Another diarist,
writing about a dance the same year in a mining town the same size and 20
miles away,  describes ladies wearing elaborate toilettes with short sleeves
and low necks, and changing their gowns two and three times during the
evening!  



>
>I would recommend that Margo be careful about trying to adapt 1870's levis to 
>1850's wear. Check the cut. By the 1870's, trousers were lower in the waist, 
>tighter in the rear and leg than in the 1840's - '50's. Unless these 1870's 
>levis retained a "retro" cut, you might be better off copying a pair of Gold 
>Rush era trousers and making them up in canvas.

Since Levi Strauss lost their early records in the '06 fire and quake, they
don't have the original patterns.  Here's what the people at Hamilton Dry
goods have to say about their product, which can be seen at:
http://www.hamiltondrygoods.com/old73s.html:  

>The reproduction Levis that we make are made exactly like an old pair of
>Levis that we own which were found in an old mining camp in Nevada --  The
>Levi Strauss Museum has dated them at 1880's -- They are the oldest known
>surviving pair.
>
>We make these in the same denim fabric used in the originals --  These are
>as close as you will ever get to the originals and are appropriate for
>1850 -  The blue denim would have been used at that time  --  We also make
>them in other colors of denim. (brown, etc.)

and then, in answer to further questions:

>As to some of your questions:
>
>1873 is the date on the rivets  --  We will make the pants without rivets or
>back pockets.
>
>All Levis were machine sewn  --  Clothing was being made in factories with
>sewing machines back to 1830's
>
>We do the pants in both brown and blue denim
>
>The original pants were found by the son of a friend of ours in an old
>mining camp in Nevada  --  The friend gave them to us, because of our
>interest in reproducing period clothing.
>
>The pants have been featured on a segment of "Hunt for Amazing Treasures"
>on Learning Channel just this past week.
>

So, what does everyone think?  My own guess, looking at the picture, is that
they are too tight in the rear for 1850's.  Opinions, please?

BTW, this may all end up being moot anyway.  It turns out that the park
where my husband and I will be docenting wants the docents to dress
appropriately for the different buildings, some of which are later period
than goldrush.  This includes the blacksmith shop where my husband will be
working, which is turn of the century.  He may end up wearing the 1880's
Levis after all, and looking old fashioned. 

This policy seems hard on the docents,  either asking them to make several
different costumes or limit themselves to one area, but, one the other hand,
it means I'll finally have an excuse to make a bustle dress.  Whee!

Margo

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From owner-h-costume@indra.com  Thu Apr 15 13:45:57 1999
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From: "Ella Lynoure Rajamaki" <lynoure@tuug.org>
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-Poster: "Ella Lynoure Rajamaki" <lynoure@tuug.org>


I just got Jean Hunnisett's Period Costume for Stage and 
Screen 1800-1909. I haven't had much time to spend on 
reading it yet, but I already have one question:

On page 25 there are instructions how one should lace over 
each side separately if the corset has handmade eyelets 
instead of metal ones. What is the purpose of this? It might be 
done to stretch the eyelets and to keep them open better.  Is it 
an authentic thing to do?


--
-------(c) 1999--------------*        lynoure@tuug.org      *
Ella Lynoure Rajamaki--------* http://www.tuug.org/~lynoure *
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From owner-h-costume@indra.com  Thu Apr 15 15:12:35 1999
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From: "Vickers, Jill" <jvickers@TELESENSORY.com>
To: "'h-costume@indra.com'" <h-costume@indra.com>
Subject: RE: [Fwd: H-COST: Alter Years] Handle with asbestos mailreader...
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-Poster: "Vickers, Jill" <jvickers@TELESENSORY.com>

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My mom placed an order for several patterns a few weeks ago (even after I
warned her about the problems other folks were having)and she got them all
within a week or so.  I think that perhaps as Betsy said below Alter Years
is making a comeback and it may be worth giving them another shot.

-Jill

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

	-Poster: "TC Carstensen" <eccentri@sprynet.com>

	  Betsy Delaney <betsy@hawkeswood.com> wrote:
	>I have to apologize in advance for the following post, to anyone
who is
	>unhappy with me for having done so.

	What's to apologize for?  I appreciated hearing Janet Wilson's
explanation
	about the problems.  After having gone through some long streaks of
major
	bad luck myself, I don't find it hard to believe that a lot of
things beyond
	her control all happened around the same time (bad luck seems to
attract
	more bad luck sometimes).  And it does sound like she is doing her
darnedest
	to correct the problems that are within her control.

	Heck, I may send in an order now just as a show of support.  It's
hard not
	to take advantage of an excuse to buy patterns!  ;)


	TC Carstensen

	

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<META NAME=3D"Generator" CONTENT=3D"MS Exchange Server version =
5.0.1460.9">
<TITLE>RE: [Fwd: H-COST: Alter Years] Handle with asbestos =
mailreader...</TITLE>
</HEAD>
<BODY>
<BR>

<P><FONT SIZE=3D2 FACE=3D"Arial">My mom placed an order for several =
patterns a few weeks ago (even after I warned her about the problems =
other folks were having)and she got them all within a week or so.&nbsp; =
I think that perhaps as Betsy said below Alter Years is making a =
comeback and it may be worth giving them another shot.</FONT></P>

<P><FONT SIZE=3D2 FACE=3D"Arial">-Jill</FONT>
</P>
<UL>
<P><A NAME=3D"_MailData"><FONT SIZE=3D2 FACE=3D"Arial">-----Original =
Message-----</FONT></A>
</P>

<P><FONT COLOR=3D"#000000" SIZE=3D2 FACE=3D"Arial">-Poster: &quot;TC =
Carstensen&quot; &lt;eccentri@sprynet.com&gt;</FONT>
</P>

<P><FONT COLOR=3D"#000000" SIZE=3D2 FACE=3D"Arial">&nbsp; Betsy Delaney =
&lt;betsy@hawkeswood.com&gt; wrote:</FONT>
<BR><FONT COLOR=3D"#000000" SIZE=3D2 FACE=3D"Arial">&gt;I have to =
apologize in advance for the following post, to anyone who is</FONT>
<BR><FONT COLOR=3D"#000000" SIZE=3D2 FACE=3D"Arial">&gt;unhappy with me =
for having done so.</FONT>
</P>

<P><FONT COLOR=3D"#000000" SIZE=3D2 FACE=3D"Arial">What's to apologize =
for?&nbsp; I appreciated hearing Janet Wilson's explanation</FONT>
<BR><FONT COLOR=3D"#000000" SIZE=3D2 FACE=3D"Arial">about the =
problems.&nbsp; After having gone through some long streaks of =
major</FONT>
<BR><FONT COLOR=3D"#000000" SIZE=3D2 FACE=3D"Arial">bad luck myself, I =
don't find it hard to believe that a lot of things beyond</FONT>
<BR><FONT COLOR=3D"#000000" SIZE=3D2 FACE=3D"Arial">her control all =
happened around the same time (bad luck seems to attract</FONT>
<BR><FONT COLOR=3D"#000000" SIZE=3D2 FACE=3D"Arial">more bad luck =
sometimes).&nbsp; And it does sound like she is doing her =
darnedest</FONT>
<BR><FONT COLOR=3D"#000000" SIZE=3D2 FACE=3D"Arial">to correct the =
problems that are within her control.</FONT>
</P>

<P><FONT COLOR=3D"#000000" SIZE=3D2 FACE=3D"Arial">Heck, I may send in =
an order now just as a show of support.&nbsp; It's hard not</FONT>
<BR><FONT COLOR=3D"#000000" SIZE=3D2 FACE=3D"Arial">to take advantage =
of an excuse to buy patterns!&nbsp; ;)</FONT>
</P>
<BR>

<P><FONT COLOR=3D"#000000" SIZE=3D2 FACE=3D"Arial">TC Carstensen</FONT>
</P>

<P>
</P>
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From owner-h-costume@indra.com  Thu Apr 15 16:26:29 1999
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From: Merouda the True of Bornover <keltia@serv.net>
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-Poster: Merouda the True of Bornover <keltia@serv.net>

> On page 25 there are instructions how one should lace over
> each side separately if the corset has handmade eyelets
> instead of metal ones. What is the purpose of this?

I don't understand the sentence exactly, but what I think you're
saying is that one should lace one tier at a time and not just pull
the lacings from the top to get tight.  This later method *is* hard on
eyelets and even harder on buttonhole stitched eyelets.  The lacing
rubs against the ridge formed by the buttonhole stitch and wears it
out quicker than a simple whip stitched eyelet.

Hope that was helpful,
Cynthia
--
Cynthia Long
Merouda the True of Bornover
Barony of Madrone
Kingdom of An Tir


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From owner-h-costume@indra.com  Thu Apr 15 16:55:30 1999
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From: "Ella Lynoure Rajamaki" <lynoure@tuug.org>
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Subject: Re: H-COST: lacing through handmade eyelets
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-Poster: "Ella Lynoure Rajamaki" <lynoure@tuug.org>

On 15 Apr 99, at 13:22, Merouda the True of Bornover wrote:


> I don't understand the sentence exactly, but what I think you're
> saying is that one should lace one tier at a time and not just pull
> the lacings from the top to get tight.  

No, that's not it. It's really hard to explain it without a picture 
and I'm not skilled enough with ascii art to make one. That's 
why I mentioned the page number.
It's not really lacing the corset together at all, but lacing 
through the eyelets and over the edge on each side 
separately. I suppose the normal lacing would go over this 
afterwards.


> This later method *is* hard on
> eyelets and even harder on buttonhole stitched eyelets.  The lacing
> rubs against the ridge formed by the buttonhole stitch and wears it
> out quicker than a simple whip stitched eyelet.

But you might have a lead there. The (under-)lacing might be 
done to smooth the ridge and protect it when this is done!


--
-------(c) 1999--------------*        lynoure@tuug.org      *
Ella Lynoure Rajamaki--------* http://www.tuug.org/~lynoure *
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From owner-h-costume@indra.com  Thu Apr 15 18:01:58 1999
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-Poster: Merouda the True of Bornover <keltia@serv.net>

> It's not really lacing the corset together at all, but lacing
> through the eyelets and over the edge on each side
> separately. I suppose the normal lacing would go over this
> afterwards.

Okay, I think I get it.  And yes, I would think it would keep the eyelet,
especially 2 pieced grommet eyelets, from pulling through to the edge.

> But you might have a lead there. The (under-)lacing might be
> done to smooth the ridge and protect it when this is done!

Yes, I see it!  :)  Cynthia

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


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From owner-h-costume@indra.com  Thu Apr 15 18:02:13 1999
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-Poster: Margo Anderson <margo@directcon.net>


>I just got Jean Hunnisett's Period Costume for Stage and 
>Screen 1800-1909. I haven't had much time to spend on 
>reading it yet, but I already have one question:
>
>On page 25 there are instructions how one should lace over 
>each side separately if the corset has handmade eyelets 
>instead of metal ones. What is the purpose of this? It might be 
>done to stretch the eyelets and to keep them open better.  Is it 
>an authentic thing to do?

How strange, I just turned on the computer to ask about that very same
thing!  (insert Twilight Zone music)

I don't quite understand how this is supposed to work.  There's a picture
that shows the lace sort of wrapped over the edge.  Are the the laces
supposed to loop around each other, or what?

Margo

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From owner-h-costume@indra.com  Thu Apr 15 19:34:59 1999
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Date: Thu, 15 Apr 1999 18:26:13 -0500
To: h-costume@indra.com
From: "J,K,S&A Baird" <baird@rrnet.com>
Subject: H-COST: bustle dress
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-Poster: "J,K,S&A Baird" <baird@rrnet.com>

I have made one bustle dress. I made the pattern from Patterns of Fashion
1860-1940, Janet Arnold. I did modify the skirt somewhat.
It turned out great--it's worn by a very thin 17 year old.
The only thing that gave me any troublewas the cartirdge pleating at the
back of the skirt--since I didn't know what cartridge pleats were (now I do).

Kim

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From owner-h-costume@indra.com  Thu Apr 15 22:07:50 1999
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From: "Penny Ladnier" <s0peladn@pop.erols.com>
To: "h-costume" <h-costume@indra.com>
Subject: H-COST: Hong Kong Trend Research
Date: Thu, 15 Apr 1999 22:16:40 -0400
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-Poster: "Penny Ladnier" <s0peladn@pop.erols.com>

You all are always in need of academic research that is being performed... I
just found some online at the Hong Kong Polytechnic University, Institute of
Clothing and Textiles' website, http://www.itc.polyu.edu.hk/aoepress.htm
This is a study they are conducting about blue jeans and the Chinese people.
This study does involve the product development stages... They discuss are
the dye stuffs, weight of textile, etc.  You do have to read through the
"academic bull" before you get to the heart of the research.  This is one
that you want to print and read when you have time.

Gee, those stone washed jeans are really STONE washed.

Later...Penny

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From owner-h-costume@indra.com  Thu Apr 15 23:18:06 1999
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From: "Megan McHugh" <mchug@mindspring.com>
To: <h-costume@indra.com>
Subject: Re: H-COST: silk stockings
Date: Thu, 15 Apr 1999 22:35:04 -0400
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-Poster: "Megan McHugh" <mchug@mindspring.com>

I am interested in a corset  or two, as well as possibly stockings.  I
currently wear about a size 20, if that helps.  Let me know when you have
any info.  Thanks for letting us know.
-----Original Message-----
From: Susannah Eanes <oh_susannah@hotmail.com>
To: h-costume@indra.com <h-costume@indra.com>
Date: Monday, April 12, 1999 10:28 AM
Subject: Re: H-COST: silk stockings


>
>-Poster: "Susannah Eanes" <oh_susannah@hotmail.com>
>
>I have access to the inventory of an old store that contains, among
>other wonderful things, original late 18th - early 19th c. silk
>stockings & corsets in their original boxes.  I don't know how they
>have stood up to the decades of being stored away in an
>unheated/uncooled store attic warehouse, but they sure look & feel
>pretty good to me.  The owner is currently assessing these items for
>sale either in lots or as one whole.  If anyone is interested in
>finding out more, please e-mail me privately.
>
>
>>From: AnnBWass@aol.com
>>Reply-To: h-costume@indra.com
>>To: h-costume@indra.com
>>Subject: H-COST: silk stockings
>>Date: Sun, 11 Apr 1999 17:20:00 EDT
>>
>>
>>-Poster: AnnBWass@aol.com
>>
>>Can anyone on the list recommend a source for silk or silk blend
>stockings
>>for women?  I tried the Wintersilks Company, but they,
>understandably were
>>sold out of the stockings (I guess they are truly a winter product.)
>>Thanks.
>>Ann Wass
>>annbwass@aol.com
>> _________________________________________________________________
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>> with the message UNSUBSCRIBE H-COSTUME
>>
>
>
>_______________________________________________________________
>Get Free Email and Do More On The Web. Visit http://www.msn.com
> _________________________________________________________________
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> with the message UNSUBSCRIBE H-COSTUME

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From: Gothic Splendour <mercury@eagle.ca>
Subject: H-COST: Shirred Chiffon Bodice 1950's Ballgown
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-Poster: Gothic Splendour <mercury@eagle.ca>

Hi-

I'm working on a ballgown for a fashion show which is based on a the look of
a 1950's ballgown. I'm planning a fitted bodice over a separate, very full
tulle skirt. I have a few questions about the decoration of the bodice & was
wondering if some of you might be able to give me an idea of how to approach
it.  I've constructed a base for the bodice, it is very fitted with a bowed
top edge (shaped like the top of a heart with a dip in the middle), it will
be fully boned, it has a V point along the bottom front edge dipping about 3
" below the waist. 

 I've bought some beautiful chiffon & want to shirr it in the sort of
cross-your-heart style (it should sort of look like a wrap top over the
bust)on the bodice.  What I'm not sure about is - should the chiffon be cut
on the bias? what general shape should the piece of chiffon be (I know I'll
have to do some draping but need to have a starting point). I would really
like to have the two pieces of chiffon (each covering a breast) come from
the side seams to the centre front, then twist around each other & continue
back to the sides.  On the original 50's dresses where were the openings? at
the centre back? or at one side? I would like to be able to hide the closure
as much as possible. Also, would it look better to gather the chiffon or
pintuck it along the edges of the bodice?

As for the tulle skirt, I want it to be very full. Did they tier the layers
on the underside (maybe to an inner lining skirt?) on those big puffy skirts
or did all of the tulle get gathered into the waistband? I have 14 yards of
the double width tulle. Did they wear a crinoline underneath the skirt to
make it stand out even more? I keep picturing the glorious canary yellow
tulle dress w/ the feather covered bodice that Galliano did a few years ago,
it seemed so ethereal & floaty.

I'm looking forward to any insight you may have!
Thanks

Elizabeth

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From owner-h-costume@indra.com  Thu Apr 15 23:54:03 1999
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From: seamstrix@juno.com
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To: h-costume@indra.com
Cc: f-costume@indra.com
Date: Thu, 15 Apr 1999 22:47:38 -0500
Subject: H-COST: Fabric pattern question
Message-ID: <19990415.224740.-424531.0.seamstrix@juno.com>
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-Poster: seamstrix@juno.com

Hello Ladies and Gentlemen,

I have a question about woven fabric patterns during the last half of the
18th century. Was houndstooth available during this time? Was it
fashionable? I have found some terrific dark red and black houndstooth
wool which I think is just screaming to be made into a late 18th century
riding habit. I don't know if that particular pattern would be correct.
It's okay if it's a bit on the masculine side, it's a riding habit after
all, I just want to know if it would be appropriate for the period.

Karen 
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From owner-h-costume@indra.com  Fri Apr 16 06:08:06 1999
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From: Broneske <unicorn@softcom.net>
To: "'h-costume@indra.com'" <h-costume@indra.com>
Subject: RE: H-COST: Gold Rush items
Date: Thu, 15 Apr 1999 09:57:28 -0700
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-Poster: Broneske <unicorn@softcom.net>


------ =_NextPart_000_01BE8726.61E42040
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A couple of years ago, I attended a workshop at the Eagle Theater in Old =
Sacramento which was put on by a husband and wife team called "Chile N' =
Crackers".  They had patterns that they had taken from actual garments =
for a woman's workdress, man's bib-front shirt, trousers with front =
flap, a women's corded petticoat, a calash and a couple of house caps.  =
The woman also made beautiful reproduction calico buttons.  They used to =
have a web site, but I couldn't find it again.  These items were billed =
as "Gold Rush Era"

The buttons are sold through Past Patterns =
(http://www.thepoint.net/~pastpat/button.html)

I do have the address for Chile N' Crackers, it is P.O. Box 442, =
Columbia, CA 95310.  Phone is 209-588-9513

I have made the corded petticoat and the workdress (It is called =
Isabella's Workdress) and I thought they were quite easy to make and =
came out quite well.  The workdress may have to be altered a bit for =
different bodies.  I bought the small, which is supposed to fit sizes =
10-12 and it fits me pretty good, except I needed to take in the waist =
(especially if you are planning to wear a corset underneath).  It is a =
basic round dress (?) I think and buttons up the front.  It has deep =
pockets in each side and it has long, slightly puffed sleeves with cuffs =
that button. (closer to late 1830s).

Margo, I see that you are in the Tahoe area, not too far from me.  I am =
in Roseville.  Have you been to any of the events in Old Sacramento?  I =
was an active member of the Old Sacramento Living History Center for a =
while and also of the Railroad Museum's Living History program, but have =
since dropped out for a while due to things in my personal life, but I =
do know that they have events from time to time.  I also understand that =
they will again be doing the "Gold Rush Tent Town" by the Eagle Theater =
on Labor Day weekend.  They also have a yearly "Easter Bonnet Parade" =
which they held a couple of weekends ago.  I didn't attend this year, so =
I don't know how it went but it used to be a lot of fun.

Joan Broneske
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From owner-h-costume@indra.com  Fri Apr 16 09:28:58 1999
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Subject: Re: H-COST: Shirred Chiffon Bodice 1950's Ballgown
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-Poster: Merlyncc@aol.com

I had a similar blue ballgown in the 50's - that really dates me!  I didn't 
make it, but I remember it well.  The bodice was straight at the bottom, not 
pointed, but pointed ones were fashionable also.  It was joined to the skirt 
at the waist and had a side zipper.  It had rows of ruffles under the outer 
two layers, attached to a taffeta petticoat.  If the petticoat wasn't 
circular, it was at least very full gored (to reduce waistline bulk).   And 
yes, I wore a crinoline petticoat under it.

My bodice was shirred tulle similar to your description, except it didn't 
cross and continue.  As I remember it, it was shirred tightly at center front 
and sideseams, not pleated.  The shape was probably closest to two rounded 
diamond shapes, not too narrow at center front or sides.  I had another 
yellow one that appeared to be straight, with more shirring at sides and 
center and just spread more over the bust.

Good luck!  That really brings back prom memories!

Priscilla Schmitz
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From owner-h-costume@indra.com  Fri Apr 16 10:01:39 1999
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From: "Susannah Eanes" <oh_susannah@hotmail.com>
To: h-costume@indra.com
Subject: Re: H-COST: Corset Survey: Before/After?
Date: Fri, 16 Apr 1999 07:09:34 PDT
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-Poster: "Susannah Eanes" <oh_susannah@hotmail.com>

Hello all,

I now have 14 responses, plus my own to add to the compilation, and 
so I will be compiling them this weekend and post the results early 
next week.  Thanks to all who responded.

Regards,

Susannah

see original post below (for those of you who missed it)

>>
>>-Poster: "Susannah Eanes" <oh_susannah@hotmail.com>
>>
>>
>>Kind readers of the list,
>>
>>A conversation off-list got me curious about something, so I 
thought 
>I 
>>would try to compile a private survey based on modern women who are 
>used 
>>to corseting on a pretty regular basis --say at the very minimum, 
at 
>>least three or more times a month for at least four to five or more 
>>hours at a time.
>>
>>If you are interested in participating, please e-mail me privately 
>with 
>>the following information:
>>
>>Your age range --teens, 20s, 30s, 40s, 50s, 60s, 70s and older
>>Your time period --1500s, 1600s, 1700s, 1800s, 1900s
>>Your modern-day size range --Junior/Petite, Medium/Reg. Misses 
incl. 
>>Tall, or Queen  
>>Your build --small, medium, or large-boned 
>>Your overall muscle tone --soft, medium, or firmly toned
>>Your before corseting waist measurement standing erect with good 
>posture 
>>but muscles relaxed (not holding that tummy in!) measured on bare 
>skin
>>Your after corseting waist measurement standing, laced comfortably 
>for 
>>normal activities (not to get into that ball gown!) measured over 
>the 
>>corset
>>
>>I will compile the numbers I get and post the results.  The premise 
>is, 
>>that smaller, more firmly toned people cannot corset down and 
>compress 
>>the flesh as much as larger people with softer flesh, so they end 
up 
>>with less of a difference between their before and after corset 
>>measurements than larger people, who can usually have greater 
>>differences before and after corset measurement.
>>I forgot where I read this and wanted to try and see if it holds up 
>in 
>>practice.
>>
>>Thanks for your willingness to participate!
>>
>>Susannah Eanes
>>The Tailor's Measure
>>
>>"We are only the trustees for those who come after us."  --William 
>>Morris
>>Get Your Private, Free Email at http://www.hotmail.com
>> _________________________________________________________________
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>> with the message UNSUBSCRIBE H-COSTUME
>>
>
>
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From owner-h-costume@indra.com  Fri Apr 16 10:07:33 1999
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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: Shirred Chiffon Bodice 1950's Ballgown
Date: Fri, 16 Apr 1999 10:03:55 -0400
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

Regarding the bodice, experimental draping should resolve
the "look" issues.  Gathered was typical for those
cross-your heart styles, but tiny pleats are not out of the
question, especially if you are large busted and don't need
the volume produced by the gathering and twisting of the
fabric.  Little pleats were more typical around the waist
where a slender line was required.  My guess is that the
draping was typically cut on the grain, as bias-cut material
would tend to stretch and droop over time. The 50's was a
time of crispness, and firmly structured underpinnings,
pertness---droopy was considered quite old-fashioned, as it
hearkened back to 30's evening wear.  I remember thrift
stores being full of the droopy 30's evening wear in the
50's.  I think people may have made do with it through the
forties, or kept it in the closet hoping it would come back,
but in the fifties, it finally hit the rag bag, as it was
just all wrong for the spirit of the decade, which placed an
emphasis on new-ness.  The closure was either side zipper,
snaps, or hooks and eyes, OR center back zipper, with a hook
and eye at the top of the closure.

For the skirt, tulle is too soft to achieve the structural
support the big skirt needs.  Taffeta and nylon net are  the
right materials for the supporting petticoats.  Tulle or
chiffon would be appropriate for the visible skirt.
Typically, the petticoat would be taffeta on the part next
to your skin, with three rows of overlapping gathered nylon
net flounces sewed onto the surface of it.  All of that
could be sewed into the dress permanently or alternatively
made into a separate slip or half-slip to wear with
different dresses.  Nylon tricot to taffeta would be
appropriate for the bodice of the slip.  The petticoat/slip
waist was often a little below the actual waist in order to
achieve a smooth fit at the waist for those dipping front
points on bodices.  The taffeta was typically nylon for most
of us, but on couture wear it was probably silk.

Hope H. Dunlap

-----Original Message-----
From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
Behalf Of Gothic Splendour
Sent: Thursday, April 15, 1999 11:33 PM
To: h-costume@indra.com
Subject: H-COST: Shirred Chiffon Bodice 1950's Ballgown



-Poster: Gothic Splendour <mercury@eagle.ca>

Hi-

I'm working on a ballgown for a fashion show which is based
on a the look of
a 1950's ballgown. I'm planning a fitted bodice over a
separate, very full
tulle skirt. I have a few questions about the decoration of
the bodice & was
wondering if some of you might be able to give me an idea of
how to approach
it.  I've constructed a base for the bodice, it is very
fitted with a bowed
top edge (shaped like the top of a heart with a dip in the
middle), it will
be fully boned, it has a V point along the bottom front edge
dipping about 3
" below the waist.

 I've bought some beautiful chiffon & want to shirr it in
the sort of
cross-your-heart style (it should sort of look like a wrap
top over the
bust)on the bodice.  What I'm not sure about is - should the
chiffon be cut
on the bias? what general shape should the piece of chiffon
be (I know I'll
have to do some draping but need to have a starting point).
I would really
like to have the two pieces of chiffon (each covering a
breast) come from
the side seams to the centre front, then twist around each
other & continue
back to the sides.  On the original 50's dresses where were
the openings? at
the centre back? or at one side? I would like to be able to
hide the closure
as much as possible. Also, would it look better to gather
the chiffon or
pintuck it along the edges of the bodice?

As for the tulle skirt, I want it to be very full. Did they
tier the layers
on the underside (maybe to an inner lining skirt?) on those
big puffy skirts
or did all of the tulle get gathered into the waistband? I
have 14 yards of
the double width tulle. Did they wear a crinoline underneath
the skirt to
make it stand out even more? I keep picturing the glorious
canary yellow
tulle dress w/ the feather covered bodice that Galliano did
a few years ago,
it seemed so ethereal & floaty.

I'm looking forward to any insight you may have!
Thanks

Elizabeth


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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: Shirred Chiffon Bodice 1950's Ballgown
Date: Fri, 16 Apr 1999 10:32:56 -0400
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

Yes, the taffeta underskirt was often shaped to fit the
waist without gathers to minimize bulk and to work with
those low waisted dresses which were popular then.  The
gathered flounces typically started a little lower than the
waist on petticoats which were meant to be worn with a
variety of dresses.  That style would accommodate a low
waisted dress or a regular waisted dress.  I don't know if
this was general or just common.  My mother always selected
such a style for me because of its versatility.

Hope H. Dunlap

-----Original Message-----
From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
Behalf Of Hope H. Dunlap
Sent: Friday, April 16, 1999 10:04 AM
To: h-costume@indra.com
Subject: RE: H-COST: Shirred Chiffon Bodice 1950's Ballgown



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

Regarding the bodice, experimental draping should resolve
the "look" issues.  Gathered was typical for those
cross-your heart styles, but tiny pleats are not out of the
question, especially if you are large busted and don't need
the volume produced by the gathering and twisting of the
fabric.  Little pleats were more typical around the waist
where a slender line was required.  My guess is that the
draping was typically cut on the grain, as bias-cut material
would tend to stretch and droop over time. The 50's was a
time of crispness, and firmly structured underpinnings,
pertness---droopy was considered quite old-fashioned, as it
hearkened back to 30's evening wear.  I remember thrift
stores being full of the droopy 30's evening wear in the
50's.  I think people may have made do with it through the
forties, or kept it in the closet hoping it would come back,
but in the fifties, it finally hit the rag bag, as it was
just all wrong for the spirit of the decade, which placed an
emphasis on new-ness.  The closure was either side zipper,
snaps, or hooks and eyes, OR center back zipper, with a hook
and eye at the top of the closure.

For the skirt, tulle is too soft to achieve the structural
support the big skirt needs.  Taffeta and nylon net are  the
right materials for the supporting petticoats.  Tulle or
chiffon would be appropriate for the visible skirt.
Typically, the petticoat would be taffeta on the part next
to your skin, with three rows of overlapping gathered nylon
net flounces sewed onto the surface of it.  All of that
could be sewed into the dress permanently or alternatively
made into a separate slip or half-slip to wear with
different dresses.  Nylon tricot to taffeta would be
appropriate for the bodice of the slip.  The petticoat/slip
waist was often a little below the actual waist in order to
achieve a smooth fit at the waist for those dipping front
points on bodices.  The taffeta was typically nylon for most
of us, but on couture wear it was probably silk.

Hope H. Dunlap

-----Original Message-----
From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
Behalf Of Gothic Splendour
Sent: Thursday, April 15, 1999 11:33 PM
To: h-costume@indra.com
Subject: H-COST: Shirred Chiffon Bodice 1950's Ballgown



-Poster: Gothic Splendour <mercury@eagle.ca>

Hi-

I'm working on a ballgown for a fashion show which is based
on a the look of
a 1950's ballgown. I'm planning a fitted bodice over a
separate, very full
tulle skirt. I have a few questions about the decoration of
the bodice & was
wondering if some of you might be able to give me an idea of
how to approach
it.  I've constructed a base for the bodice, it is very
fitted with a bowed
top edge (shaped like the top of a heart with a dip in the
middle), it will
be fully boned, it has a V point along the bottom front edge
dipping about 3
" below the waist.

 I've bought some beautiful chiffon & want to shirr it in
the sort of
cross-your-heart style (it should sort of look like a wrap
top over the
bust)on the bodice.  What I'm not sure about is - should the
chiffon be cut
on the bias? what general shape should the piece of chiffon
be (I know I'll
have to do some draping but need to have a starting point).
I would really
like to have the two pieces of chiffon (each covering a
breast) come from
the side seams to the centre front, then twist around each
other & continue
back to the sides.  On the original 50's dresses where were
the openings? at
the centre back? or at one side? I would like to be able to
hide the closure
as much as possible. Also, would it look better to gather
the chiffon or
pintuck it along the edges of the bodice?

As for the tulle skirt, I want it to be very full. Did they
tier the layers
on the underside (maybe to an inner lining skirt?) on those
big puffy skirts
or did all of the tulle get gathered into the waistband? I
have 14 yards of
the double width tulle. Did they wear a crinoline underneath
the skirt to
make it stand out even more? I keep picturing the glorious
canary yellow
tulle dress w/ the feather covered bodice that Galliano did
a few years ago,
it seemed so ethereal & floaty.

I'm looking forward to any insight you may have!
Thanks

Elizabeth


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From owner-h-costume@indra.com  Fri Apr 16 10:34:49 1999
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From: "Sarah Toney" <toneys@rentgrow.com>
To: <h-costume@indra.com>
Subject: H-COST: Simplicity strikes again
Date: Fri, 16 Apr 1999 10:39:29 -0400
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-Poster: "Sarah Toney" <toneys@rentgrow.com>

I just wanted to let ya'll know... I was looking through the Simplicity
patterns book the other day, and found some really great patterns for
"medieval" (I use that phrase but I'm not sure it's accurate) dresses and
such with the beautiful floor length drop sleeves and also men's shirts.
But, they aren't in the costuming section of the book... they're in the
"prom" section and have a "historical" symbol on them.  Just thought someone
may be interested. I know I was. ;-)

Sarah, who now has waaaaaaay too many patterns.

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From owner-h-costume@indra.com  Fri Apr 16 10:40:43 1999
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-Poster: Janice Dallas <janicedals@mediaone.net>

As I remember, the zipper was on the side.  What is sold as square dance
crinolines would do nowadays for the skirt propping.  I've also see them
used for ballroom dance waltz contestants so ask at a dance supplies
shop.  I don't remember anyone wearing a "twist" bodice, but I remember
shirred chiffon. Cutting on the bias seems sensible.  The crinolines
were made of paper taffeta, woven horsehair, and a very stiff tulle,
such as ballet companies import from England.  I think Baer may have
carried it.  Often there would be a paper taffeta gored base, then a
stiff organdy with rows of ruffles, and on top, another smooth,gored,
layer of Taffeta, though that could be optional.  One of my mother's had
a top layer of white with a sheer organdy oval insert  at the front
hem.  Shadow embroidered on this was a rose.  It was a very feminine,
peek-a-boo touch.

Janice Dallas
JaniceDals@mediaone.net
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From owner-h-costume@indra.com  Fri Apr 16 11:29:34 1999
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-Poster: Margo Anderson <margo@directcon.net>

Hi Joan, thanks for the advice. Apparently Chili-n-Crackers no longer has a
website but they are still in business.  They're on my list of people to
call today.  

I'm not in Tahoe, I'm in Camino, (Apple Hill) just a few miles up the
highway from Placerville, which means I'll be close enough to participate in
the Sacramento group if we get it going.

Margo

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From owner-h-costume@indra.com  Fri Apr 16 11:42:53 1999
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From: Margo Anderson <margo@directcon.net>
Subject: H-COST: H-cost:  Chrocheted shawls 
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-Poster: Margo Anderson <margo@directcon.net>

Are chrocheted shawls period for the 1850's?  I'm talking about those
triangular ones, with or without fringe, that were popular in the early 70's
and now seem to be a staple of the beginning reenactor wardrobe.  

I've seen some very fine knitted ones, but nothing that looks chrocheted to
me.  (I don't knit or chrochet so it's hard for me to tell.)  

Margo

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From owner-h-costume@indra.com  Fri Apr 16 12:00:37 1999
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Date: Fri, 16 Apr 1999 12:04:24 EDT
Subject: H-COST: Pre-washing dupion silk
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-Poster: Chindora@aol.com

I have a question that I am hoping someone can help me with.  I just got a 
bolt of ivory dupion that I am making into a wedding gown and flower girl 
dresses.  I religiously pre-wash before sewing, but the only other time that 
I ever washed some dupion silk the fabric  lost the sheen and luster after it 
dried.  I was told that you should only dry clean dupion for this reason.  I 
have sewn with lots of other silk and never had this problem before, but was 
told that this fabric has a particular kind of finish on it.  Is it really 
necessary to pre-wash dupion before sewing it, and if so, is there a feasible 
way to do so without it losing the finish?  I really cannot see me taking 
this 30 yard bolt of fabric to the dry cleaner before starting to sew on it.

Thanks!

Kimberley
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From owner-h-costume@indra.com  Fri Apr 16 12:11:48 1999
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Subject: Re: H-COST: Pre-washing dupion silk
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-Poster: AlbertCat@aol.com

In a message dated 4/16/99 12:10:39 PM Eastern Daylight Time, 
Chindora@aol.com writes:

<<  Is it really 
 necessary to pre-wash dupion before sewing it, and if so, is there a 
feasible 
 way to do so without it losing the finish? >>

I dyed some dupioni and it just went [beautifully] limp & flow-y. It still 
had that silk look. I wasn't aware that "sheen" was a characteristic of 
dupioni, it being "rough" so to speak. Anyway, if you steam iron it so it 
gets really hot, that should get it stricken & abused enough to withstand 
future dry cleaning without changing the fabric.
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From: "Sarah Toney" <toneys@rentgrow.com>
To: <h-costume@indra.com>
Subject: Re: H-COST: Simplicity strikes again
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-Poster: "Sarah Toney" <toneys@rentgrow.com>


>> Sarah, who now has waaaaaaay too many patterns.
>
>You can *never* have too many patterns! <grin>) I just got their 8587.
Er..... well... let's see... I have at least 200 different patterns sitting
in a box, 75 or so of which I have in every size made! *sigh*  Though, I
never run out of projects. ;-)


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From owner-h-costume@indra.com  Fri Apr 16 12:49:35 1999
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Date: Fri, 16 Apr 1999 11:56:13 -0500
From: "I. Marc Carlson" <LIB_IMC@centum.utulsa.edu>
To: H-COSTUME@indra.com
Message-Id: <990416115613.12822b@centum.utulsa.edu>
Subject: H-COST: Shoes in History question
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-Poster: "I. Marc Carlson" <LIB_IMC@centum.utulsa.edu>

Hi, it's me again.  I am trying to find factual evidence of what types of shoes were
being worn in Byzantium, Coptic Egypt, the ancient Near East, the Steppes, and the
Ancient Far East.  Basically, I'm currently out of leads since it appears that no one
has dug any up, or bothered to discuss them.  However, since I am moving into things
beyond my normal areas of research, I may just be missing the literature -- so I am
asking for help.  Any help.  I would prefer archaeology over pictures, contemporary
art over something made up for a costuming book, you know - the basic drill :)

I'm trying to disprove a hypothesis before I stick my neck out on a major sweeping
generalization of shoe history.

Thank you for your time.  Responses can either come here or to my private email.

Marc Carlson
lib_imc@centum.utulsa.edu
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From owner-h-costume@indra.com  Fri Apr 16 14:12:00 1999
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Date: Fri, 16 Apr 1999 10:24:56 -0500
From: Kat & Kent <kdyer@home.com>
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To: h-costume@indra.com
Subject: Re: H-COST: Simplicity strikes again
References: <01f501be8816$ef3d90c0$6f01a8c0@lapis.rentgrow.com>
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-Poster: Kat & Kent <kdyer@home.com>

Sarah Toney wrote:
> 
> I just wanted to let ya'll know... I was looking through the
> Simplicity patterns book the other day, and found some really great
> patterns for "medieval" (I use that phrase but I'm not sure it's
> accurate) dresses and such with the beautiful floor length drop
> sleeves and also men's shirts. But, they aren't in the costuming
> section of the book... they're in the "prom" section and have a
> "historical" symbol on them.  Just thought someone may be interested.
> I know I was. ;-)
> 
> Sarah, who now has waaaaaaay too many patterns.

You can *never* have too many patterns! <grin>) I just got their 8587. 
Does anyone know the numbers off hand?  JoAnn's will have Simplicity on
sale for $0.99 on May 8th!

Kat
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From owner-h-costume@indra.com  Fri Apr 16 14:15:21 1999
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To: h-costume@indra.com
Subject: Re: H-COST: Simplicity strikes again
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Date: Fri, 16 Apr 1999 07:50:47 PDT
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-Poster: "StitchWitch" <stitchwitch@excite.com>


> I just wanted to let ya'll know... I was looking through the Simplicity
> patterns book the other day, and found some really great patterns for
> "medieval" (I use that phrase but I'm not sure it's accurate) dresses and
> such with the beautiful floor length drop sleeves and also men's shirts.
> But, they aren't in the costuming section of the book... they're in the
> "prom" section and have a "historical" symbol on them.  Just thought
someone
> may be interested. I know I was. ;-)

Yep, saw 'em. They are on my 'to get soon' list. They also have a bustle
dress in the costume section, which looks passibly accurate. (The line seems
right in the photo, anyway.)

> 
> Sarah, who now has waaaaaaay too many patterns.

You are not the only one! ;)

Kate
----
StitchWitch

All things are possible until they are proved impossible - and even the
impossible may only be so, as of now. - Pearl S. Buck




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From owner-h-costume@indra.com  Fri Apr 16 14:23:30 1999
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Date: Fri, 16 Apr 1999 14:33:26 -0400
To: h-costume@indra.com
From: Danielle Nunn <dnunn@interlog.com>
Subject: Re: H-COST: Byzantine/coptic Shoes in History
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-Poster: Danielle Nunn <dnunn@interlog.com>

Greetings,

>I am trying to find factual evidence of what types of shoes were
>being worn in Byzantium, Coptic Egypt, the ancient Near East, the
>Steppes, and the Ancient Far East.

Well, shoes are not my specialty but, the Bata Shoe Museum in Toronto has
an extant pair of very lovely coptic (I think) shoes which were cream with
burgundy leather (and if I remember correctly some gold work as well).  I
only saw them briefly but, they were kind of pointy toed with a slit down
the middle of the high front part of the shoe.  I know the museum has a
website.  Good luck contacting them.  They are very friendly and nice people.

Cheers,
Danielle

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From owner-h-costume@indra.com  Fri Apr 16 14:47:36 1999
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From: aleed <aleed@dnaco.net>
To: SCA-GARB@LIST.UVM.EDU
cc: h-costume@indra.com
Subject: H-COST: New webpage on French Hoods
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-Poster: aleed <aleed@dnaco.net>

Hey guys,

Drea here.  I just put up a couple pages on Tudor French hood history,
development and construction at:

http://www.dnaco.net/~aleed/corsets/headwear/frenchhood.html

enjoy!

Drea

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From owner-h-costume@indra.com  Fri Apr 16 15:15:58 1999
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Date: Fri, 16 Apr 1999 15:23:46 -0400 (EDT)
From: Kevin & Mara Riley <lindo@Radix.Net>
To: h-costume@indra.com
Subject: Re: H-COST: Shoes in History question
In-Reply-To: <990416115613.12822b@centum.utulsa.edu>
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-Poster: Kevin & Mara Riley <lindo@Radix.Net>

Have you got the book 'The Mummies of Urumchi' by Elizabeth Wayland Barber
yet?  It's great -- and has early Indo-European clothing, including a few
bitf of footwear, I believe.  I lent my copy to a co-worker, so I can't
look it up right now.  The mummies are from the Tocharian peoples in the
Takla Makan desert in Western China.   Well worth having, IMO -- it's
informative and readable.

Cheers,
Mara

On Fri, 16 Apr 1999, I. Marc Carlson wrote:

> 
> -Poster: "I. Marc Carlson" <LIB_IMC@centum.utulsa.edu>
> 
> Hi, it's me again.  I am trying to find factual evidence of what types of shoes were
> being worn in Byzantium, Coptic Egypt, the ancient Near East, the Steppes, and the
> Ancient Far East.  Basically, I'm currently out of leads since it appears that no one
> has dug any up, or bothered to discuss them.  However, since I am moving into things
> beyond my normal areas of research, I may just be missing the literature -- so I am
> asking for help.  Any help.  I would prefer archaeology over pictures, contemporary
> art over something made up for a costuming book, you know - the basic drill :)
> 
> I'm trying to disprove a hypothesis before I stick my neck out on a major sweeping
> generalization of shoe history.
> 
> Thank you for your time.  Responses can either come here or to my private email.
> 
> Marc Carlson
> lib_imc@centum.utulsa.edu
>  _________________________________________________________________
>  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 Apr 16 15:22:15 1999
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Date: Fri, 16 Apr 1999 15:32:48 -0500
From: Hope Greenberg <hope.greenberg@uvm.edu>
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To: h-costume@indra.com
Subject: Re: H-COST: H-cost:  Chrocheted shawls
References: <199904161643.IAA07768@zeus.directcon.net>
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-Poster: Hope Greenberg <hope.greenberg@uvm.edu>

Margo Anderson wrote:
> Are chrocheted shawls period for the 1850's? 

Paging through 1850s volumes of Godey's Lady's Book, I see plenty of
shawls, cloaks, or mantles and lots of crochet projects, but no
crocheted shawls. The shawls all seem to be fabric usually with lots of
lace and trimming, and the crochet patterns seem to be for things like
sleeve borders, table mats and doilies, scarfs, a baby cap, etc.--that
is, small accessory or houseware items.

That's not to say that crocheted shawls didn't exist, but it does
suggest that, if someone is considering making an appropriately period
overgarment, a fabric one would be the better bet. (A few samples at
Godey's online at http://cit.uvm.edu:6336/dynaweb )

- Hope

---------------
hope.greenberg@uvm.edu, U of Vermont, http://www.uvm.edu/~hag
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From owner-h-costume@indra.com  Fri Apr 16 15:46:18 1999
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From: "Vickers, Jill" <jvickers@TELESENSORY.com>
To: "'h-costume'" <h-costume@indra.com>
Subject: H-COST: Costume College
Date: Fri, 16 Apr 1999 12:53:10 -0700
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-Poster: "Vickers, Jill" <jvickers@TELESENSORY.com>

This message is in MIME format. Since your mail reader does not understand
this format, some or all of this message may not be legible.

------ =_NextPart_001_01BE8842.C1BD5E60
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Can anyone tell me where to find info on the Costume College being held in
July in Southern CA?  I ran across the link at one time, and now I don't
remember where.

BTW - I'd appreciate some reviews of this function, since I've never been.
My mom and I want to go, but with airfare and hotel and stuff, I want to
make sure it's worth our while.

Thanks,
-Jill

------ =_NextPart_001_01BE8842.C1BD5E60
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<HTML>
<HEAD>
<META HTTP-EQUIV=3D"Content-Type" CONTENT=3D"text/html; =
charset=3DUS-ASCII">
<META NAME=3D"Generator" CONTENT=3D"MS Exchange Server version =
5.0.1460.9">
<TITLE>Costume College</TITLE>
</HEAD>
<BODY>
<BR>

<P><FONT COLOR=3D"#800080" SIZE=3D2 FACE=3D"Book Antiqua">Can anyone =
tell me where to find info on the Costume College being held in July in =
Southern CA?&nbsp; I ran across the link at one time, and now I don't =
remember where.</FONT></P>

<P><FONT COLOR=3D"#800080" SIZE=3D2 FACE=3D"Book Antiqua">BTW - I'd =
appreciate some reviews of this function, since I've never been.&nbsp; =
My mom and I want to go, but with airfare and hotel and stuff, I want =
to make sure it's worth our while.</FONT></P>

<P><FONT COLOR=3D"#800080" SIZE=3D2 FACE=3D"Book =
Antiqua">Thanks,</FONT>
<BR><FONT COLOR=3D"#800080" SIZE=3D2 FACE=3D"Book Antiqua">-Jill</FONT>
</P>

</BODY>
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From owner-h-costume@indra.com  Fri Apr 16 16:07:14 1999
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Date: Fri, 16 Apr 1999 16:13:11 EDT
Subject: Re: H-COST: Pre-washing dupion silk
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-Poster: Simone89@aol.com

Kimberly, be very careful about washing Dupioni, some of the new dupioni's 
are so fine that they disintegrate when washed. I work at a drapery fabric 
store and we recently had a client wash (by hand) Dupioni that was tagged 
"dry clean only." She brought in the pitiful shreds for us to see. I would 
test it carefully because although it might be strong enough to survive one 
gentle wetting it may not hold up properly afterwards.  I recently made a 
Byzantine for a gentleman using black Dupioni and stressed to him always to 
wear an undershirt and dry clean the costume.
Simone

>Chindora@aol.com wrote:
>I have a question that I am hoping someone can help me with.  I just got a 
>bolt of ivory dupion that I am making into a wedding gown and flower girl 
>dresses.  I religiously pre-wash before sewing, but the only other time that 
> I ever washed some dupion silk the fabric  lost the sheen and luster after 
it 
>dried.  I was told that you should only dry clean dupion for this reason.  I 
>have sewn with lots of other silk and never had this problem before, but was 
>told that this fabric has a particular kind of finish on it.  Is it really 
>necessary to pre-wash dupion before sewing it, and if so, is there a 
feasible 
>way to do so without it losing the finish?  I really cannot see me taking 
>this 30 yard bolt of fabric to the dry cleaner before starting to sew on it.

>Thanks!

>Kimberley
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From owner-h-costume@indra.com  Fri Apr 16 16:19:49 1999
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Date: Fri, 16 Apr 1999 14:59:41 -0400 (EDT)
From: Kevin & Mara Riley <lindo@Radix.Net>
To: h-costume@indra.com
Subject: Re: H-COST: silk stockings
In-Reply-To: <01db01be87b7$a2b52ce0$fa46f7a5@pavilion>
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-Poster: Kevin & Mara Riley <lindo@Radix.Net>

Susannah, is that really late 18th-early 19th, or late 19th-early 20th?

Mara

> -----Original Message-----
> From: Susannah Eanes <oh_susannah@hotmail.com>
> To: h-costume@indra.com <h-costume@indra.com>
> Date: Monday, April 12, 1999 10:28 AM
> Subject: Re: H-COST: silk stockings
> 
> 
> >
> >-Poster: "Susannah Eanes" <oh_susannah@hotmail.com>
> >
> >I have access to the inventory of an old store that contains, among
> >other wonderful things, original late 18th - early 19th c. silk
> >stockings & corsets in their original boxes.  I don't know how they
> >have stood up to the decades of being stored away in an
> >unheated/uncooled store attic warehouse, but they sure look & feel
> >pretty good to me.  The owner is currently assessing these items for
> >sale either in lots or as one whole.  If anyone is interested in
> >finding out more, please e-mail me privately.

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From owner-h-costume@indra.com  Fri Apr 16 16:23:44 1999
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From: "StitchWitch" <stitchwitch@excite.com>
To: h-costume@indra.com
Subject: Re: H-COST: New webpage on French Hoods
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Date: Fri, 16 Apr 1999 12:04:11 PDT
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-Poster: "StitchWitch" <stitchwitch@excite.com>


> Drea here.  I just put up a couple pages on Tudor French hood history,
> development and construction at:
> 
> http://www.dnaco.net/~aleed/corsets/headwear/frenchhood.html

Oh, dear! Now I've no more excuses for not making one. ;)

Very, very nice, and thanks!


Kate
----
StitchWitch

All things are possible until they are proved impossible - and even the
impossible may only be so, as of now. - Pearl S. Buck




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From owner-h-costume@indra.com  Fri Apr 16 17:46:57 1999
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From: Joan M Jurancich <joanj@quiknet.com>
Subject: Re: H-COST: H-cost:  Chrocheted shawls 
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-Poster: Joan M Jurancich <joanj@quiknet.com>

At 08:43 AM 04/16/1999 -0800, Margo Anderson wrote:
>
>-Poster: Margo Anderson <margo@directcon.net>
>
>Are chrocheted shawls period for the 1850's?  I'm talking about those
>triangular ones, with or without fringe, that were popular in the early 70's
>and now seem to be a staple of the beginning reenactor wardrobe.  
>
>I've seen some very fine knitted ones, but nothing that looks chrocheted to
>me.  (I don't knit or chrochet so it's hard for me to tell.)  
>
>Margo

As best as I can tell from period sources (Godey's, Peterson's, Workwoman's
Guide {1838}, The Ladies' Self Instructor in Millinery & Mantua Making,
Embroidery & Applique {1853}), the loosely crocheted shawls of the 1970s are
not appropriate for the 1850s. The 1970s shawls were often done using very
large size crochet hooks and substantial yarn (frequently synthetics that
*look* synthetic) and crocheted in extremely open large-scale patterns. The
last-named source (which just happened to be handy by the keyboard <g>) has
*no* crocheted shawl patterns at all; the only crocheted items are a
gentleman's cap, a muffatee (with a note that the same stitch is good for
mittens, baby's shoes, gaiters, gloves, etc.), and a couple of purses. Seems
like crochet was considered especially good for fairly small items. The
shawls are knitted or netted (one of these years I'll try netting one [yeah,
right <g>, just one *more* project]).  I would discourage use of *any*
crocheted shawl. One can make simple, lovely shawls out of a 60-inch (or
even 45-inch) square of nice drapey wool, cotton, or silk (linen is usually
too stiff). Either fold (if the fabric is lightweight) or cut (if the fabric
is heavier or if one doesn't want or need two layers) the square on the
diagonal to make triangular shawls. Fringe the fabric, add fringe, or simply
hem the raw edges. Easy enough even for your novices to do. And very
good-looking, too.

Joan Jurancich
Sacramento, CA
joanj@quiknet.com

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From owner-h-costume@indra.com  Fri Apr 16 18:37:18 1999
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-Poster: Susan Fatemi <susanf@netwiz.net>

Kevin & Mara Riley wrote:
> 
> Have you got the book 'The Mummies of Urumchi' by Elizabeth Wayland Barber
> yet?  It's great -- and has early Indo-European clothing, including a few
> bitf of footwear, I believe.  I lent my copy to a co-worker, so I can't
> look it up right now.  The mummies are from the Tocharian peoples in the
> Takla Makan desert in Western China.   Well worth having, IMO -- it's
> informative and readable.
> 

I'd just like to point out that whether they were Tocharian or
not is still being debated. It's a reasonable hypothesis, but
without any evidence of their language, it's hard to prove.

Susan Fatemi

p.s. There were 2 tv programs (Nova??) about the Ice Maiden
from Siberia (N.W. of where the mummies were found) She was
wearing thigh-high leather "stockings". Like boots, but
probably not meant for outdoor wear.

For comparison, in Uzbekistan (see the lovely big book by
that title for pictures) women wore a knee-high leather
stocking, with designs on the sole, indoors. To go out of
doors, they'd slip their feet into heavy leather shoes
with raised soles (not unlike clogs) This is as late
as early 20th c. at least.

There are lots of pictures of early Chinese shoes. (How
early??) The book "Mongol costumes" discusses construction
methods, I believe. "When silk was Gold" has pictures of
chinese ladies shoes from the T'ang dynasty and Jurchen
boots from roughly the same time.

Does this help??

-- 
Oh Noh! Kimonos!
susanf@netwiz.net
http://www.netwiz.net/~susanf
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Subject: Re: H-COST: Pre-washing dupion silk
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-Poster: AnnBWass@aol.com

I think the "finish" is actually the opposite--the natural gum produced by 
the silk worm (the worm spins two strands of silk "glued" together.)  Some 
silk has more gum left in it than others and I think that washing would 
remove some of that.

Ann Wass
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Date: Fri, 16 Apr 1999 20:50:11 -0400
To: h-costume-digest@indra.com
From: Lynn Carpenter <alwen@i2k.com>
Subject: H-COST: Re: Crocheted shawl
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-Poster: Lynn Carpenter <alwen@i2k.com>

Margo Anderson <margo@directcon.net> wrote:
>
>Are chrocheted shawls period for the 1850's?  I'm talking about those
>triangular ones, with or without fringe, that were popular in the early 70's
>and now seem to be a staple of the beginning reenactor wardrobe.  
>

and Hope Greenberg <hope.greenberg@uvm.edu> replied:

>Paging through 1850s volumes of Godey's Lady's Book, I see plenty of
>shawls, cloaks, or mantles and lots of crochet projects, but no
>crocheted shawls. The shawls all seem to be fabric usually with lots of
>lace and trimming, and the crochet patterns seem to be for things like
>sleeve borders, table mats and doilies, scarfs, a baby cap, etc.--that
>is, small accessory or houseware items.

Hope, what about *netted* shawls?  I have a photocopy of a netted shawl
pattern which is supposed to be from Godey's "~1850's".  The page # is 392,
and the "Materials" list reads "Six ounces of white, six ditto of cerise
single Berlin wool; two netting-needles and meshes, one-third and
three-fourths of an inch wide."  The engraving shows a heavily fringed
shawl in broad bands of light and dark.  Netted wool would look vaguely
like crochet - - my mother made a "broomstick lace" shawl back in the
1970's that has this open texture.

And maybe you can date my pattern more precisely.

Lynn
When I say I'm a "net head", oh!  You were talking about the Internet.

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Date: Fri, 16 Apr 1999 18:58:07 -0700 (PDT)
From: "Kristen M. Sieber" <lady_gawain@yahoo.com>
Subject: H-COST: Greek sandals
To: Historic Costume <h-costume@indra.com>
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-Poster: "Kristen M. Sieber" <lady_gawain@yahoo.com>

I have a pair of authentic Greek sandals (Pier 1 special).  They tie
up the calf in the traditional way, but I can't keep them up!  I tie
them at the top of my calf, but short of totally cutting off my
circulation, I just can't keep them from falling down.  Any help?

Kristen Morgaine Sieber
lady_gawain@yahoo.com



 
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From owner-h-costume@indra.com  Fri Apr 16 21:54:36 1999
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From: "Franchesca Havas" <ches@io.com>
To: <h-costume@indra.com>
Subject: Re: H-COST: Greek sandals
Date: Fri, 16 Apr 1999 21:02:56 -0500
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-Poster: "Franchesca Havas" <ches@io.com>

Speare (sp?) gum? If your legs are very smooth, whether due to soft supple
skin or soft slick furry skin, they are going to slip down. In the 70's my
favorite pair of pumps had these ties and the only way I kept them up was
with clear elastic. They sell it at most fabric places. Ballet artist use it
in their costuming.

Sincerely,
F. Havas
Dallas, Texas

-----Original Message-----
From: Kristen M. Sieber <lady_gawain@yahoo.com>
To: Historic Costume <h-costume@indra.com>
Date: Friday, April 16, 1999 8:57 PM
Subject: H-COST: Greek sandals


:
:-Poster: "Kristen M. Sieber" <lady_gawain@yahoo.com>
:
:I have a pair of authentic Greek sandals (Pier 1 special).  They tie
:up the calf in the traditional way, but I can't keep them up!  I tie
:them at the top of my calf, but short of totally cutting off my
:circulation, I just can't keep them from falling down.  Any help?
:
:Kristen Morgaine Sieber
:lady_gawain@yahoo.com
:
:
:
:
:_________________________________________________________
:DO YOU YAHOO!?
:Get your free @yahoo.com address at http://mail.yahoo.com
:
: _________________________________________________________________
: To leave this mailing list, send mail to majordomo@indra.com
: with the message UNSUBSCRIBE H-COSTUME
:

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From owner-h-costume@indra.com  Fri Apr 16 21:56:45 1999
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Date: Fri, 16 Apr 1999 22:05:05 -0400
Subject: Re: H-COST: Simplicity strikes again
To: h-costume@indra.com
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-Poster: snowfire@mail.snet.net

 
>You can *never* have too many patterns! <grin>) I just got their 8587. 
>Does anyone know the numbers off hand?  JoAnn's will have Simplicity on
>sale for $0.99 on May 8th!

Ohhhh! I'm going to be away on the 8th!  Is it only on that day?

I have 8587 too!  I just used it to make the man's tunic, a chemise, and 
the overdress I'd mentioned here on various messages, for EK Coronation 
last Saturday.  It's quite a useful and adaptable pattern isn't it? 

Also I have Simplicity 8286, which I bought to make a cloak, but the 
"shoulders" in it make it too modern so I had to re-cut it.  Also, I'd 
have preferred a circular cloak to semi-circular.

As I note that the price of a nice woollen cloak is between $80.00 and 
$120.00 if I buy it from merchants at events, I'll be hunting for 
another cloak pattern next fall!  The dresses and other garments 
included have some possibilities. There are some useful sleeves, but the 
cut of the dress they're attached to is altogether wrong, and in 
general, the garments in this pattern tend to be to "hokey" for me. 
(Hallowe'en costumes).

Also I have McCalls 8826, which depicts more 14th - 15th century style 
gowns, and McCalls 8449 which has some pieces within it as possibilities 
(e.g. a gathered neckline chemise), but is more Rennaissance than 
medieval.

BTW once opened, I keep my pattern pieces in ziplock bags, together with 
the original envelope, so I don't have to scrunch the pieces back into 
the envelope again!

Elysant
 
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From owner-h-costume@indra.com  Fri Apr 16 22:50:03 1999
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Date: Fri, 16 Apr 1999 19:59:27 -0700
To: h-costume@indra.com
From: "Carol J. Bell Cannon" <cjcannon@greymists.com>
Subject: Re: H-COST: Simplicity strikes again
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-Poster: "Carol J. Bell Cannon" <cjcannon@greymists.com>

            I don't recall which Pattern Co. it was, and better NOT to name
it...but there's a rather ugly 'Gates of Hell' in one currently... :-)  Carol
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From owner-h-costume@indra.com  Fri Apr 16 23:35:45 1999
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From: Joan M Jurancich <joanj@quiknet.com>
Subject: Re: H-COST: Re: Crocheted shawl
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-Poster: Joan M Jurancich <joanj@quiknet.com>

At 08:50 PM 04/16/1999 -0400, Lynn Carpenter wrote:
>
>-Poster: Lynn Carpenter <alwen@i2k.com>
>
>Margo Anderson <margo@directcon.net> wrote:
>>
>>Are chrocheted shawls period for the 1850's?[snip]
>
>and Hope Greenberg <hope.greenberg@uvm.edu> replied:
>
>>Paging through 1850s volumes of Godey's Lady's Book, I see plenty of
>>shawls, cloaks, or mantles and lots of crochet projects, but no
>>crocheted shawls.[snip]
>
>Hope, what about *netted* shawls?  I have a photocopy of a netted shawl
>pattern which is supposed to be from Godey's "~1850's".  The page # is 392,
>and the "Materials" list reads "Six ounces of white, six ditto of cerise
>single Berlin wool; two netting-needles and meshes, one-third and
>three-fourths of an inch wide."  The engraving shows a heavily fringed
>shawl in broad bands of light and dark.  Netted wool would look vaguely
>like crochet - - my mother made a "broomstick lace" shawl back in the
>1970's that has this open texture.
>
>And maybe you can date my pattern more precisely.
>
>Lynn
>When I say I'm a "net head", oh!  You were talking about the Internet.

Lynn,

Yes, *netted* shawls are period for the 1850s.  My facsimile reprint of the
1853 "Ladies' Self Instructor in Millinery & Mantua Making, Embroidery &
Applique" has instructions for several netted shawls.

The only problem with substituting crochet for netting is that, in hand,
netting and crochet really do not resemble each other at all. The easiest
way to visualize it is to think a finely-netted fishing net; then compare
that to a crocheted net bag. The netting is a single strand knotted around
another strand. Crocheting, especially when making net bags, consists of a
single strand looped around itself, making a three-stranded "string" (simple
chain stitch, of course) with lumps.

Now I need to re-teach myself netting. 

Joan Jurancich
Sacramento, CA
joanj@quiknet.com

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From owner-h-costume@indra.com  Fri Apr 16 23:35:47 1999
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Subject: Re: H-COST: Re: Crocheted shawl
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-Poster: Joan M Jurancich <joanj@quiknet.com>

At 08:50 PM 04/16/1999 -0400, Lynn Carpenter wrote:
>
>-Poster: Lynn Carpenter <alwen@i2k.com>
>
>Margo Anderson <margo@directcon.net> wrote:
>>
>>Are chrocheted shawls period for the 1850's?[snip]
>
>and Hope Greenberg <hope.greenberg@uvm.edu> replied:
>
>>Paging through 1850s volumes of Godey's Lady's Book, I see plenty of
>>shawls, cloaks, or mantles and lots of crochet projects, but no
>>crocheted shawls.[snip]
>
>Hope, what about *netted* shawls?  I have a photocopy of a netted shawl
>pattern which is supposed to be from Godey's "~1850's".  The page # is 392,
>and the "Materials" list reads "Six ounces of white, six ditto of cerise
>single Berlin wool; two netting-needles and meshes, one-third and
>three-fourths of an inch wide."  The engraving shows a heavily fringed
>shawl in broad bands of light and dark.  Netted wool would look vaguely
>like crochet - - my mother made a "broomstick lace" shawl back in the
>1970's that has this open texture.
>
>And maybe you can date my pattern more precisely.
>
>Lynn
>When I say I'm a "net head", oh!  You were talking about the Internet.

Lynn,

Yes, *netted* shawls are period for the 1850s.  My facsimile reprint of the
1853 "Ladies' Self Instructor in Millinery & Mantua Making, Embroidery &
Applique" has instructions for several netted shawls.

The only problem with substituting crochet for netting is that, in hand,
netting and crochet really do not resemble each other at all. The easiest
way to visualize it is to think a finely-netted fishing net; then compare
that to a crocheted net bag. The netting is a single strand knotted around
another strand. Crocheting, especially when making net bags, consists of a
single strand looped around itself, making a three-stranded "string" (simple
chain stitch, of course) with lumps.

Now I need to re-teach myself netting. 

Joan Jurancich
Sacramento, CA
joanj@quiknet.com

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From owner-h-costume@indra.com  Sat Apr 17 07:48:18 1999
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Date: Sat, 17 Apr 1999 07:55:47 EDT
Subject: Re: H-COST: Greek sandals
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-Poster: AnnBWass@aol.com

That's "spirit" gum.  I was going to suggest it, too.  You can buy it at 
theatrical make-up places.
Ann Wass
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From owner-h-costume@indra.com  Sat Apr 17 14:38:24 1999
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Date: Sat, 17 Apr 1999 14:39:02 EDT
Subject: H-COST: Re: Simplicity Patterns
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-Poster: Sandyswank@aol.com

Sarah:
Thanks for the info, just picked up some really neat Simplicity medieval 
patterns for 99 cents a piece locally (leftover Halloween costume patterns). 
Ones that I thought that could easily be adapted for field garb etc for 
Pennsic.

By the way my philosophy is He who dies with the most patterns and most 
fabric wins.....

Sandy

In a message dated 4/16/99 6:42:08 PM EST, owner-h-costume-digest@indra.com 
writes:

<< Subject: H-COST: Simplicity strikes again
 
 - -Poster: "Sarah Toney" <toneys@rentgrow.com>
 
 I just wanted to let ya'll know... I was looking through the Simplicity
 patterns book the other day, and found some really great patterns for
 "medieval" (I use that phrase but I'm not sure it's accurate) dresses and
 such with the beautiful floor length drop sleeves and also men's shirts.
 But, they aren't in the costuming section of the book... they're in the
 "prom" section and have a "historical" symbol on them.  Just thought someone
 may be interested. I know I was. ;-)
 
 Sarah, who now has waaaaaaay too many patterns.
 
  _____________________________ >>


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Date: Sat, 17 Apr 1999 16:22:26 EDT
Subject: Re: H-COST: Re: Simplicity Patterns
To: h-costume@indra.com
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-Poster: AnnBWass@aol.com

In a message dated 4/17/1999 2:41:30 PM Eastern Daylight Time, 
Sandyswank@aol.com writes:

> Simplicity medieval 
>  patterns for 99 cents a piece locally 
Just an interesting sidelight on these patterns--the designer said she had a 
little difficulty with Simplicity because they showed cleavage!
Ann Wass
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Date: Sun, 18 Apr 1999 0:07:28 -0500
From: "I. Marc Carlson" <LIB_IMC@centum.utulsa.edu>
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Subject: H-COST: Re: Shoes in History question
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-Poster: "I. Marc Carlson" <LIB_IMC@centum.utulsa.edu>

<Danielle Nunn <dnunn@interlog.com>>
>...Good luck contacting them.  They are very friendly and nice people.

Thank you, I will try to contact them.  Their web site has very little in
actual pictures.

<Kevin & Mara Riley <lindo@Radix.Net>>
>Have you got the book 'The Mummies of Urumchi' by Elizabeth Wayland Barber
>yet?...

I took a look at it recently, but don't recall seeing any pictures of
shoes.  I will see if I can get a hold of it again.  Thank you.

<Susan Fatemi <susanf@netwiz.net>>
>...There are lots of pictures of early Chinese shoes. (How
>early??) The book "Mongol costumes" discusses construction
>methods, I believe. "When silk was Gold" has pictures of
>chinese ladies shoes from the T'ang dynasty and Jurchen
>boots from roughly the same time.

Thank you, I will see if I can find it.

Marc
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From owner-h-costume@indra.com  Sun Apr 18 01:02:14 1999
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Date: Sat, 17 Apr 1999 22:07:09 -0700
From: Diana H <dch@inreach.com>
Organization: Well, I wouldn't call it organized......
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Subject: Re: H-COST: Pre-washing dupion silk
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-Poster: Diana H <dch@inreach.com>

AlbertCat@aol.com wrote:

> -Poster: AlbertCat@aol.com
>
> In a message dated 4/16/99 12:10:39 PM Eastern Daylight Time,
> Chindora@aol.com writes:
>
> <<  Is it really
>  necessary to pre-wash dupion before sewing it, and if so, is there a
> feasible
>  way to do so without it losing the finish? >>
>
> I dyed some dupioni and it just went [beautifully] limp & flow-y. It
> still
> had that silk look.

Be careful about this, though.  Depending on what look you want, you may
or may not want to wash it.  The relative stiffness of the silk will
definitely go away if you wash & dry it.  You can wash the silk and air
dry it, but you still will change the consistancy of the fabric.

It seems to me that the stiffness of the unwashed fabric is what you
tend to find on wedding dresses and designer suits.  I personally like
that look and it doesn't need much in the way of lining, either.  If you
want something drapey and flowey, then wash the bejessus out of the
silk.  But for anything that needs shape or stiffness, DON'T WASH IT.

Hope this helps!

Diana :~>

--

* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
"There are too many mediocre things in life to deal with.....Love
shouldn't be one
 of them."
--Ione Skye in "Dream for an Insomniac"


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From owner-h-costume@indra.com  Sun Apr 18 06:09:23 1999
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Date: Sun, 18 Apr 1999 06:24:55 -0400
To: h-costume-digest@indra.com
From: Lynn Carpenter <alwen@i2k.com>
Subject: H-COST: Netted shawls
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-Poster: Lynn Carpenter <alwen@i2k.com>

Joan M Jurancich <joanj@quiknet.com> wrote:

>Yes, *netted* shawls are period for the 1850s.  My facsimile reprint of the
>1853 "Ladies' Self Instructor in Millinery & Mantua Making, Embroidery &
>Applique" has instructions for several netted shawls.
>
>The only problem with substituting crochet for netting is that, in hand,
>netting and crochet really do not resemble each other at all. [snip]
>
>Now I need to re-teach myself netting. 

I made a netted scarf using wool Bernat bulky yarn.  I agree that crochet
and netting look entirely different when you know what you're looking at.
But the 1850's are not my focus -- netting is.  I *am* curious to date this
pattern.

My favorite netting site on the web:
http://www.the-spa.com/bartholomew/netting/

Lynn
(Just finished another "string" netted bag in size 5 perle cotton Saturday)

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From owner-h-costume@indra.com  Sun Apr 18 11:37:58 1999
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Date: Sun, 18 Apr 1999 11:46:21 -0400
Subject: Re: H-COST: Re: Simplicity Patterns
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-Poster: snowfire@mail.snet.net

> - -Poster: "Sarah Toney" <toneys@rentgrow.com>
 
> I just wanted to let ya'll know... I was looking through the Simplicity
> patterns book the other day, and found some really great patterns for
> "medieval" (I use that phrase but I'm not sure it's accurate) dresses and
> such with the beautiful floor length drop sleeves and also men's shirts.
> But, they aren't in the costuming section of the book... they're in the
> "prom" section and have a "historical" symbol on them.  Just thought someone
> may be interested. I know I was. ;-)
 
I went to seek them out yesterday at JoAnns (down the street :-) )and you're 
right!  Ooooooohhhhh!!!!!  I love the black one with the long sheer sleeves!  
I wonder what period that would be? 13th C maybe?  Also the one with the cross 
lacing in front?  (Sorry didn't copy numbers and I have to wait until they go 
on sale to pick them up) :-(

I'm thinking of making the long sleeved one in a dark strawberry red for the 
Ladies Champion Tourney next month.  My next project!!!!!  

blissfully,
Elysant
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From owner-h-costume@indra.com  Sun Apr 18 12:26:30 1999
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-Poster: Margo Anderson <margo@directcon.net>

When did  mid-19th century girls start to dress as adults, putting up their
hair and lengthening  their skirts?  Was there a usually acepted age, or was
it just when her mother decided it was time?  Or did it have to do with her
physical maturity?

Margo

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From owner-h-costume@indra.com  Sun Apr 18 12:34:14 1999
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Date: Sun, 18 Apr 1999 12:44:17 +0000
From: Lois <books@woodenporch.com>
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-Poster: Lois <books@woodenporch.com>

I have just enter a great resource book on e-bay. Closes the 25th.

http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&item=92708736

Piton's Le Costume Civil en France du XIII au XIX Siecle. 1926.
9" x 11", 380 pp., illus., color plates, decorative hard cover.
Great primary source material information. Even greater if you read
French.

Lois

>

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


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From owner-h-costume@indra.com  Sun Apr 18 13:49:11 1999
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-Poster: Lois <books@woodenporch.com>


--------------A7A383D2BDE5B8929E8F5DC3
Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353"
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I should add that I do have a reserve of $45.00 on this book.

Lois wrote:

> I have just enter a great resource book on e-bay. Closes the 25th.
>
> http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&item=92708736
>
> Piton's Le Costume Civil en France du XIII au XIX Siecle. 1926.
> 9" x 11", 380 pp., illus., color plates, decorative hard cover.
> Great primary source material information. Even greater if you read
> French.
>
> Lois
>
> >
>
> --
> Lois Mueller
> Wooden Porch Books
> books@woodenporch.com

--------------A7A383D2BDE5B8929E8F5DC3
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<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
<HTML>
I should add that I do have a reserve of $45.00 on this book.
<P>Lois wrote:
<BLOCKQUOTE TYPE=CITE>I have just enter a great resource book on e-bay.
Closes the 25th.
<P><A HREF="http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&item=92708736">http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&amp;item=92708736</A>
<P>Piton's Le Costume Civil en France du XIII au XIX Siecle. 1926.
<BR>9" x 11", 380 pp., illus., color plates, decorative hard cover.
<BR>Great primary source material information. Even greater if you read
<BR>French.
<P>Lois
<P>>
<P>--
<BR>Lois Mueller
<BR>Wooden Porch Books
<BR>books@woodenporch.com</BLOCKQUOTE>
</HTML>

--------------A7A383D2BDE5B8929E8F5DC3--

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From owner-h-costume@indra.com  Sun Apr 18 13:51:56 1999
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-Poster: Joan M Jurancich <joanj@quiknet.com>

At 12:44 PM 04/18/1999 +0000, Lois wrote:
>
>-Poster: Lois <books@woodenporch.com>
>
>I have just enter a great resource book on e-bay. Closes the 25th.
>
>http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&item=92708736
>
>Piton's Le Costume Civil en France du XIII au XIX Siecle. 1926.
>9" x 11", 380 pp., illus., color plates, decorative hard cover.
>Great primary source material information. Even greater if you read
>French.
>
>Lois

I have this book and echo Lois's comments. Even I, who can struggle through
French only with a French-English dictionary in hand, was able to figure
things out. And if you can get it for $100 or less, it's a bargain.

Joan Jurancich
Sacramento, CA
joanj@quiknet.com

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From owner-h-costume@indra.com  Sun Apr 18 14:13:15 1999
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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: H-COST: 19th and early 20th Century Lace
Date: Sun, 18 Apr 1999 14:22:27 -0400
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

This Web Site has some lovely examples of nineteenth and
early 20th century laces for sale.  Just reading it and
looking at the pictures is quite educational regarding
appearance and technology and may help those who  are facing
the task of trimming their historical recreations
appropriately.

http://www.cherubcomforts.com/antiquelace.html


Hope H. Dunlap


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From owner-h-costume@indra.com  Sun Apr 18 16:30:45 1999
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To: h-costume@indra.com
Date: Sun, 18 Apr 1999 16:39:40 -0400
Subject: Re: H-COST: Pre-washing dupion silk
Message-ID: <19990418.164147.14902.0.Alysea@juno.com>
References: <5e916b40.2448b988@aol.com>
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-Poster: Karen J Farris <alysea@juno.com>

You're right--if you pre-wash the silk, it will lose its luster and hand.
No need to pre-dry-clean it, though, and it makes up beautifully into
wedding attire.

Karen Farris

On Fri, 16 Apr 1999 12:04:24 EDT Chindora@aol.com writes:
>
>-Poster: Chindora@aol.com
>
>I have a question that I am hoping someone can help me with.  I just 
>got a 
>bolt of ivory dupion that I am making into a wedding gown and flower 
>girl 
>dresses.  I religiously pre-wash before sewing, but the only other 
>time that 
>I ever washed some dupion silk the fabric  lost the sheen and luster 
>after it 
>dried.  I was told that you should only dry clean dupion for this 
>reason.  I 
>have sewn with lots of other silk and never had this problem before, 
>but was 
>told that this fabric has a particular kind of finish on it.  Is it 
>really 
>necessary to pre-wash dupion before sewing it, and if so, is there a 
>feasible 
>way to do so without it losing the finish?  I really cannot see me 
>taking 
>this 30 yard bolt of fabric to the dry cleaner before starting to sew 
>on it.
>
>Thanks!
>
>Kimberley
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From owner-h-costume@indra.com  Sun Apr 18 19:01:03 1999
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From: "Kyna Grannd" <kynagrannd@granndgarb.com>
To: <h-costume@indra.com>,
        "Society for Creative Anachronism (SCA) -Garb" <SCA-GARB@LIST.UVM.EDU>,
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References: <199904181546.LAA24480@smtp.snet.net>
Subject: H-COST: Simplicity Patterns...links etc.
Date: Sun, 18 Apr 1999 19:09:12 -0400
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-Poster: "Kyna Grannd" <kynagrannd@granndgarb.com>

The Simplicity patterns came out about the same time as the somewhat
atrocious Peasant Garb patterns did (around February or January).

They are part of the Begotten line that they came out with. The website
calls them "renaissance" now. The first Simplicity books that had them
referred to them as "gothic". They are very pretty, really really off
construction wise and style wise for history...sort of a mishmash from what
I see. Here are the numbers and links:

8623  dress/gown ... makes me think Martha Washington...I'm positive in the
movie 1776 some of the characters wore dresses with coats like this
::chuckles:: I like it....maybe with a petticoat under it...maybe if the
gown and the false jacket were separate
http://www.simplicity.com/852/8623.htm

8619 dress/gown... the black one say modern day Goth to me... if the long
sleeve version was in a solid black without the sheer sleeves it would work
for Morticia Adams...but also very nice
http://www.simplicity.com/852/8619.htm

8502  dress/gown...this one look renaissance sort of...a false lace up front
and a leg of mutton style sleeve...would make a cute beginner gown for fairs
definitely.
http://www.simplicity.com/851/8502.htm

8615  men's shirts ... these have that combo of Errol Flynn and Goth count
feel...nice and flowing...the one version is a nice ren fair shirt
definitely.   http://www.simplicity.com/852/8615.htm

I'm by no means an expert, but none of these look good for historical
accuracy in the least. They look great for ren fair "play dresses and
shirts" though.

Oh...and ya...I bought them when I saw them a few months ago ;)  ALL of them

She who dies with the most patterns and yummy fabric....wins !!!


~Kyna Grannd


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From owner-h-costume@indra.com  Sun Apr 18 20:31:30 1999
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Subject: H-COST: Simplicity pattern
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-Poster: ArcadiaCB@aol.com

That's really scary.  It probably is "based" (and I use that term loosely) on 
a c 1770s gown. Unfortunately, I've seen people wear it for 18th dance 
programs (always wondered where they came up with an open robe look where the 
gown was so short--now I know). But then, if you make Simplicity's astronaut 
costume, you'll look just like a real one and can fly to the moon in it!   
Fun note--several years ago I picked up an early 20th c pattern (just for the 
fun of it--not to use) that I thought must be a Little Bo Peep 
costume--fitted bodice with ruffled sleeves,  mid length full skirt with 
pantaloons with tiers of ruffles them, big open brim sunhat with ribbons.  
When I opened up the pattern to see how it was made and it said "Colonial 
Costume."  It's nice to see how far we've come in documentation and 
historical accuracy in costumes! 
Charlene
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From owner-h-costume@indra.com  Sun Apr 18 20:56:24 1999
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Date: Sun, 18 Apr 1999 12:45:04 -0700
To: h-costume@indra.com
From: "Carol J. Bell Cannon" <cjcannon@greymists.com>
Subject: Re: H-COST: Re: Simplicity Patterns
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-Poster: "Carol J. Bell Cannon" <cjcannon@greymists.com>

        Two comments--and a question:  I was under the impression that the
one with the lovely period sleeves had the wrong neckline [sweetheart] and
was too narrow-skirted for Medieval period.  I did buy it, with plans to
remedy those two 'flaws', however.  Oh--and w/o a zipper, of course. :-)  A
friend who loves the pattern as is wanted to make it that way, but that
would be wrong, wouldn't it?  Please let me know asap...many thanks, in
advance...Gra/inne
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From owner-h-costume@indra.com  Sun Apr 18 21:15:42 1999
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Date: Sun, 18 Apr 1999 21:19:50 -0400
Subject: Re: H-COST: Re: Simplicity Patterns
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-Poster: snowfire@mail.snet.net

-Poster: Jean Holtom <Snowfire@mail.snet.net>

>         Two comments--and a question:  I was under the impression that the
>one with the lovely period sleeves had the wrong neckline [sweetheart] and
>was too narrow-skirted for Medieval period.  I did buy it, with plans to
>remedy those two 'flaws', however.  Oh--and w/o a zipper, of course. :-)  A
>friend who loves the pattern as is wanted to make it that way, but that
>would be wrong, wouldn't it?  Please let me know asap...many thanks, in
>advance...Gra/inne
 
Here's my 4 penneth!

Basically, I think the Simplicity patterns are good templates, and I really 
loved the black one!  I always have costume books to hand when I'm sewing 
garb, and would definately adapt the pattern as well as I could to try to 
make it as authentic as possible (it might not be perfect, but it would be 
my best shot).  Also, I'd look at the pattern pieces as "spare parts" for 
future ventures, as e.g. a sleeve of one combined with e.g. the body of 
another might work in some weird way, and be perfect to give me exactly what 
I had been aiming for.  These days I would not use a zipper (although the 
first dress I made I did use one (Ooooops!).  I'd probably try to use 
another period way of easing the fabric in to fit me as I wanted now. I've 
yet to try the lacings that have been spoken about on this list of late!

Elysant
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From owner-h-costume@indra.com  Sun Apr 18 23:09:53 1999
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Date: Sun, 18 Apr 1999 20:18:00 -0700
To: h-costume@indra.com, ICG-L@lists.best.com
From: debbie strub <tsuruko@silverlink.net>
Subject: H-COST: The Gilded Age
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-Poster: debbie strub <tsuruko@silverlink.net>

Greetings,

   For those in the Seattle area interested in Victorian or Edwardian
clothing, a new exhibition has just opened in downtown Bremerton that is a
must see!

	The Gilded Age is a vintage clothing exhibit featuring gowns and
accessories from the collection of Neil S. Vincent dating from 1860 to
1910, presented by the West Sound Arts Council.
	The pieces are in excellent condition and are displayed in low lighting to
preserve the fragile textiles.  However, there is enough light to see
clothing details (and take notes!).
	Some notable garments include:
	The 1883 "poppy dress" - made of brocade with a poppy design with a black
velvet bodice and silk poppies on the neckline and hem.
	A 1904 dinner gown of opal, silver, blue and black.
	A 1909 light mourning dinner gown, featuring black matte sequins graduated
in size from shoulder to hem.	
	Additionally, there are several cases displaying all manner of accessories
including hats & bonnets, gloves, shoes, stockings, fans, and parasols.
	The exhibit runs from April 10 through May 9, 1999 at 263 4th St. in
downtown Bremerton.  The building is a few blocks up from the Bremerton
ferry terminal.  Admission is $4.00.  Hours are Wed., Thurs., Sat. 11am -
5pm; Friday 2pm-8pm; Sunday 1pm-5pm.  Lectures by Neil Vincent at 2pm on
April 11 and April 25.  Note: No cameras or strollers allowed.

Enjoy!

Deb Strub

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

  It's nice to see how far we've come in documentation and 
>historical accuracy in costumes! 


I can't seen that we've come that far, at least when we're referring to the
Big Three pattern companies.  All of their "historical" costumes look
dreadful to me.

Margo

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From owner-h-costume@indra.com  Mon Apr 19 00:25:29 1999
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From: "Penny Ladnier" <s0peladn@pop.erols.com>
To: "h-costume" <h-costume@indra.com>
Subject: H-COST: Bayeux Tapestry
Date: Mon, 19 Apr 1999 00:36:17 -0400
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-Poster: "Penny Ladnier" <s0peladn@pop.erols.com>

I was watching "Robin Hood: Prince of Thieves" tonight.  I don't know why I
never noticed before that during the opening credits that they were showing
the Bayeux Tapestry.   I went back and watched the credits again to look at
the condition of the tapestry. I want to define if the film's tapestry was a
remake or the orginal.  I just can't imagine the Bayeux owners to allow
someone to place bright lights for filming on such a delicate piece of work.
Did anyone hear anything about the tapestry during the filming of this
movie?  The tapestry shown during the opening credits appeared in excellent
condition.  If this is a remake, the embroider did a wonderful job.  The
stitches and spaces appear to be placed in the correct for the original. I
am leary of the bright white background in the film version.  Most of the
photos I have seen of the original, the background is off-white, sometimes
yellowed.  Has anyone seen the original in person and can comment on the
condition of the background?  If you have the video, please watch the
beginning and let me know your opinions.

Has anyone noticed that midway through the film, Marion is embroidering on a
"new" panel of the Bayeax Tapestry?

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

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From owner-h-costume@indra.com  Mon Apr 19 01:09:36 1999
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Subject: H-COST:  Skirt supporting corset on ebay
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-Poster: Margo Anderson <margo@directcon.net>

There is an original skirt supporting corset on Ebay which appears to be
very similar to the Past Pattern.  here's the
URL:http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&item=91594162

I'm not selling it, just interested and thought others might be, too. 

Margo

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From owner-h-costume@indra.com  Mon Apr 19 01:19:47 1999
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From: The Purple Elephant <csmart@physics.adelaide.edu.au>
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Subject: H-COST: FO - sort of....
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-Poster: The Purple Elephant <csmart@physics.adelaide.edu.au>

 Well I feel the need to boast about the my latest FO, even though it
was not really intended as a historical costume. I made it for my sister-
-in-law's wedding (which was on Saturday). It was based on the Edwardian
suit (circa 1906 I think) pattern given by Norah Waugh in 'The Cut of
Women's Clothes 1600-1930', but with different sleeves on the jacket.
For those unfamiliar with that, the pattern is for a bolero jacket with
a 'corselet' skirt.
 Since I wasn't intending it for historical wear I made it without a 
corset or any sort of proper undergarments, though I boned the top of the
foundation skirt. 
 I made the suit in purple wool, with the foundation skirt and jacket
lining of lilac linen. It's decorated with bands of black velveteen and
silver buttons. To go with it I made a blouse of blue-grey lace with a
silk lining (the pattern from the lining was also taken from the above
book, though I forget which one) - again not exactly accurate, in that I 
decided to forego the high boned collar. I managed to find real shell
buttons, very very small ones for the blouse. 
 To go with it I decorated a hat with lots of fake blue, red and purple
flowers and a big purple bow. Now I just have to wait and see how the
photos turn out....

Anyway, the reason it's only sort of an FO is that I didn't quite finish
it in time (we moved about three weeks ago and I lost my sewing machine 
cord - pretty much everyhting but the blouse got done in the last two 
weeks). I didn't get to sew the velveteen bands on the skirt, and only 
the functional buttons got to be sewn on. Also my grand tradition of 
wearing stuff for the first time unhemmed was continued *grin* 

This was quite possibly one of the most complex things I've made to date
and I was quite pleased with the way it turned out (when you put a 4
piece jacket and six piece facing together and they match exactly it's
hard not to be self congratulatory *grin*). There was some cursing over
pieces sewn together wrongly at frightful hours, but generally it was
well-behaved. Still, I'm glad it's done....now, back to the 15th 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  Mon Apr 19 06:56:13 1999
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Subject: Re: H-COST: Simplicity pattern
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-Poster: ArcadiaCB@aol.com

Not the "regular" pattern companies, but people who actually do research and 
draft from originals so that there are accurate pattens for use.  But 
unfortunately, I've seen far too many "Halloween costume" pattterns used for 
"ye olde looke" by people and at places where they should try for accuracy.  
I  "practice" with an English country dance group locally (and have for over 
12 years) but will not "perform" with them (again use that loosely) since the 
first time I did and saw their costumes (in the modern Simplicity patttern 
term), modern hair and glasses, etc.  They've been doing it since the 
Bicenntennial and have no desire to change--but a few newer people have 
noticed my clothes and asked info and have actually made stays and correct 
clothing. If only the Simplicity pattern ones would stay at purely social 
functions and not step into the world of performances and museums who of 
course don't know when they ask these people to do performances and the group 
says they are historically accurate.  I just don't want to be seen with them 
in public in those clothes. Nice people, but totally clueless.
Charlene
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From owner-h-costume@indra.com  Mon Apr 19 10:03:11 1999
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From: "Susannah Eanes" <oh_susannah@hotmail.com>
To: h-costume@indra.com
Subject: Re: H-COST: silk stockings
Date: Mon, 19 Apr 1999 07:11:48 PDT
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-Poster: "Susannah Eanes" <oh_susannah@hotmail.com>

Dear Kevin & Mara,
Did you see my later post, correcting this message?  I was excited, 
and in a hurry.  The stock is c. 1890 - 1940.

Susannah


>From: Kevin & Mara Riley <lindo@Radix.Net>
>Reply-To: h-costume@indra.com
>To: h-costume@indra.com
>Subject: Re: H-COST: silk stockings
>Date: Fri, 16 Apr 1999 14:59:41 -0400 (EDT)
>
>
>-Poster: Kevin & Mara Riley <lindo@Radix.Net>
>
>Susannah, is that really late 18th-early 19th, or late 19th-early 
20th?
>
>Mara
>
>> -----Original Message-----
>> From: Susannah Eanes <oh_susannah@hotmail.com>
>> To: h-costume@indra.com <h-costume@indra.com>
>> Date: Monday, April 12, 1999 10:28 AM
>> Subject: Re: H-COST: silk stockings
>> 
>> 
>> >
>> >-Poster: "Susannah Eanes" <oh_susannah@hotmail.com>
>> >
>> >I have access to the inventory of an old store that contains, 
among
>> >other wonderful things, original late 18th - early 19th c. silk
>> >stockings & corsets in their original boxes.  I don't know how 
they
>> >have stood up to the decades of being stored away in an
>> >unheated/uncooled store attic warehouse, but they sure look & feel
>> >pretty good to me.  The owner is currently assessing these items 
for
>> >sale either in lots or as one whole.  If anyone is interested in
>> >finding out more, please e-mail me privately.
>
> _________________________________________________________________
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> with the message UNSUBSCRIBE H-COSTUME
>


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From owner-h-costume@indra.com  Mon Apr 19 10:40:21 1999
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Date: Mon, 19 Apr 1999 10:52:40 -0500
From: Hope Greenberg <hope.greenberg@uvm.edu>
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Subject: Re: H-COST: Re: Crocheted shawl
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-Poster: Hope Greenberg <hope.greenberg@uvm.edu>

Lynn Carpenter wrote:

> Hope, what about *netted* shawls?  I have a photocopy of a netted shawl
> pattern which is supposed to be from Godey's "~1850's".  The page # is 392,
>
> And maybe you can date my pattern more precisely.

Hi -

I can't date it precisely as I don't have all the volumes for the 1850s
:-( sigh
But I can help you narrow it down a bit. It's not in any of the
following:
Jan-June 1852, July-Dec 1855, Jan-June 1856, all of 1857, all of 1858
March and April 1857 have a two-part article on how to do netting which
includes several different netting designs, but does not indicate what
you would actually make with the netting.
Not much help I'm afraid...

- Hope

----------
hope.greenberg@uvm.edu, U of Vermont, http://www.uvm.edu/~hag
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From owner-h-costume@indra.com  Mon Apr 19 11:08:38 1999
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From: "Cindy Abel" <Cindy.Abel@creighton.edu>
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Subject: Re: H-COST: EXIBIT OF PRINCESS DIANA'S DRESSES
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-Poster: "Cindy Abel" <Cindy.Abel@creighton.edu>

Friday I went to the Western Heritage Museum here in Omaha to see the 
touring exibit of 20 of the 80 dresses Princess Diana had auctioned 
in 1997. Included are the so-called "Travolta dress"(the ink blue 
dress she wore to the White House), the pink two-piece silk with very 
complicated embroidery, the two sheath dresses she wore to the 
two-day auction itself, and the green sequin"mermaid" dress.  Because 
the weather was so horrid, it wasn't crowded and I was able to check 
out most of the dresses from all angles making mental notes since 
photographs were banned, of course, and also any sketching or notes.  
Because of the properly controlled lighting, it was hard to pick up 
details(seaming especially) on the darker gowns, but the cut, 
construction and details on most of the gowns are things that never 
show up in photographs(sleeves cut more on a 19th century line as 
they are two-piece and have the slightest curve to follow the natural 
curve of the arm)and most seams and darts on the gowns follow the 
body(such as you can have when you have the $$ or the time and skill 
for custom made clothes!)

There was a catalog and other goodies to buy, but moi is currently 
low on cash and what I would have preferred of course, would have 
been a book on the design, fabric history, and actual construction of 
the gowns.  Any expert on the list interested in getting the rights 
to do such a project?

I will shortly be doing a Princess Diana doll in porcelain--my 
teacher finally found a mold where the sculpt really looks like 
her--and several of us in class will be making it. A few have started 
and the original artist has patterns for the "Travolta" dress and a 
two-piece dress and jacket in bright pink satin.  Some classmates 
want me to do the wedding dress(very easy to research, at least), but 
I'm leaning towards a 1880's style dress she wore in Canada, I think 
on a 1983 tour.  I think the original was a cream silk or satin with 
a little pancake-shaped hat she wore in honor of Yukon days or 
whatever it was called. I can't remember where I saw the picture but 
it stuck in my mind because of the historic style of the dress.  I 
will have to go to our local main library who has the older issues in 
hardcopy of "Reader's Guide to Periodical Literature" in order to 
find some articles. But does anyone on the list have any hints on 
where I might find photographs of this dress?  It looks as if there 
are going to be lots of this particular Diana doll at our local show 
in September(I can imagine it now--"Dueling Dianas at Doll Show")and 
I want to combine my interest in historic costume and desire to do 
something different from everyone else. Plus I have a reputation to 
keep up--I'm getting known for doing a doll differently from everyone 
else!  Don't know if that's good or bad! 
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From owner-h-costume@indra.com  Mon Apr 19 11:25:13 1999
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From: "Susannah Eanes" <oh_susannah@hotmail.com>
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Subject: H-COST: H. Hornblower on A&E
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-Poster: "Susannah Eanes" <oh_susannah@hotmail.com>

Kind readers:

Am I missing something or just totally confused?  Why did it seem on 
last night's episode of Horatio Hornblower (now THERE'S a man!) that 
the Duchess seemed to be wearing early 1780s attire in one scene, and 
early 1790s in the next, and I thought the time was early 1800s?

???
And did her accent seem incredibly Scottish for someone purporting to 
be a Duchess residing in London?  I know she was actually an actress 
portraying a Duchess, but did they mean to pick a Scottish actress to 
portray the actress portraying a Duchess?  How stupid do they think 
we are?

The men's costuming by and large seems to be superb, given my limited 
knowledge of maritime garments.  Did they screw up on the ladies' 
attire, or am I just totally wrong on the time period being portrayed?

I haven't read the C.S. Forester novel, btw.  Maybe if I had, I could 
answer my own questions.  If anyone has any insight into this puzzle, 
please let me know.

Susannah

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Date: Mon, 19 Apr 1999 11:43:01 EDT
Subject: Re: H-COST: EXIBIT OF PRINCESS DIANA'S DRESSES
To: Cindy.Abel@creighton.edu, h-costume@indra.com
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-Poster: M311@aol.com

In a message dated 4/19/99 10:18:53 AM Central Daylight Time, 
Cindy.Abel@creighton.edu writes:

<< 'm leaning towards a 1880's style dress she wore in Canada, I think 
 on a 1983 tour.  >>

Yes, I thought it sounded familar.  I have a couple of picture books on her.  
I found it in the one.  It is in the book:  Diana Princess of Wales- A 
Tribute by Tim Graham --Welcome Rain, New York, New York, ISBN #1-56649-599-7
It shows the front and part of the side  plus the bag and gloves.  You can 
see the boots also.  It is on page 39.  I hope that helps.
Kelly Albrecht
m311@aol.com
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From owner-h-costume@indra.com  Mon Apr 19 11:54:27 1999
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-Poster: Cynthia Virtue <cvirtue@thibault.org>

I saw the tapestry about a year ago.  The background is sorta
cream-colored -- but I would expect that professional film people could
correct the color once it was filmed.   Likewise they could have access
to very low-light film so that they could film with the conservation
lights only.

The two things I'd look for to decide if the film version is real or not
-- I'm no expert, however:

1. are all border figures finished.  The original's border figures are
not evenly spaced, some only partially finished.  There are figures that
are only outlined and never filled in with stitching.  The very first
panel has an unfinished left border.

2. if it shows the end (extreme right edge) as a finished pice with a
border, it's not original.  The original cuts off in the middle of a
scene with horses, before William is crowned.  The tapestry museum
theorized that the tapestry was at least long enough to show his
crowning, since the rest of it seems to be somewhat justifying his
invasion, it would make sense to end the story at his coronation.

-- 
Cynthia Virtue, theobromian
=-=-=-=-=
Easy medieval hats for everyone! http://www.virtue.to/virtue/articles/
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From owner-h-costume@indra.com  Mon Apr 19 12:14:43 1999
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From: "David W. Rickman" <drickman@state.de.us>
Subject: H-COST: Old blue jeans
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-Poster: "David W. Rickman" <drickman@state.de.us>

Hello,

Margo wrote:

> I'm finding Gold Rush costume to be fascinating and infuriating.  Every
>diary I read contradicts the one I read before it!  For example, one diarist
>describes going to a dance and says that the ladies attending wore calico
>dresses, men's boots and a ribbon if they were lucky.  Another diarist,
>writing about a dance the same year in a mining town the same size and 20
>miles away,  describes ladies wearing elaborate toilettes with short sleeves
>and low necks, and changing their gowns two and three times during the
>evening!  

I understand the frustration. The economic history of the California Gold 
Rush, and its impact on the clothing worn there, has yet to be written - and I 
am not the person to do it, either. However, to interpret the Gold Rush in 
costume that is accurate needn't be all that difficult. Any town that was 
established enough to have buildings still standing that you are interpreting 
today, was not a town that was experiencing shortages. It had supply routes 
well established to bring in building materials (and therefore any other 
products the settlers wanted), and it had an economic system well-enough 
founded that the citizens could pay for whatever was imported. The real times 
of shortages and strange contrasts like the one described above, are likely to 
have happened early on in the Gold Rush, when everything was still up in the 
air. To my knowlege, there are no sites in California that can interpret that 
period - because the buildings were all temporarty: tents, log cabins, 
lean-tos and rough frame structures. Look at the photos. Whenever a picture is 
taken in a town that is a town - with a main street and three or four 
substantial buildings, the women are decently dressed. 

I am curious about this changing gowns two and three times during the evening. 
Why would they do this? Pure ostentation?

I am reminded of a well-known story from the Gold Rush. The Rush, to begin 
with, was a largely all-male phenomenon. Women, especially white women, were 
extraordinarily rare in the early Gold Fields (prior to the 1850's). One day a 
group of miners found the baggage of an emigrant wagon that had been tossed 
out to lighten the load going over the mountains. In the baggage the miners 
found a woman's dress and bonnet. It had been so long since these men had seen 
a white woman that they set up a post and hung the dress on it, topping it off 
with a bonnet. They then held a "war dance" around the effigy, in celebration 
of all their memories, hopes and aspirations about the women they had left at 
home. I repeat this story because I find it sweet, but it is also indicative 
of just how rare white women were in the early mines. The probability is that 
the site Margo is interpreting dates from a period and location in the Gold 
Rush where things were well-established enough that women were fairly well 
clad.

>The reproduction Levis that we make are made exactly like an old pair of
>Levis that we own which were found in an old mining camp in Nevada --  The
>Levi Strauss Museum has dated them at 1880's -- They are the oldest known
>surviving pair.
>
>We make these in the same denim fabric used in the originals --  These are
>as close as you will ever get to the originals and are appropriate for
>1850 -  The blue denim would have been used at that time  --  We also make
>them in other colors of denim. (brown, etc.)

No, I don't think so. I think we can do much better.

I took a look at the pants this company offers and, while you may never do 
better for interpreting the 1880's, you could not do much worse for 
interpreting the Gold Rush. Clearly these pants are cut much more slimly than 
the 1850's, and that rear rise is positively tight. Since you are not sure 
that you are going to need Gold Rush pants, Margo, I won't do more than say 
that if anyone _is_ interested in the proper cut for these, Jim Miller in 
Columbia could probably help you. I also have photos from the Old Sturbridge 
Village collection of those brown linen trousers that might help as well.

By the way, I didn't see anything on this website that is appropriate for the 
Gold Rush. Be careful.

David
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From owner-h-costume@indra.com  Mon Apr 19 12:18:20 1999
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-Poster: "David W. Rickman" <drickman@state.de.us>

Hello,

Joan Broneske wrote:
>A couple of years ago, I attended a workshop at the Eagle Theater in Old =
>Sacramento which was put on by a husband and wife team called "Chile N' =
>Crackers".  They had patterns that they had taken from actual garments =
>for a woman's workdress, man's bib-front shirt, trousers with front =
>flap, a women's corded petticoat, a calash and a couple of house caps.  =
>The woman also made beautiful reproduction calico buttons.  They used to =
>have a web site, but I couldn't find it again.  These items were billed =
>as "Gold Rush Era"

>The buttons are sold through Past Patterns =
>(http://www.thepoint.net/~pastpat/button.html)

>I do have the address for Chile N' Crackers, it is P.O. Box 442, =
>Columbia, CA 95310.  Phone is 209-588-9513

Chil N' Crackers is the business owned by my friends Jim and Lindy Miller. I 
do recommend that you talk with them about your Gold Rush living history 
projects. They are wonderful people and very knowlegeable.

David



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From owner-h-costume@indra.com  Mon Apr 19 13:01:23 1999
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From: "Franchesca Havas" <ches@io.com>
To: <h-costume@indra.com>
Subject: Re: H-COST: Bayeux Tapestry
Date: Mon, 19 Apr 1999 12:11:03 -0500
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-Poster: "Franchesca Havas" <ches@io.com>

I will look at the movie later tonight but I do know that there are members
of the SCA that have reconstructed selected panels of this tapestry in the
Texas Oklahoma area. I saw one once and thought it was just a print of it
only to find out that it was a reconstruction. It was beautiful. I was told
that several ladies had sat down one summer and did panels together, kinda
like a quilting circle. The movie folks either had the real one actually
filmed with highly specialized film, which with Mr. big bucks Kevin Costner
as a member of the production team it is quite likely, or they had a team of
people reconstruct one for the production. If the film was used of the
original there is technology that can do the very thing we see in this
movie.

Sincerely,
F. Havas
Dallas, Texas

-----Original Message-----
From: Penny Ladnier <s0peladn@pop.erols.com>
To: h-costume <h-costume@indra.com>
Date: Sunday, April 18, 1999 11:38 PM
Subject: H-COST: Bayeux Tapestry


:
:-Poster: "Penny Ladnier" <s0peladn@pop.erols.com>
:
:I was watching "Robin Hood: Prince of Thieves" tonight.  I don't know why I
:never noticed before that during the opening credits that they were showing
:the Bayeux Tapestry

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From owner-h-costume@indra.com  Mon Apr 19 13:45:07 1999
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Date: Mon, 19 Apr 1999 18:52:04 +0100
To: h-costume@indra.com
From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: H-COST: Bayeux Tapestry
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-Poster: Jean Waddie <anne@montgomerie.demon.co.uk>

In message <000101be8a1e$2d2e17c0$5a3daccf@costume>, Penny Ladnier
<s0peladn@pop.erols.com> writes
>
>-Poster: "Penny Ladnier" <s0peladn@pop.erols.com>
>
>I was watching "Robin Hood: Prince of Thieves" tonight.  I don't know why I
>never noticed before that during the opening credits that they were showing
>the Bayeux Tapestry.   I went back and watched the credits again to look at
>the condition of the tapestry. I want to define if the film's tapestry was a
>remake or the orginal.  I just can't imagine the Bayeux owners to allow
>someone to place bright lights for filming on such a delicate piece of work.
>Did anyone hear anything about the tapestry during the filming of this
>movie?  The tapestry shown during the opening credits appeared in excellent
>condition.  If this is a remake, the embroider did a wonderful job.  The
>stitches and spaces appear to be placed in the correct for the original. I
>am leary of the bright white background in the film version.  Most of the
>photos I have seen of the original, the background is off-white, sometimes
>yellowed.  Has anyone seen the original in person and can comment on the
>condition of the background?  If you have the video, please watch the
>beginning and let me know your opinions.
>
>Has anyone noticed that midway through the film, Marion is embroidering on a
>"new" panel of the Bayeax Tapestry?
>
>Later...Penny
>http://www.costumegallery.com
>
I think there is a replica of the Bayeux tapestry at Hastings or Battle
Abbey.  It was made fairly recently - in the last 15-20 years I think.
Any embroidery buffs remember it being on the news?  Maybe the film
makers were allowed to use that.

Jean
-- 
Jean Waddie
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From: agottfre@telusplanet.net (Angela Gottfred)
Subject: RE: H-COST: H. Hornblower on A&E
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-Poster: agottfre@telusplanet.net (Angela Gottfred)

 "Susannah Eanes" <oh_susannah@hotmail.com> wrote:

> Why did it seem on 
>last night's episode of Horatio Hornblower (now THERE'S a man!) that 
>the Duchess seemed to be wearing early 1780s attire in one scene, and 
>early 1790s in the next, and I thought the time was early 1800s?
I thought she should have been wearing Empire dresses; she was portraying a 
Duchess, & was really an actress--either way, she should have been 
'fashionably dressed'. As for the date, the intro said 1790's, I believe, 
and the show didn't take place over much more than a single year. 

>And did her accent seem incredibly Scottish for someone purporting to 
>be a Duchess residing in London?  
I wouldn't have called the accent Scottish, myself; she said that she was 
the daughter of the Duke's 'mill' (plant) manager, which accounted for the 
lower-class accent & manners. When she wasn't 'playing' the Duchess, she 
dropped the accent. (E.g. the last few scenes of her & HH together.)

>I haven't read the C.S. Forester novel, btw.  Maybe if I had, I could 
>answer my own questions. 
No, if you had, you'd have turned off the TV halfway through. My husband has 
been re-reading the books, and that's what he did. They've crammed several 
decent stories into one movie, and dramatically re-arranged the plot & 
'jazzed up' the characters so that Forester fans must surely be pulling 
their hair out. The characterization of HH in the movies isn't nearly as 
complete as in the novels.

Your humble & obedient servant,
Angela Gottfred
agottfre@telusplanet.net

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

At 10:10 AM 4/19/99 EDT, you wrote:

>I understand the frustration. The economic history of the California Gold 
>Rush, and its impact on the clothing worn there, has yet to be written - and I 
>am not the person to do it, either. 

Well, if I continue to be as fascinated as I am, I can see doing that
book...in about 20 years.

>
>I am curious about this changing gowns two and three times during the evening. 
>Why would they do this? Pure ostentation?

Probably.  Here's the relevant quote, from A Buckeye in the land of Gold,
Letters and jounals of William Dennison Bickham; describing a ball at Pilot
Hill on Feb. 15, 1851:

"Mrs G. appeared in the ball room during the evening with three different
dresses, Miss L. with two changes was content.  Huzzah for California."

Bickham is a good source for clothing, even describing ladies' dresses in
detail, which one might expect of a man with four sisters.  



As for Hamilton Dry Good's Levi's, I was afraid of that.  I would like to
tell the list members, however, that these people appear to give excellent
service, answering numerous emails in detail and even emailing me to check
up on me when I hadn't talked to them in a while.  



Margo Anderson

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From owner-h-costume@indra.com  Mon Apr 19 14:43:32 1999
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-Poster: Janice Dallas <janicedals@mediaone.net>

Jill,
The web-site for Costume College is at members.aol.com/ccollege99.  It's
July 23-25, 1999.  We fly in from Boston and consider it definitely
worth the trip.

Janice Dallas
JaniceDals@mediaone.net
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From owner-h-costume@indra.com  Mon Apr 19 16:10:21 1999
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-Poster: Margo Anderson <margo@directcon.net>

  Here's the relevant quote, from A Buckeye in the land of Gold,
>Letters and jounals of William Dennison Bickham; describing a ball at Pilot
>Hill on Feb. 15, 1851:
>
>"Mrs G. appeared in the ball room during the evening with three different
>dresses, Miss L. with two changes was content.  Huzzah for California."
>
Whoops!  I just went back and read the whole section in the book, not the
reference card I'd written.  What I missed here is that Mrs G, a widow, and
Miss L have just been married at this ball, "in the Morman rite".  One
assumes they were married  to men, (or to one man, it being a Morman rite at
the time of polygamy)  not to each other.  At any rate, the fact that we're
talking about their weddings makes a difference. 

I'm still wondering what they wore.  Since the wedding was at the ball with
gentiles present, it wouldn't have been their temple garments, and since Mrs
G was a widow, I'm guessing she didn't wear a bridal veil. Maybe they were
just showing off their troussoux?

I can see that I'm going to have to research Morman clothing, too, if I'm
going to make an intense study of the Gold Rush.  One refererence I found
described Morman men with long hair "tied up in ribbons like ladies"!

Charging off in all directions,

Margo

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From owner-h-costume@indra.com  Mon Apr 19 16:23:35 1999
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Date: Mon, 19 Apr 1999 13:30:00 -0700 (PDT)
From: Vincent Ho <hbv@tsoft.com>
To: h-costume@indra.com
Subject: Re: H-COST: H. Hornblower on A&E
In-Reply-To: <19990419153513.57266.qmail@hotmail.com>
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-Poster: Vincent Ho <hbv@tsoft.com>

On Mon, 19 Apr 1999, Susannah Eanes wrote:

> 
> -Poster: "Susannah Eanes" <oh_susannah@hotmail.com>
> 
> Kind readers:
> 
> Am I missing something or just totally confused?  Why did it seem on 
> last night's episode of Horatio Hornblower (now THERE'S a man!) that 
> the Duchess seemed to be wearing early 1780s attire in one scene, and 
> early 1790s in the next, and I thought the time was early 1800s?

It was in 1793, or shortly thereafter.  


--
Vincent B. Ho  hbv@tsoft.com    
--
Flow my tears, fall from your springs,
Exiled forever:  Let me mourn
where night's black bird her sad infamy sings,
there let me live forlorn.  --John Dowland (2nd book of Songs or Ayres, 1600)

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From owner-h-costume@indra.com  Mon Apr 19 16:26:53 1999
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Date: Mon, 19 Apr 1999 10:58:46 -0600 (MDT)
From: Sylvia Rognstad <sylvia@netherworld.com>
To: h-costume@indra.com
Subject: Re: H-COST: H. Hornblower on A&E
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-Poster: Sylvia Rognstad <sylvia@netherworld.com>

> 
> -Poster: "Susannah Eanes" <oh_susannah@hotmail.com>
> 
> Am I missing something or just totally confused?  Why did it seem on 
> last night's episode of Horatio Hornblower (now THERE'S a man!) that 
> the Duchess seemed to be wearing early 1780s attire in one scene, and 
> early 1790s in the next, and I thought the time was early 1800s?

I havent seen last night's episode yet, but I recall that the time
specified for episode I was 1793.  I dont know how much time is supposed
to have elapsed by now.  And YES, there's a man!
Sylvia R

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From owner-h-costume@indra.com  Mon Apr 19 16:30:22 1999
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From: Merouda the True of Bornover <keltia@serv.net>
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-Poster: Merouda the True of Bornover <keltia@serv.net>

> I think there is a replica of the Bayeux tapestry at Hastings or Battle
> Abbey.  It was made fairly recently - in the last 15-20 years I think.
> Any embroidery buffs remember it being on the news?  Maybe the film
> makers were allowed to use that.

What I remember was that someone *completed* the Tapestry as accurately as
possible.  Not that a new one or a duplicate was made but that the final scene
was completed.  The tapestry itself (not really a tapestry but an embroidery) is
kept in Reading I am told.
--
Cynthia Long
Merouda the True of Bornover
Barony of Madrone
Kingdom of An Tir


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From owner-h-costume@indra.com  Mon Apr 19 17:32:15 1999
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From: "Susan Carroll-Clark" <nicolaa@earthlink.net>
To: <h-costume@indra.com>
Subject: Re: H-COST: Bayeux Tapestry
Date: Mon, 19 Apr 1999 17:40:04 -0400
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-Poster: "Susan Carroll-Clark" <nicolaa@earthlink.net>

Greetings!

There is a professor at an Ontario university (can't remember now whether
it's Laurier, Waterloo, or Guelph) who has stitched a complete replica of
the tapestry, including "completing" the final scene.  He did it over about
10 years, essentially for fun, and last I heard, it was touring Canada.
It's a little smaller than actual size, but is extremely cool (I've seen it,
and the work is beautiful).

I'll sniff around and see if I can find more info.

Susan Carroll-Clark

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Date: Mon, 19 Apr 1999 14:44:12 +0000
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-Poster: "S.B. McDaniel" <fretknot@earthlink.net>

>From the context, the action in last night's movie would be taking place
in about 1795. I know very little about 18th c. dress, but my friend who
watched it with me claims the "duchess" was pretty well dressed for the
period. She had done a good deal of 18th c. reenactment, and is fairly
knowlegable.

On the accent: The character was an actress spying for the English,
posing as a north country mill owner's daughter who had married a duke.
Her accent was not Scottish, but the appropriate accent for such a
woman. When the actress/spy dropped her impersonation she spoke in a
middle class London accent. Cheri Lunghi is a wonderful and skilled
actress whom I thought did a perfect job in this role.

Sandy

 "Susannah Eanes" <oh_susannah@hotmail.com> wrote:
> Am I missing something or just totally confused?  Why did it seem on 
> last night's episode of Horatio Hornblower (now THERE'S a man!) that 
> the Duchess seemed to be wearing early 1780s attire in one scene, and > early 1790s in the next, and I thought the time was early 1800s?

> ???
> And did her accent seem incredibly Scottish for someone purporting to 
> be a Duchess residing in London?  I know she was actually an actress 
> portraying a Duchess, but did they mean to pick a Scottish actress to 
> portray the actress portraying a Duchess?  How stupid do they think 
> we are?
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From owner-h-costume@indra.com  Mon Apr 19 17:42:17 1999
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-Poster: Alikhat <alikhat@ix.netcom.com>

At 08:35 AM 4/19/99 PDT, Susannah Eanes wrote:
>Am I missing something or just totally confused?  Why did it seem on 
>last night's episode of Horatio Hornblower (now THERE'S a man!) that 
>the Duchess seemed to be wearing early 1780s attire in one scene, and 
>early 1790s in the next, and I thought the time was early 1800s?

 The story is set in the early 1790's, and yes, I noticed that her
fashions wandered a bit, too. Perhaps that was intentional, though,
since her character was an actress *pretending* to be a Duchess
and her clothes might just be costumes from plays she'd been in.

>And did her accent seem incredibly Scottish for someone purporting to 
>be a Duchess residing in London?  I know she was actually an actress 
>portraying a Duchess, but did they mean to pick a Scottish actress to 
>portray the actress portraying a Duchess?  How stupid do they think 
>we are?

 The accent was Yorkshire, actually. And as much as it annoyed me,
too, it was clearly intentional, as she dropped it in favor of a nice,
stately BBC-British accent as soon as she "dropped character". To
an American ear, the latter may sound far more regal, but she did 
say that the Duchess was a real person, so perhaps the idea was 
that she would speak with the accent of the region she came from. 
Just a thought, anyway.


 Alikhat


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From owner-h-costume@indra.com  Mon Apr 19 18:44:06 1999
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From: "StitchWitch" <stitchwitch@excite.com>
To: h-costume@indra.com
Subject: Re: H-COST: Bayeux Tapestry
Message-Id: <924562365.29533.388@excite.com>
Date: Mon, 19 Apr 1999 15:52:45 PDT
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-Poster: "StitchWitch" <stitchwitch@excite.com>


> There is a professor at an Ontario university (can't remember now whether
> it's Laurier, Waterloo, or Guelph) who has stitched a complete replica of
> the tapestry, including "completing" the final scene.  He did it over
about
> 10 years, essentially for fun, and last I heard, it was touring Canada.
> It's a little smaller than actual size, but is extremely cool (I've seen
it,
> and the work is beautiful).
> 
> I'll sniff around and see if I can find more info.
> 
> Susan Carroll-Clark

Might there possibly be a website for this newer working? I'd love to see
it, if at all possible!

Kate
----
StitchWitch

All things are possible until they are proved impossible - and even the
impossible may only be so, as of now. - Pearl S. Buck




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From owner-h-costume@indra.com  Mon Apr 19 19:04:31 1999
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Date: Mon, 19 Apr 1999 16:15:08 -0700
Subject: H-COST: Symposium Report
From: "R.L. Shep" <rlshep@jps.net>
To: "h-costume" <h-costume@indra.com>
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-Poster: "R.L. Shep" <rlshep@jps.net>

The first Triannual R.L. Shep Symposium on Textiles on Dress took place this
last weekend at the Los Angeles County Museum of Art in the Bing Auditorium.
All I can say is that it exceeded my expectations - and the audience, which
was quite substantial, was very enthusied by the talks that were given.
The Theme was *Dress as Transformation* which was explored in terms of both
historical dress and ethnic dress. And the speakers were leaders in their
fields rom all over this country and even one from England.
To all of you who missed it, we hope to publish the proceedings later this
year.
The NEXT Symposium will take place on 15 December 2002 in conjunction with
the opening of a large exhibit of Noh Costumes at LACMA and will center
around this theme.
Mark you calendars!
~!~ R.L.Shep
http://www.mcn.org/e/fsbks
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From owner-h-costume@indra.com  Mon Apr 19 20:11:33 1999
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Subject: H-COST: Opinions, do you have any
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-Poster: Michel McCabe <micki@connext.net>

The current "issue" for the Edward Hamilton Bookseller has several possibly
useful 
books listed, 

	A Pictorial History of Costume Edited by Dorine van den Beukel, 
		published at $29.95, listed at $ 19.95

	Fashion Design 1850-1895 
		published at $29.95, listed at $ 19.95

	Dress & Decoration of the Middle Ages by Henry Shaw
	"orig published in 1858" this seems to be a soft cover repro of 
the original -  $14.95 


anyone familiar with these 

	
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From: Ron Carnegie <rcarnegie@widomaker.com>
Subject: Re: H-COST: Re: H. Hornblower on A&E
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-Poster: Ron Carnegie <rcarnegie@widomaker.com>

At 02:44 PM 4/19/99 +0000, you wrote:
>
>-Poster: "S.B. McDaniel" <fretknot@earthlink.net>
>
>>From the context, the action in last night's movie would be taking place
>in about 1795. I know very little about 18th c. dress, but my friend who
>watched it with me claims the "duchess" was pretty well dressed for the
>period. She had done a good deal of 18th c. reenactment, and is fairly
>knowlegable.
>
>On the accent: The character was an actress spying for the English,
>posing as a north country mill owner's daughter who had married a duke.
>Her accent was not Scottish, but the appropriate accent for such a
>woman. When the actress/spy dropped her impersonation she spoke in a
>middle class London accent. Cheri Lunghi is a wonderful and skilled
>actress whom I thought did a perfect job in this role.
>
>Sandy

        I re-watched it tonight, and the accent sounds North Country to me,
not Scottish.

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

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From owner-h-costume@indra.com  Mon Apr 19 21:05:18 1999
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Date: Mon, 19 Apr 1999 14:38:00 -0700
From: heather <lynnx@mc.net>
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-Poster: heather <lynnx@mc.net>

Sorry for the o.t. stuff, but some folks seem to be confused by posts
from "lynnx@mc.net"; understandable.  There are 2 of us using this addy,
me (Heather, name on the email addy) and Carol Mitchell, who originally
subscribed us to this list.  To deconfuse, look at the signature *below*
the post.  Thanks,

Heather


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From owner-h-costume@indra.com  Mon Apr 19 22:41:44 1999
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Date: Mon, 19 Apr 1999 19:42:20 -0700
To: h-costume@indra.com
From: "Carol J. Bell Cannon" <cjcannon@greymists.com>
Subject: Re: H-COST: Bayeux Tapestry
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-Poster: "Carol J. Bell Cannon" <cjcannon@greymists.com>

         One group in the SCA completed a copy of the Bayeux tapestry a few
years ago, but I do not recall which group.  -- Carol

At 11:37 AM 4/19/99 -0700, you wrote:
>
>-Poster: Merouda the True of Bornover <keltia@serv.net>
>
>> I think there is a replica of the Bayeux tapestry at Hastings or Battle
>> Abbey.  It was made fairly recently - in the last 15-20 years I think.
>> Any embroidery buffs remember it being on the news?  Maybe the film
>> makers were allowed to use that.
>
>What I remember was that someone *completed* the Tapestry as accurately as
>possible.  Not that a new one or a duplicate was made but that the final
scene
>was completed.  The tapestry itself (not really a tapestry but an
embroidery) is
>kept in Reading I am told.
>--
>Cynthia Long
>Merouda the True of Bornover
>Barony of Madrone
>Kingdom of An Tir
>
>
> _________________________________________________________________
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> with the message UNSUBSCRIBE H-COSTUME
> 
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Subject: Re: H-COST: Bayeux Tapestry
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-Poster: Appin1@aol.com

If I remember correctly, in one of the "Henry II movies" (I can't recall if 
it was "Becket" or "Lion in Winter", since Peter O'Toole played Henry in 
both), probably "Becket" there is a scene that shows Henry's mohter, the 
Empress Matilda, embroidering -- the Bayeux Tapestry! I laughed.

Kathleen Norvell
"How many costumes do you think I can pack?"
--"Start the Revolution Without Me"

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Date: Mon, 19 Apr 1999 23:43:42 -0500
To: h-costume-digest@indra.com
From: Pierre & Sandy Pettinger <costumrs@radiks.net>
Subject: H-COST: Re: Diana dress exhibit
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-Poster: Pierre & Sandy Pettinger <costumrs@radiks.net>

We went to see this exhibit Saturday, and happened to run into a couple of
friends there, so there were four of us leaning as close to the glass as we
could get, taking mental notes.  One could even occasionally see one of us
on our hands and knees, looking at hem details.  We spent about an hour+
there, trying to determine where the seams went, if there was boning, other
construction and trimming details, etc.  Our favorites were the burgundy
velvet sheath dress with tailcoat, and the pink wild silk with the
Mughal-style embroidery on bodice and jacket.  

We bought all three books that were for sale:  the exhibit catalog, one
titled "Dressing Diana", and one about the designer Catherine Walker.  Some
time ago we found another book (at Sam's Club, of all places) called
"Diana: Her Life in Fashion".  Author is Georgina Howell, publisher Rizzoli
International, c. 1998, ISBN 0-8478-2137-4.  It's more or less a
chronological biography of her wardrobe, the things that makes it
interesting are the back views, designer's sketches, and extreme closeups
of embroidery and beadwork.  Also in the back is a complete listing of the
lots for Christie's auction.  Unfortunately, not all are pictured, but
several are.  

Cindy, not sure if the one you are interested in is in there or not -
couldn't place it from your brief description.

Absolutely enjoyed the exhibit!

Pierre and Sandy

>- -Poster: "Cindy Abel" <Cindy.Abel@creighton.edu>
>
>Friday I went to the Western Heritage Museum here in Omaha to see the 
>touring exibit of 20 of the 80 dresses Princess Diana had auctioned 
>in 1997. Included are the so-called "Travolta dress"(the ink blue 
>dress she wore to the White House), the pink two-piece silk with very 
>complicated embroidery, the two sheath dresses she wore to the 
>two-day auction itself, and the green sequin"mermaid" dress.  Because 
>the weather was so horrid, it wasn't crowded and I was able to check 
>out most of the dresses from all angles making mental notes since 
>photographs were banned, of course, and also any sketching or notes.  
>Because of the properly controlled lighting, it was hard to pick up 
>details(seaming especially) on the darker gowns, but the cut, 
>construction and details on most of the gowns are things that never 
>show up in photographs(sleeves cut more on a 19th century line as 
>they are two-piece and have the slightest curve to follow the natural 
>curve of the arm)and most seams and darts on the gowns follow the 
>body(such as you can have when you have the $$ or the time and skill 
>for custom made clothes!)
>
>There was a catalog and other goodies to buy, but moi is currently 
>low on cash and what I would have preferred of course, would have 
>been a book on the design, fabric history, and actual construction of 
>the gowns.  Any expert on the list interested in getting the rights 
>to do such a project?
>
>Some classmates 
>want me to do the wedding dress(very easy to research, at least), but 
>I'm leaning towards a 1880's style dress she wore in Canada, I think 
>on a 1983 tour.  I think the original was a cream silk or satin with 
>a little pancake-shaped hat she wore in honor of Yukon days or 
>whatever it was called. I can't remember where I saw the picture but 
>it stuck in my mind because of the historic style of the dress.  I 
>will have to go to our local main library who has the older issues in 
>hardcopy of "Reader's Guide to Periodical Literature" in order to 
>find some articles. But does anyone on the list have any hints on 
>where I might find photographs of this dress?  
> 

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Date: Tue, 20 Apr 1999 02:41:07 -0400
From: Melanie Wilson <MelanieWilson@compuserve.com>
Subject: H-COST: Bayeux Tapestry
To: "INTERNET:h-costume-digest@indra.com" <h-costume-digest@indra.com>
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-Poster: Melanie Wilson <MelanieWilson@compuserve.com>

There was a repro done a while ago with a company from England Maderia
wools. I think the web page was maderia.co.uk, but I'm not sure, there was
some info on it anyhow (the repro)

Mel
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From: Christina Nevin <cnevin@caci.co.uk>
To: "'h-costume@indra.com'" <h-costume@indra.com>
Subject: H-COST: HB
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-Poster: Christina Nevin <cnevin@caci.co.uk>

Alikhat wrote:
		The accent was Yorkshire, actually. And as much as it
annoyed me, too, it was clearly intentional, as she dropped it in favor of a
nice, stately BBC-British accent as soon as she "dropped character". To an
American ear, the latter may sound far more regal, but she did say that the
Duchess was a real person, so perhaps the idea was that she would speak with
the accent of the region she came from.  Just a thought, anyway.

Yes, especially as "class accents" were a development in the 18th century.
They were entrenched by the 19th century, so now we don't realize "it wasn't
always so". Previously the nobility spoke with the accent of the region they
came from, as same as the gentry, middle and lower classes. Apparently Sir
Walter Raleigh, the epitome of a courtier, spoke with a strong Midlands
accent all his life (think Sean Bean from "Sharpe"). I find that notion
somewhat amusing, for some reason.

I gotta admit I did the same as Angela's husband and switched off halfway
through an episode of HB though. I was very disappointed in the adaptation. 

Speaking of adaptations - has anyone seen the latest BBC "Scarlet
Pimpernel"? One of my top twenty favorite books but they _totally_ ignored
the entire point of the books (i.e. master of disguise/tactical genius and
improviser/etc) and went for "James Bond in the eighteenth century". Having
said that, as "007 1780s" I enjoyed it. The nobles' clothes were _absolutely
gorgeous_. I'm not too up on C.18 fashion, so couldn't tell whether they
were historically accurate but they looked very like some of the stuff they
have in the Museum of London. There were several ballroom scenes where both
the men's and women's dress was to kill for. All those peacocks make modern
men look sooo boring! Brocade and lace left, right and center... What did
other people think of it?

Cheers,
Tina 

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From: "David W. Rickman" <drickman@state.de.us>
Subject: H-COST: Poor Mr. Forester
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-Poster: "David W. Rickman" <drickman@state.de.us>

Hello,

I must admit that I have not actually watched the Horatio Hornblower series, 
so I probably shouldn't comment. However, I am a big fan of C.S. Forester, 
read many of the books and feel sorry for the fact that his Hornblower 
character seems not to translate well into film - well, popular film at any 
rate. The only other time I know of that it went before cameras was the film 
made in the 1950's, with Gregory Peck as Hornblower. Given Hollywood's fear of 
making anything that isn't "boffo boxoffice," it is surprising that thefilm 
was made at all. Still, even with a screenplay partly written by Forester 
himself, and an attempt to portray the less glamorous aspects of Royal Navy 
service, the film was truly wretched. As wretched as only Hollywood knows how 
to do it.

I have stayed away from the current series largely because I really like the 
Hornblower books and I really like the series' designer. I first decided not 
to watch the series when I saw a photograph of the lead actor. My God, 
Forester would never recognize that pretty boy as his skinny, awkward young 
Hornblower. I wonder if they included in the series the fact that Hornblower 
was actually seasick in Spithead, afraid of heights (so he hated to go aloft) 
and was absolutely tone-deaf and so found music irritating. I wonder, too, if 
they included the fact that he was perpetually concerned with the image he 
projected, fearing that if others found out how softhearted and uncertain he 
was they would not trust him to lead them, so he spent his life wearing mask 
of stern superiority and suffered from loneliness? No, that wouldn't be boffo 
boxoffice.

But since this is the costume list, and not the Forester list, I might comment 
that one of my favorite costume designers, John Mollo, was at the helm on this 
production. Mollo is an acknowleged expert on military matters, is the author 
of numerous respected works on British uniforms, and yet has had to suffer 
through working on such series as "Sharpe", films like "Revolution" and, by 
all accounts, now this. It must be hard for the man to have to continually 
compromise his deep knowlege of such matters because of the realities of 
working in film. He has written a brilliant account of his experiences on "The 
Charge of the Light Brigade" the first film he ever designed, where he had to 
endure the usual ignorance of directors. Tony Richardson, the director, called 
the young Mollo in to discuss the design and said emphatically that he did not 
want Mollo to put the British Army in red coats. He felt that they were 
cliche, and wanted to see them all in dark blue. Mollo left the meeting 
stunned, not knowing how he could turn down such an important job, but not 
knowing how he could represent the British infantry in the Crimean War in the 
wrong color uniforms. An old hand on the set took him aside and said "Don't 
worry. Here's what you do. Do a couple of test shots with extras in blue coats 
with lots of dust and gunsmoke floating around, and then do the same shots 
with red coats. Don't try to tell the director that the red coats are the only 
accurate choice, tell him they look better on film." Mollo did it and was 
allowed to put the men in red coats. And so it has ever been with his career.

Except in rare cases, it is typical of film work that the first budget they 
cut - before special effects, before music, even before catering, is 
costuming. Most directors are wholly ignorant of such matters and indifferent 
besides. Thus, in the current production one sees Royal Navy Marines in 1793 
wearing uniforms of a style ten years too early. The sailors' costumes are 
reasonably good, but the officers' hats are absurdly misshaped. The strange 
combinations of women's fashions will be obvious as well. Some look quite good 
(usually the lead actresses) while others are impossibly wrong. No doubt Mollo 
has had to make the usual concessions to poor budgets (forcing him to rent 
most of the costumes), director's ignorance and indifference and actors' egos. 
So, if you see something strange in this series, do not blame the designer. 
Very likely he was the only one on the set who knew or cared about accuracy.

David
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From: "Sarah Toney" <toneys@rentgrow.com>
To: <h-costume@indra.com>
Subject: Re: H-COST: Simplicity pattern
Date: Tue, 20 Apr 1999 09:12:08 -0400
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-Poster: "Sarah Toney" <toneys@rentgrow.com>

One thing you must remember, though, is that the "big three" often cater to
the ever growing number of us who do live roleplaying, mostly because we are
the most vocal about it.  We need stuff that we can run throught the woods
in but to the untrained eye still looks "period".  For the true historical
costumer, they definitely need to be adapted, but still, they're something.



>
>-Poster: ArcadiaCB@aol.com
>
>Not the "regular" pattern companies, but people who actually do research
and
>draft from originals so that there are accurate pattens for use.  But
>unfortunately, I've seen far too many "Halloween costume" pattterns used
for
>"ye olde looke" by people and at places where they should try for accuracy.
>I  "practice" with an English country dance group locally (and have for
over
>12 years) but will not "perform" with them (again use that loosely) since
the
>first time I did and saw their costumes (in the modern Simplicity patttern
>term), modern hair and glasses, etc.  They've been doing it since the
>Bicenntennial and have no desire to change--but a few newer people have
>noticed my clothes and asked info and have actually made stays and correct
>clothing. If only the Simplicity pattern ones would stay at purely social
>functions and not step into the world of performances and museums who of
>course don't know when they ask these people to do performances and the
group
>says they are historically accurate.  I just don't want to be seen with
them
>in public in those clothes. Nice people, but totally clueless.
>Charlene
> _________________________________________________________________
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>

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Subject: Re: H-COST: H. Hornblower on A&E
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-Poster: "Sarah Toney" <toneys@rentgrow.com>


As I recall, she was supposed to be a "BAD" actress... though she was waaay
too amusing.


>
>-Poster: "Susannah Eanes" <oh_susannah@hotmail.com>
>
>Kind readers:
>
>Am I missing something or just totally confused?  Why did it seem on
>last night's episode of Horatio Hornblower (now THERE'S a man!) that
>the Duchess seemed to be wearing early 1780s attire in one scene, and
>early 1790s in the next, and I thought the time was early 1800s?
>
>???
>And did her accent seem incredibly Scottish for someone purporting to
>be a Duchess residing in London?  I know she was actually an actress
>portraying a Duchess, but did they mean to pick a Scottish actress to
>portray the actress portraying a Duchess?  How stupid do they think
>we are?
>
>The men's costuming by and large seems to be superb, given my limited
>knowledge of maritime garments.  Did they screw up on the ladies'
>attire, or am I just totally wrong on the time period being portrayed?
>
>I haven't read the C.S. Forester novel, btw.  Maybe if I had, I could
>answer my own questions.  If anyone has any insight into this puzzle,
>please let me know.
>
>Susannah
>
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Subject: Re: H-COST: Opinions, do you have any
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-Poster: "J,K,S&A Baird" <baird@rrnet.com>


>	Fashion Design 1850-1895 
>		published at $29.95, listed at $ 19.95
>
I have this book, and I do like it.
It is only illustrations, NO DATES or other text.
If you already recognize the dates of various styles, it's good for ideas.
I browsed through it last night for overskirt variations, and a few days
ago for lace collars.
Illustrations are loosely grouped by subject--bodices, sleeves, handbags,
collars, evening gowns, underwear, shoes, etc.
It's 9"x11", about 1" thick.

kim
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From owner-h-costume@indra.com  Tue Apr 20 09:25:11 1999
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From: Robin Netherton <robin@dgsys.com>
To: Historic Costume List <h-costume@indra.com>
Subject: H-COST: Upcoming papers for Kalamazoo
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-Poster: Robin Netherton <robin@dgsys.com>


I promised I'd post a reminder to the list about this:

The International Congress on Medieval Studies, run by the Medieval
Institute at Western Michigan University, includes three costume-related
sessions this year. (That I know of -- I haven't looked through the entire
list of 532 sessions yet, and each session has three to four papers.) The
conference will be May 6-9 at the usual venue in Kalamazoo, Michigan. 

Gale Owen-Crocker and I have again organized a dress/textiles track, with
the following sessions/papers: 

Session 79: Dress and Textiles I: Art & Reality
(Thursday 6 May, 1:30 p.m.)

	"The Use of Textiles in Religious Ritual: Sacred `Cloth' in the
	Armenian Rite -- A Preliminary Study of the Armenian Collections
	in Istanbul, Turkey"
		Marlene Breu, Western Michigan University, and
		Ronald Marchese, U. of Minnesota - Duluth

	"Why Valerie Wears Polka Dots: The Limitations of Medium on
	Twelfth-Century Enamels"
		Marcia Schlemm, Kansas City

	"`With Tars and with Tafeta': The Symbolic Use of Fabric and Dress
	in Six Middle English Alliterative Poems"
		Patricia A. Price, U. of Minnesota


Session 125: Dress and Textiles II: Practical Considerations
(Thursday 6 May, 3:30 p.m.)

	"Medieval Knitting in the Islamic World and Spain"
		Anne Reaves, Marian College

	"Lower-Class Flemish Women's Dress of the Later Sixteenth Century"
		Drea Leed, Springfield, Ohio

	"The Fifteenth-Century V-Neck Gown"
		Robin Netherton, Annandale, Virginia

Members of this list may recognize Drea as a current member and Anne as a
past one.

Both of these sessions are sponsored by DISTAFF, a group we formed to
organize people interested in costume who attend the Kalamazoo conference.
(The letters stand for Discussion, Interpretation, and Study of Textile
Arts, Fabrics, and Fashion.) DISTAFF will host an informal reception
immediately after these two sessions, at 5:15 p.m., so the discussion can
conveniently spill over from the sessions. (Last year, we just all sat in
a circle and talked costume.)

Earlier on the same day is another costume-related session, organized by
the gracious and talented Desiree Koslin of New York University. This
session is focused on literary and art interpretation:

Session 27: Medieval Textiles and Attire: Object, Text, and Image
(Thursday 6 May, 10 a.m.)

	"Christ as a Windblown Sleeve: The Ambiguity of Clothing as a Sign
	in Gottfried von Strassburg's _Tristan_"
		Margarita Yanson, U. of California-Berkeley

	"Marie de France's _Bisclavret_: What the Werewolf Will and Will
	Not Wear"
		Gloria Thomas Gilmore, U. of Utah

	"Unravelling the Mystery of Jan van Eyck's Cloths of Honor:
	Textiles as Sacred Object and Text"
		Donna M. Cottrell, Shaker Heights, Ohio

	"`Dressed in Humility': Fashioning Identity in an Age of Living
	Saints"
		Elizabeth R. Dunn, Georgetown University

There may be other papers with a costume or textile focus scattered
elsewhere in the four-day program; most of the other sessions, however,
cover such areas as literature, art, history, economics, language, music,
archaeology, pedagogy, etc.

Information on the conference, including registration info, is available
at <http://www.wmich.edu/medieval>. At-the-door registrations are
accepted; housing is probably full by now, but there are plenty of hotels
and a local SCA group that has been known to be friendly with crash space. 
Warning: The conference is a professional academic conference, and
accordingly pricey: $95 regular, $65 for students with proof of current
enrollment. This is not a costumed event.

--Robin


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From: "Susannah Eanes" <oh_susannah@hotmail.com>
To: h-costume@indra.com
Subject: Re: H-COST: Poor Mr. Forester
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-Poster: "Susannah Eanes" <oh_susannah@hotmail.com>

Forgive the long quote, but these points are important...

> Mollo is an acknowleged expert on military matters, is the author 
>of numerous respected works on British uniforms, and yet has had to 
suffer 
>through working on such series as "Sharpe", films like "Revolution" 
and, by 
>all accounts, now this. It must be hard for the man to have to 
continually 
>compromise his deep knowlege of such matters because of the 
realities of 
>working in film. 
>
>Most directors are wholly ignorant of such matters and indifferent 
>besides. Thus, in the current production one sees Royal Navy Marines 
in 1793 
>wearing uniforms of a style ten years too early. 

Must be one reason why I thought the story was early 1800s. Still, 
for 1793, the only good reason I read from the responses to my 
original question was the one someone made about perhaps the 
actress/Duchess character was just wearing the things she had 
available in her acting wardrobe.  Now that makes sense.  Still, if 
she was a Duchess, and wanted to be believed one, she would not have 
PURPOSELY worn things an entire decade out of fashion (the lovely 
brown open-fronted robe, for instance --and it is lovely, if quite 
out of fashion for 1793) --and I am so sick and tired of seeing this 
type of pandering to popular ignorance by Hollywierd.

Also, I was not aware of the humble birth of the Duchess.  Thank you 
for letting me know.  And, in my own ignorance, I cannot tell a 
northern accent from a Scottish one.  So am I to gather that in this 
one detail, A&E got it right?  And can anyone be surprised at my 
assumption that they did not, given their stupidity on costuming?

>The sailors' costumes are 
>reasonably good, but the officers' hats are absurdly misshaped. The 
strange 
>combinations of women's fashions will be obvious as well. Some look 
quite good 
>(usually the lead actresses) while others are impossibly wrong. No 
doubt Mollo 
>has had to make the usual concessions to poor budgets (forcing him 
to rent 
>most of the costumes), director's ignorance and indifference and 
actors' egos. 
>So, if you see something strange in this series, do not blame the 
designer. 
>Very likely he was the only one on the set who knew or cared about 
accuracy.
>
>David

I never blamed anyone but the producers of the series, and A&E, and 
never mentioned this blame in my original post.  I know from the 
experience of friends who have worked as makeup artists & extras on 
sets how little regard Hollywierd has for accuracy in costume.  This 
was the point I was getting to... Shouldn't we all who are concerned 
about things like this, and are sick & tired of trying to explain to 
visitors to the living history sites at which we work, why we don't 
look & act & talk like the idiotic wretches they see on TV/in movies, 
write en masse to A&E and TELL them it DOES matter?  And btw, until 
the directors get it and I see a major change in the accuracy and 
direction of mundane theatrical costuming, I am going to KEEP saying 
a very loud and emphatic *NO* when theatre & TV people hear about me 
& wonder if I will do any work for them.  I don't need the heartache 
& I am really *much* too much of an egotistical prima donna about my 
work!  Or perhaps my ego isn't so large that I need to see my name in 
a list of film credits to satisfy my need for recognition.  I, for 
one, could not hold my head up in public, and my pocketbook, thank 
God, does not suffer for this.

Oh, but belittle not their choice of the actor who portrays 
Hornblower.  It is lovely that they finally found someone with a chin 
to play a hero!  And he does seem to me to be playing a fallible 
hero, which only increases his likeability.  Now, if they can only 
find someone with chest hair...
we might actually believe there are real men out there who act!

Susannah

"We are only the trustees for those who come after us." 
  --William Morris 


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From: "KATE M BUNTING" <K.M.Bunting@derby.ac.uk>
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Subject: H-COST: Re: Hornblower
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-Poster: "KATE M BUNTING" <K.M.Bunting@derby.ac.uk>

I second Sandy's comments on the "Duchess" - the character told Hornblower she was imitating a real duchess who spoke with a north-country (not Scottish!) accent.

As to date; the series of novels cover the entire period of the Napoleonic Wars, during which our hero rises to high rank and marries twice. It's about 30 years since I read the early ones so I forget the details, but it appears that to avoid having to "age" the dishy Ioan Gruffudd they have embroidered upon Hornblower's adventures as a junior officer in the 1790's, adapting some incidents from later stories. I'm told the uniforms are very authentic, so presumably the civilian clothes were well researched too.

BTW, here in Britain we have just seen Ioan Gruffudd in "Great Expectations", so no doubt that will come your way in due course.

Kate Bunting
Library, University of Derby
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From: "Penny Ladnier" <penny.creative.outlets@pop.erols.com>
To: "h-costume" <h-costume@indra.com>
Subject: H-COST: Hong Kong Tour
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-Poster: "Penny Ladnier" <penny.creative.outlets@pop.erols.com>


I just added to the Fashion Perspective Tours' Website details about their
Hong Kong Tour during this summer's fashion week.  If you would like more
information about the tours go to
http://www.costumegallery.com/fashion/tours.html

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



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From: "Sarah Toney" <toneys@rentgrow.com>
To: <h-costume@indra.com>
Subject: Re: H-COST: Re: Hornblower
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-Poster: "Sarah Toney" <toneys@rentgrow.com>

According to A&E, this series is trying to encompass only the first book...
if it is popular, they may do several of the other books... but they didn't
want to do it an injustice by trying to cram too much into a two hour time
slot.  Personally, I have seen each of the episodes aired so far and think
they are excellent... It may not be exactly as the book, however, there is a
reason for it... in a book, we can imagine things and develop our own
opinions of the characters looks and such... in a movie this is not so... if
they did the movies exactly as the books, for most any series, audiences
would most likely find them "boring" or "shallow"... it is very difficult to
adapt a novelization into a workable screenplay that is interesting... they
have done a wonderful job.

Sarah


As to date; the series of novels cover the entire period of the Napoleonic
Wars, during which our hero rises to high rank and marries twice. It's about
30 years since I read the early ones so I forget the details, but it appears
that to avoid having to "age" the dishy Ioan Gruffudd they have embroidered
upon Hornblower's adventures as a junior officer in the 1790's, adapting
some incidents from later stories.

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From: Nancy Gilly / Philippa Grey <philippa.grey@snet.net>
Subject: H-COST: Re: H. Hornblower on A&E
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-Poster: Nancy Gilly / Philippa Grey <philippa.grey@snet.net>

The movie "The Duchess and the Devil" was set in the mid/late 1790s (1796 I
believe was the date given at the beginning). According to the books,
Hornblower was confirmed in his lieutenancy in 1797.  

Philippa


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From owner-h-costume@indra.com  Tue Apr 20 10:10:33 1999
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From: "Susan Carroll-Clark" <nicolaa@earthlink.net>
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Subject: Re: H-COST: Bayeux Tapestry
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-Poster: "Susan Carroll-Clark" <nicolaa@earthlink.net>

Greetings!

I've tracked down the replica that the professor in Canada's made.  It'll be
at the Woodstock Museum until next Saturday.

Woodstock Museum
466 Dundas St,
Woodstock, ON, N4S 1C4
(519) 537-8411

I don't know whether they have a web page, or know if the tapestry is moving
on after that, but if you're really interested, it might be worth a call.
The thing is *fabulous*.

Susan

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-Poster: "Susannah Eanes" <oh_susannah@hotmail.com>


>I gotta admit I did the same as Angela's husband and switched off 
halfway
>through an episode of HB though. I was very disappointed in the 
adaptation. 
>
>Speaking of adaptations - has anyone seen the latest BBC "Scarlet
>Pimpernel"? 
>The nobles' clothes were _absolutely
>gorgeous_. 
>
>There were several ballroom scenes where both
>the men's and women's dress was to kill for. All those peacocks make 
modern
>men look sooo boring! Brocade and lace left, right and center... 
What did
>other people think of it?
>
>Cheers,
>Tina 
>
> 

Indeed!  *They seek him here, they seek him there... !!*
We saw the Anthony Andrews version & it was wonderful & just awful at 
the same time.  Sometimes the acting can be downright masterful, 
while the makeup and costuming can be positively painful to endure... 
my fiance fell asleep while in a roomful of people watching it last 
fall, waking only long enough to murmur thru squinted lids "This is 
positively dreadful,"  ...and yet, the ending and all those disguises 
were positively superb.  Sigh...

Susannah


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

  Some classmates 
>want me to do the wedding dress(very easy to research, at least), but 
>I'm leaning towards a 1880's style dress she wore in Canada, I think 
>on a 1983 tour.  I think the original was a cream silk or satin with 
>a little pancake-shaped hat she wore in honor of Yukon days or 
>whatever it was called. I can't remember where I saw the picture but 
>it stuck in my mind because of the historic style of the dress.  I 
>will have to go to our local main library who has the older issues in 
>hardcopy of "Reader's Guide to Periodical Literature" in order to 
>find some articles. But does anyone on the list have any hints on 
>where I might find photographs of this dress? 

I have a book called "The Royal Style Wars" that shows the dress.  She
borowed it from the BBC wardrobe to wear to Fort Edmonton.  It's a nice
costume, but the photo shows one of the basic costume mistakes--modern
underpinnings.  A corset would have helped.

We should be fixing our scanner sometime this week, so let me know if you
can't find it and I'll send you a pic.

Margo

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

Getting wildly OT, here, but...Did you all know that Gene Roddenberry based
the character of Captain Kirk on Hornblower?

As for the Scarlett Pimpernel, I don't agree. I turned it off. I thought the
acting was dull, and the clothes didn't grab me.  In a period of peacock
men, I find it hard to forgive sloppy tailoring.  Learn to hang a sleeve,
people!

Of course, as David points out, the producers probably neither knew nor
cared to spend the money for a decent tailor.

Margo

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From owner-h-costume@indra.com  Tue Apr 20 11:19:39 1999
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From: "Susannah Eanes" <oh_susannah@hotmail.com>
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Subject: Re: H-COST: Poor Mr. Forester
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-Poster: "Susannah Eanes" <oh_susannah@hotmail.com>

>As for the Scarlett Pimpernel, I don't agree. I turned it off. I 
thought the
>acting was dull, and the clothes didn't grab me.  In a period of 
peacock
>men, I find it hard to forgive sloppy tailoring.  Learn to hang a 
sleeve,
>people!
>
>Of course, as David points out, the producers probably neither knew 
nor
>cared to spend the money for a decent tailor.
>
>Margo

What?  You mean they didn't hang sleeves in the 18th century the way 
they did in 1970?  But, but,,,  !!! ;-D  One would think that the way 
they all swagger about with those immensely padded shoulders, you 
know.  Too bad the subtleties of period fit are beyond most of them.  
And they are subtleties.  Like the way the SLEEVE itself allows for 
movement, and NOT the back of the coat.  I am so sick of correcting 
this on every single pattern I buy that purports to be made from an 
original.  When I gather enough money, I will publish my patterns, so 
help me, I will...

I think what most of us were applauding was the use of color and 
fabric.  Again, I was referring to the Anthony Andrews version, and I 
do not know if this is also the BBC version.  Jump in, anyone.

Susannah 

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-Poster: The Mulders <mulder@mail.brightok.net>



I've got one for the scottish lovers in the house.  My son will be in a high
school play this week end.  He is so upset because the costume company sent
white tights for under the kilts.  He is a true son of mine.  He would like to
know if they wore socks at all or if so what color.  They sent victorian
costumes for the girls.  It is just high school and no one had the time to sew
up 31 costumes.  Renting you get what you get.  He would like vindication
anyway.
Thanks,
Ninya

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-Poster: agottfre@telusplanet.net (Angela Gottfred)

Margo Anderson <margo@directcon.net> wrote:
> I have a book called "The Royal Style Wars" that shows the dress.  She
>borrowed it from the BBC wardrobe to wear to Fort Edmonton.

Mr. Speaker, I rise on a point of personal privilege! The Princess of Wales 
could not possibly have worn the dress to Fort Edmonton, as no such place 
currently exists. She probably either wore it to Edmonton, Alberta for 
Klondike Days, or to Edmonton's Fort Edmonton Park, perhaps to take part in 
some reenactment on 1886 Street.

Your humble & obedient servant,
Angela Gottfred
agottfre@telusplanet.net

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-Poster: MargEvaPor@aol.com

At the conclusion of THE DUCHESS & THE DEVIL, reference was made to a recent 
victory by Nelson--Cape St Vincent, I believe.  The date of this battle was 
14 February, 1797.

Margaret Porter


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From: "Susannah Eanes" <oh_susannah@hotmail.com>
To: h-costume@indra.com
Subject: Re: H-COST: Brigadoon
Date: Tue, 20 Apr 1999 08:53:29 PDT
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-Poster: "Susannah Eanes" <oh_susannah@hotmail.com>


Oh, my God.  This reminds me of the time my mother, the English 
teacher, said blithely in response to being asked for her advice on 
what a student should wear who was portraying Amelia Bloomer in a 
school play, "Oh!  Bloomers, of course!  Like Little Bo Peep!"

No, I didn't strangle her.  I just smiled politely and said, "Let me 
help you find something suitable."

Even if you go to the library and check out the most basic Osprey 
costume book, you will see Highlanders wearing bias cut hose --OK, 
argyle socks aren't the best substitute, but they are better than 
white tights!!!

AAGGHH!

Susannah


>
>-Poster: The Mulders <mulder@mail.brightok.net>
>
>
>
>I've got one for the scottish lovers in the house.  My son will be 
in a high
>school play this week end.  He is so upset because the costume 
company sent
>white tights for under the kilts.  He is a true son of mine.  He 
would like to
>know if they wore socks at all or if so what color.  They sent 
victorian
>costumes for the girls.  It is just high school and no one had the 
time to sew
>up 31 costumes.  Renting you get what you get.  He would like 
vindication
>anyway.
>Thanks,
>Ninya
>
> _________________________________________________________________
> To leave this mailing list, send mail to majordomo@indra.com
> with the message UNSUBSCRIBE H-COSTUME


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Date: Tue, 20 Apr 1999 09:17:50 -0700
Subject: Re: H-COST: Opinions, do you have any
From: "R.L. Shep" <rlshep@jps.net>
To: h-costume@indra.com
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-Poster: "R.L. Shep" <rlshep@jps.net>

I agree whole heartedly.   The illustrations are good but since it is not
dated it is absolutely useless for research.   Just pretty to look at!
~!~ R.L.Shep
http://www.mcn.org/e/fsbks

----------
>From: "J,K,S&A Baird" <baird@rrnet.com>
>To: h-costume@indra.com
>Subject: Re: H-COST: Opinions, do you have any
>Date: Tue, Apr 20, 1999, 6:26 AM
>

>
>-Poster: "J,K,S&A Baird" <baird@rrnet.com>
>
>
>> Fashion Design 1850-1895 
>>  published at $29.95, listed at $ 19.95
>>
>I have this book, and I do like it.
>It is only illustrations, NO DATES or other text.
>If you already recognize the dates of various styles, it's good for ideas.
>I browsed through it last night for overskirt variations, and a few days
>ago for lace collars.
>Illustrations are loosely grouped by subject--bodices, sleeves, handbags,
>collars, evening gowns, underwear, shoes, etc.
>It's 9"x11", about 1" thick.
>
>kim
> _________________________________________________________________
> 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 Apr 20 12:44:10 1999
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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: H-COST: Elizabethan Gloves
Date: Tue, 20 Apr 1999 12:56:30 -0400
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

I recently found a beautiful color picture of a pair of
Elizabethan gloves, with a page long explanation of the
ceremonial use of gloves as gifts to seal contracts, express
fealty, etc. in Treasures from the Embroiderers' Guild
Collection, edited by Elizabeth Benn, ISBN 0-7153-9829-6,
copyright 1991.  It's on page 14, with relevant text on page
12.  The hands are kid or doeskin, while the gauntlets are
two layers of linen overlaid with embroidered silk and
trimmed with silver gilt lace (looks gold in the photo--does
it mean silver, gilt with gold?) and spangles.  The
embroidery is done in colored silk floss, silver gilt
thread, silver strip, and something called "metal purl."

The cut of the fingers and the way the  gores are fit in on
the sides of the fingers is ingenious and elegant,
exaggerating the length of the fingers substantially as they
are cut well back towards the wrist from the first knuckles.
The gores extend to a point at the end of the actual
fingers, but the glove fingers without gores extend another
inch, as if to accommodate the wearer's long fingernails.
The text emphasizes that many gloves were made entirely for
ceremonial purposes and never worn.  These appear to have
been lightly worn from the way the fingers are shaped. The
three-tabbed gauntlets are decorated with embroidered tulips
and butterflies, each motif different.

It's a gorgeous book overall, with 54 pages of photographs
of British embroideries from Tudor times to present, , 46
pages of Turkish, Persian, and Greek examples which are
glorious, and 44 pages of Indian, Pakistani, other Asian and
Chinese examples.  Well worth requesting from interlibrary
loan, as it is chock full of close-up photographs, all in
color.

Hope H. Dunlap


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From owner-h-costume@indra.com  Tue Apr 20 14:41:54 1999
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From: "KATE M BUNTING" <K.M.Bunting@derby.ac.uk>
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Subject: H-COST: More comments from England
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-Poster: "KATE M BUNTING" <K.M.Bunting@derby.ac.uk>

Actually, Sir Walter Ralegh was a Devon man so his accent was West Country, not Midlands.

One thing that made me smile  in the "Scarlet Pimpernel" series was that everyone wore 1790s fashions except for the Prince of Wales. He had been given a Regency haircut, presumably so the audience would know who he was meant to be!

In answer to David Rickman - yes, the first Hornblower film did include the seasickness and the fear of heights (though not the tone-deafness), and I thought he appeared suitably gauche. The character is, after all, supposed to be attractive to women when he is a few years older. I can't remember the "Duchess's" clothes in detail (that episode was shown here a month or two ago), but I bow to Susannah's superior knowledge if she says they were wrong for the 1790s.

Kate Bunting
Library, University of Derby


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From owner-h-costume@indra.com  Tue Apr 20 15:01:59 1999
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From: "Andrea Gideon" <andrea.gideon@erols.com>
To: "H-Costume" <h-costume@indra.com>
Subject: H-COST: marking on dark wool
Date: Tue, 20 Apr 1999 15:15:00 -0700
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-Poster: "Andrea Gideon" <andrea.gideon@erols.com>

I'd like to embrioder on some very dark green wool, but can't find anything
to mark my pattern with.  I've tried white chark and yellow pattern tracing
paper, but the marks aren't very clear and rub off very easily.  Anyone have
suggestions?
Andrea

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From owner-h-costume@indra.com  Tue Apr 20 15:28:53 1999
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From: "Susannah Eanes" <oh_susannah@hotmail.com>
To: h-costume@indra.com
Subject: Re: H-COST: marking on dark wool
Date: Tue, 20 Apr 1999 12:35:36 PDT
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-Poster: "Susannah Eanes" <oh_susannah@hotmail.com>

Try pricking holes in shape of the design on the pattern paper, and 
then dusting through the holes with powdered tailor's chalk.  This is 
the period method, and it works well for me.  The marks brush off 
easily as I work.  For light colored fabric, I use black carbon 
paper, and trace the design lightly, then rinse the fabric thoroughly 
to remove the marks when I am finished.

Susannah


>From: "Andrea Gideon" <andrea.gideon@erols.com>
>Reply-To: h-costume@indra.com
>To: "H-Costume" <h-costume@indra.com>
>Subject: H-COST: marking on dark wool
>Date: Tue, 20 Apr 1999 15:15:00 -0700
>
>
>-Poster: "Andrea Gideon" <andrea.gideon@erols.com>
>
>I'd like to embrioder on some very dark green wool, but can't find 
anything
>to mark my pattern with.  I've tried white chark and yellow pattern 
tracing
>paper, but the marks aren't very clear and rub off very easily.  
Anyone have
>suggestions?
>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 Apr 20 15:34:21 1999
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From: "Frank&Tracy Thallas JR" <hardcorps@vcn.com>
Subject: Re: H-COST: marking on dark wool
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-Poster: "Frank&Tracy Thallas JR" <hardcorps@vcn.com>

   My last project involved embroidery on very very dark green (almost
black) cotton velveteen, and I had the same problem.  I finally suceeded
by marking the pattern with yellow tracing paper, then basting along the lines
before they could rub off - these stitches can be hidden under your embroidery,
or you can clip them as you go along.

Liadain

----------
>
> -Poster: "Andrea Gideon" <andrea.gideon@erols.com>
>
> I'd like to embrioder on some very dark green wool, but can't find anything
> to mark my pattern with.  I've tried white chark and yellow pattern tracing
> paper, but the marks aren't very clear and rub off very easily.  Anyone have
> suggestions?
> Andrea
>
>  _________________________________________________________________
>  To leave this mailing list, send mail to majordomo@indra.com
>  with the message UNSUBSCRIBE H-COSTUME
>


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Subject: H-COST: Re:  marking on dark wool
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-Poster: "S.B. McDaniel" <fretknot@earthlink.net>

I use yellow tracing paper, and then go over the markings with a very
fine gel roller in a light color. This doesn't tub off, and my
embroidery covers the markings. If your embroidery won't cover it, then
baste over the tracings, then pull them out when finished.

Sandy

> > -Poster: "Andrea Gideon" <andrea.gideon@erols.com>
> >
> > I'd like to embrioder on some very dark green wool, but can't find anyt=
> hing
> > to mark my pattern with.  I've tried white chark and yellow pattern tra=
> cing
> > paper, but the marks aren't very clear and rub off very easily.  Anyone=
>  have
> > suggestions?
> > Andrea
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From owner-h-costume@indra.com  Tue Apr 20 15:52:53 1999
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Subject: H-COST: Scottish Tartan
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-Poster: Lois <books@woodenporch.com>

Could someone please tell me what Scottish tartan the Porter's used.

Last year at Convergence '98  there was a Scottish group with a
commercial booth. They told me that the Porter's did not have a tartan
of their own but used the tartan of Mc????????
Lois


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


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From owner-h-costume@indra.com  Tue Apr 20 15:54:22 1999
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From: "Steve & Michelle Plumb" <splumb@ic.net>
To: "vintage clothing group" <vintage@indra.com>,
        "historic costume group" <h-costume@indra.com>
Date: Tue, 20 Apr 1999 16:05:02 -0400
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Subject: H-COST: Any lecturers in the Metro Detroit area?
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-Poster: "Steve & Michelle Plumb" <splumb@ic.net>

Hello all.

I visited the Detroit Historical Museum last week.
While strolling through the J.L. Hudson exhibit, I
stumbled on quite a find!

The Tavy Stone Fashion Library - The Fashion
Group Interntional, Detroit

Unfortunately, due to threatening weather, I had
only a short time to peruse this wealth of information.
It is an impressive library, with a second room with
what appeared to be magazines, newspaper articles,
and heaven knows what else.  I will return as soon as
I can, and spend some quality time there.

Now, as to the subject of this message, the lecturer part.
While there, I met a very nice person named Jill, who asked
me what my fashion interests were, and would I like to guest
lecture at Wayne State University.  They are apparently in
great need of lecturers on the fashion and costume industry.
I thanked her, and told her that I am only an interested rank
amateur, and am in no way qualified to lecture.

I then thought that maybe some of you were in the Metro
Detroit area, and would be interested in giving a lecture.
If so, here is the Library's address, etc.

Tavy Stone Fashion Library
The Fashion Group International Detroit
Hours are:
Wednesday through Thursday
11:00 am to 4:00 pm
Friday
1:00 pm to 4:00 pm
Sunday by appointment
Arrangements for special groups

Library phone:
(313) 832-0844

The Detroit Historical Museum
5401 Woodward Ave.
Detroit, Michigan  48202

ttfn,
Michelle
===========================================================
                      Steve & Michelle Plumb   --    splumb@ic.net
                                     Plymouth, Michigan  USA

"Gstaad.  Today, a paradise in the Alps.  Tomorrow, a wasteland.
Compared to Clouseau, Atilla the Hun was a Red Cross Volunteer."

					-- Herbert Lom, in
					"Return of the Pink Panther"
===========================================================

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From owner-h-costume@indra.com  Tue Apr 20 16:12:13 1999
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Date: Tue, 20 Apr 1999 13:20:27 -0700 (PDT)
From: Sue Toorans <suetoo@svpal.org>
To: H-Costume <h-costume@indra.com>
Subject: Re: H-COST: marking on dark wool
In-Reply-To: <002d01be8b7b$3caa8900$0cd67ad1@pavilion>
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-Poster: Sue Toorans <suetoo@svpal.org>

On Tue, 20 Apr 1999, Andrea Gideon wrote:

> 
> -Poster: "Andrea Gideon" <andrea.gideon@erols.com>
> 
> I'd like to embrioder on some very dark green wool, but can't find anything
> to mark my pattern with.  I've tried white chark and yellow pattern tracing
> paper, but the marks aren't very clear and rub off very easily.  Anyone have
> suggestions?
> Andrea
> 


   I have done this to try to mark dark, silk velvet for metal
thread embroidery.  First copy the paper design to more paper that can
be trashed.  Pin the copy to the fabric with *LOTS* of pins.  You
don't want it to move.  Next, thread a needle with contrasting thread and
sew through the  paper and the fabric on the design lines.  Use small
running stitched.  When all design lines are "traced" in thread, tear
out the paper.  After the embroidery is complete, the outline thread
may be completely covered, in that case, don't sweat it, otherwise, 
remove what still shows.
   Painful, but effective.
   Sue                         I am *NOT* a rabid feminist!
                               I had my shots last year.

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From owner-h-costume@indra.com  Tue Apr 20 16:30:08 1999
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From: "Susannah Eanes" <oh_susannah@hotmail.com>
To: h-costume@indra.com
Subject: Re: H-COST: OT-Horatio Hornblower
Date: Tue, 20 Apr 1999 13:38:17 PDT
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-Poster: "Susannah Eanes" <oh_susannah@hotmail.com>


>Poster: "Kristen M. Sieber" <lady_gawain@yahoo.com>
>
>I have not read the books, but I love the movies--whether the 
costumes
>are accurate or not.  The important thing for me is that the movie
>will lead to read the books.  As an avid reader I think that interest
>in movies should cause the viewer to read--not necessarily compare.  
I
>am an Arthurian and believe, the so-called Arthurian movies drive me
>crazy but I hear so often that someone gets excited about the movies
>and then reads the "true" story!
>
>My $.02 worth,
>Kristen Sieber
>
>

I have to agree with Kristen.  Happily, in this case, the HH movies 
did lead me to check out my local library and there I found, to my 
great astonishment, that all 37 copies of the various HH volumes in 
the series had been checked out, and that there was a waiting list!  
And this, in a very rural county with four regional libraries!  I 
didn't know whether to laugh or cry... I can wait, if others are 
already reading them, in this case I am quite gratified!
Also, I checked out the A&E website.  Over 3500 good (& bad!) rating 
comments have already been made on the Hornblower series.  If you 
care to read and/or make a comment, go to 

www.AandE.com

then to the message boards section.

Susannah

"We are only the trustees for those who come after us." 
  --William Morris 


_______________________________________________________________
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From owner-h-costume@indra.com  Tue Apr 20 17:05:13 1999
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From: "David Stamper & Eve Harris" <evedave1@netcom.ca>
To: <h-costume@indra.com>
Subject: H-COST: Tracing embroidery patterns
Date: Tue, 20 Apr 1999 17:00:09 -0400
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-Poster: "David Stamper & Eve Harris" <evedave1@netcom.ca>

I know this won't necessarily work on dark fabrics, but I wanted to
share this tidbit:

>From Historical Needlework by Margaret Swaine, 1970:

"A design could be drawn out on thin paper, and pricked through and
pounced (powder rubbed through the prick holes) on to the cloth. This
"pricking and pouncing" was the traditional method of transferring
designs and dated from the Middle Ages."

I don't know what she used as her source for that argument, but I like
the practicality.

Eve Harris

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From owner-h-costume@indra.com  Tue Apr 20 17:14:03 1999
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Date: Tue, 20 Apr 1999 12:51:16 -0700 (PDT)
From: "Kristen M. Sieber" <lady_gawain@yahoo.com>
Subject: H-COST: OT-Horatio Hornblower
To: Historic Costume <h-costume@indra.com>
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-Poster: "Kristen M. Sieber" <lady_gawain@yahoo.com>

I have not read the books, but I love the movies--whether the costumes
are accurate or not.  The important thing for me is that the movie
will lead to read the books.  As an avid reader I think that interest
in movies should cause the viewer to read--not necessarily compare.  I
am an Arthurian and believe, the so-called Arthurian movies drive me
crazy but I hear so often that someone gets excited about the movies
and then reads the "true" story!

My $.02 worth,
Kristen Sieber


 
_________________________________________________________
DO YOU YAHOO!?
Get your free @yahoo.com address at http://mail.yahoo.com

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From owner-h-costume@indra.com  Tue Apr 20 17:19:56 1999
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From: "Sarah Toney" <toneys@rentgrow.com>
To: <h-costume@indra.com>
Subject: Re: H-COST: marking on dark wool
Date: Tue, 20 Apr 1999 15:20:57 -0400
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-Poster: "Sarah Toney" <toneys@rentgrow.com>


Try doing a hand baste to create the pattern... very loosely... then
embroider it and pull out the basted threads when you are done.'

Sarah


>
>-Poster: "Andrea Gideon" <andrea.gideon@erols.com>
>
>I'd like to embrioder on some very dark green wool, but can't find anything
>to mark my pattern with.  I've tried white chark and yellow pattern tracing
>paper, but the marks aren't very clear and rub off very easily.  Anyone
have
>suggestions?
>Andrea
>
> _________________________________________________________________
> To leave this mailing list, send mail to majordomo@indra.com
> with the message UNSUBSCRIBE H-COSTUME
>

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Date: Tue, 20 Apr 1999 13:07:05 -0400
To: h-costume@indra.com
From: Ron Carnegie <rcarnegie@widomaker.com>
Subject: Re: H-COST: Poor Mr. Forester
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-Poster: Ron Carnegie <rcarnegie@widomaker.com>

At 06:36 AM 4/20/99 PDT, you wrote:

>I never blamed anyone but the producers of the series, and A&E, and 
>never mentioned this blame in my original post.  I know from the 
>experience of friends who have worked as makeup artists & extras on 
>sets how little regard Hollywierd has for accuracy in costume.  This 
>was the point I was getting to... Shouldn't we all who are concerned 
>about things like this, and are sick & tired of trying to explain to 
>visitors to the living history sites at which we work, why we don't 
>look & act & talk like the idiotic wretches they see on TV/in movies, 
>write en masse to A&E and TELL them it DOES matter?  And btw, until 
>the directors get it and I see a major change in the accuracy and 
>direction of mundane theatrical costuming, I am going to KEEP saying 
>a very loud and emphatic *NO* when theatre & TV people hear about me 
>& wonder if I will do any work for them.  I don't need the heartache 
>& I am really *much* too much of an egotistical prima donna about my 
>work!  Or perhaps my ego isn't so large that I need to see my name in 
>a list of film credits to satisfy my need for recognition.  I, for 
>one, could not hold my head up in public, and my pocketbook, thank 
>God, does not suffer for this.
>
>Oh, but belittle not their choice of the actor who portrays 
>Hornblower.  It is lovely that they finally found someone with a chin 
>to play a hero!  And he does seem to me to be playing a fallible 
>hero, which only increases his likeability.  Now, if they can only 
>find someone with chest hair...
>we might actually believe there are real men out there who act!
>
>Susannah
>

        I do not see how A&E can be blamed at all.  This is NOT an A&E
production or for that matter even an American production.  It was produced
by Meridian in Britain and aired on ITV last November.

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

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From owner-h-costume@indra.com  Tue Apr 20 17:27:48 1999
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To: h-costume@indra.com
From: Ron Carnegie <rcarnegie@widomaker.com>
Subject: Re: H-COST: Poor Mr. Forester
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-Poster: Ron Carnegie <rcarnegie@widomaker.com>

At 08:26 AM 4/20/99 PDT, you wrote:

>>Margo
>
>What?  You mean they didn't hang sleeves in the 18th century the way 
>they did in 1970?  But, but,,,  !!! ;-D  One would think that the way 
>they all swagger about with those immensely padded shoulders, you 
>know.  Too bad the subtleties of period fit are beyond most of them.  
>And they are subtleties.  Like the way the SLEEVE itself allows for 
>movement, and NOT the back of the coat.  I am so sick of correcting 
>this on every single pattern I buy that purports to be made from an 
>original.  When I gather enough money, I will publish my patterns, so 
>help me, I will...
>
>I think what most of us were applauding was the use of color and 
>fabric.  Again, I was referring to the Anthony Andrews version, and I 
>do not know if this is also the BBC version.  Jump in, anyone.
>
>Susannah 
>
>_______________________________________________________________
>
The Anthony andrews version was far better than the newer version, aired in
in the US on A&E not very long ago.  I do not know it's history however.

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

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From owner-h-costume@indra.com  Tue Apr 20 18:21:46 1999
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Date: Tue, 20 Apr 1999 18:04:14 EDT
Subject: Re: H-COST: marking on dark wool
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-Poster: AnnBWass@aol.com

I'll chime in with my two cents' worth, since no one has suggested it.  You 
can also use a tear-away stabilizer.  Sulky makes several products.  They 
keep coming out with new ones.  I haven't investigated lately.  Be sure you 
read the package directions.  They are very good.  You copy your design onto 
the stablizer, attach it to your fabric (some are iron-on, if your fabric can 
stand it, some not), embroider through it, and tear it away after.  It tears 
away very well.  (One is also water soluble, and dissolves after--again, if 
your fabric and threads can take water.  Won't work for velvet, of course.)  
If you are doing dense satin stitch, some of the stablizer will remain 
underneath, and this may affect the hand a little.  The various stablizers 
are also good for embroidering on pile fabrics--I've used them for 
monograming towels, for instance.  Some purists may shudder at using 
new-fangled products like these, but I don't think they are going to harm the 
finished look.
Ann Wass
annbwass@aol.com

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From owner-h-costume@indra.com  Tue Apr 20 18:22:25 1999
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-Poster: AnnBWass@aol.com

I haven't been watching the Hornblower series because I don't have cable.  I 
read the books years ago, and they do go all the way up through Waterloo, but 
evidently this take is only the early years.
I went up to Baltimore for the big A & E promotion for the series.  They had 
a couple of replica ships.  I went dressed in my 1815 garb, and was told by 
one of the sailors that their ship was a copy of a 300 year old vessel.  I 
happened to meet someone I knew who was also confused by having a ship of 
that era promoting the Hornblower series.
So, to sum up, this promotion did not leave me with high expectations of the 
whole project.
Ann Wass
annbwass@aol.com   
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From owner-h-costume@indra.com  Tue Apr 20 18:22:44 1999
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From: "Marsha J. Hamilton" <mhamilto@pop.service.ohio-state.edu>
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-Poster: "Marsha J. Hamilton" <mhamilto@pop.service.ohio-state.edu>

....the HH movies 
>did lead me to check out my local library and there I found, to my 
>great astonishment, that all 37 copies of the various HH volumes in 
>the series had been checked out...
-----------------------------------
Exactly!  I was intimidated by the thought of reading Woolf.  
But I HAD to see "Orlando" for the costumes. I was so taken by the 
premise that I immediately read the book. I frequently move
from film-to-book. Publishers expect it.  Look at "Publishers 
Weekly" for re-issue of classics depicting a scene
from a film or tv production on the cover and lurid hype.
        Jane Austen--as seen on tv!
        Henry James--as you've never seen him!
        Hawthorne--a tale of lust, betrayal and obsession!

What the heck.  




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From owner-h-costume@indra.com  Tue Apr 20 18:59:59 1999
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From: "dave;editors(Heritage Matters)" <dave@wysewords.softnet.co.uk>
To: <h-costume@indra.com>
References: <e7366130.244e50de@aol.com>
Subject: Re: H-COST: Poor Mr. Forester
Date: Wed, 21 Apr 1999 00:01:51 +0100
Organization: Heritage Matters at Words to the Wise
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-Poster: "dave;editors(Heritage Matters)" <dave@wysewords.softnet.co.uk>


>
> -Poster: AnnBWass@aol.com
>
> I haven't been watching the Hornblower series because I don't have cable.
I
> read the books years ago, and they do go all the way up through Waterloo,
but
> evidently this take is only the early years.
> I went up to Baltimore for the big A & E promotion for the series.  They
had
> a couple of replica ships.  I went dressed in my 1815 garb, and was told
by
> one of the sailors that their ship was a copy of a 300 year old vessel.  I
> happened to meet someone I knew who was also confused by having a ship of
> that era promoting the Hornblower series.
> So, to sum up, this promotion did not leave me with high expectations of
the
> whole project.
> Ann Wass

I had a conversation with my bootmaker who worked as an extra on the
filming.  The original ships used would not have made it across the Atlantic
if anyone could afford it.  Most of the action taking place on board ship
was actually filmed on a huge quarter section ,  Aft and a bit of side ,
mounted on a barge ; although they also had a part of the prow similarly set
up. Or so I remember. The ships only being used for distance shots. The main
reasons for using these mockup is to allow for all of the lighting cameras
and gneral requirements of modern filming, which would be impossible  on a
real ship.

L.D.Mundy

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From owner-h-costume@indra.com  Tue Apr 20 19:06:16 1999
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From: "Susannah Eanes" <oh_susannah@hotmail.com>
To: h-costume@indra.com
Subject: Re: H-COST: Poor Mr. Forester
Date: Tue, 20 Apr 1999 16:14:36 PDT
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-Poster: "Susannah Eanes" <oh_susannah@hotmail.com>

>>
>> -Poster: AnnBWass@aol.com
>>
>> I haven't been watching the Hornblower series because I don't have 
cable.
>I
>> read the books years ago, and they do go all the way up through 
Waterloo,
>but
>> evidently this take is only the early years.
>> I went up to Baltimore for the big A & E promotion for the 
series.  They
>had
>> a couple of replica ships.  I went dressed in my 1815 garb, and 
was told
>by
>> one of the sailors that their ship was a copy of a 300 year old 
vessel.  I
>> happened to meet someone I knew who was also confused by having a 
ship of
>> that era promoting the Hornblower series.
>> So, to sum up, this promotion did not leave me with high 
expectations of
>the
>> whole project.
>> Ann Wass
>
>I had a conversation with my bootmaker who worked as an extra on the
>filming.  The original ships used would not have made it across the 
Atlantic
>if anyone could afford it.  Most of the action taking place on board 
ship
>was actually filmed on a huge quarter section ,  Aft and a bit of 
side ,
>mounted on a barge ; although they also had a part of the prow 
similarly set
>up. Or so I remember. The ships only being used for distance shots. 
The main
>reasons for using these mockup is to allow for all of the lighting 
cameras
>and gneral requirements of modern filming, which would be 
impossible  on a
>real ship.
>
>L.D.Mundy
>
> 

Actually, there is an interview on the AandE.com website, with the 
makers of this ship.  I found it very interesting.  Look for the link 
on the "behind the scenes" section of the H&H section, which is hard 
to miss since it is the big promotion this week.


_______________________________________________________________
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From owner-h-costume@indra.com  Tue Apr 20 20:17:18 1999
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From: Margo Anderson <margo@directcon.net>
Subject: Re: H-COST: EXIBIT OF PRINCESS DIANA'S DRESSES
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-Poster: Margo Anderson <margo@directcon.net>

At 09:37 AM 4/20/99 -0600, you wrote:
>
>-Poster: agottfre@telusplanet.net (Angela Gottfred)
>
>Margo Anderson <margo@directcon.net> wrote:
>> I have a book called "The Royal Style Wars" that shows the dress.  She
>>borrowed it from the BBC wardrobe to wear to Fort Edmonton.
>
>Mr. Speaker, I rise on a point of personal privilege! The Princess of Wales 
>could not possibly have worn the dress to Fort Edmonton, as no such place 
>currently exists. 

Having been to Canada for a total of eight hours in my life, I don't claim
to know this... I'll just quote the book:  "Pale pink period costume
borrowed from the BBC'S wardrobe for the Princess of Wales for her trip to
the historical monument of Fort Edmonton, where time has stood still".

Maybe it only comes out of the mists for one day every hundred years?
No...wait a minute....I'm getting my threads mixed up again!

MARGO

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From owner-h-costume@indra.com  Tue Apr 20 21:00:58 1999
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-Poster: Lynn Carpenter <alwen@i2k.com>

Robin Netherton <robin@dgsys.com> wrote:

>The International Congress on Medieval Studies, run by the Medieval
>Institute at Western Michigan University, includes three costume-related
>sessions this year. (That I know of -- I haven't looked through the entire
>list of 532 sessions yet, and each session has three to four papers.) The
>conference will be May 6-9 at the usual venue in Kalamazoo, Michigan. 

Question:  I've heard that the Congress sometimes includes a fantastic book
sale.  Is this true?  Can non-participators sneak into the vendor room?  I
could drop $95 on books so easily.

Lynn

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Subject: H-COST: almost OT 19th-cent. Q
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-Poster: Gaelscot@aol.com



Hello, all! I am writing with one on-topic and one related off-topic question 
about weddings in the mid-19th century (pre ACW).

What would working-class people wear to their weddings? Just their Sunday 
best, or special clothing? Also, WHEN would they get married? I understand 
(or I THINK I understand) that, for instance, urban workers generally worked 
long days, six days a week. So would they get married on Sunday? Nobody does 
that today. Would they get married in a church, or at a JP's office?

Thanks in advance --

Gail Finke

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From: "Brandy Dickson" <query@mindless.com>
To: <h-costume@indra.com>
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Subject: Re: H-COST: Bayeux Tapestry / SCA group
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-Poster: "Brandy Dickson" <query@mindless.com>

I live just a small ferry-boat ride away from Lion's Gate, and I can't speak
for them, but I know that Sea Girt, Kingdom of An Tir (Victoria, B.C.
Canada), had worked on a tapestry not unlike that of the Bayeaux
Tapestry...only they made a MANY panelled tapestry of the history of THIER
shire (now Barony)... I'm not sure if that's perhaps what you were thinking
of.....

Brandy Dickson

>    One group a friend believes worked on it was "Lion's Gate, AnTir".
That
> sounds right to me.  Carol / Gra/inne, who doesn't know what they did with
> it afterward


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Date: Tue, 20 Apr 1999 23:49:58 -0500
To: h-costume-digest@indra.com
From: Pierre & Sandy Pettinger <costumrs@radiks.net>
Subject: H-COST: Re:  marking on dark wool
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-Poster: Pierre & Sandy Pettinger <costumrs@radiks.net>

> -Poster: "Andrea Gideon" <andrea.gideon@erols.com>
>
> I'd like to embrioder on some very dark green wool, but can't find anything
> to mark my pattern with.  I've tried white chark and yellow pattern tracing
> paper, but the marks aren't very clear and rub off very easily.  Anyone have
> suggestions?
>
There is a pencil made for marking dark colored fabric - designed for
quilters primarily.  It has a silver lead and is supposed to erase easily
with a good art eraser.  I have one but haven't tried it yet.  I would
guess it would work best if the wool was not too loosely woven or fuzzy.
They're pretty cheap, so if it didn't work, you're not out much.  Also I
would test on a scrap first, and mark lightly to start.

Just my tuppence worth.

Sandy

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Date: Tue, 20 Apr 1999 22:43:43 -0700
To: h-costume@indra.com
From: "Carol J. Bell Cannon" <cjcannon@greymists.com>
Subject: Re: H-COST: Bayeux Tapestry / SCA group
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-Poster: "Carol J. Bell Cannon" <cjcannon@greymists.com>

At 09:20 PM 4/20/99 -0700, you wrote:
>
>-Poster: "Brandy Dickson" <query@mindless.com>
>
>I live just a small ferry-boat ride away from Lion's Gate, and I can't speak
>for them, but I know that Sea Girt, Kingdom of An Tir (Victoria, B.C.
>Canada), had worked on a tapestry not unlike that of the Bayeaux
>Tapestry...only they made a MANY panelled tapestry of the history of THIER
>shire (now Barony)... I'm not sure if that's perhaps what you were thinking
>of.....
>
>Brandy Dickson
            It may well be that you have the right of it.  Thank you for
the correction.  It had been a long while since that was discussed on the
SCA Digest.  Carol
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-Poster: cynthia j ley <cley@juno.com>

Try the silver quilters' pencil. I use mine on darned near
everything--keep it sharp and it will serve you well.


Most fabric shops around here sell them in the Notions department.



					Arlys


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Date: Wed, 21 Apr 1999 09:57:35 +0000 (GMT)
From: Teddy <Teddy@mdx.ac.uk>
Subject: H-COST: Hornblower
To: h-costume-digest@indra.com
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-Poster: Teddy <Teddy@mdx.ac.uk>

> At the conclusion of THE DUCHESS & THE DEVIL, reference was made
> to a recent

I've not been watching this series (no interest in it other than the 
costumes and I don't watch *anything* just for the costumes), but I 
did catch this episode and was startled to see a friend and fellow 
costumer in it.  In the scene where Hornblower was introduced to 
the "Duchess" there are a few people chatting in the background.  One 
lady then dashes across the room and offers her arm to a 
startled looking Hornblower to escort her in to the dining room.  It 
was unmistakably Frances Tucker who's quite an active costumer and 
trader in the UK re-enactment scene.

Nxt time I see her, I shall take her to task for not letting me know 
she was making an appearance and ask if she was wearing one of her 
own costumes.

Teddy


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From: "dave;editors(Heritage Matters)" <dave@wysewords.softnet.co.uk>
To: <h-costume@indra.com>
References: <DBD2E0C55@mdx-bg-staff2.nw.mdx.ac.uk>
Subject: Re: H-COST: Hornblower
Date: Wed, 21 Apr 1999 13:03:59 +0100
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-Poster: "dave;editors(Heritage Matters)" <dave@wysewords.softnet.co.uk>

Poster. L.D.Mundy
 Teddy said
>  It  was unmistakably Frances Tucker who's quite an active costumer and
> trader in the UK re-enactment scene.
>
Perhaps this is an oppurtunity to mention Frances' excellent sourcing guide
The Garter Directory; which I for one found  to be most useful (altho Uk
based)
Dave

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Date: Wed, 21 Apr 1999 08:04:25 -0400 (EDT)
From: Robin Netherton <robin@dgsys.com>
To: h-costume@indra.com
Subject: Re: H-COST: re: Upcoming papers for Kalamazoo
In-Reply-To: <3.0.5.32.19990420211123.007abb10@onramp.i2k.com>
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-Poster: Robin Netherton <robin@dgsys.com>


On Tue, 20 Apr 1999, Lynn Carpenter wrote:

> >The International Congress on Medieval Studies, run by the Medieval
> >Institute at Western Michigan University, includes three costume-related
> >sessions this year. (That I know of -- I haven't looked through the entire
> >list of 532 sessions yet, and each session has three to four papers.) The
> >conference will be May 6-9 at the usual venue in Kalamazoo, Michigan. 
> 
> Question:  I've heard that the Congress sometimes includes a fantastic book
> sale.  Is this true?  Can non-participators sneak into the vendor room?  I
> could drop $95 on books so easily.

The program this year lists about 70 vendors, representing university
presses and scholarly publishers from around the world, as well as used
book dealers, plus vendors of art objects, manuscript pages (real ones),
t-shirts, and knickknacks. They used to be spread out among 6 or 8 rooms
(I remember when they could all fit into one or two) until a year or two
ago, when the conference moved them into one of the dorm cafeterias. In
other words, yes, it's big. 

I have been known to drop $95 on a *single* book if it's a great one, and
several hundred dollars a year total -- much of it on Sunday, when many of
the vendors offer half-price on their remaining display copies. Most
publishers of new books give conference participants 20 percent off list
price. With new books, generally they bring a limited supply of display
copies, and once those are spoken for you order the book and have it
shipped to you. 

I suspect you have to have a conference badge to shop. You might want
to email the Congress to be sure -- mdvl_congres@wmich.edu. But for future
reference, if you get on the conference mailing list, you'll get many of
these publishers' catalogs (complete with 20 percent discount order forms)
in the weeks before the Congress.

--Robin


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Date: Wed, 21 Apr 1999 06:02:05 -0700
To: h-costume@indra.com
From: "Carol J. Bell Cannon" <cjcannon@greymists.com>
Subject: H-COST: Fwd: Re: Socks with kilts
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-Poster: "Carol J. Bell Cannon" <cjcannon@greymists.com>

        I wrote to my friend, who spent some time in the 48th Highlanders
of Canada to ask him
about the young gentleman's kilt/socks question.  Here is his answer:
>Carol J. Bell Cannon wrote: Some costume rental place sent white tights
for high school aged
>> young men to wear under their kilts.
>
>BLEARGH!
>
>> One wishes to know what color[s]/style[s] of socks would really be worn.
>
>The hose you wear with a kilt can be of various sorts and colours
(generally to
>match the doublet or tunic).  My own regiment wore green lovat hose with
>service dress and black-and-red diced hose with more formal orders of dress.
>Civilian kilt-wearers can obviously wear what they like.  I sometimes wear
>cross-country ski stockings with my civilian kilt; but I also have some
>purpose-made kilt hose.
>
>The main thing is that they come up over the knee, are gartered below the
knee,
>then cuffed down so that the hose come just below the knee, with a thick cuff
>and the flashes of the garters showing.  (Most garters are now elastic with a
>worsted flash).  The sgian dubh is tucked in the right stocking just in front
>of the round of the calf muscle.
>
>The kilt should come to the centre of the kneecap.  The hose come to the
bottom
>of the kneecap or just a bit lower.
>
>>Best, Aryk
> 
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Subject: H-COST: Re: Socks with kilts
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-Poster: cynthia j ley <cley@juno.com>

Long woolen socks also work. These should ideally be custom-fitted to the
foot and leg. The sock should come up over the knee in length. Flashes
(garters, often with a bit of decorative ribbon) would then be put on,
holding the sock up just under the knee. The sock would then be folded
down, leaving the flashes showing.

Depends on the period.

If you're in a bind, long ladies' socks will do in a pinch, and flashes
can be quickly and cheaply made using a bit of elastic for the garter
part, and attaching a bit of wide ribbon at the top.



					Arlys

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From owner-h-costume@indra.com  Wed Apr 21 10:01:26 1999
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Date: Wed, 21 Apr 1999 10:09:11 EDT
Subject: H-COST: Polka Dots
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-Poster: AlbertCat@aol.com

About polka dots......
Does anyone know.....When do they appear? Surely before the actual Polka 
does...no?
Why do I ask? I have been given some wonderful light as air silk chiffon that 
is a Champaign beige with white polka dots. The dots are about 1/4" to 3/8" 
in diam. and pretty close together. Because of the transparency of the 
fabric, the pattern is very subtle. It looks particularly good over the 
Robin's egg blue/green silk I also have but how early a garment can I get 
away with? 1800s? 1850s? 1890s? 1950s[!]?


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From owner-h-costume@indra.com  Wed Apr 21 10:59:03 1999
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Date: Wed, 21 Apr 1999 11:07:09 -0400 (EDT)
From: Katy Bishop <vintage@shore.net>
To: vintage costume <vintage@indra.com>,
        historic costume <h-costume@indra.com>
Subject: H-COST: vintage ball
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-Poster: Katy Bishop <vintage@shore.net>


The Commonwealth Vintage Dancers, Medford, MA are pleased to announce an
upcoming Ragtime Ball.  Please address all enquiries to
vintage@shore.net (Katy Bishop).

Grand Ball
to Celebrate the Maiden Voyage
of the latest addition to the White Star Fleet
TITANIC

Saturday May 8, 1999, 7:30-11pm
Sponsored by the Commonwealth Vintage Dancers
Reserve your berth today!   This year we are going to make it!!!
Live Orchestra! Featuring: The New River Dance Orchestra
Free Ragtime Dance Workshop 6:30-7:30pm
Ball Rates: $20 per person, $17.50 if pre-paid by May 1st

To secure your tickets or for further information call (617) 666-1596
To book passage send a check payable to CVD to: P. O. Box 9, Nahant, MA
01908

Also join us for a Ragtime Tea Dance 
Sunday May 9th, also at the Unitarian Society.  
Contact Michael Bergman, (617) 964-7684, eclectic@mit.edu for more
information.


Katy Bishop, Vintage Victorian
vintage@shore.net   Custom reproduction gowns of the Victorian Era.


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From owner-h-costume@indra.com  Wed Apr 21 11:04:41 1999
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Date: Wed, 21 Apr 1999 17:13:11 +0200
To: h-costume@indra.com
From: Pompadour <marquise_de_pompadour@gmx.net>
Subject: Re: H-COST: Polka Dots
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-Poster: Pompadour <marquise_de_pompadour@gmx.net>

--=====================_29216821==_.ALT
Content-Type: text/plain; charset="us-ascii"

At 10:09 21.04.99 -0400, you wrote:
>
>-Poster: AlbertCat@aol.com
>
>About polka dots......
>Does anyone know.....When do they appear? Surely before the actual Polka 
>does...no?

a 1929 source of mine says they were "becoming almost as standard as floral
patterns".
of earlier times... i can't tell by heart. i'm pretty certain they were only
used for home, children and underwear even in 1929.

salut,
pompadour

--=====================_29216821==_.ALT
Content-Type: text/html; charset="us-ascii"

<html>
<font size=3>At 10:09 21.04.99 -0400, you wrote:<br>
&gt;<br>
&gt;-Poster: AlbertCat@aol.com<br>
&gt;<br>
&gt;About polka dots......<br>
&gt;Does anyone know.....When do they appear? Surely before the actual
Polka <br>
&gt;does...no?<br>
<br>
a 1929 source of mine says they were &quot;becoming almost as standard as
floral patterns&quot;.<br>
of earlier times... i can't tell by heart. i'm pretty certain they were
only used for home, children and underwear even in 1929.<br>
<br>
salut,<br>
pompadour<br>
</font></html>

--=====================_29216821==_.ALT--

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From owner-h-costume@indra.com  Wed Apr 21 12:17:32 1999
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Date: Tue, 20 Apr 1999 12:52:25
To: h-costume@indra.com
From: Kristin Page <kdp@tiac.net>
Subject: Re: H-COST: marking on dark wool
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-Poster: Kristin Page <kdp@tiac.net>

>I'd like to embrioder on some very dark green wool, but can't find anything
>to mark my pattern with.  ... Anyone have suggestions?
>

I use soap scraps or baste an outline in in light-colored thread.

Kristin 

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Date: Wed, 21 Apr 1999 09:41:02 -0700
Subject: Re: H-COST: marking on dark wool
Message-ID: <19990421.094945.-795693.1.AnnetteAllen@juno.com>
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-Poster: Annette M Allen <annetteallen@juno.com>

If you embroider thickly and don't care about it washing 
out, how about light (or appropriately) colored fine line
fabric paint?

-Annette

On Tue, 20 Apr 1999 15:15:00 -0700 "Andrea Gideon"
<andrea.gideon@erols.com> writes:
>
>-Poster: "Andrea Gideon" <andrea.gideon@erols.com>
>
>I'd like to embrioder on some very dark green wool, but can't find 
>anything
>to mark my pattern with.  I've tried white chark and yellow pattern 
>tracing
>paper, but the marks aren't very clear and rub off very easily.  
>Anyone have
>suggestions?
>Andrea
>
> _________________________________________________________________
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> with the message UNSUBSCRIBE H-COSTUME
>

AnnetteAllen@juno.com  For any attached files use:  aallen@pacbell.net
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From: "Linda Lassman" <lassman@Ms.UManitoba.CA>
Organization: University of Manitoba
To: h-costume@indra.com
Date: Wed, 21 Apr 1999 11:49:00 CST
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Subject: Re: H-COST: marking on dark wool
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-Poster: "Linda Lassman" <lassman@Ms.UManitoba.CA>

Sue Toorans posted:
> 
>    I have done this to try to mark dark, silk velvet for metal
> thread embroidery.  First copy the paper design to more paper that can be
> trashed.  Pin the copy to the fabric with *LOTS* of pins.  You don't want
> it to move.  Next, thread a needle with contrasting thread and sew through
> the  paper and the fabric on the design lines.  Use small running
> stitched.  When all design lines are "traced" in thread, tear out the
> paper.  After the embroidery is complete, the outline thread may be
> completely covered, in that case, don't sweat it, otherwise, remove what
> still shows.

Something I was taught--which is particularly effective on light coloured 
fabric, but could also work for dark fabric--is only to tear the tissue or tracing 
from each area actually being worked on.  This keeps the rest of the fabric 
clean, which is particularly important for projects that you carry around with 
you (or which take a long time to complete....).

Another thing I've seen recently are soapstone markers; they look like one of 
the Staedler white plastic erasers that you use in a holder, and they come 
with a metal holder.  I've seen them in craft stores for use on fabric, but I've 
seen exactly the same thing (same marker and holder; different package) for 
a whole lot cheaper in Home Depot (which is a hardware store chain from the 
US)!

- Linda Lassman
  Winnipeg, Manitoba

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From owner-h-costume@indra.com  Wed Apr 21 14:01:47 1999
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From: "Susannah Eanes" <oh_susannah@hotmail.com>
To: h-costume@indra.com
Subject: Re: H-COST: Polka Dots
Date: Wed, 21 Apr 1999 10:42:53 PDT
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-Poster: "Susannah Eanes" <oh_susannah@hotmail.com>

Polka dotted fabrics did exist as far back as 1800 or possibly 
earlier.  They were known as "spots," and I have seen them in fashion 
plates from the early 1800s.  I will have to go back & check as to 
specifically what year I saw them, but I do remember a sort of filmy 
overdress such as you wish to make that dated sometime c. 1800 - 
1825.  Do you have Ackerman's?  I may have seen it in there, or it 
may be one of my own original possessions; I have about 12 original 
plates that date from this period.  However, any allover design was 
spaced rather far apart during this time, and the smaller the spot, 
the earlier it can be used, perhaps as far back as 1795.  I don't 
know if they were used when the filmy white gowns first began to be 
seen in the late 1780s.  For these gowns, I find that printed designs 
are spaced at least 1" apart, often 1 1/2" apart.  Is the spot 
printed or woven in?  Either would be useful, just do some more 
research to find the context in which it would be most appropriate.  
Some fabrics are more suited for "morning," or undress, and some are 
suitable for "day," and others for "evening" attire.  I will send you 
what I can on the subject.  Wonderful find, anyway!

Susannah


>From: AlbertCat@aol.com
>Reply-To: h-costume@indra.com
>To: h-costume@indra.com
>Subject: H-COST: Polka Dots
>Date: Wed, 21 Apr 1999 10:09:11 EDT
>
>
>-Poster: AlbertCat@aol.com
>
>About polka dots......
>Does anyone know.....When do they appear? Surely before the actual 
Polka 
>does...no?
>Why do I ask? I have been given some wonderful light as air silk 
chiffon that 
>is a Champaign beige with white polka dots. The dots are about 1/4" 
to 3/8" 
>in diam. and pretty close together. Because of the transparency of 
the 
>fabric, the pattern is very subtle. It looks particularly good over 
the 
>Robin's egg blue/green silk I also have but how early a garment can 
I get 
>away with? 1800s? 1850s? 1890s? 1950s[!]?
>
>
> _________________________________________________________________
> 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 Apr 21 14:30:54 1999
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-Poster: AliaClaire@aol.com

Ladies and gents of the list-

I have seen several photos during the ACW era of polka-dot dresses- at least 
one in Who Wore What, and I know I have others...somewhere. If you'd like 
more documentation, let me know.

<g> I did check on this, since I found some BEAUTIFUL dotted swiss I wanted 
to make into a sheer dress...until I realized it was $40/yard. Oh well.

-Alison (who is just trying to pay for food at this weekend's reenactment) 
Stacy
AliaClaire@aol.com
Canton, Ohio
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From owner-h-costume@indra.com  Wed Apr 21 14:56:40 1999
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From: aleed <aleed@dnaco.net>
To: h-costume@indra.com
Subject: Re: H-COST: Polka Dots
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-Poster: aleed <aleed@dnaco.net>

> >
> >About polka dots......
> >Does anyone know.....When do they appear? Surely before the actual Polka 
> >does...no?

Although I haven't seen it myself, someone I know informed me about an
astonishing mantle from the 14th century that was a bright pink, with gold
polka-dots on it.  Sorry I don't have more info.

Drea

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From owner-h-costume@indra.com  Wed Apr 21 17:36:08 1999
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Date: Wed, 21 Apr 1999 17:41:30 -0400
From: Melanie Wilson <MelanieWilson@compuserve.com>
Subject: H-COST: Tartan Fabric
To: "INTERNET:h-costume-digest@indra.com" <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>

I've been offered a load of pure wool, suit weight (heavy) Tartan fabric in
various Tartans, the down side is I'm in the UK, the up is it is only 7.50
per metre. Made in Scotland. About 20m each tartan

Any would be Scots out there who want some I'm willing to ship to you....
wherever

Mel
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From owner-h-costume@indra.com  Wed Apr 21 17:36:19 1999
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Date: Wed, 21 Apr 1999 17:41:32 -0400
From: Melanie Wilson <MelanieWilson@compuserve.com>
Subject: H-COST: Kilt Hose
To: "INTERNET:h-costume-digest@indra.com" <h-costume-digest@indra.com>
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-Poster: Melanie Wilson <MelanieWilson@compuserve.com>

Designs for knitting kilt hose & knickerbocker stockings by Veronica
Gainford is the book you must get. Loads of traditional patterns for the
real thing

Mel
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From owner-h-costume@indra.com  Wed Apr 21 19:45:49 1999
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From: "Penny Ladnier" <penny.creative.outlets@pop.erols.com>
To: <h-costume@indra.com>
Subject: Re: H-COST: Polka Dots
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-Poster: "Penny Ladnier" <penny.creative.outlets@pop.erols.com>

I have seen a dress as early as the 1820-30s in polka dots. This was at a
very well respected dealer's shop.  This was a couple of years ago. The date
was her claim.  One of the articles on my 1890s Ladies Home Journal website
mentions fabric with printed dots.  At the moment, I cannot recall which
article, but try the 1895 issue.

Not a very good day for my memory.  Its not a good teacher day...Penny


>About polka dots......
>Does anyone know.....When do they appear? Surely before the actual Polka
>does...no?
>Why do I ask? I have been given some wonderful light as air silk chiffon
that
>is a Champaign beige with white polka dots. The dots are about 1/4" to 3/8"
>in diam. and pretty close together. Because of the transparency of the
>fabric, the pattern is very subtle. It looks particularly good over the
>Robin's egg blue/green silk I also have but how early a garment can I get
>away with? 1800s? 1850s? 1890s? 1950s[!]?
>
>
> _________________________________________________________________
> 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 Apr 21 19:59:32 1999
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Subject: H-COST: Re: Tracing embroidery patterns
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-Poster: Gary Stephens <lgsteph@golden.net>

Eve wrote:

>"A design could be drawn out on thin paper, and pricked through and
>pounced (powder rubbed through the prick holes) on to the cloth. This
>"pricking and pouncing" was the traditional method of transferring
>designs and dated from the Middle Ages."

	The originator of this message neglected to append the charcoal
pounce marks were then set in place by using India ink and a fine brush to
connect the dots, if you will. When elaborate shading, as in or nue, was
required, an actual ink wash was done to create the half-tones required for
the embroider. I have done this myself with great effect.

>I don't know what she used as her source for that argument, but I like
>the practicality.

	There are many modern scientific references to this having been
done, and actual source documentation from Charles Germain St. Aubin's
1700s treatise on embroidery.

	It can be a very effective method of transfer.

	Oh, BTW, a lead oxide (I believe that's correct) was used as a
white for this same sort of pouncing on dark cloth. Personally, I'd forgo
this one attempt at historical re-creation. I rather like remaining
non-toxified. :)

Lorina


--------------------------------------
 Five Rivers Chapmanry ~ purveyors of quality hand-crafted cooperage,
period furniture & fine hand-sewn garments ~ e-mail: lgsteph@golden.net  ~
website: http://www.historicmerchants.com/fiverivers
_Touring the Giant's Rib_ ~
http://web.idirect.com/~canuck/stephens/stephen.html


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From: agottfre@telusplanet.net (Angela Gottfred)
Subject: H-COST: OT: Ft. Edmonton (was: EXHIBIT OF PRINCESS DIANA'S DRESSES)
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-Poster: agottfre@telusplanet.net (Angela Gottfred)

Margo Anderson <margo@directcon.net> wrote:
>I'll just quote the book:  "Pale pink period costume
>borrowed from the BBC'S wardrobe for the Princess of Wales for her trip to
>the historical monument of Fort Edmonton, where time has stood still".
And we wonder why people get historical facts wrong, when so many writers 
can't accurately report the recent past!? Obviously Princess Charles went to 
Fort Edmonton PARK, which is _not_ an historical monument, but a living 
history village in the city of Edmonton. 

Your humble & obedient servant,
Angela Gottfred
agottfre@telusplanet.net

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Subject: H-COST: Re: polka dots
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-Poster: ArcadiaCB@aol.com

Just doing a quick check of a few books:  In "Textile Designs--Two Hundred 
Years of European and American Pattersn for Printed Fabrics...",  by  Susan 
Meller and Joost Elffers, there are 29 examples of "polka dots" beginning, 
from the first quarter 19th c to 1930s.   Also echoing  the reference to 
earlier "spotted"fabrics, in that wonderful book, "A Lady of Fashion--Barbara 
Johnson's Album of Styles and Fabrics" (a swatch book of her personal 
garments made between 1746 and 1822), a swatch for1762 is a "blue and white 
spotted lutestring (silk).  For mid-19thc, I have numerous CDV photographs in 
my collection of women and girls in "polka dot" patterned gowns.  Hope that 
helps
  Charlene
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From owner-h-costume@indra.com  Thu Apr 22 01:24:37 1999
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From: "Penny Ladnier" <penny.creative.outlets@pop.erols.com>
To: <h-costume@indra.com>
Subject: Re: H-COST: Polka Dots
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-Poster: "Penny Ladnier" <penny.creative.outlets@pop.erols.com>

Well, it drove me crazy until I found the article in the 1893 Ladies Home
Journal... so here the webpage referring to the "dots" on fabric,
http://www.costumegallery.com/LHJ/Sept_1893/Color/silk_fabrics.htm  It is
actually referred to as dots at this point.  This reference is near the
bottom of the section.

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


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From: "dave;editors(Heritage Matters)" <dave@wysewords.softnet.co.uk>
To: <h-costume@indra.com>
References: <19990422021616Z544481-19187+43@edtnps05.telusplanet.net>
Subject: Re: H-COST: OT: Ft. Edmonton (was: EXHIBIT OF PRINCESS DIANA'S DRESSES)
Date: Thu, 22 Apr 1999 13:12:26 +0100
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-Poster: "dave;editors(Heritage Matters)" <dave@wysewords.softnet.co.uk>

Poster L D Mundy

> Margo Anderson < wrote:
> >I'll just quote the book:  "Pale pink period costume
> >borrowed from the BBC'S wardrobe for the Princess of Wales for her trip
to
> >the historical monument of Fort Edmonton, where time has stood still".
>Angela Gottfred wrote
 And we wonder why people get historical facts wrong, when so many writers
> can't accurately report the recent past!? Obviously Princess Charles went
to
> Fort Edmonton PARK, which is _not_ an historical monument, but a living
> history village in the city of Edmonton.
 Was this the famous Princess David trip?

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From owner-h-costume@indra.com  Thu Apr 22 08:43:15 1999
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From: "Susannah Eanes" <oh_susannah@hotmail.com>
To: h-costume@indra.com
Subject: Re: H-COST: Polka Dots
Date: Thu, 22 Apr 1999 05:50:39 PDT
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-Poster: "Susannah Eanes" <oh_susannah@hotmail.com>

In Ackermans (Blum, ed.), "1820...a round dress of white crape, 
spotted with white satin." (p. 25).  "1826... Ball dress...with... 
blond spotted scarf..." (p. 66).

In the famous 1810 Gilray print of the lady dressing, the lady is 
drawn wearing a spotted gown.

However, in other prints, (Arnold, Cunnington, Blum) wherein it 
appears that the fabric of a gown or trimming is spotted, the period 
description uses things like, "figured muslin," or "hailstone," 
instead of the word "spot," to describe these things that look like 
dots, and sometimes in these cases there is a close-up that shows the 
spots to be shaped more like lozenges, leaves, or other geometric 
shapes.

Hope this helps.

Susannah

"We are only the trustees for those who come after us." 
  --William Morris 


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From owner-h-costume@indra.com  Thu Apr 22 09:34:19 1999
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From: "David W. Rickman" <drickman@state.de.us>
Subject: H-COST: Wedding Costume
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-Poster: "David W. Rickman" <drickman@state.de.us>

Hello,

Gail wrote, concerning early-19th century clothing,

>What would working-class people wear to their weddings? Just their Sunday 
>best, or special clothing? Also, WHEN would they get married? I understand 
>(or I THINK I understand) that, for instance, urban workers generally worked 
>long days, six days a week. So would they get married on Sunday? Nobody does 
>that today. Would they get married in a church, or at a JP's office?

Generally speaking, you are right that people got married in their Sunday 
best. They couldn't afford dresses and suits that they wore once and put away 
forever. Often, though, it is my understanding that women might make a dress 
especially for their wedding with the plan that they would wear it for best 
dress after that - often for years. 

Most weddings would take place in a church, of course, but there were civil 
weddings. There is a wonderful painting in the Walter Art Gallery in 
Baltimore, by the American genre artist Richard Caton Woodville, Sr. It is 
called, I believe, "The Sailor's Wedding" and it shows a big, strapping young 
sailor in white frock and blue roundabout standing with his bride in the 
justice of the peace office in a port town. They are in a small, shabby room, 
with desks and ledgers and a few government clerks. A justice of the peace 
office would not be open on a Sunday. Also, even today it is not common for 
those who are married in church to have the service performed on a Sunday. I 
believe it was the same then.

I suggest that you look at period genre paintings of weddings to get details 
of dress, etc. It was a popular theme for paintings, prints, etc., and the 
subjects were usually poor or middle class people's weddings, not upper class, 
so you should certainly find what you are looking for. Good luck!

David Rickman
drickman@state.de.us
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From owner-h-costume@indra.com  Thu Apr 22 10:24:44 1999
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Date: Thu, 22 Apr 1999 10:31:59 EDT
Subject: Re: H-COST: Tartan Fabric
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-Poster: AlbraKat@aol.com

I'm very  interested! Which tartans  are available?That's 20 meter 
lengths---at 7.50 ---about $150. How much do you suppose for shipping? And 
how would you want your funds sent?
Thanks--
Albra

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From owner-h-costume@indra.com  Thu Apr 22 14:36:19 1999
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Date: Thu, 22 Apr 1999 01:54:14 -0400
To: h-costume@indra.com
From: Danielle Nunn <dnunn@interlog.com>
Subject: H-COST: Nelson bustle?
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-Poster: Danielle Nunn <dnunn@interlog.com>

Greetings,

I have a question regarding the "Nelson bustle."  I've been reading a novel
recently which is set in London in 1820 and referrs to one of the
characters wearing a Nelson bustle.  This doesn't seem right to me (not my
period).  Can anyone tell me whether or not such a thing existed as the
"Nelson bustle" and if so, when would it have been worn?  1890's?

Just wondering,
Danielle

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From owner-h-costume@indra.com  Thu Apr 22 14:36:48 1999
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Date: Thu, 22 Apr 1999 01:24:49 -0400
To: h-costume@indra.com
From: Danielle Nunn <dnunn@interlog.com>
Subject: Re: H-COST: Polka Dots
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-Poster: Danielle Nunn <dnunn@interlog.com>

Greetings,

>About polka dots......
>Does anyone know.....When do they appear? Surely before the actual >Polka
does...no?...It looks particularly good over the Robin's egg >blue/green
>silk I also have but how early a garment can I get away >with? 1800s?
1850s? 1890s? 1950s[!]?

I've seen stuff from the 16th century which looks an awful lot like polka
dots.  I couldn't tell you *where* I saw it, it was just one of those
things where I said "oh, cool!" and kept on going.  Sounds lovely, have fun.

Cheers,
Danielle

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From owner-h-costume@indra.com  Thu Apr 22 14:57:44 1999
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From: "Franchesca Havas" <ches@io.com>
To: "sca-garb" <sca-garb@list.uvm.edu>
Cc: <h-costume@indra.com>
Subject: H-COST: Fw: glove pattern
Date: Thu, 22 Apr 1999 13:58:41 -0500
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-Poster: "Franchesca Havas" <ches@io.com>

Here is a glove pattern that I have used that is very good. You can get it
from these guys or from amazon dry goods. The price is the same.

Sincerely,
F. Havas
Dallas, Texas

-----Original Message-----
From: Moscow Hide and Fur <CustomerService@hideandfur.com>
To: 'Franchesca Havas' <ches@io.com>
Date: Thursday, April 22, 1999 1:26 PM
Subject: RE: glove pattern


:We've added a picture of the glove pattern to our web site:
:
:http://www.hideandfur.com/inventory/95000760.html
:
:You may have to "Reload" the page in your browser to
:see the pictures.
:
:Thank you for your interest in Moscow Hide and Fur and our web site!
:
:> ----------
:> From: Franchesca Havas[SMTP:ches@io.com]
:> Sent: Tuesday, April 13, 1999 1:09 PM
:> To: Moscow Hide and Fur
:> Subject: Re: glove pattern
:>
:> Sounds great! Thank you! I collect glove patterns and I may have this
:> one if
:> not I will buy it.
:>
:> Sincerely,
:> F. Havas
:> Dallas, Texas
:>
:> -----Original Message-----
:> From: Moscow Hide and Fur <CustomerService@hideandfur.com>
:> To: 'Franchesca Havas' <ches@io.com>
:> Date: Tuesday, April 13, 1999 3:04 PM
:> Subject: RE: glove pattern
:>
:>
:> :I've done some checking, and we could probably have a photo
:> :posted on the web site next week some time, if you're not in
:> :a hurry.
:> :
:> :
:> :> ----------
:> :> From: Franchesca Havas[SMTP:ches@io.com]
:> :> Sent: Tuesday, April 13, 1999 12:45 PM
:> :> To: CustomerService@hideandfur.com
:> :> Subject: glove pattern
:> :>
:> :> lot # 9500-0760
:> :>
:> :> I am interested in this pattern but want to make sure it is not one
:> :> that I
:> :> already have. Can you send me an image of the cover please?
:> :>
:> :> Sincerely,
:> :> F. Havas
:> :> Dallas, Texas
:> :>
:> :>
:> :
:>
:

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From owner-h-costume@indra.com  Thu Apr 22 15:12:14 1999
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Date: Thu, 22 Apr 1999 15:13:00 -0400
From: Melanie Wilson <MelanieWilson@compuserve.com>
Subject: H-COST: Tartans
To: "INTERNET:h-costume-digest@indra.com" <h-costume-digest@indra.com>
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-Poster: Melanie Wilson <MelanieWilson@compuserve.com>

>I'm very  interested! Which tartans  are available?

Anderson -blue, white, red, yellow
Black Stewart- 
Dress Stewart Muted-
Dress Mccloud
Erracht Cameron
Erskine- black & white
Green Douglas
Hay-red, black, yellow
Hunting Chisholm-blue/slate, red white
Hunting Mcinnes-reds yellows
Hunting McKellar-green blue yellow white
Hunting Chisholm Old Colours-browns
Hunting Mccloud
King George
Lynsey 7-8 M-red green
Mcduff red blue black
Mcnab-red black
Princess Elizabeth
Princess Mary Muted
Red Fraser-reds
Wallace-black red bit yellow

>That's 20 meter 
lengths---at 7.50 ---about $150.

You don't need to take the whole 20m

> How much do you suppose for shipping?

Surface or air ?

> And 
how would you want your funds sent?

Visa, Mastercard, Cheque, money order anything except debit cards really !

Mel
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From owner-h-costume@indra.com  Thu Apr 22 15:23:28 1999
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From: "Henk 't Jong" <scapreel@tip.nl>
To: <h-costume@indra.com>
Subject: Re: H-COST: Bayeux Tapestry
Date: Thu, 22 Apr 1999 21:10:55 +0200
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-Poster: "Henk 't Jong" <scapreel@tip.nl>

Henk & Pauline 't Jong
tScapreel
Medieval Advisors
Dordrecht, Netherlands

Hi list,

Penny wrote:
> Has anyone noticed that midway through the film, Marion is embroidering
on a
> "new" panel of the Bayeax Tapestry?

Yes, I did. To think that Robin Hood is supposed to play in the 1190ties,
ca 110 years after the tapestry was made. 

I laughed a lot during this film. Mainly not to get angry...

Henk
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From owner-h-costume@indra.com  Thu Apr 22 15:24:01 1999
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From: "Henk 't Jong" <scapreel@tip.nl>
To: "H-COSTUME" <h-costume@indra.com>
Subject: H-COST: SIL
Date: Thu, 22 Apr 1999 21:30:04 +0200
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-Poster: "Henk 't Jong" <scapreel@tip.nl>

Henk & Pauline 't Jong
tScapreel
Medieval Advisors
Dordrecht, Netherlands

Hi list,

At last had the chance to see Shakespeare in love. Delightful film! Worth
the Oscars for the sheer courage to show mr S's language on the screen. 

I've been a S-adept for the whole of my adult life and was enchanted with
the actors, costume and sets. Only a few questions: would late 16th c
british actors have known what late 15th c italians wore? Not in my
opinion, they would have worn contemporary dress, wth maybe a few exotic
accessories or props (not necessarily italian too...).  There were some
pretty anachronistic wall sconces with candles to be seen in taverns and
rooms, a lot of the men (including Will) wore there doublets open, showing
shirts, which is (IMO) a bit too loose for the time. Incidentally : this is
the first film in very many years where the barbs were (for the most parts)
stripped form the writing quills. We always shout: WHOLE FEATHER! when we
see such an unstripped quill. And they appear in every historic film or
documentary, while in real life EVERY quill was stripped wholy or partly.

I can live with the above, but the only thing that was really bothering me
was the headdress of the nurse (and Will's at Greenwich): this was a
mixture of a 15th c couvrechef and wimple (with cornus) and the band or
fillet of a 13th c 'gebende'. It reminded me a bit of the pictures in Mrs
Charles H. Ashdowns British Costume during XIX centuries, (p. 67) of a lady
circa 1290 or the one on p.99, lady temp. Edward III. This type of
headcovering was long gone by 1593. It was a bit of a blemish on the
picture.

Henk



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From owner-h-costume@indra.com  Thu Apr 22 15:24:33 1999
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From: "Henk 't Jong" <scapreel@tip.nl>
To: <h-costume@indra.com>
Subject: Re: H-COST: Bayeux Tapestry
Date: Thu, 22 Apr 1999 21:07:59 +0200
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-Poster: "Henk 't Jong" <scapreel@tip.nl>

Henk & Pauline 't Jong
tScapreel
Medieval Advisors
Dordrecht, Netherlands

Hi,

Cynthia wrote:
> The tapestry itself (not really a tapestry but an embroidery) is
> kept in Reading I am told.

Is this the replica? I know for a fact that the real one is still in
Bayeux; I saw it there. Could you find out where in Reading it is kept?

Henk
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From owner-h-costume@indra.com  Thu Apr 22 15:28:12 1999
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From: "Sarah Toney" <toneys@rentgrow.com>
To: <h-costume@indra.com>
Subject: Re: H-COST: Fw: glove pattern
Date: Thu, 22 Apr 1999 15:32:38 -0400
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-Poster: "Sarah Toney" <toneys@rentgrow.com>


>Here is a glove pattern that I have used that is very good. You can get it
>from these guys or from amazon dry goods. The price is the same.
>
Ya'll are dangerous for a girls wallet!  So, I went to look at the gloves
and ordered the pattern along with the pattern for the moccasin boots. ;-)

I made a list yesterday of all the projects I have the material and patterns
for... 27 items on the list!  When am I going to find the time for all of
these!?!? ;-)

Sarah
*****************************************
"Bach gave us God's word,
Beethoven gave us God's fire,
Mozart gave us God's laughter,
God gave us music so that we may pray without words."

~Anonymous, found on a wall in a German Opera House

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Date: Thu, 22 Apr 1999 12:44:50 -0800
To: h-costume@indra.com
From: Lynn Downward <ldownward@mail.cho.org>
Subject: Re: H-COST: SIL
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-Poster: Lynn Downward <ldownward@mail.cho.org>

>-Poster: "Henk 't Jong" <scapreel@tip.nl>
>
>Henk & Pauline 't Jong
>tScapreel
>Medieval Advisors
>Dordrecht, Netherlands
>
>Hi list,
>
>At last had the chance to see Shakespeare in love. Delightful film! Worth
>the Oscars for the sheer courage to show mr S's language on the screen.
>
>I've been a S-adept for the whole of my adult life and was enchanted with
>the actors, costume and sets. Only a few questions: would late 16th c
>british actors have known what late 15th c italians wore? Not in my
>opinion, they would have worn contemporary dress, wth maybe a few exotic
>accessories or props (not necessarily italian too...).  There were some
>pretty anachronistic wall sconces with candles to be seen in taverns and
>rooms, a lot of the men (including Will) wore there doublets open, showing
>shirts, which is (IMO) a bit too loose for the time. Incidentally : this is
>the first film in very many years where the barbs were (for the most parts)
>stripped form the writing quills. We always shout: WHOLE FEATHER! when we
>see such an unstripped quill. And they appear in every historic film or
>documentary, while in real life EVERY quill was stripped wholy or partly.
>
>I can live with the above, but the only thing that was really bothering me
>was the headdress of the nurse (and Will's at Greenwich): this was a
>mixture of a 15th c couvrechef and wimple (with cornus) and the band or
>fillet of a 13th c 'gebende'. It reminded me a bit of the pictures in Mrs
>Charles H. Ashdowns British Costume during XIX centuries, (p. 67) of a lady
>circa 1290 or the one on p.99, lady temp. Edward III. This type of
>headcovering was long gone by 1593. It was a bit of a blemish on the
>picture.
>
>Henk
>
Yes, Henk, a blemish, not a pox.  This movie was the first that didn't hurt
to watch.  I was more than willing to ignore the few things that weren't
right, even the nurse's headdress.

LynnD
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To: h-costume@indra.com
Subject: Re: H-COST: SIL
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-Poster: "StitchWitch" <stitchwitch@excite.com>


> At last had the chance to see Shakespeare in love. Delightful film! Worth
> the Oscars for the sheer courage to show mr S's language on the screen. 
> 
> I've been a S-adept for the whole of my adult life and was enchanted with
> the actors, costume and sets. 

I was most delighted with this movie, and not just for the costumes. It
actually had a plot (though there were a *few* holes, such as the 'Virginia
colony') and the characters were some I could cheer for.
As one who shares Mr. S's birthday (just the day, not the year. Sheesh!)
I've long been a fan as well. Interesting to see him portrayed as a human
being.

And I want that green leather doublet, period or not!


>Only a few questions: would late 16th c
> british actors have known what late 15th c italians wore? Not in my
> opinion, they would have worn contemporary dress, wth maybe a few exotic
> accessories or props (not necessarily italian too...).  

I was surprised to see all the costumes backstage, as I'd always thought
that actors wore pretty much their street clothing in that era. (Though, for
the female parts, this makes sense.) Guess I have a lot to learn about
theater.

>There were some
> pretty anachronistic wall sconces with candles to be seen in taverns and
> rooms, a lot of the men (including Will) wore there doublets open,
showing
> shirts, which is (IMO) a bit too loose for the time. 

The open doublets bothered me as well. They did that in 'Elizabeth', too. I
think it was a bow to the modern masses, who might not be able to relate to
what might be seen as the greater formality of the times.

>Incidentally : this is
> the first film in very many years where the barbs were (for the most
parts)
> stripped form the writing quills. We always shout: WHOLE FEATHER! when we
> see such an unstripped quill. And they appear in every historic film or
> documentary, while in real life EVERY quill was stripped wholy or partly.

Didn't even catch that. Yet another tidbit to file away in the 'Historical
Accuracy' bin.

> 
> I can live with the above, but the only thing that was really bothering
me
> was the headdress of the nurse (and Will's at Greenwich): this was a
> mixture of a 15th c couvrechef and wimple (with cornus) and the band or
> fillet of a 13th c 'gebende'. It reminded me a bit of the pictures in Mrs
> Charles H. Ashdowns British Costume during XIX centuries, (p. 67) of a
lady
> circa 1290 or the one on p.99, lady temp. Edward III. This type of
> headcovering was long gone by 1593. It was a bit of a blemish on the
> picture.

The nurse did look out of place, but until I saw your e-mail, I couldn't put
my finger on why. (wimples are not my area.) This costume seemed to me to
more representational of the character, rather than any attempt at accuracy.
Kind of interesting in it's own right, even if a *bit* out of place. 

The movie was a treat, and I think that if we manage to express ourselves to
Hollywierd more firmly, the costuming can only get better. (Well, I can
hope, can't I?)

Kate
----
StitchWitch

All things are possible until they are proved impossible - and even the
impossible may only be so, as of now. - Pearl S. Buck




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From: "dave;editors(Heritage Matters)" <dave@wysewords.softnet.co.uk>
To: <h-costume@indra.com>
References: <199904221931.VAA24083@worldonline.nl>
Subject: Re: H-COST: Bayeux Tapestry
Date: Thu, 22 Apr 1999 21:00:26 +0100
Organization: Heritage Matters at Words to the Wise
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-Poster: "dave;editors(Heritage Matters)" <dave@wysewords.softnet.co.uk>

cross posted from Later Medieval Britain>
> Dave wrote:
> The copy Anne mentioned is in the Museum of Reading, in England.  My
> husband and I saw it in '95.  It's a great place for kids - they even have
> a little throne, and cape, so one child can pretend to be William and the
> other Harold as Harold swears his oath. The rest of the museum is very
> interesting too - has a pretty good giftshop where I had to resist
spending
> too much money!  The replica itself was stitched in the 1800s.

Teresa:

Thanks for letting me know that the Bayeux Tapestry copy is in Reading.  I'm
afraid the Bernard Clayton Book of French Bread didn't exactly tell me
*where* this British copy was located; just that it was British and made in
the 1800's.  I'll try to remember that when this Starving Writer gets famous
and can take a "research" trip to England.  If I *do* remember, I'll be sure
to stop in Reading!!!
Anne Gilbert



----- Original Message -----
From: Henk 't Jong <scapreel@tip.nl>
To: <h-costume@indra.com>
Sent: Thursday, April 22, 1999 8:07 PM
Subject: Re: H-COST: Bayeux Tapestry


>
> -Poster: "Henk 't Jong" <scapreel@tip.nl>
>
> Henk & Pauline 't Jong
> tScapreel
> Medieval Advisors
> Dordrecht, Netherlands
>
> Hi,
>
> Cynthia wrote:
> > The tapestry itself (not really a tapestry but an embroidery) is
> > kept in Reading I am told.
>
> Is this the replica? I know for a fact that the real one is still in
> Bayeux; I saw it there. Could you find out where in Reading it is kept?
>
> Henk
>  _________________________________________________________________
>  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 Apr 22 16:16:06 1999
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Date: Thu, 22 Apr 1999 13:10:32 -0700
From: Merouda the True of Bornover <keltia@serv.net>
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-Poster: Merouda the True of Bornover <keltia@serv.net>


> I can live with the above, but the only thing that was really bothering me
> was the headdress of the nurse (and Will's at Greenwich): this was a
> mixture of a 15th c couvrechef and wimple (with cornus) and the band or
> fillet of a 13th c 'gebende'.

Yup, my only complaint or confusion in the whole film.  What I figured
was that they had to have a reasonable way to dress Will up as a
nurse.  The only way to do it would be to cover his head and face. 
So, the nurse got stuck with the old timey headdress.  I tried not to
let it bother me.

Cynthia
-- 
Cynthia Long
Merouda the True of Bornover	
Barony of Madrone
Kingdom of An Tir
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From owner-h-costume@indra.com  Thu Apr 22 16:44:07 1999
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From: "Franchesca Havas" <ches@io.com>
To: "sca-garb" <sca-garb@list.uvm.edu>, <h-costume@indra.com>
Subject: H-COST: Alcega Taylor's book
Date: Thu, 22 Apr 1999 15:55:25 -0500
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-Poster: "Franchesca Havas" <ches@io.com>

I got it! I got it! I got it! I got it! I got it! I got it!

WoW! What a great source! It may not be the actual book but the copy I have
is the best I have seen in a long time of a primary source reprint. It has
an english translation in the back of the WHOLE book! It even translates the
letter from the king giving him the right to create this book because he has
been declared the Master of his craft. WOW! Beautiful!! A must have book, so
many patterns in it!!

ISBN: 0-89676-234-3.
"Libro de Geometria, Pratica y Traca" by Juan
de Alcega (Tailor's Pattern Book, 1589)
$40.00

Sincerely,
F. Havas
Dallas, Texas


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From owner-h-costume@indra.com  Thu Apr 22 16:53:40 1999
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Subject: Re: H-COST: Polka Dots
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-Poster: AlbertCat@aol.com

Thanks all for the polka dot research. 

So.....even though the fabric has a 1950s "feel" to the dots [Luuuucy!!!!] 
I'm thinking of an 1820-ish outfit....the chiffon over the Robin's egg blue. 
I have some silk twill the same blue color as the silk but about 2 shades 
darker for a Spencer or Pelisse to go with it all. And even some millinery 
velvet in that shade for a bonnet. So it's not common for the period; when 
have I ever cared about that????? I just didn't want it to be completely & 
totally off the mark. [I would make a mid 19th century gown but there isn't 
enough fabric.]

Thanks again!
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From owner-h-costume@indra.com  Thu Apr 22 16:58:41 1999
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From: "Susan Carroll-Clark" <nicolaa@earthlink.net>
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-Poster: "Susan Carroll-Clark" <nicolaa@earthlink.net>


Greetings!

Henk said,
> Incidentally : this is
>the first film in very many years where the barbs were (for the most parts)
>stripped form the writing quills. We always shout: WHOLE FEATHER! when we
>see such an unstripped quill. And they appear in every historic film or
>documentary, while in real life EVERY quill was stripped wholy or partly.


Yep, I noticed that, too (being trained in palaeography makes me notice
little details like that...)

>I can live with the above, but the only thing that was really bothering me
>was the headdress of the nurse (and Will's at Greenwich): this was a
>mixture of a 15th c couvrechef and wimple (with cornus) and the band or
>fillet of a 13th c 'gebende'. It reminded me a bit of the pictures in Mrs
>Charles H. Ashdowns British Costume during XIX centuries, (p. 67) of a lady
>circa 1290 or the one on p.99, lady temp. Edward III. This type of
>headcovering was long gone by 1593. It was a bit of a blemish on the
>picture.


I'm assuming that she was dressed that way because that's the way the Nurse
in Romeo and Juliet (which SIL alludes is modelled on her) usually dresses.
(e.g.  "A sail! A sail!"  I'm guessing they were going for the basic 15th
century look, but didn't quite know enough to get it right.  Didn't
completely jar, however, since, as I mentioned, I've seen enough productions
of "Romeo and Juliet" that costume the Nurse much like her...)

Susan

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From owner-h-costume@indra.com  Thu Apr 22 17:00:38 1999
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Date: Thu, 22 Apr 1999 15:14:56 -0600
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-Poster: Mary Denise Smith <costumemag@costumemag.com>

It never occurred to me to wonder whether the nurse's head dress was correct or not. I thought it
was a pun on the nurse's outfit in the Zeffrelli R&J film of 20-something years ago!

Old and doddering,

Mary Denise Smith

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From owner-h-costume@indra.com  Thu Apr 22 17:17:31 1999
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From: Ariyana Kylstram <ariyana@cats.UCSC.EDU>
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-Poster: Ariyana Kylstram <ariyana@cats.UCSC.EDU>


The "doublet" I believe was actually a jerkin, and looked similar to one 
in Arnold.

The problem was he didn't wear it over a doublt, which is what most liely 
would have been done.  Jerkins don't have to close all the way up, since 
they go OVER doublets, which DO close all the way up.  The other thing is 
that even though the costumes were all beautiful, and most very period, 
there wasa seeming mishmash of styles...for example, cone farthingales 
with the stifffened heart shaped standing ruffs worn behind seemed a 
little odd.  Oh yes, and the spikey gold ruff and the peacock feather one 
as well... I've looked at lots of portraits and not seen anything *quite* 
like those ever.  

Still, all that aside.  it was beautiful, it had fantasy elements and it 
ADMITTED THAT at the beginning of the film, and it gave history a good 
name without munging the facts too badly.  Far better than, as some 
friends of mine have called it, "that movie" (elizabeth).



.ari
The Lady Ariyana of House Kylstram 
ariyana@cats.ucsc.edu
http://www.kithrup.com/~ariyana/


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From: "Gillespie, Lyn" <GillespieL@oiccnaples.navfac.navy.mil>
To: "'h-costume@indra.com'" <h-costume@indra.com>
Subject: H-COST: Italian Renn
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-Poster: "Gillespie, Lyn" <GillespieL@oiccnaples.navfac.navy.mil>


I'm writing again to ask for help with the Italian Renn I'm trying to make.
I've attached the picture since it is from a museum in Perugia and is not in
any costume books I know of.  I'm guessing the painting of the saint is from
about 1350, based on the painter's life span and the sleeves.
 
My questions are as follows:
1.  The only way I could drape the organ pipe pleats was to put the front on
the bias and the back on the straight grain.  I'm assuming the back is
similar to the front based on some similar dresses illustrated in Jaqueline
Herald's book.  Is this correct?  If not, what am I doing wrong?
2.  Should the sleeves have a false interior sleeve to keep the puffy upper
sleeve from slouching over the elbow?
3.  Lastly, the last one to two pleats at the side of both front and back
don't quite hang right.  Has anyone learned a trick about the sides?  I am
planning on side lacing the dress.
 
I'm planning on using a midweight wool for the dress, partially lined
through the bottom of the pleats.  I apologize for posting this again, but
my dress dummy is getting very tired of wearing the same mock-up <g>  And
I'm scared of wasting the wool because fabric prices are high here.  Many
thanks!
 
Lyn Gillespie
 
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From owner-h-costume@indra.com  Thu Apr 22 20:07:15 1999
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From: The Purple Elephant <csmart@physics.adelaide.edu.au>
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-Poster: The Purple Elephant <csmart@physics.adelaide.edu.au>

On Thu, 22 Apr 1999, Gillespie, Lyn wrote:

> 
> -Poster: "Gillespie, Lyn" <GillespieL@oiccnaples.navfac.navy.mil>
> 
> 
> I'm writing again to ask for help with the Italian Renn I'm trying to make.
> I've attached the picture since it is from a museum in Perugia and is not in
> any costume books I know of.  I'm guessing the painting of the saint is from
> about 1350, based on the painter's life span and the sleeves.
Um...you did? There was no attachment at this end....
>  
> 2.  Should the sleeves have a false interior sleeve to keep the puffy upper
> sleeve from slouching over the elbow?
Ooh, yes I'd be interested in some advice on this too - one of my next
projects will be one of those It Ren with the really huge puffy upper sleeves
and I was wondering if it would need a foundation sleeve or whether a 
puffy chemise and very tight lower sleeve would be sufficient to hold it
up. The fabric I was planning on using was a light silk satin.
------------------------------------------------------------------------------
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 Apr 22 21:04:27 1999
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Date: Thu, 22 Apr 1999 18:12:28 -0700
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Subject: H-COST: Re: Polka Dots
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-Poster: midorih@proaxis.com

AlbertCat@aol.com asks:

>About polka dots......
>Does anyone know.....When do they appear? 

I am not sure when the earliest Polka Dot prints were available however in
"Printed calicos for Indians", Museum of the Fur Trade Quarterly 24(3): 1-10 

There is a photograph of a "Polka dot" print collected by William Clark in
St. Louis in 1813.

and in a letter from G.W. Ewing to R. Chute April 27, 1847

"It's not so important about the shape of the figure, whether it is round,
square, diamond, oblong or what, so it is clear, bright, distinct and
striking, the sizes of the figures or springs may also vary from --- to ---
[circles about 1/10 to 1/4 inches in diameter]"

There is also a quote from Phyn and Ellice trade suppliers in Schenectady
in 1768: "20 pcs. Indian Callicoe-Red figures and patterns as you chose"
that may have included "Polka dots"

>Surely before the actual Polka 
>does...no?

I don't know when the Polka originated, it is a Czech dance, but it was
being danced in Prague in 1833 so perhaps...

Mark

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From owner-h-costume@indra.com  Thu Apr 22 21:05:33 1999
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-Poster: Margo Anderson <margo@directcon.net>


>2.  Should the sleeves have a false interior sleeve to keep the puffy upper
>sleeve from slouching over the elbow?

If you want to support a puffy upper sleeve without an extra layer of
fabric, a sleeve stay will work.  Use a 1" strip of grosgrain ribbon cut to
the length you want the puff to cover, and tack it to the top of the
armsceye seam and the upper/lower sleeve seam, running along the top of the
arm on the inside of the sleeve. 

I'm pretty sure this isn't a period solution, but it worked well on all
those glitzy wedding dresses I used to alter.

Margo  

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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, 22 Apr 1999, Margo Anderson wrote:

> 
> -Poster: Margo Anderson <margo@directcon.net>
> 
> 
> >2.  Should the sleeves have a false interior sleeve to keep the puffy upper
> >sleeve from slouching over the elbow?
> 
> If you want to support a puffy upper sleeve without an extra layer of
> fabric, a sleeve stay will work.  Use a 1" strip of grosgrain ribbon cut to
> the length you want the puff to cover, and tack it to the top of the
> armsceye seam and the upper/lower sleeve seam, running along the top of the
> arm on the inside of the sleeve. 

Do you tack it to the sleeve all the way down, or just at the top and bottom?
And when you say grosgrain ribbon do you mean the ordinary satin ribbon
they have in 3 million colours or something a bit stiffer?
------------------------------------------------------------------------------
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 Apr 22 21:50:29 1999
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-Poster: Julie Adams <savaskan@sd.znet.com>

> a lot of the men (including Will) wore there doublets open, showing
>shirts, which is (IMO) a bit too loose for the time.

When I look at 16th c German men's costume they do sometimes show shirts,
but at the bottom, rather than the top. The top 3-5 buttons of a doublet
are almost always buttoned, even if the bottom 3/4 of the doublet is wide
open...  But most modern guys will automatically open the top few buttons.

Julie Adams


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From owner-h-costume@indra.com  Thu Apr 22 21:50:31 1999
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-Poster: Julie Adams <savaskan@sd.znet.com>

Lynn, my expertise is German, and I didn't get the picture, but I'll answer
what I can since many construction aspects are similar.

>My questions are as follows:
>1.  The only way I could drape the organ pipe pleats was to put the front on
>the bias and the back on the straight grain.  I'm assuming the back is
>similar to the front based on some similar dresses illustrated in Jaqueline
>Herald's book.  Is this correct?  If not, what am I doing wrong?

I do organ pipe pleats as a full circle cut. It shouldn't matter between
front and back. I use the pattern drawn from the bases in Blanche Payne's
History of Costume FIRST edition (they cut the diagram out in the second)
and lengthen or shorten as necessary.

>2.  Should the sleeves have a false interior sleeve to keep the puffy upper
>sleeve from slouching over the elbow?

Yes

>3.  Lastly, the last one to two pleats at the side of both front and back
>don't quite hang right.  Has anyone learned a trick about the sides?  I am
>planning on side lacing the dress.

Is this where the opening is? If so, I use extra stay tapes on the edges of
the openings when organ pipe pleating.

Knife pleating is a period alternative if things are going hokey...

Julie Adams



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From owner-h-costume@indra.com  Thu Apr 22 21:53:50 1999
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Date: Thu, 22 Apr 1999 17:48:35 -0400
From: Melanie Wilson <MelanieWilson@compuserve.com>
Subject: H-COST: Tartans Pounds not dollars
To: LIST historic costume <h-costume-digest@indra.com>
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-Poster: Melanie Wilson <MelanieWilson@compuserve.com>

Just to clarify the price of the fabric is 7.50 pounds not dollars, a few
seem confused 

Mel
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Date: Thu, 22 Apr 1999 17:36:59 -0500
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Subject: Re: H-COST: Tartans
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-Poster: Kat & Kent <kdyer@home.com>

Nobody ever has Bruce! :-(

Kat
(or at least any in stock or any I can afford!!)
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From owner-h-costume@indra.com  Thu Apr 22 22:00:31 1999
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Date: Thu, 22 Apr 1999 17:36:21 EDT
Subject: H-COST: Fitting & Proper
To: h-costume@indra.com
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-Poster: AlbertCat@aol.com

About the book "Fitting & Proper"...

Huge disappointment!!! Not worth the $$$$$. There's nothing new & little 
information unless you like descriptions of what is on estate inventories. 
The garments look awful & little or no attempt has gone into the display or 
photography. The patterns are what you'd expect....no surprises or even 
interesting details here. Tell your library to get a copy & then check it 
out. Do not buy this book.
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From: "Genevieve de Courtanvaux" <gdc@airmail.net>
To: <h-costume@indra.com>
Subject: Re: H-COST: Italian Renn
Date: Thu, 22 Apr 1999 18:10:33 -0500
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-Poster: "Genevieve de Courtanvaux" <gdc@airmail.net>

The attachment did not show up.
Carol Ross
-----Original Message-----
From: Gillespie, Lyn <GillespieL@oiccnaples.navfac.navy.mil>
To: 'h-costume@indra.com' <h-costume@indra.com>
Date: Thursday, April 22, 1999 5:27 PM
Subject: H-COST: Italian Renn


>
>-Poster: "Gillespie, Lyn" <GillespieL@oiccnaples.navfac.navy.mil>
>
>
>I'm writing again to ask for help with the Italian Renn I'm trying to make.
>I've attached the picture since it is from a museum in Perugia and is not
in
>any costume books I know of.  I'm guessing the painting of the saint is
from
>about 1350, based on the painter's life span and the sleeves.
>
>My questions are as follows:
>1.  The only way I could drape the organ pipe pleats was to put the front
on
>the bias and the back on the straight grain.  I'm assuming the back is
>similar to the front based on some similar dresses illustrated in Jaqueline
>Herald's book.  Is this correct?  If not, what am I doing wrong?
>2.  Should the sleeves have a false interior sleeve to keep the puffy upper
>sleeve from slouching over the elbow?
>3.  Lastly, the last one to two pleats at the side of both front and back
>don't quite hang right.  Has anyone learned a trick about the sides?  I am
>planning on side lacing the dress.
>
>I'm planning on using a midweight wool for the dress, partially lined
>through the bottom of the pleats.  I apologize for posting this again, but
>my dress dummy is getting very tired of wearing the same mock-up <g>  And
>I'm scared of wasting the wool because fabric prices are high here.  Many
>thanks!
>
>Lyn Gillespie
>
> _________________________________________________________________
> 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 Apr 22 22:07:57 1999
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Date: Thu, 22 Apr 1999 22:16:45 +0100
To: h-costume@indra.com
From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: H-COST: SIL
In-Reply-To: <199904221931.VAA24103@worldonline.nl>
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-Poster: Jean Waddie <anne@montgomerie.demon.co.uk>

In message <199904221931.VAA24103@worldonline.nl>, Henk 't Jong
<scapreel@tip.nl> writes
>
>-Poster: "Henk 't Jong" <scapreel@tip.nl>
>
>Henk & Pauline 't Jong
>tScapreel
>Medieval Advisors
>Dordrecht, Netherlands
>
>Hi list,
>
>At last had the chance to see Shakespeare in love. Delightful film! Worth
>the Oscars for the sheer courage to show mr S's language on the screen. 
>
>I've been a S-adept for the whole of my adult life and was enchanted with
>the actors, costume and sets. Only a few questions: would late 16th c
>british actors have known what late 15th c italians wore? Not in my
>opinion, they would have worn contemporary dress, wth maybe a few exotic
>accessories or props (not necessarily italian too...).  There were some
>pretty anachronistic wall sconces with candles to be seen in taverns and
>rooms, a lot of the men (including Will) wore there doublets open, showing
>shirts, which is (IMO) a bit too loose for the time. Incidentally : this is
>the first film in very many years where the barbs were (for the most parts)
>stripped form the writing quills. We always shout: WHOLE FEATHER! when we
>see such an unstripped quill. And they appear in every historic film or
>documentary, while in real life EVERY quill was stripped wholy or partly.
>
>I can live with the above, but the only thing that was really bothering me
>was the headdress of the nurse (and Will's at Greenwich): this was a
>mixture of a 15th c couvrechef and wimple (with cornus) and the band or
>fillet of a 13th c 'gebende'. It reminded me a bit of the pictures in Mrs
>Charles H. Ashdowns British Costume during XIX centuries, (p. 67) of a lady
>circa 1290 or the one on p.99, lady temp. Edward III. This type of
>headcovering was long gone by 1593. It was a bit of a blemish on the
>picture.
>
>Henk
>
I was amused that the nurse was so much Juliet's nurse (with a fair bit
of Blackadder's "nursie" thrown in) - and of course, when modern
companies do Romeo and Juliet, and do it in 15th century Italian, the
nurse always wears layers and layers of linen round her head.  I knew it
was wrong, but I liked the way it was wrong ;-)

Jean
-- 
Jean Waddie
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From owner-h-costume@indra.com  Thu Apr 22 22:32:47 1999
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Date: Thu, 22 Apr 1999 21:44:17 -0500 (CDT)
From: Emma Elizabeth Lehman <00217146@bigred.unl.edu>
To: h-costume@indra.com
cc: Tish Lehman <pvl@umich.edu>
Subject: H-COST: need help dying (not Kevorkian)
In-Reply-To: <199904221748_MC2-7314-D754@compuserve.com>
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-Poster: Emma Elizabeth Lehman <00217146@bigred.unl.edu>


My mother purchased blindly a blazer, the cut, fit, and fabric of which
she likes very much, but the color she discribes as a "sickly green".

It is a light green/dark green (or perhaps light green/black) herringbone
twill wool.

What we'd like to find out is what kind and color of dye would work best,
and the actual process of dying something that can't just be tossed in the
washing machine.

any help is greatly appreciated.

Emma

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From owner-h-costume@indra.com  Thu Apr 22 22:38:41 1999
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From: "Penny Ladnier" <penny.creative.outlets@pop.erols.com>
To: "h-costume" <h-costume@indra.com>
Subject: H-COST: Remake of Bayeux Tapestry
Date: Thu, 22 Apr 1999 22:47:39 -0400
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-Poster: "Penny Ladnier" <penny.creative.outlets@pop.erols.com>

Those interested in the remake of the Bayeux Tapestry might like to read
this article at this webpage... http://www.madeira.co.uk/bayeux_index.html

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

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From owner-h-costume@indra.com  Thu Apr 22 22:58:42 1999
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Date: Thu, 22 Apr 1999 23:08:30 -0400
To: h-costume@indra.com
From: "Laurie L. Kittle" <gunstonian@mindspring.com>
Subject: Re: H-COST: Polka Dots
In-Reply-To: <Pine.GSU.4.10.9904211117360.13155-100000@kirk.dnaco.net>
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-Poster: "Laurie L. Kittle" <gunstonian@mindspring.com>

Re polka dots, I have a copy of a book about women
equestrians of the 20th century, which contains a black-and-
white copy of a 1780 print. 

This print is entitled "The Joys of the Chase, or the Rising
Women and the Falling Man." This rising woman's riding
habit is most definitely polka dotted or "spangled" (the more
appropriate 18th century word). In the battle of the sexes,
she definitely wins, as she is jumping over the fallen man.

This could now be in a museum as it was owned by the late
Paul Mellon.

Laurie Kittle


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From owner-h-costume@indra.com  Fri Apr 23 00:17:22 1999
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Date: Thu, 22 Apr 1999 22:21:42 EDT
Subject: Re: H-COST: Nelson bustle?
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-Poster: AnnBWass@aol.com

In a message dated 4/22/1999 2:46:09 PM Eastern Daylight Time, 
dnunn@interlog.com writes:

>  have a question regarding the "Nelson bustle."  I've been reading a novel
>  recently which is set in London in 1820 and referrs to one of the
>  characters wearing a Nelson bustle.  This doesn't seem right to me (not my
>  period).  Can anyone tell me whether or not such a thing existed as the
>  "Nelson bustle" and if so, when would it have been worn?  1890's?
>  
Women were wearing bustle pads circa 1820.  They started small and grew 
larger through the '20s.  (See figures 58 & 60 in Cunningtons' History of 
Underclothes.)  And, I just found, the Cunningtons say that women called such 
a pad a "Nelson," perhaps in honor of the admiral.
Ann Wass
annbwass@aol.com
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From: "Gia Gavino-Gattshall" <ggavino@serv.net>
To: "Costume List" <h-costume@indra.com>
Subject: Re: H-COST: Italian Renn
Date: Thu, 22 Apr 1999 20:07:03 -0700
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-Poster: "Gia Gavino-Gattshall" <ggavino@serv.net>

Hi!

>
>On Thu, 22 Apr 1999, Gillespie, Lyn wrote:
>
>>
>> -Poster: "Gillespie, Lyn" <GillespieL@oiccnaples.navfac.navy.mil>
>>
>>
>> I'm writing again to ask for help with the Italian Renn I'm trying to
make.
>> I've attached the picture since it is from a museum in Perugia and is not
in

>snip>
>Um...you did? There was no attachment at this end....
>>

Didn't get it either...


>> 2.  Should the sleeves have a false interior sleeve to keep the puffy
upper
>> sleeve from slouching over the elbow?
>Ooh, yes I'd be interested in some advice on this too - one of my next
>projects will be one of those It Ren with the really huge puffy upper
sleeves
>and I was wondering if it would need a foundation sleeve or whether a
>puffy chemise and very tight lower sleeve would be sufficient to hold it
>up. The fabric I was planning on using was a light silk satin.



When I've made dresses with these sleeves, I've lined the upper sleeve to
give the sleeve a little support for the puffiness, and interlined the lower
sleeve with horsehair (or goat hair) interfacing to stabilize the lower
sleeve (so they don't slouch) and keep the upper sleeves 'up'.  If this is
the picture I think it
is, I think you want the upper puffy sleeves to sort of slouch down over the
tops of the lower sleeves. But I don't know which picture you are using.

I think if you are using a lighter weight fabric the lining should be made
of a stiffer fabric or maybe you might consider interlining the upper
sleeve, too.  Otherwise you might get a 'collapsed' puffy sleeve (even if
you use the ribbon suggestion to keep it up).  But I
suggest you use a woven interfacing, 'light weight'  if you choose to do
this.

In my personal experience, I have not found that the really full sleeves of
a chemise capable of supporting the puffiness that I think you are looking
to acheive.


Just my two cents worth.

Gia/Giacinta

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-Poster: AlbraKat@aol.com

Mmmmmm! None of them appear to be from  any of the family names I am related 
to, alas!
Many thanks for your  kind offer and information--but I think that I shall 
take a pass,  after all.
Thanks again--
Most sincerely --
albra


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-Poster: Stephen Bergdahl <madly@2xtreme.net>

Dear list

I am in the middle of thinning out my costume collection.  While the patterns,
trims, and fabric have not been a problem.  I find myself trying to figure out
what I am going to do with the clothing.  The simplest thing to do is just put
them on Ebay, but where on Ebay?  Do they go with the Vintage Clothing
or................

Any input that you can come up with will be greatly appreciated.  I don't know
what to do yet.

Yours Stephen Bergdahl



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

 
>
>Do you tack it to the sleeve all the way down, or just at the top and bottom?

Just at the top and bottom.

>And when you say grosgrain ribbon do you mean the ordinary satin ribbon
>they have in 3 million colours or something a bit stiffer?

No, not satin ribbon,  although it would work, as would twill tape or any
other non-stretchy material.  Grosgrain is the ribbon with the crosswise ribs. 

Margo

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-Poster: "Deb-Lisa R." <martyr@gti.net>

> Albert-

> I agree with you completely. Very disappointing, especially for $55 , this is
> not worth buying. And you are so right on about the displays, they are
> exceptionally cheesy.

    Oh well, live & learn, right?

>  --Lisa--
>
> About the book "Fitting & Proper"...
>
> Huge disappointment!!! Not worth the $$$$$. There's nothing new & little
> information unless you like descriptions of what is on estate inventories.
> The garments look awful & little or no attempt has gone into the display or
> photography. The patterns are what you'd expect....no surprises or even
> interesting details here. Tell your library to get a copy & then check it
> out. Do not buy this book.
>  _________________________________________________________________
>  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 Apr 23 07:28:16 1999
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From: "Carol Blanchard" <blanchard@oak.ait.fredonia.edu>
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Subject: H-COST: Re: need help dyeing (long answer)
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-Poster: "Carol Blanchard" <blanchard@oak.ait.fredonia.edu>

In my experience, dyeing any premade garment that is not intended to 
be water washed is a tricky and potentially disasterous experiment.  
In the case of a suit coat or sports jacket you have many factors to 
consider:  first, is it lined partially or fully -  if so you must 
take the lining out because it will shrink, stain or dye differently 
than the wool of the jacket itself.  Secondly, is the jacket 100% 
wool or a blend and can it be water washed or is it dry clean only.  
This should tell you something about the fibres involved and if you 
can expect some shrinkage or not.  Third, is the jacket fully 
tailored (does it have hand pad-stitched horsehair, collar flannel, 
etc. in it) or is it convenience tailored with interfacing.  If it is 
hand tailored, expect the horsehair to shrink when wet and need lots 
of steaming and pressing to lay right again.  If interfaced, the 
felted pellon may dissintegrate in water.  In any case, a good 
professional pressing will be needed after the dyeing.
Now to the dye.  Wool dyes best with acid dyes.  Acid dyes are meant 
for protein fibres and can give good vibrant hues to wool.  These 
kind of dyes can be obtained from Rupert, Gibbon and Spider  or from 
Dharma Trading, both are on the web.  Rit and Tintex are union dyes.  
There are other manufacturers of union dyes too.  These dyes contain 
some acid dye in their  formulas which is why they will color protein 
fibres.  However, it is more difficult to get vibrant tones with 
these dyes.  Fibre reactive dyes like Procion MX will also dye 
protein fibres when you use acetic acid (white vinegar) in the mix.  
Consult the actual dye for instructions on this as each is a bit 
different.
Acid and union dyes take best under heated conditions.  Fibre 
reactives are usually cold water dyes, but wools take better if they 
are heated in this dye system too.  However, you can get color into 
wool with either warm or cool dye in any of these systems.  The 
amount of color that will set will be dependant upon the wool fibres, 
the percentage of dye used, the time in the bath, whether the dye is 
steam set or batched, and the kind of dye used.
You could also air brush the dye on if you wanted to avoid vat 
dyeing.  Then steam the garment to set the color.
As you can see, there are lots of answers to this problem, but each 
has its drawbacks.  I would suggest a talk with someone at Dharma or 
Rupert, Gibbon and Spider.  They may have better ideas.
In any case, I have dyed premade garments for the stage quite often, 
but have always found that the result, although fine for stage use, 
was most often detrimental to the garment and would not have looked 
wonderful for street wear.
Good luck.
Carol
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From: "Penny Ladnier" <penny.creative.outlets@pop.erols.com>
To: <h-costume@indra.com>
Subject: H-COST: Polka Dots and Dotted Swiss
Date: Fri, 23 Apr 1999 08:17:03 -0400
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-Poster: "Penny Ladnier" <penny.creative.outlets@pop.erols.com>

When did the Polka Dots get texture and become Dotted Swiss?  When did
Dotted Swiss first appear in fashion?

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


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Date: Fri, 23 Apr 1999 09:18:00 EDT
Subject: Re: H-COST: Italian Renn
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-Poster: Merlyncc@aol.com

In a message dated 4/22/99 5:23:52 PM Central Daylight Time, 
GillespieL@oiccnaples.navfac.navy.mil writes:

> 2.  Should the sleeves have a false interior sleeve to keep the puffy upper
>  sleeve from slouching over the elbow?

This is purely a costume suggestion, but I underline all my light weight (and 
some heavy weight) puffy sleeves with petticoat net.  It works beautifully, 
but there are two downsides: 

1.	Under some fabrics, the net increases the abrasion and if worn 
frequently under something like a coat or heavy cape, some of the surface may 
show wear prematurely.  (I learned this to my chagrin on velveteen slops 
under a Henry VIII skirted doublet with greatcoat.)

2.	For comfort you will probably want to use a bias binding to finish 
the armhole edge unless you attach a lining by hand over the seam.

Priscilla Schmitz

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Date: Fri, 23 Apr 1999 09:21:57 -0500
From: Hope Greenberg <hope.greenberg@uvm.edu>
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-Poster: Hope Greenberg <hope.greenberg@uvm.edu>

> >> 2.  Should the sleeves have a false interior sleeve to keep the puffy
> upper
> >> sleeve from slouching over the elbow?
> >Ooh, yes I'd be interested in some advice on this too - one of my next
> >projects will be one of those It Ren with the really huge puffy upper
> sleeves
> >and I was wondering if it would need a foundation sleeve or whether a
> >puffy chemise and very tight lower sleeve would be sufficient to hold it
> >up. The fabric I was planning on using was a light silk satin.

I've only done a couple big puff sleeves (Italian, early 16th cent.) and
am working on a third. But For what it's worth: In the first, not being
excessively concerned with authenticity, I made the sleeve with
silkessence (that polyester limp imitation silk) and flat-lined them
with a fairly stiff nylon net/tulle. Puffed beautifully. For the second,
I used china silk, no flat-lining, but did the ribbon method. Also
puffed nicely, mostly due to the relative stiffness of the silk. I bet
silk taffeta would be even more spectacular. I wonder what flat-lining
with silk organza would be like...

- Hope

-------------
hope.greenberg@uvm.edu, U of Vermont, http://www.uvm.edu/~hag
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From owner-h-costume@indra.com  Fri Apr 23 09:16:37 1999
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Date: Fri, 23 Apr 1999 08:25:57 -0500
From: Kat & Kent <kdyer@home.com>
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-Poster: Kat & Kent <kdyer@home.com>

Any tricks for keeping plastic boning from 'buckling' in a rather large
hem? (Captain Hook style coat)  Any tips or tricks would be *greatly*
appreciated!!!

Kat
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From owner-h-costume@indra.com  Fri Apr 23 09:19:57 1999
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From: "Sarah Toney" <toneys@rentgrow.com>
To: <h-costume@indra.com>
Subject: Re: H-COST: A question to the List
Date: Fri, 23 Apr 1999 09:29:59 -0400
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-Poster: "Sarah Toney" <toneys@rentgrow.com>

Vintage clothing is always good... hint for you... put the word
"roleplaying" in your description somewhere... people search on it ;-)
Also, if at all applicable (not usually in historic costuming, but you never
know) use the word "gothic".  It makes things sell faster than hotcakes.
Recently someone sold a "gothic" men's shirt (similar to those you find in
any teenage fad shop) for $80+.  And it was very basic... any of us most
likely could have made it in an hour or so. ;-)

Also, let me know what you have! I just got my bonus from work and for the
right piece am more than willing to spend the money. ;-)

Sarah


>-Poster: Stephen Bergdahl <madly@2xtreme.net>
>
>Dear list
>
>I am in the middle of thinning out my costume collection.  While the
patterns,
>trims, and fabric have not been a problem.  I find myself trying to figure
out
>what I am going to do with the clothing.  The simplest thing to do is just
put
>them on Ebay, but where on Ebay?  Do they go with the Vintage Clothing
>or................
>
>Any input that you can come up with will be greatly appreciated.  I don't
know
>what to do yet.
>
>Yours Stephen Bergdahl
>
>
>
> _________________________________________________________________
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> with the message UNSUBSCRIBE H-COSTUME
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From owner-h-costume@indra.com  Fri Apr 23 09:30:31 1999
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From: "Sarah Toney" <toneys@rentgrow.com>
To: <h-costume@indra.com>
Subject: Re: H-COST: plastic boning in hem...Help!
Date: Fri, 23 Apr 1999 09:35:21 -0400
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-Poster: "Sarah Toney" <toneys@rentgrow.com>

Case it and sew it directly into the inside of the hem.  Casings are easy
enough with the right fabric.  The other thing I found was that they have a
version of "boning" that is about 1 1/2 inches wide... it depends on what
you are doing with it, but that may work...  I'm not sure where to find
it... my mom sent it to me.

Sarah


>
>
>Any tricks for keeping plastic boning from 'buckling' in a rather large
>hem? (Captain Hook style coat)  Any tips or tricks would be *greatly*
>appreciated!!!
>
>Kat
> _________________________________________________________________
> 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 Apr 23 09:41:19 1999
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-Poster: Kat & Kent <kdyer@home.com>

Sarah Toney wrote:
> 
> Case it and sew it directly into the inside of the hem.  Casings are
> easy enough with the right fabric.  The other thing I found was that
> they have a version of "boning" that is about 1 1/2 inches wide... it
> depends on what you are doing with it, but that may work...  I'm not
> sure where to find it... my mom sent it to me.

Hmmm, did not have it in the casing but sewed it tightly into the hem. 
Can you please, please, please check with your mom and see where she got
it?  Pretty please with whipped creqm, chocolate, cherries & sprinkles
on top?

Kat
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From owner-h-costume@indra.com  Fri Apr 23 09:51:41 1999
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Subject: Re: H-COST: Re: Polka Dots
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-Poster: AlbertCat@aol.com

In a message dated 4/22/99 9:13:06 PM Eastern Daylight Time, 
midorih@proaxis.com writes:

<< 
 There is a photograph of a "Polka dot" print collected by William Clark in
 St. Louis in 1813.
  >>

Great! And I just saw [quite by accident....I wasn't researching] in my 
"Fashion in Detail" a gown of "printed cotton with gold polka-dot 
overprinting. Dutch, 1780s" [Page 42, 43] so the early 1800 dress I have 
planned is looking more & more authentic.
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From owner-h-costume@indra.com  Fri Apr 23 09:53:00 1999
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From: "Sarah Toney" <toneys@rentgrow.com>
To: <h-costume@indra.com>
Subject: Re: H-COST: plastic boning in hem...Help!
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-Poster: "Sarah Toney" <toneys@rentgrow.com>

I will most certainly try... though my mom's memory for these silly things
has gone straight down the tubes... kids do that to ya. ;-)  Honestly,
though, I should be talking to her sometime this afternoon and will ask.
Sarah


>-Poster: Kat & Kent <kdyer@home.com>
>
>Sarah Toney wrote:
>>
>> Case it and sew it directly into the inside of the hem.  Casings are
>> easy enough with the right fabric.  The other thing I found was that
>> they have a version of "boning" that is about 1 1/2 inches wide... it
>> depends on what you are doing with it, but that may work...  I'm not
>> sure where to find it... my mom sent it to me.
>
>Hmmm, did not have it in the casing but sewed it tightly into the hem.
>Can you please, please, please check with your mom and see where she got
>it?  Pretty please with whipped creqm, chocolate, cherries & sprinkles
>on top?
>
>Kat
> _________________________________________________________________
> 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 Apr 23 09:57:39 1999
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From: aleed <aleed@dnaco.net>
To: SCA-GARB@LIST.UVM.EDU
cc: h-costume@indra.com
Subject: H-COST: FO:  Elizabethan Ruff
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-Poster: aleed <aleed@dnaco.net>


Though I've been doing Elizabethan costuming for a long time, so far
I've avoided making ruffs.  It's personal bias more than anything
else--I hate the claustrophobic feel of the things and I look silly in
them besides.

But ruffs are one of those de rigeur costuming things that Elizabethan
costumers are expected to make, so I finally rolled up my sleeves and
decided to try one
out.

I got construction ideas from several postings on h-costume & sca-garb, so
I thought I'd write down the details of how I made it for any others on
the list who might be able to use them. So here goes:

The ruff itself is serviceable, but not spectacular.
Authenticity was not my first priority when making this one; ease of
construction was.  So I ended up using that polyester "ruffle" stuff-it's
about 3 inches wide with fishing-wire type stuff sewn into the outer edge
and the inner edge slightly gathered to a small band.  It looks like the
stuff that goes on the neck of a clown outfit.  I bought  8 yards of this
and 9 yards of white, 3/4 inch-wide bobbin lace to edge it with.

The first part was easy-I sat down at the sewing machine and stitched the
bobbin lace to the outer edge of the white ruffly material, covering up
the topstitched hem and helping to stiffen the edge.

Then I made a linen neckband-1 inch wide and big enough to fit
comfortably around my neck.  I basically folded over a rectangle of
linen, sewed one short side and the two long edges together, turned it
right side out, and voila.

I marked out dots with a vanishing fabric pen every 1/4 inch at the
 bottom edge of the neckband.  I did the same along the top edge, but
I started 1/8 an inch away from the end so that the dots on the top edge
and bottom edge were staggered.  If you connected a top dot to a bottom
dot and went back to the top and then to the bottom, you'd get a very
narrow zig-zag.

Using the same pen, I marked dots along the gathered edge of the ruffle
at 1-inch intervals.

Then I threaded two needles with strong white thread.  I folded 1 raw end
of the ruffle under, and stitched the gathered edge to the bottom edge of
the band, matching the first dot on the ruffle to the first dot on the
band.

Using the other needle, I stitched the ruffle fabric to the top of the
band, matching the next dot on the ruffle to the first dot on the top
edge of the neckband.  I then brought the fabric back across and stitched
the ruffle to the bottom edge of the band with the bottom edge needle,
matching dots. I continued this zig-zag stitching,sewing the ruffle to
the top edge, then the bottom edge, then the top edge again, until I came
to the end of the neckband.  I had just a little bit of fabric left.  I
cut the ruffle off half an inch after the last dot, folded it under, and
stitched it to the very end of the band.

I now had a ruff, albeit an exceedingly messy and contrary one.  I then
took some stiffening stuff-it's used for stiffening crochet, and is
available at Ben Franklin's, some Jo-Anns, and other craft and fabric
stores-and diluted it half and half with water in a big bowl.  I dunked
the ruff in, massaged it around, and let it sit for a couple of hours.
Then I took it out, gently squeezed out any excess moisture, set it on
a flat surface (covered with saran wrap), andd began to arrange and even
out all of the ruffles so that they were the same height and size.  It
took a while, but I finally finished-and let it sit for two days.

After it had thoroughly dried, I picked it up and tried it on.  Voila!  A
perfectly even ruff!  It stuck straight out when I tried it on by
itself; when I put a high-collared gown on over it, however, it pushed
it up around my face like the ruffs you see in period in the later 1560s. 

Things I will do different next time:

Use a different ruffle material.  The polyester, though very convenient,
looked polyester-y and didn't stiffen very well.  Next time I plan to use
a band of linen, with horsehair braid sewn to the outer edge, gathered on
the inner edge into bias tape.

Use a different lace. The 3/4 inch bobbin lace was OK, but didn't look
particularly Elizabethan.  I found this amazing 2-inch-wide Versailles
lace that I plan to stitch to the edge of the linen band-it cost an arm
and a leg, but it is the spitting image of lace edging seen in
Elizabethan portraits.   I'm going to make the linen band narrower, so
the finished ruff is still only 3.5 inches wide or so.

Stitch the edge ruffles together where they touch, once the ruff is
starched. This ruff tended to slip and slide and get slightly bent out of
shape.  I plan to stitch pearls to the ruffles where they
touch, like I've seen done in a couple of Elizabethan portraits.
 
Hope this post comes in handy,

Drea

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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: Italian Renn
Date: Fri, 23 Apr 1999 11:02:59 -0400
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

Lyn,

You might try sending your Perugia attachment to interested
folks individually, if you can't post it on somebody's
website for us to access.  This list doesn't accept
attachments.   Jaqueline Herald indicated the pleats were
stayed on the inside with tapes.  They could also be sewn to
a lining, although I don't know if the Italians did this
generally.  I suspect they did, because those pleats are so
darn even in paintings of the wealthy.  Grosgrain ribbon is
distinguished by tiny ridges going across the ribbon, in the
same solid color as the ribbon.  It is strong and doesn't
crush or twist as easily as a satin ribbon of the same
width.

Hope H. Dunlap

-----Original Message-----
From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
Behalf Of Gillespie, Lyn
Sent: Thursday, April 22, 1999 6:23 PM
To: 'h-costume@indra.com'
Subject: H-COST: Italian Renn



-Poster: "Gillespie, Lyn"
<GillespieL@oiccnaples.navfac.navy.mil>


I'm writing again to ask for help with the Italian Renn I'm
trying to make.
I've attached the picture since it is from a museum in
Perugia and is not in
any costume books I know of.  I'm guessing the painting of
the saint is from
about 1350, based on the painter's life span and the
sleeves.

My questions are as follows:
1.  The only way I could drape the organ pipe pleats was to
put the front on
the bias and the back on the straight grain.  I'm assuming
the back is
similar to the front based on some similar dresses
illustrated in Jaqueline
Herald's book.  Is this correct?  If not, what am I doing
wrong?
2.  Should the sleeves have a false interior sleeve to keep
the puffy upper
sleeve from slouching over the elbow?
3.  Lastly, the last one to two pleats at the side of both
front and back
don't quite hang right.  Has anyone learned a trick about
the sides?  I am
planning on side lacing the dress.

I'm planning on using a midweight wool for the dress,
partially lined
through the bottom of the pleats.  I apologize for posting
this again, but
my dress dummy is getting very tired of wearing the same
mock-up <g>  And
I'm scared of wasting the wool because fabric prices are
high here.  Many
thanks!

Lyn Gillespie


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From owner-h-costume@indra.com  Fri Apr 23 11:00:02 1999
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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: plastic boning in hem...Help!
Date: Fri, 23 Apr 1999 11:08:08 -0400
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

I don't know any commercial products for your need, but in
the trash bins at Home Depot and similar stores, you can
find cast-of nylon strapping which is about 5/8" wide which
would work for your purposes in a casing.  the maximum
length without bends is about 3 feet, so longer lengths will
have to be taped together.  If you crease it hard, it will
not bounce back into shape perfectly, but for the tails of a
captain hook coat, I would think it would work quite well.
In my area this stuff is a lovely bright green, so it would
have to go inside a material where it wouldn't show through.

Hope H. Dunlap


-----Original Message-----
From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
Behalf Of Kat & Kent
Sent: Friday, April 23, 1999 9:49 AM
To: h-costume@indra.com
Subject: Re: H-COST: plastic boning in hem...Help!



-Poster: Kat & Kent <kdyer@home.com>

Sarah Toney wrote:
>
> Case it and sew it directly into the inside of the hem.
Casings are
> easy enough with the right fabric.  The other thing I
found was that
> they have a version of "boning" that is about 1 1/2 inches
wide... it
> depends on what you are doing with it, but that may
work...  I'm not
> sure where to find it... my mom sent it to me.

Hmmm, did not have it in the casing but sewed it tightly
into the hem.
Can you please, please, please check with your mom and see
where she got
it?  Pretty please with whipped creqm, chocolate, cherries &
sprinkles
on top?

Kat

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From owner-h-costume@indra.com  Fri Apr 23 11:06:47 1999
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-Poster: Margo Anderson <margo@directcon.net>


>
>I am in the middle of thinning out my costume collection.  While the patterns,
>trims, and fabric have not been a problem.  I find myself trying to figure out
>what I am going to do with the clothing.  The simplest thing to do is just put
>them on Ebay, but where on Ebay?  Do they go with the Vintage Clothing
>or..........

Most costumes I've seen on Ebay are in Vintage Clothing, or Women's
Clothing, General.  I think it's time for a costume category, though.
Perhaps you should suggest it to Ebay?

Let us know how you do on this.  I'm considering doing the same with some of
my costumes.

Margo

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From owner-h-costume@indra.com  Fri Apr 23 11:23:23 1999
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From: "Sarah Toney" <toneys@rentgrow.com>
To: <h-costume@indra.com>
Subject: Re: H-COST: plastic boning in hem...Help!
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-Poster: "Sarah Toney" <toneys@rentgrow.com>


Wow! you are waaay more resourceful than I am... I may make you my new
official crazy but useful ideas person. ;-)

Sarah


>
>-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>
>
>I don't know any commercial products for your need, but in
>the trash bins at Home Depot and similar stores, you can
>find cast-of nylon strapping which is about 5/8" wide which
>would work for your purposes in a casing.  the maximum
>length without bends is about 3 feet, so longer lengths will
>have to be taped together.  If you crease it hard, it will
>not bounce back into shape perfectly, but for the tails of a
>captain hook coat, I would think it would work quite well.
>In my area this stuff is a lovely bright green, so it would
>have to go inside a material where it wouldn't show through.
>
>Hope H. Dunlap
>
>
>-----Original Message-----
>From: owner-h-costume@indra.com
>[mailto:owner-h-costume@indra.com]On
>Behalf Of Kat & Kent
>Sent: Friday, April 23, 1999 9:49 AM
>To: h-costume@indra.com
>Subject: Re: H-COST: plastic boning in hem...Help!
>
>
>
>-Poster: Kat & Kent <kdyer@home.com>
>
>Sarah Toney wrote:
>>
>> Case it and sew it directly into the inside of the hem.
>Casings are
>> easy enough with the right fabric.  The other thing I
>found was that
>> they have a version of "boning" that is about 1 1/2 inches
>wide... it
>> depends on what you are doing with it, but that may
>work...  I'm not
>> sure where to find it... my mom sent it to me.
>
>Hmmm, did not have it in the casing but sewed it tightly
>into the hem.
>Can you please, please, please check with your mom and see
>where she got
>it?  Pretty please with whipped creqm, chocolate, cherries &
>sprinkles
>on top?
>
>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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-Poster: Margo Anderson <margo@directcon.net>

. I wonder what flat-lining
>with silk organza would be like...
>
It's gorgeous.  I used to alter a line of wedding gowns by the name of St.
Pucci (horrible name) that were made with the most exquisite technique,
really couture quality at the price of moderately high off the rack bridal
gowns.  Every piece was flatlined with silk organza, and it gave a soft but
still substantial line.  

Margo


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From owner-h-costume@indra.com  Fri Apr 23 12:01:13 1999
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	 Fri, 23 Apr 1999 09:08:50 -0700
From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: H-COST: Italian Renn, again
Date: Fri, 23 Apr 1999 12:13:51 -0400
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

I've often wondered if those very regular organ pipe type
pleats on Italian Renn garments weren't strategically
weighted, especially at the bottom of the outside pleats,
along with the staying, to help them fall into position so
perfectly.  I could see a series of washers sewn inside  the
hem of the garment, all linked with a tiny chain or cord
fastened at regular intervals to the washers but visible on
the back side of the garment to help achieve that look.  The
washers would be located in the inside back of each pleat.
I've seen this done in the huge pleated velvet curtains for
stage prosceniums in theatres, but never tried it on a
garment.  It may be that the stay is enough for the center
pleats but that the weights become necessary for the outside
pleats.  It may be that graduated weights with the heavier
ones toward the outside edges would do the trick.  I would
think that you might need more weight at the sides than
center front.  Weighted correctly, you might not need any
staying at the hem at all.

 Does the Pitti Palace collection include any garments like
this?  Some museums, such as the Museum at Bath, have an
e-mail hotline to which you can direct this kind of question
to their curators.  The M of B will not answer any questions
about non-English garments however--not even other UK garb.
I wonder if there is anyone in Italy who would do the same.
I've gotten some intelligent answers by e-mail from the
Bibiotecha Stampalia in Venice, which has a Web site, but my
questions were related to scanning their collection for
certain rare books, not costume.

Hope H. Dunlap


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From: aleed <aleed@dnaco.net>
To: h-costume@indra.com
Subject: Re: H-COST: Italian Renn, again
In-Reply-To: <000501be8da4$78d60f00$d30bfdd0@default>
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-Poster: aleed <aleed@dnaco.net>

> -Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>
> 
> I've often wondered if those very regular organ pipe type
> pleats on Italian Renn garments weren't strategically
> weighted, especially at the bottom of the outside pleats,
> along with the staying, to help them fall into position so
> perfectly.  I could see a series of washers sewn inside  the
> hem of the garment, all linked with a tiny chain or cord
> fastened at regular intervals to the washers but visible on
> the back side of the garment to help achieve that look.  The
> washers would be located in the inside back of each pleat.
> I've seen this done in the huge pleated velvet curtains for
> stage prosceniums in theatres, but never tried it on a
> garment.  It may be that the stay is enough for the center
> pleats but that the weights become necessary for the outside
> pleats.  It may be that graduated weights with the heavier
> ones toward the outside edges would do the trick.  I would
> think that you might need more weight at the sides than
> center front.  Weighted correctly, you might not need any
> staying at the hem at all.

You could try the "lead-weighted string" that they have in the drapery
sections of fabric stores.  It's about 1/4 inch in diameter, with small
beads of lead enclosed within.  It looks like normal heavy string but
weighs a /ton/.

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From owner-h-costume@indra.com  Fri Apr 23 13:14:14 1999
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Subject: Re: H-COST: A question to the List
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-Poster: DRGurley@aol.com

In a message dated 4/23/99 10:16:18 AM Central Daylight Time, 
margo@directcon.net writes:

> Most costumes I've seen on Ebay are in Vintage Clothing, or Women's
>  Clothing, General.  I think it's time for a costume category, though.
>  Perhaps you should suggest it to Ebay?
>  
>  Let us know how you do on this.  I'm considering doing the same with some 
of
>  my costumes.


PLEASE let the list know when you post on Ebay, along with which category 
(until they incorporate a costume category), and the time period of the 
costumes. I am always willing to purchase costumes and pieces.

DaniG
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From owner-h-costume@indra.com  Fri Apr 23 14:12:07 1999
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From: aleed <aleed@dnaco.net>
To: h-costume@indra.com
Subject: H-COST: Back issues of Costume
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-Poster: aleed <aleed@dnaco.net>


Here's a question for anyone who knows:  how much do back issues of
Costume (The Journal of the Costume Society) cost, and where can one get
them?

Thanks for any info you have,

Drea


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From owner-h-costume@indra.com  Fri Apr 23 14:19:39 1999
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From: "dave;editors(Heritage Matters)" <dave@wysewords.softnet.co.uk>
To: <h-costume@indra.com>
References: <000101be8d9b$c9f24e20$d30bfdd0@default>
Subject: Re: H-COST: Italian Renn
Date: Fri, 23 Apr 1999 16:28:16 +0100
Organization: Heritage Matters at Words to the Wise
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-Poster: "dave;editors(Heritage Matters)" <dave@wysewords.softnet.co.uk>

Poster LD Mundy
----- Original Message -----
From: Hope H. Dunlap <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Sent: Friday, April 23, 1999 4:02 PM
Subject: RE: H-COST: Italian Renn


>
> -Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>
>
> Lyn,
>
> You might try sending your Perugia attachment to interested
> folks individually, if you can't post it on somebody's
> website for us to access.  This list doesn't accept
> attachments.    >
> Hope H. Dunlap
>
 If its any help and as its within the scope of our mag anyway, we can offer
the list some spare webspace for uploading attachments and pics; Usually we
can get them up with a day; often less;
The offer is there if anybody needs it - just email me the pic direct and
include the thread title and your name , We can inform the list when it is
up;
L:D:Mundy

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From owner-h-costume@indra.com  Fri Apr 23 14:53:08 1999
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Date: Fri, 23 Apr 1999 15:09:45 -0400
To: h-costume@indra.com
From: Danielle Nunn <dnunn@interlog.com>
Subject: Re: H-COST: Italian Renn
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-Poster: Danielle Nunn <dnunn@interlog.com>

Greetings,

I didn't receive any attached picture so I'm winging it.
  
>> 2.  Should the sleeves have a false interior sleeve to keep the puffy upper
>> sleeve from slouching over the elbow?
>Ooh, yes I'd be interested in some advice on this too - one of my next
>projects will be one of those It Ren with the really huge puffy upper sleeves
>and I was wondering if it would need a foundation sleeve or whether a 
>puffy chemise and very tight lower sleeve would be sufficient to hold it
>up. The fabric I was planning on using was a light silk satin.

Are you speaking of the large ruched sleeves found primarily in Bronzino
portraits?   If so, I've done them and you need an under layer or base to
attach all the outer fabric to or else it won't hold it's shape.  Good luck.

Cheers,
Danielle

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From owner-h-costume@indra.com  Fri Apr 23 19:51:32 1999
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From: "Gia Gavino-Gattshall" <ggavino@serv.net>
To: <h-costume@indra.com>
Subject: Re: H-COST: Italian Renn
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-Poster: "Gia Gavino-Gattshall" <ggavino@serv.net>

>-Poster: "Gillespie, Lyn" <GillespieL@oiccnaples.navfac.navy.mil>
>
>
>I'm writing again to ask for help with the Italian Renn I'm trying to make.
>I've attached the picture since it is from a museum in Perugia and is not
in


Could you post the URL, so I could see the picture?

Thanks!

Gia/Giacinta

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From owner-h-costume@indra.com  Fri Apr 23 19:57:39 1999
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From: Andrea Clef <a.clef@ndh.net>
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-Poster: Andrea Clef <a.clef@ndh.net>

Hello Stephen!

Why don`t you offer your costumes for sale at this list at first?
I think here might be many people who could be interested in buying
certain pieces,
including myself ;-).

If it`s really a lot and you don`t want to post a long listing to this
mailing list, just let
the interested people send their e-mail adresses to you and mail them
your list
separately.

At ebay, I think, you would have to use the normal clothing or
miscellania section,
I haven`t discovered something about costume yet.

Many greetings,
Diana



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From owner-h-costume@indra.com  Fri Apr 23 20:00:26 1999
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Date: Fri, 23 Apr 1999 10:56:03 -0800
To: h-costume@indra.com
From: Lynn Downward <ldownward@mail.cho.org>
Subject: Re: H-COST: Currency/price converter website?
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-Poster: Lynn Downward <ldownward@mail.cho.org>

>-Poster: Margo Anderson <margo@directcon.net>
>
>Somewhere, I read about a website that has a function similar to a currency
>converter.  Apparently you give it a price, type in a date, and it adjusts
>for inflation and gives you the figure that the price would be in that
>year's money.  Has anyone run across this site?
>
>Failing that, I've been told that a very rough rule of thumb for converting
>19th century prices to today's money is to multiply by 33.  Any opinions?
>
>Margo
>
I can't answer to the second paragraph you've written but the conversion
site is http://www.oanda.com/converter/classic

I use it at work all the time to convert money for people traveling in
Europe, but I only work in the past few months, not decades or centuries.
Good luck.

LynnD
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From owner-h-costume@indra.com  Fri Apr 23 20:00:30 1999
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From: "KATE M BUNTING" <K.M.Bunting@derby.ac.uk>
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Subject: H-COST: Re: h-costume-digest V4 #286
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-Poster: "KATE M BUNTING" <K.M.Bunting@derby.ac.uk>



 Julie Adams  wrote:

When I look at 16th c German men's costume they do sometimes show shirts,
but at the bottom, rather than the top. The top 3-5 buttons of a doublet
are almost always buttoned, even if the bottom 3/4 of the doublet is wide
open...  But most modern guys will automatically open the top few buttons.

//Early 17th cent. Englishmen sometimes did so too, it being considered sexy to have some shirt showing.This idea was taken to extremes in the very skimpy doublets of the 1650s, worn with petticoat breeches.

Kate Bunting
Library, University of Derby

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From owner-h-costume@indra.com  Fri Apr 23 20:06:41 1999
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Cc: h-costume-digest@indra.com, sca-arts@raven.cc.ukans.edu
Date: Fri, 23 Apr 1999 11:41:16 -0500
Subject: H-COST: Polish Exhibit in Chicago
Message-ID: <19990423.114140.-425765.0.seamstrix@juno.com>
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-Poster: seamstrix@juno.com

The Art Institute of Chicago is having an exhibit called "Land of the
Winged Horsemen: Art in Poland, 1572-1764" from June 5-September 6 1999.

>From the newsletter:

"From 1572 to 1764, the Polish Commonwealth was Europe's largest nation
and a gigantic melting pot of cultures, religious beliefs, customs, and
historical experiences. A sovereign state, Poland enjoyed an
independently developed and unique form of government- a democracy of the
gentry in which kings were elected. During this period of prosperity and
stability, Poland developed into a country of power and significance. The
nobility indulged in it's love of splendor, nurturing the arts. The
military flexed it's might, lending forces to Christian Europe against
invading Muslims and striking fear in the enemy with the "winged
horsemen" of it's cavalry. Polish civilization and culture radiated upon
it's neighbors.

'Land of the Winged Horsemen' contributes greatly to a better
understanding of this rich and exuberant period. Consisting of
apporximately 150 works drawn from the Royal Castle, Warsaw, the Wawel
Royal Castle, Cracow, and other Polish collections, this exhibition is
the first major display in the United States of Paintings, ceramics,
glass, furniture, weaponry, metalworks, and textiles (including a Turkish
tent) from this crucial period. The four sections of the exhibition
cover: Polish royalty, highlighted by a portrait of Ladislas IV by Peter
Paul Rubens, the gilded and velvet appointed throne of King Stanilas
Augustus Poniatowski, and a crown, orb, and scepter used for coronation;
the luxurious taste in furnishings and costume of the nobles, known as
Magnates; the magnificent armor and horse-trappings of the military; and
the icons, liturgical vestments, and such paintings as a 17th century
version of the Black Madonna of Czestochowa, which reflect the depth and
piety of Polish religious life."

Karen

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From owner-h-costume@indra.com  Fri Apr 23 20:06:42 1999
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	 Fri, 23 Apr 1999 08:28:03 -0700
From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: H-COST: Italian Renn
Date: Fri, 23 Apr 1999 11:33:17 -0400
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

I've often wondered if those very regular organ pipe type
pleats on Italian Renn garments weren't strategically
weighted, especially at the bottom of the outside pleats,
along with the staying, to help them fall into position so
perfectly.  I could see a series of washers sewn inside  the
hem of the garment, all linked with a tiny chain or cord
fastened at regular intervals to the washers but visible on
the back side of the garment to help achieve that look.  The
washers would be located in the inside back of each pleat.
I've seen this done in the huge pleated velvet curtains for
stage prosceniums in theatres, but never tried it on a
garment.  It may be that the stay is enough for the center
pleats but that the weights become necessary for the outside
pleats.  It may be that graduated weights with the heavier
ones toward the outside edges would do the trick.  I would
think that you might need more weight at the sides than
center front.  Weighted correctly, you might not need any
staying at the hem at all.

 Does the Pitti Palace collection include any garments like
this?  Some museums, such as the Museum at Bath, have an
e-mail hotline to which you can direct this kind of question
to their curators.  The M of B will not answer any questions
about non-English garments however--not even other UK garb.
I wonder if there is anyone in Italy who would do the same.
I've gotten some intelligent answers by e-mail from the
Bibiotecha Stampalia in Venice, which has a Web site, but my
questions were related to scanning their collection for
certain rare books, not costume.


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From owner-h-costume@indra.com  Fri Apr 23 20:09:30 1999
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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: plastic boning in hem...Help!
Date: Fri, 23 Apr 1999 12:07:22 -0400
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

"Crazy and resourceful" comes from being the daughter of two
Depression-era children.  In those days people reused
everything and called it "thrift"  or "making do."  We
washed aluminum foil and reused it, saved string, paper
bags, cereal box cardboard, etc.  Today they have this
new-fangled word for it called "recycling."  You'd think to
listen to the environmental crowd, that it was only recently
invented!  It's a way of life in the Third World, and I hope
it never changes.

For instance,  in Mexico, instead of mounting reflectors on
little metal posts at regular intervals to mark the sides of
the highways, they dump out a succession of neat little
piles of gravel and jam an empty aluminum soft drink can in
each little pile.  The round end sticks out a little and
acts as the reflective marker.  Cheap, low tech, tidy, and
quite effective.

When I go to Home Depot, I always buy a few things, but I
leave with a whole shopping cart full of mill ends,
strappings, and other useful materials from the waste bins.
The clerks think its fun and are quite supportive--you have
to ask the clerk in charge of the area around the bin for
permission to remove it free, but no one has ever said "
no".  But I've noticed the Managers eyeing my cart
regularly, thinking they are missing an opportunity for
resale.   Don't let on that it is useful stuff.  You're just
cutting down on their waste disposal costs, that's all!

The clear green strapping has a rigidity which is
appropriate for your use.  It is used to bind huge pallets
of dimensioned lumber, so look for it in the lumber aisle.
No to be confused with the softish 1/4" white woven
strapping, which must also be very useful, but I haven't yet
figured out what to do with it.  Likewise it seems to good
to be regularly thrown away.

Hope H. Dunlap



-----Original Message-----
From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
Behalf Of Sarah Toney
Sent: Friday, April 23, 1999 11:13 AM
To: h-costume@indra.com
Subject: Re: H-COST: plastic boning in hem...Help!



-Poster: "Sarah Toney" <toneys@rentgrow.com>


Wow! you are waaay more resourceful than I am... I may make
you my new
official crazy but useful ideas person. ;-)

Sarah


>
>-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>
>
>I don't know any commercial products for your need, but in
>the trash bins at Home Depot and similar stores, you can
>find cast-of nylon strapping which is about 5/8" wide which
>would work for your purposes in a casing.  the maximum
>length without bends is about 3 feet, so longer lengths
will
>have to be taped together.  If you crease it hard, it will
>not bounce back into shape perfectly, but for the tails of
a
>captain hook coat, I would think it would work quite well.
>In my area this stuff is a lovely bright green, so it would
>have to go inside a material where it wouldn't show
through.
>
>Hope H. Dunlap
>
>
>-----Original Message-----
>From: owner-h-costume@indra.com
>[mailto:owner-h-costume@indra.com]On
>Behalf Of Kat & Kent
>Sent: Friday, April 23, 1999 9:49 AM
>To: h-costume@indra.com
>Subject: Re: H-COST: plastic boning in hem...Help!
>
>
>
>-Poster: Kat & Kent <kdyer@home.com>
>
>Sarah Toney wrote:
>>
>> Case it and sew it directly into the inside of the hem.
>Casings are
>> easy enough with the right fabric.  The other thing I
>found was that
>> they have a version of "boning" that is about 1 1/2
inches
>wide... it
>> depends on what you are doing with it, but that may
>work...  I'm not
>> sure where to find it... my mom sent it to me.
>
>Hmmm, did not have it in the casing but sewed it tightly
>into the hem.
>Can you please, please, please check with your mom and see
>where she got
>it?  Pretty please with whipped creqm, chocolate, cherries
&
>sprinkles
>on top?
>
>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 owner-h-costume@indra.com  Fri Apr 23 20:22:08 1999
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To: h-costume@indra.com
Subject: H-COST: Viking Apron dress
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-Poster: starkiller@picknowl.com.au

Greetings one and all

I hope someone here can help me. I'm trying to find some pictorial sources
for the Viking Apron dress. I can't even find the pictures of the find from
Hedeby! I've found one site, which is by an SCA lady, which has diagrams
for cutting and construction, but I'm really looking for images to see how
its worn. If anyone can point me in the direction of sites or books or
sources or papyri or soothsayers (see how desperate I'm getting?<G>)I'd be
eternally grateful! Thankyou all in advance.

Yours,

Lydie
_______________________________
Now, now, mind your manners and play war nicely-Kate, Grey Co, WA.
Costume researcher of doom, manic seamstress and photographic
perfectionist. Phew! 

starkiller@picknowl.com.au
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From: karolee@fenris.net (Karolee Smiley)
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-Poster: karolee@fenris.net (Karolee Smiley)

>-Poster: aleed <aleed@dnaco.net>
>
>
>Here's a question for anyone who knows:  how much do back issues of
>Costume (The Journal of the Costume Society) cost, and where can one get
>them?
>
>Thanks for any info you have,
>
>Drea
>


I don't know where to buy it but you can check them out of libraries.  You
can photocopy the sections you want.  Try your nearest university library.
If they don't have it, interlibrary loan works.  Non-students can usually
get university library cards.  By the way, CSUSacramento does have several
issues in hardbound which are available for check out.

Karolee J. Smiley


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From owner-h-costume@indra.com  Fri Apr 23 22:17:26 1999
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Date: Fri, 23 Apr 1999 22:21:03 -0400
To: h-costume@indra.com
From: Sue Shatto <Sue@VictorianMillinery.com>
Subject: Re: H-COST: Back issues of Costume
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-Poster: Sue Shatto <Sue@VictorianMillinery.com>

I just received the form yesterday from the Costume Society for ordering
back issues and threw it away.  Penny Ladiner runs the Costume Society's
Web page. Penny! tell her where to look.

At 05:41 PM 4/23/99 -0700, you wrote:
>
>-Poster: karolee@fenris.net (Karolee Smiley)
>
>>-Poster: aleed <aleed@dnaco.net>
>>
>>
>>Here's a question for anyone who knows:  how much do back issues of
>>Costume (The Journal of the Costume Society) cost, and where can one get
>>them?
>>
>>Thanks for any info you have,
>>
>>Drea
>>
>
>
>I don't know where to buy it but you can check them out of libraries.  You
>can photocopy the sections you want.  Try your nearest university library.
>If they don't have it, interlibrary loan works.  Non-students can usually
>get university library cards.  By the way, CSUSacramento does have several
>issues in hardbound which are available for check out.
>
>Karolee J. Smiley
>
>
> _________________________________________________________________
> 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 Apr 23 22:37:58 1999
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-Poster: Jess786587@aol.com

Try either
The English Costume Society
http://www.Bath.uk.com/CostumeSociety/ 
or
The American Costume Society
http://www.costumesocietyamerica.com

One's Dress and the other is Costume.  I can never keep them straight!
Jess
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-Poster: Bill and/or Glenna Jo Christen <gwjchris@rust.net>

- -Poster: Gaelscot@aol.com

> ...weddings in the mid-19th century (pre ACW).
> What would working-class people wear to their weddings? Just their
Sunday
> best, or special clothing?

Most working class people probably couldn't afford special clothing to
get married or if they did have new clothes for the occasion, those
clothes remained their best clothes for some time to come. This was
probably true for many people that were fairly middle class too.

> Also, WHEN would they get married?...for instance, urban workers
generally worked
> long days, six days a week. So would they get married on Sunday?

Sunday was the one day most people had off so that was a popular day to
get married.

> Would they get married in a church, or at a JP's office?

It depended on a variety of factors, but the tendency was to have
private ceremonies, generally in the bride's home if there was room or
in a church of small chapel if not. Only the witnesses and very close
friends or relations generally attended the actual ceremony with a wider
circle of friends and family celebrating after the ceremony. By the ACW
'public' weddings were becoming much more common. There is a wonderful
description of a public church wedding in a book titled _The Cormany
Diaries: A Northern Family in the Civil War_. The minister invited the
congregation at the last church service of the day to stay and witness
the wedding that was to follow. Rachel and Samuel walked up the aisle
together as a couple and got married. Her bridesmaids wore white and she
wore a blue dress she made for the occasion. They were both college
educated and middle class, Her wedding dress was her 'best' dress for
some time after that.

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 Apr 23 22:59:33 1999
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Date: Fri, 23 Apr 1999 22:52:34 EDT
Subject: H-COST: Re: back issues of "Costume"
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-Poster: ArcadiaCB@aol.com

Re the request for back issues of the society journal.   Which  costume 
society journal might need clarification.
 The journal of the Costume Society of America is Dress and some back issues 
are available throught the society, both to members and non-menbers. that 
particular page is  
<A HREF="http://www.costumesocietyamerica.com/dress5.html">Costume Society of 
America's Journal DRESS, 1993-1996
</A> (http://www.costumesocietyamerica.com/dress5.html )
   The journal for the British Costume Society (not sure of the proper name) 
is Costume and I don't even know of a web site for them. If someone does and 
knows about back issues, I'd like them also.
Charlene Bullard
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From owner-h-costume@indra.com  Fri Apr 23 23:16:23 1999
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-Poster: M311@aol.com

shoot, darn, sorry...sent personal to the list
Kelly
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-Poster: M311@aol.com

In a message dated 11/20/98 1:13:33 PM Central Standard Time, SAQUEEN@aol.com 
writes:

<< 
 The Costume Calendar Series began with the 1998 edition, Reflections in Time
 followed by the 1999 Historic Fashions of Women & Children.  >>

I have written before I know but I wanted to see if you still had calendars 
left from both years.  Please let me know and the prices and where to send 
the money.  Is a personal check okay?  I am willing to wait for it to clear 
your bank if needed.  I probably only want one of each.
Thanks,
Kelly Albrecht
m311@aol.com
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From owner-h-costume@indra.com  Sat Apr 24 00:00:55 1999
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Subject: Re: H-COST: plastic boning in hem...Help!
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-Poster: Kat & Kent <kdyer@home.com>

"Hope H. Dunlap" wrote:
> 
> "Crazy and resourceful" comes from being the daughter of two
> Depression-era children.  In those days people reused
> everything and called it "thrift"  or "making do."  We
> washed aluminum foil and reused it, saved string, paper
> bags, cereal box cardboard, etc.  Today they have this
> new-fangled word for it called "recycling."  You'd think to
> listen to the environmental crowd, that it was only recently
> invented!  It's a way of life in the Third World, and I hope
> it never changes.
<snip> same here!
> 
> When I go to Home Depot, I always buy a few things, but I
> leave with a whole shopping cart full of mill ends,
> strappings, and other useful materials from the waste bins.
> The clerks think its fun and are quite supportive--you have
> to ask the clerk in charge of the area around the bin for
> permission to remove it free, but no one has ever said "
> no".  But I've noticed the Managers eyeing my cart
> regularly, thinking they are missing an opportunity for
> resale.   Don't let on that it is useful stuff.  You're just
> cutting down on their waste disposal costs, that's all!

Aha!  I've already scavenged their sawdust piles for the sawdust to make
my pressing hams with! <grin>

> The clear green strapping has a rigidity which is
> appropriate for your use.  It is used to bind huge pallets
> of dimensioned lumber, so look for it in the lumber aisle.
> No to be confused with the softish 1/4" white woven
> strapping, which must also be very useful, but I haven't yet
> figured out what to do with it.  Likewise it seems to good
> to be regularly thrown away.

Thanks!!  Now...anything in the waste bins for boning corsets? <grin>

Kat
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From owner-h-costume@indra.com  Sat Apr 24 01:03:12 1999
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Subject: Re: H-COST: Currency/price converter website?
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-Poster: Margo Anderson <margo@directcon.net>

At 10:56 AM 4/23/99 -0800, you wrote:
>t the conversion
>site is http://www.oanda.com/converter/classic
>
>I use it at work all the time to convert money for people traveling in
>Europe, but I only work in the past few months, not decades or centuries.
>Good luck.

Thanks, but it only goes back to 1990.  Oh well.

Margo

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From owner-h-costume@indra.com  Sat Apr 24 01:20:25 1999
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Subject: Re: H-COST: plastic boning in hem...Help!
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-Poster: Margo Anderson <margo@directcon.net>


>Thanks!!  Now...anything in the waste bins for boning corsets? 

Yes, the metal strapping that they use for bundles of lumber will work,
especially for heavy Elizabethan corsets.  Watch out, though, it rusts so
you'll need to stop in the paint aisle and get a can of Rustoleum (3.95) to
paint it.  Also,  it needs to be cut to size, so go to the tool cage and buy
a pair of tin snips (14.95).  While you're there, pick up a can of tool dip
($7) for coating the ends.  You have now spent $26 to save spending $15 on
boning!

Not that I'm running down hardware stores, just the boning alternative
fallacy.  My studio contains any number of cool sewing tools that came from
Home Depot, including a set of wood clamps I used for holding long lengths
of fabric on the cutting table and on grain, a chalk line that's wonderful
for marking really long cutting lines,  a tool apron that holds my various
cutting and marking tools, and of course, pegboard with those nice long
hooks for hanging cones of thread.  Not to mention barge cement and a
wallpaper seam roller for holding leather seams open,  plastic snap lock
storage drawers for beads and findings,  and clamp on shop lights wherever I
need extra light.  I love that place!

Margo

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From owner-h-costume@indra.com  Sat Apr 24 15:48:01 1999
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From: Kat & Kent <kdyer@home.com>
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-Poster: Kat & Kent <kdyer@home.com>

Margo Anderson wrote:
> 
> Yes, the metal strapping that they use for bundles of lumber will
> work, especially for heavy Elizabethan corsets.  Watch out, though, it
> rusts so you'll need to stop in the paint aisle and get a can of
> Rustoleum (3.95) to paint it.

Hmmm, I can find it for $3.50 or less <bwahahahaha!>

> Also,  it needs to be cut to size, so go to the tool cage and buy
> a pair of tin snips (14.95).

Gee, husband was SCA heavy weapons fighter...have tin snips and bolt
cutters.

>  While you're there, pick up a can of tool dip
> ($7) for coating the ends.

Just bought a can at Wal-Mart for another project for $5.97.

> You have now spent $26 to save spending $15 on boning!

Sooooo, in my case I'll save about $11! <weg>

> Not that I'm running down hardware stores, just the boning alternative
> fallacy.  My studio contains any number of cool sewing tools that came
> from Home Depot, including a set of wood clamps I used for holding
> long lengths of fabric on the cutting table and on grain, a chalk line
> that's wonderful for marking really long cutting lines,  a tool apron
> that holds my various cutting and marking tools, and of course,
> pegboard with those nice long hooks for hanging cones of thread.  Not
> to mention barge cement and a wallpaper seam roller for holding
> leather seams open,  plastic snap lock storage drawers for beads and
> findings,  and clamp on shop lights wherever I need extra light.  I
> love that place!

Home Despot is my friend!  BTW we have a bunch of fence wire that I'm
thinking of trying out for the farthingales...whatcha think?

Kat
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Date: Sat, 24 Apr 1999 23:55:22 EDT
Subject: Re:  H-COST: Viking Apron dress
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-Poster: Luiseach@aol.com


In a message dated 04/23/99 05:31:33 PM, Lydie wrote:

<<I hope someone here can help me. I'm trying to find some pictorial sources
for the Viking Apron dress. I can't even find the pictures of the find from
Hedeby! I've found one site, which is by an SCA lady, which has diagrams
for cutting and construction, but I'm really looking for images to see how
its worn.>>

Since you already know about the SCA, have you seen the SCA Compleat 
Anachronist on "Women's Dress in Northern Europe" which, IIRC, has a good 
summary of information on Viking aprons and good references to other 
publications.

Lucinda 
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From: Margo Anderson <margo@directcon.net>
Subject: Re: H-COST: plastic boning in hem...Help!
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-Poster: Margo Anderson <margo@directcon.net>


>
>Home Despot is my friend!  BTW we have a bunch of fence wire that I'm
>thinking of trying out for the farthingales...whatcha think?
>
It might work, depending on how stiff the wire is.  I'm thinking of trying
to build a cage crinoline with wire, since the narrow thread covered hoop
steel is so expensive.  I've only found one source for it and they want
$5.50 Canadian a metre.  I figured that's about $175 US to make the
crinoline I want.  ACK!!!



Margo

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From owner-h-costume@indra.com  Sun Apr 25 00:56:42 1999
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From: rio@austin.rr.com (StrangeGirl)
To: h-costume@indra.com
Subject: Re: H-COST: plastic boning in hem...Help!
Date: Sun, 25 Apr 1999 05:10:30 GMT
Organization: The Corner of my Desk
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-Poster: rio@austin.rr.com (StrangeGirl)

On Sat, 24 Apr 1999 21:08:02 -0800 (PST), you wrote:

>
>It might work, depending on how stiff the wire is.  I'm thinking of
trying
>to build a cage crinoline with wire, since the narrow thread covered
hoop
>steel is so expensive.  I've only found one source for it and they
want
>$5.50 Canadian a metre.  I figured that's about $175 US to make the
>crinoline I want.  ACK!!!

A possible solution is "hobby" piano wire (music wire), which costs
about 50cents to a dollar or so per length (depending on gauge), comes
in 3 foot lengths, and can be cut with heavy tinsnips, and can be
joined by brass tubing (about a dollar for a 1 foot length, which
makes 10-12 joins), secured with epoxy. You could construct an entire
skirt, quite easily, by building your hoops out of these materials - I
have made a hoop, based on drawings in _Costume In Detail_ (which I do
not have on hand..grrr.) , in the section on the 1850's, that
resembles the one on page 165 of Cunnington's _History of
Underclothes_ and referred to as the 'Scarlet Flannel Crinoline,
1869'. 
Mine is made without the small flat bustle pad and fabric panel
containing the hoops (my hoops are held inplace by being firmly
stitched into casings on the vertical bands) in that example, and with
an added ruffle around the bottom hoop.

It's a pretty robust hoop. I also made a larger version for my sister
who is more buxom than myself (and six inches taller). Both of these
have withstood the test of bus and car rides in (HEAVY) costume,
multiple costume changes, and a season of Dickens Faire. Ours are both
made with the wire hoops uncovered, but thay can easily be covered by
bias tape or ribbon sewn into a tube and run over the wire or sewn
directly over the wire itself. It could also be electrical or gaffer
taped, painted or tooldipped, though I don't think it is really
necessary, as the hoops have never rusted.

It's a bit cheaper than your nifty-sounding thread-wrapped hoop-wire,
and probably not as pretty,  but it does the job fairly well.  You
would also have to invest in tinsnips and a hobby saw (to cut the
tubing) but if you make several sets of complex wire hoops, the cost
differential will show. I think my sister and i spent perhaps $50
total for *both* sets of light hoops. We had the tools on hand. 

If you are one of those who likes to custom-cut their own boning form
a spool of the stuff, you will find the tools handy anyway.

Margery

~~~~~~~~~~~~~~There is no spoon~~~~~~~~~~~~~~~~
{*to reply take "spambegone" from my reply-to address*}
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From owner-h-costume@indra.com  Sun Apr 25 01:37:31 1999
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-Poster: Margo Anderson <margo@directcon.net>


>A possible solution is "hobby" piano wire (music wire), which costs
>about 50cents to a dollar or so per length (depending on gauge), comes
>in 3 foot lengths, and can be cut with heavy tinsnips, and can be
>joined by brass tubing (about a dollar for a 1 foot length, which
>makes 10-12 joins), secured with epoxy. 

Thank you!  I had considered music wire, but thought it would be to hard to
shape from the small coils I've seen it sold in.  I didn't know you can buy
it in straight lengths.  May I ask where?  

The brass tubing joiners is a great idea, too.  I feel a crinoline coming on...

Margo

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From owner-h-costume@indra.com  Sun Apr 25 02:47:25 1999
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Date: Sun, 25 Apr 1999 02:55:55 EDT
Subject: H-COST: sewing by hand
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-Poster: Mezarale@aol.com

Hi,

I am going to be spending a lot of time in the near future being where I have 
nothing to do and lots of sitting and waiting.  Can anyone please give me any 
helpful hints or tips on how to hand sew clothing and how to finish seems 
when I am hand sewing?  Any help will be appreciated.

Thanks,
Jonica Hogan
(I have been unable to read the list for a while so if this topic has come up 
please forgive me)
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From owner-h-costume@indra.com  Sun Apr 25 09:22:00 1999
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To: h-costume@indra.com
Subject: Re: H-COST: Viking Apron dress
Date: Sun, 25 Apr 99 13:26:11 GMT
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-Poster: trekona@erols.com


> I hope someone here can help me. I'm trying to find some pictorial sources
> for the Viking Apron dress. I can't even find the pictures of the find from
> Hedeby! I've found one site, which is by an SCA lady, which has diagrams
> for cutting and construction, but I'm really looking for images to see how
> its worn. If anyone can point me in the direction of sites or books or
> sources or papyri or soothsayers (see how desperate I'm getting?<G>)I'd be
> eternally grateful! Thankyou all in advance.

Hi Lydie,
    The problem, as you are finding, is that there isn't much in artwork to go 
by! First you need to get your hands on a bunch of the huge 'coffee-table' 
books that are mostly pictures (authors/edslike, David Wilson or 
Graham-Campbell) to see the artifacts.
    And there's not much, and what there is doesn't help a whole lot unless you 
know what you're looking at.
 There is (somewhere, I've seen someon'e drawing of it, but never the artifact) 
a little hnefatafl piece that shows a large rectangular iece wrapping around, 
and a little rectangular piece hanging down front.
 If you find the little gold foil pieces, they often show a women in a pleated 
dress, wearing a rectangular cloth that wraps around from the back (like the 
game piece) and cross over the breast - the result is that it spits in an 
inverted V down the front of the body, this time with no front panel hanging 
over the V (like the game piece is trying to depict).
 You can try on the Gotland stones (lotsa pictures of them in the books), but 
most of the wmen depicted are in profile and it's hard to see what they are 
wearing. The most common one shows the woman with her hair knotted, wearing a 
triangular shawl (therefore you can't see brooches) and holding something wierd 
in her hands. She is clearly wearing a pleated dress with a separate front 
panel, but you can't tell what the back treatment is (this is the closest to 
showing those standard tea-towel aprons that many people are fond of wearing, 
there is no evidence for them, otherwise).
 Most of the little silver pieces of women are also in profile and done't help 
any on this - although there is one who looks very much like she's wearing a 
coat (quite similar to one of Folkwear's patterns!).
    The Oseberg tapestry shows lots of women - sitting down in wagons and you 
can only see a dress, shawl and baggy cap.
    Oh, you can't find pictures of the find from Hedeby, because only scraps of 
women's stuff were found. The closest to artistic interp that you'll find is in 
Graham-Campbell's _cultural Atlas of the viking World_. It's fairly expensive 
(though a lovely book), but luckily you can browse it in many Barnes & Nobles.

    Hope this is of some help.
    -Judy Mitchell

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From owner-h-costume@indra.com  Sun Apr 25 10:47:26 1999
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From: Kat & Kent <kdyer@home.com>
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-Poster: Kat & Kent <kdyer@home.com>

Mezarale@aol.com wrote:
> 
> 
> I am going to be spending a lot of time in the near future being where
> I have nothing to do and lots of sitting and waiting.  Can anyone
> please give me any helpful hints or tips on how to hand sew clothing
> and how to finish seems when I am hand sewing?  Any help will be
> appreciated.

When I'm handsewing I tend to first sew all my seam by finger pressing a
very small hem and stitching that first.  Then I sew the seams
together.  I also 'cheat' a bit by taking more than one stitch at a time
if the fabric is fine as opposed to heavy (eg in, out, in, out, in, out
and *then* pull the fabric through).  This method allows *me* to make
smaller stitches without going crazy! <grin>  For me hand sewing isn't
really all that different from machine sewing because I didn't get a
sewing machine until I was 20, so my first 9 years of sewing costumes
were all done by hand...and even then, unless it's for stage I tend to
only sew the interior seams (and occasionally the hem if I'm in a hurry)
by machine.  You may try different thimbles.  Personally, I can't use
one and control the needle.  I've tried the traditional metal ones that
fit over the finger, leather thimbles and ring thimbles.  The ring
thimbles are the easiest for me to tolerate and I only use them when I'm
working with very, very heavy fabric or many layers of cloth sewn
together.  When I am heming collars and cuffs I tend to use fancier
stitches to finish them...even if it's just something as simple as
slanting (eg /\/\/\ or such).  I have an encyclopedia of stitches which
provides inspiration.  I've always enjoyed hand sewing costumes/garb and
can generally turn out a plain t-tunic dress in about 7 hours...your
time may vary! <grin>

Kat
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From owner-h-costume@indra.com  Sun Apr 25 11:00:09 1999
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Date: Sun, 25 Apr 1999 08:09:40 -0700
Subject: Re: H-COST: sewing by hand
From: "R.L. Shep" <rlshep@jps.net>
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-Poster: "R.L. Shep" <rlshep@jps.net>

I would like to call everyone's attention to this post.
This is not to make comments about the poster at all. But it is to point out
to everyone that when people try to make clothing pre the invention of the
sewing machine they are at a dis-advantage.  In fact from what I can see
many people do not know how to sew even with a sewing machine these days.
The problem is that people are not taught to sew as a part of their general
education.  Women - and I think it unfortunately that one can't say this for
men too - were taught to sew as children.  Since this was a basic skill you
do not find instructions on how to sew period clothing.  Women were expected
to know how to do this.
This problem comes up again and again on this list and it is not the fault
of the people involved but of our world.
~!~ R.L.Shep
http://www.mcn.org/e/fsbks

----------
>From: Mezarale@aol.com
>To: h-costume-digest@indra.com
>Subject: H-COST: sewing by hand
>Date: Sat, Apr 24, 1999, 11:55 PM
>

>
>-Poster: Mezarale@aol.com
>
>Hi,
>
>I am going to be spending a lot of time in the near future being where I
have 
>nothing to do and lots of sitting and waiting.  Can anyone please give me
any 
>helpful hints or tips on how to hand sew clothing and how to finish seems 
>when I am hand sewing?  Any help will be appreciated.
>
>Thanks,
>Jonica Hogan
>(I have been unable to read the list for a while so if this topic has come
up 
>please forgive me)
> _________________________________________________________________
> 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: sewing by hand
Date: Sun, 25 Apr 1999 10:28:35 -0700
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-Poster: "Gia Gavino-Gattshall" <ggavino@serv.net>

Greetings!

I've been having fun doing hand sewing, lately.  I had decided to try it to
make T-tunics by handsewing them all by hand.  I don't know if all of what I
did is actually 'right', but it felt right to me.  So, here goes...

Using a very short running stitch, I sewed the seam using thread that was
doubled and beewaxed .  Then I did a blanket stich to finish the seams also
using doubled beeswaxed thread.  On the first one I laid the seam over to
one side (flat felled?) and did a short running stitch, again with doubled
beewaxed thread. I did this mostly for decoration, but it will also give the
seams more strength.  I plan on wearing this T tunic alot!

On the second one I didn't do the flat felled (?) seam, and I suppose I
could have done the running stitch twice, up then down, but since I don't
plan on wearing this one as much, I didn't feel that I needed the additional
stitching.  I finished the seams the same as I did one the first one.  For
the hems, I turned down a 1/4 inch and then did a very short hemming stitch.

My first one took about 8 hours my second about 7 hours.  I think the
difference in time was due to the fact I wasn't watching a movie when I did
the second one.

I used a leather thimble while stitching.  There are a few styles out there.
The one I have is one that has a bit of elastic type stuff that goes up past
the first knuckles and is quite secure.  I've found that other thimbles just
don't stay on my finger and it's annoying to have to stop and adjust it to
use.

All in all, I found sewing garments by hand quite relaxing and I got to be
with my family instead of behind my sewing machines!

I hope that this helps...Have fun!

Gia/Giacinta

>
>-Poster: Mezarale@aol.com
>
>Hi,
>
>I am going to be spending a lot of time in the near future being where I
have
>nothing to do and lots of sitting and waiting.  Can anyone please give me
any
>helpful hints or tips on how to hand sew clothing and how to finish seems
>when I am hand sewing?  Any help will be appreciated.
>
>Thanks,
>Jonica Hogan
>(I have been unable to read the list for a while so if this topic has come
up
>please forgive me)
> _________________________________________________________________
> To leave this mailing list, send mail to majordomo@indra.com
> with the message UNSUBSCRIBE H-COSTUME
>

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


>I am going to be spending a lot of time in the near future being where I have 
>nothing to do and lots of sitting and waiting.  Can anyone please give me any 
>helpful hints or tips on how to hand sew clothing and how to finish seems 
>when I am hand sewing?  Any help will be appreciated.
>
This is something I'm just starting to do, so far I've made an apron and I'm
almost done topstitching the side back seams on a dress.  One thing I've
found very helpful is, when sewing a long straight seam, to secure the end
of the seam so that it can be kept under tension.  You can buy a screw and
clamp arrangement from Clotilde that's helpful, or just pin it to your
clothing.  I also have my great-grandmother's sewing bird clamp, but the
spring is broken.  Does anyone know someone who fixes antique sewing tools?

Margo 

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From: rio@austin.rr.com (StrangeGirl)
To: h-costume@indra.com
Subject: Re: H-COST:  wire for hoops, WAS plastic boning in hem...Help!
Date: Sun, 25 Apr 1999 19:46:04 GMT
Organization: The Corner of my Desk
Message-ID: <37236eb4.3176909@smtp-server.austin.rr.com>
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-Poster: rio@austin.rr.com (StrangeGirl)

On Sat, 24 Apr 1999 22:43:36 -0800 (PST), Margo Anderson
<margo@directcon.net> wrote:

>Thank you!  I had considered music wire, but thought it would be to
hard to
>shape from the small coils I've seen it sold in.  I didn't know you
can buy
>it in straight lengths.  May I ask where?  

Many train and hobby shops carry it, as do some hardware stores that
have a small train and hobby section. 

It's usually near the doweling and wood/plastic bits for building your
own hobby things. I *think* it's for airplanes, but I'm not sure and
I've never had the courage to ask.

Oh - and this had slipped my mind when I posted the last hint - For
another covering option, you can get heatshrink tubing at large
electronics supply stores and either actually shrink it in place or
just seal the ends together with hotglue. The tubing comes in 5 foot
lengths and can be cut easily with scissors.

I've also used it to build flexible, articulated armatures for a set
of large red angel wings for a Pre-Raphaelite Angel costume.
A bit tough, and not something I'm likely to post instructions for on
the list ;)

Margery

~~~~~~~~~~~~~~There is no spoon~~~~~~~~~~~~~~~~
{*to reply take "spambegone" from my reply-to address*}
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From: rio@austin.rr.com (StrangeGirl)
To: h-costume@indra.com
Subject: Re: H-COST:  wire for hoops, WAS plastic boning in hem...Help!
Date: Sun, 25 Apr 1999 20:05:15 GMT
Organization: The Corner of my Desk
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-Poster: rio@austin.rr.com (StrangeGirl)

On Sun, 25 Apr 1999 19:46:04 GMT, I wrote:

>I've also used it to build flexible, articulated armatures for a set
>of large red angel wings for a Pre-Raphaelite Angel costume.
>A bit tough, and not something I'm likely to post instructions for on

Meaning, of course, that I'd used the Music Wire...Not just the
tubing. *smacks forehead*

I need to have a cup of coffee, apologies to any I unintentionally
misled with that.

Margery

~~~~~~~~~~~~~~There is no spoon~~~~~~~~~~~~~~~~
{*to reply take "spambegone" from my reply-to address*}
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-Poster: Bill and/or Glenna Jo Christen <gwjchris@rust.net>

- -Poster: Mezarale@aol.com

> Can anyone please give me any  helpful hints or tips on how to hand
sew clothing and > how to finish seams when I am hand sewing?  Any help
will be appreciated.

How you finish seams depends in part on your time period and the
material you are sewing. I can only comment on mid to late 19th c. seam
finishes...
There are two very helpful books titled _Lady's Guide to Plain Sewing_
Vol. 1 & Vol. 2. from Kannik's Korners.
They are geared to late 18th & early 19th c. sewing techniques, but most
of the basic stitches are pretty universal and well worth the price of
$10 ea. Every stitch is clearly explained with easy to follow line
drawings. If I can learn to make Dorset thread buttons as well as a
variety of other basic buttons as well as that wonderful rolled edging
for ruffled shirts, anyone can! ;-)
Shameless plug:
If you can't find these books locally, contact me off line and I can
send them to you. S&H is only $1.50 for one or both books.

Glenna Jo Christen
gwjchris@rust.net
Visit our web site, "The Curiosity Shop"
http://www.rust.net/~gwjchris/



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-Poster: <aquazoo@patriot.net>

Jonica Hogan wrote,

>I am going to be spending a lot of time in the near future being where I 
>have nothing to do and lots of sitting and waiting.  Can anyone please
>give me any helpful hints or tips on how to hand sew clothing and how to
>finish seems when I am hand sewing?  Any help will be appreciated.

     It may make a difference depending on what period clothing you are 
making. Wasn't there a web page at one point illustrating Viking era 
stitches?

     For the eighteenth into the early nineteenth century, I like _A 
Lady's Guide to Plain Sewing_, from Kannick's Korner. PO Box 1654, 
Springfield, Ohio, 45501. The book costs about $10, and there is a second 
volume for about the same price. The techniques in these books were 
learned from the examination of extant objects. 
<http://www.kannikskorner.com/>

     Sitting and waiting may also be a good opportunity to take up some 
decorative work, such as embroidery or small scale quilting.

     -Carol Kocian
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From: "Gia Gavino-Gattshall" <ggavino@serv.net>
To: <h-costume@indra.com>
Subject: Re: H-COST: sewing by hand
Date: Sun, 25 Apr 1999 18:56:55 -0700
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-Poster: "Gia Gavino-Gattshall" <ggavino@serv.net>

Greetings, again...more of my 2 cents worth...

>
>     It may make a difference depending on what period clothing you are
>making. Wasn't there a web page at one point illustrating Viking era
>stitches?
>
Yes, there was a web page with "Dark Ages Stitch Types", but it's no longer
functioning.  It reviewed basic stitches: running stitch, oversewing,
herringbone and blanket stitch.

If you are interested in excavations with information on stitches, the book
Textiles in Northern Archeology NESAT III: Textile Symposiun in York edited
by Penelope Walton and John-Peter Wild (ISBN 1 873132 05 0) is very good.

There are other books, as Carol says, so you could do a search if you are
interested.

I hope this helps; have fun!

Gia/Giacinta

>     For the eighteenth into the early nineteenth century, I like _A
>Lady's Guide to Plain Sewing_, from Kannick's Korner. PO Box 1654,
>Springfield, Ohio, 45501. The book costs about $10, and there is a second
>volume for about the same price. The techniques in these books were
>learned from the examination of extant objects.
><http://www.kannikskorner.com/>
>
>     Sitting and waiting may also be a good opportunity to take up some
>decorative work, such as embroidery or small scale quilting.
>
>     -Carol Kocian
> _________________________________________________________________
> To leave this mailing list, send mail to majordomo@indra.com
> with the message UNSUBSCRIBE H-COSTUME
>

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From: Kevin + Mara Riley <lindo@Radix.Net>
Subject: Re: H-COST: Tartans
In-Reply-To: <199904221513_MC2-7310-356@compuserve.com>
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-Poster: Kevin + Mara Riley <lindo@Radix.Net>

No McGill or McAlpin, of course <g> -- dang!  Well, they aren't that common.

Mara

At 03:13 PM 04/22/1999 -0400, you wrote:
>
>-Poster: Melanie Wilson <MelanieWilson@compuserve.com>
>
>>I'm very  interested! Which tartans  are available?
>
>Anderson -blue, white, red, yellow
>Black Stewart- 
>Dress Stewart Muted-
>Dress Mccloud
>Erracht Cameron
>Erskine- black & white
>Green Douglas
>Hay-red, black, yellow
>Hunting Chisholm-blue/slate, red white
>Hunting Mcinnes-reds yellows
>Hunting McKellar-green blue yellow white
>Hunting Chisholm Old Colours-browns
>Hunting Mccloud
>King George
>Lynsey 7-8 M-red green
>Mcduff red blue black
>Mcnab-red black
>Princess Elizabeth
>Princess Mary Muted
>Red Fraser-reds
>Wallace-black red bit yellow

Kevin + Mara Riley
Home Page http://www.radix.net/~lindo
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From owner-h-costume@indra.com  Mon Apr 26 01:56:17 1999
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From: "Jill & Ralph" <blkhrse@pacifier.com>
To: <h-costume@indra.com>
Subject: Re: H-COST: sewing by hand
Date: Sun, 25 Apr 1999 10:45:50 -0700
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-Poster: "Jill & Ralph" <blkhrse@pacifier.com>


The Viking Tunic Construction page provides some information on stitch type
and seam finish.  I used this to makes a tunic for my husband and it worked
out well.
the URL is

www.cs.vassar.edu/~capriest/viktunic.html


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From owner-h-costume@indra.com  Mon Apr 26 08:59:09 1999
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From: "Susannah Eanes" <oh_susannah@hotmail.com>
To: h-costume@indra.com
Subject: Re: H-COST: sewing by hand
Date: Mon, 26 Apr 1999 06:07:11 PDT
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-Poster: "Susannah Eanes" <oh_susannah@hotmail.com>

There are two excellent guides available, that no one has mentioned 
in their replies to this post.  They are both by Kathleen Kannik, and 
available from Burnley Trowbridge (jasburn@aol.com) as well from 
Kannik's Korner (fkkannik@glasscity.net) or you can try to access 
their web page through the Revlist web site.

They are entitled A Lady's Guide to Plain Sewing, vols. 1 & 2.  They 
are small, paperbound books, printed using period methods and hand 
bound, so as to even make them appropriate for a (literate) person to 
take to events.  Of course, if you aren't portraying someone who 
would have been able to read, you'll still have to hide them!

They include everything you will need to know, and are well 
illustrated.  The language is easy to follow and include historical 
notes as well.  I highly recommend them.  They run about $10.00 each.

Susannah 


>
>-Poster: Mezarale@aol.com
>
>Hi,
>
>I am going to be spending a lot of time in the near future being 
where I have 
>nothing to do and lots of sitting and waiting.  Can anyone please 
give me any 
>helpful hints or tips on how to hand sew clothing and how to finish 
seems 
>when I am hand sewing?  Any help will be appreciated.
>
>Thanks,
>Jonica Hogan
>(I have been unable to read the list for a while so if this topic 
has come up 
>please forgive me)
> _________________________________________________________________
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From owner-h-costume@indra.com  Mon Apr 26 09:08:42 1999
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Date: Mon, 26 Apr 1999 09:19:51 -0500
From: mason@uno.cc.geneseo.edu (barbara jeanette Mason)
Subject: Re: H-COST: Santa Monica
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-Poster: mason@uno.cc.geneseo.edu (barbara jeanette Mason)


All the great places for notions are in the garment district in L.A.  Not
much in Santa Monica
On the mall by the Santa Monica Shopping Center are many good used and new
book stores.


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From owner-h-costume@indra.com  Mon Apr 26 10:33:57 1999
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Date: Mon, 26 Apr 1999 09:35:12 -0500
Subject: Re: H-COST: sewing by hand
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-Poster: seamstrix@juno.com

I don't think that anyone has mentioned it yet, but if you need hand
sewing techniques for the Middle Ages, the Museum of London book
"Textiles and Clothing" has a whole chapter detailing the sewing methods
used on the pieces which were dug out of various sites in and around
London. I would highly recommend the book as a resource both for sewing
techniques and for information on what weaves and types of cloth are
appropriate for that time/location. It covers 1150-1450. ISBN 0 11 290445
9


Karen
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From owner-h-costume@indra.com  Mon Apr 26 16:40:54 1999
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From: "Susannah Eanes" <oh_susannah@hotmail.com>
To: h-costume@indra.com
Subject: Re: H-COST: Back issues of Costume
Date: Mon, 26 Apr 1999 13:49:12 PDT
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-Poster: "Susannah Eanes" <oh_susannah@hotmail.com>

I have ordered several back issues before directly from CSA (Costume 
Society) and they cost less than $10.00 apiece two years ago, I think.

They may have been the cover price plus $4.00 for shipping.  Hard to 
remember back that far!

Susannah


>From: karolee@fenris.net (Karolee Smiley)
>Reply-To: h-costume@indra.com
>To: h-costume@indra.com
>Subject: Re: H-COST: Back issues of Costume
>Date: Fri, 23 Apr 1999 17:41:23 -0700
>
>
>-Poster: karolee@fenris.net (Karolee Smiley)
>
>>-Poster: aleed <aleed@dnaco.net>
>>
>>
>>Here's a question for anyone who knows:  how much do back issues of
>>Costume (The Journal of the Costume Society) cost, and where can 
one get
>>them?
>>
>>Thanks for any info you have,
>>
>>Drea
>>
>
>
>I don't know where to buy it but you can check them out of 
libraries.  You
>can photocopy the sections you want.  Try your nearest university 
library.
>If they don't have it, interlibrary loan works.  Non-students can 
usually
>get university library cards.  By the way, CSUSacramento does have 
several
>issues in hardbound which are available for check out.
>
>Karolee J. Smiley
>
>
> _________________________________________________________________
> 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 Apr 26 17:07:45 1999
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To: h-costume@indra.com
From: Donna Kenton <donna@dabbler.com>
Subject: Re: H-COST: Italian Renn, again
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-Poster: Donna Kenton <donna@dabbler.com>


At 12:13 PM 4/23/99 -0400, you wrote:
>
>-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>
>
>I've often wondered if those very regular organ pipe type
>pleats on Italian Renn garments weren't strategically
>weighted, especially at the bottom of the outside pleats,
>along with the staying, to help them fall into position so
>perfectly.  

Is it possible that these skirts had the rows of tape sewn to keep the
pleats in place, the way the Landsknect (sp?) bases did?


Donna Kenton




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From owner-h-costume@indra.com  Mon Apr 26 18:26:52 1999
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From: "Hope H. Dunlap" <hhdunlap@email.msn.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: Italian Renn, again
Date: Mon, 26 Apr 1999 18:25:22 -0400
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-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>

Well Jaqueline Herald in Rennaissance Dress in Italy
1450-1550 claims they did have tapes--that's what I meant by
"staying," elaborated on further in a prior message.  I
don't think the staytapes alone would be completely
effective on the lower edges of garments, hence the
hypothesis of weights.  Lyn herself ,mentioned the slpaying
of the last pleat on each side of the front, and I wondered
if the weights might help.

There's a drawing of a dress in Kohler, which may be
similar.  I don't have a copy here, so I can't check the
time frame and the location was German surely, not Italian .
. . BUT it showed an inset pleated panel in the front of a
gown, ie the gown bodice and side fronts were cut in one,
with a wide piece of fabric sewn in on three sides, pleated
at the top. The bodice ended at or just below the bust line.
This cutting approach might help with the pleat splaying
problem, particularly if the inset were straight cut and the
side panels a little flared.  The arms of the saint cover up
where those cutting lines would be, if indeed they are
there.  I'm thinking about this more geometrically than
historically, for I do not have the appropraite sources
available here to check the provenances of everything.
Another thought . . .

Hope H. Dunlap




-----Original Message-----
From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
Behalf Of Donna Kenton
Sent: Monday, April 26, 1999 5:16 PM
To: h-costume@indra.com
Subject: Re: H-COST: Italian Renn, again



-Poster: Donna Kenton <donna@dabbler.com>


At 12:13 PM 4/23/99 -0400, you wrote:
>
>-Poster: "Hope H. Dunlap" <hhdunlap@email.msn.com>
>
>I've often wondered if those very regular organ pipe type
>pleats on Italian Renn garments weren't strategically
>weighted, especially at the bottom of the outside pleats,
>along with the staying, to help them fall into position so
>perfectly.

Is it possible that these skirts had the rows of tape sewn
to keep the
pleats in place, the way the Landsknect (sp?) bases did?


Donna Kenton





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From owner-h-costume@indra.com  Mon Apr 26 20:08:54 1999
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Date: Mon, 26 Apr 1999 17:17:33 -0700 (PDT)
From: "Kristen M. Sieber" <lady_gawain@yahoo.com>
Subject: H-COST: 2 felt questions
To: Historic Costume <h-costume@indra.com>
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-Poster: "Kristen M. Sieber" <lady_gawain@yahoo.com>

1.  How can I tell if a large piece of felt I have is wool or "fake"
felt?

2.  How do I clean it either way?

Thanks,
Kristen Morgaine Sieber
lady_gawain@yahoo.com

What if the Hokey Pokey IS what it's all about?



 
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From owner-h-costume@indra.com  Mon Apr 26 22:29:17 1999
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From: Joan M Jurancich <joanj@quiknet.com>
Subject: Re: H-COST: sewing by hand
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-Poster: Joan M Jurancich <joanj@quiknet.com>

At 02:55 AM 04/25/1999 EDT, Mezarale@aol.com wrote:
>
>Hi,
>
>I am going to be spending a lot of time in the near future being where I have 
>nothing to do and lots of sitting and waiting.  Can anyone please give me any 
>helpful hints or tips on how to hand sew clothing and how to finish seems 
>when I am hand sewing?  Any help will be appreciated.
>
>Thanks,
>Jonica Hogan

Well, as some of the other responders have said, it depends upon what you
are sewing. Whenever I sew body linens (shifts, drawers, shirts), I
flat-fell all the seams except those that are selvedge to selvedge (those
are whip-stitched). It really helps things to last longer. When I am doing a
19th-century (1840s) dress, I self-pipe the shoulders, armscyes, neckline,
wrists, and usually the waist seams. The waist, armscye, and shoulder seams
are back-stitched for strength. Most of the seams are done in running
stitch, with a back-stitch every inch or so to strengthen it. If I'm joining
two pieces that are cut on the bias, I like to use a back-stitch or
half-back-stitch since it has a bit of "give" to it that running stitch does
not. Since I completely line the bodice, I don't usually do any other
special seam finishes unless the fabric frays easily (in which case I messed
up on my fabric choice <g>), when I'll overcast or whip-stitch the edges.
Since my dress skirts are cut longways of the cloth, those seams are always
selvedge to selvedge (running stitch), so they don't need any seam
finishing. To really do the hem "correctly", I should be using a hem facing,
but I don't always get to it <g>. I usually do an uneven running stitch for
hemming; this just means a small stitch showing on the front of the fabric
with a longer one on the inside (easier shown than described).

The booklet "Ladies' Guide to Plain Sewing" is quite helpful for 18th-19th
century sewing. 

All of this talk of hand sewing is reminding me of waiting projects....

Joan Jurancich
Sacramento, CA
joanj@quiknet.com

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From owner-h-costume@indra.com  Mon Apr 26 23:01:38 1999
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Date: Mon, 26 Apr 1999 22:01:31 -0500
From: Meribeth McCombs <meribetha@zebra.net>
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Subject: H-COST: Civil War Attire
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-Poster: Meribeth McCombs <meribetha@zebra.net>

HI - 

As a historic costumer and occasional living historian, I was wondering
what women would do during the era to modify their dresses so that they
could nurse their children?  Any suggestions?

MeriBeth
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From owner-h-costume@indra.com  Tue Apr 27 00:35:10 1999
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Subject: Re: H-COST: Polish Exhibit in Chicago
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-Poster: Appin1@aol.com

The same exhibit is currently at the Walters Art gallery in Baltimore through 
May 9th.

Kathleen Norvell
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From owner-h-costume@indra.com  Tue Apr 27 01:06:39 1999
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-Poster: Margo Anderson <margo@directcon.net>

At 10:01 PM 4/26/99 -0500, you wrote:
>
>-Poster: Meribeth McCombs <meribetha@zebra.net>
>
>HI - 
>
>As a historic costumer and occasional living historian, I was wondering
>what women would do during the era to modify their dresses so that they
>could nurse their children?  Any suggestions?

Most day dresses in this period fastened up the front, so little
modification was necessary.  There were corsets with laces or buttoned flaps
over the breasts for nursing.  there's also at least one example of a fan
front bodice with slits for nursing hidden under the pleats.  

Margo Anderson

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From owner-h-costume@indra.com  Tue Apr 27 08:40:41 1999
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From: "Susannah Eanes" <oh_susannah@hotmail.com>
To: h-costume@indra.com
Subject: H-COST: Nat'l Std. Dress Reform Movement
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-Poster: "Susannah Eanes" <oh_susannah@hotmail.com>

I apologize for sending this to the list but have apparently deleted 
the address of the lady who was researching this.  I found (while 
looking for something else!) an article on the above in Dress, 
vol. 4, 1978, p. 24-29, by Deborah Jean Warner, entitled, "Fashion, 
Emancipation, Reform, and the Rational Undergarment."

Hope this gets to the lady who was looking for this information!

Susannah

"We are only the trustees for those who come after us." 
  --William Morris 


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From owner-h-costume@indra.com  Tue Apr 27 09:14:31 1999
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Date: Tue, 27 Apr 1999 09:22:04 -0400
From: Hope Greenberg <hope.greenberg@uvm.edu>
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-Poster: Hope Greenberg <hope.greenberg@uvm.edu>

Hi -

My daughter needs a new gown. As a slim active 14 year old (obviously
didn't get my genes!) she likes simple gowns, nothing fussy or
elaborate, and she hates layers, but loves a full swirling skirt. So my
usual practice is to put her in something 14th to early 15th century
(think Limbourg Bros.), with short sleeves for running around in, and
front hidden lacing. I've got a dress weight deep scarlet wool, but the
lining will just be cotton--didn't spring for the linen though I drooled
over it a bit. I was thinking "Greenland gown" but after the recent talk
about Simplicity patterns I thought I'd take a look at those instead of
making my own. 

Anyway, not being particularly taken by the new Styles patterns (at
least for this gown) I paged through the other books and came across
#8345. It is intriguing because the front seams continue up over the
shoulder to form the armhole. 

Image is available at:
http://www.uvm.edu/~hag/sca/simp8345.gif

If I closed up the neck a bit, and maybe split the side pieces would it
be appropriate? Or are those front seams still too close to the center front?
Also, since I usually stick to 16th cent. I've got another question:
lining. What is the scoop on 14th cent. lining? Yes, no, what fabrics,
white, colors?

Thanks!

- Hope

----------
hope.greenberg@uvm.edu, U of Vermont, http://www.uvm.edu/~hag
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From owner-h-costume@indra.com  Tue Apr 27 10:40:36 1999
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Date: Tue, 27 Apr 1999 10:50:41 +0000
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-Poster: Lois <books@woodenporch.com>

>
> >>Here's a question for anyone who knows:  how much do back issues of
> >>Costume (The Journal of the Costume Society) cost, and where can
> one get
> >>them?
> >>
> >>Drea

Drea,
I have copies of Costume and also copies of Dress which is the house
organ of The Costume Society of America. They are very similar.
They are more than $10 though. Contact me if interested with the
issue year you want.
Lois

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


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From owner-h-costume@indra.com  Tue Apr 27 15:22:42 1999
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Date: Tue, 27 Apr 1999 15:29:42 EDT
Subject: H-COST: swing costume q
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-Poster: Gaelscot@aol.com



My husband and I are holding a swing party in October to celebrate our 
anniversary (12 years). We do swing dancing but we are not really part of the 
swing dancing "scene." Right now we are trying to figure out what we want to 
wear, because we will either have to be able to afford to buy it or we will 
have to make it. We do not care about accurately reproducing the clothing of 
a particular year. We want to be 1940s looking, that's all. We need clothing 
that is fancy enough for a big party but comfortable to dance in. Does anyone 
have any suggestions for (a) affordable stuff we can buy, or (b) patterns? We 
haven't done much investigation yet, and I thought someone here might be able 
to guide me! I am an average sewer -- in other words, no tailored suits. 
Thanks in advance!

Gail Finke


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From owner-h-costume@indra.com  Tue Apr 27 16:23:16 1999
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To: h-costume@indra.com
Subject: Re: H-COST: swing costume q
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-Poster: "StitchWitch" <stitchwitch@excite.com>


> My husband and I are holding a swing party in October to celebrate our 
> anniversary (12 years).

*snip*

> Does anyone 
> have any suggestions for (a) affordable stuff we can buy, or (b) patterns?
We 
> haven't done much investigation yet, and I thought someone here might be
able 
> to guide me! I am an average sewer -- in other words, no tailored suits. 
> Thanks in advance!
> 
> Gail Finke

Funny you should ask . . .

I was just in the fabric shop, leafing through the Simplicity patterns, and
jotted down the number for a swing dress. (I didn't see any swing men's
outfits, but I wasn't really looking for them, either.)
It is in the costume section, near the back, and the number is: 8629

As Simplicity patterns are going on-sale for 99¢ each on May 8th, you may
want to wait a little to pick it (and a few hundred others ) up. ;)

Kate
----
StitchWitch

Man is certainly stark mad: he cannot make a flea, yet he makes gods by the
dozens. - Montaigne, Essays - 1588




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From owner-h-costume@indra.com  Tue Apr 27 20:24:26 1999
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Subject: Re: H-COST: swing costume q
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-Poster: AlbertCat@aol.com

In a message dated 4/27/99 3:33:26 PM Eastern Daylight Time, Gaelscot@aol.com 
writes:

<<  I am an average sewer -- in other words, no tailored suits. >>

I did some costumes back in '95 for a "USO" show commemorating VE day. I had 
some period patterns but nothing that would fit the girls. I fiddled with 
Butterick fitting shell patterns & got some great results. In many original 
40s dresses there are 2 darts rising from the waist to the bust point & side 
darts from the side seam to the bust point. The fitting shell has these a la 
1960s so I adjusted the side darts to follow the more 40s line: they start 
below [sometimes as low as 1/2 way down the side seam] the bust level & rise 
to the bust point in a diagonal line. Sometimes there are 2 parallel side 
darts & no dart from the waist. The backs of ALL the real 40's patterns I had 
were exactly like the fitting shell: a small dart at the shoulder & one 
either side of CB from the waist to nip it in. If you're putting in thick 
shoulder pads, you need to raise the outside edge of the shoulder seam 
accordingly. The skirts were very simple. "A" line or straight. Just about 
all had some kind of small darts in back, many in front too....just like the 
fitting shell. I stole necklines & sleeves from the original patterns but 
they were logical & simple.
I found some great rayon's & crepes, beaded just the sleeves of one 
dress...made self fabric flowers & leaves for the left shoulder of 
another....put metal zippers in the side & added self belts with interesting 
buckles [one dress had a 2" sash that was tied with tails that hung to almost 
the just below the knee hem]....they looked real! & were perfect.

You can make one.....it's just like modern clothes only more fitted to the 
figure. C'mon! It'll be fun!
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From owner-h-costume@indra.com  Tue Apr 27 22:26:23 1999
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Date: Tue, 27 Apr 1999 19:22:52 -0700
To: h-costume@indra.com
From: "Carol J. Bell Cannon" <cjcannon@greymists.com>
Subject: Re: H-COST: Re: Your websites
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-Poster: "Carol J. Bell Cannon" <cjcannon@greymists.com>

Thanks...I was just curious.  I'm still trying to get my 'Patterns &
Stitchery' page together, but I, the computer illit, am having trouble
figuring out html.  Oh, well, one of these days.
Carol
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From owner-h-costume@indra.com  Wed Apr 28 02:42:50 1999
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Date: Wed, 28 Apr 1999 02:51:01 -0400
From: Melanie Wilson <MelanieWilson@compuserve.com>
Subject: H-COST: Ciba Reviews
To: LIST SCA arts <sca-arts@raven.cc.ukans.edu>
Cc: LIST historic costume <h-costume-digest@indra.com>
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-Poster: Melanie Wilson <MelanieWilson@compuserve.com>

I've been offered these Ciba Reviews each at 15 pounds (ouch !) anyway as
you know the Reviews are rarte so you might want to snap one or two up

Mel

25              Paris Fashion Artists of the Eighteenth Century 
32              Children's Dress
60      Roumanian Peasant Textiles
61      Gloves
62      Swiss Fairs and Markets in the Middle Ages
63      Basic Textile Techniques
64      Cotton and Cotton Trade in the Middle Ages
65      The Cloth Trade and the Fairs of Champagne
        
67      Colbert and the French Wool Manufacture
69      Textile Art in Sixteenth-Century France
70      Textile Art in Ancient Mexico   
        
75      Byzantine Silks
76      Early American Textiles 
78      Fashions and Textiles of Queen Elizabeth's Reign
83                      The Silk and Velvet Industries of Crefeld
84              Maori Textile Techniques 
85              Indigo
86              Scottish Highland Dress 
88              Swedish Peasant Textiles 
89              The Handkerchief go Textile Arts of the North American
Indians
90              The Linen Industry of St Gall 
93               Uniforms 
96              Velvet
97              New Orleans, Centre of the Cotton Trade
I 03            Textiles and Dyestuffs at the Frankfort Fairs
106             The Stocking
111     Spun Silk
I I 3   The Wool Fibre
114     Fur
133     Coptic Textiles
        





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From owner-h-costume@indra.com  Wed Apr 28 03:50:49 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: Ciba Reviews
Date: Wed, 28 Apr 1999 08:58:10 +0100
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-Poster: "Chandler, Sally" <S.A.Chandler@shu.ac.uk>

Mel,

I'd like the Cotton one - no. 64 and the Cloth Trade in Champagne - no 65 
if no-one's snapped them up.  (Actually I'd like all of them but can't 
afford them!)

Many thanks,

Sally Ann

-----Original Message-----
From:	Melanie Wilson [SMTP:MelanieWilson@compuserve.com]
Sent:	Wednesday, April 28, 1999 7:51 AM
To:	LIST SCA arts
Cc:	LIST historic costume
Subject:	H-COST: Ciba Reviews


-Poster: Melanie Wilson <MelanieWilson@compuserve.com>

I've been offered these Ciba Reviews each at 15 pounds (ouch !) anyway as
you know the Reviews are rarte so you might want to snap one or two up

Mel

25              Paris Fashion Artists of the Eighteenth Century
32              Children's Dress
60      Roumanian Peasant Textiles
61      Gloves
62      Swiss Fairs and Markets in the Middle Ages
63      Basic Textile Techniques
64      Cotton and Cotton Trade in the Middle Ages
65      The Cloth Trade and the Fairs of Champagne

67      Colbert and the French Wool Manufacture
69      Textile Art in Sixteenth-Century France
70      Textile Art in Ancient Mexico

75      Byzantine Silks
76      Early American Textiles
78      Fashions and Textiles of Queen Elizabeth's Reign
83                      The Silk and Velvet Industries of Crefeld
84              Maori Textile Techniques
85              Indigo
86              Scottish Highland Dress
88              Swedish Peasant Textiles
89              The Handkerchief go Textile Arts of the North American
Indians
90              The Linen Industry of St Gall
93               Uniforms
96              Velvet
97              New Orleans, Centre of the Cotton Trade
I 03            Textiles and Dyestuffs at the Frankfort Fairs
106             The Stocking
111     Spun Silk
I I 3   The Wool Fibre
114     Fur
133     Coptic Textiles






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From owner-h-costume@indra.com  Wed Apr 28 08:10:50 1999
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Subject: H-COST: Tencel?
Date: Wed, 28 Apr 1999 08:20:01 -0400
x-mailer: Claris Emailer 2.0v3, January 22, 1998
From: Irene leNoir <irene@ici.net>
To: "H-Costume" <h-costume@indra.com>
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-Poster: Irene leNoir <irene@ici.net>

I was hoping somoeone on this list would have the asnwer to a question.

I was in my fabric store yesterday, and they had a section of fabrics 
that were listed as containing "100% Tencel".

My question:

Is Tencel a new brand name for an existing fiber? (EG: A brand of rayon.)
 - or -
Is it a new fiber?  If so, does anyone know anything about its derivation?


Jessica Clark
SCA: Irène leNoir
irene@ici.net
http://home.ici.net/~beowulf/jessica

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From owner-h-costume@indra.com  Wed Apr 28 08:44:52 1999
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Date: Wed, 28 Apr 1999 08:54:25 -0400 (EDT)
From: aleed <aleed@dnaco.net>
To: h-costume@indra.com
cc: LIST SCA arts <sca-arts@raven.cc.ukans.edu>,
        LIST historic costume <h-costume-digest@indra.com>
Subject: Re: H-COST: Ciba Reviews
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-Poster: aleed <aleed@dnaco.net>


OK,  I'll bite--what are the Ciba Reviews?

Drea


On Wed, 28 Apr 1999, Melanie Wilson wrote:

> 
> -Poster: Melanie Wilson <MelanieWilson@compuserve.com>
> 
> I've been offered these Ciba Reviews each at 15 pounds (ouch !) anyway as
> you know the Reviews are rarte so you might want to snap one or two up
> 
> Mel
> 
> 25              Paris Fashion Artists of the Eighteenth Century 
> 32              Children's Dress
> 60      Roumanian Peasant Textiles
> 61      Gloves
> 62      Swiss Fairs and Markets in the Middle Ages
> 63      Basic Textile Techniques
> 64      Cotton and Cotton Trade in the Middle Ages
> 65      The Cloth Trade and the Fairs of Champagne
>         
> 67      Colbert and the French Wool Manufacture
> 69      Textile Art in Sixteenth-Century France
> 70      Textile Art in Ancient Mexico   
>         
> 75      Byzantine Silks
> 76      Early American Textiles 
> 78      Fashions and Textiles of Queen Elizabeth's Reign
> 83                      The Silk and Velvet Industries of Crefeld
> 84              Maori Textile Techniques 
> 85              Indigo
> 86              Scottish Highland Dress 
> 88              Swedish Peasant Textiles 
> 89              The Handkerchief go Textile Arts of the North American
> Indians
> 90              The Linen Industry of St Gall 
> 93               Uniforms 
> 96              Velvet
> 97              New Orleans, Centre of the Cotton Trade
> I 03            Textiles and Dyestuffs at the Frankfort Fairs
> 106             The Stocking
> 111     Spun Silk
> I I 3   The Wool Fibre
> 114     Fur
> 133     Coptic Textiles
>         
> 
> 
> 
> 
> 
>  _________________________________________________________________
>  To leave this mailing list, send mail to majordomo@indra.com
>  with the message UNSUBSCRIBE H-COSTUME
> 

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Subject: H-COST: Re: h-costume-digest V4 #292
Date: Wed, 28 Apr 99 06:06:43 -0800
x-sender: carol_custer@mail.filemaker.com
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-Poster: Carol Custer <carol_custer@filemaker.com>

Carol Custer will be out of the office for a few weeks, and will not be 
checking her email at this time.  Please send any FileMaker work related 
matters to Michele Nadan at michele_nadan@filemaker.com.
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Date: Wed, 28 Apr 1999 08:34:16 -0500
To: h-costume@indra.com
From: "J,K,S&A Baird" <baird@rrnet.com>
Subject: Re: H-COST: Tencel?
In-Reply-To: <199904281208.IAA00770@bajor.ici.net>
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-Poster: "J,K,S&A Baird" <baird@rrnet.com>

Tencel is the proprietary name for a new fiber, lyocell. It is similar to
rayon, in that it is man-made from natural fibers.
For most purposes, you can treat it as you would cotton. It may have a
silkier drape and more sheen than cotton, and I think it wrinkles even
worse than cotton. It is (usually) machine wash and dry.
Kim



At 08:20 AM 4/28/99 -0400, you wrote:
>
>-Poster: Irene leNoir <irene@ici.net>
>
>I was hoping somoeone on this list would have the asnwer to a question.
>
>I was in my fabric store yesterday, and they had a section of fabrics 
>that were listed as containing "100% Tencel".
>
>My question:
>
>Is Tencel a new brand name for an existing fiber? (EG: A brand of rayon.)
> - or -
>Is it a new fiber?  If so, does anyone know anything about its derivation?
>
>
>Jessica Clark
>SCA: Irène leNoir
>irene@ici.net
>http://home.ici.net/~beowulf/jessica
>
> _________________________________________________________________
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> with the message UNSUBSCRIBE H-COSTUME
> 
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From owner-h-costume@indra.com  Wed Apr 28 09:43:14 1999
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From: Christina Nevin <cnevin@caci.co.uk>
To: "'h-costume@indra.com'" <h-costume@indra.com>,
        "'MelanieWilson@compuserve.com'" <MelanieWilson@compuserve.com>
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-Poster: Christina Nevin <cnevin@caci.co.uk>

Hi, 
I'm very interested in the following;

64	Cotton and Cotton Trade in the Middle Ages

as I'm trying (operative word being trying!) to write an article on the
trade of cotton through Venice in particular, and Italy in general,
pre-1600. Could you tell me if the book would be of any use to me? And if
you haven't seen it, could you tell me a bit about the Ciba Reviews as I
haven't heard of them before (though some of those titles sound familiar).
Thanks a whole heap.
Regards,
Christina Nevin
 
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From owner-h-costume@indra.com  Wed Apr 28 10:46:23 1999
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To: "'h-costume@indra.com'" <h-costume@indra.com>
Subject: H-COST: RE: cotton
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-Poster: Christina Nevin <cnevin@caci.co.uk>

Oh well, scratch the below. Sally Ann got first dibs! Sally Ann, would you
mind relating any useful bits to me? (email me privately)
Cheers,
Christina

		From:  Christina Nevin
		Hi, 
		I'm very interested in the following;
		64	Cotton and Cotton Trade in the Middle Ages

++++++++++++++++++++++++++++++++++++++++++++++++++
Lady Lucrezia-Isabella di Freccia   |  mka Tina Nevin
Thamesreach Shire, The Isles, Drachenwald | London, UK
thorngrove@geocities.com | 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  Wed Apr 28 11:11:17 1999
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From: "Lisa Scovel" <reenactment.guide@miningco.com>
To: <h-costume-digest@indra.com>
References: <199904281254.GAA15816@indra.com>
Subject: H-COST: Re:   h-costume-digest V4 #292
Date: Wed, 28 Apr 1999 08:19:48 -0700
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-Poster: "Lisa Scovel" <reenactment.guide@miningco.com>

If you don't have your heart set on sewing, I'd really recommend haunting
the EBay vintage clothing category for a couple of weeks.  1940s clothing is
not at a premium and you can buy a very nice dress (and for your husband,
perhaps a suit) for less, I'd wager, than the materials to construct it
yourself.  1930s works well for swing, too, don't forget.

I have lots of resources on my site, so feel free to take a look:

http://reenactment.miningco.com/msub30.htm

This article from RETRO can help with clothes for your husband:

http://www.retroactive.com/aug98/40sman.html

You can also browse the vintage clothing category, at least to get a sense
of what's available. You're likely to get better bargains on EBay, however.

http://reenactment.miningco.com/msub16.htm

Good luck!

> From: Gaelscot@aol.com
> Date: Tue, 27 Apr 1999 15:29:42 EDT
> Subject: H-COST: swing costume q
>
> - -Poster: Gaelscot@aol.com
>
> My husband and I are holding a swing party in October to celebrate our
> anniversary (12 years). We do swing dancing but we are not really part of
the
> swing dancing "scene." Right now we are trying to figure out what we want
to
> wear, because we will either have to be able to afford to buy it or we
will
> have to make it. We do not care about accurately reproducing the clothing
of
> a particular year. We want to be 1940s looking, that's all. We need
clothing
> that is fancy enough for a big party but comfortable to dance in. Does
anyone
> have any suggestions for (a) affordable stuff we can buy, or (b) patterns?
We
> haven't done much investigation yet, and I thought someone here might be
able
> to guide me! I am an average sewer -- in other words, no tailored suits.
> Thanks in advance!
>
> Gail Finke


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From owner-h-costume@indra.com  Wed Apr 28 11:59:42 1999
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From: "Victoria Clark" <dogbert6zinc@hotmail.com>
To: h-costume@indra.com
Subject: H-COST: Re:garb
Date: Wed, 28 Apr 1999 09:05:47 PDT
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-Poster: "Victoria Clark" <dogbert6zinc@hotmail.com>

NOVICE QUESTION: I'd like to know if anyone has any information on 
period outfits for women which used pants. I'd like to "go guy", but 
don't want to have a guy persona. If you know what cultures found this 
acceptable, or any sources I could consult, please e-mail me @ 
dogbert6zinc@hotmail.com 

                         In service,
                            Victoria

  "Be warned in time, James, and remain, as I do, incomprehensible; to 
be great is to be misunderstood." -Oscar W

_______________________________________________________________
Get Free Email and Do More On The Web. Visit http://www.msn.com
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From owner-h-costume@indra.com  Wed Apr 28 12:14:25 1999
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-Poster: Margo Anderson <margo@directcon.net>

At 09:05 AM 4/28/99 PDT, you wrote:
>
>-Poster: "Victoria Clark" <dogbert6zinc@hotmail.com>
>
>NOVICE QUESTION: I'd like to know if anyone has any information on 
>period outfits for women which used pants.

What period, and where?  Without this important information, I'd be likely
to point you to the 1970's and later, but I think that might not be what
you're looking for.

Margo

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From owner-h-costume@indra.com  Wed Apr 28 12:48:06 1999
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From: Merouda the True of Bornover <keltia@serv.net>
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-Poster: Merouda the True of Bornover <keltia@serv.net>

> >NOVICE QUESTION: I'd like to know if anyone has any information on
> >period outfits for women which used pants.
>
> What period, and where?  Without this important information, I'd be likely
> to point you to the 1970's and later

Isn't that funny. *g*  I would point her towards Middle Eastern clothing.


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


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From owner-h-costume@indra.com  Wed Apr 28 12:58:34 1999
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-Poster: Anah <anah@tymeportal.com>

http://www.costumes.org/history/aquariangallery/LucyStone1853.jpg


> >NOVICE QUESTION: I'd like to know if anyone has any information on
> >period outfits for women which used pants.
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From owner-h-costume@indra.com  Wed Apr 28 13:14:39 1999
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-Poster: lilinah@grin.net

Victoria Clark wrote:
>
>NOVICE QUESTION: I'd like to know if anyone has any information on
>period outfits for women which used pants. I'd like to "go guy", but
>don't want to have a guy persona. If you know what cultures found this
>acceptable, or any sources I could consult, please e-mail me @
>dogbert6zinc@hotmail.com

If you're talking SCA here, then off hand all i can think of that is
definite is Near Eastern, depending on your persona's place and time of
origin. If from a region where women wore pants, your tunic or overdress
(these are not culture-specific terms) would fall somewhere between your
ankles and your knees.

I'm not sure if SCA-period Japanese peasant women wore the same pants that
they wore earlier in this century and the last, but research might turn
something up - Folkwear has a complete Japanese field work set, so if it is
period, this is another option - and simple to make, based entirely on
rectangles.

And you might want to look into Chinese women's clothing as well - i'm not
certain if they wore pants in period - they certainly have more recently,
so again research is called for. Folkwear also has a number of 19th & 20th
C. Chinese women's garment patterns, if they are period.

Lilinah


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From owner-h-costume@indra.com  Wed Apr 28 13:44:03 1999
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From: "Andrea Gideon" <andrea.gideon@erols.com>
To: <h-costume@indra.com>
Subject: Re: H-COST: Re:garb
Date: Wed, 28 Apr 1999 13:57:21 -0700
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-Poster: "Andrea Gideon" <andrea.gideon@erols.com>

>I'm not sure if SCA-period Japanese peasant women wore the same pants that
>they wore earlier in this century and the last, but research might turn
>something up - Folkwear has a complete Japanese field work set, so if it is
>period, this is another option - and simple to make, based entirely on
>rectangles.
>
Japanese noble women wore hakama from about the 10th cent until the 14th
cent.  If anyone would like further info, just ask.
Andrea


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From owner-h-costume@indra.com  Wed Apr 28 14:29:32 1999
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-Poster: lilinah@grin.net

Andrea Gideon wrote:
>Japanese noble women wore hakama from about the 10th cent until the 14th
>cent.  If anyone would like further info, just ask.

Oh, right, i remember - worn over the kimono, very long legs dragging on
the floor like a train,depending on how noble you are, and often red. And
Folkwear also makes a hakama pattern.

Lilinah


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From owner-h-costume@indra.com  Wed Apr 28 17:35:48 1999
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Date: Wed, 28 Apr 1999 17:43:33 -0400
From: Melanie Wilson <MelanieWilson@compuserve.com>
Subject: H-COST: Ciba Reviews
To: "INTERNET:h-costume-digest@indra.com" <h-costume-digest@indra.com>
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-Poster: Melanie Wilson <MelanieWilson@compuserve.com>

They were trade only small mags from 1930s on, never on sale, free
internally, with the swiss co Ciba & to libraries. Very scolarly, but
compact, very frequently used as reference. Printed in 4 languages
(seperatly, these ones are English !)

Mel
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From owner-h-costume@indra.com  Wed Apr 28 19:59:23 1999
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To: <h-costume@indra.com>
References: <199904281718.JAA25320@zeus.directcon.net> <3727404D.B2B13000@tymeportal.com>
Subject: Re: H-COST: Re:garb - Lucy Stone Picture
Date: Wed, 28 Apr 1999 20:08:36 -0400
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-Poster: "Beth" <bchamber@suffolk.lib.ny.us>

Can someone please identify the source. I can't quite read the caption.
Thanks in advance,
Beth

> http://www.costumes.org/history/aquariangallery/LucyStone1853.jpg
> 
> 
> > >NOVICE QUESTION: I'd like to know if anyone has any information on
> > >period outfits for women which used pants.


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From owner-h-costume@indra.com  Wed Apr 28 21:42:58 1999
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Date: Wed, 28 Apr 1999 21:59:55 -0400
To: h-costume@indra.com
From: Danielle Nunn <dnunn@interlog.com>
Subject: Re: H-COST: Tencel?
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-Poster: Danielle Nunn <dnunn@interlog.com>

Greetings,

>I was in my fabric store yesterday, and they had a section of fabrics 
>that were listed as containing "100% Tencel".
>
>My question:
>
>Is Tencel a new brand name for an existing fiber? (EG: A brand of rayon.)
> - or -
>Is it a new fiber?  If so, does anyone know anything about its derivation?

>From what I've seen on labels it appears to be cotton treated in some fashion.

Cheers,
Danielle

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From owner-h-costume@indra.com  Thu Apr 29 01:48:37 1999
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Date: Wed, 28 Apr 1999 22:55:32 -0700
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Subject: H-COST: Tencel
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-Poster: Leslie Helms <leslieh@canfield.com>

I know just enough about Tencel to raise more questions!  I think that it
is like rayon in that it starts with cellulose fiber and is thus more
"natural" acting than the other synthetics.  I've also heard that its
production is less toxic than that of rayon.  (The stuff they liquidate the
cellulose fiber with is pretty ghastly.)  It looks and feels like a dream
to sew with, but I haven't taken the financial plunge yet.  Does anyone
have more information?

Leslie
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From owner-h-costume@indra.com  Thu Apr 29 08:37:17 1999
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To: "'Historic Costume list'" <h-costume@indra.com>
Subject: H-COST: OT Inflation calculator
Date: Thu, 29 Apr 1999 08:08:49 -0400
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-Poster: kat <kat@janrix.com>

Haven't tried this, but it came across from another list. Someone was asking about this kind of site. 

Inflation Calculator http://www.westegg.com/inflation/
In 1997, $1000 from 1850 will be worth $18819.56.


Kat Hargus
owner, Making Time
www.makingtime.com

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From owner-h-costume@indra.com  Thu Apr 29 08:53:17 1999
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From: "Penny Ladnier" <penny.creative.outlets@pop.erols.com>
To: "h-costume" <h-costume@indra.com>
Subject: H-COST: Titanic Dresses
Date: Thu, 29 Apr 1999 09:04:47 -0400
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-Poster: "Penny Ladnier" <penny.creative.outlets@pop.erols.com>

I am writing an article on the Titanic dresses.  I would like to hear from
the designers who reproduced the Titanic dresses.  I am tracking the trend
cycle and I have a few questions to ask you.  Please contact me personally.

Penny
http://www.costumegallery.com


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From owner-h-costume@indra.com  Thu Apr 29 09:36:41 1999
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Date: Thu, 29 Apr 1999 09:45:56 -0400
From: Melanie Wilson <MelanieWilson@compuserve.com>
Subject: H-COST: Alter years
To: LIST historic costume <h-costume-digest@indra.com>
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-Poster: Melanie Wilson <MelanieWilson@compuserve.com>

Has anyone got an email address for Alter years ?

Mel
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Date: Thu, 29 Apr 1999 10:11:31 -0400
From: Christine Krebs-Bonder <2maples@dnaco.net>
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Subject: Re: H-COST: Tencel
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-Poster: Christine Krebs-Bonder <2maples@dnaco.net>

I went and checked out the Tencel website. It is made from natural cellulose,
and during th manufacting process the chemicals used to draw out the strands
into usable threads, is recycled. Unlike in the manufacture of rayon where the
fluid is drained off and then has to be dumped somewhere, the fluid is drained
off, treated in some fashion to separate the cellulose breakdown byproduct,
filtered and then reused to do the next batch. I've made a shell top out of it
to wear with one of my summer suits and it is definitely much more omfortable
than polyester and hada nicer appearance than rayon. Yes, it wrinkles, but I
have yet to find any fabric that doesn't. I used my travel steamer to get the
wrinkles out rather than ironing it. I wouldn't recommend it at current prices
for costuming, but if you need a "business" blouse to wear during the smmer,
it's great (and even at the higher cost for the fabric, it cost less than to
buy a good rayon blend blouse at the department store).

Christine in Dayton

Leslie Helms wrote:

> -Poster: Leslie Helms <leslieh@canfield.com>
>
> I know just enough about Tencel to raise more questions!  I think that it
> is like rayon in that it starts with cellulose fiber and is thus more
> "natural" acting than the other synthetics.  I've also heard that its
> production is less toxic than that of rayon.  (The stuff they liquidate the
> cellulose fiber with is pretty ghastly.)  It looks and feels like a dream
> to sew with, but I haven't taken the financial plunge yet.  Does anyone
> have more information?
>
> Leslie
>  _________________________________________________________________
>  To leave this mailing list, send mail to majordomo@indra.com
>  with the message UNSUBSCRIBE H-COSTUME



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From owner-h-costume@indra.com  Thu Apr 29 11:13:43 1999
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Date: Thu, 29 Apr 1999 10:54:39 EDT
Subject: H-COST: tencel
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-Poster: DettaS@aol.com

The information I've received is that tencel is produced from trees which are 
grown specifically for that purpose.  I have it in a combed top for spinning. 
 Spun alone, it has no spring.  Blended with wool, it looked like a silk/wool 
blend.  Very pretty!  If anyone would like a bit to touch/feel/try spinning, 
send me a SASE.

Detta Juusola,  Detta's Spindle
2592 Geggen-Tina Rd., Maple Plain, MN  55359
Dettas@aol.com  <A 
HREF="http://www.dettasspindle.com">http://www.dettasspindle.com
</A>
Phone 612-479-1612  Fax 612-479-1982   
Spinning, weaving, & knitting supplies - Ask for our mail order catalog
 "Woofspun" dog hair yarn
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From owner-h-costume@indra.com  Thu Apr 29 11:17:01 1999
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From: "Franchesca Havas" <ches@io.com>
To: <h-costume@indra.com>
Cc: "sca-garb" <sca-garb@list.uvm.edu>
Subject: H-COST: funny sewing web site
Date: Thu, 29 Apr 1999 10:05:05 -0500
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-Poster: "Franchesca Havas" <ches@io.com>

Here is a hilarious web site for sewers. If you have any "laws" to add to it
put them here too!

http://www.lydias.com/murphy.html

Sincerely,
F. Havas
Dallas, Texas


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From owner-h-costume@indra.com  Thu Apr 29 11:49:50 1999
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Date: Thu, 29 Apr 1999 08:54:20 -0700
From: Merouda the True of Bornover <keltia@serv.net>
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-Poster: Merouda the True of Bornover <keltia@serv.net>

I don't know their email addy but their website is:
    http:\\www.alteryears.com

> Has anyone got an email address for Alter years ?
>
> Mel
>  _________________________________________________________________
>  To leave this mailing list, send mail to majordomo@indra.com
>  with the message UNSUBSCRIBE H-COSTUME

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


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From owner-h-costume@indra.com  Thu Apr 29 12:59:57 1999
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-Poster: Steve Manning <fergusmacgill@rmci.net>

Hello
The last one I have is
email:c/o Anderson	72437.674@compuserve.com
Linda Halley Barry

-----Original Message-----
From:	Melanie Wilson [SMTP:MelanieWilson@compuserve.com]
Sent:	Thursday, April 29, 1999 7:46 AM
To:	LIST historic costume
Subject:	H-COST: Alter years


-Poster: Melanie Wilson <MelanieWilson@compuserve.com>

Has anyone got an email address for Alter years ?

Mel
 _________________________________________________________________
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 with the message UNSUBSCRIBE H-COSTUME

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From owner-h-costume@indra.com  Thu Apr 29 13:09:02 1999
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-Poster: lilinah@grin.net

Merouda the True of Bornover  wrote:
>
>I don't know their email addy but their website is:
>    http:\\www.alteryears.com
>
>> Has anyone got an email address for Alter years ?
>>
>> Mel

Hmmm, try slashes instead of back-slashes:
http://www.alteryears.com

Their e-mail address is on the web site

Lilinah


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-Poster: lilinah@grin.net

Mel asked:
> Has anyone got an email address for Alter years ?

and i answered:
>Hmmm, try slashes instead of back-slashes:
>http://www.alteryears.com
>
>Their e-mail address is on the web site

Then i got to thinking, some folks don't have web access, so here's the
info from their website:

Address: 3749 E. Colorado Blvd. Pasadena, CA 91107

Phone: (626) 585-2994

Fax: (626) 432-4530

Email: Store: 72437.674@compuserve.com

Hope this helps

Lilinah


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From owner-h-costume@indra.com  Thu Apr 29 15:31:58 1999
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From: Margo Anderson <margo@directcon.net>
Subject: H-COST: Plastron?
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-Poster: Margo Anderson <margo@directcon.net>

In Jean Hunnisett's Period Costumes for Stage and Screen 1800-1909, she
gives a pattern for an accessory she calls a plastron, to be worn over a
bodice to change the look.  What she doesn't make entirely clear is, is this
a real period item of clothing or is it a theatrical solution?  I've seen
pictures of dresses that could have them, but on the other hand it could be
trim sewn on along those lines.  Can anyone refer me to documentation?  This
is for the 1850's.

It would have been better if I had thought to ask this question before I
started making the dress...


Margo


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From owner-h-costume@indra.com  Thu Apr 29 18:27:10 1999
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From: "Vickers, Jill" <jvickers@TELESENSORY.com>
To: "'h-costume'" <h-costume@indra.com>
Subject: H-COST: Italian Renn Lifestyle Books (sort of OT)
Date: Thu, 29 Apr 1999 15:22:55 -0700
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-Poster: "Vickers, Jill" <jvickers@TELESENSORY.com>


Here's some information on a couple of interesting looking books forwarded
to me by Amazon.com.  I haven't read them, so I can say how good they are,
but they looked like they could be fun reading for the Italian Renn
enthusiasts out there.

Enjoy!

-Jill


"How to Do It: Guides to Good Living for Renaissance 
Italians" by Rudolph M. Bell offers an insightful, frequently 
humorous examination of 16th-century middle-class Italian 
life as reflected in the abundance of advice books that 
circulated during the period.
http://www.amazon.com/exec/obidos/ASIN/0226042103/ref=ad_hs1 

"The Preacher's Demons: Bernardino of Siena and the
Social Underworld of Early Renaissance Italy," by Franco
Mormando, examines the religious and social attitudes of
late-14th-century Italy through the sermons of one
Franciscan friar.
http://www.amazon.com/exec/obidos/ASIN/0226538540/ref=ad_hs1

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From owner-h-costume@indra.com  Thu Apr 29 18:44:11 1999
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Subject: H-COST: Tencel and other Synthetics
Date: Thu, 29 Apr 1999 18:51:43 -0400
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From: Irene leNoir <irene@ici.net>
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-Poster: Irene leNoir <irene@ici.net>

After reading a response to my original Tencel question which mentioned 
the Tencel website, I did a search to see what else I could find about it.

In the process I found a wonderful site I just have to share with everyone
   http://www.fibersource.com/

They give extremely comprehensive information on all of the manufactured 
fibers.  For every FTC approved generic manufactured fiber name they have 
a page which gives a brief definition and then goes into a highly 
technical explanation of the processes involved in the productin of the 
fiber.  They also have a comprehensive table of fiber brand names and 
their corresponding generic names and manufacturers.



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 Apr 29 20:58:17 1999
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Date: Thu, 29 Apr 1999 20:58:41 EDT
Subject: Re: H-COST: Plastron?
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-Poster: AlbertCat@aol.com

In a message dated 4/29/99 3:48:17 PM Eastern Daylight Time, 
margo@directcon.net writes:

<< is this
 a real period item of clothing or is it a theatrical solution?  I've seen
 pictures of dresses that could have them, but on the other hand it could be
 trim sewn on along those lines.  Can anyone refer me to documentation?  This
 is for the 1850's. >>

It's real. I've seen them in Godey's Ladies & Peterman's. They're usually 
frillier & fussier than the one in the Hunnisett.
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From owner-h-costume@indra.com  Fri Apr 30 05:33:00 1999
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From: "Christopher Ballis" <stilskin@netspace.net.au>
To: <h-costume@indra.com>
Subject: Re: H-COST: OT Inflation calculator
Date: Fri, 30 Apr 1999 17:37:28 +1000
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-Poster: "Christopher Ballis" <stilskin@netspace.net.au>

On the inflation comparison front, I was at an exhibition of gold mining
and related stuff a few weeks ago.

One of the facts presented was that a Holden car (GM's Australian brand),
released in 1947-8, was equal in value to a certain amount of gold (can't
remember the value per ounce); the current Holden is worth exactly that
weight. I wonder.............


-C.
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From owner-h-costume@indra.com  Fri Apr 30 05:33:00 1999
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Date: Fri, 30 Apr 1999 00:11:41 -0700
From: Diana H <dch@inreach.com>
Organization: Well, I wouldn't call it organized......
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Subject: H-COST: [Fwd: First Meeting of the GSACG]
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-Poster: Diana H <dch@inreach.com>

This is a multi-part message in MIME format.
--------------093DC20A42EE501A123CB3C5
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Greetings fellow costumers!

For anybody who lives in the area in or around Sacramento, CA  I have
forwarded the following message.  Thanks again for the use of bandwidth!

Diana :~>

--

* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
"There are too many mediocre things in life to deal with.....Love
shouldn't be one
 of them."
--Ione Skye in "Dream for an Insomniac"


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Message-ID: <3729570D.EF105BB8@inreach.com>
Date: Fri, 30 Apr 1999 00:09:01 -0700
From: Diana H <dch@inreach.com>
Reply-To: dch@inreach.com
Organization: Well, I wouldn't call it organized......
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To: Ghillie <cary_anderson@dot.ca.gov>,
	Stephanie Rose <roses@cwo.com>, Joan Jurancich <joanj@quiknet.com>,
	Margo Anderson <margo@directcon.net>,
	Craig Brown <cbrown@sisqtel.net>
Subject: First Meeting of the GSACG
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Hello everyone!

I was thinking we should set up a meeting to possibly further our
endeavor to form the Greater Sacramento Area Costumer's Guild.  Someone
had previously mentioned that May sounded good, so I thought we should
put forth a few dates.

I propose either May 10th or 17th at 7pm.  Both days are mondays and I
am willing to host it at my house in Roseville (a northern suburb of
Sac).  How do people feel about these dates?  Do you have any conflicts
with one or the other?

I will gather responses about any conflicts and then will notify
everyone about which date works the best for people.  In the meantime,
let's all keep in touch and I look forward to our first meeting!

Diana :~>

If you have any other questions, please contact me via e-mail.  It is
the best way to get ahold of me :~>
--

* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
"There are too many mediocre things in life to deal with.....Love
shouldn't be one
 of them."
--Ione Skye in "Dream for an Insomniac"



--------------093DC20A42EE501A123CB3C5--

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From owner-h-costume@indra.com  Fri Apr 30 09:09:17 1999
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From: "Sarah Toney" <toneys@rentgrow.com>
To: <h-costume@indra.com>
Subject: Re: H-COST: funny sewing web site
Date: Fri, 30 Apr 1999 09:21:37 -0400
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-Poster: "Sarah Toney" <toneys@rentgrow.com>

"Your lost needle will be found by your son, husband or brother-in-law...
while walking around barefoot. "

You know, my roommate and I are always sewing... and we have cats, so pins
tend to travel in our house.  At least once a day I hear the evil string of
anger coming from my boyfriend... I'll walk through the living room a
hundred times barefoot and have yet to step on a needle, but he finds them
all... I think he has magnetic feet. ;-)




>
>-Poster: "Franchesca Havas" <ches@io.com>
>
>Here is a hilarious web site for sewers. If you have any "laws" to add to
it
>put them here too!
>
>http://www.lydias.com/murphy.html
>
>Sincerely,
>F. Havas
>Dallas, Texas
>
>
> _________________________________________________________________
> 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 Apr 30 22:59:58 1999
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From: "Penny Ladnier" <penny.creative.outlets@pop.erols.com>
To: "h-costume" <h-costume@indra.com>
Subject: H-COST: Society of London Ladies
Date: Fri, 30 Apr 1999 23:09:36 -0400
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-Poster: "Penny Ladnier" <penny.creative.outlets@pop.erols.com>

I found a website that has some articles you might enjoy.  It is called The
Society of London Ladies newsletter, Belle Letters
http://members.aol.com/LONDON20/full/belle/belle.html

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

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From owner-h-costume@indra.com  Sat May  1 15:53:44 1999
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To: h-costume@indra.com
From: Joan M Jurancich <joanj@quiknet.com>
Subject: H-COST: Interesting book--1925 Costume
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-Poster: Joan M Jurancich <joanj@quiknet.com>

While browsing the costume books, I saw this one:

http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&item=96738934

Here's the description:

Helen Goodrich Buttrick. PRINCIPLES OF CLOTHING SELECTION. New York:
Macmillan, 1925. (Copyright 1923). Hardcover. Front cover is scanned below.
Size: 5 1/4 by 7 1/2in. 185 pages. A vintage textbook for high school
courses in clothing & costume design. With chapters on: Principles of Design
or Composition; Elements of Composition; Color & its relation to Dress;
Human Figure & Clothing Design; Texture & Pattern in Relation to Dress; Hair
Arrangement & Hats; Appropriate Combinations in Dress; and more! Good++
condition, with the following blemishes: very light soiling and light
edge-wear on cover; surface tears on page 3 where the pages were stuck
together (these tears do affect text, but text is still readable); light
crease at edges of pages near back of book; pages very lightly foxed at
edges; minor pencil marks on a few pages. Inside, pages are otherwise bright
and undamaged, and contents are complete. A GREAT, VERY OLD clothing design
book!!! Buyer pays $2.10 book-rate S&H in U.S.

This isn't my time period of interest, so I won't be competing with any of
you <g>.

Joan Jurancich
Sacramento, CA
joanj@quiknet.com

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From owner-h-costume@indra.com  Sat May  1 16:51:40 1999
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-Poster: lynnx@mc.net

Can anyone tell me the subscription address for the vintage costume
list? Is it also at indra.com?
Thanks
Carol Mitchell
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-Poster: lynnx@mc.net

One of the posters to the SCA-Garb list came up with several hundred.
Carol Mitchell
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From owner-h-costume@indra.com  Sun May  2 11:58:49 1999
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-Poster: "John Page" <kdp@tiac.net>

To everyone on the list who had a suggestion for altering my early Tudor
gown, or just wished me luck with the task:  MANY THANKS!

In the end I didn't try to alter the gown but lifted a pattern from it and
made a new one in cotton velveteen.  

Thanks again,
Kristin Page


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From owner-h-costume@indra.com  Sun May  2 16:01:39 1999
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Date: Sun, 2 May 1999 16:08:55 -0400
From: Cat Devereaux <CatDevereaux@compuserve.com>
Subject: H-COST: AlterYears E-mail address: Correction
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-Poster: Cat Devereaux <CatDevereaux@compuserve.com>

Hi all,

Just want to update you on AlterYears e-mail address, officially.

The e-mail to reach the ladies directly at the store is
sales@alteryears.com.  We haven't gotten the web page updated yet, but are
slowing working on getting the new address out.  (Yes, this address is new
since the last catalog came out.)  

I pick up mail on the old CompuSever address for Janet a couple of times a
week.  I handle the questions I can, but I am not located at the store. 
So, all orders, stock checks and traces get forwarded on to the
sales@alteryears.com address.  It takes a bit longer to process them
through the CompuServe address... but don't worry, they still get handled

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From: Elizabeth Lear <eliz@indra.com>
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-Poster: Elizabeth Lear <eliz>


<-Poster: lynnx@mc.net
<
<Can anyone tell me the subscription address for the vintage costume
<list? Is it also at indra.com?

Yes it is.

To join the list, send a message to

	majordomo@indra.com

with the message

	subscribe vintage

						...eliz

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From owner-h-costume@indra.com  Sun May  2 23:41:21 1999
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-Poster: Margo Anderson <margo@directcon.net>

I just finished a new 1850's costume.   I used a heavy calico printed with a
small paisley print in shades of grey, black, and tan.  Since  I wanted a
dress that could convert from everyday wear for docenting  to a dressier
street outfit, I cut the bodice with a round waist, not a point.  the
sleeves are two peice coat sleeves, fairly wide, and have a "jockey", a
short cap sleeve at the top.  the jockey is edged with narrow black
chrocheted-looking lace, some of a 220 yard spool I got at the Salvation
Army for $2.  The bodice hooks up the front. The skirt is plain and
untrimmed.  To dress it up, I made a pointed waist plastron based on the one
in Hunnisett's book,  banded acros the front with strips of 1" black bias
tape, pointed at the ends.  the top band turns a corner and goes up over the
shoulders to form a square yoke.  Each band has a 1" pewter colored button
at the center, with a floral filligree design.  The plastron is edged with
the chrocheted lace.

I wore the dress with plain white voile undersleeves, a needle lace collar
(part of a bag of old lace I bought for $3)  fancy black lace mitts I made,
and a black velvet bonnet trimmed with black tassel fringe and Venise lace
on the outside,  lined with green silk and with an inner wreath of white
daisys and purple roses, and carried a black parasol.  I wore it to an "old
time costume contest" that someone was sponsoring in a nearby town.
Unfortunately, I got there just as the contest was ending , but the person
handing out the prizes spotted me and announce that I deserved one anyway!
(probably for being one of two women there who wasn't in a remodeled prom
gown). 

Thanks to everyone for advice and support on this project and the larger one
of preparing to teach my Gold Rush Costume classes, which start in ten days.
I'm beginning to start to commence to get ready to feel prepared!

Margo Anderson



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